Paul Nazole | Matt Connarton Unleashed

0:00 Speaker 1: Oh that is so catchy. And I love the guitar work in that. The track is Nebeka Nezzer, and that is Paul Nasol. I will ask him though, if I'm pronouncing his name correctly.

0:10 Speaker 2: I Paul, Are you there?

0:12 Speaker 3: Yeah, man, I'm there. I know you're not.

0:14 Speaker 2: No, okay, how do you say your name?

0:16 Speaker 3: It's Nazole?

0:18 Speaker 1: Oh, Nazole? Okay, because you are you're you're a lot of different things. Oh I can imagine. Yeah, because you're of I was reading about you. So you're you're from Liverpool, right, but you're of Italian descent, so that the name is Italian I assume.

0:35 Speaker 3: Right, that's right. Yeah, it's like a scouse.

0:39 Speaker 2: Gotcha, gotcha. I love that song a lot.

0:41 Speaker 1: And is that you? Obviously that's your singing. Is that also you on guitar?

0:46 Speaker 3: Yeah?

0:46 Speaker 4: I do some of the guitar. But there's also a guy called Robert Johnson on the guitar.

0:50 Speaker 3: There as well. Okay, he's a great player.

0:53 Speaker 4: Actually he's actually Ginger Baker's nephew. Would you believed, Yeah, yeah, crea tribute. It sounds a little bit Clopton actually doesn't it as well? Oh that's oh, that's wild.

1:05 Speaker 1: Yeah. Oh cool, very very very nice. Yeah, being are you do you currently still live in Liverpool?

1:11 Speaker 4: Yeah at the minute, Yeah, I'm sort of brunching out a little bit, but uh yeah, looking to uh, it's got a little bit further field.

1:18 Speaker 3: But you didn't have a pool of most of my life.

1:21 Speaker 1: I'm curious about and I you won't be the first person I've asked this question of, but like, is there is there a certain pressure that comes with being a musician from a place that is so well known for uh, you know, you know, in terms of of kind of being it's I feel like Liverpool is almost kind of like this this musical center of the universe within that part of the world. What's that like being there in that music scene?

1:50 Speaker 3: It's great. Yeah, you know, it's very insense as well.

1:53 Speaker 4: It can be a little bit of a bubble all of its own, you know, which I imagine a lot of those places are like Nashville and stuff, you know, I mentioned they're all a little bit like that. Yeah, but yeah, there's a lot of great things to be said for it.

2:03 Speaker 3: Man.

2:03 Speaker 4: You know, a lot of a lot of musicians, you know, everyone seems to play guitar. There used to be an old saying back in the nineties used to save you from Liverpool. You either play football, you play guitar, or you were you know, you're up to no good.

2:17 Speaker 2: Right, the young fool, you know.

2:19 Speaker 3: But it's changing a lot.

2:20 Speaker 4: You know, the city has changed a lot over the last twenty years. It's a it used to be quite a poor city. Now it's kind of it's growing a lot.

2:26 Speaker 3: You know.

2:26 Speaker 1: Oh, that's good, explanding, that's good.

2:29 Speaker 2: Did you start playing guitar and singing at a young age?

2:32 Speaker 3: Not really, No.

2:34 Speaker 4: I was also interested in the arts in all different ways, you know, like writing and acting and poetry, and I got into guitar probably about seventeen something like that.

2:43 Speaker 3: I played a bit of keyboards, a lover.

2:44 Speaker 4: The bass, but it was really a little bit later on that it's sours of took over, you know.

2:49 Speaker 1: Yeah, yeah, yeah, that's unusual. But I assume you know, once you started playing, you probably picked it up quickly.

2:56 Speaker 3: Yeah, that's it. I was kind of possessed by it, you know. And yeah, very fest.

3:01 Speaker 2: You had played. Did you start out on keyboard?

3:05 Speaker 4: Yeah, a little bit of keyboards, I think I and you know, I say play keyboard, I think I could play van Halen Jump, yeah, Moonlight sonata, yeah, and like you know, one or two other bits.

3:16 Speaker 3: Now.

3:16 Speaker 1: The reason I was the reason I was curious is I've heard so many music professors and instructors say over the years that no matter what you intend to play for an instrument, you should learn some just some basic keyboard first, because and I can see that. Yeah, and I didn't do that. I didn't do that. I wish I had, But I've just heard so many people say that because it, you know, it teaches you how to in your mind sort of put chords together, and and what you learn from the keyboard will help you with any other instrument that you play.

3:46 Speaker 3: I can imagine that.

3:47 Speaker 4: It's also like visually you can kind of see what's happened in red, you know, the space between the notes and things like that, you.

3:56 Speaker 2: Know exactly exactly, so.

3:59 Speaker 4: You know, I'm writing on the I'm sorts of writing bits on piano at the minute. And it's also very different, you know, you know, guitar can sort of be a very mechanical sort you know, like you kind of hunched around this thing. It's comfortable to play, of course, but you know you are kind of like you know, hunch around it and it's a little bit more physical, where piano you kind of can sit down and it's all there in frontier.

4:20 Speaker 3: You know.

4:20 Speaker 4: It's like when I've I've sometimes have some problems with me jointing my fingers and so piano I can still play just fine, you know, but guitar can be a little bit more taxing, sure, because I've played far too much guitar, you know.

4:34 Speaker 1: Now, So tell us about the single nebukid Nezzar, and I imagine it's probably doing pretty well over there, right. It's such a great track.

4:43 Speaker 3: Yeah, I think in Liverpool.

4:45 Speaker 4: You know, in Liverpool a lot of people know the words to it actually and stuff.

4:49 Speaker 3: You know.

4:49 Speaker 4: It's actually it's got a very you know, it's got a flavor that seems very Liverpool to me, and I guess that. You know, mostly when I play locally, it's it's acoustic and and the song works really nicely acoustically stripped back.

5:02 Speaker 3: You know, it sounds a.

5:03 Speaker 4: Little bit more Beatles when you when we recorded it, but yeah, when when I play it, you know, locally, and it's more stripped back, it's got more of like a folky sort of feel. You know, and yeah it did. You know, you can always tell a good song, you know. This seems to resonate with people. You can see it very quickly, you know, especially with the musicians, so to see their eyes light up, you know. And it's funny actually because it was one of those songs that I wrote very quickly. It all just came out in one go.

5:30 Speaker 4: And you know, I used to be able to do a lot more when I was younger. Right now is a little bit more ponderous, you know, but but yeah, there's something to be said for it. I think those songs that come out very quickly, you sort of channel them, you know.

5:43 Speaker 1: Well also too, if if people are learning the words, you know, if you're playing it at shows and people know the words, then you know it's really resonating, you know.

5:50 Speaker 3: Definitely.

5:50 Speaker 4: Yeah, yeah, that's one hundred percent, because you know, you get you get songs which are like very pleasant to listen to, you know, but but when it's got that catchy thing, there's there's something he said, and that's kind of you know, that's a view I kind of have on on art as well.

6:04 Speaker 3: In poetry and in stuff. I think I read it.

6:07 Speaker 4: It was a guy in like the twenties or something, was like critiquing the modernist poets, you know, T. S. Eliot and people like that, and he was saying that, you know, the flowery language and the mastery of language that these guys had was amazing, and he didn't want to critique that, but he said, there's something beautiful about sorts of the folk poetry of rhyme, which is that like children could recite this stuff around the fire, you know, and yeah, and it stuck in the mind and it furnished their minds with beautiful words, you know, and and there was something really nice about that.

6:35 Speaker 4: And I think songs can have that's just's room for everything, but there's something to be said for that type of stuff, you know. And that's I always try and put a bit of focus on rhyme. And I always think if you can say what you're trying to say and make it rhyme, then maybe you're onto someting, you know.

6:50 Speaker 1: Right, right, absolutely, So, can you tell us more about the single Nebuchadnezzar? Where where does it come from? And what are the themes are exploring in the song?

7:01 Speaker 4: Yeah, so it's sort of about, like, you know, first of all, I guess it's like it felt like to me like it was coming to grips with a lot of stuff, a lot of like troubles and confusion. That was like a central theme to it, you know. And never connessed himself, the old King of Babylon. He was tormented by dreams, you know, and he's this sort of conflicting figure who God punishes but also seems to love because he lets him be redeemed, you know. And that was what sort of I like the idea, And it's just a great way, doesn't it from that way straight away?

7:34 Speaker 3: You know? And yeah, so it was like sort of going through it in my own life. It was a very confusing time. I was I had a kid on the way.

7:44 Speaker 4: I was also going through a new relationship with a musician which.

7:48 Speaker 3: Was total chaos.

7:51 Speaker 4: And so yeah, it was like, I guess, the confusing time in my life, and it all came came about from that. And also it was when I was quite like getting back into music. Really it was when I was what saydy that I got back to and I used to run a music venue for a long time, really taken me away from performing. Yeah, it was a great, famous old place actually it was a recording studio that it turned into a bar so where cold Play recorded two albums actually, amongst amongst many others. Yeah, it was great pastory studios.

8:17 Speaker 4: It was called it Got It Got Bulldoze. Unfortunately, I would have been quite happy to to try and buy the venue and life different paths, but instead, when it closed, I thought, well, maybe I'll try music again instead, And so for me, NEB also represents like the start of an adventure, you know, and I think that it kind of sounds like that a little bit, you know. I like the trumpet and we added some trumpet in a Yes, the trump always makes you think it's like.

8:41 Speaker 3: A herald, you know, It's like it does.

8:43 Speaker 2: Yeah, you're right.

8:45 Speaker 4: The King is coming to town and the world trumpet plays with veagle, you know that's right.

8:49 Speaker 2: Yeah, that's true. I hadn't even thought of that, but you're right.

8:51 Speaker 1: Uh yeah, the production, the product, the production is fantastic. Uh now who did you who did you work with on that?

8:58 Speaker 2: As far as uh production? And is that the same? Is it the same for the entire album?

9:06 Speaker 3: Yeah?

9:06 Speaker 4: Mostly it's It was a mixed by Goat and recorded by a guy called Russell Cottier Soundhouse Recording Studio, which is an amazing old recording studio, a little hidden gem actually in Liverpool, not many people seem to know about. And it was in my hometown, which was just was really what drew me to. I thought like it was nice, something nice about that being close to home, and.

9:29 Speaker 3: Yeah, Russell done a great job. But actually there was.

9:31 Speaker 4: Some of the parts we recorded at another studio as well, like a home studio, and I think that was the fiddle parts and some of the harmony parts were recorded externally from a previous attempt at recording the single. But like you know, that's the thing. It was like budgets and stuff defeated. That was a bit limister done what I could do. So when we got the chance to, I got picked up with a manager, fuel the Fire, and they produced the album for me in there.

10:01 Speaker 2: Oh wow.

10:02 Speaker 3: So having a bit of a budget and stuff together and a.

10:06 Speaker 4: Bigger a bigger crew of musicians to draw from and stuff, we had another going and put it together and.

10:15 Speaker 3: I'm pretty happy with it.

10:15 Speaker 4: I'd like to record an acoustic version of it with a flute or something, but oh yeah, it means still have happened yet and now.

10:24 Speaker 1: This is is this your first this album? Is this your first release as a solo artist?

10:29 Speaker 3: Yeah?

10:30 Speaker 4: Yeah, there was a couple of like basic singles put out in from home studios, but this is the first proper release really.

10:35 Speaker 3: Yeah.

10:36 Speaker 1: Okay, Now, now were you playing in bands before? I know you mentioned you kind of took a break too from playing because you're running running a venue, But prior to that, were you playing in bands or maybe during that?

10:46 Speaker 3: Yeah?

10:47 Speaker 4: Yeah, for a long time, from like say seventeen to twenty five, I was always mostly as a lead guitarist, never as a singer.

10:55 Speaker 3: Oh really, I done a lot of rights. Yeah, I've done a lot of writing.

10:57 Speaker 4: For chords and things like that, but I've got a couple of other projects coming out. Actually, so did a lot of collaborations and league guitar in bands.

11:05 Speaker 3: With tons of people in Liverpool.

11:07 Speaker 4: But yeah, never really put it forward as you know, as an artist in my own right. So this was the first time to really try and do that, you know, because in Liverpool had sort of been that kind of character. I was kind of someone who like brought things together, you know, sort of hosting open mics and putting on events and sure, and so a lot of my stuff that I'd done was really all about collaboration and community, and so it was nice to finally do something that was kind of like, well, this is more about me being an artist now, you know.

11:36 Speaker 1: Was that always kind of the goal even when you were playing in bands consistently. Was it always kind of in the back of your mind that you would eventually do a solo album.

11:45 Speaker 3: No?

11:45 Speaker 4: Never, really, I don't think I really had the belief or the confidence, you know. And then I think as I was getting older in the venue, didn't warhouse.

11:52 Speaker 3: I thought, you know, you better do something, you know, right, And also, you know.

11:57 Speaker 4: It was also that kind of thing of you know, like, ultimately you've got to take your destiny in your own hands, haven't you. So I'd played with a lot of bands that I thought was great, but for one reason or another, they wouldn't work out, and you know, you would dependent on four or five other people being on the same page. So just by necessity, it was like, what if I want to have a real go with this, I'm gonna have to do it for myself, you know.

12:20 Speaker 1: Yeah, that's the hardest thing I think about being in a band is you know, I've I've been in a lot of bands, and it's it's hard when you because you've got people with varying degrees of commitment and and yeah, you know, and in terms of what their vision is for for what you're doing, and and it's, uh, that can be really challenging. Plus you got to deal with everyone's schedules and whatnot. So there's so many things, you know, Yeah, there's so many musicians we've had.

12:45 Speaker 3: You know, people people have kids and you know, everything and it can change.

12:49 Speaker 1: Things, you know exactly, and also people.

12:51 Speaker 3: People see it. You know. For me, it's very important, you know.

12:53 Speaker 4: It's the kind of stuff I just think about all the time, you know, not just just music, but also like writing little poems and things. You know, it's just sort of how I live, you know. And it also sorts of occurred to me in the end that it's unrealistic to expect anyone else to have that same.

13:09 Speaker 3: Right, right, maybe you know.

13:12 Speaker 1: Now you did mention, so you're going to be doing going forward. You are going to be doing some more collaborating though, So I like, what what's kind of the is the solo is the solo stuff that you're doing, is that kind of the main priority, and the other things are ancillary or or.

13:25 Speaker 3: How do I think I'll do them.

13:27 Speaker 4: I'll do them as a you know, under my own name, as a collaboration maybe with with some of the artists I'm looking and I'm actually planning at the minute to go to a sort of farm on the Southwest and do something kind of routine, you know, with a maybe live take a little bit of it.

13:42 Speaker 3: Because there's two dimensions to me.

13:43 Speaker 4: I supposed to grew up as a bit of a rock but as I've got older and I've supposed to become a bit folky. Yeah, I guess we had to talk with the two. But I feel like with the album, I was able to get a lot of the rock stuff helped me system. And now I'd like to do something maybe a little bit more routine and you know, and also, you know, like a lot of the stuff on the album, it's a little bit I don't know, like the subject matters and stuff, and often a little bit self indulgent, you know, it's offing about offing about me.

14:13 Speaker 4: I'd like to do something maybe a little bit more about the world, you know. Notice, but if it's a crazy time in the world, you know.

14:21 Speaker 3: I've noticed especially where you are, man, you know.

14:24 Speaker 2: You're you're not getting dude, You're not kidding.

14:28 Speaker 4: And also you know, like also like the rise of AI and stuff like that, and you know, I don't even want to I don't even want to put you know, value dridgones and everything. I just kind of want to maybe step back and just observe and just sort of write what I'm seeing, you know, and not you know, try and get pretty earth and but you know, just sort of say what I see.

14:47 Speaker 3: You know, is that.

14:48 Speaker 1: Something that you're concerned about AI in terms of because that's something we talked about a lot on the show.

14:53 Speaker 4: I'm glad you brought it up. Man, I've had some radical thoughts on it lately. That's piss a few people off, you know, But I kind of think, you know, you know, the two ways I could criticize it is like the technological sides, you know, and what that means for the industry and that. But really, you know, you know, I know a lot of successful bands now are playing to backend tracks, and and you know a lot of people using plugins instead of real instruments, and and a lot of people you know, like like there's drum machines out there, there's I mean, where the line is, I'm not sure anymore.

15:23 Speaker 4: So that was one side of thoughts about the Technologically, I was like, maybe actually this is just something that's always happened. And then the other side of it was kind of about authenticity. But I really I thought, you know, like looking at the stage of the you know, like I always say, Sabrina Carpenter might as well be AI.

15:38 Speaker 3: You know, it's like, I don't know what.

15:41 Speaker 4: And also even the politicians are all fake, you know, and and everything seems kind of a little bit in authentic in the world.

15:47 Speaker 3: And so that doesn't really scare me.

15:49 Speaker 4: I feel like artists who have got something to say are still going to stand out, you know, So I don't know, maybe they eye isn't really something to be feared. I personally don't fee all too threatened by it.

16:01 Speaker 3: You know.

16:02 Speaker 4: Also, the industry has been in the industry has been in a bit of a bad way for a long time, hasn't it in regards to making any money and stuff in the way Spotify, you know, I see that with Spotify a lot, you know, like when I was there trying to promote the album I'd sort of fall prey to these things on social media, and you'd see these guys and they'd be talking about, you know, how to promote your music. And people were getting very good at like gaming the system almost, you know, so they could get on these playlists and and and these guys had like millions of plays.

16:29 Speaker 4: But when I've listened to the music, I was like, it's so mediocre. I don't know, that's just my taste. But from my point of view, I was like, you know, this music must have millions of plays, But what does that even mean. I don't think anyone's going to care about this in ten years time, so what are we even doing here anymore? And so really with the I I think I'm thinking, what does it really change? Like what, there's a load of fake music? Well, there's already a load of fake music made by humans, you know.

16:51 Speaker 3: Right, maybe this is going to shake the tree.

16:54 Speaker 4: A little bit, you know, and maybe maybe it's going to be okay, but really, you know, it's not. It's you know, I think there's more a fear from AI for how than how it's going to affect music, you know.

17:04 Speaker 2: Right, Oh yeah, A true good.

17:06 Speaker 3: Points like what do you think you like it or do you hate it?

17:09 Speaker 1: Well, I'll tell you I I I like what you said about how you know, AI is already in some degrees, it's already been there, especially with you know, you have bands who use backing tracks and plugins and all that. So it's not as though it's not as though technology has not been helping artists to kind of I don't want to say cheat because I don't make any value judgment about it, but.

17:31 Speaker 3: Yeah, yeah, but but.

17:33 Speaker 1: But but to kind of enhance the live experience, shall we say? But that's but but of course, a lot of that's been forever, Like you know, bands using backing tracks for backing vocals for example during live shows. I mean, that's that's been happening for decades. So so there's nothing new to a lot of it. But it is staggering to me. Something that I find kind of fun, even though I feel a little bit guilty about it, is like going on YouTube and find these AI generated versions of songs, you know, new versions like uh you know, like like there's this one uh channel on YouTube where they make AI generated versions of of hard rock and metal versions of songs from like the Backstreet Boys, the New kids on the block, and and the thing is, I listen to these and they're really good, Like they're actually really well done and fun to listen to, and it's like, you know, but knowing that somebody made that.

18:33 Speaker 1: Now, granted, some of these probably they're made with prompts, but then they're they're tweaked in certain ways.

18:39 Speaker 2: I don't think they're I don't think it's they're.

18:42 Speaker 1: That simple, but but it is, you know, it is, Uh, it's scary because because then it gets you to the question, if you if you think about it this far, is there a use for for actual musicians at a certain point.

18:59 Speaker 2: If you can, if you can just make.

19:01 Speaker 1: AI create whatever you want, whatever it is that you, as an individual listener want to hear, If that's within reach, why do you even need other people to make music for you to listen to?

19:12 Speaker 4: Yeah, I think there's definitely, you know, that's where there's some of these. I think they had the points of real tension that we should we can talk about, you know. But also that in itself is nothing new, you know, like there was tons of industries that would dramatically changed by technological progress, you know, and often no one really cared how often people really valued the convenience over anything else, you know, Like my granddad worked on Liverpool Docks, and prior to Liverpool's decline in like the seventies eighties, the Liverpool Docks employed thousands upon thousands of people.

19:47 Speaker 4: And not only was there there was political things that happened in the Satchey years that really really celestered the decline, but besides that, you know, machinery was changed into a way that a job that maybe needed twenty guys to do could now be done with one guy with a machine, right, and there was.

20:04 Speaker 3: An inevitability to it, you know.

20:05 Speaker 4: And even really some of the processes of globalization, you know, like England has no manufacturing anymore, and that was because it was cheaper to do it somewhere else, you know, and I guess that's happened everywhere. And you know that's also these processes that have happened. Like part of me kind of sees all of this is like, well, look, you know, we all went along with all of this. You know, for generations, we've all gone along with all of this. This is this is the bed we've made, Like we're going to hark and lie in it, you know, and adapts to it a little bit.

20:32 Speaker 4: Maybe you know, it's not going away, is the truth. You know, it's not going away. And they are positives, you know, I've seen recently, can't what it was coreed, but something popped up on social media and this guy had Tuesday eyes to make a graphic novel. And the guy's ideas were great, and I was thinking, you know, like this is my thing. You know, Like the music industry is also like very nepotistic these days, you know, it's very Sometimes it seems hemetically sealed, you know, it seems like it's an inside this club, you know.

21:00 Speaker 4: And and and the art can be like that in lots of ways. And also social class becomes a big barrier. You know, all the all the successful musicians, I know, almost always they come from a wealthy background, you know.

21:12 Speaker 3: And so there's.

21:14 Speaker 4: A thing like that which is like, you know, this guy making his graphic novel, he would not have had the money or the backing to ever make this thing. But in terms of the ideas and the scenes and stuff he's playing with, it's very interesting, you know to me. And I thought, well, you know what this tool has enabled this person who has something exceptional in the idea, and this thing would never have been made. And you know, like so often you see what the industry, whether it's Hollywood or anything else, is chaining out.

21:41 Speaker 4: You know, there's for me, there's a there's been a bit of a decline in quality in the mainstream, you know, and partly I think that's because of this, these these problems.

21:51 Speaker 3: You know.

21:51 Speaker 4: It's like, you know, in England, we used to produce great bands from working class communities like Oasis. You know, I might have been a fan of Oasis, but I like it, you know, and I like what they've done. But you know, I don't know if a band like Oasis could could exist in this climates anymore.

22:04 Speaker 3: You know.

22:05 Speaker 1: Yeah.

22:05 Speaker 2: Interesting.

22:06 Speaker 4: I'm not saying AI the answer to that, but I'm just saying, look, there's a lot of problems that we're not solving here. And actually there's some benefits to AI. There's an element of it which is very democratizing. You know, he's to learn about that. You know, the idea that like home studios. Making home studios made music a lot more accessible to lots and lots of people, which everyone champion does a great thing. It was very bad for professional recording studios, you know, like, what do we want to do here?

22:34 Speaker 4: You know, it's the same for musicians, and in a lot of ways from the artist's point of view.

22:37 Speaker 3: You know, so often if an artist.

22:39 Speaker 4: Wants his vision requires a violin, he has to pay a violin. It's not and yeah, that's great for this sort of ecosystem with musicians and stuff. But if he's not able to do that, he can't make the art. And maybe the art important, you know, maybe the art is more important than someone getting paid.

22:55 Speaker 3: You know, I don't know, I don't know.

22:57 Speaker 4: I'm not saying it is making the you know, going to be wedded to that idea, And I'm just saying I feel like there's a bigger conversation here than than what you often seeing from from local musicians.

23:07 Speaker 1: Yeah, because ultimately, you know, one thing that you can't do is you can't hold back technology.

23:12 Speaker 3: So you can't. It's a lose. It's a losing.

23:15 Speaker 4: It's like the old Western I always think it's like the old Western films. You know, you get this old cowboy and it's super romantic and the railroads coming through the town, you know, and he's like holding onto the old ways.

23:27 Speaker 3: And we love it.

23:28 Speaker 4: It's romantic. It's like we want him to you know. Ultimately it's the cowboys are over, you know, right right, or like you know, like medieval nights. I used to think that was the most romantic thing in the world. Was like a guy having a soord fight, you know, and then someone invites invents a gun, and it's like, well, you know, a different game now.

23:45 Speaker 1: Yeah, but yeah you can't, yeah, you can't hold it back, and it's uh uh.

23:50 Speaker 2: So all you can do.

23:51 Speaker 1: And you know, the music industry I think already learned this lesson once, maybe not well enough, you know, because I remember when you know, I'm old enough to remember, or when when Napster first sappened, and you know, and everybody in the music industry was freaking out, Oh you can just fileshare, you can all this music is free.

24:07 Speaker 2: Now, you know, what, what what are we going to do?

24:10 Speaker 1: You know, because at the time I was working for I was a manager for a retail chain here and here in the States called Strawberries, which later became absorbed into another larger music retail chain. But that was but that there was panic, I mean, there was absolute panic in the industry and the company that I worked for. It was like, well, why are people going to come in and buy CDs now?

24:31 Speaker 3: You know, yeah, yeah, exactly exactly, you know so.

24:34 Speaker 1: But but you can't. You can't stop it, you can't hold it back. All you can do is adapt and try to figure it out. And I think, I think, but I think we're at another inflection point with that. You know, we can't hold it back, so we got to just figure it out, you.

24:49 Speaker 3: Know, And yeah, you got to decide what what it means.

24:52 Speaker 4: You know, yeah, I guess, like, you know, I kind of I respect, I'm not going to say pass. And I see a lot of people who are sort of trying to draw a line in the sun and saying we're gonna we're gonna keep this. You know, we're gonna, you know, people who mess around with AI, We're gonna kind of gate keeping them.

25:06 Speaker 3: We're gonna say, you know, no, that's not cool.

25:07 Speaker 4: You know, we're gonna we're gonna ostracize it in some way or you know, close ranks. And I'm like, yeah, cool, you know, like make your stand. But you might just be that old cowboy, you know, right, you're gonna get railroaded, you know, And really like, like I said, I really think, like I really think if you if you can try and get back to the art form more because you know, so much music now is just commodity. You know, so much pop music, you know, the Sabrina Carpenter stuff is just commodity.

25:36 Speaker 4: Like there's not I mean, it's interesting in a way. Popular culture is always interested in as a way of understanding society, you know, and where it's at. But as far as I can see it where it's at, it's not a great place already. And a lot of the art is just commodity. And it's really difficult because you know, at least in like the sixties and stuff, you know, some of the popular stuff that was breaking through was was really artistically viable, you know, like Dylan, Bob Dylan, I mean he's writing lyrics in those early years that are up there with like T s Elliot and all these poets.

26:06 Speaker 3: You know.

26:06 Speaker 4: It's like, yeah, you know, And that's what I think is like a I will be able to replace Sabrina Carpenter, but I'm not sure he could replace Bob Dunna.

26:16 Speaker 2: Yeah, that's a good point for the.

26:17 Speaker 3: Next Bob doing.

26:18 Speaker 4: The next Bob done you know, whatever the future version of of a great artist is, I'm not sure it'll be able to do that. I think it will always be playing catch up too, you know, those sorts of humans, you know.

26:29 Speaker 1: Yeah, because without everything that came before it, it has nothing to draw from, so it needs.

26:33 Speaker 4: Exactly Yeah, so maybe it'll drive innovation and it'll ye And also, you know, I find it, you know, even locally, like you know, I'm not trying to to break into some pop thing or to be a mainstream thing at all.

26:48 Speaker 3: You know, I don't really think it's viable for me, but.

26:50 Speaker 4: I certainly have found there's still a lot of people who are who are looking for something, you know, the maybe is trying to be a little bit more artsy or something, you know, and there's still a place for.

27:06 Speaker 3: It, you know. Yeah, And you know it's maybe it'll carry on like that.

27:11 Speaker 4: You know, maybe it'll be something that forced people to really think about what does matter in a work of art. And if you really don't like the idea that a computer is making it, well, what do you like about the fact that it's a human making it? And you know, maybe we have to start actually making some distinctions, you know, I think.

27:27 Speaker 3: That's gonna happen. But you know, it's an interesting thing to think about.

27:30 Speaker 1: It is it is, it's it's a very interesting time to be alive. That's that's for sure. Well, Paul, this has been wonderful. I love the album. I do want so I'm going to count for absolutely. So I'm going to kind of put you on the spot here because in a moment after we let you go, I'm going to play another track from the album to close out the segment. But obviously we did play the single Nebukodnezzer to open. But what song would you like us to play at the end of our conversation.

28:00 Speaker 3: There's there's two.

28:01 Speaker 4: You know, I have some conflicted feelings on the album. There's a lot of things that didn't quite it's a difficult times, to be totally honest with you. A lot of health problems while I was trying to make it and stuff. Yeah, and just a lot of complex things, you know. But but you know, there's a few bets that came out. I think there's one song called why Go Home, and there's this song there called linger On, And I think those ones that are interesting to me, maybe not the the catches or anything.

28:31 Speaker 4: But I think they they're the ones that came out that I really like, you.

28:34 Speaker 3: Know, you know what I have The album just has too many styles.

28:38 Speaker 4: On it, you know, I seem to be something, honest, Yeah, my health was getting so bad I started this is so dramatically, so typical of an artist. I'm a lot better. Know by the time, I thought that, you know, I might make this album and just die, you know. Yeah, well no, because I'm still alive, you know, but yeah, being a dramatic artist, you know. But yeah, you know, like I was, I was just kind of like, well, you know what, I'm just going to record all my favorite songs that I never recorded over the last ten years, and I'm just gonna put them all on there.

29:07 Speaker 4: And maybe that should have been three EP's or something. Stylistically, it's a bit all over the place, but yeah, I Go Homes a nice country track, and linger On's kind of like a weird little pop pop sort of folky thing.

29:20 Speaker 3: I don't know, I'll have time.

29:22 Speaker 2: I'm actually I'll play both of them. I'll play both of them.

29:24 Speaker 1: At the end of.

29:26 Speaker 3: I wasn't hanging for that. I just couldn't decide.

29:28 Speaker 1: Yeah, yeah, that's that's okay. No, I'll play both of them. We'll have time.

29:31 Speaker 2: I would love to awesome, Paul.

29:34 Speaker 1: Where's the best place for people to go online to keep up with everything that you are doing.

29:40 Speaker 4: So right now? Just YouTube? Man or Spotify? I guess you know, I have a Facebook. I don't really engagement with social media right now. I'm kind of like I had some problems with Instagram and it closed down the accounts, which was quite oh really a lot of followers on there? Yeah, yeah, I had a lot of followers on there. But I also, as you can tell me thoughts on a I am sort of in a place where I'm sort of trying to figure out what it all means.

30:04 Speaker 3: Man. Yeah, I'm just trying to figure out what where to go next.

30:08 Speaker 4: And I think i'd like to maybe start building on YouTube, you know, especially when I do this new thing. I was saying, I'm going to go to the Southwest and do a channel Paul McCartney's RAMI hangout on a farm and make music on YouTube.

30:21 Speaker 3: Yeah. I think I pall on YouTube and film a lot of stuff.

30:25 Speaker 4: So you could subscribe on YouTube or That'll probably be the one for now, and then at some point they'll be there'll be more socials when I'm here with the next project.

30:34 Speaker 1: Yeah, out outstanding, outstanding. All right, well, Paul Nazoli, No that's not right, is it?

30:40 Speaker 3: Ill man?

30:42 Speaker 2: How do I say it?

30:44 Speaker 3: Nas?

30:44 Speaker 2: Nas nas?

30:46 Speaker 1: Okay, thank you, and I'm sorry for butchering your name. I'm in America.

30:49 Speaker 3: I don't worry. We don't mostly in Liverpool. I understand it used to be.

30:59 Speaker 2: Well, Paul, thank you so much for joining us. This has been wonderful. We will definitely have to do that on Absolutely, we'll have to do this again in the future.

31:05 Speaker 1: And yeah, we're gonna we're gonna play both of those tracks from the self titled album.

31:10 Speaker 2: Very very very cool.

31:11 Speaker 1: I listened to the whole thing and I love it so great great, absolutely, so we'll hit those tracks. We'll let you go for now, Paul, thank you so much, and we'll talk again soon.

31:20 Speaker 2: I'm sure.

31:20 Speaker 3: All right, thanks a lot.

31:22 Speaker 1: You got it YouTube, bye bye, all right, wonderful. So we're gonna play We're gonna go ahead and play both of these. By the way, if you are listening live, stick around if you are listening on Saturday, because in the third hour, gen X is gonna be joining us from the band generations and really looking forward to talking with her.

31:38 Speaker 2: But yeah, we'll play.

31:39 Speaker 1: Uh, we'll play both of these. Let's do this one first. This is called Why Go Home.