Latest / The Scene Projects / This is Unsigned Spotlight 08042026 Raw84 Special

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This is Unsigned Spotlight 08042026 Raw84 Special · The Scene Projects

0:00
Welcome to unsigned spotlight, the daily live show from the scene projects.
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We shine a light on the best unsigned musical talent from around the world.
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Featuring songs from independent artists across all genres, This is where passionate music
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heads, emerging artists, and curious listeners come together to discover what's next.
2:44
Lights come up, crowd gets me loud.
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Here come the voices drawing the crowd, AJ steps in with that fire in sight.
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Breaking down bars like a miracle fight.
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Michael's got vision into the streets, spot me Happy hump day.
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Hump day.
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It's hump day.
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Have you not heard that say, Michael?
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Hump day.
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Please ex please explain it to him before he gets the wrong idea.
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You're not in a hump.
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You're not in a bad mood.
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Okay?
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It it's a hump day in The UK.
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It's that middle part of the week where you're just, like, getting over the hill for the
5:01
weekend.
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Okay?
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Yeah.
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Like that.
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To be fair,
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I feel go.
5:08
They go they go down.
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Are you saying you're stuck?
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Are you, like, stuck a little top of the hill?
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Oh, I'm stuck stuck in hump, I guess.
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You're stuck in hump.
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Please don't be stuck in hump for too long.
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Okay?
5:22
Welcome to the one, the only unsigned spotlight show with my aunt, AJ, and our wonderful guest
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of the show, Richard Melbourne.
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Hello, Richard.
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Hello.
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I've come today to keep you both in line.
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Bob has sent me.
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I'm joking.
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It's a mafia.
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I'll tell you what.
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I looked up for 84, and I sort of found out that they were debt collection agency, Michael.
5:48
It's come to take your car that you never got.
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I I have to show you my car.
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If I show you my car, then you'll hate me.
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I want to see your car.
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I think you should post it tonight.
6:03
Post my car?
6:05
Yeah.
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You need
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a big you'll need a big stamp, but, yeah, do it.
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Now I'm your Simon now I'm your Simon Cowell, like, with the yellow glasses.
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Do I get to drive your car when we when you go on tour to all these famous places?
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No.
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I can't be your driver.
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Come on.
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Is he the driver?
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Well You're famous.
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It's a yeah.
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But it's a two seater, so it looks cooler if I'm driving it.
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I'm struck in the heart.
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I really
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Well, no.
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I mean, if if I have, like, a limo, then yes.
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You know, if I
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have a Well, you're saying I'd only fit in a limo.
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You said I wouldn't fit in a two seater.
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I find that highly offensive.
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No.
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What I'm saying is a two seater.
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You are cool.
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My ass does not take two seats.
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Okay?
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It only takes one and a half.
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I feel like I'm doing I feel like I'm media in a therapy session here.
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Right?
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AJ, tell Michael how you feel.
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Michael, I feel very I feel very hurt that you won't let me drive your car because my ass fits
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over one and a half seats.
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I never said that.
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When you have a two seater car, you know, like a Ferrari or a Lamborghini, you look cooler
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when you're driving it than when you're the passenger.
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To be fair, the passenger
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just looks the passenger just looks like you've just asked your cool mate with a car.
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Can I have a drive?
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Michael has a Ferrari, two seater.
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You have management fees up by 90%.
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Okay.
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Yeah.
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Oh my god.
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Such a dork.
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Okay.
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I'm not a dork.
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Don't call me
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a dork.
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You're a dork.
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Anyway, we've got Richard on we've got Richard on the program, not as their debt collection
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agency.
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It's actually tell the world about the wonderful world of production of music.
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Okay?
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Because he's got so many songs.
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We're just basically gonna sell them all on eBay.
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The funny thing is you call me a producer, but I'm actually more a songwriter.
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I just had to do the producing to get the songs out there.
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So the producing came because the songs needed to be out there.
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I'll tell you what.
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Let's go from scratch because Michael's always scratching his head every time we play one of
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your songs.
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Okay?
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So let's introduce the world to Richard Bravo and the hashtag Vaugh eighty four and explain
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this process of your amazing music.
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I think
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I scratch my head.
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So yeah.
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So back in '2 yeah.
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So back in 2005, I was in a band that was all part of the Sheffield scene with Arctic Monkeys
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and stuff like that.
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And it was a great time to be to be fair, to be young, and the Sheffield was, like, the place
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to be.
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It's like Manchester was the place to be in the nineties.
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So Sheffield was also yeah.
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Pretty much still.
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Manchester never dies.
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But so we were sort of gig we did a lot of gigs and gigging around, and we were more known for
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smashing guitars and getting drunk than we were like.
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I mean, I but I I kinda realized I didn't really like the gigging side of it, but I loved
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the studio side of it, and I loved the writing music side of it and being in the studio.
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What's that phase for, Michael?
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Did you did he swear?
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No.
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To be fair, some people have have better be I think it was because I was the front man, and I
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was a singer and guitarist, and everybody else got to take in the gig.
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And I was too busy trying to do too many things and to to enjoy it, if you know what I mean.
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There was too many things going on in my head to look around and take it in, and I I was just
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envious of the guitarist who would be there looking at everybody, and he would soak it all
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in.
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And I just remember just trying to remember lyrics and trying to remember a guitar sequence
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and everything else.
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So but but I just love the creative process more than I did being the front man or being on
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in the limelight.
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And I suppose some people love being in the limelight and some people love being behind the
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scenes.
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And a couple of years ago, I built my own big studio.
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Like, this is a tiny room.
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We're moving to a bigger house with a bigger studio, but I built a big studio, and I wrote
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probably thirty, forty songs.
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I've been writing songs since I was 14, and it is literally like the runny tap analogy with Ed
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Sheeran.
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Like, you gotta write yourself out of being not great.
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You know what I mean?
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Like, you it's like a runny tap, like, bit of muddy tap.
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Like, you start and you send an old tap in an old house.
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First, it's muddy water, then it gets clearer and clearer and clearer.
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And you're still right now and then a really bad song, but it was like that.
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And I've been writing songs of all I blame I blame my mom.
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So my mom brought me up on movie soundtrack.
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She let me watch dirty dancing, pretty woman, RoboCop at, like, at ten.
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Do you know what I mean?
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My mom literally let me watch all of get 10.
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A minute.
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Where does RoboCop get into dirty dancing and pretty woman?
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That's a
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RoboCop's RoboCop soundtrack is amazing.
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The Simsons RoboCop soundtrack is amazing.
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So yeah, she would she would she would always have Tony Braxton on and Wham and all that's
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why my taste is so eclectic.
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Like, if you put shuffle on my like songs, you would get Gloria Estefan, Miami Heat, and then
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you would get probably Tiny Dance of Melton John, then you might get Foo Fighters Everlong.
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Like, it's literally that eclectic, my my song loving.
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So, anyway, a couple of years ago, we're about thirty, forty songs, and we moved suddenly away
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from the big house, and I lost my studio.
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And I kinda let it die down for a bit, and then I just kinda picked it back up.
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Music always comes back to me when I need it, I found.
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Like, I was picked on as a kid quite a lot and then and bullied at school.
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And my dad stepdad got me a guitar for Christmas, and I spent, like, literally eight
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months learning this guitar.
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And I did a concert in front of the entire school playing song two by Blur, Little
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Richard, and something else.
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And no one said a word to me after that day.
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It was like the curse was lifted.
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Everyone looked at me and went, if he can get up in front of all these kids, like, 500 people
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and do that, leave him alone.
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And it was like a different life after that, if you know what mean.
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So music's always came to me when I've needed it.
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But now I honestly, my dream is to write these these are demos.
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I know they don't sound like demos, but they are demos.
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Like, I would love to an artist to go, I want that song and rerecord it and do it their their
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own version and their thing.
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That's my dream.
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Like so yeah.
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So all these songs are literally me saying, would you like this song for your album?
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Would you like this song to release for yourself sort of thing?
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I have no intentions of putting these out as my singles.
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These are for other people to help their career become where it needs to be.
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So, anyway, in a
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Carry on talking you two because I've got to show everybody this amazing car of Michaels.
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Okay?
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It looks like it for Mike either.
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No.
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We know.
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No.
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Oh, come on.
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Everyone's gotta see it.
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It's beautiful.
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Come on.
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Everybody's gotta see it.
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I'm saving it right now.
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I am.
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I
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Because you
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were taking no notice of what was being said, and you were busy texting me the color of your
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car because you're bragging.
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No.
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No.
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No.
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I was listening because I I very similar.
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I there are many things that he said that that that I picked up on that that I actually
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identified with.
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I think the only difference is that for me, I've I love the feel of performing.
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I love being on stage.
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I I love that.
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And, I've always been someone that has enjoyed taking lyric and making it my own even if it's
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somebody else's song.
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Like, I before I started really getting into songwriting and and and recording and
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everything, I, you know, I performed, but I did covers.
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But I would take them and arrange them
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Yeah.
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Yeah.
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For me so that it felt fresh and it felt exciting and and, like, you know, there was a
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story.
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So, you know, I but, unfortunately, for me, I didn't have a guitar.
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So I was just picked on all the way through school.
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Like, you know, and I was just that I was that odd kid, you know, that that loved to sing,
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that loved theater.
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And but, yeah, I I I find it intriguing.
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You so your goal primarily is to, what, have just, like, a slew of your music being sung and
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and and published through other artists then?
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Yeah.
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Just work with artists.
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Like, I know like, these demos are a starting gate for artists.
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It wouldn't be like, this is how it has to sound.
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It will be a collaboration, obviously, but this is to give them an idea of I have this song.
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You might be great for it.
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I the thing is I never design a song and go right.
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Write a song and go, that would be for Olivia Rodrigo or that would be for my Osiris.
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But as a song starts to take shape, you do start to hear artists in your head of, like,
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this really sounds like something that'd be great for this person or that person.
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And to get to a point where you send that to them and go, I've wrote this.
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Maybe you might like it.
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This is what it's about.
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I think this would be great for you.
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Maybe we could work on it together.
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That kind
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of get set of?
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I'm in The UK, sadly.
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I'm not Nashville, which would be great.
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Yeah.
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But, yeah, I'm in The UK at the moment.
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But to be fair, with technology and flights and everything else and stuff like that, you can
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Yeah.
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Pretty easy to do stuff these days.
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I mean, sadly, I got to the realization that my voice wasn't good enough for my songs.
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Like, I realized that my my creative brain was my instrument more than my voice.
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Like, you've got a great voice.
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I know I don't.
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I knew that my creative brain and my ideas and my ability to hear sounds, For me, it's
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instinctive.
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Like, I could literally do I did so I sent you a song called Japanese Love Song, which I've
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remixed now, but I did a 184 mixes of that Right.
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Till I was ready, till I was happy.
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That's how OCD I can get with it where I and it could literally be one vocal is wrong, one
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thing is wrong, and it's like, no.
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It needs to that's the sort of level that I can go to sometimes.
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Sometimes the so so the good the the best songs just I was speaking before the show, Michael,
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that I subscribed to the Chris Martin, Noel Gallagher strategy, which is that the best
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songs are just there.
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You grab them.
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They're in the air.
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They they're there for people to grab, and you just grab them.
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Like, Westwood Wind came together in twenty seconds.
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It was just there.
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It was I picked up a guitar, played those chords, it came out.
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The lyrics wrote themselves.
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The best songs that I have, the ones that the certain songs, I'd say 10%, they just hit the
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sweet spot all the way through.
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Like, I've got 50 to 60 songs that I've recorded that are all done, and I'd say 10% I
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mean, no.
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Well, probably 10 of them are, like, just hit the sweet spot, and Westwood Wind was one of
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them where all the way through, I couldn't pick a flow of it.
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It was like you know what mean?
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You can't just go, oof, that could be changed.
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Or, so yeah.
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So even at fifty, sixty songs, there's probably 10 that I would say were the sweet spot.
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So
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Do you so do you go out and bay so, basically, you go out and pay to create demos then, like,
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for your
17:11
So I yeah.
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It's all changed.
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I mean, it's all changed over the last couple of years with technology and stuff like that.
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It's mice I say use the tools that you've got.
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So I all we used to have was Splice, and we had Fiverr to get session singers.
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You know what mean?
17:25
And I would pay hundreds of hundreds of pounds to somebody in Estonia to get a vocal that you
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would send them the guide vocal, you would send them the song, and it still was wrong.
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And they would go, well, you've got one revision, and then it's gonna cost you another
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$200 or £200.
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You know I mean?
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It's like you wouldn't and I'm so particular about what I want that now I either get them in
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my studio or I will do a guide vocal, and then I will manipulate it and change it myself.
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It depends.
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Every song's different.
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We now have technology that allows I think technology can either be you shouldn't use it
17:55
to write songs, but you should use it to create samples and stuff like Timberland uses it.
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Ryan Teddy uses everything that we've got now.
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So it's like but I think that there should always be the human element of songwriting, and
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I think that people can't recreate that.
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I don't think computers can recreate that, but I think that there is now the tools to be able
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to create samples yourself to like, you could like, I have I was talking to AJ.
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I literally have a a voice note of me going, glory glory for what we have done.
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And then she came to my head in the middle of nowhere, and then I turned that into a gospel
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choir from Alabama.
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And it turned into a rap West a West Coast rap song with and I wrote the whole rap, and there
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was a a choir doing that just from my me singing into this and changed it into a choir.
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Like, that's where it should be used for.
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It should be used to make your ideas better, but not to create ideas, if that makes sense.
18:45
Oh, no.
18:46
I I I I completely agree.
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I I, you know, I half the fun for me is is the arranging in my head.
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Mhmm.
18:57
You know, is coming up with a concept, laying it down on my phone, and going, okay.
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How do I do this?
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Okay.
19:05
Yeah.
19:05
That you know?
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And and, you know, because I'm so unfiltered, you know, my songs are bizarre.
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You know, the arrangements are you know, there's key changes.
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There's, like, you know, tonal changes, everything.
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But it's what I hear.
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You know?
19:24
And so I'm like, okay.
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So how can we best create that?
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And it's, yeah.
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It's it's fun.
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So I guess the only difference between you and me is that that, you know, I really wanna sing
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my shit.
19:39
I really do.
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Because I think, initially, especially this the first stuff that that I released because it's
19:48
so personal, it's like, it would be weird to hear somebody else singing songs
19:52
Yeah.
19:53
Of stuff that I've gone through.
19:55
But, you know, but I of course, you know, if somebody you know, if Celine said,
20:02
oh, I've got to sing your song, darling.
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Please.
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Please.
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My heart will go on.
20:09
And then, of course, I'll do it.
20:11
I'll I'll
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The thing is because come up.
20:13
Yeah.
20:13
She does.
20:14
So she does now.
20:14
She does now.
20:16
She's, like, literally gonna call the show now, Michael, which I I don't sound like that.
20:20
Yeah.
20:21
To be fair, because my stuff's so eclectic, though, like, I do I do country.
20:26
I do rap.
20:27
I do, like, British rap.
20:28
I do everything.
20:29
There's no way I could do it all.
20:30
What's British
20:31
name?
20:32
So, like, Stormzy.
20:33
Think of Stormzy as a rapper.
20:35
Like like, Stormzy would be great.
20:37
Morning.
20:39
Morning, James.
20:39
Good morning.
20:40
The music world has changed.
20:42
The little guys now have a playing field without the big record labels.
20:46
James, this is totally and utterly true.
20:49
We do.
20:49
The independent market is absolutely flying at the moment, which is why we're on five days a
20:54
week, bringing you absolutely great music.
20:57
And totally agree.
20:58
The unsigned market is bigger and better than ever at the moment.
21:01
And I think, you know, going back to going back to yourself as a producer, you know, Richard,
21:06
one of the things I I was really interested in yourself when we first talked is that there's a
21:12
lot of songwriters out there who need producers and will turn to AI now, like, and things like
21:22
that.
21:22
And there's a lot of posts from producers saying that, actually, you know, they feel as
21:27
though it needs the human touch.
21:29
It needs the element of a human touch and a human sound and things like that.
21:33
And I think I think we've got to a point in a world where there's there's a lot of artists
21:37
becoming artists because they've got the tools to do so.
21:41
Whether they make good artists or bad artists, there's a lot more artists we've ever had.
21:46
You know?
21:46
It's knocked down it's knocked down the
21:47
pay barrier.
21:48
Yeah.
21:48
It's knocked down the pay barrier.
21:49
It used to be you had spent $20 to go get a studio and a producer and all this stuff.
21:53
It's allowed artists to do stuff in their room, but there's also AI it'll it's a bit reminds me
21:59
of Pro Tools.
21:59
When Pro Tools came out, everybody hated it.
22:02
If you ever watched a documentary, all of a documentary of good music or watched Sound
22:05
City, which is an amazing documentary about the studio.
22:08
And when pro and they set up a a digit one of the guys left, Keith something, set up a studio
22:12
next door with Pro Tools, and everyone said it was crazy, Tom Petty, everybody.
22:16
And it eventually became the standard.
22:18
I think if you don't use AI on principle, you're probably missing the boat because I use
22:24
it sparingly, but I do use it when I need to use it, but for samples and to to change my
22:30
voice into something else or to bring you know mean?
22:32
To help improve my music.
22:34
I think there will always be people, though, that go write me a song about ketchup, and they
22:37
will write a song about ketchup.
22:38
There will there will be those people that do that.
22:40
But I think that there is a place for it.
22:43
I think as a songwriter as well, especially for me, I'm not trying to put these songs out with
22:47
this voice or whatever.
22:48
I want someone to go, I wanna rerecord that, and they'll do it all again in the studio
22:52
anyway.
22:53
So it's like it's different.
22:54
If I was an artist trying to go, this is my song.
22:57
I'm putting this out.
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That's different.
22:59
But I'm not.
22:59
I'm saying, here's a demo of a song I've wrote from scratch.
23:03
Yes.
23:03
There's a bit of AI maybe involved in it such as sometimes so for example, this song we're
23:07
doing tonight, there's two vocals in it.
23:10
There's one rap, and there's one girl.
23:12
The girl was live.
23:13
The rap was done with AI because the rapper that I got couldn't get it right.
23:18
She just couldn't she couldn't get it right.
23:21
It was the cadence was wrong and only so I did the whole rap myself and redid it and re
23:27
because it just couldn't get it right.
23:28
And I spent a lot of money trying to get it right, it won't get it right.
23:31
And I'm like, right.
23:32
You know what?
23:32
I've just got to try and re re redo this myself somehow.
23:36
And and that's because I'm a songwriter.
23:38
I'm not trying to pass this off of this as an artist.
23:42
So it's different for songwriters.
23:43
But I think that there is a place for it.
23:45
I think that there will be a pullback from it a little bit.
23:48
But the problem is now we're in the fifteen second hook phase.
23:51
I'm I want it to come back to the hit phase where we wrote hits.
23:55
We wrote songs all the way through that everyone thought about the bridge.
23:57
They thought about this.
23:59
They thought about that.
23:59
Now it's like, how can we hook people in fifteen seconds?
24:02
What's the fifteen second hook?
24:04
And to be fair, I love Ryan Tedder as a songwriter.
24:07
I think he's wrote some hits, but I saw the the new One Republic song the other day, and it
24:11
just sounded like a collection of sounds.
24:13
Mhmm.
24:14
It was a collection of hooks rather than what is a hit.
24:17
You know what mean?
24:18
What is a hit of a song?
24:19
Tiny dancer is a hit.
24:20
Don't look back in anger is a hit.
24:22
Like, you know what I mean?
24:23
Jump by Van Hit or what is it a hit?
24:26
You know what I mean?
24:27
So, like, I would hope that we come full circle.
24:29
I hope that we start thinking about the song as a who would release a seven minute Bohemian
24:33
Rhapsody song right now?
24:35
No one.
24:35
Michael.
24:36
You Michael.
24:37
Michael, I think you're what's your longest, Michael?
24:42
It's still going.
24:43
It's It's still going.
24:45
It's still playing in the background.
24:48
It's it's been on three months.
24:51
Yeah.
24:51
It's just been a dream.
24:53
I think I have
24:56
god.
24:56
It's so bad.
24:58
I think my longest is almost eight minutes, and it's I I couldn't I couldn't and it's not it's
25:08
on the next album that comes out in in June or whatever.
25:13
And it's called look again, and it's the story of four people that society already prejudges.
25:22
And and then it's so it's like, it tells a story of this person that we see as just a
25:30
homeless bum or a mom on, you know, welfare that's, you know, you you know?
25:37
And so it has four distinct things, and I was so engrossed with their their story that this
25:49
So
25:49
it just went for nine minutes.
25:51
Agent's like,
25:53
are you gonna serve popcorn with this or what?
25:57
You know?
25:57
To get Yeah.
25:58
Mine's about six and
25:59
a half.
26:00
Slippers on.
26:01
On.
26:01
Mine's about my my longest I've got is six and a half.
26:04
It's called the last run of the Maribel, and it's a story of three generations of fishermen.
26:09
And it's about the it's set from the father's perspective, and he's handing his boat to the
26:13
son just like his father did.
26:15
And it's it's six and a half minutes, and it's pretty AJ's heard it.
26:19
I've sent it to you.
26:19
You've probably not seen it.
26:20
I've heard it.
26:21
Yeah.
26:21
And I was up all night listening to it.
26:23
Yeah.
26:23
So
26:24
I was up all night.
26:25
I started at 12AM, and I finished about 5AM.
26:29
You know?
26:29
It's that long.
26:30
You know?
26:30
Anyway, YouTube Yeah.
26:32
Yeah.
26:32
Got to stop conversations because at the end of the day, we still got people's music to do.
26:37
Okay?
26:37
We're gonna be here all night.
26:38
I have to stop Michael by gonging him on the head.
26:41
Come on, Michael.
26:42
I thought this was the male version of the view the view to be fair.
26:47
Yeah.
26:48
I just started talking.
26:51
Mama.
26:51
There you have it.
26:52
Just killed him.
26:53
Sorry,
26:59
Mike.
27:01
Set him off.
27:02
Oh, you're okay to singing blah blah blah blah.
27:07
That's because it's my show.
27:08
Yeah.
27:09
I am.
27:10
It's for whose show?
27:11
Power man
27:12
there.
27:12
Sorry.
27:13
Sorry.
27:14
I'll show.
27:16
Look at it.
27:17
Look at it.
27:18
Right.
27:19
Anyway, let's get on with the show tonight, shall we?
27:21
Because people are here to listen to some music as well.
27:23
Not Michael singing.
27:26
Does everyone want to know what's on the show?
27:32
Good.
27:33
Tell us.
27:35
I'll tell you who is on the show.
27:36
Obviously, we have got, of course, Richard Melbourne under the bell ridge.
27:42
Sky is the song which they got he's going to bring to us in a minute after I've told you who
27:47
else is on.
27:48
We've also got a song from Gwen Norby.
27:51
Actually, for the first time, I have got songs in from LinkedIn for a while.
27:55
I haven't normally got songs in from LinkedIn, but some songs were sent in today, so I was
28:00
quiet.
28:00
And this is Gal Be Happy.
28:03
She is from Missouri in United States, and she's been doing alternative music for people
28:09
to sort of listen to and sort of songs that reflect on people.
28:15
And this is a song that she'd done for females, and she wished that she had this song sung to
28:21
her as a female herself.
28:24
So this one's been sent through.
28:26
The next one is four jaw.
28:29
We exist in transit.
28:31
We're sound marked by driving guitars, authentic courses, and undoable hooks.
28:36
Four jaw have been steadily building their name as a band to watch after securing airplay on
28:43
stations like Radio X, BBC, and Amazing Radio, and a slew of playlist, the critically
28:50
acclaimed singles Brightman and Midsommar.
28:55
Okay.
28:55
So RadioX is quite a big radio station over here, Michael.
28:59
You'll get Chris Royals on there.
29:01
I like RadioX.
29:02
Do like RadioX, Richard?
29:05
I do.
29:05
Yeah.
29:05
Yeah.
29:06
It's it's basically what Radio one used to be.
29:09
It is.
29:09
Definitely.
29:09
Yeah.
29:10
Yeah.
29:10
Definitely.
29:10
Mawsey in the morning.
29:12
Anyway John
29:12
Peel the John Peel days.
29:13
The John Peel days.
29:14
Oh, definitely.
29:15
I remember those days.
29:16
Definitely.
29:16
Next one we got is a country song, by Mike Sudds, called Grit, and it's not been released
29:24
until the April 9, and that's tomorrow.
29:27
But he's lent us this song today, so we got it before the release, which is really cool.
29:32
I like it when people give us early releases.
29:35
And next one is this is Circle City.
29:39
This is where it begins.
29:41
It's a song.
29:44
Where are they from?
29:45
Oh, it's a bit of a blend of rock, progressive jazz, and metal elements.
29:51
I think I got this one from TikTok.
29:54
So a song which was sent in to me by TikTok, and they're from Canada.
29:58
Oh.
29:58
I love that.
29:59
I love that.
30:00
Mixing genres is great.
30:01
I wanna hear that.
30:02
I know.
30:03
I like that.
30:03
We've got got songs from all over the world again.
30:06
And we've also got comments coming in from Facebook, YouTube, and also LinkedIn tonight.
30:12
How are we all?
30:13
Who's on the Hello Show today?
30:16
James, Richard, you are the world.
30:20
Is it you are where the world is going.
30:22
Some people can sing, some can play instruments, and others can write.
30:27
Each person must struggle to get their talent out anywhere they can.
30:32
Exactly like AJ and his driving test.
30:33
Basically, he could never play a guitar.
30:35
He could never drive a manual car.
30:37
It took him 10 times to do his car test.
30:41
I don't know driving a stick.
30:43
I I and I love I love manual transmission.
30:47
Absolutely.
30:47
I do.
30:48
All the way.
30:49
I tell you.
30:49
I I even threw my driving instructor out with a manual.
30:52
I tell you.
30:53
It just didn't work.
30:54
Trying to do two things at once when you're dyslexic is terrible.
30:58
Yeah.
31:00
Thanks, James.
31:01
Welcome to the show.
31:02
Anyway, mister, tell Michael a bit about this song of yours, okay, while I get it all sorted
31:07
out.
31:08
Okay?
31:09
Yeah.
31:09
So I went for a period of trying to mix as many genres as I could, and I'm trying to find a
31:15
sound that had not been found yet.
31:17
And this song came from couple of places lyrically inspired, but also musically.
31:23
So musically inspired, I thought, what if you blended nineties funk such as Go West with
31:30
what's it called?
31:31
King of Wishful thinking mixed with Flea's bass from Red Hot Chili Peppers.
31:34
Then let's add Missy Elliott as a vote as a rapper.
31:37
Then let's add some Dua Lipa in the chorus.
31:39
Let's add some house, and let's let's tip it off with some rock guitars and a Van Halen solo
31:45
and see what happens.
31:47
So that was the musical genesis, but the lyrical genesis, I wrote it's it's a story of a
31:52
girl whose dad so so a couple of years ago, I sort of hit a a lyrical wall because I was just
31:58
writing about myself all the time and my experiences.
32:01
And there's only so much you can write about yourself.
32:02
You only have so many experiences in life, and once you've wrote out, you've wrote out.
32:05
You have to go and get divorced to write a new album like Adele.
32:09
But but, basically, I said so I discovered that I would write short stories first with
32:14
characters and development and and think of themes to see stories.
32:18
And I would write a short story then use a bit like this a book into an adapted screenplay.
32:22
I would take a screenplay of a story into lyrics.
32:26
So I would write a story of characters and turn it into lyrics.
32:28
So this is a this story came inspiration from the film 10 things I hate about you and
32:32
Footloose.
32:33
So it's a story of a girl whose dad's a pastor, and she's not allowed to date anyone till she's
32:38
18, but she's met this this guy.
32:40
And he's not even bad forever, and dad's still being saying no.
32:43
So it's basically a story of a girl finding her own place in the world and saying stuff to you,
32:48
dad.
32:48
I've got to make my own decisions and stuff.
32:50
So put all that together in a song.
32:52
But this was the I
32:52
brought I brought this song because I wanted to to talk speak to people about mixing genres and
32:56
finding new sounds.
32:57
And I think mixing genres is always amazing.
32:59
Jazz with rock or whatever.
33:01
You know what I mean?
33:02
So
33:03
Let's take a listen.
33:04
Okay, Michael.
33:05
Are you ready, mister?
33:06
Oh, yeah.
37:09
Me.
37:10
Loved it.
37:11
Loved it.
37:11
Loved it.
37:12
I'm just trying to get everyone back on stage.
37:14
And we've also got Robin.
37:15
The woman is back from her trip.
37:18
Hi, Robin.
37:19
How are you doing?
37:20
She is really digging this song.
37:24
I'll tell you what.
37:24
Put you her beautiful voice with your music.
37:27
I'll tell you what, between the two of you, and Michael also wants to get in there and do a
37:31
song with her as well.
37:34
Yes.
37:34
We well, first of let's talk about the song.
37:37
But Robin, yes, Robin wants to sing with me.
37:40
I would be thrilled and honored, and she
37:42
I do love her voice, to
37:43
be fair, and I have got a few I already pigeonholed.
37:45
I was like, that'd be great.
37:46
You've already pigeonholed a few for her.
37:47
She's coming in for a meeting tomorrow with me and Bubba.
37:50
We are going to steal her from any anyone who she decides that she wants to go with.
37:55
We are keeping her to ourselves.
37:57
It's like that, you know, moment that you just, you know, you just find an artist and you just
38:02
keep them.
38:03
You know?
38:03
So, Robin, hi.
38:04
Welcome back.
38:06
Yay.
38:07
Yeah.
38:08
The song is really, really, really good.
38:12
And I agree.
38:13
It that's a really hard song to pigeonhole because it's definitely it's definitely r and
38:20
b.
38:21
I mean, there's no way around that.
38:24
But the other elements that you brought in just that was a really great track.
38:30
Like
38:31
I wrote yeah.
38:32
I wrote it after watching the Avicii documentary, and I loved how he just took
38:36
different areas of music.
38:37
He just took different areas of music and went, do you know what?
38:40
I tried when he went.
38:41
Yeah.
38:42
Tried when he went.
38:43
The man was a genius, and I just thought he doesn't care what genre it is.
38:46
He's just making good listen.
38:47
I wouldn't say I'm a fan of any genre.
38:49
I'm a fan of great songs.
38:51
I think that's what I would say.
38:53
Like like I said, I I love I was listening to Conga by Miami Heat earlier.
38:58
Right?
38:58
And rhythm is gonna get you and stuff like that.
39:01
I love great songs.
39:02
Like, honestly, I can appreciate a great song.
39:04
It's not about a genre.
39:05
I don't think there's a genre I hate.
39:07
I've got a song that is mixing disco with modern funk, and it's called king of the sound.
39:12
It's amazing.
39:13
It sounds like James Brown came back, and it's great.
39:15
But Yeah.
39:15
It's like that.
39:16
It's great.
39:18
But, like, but what what intrigued me out about this song was again, I said the same.
39:23
You can't pigeon all this.
39:24
It's got a bit of everything.
39:26
There's definitely a flea base in there from Red Hot Chili Peppers, like, the the the the.
39:31
And I was just like, it doesn't sound like anything I could pinpoint.
39:36
It's got a bit of everything.
39:37
So yeah.
39:39
I like it.
39:40
It was it's it's really good.
39:42
I, you know, I really like it.
39:43
I like your style of music.
39:44
I'm really looking forward to working with you because there's so many artists around the
39:48
world who really want to find a great sound, a great producer, a great sound, and really want
39:55
to go and find something.
39:58
We'll we'll just step them at at one ahead.
40:02
You know, they've, you know, they've they've been in with producers before, but they've got
40:05
to a stage where in their career where they just need something else.
40:09
And I'll tell you what.
40:10
I you know, I've worked with many producers around the world.
40:13
And for some reason, I've got bored.
40:16
I've just got to a point where I've just thought, you know what?
40:18
You're making me sing the same stuff.
40:20
We're going over the same, you know, boring stuff.
40:24
And I'm thinking, I need you to create along with me.
40:27
You know, I I'm bringing you these lyrics.
40:29
I'm bringing these vocals, and, you know, those ideas aren't coming along.
40:33
And I think there's so many producers out there like yourself who have got so much in the
40:39
repertoire to move those artists to that next stage, create that bigger hit.
40:45
You know?
40:45
And I say everybody's turning to AI and soon to come up with these amazing ideas.
40:50
And I think one thing what excites me about working with you is is being able to match you
40:55
with those vocalists out there who will bring your songs alive.
41:00
And I can see some world you know, some really top class, you know, entries.
41:05
You know, you talk about the Grand Ole Opry.
41:06
You know, we got the JMAs.
41:08
You know, we've got a lot of competitions who would love your style of music, and there's a
41:14
lot of vocalists would really work with you.
41:16
And I'm really looking forward to working with you within Phoenix, you know, and finding those
41:20
vocalists for you.
41:22
You know?
41:22
Say Robin's already reacted to your songs.
41:24
He's really digging it today.
41:26
You know, Michael has already said, you know, that there's songs that he would work with as
41:30
well.
41:30
So I think there's a lot more to come, and I and I'm really excited for you.
41:34
The thing is my song's only 50%.
41:36
The artist that comes in needs to, well, not needs to, but I want them to bring their own
41:41
flavor, bring their own power to it, if you know what I mean.
41:44
I'm just here to go.
41:46
Here's a song.
41:47
Like, you don't like the bridge?
41:49
Okay.
41:49
We can work on the bridge.
41:50
We can do this.
41:50
Like, it's not like, this is my song.
41:52
You do it.
41:53
It's no okay.
41:54
Here's an idea.
41:55
Is this is this the wife chipping in?
41:57
It is my wife.
41:58
Yeah.
41:59
It is your wife.
41:59
What did you say?
42:00
Richard is great at pinpointing me and identifying the edge of a as well.
42:08
Shit.
42:08
To be I you.
42:11
Yeah.
42:11
To be honest, I think that you some people have a musical instinct for songs.
42:16
Like, they can hear certain things, and I definitely that's would say that's one of my
42:20
strong suits is to because I you I could spend hours coming up with beats.
42:24
I sent you a song, and it's a Caribbean Michael, it's it's a Caribbean song.
42:29
Think about being on a beach and stuff like that.
42:31
But I sent AJ where it came from, the original sample that I created with the beat.
42:36
And you can hear that song in it, but it's just not polished.
42:40
But that's where the original
42:41
Hang on.
42:41
Hang on.
42:42
Look at this.
42:42
You've got a great look look at this.
42:44
I'm gonna jump in with this.
42:45
James Appleton, well done.
42:47
Better than most signed mainstreams.
42:50
What a compliment that is.
42:52
Thank you, James.
42:53
To be fair, like I said earlier, the mainstream now for me has lost the ability to write a
42:57
chorus.
42:59
Like, do know what mean?
43:00
It's a bit like, now he has a hook.
43:01
Here's a hook.
43:02
Here's a hook.
43:02
Here's a hook.
43:03
And everything's about the problem I have with BBC introducing, and I've submitted many songs
43:07
to them, and they never play them.
43:08
And do you know why they never play them?
43:10
Because it's not weird enough.
43:12
Like, my songs are my songs are mainstream what used to be mainstream.
43:16
Like, I liked.
43:17
I still think, is this chorus good enough?
43:19
Not is this hook gonna be great on TikTok.
43:21
Is this a strong enough chorus?
43:22
Is this a strong enough verse?
43:23
Is this bridge good enough?
43:24
People don't care about bridges anymore, which freaks me out.
43:27
Some of the best parts of Beatles songs are bridges.
43:30
Like, do know what I mean?
43:31
It's like so, yeah, I feel I've got so my Michael's probably got some say on this.
43:36
But I I absolute I absolutely love bridges.
43:39
Yeah.
43:39
It's great.
43:40
Yeah.
43:41
I I'm a huge yeah.
43:44
I love London London Bridge is really nice.
43:46
I quite like London Bridge.
43:47
I knew that would come in.
43:48
I set him up, to be fair.
43:50
I'm sorry.
43:50
You know, London Bridge is really good.
43:52
And just don't talk to anyone from The Middle East about bridges at this time of night, you
43:57
know, because, like, they're coming down.
43:59
Anyway, this is the last episode.
44:01
It's been great, to be honest.
44:04
We're talk we're talking about bridges.
44:07
Okay?
44:07
We're talking about bridges.
44:09
Looked like was Let's not burn.
44:11
Let's not let's play out.
44:12
Let's let's not burn anymore.
44:14
Come on.
44:14
Let's not burn anymore bridges.
44:16
How many bridge jokes can we get in one night?
44:20
Bob Bubba, I'm sorry.
44:21
I tried to help, but this didn't work.
44:27
But, yeah, thank you.
44:28
Thank thank you for
44:29
your comments on the song.
44:30
I brought this because it was the most out there song I have after a country song
44:33
yesterday, which is nice.
44:34
But, yeah, thank you.
44:35
Let's get some more music.
44:36
But, no, it's a great person.
44:38
Back to the bridge jokes.
44:40
It in all honesty, that that is you know?
44:44
I you know, it's just I don't I don't know what you know, except for, you know, budgets with
44:57
pyrotechnics and stuff.
44:59
I really don't know what, you know, major label artists can bring to the table that indie
45:06
artists aren't already doing.
45:09
And just as much as And in a
45:12
lot of ways, you know, it and I've said it before, and it sounded like, you know, I'm
45:18
repeating myself, but the ability for an indie artist to honestly create and develop their own
45:27
brand because they have no they have no box.
45:32
They have no leash.
45:33
They don't have any no.
45:34
It's gotta be like like you said, it's gotta be like this.
45:37
Now we're now we're in the TikTok age where
45:39
Yep.
45:39
Fifteen second hit it.
45:42
And it's like but you really hear with independent artists individuality,
45:50
authenticity, people developing their brand, you know, and being able to explore.
45:56
You know?
45:58
Could I do something on with a major label that was probably because I'm more theatrical, and
46:08
so it would it would fit you know, what I what I do would probably work.
46:15
But there's so many artists that want to blend, you know, or blur the lines between this and
46:22
this.
46:23
They don't wanna just be pigeonholed.
46:24
Okay.
46:25
I'm I'm gonna be your country singer.
46:26
I'm gonna be your rap singer.
46:28
I'm gonna be your pop singer.
46:30
You know, they wanna blend, and and independent artists are able to do that.
46:36
And so I I a lot of times, I find indie music a lot more impressive and more I will
46:47
yeah.
46:47
I will say a mainstream artist see is Logic Radio.
46:51
Yeah.
46:51
I will say a
46:52
mainstream a
46:52
a mainstream artist, though, that I would say is I've been really impressed with him lately
46:56
was Harry Styles' new album.
46:58
Okay.
46:58
With the electric
46:59
with the electronic stuff on it, Aperture and American Girls.
47:03
Seeing analog Sims on the stage was warm to my heart.
47:07
Like, seeing actual cabled analog Sims and stuff.
47:10
And, yeah, and I think that there is artists that will push that boundary still, but it's
47:14
very rare that you
47:15
Yeah.
47:16
And and they have to be they have to be at Harry Styles.
47:21
They have to be able to somebody that they they can walk into a city and pull 60,000 people
47:26
into a stadium.
47:28
You know, you have to be that kind of artist.
47:30
But, you know, if you're, you know, freshly signed a year in, they're molding you and
47:37
developing you and taking away the things a lot of times that make you you just because they
47:45
want to get you to the Harry Styles thing.
47:48
The sad the sad, yeah, the sad
47:50
thing is we never had a funeral for the death of the band.
47:53
The bands the bands died, and we never even got to mourn them.
47:56
Like, it just suddenly disappeared.
47:58
Like, when the small music venues like, I honestly I wanted to buy a a piece of the floor
48:03
of the Lead Mill in Sheffield when it closed down because it was such an iconic venue to me.
48:07
Like, when I played the Lead Mill, you couldn't have convinced me I wasn't playing Wembley.
48:11
It was like so the night that I bet you look good at the dance floor at number one, I was in
48:15
the Lead Mill with Alex and Matt from the Arctic Monkeys.
48:18
They were number one in the country saying to them, isn't this crazy?
48:22
I know people who are number one in The UK.
48:25
It was mental.
48:26
Like, you know what I mean?
48:27
It was a crazy experience.
48:28
And those type of venues, the small venues, I mean, some of the best times I've ever had are
48:33
in those venues, and they're gone, a lot of them, sadly.
48:35
Yeah.
48:35
It's so sad.
48:36
It really is really sad.
48:38
Right.
48:39
Who's gonna go to the next song?
48:41
Who's gonna choose the next one?
48:44
It's it's every time.
48:47
Every time.
48:48
Girl, be happy, okay, that you don't swear at me ever again.
48:52
Okay?
48:53
But I'm gonna put you in a nice daisy field.
48:55
Look.
48:56
What are these flowers?
48:57
They're not daisies anyway.
48:58
They're what what color flowers are these?
49:00
Michael, do you know your flowers?
49:02
Not a clue.
49:04
So this is this is how, like, creative artists are.
49:07
I ask for pictures of the album cover to the single, and I get sent over a daisy field or
49:14
flower field.
49:15
So I'm
49:16
hoping this art it's abstract.
49:18
It's abstract art.
49:19
Okay?
49:20
And this is gal be happy, everybody.
49:22
For all of you females out there, this was written for you.
52:33
I'm really glad I was wearing my mixing headphones then because I was intrigued by the
52:39
panning at the beginning.
52:40
There was panning of the vocals, and the mix was flawless on that, I will admit.
52:44
That's these are my mixing headphones because they're open back and they're great, and it
52:47
sounds exactly like the speakers do when you take it off.
52:50
I do a lot of my stuff at night, but that mix was great.
52:53
A really good mix.
52:54
Very good voice as well.
52:55
Yeah.
52:56
About the so the reason behind the song, and I think whether or not it was written for male or
53:04
female.
53:05
You know, I think the the story behind it and being happy, it does bring a happy vibe.
53:11
And the voice also brings a happy vibe as well.
53:15
Yeah.
53:16
It's a it was just really a good, well made song.
53:21
Mix voice, just the feel.
53:25
You know?
53:25
I I always like hearing I always like listening to to singers that's that know their
53:32
instrument.
53:33
Like Mhmm.
53:34
What's my sweet spot?
53:35
You know, what where how many times can I play in this area that's just and she's just and
53:42
she's a smart singer?
53:44
It's just Definitely.
53:45
Yeah.
53:46
Very good.
53:47
A nice nice track to start.
53:49
I like that.
53:49
Okay.
53:50
So track number three.
53:52
Which one would you like?
53:57
You've been we've done two or is that four?
54:02
We can do three as well.
54:03
Michael, do three for him.
54:05
Show him what that looks like.
54:12
Should we go for four, George?
54:13
Should we go for track number three?
54:15
Let's go for track number three.
54:16
Look at these fellas here.
54:17
There you go.
54:18
Are you ready for a bit of rock?
54:20
And, also, someone who has got into BBC and also to RadioX, don't you worry.
54:26
We'll get yours into RadioX.
54:28
We're gonna slide it to the back door.
54:29
We we don't know what's hit them.
54:31
Okay?
54:32
This is four jaw, and this is we exist in transit.
54:35
Okay?
57:44
Yeah.
57:46
I'll listen to that.
57:48
Yeah.
57:49
Yeah.
57:50
I'd listen to that.
57:51
Fever joy, everybody.
57:53
Yeah.
57:53
I like that.
57:54
It reminded me of Franz Ferdinand a little back in the day.
57:57
The the riff, it was very Franz Ferdinand for me.
58:00
I liked it.
58:01
Yeah.
58:02
It was very solid.
58:04
Just all around good.
58:06
Good sound, good vocals, cut through well.
58:12
Yeah.
58:13
I I I liked it.
58:15
I liked it too.
58:16
Right.
58:17
Tea tea break, everybody.
58:18
And then we get to tell Richard all about these lovely cuppas and the fact that he's now won
58:24
himself a packet of tea.
58:27
How exciting from our sponsors.
58:29
Hey.
58:29
We'll tell him all about it after the tea break.
58:32
Okay?
58:35
Thirty six seconds.
58:39
Imagine capturing the raw essence of nature with its infinite color and beauty.
58:48
Now, envision turning that into something truly transformative.
58:53
Pure and easy The pure nourishment your body craves.
59:14
Do we all feel relaxed now?
59:19
Yum.
59:19
Yum.
59:20
Yum.
59:20
Yum.
59:20
Yum.
59:20
Yum.
59:21
Total calmness.
59:23
Okay.
59:23
What's Richard drinking?
59:24
What are you drinking, Richard?
59:26
Tripp.
59:27
So I'm definitely calm.
59:28
Tripp.
59:29
He's on a trip.
59:31
He's literally on a trip.
59:32
We're sponsored by Tripp tonight.
59:34
I don't know.
59:34
What is Tripp?
59:35
What is that?
59:37
It's a CBD infused soft drink.
59:40
Oh.
59:41
Okay.
59:41
I
59:42
I I work at a CBD store.
59:46
I have four kids, so it's an essential to everyday life.
59:52
It's either that or twenty years for murder.
59:54
So it was like, it's cheaper just to buy the trip, to be fair.
59:57
Yeah.
59:58
So
59:58
Cool.
59:59
Do you sell that, Michael?
1:00:00
No.
1:00:02
We we wanna sell a soft drink.
1:00:04
Right now, we sell kava, but it's not soft.
1:00:10
Kava.
1:00:11
What's that?
1:00:13
It's it's not CBD, and it's not alcohol, But it it makes you feel really good, and, I don't
1:00:22
know.
1:00:23
It used to be called used to be called moonshine.
1:00:27
Moonshine.
1:00:28
Yeah.
1:00:28
Now that's a drink I would drink.
1:00:30
I tell you what.
1:00:31
If they had a moonshine flavored tea, I'll be very happy.
1:00:35
Yeah.
1:00:36
The CBD stuff I know all about because we sell but that's one thing that I haven't that we
1:00:46
that we haven't, but we want to.
1:00:49
I have THC in my refrigerator.
1:00:54
I'm legal.
1:00:55
I I've it's I have THC soda in mind.
1:01:01
Ice are not watching, Michael.
1:01:03
You're fine.
1:01:03
You don't have to tell people you're legal.
1:01:05
It's fine.
1:01:05
They're not watching.
1:01:06
Tell you what.
1:01:06
This show goes from bad to worse.
1:01:08
I've gone from bobbing bridges to selling JLC in your fridge.
1:01:12
I'll tell you what.
1:01:13
We're gonna get banned.
1:01:14
Tonight's episode is sponsored by we'regettingbanned.com.
1:01:18
I'm not
1:01:18
Finally finally, bans are back.
1:01:20
It's a we're getting banned.
1:01:22
Listen.
1:01:23
I'm not selling THC out of my refrigerator.
1:01:28
Just in your garden.
1:01:29
No.
1:01:30
No.
1:01:30
No.
1:01:30
No.
1:01:31
No.
1:01:31
Yeah.
1:01:32
Back of his Ferrari.
1:01:33
Next his arm right there.
1:01:36
Look.
1:01:36
You know, he he he's gonna roll one up during the show.
1:01:39
Look.
1:01:39
Got his arm.
1:01:40
Back of his Ferrari.
1:01:41
Back of his Ferrari.
1:01:42
Yeah.
1:01:43
He's so good.
1:01:44
But he's not a Ferrari.
1:01:46
No.
1:01:47
It's this one.
1:01:47
Look.
1:01:48
Look at him.
1:01:48
Bless him.
1:01:49
Look at that picture.
1:01:52
Where was this taken, Michael?
1:01:55
Where?
1:01:56
When?
1:01:58
When was that taken?
1:02:01
It's a beauty card, ain't it?
1:02:02
Look at that.
1:02:03
Look at that.
1:02:04
That's one for the ladies, isn't it?
1:02:06
Or the men.
1:02:08
Yeah.
1:02:09
You know, one you know, JP, was JP picked up in that?
1:02:13
Was that what attracted you him to you?
1:02:15
Did you just was that a first date that you went out on and you rolled up in that?
1:02:20
I would've dropped in it.
1:02:21
That
1:02:22
no.
1:02:23
I've I been with JP for twenty six years.
1:02:25
That car is not twenty six years old.
1:02:28
Ah, okay.
1:02:29
Yeah.
1:02:30
So was it something similar?
1:02:31
Did you did did you turn up in something similar?
1:02:33
I've you know what?
1:02:34
I've always drove.
1:02:37
That's gorgeous.
1:02:38
I've always been a sports bike.
1:02:40
I it's always been my it's always been my thing.
1:02:44
I've had RX8s, and I've had two eighty z, 300 z, three fifty z.
1:02:55
Yeah.
1:02:56
But they're yeah.
1:02:57
I've had a lot of z's at nighttime.
1:02:59
Normally, about 12PM.
1:03:00
After it just sends me a song or two.
1:03:02
This must be what I sound like when I start talking about, like, audio processes and
1:03:06
interfaces, you know, like, plug ins and stuff.
1:03:08
Like, oh, yeah.
1:03:09
This must be what I sound like.
1:03:11
Well, yeah.
1:03:12
Of course.
1:03:12
We can talk
1:03:13
about that.
1:03:13
I I love it.
1:03:14
What what jaw do you use?
1:03:16
Do you what what do you use?
1:03:18
Pro Pro Tools Pro Tools Professional.
1:03:21
So Okay.
1:03:22
Yeah.
1:03:23
I I am Sorry?
1:03:25
I'm I'm a I'm a cube base.
1:03:30
Yeah.
1:03:30
Cube base was the first one I ever used.
1:03:32
That was but I I've just got used to using Pro Tools for years now, so I just use Pro Tools.
1:03:37
But I need more Sims.
1:03:38
We're moving to a bigger house with and I've got a huge studio, so I need to just start
1:03:42
rushing up on my Sims and get all
1:03:44
my Can we can we just make can we make sure that the wife is now not listening to the
1:03:47
program?
1:03:48
Because we're now talking technical when we're actually going to be saying how much he's going
1:03:52
to be spending on his new house just for his studio.
1:03:54
She's buffing the baby.
1:03:55
I can hear her, so it's fine.
1:03:57
She's not No.
1:03:57
That's alright then.
1:03:58
Yeah.
1:03:59
It was so funny.
1:04:02
I I went to gear for
1:04:04
music in York, she's like, I'm just gonna pick up a guitar, and I bought this this tailor,
1:04:07
which is really nice.
1:04:09
But I ended up coming out with a mini Nova synth, about five microphones, this sure, an
1:04:15
arm, and the audio a new audio interface, a Cajun drum.
1:04:20
It's just like
1:04:21
a pallet of stuff, and I'm just like
1:04:23
I think I think Richard needs to go shopping with Brandy.
1:04:27
I think them two together, I think at the end of the day, there would be, like, literally a
1:04:31
whole shop bought.
1:04:32
It's like an Aladdin's cave at that shop, though.
1:04:34
You walk in, there's a Gibson wall and everything.
1:04:36
It's just like the fact that I came out with what I'd spent was quite remarkable, to be
1:04:40
honest.
1:04:41
So so
1:04:43
Jason has, like, seven or eight guitars, and I I don't play guitar at all.
1:04:51
So when I go into a music store, I I either buy a piano or I don't buy anything.
1:04:58
And since I don't I only have three pianos.
1:05:01
I don't need anymore.
1:05:03
But you can't put a piano on a wall.
1:05:05
You can't put a piano on a wall, though.
1:05:07
You can't put a piano on a wall to make it look sexy.
1:05:11
You know, when you got guitars behind you, it makes it look really sexy.
1:05:16
Pianos are sexy.
1:05:19
I love you.
1:05:19
You can't put them on the wall.
1:05:20
You can't put look.
1:05:21
Mine there.
1:05:22
Look.
1:05:22
Mine's there.
1:05:23
It's never been played.
1:05:24
That's how I do.
1:05:25
I've been never I've been never seen I've been never never seen a wall keyboard rack.
1:05:28
It's impressive where they're just going up angled up the wall.
1:05:31
It's amazing.
1:05:32
I've seen that.
1:05:33
That is really impressive.
1:05:35
They're amazing, honestly.
1:05:38
It's like, how many sims do you need?
1:05:40
As many as it takes to write a song?
1:05:41
Like, that's it.
1:05:42
It's like, every sim's different.
1:05:44
I want that sim for the camera which one it is, but they've got all the programs in it, like
1:05:47
jump and friller already programmed in as jump and friller.
1:05:50
Just like I play jump and friller, really.
1:05:52
I'll buy the keyboard.
1:05:53
Anyway,
1:05:54
talking about tea talking about tea, clever endeavor by pure and easy tea.
1:06:01
Looks like disappearing.
1:06:03
There you go.
1:06:04
There you go.
1:06:06
So as you've come on to the show, you get yourself a free packet of tea from America,
1:06:13
from our sponsors.
1:06:15
All you've got to do all you've got to do is you just got to come up with a jingle and a
1:06:21
song which lasts about thirty to forty five seconds about pure and easy tea.
1:06:28
I will send you the link after the show, and you can choose any tea that you like, and
1:06:34
they're absolutely yummy, scrummy, aren't they, Michael?
1:06:38
Darren, are you a tea drinker?
1:06:40
I'm a coffee drinker.
1:06:42
So
1:06:43
Oh, you swore on set.
1:06:46
To be fair,
1:06:47
I drink one tea, and that's Yorkshire tea.
1:06:49
So I'm a Yorkshire
1:06:50
I have got Yorkshire tea.
1:06:51
I've got Yorkshire tea.
1:06:53
That's that's a northern thing.
1:06:55
It's this this tea is seriously incredible.
1:06:59
It's fresh out of the garden.
1:07:01
It's not Michael's garden.
1:07:02
Snob.
1:07:03
I go over
1:07:04
to the restaurant, and I'm like they're like, would you like some of our house?
1:07:09
And if it's bad, like, you you it's it's almost like you gave me the finger.
1:07:16
If they give me bad if they give me bad teeth, I'll be like, what is this?
1:07:22
So I have to create a thirty
1:07:23
to forty second jingle.
1:07:24
Is that right?
1:07:25
What?
1:07:25
Thirty to forty second jingle.
1:07:27
And you just have to send it over to them, a pure and easy tea.
1:07:31
I can perform.
1:07:32
Win.
1:07:32
Yeah.
1:07:33
I can perform for thirty to
1:07:34
forty seconds.
1:07:35
Just ask the wife.
1:07:35
It's fine.
1:07:41
He's bad.
1:07:42
He's worse than me.
1:07:44
I like it.
1:07:45
He's good.
1:07:46
I he could come on the show again.
1:07:48
Anytime.
1:07:49
Anytime.
1:07:50
Over thirty to forty seconds.
1:07:52
Anyway To be fair, 30 I'm wrong with saying all this,
1:07:56
but I'm usually in the pub watching you on the screen, so it's fine.
1:07:59
It's just normal.
1:08:00
He let him in for one show, and that's it.
1:08:02
He's, like, literally embarrass us all.
1:08:06
Anyway I'll up with a jingle,
1:08:08
and then they can give me a full contract to create the whole lineup of jingles.
1:08:12
It's fine.
1:08:13
Fantastic.
1:08:14
Brilliant.
1:08:15
Excellent.
1:08:15
Well, you could do some jingles for our radio show.
1:08:17
You know?
1:08:17
Now we're on twenty four seven.
1:08:19
You know?
1:08:19
We need some jingles.
1:08:21
Talking about jingles, as we're on the tea break, everybody, if you are owning a business,
1:08:26
and this is for our academy members as well.
1:08:28
Okay?
1:08:29
It is your great opportunity.
1:08:31
So the academy members, you get it free of charge.
1:08:34
Okay?
1:08:35
You don't have to pay because you're an academy member.
1:08:37
Okay?
1:08:38
So please get those jingles in for all of your businesses.
1:08:42
We want to put them on the radio station.
1:08:44
We need them to be heard.
1:08:45
Okay?
1:08:46
I did put a message out to all the academy the other day to send me the jingles, and I haven't
1:08:50
got one in yet.
1:08:50
So I'm quite surprised at you because we are being listened to now all over the world, and
1:08:56
the radio listens are going up and up and up during the day because there's some great music
1:09:00
on there.
1:09:01
No.
1:09:04
You're not we are the world.
1:09:06
No.
1:09:07
Your songs are on there, Michael.
1:09:08
Okay?
1:09:08
You don't have to sing for your song.
1:09:11
The
1:09:14
documentary on that is amazing, by the way, to see Michael Jackson's face.
1:09:18
See Michael Jackson's face, look at everybody going, what?
1:09:23
It's amazing.
1:09:25
Anyway, that's the radio plugged.
1:09:27
Michael, what are we going for next?
1:09:30
Didn't know that.
1:09:31
This seemed no more better.
1:09:36
How do you turn this down?
1:09:37
Anyway, I've just got rid of him now.
1:09:40
So it's just me and you.
1:09:41
Okay?
1:09:41
When he's ready to come back and be a good boy, okay, I'll put him back on stage.
1:09:45
Okay?
1:09:47
He's the personality of
1:09:48
the show, though.
1:09:49
We need him.
1:09:49
Are you ready to
1:09:50
come back on stage?
1:09:55
What was that?
1:09:58
I love having the power.
1:10:00
I got the power.
1:10:02
See, I I I don't know if Michael will
1:10:04
know this reference, but he's like Bez from the the happy Mondays.
1:10:07
Like, Bez did Bez was this the presence of the group.
1:10:10
You know I mean?
1:10:10
He didn't have Bez on stage.
1:10:12
He's the face of the show.
1:10:13
If we don't have Michael, we don't have a show.
1:10:16
Anyway Natted out.
1:10:18
What number are you going for now?
1:10:20
Because we've got two more songs left.
1:10:22
Well, I think we need did we do was that four?
1:10:26
It's three.
1:10:27
That was number.
1:10:28
That's three.
1:10:29
Are we gonna go for a bit of country, are we?
1:10:32
Alright.
1:10:32
So we're gonna
1:10:33
go for a.
1:10:34
Look at that, boo.
1:10:35
Now that's an album cover.
1:10:37
That tells a lot, doesn't it?
1:10:39
I
1:10:40
feel like Dust I'm getting Dust Till Dawn vibes.
1:10:43
You know, the film Dust Till
1:10:44
Dawn.
1:10:44
I love that.
1:10:45
Love Dust Till Dawn.
1:10:47
Yep.
1:10:47
Great film.
1:10:48
Great film.
1:10:49
Okay.
1:10:49
This is great, and it's by Mike Sudds.
1:11:13
Didn't see that one coming.
1:11:16
He hit me out of the blue and knocked me down for a moment.
1:11:22
What am I gonna do?
1:11:25
My pride has been shaking.
1:11:28
Doubt is creeping in.
1:11:31
Nobody Look around you're all alone.
1:12:20
Help ain't on the way.
1:12:23
Deck down deep inside your soul, especially on those rainy days when everything relies
1:14:47
Okay.
1:14:47
I I have to ask.
1:14:53
I and I don't mean disrespect.
1:14:56
Uh-oh.
1:14:57
Here we go.
1:14:57
Everybody's going, oh god.
1:14:59
Oh, he's like it when he does his slob and cow moment.
1:15:02
Just do it.
1:15:03
Just do it.
1:15:05
Is that his real voice?
1:15:07
That's his real voice.
1:15:09
That is his real voice.
1:15:10
I looked at some background of his records.
1:15:13
So so do records who send me tracks like his foo.
1:15:19
I never knew of this bloke, and I listened to this record this afternoon.
1:15:23
I was like, this is good.
1:15:25
And I had to listen to some more of him just to double check that that is his voice, and that
1:15:29
is his voice.
1:15:30
I And was like, oh my god.
1:15:31
This is bloody good.
1:15:32
Okay.
1:15:35
Yeah.
1:15:36
Because I it's so hard now to to gauge Yeah.
1:15:41
A good songwriter
1:15:42
It is.
1:15:43
That that puts together and then says, I just can't sing my stuff, but I want it out there.
1:15:48
And, you know, if if that's his voice, and I and I'll take your word for it, I I don't know
1:15:56
why he's not a known name because that is an absolutely incredible voice.
1:16:05
Like, character, grit, his range was I mean, it was just like everything everything that you
1:16:19
would want from an artist.
1:16:22
He literally gave you in that chunk.
1:16:26
And I am really intrigued now to find him and hear his other stuff because, I don't
1:16:34
understand this is another artist like Robin that when you listen to them, you go,
1:16:46
why are they not signed?
1:16:47
Yeah.
1:16:47
Why are they not world renowned?
1:16:49
You know, why don't we owe them?
1:16:51
Because and I I think that's the luxury of independent music where, you know, we we hear
1:16:54
so many tracks like this.
1:16:56
We think, why are they not signed?
1:16:58
Why are we not hearing them in the top 40 on any charts?
1:17:01
Because this is the this quality of song, I'm sorry, like Robin.
1:17:05
You know, these quality artists should be on the top 40.
1:17:09
We should be hearing them every day as we walk through a Walmart, you know, or a supermarket
1:17:14
here in The UK.
1:17:15
They should be guys who we hear all the time.
1:17:18
It's just stunning.
1:17:19
You know, I love Chris Stapleton.
1:17:21
I think he's phenomenal.
1:17:24
I really love the fact that country music didn't care if he was ugly or not.
1:17:29
They went and just
1:17:33
Chris, if you're listening to the show, he didn't mean it.
1:17:36
Honestly, you're not ugly.
1:17:37
Okay?
1:17:37
Thing is
1:17:39
he's some screen screen pair tips, mate.
1:17:41
I'll send them to you.
1:17:42
It's fine.
1:17:43
Don't take it to heart.
1:17:44
It's good.
1:17:44
No.
1:17:45
What I meant by and it's not ugly.
1:17:47
It's just that, you know, music the music industry, the pop industry, especially is in
1:17:53
touch with youth and good looks.
1:17:55
And do I have the right boobs?
1:17:58
And can you know, is my
1:17:59
I've never broke through.
1:18:01
I tell you, these a cups, have this not done it for me?
1:18:05
I know a good surgeon, mate.
1:18:06
It's fine.
1:18:07
We'll call them.
1:18:08
It's good.
1:18:08
Put it in action.
1:18:09
Thank you.
1:18:10
Chris Gables but Chris
1:18:11
Gables then got signed not because he's super attractive, but it's because his vocals worked.
1:18:21
They were unique.
1:18:23
They were different.
1:18:24
He had this grit.
1:18:26
It's kinda where the what
1:18:27
the voice came from, the voice of the show, because people, they didn't wanna judge him
1:18:31
based upon their looks.
1:18:32
It based upon
1:18:33
the voice.
1:18:33
You know, in all honesty, it's it's not about that.
1:18:37
You know?
1:18:37
It's I know what mean.
1:18:38
Yeah.
1:18:38
Because you when you are because trust me.
1:18:41
I've I've done the audition things.
1:18:43
I was Yeah.
1:18:43
One flight away from America's Got Talent.
1:18:46
I passed everything.
1:18:48
Producers, they all talked to me and everything.
1:18:50
And the day that I was supposed to fly out to film, they called me and said, would I wait a
1:18:56
year?
1:18:57
Because they had already had a male singer win last year, and they didn't
1:19:00
want to talk about talent shows.
1:19:03
Okay.
1:19:03
You just
1:19:03
didn't bring me back to 2050, but I got turned down by Simon.
1:19:07
Alright?
1:19:07
Will you stop it?
1:19:08
If only you'd done a boob job, mate, it'd have been fine, honestly.
1:19:11
It would have good.
1:19:12
I think I should've gone gone away from the waistcoat and just done with the boob job.
1:19:16
I tell you, Simon would've took me there and then.
1:19:18
Okay.
1:19:19
So going back to what I was saying
1:19:21
I'm sorry.
1:19:22
As
1:19:25
good as oh, what's his name now?
1:19:29
Oh, shit.
1:19:30
Chris Stapleton.
1:19:32
Chris Stapleton.
1:19:33
This guy's voice is better.
1:19:36
I think he's a much better vocalist.
1:19:40
And and Chris Stapleton is seriously good.
1:19:44
Seriously good.
1:19:45
But We're we're in trouble.
1:19:47
We're in trouble.
1:19:48
It's because we were talking about boobs, and now Bubba's in.
1:19:52
Yes,
1:19:53
I mean, I
1:19:55
No shit.
1:19:55
I'm I'm down for that conversation any day.
1:19:58
So after after the show devolved so quickly yesterday, this is a massive step up.
1:20:11
Bubba, me, Richard.
1:20:13
Richard, me, Bubba, our amazing boss of the podcast, CK.
1:20:17
How are we, Bubba?
1:20:18
I'm well, Richard.
1:20:20
A pleasure to meet you.
1:20:21
Nice meet show would be done.
1:20:23
And when I saw they were still online, I figured, well, I'll see if I can jump on and,
1:20:28
meet meet our new friend.
1:20:30
Thanks for tuning into the show yesterday.
1:20:32
I hope you had as much fun, in the comments as we were having on the show.
1:20:38
To be fair today, I'm just saying it to their faces.
1:20:40
There's no difference.
1:20:41
I just
1:20:42
how Michael that's how Michael got roped into the show in the first place is that he was
1:20:47
tuning in every day and being a a part of it from there.
1:20:51
I was like, why don't you just come on the show and and to help us support these amazing
1:20:56
artists that are out there?
1:20:58
And, you know, all of us are artists ourselves.
1:21:01
Right?
1:21:01
And I know you're you're no different that but it doesn't mean that we're only about
1:21:06
ourselves.
1:21:07
Right?
1:21:07
I I think the reason that the scene projects are becoming as successful as we are, over
1:21:12
3,500 downloads last month of our podcast, which is our biggest month by far, that we we
1:21:20
understand the artists because we are artists.
1:21:24
And that's really, it's kind of that for us by us mentality that we bring to the table, that I
1:21:30
I think sets us apart from a lot of other platforms.
1:21:35
It does.
1:21:35
It does.
1:21:36
And to to be to be fair,
1:21:37
it's like when you've been through the mill a few times, which I think we all have as well,
1:21:41
we've all done the band thing.
1:21:42
We've all done the the dreams of success thing.
1:21:45
We've all done the go back to the drawing board thing.
1:21:47
You know what I mean?
1:21:48
And I think we're all in a place now where we love what we do, and we like I like giving
1:21:52
back.
1:21:52
I I've said I've said to AJ about some chat stuff I'd to do with people about how to use
1:21:57
modern technology to not not write songs, but how to help you produce songs, how to help you
1:22:01
make give the process better.
1:22:03
You know what mean?
1:22:03
There's stuff like that.
1:22:04
I'm always sending them ideas.
1:22:06
Like, today, that song I sent him, I said, it's a great discussion on mixing genres.
1:22:09
I think people would really like that to try and find new sounds.
1:22:12
So that's why I sent that one today.
1:22:14
So
1:22:15
It's really cool.
1:22:16
And we we should be utilizing that with three d x rise, and we should also be utilizing that in
1:22:22
the academy as well.
1:22:23
So, Bubba, you have caught us our very last song this evening, and it is Circle in the
1:22:28
City.
1:22:29
Are you gonna come and listen to it with us?
1:22:31
Yeah.
1:22:31
Give us some feedback.
1:22:33
Yeah.
1:22:33
Let's listen.
1:22:34
Like it.
1:22:35
Okay.
1:22:35
So this is Circle in the City.
1:22:37
This is where it begins.
1:22:39
Okay?
1:22:39
And this is the end tonight.
1:22:40
So it's our very last song of the night.
1:22:42
Okay?
1:22:42
And we all got four people to review it now.
1:22:45
Okay?
1:22:45
So circle and see.
1:22:46
If you're listening, this is your track.
1:22:48
This is your time.
1:26:20
I love a female fronted heavy rock band like that.
1:26:26
Almost she got operatic in there at one point, Michael.
1:26:29
Did you hear that in the harmony part in the middle of the song that that that perked my
1:26:33
eyebrows a little bit?
1:26:35
Yeah.
1:26:36
It's a I I I I I hate to say this because I don't wanna brag,
1:26:42
but that's kind of very Seattle sound right now.
1:26:46
Like, that's female driven rock bands in Seattle are really predominant.
1:26:55
And so and they're they're beasts.
1:26:58
Like, they are vocal crazy.
1:27:02
And, yeah, I I agree.
1:27:04
I love, you know, it's always impressive to hear, you know, a guy fronting, and we're used
1:27:10
to that kind of metal sound or, you know, you know, that kind of stuff.
1:27:16
But terrifying.
1:27:21
If we just got the new Godzilla impression on every episode, so I my mom.
1:27:27
Want my mom.
1:27:28
What?
1:27:30
How do I get that?
1:27:31
Let's go to the bathroom.
1:27:32
I'm scared.
1:27:34
Right.
1:27:34
Right.
1:27:34
You're a female just with edge being able to cut through, you know, what is predominantly a
1:27:43
very male you know, it it it is.
1:27:46
You know?
1:27:49
Just music in general is so male dominated.
1:27:52
And and I know that it doesn't seem like it.
1:27:53
If you pay attention to this show, I think we probably skew the other way where we have so
1:27:58
many female artists that we're supporting in what we do.
1:28:01
But I I think that, you know, it's probably seventy thirty male, right, in the industry and
1:28:10
kind of that domination.
1:28:12
But I
1:28:12
don't know.
1:28:13
You know?
1:28:13
Some of the most talented are the female artists.
1:28:16
Without a doubt.
1:28:17
I mean, because I, you know, I can think of pop artists that are known, and there's, you know,
1:28:24
to me, way more female
1:28:27
Yeah.
1:28:27
Are
1:28:28
the pop.
1:28:28
At the the minute, definitely, female is the one that are pushing the limits.
1:28:32
Just got that kind of and it's probably and I hate to say it.
1:28:36
It's probably based on the the streamers because, you know, a lot of the streamers are
1:28:42
are are female, and they're going to migrate to things they identify with unless the guy is
1:28:48
super high.
1:28:49
You know?
1:28:49
And then they're like,
1:28:50
I gotta stream from guys.
1:28:52
He's cute.
1:28:53
You know?
1:28:53
So I'm not gonna ever have any of those people streaming.
1:28:56
That's why my Spotify numbers are what they are
1:28:59
in the basement.
1:29:01
Yeah.
1:29:01
That's why I'm on, like, 1,500,000 last time when I looked.
1:29:04
You know?
1:29:06
Have you ever heard of
1:29:07
a duo from Canada called death from above nineteen seven nine?
1:29:11
That kinda gave me that vibes at the beginning.
1:29:13
It's like a really raw bass, like, distortion.
1:29:15
And I love anyone that reverses stuff in a song.
1:29:18
There was
1:29:18
a version loved it.
1:29:19
It reminded me of the Beatles.
1:29:21
Right?
1:29:21
Yeah.
1:29:22
I was like,
1:29:22
Paul is dead.
1:29:23
Paul is dead.
1:29:27
Today, you're going to die.
1:29:29
Yeah.
1:29:29
Satan is coming.
1:29:30
Satan is coming.
1:29:33
What we need to do is say Satan is coming and
1:29:35
then reverse it and put in a tea jingle and see if
1:29:37
we get away with it.
1:29:38
That'll be good.
1:29:38
I would love to see that band.
1:29:40
A lot of this tonight.
1:29:42
You know, there's been a lot of things.
1:29:43
There's been pot plants, bear bridges, and god knows what else.
1:29:47
I would love to see that band live because I don't think I could probably take my eyes off
1:29:51
the drummer.
1:29:52
Mhmm.
1:29:52
Just listening to that recorded recording, right, where it was like, oh, they're getting
1:29:57
it back there.
1:29:58
And you could tell that they're kind of pulling back inside of the studio where live, I bet
1:30:05
they are animated and just getting after it.
1:30:08
That double bass in there is not an easy task to stay on time like that.
1:30:13
It it is not simple.
1:30:16
It reminded me of Jimmy yeah.
1:30:18
It's sorry.
1:30:19
It remind I was thinking it reminded me of Jimmy Chamberlain from the smashing pumpkins.
1:30:22
He's really good at really good at doing that.
1:30:25
Keeping time when there's really heavy rock going on and stuff like that.
1:30:28
He's really great at
1:30:29
Well, in playing a little bit kind of, like, almost out of time, not pushing the tempo
1:30:34
necessarily, but really pulling it back in a lot of areas.
1:30:37
One of probably one of my top three drummers, Richard.
1:30:40
Love that band.
1:30:41
My my uncle introduced me to the Smashing Pumpkins.
1:30:44
We grew up around the Chicago area, and so he was on them from Gish.
1:30:48
Right?
1:30:49
So I I grew up with those early albums playing and, obviously, everything that happened with
1:30:54
Melancholy.
1:30:56
Have you listened at all to Billy Corgan's podcast, the magnificent others?
1:31:01
I have, and I'm trying to think of his band that he did after smashing pumpkins because I
1:31:04
remember loving
1:31:05
their album.
1:31:05
Was one of them that him and Jimmy did together, z w a n, an incredible record they
1:31:11
created.
1:31:11
Some of the best some of the best songs those two ever did together, I think, almost
1:31:16
Michael Michael's like, say about something about show tunes.
1:31:19
Just talk.
1:31:20
Right.
1:31:20
Michael Michael will get plenty of plenty of love.
1:31:24
Michael, have you got constipation again?
1:31:27
Do we need to talk
1:31:28
about this?
1:31:28
No.
1:31:29
No.
1:31:29
No.
1:31:29
But no.
1:31:30
Smashing pumpkins, cool.
1:31:33
I like stomping grapes.
1:31:37
What?
1:31:37
You you just like drinking Is that a is that a
1:31:39
really bad tribute?
1:31:40
Is that a
1:31:40
really bad tribute band from Seattle?
1:31:42
This is stomping grapes.
1:31:46
Stomping scooby stacks.
1:31:50
No.
1:31:50
No.
1:31:51
Hey.
1:31:51
I you know what?
1:31:52
I love I love good yeah.
1:31:54
I I listen to everything.
1:31:56
You know, I just because, you know, I also veer into, you know, classical or show tunes or that
1:32:06
kind of thing.
1:32:07
I you know?
1:32:09
Think I think I I think I've done well today.
1:32:11
I think I brought you a list of everything today.
1:32:13
You've had They were good today.
1:32:14
You've had country.
1:32:15
You've had lots of great music today.
1:32:18
That's, like, the only part
1:32:19
about this show because so much of music now is, like, you you gotta stay in your lane.
1:32:24
Right?
1:32:25
You gotta stay in your lane.
1:32:26
And so many radio shows and that that they are built to stay there.
1:32:30
Yeah.
1:32:30
We can hardly keep it on the road and out of the ditch.
1:32:33
We
1:32:34
are We live in the we yeah.
1:32:36
We live in the ditch.
1:32:37
We never we never get on the road.
1:32:39
Absolutely nonlinear.
1:32:40
Like, there's there's no
1:32:42
Well and I that speaks to the community that we're growing because I think the world has
1:32:49
changed a lot that, yes, thirty years ago, you listened to to one thing and that was it.
1:32:56
You you only listened to that.
1:32:58
And I just think that music and musical taste have changed.
1:33:02
It's okay to, like, rock and country and classical and show tunes.
1:33:07
It's okay to put your iPod on shuffle as if anyone has iPods anymore and to just let it
1:33:14
ride.
1:33:14
And to me, the the scene projects radio is that exactly, that there's not a it doesn't diminish
1:33:21
any genre whatsoever.
1:33:24
Everyone is supported here.
1:33:25
We are about the artist that because like Richard alluded to earlier that we've all kind
1:33:31
of done it.
1:33:31
If you're of a certain age, I'll be 40 in May.
1:33:34
You know, obviously, AJ's a lot younger than I am.
1:33:38
So but we all have this journey that we've been on, and and we've all been a part of a changing
1:33:45
music, you know, industry over the last twenty years that the experience is ubiquitous.
1:33:52
Across the board, we've all gone through it.
1:33:55
So I I think there's a lot more relation in that amongst artists and that the community of
1:34:01
artists, the the fellowship of artists out there are much tighter knit now than even, you
1:34:07
know, twenty, twenty five years ago.
1:34:09
I think we just have to pray.
1:34:10
I was saying earlier, Bubba, that this fifteen second hook generation wears out, and we go
1:34:15
back to writing great songs with great bridges that can last as long as as it needs to be.
1:34:19
Your bohemian rhapsodisms and stuff.
1:34:20
This fifteen second hook every I mean, Quincy Jones said that everything needs to be a hook,
1:34:24
but you don't have to take
1:34:25
that literal.
1:34:26
It's like, it's
1:34:28
a bit crazy to say.
1:34:29
Every fifteen seconds, you need to create a TikTok.
1:34:31
It's like, great.
1:34:32
Okay.
1:34:32
Yeah.
1:34:33
I'll tell you what we need to create.
1:34:34
We need to create a thank you to all those who have joined the show this evening.
1:34:39
On the show this evening, we've had special love from Robin Woman who is back from her
1:34:44
trip, who will be joining myself, Michael, and Bubba for a special discussion.
1:34:49
We've also had Wally Boyd, Shura as well, and James Applegate as well.
1:34:55
Thank you so much for joining the show, everybody.
1:34:58
You have been absolutely amazing as always.
1:35:01
We will be back tomorrow at 6PM where we bring you more great tracks.
1:35:07
And while you're waiting for us, please tune in to the scenes radio because we're on twenty
1:35:11
four seven.
1:35:12
Yeah.
1:35:12
That's all your great tracks.
1:35:14
For those of you in The States who listen to us, that's 10:00 on the West Coast, 01:00 on
1:35:23
the East Coast, and one or two wait.
1:35:27
11:11 or noon depending on your mountains.
1:35:32
And if if you're in China, well, I'll tell you what, we hopefully will try and keep up,
1:35:36
especially
1:35:36
not Friday.
1:35:38
Listen to us tomorrow.
1:35:39
We will see you tomorrow.
1:35:40
See you later, everyone.
1:35:41
Take good care.
1:35:42
Bye.
1:35:42
See you tomorrow.
1:35:43
Bye.
1:35:44
Bye.
1:35:44
This
1:35:51
program is part of the scene projects podcast network.
1:35:55
Scene project features interviews with independent musicians, comedians, and artists
1:36:00
from across the Midwest.
1:36:03
Become part of our community and support local art wherever you are.