Matt Connarton Unleashed: Jam Tomorrow

0:00 We've got a great band here with you. So I'm going to introduce Michael help Lee Pierce. How are you, sir? You said my name right, You've already warned my heart, my friend. Well, you and I were in a band together, so you know, I kind of I probably should get your name right. I appreciate that. I'm really happy to be here. This is a long overdo It's been too long since we've had fun together. Yeah, it's great to see you man, great to see you, and I love I love the song there, thank you that killing time and your new project jam tomorrow.

0:27 And what I would like you to do, sir, if you wouldn't mind, is I'll let you introduce these other two gentlemen who I'm meeting for the first time today. I'd be happy to do so. So joining me on my far left is the amazing Mark Vadney on six string acoustic and occasionally electric. He's he and I started the band kind of ass a COVID project. Really just try to not go crazy and sit six feet apart and still make some music with people and deal with the madness that was happening three or four years ago, and not too long thereafter, we start playing gigs, and we very shortly thereafter drafted Gary Smith, who's sitting in the middle.

1:02 Gary Handle's bass and eight string, sometimes twelve string. Mark sometimes is on twelve string as well. I'm only ever on the G string. It's about all I'm good at. Play in its alas, always at a tune, always at the G string. I feel like I've heard that joke before. I'm sure, sure, I'm sure I'll use Yeah. So we started playing together, I don't know, probably two years ago, doing mostly what I would call hokey singer songwriter covers. Started expending that a little bit more. We're working on originals, and we're now at a point where we have I think twenty five originals.

1:35 Wow, ready to go. We just recorded the first one, which you guys were kind enough to debut for us, Yes the world Radio. Yeah, great stuff, and we've got more to record behind that. We've got a really cool engineer that we're working with, and we're we're really happy to make some more of that happen. Outstanding. By the way. Mike from Queen's City Cabinetry Mike Pelopidas in the Facebook live chat and says good to see Michael. Yeah, good to see you in my friend. He was an old customer, old friend of mine.

1:58 Yeah, yeah, well, listen, you guys want to you want to play, play something for us, and I'll ride the faders a little bit. We're not we can't really no way to do an off air or sound check, so to speak. But I'll do my best with the missing But yeah, what do you want to play? Yeah, so we've got a bunch of originals lined up for you. We tried to kind of pick a smattering both stylistically and subject matter. Yeah. I'm a little overly intellectual in my lyrics self, admittedly, and these guys are amazing musicians.

2:25 This is a song about the triumphs of the Tarot deck. So this is sort of a psychedelic visual journey through the twenty one triumphs in the place of the fool taking the journey itself, and how that's kind of all of us. So this one's called twenty two, all right, traveling through the world, pass popes and potentates as princesses and love look my way and waiting, But the one with the way to the world is in my chariot,

3:28 and that mugenin might become yet Just the dou who's springing half the edges, got my bag, I got my dog, got stepping off of legend. As the carter tells I seek, I always bring the rules, care free, don't care for me. I half played the food. I have to play the fool. I need to have the strength to hold a lion tights and stand alone in darkness, holding out the light as the wheel of fortune spins his justice on my inside, as they hang me upside down, my hands behind me, tire jun the food who springing at the edges, got my bag, I got my dog.

4:47 I'm stepping off legend as the deck bands down. I see how fit is cruel, care free, don't care them me. I have to play the fool. After pabo oh and I smelt death unmistakable. A man upon the warps to one glass empty, one glass fool as the devil binds me in chains, as I can see the towels fall, but I avoid the lighting somehow, always give it all.

5:41 Just the fool who's springing at the edges, got my bag, I got my dog. I'm stepping off of ledgd as the cart rained down, I'm drowning in the pool. Care every don't care for me. I have to say the fool, have to pray the fool. A woman like a star has pictures in her hand as the moon shines over all the creatures, the sea and land. But the sun is rising and the Egel trumpets judgment time. The world is out if we can only fly, just the fool who's bringing at the edges. Got my bag, I got my dog. I'm stepping up of legend as the House of Cards burns down us see us

7:02 Jafrey, don't I have the fool? Have the fool? Twenty two,

7:21 twenty two two? Very nice, Thank you, very nice. If you're just joining us, Jam Tomorrow is here with us live in studio. Mike from Queen City Cabinetry says, very good. Yes, thanks brother, appreciate that. Where does the name come from? By the way, Jam Tomorrow, so as you know from us, haven't made so. Matt and I were in a band together thirteen fourteen, fifteen years ago. We were in a band called Chemical Distance, which you can still find some stuff if you dig not too deep under the I think I think twelve years are right.

8:01 I think the first album drop maybe ten eleven. Yeah, somewhere in that time, COVID caused a lot of time to start. Yeah, So I'm a nerd, and I'm a book nerd, and I'm a big Lewis Carroll fan. And Lewis Carroll actually had a phrase in Through the Looking Glass that was said by the Red Queen where they're at a tea party analysis gonna have some jam, and the Queen says, jam tomorrow, jam yesterday, but never jam today. And it's sort of a play on the Latin for to be I am okay because I is ja if you remember from Indiana Jones when you're stepping on the stones and we were having trouble Mark and I kind of lining up our rehearsal dates.

8:39 At the beginning, it was always like, okay, we jam today, now, maybe we can jam tomorrow, and so then it sort of began jam tomorrow. So it's sort of multifaceted, but at its root, it's sort of that. Yeah, it's always a play on Lewis Carroll, and we've got we've got a bunch of references to that in our music, for sure, gotcha, gotcha. By the way I've played Red Queen's Race by chemical distance goes way back. Yeah, Yeah, I tell, I tell everybody that's our hit. Yeah, it would have been that. So when when did this project?

9:06 So it started out with you and Mark, right, the two of you, and yeah, I mean Mark and I had done actually a project with Auto if you remember the engineer that we did our first album. We did a Christmas album and okay, they were looking for a Christmas song, hokey Christmas song, so Otto and Mark and I actually did Christmas for Cowboys from a John Denver Christmas album that he actually covered from somebody I had never heard of once again, probably like twelve ash years ago, and then just reconnected realizing how close we lived, and started playing and then just through sort of mutual acquaintances, Gary kind of got sucked into the mix and it's it's sort of like there was no looking back from that point.

9:41 Yeah, I'm really fortunate to have these amazing dudes to play with. Yeah, no doubt, no doubt. Now, So Gary, how long have you been in the band? Pretty much for a year and a half, probably a year and a half, two years Yeah, okay, I think we played our first gig together about two years ago. We had played together at a mutual friend's house and so we had had some experience playing together, but I didn't officially probably join until about a year and a half two years ago, sometime in that range.

10:06 Gotcha, gotcha? Do you guys play out a lot? Are you playing a lot of shows or yeah, we did four gigs in July. I think we're kind of shooting for like two a month because we all have somewhat demanding jobs, pretty demanding jobs. You know, we're all doing fifty hours a week somewhere forty five hours a week somewhere in that neighborhood. So we don't want to take it too heavy. But we're really fortunate that Manchester is such a great music town, though we don't have to travel too smar can I mention a couple of venues where we play.

10:29 Is that acceptable? So, like, we've played at Strange Brew all the time. We're playing there on the twenty fourth. Mitch is super kind to us and gives us a lot of really great slots. We play at Granite Tapas all the time, and Hooks It we play. We play at Hop Not. It's been a little while, but but Kenny's brought us on to play four or five times. So we really like Mark and I both live less than a mile from here. We don't care if Gary us to dry. Frankly, so right, it's a bass player, so we keep it easier.

10:53 We often just like shoot for gigs like somewhere between Conquered and Manchester, so that at least one of us doesn't have to travel so far right right, which is a nice place to be. It's nice to be in such a you know, I remember a decade ago when we were trying to find places to play. No one wanted to hire you to play Originals if you were going to like a party band that could play all covers that people knew. You can get a good gig playing on a deck somewhere. But of course, like we play a third Originals and all of our venues are on board with that.

11:16 They're okay, we play and most of our covers are obscure. We throw in like a third cover. Is that you're going to know the words too? When I've heard but a lot of our covers you might as well be Originals because they're like deep cuts and no one right right, yeah, Now, when you play out is it is it this configuration or do you ever pull out electric guitars? Or it's always Yeah. I mean most of the time we'll have an electric and an acoustic with us, and you know we have we'll have some different configuration.

11:41 I usually have something h string and Mark usually has something cool sounding. Yeah. I was suffering from ten to nineties issues for a while, so playing this for three hours was killing me. So I tried to incorporate electric, but I couldn't find a pedal or a sound that made the electric quite sound acoustic enough. So I found hybrid guitar that is the best of both worlds. So yeah, you know I can do that, but I needed this today because I knew we weren't plugged in right right? Yeah, yeah, excellent.

12:08 You guys want to play another song? Yeah, so this next one is uh, this one's called motor Lodge. I've been writing for thirty years in various capacities, like really since college at least ninety two, but longer than that. This is one of my favorite things that I've ever written, and I feel like I didn't actually write it. I feel like I really held the pen and I kind of channeled it, and I don't know where it came from. I can sort of see this person and that sounds hokey, and I know there's people probably shaking their head as I heard this.

12:33 I might shake my head too, but I really I felt more like a conduit than a creator in this piece. So this is called motor Lodge, okay. And I will say from a musicians point, we're very naked today because this is a song that I have a very ethereal reverb, caf cavernous sound because to create an effect. So we're very dry today. So yeah, yeah, it's gonna be way better live. So it comes to this. Yeah, alright, ladies and gentlemen, jam tomorrow tin these wooden instruments. Sometimes I think you don't even hear me.

13:32 Sometimes I think I don't want you to hear me. He Sometimes I think I'm listening your utimes, but that sometimes I don't miss you so much. Sometimes I find out which foil smile dance. Sometimes as I stand out of the rain with eating one hand, sometimes I wonder where you went to dance. Sometimes I question my tex. It jumps the question every single time, never answers, never really danty or it jumps the question. What do you ask if you do you believe you going through? Go ahead through

14:43 Ofttimes I don't remember the moment that past. Ofttimes I can't distinguish the first from the line. Ofttimes I feel I've walked through these footsteps before. Enough times, as I see my handprints on the hug on side, I find I reach for your hand, but then aping size and disappus again. Up the times I want to do what happened? Up time? What med me? It jumps questern every single time, never read, never anything? He would It jumps question? What do you ask of you? Feeling blood? Thinking it is thinking?

15:51 Most times I fear I've lost myself in the past. Most times I fear I've let the wrong moment. Laugh most time, ladies in me in the mealad on, And most times I can't predict my fault. Most times I don't know what we're round in. Most times I can't believe singing this song. Most time I don't know how this speling. The most times I was good, What's round? Let's round? It comes to Western every single time, never answered, never anything, de most lime, it comes to Western? What did you ask? Wow? Fantastic, thank you, yeah, yeah, thanks very much.

17:35 If you're just joining us, we have the members of Jam Tomorrow here in studio with us. We have Mike and Mark and Gary and Jenny is here at the newscask and we're really enjoying this. Do you, Mike, do you write all the lyrics? I do. Yeah, it's uh, we are a pretty clear division of labor. Usually Mark and I kind of bounced stuff back and forth. I have a very very solitary writing process. I'm kind of selfish. I always found, even when I was doing Chemical distance, every project I've had, I usually like let the creative people that make the music make the music, and then I take the music away to my lair and I put lyrics to it, and then we come back and we share, we bounce back.

18:11 I think it's kind of like how Rush writes. You know, we're like one part does one thing, and then it's division of labor and they sort of separate it out. Now that we've got two musicians, it's even easier because literally we always rehearse at my house because I feed us and we have space. So it's pretty easy for these guys to you just like, all right, we can have with your house good And so I'll literally be like I'm gonna go get some more beers from the kitchen and I'll just put my phone on the table where these guys are hanging out and just hit record on the record app, and freaking magic just happens.

18:35 And I come back and I'm like, oh, all right, well there's our next song. Yeah, and then we literally just taken I say, okay, I feel like this is the opener and this is the verse, and this is the chorus, and we can sequence it like this and what do you guys think about that? And then we kind of bounce it back and forth and then I write the lyrics, we come back, Mark find some harmonies for it, and then it just sort of all comes together. So it's very collaborative, but at the same time it's it's sort of iterative.

18:56 And Gary's been great about like taking songs over and him and being why don't we do this for an intro? Yeah? How do you feel about this middle break? Putting in bridges? And you know, because listen to most of our music, not a lot of bridges, a lot of verses, a lot of courses, not a lot of bridges. Terry is the facilitator of those those things, helping us break being formulated because I'm kind of a singer songwriter verse chorus, verse chorus, bridge, verse chorus and a guy and sure, and I think Mark and I gent we're writing in four four, writing within a sort of you know, a bpm range that's sort of somewhat predictable, and Gary absolutely helps us sort of break those uh seventies eighties blues rockers.

19:32 So yeah, yeah, I do think for melaic too much, but yeah, it's natural. So's it's natural. I mean, you know, there is an established sort of format that we all fall into with it. It's but that's you know, it's there for a reason. That's what just sounds pleasing to us as humans, you know, and it's comfortable too. And I think for us it's like we don't want to fight with the mechanism. We really just want to get to the place where we want to be and do our thing and sometimes just falling into four four at one hundred and five bpm, you know, in a in a chord progression that we're sort of comfortable with, it's like, okay, well we can tell a story here, like we already know the terrain.

20:02 It's it gives us that much more ease of action. Yeah, yeah, Like the first twelve or fifteen songs. We're like music I've just had tucked away since seventies and eighties. And then he's like, send me some idea. So I kept pulling out these things that were just a long time yeah, and he just kind of loomed the flowers, so to speak. Oh wow, yeah that's cool. Yeah. Yeah. I never throw away an idea, right because I can't write lyrics with the life of me really, and I'm not the guy to put out a melody.

20:28 So I think we all we all sort of know our place and we're all really happy. Yeah. I hate to say staying in our lane, because it's not about like, hey, don't do my thing, more about like, you're really good at this, you do that right? Well, if it works, it works. Yeah. Yeah, he has want to play another song. I want. I'm dying to hear another one. Yeah, we got a bunch more so. This next one is actually the first song that we wrote. This is definitely a COVID song. Uh. It starts with the choruses that are starting with a verse, just because we felt like being unconventional.

20:54 This one's called Falling into Place. This was definitely inspired by going to see Sean Mullin's outside of Tupelo Music Hall when yes, when COVID first started and they moved his show from inside of the concert to the outside of the culture. We're huge fans and if I can give a quick thirty second story, we actually went to see him up two hours north in Bethlehem, like a month ago. Mark and his wife drove home after the show. We were trying to get an autograph. Couldn't get anyone with theater to get us an autograph.

21:22 My wife and I stayed at a local BMB wake up in the morning because the sun just streaming into our room, So like seven o'clock in the morning, we're showered, packed riddy out the door, which is really unconventional for us, especially after a late show. And it's a tiny little B ANDB with seven rooms, and I walk out into the hallway and there's this guy walking around with a paper cup of coffee, looking a little lost, and it's Sean Mullin, no kidding, and he's like I would say, after Paul Simon, and that's a tall order.

21:44 He's my number two most inspirational favorite, wow in my heart songwriter, and he's right there. Oh my god, what are the odds? And I looked at him and I said, dude, you were amazing last night. He's got this beautiful baritone. He just goes, oh, thanks, you were there, and I'm like, yeah, that's why I'm here. He goes, oh, do you know where breakfast? And I said, yeah, it's in that room right there. If you just sit down, they said, a waitress will come over. I said, Sean, would you like some company?

22:05 He goes, yeah, that'd be really nice. And my wife and I sat down with Sean Mullins and I breakfast with him for an hour and I didn't ask him like creative questions or music questions. We talked about life on the road because I've been on the road for sales twenty years, so I didn't fanboy on them until the very end. And then I got pictures and got like autographs from Mark and I were Hugh Sean Mullin fans. And I feel like this song was very much his zeitgeist. Was still sort of like pushing us to write our first song when we when we came out with this, Oh that's so cool.

22:30 So this one's called Falling into Place, and I feel like things are falling against play, and I feel like it's the end of the Red Queen's Rains, and I feel like the star are gonna change because I feel like this was all just rearranged as we moved from hugs and handshake. We must remember how our souls as we moved from confidence to confidence, we must remember how our souls pay. And I feel like things are falling into places, and I feel like it's me after the Red Queen's Race, And I feel like the star for gotta shame because I feel like small rearranged and people take too much pride in the way they picked their side ha ha ha split up into them

24:51 and us a sign seating on the bars on the books. But I feel like things are falling into played and I feel like it's the end of the Red Queen's right and I feel like the stars, like the stars gotta shape, because I feel like this was all reading. As our lives getting most separated here, well we wish they weren't so as things get more complicated,

26:07 well we wish we could just know, just know. And I feel like things are falling against place and die me like it's the end of the Red Queen's Raging and I feel like a star We're gonna change because I feel like this was all frearing and I feel like things are falling agast place to die. Feel like it's the end of the Red Queen raging, and I feel like the stars, like the stars are gonna change because I feel like this

27:02 prey. Oh that's my favorite so far. Yeah, that's my favorite. I love that. Thank you. I hope that's one of the ones you're recording eventually. We hope they all make it like these are definitely next thing Q. Yeah. Yeah, we got two more that we slated. If we have time for a third, we can break it. But everything that we're gonna hear today, yeah, every of your inter day. We'll definitely make it to the to the engineering booth in the next hopefully six months or so. Yeah, good good, our guys local.

27:46 He's a professional. He's actually touring with Bad Fish right now, running their sound live. He's got a home set up. He's what's the name Barnwood studio, boards, boards, house production. Yeah, totally wrong. Yeah. Create. He does roots to create and he does that fit. Oh okay, very good, very good. By the way Garyet accrued to me, I don't think I've ever seen an eight string guitar in this room before. I think you're the first one to bring one in. I'm glad, I'm glad to break the seal. Yeah, yeah, you should see this electric has actually got frets.

28:12 What do you call those frets that are just like so none of them are straight. They literally each fret shifts at each string and it's like an asymmetrical lightning bowl. It's crazy, but it's got this beautiful true tone. Wow, this is the Bartelex h string nylon. So it's a yeah, and it's fan fred it's it's it's fun. It was the first thing that got me into h strings, my old guitar teacher, No kidding, Yeah, it's yeah, it's awesome. It's have you met other a lot of other people who play an eighth string?

28:41 It's not really. I mean some like people in the crazy metal world, they like to go eh string Yeah, And I mean I have a jazz background, so there's some like jazz guitarists who like to do like walking bass lines. Yeah, so that's what why I got it from my teacher. He has a host of eight and weird amount of strings. So yeah, yeah, and you do you fingerpick everything. It's a mixture. Like that song, I was doing a lot of finger picking some of the other songs, and the next song, I think I do a lot of pickings.

29:09 So it's a it's a mixture of both. But I've played nylons a lot of my life, so yeah, it's even though this is the widest neck you've ever seen, and it's really not too bad. It's like a meme smart do you always pick or do you have a fingerpick? I do mixture of both. I do have some of our originals that are all fingerpicking. Okay, I mostly uh facilitate the rhythmic portion of what we do. Yeah, gives Gary freedom to fill in all the holes with the taste. Yeah, yeah, absolutely absolutely so mostly yeah rumming.

29:45 Okay, all right, Yeah, you guys want to play another? Yeah? Table five? What is that? Table five? Oh? All right? So this is uh mark another reason these are amazing humans. I cannot stress enough. This is the project that I've been waiting on my whole life. And I'm glad I've done every project I've done, but this is the one that I've really been waiting for. These guys also invite me to shows, to see people that broaden my musical horizons, opened my mind up. And Mark said, hey, let's go see Chris.

30:11 Til we saw him in Portsmouth. Nobody was there. It was really sad. It was like a quarter of the theater was full. This guy was amazing and he made me start thinking about Leonard Cohen again, who I really hadn't thought about seriously since like ninety five six seven when I was in college. And it made me start thinking about Leonard Cohen. So somehow that turned into sort of a blue grassy song. So this is beautiful Loser, which is our compute to Leonard Cohen. Chris plays in Nickel Creeks. Oh okay, I was gonna say, I know, I know the name Helen and mandolin.

30:36 Yeah, videos super obscure, but an amazing player, great stage presents, great performer, all by himself. One instrument, two Mike's one for the instrument, one for him, no effects, just like on stage, just making it was the last time you saw a guy with a mandolin. Just capture Hill where in Portsmouth? Was he that old the old theater that they just redid with the nice marquis at the top, kind of took off the main Street. Yeah, sort of Gilded era. Kind of reminds me a miniature version of the Orpheum.

31:02 Oh, I can picture it. Yeah, it looked like it was late eighteen hundreds. I can't remember the name, but it was. It was redone and beautiful. Yeah, great show. Yeah, very cool, very cool. This is a mix of Leonard Cohen and blue grass. Yeah, let's called beautiful user All right, jam tomorrow there with us in the studio, A big hole in the fabric of space and time. Like I had a dollar and I needed a time. A bansful bits of the missus Sammy from the Minnesota Highlights to the New Orleans Socian. She grips me.

31:59 And I don't know what happened to me

32:05 between mealing light and living free, keep walking into Horse where I think I might be. God is a lie, that magic is afoot. Somethings just won't stay where their foots. Reinvention tainted by previous intention won't save us from those things we just can't mention. And I don't know what happened to me between me and light man, living free, keep walking too Horse where I think I might be, think I might be to the bread, And I don't know what happened to me between me and life, living free, keep walking thought where I became me every time we pull back the curtain me to find another curtain, but my mind is weary and my back is hurting.

33:54 The only thing I've ever known for searching. It's behind every curtain, there's another curtain and another curtain, And I don't know what happens to me. Dreen mealing life, living free, keep walking thors where I think I might be And I don't know what happens to me dream mealing life and living free, keep walking thoughs where I think I might be. I think I might be. I think I might dream what happens to me? Tween me, life, live every keep walking thors where I Yeah. Nice, We just that's a new ending for us.

35:23 We just just worked on that our last we heard yeah, the whole a capella piece and then switching out, So that was a that was a thank you, That was that was our first time I think we've ever done that live. Yeah, I was a surprise here and the two of you singing together because you haven't done Anyboddy, They'll expect it all the time. Mark Hartant is on like twenty five percent of our songs, but we haven't developed a lot for our originals yet. Yeah. No, that sounded really good though, thank you, really good, absolutely, and it's funny too Gary During that song, that was when I really like watching you.

35:48 That's when I really got it. As far as he ate string, it was like, oh, I get it, you know, because you're you're playing guitar and you're playing bass at the same time. Effectively, it was like hate just switches modalities like yeah, yeah, which you know, which you're done on the other side. But with that song, it was like, Oh, I get it, Yeah, I really get it. Yeah. It transfers even more on electric, you know, because then hit a button and he's doing a soaring distortion solo. Yeah, where you know, not so much on this, and then it sounds like like a B three on the next Sweet.

36:18 I like that. I'm a sucker for it. Hammond, Hamond cheese. You guys want to do uh you see? Yeah? You have one more? Right, We got as many more as you want. We got one more that we we practiced for this and we could throw another one and if we got time, yeah, well we'll see how the we'll see how the time is but we can definitely get one more. And so this next song, this is written about my wife's cousin. She passed away about twenty years ago doing some piece work in the Middle East. Oh wow, really, Yeah, you can google her name's Rachel Corey.

36:46 There's probably more information than you want to know. Frankly, Uh, it's a tragic tail all around. It took a long time for me to write this her her journals were Actually Alan Rickman from Snape actually took her journals and wrote a one woman play called My Name Is Rachel I Believe or Let Me stand Alone, and that toured briefly in New York and then off Broadway. We went to see it a couple of times, once in New York, once here in Boston. And a lot of the lyrics from this and most of the chorus actually come from her journals, So I kind of tried to stitch it together and make it a cohesive narrative.

37:22 But the majority of the content from the song actually comes directly from her journals right up to the day before she died. Wow. Heavy song, but it's a story that needed to be told. It took me about fifteen years to have the courage to put it down. And what's her name, Rachel Corey. Yeah, all right, yeah, she was twenty three. Wow. We could have done probably ten verses, but so it's yeah, it's still a seven minute song. But yeah, so this one's called the Whole Wide World, all right, jam tomorrow.

38:04 A child of the Puget Sound, a dove in town array, raised by caring parents, aware of the world. They hid me. Dad went to v hid Now you can't come back. See, I grew up with his sense of calm and burning flame.

38:52 Let me stand alone at the end of the earth and look at it, harness. Maybe my word swells around me. But one thing is stationed everything. It's the word tis buzz away from my lefts, meaninglessly left them. Hang in the air for a while, and look at the Mornesslee, my name is Rachel, trying to bridge the distance between the moon and the star. I flew across the earl to rougher, and it seemed so far.

40:00 Sometimes you work for the world, sometimes for yourself. Sometimes you can't see what is hiding on the highest shell. Let me stand alone at the hull, be here and look at it, the honest seed. Maybe my work swells around me but one thing is stationed everything. If the word die you buzz away from my left meaning English. He lead back hat in the air for WHI and look at them honest feed. My name is Rachel houses dear malished. Two orages on in alle machine gun fire at sunset, Mozar blasts at ton. Who are they?

41:26 Why are they? They asked behind? Now will die? We came from America to stop these attacks. Let me stand alone at the end John here and look at it on his mee

41:55 main in my well swells around me. But one thing is stationed everything. The one time used buzz away from my left meaningless. He let them hanging in the air, far away and look at the monas be. My name is Rachel, greeting people. I baby beloved, showing love, thinking back when I was a child, parading as We have to protect the war. We need war to a line building tost This moment I never found so alne.

43:13 Let me stand alone at the job and look at it onnest me. Maybe my world wealth around me, But one thing is stationed everything it though who was I used buzz away from my laf meeting. We see the backpack in the air photo one and look at them hoardest s. My name is Rachel. My name is Rachel. My name is Rachel, my name.

44:20 Wow. That's an intense song. That's great. Thank you. That is amazing. That is amazing. I wish we had time for one more, but we're actually almost out of show. But that was awesome. But guys, thank you so much. And before we do run out of time, please tell us what we should know about, where to find you online, keep up with what you're doing, social media, upcoming shows, anything you want to make sure So we don't have a website, we're still working on that, still working on the album, still kind of trying to take this little more seriously than just some kids in the sandbox pretending to be a rock and roll band.

44:48 To quote Shell Silverstein. We've got a show coming up on the twenty fourth at Strange Brew. Facebook's always the best way to follow us. We do have a page Jim Tomorrow dash at the Band, so you don't confuse it with like, you know, Jim to Sorrow, the Lunchbox, the Sleeping Bag, Jim Tomorrow the Flamethrower. The kids love that one, so you can track us there. We always make sure we put out postings several weeks ahead of shows. We're also doing Friends eight. I think that's the next that's next month, the twenty.

45:15 Yeah, and we're doing Rob as Evado's doing a thing down in arms Park Saturday the twenty six, I think, and we're gonna play it around six thirties, just Gary and I. Mark's got something else going on, so we're gonna do a couple of cuts that we've been working on together sort of independently, well, a couple of covers probably, So that's where you can find us, but we appreciate it and hopefully you can find us here again because we'd love to come back. Oh. Absolutely absolutely. Have you been on Rob's show?

45:37 Yeah, we're working on it. Yeah, yeah, my other project was on there and it was it was cool. It's a cool spot. So Gary's and Fox and the Flamingos as well. A really cool five piece funk projects, super high energy, really great covers, some cool originals, very talented folks. You should check them out too. Yeah, yeah, absolutely too. Yes, absolutely, take up a little more space, not a problem, not a problem. Well, yes, this has been wonderful. Thank you so much, and you Matgen, thank you so much.

46:02 We really appreciate it absolutely, absolutely, and it's great to see you. And while you're sounding great, thank you. I felt like that was a great chemical distance, was a great place to sort of learn. Had a tour and had a book and had a guerrilla market, but I didn't have a lot of room to play as far as what I was gonna do. And this, this project gives me just so much more leeway to kind of ye claim my hokey old stuff.