TAKING CENTER STAGE With Michael Cagle

A Fun, Anything Goes One On One Interview Talk Show Hosted By 5-Time Entertainer of the Year  Michael Cagle. These Exciting Coversations Will Feature Many Guests, Most Of Whom Are In The Performing and Creative Arts. We Will Talk About Their Beginnings. Their Inspirations. Their Dreams and Goals, As Well As Their Accomplishments. Guests Wil Have A Chance To Display or Perform Their Talent, and They Will Also Talk About Topics and Events That Are Happening That Are Important To Them and The Audience Listening.

Today's Guest Is Producer, Record Label Ceo, Business Owner and Popular Karaoke Host Jimi Flaherty

Become a supporter of this podcast: https://www.spreaker.com/podcast/i-am-indi-entertainment-show--3433195/support.

Episode Transcript

Speaker 1 (00:00):
Gotta fine mine car.

Speaker 2 (00:07):
Scar everything he hadn't seen z.

Speaker 1 (00:20):
Everything has its time. Show me your reason an asso.

Speaker 3 (00:25):
Show you a ride, cast it on the window sill,
children sit in the snow.

Speaker 1 (00:33):
Why do I have to see? I don't fit in
anywhere I go.

Speaker 4 (00:39):
Realize belong where they can arounber eagles belong where they
can line. I've got you bead with my spirit? Can
deep be gott a fat fire corn.

Speaker 2 (01:06):
Man?

Speaker 1 (01:08):
Hello everybody, Yeah, no, welcome to taking center stage with
Michael keagole. Yes, that's right. If you're listening, you're at
the right place. That's so funny. Anyway, I want to
thanks that amazing singer for opening up that song the
show with that song for us. I don't know who
he is, but no anywhere.

Speaker 5 (01:27):
I'm just joking.

Speaker 1 (01:29):
Anyway, It's good to have you guys here. This is
taking center stage with me, Michael Keagle, and I want
to give a shout out to my sponsors World Movement
Records and I am Indy for allowing me to take
advantage of this amazing opportunity. And we are just going
to have a blast. As those of you who have

(01:50):
already listened to the show. A couple of times, you
know that pretty much anything can happen, and we just
have really great fun guests who just we just want
him to feel comfortable and just have a blast. And
today's special guest is a very good friend of mine.
I know, and I say that all the time. Most
of my guests have been my friends so far, But

(02:12):
I what do I what can I say? I have
incredibly talented and gifted friends that are very much involved
in the entertainment industry, music business, all that kind of stuff.
So I never run out of guests because I don't
run out of talented friends. They are ridiculously good. And
today's guest goes along with that. I think he thought

(02:36):
I was gonna joke and say something, but I was not.
He's a great good friend of mine. He is a producer,
he's a record label CEO. And not only does he
have a great karaoke business in the Seattle area, he's
probably one of the most popular Carry Hope karaoke hosts

(02:59):
in the Seattle area and he's won several awards for
just being a good host. And for those of you
who don't think that's a hard job, it really really
is a hard job. Everybody, please make welcome, mister Jimmy Flaherty. Hello, Michael. Hey,

(03:20):
you're a little hard to hear.

Speaker 5 (03:23):
Oh I'm a little hard to hear.

Speaker 1 (03:25):
Okay, how's that? That was worse?

Speaker 5 (03:32):
Hang on, you know it's that whole microphone thing.

Speaker 1 (03:37):
It is.

Speaker 5 (03:38):
Let's see.

Speaker 1 (03:40):
I know you have several at your house.

Speaker 5 (03:41):
Though, right, none of which I'm using at the moment. Right,
Is that better?

Speaker 1 (03:49):
So how are you, sir? I am doing fine well.
I I'm really excited to have you on. It's kind
of a twofold reason. One is you're just an outstanding
guest and you're really good at what you do. But secondly,
I have all three of my current holiday releases out now.

(04:14):
They all kind of debuted this last week and they're
doing surprisingly well. I'm pretty excited. And I have to
say that they wouldn't be where they are if it
wasn't for you, Jimmy and his production studios, Seattle Sound Productions.

(04:36):
Actually I went in to have him produced and work
on the tracks and make the tracks, and the experience
was outstanding and your work was so good. I just
am really absolutely thrilled. Each song has a special meaning

(04:58):
to me. Each song is a little bit differ print
and you were you were terrific to work with, so
uh yeah, I thought, why not tie you in with
the releases and uh but why don't we get people
to know a little bit about you? Why don't you
share a little bit about who you are and how

(05:20):
you got into well literally a little bit of all
the music business. I think you're You've performed, you've wrote plays,
you've uh have a sound studio, you produce music, you
have the list is tremendous. How did you get started?

Speaker 5 (05:41):
Well, Uh, mom bought a piano when I was five.
That's when it started. Okay, so yeah, so yeah, I've
been playing. Well, yeah, I'm I gonna date myself. Uh
I'm a year set. That's a lot of years anyway.
Uh yeah. I opened my first recording studio in nineteen

(06:06):
ninety one, spoken and boy, I was really just learning
the ropes back then. It was a big five thousand
square foot studio space which I also lived in. But

(06:29):
that studio went belly up about two years later because
that's when the PC became a big thing and everybody thought, well,
we can make our own records. So a lot of
hardware went bye bye after that. But then I kind
of took a few years off and moved to Seattle

(06:51):
in two thousand and three and decided to start getting
back into it. It took me a little while, but
here we are today in a very small, basically solo
artist type studio atmosphere. Right now, it's just one room.

(07:11):
But yeah, we we just go and hopefully we can
keep the room booked because it's a cheap roommate if
nothing else, right, what do you think doesn't make much
of a mess?

Speaker 1 (07:28):
Right? Do you think that? How different is it to
be doing music in two thousand, wow, the twenty twenties
as it was in ninety one.

Speaker 5 (07:47):
Well linearly. As far as recording vocals and instruments, you know,
real instruments, it's it's basically the same, only we're dealing
with it what we call a computer doh, which is
basically an interface rather than tape transports. And then, of course,
in my realm, since I'm a keyboardist, we used to

(08:08):
do everything by MIDI, which a lot of people still do.
I don't believe in that anymore. So everything's I guess
even though we're in you know, in the twenty first century.
My you know, from my aspect, things are actually less
digital feeling than they were back in the nineties because

(08:29):
it's not so robotic. It's just something that MIDI tends
to do to, you know, to an artist.

Speaker 1 (08:37):
Interesting.

Speaker 5 (08:38):
So yeah, but as far as Mike's and how to
you know, set up gear and how to patch things in, nothing,
nothing's really changed. I mean, you know, it's well basically
the same.

Speaker 1 (08:53):
That's cool is there is there a certain style of
music that you like creating, creating for the artists to
come in or are you kind of just rounded and
take everything you know, rock or disco or disco?

Speaker 5 (09:16):
Wow? Who does pretty much? I have. I've done disc
going back. I was a nightclub DJ for many years,
so that's kind of my bedrock. But I don't don't
don't do a lot of production of that kind of music,
dance music. But uh but yeah, Well, our our friend

(09:37):
Haley Howell who passed a few years ago, one of
the tracks on her album was a disco track.

Speaker 1 (09:44):
So I think disco will make a comeback, Yes, it will.

Speaker 5 (09:48):
I don't it never, it never died.

Speaker 1 (09:51):
It never. It's just it's hiding out in the closet somewhere.

Speaker 5 (09:57):
Exactly. It's a good way to put it.

Speaker 1 (10:00):
So what what what? What?

Speaker 5 (10:02):
Huh? No? I was going to say, so, yeah, as
far as genres they're concerned, there's really nothing I won't do.
Hell I you know, I I've done a lot of
rap rap tracks in the studio, and I'll tell you
the first time I had a rap artist in the studio,
I was really nervous. I was like, I don't know
what the hell I'm doing. I've never produced a rap
trap rap track in my life. But he came back

(10:26):
and he must have recorded over one hundred songs in
the studio.

Speaker 1 (10:31):
Wow.

Speaker 5 (10:32):
Yeah really Yeah. He moved to California a few years ago.

Speaker 1 (10:37):
But all right, all right, so is there what do
you do when somebody comes in? You know? Well, obviously
I I kind of know because I I had, I
had the opportunity to work with you, and it was
it was a terrific experience. But I'm going to attend like,

(11:01):
I don't know what you do and when when an artist?
When an artist comes in and do they come in
with a a pretty set idea of what they want
to do, or do they do they also come to
you with an hoping that you can give them some

(11:22):
suggestions or how does that process work.

Speaker 5 (11:26):
It's both ways, so as as a producer and arranger
of music, because there are different types of production, so
we'll use both of those terms. A lot of times,
what will happen with an artist is I'll bring in
what we call a scratch track, something that they've referenced

(11:48):
that they don't have the rights to use. Uh. So
they build their song around something that somebody else wrote.

Speaker 6 (11:58):
Uh.

Speaker 5 (11:58):
And then what what what I do is I strip
that track out and build a whole something totally new.
A lot of times they will have something really set
in their mind, and other times they'll say have that
and if I don't like something, I'll let you know.
So uh that's you know, even with with your recording.

(12:21):
We sort of went through that on Oh Holy Night. Uh.
We we picked a style of an arrangement, and uh,
it's it's a very tedious uh process taking something from
scratch and trying to make something of it, especially you
know when it's not yours. As a songwriter, I think

(12:43):
it's easier to to develop an arrangement, uh, for yourself
than it is for somebody else. That makes sense, Yeah.

Speaker 1 (12:55):
Yeah, because I thought that was it was really kind
of cool because I you know, normally what happens is
as a singer, you you're handed a track or something,
and then you build your vocals around the track, uh,
you know, in the studio. But you know, with the
Holy Night, Uh, it was kind of the reverse. You

(13:19):
just kind of, I know, you kind of let me
go in the studio and said, you know, here's kind
of the clip track. Now sing it the way you
want to do it. And you built the tracker, you
built the track around my voice, even to even to
the last day when we did it, because we didn't
even have you know, we didn't have the ending completed,

(13:42):
and so the ending we just kind of created on
this way. It was amazing. The experience was so incredible
because I felt, you know, as as an artist, it's
so hard sometimes to be able to say, this is
what's in my head and this is what I want

(14:03):
to do. I don't really know how to go about it.
And to have someone step in and you did it
was amazing. And you just stepped in and just created
something around me and it actually felt like a project
that I was actually doing and that was awesome. You know.

Speaker 5 (14:25):
Yeah, and that's always the goal, you know. I occasionally
will work in the studio without an artist, especially if
we're on a deadline, as you know. But I prefer,
you know, even after tracks are laid, even though just
scratch tracks, I prefer to have the artist in the
room while you're arranging is happening, just to keep them

(14:50):
engaged and so that they always feel like they are
they have their artistic input on it, so it's not
just me, it's them as well. They'll hear something they
like and they'll say yes, let's do that, or something
that they don't like them they'll go, oh no, don't,
let's not let's not go down that road. So right,

(15:10):
and and it also in the long run, it saves
a lot of a lot of headache and turmoil, you know.
And I've had I've had artists, you know, come to
me and they say, oh, just do whatever you want
to do, and I'm like, are you sure. Yeah, And
then you know, I'll spend you know, six hours on
something and they'll come back and go, yeah, no, that's

(15:31):
not where I want to go. I'm like, yeah, see,
that's all wasted time now. So yeah, you're saving money,
you're saving a headache, and also, you know, our relationship
in the long run, because you don't ever want to
find yourself in a situation where yeah, we just didn't
go the right direction.

Speaker 1 (15:48):
So yeah, well I can tell you that my experience
with you is that you were incredibly engaging. Because we
don't live in the same town, we I have a
distance away from you, and and drove to the studio,
but I never felt like I wasn't part of the process.
You constantly communicated with me, gave me samples and what

(16:12):
do you think of it is? And and it just
I I I can't imagine working with anybody else. The
experience was so incredible. I just felt so totally engaged
in every step of the process. Uh, even while I
was just sitting listening to you, you know, putting stuff together.

(16:33):
I just really that was amazing. So I really encourage
everybody to, uh look him up. Do you have a
you have a website?

Speaker 5 (16:45):
Actually no, we we lost our domain in the middle
of the pandemic because we couldn't afford to pay the
data keep it so and then and then the company
that was hosting the website, uh basically took my my
domain name Seattle Sound Productions dot com. And then when

(17:08):
you to pay six hundred dollars. So basically they have
held a ransom and I told them to screw off.
So now our presence is all on Facebook. Okay, I
need to I need to work on my social media.

Speaker 1 (17:22):
That you do.

Speaker 5 (17:25):
I mean as we're older, we as get older, we
get stubborn.

Speaker 1 (17:29):
So yeah, well the well, the thing is is that
you know I have gladly and proudly. How did you
know that I've worked with you and and you know
you you produced? It just came out so amazing and everybody, everybody.

(17:53):
It's so funny because everybody has their favorite song that
I've released, but everybody always seems to be drawn to
ohole Night, which makes me really happy because I think,
you know, I I went into the studio with with
a song. I I knew that I wanted to do
three songs, and so one of them was the original,

(18:16):
and one was a cover of a contemporary song, and
then one was uh, a traditional, which was the old
Holy Night. And but I've always wanted to sing that song.
And I remember the first time that I heard it,
I was like, that is just an amazing, just a
gorgeous piece of music. And uh, whether you know whether

(18:38):
you're religious or not, it's it's such a captivating song
and so sweeping and dramatic, and I just I just
had it in my head and and to have, you know,
to have it come to life, it was just just
ridiculously awesome. And everybody likes it, you know, you know,

(19:02):
I've I've gotten some some comments of wow, it's a
little wow, it's a little bit more stylized than we want.
And I'm like, well, have you ever heard me sing?

Speaker 5 (19:14):
But holding holding back? Michael K who can be a
right trust me, folks, It's not a thing now.

Speaker 1 (19:25):
It isn't so but uh, I'm trying to figure out
a way. I guess what I'm gonna do is just
every now and then, how does someone uh, and we'll
slow this down a little bit, how does someone get
a hold of you if they want to get in
your studio? And by mean, by the way, everybody, seriously,
if you want a really good, thorough person. He was amazing.

(19:50):
What what what is your studio number?

Speaker 5 (19:54):
The studio number? That's a really good question. Yeah it's
two five. I never call myself two five three three
nine two five five seven to two.

Speaker 1 (20:04):
Well, okay, we'll do it again.

Speaker 5 (20:07):
Two five three three ninety two, fifty five seventy two.

Speaker 1 (20:13):
Okay, now do you have any email? You do have
an email? Huh you do have an email address right
for the studio.

Speaker 5 (20:19):
Yes, yeah, it's actually an all under me. Hell, I
have a hard enough time keeping up with my my
my own email and all the social media every day
if I had a separate email address for the studio
at go neuts. Because I'm a one man operation here,
so uh, anyway, email is Flagherty James at Comcast dot net.

(20:41):
So that's f L A h E r T Y James,
all one word at Comcast dot net. That's the best
way to get a hold of me.

Speaker 1 (20:55):
Awesome.

Speaker 5 (20:55):
Social media is also good, but I don't always see
message from people who I'm not friends with. Get a
lot of spam on Facebook, you know.

Speaker 1 (21:04):
So right, well, here's what I'm gonna do.

Speaker 5 (21:07):
Get through all that.

Speaker 1 (21:09):
I'm gonna I'm going to play Oh Holy night, and
that way if you need to run off and get
some coffee, Uh, you have about four minutes to do that.
I'm gonna play the track and uh this is uh,
like I said, this was this was my baby. All
my songs are my babies, but this one was one

(21:30):
that I've wanted to do since I was super young,
and so.

Speaker 5 (21:35):
I always wanted to produce it. So there it is.

Speaker 1 (21:38):
Isn't that awesome? That is so cool? And BOYD did
you do a hell of a job. All right, everybody, Uh,
this is oh holy night. We're going to bring Jimmy
back in just a couple of minutes, but we're going
to play the track for you here in.

Speaker 7 (21:54):
Right now, Oh holy.

Speaker 1 (22:12):
Starts of riding Shunney.

Speaker 6 (22:18):
It is the night.

Speaker 2 (22:21):
About Sauser.

Speaker 8 (22:30):
Long the world.

Speaker 1 (22:35):
It's seen in Marabine me.

Speaker 8 (22:40):
In and the soul.

Speaker 2 (22:48):
Between of the real.

Speaker 8 (22:57):
The windy world.

Speaker 1 (23:00):
It joy said.

Speaker 8 (23:07):
A new way, glorious mon.

Speaker 2 (23:18):
Joy.

Speaker 9 (23:47):
When Christ was born, Oh name see.

Speaker 8 (24:17):
He chid Us to.

Speaker 6 (24:26):
His lonest love.

Speaker 10 (24:30):
And its god smoles page shall.

Speaker 11 (24:40):
Be bray for the slave.

Speaker 9 (24:45):
Is high pund.

Speaker 6 (24:49):
And it is name.

Speaker 8 (24:53):
Alive bread che treating show drain poor retra we hap.

Speaker 1 (25:13):
With the not.

Speaker 6 (25:16):
Range is holy.

Speaker 11 (25:31):
And cam CROs.

Speaker 6 (25:47):
When when Rice was born only seb now O.

Speaker 8 (26:44):
Nice but.

Speaker 5 (27:18):
All right.

Speaker 1 (27:20):
Got oh no, yeah, I can never thank you enough
for doing that. It's it is a It was so
powerful and so meaningful to have that on a bucket
list and to know I was working with someone that

(27:42):
understood how important it was and really went the extra mile.
I just I will forever be grateful.

Speaker 9 (27:50):
And you.

Speaker 1 (27:52):
You were amazing. I just you definitely you definitely are
in your more element. Uh. It was just it was
magic working with you. So I I just like I said,
I I will forever be promoting you and just outstanding, outstanding.

(28:13):
And like I said, everybody, that track was created by
him around me and that the other way around. And
that takes that takes a serious knowledgeable artist and producer
to to have the confidence to say, lay down your
vocals and then I will build it around you. And

(28:36):
that was outstanding and it just will I will forever
be grateful. It really wash outs just a dream come true.

Speaker 5 (28:47):
So thanks, thank you. I mean it was it was
definitely an honor to work with the infamous Michael Cagele.
After all these we've known each other. Uh yeah, we
had the first time you and I, You and I
got into the recording studio and that was in Seattle
and decided we should not record together.

Speaker 1 (29:11):
When we when we unleashed our cats and a.

Speaker 5 (29:17):
Trash can is what it sounded like.

Speaker 9 (29:18):
It was.

Speaker 10 (29:19):
It was.

Speaker 1 (29:21):
That one was rough.

Speaker 5 (29:24):
I think it was because we were both trying to
both trying to be Elton John and it was not
Elton John.

Speaker 1 (29:32):
It was a little Yeah, that one was a little rough,
but it was.

Speaker 5 (29:37):
It was funny though. But you know, we've got on
to sing together on stage a few times and and
in live performances, and it's it is and you are
people learned how to how to sing with each other.
We have you are just you are.

Speaker 1 (29:52):
It's not a surprise that you're as good a producer
in the studio because even singing with you live you
bring out the best like you just you just relax
somebody and then they just want to elevate their game.
And and really it's just you're just that you have

(30:13):
And I think sliding into the next thing. You know,
you have been hosting karaoke for well, I god knows
how long I.

Speaker 6 (30:27):
Huh.

Speaker 5 (30:27):
Yeah, my first karaoke show was in nineteen eighty nine.

Speaker 1 (30:31):
Did they happen that?

Speaker 5 (30:33):
Yeah, we it was. It was a totally different world. Yeah,
we had. It was all done on cassettes, you know,
remember those little tiny tape things we had, and the
lyrics were printed on paper and how anybody ever read
those tiny lyrics? I will never know, but yeah, and

(30:58):
a karaoke book days was called a menu. And if
you had twenty five or thirty songs karaoke songs in
nineteen eighty nine, boy, you had a big library. Ooh yeah.
So I didn't officially go into the karaoke business until
oh god, it was around two thousand right before. Yeah,

(31:24):
it was, yeah, two thousand, so and then again I
moved to Seattle. During that period of time, I didn't
have recording studios, so I moved to Seattle, tried to
get into the karaoke scene up here as a business boy.
That was tough to break into up in Seattle. Finally

(31:45):
got in at a couple places, and then I moved
down to Federal Way and we're down here now just
making bucks. So that's a good thing.

Speaker 1 (31:56):
Yeah, and you just celebrated. I say, you celebrated your
seventh anniversary last night, which is seriously outstanding. Your seventh
anniversary at the.

Speaker 5 (32:12):
Sandbar, and uh, yeah, we've been there seven years.

Speaker 1 (32:17):
That's just wild. Not only you know, that's a testament
to the kind of show you put on. In all honesty,
because karaoke people are fickle, you.

Speaker 5 (32:31):
Know, they can either be really fickle or really don't care,
and we take them all.

Speaker 9 (32:37):
You know.

Speaker 1 (32:39):
Yeah, but I mean once again, it and I can't
stress this enough and I'm not trying to over compliment you,
but the amount of care that you put in is
put into your shows is the reason why people go
to them. Like you're all about making sure the singer
sounds good and that they're they're comfortable, and that you know,

(33:01):
their experience on stage is as important as the people
that are listening, and so you know, the lights and
the sound and everything. It's it's everybody feels you know,
because not everybody, let's be honest, not everybody's going to
you know, have the time and the energy to you know,

(33:25):
do a show or or perform on stage. You know,
but you know, you give them four minutes of an opportunity,
you know, a four minute opportunity to be a star,
you know, to get up there and feel comfortable and
just entertain. And uh, it's important, and you treat everybody

(33:45):
like they are like they are important, you know, like
they they deserve the best sound, they deserve the best lights,
and that's in all honestly great.

Speaker 5 (33:57):
Right as you know, you know, karaoke because you've been
a karaoke host yourself. Uh Uh it can sometimes be
I can't say the word because I'm on the radio,
but blank show and uh.

Speaker 1 (34:14):
So we're being so we can say ship okay.

Speaker 5 (34:20):
All right, So it's it could sometimes be a ship show.

Speaker 1 (34:23):
So you uh.

Speaker 5 (34:27):
So, why not take you know, why not take the
extra uh you know, investment in my in both my
time and my equipment to make sure that it's not
as not a terrible ship shoe, but at least something
that's enjoyable. So you know, you get somebody a great microphone,
a decent sound system, and you know, combine that with

(34:49):
a good engineer and you can make anybody sound halfway decent.
So you know, karaoke doesn't have to be painful. Uh
So that's that's you know, I try to treat it
with his much respect as I do. You know, in
the studio, I want want it to be as perfect
as possible. Sometimes you just got to throw your hands
up in the air and walk away.

Speaker 1 (35:10):
But are you surprised at the longevity of karaoke? I
mean a lot of people were talking, you know when
it when it really started kicking in, and you know,
of course that they were laser discs at one time.
And yeah, but and but a lot of people were like, ah,
this is kind of a fad. It's you know, it's

(35:32):
it's not really good. Are you surprised that literally twenty
years later or whatever, it's.

Speaker 5 (35:40):
Thirty thirty years by my callary, Yeah, yeah, I'm I'm
actually surprised that it got off the ground as much
as it did. I think by the time the mid nineties,
maybe early two thousands hit and it was pretty much everywhere.
I think that's probably when I stopped saying this is

(36:01):
a fad, because it was literally everywhere and it is now. Surprisingly.
You know, there are some cities that where you'd think
there'd be a ton of karaoke, there isn't. Like LA,
for example, I was down there a few years ago
when I auditioned for the voice uh, and we found
two karaoke bars and all of all of Greater Uh,

(36:25):
you know, that main LA, and it was like, what
in that actual hill going on? Either they don't advertise, well,
I don't know, but we just we only found two spots. Horrible.

Speaker 1 (36:41):
Well, I think probably like l A. L A, just
like New York is is probably considered more of a
live piano you know, live venues with piano bars or
you know that kind of thing. Because unfortunately, this the
sad thing is that there is such a stigma to

(37:05):
the word karaoke to some people like they because their
immediate response is okay, drunk singers singing, you know, slabbering
all of the microphone, singing out of tune, and and
they don't realize, you know, there are incredible people that
will never ever tour, never ever record, you know, never

(37:29):
ever do shows, that have the most amazing voices, and
they just love this thing and this is a place
for them to to shake off all of their the
week's worth of drama and stress and work and they
get to just do something.

Speaker 5 (37:49):
That they love.

Speaker 1 (37:50):
And there's great singers out there, like outstanding where you
just you know, I still am dumbfounded by the amount
of talent, you know, because I'm like you, I've been
doing this a while and you know, I've I've been
really blessed to have performed all over the country and

(38:14):
I am never I've never it never ceases to amaze
me how much undiscovered talent there is. And I you know,
just for that alone, I don't I can't see karaoke
ever ever dying because people need you know, it's not

(38:36):
you know, it's not a matter of someone singing out
of tune. Because some people are so terrible it's worth
going because I either love the super amazing fingers where
my jaw just hits the floor and I'm like, Wow,
that was unbelievable experience. Or I love the absolutely terrible
ones that have no clue. They have no clue how

(38:59):
awful they are.

Speaker 5 (39:01):
Well, you know, I think it's even better when they
do know how terrible they are and they just don't it.
Oh yeah, so.

Speaker 1 (39:12):
Do you do you see how long do you still?
How long do you think the wheels on karaoke are
going to keep rolling?

Speaker 5 (39:21):
I think the wheels in karaoke will keep going as
long as it doesn't try to automate itself. And you know,
there have been a few people who have tried automating
the experience, and I think the second that happens and
it becomes a real thing, that'll be the definite of

(39:41):
karaoke really because then, yeah, because then you're taking the
host out of out of the picture, and you have
to you know, karaoke requires some leadership. You need somebody. Yeah,
you need somebody on that mic to be the n
C and say give it up for blah blah blah,
or or tell us tell a joke, you know, make

(40:02):
fun of somebody's shoes, or you know, the machine is
never going.

Speaker 6 (40:05):
To do that right.

Speaker 1 (40:07):
And you know, let's face it, some people and some
people will get up and singing a karaoke and yeah,
they'll suck the energy out of the room or you know,
and it's just like it. You need you need that
person to get the momentum back up if it does sag,
if if you know it just it is definitely something

(40:31):
that requires interaction with someone that is running the whole thing.
You know, you you need that through line.

Speaker 5 (40:41):
I I completely agree. Yeah, and you have to be
able to drive the energy, especially on the nights when
you have the dreaded funeral March per safety, you know,
where you've got three hours of everybody singing sad, sappy
songs and at that time you just gotta go up

(41:01):
to the bartender and say you got a gun. I
love my job, but not tonight. Oh god, this is sad.
But you know, we have to take the good with
the bad in this industry, Unfortunately, it's ninety five percent
bad for me. All right.

Speaker 1 (41:21):
I do have a I do have a serious question
for you, because you were you were someone that seemed
to be able to rebound. We uh, obviously we had
our own karaoke company, and we had we had, We
weren't nearly as busy as you were. But you know,

(41:43):
then the pandemic hit, and of course, you know it
was I think karaoke. Karaoke shows were the big, bold
target that everybody was going after, you know, because I
shared microphones and all that stuff, and of course our
karaoke business kind of just, I hate to say, it

(42:04):
is kind of except for you know, weddings and special
events and that kind of thing. We're not regular doing
gigs anymore. But how did you weather? How did you weather?
Because now you're up, you know, and like I said,
you're celebrating your seventh year. You had I think I

(42:26):
read that you had twenty eight people in your rotation
before you even started last night last night?

Speaker 5 (42:33):
What yeah, yeah, what Thursday?

Speaker 1 (42:38):
How did you how did you not only how did
not only how did you survive through the pandemic to
keep the business alive, but how did you keep the
interest alives, so that when you know, restrictions kind of
felt that, you know, fell loosened up, that kind of thing.
How did you how did you revive it? You know,

(43:02):
because there was a period of time obviously that nobody
was doing karaoke just wasn't allowed, right and right. So
share with me your pandemic experience.

Speaker 5 (43:14):
Well, it was terrible number one. You know, we thought,
you know, the on the way I think it was
what was it the sixteenth of March or something that year.
I was at a gig actually in fact, we're at
a place called Burton Jackson, Auburn, and we're doing an
entertainer spotlight with a bill by the name of Buck.

(43:36):
And I got the phone call from my mom. She says, yeah,
you guys are going to be closed down tomorrow. And
I said what She said, Yeah, this COVID thing. They're
shutting down all bars and restaurants. And I was like, whoa, Okay,
so you know a week or two maybe, yeah, I

(43:56):
turned into eighteen months. Yeah, and uh it destroyed It
destroyed my business, damn near. I mean I was actually
to the point before I was able to get any
of the government assistants, which took a year, almost a
year to get for me. Actually no, it was eight months.

(44:19):
But anyway, uh.

Speaker 1 (44:23):
There, oh yeah, I'm I'm going on a year.

Speaker 5 (44:27):
My phone is doing weird things. Anyway. Yeah, it was yea,
be kind.

Speaker 1 (44:39):
It was.

Speaker 5 (44:40):
It was a very uh it was a hard time.
I mean we were on our way to adding two
more venues. We're I'm a small purveyor, so you know,
we at that time we had free shows. We were
getting ready to ramp up to five and that happened,
and I would have been Meghan Bank. I mean, more

(45:02):
money than I've ever made in my life at that
time had that happened, And to go from that to
zero and have nothing through all that if it wasn't
for what I had going on in the studio. And
we also did some at home private karaoke parties safely,

(45:25):
of course, as safely as possible. That helped. But I'm
not honestly sure you know now that I look back
at how we ever did survive because it was a
long time. Yeah, yeah, it was tough, and you know,
we're only back to about half capacity now as far

(45:46):
as my business is concerned. We were a little slow
on the uptake coming back and trying to grab venues
number one because I didn't want to go in and
grab somebody else's deal places where I knew I had karaoke.
I didn't want to step on anybody's toes because I
knew people wanted it had to get back to work
and wherever they were at was you know, hopefully they

(46:07):
were going to be able to go back to where
they were, and that didn't always happen. You know, we
lost we lost two venues. I was down to just
thee sand Bar when we came back, uh last a
year ago August. So fortunately I was lucky enough to
have those owners, so that helped me out a lot
getting rebuilt. Now we have another venue in Kent called

(46:30):
The in Between Pub, which is a fun, younger crowd
hosted by Galen uh and David a.

Speaker 1 (46:39):
Uh.

Speaker 5 (46:39):
So those guys do it.

Speaker 1 (46:40):
That's the show. Obviously, it's a totally balent type of
show that we get from. Yeah it is, and it's
you know, Galen is my Galen's my brother, so yeah,
uh and he's just he's a great host, but it
is it's a very fun that doesn't really fun fun

(47:02):
venue to go to. And I think that I think
That's one of the things that appeals. I think karaoke
is so appealing is that depending on your hosts and
depending on the location, you know, you can find something
to fit everybody's crowd, if that makes sense. You know,

(47:28):
because some people, you know, some people want to get
up and you know, get get get up, and you know,
dress dress up and and hit the stage, and they
want the really cool lights and everything because they that's
what they want. And but then there are the people
who just kind of want to have a nice beer,
low key, get up, you know, hang with friends. It

(47:53):
just yeah, I think that's what the one thing about
it you can find you can not find the family,
but you can find your crowd at a karaoke I think.

Speaker 5 (48:05):
I think karaoke is very much family for a lot
of people. It is you know, when when we lose
somebody and it happens, you know, sometimes we we've had
part of parts of our family, you know, get eighty
six from a bar or doing something stupid, or you
know they pass on or whatever. And boy, I'll tell you,
everybody feels it. And you know, we lost a number

(48:28):
of people through through COVID and we lost Schmitty Queen
of karaoke. She didn't die of COVID, but it was
during you know, basically right after all that hiatus, and
we never did I never did get to see her again.

Speaker 1 (48:43):
Yeah, yeah, yeah, well I I yeah, I guess what
I was saying was didn't come out the right way.
But yeah, you're because you're out of resign right. You
know a lot of my a lot of my friends
and and family are people that I have met, uh
through singing karaoke, which sounds kind of dorky. I guess

(49:06):
because we met it is you know what it actually is.

Speaker 5 (49:13):
You know back when I back when I was forced
to have that stupid British accent, and they all thought
you and I were brothers. I'm like, I'm not sure
if I can compliment or not.

Speaker 1 (49:27):
Well, yeah, I'm not sure either.

Speaker 5 (49:33):
We are in spirit, that's for sure.

Speaker 1 (49:36):
Yeah, and you know it's.

Speaker 10 (49:39):
It is.

Speaker 5 (49:40):
It was.

Speaker 1 (49:40):
It was a friendship.

Speaker 5 (49:41):
I think that.

Speaker 1 (49:45):
I didn't really know how do I say this correctly
without offending somebody, But it wasn't. It wasn't a friendship
that I thought was going to go anywhere. Because we
did click and then we yeah, we have. We had

(50:07):
an interesting party that that was getting frustrated that we did,
and yeah, so.

Speaker 5 (50:16):
Well as many of many of the people in this
industry who have gone into competitions, which is another story
and of itself. Uh knows how frustrating that can be.
And having been in the you know, in the in
the top three of the of that organization, I know
how frustrating it is for everybody. So, you know, I

(50:41):
think without some conflict in situations like that, you're not
going to move forward. You have to otherwise it's always
just yes, yes, yes, no, because that's not how you
have competitions work. Yeah. So, yeah, anyway, we had a
good time. I'm glad we don't do it anymore.

Speaker 1 (50:59):
But yeah, yeah, I mean, competitions are you know, they
it's weird because they I always tell people, you know,
because one of the things I enjoy doing is I
do vocal coach a little bit, and a lot of

(51:22):
people come to me and they're like, I, you know,
I I want to do this contest. Can you get
me you know, can you help me win? Well, the
first thing I always tell them is I can't guarantee anything.
I can give you tools. I can help you be
the best you you can be. You know that kind
of thing. But I can't guarantee. I won't guarantee you

(51:43):
because that's not fair to you. I don't, you know,
because judging, at the end of the day is objective.
But I know that competitions, if you don't go in
them for the right reason, can devastate you or debil
of state relationships with people because if you're.

Speaker 5 (52:04):
Very correct.

Speaker 1 (52:06):
Your reasons.

Speaker 5 (52:07):
Why my business decided not to do competitions anymore because
it was it was bad for business. Uh, you know,
the worst the worst thing you want to do as
an owner of an entertainment company is to tell your
customers how terrible there, right, and not a good business model?

Speaker 1 (52:26):
Right unless that's your unless that's.

Speaker 5 (52:32):
Your thing, you know, and you know right, but.

Speaker 1 (52:37):
It is because you know, I I have, you know,
unfortunately I have. You know, I have a lot of
friends that are in different competitions. Oh you know, there's
there's so many now. And I'm not saying one's better
than the other or one's worse than the other, but

(52:57):
it's really I always tell people who go into a
contest or a competition, don't go in it just to win.

Speaker 5 (53:07):
If the thick skin if you.

Speaker 1 (53:10):
Yeah, exactly. If you are putting all your eggs in
your basket because you expect to win, you're you may
get disappointed and it doesn't matter if the person's amazing
or not. But I but I've seen people go in
there and they feel like it's their time to win,

(53:34):
and they won't take no for an answer.

Speaker 5 (53:38):
Answer great, and what do you do you know?

Speaker 1 (53:43):
And I tell them, well, number one, it's just one contest.
It's one of hundreds that you can find. You know,
conscious is never going to define you. It's not going
to make you who you are. It means that you know,
anywhere from three to seven people who all have their
own objectivity to what is good, are going to make

(54:06):
a determination based on one song.

Speaker 5 (54:10):
You know, you don't and sometimes sometimes people are a
one hit wonder and then they don't understand why they
weren't left on the second and first off third song exactly. Yeah, yeah,
and I and I knew that from from hosting karaoke.

Speaker 1 (54:23):
Everybody everybody's got one song and I'm pretty much right.

Speaker 5 (54:28):
But it's and as a host, it always feels that
way because you know you're expected to sing and you know,
I've got about a hundred songs I can sing off
to fly and I sing them all, but it always
seems like I'm just singing the same crap over and
over again. But I'm not really right. Yeah, So anyway,

(54:53):
so my question to you.

Speaker 1 (54:55):
Is what what is what is your next?

Speaker 5 (55:00):
Where is.

Speaker 1 (55:02):
Where is your Because you have a record label called
Rupert Records? Okay, so what is what is Jimmy's next
three years looking like? Either as a record label, business owner,
karaoke host? What where do you see yourself in let's

(55:26):
say three years.

Speaker 5 (55:28):
Well, I'm clearly going to keep the karaoke and of
the business live for as long as I can. You know,
we only do permanent installs, so we don't we don't
lug gear around with it. So I do an install
and then we just show up and we do the show.

(55:50):
And that's the only way we do karaoke anymore because
I'm too old to be dragon crap around. But that's
always probably going to be a thing. Even when I
decide not to do it anymore, I'll still have people
that do it for me. And then as far as
recording studio, where I'd like to see cl sound productions go,

(56:13):
will be more of a focus on Rupert Records, and
we'll and I want to get together at some point
with a distributor down the line so that we can
actually be a real record label. We're only a record
label at this point in terms of that. We do

(56:35):
sometimes have space for artists to come in and we
pay for everything. It's all pro gratis. But that's as
far as that goes. We don't do any distributing or
anything like that. That's all on them, on the artists,
and you're you're sort of in that situation minus pro gradest.

(56:57):
But we do a lot of that, I mean, and
usually only have room for one artist at a time.

Speaker 1 (57:10):
Who you're working with on your label, that is, quote
a an artist on your label.

Speaker 5 (57:18):
Currently, I only have one artist on the label and
we haven't done anything a very long time. Christina Krompt
is actually the first person you brought in. But we
don't We don't get a lot of work done, uh
these days, just because the students been so busy. Yeah,
I'm booked out to the end of the year, which
never happens in the in the winter time. So this

(57:42):
I'm blessed that that's happening this year because you know,
the price of everything's gone up, So it's it's a
good supplemental income to help me, you know, make ends meet.
None of what I do, unfortunately, is cheap. Uh just
you know, it could be in sound engineering of any kind,

(58:04):
uh be in a business like that, it gets expensive,
especially when you buy you know, good year, So you
just just hope and pray that you can get that
equipment to work and make it pay for itself. So
that's kind of where I'm at now. First, you know,

(58:25):
I've got a house full of equipment because uh, we're
still trying to get two more karaoke venues on. It's
just it's tough right now. So and plus we are
moving uh the zand Bar during uh in the next
few weeks, I guess, Uh, so that's gonna be a

(58:45):
new venue, old old venue.

Speaker 1 (58:47):
So that's awesome. Yeah, well, you definitely have beat the
odds as far as you know. I I why I said,
I'm I'm I'm one of them that lost the business
when COVID hit. And I'm not sure if I'll you know,

(59:10):
if I'll even go back to it, because you know,
all three of the places that we had contracts with
because we actually had you know, we had five shows
at three venues, so we we were okay, and but
none of them are, you know, interested in going bad.

(59:30):
They're all very, very tentative and and it's kind of
a shame. But you know, I can't stop and build
a monument to it. I have to figure out what
to do with it and where I want to go
with and.

Speaker 5 (59:46):
That kind of thing.

Speaker 1 (59:47):
But I'm glad, I you know, because you know, from
the whole time I've known you, that was such a
that was such an important part of who you were.
And I can't imagine I know this sounds terrible, This
isn't a bad insult by any means, but I can't
imagine you not hosting because you are so good at it.

(01:00:09):
You know, you just have a really laid back and natural,
you know, make everybody feel comfortable kind of thing. And
then you know, you're all about the product of, you know,
making their four minutes sound the best, look the best.

Speaker 5 (01:00:24):
So right, well, trust me, I'm not retiring anytime soon,
but I don't plan on being a seventy year old
karaoke host. Let's put it that way. It's like I
got at least another twelve or thirteen years in me.
I know, right, yeah, right, as long as long as

(01:00:47):
my health maintains itself, and I'll keep doing it.

Speaker 1 (01:00:53):
Well, I'm going to take a quick break. I'm going
to bring you back. I'm going to play another one
of the songs and that'll give you a chance or coffee,
I e. Cigarette if you need one.

Speaker 5 (01:01:04):
Okay, I don't smoke Michael's sex.

Speaker 1 (01:01:07):
I never heard that. Oh okay, here we go.

Speaker 9 (01:01:11):
This is.

Speaker 1 (01:01:13):
My greatest gift is you. This is a This is
an original song that I wrote and I hope you
guys like it. It's was written about in two thousand
and Q and there's been a couple iterations of it.

(01:01:33):
But this is the version that I wanted to record
that I was able to do courtesy of the incredible
Seattle Sound Productions. This is my greatest gift.

Speaker 3 (01:01:47):
Issue gets under the trees, light filverlies, see the Christmas.

Speaker 9 (01:02:25):
Raw warning.

Speaker 11 (01:02:31):
Ny Meston.

Speaker 8 (01:02:39):
Can believe it. I've heard of this match have a memory,
stuff tivery sad again again.

Speaker 6 (01:02:55):
Be playing in my star takeing late. So this much
is treat The joy is season is noing.

Speaker 11 (01:03:19):
My greatest escape is a.

Speaker 2 (01:03:46):
And not me.

Speaker 6 (01:03:51):
This sad.

Speaker 5 (01:03:53):
It's cruel, It's not been it weird about know.

Speaker 6 (01:04:00):
Any of saty, but we will meet together.

Speaker 9 (01:04:10):
My bowe is true.

Speaker 8 (01:04:14):
I really a tamevery day.

Speaker 5 (01:04:18):
What had me with.

Speaker 8 (01:04:22):
The memory cell had repaid to calling you.

Speaker 1 (01:04:30):
Clak in my.

Speaker 8 (01:04:35):
Ta no worry.

Speaker 6 (01:04:40):
The light the song.

Speaker 9 (01:04:45):
This man to stream.

Speaker 6 (01:04:49):
The joy of seem is knowing.

Speaker 11 (01:04:54):
My greate escape is a.

Speaker 8 (01:05:24):
And the memory is gone, and was said together when
I depended by.

Speaker 11 (01:05:33):
My going light the songs.

Speaker 8 (01:05:46):
It's much eas true.

Speaker 6 (01:05:50):
The joy the seamon is no the joy the sea
that is nowhere the joy.

Speaker 11 (01:06:05):
Either the joy.

Speaker 6 (01:06:15):
Is now my great.

Speaker 9 (01:06:24):
Ge e.

Speaker 1 (01:06:49):
That was yours.

Speaker 6 (01:06:50):
Truly.

Speaker 5 (01:06:52):
Yeah, nice job, I said, I.

Speaker 1 (01:06:58):
It makes sol a warm and fuzzy. Somebody said, oh
my god, it's you sound like nineties R and B.

Speaker 5 (01:07:11):
Well you arranged in this very much nineties. Yeah, in
that classic nineties piano electric piano sound.

Speaker 1 (01:07:23):
Yeah, it was, well, I wrote I wrote that song
in right after I think it was right after nine
to eleven, honestly, and wow, I had yeah, and I
think I had written it. It was writing it. I

(01:07:43):
had written obviously in December after nine to eleven, but
I was living in Las Vegas and I many people
don't know this. I have two sons, and.

Speaker 5 (01:07:59):
I was as.

Speaker 1 (01:08:01):
Because I was in I was living in Vegas, I
my sons were in Washington State, and seeing them was
very very very difficult.

Speaker 5 (01:08:14):
Uh.

Speaker 1 (01:08:15):
There, and I won't get into that because that's an
entirely different show.

Speaker 9 (01:08:18):
Uh.

Speaker 1 (01:08:21):
But I kind of wrote that song as a gift
for them too, and it has so it is set
in It is set in my drawer forever. And I
was very fortunate to have a friend that that, when

(01:08:48):
I put the song together, was able to play it
for me, and so he laid the piano work down. Uh.
I had written everything in said this is what I
want blah blah blah anyway kind of what you did
in the studio, honestly. And but I've tried to release

(01:09:10):
that song several times, and I've always kind of had
other people's idea of what they wanted the song to
sound like, or they made suggestions, and I'm like, that's
not what I want. They wanted it a little bit
sweeter and a little bit lighter, and I'm like, that's
not what the song's about. There's a song about someone

(01:09:32):
that's really missing someone, and it's more passionate than you know,
a holiday song where everybody's hugging each other. I wanted.
I wanted that kind of feel of hurt and you know,
frustration that they're not together. So and so, finally, after

(01:09:57):
literally twenty years of I finally got to make the
version that I really feel the best about. So again, right,
that's credit to you.

Speaker 5 (01:10:08):
So yeah, well, you know that's as songwriter, as a
songwriter myself, who hasn't really written much of anything last
twenty years, but it's you know, it's I learned a
long time ago as a songwriter. It's not something you
can force. And sometimes you do something and it does,

(01:10:28):
it sits in a drawer on a shelf for a
long time until it's time comes. And that's always how
I've had to look at it. And I don't like
I said, well, I think the last song I wrote
was during COVID, and it was about COVID in fact,
because I was bored. But it's it's something that all

(01:10:54):
artists struggle with. I think to a degree, some people
are able to just sit down and write and write
and write and write and seem to never stop. I'm
not one of those, I uh, And which makes my
job as a producer and a recording engineer extra special

(01:11:16):
because when I'm not in the mood to do it,
I get to do it for other people and make
their make make their vision come alive. And that's that's
that's really why I love doing this. I mean, if
I've said to myself many times over the last few years, God,
you know, I love doing this so much. If I
could do it full time, I would, uh, but okay not.

(01:11:40):
Not everybody can afford to go into the studio. By
the way, we're fairly cheap folks.

Speaker 1 (01:11:45):
So yeah, yeah, it's yeah, you're not you know, you're
you're not there trying to you know, get rich or
bankrupt someone or make it, you know, out of reach,
because unfortunately, like you said, even though it is even

(01:12:06):
though it's expensive for you, it's also expensive for everybody
else as far as just the day to day stops.

Speaker 5 (01:12:14):
And you know, it can be Yeah, when people, Yeah,
if you're not prepared when you're coming to the studio,
get ready to get a building, you're not going to
like ah. And you know that, I've had a few
that just didn't know what to expect. And you know,

(01:12:37):
I do try to work with people when that happens,
but sometimes you just have to say all right, you're
not ready for this. Go home, write your songs. I'm
not here to write the song with you, right because
you know it costs it costs you money for me
to sit here and watch. You think, so that don't
do that.

Speaker 1 (01:12:59):
Yeah, you know, I think, and I think a lot
of people don't realize how quick the time goes.

Speaker 5 (01:13:06):
You know.

Speaker 1 (01:13:07):
They're like, oh, I'm just gonna walk in the studio
and lay down vocals on two or three tracks and
I'll be good.

Speaker 5 (01:13:13):
Well, it never turns out that way.

Speaker 1 (01:13:16):
It never turns out that way, you know. And you know,
the only person I think that ever worked for, and
it's a true story, was they They evidently woke Celine
Diana up at one o'clock in the morning to lay
down a vocal because it had to be done to

(01:13:37):
lay down a vocal on the Titanic movie, and she
didn't know anything about it. She heard the track, she
ran into her head. She laid down the vocal once,
Oh my god, after hearing it, she literally the version

(01:13:57):
of my Heart Will Go On that is on the
Titanic soundtrack is a little different than the pop release,
not much, but a little bit different. But the one
she did for the Titanic soundtrack one take. Wow, and

(01:14:17):
she's like, that's all I've got, That's all I can do.
And they're like, okay, well that's goal and we'll work
with it.

Speaker 5 (01:14:23):
We just needed it.

Speaker 1 (01:14:24):
And James Horner heard it and said, there's nothing else
she can do. It's it's perfect. There's there's enough ang
and sadness, and you know that she captured everything, so
it can happen in one take if it can me.

Speaker 5 (01:14:47):
Either, you know. And here's the things as we discussed
when you were in the studio. You know, engineers these
days are capable of doing a lot to fix vocals
on is the emotion and the dynamics uh, you know
are carried through in thematic dynamics of the vook we're recording.
Almost anything can be fixed. Uh you know, I've had

(01:15:11):
I've had people come in and you know, they didn't
like where they put a certain word, like oh, yeah,
I should just come in a little earlier. I'm like, okay, click, click, okay,
came in earlier. How did you do that? You know?
So it's a technology is amazing. I mean, we couldn't

(01:15:32):
do these these things back in the nineties.

Speaker 6 (01:15:36):
Uh.

Speaker 5 (01:15:36):
Yeah, you know, and and you know all that all
that equipment got our first recording studio, we had four
aid ads, uh and two boards and you know, a
truckload of processing gear and the room that housed just
that gear was bigger than my entire studio is right now.

(01:16:00):
Uh So it's it's amazing when you can fit in
a computer, you know. Yeah, And it's a lot a
lot less.

Speaker 1 (01:16:11):
Right, because people's images of you know, studio is this
big booze and and you know, and all these reel
the reels and everything patches and now it's all done
with expensive programs and patches and yeah, it's yeah, and

(01:16:32):
one of the funniest things I never it's a funny memory.
And for those that don't know, I tend to have
a kind of a bigger voice.

Speaker 5 (01:16:52):
Comment and yeah.

Speaker 1 (01:16:54):
Right, And so we were doing I can't remember which
song it was that I was laying the bone goals
on it.

Speaker 5 (01:17:01):
You made what was the first one? I told you?
I told you had to go downstairs to sing the
track on top of the stairs.

Speaker 1 (01:17:10):
Yeah that made me laugh, and I knew I was
at the right place because it was just it just
felt good.

Speaker 5 (01:17:17):
But yeah, you did finally Rent it in.

Speaker 1 (01:17:23):
Yeah, yeah, yeah, I mean it.

Speaker 5 (01:17:30):
Yeah.

Speaker 1 (01:17:30):
I paid a lot of money to learn how to project.

Speaker 5 (01:17:34):
Yeah, you know, yeah, not all microphones can handle you know,
one hundred and fifty decibel impact. You know, not very
many can.

Speaker 1 (01:17:48):
No, no, they really can't.

Speaker 12 (01:17:50):
And uh no, but we got we got what we
needed out of the We got what we needed, uh
the uh out of that booth and were oh yeah
it works, so all right, So up next for you?

Speaker 1 (01:18:07):
Quickly, you said, do you know when you're going to
be opening the new karaoke location.

Speaker 5 (01:18:15):
No, as anybody's who's ever been in the bar business,
they know opening opening a venue of any kind is
really kind of a shot in the dark. You never
know what kind of holdups you're going to have. And
I'll tell you this is this is a place where

(01:18:37):
you know, if something can fail, it will is generally
the rule of thumb, because pretty much everything that can
go wrong has gone wrong so far. I mean, it's
it's just a matter of you know, once once the
dust clears, you you'll know you're you're finished and you're

(01:18:57):
ready to open. And nobody knows is when that desk
is gonna gonna settle. I I can probably safely say, uh,
you know it'll be by January, so and don't don't
don't don't don't don't quote me on that, but yeah,
I mean it is that's probably going to be.

Speaker 1 (01:19:19):
Yeah, because what what you originally plan and your original
intent doesn't you know, doesn't not always work out because
you never know what Live is gonna throw at you
at the last minute and everything.

Speaker 5 (01:19:33):
But yeah, yeah, it's always some.

Speaker 1 (01:19:38):
Yeah, So anyway, let me I I haven't once given
out the phone number nobody could call or I felt
so terrible, but I just had so much fun talking
to you. I just like, okay, you kind of a
talk show. But if anybody wants to call in really quick,
it's three four seven three or old eight eight seven
four seven. That is three four seven three or oh

(01:19:59):
eight eight seven four seven if you want to to
say something to Jimmy or ask Jimmy a question or
talk about you know, what he does or what he
has done. And I know that I'm going to be
back in the studio working with you because my label
needs a song for me the first quarter of twenty

(01:20:20):
twenty three, and I'm petrified, so I either get on it.
I know I'm I'm literally debating different kind of songs.
I obviously it's going to be an original and it's
going to.

Speaker 5 (01:20:34):
Be one of my own.

Speaker 1 (01:20:35):
But you know, when you start doing that, I'm so
insecure at songwriting because I always feel like everybody's so
much better at writing a song than I am. That
I just well, you're vulnerable.

Speaker 5 (01:20:51):
You have an up on a lot of people, and
that is you know, you do have some music music
theory behind you, and you can play an instrument. You know,
it's a lot easier to write a song when you
can at least sit down with a guitar or piano
and just camer something out. So yeah, when when when
all you've got is a voice in your head, it
gets very difficult.

Speaker 1 (01:21:11):
So it is unless there, unless they find someone like
you that can they can literally build a track around
a vocal, that is that I will forever be blown away. Jimmy,
I want to thank you so much for being a
guest today. You were amazing and that once again, why

(01:21:34):
do you tell everybody how to reach out, how to
get a hold of you if they are either interested
and obviously I want to promote your karaoke business, but
more importantly, if they're interested in booking some studio time
with you sitting down making that happen. How did they
get ahold of you?

Speaker 5 (01:21:55):
The best way to get a hold of me is
through email at slacker ty James Comcast dot net. That's
f l a h e r T y j A
m E s at Comcast dot net. You can contact
me on Facebook for Jimmy Flagherty. That's j I M
I and my last name, uh and my phone number

(01:22:18):
is two five three three nine two five five seven two.

Speaker 1 (01:22:22):
Do you have a Facebook business page?

Speaker 5 (01:22:25):
Yeah, it's epic karaoke and Seattle Sound Productions buss them
nearly enough, but you can always message me through through there,
so yeah, okay, yeah, because don Productions. Yeah, it's I
encourage any.

Speaker 1 (01:22:41):
I encourage anybody that's within an hour and a half driving.
He's worth the trip to the studio. Uh, and think
it's stuff that he does is absolutely amazing. I'm obviously
way better off than that I ever thought I would be,
and I can't wait to work with you again.

Speaker 5 (01:23:03):
I sincerely mean that.

Speaker 1 (01:23:06):
But anyway, I want to thank you so much for
being a guest. I was hoping somebody would at least
call and say Hi. But like I said, I'm I
had so I get so involved in the interview process.
I forget that people are actually listening and I'm just
kind of interviewing. So that's just kind of what I do.

(01:23:26):
And you gave so much great information and I really
hope that people reach out to you this week.

Speaker 5 (01:23:32):
Course huh, I said you asked the right questions.

Speaker 1 (01:23:38):
Well, one would try, one does try. So anyway, sir,
I'm going to close.

Speaker 5 (01:23:45):
With my last song that we did, but I want
to thank you so much.

Speaker 1 (01:23:51):
For being an amazing guest. I'm definitely going to be
bringing you on, especially since we're going to be working together,
you know, to make the next pop song or whatever
that we're doing that I'm doing a reality but everybody,
this is Jimmy Flaherty. Check out Seattle's Sound Productions or

(01:24:11):
Epic Karaoke. You'll be able to touch bases with him.
Go check him out. If you're sitting on a song
and you just want to get it done and see,
this is the man that will sit down and listen
to you and come up with a plan to make
it happen. He's really that good. Thank you so much, sir.

Speaker 6 (01:24:32):
We are out here here is all right.

Speaker 1 (01:24:36):
Bye bye Sara.

Speaker 6 (01:24:38):
Here is my.

Speaker 1 (01:24:41):
Here is my last song. This is a cover of
a favorite of mine. It is a contemporary song. I
did one original song, one traditional song, and one cover
of a contemporary song. And I love the words and
this song. I hope you guys enjoy. Thank you for
listening to me once again. Thank you World Movement Records,

(01:25:05):
World Movement Entertainment, and I am Indie for letting me
do this. This has been a blast and I look
forward to many, many more shows and many great guests.
Here is Mary? Did you know Mary Judie married?

Speaker 6 (01:25:56):
Did you know.

Speaker 4 (01:25:59):
Judie Blin would say the sun and daughters?

Speaker 1 (01:26:05):
Did you know did your baby be boy?

Speaker 6 (01:26:10):
It's come to me?

Speaker 9 (01:26:12):
You need.

Speaker 2 (01:26:14):
This chap you delive?

Speaker 6 (01:26:17):
Theme?

Speaker 1 (01:26:19):
Would soon delive you many?

Speaker 2 (01:26:23):
Did you know.

Speaker 6 (01:26:25):
Your day and b Would you say to all the
lime man and be married?

Speaker 2 (01:26:32):
Jim, he should be in mine becomes.

Speaker 6 (01:26:38):
The stole with his hand.

Speaker 5 (01:26:41):
Did you.

Speaker 6 (01:26:45):
Be boy?

Speaker 1 (01:26:46):
Let's want twin gpure.

Speaker 3 (01:26:50):
When you kiss your lead baby, you kiss the face
to look n own.

Speaker 2 (01:27:00):
Reading who married?

Speaker 5 (01:27:08):
Did you know.

Speaker 6 (01:27:17):
The best?

Speaker 5 (01:27:37):
Did you know.

Speaker 1 (01:27:44):
Creagia married?

Speaker 5 (01:27:46):
Did you know.

Speaker 1 (01:27:48):
Your man with one name the name Chad?

Speaker 2 (01:27:55):
Did you.

Speaker 9 (01:27:58):
People.

Speaker 8 (01:28:00):
It's Heaven's parent, reclined.

Speaker 11 (01:28:04):
And seem child.

Speaker 1 (01:28:06):
The body, it's the great

Speaker 9 (01:28:24):
Every day