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Speaker 1: W m n ahl Ripson doms.

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Speaker 2: I'm a made lots of big class, carry you away,

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but say.

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Speaker 3: It might be too much of a good thing.

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Speaker 4: No, no, you have to test me about No, No,

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I'm sure I always know you want. I know you

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know that I'm the st start.

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Speaker 3: It's the hardest bald.

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Speaker 4: She knows, she knows it could tell them all made

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up the.

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Speaker 2: March, the all.

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Speaker 3: Go love thing. Can't big las.

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Speaker 4: The way, but she said she feel bad for a

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good things.

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Speaker 3: Oh no, oh.

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Speaker 2: No, oh no.

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Speaker 3: Cool, well long went, it's played the scene.

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Speaker 4: Say it's sad jow.

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Speaker 2: Lock lay wins boy, I loved.

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Speaker 5: You.

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Speaker 6: Guys have such a nice sound. We have slim volume

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here in studio and we're gonna talk to these guys

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in just a moment. Welcome everybody. This is Matt Connorton

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Unleashed and we are live and my voice is cracking

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and it's very upsetting, but we are live on this

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the first uh Saturday in twenty twenty five. Here from

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the studios of w m n H ninety five point

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three FM, Inglorious, Manchester, newhamsterre Do you hear that I

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just said I had an asthma incident recently? And I've

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apparently not fully recovered. But uh we are live, of course,

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and uh having a great time here on this Saturday

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of our first Saturday of the new year. And Jenny

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is here as well, of course, at the news table

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and joining us live in studio. This morning we have

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Slim Volume. The gentleman from from Slim Volume. Welcome guys,

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Good morning. Yeah, I was trying to remember you guys

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have been on the show. Has it been once or

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twice before? It has been twice, Okay, it it becomes

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a blur after a while, but uh, yeah, you guys

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have such a great I hadn't so I hadn't heard

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that song before, but you guys have such a great sound. Yeah,

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I just kind of listening. I'm just kind of getting

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lost in it, you know, like, thank you. It's just

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really really good. Let's let's do this. So for the uninitiated,

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let's start in the corner here. We'll go around well,

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you kind of know the drill. Anyway. You can each

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tell us who you are, what you do in the band.

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Speaker 7: Yeah, my name is Mike. I played guitar in the band.

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Speaker 8: Okay, Trent over here played acoustic guitar mostly all.

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Speaker 6: Right, Johnny and I played drums.

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Speaker 9: And I'm Jake. I played bass and I sing along

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with Trent.

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Speaker 6: Oh, very good, very good. Now is this a new album?

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The song we just heard, Big Plans? Is that from?

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Is that new?

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Speaker 9: That is from our newest EP, newest collection of four

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songs that we put out in was that November?

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Speaker 6: Yeah?

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Speaker 9: Okay, it's starting to blur like you said, yeah, yeah,

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And we released another new EP in we had two

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and twenty twenty four, so that one's from the second

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of those called Big Plans.

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Speaker 6: Gotcha.

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Speaker 9: That was the self titled track.

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Speaker 6: Oh okay, okay. Now what goes into the decision? And

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this is a subject that we talked about a lot

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on the show, because you know, everybody approaches it differently,

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with so many different ways you can do it. I'm

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always asking, so, why did you decide to do an

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album or why did you decide to do an EP,

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or why did you decide to just use but in

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your case, so you release two EPs very close to

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each other. What's the strategy there or is there one?

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Or is it just or does it just feel right

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to do it that way?

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Speaker 10: I feel like when we go about releasing the songs

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at least in the past. It's kind of been one

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of those things where we always have the question of, like,

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you know, you put a lot of like you know,

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effort into an album, and then if you drop it,

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it's kind of like, you know, you really want people

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to hear it. So sometimes we like take the approach

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of maybe if we do it in smaller chunks for people,

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you know, it's just kind of easier to kind of

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promote it, and just like you know, it's not like

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all your eggs in one basket that could kind of

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get left behind. Yeah, so doing like two EPs throughout

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the year was something that was like a little strategic

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in that sense. But I feel like as moving forward,

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you know, right now we're currently working on like a

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ten song album and stuff like that.

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Speaker 7: Yeah.

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Speaker 10: Yeah, so it's definitely kind of trying to shift the

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approach a little bit and see where that takes us,

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and also keep it in mind that like I bring

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some songs to the table, and like Trent and Jake

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both right, and like, you know, so there's always like

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a massive influx of material that's.

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Speaker 7: Kind of like really easy to get overwhelmed with.

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Speaker 6: Yeah, no doubt, Yeah, no doubt. Well, so doing a

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ten like, is your approach in terms of writing different

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with whereas you're working on a ten song album.

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Speaker 8: Well, I think like with these two EPs, we kind

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of realized they both had like a very separate sound,

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where this one we just heard was more of like

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the folk rock influence and the other one was more

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of a straight indie rock influence. And we can listen

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to one of those tracks later, h yeah, but and

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you'll see the difference. And so the album is kind

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of like the combination of both of those sounds in

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a little more cohesive way. So splitting the EPs was

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also a decision of like, sonically.

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Speaker 6: They were very separate. Okay, but yeah.

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Speaker 8: I think we, like Mike was kind of alluding to,

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it's been a progression from doing singles now a couple

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of EPs and now just tims.

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Speaker 6: Yeah, focused on a bigger project. Yeah, what about in

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terms of where you record like these EPs that you've done,

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have you recorded these all the same way?

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Speaker 9: Or we work with Eric Sotter at black Heart Sound Yes, yeah,

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here in Manchester. He's awesome.

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Speaker 6: His name is cop Well, we had him on the

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show too, But leading up to having him on the show,

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I remember telling him you got to come on because

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his name. Of anybody in the area who does recording,

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who has any kind of a studio, his name comes

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up by far the most often.

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Speaker 9: He's prolific.

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Speaker 6: Oh he's amazing. Yeah, yeah, so incredible. So so sorry,

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my voice keeps tracking. So the EPs were recorded with him. Yeah, excellent.

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Speaker 9: Yeah. And also on that track, we had a guy

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named James Palco who plays under a named the Jimmy Montague.

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It's like a yacht rock kind of sounds really cool,

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but he worked in the studio before. He's moved since.

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But you heard the organ at the end of that

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song that was playing that on that track, So yeah,

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he's kind of a very talented multi instrumentalist producer guy.

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Speaker 6: That's a cool way to that too, because because as

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I'm listening and I'm hearing it for the first time,

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and as I'm listening to it, it's at that part,

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you know, it's at the end of the song, I

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should probably fade it out and start talking, right, you know,

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as a DJ. But I'm like, I couldn't because I

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wanted to hear that play out, you know what I mean,

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because it just sounded so cool, because it's kind of

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a surprise. You don't expect to hear that at the

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end like that, but it just works so perfectly, you know.

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So it's like I didn't even want to talk over it.

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Speaker 9: It's one of those things that just sort of happened to.

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He just was playing and he kind of just kept

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hanging on that last chord, and I think we probably

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thought maybe we'll fade it out too, but we ended

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up liking it, I think as just a kind of

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a weird ending that you usually wouldn't hear out of

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us because none of us.

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Speaker 6: Are organist, right, so when you play that one live,

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that that's not there obviously no organ yet, no organ yet.

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Speaker 8: Yeah, although there may be a surprise for our next

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show with regards to He's Oh okay, that's been a

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little little discussion in the band for a while. We've

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always thought, you know, another element would be helpful. Yeah,

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but yeah, I think we may have that in place

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for two weeks from yesterday.

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Speaker 6: Oh okay, yeah, okay, that's.

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Speaker 8: Kind of like the other, you know, the other you know,

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promotional element of this radio appearance is in two weeks Banker,

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New Hampshire stage. We're playing for the Modern Fools album

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release show.

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Speaker 1: Nice.

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Speaker 8: Yeah, I don't know if you ever heard of the

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band Modern Fools. They're from Keen and they kind of

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have more like a truer alt country folk rock sound.

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So like the song we just heard very much similar

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to what Modern Fools. It's like, okay to speak in

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broad strokes.

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Speaker 6: I almost think we had them on the show. That

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name is very familiar to me. Modern Fools. Did we

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have them on the show? Does sound familiar to me? Yeah,

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or we may have talked to them at some point

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about coming on. But yeah, no, that's that's very cool.

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So that's gonna be at what's the.

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Speaker 4: Date on that?

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Speaker 8: That's January seventeenth.

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Speaker 6: Outstanding. That's yeah, outstanding? Are you guys? So all the

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I assume like from both EPs that you've released, do

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do you play all all eight of those live?

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Speaker 1: Yeah?

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Speaker 9: That sort of to varying degrees. Yeah, there's the set

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list always fluctuates kind of based on mood and all

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kinds of other factors. But there's some songs where, for

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any number of reasons, they kind of like find their

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way out of the set lists and then but yeah,

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for the most part, Yeah.

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Speaker 7: There's one song on each of those EPs.

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Speaker 10: Off of big plans, that one being if Only and

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off of back to You Kpos seven that like sometimes

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don't really like make it out to just plan for

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whatever reason, Like yeah, they're cool songs and I'm glad

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they made it on the EP and stuff like that.

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But sometimes, like as I mentioned before, like having this

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like big influx of material and stuff like that, like

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we always get real kind of pumped up to play

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new stuff live. So it's just like sometimes it's easy

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to be like, ah, I could hit this new stuff that,

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like you know, isn't even released yet, but like it's

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kind of a good way to like hone in and

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like figure out like what you want to do when

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you record, you know, kind of hearing things live and

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kind of like oh yeah, pasting the waters and stuff

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like that.

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Speaker 6: See how people react to it.

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Speaker 7: Yeah, yeah, exactly, Man, so's cool.

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Speaker 6: Are you guys playing out a lot uh currently? Or

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obviously you've got that show, that big one coming up

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on the seventeenth.

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Speaker 8: But yeah, I mean I think the aside from maybe

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a busy September, the back half of twenty four was

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a little bit slower, yeah for us, and we've been

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we've been playing a lot in our first like two

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and a half years as a band. Yeah, but twenty

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twenty five is shaping up to be pretty busy. We

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already get maybe like I don't know, ten or twelve

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dates booked. Good, Yeah for the first couple, first two

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three months, the first quarter.

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Speaker 6: Yeah, where do you guys, uh do you guys get

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out of New Hampshire or do you do you go

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around New England or where do you guys play?

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Speaker 11: I mean, I think it's mostly New Hampshire, but we're

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trying to get out.

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Speaker 5: Yeah.

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Speaker 8: Yeah, it's been you know this, it's a it's a

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mindset shift to be like all right, let's go, you know,

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book a long week or long weekend tour kind of thing.

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Speaker 6: Like it's been.

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Speaker 8: There's been enough stuff locally to build, you know, a

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little fan base too.

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Speaker 6: We are fortunate to have a lot of good venues

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around here.

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Speaker 8: Actually, yeah, there's a lot of good venues. And you know,

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Conquered's real busy. The Seacoast is busy. You know, we

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played Boston a couple of times, but you know, mostly

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we've been playing stuff that people ask us to play.

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We haven't done a ton of like going out and

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reaching out to venues to book, which again is just

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kind of like a mindset.

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Speaker 6: It's just one approach.

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Speaker 8: But uh, I mean, I think with this album and everything,

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like the plan for this year would be to get

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out a little bit, you know, expand the radius a

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little bit.

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Speaker 6: Sure, and we've tried.

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Speaker 8: It's it's just gonna be hard sometimes, you know, trying

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to get something in Burlington or something like that. Like

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if you don't know someone to throw you right on

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a show, it's pretty pretty tricky.

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Speaker 6: Burlington has a great scene, but do But you're right

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if you're not, you know, if you don't have an inn, Yeah, yeah,

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you know, which which I'm sure we'll come. But as

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you alluded to to, you're you're in a good situation

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where you know, you're still getting a lot of shows

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anyway because people are coming to you. So that's a

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good thing. Yeah, oh yeah, you know that. So you're

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you're you're off to a you're off to a strong start.

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But I can also see where, you know, in terms

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of long term strategy, you know, because obviously you're taking

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the next step to going to you know, you're gonna

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have a full album, so it makes sense that you know,

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everything will continue to evolve in terms of radius and

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right building that audience right, And I had an additional

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thought on that that escapes me.

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Speaker 10: Oh there's something there's something nice about like hit hitting

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like a fresh set of ears too, because you know,

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sometimes we get the opportunity, like in twenty twenty four,

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we have the opportunity to go up to Portland, Maine

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and play it a place called Blue I believe is

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what it was called, and it's just a it's a

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really cool venue and like you know, you just see

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faces that you hadn't seen previously, and like you know,

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you kind of get reinvigorated off the excitement of someone

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that hasn't heard your material. Yes, comes up to you

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after and they're just like stoked on it. You know,

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they're like, well, like where you guys from, like all

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that stuff kind of I really it means the energy

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to be like all right, like we really should like

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try and like you know, just reach out a little bit,

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whether it's like north Shore, Massachusetts or like you know,

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just even like further further going up to Portland and

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as you mentioned Burlington, Yeah, and then like you know,

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I think in the grand scheme, like branching out to

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places like Brooklyn or like Philly, or have like really

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hip scenes of like you know, just like indie rock

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scenes of people that are just kind of doing the thing.

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It's kind of like, you know, trying to work our

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way into and become a part of it.

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Speaker 5: You know.

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Speaker 6: Yeah, well, I think too, with your sound, you know,

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you can probably fit in a lot of different kinds

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of places, different kinds of scenarios. You know, you're not

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limited to you know, like if you play in a

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metal band, uh, you know, you can only play certain

301
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kinds of places, you know. And on the other end

302
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of the extremes, of course, if you're a singer songwriter

303
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just doing a solo acoustic thing, you can play literally

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almost anywhere. But but I think you guys are in

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a with your sound, You're in a really good You're

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in a really good position that way.

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Speaker 8: So it's the thing I was going to say before too,

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is like, you know, with the way the way Spotify

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and the way social media work now is you can

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actually reach a very large audience without having a go

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are So you know that, and and that's a constantly

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evolving situation because the algorithms change, and and what the

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social media's favor changes.

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Speaker 9: But you know that.

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Speaker 8: And another thing too is, like I heard someone put

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it one time, win your hometown, because a lot of

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people think like, oh, I got this great band, I

318
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got to get to Nashville asap, and it's like, again,

319
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that's one approach, but I think winning the hometown, I

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mean I feel like that's something you know, we've we've

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gained some some solid followers. They may not make it

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out to every single show, but we know they're out there, right.

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Speaker 6: Yeah, yeah, when you're hometown. Yeah, that's a good way

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of putting it. Yeah, it makes sense.

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Speaker 10: It's funny sometimes like I have some like just someone

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like my closest friends, they're like, you know, sometimes you'd

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expect your friend, but oh, like it's great.

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Speaker 7: But like I have some friends that come.

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Speaker 10: Up to you and they're like they're like, dude, I've

330
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played back to you like one hundred and fifty times

331
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on my Spotify rap. Like they're like this, you know,

332
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they're like singing lyrics to me, and I'm just like,

333
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it's very funny. Just be like, you know, you're just

334
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like a really close friend to me. But to see

335
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like the genuine support of that, and then like the

336
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genuine love of a song. It's just like, you know,

337
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it's cool, like like you're saying, just kind of like

338
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kind of hometown court thing. Just feels like, you know,

339
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it's nice to feel like you got people behind you

340
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doing that stuff, like right right.

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Speaker 6: Yeah, exactly exactly, Well we should. Uh so let's play

342
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another one. And one of you had said suggested we

343
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play something from back view from the previous Uh yeah.

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Speaker 9: Yeah, yeah, let's do the song back to You that

345
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Mike just alluded to. Good timing.

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Speaker 6: Oh, here we go. I found it, okay, And if

347
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you are just joining us, we have slim volume here

348
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with us live in studio, and uh, I'm trying to

349
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download this and it's uh not happening for me as

350
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quickly as i'd like.

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Speaker 8: What you're here on this track is the uh, like

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I said before, the flip side of the folk rock thing,

353
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I have a more indie rock forward tune which was uh,

354
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you know, kind of based off a little progression and

355
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riff that Mike brought in that was worked into into

356
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a song. So yeah, just a good, good dynamic on

357
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this one.

358
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Speaker 6: All right, let's give this a listen. This is back

359
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to You. The band is slim volume.

360
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Speaker 2: I think we come too far to turn up back

361
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right now.

362
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Speaker 4: I think the rook's too hard. I'm the best when

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you're not around.

364
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Speaker 12: I spent the last fewnights just about an hour to sleep.

365
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Speaker 3: Just wait, go you there.

366
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Speaker 4: Said, when you tis up there, say I.

367
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Speaker 3: Got a show in my face here.

368
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Speaker 12: I spent the last fair nights just about an hour's race.

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May I been.

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Speaker 2: Trying maybe for young.

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Speaker 12: Man.

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Speaker 2: I try, but I can't.

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Speaker 3: Be trying away back to you, back to you, back.

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Speaker 4: To me, come home feeling red. Time's come in soon, apock.

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Speaker 12: The lift tip before a horseman a running full.

376
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Speaker 4: I spent the last fever nights just.

377
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Speaker 2: About trying to breathe.

378
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Speaker 4: An baby, follow.

379
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Speaker 12: You like God spoken, crying hot check finding a way back.

380
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Speaker 2: Back to me? That the crying baby for you. May

381
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but hot chick fining away, volunting.

382
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Speaker 6: That is back to you. That is slim volume. Everything

383
00:20:59,559 --> 00:21:02,160
you guys do is so catchy, like if you like,

384
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if you're if you listen to that and you're not

385
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tapping along, you're probably in a coma or something. That's

386
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like the and it's like the perfect pop indie song.

387
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It's it's just it's it's perfect.

388
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Speaker 3: Thank you.

389
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Speaker 6: Yeah, you're you're, You're welcome. It is it is well

390
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earned if you are just joining us a slim volume

391
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is here with us live in studio on this uh

392
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Saturday morning, and uh that one must go over well

393
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live too, I would imagine. I would imagine that gets

394
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a pretty pretty big response. Yeah, that one's been successful.

395
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Speaker 8: I will say selfishly though that lyric that the the

396
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vocal at the end is stretching my capabilities.

397
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Speaker 6: Yeah, And so it's a tricky one.

398
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Speaker 8: It's kind of like a there's a famous story of

399
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the of the Eagles of Randy Meisner, who wrote a

400
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What's What's take it to the Limit and he hated

401
00:21:49,440 --> 00:21:51,559
singing it because it was so hard for him to

402
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sing and everyone expected him to deliver it night after night.

403
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So I know it's not quite Randy Meisner level, but

404
00:21:58,119 --> 00:22:01,319
it is similar that I wrote myself.

405
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Speaker 6: Into a corner a little bit with that line. Well,

406
00:22:03,640 --> 00:22:07,200
do you know the story of when he got into

407
00:22:07,440 --> 00:22:10,839
Meiser got into a huge argument with Don Henley about

408
00:22:11,359 --> 00:22:13,519
they were backstage one night at a show and Meisner

409
00:22:13,559 --> 00:22:15,720
didn't want to sing that song, yeah, because he didn't

410
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feel up to it. He'd been partying too much or

411
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so right, and Henley was furious, and I think I

412
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think that there might have even been uh, they might

413
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have thrown hands or pushed and shoved or something.

414
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Speaker 9: That's surprising knowing Don Henley. Usually he's so level headed.

415
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Speaker 8: Yeah, it hasn't come to hands throwing yet, but it

416
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has been one that I will say that one. That

417
00:22:33,759 --> 00:22:37,319
one is one where if the audience doesn't seem like

418
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they're gonna appreciate it, then it's really tricky because if

419
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the audience is responding, I can sing it yeah, no problem. Yeah,

420
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And that's kind of the the blessing and the curse

421
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of being a singer, I guess, right.

422
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Speaker 10: Right to pour pour your heart out in like a

423
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you know, like a half empty room of people, just

424
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like you know, like eating a cheeseburger.

425
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Speaker 7: Try to push that out. It's just kind of like,

426
00:22:56,799 --> 00:22:58,400
you know, I could see that being difficult.

427
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Speaker 6: Yeah, I can see that.

428
00:23:00,079 --> 00:23:00,279
Speaker 9: Yeah.

429
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Speaker 6: Yeah. Are there any other songs where you kind of

430
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push that?

431
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Speaker 8: No, I mean, i'd say that's the trickiest one. I

432
00:23:06,160 --> 00:23:07,200
think Jake has a couple.

433
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Speaker 9: Really, there's probably some. There's a lot of songs where

434
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we will sing in harmony and I'll sing a higher

435
00:23:13,680 --> 00:23:16,440
part and like sometimes I'll be like, guys, can we

436
00:23:16,519 --> 00:23:19,119
do that one a little later? Can we do that

437
00:23:19,200 --> 00:23:22,319
like third or fourth bit? Yeah, so I'm not quite

438
00:23:22,319 --> 00:23:25,720
as creaky. That makes sense, So yeah, it happens for sure,

439
00:23:25,880 --> 00:23:26,480
that makes sense.

440
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Speaker 8: I think like with the new album though, like we're

441
00:23:29,160 --> 00:23:31,720
trying to kind of strike I feel like we struck

442
00:23:31,759 --> 00:23:34,119
a little bit more of a balance between that energy

443
00:23:34,240 --> 00:23:36,240
that we just heard and then the first song we

444
00:23:36,359 --> 00:23:38,599
heard and if you could imagine what those would sound

445
00:23:38,680 --> 00:23:41,200
like if they had a baby's kind of what a

446
00:23:41,240 --> 00:23:43,039
lot of that the new album is where it's got

447
00:23:43,039 --> 00:23:47,319
that pop indipop energy, but it's not so like in

448
00:23:47,440 --> 00:23:50,039
your face, which is a little outside of kind of

449
00:23:50,119 --> 00:23:53,599
like what our sound is to begin with. But I mean,

450
00:23:53,880 --> 00:23:56,160
we're not going to stop ourselves from writing something like that.

451
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Speaker 6: Yeah, yeah, yeah, Do you guys play songs out that

452
00:24:00,359 --> 00:24:03,880
you haven't recorded yet or yeah? Because of Matt you know,

453
00:24:03,920 --> 00:24:05,759
well yeah, I think we talked about that earlier. Actually,

454
00:24:05,799 --> 00:24:07,799
now that I recall you, because you some of the

455
00:24:07,920 --> 00:24:10,039
songs that are going to be on the album, you're

456
00:24:10,079 --> 00:24:12,599
playing out right, So yeah, is it a lot of them?

457
00:24:12,680 --> 00:24:12,799
Speaker 12: Is it?

458
00:24:12,920 --> 00:24:14,839
Speaker 6: Is it quite a few of them that you're playing.

459
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Speaker 9: We're finally in the position when we're catching up a

460
00:24:17,000 --> 00:24:20,359
little bit, but there's a lot like we're always writing stuff,

461
00:24:20,440 --> 00:24:23,240
so it is tough. Like the moment we catch up

462
00:24:23,319 --> 00:24:25,559
is the moment there's a handful of new songs. Mike,

463
00:24:25,680 --> 00:24:26,559
looks like you had something.

464
00:24:26,839 --> 00:24:26,880
Speaker 6: No.

465
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Speaker 10: I was just gonna say, like with the new album,

466
00:24:28,519 --> 00:24:30,119
like I feel like we've played like, you know, probably

467
00:24:30,119 --> 00:24:32,680
a majority majority of it at least once or twice

468
00:24:32,799 --> 00:24:34,880
live in a live setting. You don't mean just like yeah,

469
00:24:35,000 --> 00:24:36,480
like I was saying, it's just a great way to

470
00:24:36,559 --> 00:24:37,720
kind of like flush things out.

471
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Speaker 9: You know.

472
00:24:37,960 --> 00:24:39,759
Speaker 10: It's one thing like you do it in a practice

473
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from all the time stuff like that, and then like

474
00:24:41,400 --> 00:24:43,440
sometimes just playing in a different setting for like a

475
00:24:43,559 --> 00:24:45,559
freshet of years, it's kind of like might give you

476
00:24:45,599 --> 00:24:47,279
a fresh idea, like a new like kind of a

477
00:24:47,400 --> 00:24:49,240
view on the song to kind of like take that

478
00:24:49,359 --> 00:24:51,319
into the studio and just be like I like, you know,

479
00:24:51,720 --> 00:24:53,880
playing this live, I heard that this could be kind

480
00:24:53,880 --> 00:24:55,319
of like a cool thing to add to it. Like,

481
00:24:55,400 --> 00:24:57,720
you know, sometimes you hear like what is missing when

482
00:24:57,720 --> 00:24:59,799
you're playing live that like you don't have the ability

483
00:24:59,839 --> 00:25:01,519
to to do with like four people, you know what

484
00:25:01,559 --> 00:25:01,799
I mean.

485
00:25:02,000 --> 00:25:05,680
Speaker 6: Yeah, Yeah, Well I would imagine too, like like happened

486
00:25:05,720 --> 00:25:08,279
with Big Plans, you know, with the the ending, which

487
00:25:08,359 --> 00:25:10,440
which turned out to be kind of a surprise. I mean,

488
00:25:10,799 --> 00:25:12,759
does that happen with other songs too, Like when you're

489
00:25:12,759 --> 00:25:14,599
recording with somebody at the caliber of Eric Sotter, I

490
00:25:14,599 --> 00:25:18,319
would imagine that that. Sometimes there are some some surprises

491
00:25:18,440 --> 00:25:21,240
where it's like, well, okay, this this is not what

492
00:25:21,359 --> 00:25:22,680
we thought it was going to be when we were

493
00:25:22,720 --> 00:25:25,599
playing it out at live shows. Now it's the song

494
00:25:25,799 --> 00:25:28,319
is like do you ever have something that's changed significantly?

495
00:25:28,519 --> 00:25:30,119
Or it's like, wow, this is really different.

496
00:25:30,319 --> 00:25:33,079
Speaker 8: We've gotten We've just gotten better in the studio too,

497
00:25:33,640 --> 00:25:37,920
and being able to use our time more effectively, and yeah,

498
00:25:38,119 --> 00:25:40,279
just throw ideas around and not feel like if something

499
00:25:40,440 --> 00:25:43,000
gets put down, like it has to stay like maybe

500
00:25:43,039 --> 00:25:46,839
we'll use it somehow or Yeah, surprises abound.

501
00:25:47,400 --> 00:25:49,400
Speaker 9: There's little things that pop up brand new in the

502
00:25:49,400 --> 00:25:51,119
studio all the time. Like on the first track you

503
00:25:51,200 --> 00:25:55,240
played Big Plans, there's a guitar solo thing at the

504
00:25:55,359 --> 00:25:59,160
end with those bent guitar notes and stuff that Mike played. Yeah,

505
00:25:59,200 --> 00:26:01,400
and I don't think we ad that going in to

506
00:26:01,519 --> 00:26:03,960
the studio at all or some version of it.

507
00:26:04,279 --> 00:26:06,079
Speaker 10: No, not not even there was just kind of like

508
00:26:06,599 --> 00:26:09,119
like that intro and that ending of that song was

509
00:26:09,200 --> 00:26:11,480
something Trent had introduced because it was a tune that

510
00:26:11,880 --> 00:26:13,680
Jake had brought and kind of flushed out with like

511
00:26:13,839 --> 00:26:15,880
me and Johnny like just jamming at my house one day.

512
00:26:16,440 --> 00:26:19,119
So as Trent added these like this new intro in

513
00:26:19,200 --> 00:26:21,359
outro so to speak, you know, we brought it into

514
00:26:21,400 --> 00:26:23,920
the studio and then working with that guy James Palco

515
00:26:24,000 --> 00:26:26,279
that he mentioned earlier. He's just a great kind of

516
00:26:26,319 --> 00:26:29,440
producer mindset where like you know, multi instrumentalist kind of guy.

517
00:26:29,519 --> 00:26:31,279
So like I was like, you know, I had the

518
00:26:31,359 --> 00:26:33,319
ideas of something to do with Ben's but he really

519
00:26:33,400 --> 00:26:35,279
like sat with me and helped shape like this like

520
00:26:35,319 --> 00:26:37,680
the rhythmic aspect of that and like have it be

521
00:26:37,839 --> 00:26:39,799
like something that just like kind of fit well over

522
00:26:40,200 --> 00:26:42,559
you know, two dudes singing still to make it be

523
00:26:42,680 --> 00:26:45,400
like it's repetitive and it's like easy to kind of

524
00:26:45,440 --> 00:26:47,839
lock into, but it gives space for those like you know,

525
00:26:47,960 --> 00:26:49,519
Jake and Trent to sing and do their thing.

526
00:26:49,839 --> 00:26:56,119
Speaker 6: Yeah. So yeah, oh excellent and then so guys probably

527
00:26:56,160 --> 00:26:58,079
don't have any kind of an eta yet right on

528
00:26:58,240 --> 00:27:00,599
when when you think you're gonna have that out or

529
00:27:00,720 --> 00:27:01,480
the new album.

530
00:27:01,799 --> 00:27:03,240
Speaker 7: I think it'll be kind of like a slow drip

531
00:27:03,319 --> 00:27:03,799
of singles.

532
00:27:03,960 --> 00:27:06,440
Speaker 10: Maybe do like two or three singles throughout the year,

533
00:27:06,519 --> 00:27:08,759
maybe like you know, like late winter and then like

534
00:27:08,920 --> 00:27:10,880
mid spring or something, and then maybe one closer to

535
00:27:10,960 --> 00:27:12,480
the fall, and then like you know, aim for like

536
00:27:12,599 --> 00:27:13,960
maybe like October November.

537
00:27:14,119 --> 00:27:16,720
Speaker 7: Okay, seems it seems like a cozy time to drop.

538
00:27:16,839 --> 00:27:18,559
People are kind of hunkering back down, you know.

539
00:27:18,680 --> 00:27:19,400
Speaker 6: Yeah exactly.

540
00:27:19,680 --> 00:27:22,680
Speaker 8: Yeah, yeah, that's kind of the target we're shooting at,

541
00:27:22,799 --> 00:27:23,960
is like fall time.

542
00:27:24,400 --> 00:27:24,680
Speaker 6: Okay.

543
00:27:24,880 --> 00:27:27,160
Speaker 8: Yeah, yeah, just like my said, a couple of singles

544
00:27:27,160 --> 00:27:30,640
throughout the year. Yeah, we have you know, it's in

545
00:27:30,759 --> 00:27:33,079
it's in progress right now. We have maybe like five

546
00:27:33,200 --> 00:27:36,000
or six days booked with Eric to finish it up,

547
00:27:36,240 --> 00:27:38,039
kind of spread out over the next couple of months.

548
00:27:38,119 --> 00:27:41,119
So okay, but you know, it basically comes down to

549
00:27:41,359 --> 00:27:46,400
one day equals one song, Okay, yeah, after you've already

550
00:27:46,480 --> 00:27:49,480
tracked drums. Yeah, so we may need a couple of

551
00:27:49,480 --> 00:27:52,039
additional days, but yeah, yeah, but you know it's worth

552
00:27:52,039 --> 00:27:54,400
it because I think, you know, with with recording more

553
00:27:54,480 --> 00:27:57,079
and and and and I've done this inother bands too.

554
00:27:57,119 --> 00:27:59,200
It's like I hate the feeling of recording something and

555
00:27:59,240 --> 00:28:01,759
then a year later going back and be like, damn, yeah,

556
00:28:01,920 --> 00:28:04,720
I wish we did this a little different. So, you know,

557
00:28:04,920 --> 00:28:08,200
I think everything is the stars have aligned nicely on this.

558
00:28:08,440 --> 00:28:10,680
I think we're all we're on the right mindset to

559
00:28:10,839 --> 00:28:12,880
make this like our best material.

560
00:28:13,119 --> 00:28:13,359
Speaker 9: Yeah.

561
00:28:13,880 --> 00:28:14,079
Speaker 6: Yeah.

562
00:28:14,480 --> 00:28:17,279
Speaker 10: To tack on to what you were asking earlier about

563
00:28:17,359 --> 00:28:20,079
like you know, you know, in terms of the end

564
00:28:20,119 --> 00:28:22,480
of big plans, having like the organ and having elements

565
00:28:22,559 --> 00:28:24,319
that like you know, are things that like we don't

566
00:28:24,519 --> 00:28:26,599
we don't yet have the ability to bring live.

567
00:28:26,480 --> 00:28:27,079
Speaker 7: And stuff like that.

568
00:28:27,519 --> 00:28:29,559
Speaker 10: I think this, this new and up and up and

569
00:28:29,599 --> 00:28:31,599
coming album is like there's like a lot of that.

570
00:28:31,799 --> 00:28:33,599
Like there's a lot of like really cool elements that

571
00:28:33,720 --> 00:28:36,480
like we're you know, getting into or like dabbling with

572
00:28:36,799 --> 00:28:38,960
and like sounds and like textures and like you know,

573
00:28:39,039 --> 00:28:41,279
like synth sounds and things to really kind of like

574
00:28:41,359 --> 00:28:43,599
you know, just like elevate it. And as Trend was saying,

575
00:28:43,640 --> 00:28:45,599
like getting more comfortable in the studio and like kind

576
00:28:45,599 --> 00:28:47,720
of like understanding how we can utilize our time and

577
00:28:47,759 --> 00:28:49,880
really like before we even go in the studio, be

578
00:28:49,920 --> 00:28:51,759
like all right, like you know, sitting down and kind

579
00:28:51,759 --> 00:28:53,599
of using those drums that we got to like make

580
00:28:53,680 --> 00:28:55,400
demos out of, and be like all right, like let's

581
00:28:55,440 --> 00:28:58,000
mess around with some extra some textural things on guitar

582
00:28:58,160 --> 00:28:59,960
or even like add some keys over it and stuff

583
00:29:00,119 --> 00:29:02,240
like that, like things that really like, you know, being

584
00:29:02,359 --> 00:29:04,480
prepared for in the studio, Like, hey, it's gonna save

585
00:29:04,519 --> 00:29:06,400
you time and money, you know what I mean, Because

586
00:29:06,440 --> 00:29:07,680
like it's kind of like, you know, to go in

587
00:29:07,720 --> 00:29:09,079
the studio and just be like all right, look, let's

588
00:29:09,160 --> 00:29:11,720
noodle on a synthesizer for like the next hour, and

589
00:29:11,880 --> 00:29:13,200
like you know, you know what I mean. It's just

590
00:29:13,279 --> 00:29:14,359
kind of like, you know, it's kind of like can

591
00:29:14,440 --> 00:29:15,839
be kind of productive at a certain point.

592
00:29:16,039 --> 00:29:16,240
Speaker 5: Yeah.

593
00:29:16,240 --> 00:29:17,599
Speaker 10: So so kind of like you know, just being a

594
00:29:17,640 --> 00:29:19,599
little bit more like ready and like you know, like

595
00:29:19,960 --> 00:29:22,640
having ideas in mind and like exploring new sounds and

596
00:29:22,680 --> 00:29:24,519
stuff like that is definitely something that's coming up in

597
00:29:24,559 --> 00:29:25,000
the new album.

598
00:29:25,200 --> 00:29:27,759
Speaker 6: Yeah No, but as you as you refer to though,

599
00:29:27,799 --> 00:29:30,359
being prepared it is so important and because you don't

600
00:29:30,400 --> 00:29:33,039
want to be uh, it's when you said, you know,

601
00:29:33,519 --> 00:29:35,319
noodleing on a on a keyboard for an hour. It

602
00:29:35,359 --> 00:29:39,000
reminded me of if you ever watch any documentaries of bands,

603
00:29:39,039 --> 00:29:40,920
you know, famous bands in the recording studio like the

604
00:29:41,000 --> 00:29:44,440
Eagles or whomever. It always looks like and if it's

605
00:29:44,480 --> 00:29:46,759
a band that's super famous, then they have millions and

606
00:29:46,839 --> 00:29:49,240
millions of dollars they can afford to do it this way.

607
00:29:49,559 --> 00:29:52,400
But sometimes in these documentaries it looks like the band

608
00:29:52,680 --> 00:29:54,880
it looks like they're just writing the album in the

609
00:29:54,920 --> 00:29:57,880
studio as they're recording it, you know, and you kind of,

610
00:29:58,079 --> 00:30:00,720
if you're the typical brooke musician, you're kind of sitting

611
00:30:00,720 --> 00:30:02,920
there watching, going how do they even how do they

612
00:30:02,960 --> 00:30:06,599
even do it this way? Yeah? You know, I said,

613
00:30:06,640 --> 00:30:08,960
you won't afford to just sit there and hey, I

614
00:30:09,039 --> 00:30:11,119
had an idea for a song today and they're already

615
00:30:11,519 --> 00:30:13,440
well into the album and it's like, so now they're

616
00:30:13,480 --> 00:30:14,640
just writing this new song.

617
00:30:15,400 --> 00:30:16,839
Speaker 9: It's one of those things where we can do that,

618
00:30:16,960 --> 00:30:19,720
but it's within the constraints of we better figure the

619
00:30:19,839 --> 00:30:22,039
idea out in a twenty minutes. If we don't, it's

620
00:30:22,079 --> 00:30:24,240
time to move on. If we're going to abandon this

621
00:30:24,440 --> 00:30:27,880
marimba part now since we haven't figured it out, you know.

622
00:30:28,079 --> 00:30:32,279
Speaker 6: Yeah, exactly exactly, well we should Uh, I'll let you

623
00:30:32,319 --> 00:30:34,960
guys pick we should play another one. I'm dying here

624
00:30:34,960 --> 00:30:36,400
another one. Like I said, I love your sound.

625
00:30:37,240 --> 00:30:38,000
Speaker 9: Ye just think on it.

626
00:30:38,599 --> 00:30:40,799
Speaker 10: Yeah, I mean, would you either jump back to like

627
00:30:40,880 --> 00:30:42,519
a like a big plans and do like a lay

628
00:30:42,720 --> 00:30:44,559
laying low or like you know, I know, last time

629
00:30:44,599 --> 00:30:46,039
we were here we did the running thing.

630
00:30:46,200 --> 00:30:48,240
Speaker 7: Yeah, okay, that could be kind of a nice one.

631
00:30:48,319 --> 00:30:51,640
Speaker 6: Yeah, yeah, laying laying low, lay low. We'll play that

632
00:30:51,720 --> 00:30:55,160
one next, all right. Uh, if you are just joining

633
00:30:55,240 --> 00:30:58,400
us Alive on Saturday morning, we have the band Slim

634
00:30:58,519 --> 00:31:01,000
Volume here with us Alive and Studio. This is their

635
00:31:01,079 --> 00:31:03,559
third appearance on the show. How By the way, while

636
00:31:03,640 --> 00:31:05,640
this is loading up, how long have you guys been around?

637
00:31:06,839 --> 00:31:08,720
You're kind of in the grand scheme of things. Still

638
00:31:08,720 --> 00:31:11,279
a fairly new band, right, oh yeah.

639
00:31:11,119 --> 00:31:14,440
Speaker 9: And a half years, half years ish, going on, coming

640
00:31:14,519 --> 00:31:17,319
up to three soon? Yeah, twenty twenty two sometime is

641
00:31:17,400 --> 00:31:20,599
like I think formally when we started as a four

642
00:31:20,680 --> 00:31:23,880
piece band late twenty two? Does that sound correct to

643
00:31:24,400 --> 00:31:26,680
I'm looking to the other, to my historians.

644
00:31:26,720 --> 00:31:31,200
Speaker 8: It's all a blur and the official biography on our website.

645
00:31:31,400 --> 00:31:35,160
Twenty twenty three was the mark of Oka of the start.

646
00:31:35,319 --> 00:31:39,000
Speaker 6: Okay, yeah, yeah, all right, Well let's give this a spin.

647
00:31:39,440 --> 00:31:42,680
This is Laying Low. The band is Slim Volume.

648
00:31:56,119 --> 00:31:56,400
Speaker 3: Low.

649
00:31:58,839 --> 00:32:01,880
Speaker 1: I'm looking over my shoulder.

650
00:32:03,319 --> 00:32:05,440
Speaker 4: You're somewhere, need to.

651
00:32:05,599 --> 00:32:07,680
Speaker 3: Be by wonderment?

652
00:32:09,720 --> 00:32:16,039
Speaker 4: Where to go? Where nobody knows me?

653
00:32:17,440 --> 00:32:22,640
Speaker 3: And I can't make memories in the songs that I say,

654
00:32:24,119 --> 00:32:31,359
who who?

655
00:32:51,960 --> 00:32:59,359
Speaker 5: Sometimes I'm a ride, Sometimes I'm a round. Sometimes it

656
00:32:59,640 --> 00:33:06,720
takes some that just to get a long. Sometimes it's

657
00:33:06,839 --> 00:33:13,960
me and sometimes it's you. Sometimes it's too late.

658
00:33:13,920 --> 00:33:16,400
Speaker 1: To call, but I want to.

659
00:33:18,480 --> 00:33:19,200
Speaker 2: Pick up that.

660
00:33:19,720 --> 00:33:23,279
Speaker 4: Phone, get on the ball.

661
00:33:24,599 --> 00:33:28,240
Speaker 3: Somethings get old and some.

662
00:33:28,720 --> 00:33:31,920
Speaker 4: Take some I used to.

663
00:33:34,000 --> 00:33:41,200
Speaker 2: I know what it's true.

664
00:34:39,679 --> 00:34:41,400
Speaker 6: I got so lost in that one. I didn't even

665
00:34:41,400 --> 00:34:45,199
notice we were at the end. That is Laying Low.

666
00:34:45,320 --> 00:34:47,920
That is Slim Volume. That was a good choice. Wow,

667
00:34:48,440 --> 00:34:51,519
that's really good. That song. It's just it's shimmers. I

668
00:34:51,559 --> 00:34:54,519
don't know how else to put it. It shimmers everything

669
00:34:54,559 --> 00:34:56,320
about it. It's just so good. And the way I

670
00:34:56,400 --> 00:34:59,159
love the harmonies and the way the guitar sounds, everything

671
00:34:59,159 --> 00:35:01,679
about that is really good. Uh, we have a Slim

672
00:35:01,760 --> 00:35:03,800
Volume live in studio with us if you're just shoining

673
00:35:03,960 --> 00:35:07,000
us on this uh this cold Saturday morning. But yeah,

674
00:35:07,079 --> 00:35:09,320
what a great track. Yeah, I'm curious, is that one

675
00:35:09,320 --> 00:35:11,960
of the more challenging ones that you've recorded. It sounds

676
00:35:12,079 --> 00:35:14,960
like just sonically there's a lot going on there and

677
00:35:15,119 --> 00:35:17,679
with the vocals, and is that one of the more

678
00:35:17,760 --> 00:35:18,599
challenging ones.

679
00:35:18,519 --> 00:35:21,239
Speaker 9: Or now, I mean it's a really good question.

680
00:35:21,360 --> 00:35:23,880
Speaker 8: Yeah, I mean there's sort of a simplexity about it.

681
00:35:24,239 --> 00:35:26,639
Speaker 6: Yeah, it's yeah. I feel like that one was one

682
00:35:26,719 --> 00:35:28,559
that we had been working on for a really long time.

683
00:35:28,719 --> 00:35:30,400
Speaker 8: Yeah, but by the time it came to the studio,

684
00:35:30,519 --> 00:35:32,800
it felt pretty easy to get that one in.

685
00:35:32,880 --> 00:35:33,840
Speaker 6: I feel like, at least for me.

686
00:35:34,440 --> 00:35:37,760
Speaker 10: Yeah, really, yeah, that makes sense because like as I

687
00:35:37,840 --> 00:35:38,960
was listening to it, I was like, I was like,

688
00:35:39,039 --> 00:35:41,119
this song has been around for a long time. Okay,

689
00:35:41,320 --> 00:35:43,159
it's been it's been like, you know, kicking around and

690
00:35:43,199 --> 00:35:47,280
played a lot and played out live multiple times before

691
00:35:47,280 --> 00:35:49,079
it ever got recorded. So I kind of think it

692
00:35:49,119 --> 00:35:51,199
felt pretty organic for us going in the studio and

693
00:35:51,280 --> 00:35:53,199
kind of doing that, and then like that was like

694
00:35:53,280 --> 00:35:56,159
I feel like one of our first introductions into like

695
00:35:56,559 --> 00:35:58,480
adding like a lot of textual things to it, like

696
00:35:58,519 --> 00:35:59,840
because I don't know if you heard like this little

697
00:35:59,880 --> 00:36:02,199
key key's part in there and stuff, and there's some

698
00:36:02,320 --> 00:36:04,400
kind of like just nice little like guitar like little

699
00:36:04,639 --> 00:36:05,199
chimy things.

700
00:36:05,719 --> 00:36:07,519
Speaker 6: That's what I mean. There's a lot going on in there.

701
00:36:07,760 --> 00:36:09,760
Speaker 10: Yeah, yeah, yeah, So I think that was our first

702
00:36:09,840 --> 00:36:11,760
kind of real like attempt at trying to give it

703
00:36:11,880 --> 00:36:14,760
like a its own kind of specific sound versus just

704
00:36:14,840 --> 00:36:16,880
what we do live, which is like easy to record,

705
00:36:16,960 --> 00:36:18,199
you know what I mean, But that's just like what

706
00:36:18,280 --> 00:36:19,559
can we do to like elevate this?

707
00:36:19,920 --> 00:36:21,800
Speaker 6: Yeah? Yeah, that's the thing.

708
00:36:21,920 --> 00:36:24,280
Speaker 8: Sometimes you go record something in the studio the way

709
00:36:24,360 --> 00:36:27,079
that you perform it and rehearse it, and then you

710
00:36:27,199 --> 00:36:29,639
sit there listen back and you're like, wow, it sounds empty,

711
00:36:30,320 --> 00:36:32,880
you know, it's it's uh, it's just missing something.

712
00:36:33,000 --> 00:36:33,199
Speaker 6: Yeah.

713
00:36:33,239 --> 00:36:35,239
Speaker 8: So sometimes it's trying to figure out and that's probably

714
00:36:35,280 --> 00:36:37,039
the trickiest part on that one, just trying to figure out, like,

715
00:36:37,039 --> 00:36:39,679
all right, what's going to make this sound full and interesting?

716
00:36:39,760 --> 00:36:40,800
Speaker 6: The whole time, I.

717
00:36:40,840 --> 00:36:43,840
Speaker 10: Think we struggled, Sorry you say we struggled the most

718
00:36:43,920 --> 00:36:46,400
with what Trent just said. I think on Running Thin,

719
00:36:47,119 --> 00:36:48,679
Like Running Thin was one of those things. I think

720
00:36:48,719 --> 00:36:52,119
we literally re recorded, like, like, what's on that the

721
00:36:52,199 --> 00:36:52,679
third time?

722
00:36:52,760 --> 00:36:52,960
Speaker 6: Yeah?

723
00:36:53,159 --> 00:36:56,679
Speaker 9: Oh really. Yeah. It's funny because when you asked, was

724
00:36:56,719 --> 00:37:00,400
it hard to we're challenging to record that? My initial

725
00:37:00,559 --> 00:37:02,960
reaction was no, But then I was thinking back, and

726
00:37:02,960 --> 00:37:05,400
I'm pretty sure it's one of a few songs that

727
00:37:05,440 --> 00:37:07,239
we've recorded like two or three times. I think we

728
00:37:07,280 --> 00:37:10,880
did Laying Low before. Yeah, we did, and maybe felt

729
00:37:10,920 --> 00:37:12,760
like we got it at the time, and then listened back.

730
00:37:12,840 --> 00:37:15,920
Running Thin is another one where we heard what we

731
00:37:16,280 --> 00:37:18,800
kind of did and heard the finished product and just

732
00:37:18,840 --> 00:37:20,400
sort of felt like, I don't know, that doesn't feel

733
00:37:21,440 --> 00:37:24,920
done yet. Maybe yeah, And so yeah, it's one of

734
00:37:24,920 --> 00:37:27,639
those things We're fine. Like I think the shim shimmer

735
00:37:27,760 --> 00:37:29,920
is good. I'm glad that that comes across because I

736
00:37:29,960 --> 00:37:33,159
think that maybe was the missing ingredient in the sound of.

737
00:37:33,199 --> 00:37:34,239
Speaker 6: That part of that though too.

738
00:37:34,320 --> 00:37:38,320
Speaker 8: The shimmer is so these both these EPs, we sent

739
00:37:38,400 --> 00:37:43,360
them out to Wild Feather Studios, which is in Nashville,

740
00:37:43,480 --> 00:37:46,760
which is the guy that Mike got connected with in

741
00:37:46,880 --> 00:37:49,760
a blues band. He used the plant and this guy's

742
00:37:50,000 --> 00:37:55,079
a really good mixing engineer. So Running Laying Low what

743
00:37:55,159 --> 00:37:57,519
we just listened to that was I think the only

744
00:37:57,679 --> 00:38:00,719
song of the eight that he mixed that came back

745
00:38:01,039 --> 00:38:04,000
first try, like that was just the mix okay, And

746
00:38:04,239 --> 00:38:07,199
he added some of those shimmery elements. There's some like

747
00:38:07,280 --> 00:38:11,719
crystallization reverb in the vocals that really makes it blend. Yeah,

748
00:38:11,920 --> 00:38:14,800
he said it reminded him of Oasis. Yeah, and I

749
00:38:14,880 --> 00:38:16,719
think and I think that's where he pushed the mix

750
00:38:16,800 --> 00:38:18,480
a little bit, which I don't know if I can

751
00:38:18,519 --> 00:38:19,079
really attest.

752
00:38:19,719 --> 00:38:22,320
Speaker 9: It's funny because I was thinking of that while we

753
00:38:22,360 --> 00:38:23,639
were listening to just Now, and I was like, this

754
00:38:23,920 --> 00:38:27,000
definitely sounds like Oasis this song. And that's what's funny

755
00:38:27,000 --> 00:38:28,800
about going into the studio or going through the whole

756
00:38:28,840 --> 00:38:33,199
mixing and mastering processes. I never thought that this song

757
00:38:33,320 --> 00:38:37,599
sounds like Oasis one time until it was to Zach

758
00:38:38,039 --> 00:38:40,559
who kind of turned it a little bit into an

759
00:38:40,599 --> 00:38:42,679
Oasis sign. Now I definitely hear it with the way

760
00:38:42,760 --> 00:38:46,159
the acoustic sounds and shimmers, to use your word again.

761
00:38:46,039 --> 00:38:50,000
Speaker 6: Yeah, yeah, absolutely, absolutely, very cool. We have a slim

762
00:38:50,119 --> 00:38:52,440
volume here with us if you are just joining us

763
00:38:52,679 --> 00:38:55,760
talking with the guys, and do you have how many

764
00:38:55,840 --> 00:38:57,599
how many songs as a band do you have how

765
00:38:57,639 --> 00:39:00,079
many original songs at this point, I think.

766
00:39:00,119 --> 00:39:03,519
Speaker 10: Released on Spotify there's like seventeen okay, something like that,

767
00:39:03,679 --> 00:39:06,679
and then the you know, but plus plus the ten

768
00:39:07,159 --> 00:39:08,760
of the album that are like you know, just being

769
00:39:08,840 --> 00:39:11,400
recorded are like you know, quote unquote done yeah, and

770
00:39:11,519 --> 00:39:13,920
then like beyond that, like we have this folded, it's

771
00:39:13,920 --> 00:39:16,639
probably got like another like fifteen you know, like yeah,

772
00:39:16,719 --> 00:39:19,280
things that are like you know, if not half done,

773
00:39:19,360 --> 00:39:21,639
pretty close to being done. And then like you know,

774
00:39:21,760 --> 00:39:23,559
it's like Jake was saying, it's like right when you

775
00:39:23,559 --> 00:39:25,320
feel like you're caught up, you're like all right, like no,

776
00:39:25,440 --> 00:39:28,159
we're not right right, yeah, time to keep going and stuff,

777
00:39:28,159 --> 00:39:30,719
which is it's like a great like like problem to have,

778
00:39:30,880 --> 00:39:32,760
you know, it's like not a problem. It's like it's

779
00:39:32,840 --> 00:39:35,159
a blessing to have so much ideas kicking around and

780
00:39:35,199 --> 00:39:35,639
stuff like that.

781
00:39:35,760 --> 00:39:37,559
Speaker 7: But it can't get a little overwhelming if you don't

782
00:39:37,599 --> 00:39:38,079
keep up with it.

783
00:39:38,320 --> 00:39:40,119
Speaker 6: Yeah. Yeah, but you have a lot of music for

784
00:39:40,159 --> 00:39:42,519
a band that's you know again really hasn't been around

785
00:39:42,559 --> 00:39:44,639
that long. You know, You've you've got a lot of

786
00:39:44,679 --> 00:39:46,440
You've got a lot of music. Do you guys do

787
00:39:46,519 --> 00:39:48,519
any covers when you play live do you. Oh, yeah,

788
00:39:48,960 --> 00:39:49,320
what we do.

789
00:39:49,840 --> 00:39:52,480
Speaker 8: Yeah, some of the gigs we play just require, you know,

790
00:39:52,639 --> 00:39:56,079
having cover material, and that's a constant kind of struggle

791
00:39:56,119 --> 00:39:58,199
of feeling like all right, we got we got enough

792
00:39:58,239 --> 00:40:01,239
cover material now, and then it's like, wow, no we don't,

793
00:40:01,280 --> 00:40:04,000
cause like these five songs don't really feel is good

794
00:40:04,039 --> 00:40:06,039
anymore to play, and so it's always kind of like

795
00:40:06,159 --> 00:40:08,440
mixing new ones in. Yeah, but I mean, yeah, we

796
00:40:08,559 --> 00:40:12,199
cover everything from you know, the Beatles to we got

797
00:40:12,239 --> 00:40:16,119
a Kings of Leon cover strokes. I mean, we you know,

798
00:40:16,480 --> 00:40:19,920
some early two thousand stuff, like a lot of classic

799
00:40:20,039 --> 00:40:24,519
rock stuff. But it's selective too. It's it's not like

800
00:40:24,760 --> 00:40:26,719
I don't know, we don't really just go play anything.

801
00:40:27,000 --> 00:40:30,880
Speaker 9: Yeah, we don't have much metal in the repertoire right juncture.

802
00:40:31,079 --> 00:40:32,800
Speaker 10: Yeah, we like to feel like we pick things that

803
00:40:32,920 --> 00:40:35,239
kind of like like make sense sonically, they like kind

804
00:40:35,239 --> 00:40:37,960
of fit the vibe of what we do. Yeah, sometimes

805
00:40:38,000 --> 00:40:40,360
it's kind of nice to switch it up with different things,

806
00:40:40,400 --> 00:40:43,039
like he's saying, like just generationally speaking, from like the

807
00:40:43,079 --> 00:40:45,480
Beatles to like in Beach Boys to doing like you know,

808
00:40:45,679 --> 00:40:48,239
more of a modern sonic death cab for QUT.

809
00:40:48,199 --> 00:40:49,320
Speaker 9: Cover or whatever.

810
00:40:49,400 --> 00:40:50,760
Speaker 10: It is like you know, try and like you know,

811
00:40:51,199 --> 00:40:53,320
appeal to all ears out there in the crowd kind

812
00:40:53,360 --> 00:40:53,559
of thing.

813
00:40:53,719 --> 00:40:58,159
Speaker 8: Yeah, it's pretty much an impossible task to appeal to

814
00:40:58,280 --> 00:41:02,840
everybody every game, of course. Yeah, and it's just like

815
00:41:03,000 --> 00:41:04,840
you know, one gig to the next. Things we think

816
00:41:04,880 --> 00:41:07,320
are gonna work well don't, and things we don't aren't

817
00:41:07,320 --> 00:41:09,679
sure about like work great. Yeah, you know, It's it's

818
00:41:10,119 --> 00:41:12,320
really funny that way, like just just something that comes

819
00:41:12,360 --> 00:41:13,920
to minds like the Jackson Brown.

820
00:41:13,800 --> 00:41:16,440
Speaker 6: Song Somebody's Baby, Somebody's Baby.

821
00:41:16,679 --> 00:41:20,119
Speaker 8: I feel like that crushes like everywhere, no matter where,

822
00:41:20,400 --> 00:41:21,559
or it's a great song.

823
00:41:21,840 --> 00:41:22,679
Speaker 6: It's a great song.

824
00:41:22,760 --> 00:41:26,599
Speaker 9: Yeah, it's the platonic mean of a song. People like it.

825
00:41:26,960 --> 00:41:30,320
Speaker 8: So it's just it's just trying to find about thirty

826
00:41:30,440 --> 00:41:33,360
songs like that that we can be tight on.

827
00:41:34,039 --> 00:41:37,480
Speaker 7: We we've been doing like a Sister Golden Hair. Yeah,

828
00:41:37,679 --> 00:41:38,880
that's just an awesome tune.

829
00:41:38,920 --> 00:41:40,519
Speaker 10: Like yeah, I think we also like to pick songs

830
00:41:40,559 --> 00:41:42,320
that like we genuinely like love to play, you know

831
00:41:42,360 --> 00:41:43,599
what I mean. Like it's just kind of makes it

832
00:41:43,760 --> 00:41:46,320
like more genuine as a player, Like you know, if

833
00:41:46,320 --> 00:41:47,519
you just kind of like you really get into it

834
00:41:47,559 --> 00:41:48,719
and you just kind of like you know, you really

835
00:41:49,039 --> 00:41:51,440
do do your diligence to learn all the parts correctly

836
00:41:51,440 --> 00:41:52,880
and stuff like that, and like you know, doing the

837
00:41:52,920 --> 00:41:54,760
slide over sister Golden Hair, it's just like, you know,

838
00:41:54,840 --> 00:41:56,880
like that must be that's great, you know what I mean,

839
00:41:57,000 --> 00:41:58,719
Like you see people get pumped up about it. It's

840
00:41:58,719 --> 00:42:00,800
just like, yeah, who doesn't love that song?

841
00:42:01,159 --> 00:42:04,000
Speaker 6: I mean, right, yeah. Do you do any covers that

842
00:42:04,039 --> 00:42:06,119
are kind of obscure that not everyone in the audience

843
00:42:06,159 --> 00:42:07,599
necessarily realizes is the cover?

844
00:42:08,599 --> 00:42:11,480
Speaker 9: Well, we do a cover of this song called Sin

845
00:42:11,639 --> 00:42:15,320
City by the Flying Burrito Brothers, who was Graham Parson's

846
00:42:15,639 --> 00:42:18,000
band from back in the sixties. And the reason I

847
00:42:18,239 --> 00:42:20,079
mentioned that song is like, it's not I don't feel

848
00:42:20,079 --> 00:42:22,079
like it's that well known or in the mainstream. Really.

849
00:42:22,320 --> 00:42:24,519
It's one of those old kind of country folky songs

850
00:42:24,559 --> 00:42:26,199
that like, once you hear it feels like you've heard

851
00:42:26,239 --> 00:42:28,639
it or a song like it many times. Okay, And

852
00:42:28,719 --> 00:42:31,800
we recently recorded a cover for that that's coming out

853
00:42:31,840 --> 00:42:35,440
on a like a country music compilation. Oh really soon.

854
00:42:36,199 --> 00:42:37,039
Speaker 6: I have no idea when.

855
00:42:37,239 --> 00:42:39,920
Speaker 9: We don't know exactly when, but it'll be out and

856
00:42:40,039 --> 00:42:41,719
so that maybe that's something we can listen to on

857
00:42:41,800 --> 00:42:42,400
here sometime too.

858
00:42:42,519 --> 00:42:45,119
Speaker 6: Yeah, definitely. Yeah, Yeah, Now how did you how did

859
00:42:45,159 --> 00:42:46,280
you get the opportunity to do.

860
00:42:46,320 --> 00:42:47,880
Speaker 8: That, to be a part of that context that was

861
00:42:48,000 --> 00:42:49,079
actually so modern?

862
00:42:49,119 --> 00:42:49,519
Speaker 6: Fools?

863
00:42:49,679 --> 00:42:51,519
Speaker 8: Who has the album released shown a couple of weeks

864
00:42:51,800 --> 00:42:54,119
that we're playing it was a member from that band

865
00:42:54,760 --> 00:42:57,000
I was putting it together and just reached out to us.

866
00:42:57,320 --> 00:43:00,880
Oh wow, Yeah, I'm I'm not sure really any more

867
00:43:00,960 --> 00:43:02,480
details than that, honestly.

868
00:43:02,519 --> 00:43:05,320
Speaker 6: Did did did they let you pick the what cover

869
00:43:05,400 --> 00:43:05,840
you want to do?

870
00:43:06,119 --> 00:43:06,159
Speaker 1: Or?

871
00:43:06,320 --> 00:43:09,840
Speaker 9: Yeah? The idea was outlaw country? Also you know at

872
00:43:09,920 --> 00:43:14,199
Chris Christofferson, Willie Nelson, anything in that. Yeah.

873
00:43:14,320 --> 00:43:17,079
Speaker 6: Really, have you guys ever been on Rob show? Granted

874
00:43:17,079 --> 00:43:17,599
state of mind?

875
00:43:18,440 --> 00:43:22,119
Speaker 8: I have as an individual, like as a as myself.

876
00:43:21,920 --> 00:43:24,280
Speaker 9: Okay, okay, as a political candidate.

877
00:43:25,719 --> 00:43:27,360
Speaker 6: No, No, I was just curious because when you said

878
00:43:27,360 --> 00:43:29,599
out lack Country, my first thought was a Rob Rob

879
00:43:29,679 --> 00:43:32,199
has a lot of bands on his show. Does that

880
00:43:32,519 --> 00:43:35,039
you guys? You guys would be great on Rob show too? Yeah?

881
00:43:35,199 --> 00:43:38,559
Speaker 8: I think it's not scheduled, but yeah, I got I

882
00:43:38,679 --> 00:43:41,400
met Rob just like a few months ago. Yeah, I

883
00:43:41,480 --> 00:43:44,880
went to his open mic, yeah, pork City, Yeah, and

884
00:43:44,920 --> 00:43:47,280
I had never come across him, and I was mind

885
00:43:47,320 --> 00:43:49,360
blown because we just know we both know like the

886
00:43:49,440 --> 00:43:51,480
same mutual people. Yeah, yeah, I couldn't believe it. We

887
00:43:51,559 --> 00:43:54,079
had never crossed paths. Yeah, but the band will definitely

888
00:43:54,119 --> 00:43:55,119
be on his show at some point.

889
00:43:55,280 --> 00:43:57,360
Speaker 6: Yeah. And have you guys played at Pemworks City Limits.

890
00:43:58,400 --> 00:44:02,119
Speaker 8: I played there for like a solo show. But yeah,

891
00:44:02,159 --> 00:44:02,960
he wants to have us.

892
00:44:03,119 --> 00:44:05,159
Speaker 6: Yeah, yeah, good, Yeah, I can imagine that. Yeah, that's

893
00:44:05,159 --> 00:44:07,559
such a that's such a cool room to Rob is.

894
00:44:07,719 --> 00:44:10,280
Rob is doing amazing things. And of course a plug

895
00:44:10,320 --> 00:44:12,400
for a show he knows, Scranted State of Mind Fridays

896
00:44:12,400 --> 00:44:14,039
at six pm right here at w M and H.

897
00:44:14,559 --> 00:44:16,079
So yeah, he does a he does a lot for

898
00:44:16,159 --> 00:44:16,519
the scene.

899
00:44:17,960 --> 00:44:18,079
Speaker 7: Now.

900
00:44:18,159 --> 00:44:20,559
Speaker 6: That's cool though about the country compilation, but you don't

901
00:44:20,559 --> 00:44:22,960
know when it's gonna be out sometime sometime this year

902
00:44:23,000 --> 00:44:24,920
though it was supposed to like be out now.

903
00:44:25,400 --> 00:44:26,960
Speaker 8: And I think with anything like that, when you have

904
00:44:27,079 --> 00:44:30,519
ten different bands all submitting, it gets a little delayed.

905
00:44:30,639 --> 00:44:33,480
Speaker 9: Someone is in the precarious position of having to email

906
00:44:33,639 --> 00:44:37,559
and track down ten different musicians right or flighty on

907
00:44:37,800 --> 00:44:41,400
the best of So, no, I can I.

908
00:44:41,440 --> 00:44:43,840
Speaker 6: Can see where that would where that would be the case. Now,

909
00:44:43,880 --> 00:44:46,320
what about uh so is the show of the seventeenth?

910
00:44:46,440 --> 00:44:48,920
Is that the next show you guys are playing? Yeah,

911
00:44:49,199 --> 00:44:53,119
and then after that do you have like what, what's

912
00:44:53,239 --> 00:44:56,840
what's winter like for in terms of live shows? Is

913
00:44:56,880 --> 00:44:58,320
the are you gonna be kind of active?

914
00:44:58,400 --> 00:45:01,000
Speaker 8: Or yeah, we'll be at Two Share a couple of

915
00:45:01,079 --> 00:45:05,199
times we'll be at Do we have a strange brew book?

916
00:45:05,440 --> 00:45:07,280
Speaker 7: No, I don't think there's any strange strange.

917
00:45:08,000 --> 00:45:10,239
Speaker 9: Two Shares on Union Street in Manchester. For those who

918
00:45:10,280 --> 00:45:12,719
don't know, it's a brewery. Yeah, worth checking out with

919
00:45:12,920 --> 00:45:15,559
us or without because it's yeah, they make good local beer.

920
00:45:15,719 --> 00:45:18,199
Speaker 8: Yeah yeah, yeah, I mean slim Volume band dot com.

921
00:45:18,360 --> 00:45:20,480
You know, it's got all the details for anyone who

922
00:45:20,519 --> 00:45:23,880
wants to track us down. But yeah, yeah, I mean

923
00:45:24,199 --> 00:45:26,000
it's funny, like, you know, we got ten or twelve

924
00:45:26,559 --> 00:45:28,800
gigs book. I can't recall them off the top of

925
00:45:28,840 --> 00:45:29,119
my head.

926
00:45:29,280 --> 00:45:30,840
Speaker 6: Yeah. Yeah, No, it sounds like you're off to a

927
00:45:30,880 --> 00:45:32,639
strong start for the new year. I always ask too,

928
00:45:32,679 --> 00:45:33,960
because you know a lot of bands they kind of

929
00:45:33,960 --> 00:45:37,360
slow down in winter, or they've focused on writing and recording,

930
00:45:37,440 --> 00:45:40,599
and then you know, I see some I know bands

931
00:45:40,599 --> 00:45:43,679
who only want to really be active during the summer.

932
00:45:44,159 --> 00:45:47,320
Speaker 9: But oh, another one that just comes to mind, Matt,

933
00:45:47,360 --> 00:45:49,840
now that you say it is we're playing Auspicious Brew

934
00:45:49,920 --> 00:45:53,400
in Dover in February believe that's on the fifteenth. Okay,

935
00:45:53,639 --> 00:45:56,679
that's with Kara Holbert Howe as a singer songwriter from

936
00:45:56,719 --> 00:45:59,400
the Sea Coast area. And then tin Fish is another

937
00:45:59,480 --> 00:46:02,480
band from out in the kind of Portsmouth Dover area.

938
00:46:02,519 --> 00:46:03,480
So that's gonna be a fun one.

939
00:46:03,559 --> 00:46:06,159
Speaker 6: Oh, very good, very good. Yeah, And do you guys

940
00:46:06,360 --> 00:46:07,679
try to play a lot of shows on the Sea

941
00:46:07,719 --> 00:46:09,239
Coast because I would imagine what you know, with the

942
00:46:09,599 --> 00:46:11,400
U n H crowd and everything, you know, you guys

943
00:46:11,440 --> 00:46:13,400
would be very well received.

944
00:46:13,840 --> 00:46:18,719
Speaker 9: Yeah, it's definitely a different kind of scene and vibe

945
00:46:18,880 --> 00:46:20,440
on the Sea coast. So yeah, I mean we try

946
00:46:20,480 --> 00:46:22,559
to get out there. We've played Dover and Portsmouth a

947
00:46:22,639 --> 00:46:25,039
number of times. Good the press room, you know that

948
00:46:25,119 --> 00:46:26,960
some of these ventues that they have great sound there,

949
00:46:27,039 --> 00:46:28,239
you know, so excellent.

950
00:46:28,360 --> 00:46:31,440
Speaker 6: Yeah, yeah, it's very good, very good. Well, guys, we

951
00:46:31,519 --> 00:46:35,880
are approaching the top of the hour, so I'll again

952
00:46:35,880 --> 00:46:39,239
I'll let you pick what we will play to end

953
00:46:40,480 --> 00:46:43,639
the segment today. Whatever whatever you guys want.

954
00:46:43,679 --> 00:46:43,880
Speaker 4: To go with.

955
00:46:43,960 --> 00:46:46,280
Speaker 6: I've certainly enjoyed everything that you've chosen so far.

956
00:46:46,480 --> 00:46:49,400
Speaker 7: You want to like KPOS cool just for kind of

957
00:46:49,519 --> 00:46:51,280
like you know S's and G's on that one.

958
00:46:53,280 --> 00:46:55,440
Speaker 6: That sounds good, that's going to be on the back

959
00:46:55,480 --> 00:46:57,679
to you. You'll go back to that one.

960
00:46:58,280 --> 00:47:00,679
Speaker 9: So this track will be different in that you will

961
00:47:00,719 --> 00:47:02,719
not hear my voice nor we hear Trent's voice.

962
00:47:02,840 --> 00:47:04,039
Speaker 7: Yeah, your instrumental.

963
00:47:04,519 --> 00:47:06,960
Speaker 6: Yeah, I actually had listened to this one on on

964
00:47:07,119 --> 00:47:10,599
band camp and yeah, it's fun. It's fun. Uh So,

965
00:47:11,000 --> 00:47:13,400
Slim Volume guys, thank you again so much. And slim

966
00:47:13,519 --> 00:47:15,960
Volume dot com is the web Slim Volume band. Oh,

967
00:47:16,039 --> 00:47:19,920
slim Volume Band dot com. Thank you very very good.

968
00:47:20,079 --> 00:47:22,639
And Jenny before we go to you want to plug

969
00:47:22,679 --> 00:47:23,440
your website.

970
00:47:23,840 --> 00:47:26,400
Speaker 11: Of course you can check me out in my creativity

971
00:47:26,639 --> 00:47:28,519
projects at Gencoffee dot com.

972
00:47:28,880 --> 00:47:30,920
Speaker 4: J E N N C O F F E I

973
00:47:31,159 --> 00:47:31,519
dot com.

974
00:47:31,880 --> 00:47:34,639
Speaker 6: And by the way, uh also keep an eye on

975
00:47:34,800 --> 00:47:36,320
you know you've got your you've been doing a lot

976
00:47:36,360 --> 00:47:39,119
of media appearances and you're about to be on a

977
00:47:39,159 --> 00:47:43,000
pretty big podcast. Yeah, should we should we mention which

978
00:47:43,079 --> 00:47:46,239
one status coup you guys know Status cup?

979
00:47:46,679 --> 00:47:52,239
Speaker 11: Well you will, baby, Yes, we're taping tomorrow and I

980
00:47:52,400 --> 00:47:53,519
don't know the exact date.

981
00:47:53,760 --> 00:47:55,679
Speaker 6: This this one's a big deal. So very proud of

982
00:47:55,880 --> 00:47:58,840
very proud of you. Wall Street Journal was pretty big.

983
00:47:59,039 --> 00:48:02,280
But that was pretty that was that was huge.

984
00:48:02,360 --> 00:48:05,159
Speaker 8: I was like shocked us going through the Facebook band

985
00:48:05,239 --> 00:48:07,159
feed and I saw you reshared. That was like, well

986
00:48:07,320 --> 00:48:09,320
no BBC oh.

987
00:48:09,280 --> 00:48:12,400
Speaker 11: Yeah yeah, yep, yep, causing a little trouble here on there.

988
00:48:13,519 --> 00:48:15,679
As always we need do you have me any other way?

989
00:48:15,840 --> 00:48:17,920
Speaker 6: We need a good trouble. Thank you for everyone who

990
00:48:18,000 --> 00:48:21,960
joined us today. Of course doctor No and that was awesome. Yes,

991
00:48:22,079 --> 00:48:24,280
doctor No is wonderful and Scarecrow Hill and of course

992
00:48:24,480 --> 00:48:29,119
Slim Volume guys, thank you again, Thank you Matt absolutely

993
00:48:29,239 --> 00:48:31,840
and we will close with this u k PO seven.

994
00:48:31,920 --> 00:48:33,079
This is Slim Volume.

995
00:49:03,280 --> 00:49:33,599
Speaker 2: I STA.

996
00:50:10,159 --> 00:51:45,840
Speaker 13: Feels like running around in sound, blue lights flash, but

997
00:51:46,039 --> 00:51:49,599
we will never be found and so s pattish lines

998
00:51:49,639 --> 00:51:52,679
would be sound yeah, and make some memories to forget

999
00:51:52,800 --> 00:51:53,519
in the morning.

1000
00:51:53,559 --> 00:51:57,760
Speaker 4: And it feels like everything changes, but the people.

1001
00:51:57,599 --> 00:51:59,719
Speaker 3: Around you keep a smile on the faces.

1002
00:52:00,079 --> 00:52:04,119
Speaker 13: I'm selling you, yeah, I'm selling yeah, I'm selling real.

1003
00:52:05,639 --> 00:52:11,639
Speaker 3: So let's safety down and you can sell him.

1004
00:52:12,199 --> 00:52:14,199
Speaker 4: Sound to you.

1005
00:52:16,400 --> 00:52:19,199
Speaker 3: Something, say anything, spices, the.

1006
00:52:19,280 --> 00:52:23,599
Speaker 12: Big born places, the water house splices, a dream recreated.

1007
00:52:24,639 --> 00:52:31,360
He and me waiting, let's go back in the bass faces,

1008
00:52:31,440 --> 00:52:34,920
the brick born places, the water house spaces, the dream

1009
00:52:35,239 --> 00:52:41,360
created here and men, let's go back.

1010
00:52:41,239 --> 00:52:41,639
Speaker 1: In the.

1011
00:52:54,840 --> 00:52:59,199
Speaker 13: Shine like so hundred miles so the rise where the

1012
00:52:59,360 --> 00:53:03,000
sun shining down on me and you can't seem to

1013
00:53:03,159 --> 00:53:06,840
hide that smiles if we tell you your stobby or.

1014
00:53:06,920 --> 00:53:10,559
Speaker 3: Suits and it feels like geverything changes.

1015
00:53:10,599 --> 00:53:13,599
Speaker 13: But we've had that before, sour put through the paces.

1016
00:53:13,679 --> 00:53:17,119
Speaker 3: Yeah, I'm selling you, Yeah, I'm selling you. Yeah, I'm

1017
00:53:17,159 --> 00:53:24,920
selling you eating. So it's the same now and you can.

1018
00:53:24,840 --> 00:53:25,360
Speaker 2: Sell is it?

1019
00:53:25,800 --> 00:53:28,519
Speaker 4: Listen? So wabble you up.

1020
00:53:30,239 --> 00:53:30,679
Speaker 3: From that?

1021
00:53:30,880 --> 00:53:36,000
Speaker 12: Anything, guys is the pieple, the places, the worst pes

1022
00:53:36,199 --> 00:53:45,920
trek recreget killing me, kayu place, guys is the prickeople,

1023
00:53:46,039 --> 00:53:55,159
the places NICs drily repregety t killing me. Let's a bucket.

1024
00:54:11,440 --> 00:54:14,960
Speaker 3: I was singing your song that'll bring you lung sni.

1025
00:54:17,559 --> 00:54:20,559
Speaker 14: That wur caving little world timers catch do you evening

1026
00:54:20,719 --> 00:54:27,039
ride because it's ten past five on a freezing winters night.

1027
00:54:29,679 --> 00:54:31,960
Speaker 1: But with a smile, lit of faces, we'll dance.

1028
00:54:32,000 --> 00:54:35,519
Speaker 14: And so the sun dies that's well dancing. So the

1029
00:54:35,639 --> 00:54:40,559
sonar rides, that's go dancing. So the sonar rides, let's

1030
00:54:40,639 --> 00:54:44,360
go dancing. So the sonar rides, let's go dancing.

1031
00:54:44,440 --> 00:54:47,679
Speaker 12: So the sun rise, let's go dances a.

1032
00:54:47,920 --> 00:54:51,679
Speaker 3: Sorri let's go dancing sounds sunrise.

1033
00:54:51,920 --> 00:54:55,360
Speaker 11: It's at a passenger announcement the twenty three pass willnound

1034
00:54:55,360 --> 00:54:57,960
the park and Stat nineteen and the last.

1035
00:54:57,800 --> 00:54:59,719
Speaker 4: Times closes the people.

1036
00:54:59,840 --> 00:55:03,599
Speaker 3: The prices laces true brigate to.

1037
00:55:05,079 --> 00:55:11,480
Speaker 12: Me thing, Let's go back chas cat. This is the

1038
00:55:11,559 --> 00:55:15,760
set form of places, the one that's not the tregant

1039
00:55:15,840 --> 00:55:21,519
to change doing planet thing, Let's go back change