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Speaker 1: I love it. That is not giving up. The band

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is the Forensics, and the Forensics is our featured artist

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in this hour we're going to speak with at least

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we got one of the guys I think on with

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us via Microsoft Teams and we're gonna speak with them

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in just a moment. But welcome everybody. This is our

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number three New Marrow trace of Matt Connorton Unleashed. If

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you are listening live on Saturday today is December sixth,

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twenty twenty five. We are live from the studios of

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wm NH ninety five point three FM in glorious Manchester,

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New Hampshire. Of course, you can stream the show from anywhere.

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Go to Matt connorton dot com slash live for all

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your live streaming options, social media links, contact info, show archives, etc.

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Et cetera. And let's see, I think we've got Jordan

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King from the Band on the line with us.

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Speaker 2: Hello, Yes, Hello, thank you for having me.

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Speaker 1: Absolutely welcome. I love that song and as I think

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you know too, the first single we had played from

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you guys was Maxine and I love that one too.

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We had that one in kind of heavy rotation around

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here for a while, but but I love this track,

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not giving up. It's really good. When did this come out?

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Speaker 2: This has only really been out a week, I believe,

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so not too long at all.

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Speaker 1: Very new. Yeah, yeah, that's depressed outstanding. Now, Jordan, is

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it just you ors anybody with you?

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Speaker 2: It's just myself today? Yeah, yeah, yeah, I don't know

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what the rest of the guys are doing.

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Speaker 1: That's all right. Sometimes less is more. Sometimes we get

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you know, a bunch of people on on teams and

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it's uh, it becomes confusing. So we're happy to have you. Now,

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what do you do in the band?

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Speaker 2: So I'm the lead guitarist. Okay, So all the little

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riffs and stuff you heard in that track was cut

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to see it myself. So yeah, excellent.

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Speaker 1: Well what I want to ask you too about is

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there's a surprise in that song because when you listen

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to it, you don't really expect, especially you know, hearing

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your other songs, when that saxophone comes in, you don't

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you don't see that coming, or perhaps I should say

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you don't hear that coming. But it fit's a song perfectly.

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I mean, it works really well, but it's a surprise

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the first time you listen to the song. Do one

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of you guys in the band play the sacks or

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did you bring in somebody outside to do that, or

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how did that come about.

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Speaker 2: I'm glad that you say it was a surprise. That

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was kind of the idea. So none of us play saxophone.

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The where that came from. It was an idea for myself.

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So we were sat in the studio. I got the

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lead guitar part down for the breakdown at the end

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of the track, and I just thought it was missing something.

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And I've always liked, you know, brass instruments, et cetera.

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One of my favorite pieces of music is Baker Street.

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I love the sax on that piece of music. Yes,

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you know, I wonder if a sax would fit in here.

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So we went externally brought someone in to do it,

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and know it's on the track now, so that's fantastic.

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Speaker 1: Yeah, no, it fits perfectly. Baker Street is a great

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example too of where you can do that really effectively.

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But when you do this, so what happens when you

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do that song live? Or have you played that song live?

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Speaker 2: So we've been playing that song live for about a

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year now. I think obviously as a small band, it's

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difficult to get someone on board that plays saxophone, so

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we play it slightly different live. It's a lot heavier live,

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more guitar driven. Obviously, the aim eventually would be to

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have someone play that live with us with the sacks.

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That'd be pretty cool, but we can't do that at

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the moment.

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Speaker 1: At the same time, though, it must be kind of

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fun too to play it a different way live, just

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because it you know, I would guess it kind of

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keeps it fresh for you guys, right, you know, you're

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kind of It gives you some room to kind of

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experiment and only, like you said, maybe make it a

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little heavier live. You know, it probably goes over well,

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I would imagine, definitely.

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Speaker 2: Yeah, that's the way we try to play live all

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the time. It keeps it fresh and exciting. We like

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to do things slightly different live, maybe extend tracks or

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One thing that we do often is we merge songs together.

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So we've got two new singles coming out next year.

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When we played them live, they fade into each other live,

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which is quite cool. So yeah, we enjoyed doing stuff

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like that when we perform.

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Speaker 1: Oh, excellent, excellent, how long have you guys? I mean,

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it's it's been. It's been a few years, right, like

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we we've just been getting to know you. I think

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May was when you were on before And is that

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around when Maxine came out? Because I love that song too,

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that's such a great track.

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Speaker 2: Yeah, that came out first half of this year.

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Speaker 1: Yeah, okay, okay, but have you guys been around since

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what twenty twenty one, twenty twenty two or.

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Speaker 2: Man, time flies, doesn't it. Yeah that sounds about right. Yeah.

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So we formed originally me and my friend who's no

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longer with the band, so he was our first bassist.

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We met in the pub over a drink, decided we

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wanted to be in a band, and that's kind of

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how it came about. So me and him started writing

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some things. Then Liam, the lead singer joined. He'd played

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in a band previously with our drummer, so that kind

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of all things together. And yeah, it must have been

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nearly four years now, which is frightening.

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Speaker 3: Wow.

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Speaker 1: Yeah, No, the time does go quickly. Have you guys

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been you know, we talked a little bit about touchdown

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playing live. Have you guys been doing a lot of shows?

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Speaker 2: Yeah? We usually gig quite a lot. Although the back

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end of this year, we've taken the foot off the

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gas a little bit and focused more on studio things.

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We want to get a few new tracks out next

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year after not giving up. That's just come out of course,

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and we're putting a big push on social media I

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think at the moment as well, to try and grow

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a bit of a stronger online presence. So we do

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have two shows lined up for the start of next year,

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but I guess we'll see what the new year brings.

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But yeah, a lot of focus on studio stuff at

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the moment and social media.

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Speaker 1: Where do you guys record? You know, I always like to.

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I mean, I have a bit of an auto engineering

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background myself. I'm a little bit of a nerd for

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this kind of stuff. But I'm just curious because there's

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so many different ways to record now. You know, when

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I was growing I'm old enough to remember when basically

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your option was you you go to a studio, or

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you know, you could maybe buy yourself a little task

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scam recorder and make four track recordings at home, and

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that was about it. But because it's obvious in listening

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to your music and talking with you that that sonically

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it's very important to get this right, You're you're, you're

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clearly you're every everything is very everything just sounds like

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you can you can just tell. You can tell by

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listening to your songs that you put a lot into

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not only the writing of the songs, but the recording

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of them, so you know it does It certainly doesn't

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sound like a situation where you're just going going uh

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to a studio for a day and spending a couple

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of hours and banging these out. I assume a lot

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goes into them. I don't know if you have a

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producer that you work with or tell me about the

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recording process.

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Speaker 2: Yeah, of course, Yeah. We love going in the studio.

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It's it's the favorite thing for all members of the band.

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I think they'd all agree going into the studio, And

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you're completely right, it's not a case of going in

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and banging these out in a couple of hours. A

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lot of work goes into it. I think. To give

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you an insight as to how we operate as a band,

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and this is very similar across bands of our size.

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Studio higher is very expensive for alongside hiring a producer

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as well, so a lot of the work actually comes

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pre studio. We do a lot of work in practice

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rooms beforehand, we'll kind of do our own mixes on

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our own software first. That's where a lot of the

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experiment experimental things come into play. Then we can go

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into the studio get the basic layer of the track down,

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and then that gives us a lot of time to

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play around with other things and different sounds that you

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can't produce on your own outside of that studio environment.

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So that's the way that we tend to do it.

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So we probably get a track down, as you said,

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you bang it out in a few hours. But then

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because we've done all of that leg work beforehand, it

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gives us that freedom of expression, if you will, in

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the studio to try different things and maybe get different

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instruments in there, like the sax idea for example. And

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so that's how we tend to go about our recording,

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a lot of legwork beforehand, into the studio, get the

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track down, and then we can I don't think mess

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around is the right phrase. Yeah, sometimes it feels like it,

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you know, So that's how we tend to go about it.

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I think we recording a place called the Grand in

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Clitherol which actually has a huge stage attached to it.

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Which is awesome. We've played that live which was really cool. Yeah,

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it's a quite cool venue. Actually it's in a place

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called Clitherow, which I appreciate. You guided state side, So

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it's about forty minutes drive from Manchester, so not too

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far away.

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Speaker 1: Not bad, no, And it's great that you go there prepared.

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You know, you can save a lot of time and

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money if you're well prepared going to going to the studio. Yeah,

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it's cool too that it's got a venue there as well.

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I don't know why, uh, I mean, there's definitely examples

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here of places like that, but I can't think of

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any off the top of my head where you know,

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there's a recording studio and there's a stage and they

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you know, and it kind of works as both a

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studio and a venue. It's such a it's such a

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great concept and it seems so obvious, but it's probably

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a lot uh to do correctly. But I I wish, like,

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like I said, I know, this place is like that

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here too. I just can't think of many. I can't

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think of any off the top of my head. But

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have you have you always work like from the beginning

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of this project, has it always been the same studio.

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Speaker 2: No, so we recorded a different studio once and this

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was a long time ago to when our first single

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came out, so I actually can't recall what the name was.

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It was it was somewhere near Warrington, but I don't know.

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And then since then there was another place I believe

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in clid Throw that we recorded in and then so yeah,

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we're recorded in quite a few actually, now I think

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about it. One studio was particularly cool because the studio

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was right at the top of a three story building

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and the first floor had a bar, so it was great.

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So once you've done, once you've done, let's say i'd

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finished my guitar part, so I don't have to sit

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and listen to Dan Bash on the drums or le

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and du vocals. I can slip away and grab myself

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a beer and then come back in a few hours

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time and see what they've cracked on with, which was

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quite a cool setup. So, right, I liked that place,

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So that was cool.

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Speaker 1: Oh that's cool. That's cool. Yeah, I'm sure I've asked

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you this before. I think the last time you were on.

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I'm pretty sure I asked, but I don't remember what

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the answer was. And you know, obviously we have newer

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listeners who aren't familiar with you. Yet, where does the

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name come from? The forensics?

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Speaker 2: That's a really good question. I'm actually not one hundred

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percent myself. I'm completely honest with you. We've had that

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name for a good number of years. I think we

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just I think it might have been Liam's idea, and

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obviously he's not with us today, so I actually don't

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know where it came from. Obviously, forensics has that tie

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into police work and that kind of stuff, but we've

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never We did a bit of that stuff for Maxine.

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When we released Maxine, some of our artwork was was

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in forensic suits, and we have played we have played

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live in forensic suits as well, which is quite cool.

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But by gosh, did they get warm halfway through a show?

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Really likes pointing at you.

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Speaker 1: Yeah, I can imagine.

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Speaker 2: But as far as the name goes, I don't know

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where it came from. But when someone pitched the idea

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forensics to me, I just thought, yeah, it's pretty cool. Yeah,

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And then the fingerprint as the logo, I thought, yeah,

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that's quite cool as well. So where it comes from,

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I have no idea, but I quite like it.

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Speaker 1: Yeah, no, it's excellent. Is that the name that the

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band had from the beginning.

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Speaker 2: So we were originally called Riley James and the Summer Tones

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because Liam was a solo artist before he joined the band,

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so we played a lot of his solo stuff as

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a band when we initially came together, So it was

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called Riley James. That was his single stuff, and the

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Summer Tones was the idea for the rest of the band.

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But eventually I think we all came together and thought, no,

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we want to write music as a band, and if

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we're going to do that, you know, we need to

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have a defined name, and so we decided on the Forensics.

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Speaker 1: Was that challenging at all for Liam? I mean, not

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that you want to speak for him, I'm sure, but

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I'm just curious because that's obviously an adjustment for him, right.

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Speaker 2: I think it was an adjustment.

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Speaker 4: Yeah.

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Speaker 2: I don't think he struggled with it. I think it

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was a conversation that happened over a good number of weeks.

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There was a bit of back and forth, of course,

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on which way we wanted to take the band. I

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think looking back now over the years, it was certainly

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the right decision. I think we've got a really unique

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sound now as a band. It's interesting to watch how

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we progress from what you could define as quite light

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indie pop to almost rocky in a sense, which is

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quite a cool development. Yeah, and I don't think that

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would have happened if it was driven by one individual.

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I think that's because as a group we have very

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unique and individual inspirations, which when you put them all together,

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is quite a good recipe.

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Speaker 1: So yeah, absolutely absolutely so, yeah, so not giving up

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is really new. And then what what's kind of the

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do you know when the next single is going to be,

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or what's kind of the forward trajectory as far as

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because I assume, I mean, it strikes me that you

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guys probably have a lot of ideas in the band.

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I mean you're probably always writing, I would guess.

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Speaker 2: Always writing. Yeah, many many songs. If we jumped into

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the studio tomorrow and had unlimited time, I think we

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00:14:00,960 --> 00:14:03,840
have about ten tracks right now that we could record.

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So obviously a lot of that makes up our live performances,

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which is it keeps it fresh as well, because you

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can rotate songs in and out, so you never get

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bored of the tracks you're playing with regards to future

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plans unconfirmed as to when we're going to release them,

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but we are in the studio in two weeks time

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to finish off three tracks that we got down a

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few months ago. Oh so we went to the studio

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a few months back, got three quarters of them done,

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I would say. So we're going back in two weeks

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to get vocals and lead guitar finished, which I'm excited for.

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When those will come out, I'm not too sure, but

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there's three singles that within two weeks time should be

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pretty close to mastered and ready for release.

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Speaker 1: Oh fantastic, Yeah, no, I get can't wait to hear them. Man,

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you know, we'd love to continue to be sort of

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your conduit here into the American radio market because we

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love what you're doing. I remember the response that we

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got when we played Maxine for the first time, and

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we you know, we heard a lot of positive response

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on that here. It's such a great song, gets really

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gets stuck in your head. You know, it's so good,

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so so absolutely love it. And then so are you

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are you do you have live shows like this weekend or.

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Speaker 2: No, not this weekend. So we're not doing any live

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shows now until next year. Okay, So I think our

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first show is April. I think the main focus is

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get in the studio, get these tracks finished, and then

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figure out a release schedule for them, you know, understanding

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what we want to do for social media promotions and

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vinyl pressing and that kind of stuff. So I think

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that'll be our main focus for the next few months.

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Speaker 1: Yeah, that makes a lot of sense. Absolutely, absolutely, Well Jordan,

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you know, we appreciate you joining us, love the new track,

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not giving up and in a moment, well, like I said,

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we'll end the conversation with Maxine another great song. Where's

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the best place for people to go online to keep

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00:16:05,320 --> 00:16:07,159
up with everything that the Forensics is doing.

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Speaker 2: So the best place to find us for understanding a

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00:16:11,559 --> 00:16:14,759
bit more a battles on a personal level is definitely TikTok.

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00:16:14,919 --> 00:16:18,679
So that's just at Forensics Band. Find us on TikTok.

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00:16:18,960 --> 00:16:22,720
We post on their very regularly once a day probably.

326
00:16:23,000 --> 00:16:28,440
If you want more official updates, gigs, single releases, all

327
00:16:28,480 --> 00:16:31,720
that kind of good stuff, Instagram's probably the best place

328
00:16:31,759 --> 00:16:34,039
for that. That would be the same handle that would

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00:16:34,080 --> 00:16:38,759
be at Forensics Band. So either of them Facebook not Facebook.

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00:16:38,799 --> 00:16:41,320
So I didn't mention that Instagram or TikTok would be

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00:16:41,360 --> 00:16:42,360
the best places to go.

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Speaker 1: Okay, wonderful, wonderful. Well, Jordan, thank you again so much.

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00:16:45,840 --> 00:16:48,720
We'll let you go and we're gonna hit this track Maxine.

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00:16:48,799 --> 00:16:51,960
But we appreciate you talking with us today and we'll

335
00:16:52,000 --> 00:16:53,480
definitely do it again in the future. And you know,

336
00:16:53,759 --> 00:16:56,080
like I said, whenever the next single's ready, we'll we'll

337
00:16:56,080 --> 00:16:58,080
have you back on and we'd love to do the

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00:16:58,120 --> 00:17:00,720
American radio premiere here and keep up the great work.

339
00:17:00,759 --> 00:17:02,039
We we're big fans here.

340
00:17:02,759 --> 00:17:04,680
Speaker 2: Yeah, for sure, No, I appreciate it. Thank you very

341
00:17:04,759 --> 00:17:06,720
much for having me. It's great to chat.

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00:17:06,720 --> 00:17:09,359
Speaker 1: All right, Jordan, thank you, take care, Thanks you too,

343
00:17:09,400 --> 00:17:12,400
Bye bye bye bye. All right. That is Jordan from

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00:17:12,440 --> 00:17:16,000
the band The Forensics, and we're gonna play now the

345
00:17:16,160 --> 00:17:19,200
first single that we played from the band here on

346
00:17:19,240 --> 00:17:21,119
the show again. This is a personal favorite of mine.

347
00:17:21,119 --> 00:17:23,240
I know Jenny really loves this one too. This is

348
00:17:23,240 --> 00:17:26,240
called Maxine and the band is The Forensics.

349
00:17:28,759 --> 00:17:35,279
Speaker 5: Just can't forget all the places where we've been and

350
00:17:35,480 --> 00:17:38,519
I just kind of raise all the things out we

351
00:17:38,599 --> 00:17:45,279
have seen. Now are you away us to seeing you?

352
00:17:45,480 --> 00:17:50,079
I magine, Oh please, man.

353
00:17:50,160 --> 00:18:28,759
Speaker 3: I've seen send me God a fish swimming against the side.

354
00:18:30,039 --> 00:18:31,759
Speaker 6: The morning brings.

355
00:18:31,440 --> 00:18:35,759
Speaker 7: Me green soon needs us wondering.

356
00:18:35,480 --> 00:18:43,119
Speaker 8: Why that's my decrease, and we stayed everything.

357
00:18:42,240 --> 00:18:49,279
Speaker 7: And something it's don't even don't we ask al sobbeen

358
00:18:49,440 --> 00:18:50,559
text lines that.

359
00:18:50,720 --> 00:18:55,039
Speaker 8: I tells cap a god on the bay says sing things.

360
00:18:57,599 --> 00:19:11,240
Speaker 4: Then I try to get a raison le stems.

361
00:19:11,039 --> 00:19:17,920
Speaker 8: Go please as seven.

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00:19:19,319 --> 00:19:27,200
Speaker 2: Scene see.

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00:19:34,519 --> 00:19:36,279
Speaker 7: You stand around the scene.

364
00:19:38,079 --> 00:19:44,200
Speaker 6: You feel like a doll bom three five thos acevening.

365
00:19:45,279 --> 00:19:47,640
Speaker 3: There still the they a sun.

366
00:19:48,880 --> 00:19:53,880
Speaker 4: You wins OBUs since the house says they.

367
00:19:53,880 --> 00:20:01,480
Speaker 9: Bus su same the leading got the way a man's.

368
00:20:01,440 --> 00:20:24,920
Speaker 4: No say please say.

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Speaker 7: Se se.

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00:21:28,279 --> 00:21:28,599
Speaker 4: Scene.

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00:21:32,799 --> 00:21:34,960
Speaker 1: I love that track so much. That is Maxine. The

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00:21:35,079 --> 00:21:38,400
band is the Forensics. I love that band so much too,

373
00:21:38,480 --> 00:21:41,200
so I'm gonna play one more from them. This track

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is called LSF and this is the Forensic and Forensics sorry,

375
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and then after that we're gonna come back in a

376
00:21:48,880 --> 00:21:54,039
little bit of interesting music news actually music. Well you'll

377
00:21:55,160 --> 00:21:57,319
it's interesting. I'll just leave it at that. That's my

378
00:21:57,400 --> 00:22:01,799
teaser that we will come back and tackle just briefly

379
00:22:02,000 --> 00:22:04,759
after this track. But here it is. This is the Forensics.

380
00:22:04,799 --> 00:22:06,799
One more for you. This is called l s F.

381
00:22:06,920 --> 00:22:07,759
This is a great song.

382
00:22:21,599 --> 00:22:23,359
Speaker 6: How got it?

383
00:22:23,839 --> 00:22:25,279
Speaker 2: Lesser fire?

384
00:22:25,480 --> 00:22:27,920
Speaker 6: You know what needs much fuss?

385
00:22:28,319 --> 00:22:35,559
Speaker 8: I'm pretty interesting, little must electronic Goods, Certifia, the Steeper,

386
00:22:36,000 --> 00:22:37,079
a Sleeper.

387
00:22:37,119 --> 00:22:38,599
Speaker 4: I'm waiting thought.

388
00:22:48,359 --> 00:22:52,279
Speaker 6: Gone get it. I'm coving through a lot of.

389
00:22:52,440 --> 00:23:00,359
Speaker 8: Baba Ni pushes these foks a just gone electronics boy

390
00:23:00,440 --> 00:23:05,480
cross shoot the Moses, a Fire, the Messiah body at

391
00:23:19,880 --> 00:23:45,279
we come start skilled fish of ser fire.

392
00:23:45,519 --> 00:23:46,680
Speaker 6: You know what I needed?

393
00:23:47,160 --> 00:23:52,440
Speaker 8: Mist Closers not playing, just sting almost about it, Lexonics

394
00:23:52,759 --> 00:23:53,799
list Server.

395
00:23:53,799 --> 00:25:14,160
Speaker 3: Fire, miss Steeper, the sleepert mesides your body and DA S.

396
00:25:41,279 --> 00:25:52,160
Speaker 4: S S S.

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Speaker 1: You are listening to Mattconnorton Unleash on wmn H ninety

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00:26:51,759 --> 00:27:02,160
five point three. Hey everybody, you are listening to Matt

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00:27:02,240 --> 00:27:05,640
Connorton Unleashed and we are live from the studios of

400
00:27:05,880 --> 00:27:09,720
wm NH ninety five point three FM and Glorious Manchester,

401
00:27:09,880 --> 00:27:12,079
New Hampshire. Of course, you can stream the show from anywhere.

402
00:27:12,319 --> 00:27:15,240
Go to Matt connorton dot com slash live for all

403
00:27:15,279 --> 00:27:20,000
your live streaming options, social media links, contact infos, show archives, etc. Etc.

404
00:27:20,480 --> 00:27:22,160
I do want to thank everyone who has joined us

405
00:27:22,200 --> 00:27:23,880
on the show today. For those of you listening live

406
00:27:23,960 --> 00:27:26,240
on Saturday. Of course, in the first hour we had

407
00:27:26,359 --> 00:27:29,440
Rob Critch Lee from the band The Fods, and we're

408
00:27:29,480 --> 00:27:31,039
actually going to close out the show in just a

409
00:27:31,079 --> 00:27:34,200
few minutes with another track from the Fods. In the

410
00:27:34,279 --> 00:27:36,599
second hour, let's see. In the second hour, of course,

411
00:27:36,599 --> 00:27:38,960
we had the guys from Baron Kismo love their new

412
00:27:39,079 --> 00:27:41,960
single Easy that just came out pretty recently. We did

413
00:27:42,000 --> 00:27:44,279
the American radio premiere for that on the show, I

414
00:27:44,319 --> 00:27:45,920
think a week or two ago. It becomes a bit

415
00:27:45,960 --> 00:27:48,640
of a blur, but love talking to those guys. And

416
00:27:48,720 --> 00:27:51,000
then of course we talked with Jordan from the band

417
00:27:51,119 --> 00:27:54,319
The Forensics. We just heard two songs from The Forensics

418
00:27:54,400 --> 00:27:58,079
to close out that conversation, Max Scene their first single

419
00:27:58,200 --> 00:28:01,960
and LSF And then we we had a great conversation

420
00:28:02,079 --> 00:28:07,079
with Jordan. So love that band. Right now, though, since

421
00:28:07,119 --> 00:28:10,200
we have time, a little bit of music news, but

422
00:28:10,440 --> 00:28:16,839
this particular item, this news item actually combines well, we

423
00:28:16,920 --> 00:28:21,319
could do this on two different shows. This is appropriate

424
00:28:21,400 --> 00:28:24,920
for Matt connorton Unleashed because we do talk about things

425
00:28:25,000 --> 00:28:28,200
going on in the music industry on this show. I also,

426
00:28:28,359 --> 00:28:31,960
of course host along with our friend Eric Pilcher, the

427
00:28:32,359 --> 00:28:35,960
podcast called Tough Bumps, which is about wrestling, and we

428
00:28:36,079 --> 00:28:37,839
do that on the weekend. We'll probably do one this

429
00:28:37,960 --> 00:28:43,000
weekend sometime on Sunday that is completely separate from WMNH.

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00:28:43,079 --> 00:28:45,400
Of course, that is strictly a podcast. You can find

431
00:28:45,440 --> 00:28:47,519
it on the IPM nation YouTube channel. We share it

432
00:28:47,599 --> 00:28:50,279
out on Facebook and everywhere else, so and you can

433
00:28:50,359 --> 00:28:53,920
subscribe to it on your podcast platform of choice. Please

434
00:28:54,599 --> 00:28:57,319
subscribe to the Tough Bumps podcast. We would love your support.

435
00:28:57,720 --> 00:29:01,960
So we do that every weekend and this particular news item,

436
00:29:02,160 --> 00:29:04,039
So we're gonna talk about this now, but we might

437
00:29:04,079 --> 00:29:06,839
also talk about it on Tough Pumps with Eric. This

438
00:29:07,039 --> 00:29:11,680
is from Billboard. John Cena hit with lawsuit over famed

439
00:29:11,839 --> 00:29:16,400
horns sample in theme song The Time Is Now. The

440
00:29:16,599 --> 00:29:21,440
WWE wrestler turned movie star is facing legal claims that

441
00:29:21,599 --> 00:29:23,960
the intro to his theme song is based on a

442
00:29:24,039 --> 00:29:28,319
sample of a nineteen seventy four recording that was never

443
00:29:28,480 --> 00:29:31,880
properly cleared. Now you hear about this, well, you don't

444
00:29:31,920 --> 00:29:34,440
hear about it nearly as much anymore because everyone's gotten

445
00:29:34,440 --> 00:29:36,880
a lot smarter about it legally. But you know, I

446
00:29:37,000 --> 00:29:41,000
remember growing up there were always stories about in hip hop.

447
00:29:41,359 --> 00:29:44,559
A hip hop artist releases a song, there's a sample

448
00:29:44,759 --> 00:29:47,960
in the song, very often from an early R and

449
00:29:48,079 --> 00:29:50,440
B song, or you know, it could be from anything.

450
00:29:50,519 --> 00:29:55,359
But so these artists would release this music, these hip

451
00:29:55,400 --> 00:29:58,720
hop songs with samples in them that were not cleared

452
00:29:59,119 --> 00:30:02,079
with the right whole of whoever owns that audio, whether

453
00:30:02,079 --> 00:30:04,839
it be the original artist who did that song that

454
00:30:05,079 --> 00:30:09,200
the sample is taken from, or a record label or whomever. Right,

455
00:30:09,920 --> 00:30:15,200
So uncleared samples became a problem. And then you know,

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00:30:15,240 --> 00:30:17,279
obviously there's been a lot of litigation about that over

457
00:30:17,319 --> 00:30:20,200
the years, and I think you don't really hear about

458
00:30:20,240 --> 00:30:23,400
that much today. That is a story that you heard

459
00:30:23,440 --> 00:30:25,960
a lot in the eighties and the nineties and even

460
00:30:26,000 --> 00:30:28,200
in the two thousands, But today you don't really hear

461
00:30:28,279 --> 00:30:31,319
a lot of stories about while this artist is getting

462
00:30:31,400 --> 00:30:35,839
sued because they have an uncleared sample on their song

463
00:30:35,960 --> 00:30:40,799
or on their album. But here now John Cena, of course,

464
00:30:41,480 --> 00:30:43,960
John Cena has become a mainstream celebrity. He is one

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00:30:44,000 --> 00:30:47,039
of the celebrities. He's one of the wrestlers who professional

466
00:30:47,079 --> 00:30:50,960
wrestlers who's has transcended wrestling and gone on to be

467
00:30:51,039 --> 00:30:54,000
a mainstream celebrity. Obviously, the biggest example of that being

468
00:30:54,079 --> 00:30:56,559
The Rock. The Rock one of the highest, if not

469
00:30:56,720 --> 00:31:01,359
the highest paid movie star in Hollywood who who initially

470
00:31:01,400 --> 00:31:03,680
became famous because of wrestling. That's why we call him

471
00:31:03,720 --> 00:31:05,640
the Rock, even though his real name is Dwayne Johnson,

472
00:31:06,480 --> 00:31:10,599
Dwayne the Rock Johnson. But you know, he's the greatest

473
00:31:10,640 --> 00:31:13,119
example of that. And then of course there's other people

474
00:31:13,200 --> 00:31:16,559
who you know, Hull Cogan, who passed away not too

475
00:31:16,640 --> 00:31:20,319
long ago, uh, hul Cogan, who did not find mainstream

476
00:31:20,440 --> 00:31:24,440
success in cinema. His movies were largely panned because of

477
00:31:24,559 --> 00:31:26,960
the films that he started in. Not you know, I'm

478
00:31:27,000 --> 00:31:28,720
not talking about Rocky, I'm talking about the films where

479
00:31:28,799 --> 00:31:32,039
Hogan was actually the star are generally pretty awful. So

480
00:31:32,359 --> 00:31:36,440
but that doesn't change the fact that hul Cogan, despite

481
00:31:36,640 --> 00:31:41,279
not really finding success outside of professional wrestling, absolutely one

482
00:31:41,319 --> 00:31:44,559
of the most famous people on the planet. So, but

483
00:31:44,839 --> 00:31:47,799
John Cena has also Now John Cena is not he

484
00:31:47,880 --> 00:31:50,559
has not hit the stratosphere that The Rock has hit,

485
00:31:51,039 --> 00:31:54,119
of course, but John Cena very successful in Hollywood and

486
00:31:54,319 --> 00:32:00,680
has transcended professional wrestling. He also had and this was

487
00:32:01,000 --> 00:32:04,680
really sort of a part of his professional wrestling career.

488
00:32:05,319 --> 00:32:08,319
He did release an album He has one hip hop

489
00:32:08,440 --> 00:32:12,279
album that he released on WWE's label at the time,

490
00:32:12,960 --> 00:32:15,279
and one of the tracks from that album is called

491
00:32:15,559 --> 00:32:20,279
The Time Is Now, and the Time Is Now is

492
00:32:20,440 --> 00:32:23,200
the song that John Cena comes out to now. John

493
00:32:23,240 --> 00:32:25,559
Cena has also been in the news. When I say

494
00:32:25,640 --> 00:32:27,079
comes out to I mean when he comes out of

495
00:32:27,160 --> 00:32:29,680
the entrance and goes to the ring. For people who

496
00:32:29,759 --> 00:32:31,920
are like, what if you're not a wrestling fan, you

497
00:32:31,960 --> 00:32:34,240
don't know that, So that's what I mean by come

498
00:32:34,279 --> 00:32:39,759
out to now. John Cena also has been relevant within

499
00:32:39,839 --> 00:32:43,640
wrestling recently because he's on his retirement tour. He's about

500
00:32:43,720 --> 00:32:48,319
to have his final wrestling match ever in the WWE,

501
00:32:48,759 --> 00:32:51,400
and you know, he's forty eight years old and this

502
00:32:51,599 --> 00:32:53,960
is it. He's going to commit to Hollywood full time,

503
00:32:54,480 --> 00:32:59,000
which makes sense. And of course, there was the John

504
00:32:59,079 --> 00:33:02,720
Cena heel turn that happened a while back, which actually

505
00:33:02,799 --> 00:33:06,039
got a lot of mainstream media attention, even though it

506
00:33:06,119 --> 00:33:09,920
was part of a professional wrestling storyline, but it was

507
00:33:09,960 --> 00:33:12,319
such a big deal that the mainstream media paid attention

508
00:33:12,400 --> 00:33:14,440
to it. So a lot of interesting things and a

509
00:33:14,480 --> 00:33:16,799
He'll turn again for people who don't know that's when

510
00:33:16,839 --> 00:33:19,160
a good guy becomes a bad guy. So John Cena,

511
00:33:19,920 --> 00:33:23,599
during his final year in WWE became for a short time,

512
00:33:23,720 --> 00:33:26,559
he became a bad guy. He became a villain, which

513
00:33:26,640 --> 00:33:28,839
I thought was very entertaining, but not everyone liked it.

514
00:33:28,960 --> 00:33:32,640
But anyway, so John Cena is pretty relevant these days

515
00:33:32,720 --> 00:33:36,279
on multiple levels. He apparently he just was on the

516
00:33:36,359 --> 00:33:40,799
Joe Rogan podcast Joe Rogan. I mean, I know his

517
00:33:40,920 --> 00:33:43,680
stock has fallen a little bit, but he's still one

518
00:33:43,759 --> 00:33:45,759
of the if not the biggest podcasts in the world.

519
00:33:45,799 --> 00:33:48,680
And Johnsena was just on there. So John Cen is

520
00:33:48,720 --> 00:33:51,920
very relevant right now. But this theme song that he's

521
00:33:52,000 --> 00:33:56,079
been using for twenty years, apparently there is a problem

522
00:33:56,599 --> 00:33:59,720
with the sample the horn section. Now I should what

523
00:33:59,799 --> 00:34:03,720
I'll do is I should have had this ready, but

524
00:34:03,960 --> 00:34:06,960
let me grab his theme song, The Time is Now.

525
00:34:08,280 --> 00:34:10,320
I think he says in the song you can't see

526
00:34:10,400 --> 00:34:12,639
me the Time is Now, because that's you know, his

527
00:34:12,840 --> 00:34:16,320
thing too, you can't see me? Okay. I thought it

528
00:34:16,440 --> 00:34:18,480
was called My Time is Now, but apparently it's actually

529
00:34:18,519 --> 00:34:21,400
called The Time is Now. So there's there's horns in it,

530
00:34:21,480 --> 00:34:24,559
even though it's a hip hop song. Let's see here

531
00:34:24,599 --> 00:34:26,440
it is The Time is now I'll just play a

532
00:34:26,480 --> 00:34:28,320
little bit of it for you. Why does this have

533
00:34:28,400 --> 00:34:31,159
a parental advisory on it? There's no? Uh, all right, well,

534
00:34:31,159 --> 00:34:32,760
here's definitely a clean version. I was gonna say, I

535
00:34:32,760 --> 00:34:34,880
don't think there's any swears in it. Here's a clean this.

536
00:34:35,039 --> 00:34:38,360
This one's definitely clean though, except there might be a

537
00:34:38,400 --> 00:34:41,039
commercial to sit through before I play this. But just

538
00:34:41,119 --> 00:34:43,079
so if you're not familiar with the song, so you

539
00:34:43,159 --> 00:34:49,440
can hear the horns, I don't hear anything. Oh, here

540
00:34:49,480 --> 00:34:57,519
we go, hang on, all right, here it comes. You

541
00:34:57,519 --> 00:34:58,599
can hear the horns right.

542
00:35:08,400 --> 00:35:08,599
Speaker 5: Now.

543
00:35:11,360 --> 00:35:13,440
Speaker 1: Okay, so he actually does say my Time is Now,

544
00:35:13,519 --> 00:35:16,119
but the song is called the Time is Now. All right,

545
00:35:16,400 --> 00:35:22,199
let's pause that. Uh so there's an uncleared sample on

546
00:35:22,280 --> 00:35:26,960
that apparently. So here's the here's the article again. This

547
00:35:27,079 --> 00:35:30,360
is from Billboard. WWE superstar and actor John Cena is

548
00:35:30,480 --> 00:35:34,400
facing a lawsuit over the iconic horn riff from his

549
00:35:34,639 --> 00:35:38,239
entrance theme, The Time is Now. A questionable legal case,

550
00:35:38,320 --> 00:35:41,320
but one that shines a light on a tortured history

551
00:35:41,360 --> 00:35:46,000
of samples and credits behind the famed song. That's interesting.

552
00:35:46,079 --> 00:35:48,159
So apparently there have been other legal issues with the

553
00:35:48,199 --> 00:35:50,559
song that I was not aware of it, says the

554
00:35:50,639 --> 00:35:53,960
lawsuit was filed by the daughter of Pete Schofield, who's

555
00:35:54,039 --> 00:35:57,400
nineteen seventy four recording of The Night the Lights Went

556
00:35:57,440 --> 00:35:59,920
Out in Georgia. Everybody knows that song, right, that's an

557
00:36:00,280 --> 00:36:03,880
that the Lights Went Out in Georgia is the undisputed

558
00:36:04,039 --> 00:36:08,159
source of the blaring horn blasts at the start of

559
00:36:08,320 --> 00:36:11,679
Sina's two thousand and five track. In it, she claims

560
00:36:11,760 --> 00:36:16,760
that Sina and the WWE failed to properly clear the

561
00:36:16,880 --> 00:36:21,559
sample and breached an earlier fifty thousand dollars settlement over

562
00:36:21,679 --> 00:36:25,559
the dispute. Now, I did not know. This is news

563
00:36:25,639 --> 00:36:27,599
to me. I did not know that that had ever happened.

564
00:36:27,599 --> 00:36:29,800
I think they kept it very quiet. I did not

565
00:36:30,039 --> 00:36:35,119
know that there was ever a problem established previously over

566
00:36:35,239 --> 00:36:38,159
that horn section. I do want to and I didn't

567
00:36:38,199 --> 00:36:40,519
know that there was a settlement. Now you might be thinking,

568
00:36:40,599 --> 00:36:43,199
though I do know this, You might be thinking, why

569
00:36:43,480 --> 00:36:45,960
if this was already settled, why is this coming up again.

570
00:36:46,159 --> 00:36:48,840
There's a very good reason. There's a very good reason.

571
00:36:48,920 --> 00:36:51,000
But we'll come back to that because I want to

572
00:36:51,039 --> 00:36:56,159
pull this up. Now. I know the song the Nights,

573
00:36:56,599 --> 00:36:59,000
the Night the Lights Went Out in Georgia. I do

574
00:36:59,159 --> 00:37:04,079
not know. I can't remember, though, Like I haven't heard

575
00:37:04,119 --> 00:37:07,320
it in a long time. Is that like if I

576
00:37:07,440 --> 00:37:09,599
pull that song up, which I'm going to do now

577
00:37:10,039 --> 00:37:12,159
and we listen to that, are we going to hear

578
00:37:13,480 --> 00:37:15,719
that exact? I just want to hear it for myself.

579
00:37:16,000 --> 00:37:19,599
Is it really sampled from that? Because I haven't heard

580
00:37:19,639 --> 00:37:22,000
that song in forever, But I don't remember hearing in

581
00:37:22,119 --> 00:37:26,880
that song, you know the horns. So let's let's find

582
00:37:26,920 --> 00:37:33,039
out pets Goofield and the Canadians The Night the Lights

583
00:37:33,039 --> 00:37:37,880
Went Out in Georgia. Let's see. I don't know where

584
00:37:37,920 --> 00:37:40,480
in the song the horns appear, but let's, uh, let's

585
00:37:40,519 --> 00:38:20,239
find out. So this is obviously not the version of

586
00:38:20,400 --> 00:38:22,599
the song that we're used to hearing. I can't remember

587
00:38:22,719 --> 00:38:24,440
because the version we're used to hearing, the big hit

588
00:38:24,559 --> 00:38:27,519
song The Night the Lights Went Out in Georgia has vocals.

589
00:38:27,760 --> 00:38:30,679
I can't remember who does it, But this is Pete Schofield,

590
00:38:30,719 --> 00:38:32,840
you know, jazz musician doing his version of it, which

591
00:38:32,880 --> 00:38:35,400
is an instrumental. I'm hearing a lot of horns, and

592
00:38:35,480 --> 00:38:39,960
the horns sound similar in tone and timbore to the

593
00:38:40,159 --> 00:38:44,239
horns in John Cena's theme. But I don't hear so far.

594
00:38:44,719 --> 00:38:46,280
I don't hear that actual.

595
00:38:48,320 --> 00:38:48,519
Speaker 2: Do you.

596
00:38:48,880 --> 00:38:51,159
Speaker 1: I don't hear the actual riff. But let's listen to

597
00:38:51,199 --> 00:39:31,880
a little bit more of this not hearing it? Where

598
00:39:32,039 --> 00:39:34,719
is it? Is it right at the beginning? Because I

599
00:39:35,079 --> 00:39:37,199
failed to unmute this right at the beginning. Let's go

600
00:39:37,239 --> 00:39:38,960
back to the very beginning. We're not going to listen

601
00:39:38,960 --> 00:39:41,119
to a whole thing, I promise, because just kill me.

602
00:39:41,159 --> 00:39:45,079
I don't like this kind of stuff. But here, oh,

603
00:39:45,159 --> 00:39:58,719
there it is. It's in the beginning. Okay, here, all right, okay, guilty. Yeah,

604
00:39:59,320 --> 00:40:02,559
they definitely took from that. All right, no getting around it.

605
00:40:04,400 --> 00:40:07,480
I'm glad I went back to the beginning. Let's see,

606
00:40:08,119 --> 00:40:10,880
let's go back to this article. Okay, so they settled.

607
00:40:11,280 --> 00:40:15,840
They settled that for fifty grand. Now there was more

608
00:40:15,880 --> 00:40:23,519
to this article. Let's back up a little bit actually, Okay.

609
00:40:23,639 --> 00:40:27,679
So the lawsuit was filed by the daughter of Pete Scofield,

610
00:40:27,679 --> 00:40:30,880
who's nineteen seventy four recording is the undisputed source of

611
00:40:30,920 --> 00:40:34,239
the Blaring Horns horn blasts at the start of Sina's

612
00:40:34,320 --> 00:40:36,599
two thousand and five track. In it, she claims that

613
00:40:36,719 --> 00:40:39,480
Sena and the WWE failed to properly clear the sample

614
00:40:39,679 --> 00:40:43,719
and reached an earlier fifty thousand dollars settlement over the dispute. Okay,

615
00:40:44,440 --> 00:40:51,519
so Kim Schofield writes. This is from her December second

616
00:40:51,639 --> 00:40:56,440
lawsuit obtained by Billboard, which names both John Cena and

617
00:40:56,679 --> 00:41:01,199
WWE as defendants. Quote. Every effort added informed resolution has

618
00:41:01,280 --> 00:41:06,280
been met with threats, misrepresentations, and intimidation tactics, leaving plaintiff

619
00:41:06,320 --> 00:41:12,599
with no recourse but to seek relief from this court. Unquote. Now, again,

620
00:41:12,679 --> 00:41:15,360
this was previously settled, So why is this coming up again?

621
00:41:16,880 --> 00:41:18,880
Says here The time is now, in which SNA wraps

622
00:41:18,920 --> 00:41:22,320
over a beat created by producer Jake One was released

623
00:41:22,360 --> 00:41:24,559
in two thousand and five by Columbia House Records and

624
00:41:24,760 --> 00:41:27,960
WWE Music Group. The track served as a theme song

625
00:41:28,079 --> 00:41:31,760
during Sena's rise to superstardom and later became a popular

626
00:41:31,840 --> 00:41:34,639
track in social media memes. The track will likely play

627
00:41:34,679 --> 00:41:37,559
at some point during his final WWE appearance next week

628
00:41:37,599 --> 00:41:40,639
before he retires from wrestling. The song is something of

629
00:41:40,800 --> 00:41:45,199
a crediting nightmare. The famed horns are pulled from Schofield's

630
00:41:45,239 --> 00:41:48,559
recording of the night went out in Georgia. I'm Sorry

631
00:41:48,639 --> 00:41:51,320
the Night the Lights Went Out in Georgia, which is

632
00:41:51,400 --> 00:41:54,840
a cover of a composition by songwriter Bobby Russell that's

633
00:41:54,840 --> 00:41:58,400
also been released by multiple other artists, including Vicky Lawrence, Oh,

634
00:41:58,519 --> 00:42:00,280
Vicky Lawrence, She's the one who had the be hit

635
00:42:00,400 --> 00:42:04,400
with it, Vicky Lawrence and Reba McIntyre. Sina song also

636
00:42:04,519 --> 00:42:07,960
samples heavily the mop's two thousand hip hop classic Anti Up,

637
00:42:08,599 --> 00:42:11,719
which itself drew on samples from Sam and Dave's soul

638
00:42:11,840 --> 00:42:18,280
sister Brown Sugar. Yeah, that's a lot of sampling. The

639
00:42:18,400 --> 00:42:21,599
complex audio lineage has already led to previous legal battles.

640
00:42:21,679 --> 00:42:24,840
Back in two thousand and eight, MOP sued WWE over

641
00:42:24,960 --> 00:42:28,760
Sena's use of the Anti Up sample, claiming that they

642
00:42:28,840 --> 00:42:32,400
had expressly refused to approve the use of their track

643
00:42:32,679 --> 00:42:35,840
and that WWE had cleared it by getting a signature

644
00:42:35,920 --> 00:42:40,320
from a receptionist at an unaffiliated company. I didn't know

645
00:42:40,360 --> 00:42:43,079
about any of this. This is fascinating, but that case

646
00:42:43,199 --> 00:42:47,480
was quickly dropped a few months later on undisclosed terms.

647
00:42:49,000 --> 00:42:53,039
In Schofield's lawsuit, filed with the help of lawyers Kim,

648
00:42:53,119 --> 00:42:57,239
Schofield paints a complicated picture of her allegations. She says

649
00:42:57,400 --> 00:43:00,280
she finally didn't know about see as us use of

650
00:43:00,360 --> 00:43:04,079
the song until twenty fifteen, and that they had signed

651
00:43:04,079 --> 00:43:08,320
a settlement deal in twenty seventeen. This is important with

652
00:43:08,679 --> 00:43:12,679
WWE for fifty thousand dollars covering the sample of the

653
00:43:12,800 --> 00:43:17,760
sound recording, but at some point later, she claims, they

654
00:43:17,920 --> 00:43:24,079
realized they also owned publishing rights two aspects of Schofield

655
00:43:24,880 --> 00:43:29,360
Scofield's nineteen seventy four song that were distinct from Russell's

656
00:43:29,360 --> 00:43:34,159
original composition. This get's very complicated. Such allegations could face

657
00:43:34,199 --> 00:43:37,679
an uphill climb in court. Decade old claims of copyright

658
00:43:37,760 --> 00:43:40,960
infringement could very likely be barred in the statute of

659
00:43:41,000 --> 00:43:45,920
Limitations or by earlier settlement. Yeah, I mean copyright law,

660
00:43:46,280 --> 00:43:49,440
trademark law, intellectual property law. All of it gets very,

661
00:43:49,519 --> 00:43:52,679
very complicated. I find it fascinating. I hope some of

662
00:43:52,760 --> 00:43:56,920
you do. It's also not legally clear that Scofield can

663
00:43:56,960 --> 00:43:59,440
claim the rights she says she owns, nor that she

664
00:43:59,519 --> 00:44:02,480
can blame WWE for the fact that she was unaware

665
00:44:02,519 --> 00:44:08,079
of them when she signed the earlier deal. Reps for

666
00:44:08,239 --> 00:44:11,559
Sena and the WWE did not immediately return her request

667
00:44:11,639 --> 00:44:15,320
for a comment on Friday. In her lawsuit, Schofield says

668
00:44:15,440 --> 00:44:19,920
lawyers for WWE told her that the twenty seventeen settlement

669
00:44:20,119 --> 00:44:25,079
was final and binding on any claims related to the

670
00:44:25,199 --> 00:44:28,119
time is now, and that she could not later reopen

671
00:44:28,159 --> 00:44:32,960
negotiations merely because she had seller's remorse. They also allegedly

672
00:44:33,079 --> 00:44:36,079
told her that they had fully cleared the sample by

673
00:44:36,239 --> 00:44:40,159
inking a license with the heirs of Bobby Russell, the

674
00:44:40,320 --> 00:44:45,440
songwriter who wrote the song that Schofield recorded. The lawsuit

675
00:44:45,559 --> 00:44:49,639
also names Russell's airs as defendants. The younger Schofield claims

676
00:44:50,079 --> 00:44:52,920
they have improperly been receiving the royalties for Sena's use

677
00:44:53,000 --> 00:44:55,360
of the sample, and that they have recently threatened to

678
00:44:55,400 --> 00:44:58,000
sue her if she does not stop claiming her own

679
00:44:58,119 --> 00:45:01,920
rights to the song. The Russell aires could not immediately

680
00:45:02,000 --> 00:45:05,559
be located for comment. While cover artists can get sound

681
00:45:05,639 --> 00:45:09,800
recording copyrights to their specific performances, they cannot typically claim

682
00:45:09,880 --> 00:45:13,719
composition rights a common sense rule, since the underlying music

683
00:45:13,800 --> 00:45:17,840
and a cover was necessarily written by someone else. In fact,

684
00:45:17,960 --> 00:45:21,039
making substantial changes to the underlying song can turn a

685
00:45:21,199 --> 00:45:26,239
legal cover track into an unauthorized derivative. Now, there's something

686
00:45:26,360 --> 00:45:29,239
else to this that this article leaves out that I

687
00:45:29,519 --> 00:45:35,039
was reading last night, and that is and I'm surprised

688
00:45:35,039 --> 00:45:38,039
it's not included in this article. Part of what Kim

689
00:45:38,119 --> 00:45:43,880
Schofield is mad about is that she claims that when

690
00:45:44,000 --> 00:45:47,519
that fifty thousand dollars settlement was reached, because that seems

691
00:45:47,559 --> 00:45:49,639
like a low number to me for this kind of case,

692
00:45:50,320 --> 00:45:54,039
when she agreed and her lawyers agreed to that fifty

693
00:45:54,119 --> 00:45:59,760
thousand dollars settlement, they were unaware, and she has claimed

694
00:45:59,840 --> 00:46:04,559
that WWE and their attorneys intentionally tried to hide this

695
00:46:04,760 --> 00:46:09,679
from her. She was unaware that that song was about

696
00:46:09,760 --> 00:46:15,320
to be used in a national advertising campaign for I

697
00:46:15,400 --> 00:46:20,880
Think It's Toyota, that I Think there were Toyota ads

698
00:46:20,920 --> 00:46:24,599
with John Cena's voice in the ad is the voiceover,

699
00:46:24,760 --> 00:46:27,800
and that that song is playing in the ad, specifically

700
00:46:27,880 --> 00:46:34,039
with that horn riff that's in the ad, and she

701
00:46:34,199 --> 00:46:39,000
agreed to that fifty thousand dollars figure, not knowing that

702
00:46:39,719 --> 00:46:46,320
two days later, two days after she agreed to that settlement,

703
00:46:47,039 --> 00:46:50,800
that ad campaign rolls out and on televisions throughout the

704
00:46:50,920 --> 00:46:54,880
United States. People are seeing this ad with that song

705
00:46:55,079 --> 00:47:01,239
and that Horns sample in the ad for Toyota and

706
00:47:02,400 --> 00:47:04,960
and she claims that they intentionally tried to hide that

707
00:47:05,079 --> 00:47:07,880
from her. They concealed that from her because they knew

708
00:47:08,679 --> 00:47:10,800
she would ask for a bigger number if she knew

709
00:47:11,320 --> 00:47:13,440
that that song was about to be used in a

710
00:47:13,599 --> 00:47:18,320
national advertising campaign, a high profile national advertising campaign. So

711
00:47:18,440 --> 00:47:20,480
she's mad about that. So that's also part of her

712
00:47:20,559 --> 00:47:28,199
claim here. But so there you go. That is again

713
00:47:28,280 --> 00:47:31,880
that is from Billboard dot com. So there's a lot there.

714
00:47:31,920 --> 00:47:34,159
All right, we are going to begin to wrap up.

715
00:47:34,880 --> 00:47:38,239
I want to fit in one more track from the Fods,

716
00:47:38,679 --> 00:47:41,119
great song called Shopping. This was the first single that

717
00:47:41,199 --> 00:47:42,800
we ever played for them on the show. But again

718
00:47:42,840 --> 00:47:44,599
I do want to thank everybody who joined us today.

719
00:47:45,119 --> 00:47:48,639
Rob Critchley from the Fods of course in the first hour,

720
00:47:48,719 --> 00:47:50,760
and then we had Jordan from the Forensics in the

721
00:47:51,199 --> 00:47:54,440
third hour, and we had the whole band of Baron

722
00:47:54,519 --> 00:47:56,480
Kismo in the second hour who joined us today. So

723
00:47:57,119 --> 00:47:59,800
fun show today. I hope everyone is well. If you

724
00:47:59,840 --> 00:48:01,840
want to know more about me and all the things

725
00:48:01,880 --> 00:48:04,519
I'm up to, Matt Coonnorton dot com is my website.

726
00:48:05,079 --> 00:48:07,000
Jenny is not here with us today, she's at home,

727
00:48:07,079 --> 00:48:10,000
but she'll be back soon. But her website is Jencoffee

728
00:48:10,039 --> 00:48:12,719
dot com. Please check up that out because she's always

729
00:48:12,760 --> 00:48:14,519
up to a lot of really good stuff, important work

730
00:48:14,920 --> 00:48:19,119
that she is doing. And oh and this weekend, I

731
00:48:19,239 --> 00:48:21,039
believe Eric Pilter and I will be doing a new

732
00:48:21,039 --> 00:48:24,320
episode of Tough Bumps, a new live stream on Sunday night,

733
00:48:24,960 --> 00:48:26,840
so be sure to tune in for that and please

734
00:48:26,880 --> 00:48:31,639
subscribe to that podcast on your podcast platform of choice.

735
00:48:32,800 --> 00:48:35,039
And Eric, of course is you know, he's still he

736
00:48:35,079 --> 00:48:37,119
hasn't been directly involved, but he's still an important part

737
00:48:37,119 --> 00:48:40,440
of Matt Connorton Unleashed as well, which is to say

738
00:48:40,519 --> 00:48:43,159
that those classic film reviews that were very popular on

739
00:48:43,239 --> 00:48:45,840
the show, those will be coming back. I believe in

740
00:48:45,920 --> 00:48:49,400
January is Eric's plan. So so Eric is still very

741
00:48:49,440 --> 00:48:52,079
much with us as well, very very much involved. Dad,

742
00:48:52,119 --> 00:48:53,960
if you're listening, I love you. I hope you're well

743
00:48:54,280 --> 00:48:56,440
or will be well. You're not well, but that's why

744
00:48:56,480 --> 00:48:59,280
you're in mass general. But but you had surgery. I

745
00:48:59,320 --> 00:49:01,960
hope you're recovery. He goes well, and uh, and there

746
00:49:02,039 --> 00:49:04,519
is a path forward for you coming out of what

747
00:49:04,599 --> 00:49:07,760
you've been going through. And thank you everyone who's been

748
00:49:07,800 --> 00:49:11,159
very supportive with that, appreciate you. And if you missed

749
00:49:11,159 --> 00:49:12,719
any part of today's show, we'll be up in just

750
00:49:12,760 --> 00:49:15,079
a little bit at wmnhradio dot org and at my

751
00:49:15,159 --> 00:49:19,119
website Matt Connorton dot com, and we will leave you

752
00:49:19,400 --> 00:49:23,000
with this track again. This is from the Fodds Uh.

753
00:49:23,199 --> 00:49:24,639
This is the first single that we played on the

754
00:49:24,679 --> 00:49:26,760
show and I love this a lot. This is called shopping.

755
00:49:27,280 --> 00:49:30,719
To close out this week's Matt Connorton Unleashed, Bye everybody.

756
00:49:35,639 --> 00:49:38,599
Speaker 6: She wears gooky.

757
00:49:39,840 --> 00:49:47,079
Speaker 7: And he's one of those victos. He burns as soon

758
00:49:47,159 --> 00:49:49,280
as by your brando.

759
00:49:51,679 --> 00:49:53,679
Speaker 3: You're just s same.

760
00:49:55,280 --> 00:49:58,559
Speaker 8: Racist to see you buy him that friend new less

761
00:49:59,519 --> 00:50:00,880
something going wrong and.

762
00:50:01,119 --> 00:50:06,119
Speaker 6: Knowledge God to take this wrong. Somebody get me out.

763
00:50:28,119 --> 00:50:28,800
Speaker 4: All right?

764
00:50:29,079 --> 00:50:29,599
Speaker 9: Bad me?

765
00:50:30,400 --> 00:50:33,440
Speaker 6: Well cray see you mustn't.

766
00:50:33,880 --> 00:50:39,599
Speaker 4: Gray, I've this army just fond of fun.

767
00:50:39,440 --> 00:50:45,559
Speaker 6: Of by too little bear Brown may I'm about says.

768
00:50:45,360 --> 00:50:46,000
Speaker 4: I got fine.

769
00:50:46,119 --> 00:50:50,280
Speaker 6: I've seen somebody special with find me.

770
00:50:52,360 --> 00:52:03,199
Speaker 7: Special with f me on sums she less lovel.

771
00:52:04,320 --> 00:52:09,239
Speaker 6: So what we do may ourselves dispasses.

772
00:52:10,159 --> 00:53:19,079
Speaker 7: Stop, Yes, sir, when we do a little lesson.

773
00:53:40,159 --> 00:53:43,440
Speaker 6: To see me now than I would make you proud.

774
00:53:43,599 --> 00:53:47,000
Speaker 7: I'm so far from mana yesterdays.

775
00:53:47,960 --> 00:53:51,320
Speaker 1: When still not clear how the hell.

776
00:53:51,280 --> 00:53:54,800
Speaker 6: Do we get here? The last years it's sad, it's suah,

777
00:54:00,320 --> 00:54:03,679
me mean know ho, there's nothing for me a so

778
00:54:04,960 --> 00:54:06,360
I don't wanna tell.

779
00:54:09,119 --> 00:54:14,000
Speaker 9: Rick got about the trainway you to the Free? Just

780
00:54:14,239 --> 00:54:18,679
got a crushing it's something.

781
00:54:20,159 --> 00:54:20,599
Speaker 4: It's not.

782
00:54:23,880 --> 00:54:27,599
Speaker 6: Always chasing something. You got to something in of you.

783
00:54:28,239 --> 00:54:33,559
And I'm going on my way, not gonna to me

784
00:54:33,719 --> 00:54:37,559
awful look that you never thought at you. I am

785
00:54:37,719 --> 00:54:40,599
lunch to you and all God gags.

786
00:54:44,760 --> 00:54:44,800
Speaker 3: Me.

787
00:54:45,559 --> 00:54:48,239
Speaker 4: I mean all there's nothing for me, sir.

788
00:54:49,400 --> 00:54:50,800
Speaker 6: I don't wanna tell.

789
00:54:53,519 --> 00:54:56,639
Speaker 9: Frick got up, got the train, get up to the

790
00:54:56,840 --> 00:55:04,960
Free just a CRUs The Stad's not

791
00:55:34,639 --> 00:55:34,679
Speaker 2: Go