Google's AI Music Generator

Google stocks may be down but they are grabbing attention for their AI initiatives. The boys focus on MusicLm, Google’s AI Music Generator. Google has already pointed out flaws with AI music in a newly released paper but the boys decided to dig deeper. While, *Trigger Warning*Joe broaches into two notable cases with Jimmie Allen and Slowthai. This and more on The Biztape. 

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Episode Transcript

Speaker 1 (00:01):
A notable tech giant, launches an AI music generator.

Speaker 2 (00:05):
And Jimmy Allen in slow tight allegations, You're listening to
the biz Tape.

Speaker 1 (00:23):
Welcome to the biz Tape. You're all things music, business
and media podcast. Want to put some emphasis on that
today with my host Coast to Coast Joseph Wazowski. Joe,
how are you?

Speaker 2 (00:36):
I am a great colin. Oh yeah great today. I uh,
we had to push the podcast back an hour because
I am scrambling and my time management skills are not
the best.

Speaker 1 (00:48):
That's fine. I'm tired and I wanted to play Zelda,
so that's fine.

Speaker 2 (00:53):
I haven't okay, honestly, worst week for Zelda to come
out for me. I bought it, so I'm I'm so
terrified to start it because I feel like if I started,
I'll never stop. And there's so much shit that I
have to get done this next week. So I'm like,

(01:13):
you know what, Yeah, I'm just like I'm kind of
pushing it off, but I have a I have a
flight tomorrow and I'll have a lot of time and
or me and link me and Zelda a lot of
time together.

Speaker 1 (01:28):
That's like I saw a clip. Sorry, complete side note
before we actually get to music business as news. I
saw a clip because I like to watch Jeopardy from
time to time, and if you know me in real life,
or if you really even psycho socially know me through
that show, that should be no surprise to you at all.
But one of the Jeopardy things that like think about

(01:50):
Jeopardy is just sometimes they like to be dicks to people,
and like literally the final question was like basically like, uh,
this video game series is the same name as Scott
Fitzgerald's wife, and so everyone just kept putting what is Zelda?
And they were like, no, that's not it, and I'm like,

(02:12):
you know, it's it, And then like they finally got
to the last person. The last person is like the
legend of Zelda, and they're like, yeah, that's the correct answer,
the Legends of Zelda, and I was I was. The
thing that drives me crazy about it is like, I know,
you know Jeopardy, you have to put everything in the
form of a question. That's fine. But what drives me

(02:34):
crazy is that, like, for some reason, and I don't
know if it's like even Trebek would do this when
he was the host, it's it seems like a rule
that like, if you get it sort of right, especially
in the final jeopardy question, even in like a regular
thing where it's like two people head to head, if
you get it sort of right, they have to be
like no, you're absolutely wrong.

Speaker 2 (02:54):
Yeah, and be like yeah.

Speaker 1 (02:57):
And then and then after the person's as like, oh,
it's the legend of Zelda, they're like you guys were close,
and you're like, you couldn't have told me that immediately
when I put the answer in. What was the lead
up for? Anyway, let's get into it, Joe, let's talk
about speaking of lead up. Basically, we're talking about AI.
First off, AI isn't an interesting place when it comes

(03:18):
to music, as it always seems to be. But you know,
me and Joe talked about it a lot on the
show The Ethics of AI, all this kind of stuff
and what do that means?

Speaker 2 (03:26):
So many AI conversations just in public. Right today, my
hairsut like my I was getting my haircut and we
were talking about AI. It's like, so, I feel like
it's so pervasive in everyday life right now. It's right,
it's very hot topic.

Speaker 1 (03:43):
I think it's a very perplexing issue and there's a
lot of issues with it that are to be blunt
with you not being addressed at all. But a lot
of the time when we talked about AI, you know,
it felt like it felt like, Oh, these small companies
that come out of the blue and then they have
some tool and people are like, that's cool, that's kind

(04:04):
of a cool thing, and then all of a sudden
it just like flies by the wayside and we forget
about that tool until another one comes up, you know.
And like I said, it's just these like small companies
or they're like these hidden divisions behind mega corporations. And
I'm here to tell you that music has a new
one and it's not hidden at all, and it's by
one of the most well known people in the tech space.

(04:25):
And we're talking about Google, and so Google Google Google.
I was actually, Uh, they have music biz Milay, they
have the Uh they have like the music biz convention
here in town. And I was like hanging out with
some people on a rooftop and I've gotten to this
deep conversation about AI and it was.

Speaker 2 (04:46):
Like the most music biz I know ever.

Speaker 1 (04:50):
And like, the thing is is that I have a
couple of theories about it. I think a lot of
people kind of get really doom and gloom really fast,
and there's very blatant issues. But I think we can
talk about some of it on a whole. But let
me tell you about Google first before I get into that.
So Google has entered the chat and they have developed
a kind of you if you're familiar with the one

(05:11):
that caught everybody's attention before, which is chat GPT, they've
developed something close to that. But it's a music generator
called music LM. And it's the thing about it, especially
compared to other platforms, is that it's ease of access
and also upfront us is kind of disturbing compared to

(05:36):
other ones. For lack of a better term. All that's
required to get into this one is a Google account,
which I guarantee if you're probably a person in the
twenty first century that is listening to a podcast, you
have a Google account. And what's funny is all you
have to do is just hit a couple of okays
of terms of service and you are basically in. And
like most of these AI things, you know it requires

(05:59):
a lot of servers in time, so you got to
get in line basically right. But then you can go
right ahead and use it, which I've gotten to the
site and like, basically it asks you to input a
prompt and what's cool about it is it actually, unlike
a lot of other AI generators, will generate two different
types of music for you to listen to, so you

(06:21):
could be like, you could say something, you know, like
a kind of genre defining maybe like smooth, like you know,
smooth jazz, and just let it go right and then
be like, You'll get two pieces of music, and what
you do is that you vote on which one of
the two you prefer, which of these you feel like

(06:41):
actually represents what you're trying to say, which Google says
will quote help improve the AI model, which makes sense,
you know, And it's not like a lot of other
ones where you either get one AI generator thing or
sometimes the one that I don't like is you get
like a scatter shot where it's like here's like seven
of them and it's kind of overwhelming. So I think

(07:02):
Google has found a pretty good balance between here. They
said that this AI the model was trained on five
million audio clips amounting to two hundred and eighty thousand
hours of music at twenty four Killer Hurts, which what like,
I could not find anything else to define that more.
If you're an audio person, you could probably feel where

(07:24):
I'm going with this, But they just say twenty four
killer hurts. I don't know if that's the frequency range
like from zero to twenty four thousand hertz, which the
audible hearing spectrum is from zero to twenty k you know,
just for you people, unless you can hear like a
dog whistle out there, or if that's like the sample
rate you know, like a CD is like forty four
point one kill hurts. So I'm like very confused about that,

(07:47):
but like, you know, to be honest, it's kind of
it would have bothered me if I was listening to
the show, So that's why I wanted to put it
in there anyway. According to Google's researchers, future work may
focus on lyric generation, along with the improvement of text
conditioning and vocal quality. Another aspect is the modeling of

(08:07):
high level song structure like introduction, verse, and chorus, which
honestly is the next steps for especially these ais when
it comes to music generation, a lot of them will
be like, oh, here's an existing song and then we
put like a voice on it or something like that.
I'd be interested to see kind of where you know

(08:27):
this can go, and especially vocal quality. I was very
glad that they put that at the top forefront, because
as me and Joe were talking about just believe two
weeks ago about the Drake AI that really went viral
on TikTok, that was honestly the worst part of it
is that the vocal quality is really bad, and they're
really a prevalent on TikTok still, and that's the main
thing that I can find when I go, oh, this

(08:49):
is an AI in about zero point one seconds because
of the vocal quality.

Speaker 2 (08:53):
According to researcher Cadence too, I feel like that is
true how the voice transitions to another word.

Speaker 1 (09:00):
Right, And that's kind of I think that's what they
mean by text conditioning, like the idea of like how
someone would sing into one phrase into another, you know,
because sometimes you're kind of dragged certain words you're going
to and all this is inflection and very much based
on you know, how you were, you know, raise what
place in the world you came up in how you speak,

(09:22):
and so like there's a lot of things that don't
make this a perfect system, but anyway, according to the researchers.
Amongst the risks, because they actually made a paper about
this that they published internally and then externally in Google.
They basically said that, which I thought this was a very,
very huge point that we can hit on a second.

(09:43):
It says, quote, the generated samples will reflect the biases
present in the training data, raising the question about appropriate
appropriateness for music generation for culturals, for cultures underrepresented in
the training data. Well, at the same time, I'm also
raising concerns about cultural appropriation, which I really want to

(10:04):
put an asterisk in that, because we've got to come
back that they designed this not to copy. Also, they
really kind of went on this in this paper. They
said to they were trying to generate patterns for Google,
if that makes sense, So kind of take all this
stuff amalgamation and go, oh, if you gave me these words,
here's some kind of like patterns and can go again again,

(10:27):
specially legal gray area. We don't know how much his
patterns of copying and all that stuff, but Google claims
that only a tiny fraction of examples were memorized exactly,
while for one percent of the examples we can identify
an appropriate match. So they're saying one percent of the time,
Google themselves can be like, hey, this is a copy.

(10:47):
This is not a pattern, right, because it's just generating
things off of what it's heard. Again, this is coming
at a very important time, especially with Google being the
one doing this, such a huge, you know, player in
the tech space. If you don't know what Google is,
you're not on this earth. And it is at the
same time that Google has been pushing a giant AI

(11:08):
initiative across the company. Uh. And also we're seeing you know,
AI being talked about on Capitol Hill a lot as
well as Google has made their own version of chat
GPT which is called Bard, which I believe they're going
to publish in over one hundred and eighty countries very soon.
So yeah, it's it's mainstream, you know what I mean. Like,

(11:30):
and that's the thing since we've been covering this on
the show and AI in general, is a lot of
these have been these obscure you know, oh, here we go,
Like this small tech firm has developed supposedly this AI algorithm,
which you know, a lot of people there's a lot
of discrepancy when it comes to AI. And also what

(11:53):
is counting as AI, and people can say that like, hey,
this is AI, and then you find out that it's like, no,
you kind of assisted this thing and you made it yourself,
and then maybe part of it is automated. But you
know what I mean, Like there's a lot of gray area.
But Google, with the financial and you know name notoriety
that they have, is in a place that they could
very much, very much push the needle on this technology,

(12:17):
especially compared to a lot of these smaller kind of
tech startups that are basically being acquired and from my understanding,
look to be just kind of shadowed in the background
of other organizations. Right anyway, Joe, are you excited about
Google getting in this space? Do we think that like
this could be beneficial maybe to kind of pull the

(12:39):
needle in conversation for AI, or do we think that
maybe it's like Google, maybe you should pull the gas
pedal back a little bit, you know what I mean,
Like we don't know everything.

Speaker 2 (12:50):
I mean, I think what people put at the best
as they call it, they're calling in now the AI
arms race, because it's like all these massive companies trying
to one up each other and get into it faster
than the other one and they're finding those niches and
those those little areas. I think where it gets weird

(13:11):
is it's it's so fast, like AI technology. You know
that we've been working on this as humans for like
years and years and years, and now it seems like
within the span of two years, it has really amped
up to where it's getting to the point now where

(13:31):
AI is helping build AI, you know. And it's it's
it's very cyclical, it's very fast and changing, and it's
growing up in a very like.

Speaker 1 (13:46):
Jet plane way. I think that's a pretty good sure,
And I mean, yeah, it's what you know. And at
the same time, it's like, before this jet plane takes off,
can we do like a pre flight checklist? You know
what I mean?

Speaker 2 (13:58):
Yeah, And people are like, we don't have It's like
it's it's too late. Yeah, it is too late because
chat GPT was open to the public. It's it's pretty
that was the launching pad. We've been in the air,
you know, right, So it's while we're in the air,
we got to figure out how can we salvage this situation.

(14:21):
I do think that it's it's scary. I mean, it's
always scary when there's a disruptor in technology, right like
this was this was a similar conversation of like, when
social media came about, and especially videos on social media,
a lot of people were talking about how this was
the end for the film industry and for TV and

(14:46):
you know, the whole thing. But then you know, those
those those companies, those those mediums were able to catch
up eventually and learn how to work with the tools
of social media to be able to work for it.

(15:06):
And so I think, I think, I don't know, it
really depends. No one has the answer right now. You
can definitely do a lot of bad things with AI,
you can do a lot of good things with AI.
And I think it's just one of those situations where
this is just an ever changing like it was bound

(15:27):
to happen, like a disruptor of this size was bound
to happen. And I don't think it's surprising that it's here,
right fair, And like, I don't think it's necessarily bad
that it's here. I think it's just things are going
to change, and you have to, especially in the music industry,
you have to be willing to change or you're gonna

(15:49):
get left behind very fast.

Speaker 1 (15:51):
I mean, yeah, I mean, for example, what in my mind,
since I work in live entertainment, I think of I said, like,
you know, what if the possibility and a lot of
I'm with any of these questions where there's a lot
of tech going on and whatever, you kind of just
have to think of possibilities and like rotation basically a
lot of the time in my opinion. Yeah, And so
I think I was like, well, what if instead of

(16:12):
someone mixing for a house or something, you know, at
a concert, what if of AI did it? You know
what I mean? What if we didn't have someone mix
It's like, oh, set up this system and or even
like load this file into this like machine right at
every venue and it will just knows what's going on
and goes, oh, you know, I'm just gonna shoot a

(16:33):
band out of my head. Kings of Leon is playing tonight,
right like be like, oh, of course, you know, Kings
of Leon is playing tonight, And we have a file
that we're going to put in this computer and it
just it'll listen via a microphone to what's going on,
and it'll make choices going on if you guys have
listened for a while. I actually brought this up with mastering.

(16:55):
There's a lot of like automation going on with mastering
right now, especially if records, that's always been considered a
very almost robotic It is very artistic, but it's a
very robotic task sometimes, especially when it came to physical media.
So there is benefits to it where I think, like,
you know, maybe somebody doesn't have to fly around the

(17:15):
country if they don't want to, or you know, it
doesn't if they don't feel well. It's like, oh, you know,
they could do it. But I definitely think that a
lot of technology, and especially with AI, we're still not
a point there. And at the end of the day,
I actually have been reading this book. It's called the
Toyota Production Method, and one of the things with it
is it says that one of the key principles with

(17:38):
it is automation with a human touch, and I think
that is what we will see for a long time.
I just don't especially here. I'll give you a great example.
We have had great digital technology in audio for years,
right the ability to use networking to send audio to

(17:58):
you over your phone, the ability to do a whole
concert over like the same you know cable that you
use in your home to set up your Wi Fi
router right, Like literally, I've set it up before it whatever.
Do you know how many people in live sound refuse
to do digital things and are still using a giant

(18:19):
analog desk and a giant you know what I mean,
Like a giant analog copper system where they're just sending
electrical signals to a pa via copper, you know what
I mean, before it gets amplified. Right, all this kind
of stuff. There's a lot of like weird resistance in
music to some of this stuff, and then it becomes
almost like a selling point, which is the weirdest part.

Speaker 2 (18:40):
Yeah, right, being like becomes this whole artistic journey of like,
this is what you're supporting, this is the yeah, your
anti new age.

Speaker 1 (18:53):
In the late nineties and early two thousand's tape was
seen as going out and it is lower fidelity and
digital recording, and now people use it as a selling
point of being like, wow, it sounds different, you know
what I mean, So.

Speaker 2 (19:08):
I sounds worse. Let's make money.

Speaker 1 (19:12):
Anyway, That's the one thing for people that want to
get scared with it. I think also, I just wanted
to bring this in is I think if we saw
let's say total absolute like hey, what could AI replace?
You know, even if it is shitty. And you know,
what's the first thing I thought of editing that advertising?

(19:36):
I thought about how many guys.

Speaker 2 (19:38):
Are going to dog ad the AI dog ad? No,
I have not seen that what is taking off on TikTok.
So there was like there's this AI generator of like
you can feed it, prompts it will it will render
out like videos and it's this dog ad that like
the concept of the dog ad is like it's different

(20:01):
shots of dogs in suits in office environments, like being human.
But then it's like at the end it's like buy
pause so that like your dogs can eat like you
too or something. Right, It's like but it's like really
well done. It's like I could see it actually like

(20:24):
being a real commercial and it's doing really really well.
And so it is like that kind of stuff. I mean,
ad buyers are probably salivating at the mouth with this
technology because they're like, finally we don't have to pay
like one hundred thousand dollars for these commercials.

Speaker 1 (20:40):
This is exactly what I thought, same mentality, but let's
take it a little bit more micro. How many people
I know a lot of people out there that make
money from making commercial music and specifically like very friendly
either like you know, stuff that you could go buy
in a pack, right, be like, hey, I want to
start a channel on YouTube and I want a bunch

(21:02):
of intro and outro music. I can oh, okay, yeah,
we'll sell you this like beatpack and you could use
it for music. You know what I mean. It's like
one hundred bucks, but it's like fifty songs. That's the
kind of stuff that I think about, right, is stuff
like that? Or the reason I thought advertising was if
there's one thing that someone who works at a giant
company that doesn't do anything with entertainment really doesn't understand

(21:25):
is why the hell is all the entertainment stuff so expensive? Right?
And so my first thought is, oh, yeah, we'll make
this ad in house or whatever, if you know, because
video AI is difficult right now, right, it's a little
bit different level, but like.

Speaker 2 (21:40):
It looks messed up.

Speaker 1 (21:41):
But AI, like for music, is getting better at a
faster pace than I think video one is. Right, So
what I think is like, oh, why would I pay
for some like artists or some little collective that makes
commercial free music or something like that, you know what
I mean? Why would I pay for that? Why don't
I just use this generator from Google and be like,
here's my uh, you know, Colin McKay's painter shop in

(22:04):
the middle of you know, Nashville, Tennessee. It comes see us,
you know what I mean. And then the music in
the background is AI generated. That's the kind of stuff
that I think about that will probably be immediate first
kind of things, stuff that innately people either one don't
see the value in immediately of having someone craft something

(22:25):
like that, or to never have or never will, you
know what I mean. That's the kind of stuff that
I think about. But yeah, oh my god, I'm looking
at this AI dog ad you just sent.

Speaker 2 (22:37):
But it's it's freaky anyway not to go on that.

Speaker 1 (22:41):
But that's the first thing. And I think like a
lot of people, I think a lot of people look
at this idea to macro sometimes because I think a
lot of people think, oh my god, what happens if
AI automates everything? And I go, yeah, we have to
be kind of my first point, we have to be
prepared for something like that. You have to be able
to pivot. If maybe you're musician or work in music

(23:01):
and stuff like that, But at the same time, I'm like,
what about the little things. Let's talk about the little
things that I could see happening in the next year
or two, not like ten years from now, you know
what I mean? And I know here's the last thing
I want to say about this too. There's some tech
bro out there that's gonna hear me saying all this,
and they're gonna go, it's already here. We're here right now.

(23:22):
In the next one to two years, you could have
total automation and I go, absolutely not. You know, One,
because of the pushback going on with it is one
of my many issues. And two personally, there's a financial
incentive going on in tech right now. How many if
you've been listening to the show, how many times have
me and Joe been talking about that. The tech sector

(23:44):
is like, hey, we have no money. We are trying
our best to get money out of people Twitter, Microsoft, Google,
all these people. We are laying off people to save
money for the company, you know what I mean. A
lot of this AI stuff, I'm sure is there. It's
a new technology point. There are people working very hard
at it. There is also, I guarantee you people in

(24:06):
tech that are over exaggerating to hell to save their
ass right now, because again we've talked about it multiple
times on the show, economy isn't doing the best. People
are trying to reap what they've sown by being like, hey,
I bought Google when it was like, you know, two
thousand dollars a share. That's probably not a real number,
but like I bought it at a very high price,
and then now it's lower, and so I'm pissed Google,

(24:28):
you need to do something about it, and they go, no, no, no,
hold out, We're still in a growth period because of AI.
It's very similar to me of kind of what we
joked about previously on the show is Facebook and the metaverse.
When did the metaverse come up? Do you remember, Joe,
Like what period in Facebook that came.

Speaker 2 (24:45):
Up right after the Cambridge ednaally, thank you.

Speaker 1 (24:48):
Thank you. And so that's what I'm saying, is like
everyone's having this shit show on the tech side too,
so I would be very careful also with that. It
reminds me also a lot of when NFTs were made
the space and a lot of creatives were really complaining
about how much they couldn't make money, and labels were
kind of like I don't know. They were like, here's

(25:08):
our answer, baby, a new revenue stream. Anyway, I want
to end this off with Google definitely did make a
various dude point here that I do not want to
cover over, which is that I think it is insanely
intuitive for them to put this out in the first place.
And I'll read this statement again. Generated samples will reflect

(25:31):
the bias and the training data. There has been a
lot of data in tech that especially one of the
best places to look at is AI photo recognition, for instance,
especially used to try to recognize someone like let's say
Joe went past a subway camera, right, They're trying to

(25:54):
do this facial recognition stuff where it's like, oh, we
know that is that's Joe. He's fine, he's not, you know,
a lot of time like a criminal or like a
on the FBI's Most Wanted or something. Right. One of
the biggest things that has been warned about facial recognition,
other than just you know, the invasion of privacy, is
the bias in the training data most facial recognition, right,

(26:18):
it is known, and this is why a lot of
people throw their arms up rightfully, so, especially with policing
about it, is that it's known that the training data
that a lot of these recognition for AI software uses
disproportionately hurts people that are not white. Why because it
turns out the people who are putting in this data
into the facial recognition software are mostly not that diverse,

(26:41):
and they guess what, they put a shit ton of
different white people in there, and they don't put a
lot of different people of different race and ethnicity in there,
which means that the facial recognition software blurs a bunch
of stuff together. So they go, oh, this person looks
like this person and they go absolutely not, it does not.
But the racial you know, the racial bias of the

(27:01):
facial recognition software will go off like crazy and basically say,
all these people look alike and you're like, no, they don't.
You know what I mean? I think and here's my theory.
I think AI will have the same problem musically, which
is going to be interesting is that.

Speaker 2 (27:18):
Like being able to distinguish between.

Speaker 1 (27:21):
I think what will happen is that underrepresented communities, genres
and music will be gentrified and will end up being
like this is what a hip hop beat sounds like? No,
it what this is like? The most generic right, like
it's just a bunch of trap beats or something like that,
and you're like, this is really stereotypical, and you know

(27:44):
what they're also hitting at here is also can be
very offensive because basically, what did I just do? I
just went into Google and typed in like this type
of music that may be associated with a minority group
or an ethnicity, and it gave me this music that's
identifying that, you know what I mean. This is where
I'm getting at with AI, is that I think there

(28:06):
is a possibility here where you could have, you know,
maybe some of these more obscure genres. And if these researchers,
even at Google but also even smaller firms aren't careful,
they're gonna make music that is very appropriative, that they're
gonna make music that's like, oh, you know what I mean,
like this is what every song you know. I'll give

(28:27):
you like an example, like imagine if you asked like
nineteen fifties song you know, and everything was just you
know Sam, you know like that. You know it was
also in the nineteen fifties Frank Sinatra and the rat Pack,
you know what I mean, and their crooners, and it
didn't sound like that, right, So that's like an example

(28:47):
of a very gentle one. But you could get stuff where,
you know, you could have race and ethnicities associated with
some sort of music and the cultural sphere, and that
biases come through the AI. And that's what I'm really
curious about to see because we've already had this problem
with facial recognition software. So I would be shocked if

(29:08):
it didn't happen, you know what I mean, Like if
you put in something that's like what is uh, you know,
music from Bangladesh like, and it was very stereotypical and
not very you know, actually representative of the culture, you
know what I mean of music. So that's what I
worry about. And then in my example of like the

(29:28):
ad buyer stuff, that's what I worry about, where it's
like somebody going, we want to hit this key demographic
and an AD thing. Oh, we want to save money,
let's just generate the AI music and it just creates
this really stereotypical piece of music that is, you know,
from for some people, very offensive, you know what I mean.
And so that's what I think is interesting here is

(29:51):
how are they going to prove that they're trying to
represent from all different parts if you give because there's
no there's no like stopping the AI right. It doesn't
like a thing that goes You can't say this or
this or this, you can't ask this. It's all holds bar.
So if you give it something, it has to give
you an answer, and if you didn't prepare it well enough,
then it's not going to work. So I'm hoping that

(30:13):
I'm glad that Google is from the beginning saying hey,
this could be a problem, and not to mention. You know,
we're talking about privilege here, Like at the end of
the day, who could be like, hey, you know, we
want to represent we want to hit this underrepresented community
in our ad space. Let's just generate the music instead

(30:34):
of like actually using an artist that's underrepresented, you know
what I mean, Like that's that's the other issue at play.
What do you think, Joe before we move.

Speaker 2 (30:42):
On, Yeah, I mean, like I think when it comes
to sheer numbers of usages of that kind of stuff,
of being able to generate after generate, you know, like
infinite amount of different songs for ad buyers, it's like
very enticing. I do think there is like you do

(31:05):
hit the way AI currently is laid out. You can
hit a ceiling with it. It starts to regurgitate a
lot of similar ideas that are in similar shapes, right,
and so that will probably be fixed like years down
the line for sure, as it gets more and more sophisticated.

(31:26):
Like I saw like a graph that was like where
chat GPT was back in like twenty twelve versus where
it was now. And it was like twenty twelve, it
was like had like the speaking cadence of like a
three year old, and then like now it's like you know,
up to like twelve or something like that, and like

(31:50):
each year it's like jumping dramatically. Like last year it
was like nine, and like this year it's like twelve
or thirteen, and like it's it's gonna be taking SAT Yeah,
I mean it's getting smarter as the years go on
because it's getting more and more data and more training
over certain situations, and like with each usage as well,

(32:11):
like the prompts you give it, it's using those prompts
as a training ground as well of like how can
this be improved? What am I seeing? What kind of
new data am I going to be taking in? I
think like when it comes to the creative space. I
truly think that, and maybe this is my bias, maybe

(32:34):
I will get proved wrong. I don't think that AI
has the capability, at least right now to when over
a human when it comes to the creative space and
how to craft things where I think it is really
really great, which Colin, I don't know if you saw

(32:54):
this as like I think like it wasn't logic or
actually it might have been logic that like had an
AI plug in. And I talked about this on one
of our episodes way back like a year maybe two
years ago that was like AI is going to be
used in order to create parts in your daw so

(33:17):
where it's like, okay, I need like a drum fill. Here,
give me some drum fills. And now it's a thing
where you could just be like, AI, give me twenty
drum fills, and it'll give you options and you just
cycle through those options and then you just choose which
one you want to do. And I think AI, like

(33:38):
you were saying, called an AI plus a human overseeing it, well,
I think could actually create some very unique and incredible stuff.
But I think where people think like, oh, I can
just like type this into chat GPT and I'll get
an A or oh, I'll just you know, let an
AI write my song for me. It's not going to

(33:59):
stick out. It's not going to be genuine. Like I
think a lot of people crave when they're looking for
entertainment and that the buyers are disingenuous and they're so
keen on the disingenuine and so I think for them,
it's it's more like, oh, we could just pop these

(34:20):
out all the time and just inundate consumers with our
product with these tools. But I do think that you
run the risk of like humans at the end of
the day are going to be the ones marketed too.
So it's like they have a vote at the end
of this. And so if they're getting all of this

(34:40):
AI content and they're not interacting well with it, or
there's too much of it and they're getting sick of it,
then I think that it will change and maybe it
will go back to like an analog thing, right of
like people having like a counterculture movement. It's all marketing, know,
like and yeah, I mean it is, it's the whole thing,

(35:03):
and like, ultimately, you know, this is much more flashy
than NFTs and crypto.

Speaker 1 (35:11):
Is it already looks better than both of those things
ever did?

Speaker 2 (35:15):
So? Yeah, for sure. I mean, like, I think I
think it's safe to say that this is a product
that actually we were seeing results from fulfills a need. Yeah,
fulfills a need we're seeing results from. It's a lot different. However,
the tech bro hype is still very, very high, and
so you have to be very careful when you work.

Speaker 1 (35:37):
I'm just glad we're not. We're I'm fine. You know,
I will call out bullshit, you know. If somebody says, like, hey,
this thing is like doing all this crazy stuff, I go,
really is it? But I'm glad that it's like, hey,
it's not. This thing is a monkey and it's in
the worst art style you have ever seen in your life,
and you should pay three million dollars for it. So

(36:00):
we're going to consider it a win for humanity there.
So anyway, Joe, let's move on to our next topic.
I know you have a very serious topic to go
through here, so I want to give you everything there.
But you know, as always.

Speaker 2 (36:20):
This is a trigger warning for anyone who's dealt with
sexual assault. So if you do not want to hear this,
I advise you could honestly just turn off the episode
at this point. But there's a couple of things that
happened this past week. First is country star Jimmy Allen
faced accusations of sexual misconduct last week, as well as

(36:44):
facing a civil lawsuit that was filed by a Jane Doe,
who claimed to be Alan's day to day manager during
the years of like twenty twenty to twenty twenty two.
The accuser stated that Alan quote manipulated and used his
power over her job as a day to day manager
in order to quote sexually harass and abuse her over

(37:07):
eighteen months. She stated that she was quote on the
verge of a nervous breakdown and considered committing suicide and
went to disclose the problem to a man named Ash Bowers,
who is a manager as well as founder of management
company Wide Open Music, and they said that they were

(37:30):
fired in retaliation to giving them that information. Alan Yes
allegedly fired. Alan denied the claims, but admitted that he
was having a consensual relationship with her, while Bowers also
refuted the claims, stating that the company quickly ended its

(37:50):
relationship with Alan after learning of the relationship. Sounds like
They also ended the relationship with their day to day
manager as well. However, Allen's entire world seemed to crumble
as his record label BBR Music Group stated that it
was suspending the singer and his current management company, the

(38:15):
Familiar pre Sure It's Familiar, Familiar, Thank You Booking Agency.
His booking agency as well, UTA, also announced that they
were doing the same. Now, critical to understand suspension in
dropping are two different things. They have not decided to

(38:37):
drop him yet from these companies. Dropping is completely nixing
the contract. It's completely fulfilling the duty and basically being
like we're done done.

Speaker 1 (38:50):
But usually, like you know, you're taken.

Speaker 2 (38:54):
Out of the public eye.

Speaker 1 (38:56):
You have things in your contract that usually say hey,
if this happen, happens, if this happens, and usually it's
pages long in a lot of record contracts that say
like and they're vague sometimes too, they say like, if
you're in the negative public light and the record label
thinks that you're too negative right now, we can suspend
your contract and stuff like that. So Joe put it

(39:17):
pretty well, it's it's a hiatus. It's not the same
as being dropped. It's like you know, in the most
capitalistic sense. For most record labels, what they do, you know,
for good or for worse, is that they wait to
see what happens with the allegations and to see if
it is worth their company to keep a person or

(39:39):
to get rid of them. But they would like that
option before they get rid of them.

Speaker 2 (39:44):
So a lot of the times during this as well,
these companies distance themselves from the artists and will take
down things such as their their profile on their website,
and they will refuse to take meetings with the artists
until now.

Speaker 1 (40:03):
We don't know about this, and I don't think, but
you know, it's like that's what some record labels will
go to that extent, is to distance themselves as far
from it because no one of these companies wants to
be associated as a you know, ground for this kind
of empathizing to happen.

Speaker 2 (40:21):
Yeah, so it's a very serious situation and it's we
we have a lot to kind of wait and see
to see what happens. I will say, if you are
having a relationship with your day to day, your day
to day does not have any power over you as

(40:43):
an artist. You are technically their boss because you are
their boss's boss. And so in any other sort of
workplace that is sexual harassment and it is that plain
and simple. So to be honest, from my point of view,
they absolutely have grounds to sue and will probably settle

(41:05):
or uh win.

Speaker 1 (41:08):
I would imagine some form of you know, there's the
civil suit going on and that will probably be settled
out of court, I would imagine. And then did you
say there was a criminal case here to I don't.

Speaker 2 (41:20):
Think there was a criminal case there. It seems to
just be a civil case.

Speaker 1 (41:25):
So the civil Yeah, the civil one has a u
if you guys have been watching the news with Donald Trump,
has a lower bar to you know, get some sort
of compensation as opposed to a guilty plea in a
criminal case, which is a higher you know, standard proof
to put on there. But at the same time, it

(41:47):
doesn't give any legitimate, you know, dislegitimacy to this person
who is trying to get some form of compensation from
what they allege has occurred, you know what I mean.
And like at the end of the day, this this
kind of stuff, I think one of the most important
things that we got to talk about here, this kind
of stuff, you know, and you might notice, I say,

(42:07):
a lot allegedly all this kind of stuff is that
you have to very much play these games very carefully
because again we don't know for sure. But we also
wanted to give gravity of the situation that's going on
here because these are very serious applications. There could be
something going on so malicious here that they've deserved compensation
and they should. But at the same time, the one
thing that we I would say at the end of

(42:29):
the day, that's the most important thing here is that
things like this do happen, and it's not a rarity,
especially in music. And I think one thing, Joe, that
you've hit on a lot is there is a lot
of compared to a regular workplace, there is a lot
and sometimes encouraged mixing of like the personal and social

(42:50):
you know life with the work life. And so there
is situations like this that occur constantly. And so you
know it, if this case, you know, has good merit
and all that kind of stuff, then I, you know,
hope the best for this, Jane Doe, and I'm sorry
that they went through this, you know. At the same time, though,

(43:11):
it's one of those things that, like you said, we
have to wait and see and we'll have to see
if any other charges are added because of you know,
some of the Yeah, sometimes these.

Speaker 2 (43:22):
Cases have a strong suspicion it's going to settle, But.

Speaker 1 (43:27):
Most of these kind of cases do settle. But at
the same time, when it comes through kind of the
ether because you know, there's kind of this, there's kind
of this, especially with cases like this. This this has notoriety,
you know what I mean, Like this is being covered
by huge publications. So you know, if there's other things
going on anywhere around either Allen or maybe the management

(43:53):
or anything, it will rise to the surface very fast.
If there isn't, then there there is a you know,
there is a chance that this could be an isolated incident,
but we just don't now, you know what I mean.
But at the same time, I think there is a
lot of in the music industry, a lot of people
going like, oh no, we're all brothers and sisters here.
Now there's still people that will be, you know, terrible

(44:16):
people to each other. We just have to figure out,
hopefully in this lawsuit what's going on, you know what
I mean, the BA and hopefully it's a you know,
fair and easy kind of case to settle and rightfully
so to the accuser. You know what I mean.

Speaker 2 (44:29):
Yeah, on the other kind of I guess like another
genre in the spectrum of genres. A similar situation happened
with artist Slow Tie, who appeared in British court Tuesday,
May the sixteenth for two charges of rape. He put

(44:50):
out a statement on Instagram stating, quote regarding the allegations
being reported about me, I categorically deny the charges. I
am innocent and I am confident my name will be cleared.
Until then, I will apply my energy to ensure this
is concluded swiftly and justly. I ask that my supporters
don't comment about this situation and respect the process and

(45:12):
privacy of my family during this time. So if nothing
has been reported on the exact situation that occurred, but
he's being charged with oral and vaginal penetration of a
woman without her consent in Oxford that occurred in September
of twenty twenty one, and as of right now, Method
Music's site, which is his label, is down completely. When

(45:40):
you pull it up, it pulls up a comeback later
page with basically means that they're doing maintenance to the site,
most likely taking down Slow Tie release stuff in Slow
Tie photos and he is also nowhere to be found
on his agent's website, which is Wasserman, and his photo

(46:00):
and bio still remain on his publisher site BMG, but
most everything else has been wiped like a social media
I mean, you go on his Instagram, everything's wiped. He
turned his bio or of like biophoto black and like
it's very like bare. I don't know. It's honestly a

(46:21):
bit dramatic in like a bad way because it to
be honest, and in my view, it's showing it's it's
not the greatest pr move.

Speaker 1 (46:32):
It feels like almost theatrical.

Speaker 2 (46:34):
Yeah, it feels like he's using this as a moment
almost and like I know, I know that, like maybe
that's not the case, but like, at least at least
on his Instagram, it seemed a little like okay, man,
come on. But the couple things like Colin, what what
are your thoughts over over slow tized response here, because

(47:00):
the thing that sticks out to me is the I
ask that my supporters don't comment about the situation like
I feel like, as this situation is so incredibly sensitive
and important in the grand scheme of like women in

(47:25):
the music industry, women in general dealing with sexual assault
and harassment. I feel like these conversations should be happening,
be happening, right.

Speaker 1 (47:34):
I do think that is a very strange comment to make, especially,
you know.

Speaker 2 (47:42):
It's like to me, it reads says, don't trash my name.

Speaker 1 (47:47):
I mean, it's what I gotta play. You know, these
are you know, I got to play both sides here,
sadly because you know, legal reasons, but alleged you know,
these alleged things that are happening. Is that you know,
if he's really if he categorically denies the charges and
he believes he is innocent and confident of my name, right,
I would understand maybe that he has maybe emotions about

(48:11):
this or whatever, and he feels that if he actually
feels that he is confident that he is innocent, you
know what I mean, Like he maybe just aggravated and
asking people not to add to the aggravation. But I
do think that is kind of a very over the
top thing to ask someone who is going through a giant,

(48:33):
very very public case, you know what I mean, and
the severity of this case, and so I you know,
I think I think it's a lot to even ask fans,
you know what I mean. I think that it's I
think that you know, any kind of I completely respect

(48:55):
the second part of the sentence, respect the process of
privacy of the family. He said, of my family. I said, okay, yeah,
I wouldn't mess with his family. You know what I mean.
I wouldn't if I was a fan, you know what
I mean, I wouldn't be like, I'm going to solve
this case. I mean, unless you had actual, you know,
information that is useful to the court, you know what

(49:16):
I mean. But I think that at the end of
the day, it's a it's a little bit over the
top and asking a lot to not comment on a
case that is this severe, you know what I mean. Yeah,
I don't think it is unorthodox at all to be
questioning if maybe Slow Tide was one of your favorite artists,

(49:36):
to be like, hey man, what's what the hell is
going on? You know what I mean?

Speaker 2 (49:41):
Yeah, it feels as a fan to ask these questions.

Speaker 1 (49:45):
Right, And you know, at the same time, I think
if he really does feel that he is innocent and
you know, confident his name will be cleared, it feels
like one of those things that he would, you know,
want his supporters to be like, you know, talkative to
him and him being like, yes, I don't think this
is real, you know, I get it. I think that

(50:07):
a lawyer is telling him, hey, don't say anything. This
is the one statement you're gonna say, we're gonna leave,
you know what I mean. And so maybe that's why
he Maybe he's like, oh, I don't want my fans
to ask me these questions and then me not being
able to answer them from a lawyer. But even then,
don't even pose the statement, you know what I mean.
And so I don't I don't really support that statement

(50:31):
as much. And I hope that legally, you know, justice
is served whichever way needs to happen. You know. Again,
at the end of the day, we're not sure of
the whole thing, but I do believe in, you know,
the ability of you know, the court system to hopefully
find justice for these people, you know what I mean.
So I that's that's probably the you know, the worst

(50:54):
part about it is that from a record label and
an agency side, I look at this and I go, look,
I mean, there are I'm not going to be not
in this case, not in the previous case or whatever,
but there, you know, there are real cases that we
have found in entertainment through time that inexplicably, there has

(51:16):
been evidence from a very long time that something like
this was occurring, right, that some sexual misconduct was happening
and stuff like that. And to be honest, it has
bubbled to the surface a lot in the recent years
due to you know, more publicity of this kind of
stuff social media in general, right, the me tou movement

(51:37):
as well. And I think that it is one of
the most difficult things in entertainment to navigate at all.
I mean from a label side, I think there are
labels maybe in this case that they don't know anything,
you know what I mean, Like I just you know,
they may they don't know what every moment of their
artists they're doing, you know what I mean? And sometimes

(51:58):
bad people that are signed and that they want they
want to be so that people people are aware of
kind of these relationships that artists have with these companies.

Speaker 2 (52:09):
A lot of the time you will have contacts in
those companies, but you are not seeing these contacts or
talking to these contacts daily. You like, maybe will have
like I would say, the average of artists, right, like
like let's say mid tier artists, right, will have label

(52:32):
meetings maybe once every two weeks, right, and it's on
a zoom and like you you you know people, but
you're not like actively hanging out with those people all
the time. You're not friends with these people. You are
making relationships, but it's not like I wouldn't say that
they are like close relationships. So it's it's not as

(52:56):
like close as I think a lot of fans on
the surface level, see.

Speaker 1 (53:03):
But there are you know, at the same time, there
are people that do form relationships with their artists that
are above and beyond and so like that. That is
also not to say that too. And the same thing
I would say is that also your management company though,
is you're literally day to day you know what I mean?

Speaker 2 (53:20):
Yeah, they your management is very much having the most
conversations with you. But even then I would also argue too, like,
I mean, you can't. The thing is, it's like I
think a lot of the times when these things happen,
it's like, let's eat all these other people up as well.
But it's like sometimes you don't know what a person

(53:41):
is doing behind closed doorslutely, which is I think an
important distinction because I think everyone has had what they
thought to be a friend to something bad that they
did not think that they would do. As in some
cases it is much more extreme than others, and sometimes

(54:04):
it's important, I think, to kind of take a step
back and realize that, you know, these people working in
the industry are not you know, just because they work
on this project doesn't mean that they are like enabling
them to do this bad behavior, you know what I mean.

Speaker 1 (54:22):
Yeah, And like, you know, you can make the argument,
you know, oh, well they're feeding you know, the beasts
or something like that.

Speaker 2 (54:29):
And it's when it's like Burger Records, that's like a
different situation right where it's.

Speaker 1 (54:35):
Kind of weird if you think about it. Though. It's
like labels historically and agents and managers unlike a lot
of other businesses, like the recent social media movement of
you know, everything's on the table. You know, if you
say something off of work that is very off color
and terrible, it can come back to you at work,
you know what I mean, and you're done, you know

(54:58):
what I mean. And I think that's the better, right.
I think that really eliminates a lot of you know,
enabling of hate in this world. But at the same time,
if you think about it, that's an invention of the
social media age, right, Like we we did stuff like
that in the fifties and sixties, but you know, it's
more of a slower build, you know what I mean.

(55:21):
Oh we heard of that this, and honestly some of
it was just you know, stuff that was ghost back then.
That a social norms now, you know what I mean,
But now the speed of everything is crazy. But the
thing that I was going to say is that even then,
there was kind of this mentality of oh, well, that's
that's what you do in your life, you know what
I mean, that's separate from your work, you know what
I mean. There was a culture of saying that, like,

(55:42):
your work is separated from your personal life. So whatever
you do off hours, that won't affect here, right as
long as you show up to work and you work.
That's It's what's kind of interesting to think about is
that artists aren't like that. Things that artists do and
have been doing literally the twenties, thirties, forties, they were

(56:03):
always on if somebody heard about something crazy that some
artists did and it was so gosh and bad and terrible,
that could affect your work life, right, Like like if
you know, and that came into you know, points of
discrimination as well, but also justifiably points that are terrible,

(56:25):
you know what I mean. Like I it's for instance,
we talked about it when he passed away, Jerry Lee Lewis.
Jerry Lee Lewis, you know, had a relationship with his
fourteen year old cousin. They were married, right. And there's
a thing about that which is kind of insane to
think about, is that back then, if he wasn't famous,

(56:48):
that would have just probably gone by the wayside. It
would have been gosh, you know what I mean, it
would have been terrible. I hope that people in the
community do something about it. But at the same time,
the reason that he was, you know, so publicly panned
is because he was such in the life limelight. And
that's what artists have always been like, right, if you
do something off off mic, there is no off mic, right,

(57:13):
like you are always on mike, you were you were.
Your job is to be watched and entertained even when
you're not entertaining, right. So that's what I think is
probably one of the weirdest things about this is that,
especially in this day and age and as we've seen
that go into the regular workplace. I think that there

(57:33):
is a huge prevalance of artists that have situations that
enable them to prey on people. But at the same time,
it's something that the entertainment industry has struggled with historically
for decades. And at the same time, though I wish
that maybe there's somebody who's smarter than I could make
a study about it. It's kind of like that same

(57:56):
argument where I said, does the industry bring damaged people
or does the industry damage people? Right? It's almost like
that does the industry attract people that are predators, right?
Or does it create people with power and influence to
bake them into you know what I mean. That's kind
of the question here, not to you know, take away

(58:19):
personal liability in any way, right, All of these are
personal decisions. But at the end of the day, like
that's what makes the entertainment industry a different beast, right,
And again I have to know, don't we don't know
about these cases, right, And not to put any legitimacy
towards either side. It has to be determined by the

(58:39):
court of law, you know. And I wish both sides,
you know, because again we don't know which one is
the correct side. Let's say you know which one is
quote unquote lying or not lying. We have to wait,
and I hope that you know, historically the court has
not been great with that, but I hope that in
these cases, you know, evidence is brought up equally for
both sides and it's given a fair shot, you know

(59:02):
what I mean. And so we'll have to see. I think,
I think it's going to be interesting, especially with you know,
the way that this is presented between the two cases,
the personal nature of Jimmy Allen's case and how the
day to day manager is involved, but that is a

(59:22):
civil case, and then the severity of slow ties one
with these two giant criminal charges. So I you know,
it's it's two different it's two different situations completely. So
we'll just have to see, and I hope that justice
has served, But sadly, a lot of times it's not,

(59:44):
you know what I mean, for whatever side, You know
what I mean.

Speaker 2 (59:50):
I mean, I guess I know, I think like I
think like it. The court system, the American court system.
Let's be honest, it's not a game of whether it
is you are correct. It's more of a who can
last the longest, and who has the most money, I.

Speaker 1 (01:00:11):
Know, And that's what I'm saying. It's like I hope
and pray and whatever that it's done right, but you know,
historically it's not.

Speaker 2 (01:00:17):
Yeah, But that's the thing of like I think hopefully
you will be able to see more evidence as like
these things come out, and then you can make your
own judgment on.

Speaker 1 (01:00:28):
That personal decisions, you know, And so we'll see about that.
I mean, by the end of the day. It's like, yeah,
I I there is a game here being played with
these labels and management and stuff like that, and it
will be have to determine, you know, it will have
to be determined, you know, if there's liability between these

(01:00:50):
organizations around these individuals, if they act, if they did something.

Speaker 2 (01:00:54):
Yeah. I mean, I'm honestly very interested in like the
Jimmy Allen the management company situation. Yeah, because if that's true,
that company is in big, big, big trouble, right, and
like I said, a lot of losing their way. A
lot of these cases have a chance of opening up

(01:01:15):
other cases, so you know, and and legitimate or not,
you know, And so that's that's what's going to be
interesting here. It's like you're saying, sometimes it is a
game of who can survive the longest, not who's right,
you know what I mean.

Speaker 1 (01:01:28):
So yeah, I just again the biggest hope is justice,
but you know, in this day and age, sadly that's
not a guarantee.

Speaker 2 (01:01:37):
Well off of that, bummer. What have you been listening
to this week ONLL?

Speaker 1 (01:01:43):
So, let's see, I man, it's it's been a weird week.
I'll be honest. We open it up and I talked
about Zelda a lot, you know, Uh, but I have
been listening, uh to some of the Zelda soundtrack for
Tears of the Kingdom, which is wonderfully orchestrated as an
orchestra nerd myself. But I'll give you a couple. So

(01:02:05):
one of the ones that I really I've actually been
listening to is one of the most underrated and I
cannot believe this. Sorry, I'm about to talk about Weezer
and I clicked on their profile thing on YouTube music
and the description, you know, usually the description on like
YouTube music is like this band formed in nineteen ninety nine,
you know, and came out. Their description is just like Weezer,

(01:02:28):
just keeping it weezy anyway, Weezer. I think there's a
very underrated album that kind of goes by the wayside
with Weezer, and I stick up for it a lot.
It's called Maladroit, and it's actually funny enough. It's their
fourth record, which is so weird. Well, it's just literally

(01:02:52):
like it's literally one of the first four records, which
is like, you know, with Weezer, it feels like there's
like a thousand of them now, and uh yeah, this
is the first four, and so we're in the fourth one.
And they made this after the Green Album, which is
when if you don't know the thing about Weezer, they
put two albums out in like the nineties. The second
album did not do well. They took a ten year
hiatus and then they came back and then they were

(01:03:13):
kinda you know, they had Island in the Sun and
they were doing okay, and then they had this album
that didn't do as well. But it's like a very
different flavor of Weezer. It very much reminds me of
like I call it the college rock album from them. Again,
it's called Maladroit. If you want to listen to it,
it's just like what I imagine two thousand and two

(01:03:36):
college radio would play like, my favorite is probably the
song called Dope Nose, and then also Burnt Jam. Burnt
Jam is like super college rock, very like high vocals,
like kind of nonsense lyrics, We're just going through it
having a fun time. But the drum groove of it
is really fun. And then Dope Nose I really like

(01:03:58):
because it's just got like it's just got like this
very like aggressive kind of tone. But I also like
that the I believe it would be their third bass
player is still their bass player who I really like,
Scott Schreiner. He sings the song live, which is really cool.
So if you ever look up Dope Nose live, it's
probably him singing it, which I always think it's really

(01:04:19):
cool to see bands be like, nah, you know what
you sing this song? You know what I mean? And
so like yeah, and I'm pretty sure, yeah, I'm looking
at up right now. This is the first album that
he's on too, so I'm pretty sure that he maybe
had a pretty big deal with this song. So it's
really fun to watch him, like on stage, they'll be like, yeah,
why don't you sing this? And so I think more

(01:04:40):
bands should do that. I think it'd be fun, you
know what I mean, Just be like, ah, you know what,
why do you sing the song.

Speaker 2 (01:04:46):
That would be sick. I've been listening to the new
James Ivy album that just came out. It is called
Everything Perfect it is. It is a perfect record as well. No,
I love this record. It's very like the cover is
so sick, Like the album art is so cool. It's

(01:05:06):
like very it reminds me a lot of like early
two thousands albums where it was like is that very
modernistic font and like kind of design choice of of
like collage and stuff like that. It's really cool and
the music is amazing as well. And then also I've

(01:05:28):
been listening to a Delusional World Champion by Jane Dawson.
Not Jane Dawson, but Jane Dawson.

Speaker 1 (01:05:36):
You were about to say Jane Awson, and I was like, hello.

Speaker 2 (01:05:39):
Yeah, two different people, super sick song. And then Nonas
song by Charlie Adams, who is a Nashville native who
actually moved out here to la as well and is
coming out with their new music that highly anticipated because

(01:06:00):
as Charlie had a first record that a lot of
people really really love, and so this is like really
cool that she's coming out with some new stuff, so
I can't wait to hear what else is going on.
And then nye new single from Local Natives came out
as well. It's really sick. Definitely recommend checking it out.

(01:06:20):
Sweet but yeah, on that point, goodbye, guys.

Speaker 1 (01:06:29):
Thanks for listening to the Biz Tape. You're All Things music,
business and media podcast. We sure do appreciate you out there.
If you want to go one step further, rate the
show wherever you're listening to send it to a friend
buhs on social media, add the biz tape pretty much
everywhere you've heard this meo before. Anyway, Guys, I want
to thank you for the bottom of my heart. We

(01:06:50):
so do appreciate you out there, and at the end
of the day, we hope to see it