The Room | Matt Connarton Unleashed

0:00 Speaker 1: Things have learned to walk, that ought to crawl. That is the new single from the Room just came out August twelfth, and we are diving right in this week on Matt Connorton Unleased.

0:11 Speaker 2: Here. Welcome everybody.

0:12 Speaker 1: We are live from the studios of WMNH ninety five point three FM and Glorious Manchester, New Hampshire.

0:17 Speaker 2: And of course you can stream the show from anywhere.

0:19 Speaker 1: Go to Matt connorton dot com slash Unleashed for all your live streaming options.

0:24 Speaker 2: But let's go ahead and bring in.

0:25 Speaker 1: We have Dave Jackson from the Room all the way, great band from Liverpool, of course, and let's see he's joining us to be a restream. Let's see if he's there, Dave, can you hear us?

0:35 Speaker 3: Hello? Yeah, can you hear me?

0:36 Speaker 2: Absolutely? You sound great. Welcome to the program.

0:38 Speaker 1: Okay, hey yeah, love that love that song. I'm anxious to talk to you. So interesting thing about the Room. Let's dive right into this part. So tell me if I have the timeline correct. You started the band in nineteen seventy nine, you were active, You were active until nineteen eighty five and then reformed in twenty twenty two. And yeah, and I have to tell you so we've had some some bands on the show in the last couple of years that took, you know, really long breaks and then got back together. But this might be a record eighty five to twenty two.

1:14 Speaker 1: That's a hell of a long time.

1:17 Speaker 4: Well, Becky, who was the original bass player in the Room, was in the next band that we had that started in eighty five and run until nineteen ninety, Benny Profane, and then we had a band after that called Dust Together and they turned into a bunk called Dead Cowboys. And then I think Becky moved up to Ulverston away from Liverpool to brew beer for quite a while. In two thousand and I did some kind of some stuff as Dave under my own name Dave Jackson. Then I did some stuff as Dave Jackson in the Cathedral Mountaineers, and then I got back together with a guy from the second version of the Room from about eighty four eighty five, guy called Paul Cavanna.

2:09 Speaker 4: We did two albums as The Room in the Wood from twenty eighteen till twenty twenty, and it was round about twenty twenty that Paul kind of decided he didn't want to do stuff anymore, and we were booked to play at a shine On festival as the Room in the Wood, and I just started rehearsing with a new guitarist, Darren, and we had the idea of asking Becky to rejoin, and she brought her son in and we decided that we'd had too many different names and we'd go.

2:45 Speaker 5: Out as the Room again.

2:49 Speaker 4: Clive, our original drummer from nineteen eight, who had left the band in eighty three and lived in Devon, which is the other end of the country, turned to put off first and offered to rejoin the band. Unfortunately, our original guitarist, who plays on the original version of things have led to work that ought to crawl died in the meantime, and so we've got kind of three of the four original members of the band in the Room currently, and the bass players certainly wasn't even born when.

3:27 Speaker 3: The original began playing keyboards.

3:30 Speaker 1: Yeah, that's incredible, but to have a history that's great. To have so many of the original so much of the original band there though, is really cool because you know, very very often when it's a scenario like this where there's a long gap, you know, between and obviously you've done a lot of You've done a lot of music in between you you've certainly been extraordinarily active over the over the decades. But very often when a band comes back that was around and say, you know there was active in the early nineteen eighties, you know, it might be one guy.

4:01 Speaker 2: Right from the band, you know, and they're they're just using the name.

4:05 Speaker 1: But in your case, you know, you've got most of the band and the one piece that's missing you. You know, you've got Becky's you said, it's Becky Stringer's son who's in the band with you.

4:16 Speaker 3: He plays keyboards. We've got a new guitarist, Darren.

4:19 Speaker 5: Who's.

4:21 Speaker 4: Yeah, yeah, gotcha. It was a fan of the band back in the day, apparently.

4:25 Speaker 2: But oh perfect.

4:28 Speaker 4: It was strange though, because just before we reformed the Room, I got asked to go and play in the Philippines and do only songs from the eighties Room version with Filipino backing band. And I went over and did that in Manila with a couple of other eighties at When in Rome and H two O. I think they were.

4:54 Speaker 1: Yeah, that's interesting, that's that sounds like a pretty interesting experience.

4:59 Speaker 5: Yeah, it was. It was strange.

5:00 Speaker 4: Yeah, apparently we had a kind of unofficial hit out there. I think they used to bootleg stuff and I sung news Dreams for Old apparently was very popular in the Philippines, which we didn't know anything about.

5:15 Speaker 1: So then when when you go there to play the show, I assume so the band that you're playing with there already already exists, already know the songs, and you just show up and play. Yeah.

5:26 Speaker 4: Yeah, really good musicians and they they play a lot of kind of they seem to have quite a thing about Liverpool bands. Because there's a guy out there, Paul Simpson, out of the World Swans. I don't know if you come across them. He was in the original Teardrop Explodes as the keyboard player. He's really popular in the Philippines and goes out there.

5:51 Speaker 2: Oh that's interesting.

5:52 Speaker 1: Interesting and the song so I'm curious about the song things have Learned to Walk the Krawl? That was that that's an old song, right, but it's but it's been revised.

6:02 Speaker 2: Is that correct?

6:03 Speaker 1: So that that dates back to eighty two? The original version of that.

6:06 Speaker 4: Yeah, the original version came out in nineteen eighty two on Red Flame Records. It was which was an independent label that had bands like The Moodests and Ed Cooper's band, The Laughing Clowns and stuff like that, and they eventually got kind of signed up by Virgin for a couple of years, as did The Room. But it was one of the few It's one of two songs that we included in our live set. Because we mostly do new stuff. We're on our third new album.

6:41 Speaker 5: With The Room.

6:43 Speaker 6: Oh Wow, we have had people say why don't you do some more old stuff, So we are learning a few kind of old songs at the moment as well.

6:53 Speaker 5: What you concentrate on new stuff?

6:54 Speaker 1: Really, was there something about this song that that made you think that it it belonged more with the material that you're releasing now.

7:06 Speaker 3: I think it was.

7:07 Speaker 4: One of the songs that I always really liked anyway, and we kind of when we were starting, you know, kind of when we were we kind of put we played this gig a kind of shine on.

7:21 Speaker 5: It was our first first gig with the new lineup.

7:25 Speaker 4: We were using a drum machine and Ethan had never played on stage of the band before in his life.

7:33 Speaker 3: In order to.

7:34 Speaker 4: Justify the fact that we were called The Room, we thought we should at least do one old room song as well as the new stuff.

7:40 Speaker 5: You know. Yeah, that was one of the ones that we chose back then.

7:45 Speaker 1: Okay, interesting, what was that like playing with a drum machine for that show?

7:51 Speaker 2: Was that challenging?

7:53 Speaker 4: Yeah, we've been rehearsing with a drum machine, but the problem was that all the other bands were using live rumors and they weren't actually turning the music in between bands down, you know sound check.

8:08 Speaker 5: Yeah, it was one of.

8:09 Speaker 4: These things where you kind of almost have it sound check. So it was a bit hairy for Ethan who'd never kind of done that kind of thing before.

8:18 Speaker 2: Sure it worked, it worked out. Yeah.

8:21 Speaker 1: So what what's it like singing lyrics that you wrote, you know, back, you know, decades ago? I mean, is it is.

8:29 Speaker 2: It strange at all? Is it surreal?

8:31 Speaker 1: Does it feel natural? You know, singing these lyrics that were written by by a younger version of yourself.

8:37 Speaker 4: Yeah? Yeah, I mean so I was probably about twenty three when I wrote the lyrics or something like that. So yeah, it was very strange. But in some ways, I think because I learned the songs that, you know, it was early on kind of thing. The songs have stuck in my head, you know, but.

8:59 Speaker 3: It it was weird.

9:01 Speaker 4: The Philippines gig was weird because there were songs that I literally hadn't sung since nineteen eighty five or even earlier, because up until then, nearly every band that I'd had would be a new band, and we just do new material. We wouldn't really go back and go over old stuff, so we weren't like a tribute BacT to ourselves like a lot of bands.

9:25 Speaker 2: Right right, right, exactly exactly. Now, tell me about doom Pop.

9:32 Speaker 1: You know, the album is called doom Pop with an explanation exclamation point, and you know, I'm really curious about it. I mean, it's a it's a great title, but what is And I feel like the term doom pop came up on the show recently during another conversation with the guests. I feel like somebody else used that term doom pop, and I was like, Oh, that's that's interesting, And I'm curious about why you chose that for the album title.

10:00 Speaker 4: I think it was just that our previous album had been was kind of was a series was eleven songs that told the continuous story without any choruses or whatever.

10:15 Speaker 4: In eleven songs, and I kind of had this idea that we go back to our version of pop music, if you know what I mean, that kind of the post punk, kind of indie version.

10:27 Speaker 5: Of pop music.

10:29 Speaker 4: But the lyrics were all A lot of the lyrics like drill Baby, Drill, and Continent of Lies and Drones and doom Patrol were all to do with, UH.

10:47 Speaker 5: That kind of rise of kind of fascism in our country and in yours at the moment.

10:54 Speaker 1: Well, yes, a drill Baby drill of course, very specific when we might that at the end of our conversation a clear reference to UH. I believe Sarah Palin, who is the Republican vice presidential candidate in UH in two thousand and eight, was the first one I ever heard say that. Yeah, yeah, drill baby.

11:17 Speaker 4: You know, we got to the line, I don't even like my grand kids. What my grandkids? Why should I care? So Well, that's the talent. It's the line.

11:26 Speaker 2: Yeah, well that so that that decides it for me.

11:29 Speaker 1: I'm definitely going to play that at the end of our conversation, UH, because that that is a great track.

11:33 Speaker 2: I like Continent of Lives too.

11:35 Speaker 1: I might I might sneak that in later too, because that one, uh, you know, I went through and listened everything I could find, and I really love you know, Italian is interesting because, as you said, it tells a continuous story.

11:45 Speaker 2: But these these songs.

11:46 Speaker 1: Too, I mean, you know, they they're very they're very relevant to what's happening now. But Drill Baby, Drilled. So when when did that come out originally? Or is I mean or I shouldn't say when it came out originally?

11:57 Speaker 3: But when when was that?

11:59 Speaker 4: We Well, we came out in April and we wrote it last year, Okay, I think we were Continent of Lives was a bit earlier because it was one It was a song that we recorded when we did our first U LP, but it didn't get onto Restless Fate, so it's got a different drummer on it. It was before Clive rejoined us, and the.

12:27 Speaker 3: Lyrics were it was kind of.

12:31 Speaker 4: The way that Trump was kind of sucking up to Putin at the time, and also the you know, a response to January the sixth, kind of you know, patriots and goons kind of thing.

12:45 Speaker 2: Yep.

12:47 Speaker 3: So it was so it was kind of well, I think I might have.

12:51 Speaker 7: Changed tweaked a few of the lyrics since, but the because when we were doing the new album, I decided that if it in with it, and I kind of re recorded the vocal and for it.

13:06 Speaker 5: Yeah, right right, That's the way it came about.

13:10 Speaker 1: So I'm curious, I mean, not just within the context of the Room, but because obviously you've made a lot of music, You've done a lot of different projects over the years. Has has it always been a kind of a priority of yours lyrically to be addressing uh these kinds of issues?

13:24 Speaker 2: Have you always done that? Or does this? Is it just kind of fit this project?

13:30 Speaker 4: I think we did it with with the Room towards the end of our career. Really there was there were songs that we did for that ended up on a John Peel session. I don't they didn't actually come out on record until ALTM re released some of our back catalog. We had a song called the Storm and Uh, which was kind of about thattorism and stuff. Then yeah, and Danny Profane had a song called Rubber Bank, which out a line above.

14:08 Speaker 5: Which was to do with kind.

14:09 Speaker 4: Of well, I'll tell you we've played in America once in eighty one, okay, And as we were leaving Liverpool, it was the week that the riots have broken out in Tuxta, which is right by where we lived. Yeah, so you know, that was a big influence on his back then.

14:32 Speaker 3: So it's always been in the background of us stuff.

14:34 Speaker 5: It's not.

14:37 Speaker 4: An absolute priority of music, but it's about it comes out every now and again.

14:42 Speaker 5: Yeah, the political side of things.

14:43 Speaker 1: Yeah, there's a certain you know what I was just thinking about then. I hadn't thought about this much before. It's occurring to me just now as we're talking about it. There's a certain Well, the part that I had thought about is there's a timelessness to your music in that it's that you know what you're doing. It's the type of stuff that you could listen to, like a song like that, you know, uh, things have learned to walk that ought to crawl. If you if you played that for me and said, Matt, what year do you think this came out?

15:09 Speaker 1: I wouldn't be able to tell you because there's a timelessness to it, you know what I mean.

15:13 Speaker 2: It sounds like it could fit in any era.

15:15 Speaker 1: But but but it occurs to me now not only does that apply could you apply that to the production and the style of the song, but also the content because when we're when we're talking about these issues, you know, they say it was such a cliche.

15:28 Speaker 2: I almost say to use it.

15:29 Speaker 1: But the more things change, the more they stay the same, you know, over the over the decades, because I'm I'm old enough to remember, well, let's just say, I'm old enough to remember, you know, and and to notice that, you know, the names change, the players change, but the core of things, you know, that we have to deal with, like authoritarianism and fascism and all of that, that doesn't change.

15:51 Speaker 2: That's always there.

15:53 Speaker 1: It ebbs and flows, but it never goes away.

15:56 Speaker 3: Yeah, exactly.

15:58 Speaker 4: I mean, I think the first time I went to America because Becky's had family out on the West coast, was seventy nine, and I remember, you know, it was mostly kind of California though we were in then, and I think it was when Reagan was kind of having problems with the traffic controllers, and yes, it was all that kind of stuff was going on, you know, trashing the unions and all that.

16:30 Speaker 1: He fired them. Yeah, he fired all the air traffic controllers. Yeah, yeah, yep, yeah, yeah, that was pretty early in his administration. But yeah, yeah, I do like I'm just barely old enough to remember, but I do remember that. Yeah, yeah, yeah.

16:47 Speaker 2: Crazy stuff.

16:49 Speaker 1: And uh so, you know, obviously, does making music about these things? Is it cathartic for you? Does it help you to deal? Because you're obviously someone who's thinking about them. So if you're thinking about these subjects, I assume you're also worrying about these subjects, because it's hard to think about them and not worry about them, you know, unless you're a nihilist and you just say, well, none of it matters anyway.

17:11 Speaker 2: But but I mean, does it does it help you? Is it?

17:14 Speaker 1: Because I often think of music as a form of therapy. You know, we we create art about the things that, hopefully some of the things that make us happy, but we also create art about the things that bother us.

17:24 Speaker 2: Right, So yeah, yeah, I think so.

17:27 Speaker 4: I mean, yeah, I tend to write I mean, I think that was also the doom pop was kind of a joke on the general theme of the stuff that are right as well, right, because even most of the songs, even if they have a kind of you know, an upbeat tone, tend to have an undercurrent of kind of pessimism or whatever.

17:53 Speaker 2: Yeah, someone else I know record.

17:55 Speaker 4: I mean, like one of the songs is inspired by Stalker, owned by Tarkovski, no kidding, another one, another one is trying to condense the plot of three Bellaton films into three verses.

18:14 Speaker 5: So yeah, yeah.

18:16 Speaker 1: Well as you know, as as as someone else famously from Liverpool, I believe once sang some people want to fill the world with silly love songs.

18:24 Speaker 2: But yeah, but we've got enough. But we've got enough of those. We've got enough of those.

18:28 Speaker 1: Is there way so being a band so the band officially, I mean you you bill yourselves as being from Liverpool, correct, You're all from that area?

18:35 Speaker 5: Yeah?

18:36 Speaker 1: Is there like a pressure that comes with that? Because in America, you know, there's certain cities that are just known for for having a very strong musical scene. You know, where we are located, We're kind of close to Boston. Boston is known for that, the Boston See, New York City, Boston, Texas, Nashville, Tennessee. Of course, I mean being being from Liverpool, is there like a certain expectation that comes with that?

19:01 Speaker 3: Well? Maybe, yeah, maybe there was.

19:04 Speaker 4: I think it's kind of I mean, I suppose the era that we started playing Liverpool bands round about that point would have been with a kind of slightly more upbeat bands than the Manchester bands in a sense, you know, if you're thinking, kind of you got Echo and the Bunny Man Explodes while heat you know, the Mighty War or whatever, and in Manchester you've got Joy Division.

19:37 Speaker 5: The Fall eventually the Smiths.

19:39 Speaker 4: So what you know, uh, and we always kind of seem to go down a bit better in Manchester.

19:50 Speaker 3: Yeah, although we did play we played our first.

19:55 Speaker 4: Gig as the Room at Eric's, which was kind of the you know, the Liverpool unk kind of and post punk kind of club.

20:04 Speaker 2: Okay, okay, yeah, you get in where you fit in.

20:06 Speaker 1: And obviously you know the Liverpool scene, especially like you know, like say, you know, end of the seventies into the early eighties when when you guys were really getting going. I would imagine it was overcrowded. Maybe maybe a good way of putting it, I assume. I mean obviously I wasn't there, but just from what I know about it, I you know, I imagine it was, you know, like New York City is now. If you're a musician in New York City, you know you're you're in a very big pond.

20:36 Speaker 3: Yeah, yeah, I suppose so, yeah, I mean, I mean with the Room.

20:40 Speaker 4: We put out our first two albums, first two singles, ourselves and a cassette album which John Peel picked upon and kind of played on his show, played three tracks or four tracks as a session, a kind of thing before what was in to do, you know, live sessions or whatever. And then and then we got signed by kind of Red Flame, and eventually we got signed by Virgin and we got people like John Porter and Tom Vlane, who was a kind of inspiration in television or whatever. Tom Vlane produced half of what would it be third album kind of.

21:26 Speaker 5: Thing okay, an Evil Hour Okay, Yeah, and.

21:29 Speaker 4: We even got him to sing backing vocals on a song called Jack Pop Jack.

21:36 Speaker 1: Yeah, you know your reference, of course, you know, releasing music on cassette and whatnot. Obviously, the music industry has changed so much over the years. But but you've been active really the entire time, right, so have you been able to kind of I would imagine it's easier for someone who's done a lot of different projects over the years to adapt to the changes in the in the industry versus someone who because, like I said, as I alluded to earlier. We've had recent artists on the show who stopped for a very long time and then they're coming back in and they're like, whoa, it's a whole new world now with streaming and everything's so different.

22:13 Speaker 1: I mean, and what's that experience been like for you?

22:17 Speaker 3: Well, I mean, I suppose roundabout ninety I mean I didn't realize it, but round about nineteen ninety three I went back and did a degree, and then I did an MA and then a PhD.

22:29 Speaker 4: And I've been teaching at Liverpool John Moore's University about two thousand, you know. So I've got a job kind of thing, and the band has become it's something that I do as much for myself, and it's you know, it's not at the moment, it isn't a massive money making thing. It's kind of an expensive hobby.

22:55 Speaker 2: You know.

22:56 Speaker 4: Yeah, yeah that everybody everybody else has a source of income and we're not relying on the.

23:03 Speaker 3: Band for our income, right right, you know, and which kind of.

23:07 Speaker 4: Freezes up to do what we want. And also the band live all over the country. I mean, Becky lives still lives up in Olvuston, which is kind of you know about a two hour drive north and Clive lives something like a four hour drive south Devon. Yeah, so we tend to meet up before we to before we play and you know, to record and stuff in Liverpool. But you know, it's yeah, that's the way we do it.

23:45 Speaker 2: You know, do you think sorry, oh no, no, no, not at all.

23:48 Speaker 1: Do you think where your position is currently in the music industry, you know, in terms of the band, do you think it's Do you think streaming and everything is helpful? I mean I would assume, you know, in terms of connecting with younger audio says, And I'm sure you know you've you know, obviously you've got people who've been with you for a long time, who have followed you for a long time. But I assume you're also able to more easily connect with younger audiences because of streaming and as I said, the music you do, yeah, it is kind of timeless.

24:15 Speaker 4: Yeah, I mean, I think, you know, streaming and the internet helps. I mean, for instance, I wouldn't have gone. You know, the whole Philippines thing came about via Facebook. You know, as much as people trash it, and I can understand why, you know, people are kind of down on certain types of social media. I wouldn't have been contacted by somebody in the Philippines to go and play a gig, you know, exactly, yeah, exactly.

24:42 Speaker 1: By the way, just to kind of circle back, because you know, we talked about the resurrection of the Room officially as an entity, but we didn't really talk about why. I don't think we did anyway, But forgive me if I missed it. But in nineteen eighty five, when when the band stopped, and again you know, you were off to do other projects anyway, But I mean, why did why did the Room itself stop in eighty five?

25:03 Speaker 4: Well, the Room was kind of almost two distinct bands from the kind of seventy nine.

25:09 Speaker 5: Eighty to.

25:12 Speaker 4: Later eighty two was me and Becky Clive, who is the current drum and a guy called Rob who was the guitarist, and then we got in a keyboard player, Peter Baker, and then Rob and Clive decided they wanted to leave the band, and Peter introduced me to these two other guys, Polkovano, a guitarist who was a friend anyway and his band had supported us a few times, and a guy called Alan Wills who later ended up running Delta Sonic Records, who had the Zutons and the Coral and all that kind of stuff. But so they joined in what eighty three, and that was when we got signed a kind of major label.

26:04 Speaker 4: And what happened They didn't want to play any of the old stuff, so we only played the new stuff that we've written with the new members of the band, and Alan experienced some kind of tragedy, family tragedy and decided he wanted to leave the band.

26:24 Speaker 5: And Paul thought he might leave as well, and.

26:30 Speaker 4: Me and back he decided to start a new band called Benny Profane, which yeah.

26:39 Speaker 3: It was a kind of I think it was.

26:42 Speaker 4: One of the things was that we got dropped by even though we've been signed by Virgin. We did, you know, toured with Tom Vlane and recorded, you know with him.

26:57 Speaker 4: For some reason, Virgin decided to drop the end dependent label that we were on, and then it was and they also kind of deleted the album and they were holding it as ransom with the record the indie label over another artist or something like that. He ended up having to put out some live sessions as an EP in the meantime, and then things just kind of fell apart. I think Paul wanted to be a singer in his own band, if you know what I mean, and Allen was best mates with them, and they went off and they filmed the band called Top, who were kind of part of that whole.

27:38 Speaker 4: They joined in on the back of that kind of Madchester thing, if you know what I mean.

27:44 Speaker 1: So, so the album that you had recorded for or for the indie that was an imprint I assume on Virgin was that shelved or did that ever come out.

27:52 Speaker 4: Or it came, well, it came, it had already come out, but they just stopped making more copies.

28:01 Speaker 2: Got it? Okay? Yeah?

28:03 Speaker 5: Okay?

28:04 Speaker 4: They deleted it from you know, from that point on. And I think the album came out eventually as a double album called Nemesis with a kind of mini album we'd also done for them, but that was a year after we we'd already split up.

28:24 Speaker 2: Okay, okay.

28:27 Speaker 4: It was that kind of thing that we kind of we kind of peaked and kind of started to sell out gigs, you know, at the Marquee and places like that, right, and then the one kind of fell apart.

28:37 Speaker 2: Really yeah, that sounds like it just kind of winded down. It wasn't.

28:41 Speaker 1: It wasn't like this huge There was no big drama or anything, right, it was just kind of this uh you know, I mean it's interesting, you know, I mean, record labels can certainly play a role in uh killing off a band, right, I mean, my god, the way they eat well.

28:57 Speaker 4: I think the thing that the unfortunate thing with was we were signed to to kind of virgin We were also had publishing with them, and they'd also are signed as a manager who managed loads of their recording studios, so it was all.

29:14 Speaker 3: Kind of bizarrely in house.

29:17 Speaker 4: So when we got kind of dropped from their label, it kind of I think it blunted our manager's enthusiasm for us to a certain degree because he wanted to manage it. He wanted us to be, you know, one of these new pop kind of bands or whatever, which we weren't sure that we wanted to be. It was also round about that time where guitar music was coming back into fashion, if you know what I mean, and the label wanted to push us further in the direction of synth music or whatever, and there was possibly a clash there, you.

29:58 Speaker 1: Know, Oh yeah, yeah, at the time, did you did you assume that that was it. I mean obviously, like like we talked about, you had other projects to move on to. But was it always kind of in the back of your mind that perhaps one day you would resurrect the room or did you think it was just in your rear view mirror or were you just kind of focused on what was in front of you going forward.

30:18 Speaker 4: I think back then I was you were. I was always focused on what was in front really because the I I think back then, the idea that bounds like say Echo and the Bunny Man would still be going you know now kind of thing still playing the same snet you know, didn't occur to So it was back then, if you know what I mean, because the there didn't seem to be that longevity.

30:46 Speaker 5: In uh.

30:49 Speaker 4: All type of music back then, right right, do you uh? Whereas now it seems that it's almost important to consolidate, you know.

31:03 Speaker 2: Oh I do know, Yeah, I know exactly what you mean.

31:06 Speaker 5: To make money anyway, Yeah.

31:08 Speaker 1: Exactly exactly. Well, Dave Jackson, this has been this has been wonderful. We're gonna begin to wrap up. The time goes quickly. I am going to I am going to However, at the end of our conversation, I'm actually gonna play two tracks. I'm gonna play Drill Baby Drill, and I'm also gonna sneak in Continent of Lies. I think I love both those songs, but I also think they go together, if you know what I mean. As I think we talked about. But before we wrap up, Dave, where's the best place to go online for people to keep up with everything that the room is doing so that they can and to follow you.

31:40 Speaker 1: Obviously you have other musical projects as well. But where should people go online?

31:45 Speaker 3: Well, our record label is nine Records.

31:49 Speaker 2: Okay.

31:50 Speaker 4: We've also got a band campsite as the Room and the Room in the Wood.

31:59 Speaker 5: Okay, so the Room and the Room in the Wood bund camp, and.

32:05 Speaker 4: I've got we've got a room facebook page. We haven't actually got a website as such, which we should probably look into.

32:13 Speaker 1: Yeah, it's good, but yeah, you guys are easy to find. And by the way, band Camp. I love band Camp. It's I'm glad you're on there. I always say it's very artist friendly. And what a lot of people don't know too is if you get music from band camp, you get a higher quality file than say, if you're just you know, streaming it on YouTube or whatever.

32:33 Speaker 3: So yeah, they tend to be WI files that we upload.

32:36 Speaker 2: Down yep, yep.

32:37 Speaker 1: So I'm a big proponent of band camp, so I'm very glad that you're on there. Dave Jackson, thank you again so much. I love the Room, the great, great band. Like I said, I listened to everything I could find online, and uh, that's how I know to play these two songs because I really love both of these.

32:53 Speaker 2: I love you know, I love the messaging and all of it.

32:57 Speaker 1: So keep it up and I'm sure have you back in the future, because it sounds like you've got a lot coming down the pike, so we'll definitely have you back.

33:05 Speaker 5: Okay, great, Thanks very.

33:07 Speaker 2: Much absolutely, Dave, thank you, take care bye bye.

33:10 Speaker 5: He's fine.

33:12 Speaker 2: All right.

33:12 Speaker 1: That was Dave Jackson from the Room, and I was wonderful to talk with him. I'm glad he was a little early because that way we didn't have to rush. I thought that was a really interesting conversation, and like I said, I became a fast fan of this band. I was not aware of them back in I might have been a little young to have been aware of them back when they were starting, but Like I said, this music to me is timeless, and the themes, the lyrical themes of these songs also timeless. But so we're gonna play two songs from the room.

33:40 Speaker 1: We're gonna play the previous single, Drill Baby Drill, and then we're also gonna play a Continent of Lies in that order. I think those are both appropriate for the times, whatever time it may be, the present or the past. Like I said, the names and the players change, but a lot of what goes on in the world beneath all of that does not.

34:01 Speaker 5: So.

34:01 Speaker 2: Here it is the room. This song is called Drill, Baby Drill,