November 25, 2024 • 53 mins
Ever wondered how a band can thrive in a scene dominated by cover music? Meet Twist It, the hard-hitting rockers from Pennsylvania, who are crafting their own path in the vibrant Philadelphia music scene. On this episode of the Jay Franze Show, we chat with band members Kayla, Sarah, and Logan, who open up about their journey from performing covers to creating original music that captures audiences. Inspired by the classic rock of Dokken and Whitesnake, along with newer metal influences, Twist Its unique sound is a fusion of the past and present, all wrapped up in a logo inspired by Korn's "Twist."
Discover the inspiring story behind their song “Still Alive,” which transports you into a zombie-themed video game world. We unravel the collaborative songwriting process that brought this and other tracks to life, with special insights from producer Kile O'Dell. The band shares tales of laughter and caffeine-fueled creativity from their Nashville recording sessions. Whether it's discussing the challenge of blending heavy instrumentation with clean vocals or sharing their humorous take on band dynamics, Kayla, Sarah, and Logan ensure there's never a dull moment.
As we dig deeper into the band's recording experiences, you'll hear about the innovative equipment choices that shaped their sound and the memorable studio moments that solidified their musical identity. Kayla's excitement at hearing her voice professionally transformed with vocal effects is just one of many personal stories that highlight the magic of making music. Throughout the conversation, Twist It reflects on the importance of supportive figures in their lives, emphasizing how music not only unites them as a band but also strengthens connections with their loved ones. Join us for a heartfelt and rock-filled journey that celebrates creativity, perseverance, and the universal language of music.
Links
- Jay Franze: https://JayFranze.com
- Twist It: https://twist44.reverbnation.com/
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tony Scott (00:05):
Welcome to The Jay Franze Show, a
behind-the-curtain look at theentertainment industry, with
insights you can't pay for andstories you've never heard.
Now here's your host, JayFranze.
Jay Franze (00:33):
Well, hello, hello, hello and welcome to the show.
I am Jay Franze and this isyour Backstage Pass to the Music
Industry.
This week we get to talk with ahard rock band out of
Pennsylvania.
We get to talk with Kayla, Saraand Logan.
We get to talk with Twisted.
We'll talk to them about whatthe music scene in PA is like,
(00:54):
how their band came together,and we'll discuss their
production process.
Now, if you've listened to thisshow for any amount of time,
you know that I worked inNashville recording country
music.
However, I'm from Boston and Iwas brought up on rock music.
And these guys, they truly dorock and I can't wait to talk
with them tonight.
So if you'd like to join in,comment or fire off any
(01:15):
questions, please head over tojayfranze.
com.
Now let's get started.
Tell me about the music scenein PA.
What's that like?
Sara Higgins (01:28):
It's pretty good.
There's a lot of cover bands Ifeel like that's everywhere but
I feel like especially in thePhilly area and a lot of the
bars down here, so that's alittle hard sometimes to get
shows, but we're alwayssurrounded by music.
Kayla Hallman (01:44):
You can always go and see a concert or local
music, which is very great yeah,there's always shows going on
yeah, yeah, I feel likesometimes you have to travel a
little out of state into youknow the borders of jersey and
delaware, just to kind of findour people.
I guess you know our our genre,but the music scene in general
is actually surprisingly not nothard to come by.
Logan Smith (02:08):
I guess is what I'm trying to say yeah, I feel like
it's pretty good inphiladelphia area, uh-huh all
right.
Jay Franze (02:14):
So you guys mentioned it's typically cover
bands in the area.
What's it like being a anoriginal band?
Sara Higgins (02:20):
it's definitely um , a little tricky to get on
shows, I would say down here,because obviously they want the
bands that are going to bring ina big crowd and a big draw for
money for the bars, which isvery understandable.
So it's definitely hard whenyou have a fairly newer band
saying they want to playoriginal music and finding
(02:41):
places that will have faith inyou to bring people and give you
a chance to play.
But there's ones that do andwhen they do it's great and it's
always a fun show and we'revery thankful for the bars that
do and accept us in there.
Logan Smith (02:54):
Yeah, it's definitely turning some heads
sometimes because people arelike, oh, I don't know this song
, and then we start playing like, oh, this is all original music
.
Kayla Hallman (03:02):
Mm, hmm, music.
I think the venues can be alittle hard to come by, just
because yeah they're still.
They're still evolving and, um,there's a lot of smaller spots
that are available, but thenagain, you know they're not
meant for big showcases withoriginal bands, so it can be a
little difficult.
We find ourselves kind of onmixed bills a good amount of
time with other cover bands, andsometimes we're with original
(03:23):
bands and sometimes people bands, so it can be a little
difficult.
We find ourselves kind of onmixed bills a good amount of
time with other cover bands andsometimes we're with original
bands and sometimes people onlyhave two of their originals and
the rest are covers or there'sthere's a nice balance that you
have to find around heresometimes.
Jay Franze (03:36):
Yeah, definitely when you guys play with cover
bands, do you feel like you'reaccepted?
Logan Smith (03:42):
yeah, I think we do , because even like in our live
set, most of our set isoriginals.
But we have like a cover mashupthat we do and we play a full
song cover in there that, likeeverybody would know.
So we fit in with the rest ofthe bands playing.
But a lot of the other bands dohave like a couple of originals
that they throw in as well.
So it kind of all evens out.
Sara Higgins (04:07):
Where'd the name come from?
It actually came from, do youknow?
Obviously you'll know um theband corn, oh yeah and their
song twist and we would alwaysjoke around with it and we like
love that song and it was justkind of a spin-off of that.
Yeah, yeah, that's, that's allof it and what about the logo?
Actually my dad helped designour logo yeah, previously we had
(04:31):
a different logo uh-huh I don'tthink it's on our.
Logan Smith (04:35):
I don't think anybody's gonna really see it.
Sara Higgins (04:36):
I thought you were gonna say previously we had a
different dad oh god yeah, welove steve higgins, never
replaced yeah, but our, ourfirst logo was definitely more
um, I wouldn't say like youdon't look at it and it screams
like we're a hard rock band.
So we just kind of wanted moreof an aggressive logo.
I just messed around withdifferent drawings and adapting
(04:59):
it and it's just kind of whatcame of it and our other logo.
We always had like the twist,the it as part of the logo, so
we kind of liked how that looks,so wanted to incorporate that.
Kayla Hallman (05:10):
So it's kind of just like one logo, but it has
our whole name, yeah yeah,sometimes the old logo was hard
to differentiate, like it justlooked like our band name was
Twist, because people didn'treally pick up on the fact that
like we had the I in twist andthe last t in twist were like
different colors, so it was likewithin.
(05:31):
But now I feel like we have abetter kind of yeah it's hard
because every time I say thename live, I have to emphasize
that it is two words.
So because everybody thinksit's twisted.
But I even thought it wastwisted when I joined, so but
the first time she said it I waslike twisted, isn't that a band
?
Logan Smith (05:52):
Twisted Sister yep, yep, there you go well, with
with.
Jay Franze (05:56):
That said, let's talk about that for a minute.
You guys, we've mentioned quitea bit that you're a hard rock
band.
Why hard rock?
Logan Smith (06:07):
I feel like we talk about this every day, where
we're just like what genre arewe?
Yeah, because we have suchdifferent, different sounds in
our music.
But, like, I just feel like theone that we stuck to the most
was hard rock, and a lot of thebands that we influence off of
and sound like also consider ashard rock, so we kind of just
(06:29):
like took it from them as well.
Sara Higgins (06:31):
We all, like we always grew up with, like
classic rock and metal and thatside of things which is kind of
what we grew up on and what welearned to love and what we love
playing, and I always like thechallenge on drums and playing
something difficult and tryingto push the boundaries.
So I feel like we kind of tookthe instrumental as heavy as we
(06:52):
could in some songs and then thevocals.
Obviously there's no screamingin our songs, so we don't
classify as like I wouldn.
Logan Smith (07:00):
I wouldn't really consider it metal Metal.
Sara Higgins (07:02):
But it's like that's why we call ourselves
hard rock.
I feel like.
Kayla Hallman (07:06):
Yeah, the genre is really hard to define.
I feel like, especially now,there's just so many different
subcategories of rock, and Ifeel like we also can
incorporate pop into some of oursongs sometimes.
Yeah pop into some of our songs.
Sometimes we have yeah, it'slike, it's almost like sometimes
pop melodies, but with likeheavier guitar and heavy drums.
So the easiest thing to kind ofcategorize that, categorize it
(07:29):
as was just a hard rock, andI'll let anybody just if they
want to say that it's metal,okay, if they want to say that
it's just, you know rock.
It could be pop with with heavyinstruments, yeah I could do
that too I think it can all besubjective nowadays yeah way you
know.
Jay Franze (07:45):
However you feel, it is so, whatever you think, sure
, that's what we are, I'm gonnasay hard rock, and nobody can
tell me otherwise there we go,yeah well, you mentioned having
hard rock influences and classicrock influences.
I am just curious what do youconsider to be classic rock?
Sara Higgins (08:02):
You can go ahead oh she's classic rock.
Weezer, or what you grew uplistening to.
Jay Franze (08:08):
Kayla, you need to go away now.
I know, I know Having technicaldifficulties.
Logan Smith (08:13):
Right.
Well, I don't really think thatwhat I grew up on is really
considered classic rock.
Think that, like, what I grewup on is really considered
classic rock.
It's more because I grew up and, like my parents have always
been in the like the hair metalscene and they grew up in the
80s, obviously, and so, like Igrew up with like Dokken and Rat
and White Snake and all thosehair metal bands and so that's
(08:35):
like a lot of where myinfluences came from.
But also, like I've beengetting into like the newer
metal as well.
So that's where a lot of the myinfluences came from.
But also I've been getting intothe newer metal as well, so
that's where a lot of the guitarwork for these new songs kind
of came from.
Jay Franze (08:47):
I just want to point out I've seen every one of
those bands live in their primein the 80s.
Logan Smith (08:53):
Geez.
Yeah, iron Maiden too I've seenthat yeah.
They're a huge influence aswell.
Sara Higgins (09:01):
For me, I grew up up on like Guns and Roses and
ACDC and all of them, but then Ikind of moved to the prog side
of things and, like I absolutelylove Rush, I love Tool, all
that kind of stuff.
Kayla Hallman (09:13):
My, so my mom.
She's a vocal teacher and whenI was growing up up like through
, I think she started there,maybe when I was like 10 she
worked at a music school, um,which was like the school of
rock, if you ever heard of theschool so yeah, they absolutely
do literally everything youcould think of from like the 60s
(09:34):
to now.
But there was like a heavyemphasis on like that oh my god,
I'm blank, like I did so manyJudas Priest like then we would
hit Queen but then we would hitlike um Heart.
And then there was Journey andjust all the classic like those
vocals that my mom was alwaysmuch a very like a vocal heavy
(09:55):
kind of listener.
So all of those bands, likeSteve Perry's notes up on
Journey, like that's what I grewup listening to and that's what
I would see my mom sing becauseshe used to do cover bands and
stuff like that.
So you know, and thatprogresses into.
We get into like the newervocalists, like Hayley Williams
in Paramore and even Amy Lee andEvanescence and Lizzy Hale with
(10:17):
Hailstorm, like that just kindof of evolved from rock.
So I feel like for me a lot ofmy influences.
If you think of it as classicrock would be the hard-hitting
female vocalist, pat Benatar,was my first concert that I ever
been to.
Jay Franze (10:34):
So weird.
Journey was my favorite bandgrowing up.
Journey Heart was also one ofmy favorites.
Logan Smith (10:41):
And Pat.
Jay Franze (10:41):
Benatar was amazing, but Lizzy Hill Hailstorm is one
of my favorite bands right now.
I've seen them several times wejust saw them.
Logan Smith (10:48):
Did you really yeah , month ago.
Jay Franze (10:51):
That's awesome From your neck of the woods too,
aren't they?
Logan Smith (10:54):
Yeah, yeah they are , they're from around here.
Jay Franze (10:56):
Yeah, they live in Nashville now.
Logan Smith (10:59):
Yeah, they put on a hell of a show.
Kayla Hallman (11:01):
She's got like insane vocal control.
I don't know how she does allthat without.
She's got real good technique,if she's still got her voice
after all that screaming Godbless her.
Jay Franze (11:11):
Well, she did have some vocal challenges for a
little while.
Kayla Hallman (11:15):
Yeah, I do remember that.
Jay Franze (11:17):
I think it's cool.
I can see influences, but Ithink you guys have your own
sound too.
I don't think you sound likeany other band.
I think you can tell there'ssome influences in there.
Kayla Hallman (11:27):
I think we get that Hailstorm reference a lot
because it's heavier instrumentsand clean vocals.
Like Amy Lee is not a screamerand I feel like that's kind of
hard to come by in, likenowadays the female vocalists
always, or the male vocalists,you know they have clean vocals
and they scream, or it's justthey scream but like the, the
clean vocals with the heavyinstruments is a little less
(11:51):
common, in my experience atleast yeah, no, I agree
definitely that's a good point,too, because the instrumentation
is heavy, so is that somethingthat you've always wanted to do?
Jay Franze (12:03):
is that the way you've wanted to sound?
Logan Smith (12:06):
oh yeah, definitely .
Yeah, I've always loved to.
Actually like in the last fewyears, when I first got into,
when I first joined the band, Iwas getting into the heavier
side of stuff and then whatyou've always loved the heavier
stuff too, and so we just kindof fell into that and writing
that type of music.
Sara Higgins (12:25):
I feel like for like a year of writing, that was
like our.
Our goal was to get it to whereit is now and it was just
really cool seeing like from thefirst song we ever wrote to our
first EP we dropped and oh yeah, just watching it progress and
see it all come together wasreally cool, yeah yeah, this was
my first time kind of workingwith an original band, so I
never had like thought muchabout the direction that I would
(12:48):
go in with original music.
Kayla Hallman (12:51):
I was playing with cover bands because that
was the scene around here, youknow, and that's how they found
me.
On my instagram I had posted,you know, about um bands that I
like yeah, and then we stole herfrom her cover band.
Yeah, we're like, hey, wenoticed that you listen to
artists that kind of are thesound that we're going for, and
(13:11):
we heard you sing and we thinkyou'd be good, a good fit with
us, and I was like no.
And then a week later, sarahwas like no, you're doing what
about now?
And I was like all right, solike I was in another, band
later yeah, it was true it was.
She was at one of my shows andthey asked me and I was like no,
(13:33):
I'm too busy.
And then a week later she said,do you really mean it?
And I was like, all right, youknow, I'll come meet up with you
and we can talk.
And they told me they alreadyhad stuff lined up for recording
and they showed me some oftheir stuff that they had in the
works and I was like, all right, you know, can't pass up this
opportunity.
So I quit my cover band that Iwas playing with.
(13:54):
I was actually in two and theother one just kind of faded
away no pun intended but yeah, Imean, this is like I don't have
a day off now, I'm consumedwith yeah, we're all gone yeah,
thank you.
Yeah, I thought I would be offtoday and I was worked into band
(14:17):
rehearsals, so, but you knowit's all worth it.
Jay Franze (14:22):
I laugh only because when I grew up, you, you were
in a band and that was it.
You were in that one band andit seems like these days,
artists are in multiple bandsand there's something about that
, just it's.
It's cool, I don't mind it, butI still feel like there should
be loyalty, because if you canput all of your energy into one,
I think that's what makes thatone band special yeah, yeah sure
(14:46):
well, let's talk first.
Kayla, do you remember whenthey approached you?
When was that?
Kayla Hallman (14:53):
that was like around this time last year,
maybe october of last year, likelate October, november.
No, it was actually because Ihad left.
I went to Japan in October.
Yeah, it was like.
It was like the first week ofOctober.
Sara Higgins (15:09):
Yeah, yeah, yeah.
Kayla Hallman (15:10):
Yeah, I was doing a Japan and Korea trip October
into November and they were like, oh, we're going to Nashville,
Like it was the week after I gotback from Asia, and I was like,
oh my God, you guys are goingto break my bank account.
But I went, I came back fromthe 13-hour time difference and
I was home for a week and then Ipacked my stuff up and we went
(15:33):
again right on the plane.
Jay Franze (15:37):
So they drove but I was like, oh, oh yeah I'm not
doing that well, the reason Isay that is because it shows
just how young the band still is.
I mean, if if the formation wasjust a year ago, I can't get
over the the talent level forbeing so young and for only
being together for a year.
(15:57):
So where does it come from?
Kayla Hallman (16:08):
I mean, I think we all have our respective
experiences with music anddifferent genres and our
childhoods, we realized, havekind of been consumed by music
of all different types.
So we became prettywell-rounded musicians on our
own.
So we became prettywell-rounded musicians on our
own, yeah.
And then to meet up and likebond over having the same
musical interests, like themusic that we listen to and and
(16:29):
just like the stuff that wewanted to create, like the
things that that the riffs thatlogan came up with and and both
of us like, oh, that actuallysounds good.
Logan Smith (16:37):
Like yeah, sarah, and I've been doing this for 10
plus years yeah and we were bothpart of another rock school
called the let there be rockschool and we were in a in the
boat in the band programtogether there and we were
writing an original song in theprogram in the band and sarah
(16:58):
was starting her own projectoutside of the school and then
she asked me if I wanted to joinbecause I was in her band at
the school writing originalmusic.
So she was like, do you want todo this on our own?
And then I was like, okay, yeahsure, we just kind of clicked
and then just took off fromthere yeah, I mean, I've been
playing drum since I was 5, 18now, so it's been a while.
Sara Higgins (17:22):
I've just always loved it.
And I remember my parents wouldask me they're like do you want
to do anything else?
Like, do you want to try this?
And I was like no, like I justwant to go to my music lessons,
I want to do band.
I was like I would literallylive at this music school.
I'd be here five days a week,week.
And then when it started comingtime about, like, talking about
(17:42):
like when I get older, andthey're like do you want to do
this or do you want it?
And I was like no, like,music's it, this is it.
And they're like all right,that's it, that's easy.
And I was like, yep, this isgonna be my career and I always
knew it was this or nothing.
So yeah right.
Kayla Hallman (17:55):
I feel like Sarah and Logan are also such good
friends that if Logan ever comesup with something that sounds
bad, Sarah is like.
Logan Smith (18:02):
She'll tell me if it sucks or not.
She does not hold back.
She does not hold back.
Kayla Hallman (18:07):
Let's just say that.
Jay Franze (18:09):
Kayla, is that why you're sad and always get left
out?
Kayla Hallman (18:13):
Yeah, no, actually.
Well, I'll be sitting there andI'm ready to comment.
I'm ready to say Logan, thatwas really good, and Sarah's
just like Logan.
I can't believe that you'reeven playing this to us right
now, like this is the worstthing I've ever heard of you.
No, I'm just kidding.
Sara Higgins (18:25):
Well, I mean I'm sure she would Sometimes.
Yeah.
Kayla Hallman (18:27):
Yeah, but Logan never makes anything bad.
Logan Smith (18:29):
I appreciate the honesty, though I don't like it.
Just tell me Right.
Jay Franze (18:40):
Well, with that said , I mean you're all in some form
of a musical school.
I'm sure those schools have abass player.
So, what has happened with theworld of bass?
Kayla Hallman (18:48):
We should have told you not to bring this up,
Jay.
Sara Higgins (18:54):
We have had a lot of band changes and band members
and when we got Kayla, we werealways planning to have a bass
player.
We we were planning to have oneto go down to Nashville with
and it just kind of was like itkind of went to the back of our
minds as we were getting readyand we went to Nashville and the
three of us just clicked sowell, and we're like why ruin
(19:19):
something that's good?
And not saying that like we'llnever get a bass flyer, but it's
like, like it's working, so whyfix something that's not?
Jay Franze (19:26):
for all bass players out there.
I don't know if they mean itthe way it sounds no, no, no,
I'm a bass player.
Sara Higgins (19:32):
I play bass, so I track all the bass on our tracks
and when we play live, we useobviously bass tracks and
they're me playing.
So, yeah, I'm a bass player.
Kayla Hallman (19:43):
I'm not coming at anyone.
We can't clone sarah,unfortunately, so we have to
take advantage of technology.
Yeah, so sarah is, yeah, notyet.
Sarah is our bass player at theend of the day, yep, she's just
.
She can't be in two places atonce, so we prioritize her on
the drums.
Jay Franze (20:00):
Yeah, that's pretty cool.
So so that means you play to aclick track.
Yep, which is impressive, youknow most bands don't like
playing to a click track,especially when they're playing
live.
So the fact that you're playingto a click track.
How are you triggering the bassparts?
Sara Higgins (20:15):
We have a whole Behringer with a splitter, and
then we actually have this.
Instead of having a laptop forall these tracks, we have this
little box.
It's called a BB and it'sfairly new, but it's really
great.
Logan Smith (20:31):
It's basically it's like a laptop in a little box.
Yeah, it's like a laptop butiPad size, but it's not like
touchscreen it's designated justfor tracks, so it's more of
like stable it.
Sara Higgins (20:39):
Yeah, it won't crash.
We run our backing tracksthrough that, the click and our
bass.
Jay Franze (20:46):
So you mentioned a couple times that you were in
Nashville.
You also mentioned the producer, so who was the producer?
Sara Higgins (20:53):
His name's Kyle O'Dell and we recorded with him
last year.
We're going back in a week anda half to record again with him.
Logan Smith (21:01):
Yeah.
Kayla Hallman (21:03):
It's barely not even a week and a half.
We leave up next Wednesday.
Yeah so yeah, down at SiennaStudios.
Jay Franze (21:11):
Sienna Studios.
Kayla Hallman (21:11):
Shout out Kile with an I.
Jay Franze (21:15):
That's just wrong, Kile.
Sara Higgins (21:16):
Yeah, I know, I know.
Kayla Hallman (21:18):
We tried telling him, but it was wrong enough to
be named Kile, and then we hadto stylize it like that you had
to be different.
Poor Kile.
Jay Franze (21:26):
You guys are brutal aren't you.
Kayla Hallman (21:28):
Yeah.
Kayla, I'm starting to see whythey keep you in a different
room.
Yeah, I'm actually in my.
They've locked me in.
I'm downstairs in the basement.
Jay Franze (21:37):
Yeah, I noticed the walls are padded.
I get it, it makes sense.
Kayla Hallman (21:40):
Yeah, yeah.
Jay Franze (21:43):
So when you first went in the studio last year,
what songs did you track?
Logan Smith (21:49):
We were there for 10 days right.
Sara Higgins (21:53):
We did all five songs down there we did all five
songs off our EP.
Yeah, we came down with allfour of them and obviously,
obviously we like changed someinstrumentals.
A lot of the melody stayed thesame but changed a little bit.
Logan Smith (22:06):
Yeah.
Sara Higgins (22:07):
And then it was really cool.
We did one co-write with him,so we literally wrote a song in
a day with him and that was hersong called Still Alive.
So it was really fun being ableto write with someone else and
bounce ideas off of each other,and it just a really fun
experience and we're going to dothat again this year.
Jay Franze (22:22):
So yeah, so you mentioned you co-wrote the song
with him, so that means he issome form of a musician himself
yes so did he take a hands-onapproach to the recording
process oh yeah oh yeah, he wasdefinitely more hands-on with it
.
Logan Smith (22:39):
Yeah, that's what he's talking about.
Kayla Hallman (22:41):
He's got he.
He was in.
Oh god, I I can't remember thename of the band that he was
that I feel so bad fail, failureanthem.
I think there's another onelike that, okay well you're
fired I know he's gonna like dmme after this and be like you
suck um.
But yeah, no, he was, uh, he'sdefinitely like a feedback kind
(23:03):
of guy, more than a like for thefor the song that we did, still
alive in the studio.
Right, it was kind of like, allright, logan had this idea for
the song, so from that we pulleda chord progression and then he
played it over on loop and waslike all right, kayla, what
melody do you hear?
and I sing what I hear, and he'slike I was hearing that too I'm
thinking maybe this note goesup there, though how would you
(23:26):
feel if, like, instead of thisrun, it was this run and it was
nice to have that like, becausehe has a lot of experience, like
with just working with, like somany other artists like to name
?
I don't even know, he workedwith motionless and white.
He did catch nothing more needa straw yeah, need a straws.
(23:47):
He like he.
I said he was working withlizzie hale.
He did daughtry, I think he wassaying I don't even know, but
he's got a lot of background,especially in the genre that
we're in sure, sure.
So he was able to kind of gearus towards trends and, like you
know, structure, stuff thatmakes sense.
Jay Franze (24:04):
Yeah, let's take that a step deeper.
I mean, the song starts off,it's got a build to it, but it
also has this effect in thebackground.
Is that effect?
Was that something he came upwith, or was it something you
guys came up with?
Sara Higgins (24:21):
Well, we came up with with like the first
question he asked us.
He's like all right, what do wewant to write a song about?
And we all looked at each otherand we're like huh, and I don't
even know why we said this, butwe're getting like a vibe from
our other songs that it was likeapocalyptic and should be in
like call of duty.
Yeah, so we wrote the songabout running from zombies and
being in a zombie apocalypse, sokind of just very mysterious
(24:45):
and yeah, yeah.
Kayla Hallman (24:46):
From that we were like what ominous sounds can
you pull out of the samples thatyou have?
Yeah, like, a lot.
Logan Smith (24:51):
A lot of the samples and the extra stuff in
the song is mainly by him.
A lot of the f?
Fx and production stuff isthrough him, but the meat and
potatoes of the song is us.
Kayla Hallman (25:03):
The meat and potatoes man.
Logan Smith (25:05):
Yeah.
Kayla Hallman (25:07):
So a fun fact about the recording was that I
was only available to be therefor like the first I think.
I was only there for five daysand they were there.
We had scheduled studio timefor 10 days but since it was so
last minute and it wasThanksgiving week for me, I
couldn't be there.
So we kind of had to rush, Notrush, but like we had to do the
(25:28):
vocals before any of like theinstrumentals had been finalized
.
So the only song that weactually I recorded my vocals to
the finalized version of thesong was Faded.
All the other ones I prettymuch just had a chord
progression to sing to.
So like with Still Aliveespecially, and all the other
songs, I wasn't really there forthat editing process.
(25:51):
I was kind of just like gettingupdates as I was at home and
they're sending me like an audiomessage at 4 pm and I'm like,
oh my God, what does it soundlike?
But it was so cool to see itcome together and like Kile
really helped bulk up the songsand fill in like spaces, just to
kind of make it feel complete,and he did a really good job
with everything.
(26:11):
We're really excited to go downnext week and see what he does
and how he helps us build oursongs.
Jay Franze (26:18):
I like the imagery.
I mean, if they're the meat andpotatoes, then you're the gravy
, and this happened atThanksgiving.
Kayla Hallman (26:24):
It makes perfect sense.
Yeah, yeah, kile's the stuffing.
Logan Smith (26:29):
There you go.
Jay Franze (26:33):
F***, alright, back on track, let's see Miss Sarah,
drum fills coming out of thesolo.
Sara Higgins (26:48):
Was all that your plan or was there any guidance
going into that?
Yeah, coming out of the solowas always a plan.
One of my favorite fills that Iplay was it's definitely in
Bitter how the drums come in andback into the verses.
I just really like how it isand it's a linear kind of fill
and um, that was more of a Kylething.
(27:08):
I was just kind of I told himhow well, sorry, this he's like
what do you want for your, whatare you picturing for the verse?
And I was like I want this likereally weird offbeat pattern
and I was kind of playing it forhim.
And then we kind of built theintro fill together, which is
cool seeing that come to life.
But the one out of the solo Ikind of always envisioned that
(27:30):
and just wanted it to end big.
But being able to build theother one with him was cool and
just seeing, like, what otherpeople picture and what they
hear.
Jay Franze (27:39):
Well, Bitter kind of has that buildup to it as well,
but instead of having effectsit was more of an airy feel to
it.
It kind of.
Logan Smith (27:47):
has this airiness to it?
Yeah, something moreatmospheric.
Jay Franze (27:50):
Yeah, absolutely.
So how do you approach thatwhen it comes to guitar?
Logan Smith (27:56):
I don't know.
Well, at least with Still Alive, most of the guitar parts in
that song.
I brought already with me A lotof the stuff like the
atmospheric stuff and stuffbehind it we do there and, like
I said, he kind of just throwsin there.
Sara Higgins (28:15):
Logan stumps.
Kayla Hallman (28:16):
I'll tell you what really happens.
Logan sits there and he noodleson his guitar for hours.
Logan Smith (28:21):
Yeah, yeah.
Kayla Hallman (28:22):
And me and Sarah and Kyle get so bored we decide
to get up and walk together toDunkin' Donuts and we go get
Dunkin' and we come back fourhours later.
This is a true story.
This is so true.
He's just like I can't get itright and we're like, all right,
well, we're going to leave.
And when it right, and we'relike, all right, well, we're
(28:46):
gonna leave, and when we comeback, you have to have.
Yeah, and then we have all ofour iced coffees and we drink
them, and then he has untilwe're finished our iced coffees,
to reveal to us his new riff.
Um, that's how it happens.
Yeah, it's probably just abunch of like messing around and
like accidents that happen.
And then you find out, oh wait,that kind of sounds good.
Logan Smith (28:57):
And then you play up yeah, like an orange haze, an
orange haze in the the, theriff in in the bridge, like the
breakdown area like a yeah, likea lot of like.
Sara Higgins (29:08):
That entire riff kind of was just like me
noodling and just like some likecool accidents I remember we
were literally sitting in thestudio and it was like an hour
and a half at this point and hewas trying to hour and a half at
this point and he was trying tofind like the last two notes of
this part and me and Kale wereso bored and we were like
literally screaming at him.
Logan Smith (29:28):
He was telling me.
He was like because I didn'twant the first half of the riff
to be the same as the secondhalf, and he was like why don't
you just repeat what the firsthalf of the riff is?
I was like I't you just repeatwhat, like, the first half the
riff is?
I was like I can't do that.
I have to be complicated.
Like I told him, I was like Ineed to write a riff that nobody
else can play oh my gosh, he'ssuch a diva.
Kayla Hallman (29:49):
And then, you know, we're on hour like six in
this tiny little box of a room,like I seriously like kyle's
little studio was smaller thanmy my bedroom, but it was.
It's like we're in thereplaying the same song over and
over and over again and it'sthis one lick that's like four
seconds long on repeat and Iwould go back to our airbnb for
(30:10):
the night and I'd have likenight terrors because I'm just
waking up at 3 am hearing thisyou're just hearing my legs in
my head, yeah like all right, sokyle is also engineering this
project yep okay, let's take thesong faded because it has a
vocal effect to it.
Jay Franze (30:30):
So, kayla, we all know you dropped the vocals and
ran out of town.
So does that mean kyle, with aneye, came up with the vocal
effect?
Kayla Hallman (30:39):
um, yeah, so I I didn't like if, if I'm being
honest and frank here, I Ididn't write that song, you know
, I didn't really like.
I contribute a little bit to Ithink I don't know about faded,
but some of the other songs,just like changing the melody
and uh, so when I kind of whenwe got to the studio, there was
not really a vision that I had,because I feel like when you're
(31:04):
writing the song you have avision for it, you feel the vibe
, you feel the lyrics, becausethey're all coming from you.
So I felt kind of like a littlemore out of place when it came
to expanding on what the vocalswould be.
But Sarah, I think, wrote mostof the lyrics for that and Logan
wrote the melody for that.
Sara Higgins (31:23):
I actually wrote the melody oh, okay, all right.
Logan Smith (31:25):
Okay, sorry.
Jay Franze (31:28):
We've switched diva seats, yeah, right.
Kayla Hallman (31:31):
If I was going to obviously leave a song that I'm
like dipping, like it's in safehands with the people who wrote
it.
So if they wanted it to soundany type of way, that's their
baby.
And they saw the vision whenthey were writing the song.
They knew in their core whatthey wanted to sound like, how
they wanted to expand it.
So, you know, I let them havethat.
And then Kyle kind of probablyI mean I'm assuming because I
(31:55):
can't read his mind but I'm surehe added some trends to what he
thought happened in the genreEspecially the first verse of
Faded.
Sara Higgins (32:03):
It's definitely darker and it starts off with
literally the lyrics.
It's like this pain consumes.
So having it like buried in thetrack and a little staticky, I
feel like it just helps bringthe chorus like jump out at you
more and really come to life andit kind of just like I feel
like adds more emotion whenyou're listening to the song and
(32:24):
can really help you connectwith the lyrics kayla, what did
you think the first time youheard it?
Kayla Hallman (32:31):
well, it was the first time that I've ever had
any kind of effect on my voice,the first time I've ever been
recorded and put on a recording.
So I was like kind of what theheck is that?
Cause I've only ever heard mylive vocals, you know.
So to hear a studio version, acrisp like clean sound, was very
like oh, who is that?
Yeah, but yeah, I mean it wascool.
(32:54):
I honestly think it was like itmade everything feel a little
bit more legit.
I was like, oh my God, I'm likea professional.
Jay Franze (33:06):
And the diva moves on.
Kayla Hallman (33:09):
And then my head is getting so big that I'm
probably going to take off thescreen now.
But yeah, I mean I do stilllove like that raw, that raw
effect too.
I do still love that raw effectto my voice, like I prefer a,
like a vocal that doesn't feeloverdone, like I love to hear
emotion and pain or whatever itis in my voice on recordings and
(33:35):
I I let Kyle know that and Ithink he did a pretty good job
kind of adjusting to let thatemotion come through and I was
very happy with the songs forsure.
Jay Franze (33:49):
Well, sarah Logan, when it comes to your
instrumentation, when you hearit on a recording, especially
when it's finished, it soundsbigger, it sounds thicker, it
sounds thicker.
It sounds a lot more than whatyou're used to hearing.
So I can understand.
When you guys hear the finishedproduct, you're probably super
impressed.
But, kayla, for you to hearyour vocal on a recording when
(34:09):
you're just used to hearing itin your head, did you like the
way your voice sounded?
Kayla Hallman (34:15):
I think so.
I I don't know if it was justthe microphone that kyle had,
but he picked up the low end ofmy voice really really well and
even in the studio, like I couldtell the difference just having
the headphones on, like the I Idon't know if it was just like
nice reverb it kind of helped meas a singer just better
(34:36):
understand like placement andwhere I wanted my voice to be
placed when I sing.
I honestly think it made mebetter as a singer, just better
understand like placement andwhere I wanted my voice to be
placed when I sing.
I honestly think it made mebetter as a live vocalist too,
just because I could feel what Iwanted it to sound like and I
could understand the differencebetween that and what it did
sound like, if that makes sense.
Um, so yeah, it was jarring,but it was honestly really cool
(34:56):
to see that it was like oh ohkind of kind of thing.
You know.
Jay Franze (35:01):
I know a lot of people don't like the sound of
their voice.
Um, do you happen to rememberwhat microphone it was?
Kayla Hallman (35:08):
No, but I'm going to find out.
Jay Franze (35:09):
You're fired.
Logan Smith (35:11):
We'll let you know next week.
Jay Franze (35:12):
Yeah, I know about it until later.
Yeah, I know next week.
So, logan, sir, when it came toguitars, what was your
equipment and what was added toit after the fact?
Logan Smith (35:25):
so I'll start with the.
The guitar that I used was Iactually brought down one of my
guitars, which is a jacksonsoloist, and I ended up not
using it because he had a guitarwith an Evertune bridge on it.
If anybody's ever heard of that, it's a certain bridge design
(35:46):
on it which doesn't make yourguitar go out of tune.
I'm not going to nerd into ittoo much, but, um, it just makes
your guitar sound tighter onit's.
It's more of a recording toolprofessional yeah, it's more for
recording, yeah, andconsistency, so I ended up using
that.
And as for the amps and pluginswe used, it was all digital, so
(36:08):
we used on um neural dspplugins they're called and, yeah
, we used all of them, for allthe weird synth and guitar tones
are all on his computer.
Jay Franze (36:21):
So no microphone in front of an amp at all.
Logan Smith (36:24):
No, Actually, I think I talked to him recently
and he's actually I don't thinkhe's using them as much anymore.
I asked him.
I think we're actually usingreal amps this time, which is
actually really exciting.
Sara Higgins (36:39):
Yeah, I'm actually really excited we'll get back
to you next week.
Logan Smith (36:41):
Yeah, we'll let you know next week, but uh, yeah,
I'm really excited for that allright, miss Sarah, when it came
to your drums.
Jay Franze (36:50):
Was there anything special that happened in the
recording process?
Sara Higgins (36:54):
actually.
So when I got down to thestudio I thought the plan was to
record drums down there, butthen there's a whole mishap and
apparently there's a wholeanother drum room to book out
for that, and it didn't work out.
So I had to record drums when Igot back to Philly.
So I recorded about a weekafter with the guy down here,
(37:18):
and I wouldn't say too much.
I played all the parts.
We did five songs in a day,which was a lot, but it was a
lot of fun.
And it was interesting though,because I had an idea what my
drum parts were going to begoing down.
But we definitely changed someparts.
We changed whole bridges ofsongs, so I had a week to kind
(37:39):
of re-learn the parts that Iwrote, which was a little
stressful, yeah.
And then the guy who I recordedwith sent them all back down to
kyle and he mixed everythingwere there any samples used?
Logan Smith (37:51):
um, yeah, and some of our bridges like in, faded,
like the verse, like the firstverse, I don't there's there's
actually no drums.
It's just just like trap beats,I guess.
Sara Higgins (38:01):
And then in Orange Haze, in the bridge of that
song there's like drums playingbehind it and that's kind of
like a trap beat and moredigital.
But all the rest of the partsare me.
Jay Franze (38:10):
It's got heavy drum fills as well.
Sara Higgins (38:12):
Yeah, it's really cool seeing like how my drums
and then also like being able toinclude trap beats and digital
drums and just hearing the blendof it all.
It's just a cool mix of things.
Jay Franze (38:24):
All right.
So what was the biggesttakeaway from being in the
studio?
Logan Smith (38:30):
Hmm, oh geez, I learned so much.
Sara Higgins (38:34):
About writing songs.
Logan Smith (38:35):
Yeah, even so much about writing songs.
Yeah, even like we're goingdown this time a lot more
prepared than last time.
Last time we didn't, we wentdown.
All we had was like 30 secondto a minute voice recordings on
our phones of like of parts ofour songs.
That were.
Yeah, they were all in differentparts, yeah and also we didn't
(38:56):
really know, going down likewhat to expect, because this is
like the first time that we'veever really.
I mean, we're going toNashville and like a
professional recording studio,uh, you know, but we've never
done something like that.
Sara Higgins (39:07):
But now, since we know like what's going on, like
who we're working with, andwe're going down with like
actual demos, now I feel likewe're a lot more comfortable
this time even like right afterwe got back from Nashville last
year, pretty much like the monthafter we started writing our
new material, because we reallywanted to go down again this
(39:28):
November now.
So we had to get started and wewanted to write four to five
songs.
So even going about like ourwriting process, we just learned
so much from being in thestudio.
Like we're going to start withyour song and starting with our
choruses, and if you can't hithard in a song within like 30
seconds and have a strong chorus, then it's like nobody's going
(39:50):
to want to listen.
So just being able to like, Iguess, learn how to write like a
really powerful song and moreof what like draws the crowd in
and makes you want to listenmore to it.
So definitely like writing was alot easier going around this
time.
Like I remember our songs werecorded last year.
We would spend like months onthem and some people spend years
(40:14):
, so that's okay, but even likeup with parts, it was a lot
easier.
Writing lyrics is a really coolthing because I think a lot of
singers or someone in the bandwrites all the lyrics by
themselves, but we all writethem together and it's really
cool being able to bounce ideasoff of each other for that and I
think it's just I like how wewrite together and really bounce
(40:35):
ideas off each other.
Yeah.
Kayla Hallman (40:37):
I think like we definitely learned a lot about
songwriting me particularly alsolike we had only really known
each other for a month or two,all like I really only knew them
for a month or two.
So yeah all the songs prettymuch that we came with, they
were already written by by thesetwo here.
You know they already had theirvision for them.
So I was kind of just on thoseI felt like a little bit of a
(40:59):
helper, you know, a littleassistant, to kind of build the
song and make it, you know.
But when it came down to stillalive and writing that, like
that was obviously our firsttime writing together.
It was my first time writinglyrics and a melody for us for
an actual song and it was reallycool to see how all our brains
kind of meshed and the ideas wecame up with and, um, it was
(41:22):
just like a learning experience.
You definitely gain a lot ofknowledge about like song
structure and like what peoplewant to hear.
And as a vocalist, you knowsomebody who I've only done live
performances for the past youknow 10 plus years.
So I've always been taught tofocus on the performance more
(41:44):
than the intonation and like theemotion that you put behind
your voice.
So when it came down to it andyou know it was just me in that
box with my headphones on andthe microphone in front of me,
like it it got really particularwith like how you end a phrase,
like how long you hold the noteout, if you do a little vibrato
on the end or if you don't.
(42:05):
How if one word had a littlemore emotion than the other, or
if you know I said it tooangrily when I should have sang
it a little more sad.
You know, like it just kind ofmade me pick up on a lot more of
those intricacies and the finetunings of the process that like
a song and that lyrics were,and I feel like it made me feel
(42:27):
a lot more like a musician to bein the studio.
Jay Franze (42:31):
So what do you anticipate being different this
time for you?
Kayla Hallman (42:42):
different this time for you.
Well, I'm surprised that rightaway at first producer, you know
, was very lucky for us.
And now that we have a bondwith him and he understands like
the vibe that we're going forand what we want and how, with
all of these recordings that wegot back each time, you know,
logan to say, hey, like myguitar in this part, you know, I
wish it was a little more thistone.
Or me with my vocals like Idon't really like that effect, I
(43:02):
want more of a, you know, anatural effect there.
And sarah with her cymbals like, oh, I want my cymbal higher
there.
You know, now he knows thatthat's how we want our songs
done, that that's the sound thatwe want, that that's what we'll
be happy.
I feel like now we go in and wehave better versions of the
songs that we want and I feellike he's going to be able to
(43:25):
help us so much easier likebring those to life.
And now that we are likefriends and on the same
wavelength, I guess he's goingto DM me after this and be like
we're not friends.
Kayla, yeah.
Not after this and be like we'renot friends, kayla, why yeah?
Not after this, not yeah?
Jay Franze (43:40):
right, what were the biggest challenges that you
guys faced when you were downthere?
Kayla Hallman (43:44):
hmm, logan's 21st birthday yeah, just kidding.
Logan Smith (43:53):
Um, I I said, well, I'll say maybe like getting
into the groove of it, but itwas pretty easy actually.
Kayla Hallman (43:59):
It was actually pretty easy to work with Maybe
having to do the vocals first.
Sara Higgins (44:05):
Yeah, that's true.
Logan Smith (44:08):
Yeah, because Kayla had to leave halfway through.
So when we first got down therewe were doing it.
Jay Franze (44:13):
It's that diva thing , yeah, I know.
Logan Smith (44:15):
So when we first got down there, we were doing it
the way that Kyle usually doingit.
It's that diva thing.
Yeah, I know.
So when we first got down there, we were doing it the way that
Kyle usually does it.
Then we told him that hey,Kayla's only going to be here
for half the time.
Sara Higgins (44:24):
So he thought he knew originally, but he did not.
Yeah.
Logan Smith (44:27):
Yeah, so he didn't know that.
He's like oh well, we're goingto have to change the way that
we do things a little bit, likestart with melodies really kind
of first, and do vocals over topof like just chords and, like
you know, like a standard drumbeat.
Sara Higgins (44:44):
It's literally like a metronome playing and
like piano chords we're like allright.
Kayla go for it.
Kayla Hallman (44:51):
It was a backwards method, for sure.
Jay Franze (44:53):
Well, Kayla, that's going to be a challenge right
there.
Right, I mean, how do you knowhow powerful to be without the
music behind you?
Kayla Hallman (45:01):
yeah, it was, it was.
It was rough.
We definitely had to discuss thevibe of the song before I went
in there we had to look at thelyrics and be like, look, this
is what you're talking about,it's going to be big here, like,
make sure that you are angrythere, make sure that you're
really you're in your lower endfor that.
And and it really comes intoplay like, a lot of the times,
(45:21):
like I'll get a little technicalhere and say a lot of times I
have to sing with my, with likemy mixed voice in order live, to
hit notes easier because I'mmoving around.
But when I'm recording likethere's a lot of things that
make more sense to use yourchest voice so that they sound a
lot more powerful and heavy,and you get, like you know, a
certain undertone to that.
So there, I mean, there weretimes where I would sing like a
(45:43):
line and be like, uh, you know Ididn't like the way that I sang
, that it felt weak.
Um, let me try it a differentway.
And it was hard to like justplayed a soft little piano
sounds when I knew that this wasgoing to be a big song and I
also think that that's probablygoing to be a good thing coming
into this, you know, this nextweek in Nashville like, well,
(46:04):
ideally, have the song finishedand then I'll record the vocals
for it and I'll be really ableto hone in on that like emotion
and how it's how it should be.
But I mean, it was a challengebut we got through it and I
think it sounds pretty good.
Jay Franze (46:20):
So I might be biased .
I might be biased, but what doyou guys hope that people take
away from it?
Sara Higgins (46:29):
I just our songs, like even playing them live, we
just love.
Actually, the other day weposted our song still alive and
we posted something on tiktokand this one lady she reposted
our song and she was likeexplaining how she was in an
abusive relationship and howthis song has helped her so much
(46:49):
and how she just really canrelate to it.
And it's just so interestingbecause again, we wrote the song
about running from zombies buthow people can interpret it in
so many different ways andseeing it help people and seeing
people sing along to it at ourshows and just telling us how
much they love the song and howit's helped them, and it's just
a cool feeling seeing all thathappen yeah, absolutely.
Kayla Hallman (47:11):
I would say interpretation, like other
people interpreting our songs,however they.
You know that I.
I love that mindset, like thattakeaway, that a song can mean
anything you know, like it couldbe about drugs, but it could
also just be about like you'regoing through a breakup or
something and as long as oursongs reach an audience that
they can, they can understand itin a way that's relatable,
(47:34):
that's universal.
Like I, you know, that's allthat I could really ask for with
my music is to connect withsomeone.
Logan Smith (47:41):
However, they need to connect with it yeah, like
it's super awesome that somebodywould be could be listening to
our like I could see somebodylistening to still alive,
playing call of duty, killingzombies, but also like that lady
was like it really helped herout, so it could really go both
ways.
Jay Franze (47:59):
I can only imagine that would be something that
would make you feel good,knowing that your music is
something that you sat down inyour bedroom and wrote and now
it's touching somebody's lifelike that.
It's kind of funny.
Kayla Hallman (48:10):
I mean, that's why I listen to music.
You know, I like to know, Ilike to relate to people and I
like to know that I'm not alonein a feeling that I have and
hearing somebody express thatthrough lyrics and music, that
they also have felt the same wayas me.
Like you know, that it'svalidating and it's nice to know
that that so many people listento that and relate to that, and
(48:31):
we're all just human at the endof the day.
You know, there you go, yep.
Jay Franze (48:36):
All right at the end of the day.
There you go.
Yep, all right.
Well, we do this thing here wecall Unsung Heroes, where we
take a moment to shine the lighton somebody who works behind
the scenes or somebody who mayhave supported you along the way
.
Do you have anybody you'd liketo shine a little light on?
Sara Higgins (48:48):
Mine would definitely be my parents.
My mom was like the wholereason I got into drum.
She used to play drums a littlebit and we had a drum kit at
our house when I was little andI would go in and I would just
bang on the drums and then oneday she asked me if I wanted to
take drum lessons.
And it's stuck ever since andmy dad is a huge help,
(49:11):
especially with all thetechnical stuff and just being
able to help us wire everythingand at shows I'm setting up my
drums.
He's setting up all his guitarstuff, so he's just such a big
help getting everything set upand we wouldn't be where we were
without all of his help.
So I really appreciate them.
Jay Franze (49:30):
Logan, how about you ?
Logan Smith (49:32):
Definitely a shout out to my parents Because, like
I said, I grew up on music andplaying Guitar Hero as a kid and
my parents saw a thing in thenewspaper saying that there's a
new music school that opened updown the street and if I wanted
to try the real thing, I waslike, OK, sign me up.
And so I started playing guitarand playing in the band program
(49:55):
there and playing in the bandprogram there, and then 10 years
later I joined this band andit's the real deal now.
So it's pretty crazy seeingfrom where I started playing
Guitar Hero in my bedroom to thebig stage.
Jay Franze (50:10):
Which is harder, Guitar Hero or the real thing?
Logan Smith (50:14):
No.
I'll be honest, probably GuitarHero on the max difficulty is
pretty challenging like I.
I don't, I can't like throughthe fire and the flames max
difficulty, I can't do that Iwas thinking of that exact song.
Yeah, it's like I can play thethe real thing not perfect but
like I can't even get it closeto 100 on on the game.
Jay Franze (50:37):
Kayla, you have anybody you'd like to shine a
little light on.
Kayla Hallman (50:40):
I mean, I could definitely say my mom, just like
these two, who you know, sheobviously was a music teacher.
She taught me everything I knowabout vocals and performing and
being a superstar.
But you know, I'll also shoutout my lovely boyfriend, who
comes to all of our shows and Iknow that even if I wasn't
dating him he would be at all ofour shows and he knows all the
(51:03):
words.
He knew all the words beforeall the songs were even released
and he even got to produce oneof our little songs, one of our
little tracks, our interlude onour EP breathe, the track titled
abyss.
So he, he got to mix that forus and put it together out of
his own volition in the firstplace.
You know, nobody really askedhim at first and he kind of just
(51:24):
went with it.
Jay Franze (51:26):
But you know he's just, and what is Lovely,
boyfriend's name.
Kayla Hallman (51:29):
This is Pablo.
Jay Franze (51:31):
Pablo.
We love Pablo.
Pablo, the Lovely Boyfriend.
Kayla Hallman (51:33):
Pablo, the Lovely Boyfriend.
Yes, he's great.
He's very supportive, he'salways there and even when he's
got to rush from work to be atthe show, you know he's there.
He's also Logan's boyfriend andhe's the band boyfriend.
Jay Franze (51:50):
We've taken a left here, but oh my.
Why not A big thanks to Kayla,Sarah and Logan for taking the
time to share their stories withus and, as always, thank you
for taking the time to hang withme here.
I really do appreciate it.
If you know anyone that wouldenjoy this episode, please be
(52:10):
sure to share it.
You can do that and find thelinks to everything mentioned
over at jayfranze.
com/ episode 101.
Thanks again for listening andI'll see you next week.
Tony Scott (52:24):
Thanks for listening to The Jay Franze Show.
Make sure you visit us atjayfranze.
com Follow, connect and sayhello, Bye.
Welcome to The Jay Franze Show, a
behind-the-curtain look at theentertainment industry, with
insights you can't pay for andstories you've never heard.
Now here's your host, JayFranze.
Jay Franze (00:33):
Well, hello, hello, hello and welcome to the show.
I am Jay Franze and this isyour Backstage Pass to the Music
Industry.
This week we get to talk with ahard rock band out of
Pennsylvania.
We get to talk with Kayla, Saraand Logan.
We get to talk with Twisted.
We'll talk to them about whatthe music scene in PA is like,
(00:54):
how their band came together,and we'll discuss their
production process.
Now, if you've listened to thisshow for any amount of time,
you know that I worked inNashville recording country
music.
However, I'm from Boston and Iwas brought up on rock music.
And these guys, they truly dorock and I can't wait to talk
with them tonight.
So if you'd like to join in,comment or fire off any
(01:15):
questions, please head over tojayfranze.
com.
Now let's get started.
Tell me about the music scenein PA.
What's that like?
Sara Higgins (01:28):
It's pretty good.
There's a lot of cover bands Ifeel like that's everywhere but
I feel like especially in thePhilly area and a lot of the
bars down here, so that's alittle hard sometimes to get
shows, but we're alwayssurrounded by music.
Kayla Hallman (01:44):
You can always go and see a concert or local
music, which is very great yeah,there's always shows going on
yeah, yeah, I feel likesometimes you have to travel a
little out of state into youknow the borders of jersey and
delaware, just to kind of findour people.
I guess you know our our genre,but the music scene in general
is actually surprisingly not nothard to come by.
Logan Smith (02:08):
I guess is what I'm trying to say yeah, I feel like
it's pretty good inphiladelphia area, uh-huh all
right.
Jay Franze (02:14):
So you guys mentioned it's typically cover
bands in the area.
What's it like being a anoriginal band?
Sara Higgins (02:20):
it's definitely um , a little tricky to get on
shows, I would say down here,because obviously they want the
bands that are going to bring ina big crowd and a big draw for
money for the bars, which isvery understandable.
So it's definitely hard whenyou have a fairly newer band
saying they want to playoriginal music and finding
(02:41):
places that will have faith inyou to bring people and give you
a chance to play.
But there's ones that do andwhen they do it's great and it's
always a fun show and we'revery thankful for the bars that
do and accept us in there.
Logan Smith (02:54):
Yeah, it's definitely turning some heads
sometimes because people arelike, oh, I don't know this song
, and then we start playing like, oh, this is all original music
.
Kayla Hallman (03:02):
Mm, hmm, music.
I think the venues can be alittle hard to come by, just
because yeah they're still.
They're still evolving and, um,there's a lot of smaller spots
that are available, but thenagain, you know they're not
meant for big showcases withoriginal bands, so it can be a
little difficult.
We find ourselves kind of onmixed bills a good amount of
time with other cover bands, andsometimes we're with original
(03:23):
bands and sometimes people bands, so it can be a little
difficult.
We find ourselves kind of onmixed bills a good amount of
time with other cover bands andsometimes we're with original
bands and sometimes people onlyhave two of their originals and
the rest are covers or there'sthere's a nice balance that you
have to find around heresometimes.
Jay Franze (03:36):
Yeah, definitely when you guys play with cover
bands, do you feel like you'reaccepted?
Logan Smith (03:42):
yeah, I think we do , because even like in our live
set, most of our set isoriginals.
But we have like a cover mashupthat we do and we play a full
song cover in there that, likeeverybody would know.
So we fit in with the rest ofthe bands playing.
But a lot of the other bands dohave like a couple of originals
that they throw in as well.
So it kind of all evens out.
Sara Higgins (04:07):
Where'd the name come from?
It actually came from, do youknow?
Obviously you'll know um theband corn, oh yeah and their
song twist and we would alwaysjoke around with it and we like
love that song and it was justkind of a spin-off of that.
Yeah, yeah, that's, that's allof it and what about the logo?
Actually my dad helped designour logo yeah, previously we had
(04:31):
a different logo uh-huh I don'tthink it's on our.
Logan Smith (04:35):
I don't think anybody's gonna really see it.
Sara Higgins (04:36):
I thought you were gonna say previously we had a
different dad oh god yeah, welove steve higgins, never
replaced yeah, but our, ourfirst logo was definitely more
um, I wouldn't say like youdon't look at it and it screams
like we're a hard rock band.
So we just kind of wanted moreof an aggressive logo.
I just messed around withdifferent drawings and adapting
(04:59):
it and it's just kind of whatcame of it and our other logo.
We always had like the twist,the it as part of the logo, so
we kind of liked how that looks,so wanted to incorporate that.
Kayla Hallman (05:10):
So it's kind of just like one logo, but it has
our whole name, yeah yeah,sometimes the old logo was hard
to differentiate, like it justlooked like our band name was
Twist, because people didn'treally pick up on the fact that
like we had the I in twist andthe last t in twist were like
different colors, so it was likewithin.
(05:31):
But now I feel like we have abetter kind of yeah it's hard
because every time I say thename live, I have to emphasize
that it is two words.
So because everybody thinksit's twisted.
But I even thought it wastwisted when I joined, so but
the first time she said it I waslike twisted, isn't that a band
?
Logan Smith (05:52):
Twisted Sister yep, yep, there you go well, with
with.
Jay Franze (05:56):
That said, let's talk about that for a minute.
You guys, we've mentioned quitea bit that you're a hard rock
band.
Why hard rock?
Logan Smith (06:07):
I feel like we talk about this every day, where
we're just like what genre arewe?
Yeah, because we have suchdifferent, different sounds in
our music.
But, like, I just feel like theone that we stuck to the most
was hard rock, and a lot of thebands that we influence off of
and sound like also consider ashard rock, so we kind of just
(06:29):
like took it from them as well.
Sara Higgins (06:31):
We all, like we always grew up with, like
classic rock and metal and thatside of things which is kind of
what we grew up on and what welearned to love and what we love
playing, and I always like thechallenge on drums and playing
something difficult and tryingto push the boundaries.
So I feel like we kind of tookthe instrumental as heavy as we
(06:52):
could in some songs and then thevocals.
Obviously there's no screamingin our songs, so we don't
classify as like I wouldn.
Logan Smith (07:00):
I wouldn't really consider it metal Metal.
Sara Higgins (07:02):
But it's like that's why we call ourselves
hard rock.
I feel like.
Kayla Hallman (07:06):
Yeah, the genre is really hard to define.
I feel like, especially now,there's just so many different
subcategories of rock, and Ifeel like we also can
incorporate pop into some of oursongs sometimes.
Yeah pop into some of our songs.
Sometimes we have yeah, it'slike, it's almost like sometimes
pop melodies, but with likeheavier guitar and heavy drums.
So the easiest thing to kind ofcategorize that, categorize it
(07:29):
as was just a hard rock, andI'll let anybody just if they
want to say that it's metal,okay, if they want to say that
it's just, you know rock.
It could be pop with with heavyinstruments, yeah I could do
that too I think it can all besubjective nowadays yeah way you
know.
Jay Franze (07:45):
However you feel, it is so, whatever you think, sure
, that's what we are, I'm gonnasay hard rock, and nobody can
tell me otherwise there we go,yeah well, you mentioned having
hard rock influences and classicrock influences.
I am just curious what do youconsider to be classic rock?
Sara Higgins (08:02):
You can go ahead oh she's classic rock.
Weezer, or what you grew uplistening to.
Jay Franze (08:08):
Kayla, you need to go away now.
I know, I know Having technicaldifficulties.
Logan Smith (08:13):
Right.
Well, I don't really think thatwhat I grew up on is really
considered classic rock.
Think that, like, what I grewup on is really considered
classic rock.
It's more because I grew up and, like my parents have always
been in the like the hair metalscene and they grew up in the
80s, obviously, and so, like Igrew up with like Dokken and Rat
and White Snake and all thosehair metal bands and so that's
(08:35):
like a lot of where myinfluences came from.
But also, like I've beengetting into like the newer
metal as well.
So that's where a lot of the myinfluences came from.
But also I've been getting intothe newer metal as well, so
that's where a lot of the guitarwork for these new songs kind
of came from.
Jay Franze (08:47):
I just want to point out I've seen every one of
those bands live in their primein the 80s.
Logan Smith (08:53):
Geez.
Yeah, iron Maiden too I've seenthat yeah.
They're a huge influence aswell.
Sara Higgins (09:01):
For me, I grew up up on like Guns and Roses and
ACDC and all of them, but then Ikind of moved to the prog side
of things and, like I absolutelylove Rush, I love Tool, all
that kind of stuff.
Kayla Hallman (09:13):
My, so my mom.
She's a vocal teacher and whenI was growing up up like through
, I think she started there,maybe when I was like 10 she
worked at a music school, um,which was like the school of
rock, if you ever heard of theschool so yeah, they absolutely
do literally everything youcould think of from like the 60s
(09:34):
to now.
But there was like a heavyemphasis on like that oh my god,
I'm blank, like I did so manyJudas Priest like then we would
hit Queen but then we would hitlike um Heart.
And then there was Journey andjust all the classic like those
vocals that my mom was alwaysmuch a very like a vocal heavy
(09:55):
kind of listener.
So all of those bands, likeSteve Perry's notes up on
Journey, like that's what I grewup listening to and that's what
I would see my mom sing becauseshe used to do cover bands and
stuff like that.
So you know, and thatprogresses into.
We get into like the newervocalists, like Hayley Williams
in Paramore and even Amy Lee andEvanescence and Lizzy Hale with
(10:17):
Hailstorm, like that just kindof of evolved from rock.
So I feel like for me a lot ofmy influences.
If you think of it as classicrock would be the hard-hitting
female vocalist, pat Benatar,was my first concert that I ever
been to.
Jay Franze (10:34):
So weird.
Journey was my favorite bandgrowing up.
Journey Heart was also one ofmy favorites.
Logan Smith (10:41):
And Pat.
Jay Franze (10:41):
Benatar was amazing, but Lizzy Hill Hailstorm is one
of my favorite bands right now.
I've seen them several times wejust saw them.
Logan Smith (10:48):
Did you really yeah , month ago.
Jay Franze (10:51):
That's awesome From your neck of the woods too,
aren't they?
Logan Smith (10:54):
Yeah, yeah they are , they're from around here.
Jay Franze (10:56):
Yeah, they live in Nashville now.
Logan Smith (10:59):
Yeah, they put on a hell of a show.
Kayla Hallman (11:01):
She's got like insane vocal control.
I don't know how she does allthat without.
She's got real good technique,if she's still got her voice
after all that screaming Godbless her.
Jay Franze (11:11):
Well, she did have some vocal challenges for a
little while.
Kayla Hallman (11:15):
Yeah, I do remember that.
Jay Franze (11:17):
I think it's cool.
I can see influences, but Ithink you guys have your own
sound too.
I don't think you sound likeany other band.
I think you can tell there'ssome influences in there.
Kayla Hallman (11:27):
I think we get that Hailstorm reference a lot
because it's heavier instrumentsand clean vocals.
Like Amy Lee is not a screamerand I feel like that's kind of
hard to come by in, likenowadays the female vocalists
always, or the male vocalists,you know they have clean vocals
and they scream, or it's justthey scream but like the, the
clean vocals with the heavyinstruments is a little less
(11:51):
common, in my experience atleast yeah, no, I agree
definitely that's a good point,too, because the instrumentation
is heavy, so is that somethingthat you've always wanted to do?
Jay Franze (12:03):
is that the way you've wanted to sound?
Logan Smith (12:06):
oh yeah, definitely .
Yeah, I've always loved to.
Actually like in the last fewyears, when I first got into,
when I first joined the band, Iwas getting into the heavier
side of stuff and then whatyou've always loved the heavier
stuff too, and so we just kindof fell into that and writing
that type of music.
Sara Higgins (12:25):
I feel like for like a year of writing, that was
like our.
Our goal was to get it to whereit is now and it was just
really cool seeing like from thefirst song we ever wrote to our
first EP we dropped and oh yeah, just watching it progress and
see it all come together wasreally cool, yeah yeah, this was
my first time kind of workingwith an original band, so I
never had like thought muchabout the direction that I would
(12:48):
go in with original music.
Kayla Hallman (12:51):
I was playing with cover bands because that
was the scene around here, youknow, and that's how they found
me.
On my instagram I had posted,you know, about um bands that I
like yeah, and then we stole herfrom her cover band.
Yeah, we're like, hey, wenoticed that you listen to
artists that kind of are thesound that we're going for, and
(13:11):
we heard you sing and we thinkyou'd be good, a good fit with
us, and I was like no.
And then a week later, sarahwas like no, you're doing what
about now?
And I was like all right, solike I was in another, band
later yeah, it was true it was.
She was at one of my shows andthey asked me and I was like no,
(13:33):
I'm too busy.
And then a week later she said,do you really mean it?
And I was like, all right, youknow, I'll come meet up with you
and we can talk.
And they told me they alreadyhad stuff lined up for recording
and they showed me some oftheir stuff that they had in the
works and I was like, all right, you know, can't pass up this
opportunity.
So I quit my cover band that Iwas playing with.
(13:54):
I was actually in two and theother one just kind of faded
away no pun intended but yeah, Imean, this is like I don't have
a day off now, I'm consumedwith yeah, we're all gone yeah,
thank you.
Yeah, I thought I would be offtoday and I was worked into band
(14:17):
rehearsals, so, but you knowit's all worth it.
Jay Franze (14:22):
I laugh only because when I grew up, you, you were
in a band and that was it.
You were in that one band andit seems like these days,
artists are in multiple bandsand there's something about that
, just it's.
It's cool, I don't mind it, butI still feel like there should
be loyalty, because if you canput all of your energy into one,
I think that's what makes thatone band special yeah, yeah sure
(14:46):
well, let's talk first.
Kayla, do you remember whenthey approached you?
When was that?
Kayla Hallman (14:53):
that was like around this time last year,
maybe october of last year, likelate October, november.
No, it was actually because Ihad left.
I went to Japan in October.
Yeah, it was like.
It was like the first week ofOctober.
Sara Higgins (15:09):
Yeah, yeah, yeah.
Kayla Hallman (15:10):
Yeah, I was doing a Japan and Korea trip October
into November and they were like, oh, we're going to Nashville,
Like it was the week after I gotback from Asia, and I was like,
oh my God, you guys are goingto break my bank account.
But I went, I came back fromthe 13-hour time difference and
I was home for a week and then Ipacked my stuff up and we went
(15:33):
again right on the plane.
Jay Franze (15:37):
So they drove but I was like, oh, oh yeah I'm not
doing that well, the reason Isay that is because it shows
just how young the band still is.
I mean, if if the formation wasjust a year ago, I can't get
over the the talent level forbeing so young and for only
being together for a year.
(15:57):
So where does it come from?
Kayla Hallman (16:08):
I mean, I think we all have our respective
experiences with music anddifferent genres and our
childhoods, we realized, havekind of been consumed by music
of all different types.
So we became prettywell-rounded musicians on our
own.
So we became prettywell-rounded musicians on our
own, yeah.
And then to meet up and likebond over having the same
musical interests, like themusic that we listen to and and
(16:29):
just like the stuff that wewanted to create, like the
things that that the riffs thatlogan came up with and and both
of us like, oh, that actuallysounds good.
Logan Smith (16:37):
Like yeah, sarah, and I've been doing this for 10
plus years yeah and we were bothpart of another rock school
called the let there be rockschool and we were in a in the
boat in the band programtogether there and we were
writing an original song in theprogram in the band and sarah
(16:58):
was starting her own projectoutside of the school and then
she asked me if I wanted to joinbecause I was in her band at
the school writing originalmusic.
So she was like, do you want todo this on our own?
And then I was like, okay, yeahsure, we just kind of clicked
and then just took off fromthere yeah, I mean, I've been
playing drum since I was 5, 18now, so it's been a while.
Sara Higgins (17:22):
I've just always loved it.
And I remember my parents wouldask me they're like do you want
to do anything else?
Like, do you want to try this?
And I was like no, like I justwant to go to my music lessons,
I want to do band.
I was like I would literallylive at this music school.
I'd be here five days a week,week.
And then when it started comingtime about, like, talking about
(17:42):
like when I get older, andthey're like do you want to do
this or do you want it?
And I was like no, like,music's it, this is it.
And they're like all right,that's it, that's easy.
And I was like, yep, this isgonna be my career and I always
knew it was this or nothing.
So yeah right.
Kayla Hallman (17:55):
I feel like Sarah and Logan are also such good
friends that if Logan ever comesup with something that sounds
bad, Sarah is like.
Logan Smith (18:02):
She'll tell me if it sucks or not.
She does not hold back.
She does not hold back.
Kayla Hallman (18:07):
Let's just say that.
Jay Franze (18:09):
Kayla, is that why you're sad and always get left
out?
Kayla Hallman (18:13):
Yeah, no, actually.
Well, I'll be sitting there andI'm ready to comment.
I'm ready to say Logan, thatwas really good, and Sarah's
just like Logan.
I can't believe that you'reeven playing this to us right
now, like this is the worstthing I've ever heard of you.
No, I'm just kidding.
Sara Higgins (18:25):
Well, I mean I'm sure she would Sometimes.
Yeah.
Kayla Hallman (18:27):
Yeah, but Logan never makes anything bad.
Logan Smith (18:29):
I appreciate the honesty, though I don't like it.
Just tell me Right.
Jay Franze (18:40):
Well, with that said , I mean you're all in some form
of a musical school.
I'm sure those schools have abass player.
So, what has happened with theworld of bass?
Kayla Hallman (18:48):
We should have told you not to bring this up,
Jay.
Sara Higgins (18:54):
We have had a lot of band changes and band members
and when we got Kayla, we werealways planning to have a bass
player.
We we were planning to have oneto go down to Nashville with
and it just kind of was like itkind of went to the back of our
minds as we were getting readyand we went to Nashville and the
three of us just clicked sowell, and we're like why ruin
(19:19):
something that's good?
And not saying that like we'llnever get a bass flyer, but it's
like, like it's working, so whyfix something that's not?
Jay Franze (19:26):
for all bass players out there.
I don't know if they mean itthe way it sounds no, no, no,
I'm a bass player.
Sara Higgins (19:32):
I play bass, so I track all the bass on our tracks
and when we play live, we useobviously bass tracks and
they're me playing.
So, yeah, I'm a bass player.
Kayla Hallman (19:43):
I'm not coming at anyone.
We can't clone sarah,unfortunately, so we have to
take advantage of technology.
Yeah, so sarah is, yeah, notyet.
Sarah is our bass player at theend of the day, yep, she's just
.
She can't be in two places atonce, so we prioritize her on
the drums.
Jay Franze (20:00):
Yeah, that's pretty cool.
So so that means you play to aclick track.
Yep, which is impressive, youknow most bands don't like
playing to a click track,especially when they're playing
live.
So the fact that you're playingto a click track.
How are you triggering the bassparts?
Sara Higgins (20:15):
We have a whole Behringer with a splitter, and
then we actually have this.
Instead of having a laptop forall these tracks, we have this
little box.
It's called a BB and it'sfairly new, but it's really
great.
Logan Smith (20:31):
It's basically it's like a laptop in a little box.
Yeah, it's like a laptop butiPad size, but it's not like
touchscreen it's designated justfor tracks, so it's more of
like stable it.
Sara Higgins (20:39):
Yeah, it won't crash.
We run our backing tracksthrough that, the click and our
bass.
Jay Franze (20:46):
So you mentioned a couple times that you were in
Nashville.
You also mentioned the producer, so who was the producer?
Sara Higgins (20:53):
His name's Kyle O'Dell and we recorded with him
last year.
We're going back in a week anda half to record again with him.
Logan Smith (21:01):
Yeah.
Kayla Hallman (21:03):
It's barely not even a week and a half.
We leave up next Wednesday.
Yeah so yeah, down at SiennaStudios.
Jay Franze (21:11):
Sienna Studios.
Kayla Hallman (21:11):
Shout out Kile with an I.
Jay Franze (21:15):
That's just wrong, Kile.
Sara Higgins (21:16):
Yeah, I know, I know.
Kayla Hallman (21:18):
We tried telling him, but it was wrong enough to
be named Kile, and then we hadto stylize it like that you had
to be different.
Poor Kile.
Jay Franze (21:26):
You guys are brutal aren't you.
Kayla Hallman (21:28):
Yeah.
Kayla, I'm starting to see whythey keep you in a different
room.
Yeah, I'm actually in my.
They've locked me in.
I'm downstairs in the basement.
Jay Franze (21:37):
Yeah, I noticed the walls are padded.
I get it, it makes sense.
Kayla Hallman (21:40):
Yeah, yeah.
Jay Franze (21:43):
So when you first went in the studio last year,
what songs did you track?
Logan Smith (21:49):
We were there for 10 days right.
Sara Higgins (21:53):
We did all five songs down there we did all five
songs off our EP.
Yeah, we came down with allfour of them and obviously,
obviously we like changed someinstrumentals.
A lot of the melody stayed thesame but changed a little bit.
Logan Smith (22:06):
Yeah.
Sara Higgins (22:07):
And then it was really cool.
We did one co-write with him,so we literally wrote a song in
a day with him and that was hersong called Still Alive.
So it was really fun being ableto write with someone else and
bounce ideas off of each other,and it just a really fun
experience and we're going to dothat again this year.
Jay Franze (22:22):
So yeah, so you mentioned you co-wrote the song
with him, so that means he issome form of a musician himself
yes so did he take a hands-onapproach to the recording
process oh yeah oh yeah, he wasdefinitely more hands-on with it
.
Logan Smith (22:39):
Yeah, that's what he's talking about.
Kayla Hallman (22:41):
He's got he.
He was in.
Oh god, I I can't remember thename of the band that he was
that I feel so bad fail, failureanthem.
I think there's another onelike that, okay well you're
fired I know he's gonna like dmme after this and be like you
suck um.
But yeah, no, he was, uh, he'sdefinitely like a feedback kind
(23:03):
of guy, more than a like for thefor the song that we did, still
alive in the studio.
Right, it was kind of like, allright, logan had this idea for
the song, so from that we pulleda chord progression and then he
played it over on loop and waslike all right, kayla, what
melody do you hear?
and I sing what I hear, and he'slike I was hearing that too I'm
thinking maybe this note goesup there, though how would you
(23:26):
feel if, like, instead of thisrun, it was this run and it was
nice to have that like, becausehe has a lot of experience, like
with just working with, like somany other artists like to name
?
I don't even know, he workedwith motionless and white.
He did catch nothing more needa straw yeah, need a straws.
(23:47):
He like he.
I said he was working withlizzie hale.
He did daughtry, I think he wassaying I don't even know, but
he's got a lot of background,especially in the genre that
we're in sure, sure.
So he was able to kind of gearus towards trends and, like you
know, structure, stuff thatmakes sense.
Jay Franze (24:04):
Yeah, let's take that a step deeper.
I mean, the song starts off,it's got a build to it, but it
also has this effect in thebackground.
Is that effect?
Was that something he came upwith, or was it something you
guys came up with?
Sara Higgins (24:21):
Well, we came up with with like the first
question he asked us.
He's like all right, what do wewant to write a song about?
And we all looked at each otherand we're like huh, and I don't
even know why we said this, butwe're getting like a vibe from
our other songs that it was likeapocalyptic and should be in
like call of duty.
Yeah, so we wrote the songabout running from zombies and
being in a zombie apocalypse, sokind of just very mysterious
(24:45):
and yeah, yeah.
Kayla Hallman (24:46):
From that we were like what ominous sounds can
you pull out of the samples thatyou have?
Yeah, like, a lot.
Logan Smith (24:51):
A lot of the samples and the extra stuff in
the song is mainly by him.
A lot of the f?
Fx and production stuff isthrough him, but the meat and
potatoes of the song is us.
Kayla Hallman (25:03):
The meat and potatoes man.
Logan Smith (25:05):
Yeah.
Kayla Hallman (25:07):
So a fun fact about the recording was that I
was only available to be therefor like the first I think.
I was only there for five daysand they were there.
We had scheduled studio timefor 10 days but since it was so
last minute and it wasThanksgiving week for me, I
couldn't be there.
So we kind of had to rush, Notrush, but like we had to do the
(25:28):
vocals before any of like theinstrumentals had been finalized
.
So the only song that weactually I recorded my vocals to
the finalized version of thesong was Faded.
All the other ones I prettymuch just had a chord
progression to sing to.
So like with Still Aliveespecially, and all the other
songs, I wasn't really there forthat editing process.
(25:51):
I was kind of just like gettingupdates as I was at home and
they're sending me like an audiomessage at 4 pm and I'm like,
oh my God, what does it soundlike?
But it was so cool to see itcome together and like Kile
really helped bulk up the songsand fill in like spaces, just to
kind of make it feel complete,and he did a really good job
with everything.
(26:11):
We're really excited to go downnext week and see what he does
and how he helps us build oursongs.
Jay Franze (26:18):
I like the imagery.
I mean, if they're the meat andpotatoes, then you're the gravy
, and this happened atThanksgiving.
Kayla Hallman (26:24):
It makes perfect sense.
Yeah, yeah, kile's the stuffing.
Logan Smith (26:29):
There you go.
Jay Franze (26:33):
F***, alright, back on track, let's see Miss Sarah,
drum fills coming out of thesolo.
Sara Higgins (26:48):
Was all that your plan or was there any guidance
going into that?
Yeah, coming out of the solowas always a plan.
One of my favorite fills that Iplay was it's definitely in
Bitter how the drums come in andback into the verses.
I just really like how it isand it's a linear kind of fill
and um, that was more of a Kylething.
(27:08):
I was just kind of I told himhow well, sorry, this he's like
what do you want for your, whatare you picturing for the verse?
And I was like I want this likereally weird offbeat pattern
and I was kind of playing it forhim.
And then we kind of built theintro fill together, which is
cool seeing that come to life.
But the one out of the solo Ikind of always envisioned that
(27:30):
and just wanted it to end big.
But being able to build theother one with him was cool and
just seeing, like, what otherpeople picture and what they
hear.
Jay Franze (27:39):
Well, Bitter kind of has that buildup to it as well,
but instead of having effectsit was more of an airy feel to
it.
It kind of.
Logan Smith (27:47):
has this airiness to it?
Yeah, something moreatmospheric.
Jay Franze (27:50):
Yeah, absolutely.
So how do you approach thatwhen it comes to guitar?
Logan Smith (27:56):
I don't know.
Well, at least with Still Alive, most of the guitar parts in
that song.
I brought already with me A lotof the stuff like the
atmospheric stuff and stuffbehind it we do there and, like
I said, he kind of just throwsin there.
Sara Higgins (28:15):
Logan stumps.
Kayla Hallman (28:16):
I'll tell you what really happens.
Logan sits there and he noodleson his guitar for hours.
Logan Smith (28:21):
Yeah, yeah.
Kayla Hallman (28:22):
And me and Sarah and Kyle get so bored we decide
to get up and walk together toDunkin' Donuts and we go get
Dunkin' and we come back fourhours later.
This is a true story.
This is so true.
He's just like I can't get itright and we're like, all right,
well, we're going to leave.
And when it right, and we'relike, all right, well, we're
(28:46):
gonna leave, and when we comeback, you have to have.
Yeah, and then we have all ofour iced coffees and we drink
them, and then he has untilwe're finished our iced coffees,
to reveal to us his new riff.
Um, that's how it happens.
Yeah, it's probably just abunch of like messing around and
like accidents that happen.
And then you find out, oh wait,that kind of sounds good.
Logan Smith (28:57):
And then you play up yeah, like an orange haze, an
orange haze in the the, theriff in in the bridge, like the
breakdown area like a yeah, likea lot of like.
Sara Higgins (29:08):
That entire riff kind of was just like me
noodling and just like some likecool accidents I remember we
were literally sitting in thestudio and it was like an hour
and a half at this point and hewas trying to hour and a half at
this point and he was trying tofind like the last two notes of
this part and me and Kale wereso bored and we were like
literally screaming at him.
Logan Smith (29:28):
He was telling me.
He was like because I didn'twant the first half of the riff
to be the same as the secondhalf, and he was like why don't
you just repeat what the firsthalf of the riff is?
I was like I't you just repeatwhat, like, the first half the
riff is?
I was like I can't do that.
I have to be complicated.
Like I told him, I was like Ineed to write a riff that nobody
else can play oh my gosh, he'ssuch a diva.
Kayla Hallman (29:49):
And then, you know, we're on hour like six in
this tiny little box of a room,like I seriously like kyle's
little studio was smaller thanmy my bedroom, but it was.
It's like we're in thereplaying the same song over and
over and over again and it'sthis one lick that's like four
seconds long on repeat and Iwould go back to our airbnb for
(30:10):
the night and I'd have likenight terrors because I'm just
waking up at 3 am hearing thisyou're just hearing my legs in
my head, yeah like all right, sokyle is also engineering this
project yep okay, let's take thesong faded because it has a
vocal effect to it.
Jay Franze (30:30):
So, kayla, we all know you dropped the vocals and
ran out of town.
So does that mean kyle, with aneye, came up with the vocal
effect?
Kayla Hallman (30:39):
um, yeah, so I I didn't like if, if I'm being
honest and frank here, I Ididn't write that song, you know
, I didn't really like.
I contribute a little bit to Ithink I don't know about faded,
but some of the other songs,just like changing the melody
and uh, so when I kind of whenwe got to the studio, there was
not really a vision that I had,because I feel like when you're
(31:04):
writing the song you have avision for it, you feel the vibe
, you feel the lyrics, becausethey're all coming from you.
So I felt kind of like a littlemore out of place when it came
to expanding on what the vocalswould be.
But Sarah, I think, wrote mostof the lyrics for that and Logan
wrote the melody for that.
Sara Higgins (31:23):
I actually wrote the melody oh, okay, all right.
Logan Smith (31:25):
Okay, sorry.
Jay Franze (31:28):
We've switched diva seats, yeah, right.
Kayla Hallman (31:31):
If I was going to obviously leave a song that I'm
like dipping, like it's in safehands with the people who wrote
it.
So if they wanted it to soundany type of way, that's their
baby.
And they saw the vision whenthey were writing the song.
They knew in their core whatthey wanted to sound like, how
they wanted to expand it.
So, you know, I let them havethat.
And then Kyle kind of probablyI mean I'm assuming because I
(31:55):
can't read his mind but I'm surehe added some trends to what he
thought happened in the genreEspecially the first verse of
Faded.
Sara Higgins (32:03):
It's definitely darker and it starts off with
literally the lyrics.
It's like this pain consumes.
So having it like buried in thetrack and a little staticky, I
feel like it just helps bringthe chorus like jump out at you
more and really come to life andit kind of just like I feel
like adds more emotion whenyou're listening to the song and
(32:24):
can really help you connectwith the lyrics kayla, what did
you think the first time youheard it?
Kayla Hallman (32:31):
well, it was the first time that I've ever had
any kind of effect on my voice,the first time I've ever been
recorded and put on a recording.
So I was like kind of what theheck is that?
Cause I've only ever heard mylive vocals, you know.
So to hear a studio version, acrisp like clean sound, was very
like oh, who is that?
Yeah, but yeah, I mean it wascool.
(32:54):
I honestly think it was like itmade everything feel a little
bit more legit.
I was like, oh my God, I'm likea professional.
Jay Franze (33:06):
And the diva moves on.
Kayla Hallman (33:09):
And then my head is getting so big that I'm
probably going to take off thescreen now.
But yeah, I mean I do stilllove like that raw, that raw
effect too.
I do still love that raw effectto my voice, like I prefer a,
like a vocal that doesn't feeloverdone, like I love to hear
emotion and pain or whatever itis in my voice on recordings and
(33:35):
I I let Kyle know that and Ithink he did a pretty good job
kind of adjusting to let thatemotion come through and I was
very happy with the songs forsure.
Jay Franze (33:49):
Well, sarah Logan, when it comes to your
instrumentation, when you hearit on a recording, especially
when it's finished, it soundsbigger, it sounds thicker, it
sounds thicker.
It sounds a lot more than whatyou're used to hearing.
So I can understand.
When you guys hear the finishedproduct, you're probably super
impressed.
But, kayla, for you to hearyour vocal on a recording when
(34:09):
you're just used to hearing itin your head, did you like the
way your voice sounded?
Kayla Hallman (34:15):
I think so.
I I don't know if it was justthe microphone that kyle had,
but he picked up the low end ofmy voice really really well and
even in the studio, like I couldtell the difference just having
the headphones on, like the I Idon't know if it was just like
nice reverb it kind of helped meas a singer just better
(34:36):
understand like placement andwhere I wanted my voice to be
placed when I sing.
I honestly think it made mebetter as a singer, just better
understand like placement andwhere I wanted my voice to be
placed when I sing.
I honestly think it made mebetter as a live vocalist too,
just because I could feel what Iwanted it to sound like and I
could understand the differencebetween that and what it did
sound like, if that makes sense.
Um, so yeah, it was jarring,but it was honestly really cool
(34:56):
to see that it was like oh ohkind of kind of thing.
You know.
Jay Franze (35:01):
I know a lot of people don't like the sound of
their voice.
Um, do you happen to rememberwhat microphone it was?
Kayla Hallman (35:08):
No, but I'm going to find out.
Jay Franze (35:09):
You're fired.
Logan Smith (35:11):
We'll let you know next week.
Jay Franze (35:12):
Yeah, I know about it until later.
Yeah, I know next week.
So, logan, sir, when it came toguitars, what was your
equipment and what was added toit after the fact?
Logan Smith (35:25):
so I'll start with the.
The guitar that I used was Iactually brought down one of my
guitars, which is a jacksonsoloist, and I ended up not
using it because he had a guitarwith an Evertune bridge on it.
If anybody's ever heard of that, it's a certain bridge design
(35:46):
on it which doesn't make yourguitar go out of tune.
I'm not going to nerd into ittoo much, but, um, it just makes
your guitar sound tighter onit's.
It's more of a recording toolprofessional yeah, it's more for
recording, yeah, andconsistency, so I ended up using
that.
And as for the amps and pluginswe used, it was all digital, so
(36:08):
we used on um neural dspplugins they're called and, yeah
, we used all of them, for allthe weird synth and guitar tones
are all on his computer.
Jay Franze (36:21):
So no microphone in front of an amp at all.
Logan Smith (36:24):
No, Actually, I think I talked to him recently
and he's actually I don't thinkhe's using them as much anymore.
I asked him.
I think we're actually usingreal amps this time, which is
actually really exciting.
Sara Higgins (36:39):
Yeah, I'm actually really excited we'll get back
to you next week.
Logan Smith (36:41):
Yeah, we'll let you know next week, but uh, yeah,
I'm really excited for that allright, miss Sarah, when it came
to your drums.
Jay Franze (36:50):
Was there anything special that happened in the
recording process?
Sara Higgins (36:54):
actually.
So when I got down to thestudio I thought the plan was to
record drums down there, butthen there's a whole mishap and
apparently there's a wholeanother drum room to book out
for that, and it didn't work out.
So I had to record drums when Igot back to Philly.
So I recorded about a weekafter with the guy down here,
(37:18):
and I wouldn't say too much.
I played all the parts.
We did five songs in a day,which was a lot, but it was a
lot of fun.
And it was interesting though,because I had an idea what my
drum parts were going to begoing down.
But we definitely changed someparts.
We changed whole bridges ofsongs, so I had a week to kind
(37:39):
of re-learn the parts that Iwrote, which was a little
stressful, yeah.
And then the guy who I recordedwith sent them all back down to
kyle and he mixed everythingwere there any samples used?
Logan Smith (37:51):
um, yeah, and some of our bridges like in, faded,
like the verse, like the firstverse, I don't there's there's
actually no drums.
It's just just like trap beats,I guess.
Sara Higgins (38:01):
And then in Orange Haze, in the bridge of that
song there's like drums playingbehind it and that's kind of
like a trap beat and moredigital.
But all the rest of the partsare me.
Jay Franze (38:10):
It's got heavy drum fills as well.
Sara Higgins (38:12):
Yeah, it's really cool seeing like how my drums
and then also like being able toinclude trap beats and digital
drums and just hearing the blendof it all.
It's just a cool mix of things.
Jay Franze (38:24):
All right.
So what was the biggesttakeaway from being in the
studio?
Logan Smith (38:30):
Hmm, oh geez, I learned so much.
Sara Higgins (38:34):
About writing songs.
Logan Smith (38:35):
Yeah, even so much about writing songs.
Yeah, even like we're goingdown this time a lot more
prepared than last time.
Last time we didn't, we wentdown.
All we had was like 30 secondto a minute voice recordings on
our phones of like of parts ofour songs.
That were.
Yeah, they were all in differentparts, yeah and also we didn't
(38:56):
really know, going down likewhat to expect, because this is
like the first time that we'veever really.
I mean, we're going toNashville and like a
professional recording studio,uh, you know, but we've never
done something like that.
Sara Higgins (39:07):
But now, since we know like what's going on, like
who we're working with, andwe're going down with like
actual demos, now I feel likewe're a lot more comfortable
this time even like right afterwe got back from Nashville last
year, pretty much like the monthafter we started writing our
new material, because we reallywanted to go down again this
(39:28):
November now.
So we had to get started and wewanted to write four to five
songs.
So even going about like ourwriting process, we just learned
so much from being in thestudio.
Like we're going to start withyour song and starting with our
choruses, and if you can't hithard in a song within like 30
seconds and have a strong chorus, then it's like nobody's going
(39:50):
to want to listen.
So just being able to like, Iguess, learn how to write like a
really powerful song and moreof what like draws the crowd in
and makes you want to listenmore to it.
So definitely like writing was alot easier going around this
time.
Like I remember our songs werecorded last year.
We would spend like months onthem and some people spend years
(40:14):
, so that's okay, but even likeup with parts, it was a lot
easier.
Writing lyrics is a really coolthing because I think a lot of
singers or someone in the bandwrites all the lyrics by
themselves, but we all writethem together and it's really
cool being able to bounce ideasoff of each other for that and I
think it's just I like how wewrite together and really bounce
(40:35):
ideas off each other.
Yeah.
Kayla Hallman (40:37):
I think like we definitely learned a lot about
songwriting me particularly alsolike we had only really known
each other for a month or two,all like I really only knew them
for a month or two.
So yeah all the songs prettymuch that we came with, they
were already written by by thesetwo here.
You know they already had theirvision for them.
So I was kind of just on thoseI felt like a little bit of a
(40:59):
helper, you know, a littleassistant, to kind of build the
song and make it, you know.
But when it came down to stillalive and writing that, like
that was obviously our firsttime writing together.
It was my first time writinglyrics and a melody for us for
an actual song and it was reallycool to see how all our brains
kind of meshed and the ideas wecame up with and, um, it was
(41:22):
just like a learning experience.
You definitely gain a lot ofknowledge about like song
structure and like what peoplewant to hear.
And as a vocalist, you knowsomebody who I've only done live
performances for the past youknow 10 plus years.
So I've always been taught tofocus on the performance more
(41:44):
than the intonation and like theemotion that you put behind
your voice.
So when it came down to it andyou know it was just me in that
box with my headphones on andthe microphone in front of me,
like it it got really particularwith like how you end a phrase,
like how long you hold the noteout, if you do a little vibrato
on the end or if you don't.
(42:05):
How if one word had a littlemore emotion than the other, or
if you know I said it tooangrily when I should have sang
it a little more sad.
You know, like it just kind ofmade me pick up on a lot more of
those intricacies and the finetunings of the process that like
a song and that lyrics were,and I feel like it made me feel
(42:27):
a lot more like a musician to bein the studio.
Jay Franze (42:31):
So what do you anticipate being different this
time for you?
Kayla Hallman (42:42):
different this time for you.
Well, I'm surprised that rightaway at first producer, you know
, was very lucky for us.
And now that we have a bondwith him and he understands like
the vibe that we're going forand what we want and how, with
all of these recordings that wegot back each time, you know,
logan to say, hey, like myguitar in this part, you know, I
wish it was a little more thistone.
Or me with my vocals like Idon't really like that effect, I
(43:02):
want more of a, you know, anatural effect there.
And sarah with her cymbals like, oh, I want my cymbal higher
there.
You know, now he knows thatthat's how we want our songs
done, that that's the sound thatwe want, that that's what we'll
be happy.
I feel like now we go in and wehave better versions of the
songs that we want and I feellike he's going to be able to
(43:25):
help us so much easier likebring those to life.
And now that we are likefriends and on the same
wavelength, I guess he's goingto DM me after this and be like
we're not friends.
Kayla, yeah.
Not after this and be like we'renot friends, kayla, why yeah?
Not after this, not yeah?
Jay Franze (43:40):
right, what were the biggest challenges that you
guys faced when you were downthere?
Kayla Hallman (43:44):
hmm, logan's 21st birthday yeah, just kidding.
Logan Smith (43:53):
Um, I I said, well, I'll say maybe like getting
into the groove of it, but itwas pretty easy actually.
Kayla Hallman (43:59):
It was actually pretty easy to work with Maybe
having to do the vocals first.
Sara Higgins (44:05):
Yeah, that's true.
Logan Smith (44:08):
Yeah, because Kayla had to leave halfway through.
So when we first got down therewe were doing it.
Jay Franze (44:13):
It's that diva thing , yeah, I know.
Logan Smith (44:15):
So when we first got down there, we were doing it
the way that Kyle usually doingit.
It's that diva thing.
Yeah, I know.
So when we first got down there, we were doing it the way that
Kyle usually does it.
Then we told him that hey,Kayla's only going to be here
for half the time.
Sara Higgins (44:24):
So he thought he knew originally, but he did not.
Yeah.
Logan Smith (44:27):
Yeah, so he didn't know that.
He's like oh well, we're goingto have to change the way that
we do things a little bit, likestart with melodies really kind
of first, and do vocals over topof like just chords and, like
you know, like a standard drumbeat.
Sara Higgins (44:44):
It's literally like a metronome playing and
like piano chords we're like allright.
Kayla go for it.
Kayla Hallman (44:51):
It was a backwards method, for sure.
Jay Franze (44:53):
Well, Kayla, that's going to be a challenge right
there.
Right, I mean, how do you knowhow powerful to be without the
music behind you?
Kayla Hallman (45:01):
yeah, it was, it was.
It was rough.
We definitely had to discuss thevibe of the song before I went
in there we had to look at thelyrics and be like, look, this
is what you're talking about,it's going to be big here, like,
make sure that you are angrythere, make sure that you're
really you're in your lower endfor that.
And and it really comes intoplay like, a lot of the times,
(45:21):
like I'll get a little technicalhere and say a lot of times I
have to sing with my, with likemy mixed voice in order live, to
hit notes easier because I'mmoving around.
But when I'm recording likethere's a lot of things that
make more sense to use yourchest voice so that they sound a
lot more powerful and heavy,and you get, like you know, a
certain undertone to that.
So there, I mean, there weretimes where I would sing like a
(45:43):
line and be like, uh, you know Ididn't like the way that I sang
, that it felt weak.
Um, let me try it a differentway.
And it was hard to like justplayed a soft little piano
sounds when I knew that this wasgoing to be a big song and I
also think that that's probablygoing to be a good thing coming
into this, you know, this nextweek in Nashville like, well,
(46:04):
ideally, have the song finishedand then I'll record the vocals
for it and I'll be really ableto hone in on that like emotion
and how it's how it should be.
But I mean, it was a challengebut we got through it and I
think it sounds pretty good.
Jay Franze (46:20):
So I might be biased .
I might be biased, but what doyou guys hope that people take
away from it?
Sara Higgins (46:29):
I just our songs, like even playing them live, we
just love.
Actually, the other day weposted our song still alive and
we posted something on tiktokand this one lady she reposted
our song and she was likeexplaining how she was in an
abusive relationship and howthis song has helped her so much
(46:49):
and how she just really canrelate to it.
And it's just so interestingbecause again, we wrote the song
about running from zombies buthow people can interpret it in
so many different ways andseeing it help people and seeing
people sing along to it at ourshows and just telling us how
much they love the song and howit's helped them, and it's just
a cool feeling seeing all thathappen yeah, absolutely.
Kayla Hallman (47:11):
I would say interpretation, like other
people interpreting our songs,however they.
You know that I.
I love that mindset, like thattakeaway, that a song can mean
anything you know, like it couldbe about drugs, but it could
also just be about like you'regoing through a breakup or
something and as long as oursongs reach an audience that
they can, they can understand itin a way that's relatable,
(47:34):
that's universal.
Like I, you know, that's allthat I could really ask for with
my music is to connect withsomeone.
Logan Smith (47:41):
However, they need to connect with it yeah, like
it's super awesome that somebodywould be could be listening to
our like I could see somebodylistening to still alive,
playing call of duty, killingzombies, but also like that lady
was like it really helped herout, so it could really go both
ways.
Jay Franze (47:59):
I can only imagine that would be something that
would make you feel good,knowing that your music is
something that you sat down inyour bedroom and wrote and now
it's touching somebody's lifelike that.
It's kind of funny.
Kayla Hallman (48:10):
I mean, that's why I listen to music.
You know, I like to know, Ilike to relate to people and I
like to know that I'm not alonein a feeling that I have and
hearing somebody express thatthrough lyrics and music, that
they also have felt the same wayas me.
Like you know, that it'svalidating and it's nice to know
that that so many people listento that and relate to that, and
(48:31):
we're all just human at the endof the day.
You know, there you go, yep.
Jay Franze (48:36):
All right at the end of the day.
There you go.
Yep, all right.
Well, we do this thing here wecall Unsung Heroes, where we
take a moment to shine the lighton somebody who works behind
the scenes or somebody who mayhave supported you along the way
.
Do you have anybody you'd liketo shine a little light on?
Sara Higgins (48:48):
Mine would definitely be my parents.
My mom was like the wholereason I got into drum.
She used to play drums a littlebit and we had a drum kit at
our house when I was little andI would go in and I would just
bang on the drums and then oneday she asked me if I wanted to
take drum lessons.
And it's stuck ever since andmy dad is a huge help,
(49:11):
especially with all thetechnical stuff and just being
able to help us wire everythingand at shows I'm setting up my
drums.
He's setting up all his guitarstuff, so he's just such a big
help getting everything set upand we wouldn't be where we were
without all of his help.
So I really appreciate them.
Jay Franze (49:30):
Logan, how about you ?
Logan Smith (49:32):
Definitely a shout out to my parents Because, like
I said, I grew up on music andplaying Guitar Hero as a kid and
my parents saw a thing in thenewspaper saying that there's a
new music school that opened updown the street and if I wanted
to try the real thing, I waslike, OK, sign me up.
And so I started playing guitarand playing in the band program
(49:55):
there and playing in the bandprogram there, and then 10 years
later I joined this band andit's the real deal now.
So it's pretty crazy seeingfrom where I started playing
Guitar Hero in my bedroom to thebig stage.
Jay Franze (50:10):
Which is harder, Guitar Hero or the real thing?
Logan Smith (50:14):
No.
I'll be honest, probably GuitarHero on the max difficulty is
pretty challenging like I.
I don't, I can't like throughthe fire and the flames max
difficulty, I can't do that Iwas thinking of that exact song.
Yeah, it's like I can play thethe real thing not perfect but
like I can't even get it closeto 100 on on the game.
Jay Franze (50:37):
Kayla, you have anybody you'd like to shine a
little light on.
Kayla Hallman (50:40):
I mean, I could definitely say my mom, just like
these two, who you know, sheobviously was a music teacher.
She taught me everything I knowabout vocals and performing and
being a superstar.
But you know, I'll also shoutout my lovely boyfriend, who
comes to all of our shows and Iknow that even if I wasn't
dating him he would be at all ofour shows and he knows all the
(51:03):
words.
He knew all the words beforeall the songs were even released
and he even got to produce oneof our little songs, one of our
little tracks, our interlude onour EP breathe, the track titled
abyss.
So he, he got to mix that forus and put it together out of
his own volition in the firstplace.
You know, nobody really askedhim at first and he kind of just
(51:24):
went with it.
Jay Franze (51:26):
But you know he's just, and what is Lovely,
boyfriend's name.
Kayla Hallman (51:29):
This is Pablo.
Jay Franze (51:31):
Pablo.
We love Pablo.
Pablo, the Lovely Boyfriend.
Kayla Hallman (51:33):
Pablo, the Lovely Boyfriend.
Yes, he's great.
He's very supportive, he'salways there and even when he's
got to rush from work to be atthe show, you know he's there.
He's also Logan's boyfriend andhe's the band boyfriend.
Jay Franze (51:50):
We've taken a left here, but oh my.
Why not A big thanks to Kayla,Sarah and Logan for taking the
time to share their stories withus and, as always, thank you
for taking the time to hang withme here.
I really do appreciate it.
If you know anyone that wouldenjoy this episode, please be
(52:10):
sure to share it.
You can do that and find thelinks to everything mentioned
over at jayfranze.
com/ episode 101.
Thanks again for listening andI'll see you next week.
Tony Scott (52:24):
Thanks for listening to The Jay Franze Show.
Make sure you visit us atjayfranze.
com Follow, connect and sayhello, Bye.
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