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Speaker 1: W m n h rip the novels a rest racial

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project for the soul.

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Speaker 2: And my.

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Speaker 1: I'll go wherever my body takes me now and.

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Speaker 3: Yeah, I'm no are allowed this time, no plans to scale.

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Speaker 4: Keep using my mind now.

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Speaker 1: Every day.

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Speaker 2: Wept, wept.

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Speaker 4: Webb watching sell gm bat.

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Speaker 5: Again, drawing said the sad must the.

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Speaker 6: Number again.

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Speaker 5: Welcome, renumber again, welcover, recover again, Well, renumber again.

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Speaker 1: She put it one food in front of the other.

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Speaker 2: She tell her to cat.

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Speaker 1: She does so much remant and this job feels how.

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Speaker 4: Jup at it.

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Speaker 7: It's all we got it. Tuck to process, God give

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it a space. Dream watching.

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Speaker 1: Stream bouncing the play slam again, the s.

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Speaker 5: S SATs got over oas.

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Speaker 4: Well.

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Speaker 2: Another weekend, on another weekend. Welcome another begin dream watching.

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Speaker 1: And so dream bats ways, jo.

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Speaker 4: S sid down the music start.

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Speaker 1: Dream watching a t batching.

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Speaker 6: It was as.

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Speaker 1: Hover again.

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Speaker 8: Such a great track. That is the back Room by

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Ryan Redwood. And we're gonna be talking with Ryan in

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just a moment. Welcome everybody, if you are listening live.

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On Saturday, October four, twenty twenty five, we have entered

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our number three new Marrow trace of Matt Connorton Unleashed

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and we are live from the studios of wm n

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H ninety five point three FM and Glorious Manchester, New

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Hampshire and Ryan returns. We had Ryan on the show

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recently to talk about his first single Tomorrow that we

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premiered on the show, and then we played the back

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Room recently for the first time on American radio. Another

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great track, and I think Ryan is on the line

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with us to be a WhatsApp?

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Speaker 9: Hi Ryan, Hello, Matt, how you doing mate? You okay?

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Speaker 8: Yeah, yeah, welcome back to the show. Thank you for

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being patient. I know we're running a little bit behind,

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but great to talk to you again. I love that song, so.

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Speaker 9: Thank you very much, mate, and thank you again for

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having me back.

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Speaker 8: On absolutely absolutely now that song. What can you tell

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us about that song? Because I, you know, it sounds

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like it sounds like, you know, a dude watching a

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girl you know that he's interested in and so forth.

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But I feel like there's some other there's some other

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things in there that you're kind of dealing with in

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the lyrics. So what what can you tell us about

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that track? Yeah?

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Speaker 10: Man, So it basically it started off it was going

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to be like a funny tune because me and my

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producer and best mate Asa, who I do everything with,

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write and record everything in the back room. So we

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like originally were like, let's write a funny sort of

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song about how we do everything in the back room

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and we never leave it and stuff, and then we

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we sort of had the tune down, and then when

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I got to writing the lyrics, nothing funny came out.

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A lot of like things that I was probably dealing

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with internally sort of came out and just spilled onto

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the page, which I guess is what songwriting is all about.

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Speaker 8: Right, Yeah? Interesting? And what are some of those things

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that were you know, they come out in the song

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and the.

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Speaker 10: Word it's all about like my ADHD and like how

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I feel like the anxiety of that sort of watches

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me as I'm sort of trying to make it with

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like music or whatever I'm doing at the time, and

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like how I can't really run away from it.

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Speaker 9: If that makes sense?

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Speaker 8: It does it does? I think we talked about that

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the last time you were on the show with us too,

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about you know, how a lot of creative people have

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that ADHD and and and how it kind of informs

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what you do creatively. And how there are ways that

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you know, it can actually be beneficial, it can it

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can help you to create. I think we we don't

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have to rehash all that, because I think we talked

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about a lot of that last time. But it's interesting

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that that you kind of expressed that in the lyrics

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of the song, and again it's it's kind of like,

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you know, I listened to it and it's like, okay,

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you know, and I went back and listen to it

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again and I was like, there's something else going on here.

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It's interesting.

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Speaker 11: Yeah.

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Speaker 12: Yeah.

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Speaker 10: I like to sort of give them sort of like

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it's like a double meaning, I guess, because it's cool

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to have other people say, oh, this feels like this

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to me, or I think it means this sort of thing,

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and then to have that like conversation with like someone

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like yourself as well and be able to be like, well,

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I when I wrote it, I meant this, But obviously

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you can interpret however, interpret it, sorry, however you want to.

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Really like, I think that's the best bit about music

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really is that lyrics can mean anything to anyone, right.

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Speaker 8: Right, right, absolutely, Well, it's also kind of fun, right,

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It's it's a it's an adventure when you when you

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have an idea for a song and you and you

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embark on creating that and then it ends up being

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something different than what you had originally in mind. I mean,

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that's that there's something kind of satisfying about that, right

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when you because when you are able to surprise yourself

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as a songwriter and you go, oh, I didn't I

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didn't know this was going to happen, But this is cool.

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Speaker 13: I like this.

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Speaker 10: You know, well that's literally what happened, like when it happened,

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and I had all these lyrics sort of written down,

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so I sat Sometimes I start from like a line,

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or I'd write like a paragraph how I'm feeling or whatever.

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But and then I sat there and sort of reflected

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once the song was finished, and was like, what are

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these lyrics actually about?

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Speaker 3: Yeah?

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Speaker 9: And I was like, oh, it's actually about my mental health.

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Speaker 10: Actually, I didn't really know what it was about when

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we recorded it and when I wrote the lyrics as such.

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It wasn't until like a week later, when when I've

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got the master's back and I was like, oh, yeah,

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it's about that.

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Speaker 11: Well.

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Speaker 8: It's interesting that when you when you're in a situation

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where you know maybe you see someone who you find

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attractive and you're and you're contemplating. It's funny our our

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guests that we had on in the first hour of

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the show today, he had a he had a song

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that was kind of about that, and you're and you're

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you're contemplating on how you might be able to approach them.

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But at it's at that moment that so often all

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those things that go on in your head that might

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be hindering you in some way. That's that's really one

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of those moments where all that comes out right where

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you start, uh, you know, maybe doubting yourself or you know,

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should I do this, Should I approach this person or

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should I just watch them? I suppose in this context

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from the back room, right, Yeah, it's those moments where

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you you start really questioning yourself, in doubt in yourself

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and and and all those those things about yourself that

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maybe are a little different.

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Speaker 10: Well one percent, I'm quite I'm quite a confident person,

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like in general, and it isn't to like say, until

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them sort of situations arise, whether it be talking to

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someone new or like a new job or something, or

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going for like an interview or whatever, then you're sort

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of like, oh, yeah, I do have some other things

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going on.

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Speaker 9: There is there is something going on in my head

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that's not just look at me all the time, you know.

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Speaker 8: Right now, what's the situation with as far as playing

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this live? Have you been able to play this out

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or you're doing I don't I don't remember what your

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touring situation was the last time that we talked. But

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are you playing a lot of shows?

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Speaker 9: So I haven't actually played this one live yet.

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Speaker 10: I've got a run of shows coming up in November

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around the UK, so I'll be doing one in Liverpool, London,

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Knowledge and hopefully Manchester. So should have quite a busy November,

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and that'll be the first time this one's been taken

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out on the road and give a given a live spin.

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Speaker 8: Oh excellent. You must be excited about that because it's

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got a vibe, it's got an energy about it, you know.

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I imagine it'll go over really well with the live crowd.

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Speaker 9: Yeah, I hope.

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Speaker 10: So, Like it's kind of one of those when it

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gets to the chorus where it just sort of opens

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up and becomes this other beast like in the verse,

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is quite intimate and quite like personal.

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Speaker 9: I guess.

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Speaker 10: And then when that chorus hits in and then drums

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start going a bit mad and frashing on the crash symbol,

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it starts to yeah, like say, open up, and I

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hope people are getting on shoulders throwing their arms about

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all that sort of stuff.

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Speaker 8: I like how you put that too, how it opens

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up in the chorus, because so much of so much

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of writing a great song is you know, you build

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tension in the verses and then the chorus is kind

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of almost like a relief or you know, it opens up,

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and and this song that really is very much present.

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I think that concept in this song because like you

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hear the bassline in the beginning, you know, that first verse,

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and it's very you know, it kind of makes you

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a little anxious, or at least it did me the

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first time. It was like, you know, it just there's

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there's an anxiety there almost in that base. It's really

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in the baseline. I feel like that's kind of the

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secret to it, you know, and then you get to

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the chorus and it's like, okay, it's almost like a

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relief a little bit. But I like that, you know,

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you build the tension and then you get to the

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chorus and it's like, Okay, here we are.

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Speaker 10: Yeah, man, I love doing that as well. I'm so

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glad you've picked up on that. And I think most

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people who have listened to it have said the same thing.

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They're sort of like, you're getting a bit moody in

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these verses note, but then when we get to the chorus,

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it's like, oh, Rhyme's all right. I mean he's okay,

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like an uplifting sound in the tune, right. But I'm

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glad we just doill sort of try to do that

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on purpose really because I like, like you said, I

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like the tension and then the release you get when

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when the chorus kicks in for sure.

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Speaker 8: Yeah. Now are you getting the airplay with the song

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over there yet or what's that situation?

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Speaker 9: It's been going down really well, mate, good.

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Speaker 10: I think it's probably gone down the best of any

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of my tunes ever have done, which is amazing.

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Speaker 8: Yeah.

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Speaker 10: A ton of radio stations have been picking up over here,

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like you guys as well, absolutely backing it, and I

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love all that.

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Speaker 9: Yeah, it's been going down really well.

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Speaker 8: Oh that's outstanding. That's outstanding. And then now are these

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are these songs gonna be part of a full album

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or do you have a full album or what's what's

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the situation there?

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Speaker 9: So what we're doing.

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Speaker 10: The plan is, we actually came up with this on Wednesday,

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So we had a meeting on Wednesday, just me and

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as Are, the guy who produces my tunes, and I

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was like, what should we do because I'm bored of

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just doing singles, like you say, I'd like to build

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up to like an album or something like that. Yeah,

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so that the next song will be another single, and

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then after that I'm actually gonna be doing a five

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track EP. Okay, yeah, so that'd be exciting bit more

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I don't know. The next single is a little bit

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more less moody, little little bit more less moody, okay, okay,

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a little bit more uplifting. The lyrical content is still

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quite not dark, but still quite angry, a little bit

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of angst in there, okay, But the song itself is

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a little bit more happy, I guess. And then the

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EP is going to be a mixture of the two,

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hopefully gonna sort of bring some more riffy stuff in

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as well, which is going to be exciting because I've

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not done that in a long time.

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Speaker 9: But yeah, I can't wait to get going.

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Speaker 8: So does that mean, so will the EP be five

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new songs or will the EP include the songs that

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you've released already.

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Speaker 10: It'll be five completely brand new tunes next year, hopefully.

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I reckon about March time if I was to put

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a time on it. But yeah, five completely new tunes

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which I've already written. I was actually finishing off the

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lyrics to a couple before I got on and chatted

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with you. Oh yeah, it's exciting, man, it's exciting.

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Speaker 8: Excellent, excellent. So the producer that you work with has

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he worked with you on everything that you've recorded.

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Speaker 10: So he's worked with me on tomorrow and this one,

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the next one, and he will be the producer going forward.

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I used to work with another friend of mine called

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Sam Wilson on my older tracks. I'm very fortunate to

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have a lot of very very talented friends. Yeah, because

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we're all from like the same background and the same

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like music scene. So it's really cool to be able

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to pull on people like that and be like, oh,

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come on mate, let's go down the studio and sort

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of I see what we can come up with.

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Speaker 8: You know, Yeah, that's fantastic. And then so now, when

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you play live, are you playing with a full band.

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Speaker 10: So I'm hoping to be doing a full band soon,

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but at the moment I'm sort of doing them like

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acoustically on my own. I will say, if anyone's listening

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to this and you want to book me, I'm not

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on a boring acoustic artist guy who stands in the

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corner and plays his song. Yeah, I'm very I'm very

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larger than life. Come on, then let's pretend there's a

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band here and let's go for it sort of thing. Nice,

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So yeah, that will we do it a variety of

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different ways really, Sometimes like the guy who's produced my

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tune now Aaron or as he comes up on stage

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me does some tunes like in a duo setting to

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do it on my own, and then hopefully next year

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I'll be getting a proper live band, sort now I reckon.

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Speaker 8: Yeah, excellent, excellent. Yeah, it's a lot of work, tell

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me about it, mate, it's a lot of work putting

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all that together. Well, very good. So in a moment,

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I think we're going to and I wish I wish

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we had more time. Like I said, we're running a

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little bit behind today, but I do want to play

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Tomorrow again at the end of the segment to close out,

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because I also love that song and I know, thank

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you mate, and I know we talked about that song

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the last time you were on. But for newer listeners

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who might not have heard that conversation, So Tomorrow and

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this is another song that I really related to in

293
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a big way because well, tell us refresh our memories

294
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about the message behind it.

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Speaker 10: Yeah, So Tomorrow is a bit of a bit of

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a deep one. It's about like climate change and how

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we're a bit scared to talk about them sort of

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issues still, and how I think we should still be

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talking We should be talking about those issues that why

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are we scared to talk about it? And sometimes when

301
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you bring them sort of topics up, people shy away

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from it or probably just like disregard you straight away

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because they think you're wrong. When it's happened in front

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of our eyes. Man, to me, we right, we'll start

305
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talking about these things.

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Speaker 8: Right, right exactly. Yeah, and you express that in the

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song and uh, yeah, it's funny. We're having right now

308
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here in New Hampshire where we are in the US.

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We're about to have some eighty degree weather and it's

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October and that's pretty unnus.

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Speaker 10: We've got a storm going on at the moment, but

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it's still I was like walking home earlier and it's raining,

313
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it's windy, it's cold, and it's warm all at once.

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Speaker 9: How was that happening?

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Speaker 8: Yeah, yeah, it's crazy. Yeah, we're in a drought. We've

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got eighty degree weather in October. It's it's it's wild. Then,

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you know, the political climate in the US. I mean,

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I won't get into it, but I'll just say, you know,

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it's it's not going to get any better as far

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as addressing these issues, I'll just say that.

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Speaker 9: I don't think it will overhear mate, So I think

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we're all in the same boat.

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Speaker 8: I think we are. I think we very much are

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well Ryan, So we will. We will close out with

325
00:16:38,200 --> 00:16:40,440
that track before we let you go, though, Where should

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00:16:40,480 --> 00:16:42,879
people know about where to find you online to keep

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00:16:42,960 --> 00:16:45,240
up with everything that you're doing and get access to

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your music and all that.

329
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Speaker 10: I'm basically available everywhere any social media. It's just at

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Ryan Redwood fifty eight. And then Spotify is the save

331
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just Ryan Redwood or Apple Music wherever you get your chunes.

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Speaker 9: Yeah, just Ryan Redwood everywhere.

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Speaker 8: Fantastic, fantastic Ryan. We will do this again when the

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next single is out. Please you know, let us know,

335
00:17:03,200 --> 00:17:05,720
let people know, and we'll well, we'd love to give

336
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it another premiere, probably have you back on to talk

337
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about it. And we love what you're doing. We're big fans,

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so keep up the great work.

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Speaker 10: Thank you so much for the support, Mat I really

340
00:17:14,319 --> 00:17:16,720
do appreciate it. And yes, definitely next single, we'll be back.

341
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Speaker 9: Let's do it.

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Speaker 8: Awesome sounds good to me. All right, Ryan, we'll let

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you go.

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Speaker 9: Thank you, take care, cheers, mate, Thank you very much.

345
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Speaker 8: You got it all right. That is the great Ryan

346
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Redwood and we're going to close out this segment with

347
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This is the first single that we spun of Ryan's

348
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and I really love this song a lot. Pay attention

349
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to the lyrics. It does matter.

350
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Speaker 14: This is called Tomorrow Less Escape, the Weaver, mad run

351
00:17:39,480 --> 00:17:46,720
away for the winter, prolonged, the suffer and and delay,

352
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the e substantial crisis.

353
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Speaker 15: Falling in surpara els let one story. We will remain

354
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of us when there's nothing but.

355
00:18:04,880 --> 00:18:08,240
Speaker 1: Just get all say why when it race?

356
00:18:09,319 --> 00:18:14,079
Speaker 2: So that's nothing lam for you.

357
00:18:14,440 --> 00:18:17,880
Speaker 1: To feel when you fell so much.

358
00:18:18,279 --> 00:18:22,000
Speaker 2: The follow on last why this race when.

359
00:18:25,839 --> 00:18:28,119
Speaker 16: You know there's nothing lam far.

360
00:18:28,200 --> 00:18:42,759
Speaker 1: You to feel, when it's all sins running away enough,

361
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where do we finally say shelter.

362
00:18:47,599 --> 00:18:54,519
Speaker 15: Comedy and answer save won't save us this time. The

363
00:18:54,720 --> 00:18:59,079
oneida the chats is that we still that's.

364
00:19:01,920 --> 00:19:02,440
Speaker 2: Eagles.

365
00:19:02,480 --> 00:19:03,880
Speaker 1: I'll say, Oh it's you.

366
00:19:04,279 --> 00:19:06,960
Speaker 9: This is your best gay.

367
00:19:08,880 --> 00:19:16,359
Speaker 3: Sister all side of whit web face to bato, that's

368
00:19:16,480 --> 00:19:20,960
not fair, laugh far you to field wedding fail.

369
00:19:21,119 --> 00:19:26,200
Speaker 1: So mister f why's last way best face we fa

370
00:19:27,559 --> 00:19:32,720
chi batto. That's not fair la par you to.

371
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Speaker 4: Feel webb saw.

372
00:19:36,160 --> 00:20:01,240
Speaker 17: Up sads west yes west, So when it's to be.

373
00:20:05,839 --> 00:20:09,160
Speaker 18: It's good old fade a way when it is.

374
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Speaker 1: It's good, say way when it is so, that's not.

375
00:20:26,079 --> 00:20:33,519
Speaker 3: The last far serial let that sobs before lace last.

376
00:20:34,039 --> 00:20:35,119
Speaker 9: This last week.

377
00:20:39,680 --> 00:20:44,279
Speaker 1: That's not being that far serious. That's so.

378
00:20:48,680 --> 00:21:01,079
Speaker 19: Song You are listening to Matt Connorton un least on

379
00:21:01,400 --> 00:21:04,000
double umn a Study five point three.

380
00:21:52,559 --> 00:21:56,799
Speaker 1: Twenty chse me.

381
00:21:59,079 --> 00:22:03,079
Speaker 20: Heil that he is a miser because the staff are

382
00:22:03,279 --> 00:22:04,480
all depressed.

383
00:22:06,480 --> 00:22:11,279
Speaker 4: Bussy a song girl time but to tears.

384
00:22:12,319 --> 00:22:17,720
Speaker 20: If you have to to your week times, don't expect your.

385
00:22:17,799 --> 00:22:36,640
Speaker 6: Press see sees.

386
00:22:37,359 --> 00:22:43,920
Speaker 4: You see more so than that don't shoot. They've seen

387
00:22:44,160 --> 00:22:54,079
you here before. He sees ECUSU seez characters. We have

388
00:22:54,400 --> 00:22:55,359
one have the.

389
00:22:55,680 --> 00:22:56,440
Speaker 2: Time to lee.

390
00:22:56,960 --> 00:22:58,960
Speaker 4: There is much more to summer.

391
00:23:01,200 --> 00:23:09,480
Speaker 20: It was not unst chose the sailing dots ships a Sa.

392
00:23:11,039 --> 00:23:12,000
Speaker 9: So mad.

393
00:23:14,680 --> 00:23:21,839
Speaker 4: She talk about her that ship chop come out, you

394
00:23:22,039 --> 00:23:23,960
know Troy for.

395
00:23:28,920 --> 00:23:31,359
Speaker 6: N dos palty today.

396
00:23:32,119 --> 00:23:37,839
Speaker 20: Means fish isn't know those there are boys.

397
00:23:38,079 --> 00:23:45,880
Speaker 4: But I can't get my desires. You don't know, you

398
00:23:46,440 --> 00:23:51,480
don't you can't. She can't, Jill, You're free single jot.

399
00:23:52,000 --> 00:23:53,880
Except by Sa.

400
00:23:56,079 --> 00:23:57,559
Speaker 6: It was not unt.

401
00:23:58,079 --> 00:24:00,119
Speaker 4: Talks the sail gots.

402
00:24:05,920 --> 00:24:34,920
Speaker 21: So you talked about from tron pots not so.

403
00:24:53,680 --> 00:24:53,799
Speaker 13: Oh.

404
00:24:53,920 --> 00:24:56,400
Speaker 8: I love that. The track is called the Ineffectuals and

405
00:24:56,480 --> 00:25:00,720
the band is the Fods. And h that is so good.

406
00:25:00,920 --> 00:25:03,680
That is so good. And we've got Rob Critchley from

407
00:25:03,839 --> 00:25:07,039
the Fods on the phone with us via WhatsApp. Rob,

408
00:25:07,079 --> 00:25:11,839
are you there, I'm here, Can you hear me? I can, yes, yes, Hey,

409
00:25:11,920 --> 00:25:14,079
I love this. I love that song, and I've been

410
00:25:14,119 --> 00:25:15,720
I've been anxious to talk to you. You sent us

411
00:25:15,720 --> 00:25:17,240
a couple songs. We're gonna play the other one at

412
00:25:17,279 --> 00:25:19,599
the end of the segment. But I love the sound

413
00:25:19,680 --> 00:25:22,079
of the Fods. But now it's interesting though, So the

414
00:25:22,200 --> 00:25:25,680
Fods tell tell me if I'm if my perception is correct,

415
00:25:25,960 --> 00:25:28,039
is it not so much a band but more of

416
00:25:28,119 --> 00:25:30,839
a collective? Would collective be a better word, because it

417
00:25:30,920 --> 00:25:34,160
seems to it kind of changes in morphs, and and

418
00:25:34,720 --> 00:25:36,160
tell us about the Fods.

419
00:25:37,640 --> 00:25:42,319
Speaker 22: It absolutely changes the morphs. So there's basically two of

420
00:25:42,440 --> 00:25:43,759
us who write songs.

421
00:25:44,039 --> 00:25:46,440
Speaker 11: Okay, I write the lyrics and I write the lyrics

422
00:25:46,519 --> 00:25:47,720
and some of the music.

423
00:25:47,880 --> 00:25:52,359
Speaker 22: And I'm not particularly good musicians, so I send voice

424
00:25:52,440 --> 00:25:58,720
notes and you know, tinkerings over WhatsApp, and I send

425
00:25:58,799 --> 00:26:04,640
it to my old school friend of thirty five years

426
00:26:05,319 --> 00:26:07,039
and I send it over to him who's still in

427
00:26:07,160 --> 00:26:11,440
Manchester in the UK, and he's he's been in the

428
00:26:11,519 --> 00:26:16,000
music business with various bands for all that time, and

429
00:26:16,400 --> 00:26:19,799
he does the majority of the music and putting it

430
00:26:19,880 --> 00:26:20,400
all together.

431
00:26:20,559 --> 00:26:21,279
Speaker 11: And we've got a.

432
00:26:23,079 --> 00:26:26,519
Speaker 22: Mixed guy who is incredible and he's also dirt cheap

433
00:26:26,960 --> 00:26:30,000
for us, at least because of hate and he does

434
00:26:30,079 --> 00:26:32,519
the mixing. So there's three of us, and there's also

435
00:26:33,839 --> 00:26:38,759
we sometimes use a guitarist out of old old band,

436
00:26:39,279 --> 00:26:44,240
and we sometimes use a vocalist guitarist out of our

437
00:26:44,359 --> 00:26:47,400
old band from when we were at school. So all

438
00:26:47,440 --> 00:26:51,880
and I go all the way back to the I'm

439
00:26:52,039 --> 00:26:57,880
trying not to age myself late nineteen eighties, and we

440
00:26:58,000 --> 00:27:02,279
were we were in like, you know, a school band,

441
00:27:03,160 --> 00:27:05,279
and we tried really hard and we didn't We wrote

442
00:27:05,279 --> 00:27:07,559
a few decent songs and we won a Battle of

443
00:27:07,599 --> 00:27:10,599
the Bands, and then we all disappeared off to university

444
00:27:11,000 --> 00:27:13,039
and he carried on in a different morphed into a

445
00:27:13,039 --> 00:27:17,799
different band and they did okay, and we sort of lost.

446
00:27:17,680 --> 00:27:19,680
Speaker 11: Contact a little bit. Like I was always like sort

447
00:27:19,720 --> 00:27:20,359
of following him.

448
00:27:20,440 --> 00:27:23,799
Speaker 22: And when I was at university in London and his

449
00:27:24,000 --> 00:27:26,200
band came down and played in London, so I went

450
00:27:26,240 --> 00:27:27,880
and watched it, and so I knew them all and

451
00:27:27,960 --> 00:27:31,559
they were good guys, and you know, as the two

452
00:27:31,599 --> 00:27:36,480
thousands went along, I think he got a little bit,

453
00:27:38,279 --> 00:27:40,400
you know, chewed up by the music industry.

454
00:27:40,119 --> 00:27:41,160
Speaker 11: Like a lot of people have done.

455
00:27:42,079 --> 00:27:44,279
Speaker 8: It happens, yeah, yeah, yeah.

456
00:27:44,440 --> 00:27:47,279
Speaker 22: So he was writing really good songs and you know,

457
00:27:47,400 --> 00:27:51,200
playing half decent venues and you know, not getting any

458
00:27:51,240 --> 00:27:54,799
traction and not getting any you know, he'd been promised

459
00:27:54,839 --> 00:27:57,519
deals by record companies and they've never come to fruition

460
00:27:57,599 --> 00:28:00,920
and all that sort of stuff. You know, a tailor's

461
00:28:00,960 --> 00:28:06,480
old as the time in the music industry. And during

462
00:28:06,559 --> 00:28:11,079
COVID he he got hold of a couple of old

463
00:28:11,279 --> 00:28:14,720
bandmates and during COVID they just set up phones and

464
00:28:15,359 --> 00:28:19,440
started playing their old stuff and under the name of

465
00:28:19,480 --> 00:28:23,440
the Good Stock Project, they eventually released like six songs

466
00:28:23,559 --> 00:28:26,799
or something, and they were all done remotely, like in

467
00:28:26,880 --> 00:28:28,880
four different rooms, and they found a they found a

468
00:28:28,920 --> 00:28:32,680
singer who was really good and she did her part remotely.

469
00:28:33,039 --> 00:28:35,039
Speaker 11: And this has gotten on to do the Fodds by

470
00:28:35,119 --> 00:28:35,359
the way.

471
00:28:37,039 --> 00:28:39,799
Speaker 8: Yeah, yeah, no, I want to learn.

472
00:28:39,920 --> 00:28:40,079
Speaker 23: Yes.

473
00:28:41,079 --> 00:28:41,319
Speaker 11: Yeah.

474
00:28:41,519 --> 00:28:45,400
Speaker 22: So during COVID they did six songs all remotely, put

475
00:28:45,440 --> 00:28:49,160
it on an album six CP cord remote and released it.

476
00:28:50,240 --> 00:28:52,920
Speaker 11: And one of the songs, that's which they didn't.

477
00:28:52,720 --> 00:28:56,960
Speaker 22: Do because for whatever reason they didn't want it on

478
00:28:57,240 --> 00:29:00,119
the CP and the new singer didn't like like it

479
00:29:00,279 --> 00:29:01,319
or whatever it was.

480
00:29:01,720 --> 00:29:04,000
Speaker 11: We're shopping, which you're presuming I think you're going to

481
00:29:04,039 --> 00:29:04,720
play later.

482
00:29:05,000 --> 00:29:07,920
Speaker 22: Yes, yes, so he said to me, He said to me,

483
00:29:08,640 --> 00:29:11,359
can can you you sort of rework it and like

484
00:29:11,519 --> 00:29:14,400
change some of the lyrics which may be a bit outdated,

485
00:29:14,559 --> 00:29:19,440
and you know, we'll we'll re envision it and we'll,

486
00:29:20,359 --> 00:29:21,720
you know, see where it goes.

487
00:29:21,759 --> 00:29:23,519
Speaker 11: So I'm like, yeah, I've always loved shopping. I think

488
00:29:23,519 --> 00:29:24,119
it's a great song.

489
00:29:24,839 --> 00:29:27,079
Speaker 22: And while we were talking about this, we started talking

490
00:29:27,079 --> 00:29:30,240
about the old music we released and like the gigs

491
00:29:30,240 --> 00:29:32,119
that we played together and all that sort of stuff.

492
00:29:32,599 --> 00:29:34,519
Speaker 11: So he goes, well, while we're doing this, why don't

493
00:29:34,559 --> 00:29:37,279
we go back and find the seven songs which.

494
00:29:37,119 --> 00:29:39,279
Speaker 22: We did together over a period of like two years

495
00:29:39,359 --> 00:29:41,839
in the late nineties and see what we can do

496
00:29:41,960 --> 00:29:42,519
with them as well.

497
00:29:43,000 --> 00:29:46,559
Speaker 11: So that's what we did, and don't argue.

498
00:29:46,640 --> 00:29:49,559
Speaker 22: EP was the first thing in which we put out

499
00:29:49,799 --> 00:29:53,240
as the Odds and so there's the two of us

500
00:29:53,839 --> 00:29:57,480
and we used on that EP four different singers and

501
00:29:57,720 --> 00:30:01,680
so that's how we sort of developed in to this collective.

502
00:30:02,440 --> 00:30:05,720
And so the four different singers like we sort of

503
00:30:05,720 --> 00:30:08,880
found because for the first one we didn't have anyone.

504
00:30:09,319 --> 00:30:11,440
So we just said the first person who said yes,

505
00:30:11,480 --> 00:30:14,200
we were well, let's try it. Let's see and it

506
00:30:14,279 --> 00:30:18,000
went quite well. So he did a couple and there's

507
00:30:18,000 --> 00:30:20,640
a few other people who got involved. And as as

508
00:30:20,799 --> 00:30:23,440
that album, all those songs off that album got a

509
00:30:23,559 --> 00:30:24,359
bit more momentum.

510
00:30:24,920 --> 00:30:25,519
Speaker 11: It started to.

511
00:30:25,480 --> 00:30:30,079
Speaker 22: Get easier to entice singers to actually come and do

512
00:30:30,240 --> 00:30:34,519
it for us. Right, So this is how we ended

513
00:30:34,599 --> 00:30:37,519
up with Joe Boo. As you can hear from his

514
00:30:37,680 --> 00:30:41,240
vocal performance in the Indefectuals, you can actually sing. You know,

515
00:30:41,400 --> 00:30:45,599
he's a real, real talent, and he liked, he liked

516
00:30:45,640 --> 00:30:48,839
what we did in Dante in Don't Argue EP and

517
00:30:48,960 --> 00:30:52,079
we you know, we've chatted occasionally on other shows and

518
00:30:52,720 --> 00:30:55,240
you know, in a couple of Discord channels, and I've

519
00:30:55,440 --> 00:30:59,119
downloaded his songs and he's listened to ours. So I

520
00:30:59,440 --> 00:31:03,640
blindly and to text to him, you know, a Facebook

521
00:31:03,640 --> 00:31:06,559
messenger or whatever, and said, look, do you fancy having

522
00:31:06,599 --> 00:31:08,279
to go? We've got a new song lined up.

523
00:31:09,119 --> 00:31:10,720
Speaker 24: And he's like, yeah, yeah, give me, give me a

524
00:31:10,759 --> 00:31:12,279
couple of weeks and then I'll be in some of

525
00:31:12,319 --> 00:31:15,599
the other stuff over and when I've got time, I'll

526
00:31:15,640 --> 00:31:17,240
have a look. So we send some other stuff over

527
00:31:18,119 --> 00:31:20,640
and literally been two weeks it's sent back, you know,

528
00:31:20,799 --> 00:31:24,720
vocals for it. Wow, this is he's so much better

529
00:31:24,799 --> 00:31:25,200
than we are.

530
00:31:27,759 --> 00:31:29,599
Speaker 22: Like me and all are like, okay, we've got to

531
00:31:29,839 --> 00:31:31,920
like really sort of think about what we're going to

532
00:31:32,000 --> 00:31:34,759
do here. Yeah, And we're going right, the lyrics needs

533
00:31:34,880 --> 00:31:39,039
changing and like it needs bumping up, and like so

534
00:31:39,200 --> 00:31:41,160
we scrabbled around for a couple of weeks and send

535
00:31:41,279 --> 00:31:43,720
him back something and it's like, guys, this is brilliant,

536
00:31:43,759 --> 00:31:44,960
Like this is coming together really well.

537
00:31:45,039 --> 00:31:47,720
Speaker 11: And he sent it back and we're like, wow, his

538
00:31:47,839 --> 00:31:51,319
vocals are even better on this first that's great. So

539
00:31:51,880 --> 00:31:53,640
so so we did all this and.

540
00:31:53,680 --> 00:31:56,119
Speaker 22: All these things which we are doing are all remote.

541
00:31:56,200 --> 00:32:00,279
So Joe's in Florida, I'm in Jersey City and in

542
00:32:00,359 --> 00:32:03,240
Manchester in the UK. You know, all these files and

543
00:32:03,440 --> 00:32:06,559
things are flying back and forth and uh yeah. So

544
00:32:06,839 --> 00:32:09,160
so eventually we got we got to a place where

545
00:32:10,359 --> 00:32:13,640
music was getting close to what Joe was putting out.

546
00:32:13,759 --> 00:32:17,480
Speaker 11: And you know, his his vocals are outstanding.

547
00:32:17,559 --> 00:32:21,440
Speaker 22: He's done loads and loads but stuff like he's constantly

548
00:32:22,039 --> 00:32:24,559
he I think that's what he does is collaborate. He's

549
00:32:24,599 --> 00:32:26,359
got like a couple of bands that he's getting a

550
00:32:26,400 --> 00:32:29,000
bit more serious with. Okay, but like he's a he's

551
00:32:29,039 --> 00:32:31,319
a collaborator and he's been on loads of people's and

552
00:32:32,359 --> 00:32:36,359
songs and yeah, people should check him out because he's outrageous.

553
00:32:36,759 --> 00:32:36,960
Speaker 4: Yeah.

554
00:32:37,039 --> 00:32:41,640
Speaker 8: Yeah, it's interesting because it's like, something that comes up

555
00:32:41,680 --> 00:32:45,400
a lot on the show is you know COVID and

556
00:32:45,599 --> 00:32:48,920
how COVID changed so much. And I feel like, obviously

557
00:32:49,039 --> 00:32:51,359
it was terrible, but we got to find those silver

558
00:32:51,480 --> 00:32:53,000
linings where we can. And I think one of the

559
00:32:53,160 --> 00:32:56,160
one of those few silver linings of the pandemic was

560
00:32:56,200 --> 00:32:58,359
it kind of forced people to think a little bit

561
00:32:58,400 --> 00:33:01,079
outside the box in terms of, you know, the technology

562
00:33:01,119 --> 00:33:04,480
already existed, you know, to share files back and forth,

563
00:33:04,559 --> 00:33:07,559
and and and and to collaborate via the Internet. But

564
00:33:07,680 --> 00:33:09,519
I think what the pandemic did it kind of forced

565
00:33:09,519 --> 00:33:13,079
a lot of people to really embrace it more. And

566
00:33:13,240 --> 00:33:14,880
so you see a lot more of these kinds of

567
00:33:14,960 --> 00:33:18,279
projects now where you know, people aren't even in this case,

568
00:33:18,640 --> 00:33:21,640
not even necessarily on the same continent, right, but you

569
00:33:21,759 --> 00:33:24,720
can you can collaborate that way, and you can send

570
00:33:24,799 --> 00:33:26,960
files back and forth, and people are more comfortable with

571
00:33:27,039 --> 00:33:30,240
it now. And I mean, and and you know, the

572
00:33:30,319 --> 00:33:32,480
FODS probably, I mean, without the Internet, I think it's

573
00:33:32,480 --> 00:33:35,079
safe to say the FODS would not exist as a project,

574
00:33:35,200 --> 00:33:38,200
right because you know, yeah, you wouldn't be able to

575
00:33:38,200 --> 00:33:38,880
connect all of this.

576
00:33:39,079 --> 00:33:42,359
Speaker 22: So so if yeah, if you look at it like

577
00:33:42,440 --> 00:33:43,880
it used to be, like it used to have to

578
00:33:43,960 --> 00:33:46,759
get four or five people into a tiny little room

579
00:33:47,400 --> 00:33:49,480
and that's how people used to make music.

580
00:33:49,559 --> 00:33:52,200
Speaker 11: And it's not wrong with that. I'd love to do

581
00:33:52,319 --> 00:33:54,960
that again. Sure, you know, get get, get in a

582
00:33:55,079 --> 00:33:58,480
studio or get. Because we we we don't really see

583
00:33:58,519 --> 00:33:59,640
the end products.

584
00:33:59,759 --> 00:34:04,440
Speaker 22: Like I send my bit off and I'm involved in

585
00:34:04,480 --> 00:34:06,279
the producing and all that sort of stuff, and then

586
00:34:06,319 --> 00:34:09,239
it goes to mix it and he does his stuff

587
00:34:10,039 --> 00:34:12,039
and then it comes back to me and I go,

588
00:34:13,519 --> 00:34:14,880
I don't really know what more to add to that.

589
00:34:15,559 --> 00:34:19,639
It's outstanding, yeah, you know, And I could give him

590
00:34:19,639 --> 00:34:24,079
little tip bits and say, oh, at one minute twenty three,

591
00:34:24,199 --> 00:34:25,599
can you do this instead of this?

592
00:34:25,760 --> 00:34:28,440
Speaker 11: And he goes yeah, and it takes like seconds and

593
00:34:28,719 --> 00:34:32,280
and he's done. I'm like, okay, that's good. And so

594
00:34:32,519 --> 00:34:34,880
the technology is so good these days. You know, he

595
00:34:35,519 --> 00:34:37,079
has a real job. He's not a real.

596
00:34:38,480 --> 00:34:40,719
Speaker 22: Well he is a real mixer because he's incredible at it,

597
00:34:41,320 --> 00:34:43,079
but he also has a day job and you know,

598
00:34:43,280 --> 00:34:49,199
this is his side hobby. Oh okay, yeah, and he's outstanding.

599
00:34:49,480 --> 00:34:51,280
And some of the stuff that we've got coming out.

600
00:34:51,760 --> 00:34:55,440
So these two songs, The Ineffectuals and Shopping like came

601
00:34:55,480 --> 00:35:01,480
out in January, and we've been We've had I think

602
00:35:01,559 --> 00:35:07,360
eight other songs in weird stages of like pre production

603
00:35:07,559 --> 00:35:11,320
and sitting with about another band or a singer or

604
00:35:11,400 --> 00:35:15,599
sitting somewhere, and there's there's one song that we've been

605
00:35:15,639 --> 00:35:18,559
waiting on a singer to do it for like six

606
00:35:18,679 --> 00:35:20,760
months and eventually we've just had to say to him, look,

607
00:35:21,599 --> 00:35:23,880
it's been far too long when we need to find

608
00:35:23,920 --> 00:35:27,199
someone else because and we found someone else and they

609
00:35:27,239 --> 00:35:27,480
did it.

610
00:35:27,519 --> 00:35:29,079
Speaker 11: In like two weeks.

611
00:35:30,039 --> 00:35:32,280
Speaker 22: So this is this is one of the one of

612
00:35:32,320 --> 00:35:35,199
the pitfalls about doing it this way, because someone will

613
00:35:35,519 --> 00:35:38,679
with the best intentions, will go, yeah, it's a great song,

614
00:35:39,000 --> 00:35:41,239
like I think it will really fit my my voice

615
00:35:41,239 --> 00:35:44,400
on my tone, and and I'll get around to it,

616
00:35:44,559 --> 00:35:46,360
you know, I've got a couple of things to do,

617
00:35:46,480 --> 00:35:48,760
and then you know, in three weeks i'll be there.

618
00:35:48,800 --> 00:35:51,000
Speaker 11: I'll be on it. So in a month later, I'll

619
00:35:51,320 --> 00:35:53,280
text him back and go, how's it going. Oh, I've

620
00:35:53,280 --> 00:35:54,679
not quite got around to it yet, you know.

621
00:35:55,079 --> 00:35:56,639
Speaker 22: Give me, give me a couple of weeks and I'll

622
00:35:57,480 --> 00:35:58,960
So this little back and forth goes on and it

623
00:35:59,000 --> 00:36:02,920
gets quite awkward. Yeah, no doubt and no doubt, and

624
00:36:03,280 --> 00:36:05,519
eventually I had to say to him, look, I know

625
00:36:05,639 --> 00:36:07,480
you really want to do this, but like you've had

626
00:36:07,519 --> 00:36:10,079
it for six months and pre want to try and

627
00:36:10,119 --> 00:36:11,000
get an album out in.

628
00:36:11,920 --> 00:36:16,920
Speaker 11: January or February or March or sometime. I don't know

629
00:36:17,000 --> 00:36:19,280
whether you're going to get me any get me anything

630
00:36:19,480 --> 00:36:22,039
to to put on it.

631
00:36:22,559 --> 00:36:23,559
Speaker 8: Yeah, yeah, I get it.

632
00:36:23,960 --> 00:36:25,800
Speaker 22: And then we gave it to someone else who turned

633
00:36:25,840 --> 00:36:31,199
it around in three weeks. As much as you want

634
00:36:31,719 --> 00:36:34,920
a particular person you think this song, I think will

635
00:36:35,440 --> 00:36:37,320
and you find a person who you know.

636
00:36:37,400 --> 00:36:39,639
Speaker 11: I've trolled through all.

637
00:36:39,639 --> 00:36:44,320
Speaker 22: Sorts of radio stations and streaming platforms just to find

638
00:36:44,440 --> 00:36:47,199
like someone who's got a sound which we think will

639
00:36:47,280 --> 00:36:53,519
be great for this particular song. And we've also done

640
00:36:53,559 --> 00:36:55,800
it right. Just have it and give it a go

641
00:36:55,920 --> 00:36:57,239
and see what it comes up with. There was a

642
00:36:57,360 --> 00:37:02,079
there was a song on I Don't Argue which was

643
00:37:02,159 --> 00:37:04,360
never really meant to be like It turned out to

644
00:37:04,400 --> 00:37:08,159
be a bit of a shoot gaze indie song and

645
00:37:08,280 --> 00:37:10,280
it was never never meant to be like that.

646
00:37:10,400 --> 00:37:12,719
Speaker 11: But the guy who we gave it to just gave

647
00:37:12,760 --> 00:37:13,519
it that vibe.

648
00:37:14,000 --> 00:37:16,639
Speaker 22: Yeah, and it came back and we were like well,

649
00:37:16,760 --> 00:37:19,920
we weren't expecting this, but this is different book great,

650
00:37:20,280 --> 00:37:22,360
you know. So one of the things that we really

651
00:37:22,639 --> 00:37:25,239
want to do is have these singers put their mark

652
00:37:25,360 --> 00:37:27,880
on our songs as well, because there's no point me's

653
00:37:28,039 --> 00:37:32,039
sending a setting in something off and saying, right, I

654
00:37:32,119 --> 00:37:34,280
mean this probably won't happen, but like we've got a

655
00:37:34,320 --> 00:37:37,760
sound song that sounds like europe m made this like

656
00:37:37,880 --> 00:37:41,840
Joey Tempest, right right, that's.

657
00:37:41,760 --> 00:37:46,119
Speaker 11: Pointless, So we want them to put their own stamp.

658
00:37:46,480 --> 00:37:51,360
Speaker 22: And we've got obviously, Aura is a female, so we've

659
00:37:51,760 --> 00:37:53,880
we're looking to get female singers into it as well,

660
00:37:54,320 --> 00:37:55,920
which opens up a whole new.

661
00:37:57,480 --> 00:37:59,440
Speaker 11: Sort of sound for us.

662
00:38:00,639 --> 00:38:03,199
Speaker 22: So you know, we're not stuck with just like guys

663
00:38:03,239 --> 00:38:06,000
singing like if we like, we've got two on the

664
00:38:06,159 --> 00:38:08,159
on the albums coming out that we've we're.

665
00:38:08,039 --> 00:38:08,679
Speaker 11: Going to release them.

666
00:38:08,760 --> 00:38:12,599
Speaker 22: We weren't going to even release this, but one of

667
00:38:12,639 --> 00:38:15,679
the songs sound came out sounding so good that we're

668
00:38:15,920 --> 00:38:17,159
right the middle.

669
00:38:16,880 --> 00:38:18,599
Speaker 11: Of October we're going to release it and see what

670
00:38:18,679 --> 00:38:21,719
people think. And it's nothing. It's not I don't think

671
00:38:21,719 --> 00:38:22,559
it's even a rock song.

672
00:38:23,199 --> 00:38:26,559
Speaker 22: Oh really, it's sort of a blues blues Ballady type thing.

673
00:38:26,840 --> 00:38:30,280
Oh nice, you know, may fit on a James Bond theme,

674
00:38:30,599 --> 00:38:33,480
so we'll see. But like we love it, so yeah,

675
00:38:34,159 --> 00:38:35,039
see what people think.

676
00:38:35,599 --> 00:38:37,800
Speaker 8: That must be exciting for you though, because as as

677
00:38:37,800 --> 00:38:39,920
you're coming up with these ideas for these songs and

678
00:38:40,000 --> 00:38:42,280
you're you're putting lyrics together and so forth, that you know,

679
00:38:42,519 --> 00:38:45,159
it sounds like it's it's kind of an adventure because

680
00:38:45,599 --> 00:38:48,440
you don't know once it leaves your hands, you don't

681
00:38:48,480 --> 00:38:51,280
know exactly what's going to happen to it. And and

682
00:38:51,480 --> 00:38:54,440
obviously you know you've got to approve whatever whatever happens

683
00:38:54,440 --> 00:38:57,079
to it. But but with working with these different singers,

684
00:38:57,679 --> 00:39:00,880
you don't know until it happened is what kind of

685
00:39:00,960 --> 00:39:03,199
a stamp they're going to put on it. And that

686
00:39:03,440 --> 00:39:05,800
just must be that must be very exciting. I would

687
00:39:05,840 --> 00:39:06,519
think you know that.

688
00:39:07,199 --> 00:39:11,199
Speaker 22: It's it's exciting and it's also quite frightening as well, because,

689
00:39:13,000 --> 00:39:14,480
like you say, you just don't know, so it's a

690
00:39:14,599 --> 00:39:15,880
huge step into the unknown.

691
00:39:16,679 --> 00:39:21,199
Speaker 11: So we're like, right, there's a song that I wrote.

692
00:39:21,880 --> 00:39:25,039
Speaker 22: And I was listening to a bit more dancy type

693
00:39:25,039 --> 00:39:27,119
of stuff and I was I'd love to love us

694
00:39:27,119 --> 00:39:29,840
to put out something because you know, we we don't

695
00:39:29,920 --> 00:39:33,000
tend to stick to one genre. I'll just put out

696
00:39:33,039 --> 00:39:35,239
something a little bit more dancing, like with a bit

697
00:39:35,239 --> 00:39:37,320
of a boogie feel, you know, something like that. And

698
00:39:37,559 --> 00:39:40,280
I wrote these lyrics. It's a song called Fuel and

699
00:39:40,800 --> 00:39:41,440
hopefully we'll be.

700
00:39:41,480 --> 00:39:43,559
Speaker 11: Out around Christmas or New York, okay.

701
00:39:44,360 --> 00:39:47,840
Speaker 22: And I wrote it and it's called Fuel, and I

702
00:39:48,000 --> 00:39:51,239
was thinking about, like, you know, maybe a bit hedonistic

703
00:39:51,480 --> 00:39:54,719
and dancing at five o'clock in the morning and all

704
00:39:54,760 --> 00:39:58,280
that sort of stuff. And the way it's turned out

705
00:39:58,960 --> 00:40:03,480
is like, I don't even know what the term for it.

706
00:40:03,519 --> 00:40:09,320
It's like sludge stone a metal So it's gone into

707
00:40:09,480 --> 00:40:13,719
a totally different like genre and spectrum.

708
00:40:14,039 --> 00:40:17,920
Speaker 11: I never thought it, but it's brilliant. It's brilliant. And

709
00:40:18,760 --> 00:40:19,400
when we.

710
00:40:19,480 --> 00:40:22,320
Speaker 22: Actually gave it to the band who did it, they

711
00:40:22,320 --> 00:40:25,239
were like, what you're expecting from this? And I explained

712
00:40:25,280 --> 00:40:27,840
this to them and they were like, right, just leave

713
00:40:27,880 --> 00:40:28,199
it with me.

714
00:40:28,360 --> 00:40:28,800
Speaker 11: I've got this.

715
00:40:29,320 --> 00:40:31,039
Speaker 22: And he came back and he's a vocal and he's

716
00:40:31,039 --> 00:40:37,199
also done a guitar solo for it. And if someone

717
00:40:37,199 --> 00:40:39,400
had said to me, I wrote it, you know, eighteen

718
00:40:39,440 --> 00:40:41,719
months ago, And if someone said to me eighteen months ago.

719
00:40:41,639 --> 00:40:47,960
Speaker 11: You'll have this five and a half minute long you know,

720
00:40:48,800 --> 00:40:52,000
goes on like that, and I'll be like, Okay, that's cool.

721
00:40:52,119 --> 00:40:55,320
Speaker 22: But yeah, even writing the lyrics, you don't know where

722
00:40:55,360 --> 00:40:57,480
it's it's going to go, and you've always got something

723
00:40:58,719 --> 00:41:02,400
you know in your mind slightly yeah, you know who knows?

724
00:41:02,960 --> 00:41:06,760
Speaker 8: Yeah, yeah, no, that's uh, that's really cool. And so

725
00:41:07,159 --> 00:41:10,280
where should well? Actually a quick question, what does what

726
00:41:10,360 --> 00:41:11,239
does the name mean?

727
00:41:11,480 --> 00:41:11,639
Speaker 18: Where?

728
00:41:11,679 --> 00:41:13,840
Speaker 8: Where does the name? You probably get this question what

729
00:41:14,039 --> 00:41:14,480
is a far.

730
00:41:16,039 --> 00:41:16,199
Speaker 12: Right?

731
00:41:16,599 --> 00:41:20,920
Speaker 22: So if you listen to me, I've got a bit

732
00:41:20,920 --> 00:41:24,280
of an accent, right, yes, from a place called Warrington

733
00:41:24,400 --> 00:41:26,280
in Cheshire, which is just that side in Manchester in

734
00:41:26,320 --> 00:41:29,000
the UK, and we all sort of grew up there

735
00:41:29,000 --> 00:41:32,079
and Warrington is like one of these it's like an

736
00:41:32,079 --> 00:41:36,880
old mill town and the Euston mill wire in the

737
00:41:37,039 --> 00:41:40,559
in the in the factories in Warrington. Yeah, and everyone

738
00:41:41,320 --> 00:41:44,480
My accent is not too bad because I would say

739
00:41:44,559 --> 00:41:46,559
bad in a broad that's the right word.

740
00:41:46,639 --> 00:41:49,679
Speaker 11: Sorry, yeah, because I went to University.

741
00:41:49,320 --> 00:41:51,440
Speaker 22: Of London and then I've been over and I was

742
00:41:51,559 --> 00:41:54,320
so was down there for ten years and then I've

743
00:41:54,320 --> 00:41:56,480
been over in the States for another ten years.

744
00:41:57,199 --> 00:42:00,320
Speaker 11: So whatever accent I had a sort of mellowd sure.

745
00:42:00,760 --> 00:42:02,840
Speaker 22: Well, if you from if you're from Warrington, you say

746
00:42:02,880 --> 00:42:04,400
things in a particular way, okay.

747
00:42:04,559 --> 00:42:07,559
Speaker 11: And all our guitarist is a place called is from

748
00:42:07,599 --> 00:42:09,840
a place called Orford in Warrenton.

749
00:42:10,039 --> 00:42:10,360
Speaker 8: Okay.

750
00:42:11,039 --> 00:42:14,360
Speaker 11: And if you say Orthored in a Warrington accident, say Orthored.

751
00:42:15,320 --> 00:42:15,519
Speaker 4: Ah.

752
00:42:17,920 --> 00:42:24,320
Speaker 11: Yeah, see I do. We've dropped the or off and

753
00:42:24,920 --> 00:42:26,679
so basically, if you say it right, you would be

754
00:42:26,760 --> 00:42:27,280
the authors.

755
00:42:27,760 --> 00:42:28,159
Speaker 8: Gotcha.

756
00:42:28,480 --> 00:42:29,880
Speaker 11: Now we're just the Fodds.

757
00:42:30,079 --> 00:42:31,039
Speaker 8: Gotcha, gotcha.

758
00:42:32,400 --> 00:42:36,880
Speaker 22: Yeah, it's it's a it's a shortened version of Orford

759
00:42:37,559 --> 00:42:38,480
in a Warranton accent.

760
00:42:39,199 --> 00:42:42,840
Speaker 8: That makes sense, That makes sense. Well, Rob, Unfortunately, the

761
00:42:42,920 --> 00:42:44,400
time goes quickly, and I want to make sure we

762
00:42:44,480 --> 00:42:48,639
get this last uh, this last single in shopping. But well,

763
00:42:48,679 --> 00:42:50,840
we'll have to have you back Soon's definitely, when the

764
00:42:50,880 --> 00:42:52,639
next single is ready, we'll have you back, and we'll

765
00:42:52,760 --> 00:42:55,280
we'll book a longer block of time because I'd love

766
00:42:55,320 --> 00:42:56,000
to talk to you more.

767
00:42:56,320 --> 00:42:59,960
Speaker 22: But no, that yeah, that sounds great. The new single,

768
00:43:00,199 --> 00:43:02,400
I'll drop it over to you as well. Oh wonderful

769
00:43:02,639 --> 00:43:06,559
is very much enough, and it's out on I think

770
00:43:06,679 --> 00:43:12,639
October seventeens. Oh okay, so I'll drop that over to

771
00:43:12,679 --> 00:43:14,320
you and you can have a little preview for for

772
00:43:14,480 --> 00:43:16,760
it and have a little listen and see what thing

773
00:43:17,719 --> 00:43:20,039
I would love to love to get on with you

774
00:43:20,119 --> 00:43:23,079
again whenever it's good for you to be honest.

775
00:43:23,199 --> 00:43:25,239
Speaker 8: Yeah, yeah, great, No, that'll give us an excuse to

776
00:43:25,280 --> 00:43:27,400
get you booked again quickly, because I do want to

777
00:43:27,440 --> 00:43:30,920
have a longer conversation with you. But well, we're gonna go.

778
00:43:31,079 --> 00:43:33,639
We're gonna spend this track shopping and this is with So,

779
00:43:33,760 --> 00:43:35,480
this is with Ora Davis on vocals.

780
00:43:36,679 --> 00:43:39,719
Speaker 11: Correct, Yes, okay, she's yeah.

781
00:43:39,840 --> 00:43:43,360
Speaker 22: I found her when we first started looking for people,

782
00:43:43,480 --> 00:43:47,199
and I never thought you'd give us a shot either. Yeah,

783
00:43:47,480 --> 00:43:50,280
but people, people are generous with their time and generous

784
00:43:50,320 --> 00:43:54,119
with their talents. And you know, we're grateful for all

785
00:43:54,159 --> 00:43:56,239
the people that we've worked with, and we hope they've

786
00:43:56,239 --> 00:43:58,400
had a good experience with it as well, because you know,

787
00:43:58,480 --> 00:44:02,159
we've got something really good out of all this this experience,

788
00:44:02,239 --> 00:44:05,239
and everyone that we speak to it seems to well,

789
00:44:05,480 --> 00:44:07,199
you know, people are nice and may not tell us

790
00:44:07,199 --> 00:44:07,519
the truth.

791
00:44:07,679 --> 00:44:11,840
Speaker 8: Yeah, yeah, gotcha. All right, Rob, we will let you go.

792
00:44:11,960 --> 00:44:14,239
We're gonna spin this track. But thank you so much

793
00:44:14,239 --> 00:44:16,039
for joining us and yeah, well, we'll have you back

794
00:44:16,079 --> 00:44:16,960
on soon for sure.

795
00:44:17,719 --> 00:44:19,719
Speaker 11: Sounds good. I appreciate you, thanks very much.

796
00:44:19,719 --> 00:44:21,360
Speaker 8: All right, you got it, Rob, Thank you by bye?

797
00:44:21,440 --> 00:44:23,519
Speaker 11: All right, bye bye bye.

798
00:44:23,920 --> 00:44:27,599
Speaker 8: All right. That is that's Rob from the Fods. Let's

799
00:44:27,639 --> 00:44:29,360
give this a spin. I really love this too. I

800
00:44:29,440 --> 00:44:32,199
love their sound. Both of these songs are really good.

801
00:44:32,239 --> 00:44:34,760
But earlier we played the ineffectuals. We're gonna play this.

802
00:44:34,960 --> 00:44:37,840
This is Shopping by the Fods. And then after this

803
00:44:38,000 --> 00:44:40,039
Jenny and I will be back for a quick minute

804
00:44:40,039 --> 00:44:41,960
before we run out of show. We'll tell you about

805
00:44:41,960 --> 00:44:43,599
what we're doing later today if you want to join us.

806
00:44:43,800 --> 00:44:47,000
But here it is the Fods. The track is called Shopping.

807
00:44:51,480 --> 00:44:56,360
Speaker 25: See whes Cookyles one.

808
00:44:56,280 --> 00:44:56,840
Speaker 4: Of the thig.

809
00:45:02,480 --> 00:45:08,159
Speaker 12: As soon as buy your brand new too, you're just

810
00:45:08,599 --> 00:45:12,920
the same all the risks I see you buy and

811
00:45:13,119 --> 00:45:14,480
that brand new dress.

812
00:45:15,400 --> 00:45:16,519
Speaker 1: Something's going wrong.

813
00:45:16,719 --> 00:45:18,639
Speaker 12: I know it's going to take this long.

814
00:45:19,239 --> 00:45:21,960
Speaker 1: Somebody gave me out.

815
00:45:44,000 --> 00:45:52,599
Speaker 25: All right by while crazy, you mustn't ray, I'm this

816
00:45:53,119 --> 00:45:56,400
farming just won the follow Bary.

817
00:45:56,079 --> 00:46:01,079
Speaker 4: Too well bear the brun when you talk about.

818
00:46:00,920 --> 00:46:06,119
Speaker 1: Says some sass, especially when me.

819
00:46:08,199 --> 00:46:09,480
Speaker 4: Especially Win.

820
00:47:01,760 --> 00:47:09,440
Speaker 1: Ho sp we doing sis. She just wants some time.

821
00:47:14,440 --> 00:47:16,800
Speaker 4: Do the sails got.

822
00:47:16,800 --> 00:47:20,239
Speaker 18: Some time, so.

823
00:47:22,039 --> 00:47:24,119
Speaker 1: What are we doing mad ourselves?

824
00:47:24,400 --> 00:47:25,079
Speaker 8: Just pass it?

825
00:48:31,239 --> 00:48:32,800
Speaker 1: What do we do? As?

826
00:48:37,400 --> 00:48:37,559
Speaker 4: Oh?

827
00:48:37,639 --> 00:48:40,320
Speaker 8: I love that they have such a great sound the Fods.

828
00:48:40,400 --> 00:48:43,159
That track is called Shopping and we're gonna have We're

829
00:48:43,159 --> 00:48:46,800
gonna have Rob back on us soon because he just

830
00:48:47,880 --> 00:48:50,239
I want to have a longer conversation with him. So

831
00:48:50,320 --> 00:48:54,480
interesting but great project the Fods. We are running out

832
00:48:54,519 --> 00:48:57,400
a show. We got a few minutes left. Jenny, you

833
00:48:57,440 --> 00:48:58,800
want to mention a couple of things.

834
00:48:58,960 --> 00:49:00,800
Speaker 26: Absolutely well if you want to join Matt and I

835
00:49:01,079 --> 00:49:03,320
later on today from four to six pm at the

836
00:49:03,480 --> 00:49:07,639
Great North Ale Works, Jesse Coffee is performing and Matt

837
00:49:07,719 --> 00:49:09,440
and I are delighted that we're gonna be able to

838
00:49:09,480 --> 00:49:10,280
be there to see him play.

839
00:49:10,360 --> 00:49:10,960
Speaker 8: Come join us.

840
00:49:11,519 --> 00:49:14,880
Speaker 26: And next weekend is the opening or shall I say,

841
00:49:15,119 --> 00:49:20,320
the viewing of the Exquisite Corpse show, which was at

842
00:49:20,360 --> 00:49:24,000
the Mosaic Our Collective. The calling hours will be from

843
00:49:24,119 --> 00:49:28,039
four to eight pm on October eleventh. This show will

844
00:49:28,199 --> 00:49:31,079
be there from October sixth through November second. Please go

845
00:49:31,159 --> 00:49:33,679
to the Mosaic at collective dot com for more information.

846
00:49:33,760 --> 00:49:36,400
They get a lot going on, some artist talks and

847
00:49:36,480 --> 00:49:38,239
things like that. So definitely go check them out on

848
00:49:38,280 --> 00:49:40,679
the website and if you want information more on me,

849
00:49:41,000 --> 00:49:43,119
go to Gencoffee dot com. J E n N co

850
00:49:43,719 --> 00:49:45,000
f f ey dot com.

851
00:49:45,639 --> 00:49:47,519
Speaker 8: Oh, calling hours, it took me a second to get

852
00:49:47,559 --> 00:49:52,119
that calling hours. Yes, it's the Exquisite Corps. Yes, yes, And.

853
00:49:52,159 --> 00:49:53,840
Speaker 26: When you're at their website there is an open call

854
00:49:53,960 --> 00:49:55,559
coming up, so come submit your rs.

855
00:49:55,840 --> 00:49:59,159
Speaker 8: Yes, yes, very good and uh, let's see if you

856
00:49:59,199 --> 00:50:01,599
want to keep up with every I'm doing. Matt Connorton

857
00:50:01,639 --> 00:50:04,599
dot com is my website all the content. In addition

858
00:50:04,679 --> 00:50:07,840
to this show, Matt Connorton Unleashed, which we have the

859
00:50:07,880 --> 00:50:10,760
honor and privilege of doing every Saturday morning here from

860
00:50:10,800 --> 00:50:13,960
the studios of WMNH ninety five point three FM, there's

861
00:50:14,000 --> 00:50:16,440
also the podcast version of the show where we do

862
00:50:16,599 --> 00:50:19,480
some things that don't necessarily fit the format here, and

863
00:50:19,559 --> 00:50:21,760
we also have Tough Bumps. I believe Eric Pilter and

864
00:50:21,800 --> 00:50:23,920
I are doing a brand new episode of Tough Bumps

865
00:50:24,000 --> 00:50:26,719
on Sunday. And always lots going on. So you can

866
00:50:26,760 --> 00:50:28,800
go to my website Matt Connorton dot com and if

867
00:50:28,840 --> 00:50:32,519
you would like to book a hypnotherapy session, you can

868
00:50:32,599 --> 00:50:34,199
do that too, And if you want to learn more

869
00:50:34,199 --> 00:50:36,840
about that again, Matt Connorton dot com. You can contact

870
00:50:36,920 --> 00:50:40,599
me right through the website or on social media and

871
00:50:40,719 --> 00:50:43,000
I'm easy to find, or you can always just Google me.

872
00:50:43,079 --> 00:50:47,719
Because Connorton is not a particularly common name, so there

873
00:50:47,800 --> 00:50:50,239
is another Matt Connerton here in the state of New Hampshire.

874
00:50:50,280 --> 00:50:53,239
But he's my uncle, so you know, almost it doesn't count.

875
00:50:53,480 --> 00:50:56,039
But on that note, thank you for Thank you to

876
00:50:56,079 --> 00:50:58,159
everybody who joined us today. Of course, in the first

877
00:50:58,239 --> 00:51:00,880
hour if you missed it live here on Saturday, if

878
00:51:00,880 --> 00:51:03,360
you were listening live, we had, let's see, first hour

879
00:51:03,400 --> 00:51:06,599
we had Mark Winters, second hour we had Dennis and

880
00:51:06,719 --> 00:51:09,199
Troy from the Gray Curtain, and in the third hour

881
00:51:09,280 --> 00:51:13,039
we had the great Ryan Redwood followed by Rob critch

882
00:51:13,119 --> 00:51:15,960
Lee from the Fods. So if you missed any part

883
00:51:16,000 --> 00:51:17,280
of today's show, it will be up in just a

884
00:51:17,320 --> 00:51:21,360
little bit at wmnhradio dot org and in my website

885
00:51:21,440 --> 00:51:25,519
Matt Connorton dot com. And that's gonna do it for us.

886
00:51:26,039 --> 00:51:27,360
We're out of here. We'll talk to you a little

887
00:51:27,360 --> 00:51:28,880
bit later. Bye everybody, Bye bye.

888
00:52:09,239 --> 00:52:12,920
Speaker 27: This fall the ballpark isn't closing for the season. It's

889
00:52:13,000 --> 00:52:16,920
waking up step beyond the gates and into Fright Nights

890
00:52:17,039 --> 00:52:20,599
at the Field, an immersive, haunted experience where the roar

891
00:52:20,639 --> 00:52:24,400
of the crowd has been replaced by whispers in the dark.

892
00:52:25,159 --> 00:52:28,320
Wander through twisted tunnels, ghost lid corridors, and the stadium

893
00:52:28,360 --> 00:52:31,920
itself now home to the things that never left live

894
00:52:32,079 --> 00:52:36,239
scare actors, movie quality sets, part racing encounters around every corner.

895
00:52:37,239 --> 00:52:39,079
Speaker 28: The game is over, but the nightmare.

896
00:52:38,800 --> 00:52:39,679
Speaker 16: Has just begun.

897
00:52:40,440 --> 00:52:43,079
Speaker 27: Fright Nights in the Field there to play after dark.

898
00:52:44,119 --> 00:52:46,599
Speaker 29: The heartbeat of our community isn't in the building. It's

899
00:52:46,679 --> 00:52:49,360
in the people who help our students every day. It's

900
00:52:49,400 --> 00:52:51,639
in the bus driver who gets them the school safely,

901
00:52:51,760 --> 00:52:53,880
the crossing guard who greets them with a smile, the

902
00:52:54,000 --> 00:52:57,360
teacher who inspires them. The Manchester School District needs you.

903
00:52:57,719 --> 00:53:00,800
From substitute teachers and pair of educators to nurses and

904
00:53:00,880 --> 00:53:04,840
speech pathologists. Come find your purpose. Attend the Manchester School

905
00:53:04,880 --> 00:53:07,760
District John Fair this Tuesday, October seventh at the Welcome

906
00:53:07,840 --> 00:53:10,760
Center at one forty eight Conquered Street in Manchester. Learn

907
00:53:10,840 --> 00:53:14,039
more at ma NSD dot Schoolspring dot com.

908
00:53:14,719 --> 00:53:16,679
Speaker 30: Luigi's Pizza Barron Grill.

909
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Speaker 23: Every one Let's phrase Slyeson Hide with Top and.

910
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Speaker 6: Top a round.

911
00:53:23,800 --> 00:53:25,000
Speaker 1: It's a pizza.

912
00:53:24,719 --> 00:53:30,679
Speaker 30: Barto Mine Luigi's Pizza Barren Grill, seven twelve Valley Street, Manchester.

913
00:53:30,960 --> 00:53:33,840
Come on in or call six two two one zero

914
00:53:34,119 --> 00:53:39,119
two one Luigi keeping the tradition alive since nineteen seventy five.

915
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Speaker 23: Ten pizza for every one. Come join a beast to night.

916
00:53:46,320 --> 00:53:50,400
With the sly sets of it, everything feels so right.

917
00:53:53,480 --> 00:53:55,639
Speaker 18: In times of crisis. You need a law firm that

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919
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920
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921
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923
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924
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925
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926
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927
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Speaker 28: Bring your kitchen to life with Queen Citycabinetry, located at

928
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929
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930
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934
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Speaker 31: Of w Hey everyone, there's Rob Azevedo host a granite

935
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state of Mind and I want to tell you about

936
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Pembrook City Limits and the historic Suncook Village. PCL's an

937
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award winning bar, restaurant and music venue where there's live

938
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music five days a week and twice on Saturdays, everything

939
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from blues, country, folk, funk, and a whole lot of jazz.

940
00:55:17,440 --> 00:55:19,800
We have twelve craft beers on tap dedicated to the

941
00:55:19,840 --> 00:55:22,159
local brewers in the area and some of the friendliest

942
00:55:22,159 --> 00:55:25,599
bartenders around. Please come visit Pembrook City Limits at one

943
00:55:25,679 --> 00:55:28,599
thirty four Main Street, the historic sunk Cook Village, only

944
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six miles outside of Manchester.

945
00:55:30,960 --> 00:55:32,920
Speaker 8: Open Tuesdays to Wednesdays four to ten.

946
00:55:33,280 --> 00:55:37,079
Speaker 31: Thursday's a Sunday eleven to ten Pembrook City Limits where

947
00:55:37,079 --> 00:55:38,079
it's all about the music.

948
00:55:38,320 --> 00:55:40,960
Speaker 16: Disney's Cafe is the place to put a smile on

949
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your face. Judy and the crew will take care of you,

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bring your appetite and treat your taste. Bus Fry Disney's

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Cafe is always a winning choice. Breakfast, lunch or supper

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Disney's Cafe at eight sixty Elm Street in downtown Manchester.

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Dine in, take out or make a reservation call six

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O three six oh six two five three two, Eat,

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drink and be happy Bizine's Cafe.

956
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Speaker 32: When it comes to keeping WMNH on the air and

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your own personal or business computer needs, trust growl In Computers,

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located on Elm Street in Manchester. Grolin handles computer repair,

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virus removal and custom built systems. Are you looking for

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budget friendly options, check out our selection of fully inspected

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at six zero three six four five zero one zero

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one Your tech, your way.

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Speaker 13: Trust groll In Computers.

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Speaker 7: Nice seven times out of ten.

967
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Speaker 32: We listened to our music at.

968
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Speaker 16: Night That's Gone.

969
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Speaker 29: The title book business program Late.

970
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Speaker 16: Night to Light with Dj bidis right here on WMN

971
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eight Manchester.

972
00:57:01,800 --> 00:57:06,559
Speaker 4: Because Saturdays and Sunday nights midnight to four am.

973
00:57:07,920 --> 00:57:13,360
Speaker 13: This hour on WMNH is sponsored by CGI Business Solutions,

974
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located at five Dartmouth Drive in Auburn. They serve all

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your business needs including employee benefits, planning, corporate design and

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business administration, investments and wealth management and customized business insurance solutions.

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Their phone number is eight sixty six eight four to

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one forty six hundred, or on the web at CGI

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business solutions dot com.

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Speaker 33: Behold the harmony of airwaves as you immerse yourself in

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the captivating frequencies of w m NHLP. Their sunic cartats

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of Manchester is transcending through the ether at ninety five

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point three megahertz frequency modulation were transmissions M and E

984
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from the z F one thousand ELM Streets for insuranto

985
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the hearts of our creative realm at Iteen Canal Street, where.

986
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Speaker 1: Innovation and sound collage.

987
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Speaker 33: They're the impro moder of Manchester Public Television Service in

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the venerable city of Manchester, New Hampshire, USA.

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Speaker 4: Enrich your auditory journey with the depth of our.

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Speaker 33: License to wesidens spent your missives to wm NH ninety

991
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five three at gmail dot com, or traverse the virtual

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corridors of wmnhradio dot org. Engage with our sonic vibrations

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by communing with us through the digital channel or radio

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beckons eager to enthrall you with its mesmerizing kidence and

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develop you with a sympony of foundless auditories.

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Speaker 15: Won, Dude,