Matt Connarton Unleashed 6-21-25 hour 2

0:02 Speaker 1: W M n H will rip the knob off. You're listening to M and H World Premiere.

0:22 Speaker 2: What's that sound? What's that sound?

0:24 Speaker 3: Get out my way?

0:25 Speaker 4: All burns down, Maxie, scream and shout, hand out, turn this town around, stop and look this way.

0:34 Speaker 3: I made some insupicious.

0:35 Speaker 4: What I say is what I say, And this is a travesty. The earth is treading now and you don't see the tragedy. It's all blurring all it's one and dies a blinded. We think it's typical, but that's just cause what's so shallow?

0:51 Speaker 5: My dad?

0:52 Speaker 2: What's that sound? What's that sound? Get out my way?

0:55 Speaker 4: Oh burns down, make see and scream and shouts on this town round, pee everywhere, give it to.

1:05 Speaker 6: Your parts and nurture ant care for this world of us. I believe the earth will no longer fall apart. We conclude little back to cap.

1:19 Speaker 4: And find a piece of less forever.

1:22 Speaker 5: What's it sound?

1:23 Speaker 3: What's it sound?

1:24 Speaker 5: Now my way?

1:25 Speaker 4: I burns down, Maxie and scream.

1:28 Speaker 2: And show a pan outs on this town round. What's it sound? What's it sound?

1:34 Speaker 5: Down?

1:34 Speaker 7: My way?

1:35 Speaker 4: I burns down, Psye and scream and show a panouts on this town around.

1:46 Speaker 2: What's it town? Turn this town around? What's it sound?

2:00 Speaker 2: What's it sound?

2:01 Speaker 8: What's it south?

2:03 Speaker 4: But my way of burst down maxy and screaming shouts, and I'll turn.

2:08 Speaker 3: This town around. What's it sound?

2:11 Speaker 2: What's it sound?

2:12 Speaker 5: Out my way?

2:13 Speaker 4: I burns down, takesy scream and shot, and I'll turn this town roun.

2:32 Speaker 1: You are listening to WUM and H World Premiere.

2:49 Speaker 9: Yeah, I told my heart go ahead and break. It's all about the love.

2:59 Speaker 3: Oh goodness. Hey, yeah, I just about died all four feet, so I told my heart go ahead and break. Yeh lies mess because see you told me so.

3:21 Speaker 9: I've learned some things I wish I didn't know. Yeah, looked so good until it warns that hurts spat yet it's so burned. SMI told my heart go ahead and break. It's all about the love. For goodness, safe you have the spoul died.

3:55 Speaker 3: Oh for feet, So I told my art go ahead and break. It was like a dream.

4:08 Speaker 1: She was so beautiful, so full of life.

4:14 Speaker 8: It was wonderful.

4:17 Speaker 9: Then came the day when she took her leave.

4:24 Speaker 3: Man, it broke me up.

4:27 Speaker 8: Like you would not believe.

4:30 Speaker 3: That's why I told my heart.

4:33 Speaker 9: Go ahead and break. It's all about the love.

4:40 Speaker 3: For goodness sake. Yeah, just about died all for faith.

4:49 Speaker 9: So I told my heart your head and break, Yeah, go on, break, go on and cry. Y'all cat broken, And I don't know why. Sometimes we get more than me can take.

5:14 Speaker 3: That's why I told my heart go ahead, break. Yeah. I told myself go ahead and cry.

5:31 Speaker 9: Let the tears fall from your eyes.

5:36 Speaker 3: Wise then once told.

5:39 Speaker 9: Me everybody lies.

5:43 Speaker 1: That's why I told myself go ahead and cry.

5:49 Speaker 8: And I told my heart.

5:52 Speaker 3: Go ahead, break.

5:55 Speaker 10: So I told my heart, go ahead, go ahead.

6:06 Speaker 3: Bray.

6:10 Speaker 8: That's so good. Another world radio premiere here at wu m n H ninety five point three FM on Matt Connorton Unleashed. That is go ahead and break. That is the Murphy Clark Band. Guys, Okay, right out of the gate. What's the correct way to say is it? Do I say Murphy Clark or is it the Murphy Clark Band?

6:28 Speaker 1: Yes, either one is. Finally, are whatever you want to call it Murphy Clark.

6:33 Speaker 8: Okay, So Jenny and I are joined live in studio by of course, Brian Murphy. Brian Murphy and Mike Clark. Is probably not Murphy, right, because then it would be the Murphy Clark right, Brian Murphy and Mike Clark, you're in studio and uh I love that track and of course as you as you witnessed, I could not help but sing along with it. And that's how you know you've got something right on the point, right, Yeah, when you when you play something for somebody and they can't help it sing along like it's not even like it's not like, oh I think I'll sing along to this.

7:01 Speaker 8: It's just an involuntary motion, you know.

7:04 Speaker 1: But yeah, yeah, that's who we hope for.

7:07 Speaker 8: Absolutely, and we'll play some more of your stuff as we as we go along. But it's great to have you guys here.

7:12 Speaker 1: Thank you for having us and thank you for doing this.

7:14 Speaker 8: Oh.

7:15 Speaker 1: Absolutely no local bands need the support.

7:18 Speaker 8: Absolutely absolutely, well, we love it and there's so much you know, Jenny does all the booking and sometimes people will ask her, you know, where do you find all these great artists?

7:26 Speaker 1: And it's so much talent around around here. Absolutely, you know it's incredible. You just use the word yeah, yeah, I looked it up this morning. Don't ask me to spell it though, is a great word?

7:37 Speaker 8: Yes, yes, mean.

7:41 Speaker 1: A lot of yeah, you know, sometimes Brian needs help.

7:47 Speaker 8: Yeah, well we all need help something. Yeah, yeah, no, I love it. You guys have a great sound. I feel like kind of the secret weapon is the vocals and the harmonies and everything is and has this project existed? Have you guys been at this a while or is this new or.

8:04 Speaker 11: We've been collaborating for about thirty years?

8:07 Speaker 1: I think we started working.

8:09 Speaker 8: That's been a while.

8:10 Speaker 1: Yeah he started. You weren't even born, Matt, I think.

8:13 Speaker 8: Oh, my goodness, probably I probably was.

8:16 Speaker 11: But you know, we started, you know, way back in the day in the mid nineties, I was I was recording with Aquatanang was the name of the band. We were with Sony and Manhattan back in the big record days. Oh no, kidding, and you know we we worked there and then I wanted to find somebody local. So I did a session with Mike and I really liked the way he mixed, okay, and so we started working back then. He started running sound for us with Aquatanang and then started doing records together. You know, at that point we've been doing him ever since.

8:53 Speaker 1: Okay, okay, that was in a bridge version.

8:56 Speaker 11: I sped it up a little bit, so but yeah, that's that's how it's done.

9:02 Speaker 1: You know, a bit more from there. Okay, yeah, okay, people change, you know, members changed, and the sound of the band changed. We went we're all electric now. Yeah that Aquatang was all acoustics. Oh yeah, yeah, so folks Dylan did it, We figured we could do it.

9:17 Speaker 8: Yeah.

9:18 Speaker 11: Yeah, so that actually because before you know, after Aquatanang, well with Aquatanang, Mike started to do percussion for us, work his way in. And then after that we decided to start a different project of the first iteration of Murphy Clark, which was Americana, right bass.

9:40 Speaker 1: I played the mandola.

9:41 Speaker 8: Oh no kidding.

9:41 Speaker 11: Yeah, And we did that, I think like twelve years until COVID hit Yeah.

9:46 Speaker 1: And that wiped everything. Yeah yeah, yeah.

9:49 Speaker 11: Our our guitar player had like fourteen kids and yeah then so we so then, uh, Mike's always wanted to go electric anyway, the acoustic thing was my thing. So yeah, you know, during the pandemic when we had the shutdown, it was just he and I and we sort of broke the rules and I kept going into the studio and we just started doing studio stuff, and.

10:10 Speaker 1: I kept handing him an electric See I'm in a rocker from way back when nothing wrong with acoustic stuff.

10:17 Speaker 11: So he kept saying, you know, so I took a couple of years and you know, got comfortable with the electric guitar. And now we have a new format with you know, but some of the like the female vocals, Uh, Marion and Cindy have been with us of course since the awkward.

10:35 Speaker 4: O.

10:35 Speaker 11: So four of us have been together since all that time. And now we have Gary Young who's a world class lead guitar player. He does a wonderful job is on the guitar now, Jeff Harrington on drums.

10:47 Speaker 1: Who who owns Indy Music.

10:49 Speaker 11: He owned Cindy Music in Amherst.

10:52 Speaker 1: That a little bit drum there, Yeah, yeah, yeah, okay, I teach voice there, voice teacher there. Yeah. Yeah. We love it.

11:01 Speaker 8: Yeah yeah. The music all the time. Oh that's great. Yeah, that's great.

11:05 Speaker 11: Yeah, that's tremendous, you know. I mean and as a songwriter too, and you know, doing music to accompany other singers with every kind of song you can think of, it really helps you see chord progressions, melodies, all kinds of things like that.

11:19 Speaker 1: Yeah, So it gives you a real heightened.

11:21 Speaker 11: Understanding of songs and music and all that you know, and you just never know what you're going to get everything from Taylor Swift till like granddaddy, sure whatever, you know. Yeah, so yeah, that's so it's been great.

11:35 Speaker 8: And so you guys have worked together pretty consistently then over the decades. Yeah, that's amazing. Yeah, you don't see that a lot. I mean, you know, we have sometimes a lot of bands on the show that people who have worked together for a long time, but they've worked together, but then not work together for a long time and then kind of reunited. But it sounds like you guys have been pretty consistent.

11:51 Speaker 1: Yeah.

11:52 Speaker 11: We have over one hundred and fifty published songs.

11:55 Speaker 1: Actually, oh my god, wow, yeah, two of them.

12:01 Speaker 8: Kidding, Now, what's the what's the live situation? Like, do you guys play out a lot or what's uh we're getting there. Yeah, we're kind of studio rats.

12:12 Speaker 1: But you know, we we played a few shows at Being into the Air and we'll getting our show together and we have some booked towards the end of the season, end of the summer.

12:21 Speaker 11: Yeah, one in mont Vernon on the twenty third, okay, in the town Square in mont Vernon.

12:27 Speaker 8: Oh, excellent.

12:28 Speaker 11: July twenty third, and that's at six. And then we have two shows in August, one at the Prayers of Nature the listening room there.

12:36 Speaker 8: Oh yes, you've got her right here. Oh yeah, what's that show? Yeah yeah, she's brought two or three times.

12:43 Speaker 1: She's a big supporter of local music.

12:45 Speaker 11: I love that absolutely, like you dedicated and devoted to musicians, and we honor that. That's a great thing. Yeah, I mean and so and then the that's the August eighth. We're there and I think it's Andre Sistitute. Yeah, that's the twenty fourth. Okay, that's it in Brookline. That's a really nice room too.

13:05 Speaker 1: There. It used to be an old club called the Big Beer, like seventies. I used to play there and they're in the seventies.

13:11 Speaker 8: Oh wow.

13:11 Speaker 1: Yeah. And they reopened at the Art Institute part in. It's an amazing room. Oh cool, Yeah, great. What's it called the Andres Institute. It used to be the Big Beer a longe okay, like long time ago. Yeah.

13:26 Speaker 8: What is so from from the perspective of you guys, what what has changed about? And this is something that comes up on the show a lot, is what has changed over the years as far as making music and and promoting music.

13:39 Speaker 1: And don't get me going on that. I guess my studio has been opened for forty years.

13:44 Speaker 8: Okay, so I'm really curious to get your perspective. Yeah, because everything's you know, obviously, the Internet changed everything.

13:49 Speaker 1: I mean when we started making records, we were using tape.

13:52 Speaker 8: Yeah.

13:52 Speaker 1: Yeah. Our editing capabilities was to raise blade and some splicing tape.

13:56 Speaker 8: Yeah.

13:57 Speaker 1: You know, so it's changed so much. Yeah, you know. Yeah, it's easy to make records now.

14:02 Speaker 8: Yeah.

14:02 Speaker 1: I mean Billie Eilish want five Grammys off something she made in her bedroom. Yep. You know. So it's just everything's changed in the music business. Yeah, some good things, some bad things, right.

14:13 Speaker 8: Right, Yeah, I think I think overall it's for the better. Right.

14:17 Speaker 1: Oh. Absolutely? You know I love digital.

14:19 Speaker 8: Yeah.

14:19 Speaker 1: You couldn't pay me to go back to tape. I used to teach audio engineering at a tech school and all the kids would be like, I'm going to open a studio and do analog tape. And I was like, dudes, you've never touched a piece of tape. You don't want to do that. You don't want to go back there.

14:33 Speaker 11: Yeah, you certainly don't want to go back to a dat's Yeah.

14:37 Speaker 8: Yeah, when I was a kid, I actually remember a friend of mine had a reel to reel tape and I remember, you know, trying to. Of course, I screwed it all up and I remember trying to like shoee and yeah it was fun.

14:49 Speaker 1: Yeah, you know, I kind of appreciate those years though, because you know, I learned my skill from sort of the prehistoric way of recording to what it is now.

14:59 Speaker 11: And yeah, well I think it's really enhanced your mixing ability, you know what I mean, Like because in those days, you know, when you go into the studio, you had to rebuild the mix.

15:09 Speaker 1: Yeah, you don't have total recall.

15:11 Speaker 11: So now everything pops up where you left it, which I love, you know what I mean. But he used to have to rebuild the mix from scratch all day, So that's really.

15:19 Speaker 1: Good for you. Bring bring up the bass, you know, so you're doing that all day long, and the modern engineers don't have to do that. Right boom it's back, you know, right.

15:27 Speaker 11: Yeah, And the audience has changed too, you know what I mean. People have a lot more you know, like if like the nineties were kind of a golden age, right, you know, people bought CDs. You know, they bought CDs at your show or whatever like that. They listen to the CDs all the tracks, you know. Now it's different. People have a lot more entertainment options, you know, so music isn't king like it used to be, you know what I mean. But but I love the new format because you know, we get paid. You can get played all over the world, you know what I mean.

16:03 Speaker 11: I get royalty checks from ask Cap and Albania and things like that, you know, play were it played all over the world, you know, which is very interesting.

16:11 Speaker 1: Yeah, oh yeah, you don't have to get into the record in the six store anymore.

16:14 Speaker 11: Right right, yeah, and if you didn't sell somebody your record, they didn't have it. Now, you know, It's which I love. You know, you get played on YouTube, you get played on Spotify, which all our music get played here.

16:26 Speaker 8: Yeah yeah yeah. Well also, you know, from the perspective we were talking about this earlier because we had on our first guests were from Ireland Moonlight eclips, and you know, obviously that wouldn't have happened pre Internet, right, you know, unless they were already famous. Right, But but doing this show too, you know, we were obviously We're in Manchester, New Hampshire at this this beautiful radio station WM and ah beautiful. But we have listeners all over the world and you know, we have people who are listening from Ireland in the in the chat.

16:54 Speaker 1: Room and and uh amazing.

16:56 Speaker 8: You know, it's the ability to connect with with pole globally is is just fantastic. And music is you know, the the international language anyway, So you know, it's wonderful as far as doing something like this and and what like what are because Mike you you alluded to some somethings. Something's for the.

17:17 Speaker 1: Better right overall? But absolutely well, what have what have?

17:19 Speaker 8: What have we? Is there something we've lost along the way with.

17:23 Speaker 1: I think we've lost a lot of the soul in our music, you know, because you know, and I'm not putt we use computers and samples and you know, we integrate them with real playing. But a lot of it's it seems like soulless to me, it's too much, too mechanical.

17:38 Speaker 11: Sometimes, Okay, I don't know, you know, because mostly you know a lot of it is pre existing tracks. You know, people are dragging and dropping and the level of musicianship is different, right if you're dragging in all your track your tracks and dropping them and then singing something over it. It's not the same thing as people sitting over a piano or over a guitar bent over there for years like how to play right, and all that music is going through them, through their heart, their soul, their their mind.

18:05 Speaker 11: Yeah, if you drag and drop stuff, you drag it, you you and then sing over it. It's not it's not going through you, and it's not a development.

18:13 Speaker 1: And of course AI is going to push that narrative even more.

18:17 Speaker 8: Oh yeah, you know it already. Yeah, it already is absolutely Suno dot com. We've used that on the show.

18:24 Speaker 1: It's incredible.

18:25 Speaker 8: It is.

18:26 Speaker 1: The recording sounds amazing. I know they're formulaic because it's machine learning, but yeah, you know, if you ask it to do a country song, it sounds like modern country.

18:34 Speaker 8: It does.

18:35 Speaker 1: It's incredible.

18:36 Speaker 8: Yeah, you know, yeah, yeah, we tried it on. Uh we did kind of a live demonstration of it on the show, because we talked about that a lot of on the show AI and the effect of it on the music industry, and so we Uh, it was something I'd kind of had in my back pocket for for a long time an idea. You know, sometime when we have a segment, maybe a guest cancels or something. You know, there's always things going on in the music industry, so there's always things to talk about. So I was like, you know what, let's try uh, let's try this.

19:00 Speaker 8: We'll make a song using SUNO and just see what happens.

19:03 Speaker 1: Kind of fun lyrics for it.

19:05 Speaker 12: Oh.

19:05 Speaker 8: We Well, what we did was, you know, we just put in a bunch of prompts, you know, and and see what it spits out right. And Jenny and I both, you know, we we uh just sat here kind of gobsmacked, like, wow, this is even better than we would have expected.

19:20 Speaker 1: Yeah.

19:21 Speaker 11: No, I feel like, I mean, it's John Henry's style battle with a I, you know, call what I use RI I.

19:28 Speaker 1: Yeah, we used a lot of A I in my studio though. You know, it's incredible tools to like check tonal balance on or you know, you know, remove noise or anything like that. It's great tools for it, you know.

19:40 Speaker 8: Yeah, but absolutely yeah. And I assume so everything you guys have done is recorded there, I assume Yeah.

19:46 Speaker 1: Yeah, yeah, creative my studio, Yeah yeah, yeah, No.

19:50 Speaker 8: It sounds it sounds fantastic.

19:52 Speaker 1: Oh. Thanks.

19:52 Speaker 8: Where is your studio?

19:54 Speaker 1: It's yeah, yeah, what's it called Clark Creative? Clark Creative, Yeah, and I've been there. I'm celebrating my fortieth the anniversary.

20:02 Speaker 8: Congratulations. Yeah, yeah, that's awesome.

20:05 Speaker 1: Could argue be the longest running commercial studio in New England. I don't know, it's a long time.

20:11 Speaker 8: You know what's interesting about that is people. One of the things I find that's interesting about getting older is just seeing like what technologies change, what technologies go away, what technologies stick around, but also sometimes what people thought was going to change but doesn't change. And one of the things that has not changed as much is recording in terms of there's still a lot of really good recording studios around. Like you're obviously still thriving. You're celebrating forty years at Clark Creative.

20:47 Speaker 1: Yeah.

20:48 Speaker 8: And the reason I bring that up is because, you know, that's one of the things people predicted, you know, with the advent of home recording and then all the technology that we.

20:56 Speaker 1: Have now see a lot of beings integrate that with though, like the band you're having on next week, Yeah, they'll come in and do their drum tracks with me or their rhythm section. They'll take it home, bring the files home and do all the close micing stuff like the vocals guitars because a lot of people use modeling now for guitars. Yeah, and then they bring it back to me for mixing. So you know, you know, you can run away from it, but you have to learn how to integrate that into your business, right right.

21:26 Speaker 8: Yeah. Yeah, So in your experience over the past forty well in more recent years with all this technology, are you still as busy as ever?

21:33 Speaker 1: Oh yeah, yeah, yeah, that's wonderful. And I do some commercial stuff too, like I draw the podcasts for Business New Hampshire magazine. Yeah, and I work for this big company called the Pilot Workshops, the pay site for pilots. They teach them how to not crash their plan.

21:48 Speaker 8: Oh no, kidding that.

21:49 Speaker 1: So you know, I do some of that stuff too, which I enjoy. Yeah, yeah, you know, but yeah, super busy. Yeah yeah.

21:56 Speaker 11: Well, and I think like the home recording is a bit is a bit of a trap for musicians too, because you get bogged down in the in the engineering, right, so you know, and it takes away from the creative process you're you know, you're you're not focusing on your song and your performance.

22:14 Speaker 1: You're you know.

22:16 Speaker 11: You guess compressive impressors, reverbs, eques, you know. So I recommend to songwriters to get your eyes ideas down right and get a sketch of it, and then take it to the studio and do it in the studio, right, you know what I mean, and use the tools that you have with the home recording, but don't get bogged down it like so many people just get hung up on the technicalities, and you know, you need an engineer to engineer.

22:41 Speaker 1: That, you know.

22:42 Speaker 8: Yeah. Yeah, Also a lot of times too, uh, you know, someone an engineer might become a producer, a de facto producer, right, you know, you.

22:52 Speaker 1: Kind of have to wear both those hats at the level where you work at. Yeah, you know. Yeah, very few bands can afford a producer or even trust producer with their music. You have to trust the guy that's making the decisions on your tracks, which is a lot of times bands don't want to relinquish that control.

23:09 Speaker 8: Of course I get that.

23:11 Speaker 1: Yeah, but you know, once you get a rapport with the artists, they trust you to kind of put your two cents in on you know, the arrangements or whatnot.

23:19 Speaker 8: Of course. Yeah, yeah, who is it that we have on next week? Who's recording with you? Now?

23:23 Speaker 1: What do they call Parental Eye or something? It's Jake Young?

23:26 Speaker 3: Oh, yes, yeah.

23:27 Speaker 1: I always can't remember the name of their band. I can't pronounce the first.

23:31 Speaker 8: Well, that's the thing. Yeah, I think. I think even when he was here, he he even said, uh, yeah, he was here with the Youngs, and he even said, yeah, no one can pronounce the name of this other project.

23:39 Speaker 11: Yeah, I can't do it, but we did Aquatang.

23:43 Speaker 1: Don't do it, guys, pay.

23:47 Speaker 8: I'm curious about Aquatinang. So you were were you were signed to a major?

23:53 Speaker 1: We were.

23:54 Speaker 11: We were at Sony in Manhattan. We never actually got signed. We were brought in there as like a spec project. Oh really okay, and we worked.

24:02 Speaker 1: It was great.

24:02 Speaker 11: I mean, we were down in Sony in the nineties. It was amazing the music going on, you know, like, yeah, one of the times we were there, we were doing a session and the engineer came in and said, we all have to get out of here because Michael's here.

24:16 Speaker 1: And I said, Michael, who it wasn't me my reason to leave?

24:22 Speaker 11: And they said Michael Jackson. And so Michael Jackson came in with like his twenty twenty people strong really yeah yeah, and they just he wanted everyone else out the boots.

24:34 Speaker 1: So yeah, thanks Michael.

24:36 Speaker 8: Oh that's fun.

24:36 Speaker 1: I'm alive and you're not.

24:38 Speaker 8: That's well, that's.

24:41 Speaker 1: No.

24:42 Speaker 11: But but that's it was. It was amazing. Yeah, it was amazing. And but but but Mike's Mike's a better engineer than anybody down in Sony though.

24:52 Speaker 1: That's for sure.

24:53 Speaker 8: Here you go.

24:53 Speaker 1: Wow, yeah, yeah, I don't want to borrow money or something, Yes, I do. I don't have any I guess that was pretty sure.

24:59 Speaker 8: Parents, Well, he won't be borrowing any money from Michael Jackson's estate, so, you know, apparently, so you know.

25:07 Speaker 11: I mean, Ozzie was down there. I peed next to jay Z.

25:12 Speaker 8: Jay next to jay Z. Yeah, oh wow, that's the one thing.

25:15 Speaker 1: It wasn't k Kelly.

25:16 Speaker 11: It might be a different, yeah scenario, Jase didn't pay.

25:20 Speaker 8: No kidding me. Well, actually some of the allegations against jay Z, now that that might you know, crazy, Yeah, yeah, that could have been risky.

25:28 Speaker 1: Yeah, you know, he had no interest in me, apparently.

25:33 Speaker 8: I hope none of that's true because ninety nine Problems is like my favorite hip hop song at all time. Yeah, I hope none of that's true.

25:39 Speaker 1: He's still considered the best hip hop artists.

25:42 Speaker 8: Oh yeah, I love jay Z, so I hope no of that sounds true. Yeah, but oh boy, we should play another track. What do you guys, I'll let you pick. I mean, what would you guys like to to feature next of the songs that he's one?

25:57 Speaker 1: Sure, it's kind of interesting. There's some horns in it.

26:00 Speaker 8: Oh she's the one?

26:00 Speaker 1: Yeah?

26:01 Speaker 8: Yeah, okay, now who's who's playing the horns on this?

26:05 Speaker 13: Me?

26:06 Speaker 1: Yeah?

26:06 Speaker 11: We did on keyboard.

26:07 Speaker 1: Yeah. I used to use this program called Arcade. It's really cool. Like it's a California company. And what they do is they give you phrases of an instrument, so you kind of play it yourself. So you pick what you want to use out of the phrase. Can you develop it that way? It's not a loop? Okay, so it's there's still some human interaction with the program. Yeah, it's cool, it's cool. Yeah. These are what do you call them? Probably township township horn? Yeah, because kind of reggae sounding, okay, cool.

26:33 Speaker 1: Yeah, they're slightly detuned, you know, what I mean.

26:36 Speaker 8: Yeah, yeah, yeah, all right, cool, Let's give this a spind This is She's the one, and this is the Murphy Clark bands.

27:03 Speaker 14: She's the kind of lady you don't want to awake her while she's sleep, A certain kind of someone you can tell her about the company.

27:20 Speaker 3: She clean.

27:24 Speaker 15: Pusiness, the goodness of you one and loves away. Goodness is the beauty one that lights away oh oh style, easy agent.

27:42 Speaker 10: For a while.

27:45 Speaker 8: And it's been a walk.

27:51 Speaker 3: She's the one, a.

27:57 Speaker 14: Certain kind of flower that God himself has shielded with his hands, and out of the ashes of a fire comes up strong good one to stand and us is the goodness of who loves away.

28:22 Speaker 2: Goodness is the beauty.

28:26 Speaker 3: One and lights the way O rais ow style easy.

28:36 Speaker 1: For one, and it's been working.

28:45 Speaker 3: She's the one.

28:50 Speaker 5: She's the one.

29:02 Speaker 10: Till the night until he break it down.

29:06 Speaker 14: I see her like shine up.

29:14 Speaker 9: Night, I see her life.

29:36 Speaker 5: She's she's telling.

29:43 Speaker 3: Me she's the CANU lady. Don't want to wake up? Why?

29:59 Speaker 12: Why?

30:19 Speaker 5: Hmm?

30:19 Speaker 8: I love that. That's a nice sound.

30:21 Speaker 1: Brian wrote that for Sydney Sweeney.

30:23 Speaker 16: I really like that one.

30:24 Speaker 1: Yeah, yeah, I don't know who Sydney Sweeney.

30:28 Speaker 8: I was gonna say, I was gonna say, who's Sydney Sweeney? What?

30:32 Speaker 1: You guys don't get out much, do you.

30:34 Speaker 16: I honestly have no idea what he's talking about.

30:35 Speaker 8: I feel like I should know. I was gonna say, I feel like I should know the reference Murphy Clark band here and uh here in studio with us Brian Murphy and Mike Clark. You know what I like about that? In the mix? I like the way the horns are are present, but they're not like sometimes when you hear horns they're loud, Yeah, you know what I mean. And though and and I like the where the horns sit in the mix.

31:04 Speaker 1: Well, well, definitely a vocal band, so everything kind of like goes under the vocals, you know. Yeah, yeah, but it's a hook I mean yeah, it's a hook onto itself.

31:13 Speaker 8: Yeah. No, I like it. It has a lot of texture yea. And the vocals too aren't super loud either. It's interesting. But I really like the mix. Yeah, absolutely absolutely that.

31:24 Speaker 11: I think that's one of his strong suits Mike, is his mixing ability.

31:28 Speaker 1: Okay, you know, I think that's really like definitely that's what.

31:31 Speaker 11: Attracted to me in the beginning.

31:34 Speaker 1: Dashing, good look and the hair, yeah, the hair.

31:37 Speaker 16: And he said you're a vocal teacher, right, yes I am.

31:40 Speaker 1: Yeah.

31:40 Speaker 16: So do you ever get students that just want to sing karaoke without killing any animals?

31:44 Speaker 12: Yeah?

31:45 Speaker 11: I do get I get the karaoke contingent, no doubt, you know what I mean. Yeah, but yeah, and that's the beauty of it. I have singers across the spectrum, you know, I really love doing that doing that.

31:56 Speaker 8: Do you do you ever This might be a strange question, but do you ever have to kind of turn away anybody like like, do you ever have you ever had a student who you just kind of feel like how they're not going to get this?

32:09 Speaker 11: Well, typically not, because you know, everyone can get better as long as they're not, you know, tone deaf.

32:17 Speaker 1: Right.

32:18 Speaker 11: Yeah, there's a difference between being tone deaf and being pitched deficient.

32:22 Speaker 9: Right.

32:22 Speaker 11: Pitch deficiency can be you can train somebody to get their pitches correct. If somebody's actually tone deaf, they don't really like music anyway, right, So I don't get those kind of people because they don't enjoy music.

32:35 Speaker 1: Okay, So and.

32:36 Speaker 11: I do get people from time to time. Yeah, yeah, Yeah, there's there's a difference. And I do get people, you know, from time to time that say, you know, after we do a couple of lessons, they say, what do you think, And I'll tell them, I'll say, you know, if they're pitch deficient, I'll say, you will be able to sing, but it's going to be a lot of work. If you want to do the work, we can get it done, you know what I mean. And they're never going to be your great singers, right, but you can be good enough to sing in your church band, or sing backups in your band, or do the occasional lead vocal in your group.

33:08 Speaker 11: But you know, great singers, though, usually come to me singing already.

33:13 Speaker 8: Okay, interesting, yeah, yeah. Part of why that's so interesting to me is so I went through a few different vocal teachers, uh along the way. And you might even know I'm rolling Belisle. Is that a familiar I recognized because you have. He was the owner of Belile Music here in Manchester. Yeah, yeah, and I went. I went to him and a couple other people over the years, and I you know, it's it's an odd thing with me. I'm actually not a bad harmony singer. I can kind of lock in and find the octave and whatnot.

33:43 Speaker 8: But on my own I.

33:44 Speaker 1: Get lost pay the band.

33:47 Speaker 8: Yeah, I've not currently, but I'm a musician, you know. I play bass and a little bit of guitar, and I'm certainly do this. Yeah, yeah it.

33:56 Speaker 11: Yeah, if you love music, you're not tone deaf.

33:59 Speaker 1: Okay what I mean?

34:00 Speaker 11: But pitch deficiency is a coordination thing.

34:03 Speaker 1: No, you're You're a better singer, anyone can say.

34:07 Speaker 11: Yeah, yeah, if you if you enjoy music, you can do it. And it's just because typically that's a coordination issue, right, It's because what you're hearing in your you know, head is not coordinating up with your your voice. Yeah right, you know what I mean. So that can be trained in. Okay, you know what I mean. That's that's the fundamental difference there.

34:29 Speaker 8: Okay, just hope for me yet.

34:31 Speaker 16: Yeah, Grandma says I killed cats.

34:33 Speaker 8: Oh, Jenny is a better singer than she thinks she is. But but so but so tone deafness though, So that's real. That's a real thing, because that's the other thing I was curious about.

34:44 Speaker 11: And you meet people like that from time to time, Like you used to fish with a guy. He didn't care what radio station was on, you're getting this truck and what the hell you listening to? He said, It's all the same to me. It's just noise.

34:55 Speaker 16: That's sprising to me. I would have never thought that. I mean, I thought that I could be tone deaf, because I you know what I mean. But I never thought that people who are tone deaf are generally not happy about music.

35:07 Speaker 11: Yeah, they just don't like it because they don't hear them melodic difference.

35:11 Speaker 1: So it's just irritating.

35:13 Speaker 8: That's interesting.

35:13 Speaker 11: You don't hear melody, it's just noise.

35:16 Speaker 8: Yeah, you know, because I've heard people say, yeah, I don't really like music, and it's but rarely have I heard anyone say that. And then when I when someone does say that, it's like, you know, I've always assumed there's something neurologically wrong with them or something else, because who doesn't like music? It seems so strange.

35:30 Speaker 16: You're kind of right, because if somebody's tone death.

35:33 Speaker 1: That is right, it would probably annoy them rather than entertain them.

35:38 Speaker 8: That's interesting an estimate of how many people like that are in the world, or because I would assume that's extremely rare, right, it's gotta be.

35:44 Speaker 11: I've never done any research. Yeah, you know, I just know that.

35:47 Speaker 8: I'm just curious. You know that I'm thinking about it.

35:49 Speaker 11: But most of the time, those you know, those people don't come for voice lessons because they don't care.

35:54 Speaker 8: About it, right, They wouldn't best the people that are pitched efficient.

35:58 Speaker 11: And a lot of people say the same thing as you've said, is I can sing harmony, I can sing with others, they can sing in a choir.

36:04 Speaker 1: But when they're but training in okay.

36:06 Speaker 11: You know, through exercises and you know, like dedication.

36:09 Speaker 1: You know, yeah, you have to work out. I still won't give me a microphone. No, you don't sink mike, No, no, only in the shower.

36:16 Speaker 8: Okay.

36:17 Speaker 1: Yeah, that's why I get an audience to come in with me, but a shower or.

36:21 Speaker 16: Cooking for me. But you are correct, it is a very low number. Back in twenty seventeen, they did a study estimating that between one point five percent to up to four percent of people have tone deafness, also known as a musia. M A M S.

36:37 Speaker 11: I go, Brice, I don't think it should be funny. I got a musia. Yeah, I took penestill and mind cleared up. Okay, you're shut his microphone. I'll take it from here.

36:50 Speaker 16: It is a it can be congenital, in which case it can be more severe, which is rarer than people in general who are tone deaf, which is that one to four percent. So it is very a very low percentage of the population.

37:04 Speaker 8: Yeah.

37:04 Speaker 1: Interesting.

37:05 Speaker 8: Yeah, so it's not the people we.

37:07 Speaker 16: Thought it was. But it's not the people I would have thought it was. I would have thought that. It's like I didn't I can't hit that note. So I'm tone deaf because I.

37:14 Speaker 1: Can't hit right.

37:15 Speaker 16: That's what I thought that it meant, and a.

37:17 Speaker 11: Lot of times too, like you can go in somebody's vocal range and you can find out right that place and their voice, you know, especially the upper bridge of someone's voice where the coordination's going flat a little bit. I'll know exactly what to do.

37:32 Speaker 1: Okay, you know what I mean.

37:33 Speaker 11: You know exactly the range to work, and you know where the coordination issue is.

37:37 Speaker 8: Yeah. I remember Roland doing that with me and trying to figure out where my range was.

37:42 Speaker 16: No wonder. You guys have beautiful harmonies.

37:44 Speaker 11: Oh thanks, you just gorgeous. Marion and Cindy have always been like that. They sing together just beautifully. They have a real super chemistry.

37:55 Speaker 16: It sounds like they're related, you know what I mean, how related people can really get that crazy harm.

38:00 Speaker 1: Ye you sing together for thirty five years or whatever it is. Yeah, well yeah, yeah.

38:07 Speaker 11: I can remember one time I was at a bluegrass festival in Texas, uh, you know, in the eighties, and Marian and Cindy were there with me, and they had they weren't really singing yet, you know what I mean. So I was with my banjo player and we were out going and playing with everybody. And I come back and there's this beautiful singing going on in the tent. I'm like, what the hell is going on in there? I open it up and it's Cindy and Marion and Marian's on guitar and they're harmonized.

38:31 Speaker 1: Like Chris, I said, I didn't.

38:32 Speaker 11: Know you guys could harmonize like that. They go, oh yeah. So that's where it began, you know, like I kind of realized, like, what the hell you know.

38:39 Speaker 1: Yeah, I accidents, yeah yeah, yeah.

38:42 Speaker 11: And they just right from the beginning had had a kind of a chemistry.

38:46 Speaker 8: Yeah. Yeah, Oh that's cool. That's cool. Is uh? Now some of the early music that you guys did. Is that all available because you said you've one hundred and fifty published.

38:55 Speaker 1: Ye, all of it.

38:56 Speaker 11: The awkwardanang stuff is still it still gets spun all the time. You know, there's stuff about that like she Reigns particularly and fragile Is and Nail the aquatanang Ones, those two in particular, where they're sort of the band at the height of their powers. Okay, And it sounds like the nineties. I mean like I put that on and I just think, oh, yeah, here we are back there again, you know, kidding it's interesting.

39:19 Speaker 8: I'll have to check some of that out later. I'm curious. Yeah, I'll do a deep dive.

39:23 Speaker 11: Yeah yeah, yeah, And uh, we've been working together, like I said, ever since then. So yeah, you know, it's a it's a real uh. I think it's historic. I think New Hampshire musical history, our collaboration over the years. You know, even though you know not a lot of people know about it.

39:38 Speaker 8: I think, well, it must be kind of intuitive, right, especially at this point. Yeah, like it probably is effortless.

39:44 Speaker 11: The work, The workflows very nice. Yeah, like now I'll write a couple of songs or when we're ready for a new song. He'll he'll just say, what have you got, yeah, and I'll just I'll get out my guitar and I'll play through a few things and he'll say that one yeah, and then and then we start to arrange it. Uh. You know, Mike's very good with your arrangement. And it's really nice for a songwriter and a singer to have like what I call ears on the outside. You know, if somebody that listens to your music and says I like this, I don't like that.

40:10 Speaker 11: You know, I need to trust him with it, though, and he can be honest with me and say, you know, you're you're pushing too hard here, or you're biting down on that, or you know, things like that. It would normally hurt your feelings and I'll just you.

40:20 Speaker 1: Know, right right.

40:22 Speaker 11: But but it's really you know, for somebody, you know, and so he'll pick generally, you know, I'll run through a couple like, uh, go on, go ahead and break. I wrote this past Valentine's Stay because I was down with influenza a I believe, and I was out for it, you know, And that the week I was out, I wrote three songs that week, which is great and and go ahead and Break was the last one of the three.

40:44 Speaker 1: Okay, And so he says, what have you got?

40:47 Speaker 11: So I started playing that when he goes, that's the one. Let's do that one, you know, so he and then you know, then the band gets together, we start to arrange it.

40:54 Speaker 1: You know.

40:54 Speaker 11: Jeff Harrington, the drummer, had some nice arrangement ideas for for go ahead and break and so yeah, you know we sort of do that as a band, yeah, and arrange it. And and for a songwriter too. Had to have a team that you can work with, like cause Cindy and Marion are great, like we like this. We don't like that, you know, for everybody to chip in, for every talented person, it helps you with your composition. The composition gets ratcheted up.

41:20 Speaker 1: Yeah, you know.

41:21 Speaker 11: So it's it's really like it's a dream come true to have a team to work with you on the songs, you.

41:27 Speaker 1: Know what I mean?

41:28 Speaker 11: Oh yeah, yeah, and contribute to their considerable talent, you know.

41:31 Speaker 8: Yeah, absolutely absolutely. You guys want to play another one? We should, We should play another one. These are so good. What do you guys want to let highway?

41:39 Speaker 1: Yeah, Hello highway, Hello Highway. This is a song about your travels.

41:44 Speaker 11: Yeah, yeah, we were doing some care I wrote that stuck in traffic and in.

41:50 Speaker 1: New Jersey, No, No, Worcester.

41:53 Speaker 11: I was going through Worcester because my father lived in North Carolina and going down the stretch, he was dying to Parkinson's.

41:59 Speaker 8: Oh wow.

42:00 Speaker 11: We would do caregiving and everybody in the family would get down there for a couple of weeks. So we were doing a lot of highway time.

42:06 Speaker 1: Yeah.

42:06 Speaker 11: And so one particular time, my sister said called me and said we got to get down there. So as I was going down driving through Worcester, I was like, Hello Highway.

42:14 Speaker 1: Yeah, I like that.

42:15 Speaker 11: So the next twenty four hours of driving I wrote the rest of the song in my mind. Yeah, and then when I got back to town, I wrote it down, you know. But that's how that one came about.

42:23 Speaker 8: Okay, all right, yeah, let's give this a spand this is Hello Highway, and this is the Murphy Clark band.

42:46 Speaker 3: Hello Highway.

42:49 Speaker 1: Remember me.

42:53 Speaker 3: And the one that I used to be Hello Highway? Can you take me home to a place?

43:09 Speaker 1: He said?

43:10 Speaker 17: I never really know, never really know, never really know.

43:20 Speaker 17: Can you take me home?

43:24 Speaker 5: Hello Highway?

43:32 Speaker 3: I Way, Hello Highway. What's that you say? Can you take me back to a better day?

43:57 Speaker 18: A well writ and got you strong to get up off the floor? Didn't take so long, It didn't.

44:09 Speaker 5: Take so long.

44:13 Speaker 9: Didn't take so long to get up both food, Hello, Highway.

44:28 Speaker 3: Hide.

44:35 Speaker 10: I don't need a place to call my own and I don't.

44:39 Speaker 2: Need a phase to king.

44:42 Speaker 3: I just need a place to lay.

44:45 Speaker 9: It down where I can get some sweet.

44:50 Speaker 2: I don't need a place to go my own.

44:53 Speaker 5: I don't need a place to me.

44:57 Speaker 3: I just need phrase for thing down.

45:01 Speaker 8: I can get some sleep.

45:05 Speaker 17: I could get a sleep high way.

45:16 Speaker 12: Way he Hello Highway, Time to go.

45:48 Speaker 3: No, he'll need to remind me that you told me so. You told me so, Yeah, you told me so. Don't need to remind.

46:05 Speaker 17: Way Hello.

46:29 Speaker 1: Hello, mm hmmm, Hello Highway.

46:43 Speaker 8: It's kind of got lost in that one listening to that. That's really good guy.

46:46 Speaker 1: I want to go on that. Yeah, you want to go paint?

46:49 Speaker 16: I want to go paint.

46:50 Speaker 8: She likes she likes to listen to music while she paints.

46:53 Speaker 1: So cool.

46:53 Speaker 8: Yeah, she's gonna he's gonna put that on.

46:55 Speaker 11: Yeah, I'd love to love everybody put us on your playlist.

47:00 Speaker 1: Police. Yeah, and I should say too.

47:01 Speaker 11: You know, we're on Spotify, Apple Music, Amazon, YouTube. I love my YouTube channel small though it may be, yeah, but you know, we're on all the major platforms.

47:12 Speaker 1: The music is just some crazy videos on YouTube. Yeah, I get all the video duties. Yeah, I'm not a huge fan, but it's kind of fun. Video is a lot of work, is and I'm clunky on it because I'm an audio guy. Sure, sure, it's you know, have fun to do videos. Yeah.

47:29 Speaker 8: Yeah, that's a powerful song though.

47:30 Speaker 1: Oh thanks, so good.

47:32 Speaker 8: That is so good If you are just joining us. We've got Brian Murphy and Mike Clark from the Murphy Clark Band here with us in studio and we've been talking a lot and playing some tunes and uh, just just really great. Is is that one of the more recent ones? Or or is that is that one been out for a while?

47:49 Speaker 11: I think it's eight months maybe, Okay. We try to get a song done every two months, okay, and we've been relatively successful with that. That includes you know, the writing, the arranging and then the production of it, and you know we try to get get two months of ourselves, you know. So yeah, that one's probably about four songs back I would say, so that's eight months or six months or something like that.

48:16 Speaker 8: And so that's kind of the schedule. So is there is there an album that these are going to coalesce into or are you just going to keep doing singles?

48:24 Speaker 1: I don't we don't feel like the lost platform.

48:27 Speaker 9: Yeah.

48:28 Speaker 11: I think it's very difficult to get people to listen to a CD anyway, you know, because people have so much, so many entertainment options, I feel like. And another thing too, is when you release a single, you know, you get a bump on all the platforms. So if you're on Spotify, your Apple Music or whatever, you get a little you know, especially if you're a verified artist, you get a bump, so they promote that single for the first week or so like that. So if you release a CD, your CD gets that pump.

48:59 Speaker 11: But if you release a single, you get a bump every time you do the single. So it's just kind of more advantageous. And another thing I like about it, Matt is it allows the artists to work in what I call the honeymoon period with the song. Right, So when you have a new song, everybody's excited about it, everybody's get you know, gives it they're all. But if you do a CD project and you get hung up, the next thing, you know, everything starts to kind of slow down.

49:26 Speaker 1: You tend to rush through things if you'd you know, oh, we got to finish this because we have ten other songs we have to complete, you know, and then you might not out slide or you know, then you cannot.

49:36 Speaker 11: Work on a song for four months and then you kind of come back to it and I, where where were we with this one?

49:41 Speaker 1: You know what I mean? And you care about it anymore? Really?

49:43 Speaker 11: Whereas if you do a song and it's that song, you know, And I recommend this to musicians all the times, and they never listen. They always say no, we're doing a CD, and I say, okay, fine. When it gets bogged down, give me a call.

49:54 Speaker 1: Don't tell them that, bro, I lose money.

49:55 Speaker 11: When you tell the singles you'll make the same amount money. Just think how much money I've paid you, dude. Come on, you won't into that.

50:06 Speaker 1: Come on, I don't get me wrong. I would love people to put the Needle on the record and listen to the whole record. I kind of missed that because I'm guilty of it. Like I'll listen to like the new David Gilmour record and listen to two tracks then go oh, you know, uh to the wet Sprockett has a new record out of whoever, you know what I mean. So you there's so much to choose from your access.

50:29 Speaker 11: So I kind of look at it like, instead of putting out a CD, is put out a single and hope to get on some playlists. Hope people include it on their favorite playlist or whatever like that.

50:39 Speaker 8: Yeah, and that, yeah, you stay visible to yeah, exactly.

50:43 Speaker 1: Yeah, and a lot.

50:44 Speaker 11: I mean, you know, you can do a show and one person might come up and say, do you have a CD for sale? You know, and but most of the time not, you know what I mean, because people don't think of it that way.

50:55 Speaker 1: They don't put ring cars anymore, so you are Yeah, that's true, that's true.

51:00 Speaker 11: I've just kind of moved away from that, and periodically I think, oh, I should put it all together in a CD project, and then I think, you know why, Yeah, you know, yeah, So that's my that's my theory on it anyway.

51:11 Speaker 1: Yeah, Well, listening habits have changed. Yeah, oh absolutely, yeah change.

51:15 Speaker 11: Like I said, what I like about most of it is doing a song, putting your all into it, getting the best mix you can, and then moving on to the next one.

51:23 Speaker 1: Yeah.

51:24 Speaker 11: Yeah, you know what I mean it you know, it keeps you writing, it keeps you, you know, working like that, you know.

51:30 Speaker 8: Yeah. Yeah, there's so many different ways now to release music and so many different strategies you should use. And you know that's that's all changed too, yea, and yeah no, it's uh, technology has just changed everything. But but yeah, but it's like, you know, you kind of you do have to kind of feed the machine, feed that algorithm.

51:48 Speaker 4: You know.

51:51 Speaker 11: Really, the CD period was a very short period in musical history, right, I mean you probably remember singles where you get a forty five oh yeah, and that you know what I mean, it was one song, get B side or whatever.

52:06 Speaker 8: I might, I might be good, I might thank you, thank you, im moisturized, I stay hydrated. But yeah, it's some some of the artists we have on the show have kind of recommitted to physical media just because you know, sometimes if you're a fan, it's it's nice to have liner notes and things like that.

52:28 Speaker 1: But miss that. Yeah there with the album cover, Look, that's.

52:31 Speaker 8: The best, like the vinyl the gatefold, you know, and you.

52:34 Speaker 1: Can against mixing art mediums. You know, you have the music and you have the art that was exactly record cover exactly.

52:43 Speaker 8: Yeah. Yeah, absolutely, well, gentlemen, so that the time goes quickly. We will do this again in the future, though, I would love to come back.

52:50 Speaker 1: I'd love to have you guys got stories man, Yeah yeah, yeah.

52:54 Speaker 8: And especially too as you're releasing new music, because you know, you keep putting out new stuff. So yeah, so that that's an easy excuse to get you back on. But in the meantime, we should close our segment with one more track. What would you guys like to? Uh?

53:07 Speaker 1: Yeah, we could do only you, only you, only you, man.

53:10 Speaker 11: And this is the one that came before go on and break it's only.

53:14 Speaker 8: You, okay. Anything we should know about.

53:16 Speaker 11: This this one I don't remember.

53:19 Speaker 1: Uh, this is a track we revisited though, okay, yeah, because from a while ago. Okay, we did it back in the day.

53:27 Speaker 11: I don't remember the specifics are right in this one though, in particular, you know, it's.

53:30 Speaker 1: Just okay, you know I can't a dream? Yeah yeah, that's poetic. Yeah right.

53:39 Speaker 8: And before we spend this anything, what shoul our listeners know about how to find you guys online. What's the best place to go to keep up with everything? The Murphy Clark.

53:46 Speaker 1: We have a Facebook. I run it.

53:47 Speaker 11: So if you think I suck at Facebook, you're right. So I do this social media so you'll you'll uh, you'll know that.

53:54 Speaker 8: Yeah.

53:55 Speaker 1: The channel, the YouTube channels great though. Yeah, there's a lot of stuff this live videos on there. And okay, you know it's Murphy Clark.

54:03 Speaker 11: Just if you're te in Murphy Clark, it'll come up, okay, okay. And we appreciate anybody adding adding a song to their their favorite playlist or whatever.

54:11 Speaker 1: Yeah, you appreciate it.

54:12 Speaker 11: And if if somebody writes something on YouTube, we see.

54:15 Speaker 1: It, it's gonna paint to yes she is, Yeah, yes she is. And if anyone wants to dance naked, that's fine too.

54:23 Speaker 8: You can do that, you know, absolutely, not here. Not here, We can't on that part. The cameras are on, and I don't think we're zoned for it.

54:31 Speaker 1: Yeah I should. I should have done some sit ups or something.

54:35 Speaker 11: As far it's gonna appear naked, I look pretty good in the park if you give me a chance.

54:44 Speaker 8: Well, like I said, we will have you back, so we'll.

54:47 Speaker 11: Thanks for everything and thank you for your commitment.

54:50 Speaker 1: Everyone.

54:50 Speaker 11: You know, we really appreciate that, like thank you, just like Kate over it, you know the listening room. The dedication and devotion that people have is so importan and you know what I mean, it means a lot to us.

55:02 Speaker 8: Oh yeah, I mean no, we love it, you know, Jenny and I love it.

55:05 Speaker 1: I appreciate that.

55:05 Speaker 8: J absolutely absolutely so we will. We'll close out the segment with only You Man. That's the title this track, Only you Oh, it's just only you Okay. I was sure because it says only you Man on here, but it says only you Man mixed, so I don't know if it was the band.

55:19 Speaker 1: From my studio. I need to name stuff what I want to name it. Yeah, that's not the name of the song.

55:25 Speaker 8: It's smelled.

55:26 Speaker 1: It's just just from my file.

55:28 Speaker 8: I got I gotcha, I gotcha, all right. And if you are listening live on Saturday morning, Aaron Bilideo is coming up next in the third hour, so stick around for that. He's gonna play live. But guys, thank you again. Brian Murphy and Mike Clark from the Murphy Clark Band and here. It is only you.

56:00 Speaker 5: It's all right.

56:04 Speaker 2: When you're suffer, It's all right.

56:12 Speaker 9: When you cry, it's I'll pick you ever, I thank you. Should you be flop down, let me coming down.

56:23 Speaker 12: I'll dry yours on.

56:30 Speaker 7: Man only, man only, like myself, much like myself, bus like myself.

56:45 Speaker 3: Much like myself.

56:47 Speaker 5: I'll much like me.

56:52 Speaker 3: In the night.

56:55 Speaker 9: When your hog is broken up, a.

57:04 Speaker 3: Good sound mass.

57:08 Speaker 8: Too, you muture to seeking.

57:14 Speaker 3: Said, I will not dritcause your own thing.

57:24 Speaker 5: On you.

57:28 Speaker 19: Only like myself, much like myself, much like myself, uns like myself, I'm much like me.

58:00 Speaker 3: It's all right when you suffer.

58:08 Speaker 5: It's all.

58:10 Speaker 3: Right when you come south you have you should be, for.

58:23 Speaker 14: Thou will not puticide's because you're.

58:30 Speaker 2: Man only, man.

58:36 Speaker 5: Only only, only.

58:48 Speaker 13: Only, but like theself, sellst like myself myself no stared.

59:02 Speaker 11: Not light and not start

59:08 Speaker 8: Real