December 6, 2025 • 60 mins
w/The Forensics
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Episode Transcript
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Speaker 1 (00:00):
W M N h rips the nobles. We're back from
the ground.
Speaker 2 (00:42):
There's nothing near from me all storm breajas.
Speaker 3 (00:45):
It is not a thing that they could try to
see just well. The will to change the chas this
last yeah, we'll always give me some nether landcations that
them say yeah and decide honestly.
Speaker 4 (01:11):
Side nother one not you can know, take.
Speaker 5 (01:15):
You mine chance up day. It's not dead and some
model never comes. At least the stands up to that
hid the man John fasts not even though I said,
can see the one never'll fix you up.
Speaker 2 (01:33):
And tom never comes the least the stands out tonight.
Speaker 4 (02:03):
I don't know God it him?
Speaker 6 (02:05):
Uh say can I say something?
Speaker 2 (02:08):
Thats ft out its model? Another jobs the mister.
Speaker 5 (02:12):
Stay up out tonight.
Speaker 2 (02:18):
Way you know bests not any us even one get
you up in your model.
Speaker 5 (02:25):
Another times the must to.
Speaker 6 (02:27):
Stay out out to dins as.
Speaker 5 (03:33):
The dots the kiss last, the stays stay ste.
Speaker 7 (03:53):
That's ass the story.
Speaker 8 (04:18):
I love it.
Speaker 9 (04:18):
That is not giving up. The band is the Forensics,
and the Forensics is our featured artist in this hour
we're going to speak with. At least we got one
of the guys I think on with us via Microsoft
teams and we're gonna speak with them in just a moment.
But welcome everybody. This is our number three New Marrow
trace of Matt Connorton Unleashed. If you are listening live
(04:39):
on Saturday today is December sixth, twenty twenty five. We
are live from the studios of wm NH ninety five
point three FM in Glorious Manchester, New Hampshire. Of course,
you can stream the show from anywhere. Go to Matt
connorton dot com slash live for all your live streaming options,
social media links, contact info, show archives, et cetera, at
(05:00):
et cetera. And let's see. I think we've got Jordan
King from the band on the line with us.
Speaker 10 (05:04):
Hello, yes, hello, thank you for having me.
Speaker 9 (05:07):
Absolutely welcome. I love that song and as I think
you know too, the first single we had played from
you guys was Maxine and I love that one too.
We had that one in kind of heavy rotation around
here for a while, but but I love this track,
not giving Up. It's really good. When did this come out?
Speaker 10 (05:25):
This has only really been out a week, I believe,
so not too long at all.
Speaker 9 (05:30):
Very new. Yeah's depressed outstanding now Jordan, Is it just you?
Rs anybody with you?
Speaker 10 (05:37):
It's just myself today, Yeah, yeah, yeah, I don't know
what the rest of the guys are doing.
Speaker 9 (05:42):
That's all right. Sometimes less is more. Sometimes we get
you know, a bunch of people on teams and it's, uh,
it becomes confusing. So we're happy to have you. Now,
what do you do in the band?
Speaker 10 (05:53):
So I'm the lead guitarist. Okay, So all the little
riffs and stuff you heard in that track was cut myself.
Speaker 8 (06:00):
So yeah, excellent.
Speaker 9 (06:02):
What I want to ask you too about is there's
a surprise in that song because when you listen to it,
you don't really expect, especially you know, hearing your other songs,
when that saxophone comes in, you don't see that coming,
or perhaps I should say, you don't hear that coming.
But it fits a song perfectly. I mean, it works
really well. But it's a surprise the first time you
(06:23):
listen to the song. Do one of you guys in
the band play the sacks or did you bring in
somebody outside to do that, or how did that come about.
Speaker 10 (06:32):
I'm glad that you say it was a surprise. That
was kind of the idea. So none of us play saxophone.
The where that came from. It was an idea for myself.
So we were sat in the studio. I got the
lead guitar part down for the breakdown at the end
of the track, and I just thought it was missing something.
And I've always liked, you know, brass instruments, et cetera.
(06:52):
One of my favorite pieces of music is Baker Street.
I love the sax on that piece of music. Yes,
you know, I wonder if a sax would fit in here.
So we went externally, brought someone in to do it,
and know it's on the track now.
Speaker 9 (07:06):
So that's fantastic. Yeah, no, it fits perfectly. Baker's Street
is a great example too of where you can do
that really effectively. But when you do that, so what
happens when you do that song live? Or have you
played that song live?
Speaker 10 (07:20):
So we've been playing that song live for about a
year now. I think obviously as a small band, it's
difficult to get someone on board that plays saxophone, so
we play it slightly different live. It's a lot heavier live,
more guitar driven. Obviously, the am eventually would be to
have someone play that live with us with the sax
that'd be pretty cool, but we can't do that at
(07:42):
the moment.
Speaker 9 (07:43):
At the same time, though, it must be kind of
fun too to play it a different way live, just
because it you know, I would guess it kind of
keeps it fresh for you guys, right, you know, you're
kind of it gives you some room to kind of
experiment and only, like you said, maybe make it a
little heavier live, you know, probably goes over well, I would.
Speaker 10 (08:01):
Imagine, definitely. Yeah, that's the way we try to play
live all the time. It keeps it fresh and exciting.
We like to do things slightly different live, maybe extend
tracks or One thing that we do often is we
merge songs together. So we've got two new singles coming
out next year, and when we play them live, they
fade into each other live, which is quite cool. So yeah,
(08:23):
we enjoy doing stuff like that when we perform.
Speaker 9 (08:26):
Oh, excellent, excellent.
Speaker 8 (08:28):
How long have you guys?
Speaker 9 (08:30):
I mean it's it's been it's been a few years, right,
Like we we've just been getting to know you. I
think May was when you were on before and is
that around when Maxine came out? Because I love that
song too, that's such a great track.
Speaker 10 (08:41):
Yeah, that came out first half of this year.
Speaker 9 (08:44):
Yeah, okay, okay, but have you guys been around since
what twenty twenty one, twenty twenty two, or.
Speaker 10 (08:50):
Man, time flies, doesn't it? Yeah that sounds about right.
Speaker 4 (08:54):
Yeah.
Speaker 10 (08:55):
So we formed originally me and my friend who's no
longer with the band, so he was our first bassist.
We met in the pub over a drink, decided we
wanted to be in a band, and that's kind of
how it came about. So me and him started writing
some things. Then Liam, the lead singer joined. He'd played
(09:15):
in a band previously with our drummer, so that kind
of pulled things together. And yeah, it must have been
nearly four years now, which is frightening.
Speaker 8 (09:23):
Wow.
Speaker 9 (09:23):
Yeah, no, the time does go quickly. Have you guys
been you know, we talked a little bit about touchdown
playing live. Have you guys been doing a lot of shows?
Speaker 7 (09:35):
Yeah?
Speaker 10 (09:36):
We usually gig quite a lot, although the back end
of this year we've taken the foot off the gas
a little bit and focused more on studio things. We
want to get a few new tracks out next year
after not giving up. That's just come out of course,
and we're putting a big push on social media I
think at the moment as well, to try and grow
a bit of a stronger online presence. So we do
(09:59):
have two shows like for the start of next year. Well,
I guess we'll see what the new year brings, but yeah,
a lot of focus on studio stuff at the moment
and social media.
Speaker 9 (10:10):
Where do you guys record? You know, I always like to, uh,
I mean, I have a bit of an autoio engineering
background myself, so I'm a little bit of a nerd
for this kind of stuff. But I'm just curious because
there's so many different ways to record now. You know,
when I was growing I'm old enough to remember when
basically your option was you you go to a studio
or you know, you could maybe by yourself a little
(10:32):
task scam recorder and make four track recordings at home
and that was about it. But because it's obvious in
listening to your music and talking with you that that
sonically it's very important to get this right. You're you're
you're clearly, you're every everything is very everything just sounds
like you can you can just tell. You can tell
(10:52):
by listening to your songs that you put a lot
into not only the writing of the songs, but the
recording of them, so you it certainly doesn't sound like
a situation where you're just going to a studio for
a day and spending a couple of hours and banging
these out. I assume a lot goes into them. I
don't know if you have a producer that you work
with or tell me about the recording process.
Speaker 10 (11:12):
Yeah, of course, yeah, And we love going in the studio.
It's the favorite thing for all members of the band.
I think they'd all agree of going into the studio.
And you're completely right, it's not a case of going
in and banging these out in a couple of hours.
A lot of work goes into it. I think to
give you an insight as to how we operate as
(11:33):
a band, and this is very similar across bands of
our size. Studio hire is very expensive for alongside hiring
a producer as well, so a lot of the work
actually comes pre studio. We do a lot of work
in practice rooms beforehand. We'll kind of do our own
mixes on our own software first. That's where a lot
(11:55):
of the experiment experimental things come into play. Then we
can go into this studio get the basic layer of
the track down and then that gives us a lot
of time to play around with other things and different
sounds that you can't produce on your own outside of
that studio environment. So that's the way that we tend
(12:15):
to do it. So we probably get a track down,
as you said, you bang it out in a few hours.
But then because we've done all of that leg work beforehand,
it gives us that freedom of expression, if you will,
in the studio to try different things and maybe get
different instruments in there, like the sax idea for example.
And so that's how we tend to go about our recording,
(12:36):
a lot of legwork beforehand, into the studio, get the
track down, and then we can I don't think mess
around is the right phrase. Yeah, sometimes it feels.
Speaker 9 (12:46):
Like it, you know.
Speaker 10 (12:47):
So that's how we tend to go about it. I
think we recording a place called the Grand in Clytherill,
which actually has a huge stage attached to it, which
is awesome. We've played that live which was really cool. Yeah,
it's a quite cool venue. Actually it's in a place
called Clitherow, which I appreciate. You got to state size.
(13:08):
So it's about forty minutes drive from Manchester, okay, so
not too.
Speaker 9 (13:14):
Far away, not bad, No, And it's great that you
go there prepared. You know, you can save a lot
of time and money if you're well prepared going to
the studio. Yeah, it's cool too that it's got a
venue there as well. I don't know why. I mean,
there's definitely examples here of places like that, but I
(13:36):
can't think of any off the top of my head
where you know, there's a recording studio and there's a
stage and they you know, and it kind of works
as both a studio and a venue. It's such a
it's such a great concept and it seems so obvious,
but it's probably a lot to do correctly. But I wish, like,
like I said, I know this place is like that
(13:56):
here too. I just can't think of many. I can't
think of any off the top of my head. But
have you been have you always worked like from the
beginning of this project, has it always been the same studio?
Speaker 6 (14:07):
No?
Speaker 10 (14:07):
So we recorded a different studio once and this was
a long time ago to when our first single came out,
so I actually can't recall what the name was. It was.
It was somewhere near Warrington, but I don't know. And
then since then there was another place I believe in
clude Throw that we recorded in, and then so yeah,
(14:29):
we're recorded in quite a few actually, now I think
about it. One studio was particularly cool because the studio
was right at the top of a three story building
and the first floor had a bar, so it was great.
So once you've done, once you've done, let's say i'd
finished my guitar part, so I don't have to sit
and listen to Dan bash on the drums or le
and du vocals, I can slip away and grab myself
(14:51):
a beer and then come back in a few hours
time and see what they've cracked on with, which was
quite a cool setup. So right, I liked that place,
so it was cool.
Speaker 9 (14:59):
Oh that's cool.
Speaker 8 (14:59):
That's well.
Speaker 9 (15:01):
I'm sure I've asked you this before. I think the
last time you were on. I'm pretty sure I asked,
but I don't remember what the answer was. And you know,
obviously we have newer listeners who aren't familiar with you.
Speaker 10 (15:10):
Yet.
Speaker 9 (15:10):
Where does the name come from the forensics.
Speaker 10 (15:14):
That's a really good question. I'm actually not undred percential myself.
I'm completely honest with you. We've had that name for
a good number of years. I think we just who
I think it might have been Liam's idea, and obviously
he's not with us today, so I actually don't know
where it came from. Obviously, forensics has that tie into
(15:34):
police work and that kind of stuff, but we've never
We did a bit of that stuff for Maxine. When
we released Maxine, some of our artwork was was in
forensic suits and we have played we have played live
in forensic suits as well, which is quite cool. But
by gosh, did they get warm halfway through a show?
(15:55):
Really likes pointing at you?
Speaker 9 (15:57):
Yeah, I can imagine.
Speaker 10 (15:58):
But as far as the name goes, I don't know
where it came from. But when someone pitched the idea
forensics to me, I just thought, yeah, it's pretty cool. Yeah,
And then the fingerprint as the logo, I thought, yeah,
that's quite cool as well. So where it comes from,
I have no idea, but I quite like it.
Speaker 9 (16:14):
Yeah, No, it's excellent. Is that the name that the
band had right from the beginning.
Speaker 10 (16:19):
So we were originally called Riley James and the Summer
Tones because Liam was a solo artist before he joined
the band, so we played a lot of his solo
stuff as a band when we initially came together, so
it was called Riley James. That was his single stuff,
and the Summer Tones was the idea for the rest
(16:39):
of the band. But eventually I think we all came
together and thought, no, we want to write music as
a band, and if we're going to do that, you know,
we need to have a defined name, and so we
decided on the Forensics.
Speaker 9 (16:53):
Was that challenging at all for Liam? I mean, not
that you want to speak for him, I'm sure, but
I'm just curious because that's obviously an adjustment.
Speaker 10 (16:59):
For him, right, I think it was and adjustment.
Speaker 4 (17:02):
Yeah.
Speaker 10 (17:02):
I don't think he struggled with it. I think it
was a conversation that happened over a good number of weeks.
There was a bit of back and forth, of course,
on which way we wanted to take the band. I
think looking back now over the years, it was certainly
the right decision, and I think we've got a really
unique sound now as a band. It's interesting to watch
how we progress from what you could define as quite
(17:25):
light indie pop to almost rocky in a sense, which
is quite a cool development. Yeah, and I don't think
that would have happened if it was driven by one individual.
I think that's because as a group we have very
unique and individual inspirations, which when you put them all together,
is quite a good recipe.
Speaker 9 (17:46):
So yeah, absolutely, absolutely, so yeah, so not giving up
is really new. And then what's kind of the do
you know when the next single is going to be
or what's kind of the forward? Tragic as far as
because I assume, I mean, it strikes me that you
guys probably have a lot of ideas in the band.
(18:08):
I mean you're probably always writing, I would guess.
Speaker 10 (18:11):
Always writing. Yeah, many many songs. If we jumped into
the studio tomorrow and had unlimited time. I think we
have about ten tracks right now that we could record.
So obviously a lot of that makes up our live performances,
which is it keeps it fresh as well, because you
can rotate songs in and out, so you never get
(18:32):
bored of the tracks you're playing with. Regards to future plans,
unconfirmed as to when we're going to release them, but
we are in the studio in two weeks time to
finish off three tracks that we got down a few
months ago. Oh so we went went to the studio
a few months back, got three quarters of them done,
(18:52):
I would say. So we're going back in two weeks
to get vocals and lead guitar finished, which I'm excited for.
When the will come out, I'm not too sure, but
there's three singles that within two weeks time should be
pretty close to to mastard and ready for release.
Speaker 9 (19:08):
Oh fantastic, Yeah, no, I can't can't wait to hear them. Man,
you know, we we'd love to continue to be sort
of your your conduit here into the American radio market
because we love what you're doing. I remember the response
that we got when we played Maxine for the first time,
and we you know, we heard a lot of positive
response on that here. It's such a great song, gets
(19:28):
really gets stuck in your head. You know, it's so good,
so so absolutely love it. And then so are you
are you do you have live shows like this weekend.
Speaker 10 (19:38):
Or no, not this weekend. So we're not doing any
live shows now until next year. Okay, So I think
our first show is April. I think the main focus
is get in the studio, get these tracks finished, and
then figure out a release schedule for them, you know,
understanding what we want to do for social media promotion
(20:00):
and vinyl pressing and that kind of stuff, So I
think that'll be our main focus for the next few months.
Speaker 9 (20:07):
Yeah, that makes a lot of sense. Absolutely absolutely well Jordan,
you know, we appreciate you joining us, love the new track,
not giving up and in a moment, well, like I said,
we'll end the conversation with Maxine, another great song. Where's
the best place for people to go online to keep
up with everything that the Forensics is doing?
Speaker 10 (20:26):
So the best place to find us for understanding a
bit more about us on a personal level is definitely TikTok.
So that's just at Forensics Band. Find us on TikTok.
We post on their very regularly once a day probably.
If you want more official updates, gigs, single releases, all
(20:46):
that kind of good stuff, Instagram's probably the best place
for that. That would be the same handle that would
be at Forensics Band. So either of them Facebook not Facebook,
So I didn't mention that Instagram or TikTok would be
the best place.
Speaker 9 (21:00):
Okay, wonderful, wonderful, Well, Jordan, thank you again so much.
We'll let you go and we're gonna hit this track, Maxine.
But we appreciate you talking with us today and we'll
definitely do it again in the future. And you know,
like I said, whenever the next single's ready, we'll we'll
have you back on and we'll we'd love to do
the American radio premiere here and keep up the great work.
We're big fans here.
Speaker 10 (21:21):
Yeah, for sure. No, I appreciate it. Thank you very
much for having me. It's great to shot.
Speaker 9 (21:24):
All right, Jordan, thank you, take care, thanks you too,
Bye bye bye bye. All right. That is Jordan from
the band The Forensics, and we're gonna play now the
first single that we played from the band here on
the show again. This is a personal favorite of mine.
I know Jenny really loves this one too. This is
called Maxine and the band is The Forensics.
Speaker 3 (21:47):
Just ge't again on the places where we've been, and
I just get a ready all.
Speaker 5 (21:55):
The things out we have seen. No at you away,
because I've seen you with my dreams.
Speaker 8 (22:06):
Oh please not.
Speaker 5 (22:08):
I see sat near free.
Speaker 2 (22:41):
Gody fish swimming against the side.
Speaker 5 (22:48):
The morning rings mean.
Speaker 7 (22:50):
Green sleeves, us wondering why.
Speaker 2 (22:55):
Mess by decrease and stee averring things something.
Speaker 5 (23:02):
It's an even.
Speaker 4 (23:04):
Don't we.
Speaker 6 (23:06):
That so being said?
Speaker 11 (23:08):
Li tells gut Age then he said, its loving these things.
Then I'll try to step away some things. We have scenes,
No you say the teams.
Speaker 5 (23:29):
Go please are Class.
Speaker 7 (23:33):
Seven scene.
Speaker 6 (23:44):
See standing around the ceiling.
Speaker 5 (23:56):
You feel like it's all boom. You bought those Acevenings.
Speaker 4 (24:03):
They still there.
Speaker 6 (24:04):
They know soun.
Speaker 5 (24:07):
You wet un slee and this house says day bout.
Speaker 4 (24:14):
Some say the Leadings got away your mess, and no.
Speaker 7 (24:23):
Say seven free.
Speaker 4 (24:49):
Se say.
Speaker 9 (25:51):
I love that track so much. That is Maxie. The
band is the Forensics. I love that band so much too,
so I'm gonna play one more from them. This track
is called LSF and this is the Forensic and Forensics sorry,
and then after that we're gonna come back in a
little bit of interesting music news actually uh music, Well
(26:12):
you'll it's interesting. I'll just leave it at that. That's
my teaser, uh that we will come back and tackle
just briefly after this track. But here it is. This
is the Forensics. One more for you. This is called LSF.
Speaker 8 (26:25):
This is a great songs.
Speaker 5 (26:46):
I'm interestingly.
Speaker 2 (26:49):
Elexnic Certifika.
Speaker 5 (26:55):
I'm waiting, go on it, get on it.
Speaker 12 (27:08):
I'm traving through a Bamba Nada, black Ussis and Bishops.
I just said, we go on it electronics, houllify across
the shoot the boss all by messigh your body.
Speaker 6 (27:38):
We come.
Speaker 4 (28:00):
Scald this celi fire know.
Speaker 8 (28:04):
What need it. It's closer.
Speaker 7 (28:06):
I'm saying to stand and I.
Speaker 5 (28:08):
Don'tmost step out likening this, you.
Speaker 12 (28:11):
Sell fire the deeper, the sleepert besideing fen.
Speaker 6 (28:31):
We we.
Speaker 5 (28:57):
Set s.
Speaker 10 (30:00):
S S.
Speaker 6 (30:17):
S.
Speaker 1 (31:04):
You're listening to Matt Connorton Unleashed on WM and H
ninety five point three.
Speaker 9 (31:18):
Hey, everybody, you are listening to Matt Connorton Unleashed, and
we are live from the studios of wm NH ninety
five point three FM and Glorious Manchester, New Hampshire. Of course,
you can stream the show from anywhere. Go to Matt
connorton dot com slash live for all your live streaming options,
social media links, contact info, show archives, et cetera, et cetera.
(31:38):
I do want to thank everyone who has joined us
on the show today, for those of you listening live
on Saturday. Of course, in the first hour we had
Rob critch Lee from the band The Fods, and we're
actually going to close out the show in just a
few minutes with another track from The Fods. In the
second hour, let's see. In the second hour, of course,
we had the guys from Baron Kismo love their new
single Easy that just came out pretty recently. We did
(32:00):
the American radio premiere for that on the show I
think a week or two ago. It becomes a bit
of a blur, but love talking to those guys. And
then of course we talked with Jordan from the band
The Forensics. We just heard two songs from the Forensics
to close out that conversation, Max Scene their first single
and LSF.
Speaker 8 (32:17):
And then we.
Speaker 9 (32:19):
Had a great conversation with Jordan. So love that band.
Right now though, since we have time, a little bit
of music news, but this particular item, this news item
actually combines well, we could do this on two different shows.
This is appropriate for Matt connorton Unleashed because we do
(32:42):
talk about things going on in the music industry on
this show. I also, of course host along with our
friend Eric Pilcher, the podcast called Tough Bumps, which is
about wrestling, and we do that on the weekend. We'll
probably do one this weekend sometime on Sunday. That is
completely effort from WM ANDH. Of course, that is strictly
a podcast. You can find it on the IPM Nation
(33:04):
YouTube channel. We share it out on Facebook and everywhere
else so and you can subscribe to it on your
podcast platform of choice. Please subscribe to the Tough Bumps podcast.
We would love your support, So we do that every
weekend and this particular news item. So we're gonna talk
about this now, but we might also talk about it
on Tough Pumps with Eric. This is from Billboard. John
(33:27):
Cena hit with lawsuit over famed horns sample in theme
song The Time Is Now. The WWE wrestler turned movie
star is facing legal claims that the intro to his
theme song is based on a sample of a nineteen
seventy four recording that was never properly cleared. Now you
(33:48):
hear about this, well, you don't hear about it nearly
as much anymore because everyone's gotten a lot smarter about
it legally. But you know, I remember growing up there
were always stories about in hip hop, a hip hop
artist releases a song, there's a sample in the song,
very often from an early R and B song, or
you know, it could be from anything. But so these
(34:11):
artists would release this music, these hip hop songs with
samples in them that were not cleared with the rights
holder of whoever owns that audio, whether it be the
original artist who did that song that the sample is
taken from, or a record label or whomever. Right, so
uncleared samples became a problem. And then you know, obviously
(34:33):
there's been a lot of litigation about that over the years,
and I think you don't really hear about that much today.
That is a story that you heard a lot in
the eighties and the nineties and even in the two thousands,
But today you don't really hear a lot of stories
about while this artist is getting sued because they have
an uncleared sample on their song or on their album.
(34:55):
But here now John Cena. Of course, John, he has
become a mainstream celebrity. He is one of the celebrities.
He's one of the wrestlers who professional wrestlers who's has
transcended wrestling and gone on to be a mainstream celebrity.
Obviously the biggest example of that being The Rock. The
Rock one of the highest, if not the highest paid
movie star in Hollywood who initially became famous because of wrestling.
(35:21):
That's why we call him the Rock, even though his
real name is Dwayne Johnson, Dwayne the Rock Johnson. But
you know, he's the greatest example of that. And then
of course there's other people who you know, hull Cogan
who passed away not too long ago, hul Cogan, who
did not find mainstream success in cinema. His movies were
largely panned because of the films that he starred in.
(35:44):
Not you know, I'm not talking about Rocky, I'm talking
about the films where Hogan was actually the star are
generally pretty awful. So but that doesn't change the fact
that hul Cogan, despite not really finding success outside of
professional wrestling, absolutely one of the most fas people on
the planet. So, but John Cena has also Now John
(36:05):
Cena is not he has not hit the stratosphere that
the Rock has hit, of course, but John Cena very
successful in Hollywood and has transcended professional wrestling. He also
had and this was really sort of a part of
his professional wrestling career. He did release an album. He
has one hip hop album that he released on WWE's
(36:29):
label at the time, and one of the tracks from
that album is called the Time is Now, and the
Time Is Now is the song that John Cena comes
out to. Now. John Cena has also been in the news.
When I say it comes out to I mean when
he comes out of the entrance and goes to the ring.
For people who are like, what if you're not a
(36:49):
wrestling fan, you don't know that, So that's what I
mean by come out to Now. John Cena also has
been relevant within wrestling recently because he's on his retire
Ironment tour. He's about to have his final wrestling match
ever in the WWE, and you know, he's forty eight
years old and this is it. He's going to commit
(37:11):
to Hollywood full time, which makes sense. And of course
there was the John Cena heel turn that happened a
while back, which actually got a lot of mainstream media attention,
even though it was part of a professional wrestling storyline,
but it was such a big deal that the mainstream
media paid attention to it. So a lot of interesting
(37:32):
things in a heel turn. Again, for people who don't know,
that's when a good guy becomes a bad guy. So
John Cena during his final year in WWE became for
a short time, he became a bad guy. He became
a villain, which I thought was very entertaining, but not
everyone liked it. But anyway, So John Cena is pretty
relevant these days on multiple levels. He just apparently he
(37:54):
just was on the Joe Rogan podcast Joe Rogan. I mean,
I know his stock has fallen a little bit, but
he's still one of the if not the biggest podcasts
in the world. And Johnsena was just on there. So
so John Cene is very relevant right now. But this
theme song that he's been using for twenty years, apparently
there is a problem with the sample the horn section.
(38:17):
Now I should what I'll do is I should have
had this ready, but let me grab his theme song,
The Time is Now. I think he says in the
song you can't see me the Time is Now, because
that's you know, his thing too, you can't see me? Okay.
I thought it was called My Time is Now, but
apparently it's actually called the Time is Now. So there's
(38:38):
there's horns in it, even though it's a hip hop song.
Let's see here it is the Time is Now. I'll
just play a little bit of it for you. Why
does this have a parental advisory on it? There's no? Uh,
all right, well, here's definitely a clean version. I was
gonna say, I don't think there's any swears in it.
Here's a clean this. This one's definitely clean though, except
there might be a commercial to sit through before I
play this. But just so if you're not familiar with
(39:00):
the song, So you can hear the horns, I don't
hear anything. Oh, here we go. Hang on, all right,
here it comes. You can hear the horns right, Your
(39:25):
time now? Okay, So he actually does say my time
is now, but the song is called the Time is Now.
All right, let's pause that. Uh so there's an uncleared
sample on that apparently. So here's the here's the article again.
(39:45):
This is from Billboard. WWE superstar and actor John Cena
is facing a lawsuit over the iconic horn riff from
his entrance theme, The Time is Now. A questionable legal case,
but one that shines a light on a tortured history
of sam and credits behind the famed song. That's interesting.
So apparently there have been other legal issues with the
(40:06):
song that I was not aware of, says. The lawsuit
was filed by the daughter of Pete Schofield, who's nineteen
seventy four recording of the Night the Lights Went Out
in Georgia. Everybody knows that song right That's the Night
that the lights went out in Georgia is the undisputed
source of the blaring horn blasts at the start of
(40:26):
Sina's two thousand and five track. In it, she claims
that Sina and the WWE failed to properly clear the
sample and breached an earlier fifty thousand dollars settlement over
the dispute. Now, I did not know. This is news
to me. I did not know that that had ever happened.
I think they kept it very quiet. I did not
(40:48):
know that there was ever a problem established previously over
that horn section. I do want to and I didn't
know that there was a settlement. Now you might be thinking,
though I do know this, might be thinking, why if
this was already settled, why is this coming up again.
There's a very good reason. There's a very good reason.
But we'll come back to that, because I want to
(41:09):
pull this up. Now. I know the song the Nights
the night the lights went out in Georgia, I do
not know. I can't remember though, like I haven't heard
it in a long time. Is that like if I
pull that song up, which I'm going to do now,
and we listen to that, are we going to hear
(41:31):
that exact I just want to hear it for myself.
Is it really sampled from that? Because I haven't heard
that song in forever, But I don't remember hearing in
that song, you know, the horns. So let's let's find out.
Pete Schofield and the Canadians The Night the Lights Went
Out in Georgia. Let's see. I don't know where in
(41:56):
the song the horns appear, but let's uh, let's find out.
(42:35):
So this is obviously not the version of the song
that we're used to hearing. I can't remember because the
version we're used to hearing, the big hit song The
Night the Lights Went Out in Georgia has vocals. I
can't remember who does it, but this is Pete Schofield,
you know, jazz musician doing his version of it, which
is an instrumental. I'm hearing a lot of horns, and
the horns sound similar in tone and timbore to the
(42:58):
horns in John seen As theme. But I don't hear
so far. I don't hear that actual.
Speaker 3 (43:06):
Do you.
Speaker 9 (43:07):
I don't hear the actual riff. But let's listen to
a little bit more of this. Not hearing it.
Speaker 8 (43:49):
Where is it?
Speaker 9 (43:51):
Is it right at the beginning, because I failed to
unmute this right at the beginning. Let's go back to
the very beginning. We're not going to listen to a
whole thing, I promise, because just kill me. I don't
like this kind of stuff. But here, oh there it is.
It's in the beginning. Okay, here, all right, okay, guilty. Yeah,
(44:17):
they definitely took it from that, all right, no getting
around it. I'm glad I went back to the beginning.
Let's see, let's go back to this article. Okay, so
they settled. They settled that for fifty grand. Now there's
more to this article. Let's back up a little bit actually, Okay.
(44:41):
So the lawsuit was filed by the daughter of Pete Schofield,
who's nineteen seventy four recording is the undisputed source of
the Blaring Horns Horn blasts at the start of Sina's
two thousand and five track. In it, she claims that
SENA and the WWE failed to properly clear the sample
and reached an earlier fifty thousand dollar settlement over the dispute. Okay, so,
(45:03):
Kim Schofield rights. This is from her December second lawsuit
obtained by Billboard, which names both John Cena and WWE
as defendants. Quote. Every effort at informed resolution has been
met with threats, misrepresentations, and intimidation tactics, leaving plaintiff with
(45:24):
no recourse but to seek relief from this court. Unquote.
Now again, this was previously settled, So why is this
coming up again? Says here The time is now, in
which Sina wraps over a beat created by producer Jake
One was released in two thousand and five by Columbia
House Records and WWE Music Group. The track served as
(45:45):
a theme song during Sena's rise to superstardom and later
became a popular track in social media memes. The track
will likely play at some point during his final WWE
appearance next week before he retires from wrestling. The song
is something of a crediting nightmare. The famed horns are
pulled from Schofield's recording of the Night Went Out in
(46:05):
Georgia I'm Sorry the Night the Lights Went Out in Georgia,
which is a cover of a composition by songwriter Bobby
Russell that's also been released by multiple other artists, including
Vicky Lawrence, Oh, Vicky Lawrence. She's the one who had
the big hit with it, Vicky Lawrence and Reba McIntyre.
Sena song also samples heavily the mop's two thousand hip
hop classic Anti Up, which itself drew on samples from
(46:28):
Sam and Dave's soul sister Brown Sugar. Yeah, that's a
lot of sampling. The complex audio lineage has already led
to previous legal battles. Back in two thousand and eight,
MOP sued WWE Oversena's use of the Anti Up sample,
claiming that they had expressly refused to approve the use
(46:50):
of their track and that WWE had cleared it by
getting a signature from a receptionist at an unaffiliated company.
I didn't know about any of this. This is fast,
but that case was quickly dropped a few months later
on undisclosed terms. In Schofield's lawsuit, filed with the help
of lawyers Kim, Schofield paints a complicated picture of her allegations.
(47:14):
She says she finally didn't know about seeing his use
of the song until twenty fifteen, and that they had
signed a settlement deal in twenty seventeen. This is important
with WWE for fifty thousand dollars covering the sample of
the sound recording, but at some point later, she claims,
(47:35):
they realized they also owned publishing rights two aspects of
Schofield Scofield's nineteen seventy four song that were distinct from
Russell's original composition. This guet's very complicated. Such allegations could
face an uphill climb in court. Decade old claims of
copyright infringement could very likely be barred in the statute
(47:59):
of limitations or by earlier settlement. Yeah, I mean copyright law,
trademark law, intellectual property law. All of it gets very,
very complicated. I find it fascinating. I hope some of
you do. It's also not legally clear that Schofield can
claim the rights she says she owns, nor that she
can blame WWE for the fact that she was unaware
(48:20):
of them when she signed the earlier deal. Reps for
Sena and the WWE did not immediately return her request
for a comment on Friday. In her lawsuits, Schofield says
lawyers for WWE told her that the twenty seventeen settlement
was final and binding on any claims related to the
(48:43):
time is now, and that she could not later reopen
negotiations merely because she had seller's remorse. They also allegedly
told her that they had fully cleared the sample by
inking a license with the airs of Bobby Russell, the
songwriter who wrote the song that Schofield recorded. The lawsuit
(49:03):
also names Russell's airs as defendants. The younger Schofield claims
they have improperly been receiving the royalties for seen as
use of the sample, and that they have recently threatened
to sue her if she does not stop claiming her
own rights to the song. The Russell Airs could not
immediately be located for comment. While cover artists can get
sound recording copyrights to their specific performances, they cannot typically
(49:27):
claim composition rights, a common sense rule, since the underlying
music in a cover was necessarily written by someone else.
In fact, making substantial changes to the underlying song can
turn a legal cover track into an unauthorized derivative. Now
there's something else to this that this article leaves out.
That I was reading last night, and that is and
(49:52):
I'm surprised it is not included in this article. Part
of what Kim Schofield is mad about is that she
claims that when that fifty thousand dollars settlement was reached,
because that seems like a low number to me for
this kind of case. When she agreed and her lawyers
agreed to that fifty thousand dollars settlement, they were unaware,
(50:17):
and she has claimed that WWE and their attorneys intentionally
tried to hide this from her. She was unaware that
that song was about to be used in a national
advertising campaign for I Think It's Toyota, that I Think
(50:37):
there were Toyota ads with John Cena's voice in the
ad is the voiceover, and that that song is playing
in the ad, specifically with that horn riff that's in
the ad, and she agreed to that fifty thousand dollars figure,
not knowing that. Two days later, two days after she
(51:02):
agreed to that settlement, that ad campaign rolls out and
on televisions throughout the United States. People are seeing this
ad with that song and that horns sample in the
ad for Toyota, and and she claims that they intentionally
tried to hide that from her. They concealed that from
(51:24):
her because they knew she would ask for a bigger
number if she knew that that song was about to
be used in a national advertising campaign, a high profile
national advertising campaign, so she's mad about that. So that's
also part of her claim here. But so there you go.
(51:45):
That is again that is from Billboard dot com. So
there's a lot a lot there. All right, we are
going to begin to wrap up. I want to fit
in one more track from the Fods, great song called Shopping.
This was the first single that we ever played them
on the show. But again, I do want to thank
everybody who joined us today, Rob Critch Lee from the
Fods of course in the first hour, and then we
(52:07):
had Jordan from the Forensics in the third hour, and
we had the whole band of Baron Kismo in the
second hour who joined us today. So a fun show today.
I hope everyone is well. If you want to know
more about me and all the things I'm up to,
Matt Coonorton dot com is my website. Jenny is not
here with us today, she's at home, but she'll be
back soon. But her website is Jencoffee dot com. Please
(52:29):
check that out because she's always up to a lot
of really good stuff, important work that she is doing.
And oh and this weekend, I believe Eric Pilter and
I will be doing a new episode of Tough Bumps,
a new live stream on Sunday night, so be sure
to tune in for that and please subscribe to that
podcast on your podcast platform of choice. And Eric, of
(52:51):
course is you know, he's still he hasn't been directly involved,
but he's still an important part of Matt Connorton Unleashed
as well, which is to say that those classic film
are views that were very popular on the show, those
will be coming back, I believe in January as Eric's plan.
So so Eric is still very much with us as well,
very very much involved. Dad, if you're listening, I love you.
I hope you're well or will be well. You're not well,
(53:14):
but that's why you're in mass general, but but you
had surgery. I hope your recovery goes well and there
is a path forward for you coming out of what
you've been going through. And thank you everyone who's been
very supportive with that.
Speaker 8 (53:27):
Appreciate you.
Speaker 9 (53:28):
And if you missed any part of today's show, we'll
be up in just a little bit at wmnhradio dot
org and at my website Matt Connorton dot com, and
we will leave you with this track again. This is
from the Fodds. This is the first single that we
played on the show and I love this a lot.
This is called shopping. To close out this week's Matt
Connorton Unleashed Bye everybody.
Speaker 5 (53:53):
She wears goo car.
Speaker 1 (53:58):
And he's one of them.
Speaker 5 (53:59):
Thank you, burned time.
Speaker 6 (54:03):
No, as soon as buy your brand new too.
Speaker 13 (54:09):
You're just su same all the races. I see you
by that brand new dress. Something's going wrong. I know
they shouldn't take this roll.
Speaker 5 (54:21):
Somebody give me out all right by while crazy? You
(54:50):
mustn't ray.
Speaker 14 (54:54):
Ill this farming just want to follow me to be the.
Speaker 10 (55:02):
May?
Speaker 8 (55:02):
What about?
Speaker 5 (55:03):
Says? I don't see some does some especially within me,
especially with ly sep ly do sils just got some
(56:11):
time le sills got some time. Hole. So what we
do and made ourselves just passes? Stop that leave si
(57:32):
sa when we do any little souls listen lexee me No,
(58:00):
did I would make you proud? Come so far from
Mona yesterday? Still not clear?
Speaker 1 (58:08):
How the hell are we get here the rest of years?
Speaker 5 (58:11):
Ancern in sua age's concerning me? Mean, go hon there's
nothing from me? So I don't want a time.
Speaker 14 (58:27):
So got about the trainway, got up to the Free
just a dot of cr.
Speaker 5 (58:36):
Something's not.
Speaker 2 (58:42):
Always chasing something new, got to something.
Speaker 4 (58:45):
In of you.
Speaker 5 (58:46):
And am I going on my way? Not not to
me over look that you never thought I should. I
am lunching you and all go gasserted me. I mean
there's nothing.
Speaker 14 (59:05):
From me, I said, I want to tell you I
got I got the train. Anyway you go to the Free,
it's just a dollar cross
Speaker 8 (59:20):
The st
W M N h rips the nobles. We're back from
the ground.
Speaker 2 (00:42):
There's nothing near from me all storm breajas.
Speaker 3 (00:45):
It is not a thing that they could try to
see just well. The will to change the chas this
last yeah, we'll always give me some nether landcations that
them say yeah and decide honestly.
Speaker 4 (01:11):
Side nother one not you can know, take.
Speaker 5 (01:15):
You mine chance up day. It's not dead and some
model never comes. At least the stands up to that
hid the man John fasts not even though I said,
can see the one never'll fix you up.
Speaker 2 (01:33):
And tom never comes the least the stands out tonight.
Speaker 4 (02:03):
I don't know God it him?
Speaker 6 (02:05):
Uh say can I say something?
Speaker 2 (02:08):
Thats ft out its model? Another jobs the mister.
Speaker 5 (02:12):
Stay up out tonight.
Speaker 2 (02:18):
Way you know bests not any us even one get
you up in your model.
Speaker 5 (02:25):
Another times the must to.
Speaker 6 (02:27):
Stay out out to dins as.
Speaker 5 (03:33):
The dots the kiss last, the stays stay ste.
Speaker 7 (03:53):
That's ass the story.
Speaker 8 (04:18):
I love it.
Speaker 9 (04:18):
That is not giving up. The band is the Forensics,
and the Forensics is our featured artist in this hour
we're going to speak with. At least we got one
of the guys I think on with us via Microsoft
teams and we're gonna speak with them in just a moment.
But welcome everybody. This is our number three New Marrow
trace of Matt Connorton Unleashed. If you are listening live
(04:39):
on Saturday today is December sixth, twenty twenty five. We
are live from the studios of wm NH ninety five
point three FM in Glorious Manchester, New Hampshire. Of course,
you can stream the show from anywhere. Go to Matt
connorton dot com slash live for all your live streaming options,
social media links, contact info, show archives, et cetera, at
(05:00):
et cetera. And let's see. I think we've got Jordan
King from the band on the line with us.
Speaker 10 (05:04):
Hello, yes, hello, thank you for having me.
Speaker 9 (05:07):
Absolutely welcome. I love that song and as I think
you know too, the first single we had played from
you guys was Maxine and I love that one too.
We had that one in kind of heavy rotation around
here for a while, but but I love this track,
not giving Up. It's really good. When did this come out?
Speaker 10 (05:25):
This has only really been out a week, I believe,
so not too long at all.
Speaker 9 (05:30):
Very new. Yeah's depressed outstanding now Jordan, Is it just you?
Rs anybody with you?
Speaker 10 (05:37):
It's just myself today, Yeah, yeah, yeah, I don't know
what the rest of the guys are doing.
Speaker 9 (05:42):
That's all right. Sometimes less is more. Sometimes we get
you know, a bunch of people on teams and it's, uh,
it becomes confusing. So we're happy to have you. Now,
what do you do in the band?
Speaker 10 (05:53):
So I'm the lead guitarist. Okay, So all the little
riffs and stuff you heard in that track was cut myself.
Speaker 8 (06:00):
So yeah, excellent.
Speaker 9 (06:02):
What I want to ask you too about is there's
a surprise in that song because when you listen to it,
you don't really expect, especially you know, hearing your other songs,
when that saxophone comes in, you don't see that coming,
or perhaps I should say, you don't hear that coming.
But it fits a song perfectly. I mean, it works
really well. But it's a surprise the first time you
(06:23):
listen to the song. Do one of you guys in
the band play the sacks or did you bring in
somebody outside to do that, or how did that come about.
Speaker 10 (06:32):
I'm glad that you say it was a surprise. That
was kind of the idea. So none of us play saxophone.
The where that came from. It was an idea for myself.
So we were sat in the studio. I got the
lead guitar part down for the breakdown at the end
of the track, and I just thought it was missing something.
And I've always liked, you know, brass instruments, et cetera.
(06:52):
One of my favorite pieces of music is Baker Street.
I love the sax on that piece of music. Yes,
you know, I wonder if a sax would fit in here.
So we went externally, brought someone in to do it,
and know it's on the track now.
Speaker 9 (07:06):
So that's fantastic. Yeah, no, it fits perfectly. Baker's Street
is a great example too of where you can do
that really effectively. But when you do that, so what
happens when you do that song live? Or have you
played that song live?
Speaker 10 (07:20):
So we've been playing that song live for about a
year now. I think obviously as a small band, it's
difficult to get someone on board that plays saxophone, so
we play it slightly different live. It's a lot heavier live,
more guitar driven. Obviously, the am eventually would be to
have someone play that live with us with the sax
that'd be pretty cool, but we can't do that at
(07:42):
the moment.
Speaker 9 (07:43):
At the same time, though, it must be kind of
fun too to play it a different way live, just
because it you know, I would guess it kind of
keeps it fresh for you guys, right, you know, you're
kind of it gives you some room to kind of
experiment and only, like you said, maybe make it a
little heavier live, you know, probably goes over well, I would.
Speaker 10 (08:01):
Imagine, definitely. Yeah, that's the way we try to play
live all the time. It keeps it fresh and exciting.
We like to do things slightly different live, maybe extend
tracks or One thing that we do often is we
merge songs together. So we've got two new singles coming
out next year, and when we play them live, they
fade into each other live, which is quite cool. So yeah,
(08:23):
we enjoy doing stuff like that when we perform.
Speaker 9 (08:26):
Oh, excellent, excellent.
Speaker 8 (08:28):
How long have you guys?
Speaker 9 (08:30):
I mean it's it's been it's been a few years, right,
Like we we've just been getting to know you. I
think May was when you were on before and is
that around when Maxine came out? Because I love that
song too, that's such a great track.
Speaker 10 (08:41):
Yeah, that came out first half of this year.
Speaker 9 (08:44):
Yeah, okay, okay, but have you guys been around since
what twenty twenty one, twenty twenty two, or.
Speaker 10 (08:50):
Man, time flies, doesn't it? Yeah that sounds about right.
Speaker 4 (08:54):
Yeah.
Speaker 10 (08:55):
So we formed originally me and my friend who's no
longer with the band, so he was our first bassist.
We met in the pub over a drink, decided we
wanted to be in a band, and that's kind of
how it came about. So me and him started writing
some things. Then Liam, the lead singer joined. He'd played
(09:15):
in a band previously with our drummer, so that kind
of pulled things together. And yeah, it must have been
nearly four years now, which is frightening.
Speaker 8 (09:23):
Wow.
Speaker 9 (09:23):
Yeah, no, the time does go quickly. Have you guys
been you know, we talked a little bit about touchdown
playing live. Have you guys been doing a lot of shows?
Speaker 7 (09:35):
Yeah?
Speaker 10 (09:36):
We usually gig quite a lot, although the back end
of this year we've taken the foot off the gas
a little bit and focused more on studio things. We
want to get a few new tracks out next year
after not giving up. That's just come out of course,
and we're putting a big push on social media I
think at the moment as well, to try and grow
a bit of a stronger online presence. So we do
(09:59):
have two shows like for the start of next year. Well,
I guess we'll see what the new year brings, but yeah,
a lot of focus on studio stuff at the moment
and social media.
Speaker 9 (10:10):
Where do you guys record? You know, I always like to, uh,
I mean, I have a bit of an autoio engineering
background myself, so I'm a little bit of a nerd
for this kind of stuff. But I'm just curious because
there's so many different ways to record now. You know,
when I was growing I'm old enough to remember when
basically your option was you you go to a studio
or you know, you could maybe by yourself a little
(10:32):
task scam recorder and make four track recordings at home
and that was about it. But because it's obvious in
listening to your music and talking with you that that
sonically it's very important to get this right. You're you're
you're clearly, you're every everything is very everything just sounds
like you can you can just tell. You can tell
(10:52):
by listening to your songs that you put a lot
into not only the writing of the songs, but the
recording of them, so you it certainly doesn't sound like
a situation where you're just going to a studio for
a day and spending a couple of hours and banging
these out. I assume a lot goes into them. I
don't know if you have a producer that you work
with or tell me about the recording process.
Speaker 10 (11:12):
Yeah, of course, yeah, And we love going in the studio.
It's the favorite thing for all members of the band.
I think they'd all agree of going into the studio.
And you're completely right, it's not a case of going
in and banging these out in a couple of hours.
A lot of work goes into it. I think to
give you an insight as to how we operate as
(11:33):
a band, and this is very similar across bands of
our size. Studio hire is very expensive for alongside hiring
a producer as well, so a lot of the work
actually comes pre studio. We do a lot of work
in practice rooms beforehand. We'll kind of do our own
mixes on our own software first. That's where a lot
(11:55):
of the experiment experimental things come into play. Then we
can go into this studio get the basic layer of
the track down and then that gives us a lot
of time to play around with other things and different
sounds that you can't produce on your own outside of
that studio environment. So that's the way that we tend
(12:15):
to do it. So we probably get a track down,
as you said, you bang it out in a few hours.
But then because we've done all of that leg work beforehand,
it gives us that freedom of expression, if you will,
in the studio to try different things and maybe get
different instruments in there, like the sax idea for example.
And so that's how we tend to go about our recording,
(12:36):
a lot of legwork beforehand, into the studio, get the
track down, and then we can I don't think mess
around is the right phrase. Yeah, sometimes it feels.
Speaker 9 (12:46):
Like it, you know.
Speaker 10 (12:47):
So that's how we tend to go about it. I
think we recording a place called the Grand in Clytherill,
which actually has a huge stage attached to it, which
is awesome. We've played that live which was really cool. Yeah,
it's a quite cool venue. Actually it's in a place
called Clitherow, which I appreciate. You got to state size.
(13:08):
So it's about forty minutes drive from Manchester, okay, so
not too.
Speaker 9 (13:14):
Far away, not bad, No, And it's great that you
go there prepared. You know, you can save a lot
of time and money if you're well prepared going to
the studio. Yeah, it's cool too that it's got a
venue there as well. I don't know why. I mean,
there's definitely examples here of places like that, but I
(13:36):
can't think of any off the top of my head
where you know, there's a recording studio and there's a
stage and they you know, and it kind of works
as both a studio and a venue. It's such a
it's such a great concept and it seems so obvious,
but it's probably a lot to do correctly. But I wish, like,
like I said, I know this place is like that
(13:56):
here too. I just can't think of many. I can't
think of any off the top of my head. But
have you been have you always worked like from the
beginning of this project, has it always been the same studio?
Speaker 6 (14:07):
No?
Speaker 10 (14:07):
So we recorded a different studio once and this was
a long time ago to when our first single came out,
so I actually can't recall what the name was. It was.
It was somewhere near Warrington, but I don't know. And
then since then there was another place I believe in
clude Throw that we recorded in, and then so yeah,
(14:29):
we're recorded in quite a few actually, now I think
about it. One studio was particularly cool because the studio
was right at the top of a three story building
and the first floor had a bar, so it was great.
So once you've done, once you've done, let's say i'd
finished my guitar part, so I don't have to sit
and listen to Dan bash on the drums or le
and du vocals, I can slip away and grab myself
(14:51):
a beer and then come back in a few hours
time and see what they've cracked on with, which was
quite a cool setup. So right, I liked that place,
so it was cool.
Speaker 9 (14:59):
Oh that's cool.
Speaker 8 (14:59):
That's well.
Speaker 9 (15:01):
I'm sure I've asked you this before. I think the
last time you were on. I'm pretty sure I asked,
but I don't remember what the answer was. And you know,
obviously we have newer listeners who aren't familiar with you.
Speaker 10 (15:10):
Yet.
Speaker 9 (15:10):
Where does the name come from the forensics.
Speaker 10 (15:14):
That's a really good question. I'm actually not undred percential myself.
I'm completely honest with you. We've had that name for
a good number of years. I think we just who
I think it might have been Liam's idea, and obviously
he's not with us today, so I actually don't know
where it came from. Obviously, forensics has that tie into
(15:34):
police work and that kind of stuff, but we've never
We did a bit of that stuff for Maxine. When
we released Maxine, some of our artwork was was in
forensic suits and we have played we have played live
in forensic suits as well, which is quite cool. But
by gosh, did they get warm halfway through a show?
(15:55):
Really likes pointing at you?
Speaker 9 (15:57):
Yeah, I can imagine.
Speaker 10 (15:58):
But as far as the name goes, I don't know
where it came from. But when someone pitched the idea
forensics to me, I just thought, yeah, it's pretty cool. Yeah,
And then the fingerprint as the logo, I thought, yeah,
that's quite cool as well. So where it comes from,
I have no idea, but I quite like it.
Speaker 9 (16:14):
Yeah, No, it's excellent. Is that the name that the
band had right from the beginning.
Speaker 10 (16:19):
So we were originally called Riley James and the Summer
Tones because Liam was a solo artist before he joined
the band, so we played a lot of his solo
stuff as a band when we initially came together, so
it was called Riley James. That was his single stuff,
and the Summer Tones was the idea for the rest
(16:39):
of the band. But eventually I think we all came
together and thought, no, we want to write music as
a band, and if we're going to do that, you know,
we need to have a defined name, and so we
decided on the Forensics.
Speaker 9 (16:53):
Was that challenging at all for Liam? I mean, not
that you want to speak for him, I'm sure, but
I'm just curious because that's obviously an adjustment.
Speaker 10 (16:59):
For him, right, I think it was and adjustment.
Speaker 4 (17:02):
Yeah.
Speaker 10 (17:02):
I don't think he struggled with it. I think it
was a conversation that happened over a good number of weeks.
There was a bit of back and forth, of course,
on which way we wanted to take the band. I
think looking back now over the years, it was certainly
the right decision, and I think we've got a really
unique sound now as a band. It's interesting to watch
how we progress from what you could define as quite
(17:25):
light indie pop to almost rocky in a sense, which
is quite a cool development. Yeah, and I don't think
that would have happened if it was driven by one individual.
I think that's because as a group we have very
unique and individual inspirations, which when you put them all together,
is quite a good recipe.
Speaker 9 (17:46):
So yeah, absolutely, absolutely, so yeah, so not giving up
is really new. And then what's kind of the do
you know when the next single is going to be
or what's kind of the forward? Tragic as far as
because I assume, I mean, it strikes me that you
guys probably have a lot of ideas in the band.
(18:08):
I mean you're probably always writing, I would guess.
Speaker 10 (18:11):
Always writing. Yeah, many many songs. If we jumped into
the studio tomorrow and had unlimited time. I think we
have about ten tracks right now that we could record.
So obviously a lot of that makes up our live performances,
which is it keeps it fresh as well, because you
can rotate songs in and out, so you never get
(18:32):
bored of the tracks you're playing with. Regards to future plans,
unconfirmed as to when we're going to release them, but
we are in the studio in two weeks time to
finish off three tracks that we got down a few
months ago. Oh so we went went to the studio
a few months back, got three quarters of them done,
(18:52):
I would say. So we're going back in two weeks
to get vocals and lead guitar finished, which I'm excited for.
When the will come out, I'm not too sure, but
there's three singles that within two weeks time should be
pretty close to to mastard and ready for release.
Speaker 9 (19:08):
Oh fantastic, Yeah, no, I can't can't wait to hear them. Man,
you know, we we'd love to continue to be sort
of your your conduit here into the American radio market
because we love what you're doing. I remember the response
that we got when we played Maxine for the first time,
and we you know, we heard a lot of positive
response on that here. It's such a great song, gets
(19:28):
really gets stuck in your head. You know, it's so good,
so so absolutely love it. And then so are you
are you do you have live shows like this weekend.
Speaker 10 (19:38):
Or no, not this weekend. So we're not doing any
live shows now until next year. Okay, So I think
our first show is April. I think the main focus
is get in the studio, get these tracks finished, and
then figure out a release schedule for them, you know,
understanding what we want to do for social media promotion
(20:00):
and vinyl pressing and that kind of stuff, So I
think that'll be our main focus for the next few months.
Speaker 9 (20:07):
Yeah, that makes a lot of sense. Absolutely absolutely well Jordan,
you know, we appreciate you joining us, love the new track,
not giving up and in a moment, well, like I said,
we'll end the conversation with Maxine, another great song. Where's
the best place for people to go online to keep
up with everything that the Forensics is doing?
Speaker 10 (20:26):
So the best place to find us for understanding a
bit more about us on a personal level is definitely TikTok.
So that's just at Forensics Band. Find us on TikTok.
We post on their very regularly once a day probably.
If you want more official updates, gigs, single releases, all
(20:46):
that kind of good stuff, Instagram's probably the best place
for that. That would be the same handle that would
be at Forensics Band. So either of them Facebook not Facebook,
So I didn't mention that Instagram or TikTok would be
the best place.
Speaker 9 (21:00):
Okay, wonderful, wonderful, Well, Jordan, thank you again so much.
We'll let you go and we're gonna hit this track, Maxine.
But we appreciate you talking with us today and we'll
definitely do it again in the future. And you know,
like I said, whenever the next single's ready, we'll we'll
have you back on and we'll we'd love to do
the American radio premiere here and keep up the great work.
We're big fans here.
Speaker 10 (21:21):
Yeah, for sure. No, I appreciate it. Thank you very
much for having me. It's great to shot.
Speaker 9 (21:24):
All right, Jordan, thank you, take care, thanks you too,
Bye bye bye bye. All right. That is Jordan from
the band The Forensics, and we're gonna play now the
first single that we played from the band here on
the show again. This is a personal favorite of mine.
I know Jenny really loves this one too. This is
called Maxine and the band is The Forensics.
Speaker 3 (21:47):
Just ge't again on the places where we've been, and
I just get a ready all.
Speaker 5 (21:55):
The things out we have seen. No at you away,
because I've seen you with my dreams.
Speaker 8 (22:06):
Oh please not.
Speaker 5 (22:08):
I see sat near free.
Speaker 2 (22:41):
Gody fish swimming against the side.
Speaker 5 (22:48):
The morning rings mean.
Speaker 7 (22:50):
Green sleeves, us wondering why.
Speaker 2 (22:55):
Mess by decrease and stee averring things something.
Speaker 5 (23:02):
It's an even.
Speaker 4 (23:04):
Don't we.
Speaker 6 (23:06):
That so being said?
Speaker 11 (23:08):
Li tells gut Age then he said, its loving these things.
Then I'll try to step away some things. We have scenes,
No you say the teams.
Speaker 5 (23:29):
Go please are Class.
Speaker 7 (23:33):
Seven scene.
Speaker 6 (23:44):
See standing around the ceiling.
Speaker 5 (23:56):
You feel like it's all boom. You bought those Acevenings.
Speaker 4 (24:03):
They still there.
Speaker 6 (24:04):
They know soun.
Speaker 5 (24:07):
You wet un slee and this house says day bout.
Speaker 4 (24:14):
Some say the Leadings got away your mess, and no.
Speaker 7 (24:23):
Say seven free.
Speaker 4 (24:49):
Se say.
Speaker 9 (25:51):
I love that track so much. That is Maxie. The
band is the Forensics. I love that band so much too,
so I'm gonna play one more from them. This track
is called LSF and this is the Forensic and Forensics sorry,
and then after that we're gonna come back in a
little bit of interesting music news actually uh music, Well
(26:12):
you'll it's interesting. I'll just leave it at that. That's
my teaser, uh that we will come back and tackle
just briefly after this track. But here it is. This
is the Forensics. One more for you. This is called LSF.
Speaker 8 (26:25):
This is a great songs.
Speaker 5 (26:46):
I'm interestingly.
Speaker 2 (26:49):
Elexnic Certifika.
Speaker 5 (26:55):
I'm waiting, go on it, get on it.
Speaker 12 (27:08):
I'm traving through a Bamba Nada, black Ussis and Bishops.
I just said, we go on it electronics, houllify across
the shoot the boss all by messigh your body.
Speaker 6 (27:38):
We come.
Speaker 4 (28:00):
Scald this celi fire know.
Speaker 8 (28:04):
What need it. It's closer.
Speaker 7 (28:06):
I'm saying to stand and I.
Speaker 5 (28:08):
Don'tmost step out likening this, you.
Speaker 12 (28:11):
Sell fire the deeper, the sleepert besideing fen.
Speaker 6 (28:31):
We we.
Speaker 5 (28:57):
Set s.
Speaker 10 (30:00):
S S.
Speaker 6 (30:17):
S.
Speaker 1 (31:04):
You're listening to Matt Connorton Unleashed on WM and H
ninety five point three.
Speaker 9 (31:18):
Hey, everybody, you are listening to Matt Connorton Unleashed, and
we are live from the studios of wm NH ninety
five point three FM and Glorious Manchester, New Hampshire. Of course,
you can stream the show from anywhere. Go to Matt
connorton dot com slash live for all your live streaming options,
social media links, contact info, show archives, et cetera, et cetera.
(31:38):
I do want to thank everyone who has joined us
on the show today, for those of you listening live
on Saturday. Of course, in the first hour we had
Rob critch Lee from the band The Fods, and we're
actually going to close out the show in just a
few minutes with another track from The Fods. In the
second hour, let's see. In the second hour, of course,
we had the guys from Baron Kismo love their new
single Easy that just came out pretty recently. We did
(32:00):
the American radio premiere for that on the show I
think a week or two ago. It becomes a bit
of a blur, but love talking to those guys. And
then of course we talked with Jordan from the band
The Forensics. We just heard two songs from the Forensics
to close out that conversation, Max Scene their first single
and LSF.
Speaker 8 (32:17):
And then we.
Speaker 9 (32:19):
Had a great conversation with Jordan. So love that band.
Right now though, since we have time, a little bit
of music news, but this particular item, this news item
actually combines well, we could do this on two different shows.
This is appropriate for Matt connorton Unleashed because we do
(32:42):
talk about things going on in the music industry on
this show. I also, of course host along with our
friend Eric Pilcher, the podcast called Tough Bumps, which is
about wrestling, and we do that on the weekend. We'll
probably do one this weekend sometime on Sunday. That is
completely effort from WM ANDH. Of course, that is strictly
a podcast. You can find it on the IPM Nation
(33:04):
YouTube channel. We share it out on Facebook and everywhere
else so and you can subscribe to it on your
podcast platform of choice. Please subscribe to the Tough Bumps podcast.
We would love your support, So we do that every
weekend and this particular news item. So we're gonna talk
about this now, but we might also talk about it
on Tough Pumps with Eric. This is from Billboard. John
(33:27):
Cena hit with lawsuit over famed horns sample in theme
song The Time Is Now. The WWE wrestler turned movie
star is facing legal claims that the intro to his
theme song is based on a sample of a nineteen
seventy four recording that was never properly cleared. Now you
(33:48):
hear about this, well, you don't hear about it nearly
as much anymore because everyone's gotten a lot smarter about
it legally. But you know, I remember growing up there
were always stories about in hip hop, a hip hop
artist releases a song, there's a sample in the song,
very often from an early R and B song, or
you know, it could be from anything. But so these
(34:11):
artists would release this music, these hip hop songs with
samples in them that were not cleared with the rights
holder of whoever owns that audio, whether it be the
original artist who did that song that the sample is
taken from, or a record label or whomever. Right, so
uncleared samples became a problem. And then you know, obviously
(34:33):
there's been a lot of litigation about that over the years,
and I think you don't really hear about that much today.
That is a story that you heard a lot in
the eighties and the nineties and even in the two thousands,
But today you don't really hear a lot of stories
about while this artist is getting sued because they have
an uncleared sample on their song or on their album.
(34:55):
But here now John Cena. Of course, John, he has
become a mainstream celebrity. He is one of the celebrities.
He's one of the wrestlers who professional wrestlers who's has
transcended wrestling and gone on to be a mainstream celebrity.
Obviously the biggest example of that being The Rock. The
Rock one of the highest, if not the highest paid
movie star in Hollywood who initially became famous because of wrestling.
(35:21):
That's why we call him the Rock, even though his
real name is Dwayne Johnson, Dwayne the Rock Johnson. But
you know, he's the greatest example of that. And then
of course there's other people who you know, hull Cogan
who passed away not too long ago, hul Cogan, who
did not find mainstream success in cinema. His movies were
largely panned because of the films that he starred in.
(35:44):
Not you know, I'm not talking about Rocky, I'm talking
about the films where Hogan was actually the star are
generally pretty awful. So but that doesn't change the fact
that hul Cogan, despite not really finding success outside of
professional wrestling, absolutely one of the most fas people on
the planet. So, but John Cena has also Now John
(36:05):
Cena is not he has not hit the stratosphere that
the Rock has hit, of course, but John Cena very
successful in Hollywood and has transcended professional wrestling. He also
had and this was really sort of a part of
his professional wrestling career. He did release an album. He
has one hip hop album that he released on WWE's
(36:29):
label at the time, and one of the tracks from
that album is called the Time is Now, and the
Time Is Now is the song that John Cena comes
out to. Now. John Cena has also been in the news.
When I say it comes out to I mean when
he comes out of the entrance and goes to the ring.
For people who are like, what if you're not a
(36:49):
wrestling fan, you don't know that, So that's what I
mean by come out to Now. John Cena also has
been relevant within wrestling recently because he's on his retire
Ironment tour. He's about to have his final wrestling match
ever in the WWE, and you know, he's forty eight
years old and this is it. He's going to commit
(37:11):
to Hollywood full time, which makes sense. And of course
there was the John Cena heel turn that happened a
while back, which actually got a lot of mainstream media attention,
even though it was part of a professional wrestling storyline,
but it was such a big deal that the mainstream
media paid attention to it. So a lot of interesting
(37:32):
things in a heel turn. Again, for people who don't know,
that's when a good guy becomes a bad guy. So
John Cena during his final year in WWE became for
a short time, he became a bad guy. He became
a villain, which I thought was very entertaining, but not
everyone liked it. But anyway, So John Cena is pretty
relevant these days on multiple levels. He just apparently he
(37:54):
just was on the Joe Rogan podcast Joe Rogan. I mean,
I know his stock has fallen a little bit, but
he's still one of the if not the biggest podcasts
in the world. And Johnsena was just on there. So
so John Cene is very relevant right now. But this
theme song that he's been using for twenty years, apparently
there is a problem with the sample the horn section.
(38:17):
Now I should what I'll do is I should have
had this ready, but let me grab his theme song,
The Time is Now. I think he says in the
song you can't see me the Time is Now, because
that's you know, his thing too, you can't see me? Okay.
I thought it was called My Time is Now, but
apparently it's actually called the Time is Now. So there's
(38:38):
there's horns in it, even though it's a hip hop song.
Let's see here it is the Time is Now. I'll
just play a little bit of it for you. Why
does this have a parental advisory on it? There's no? Uh,
all right, well, here's definitely a clean version. I was
gonna say, I don't think there's any swears in it.
Here's a clean this. This one's definitely clean though, except
there might be a commercial to sit through before I
play this. But just so if you're not familiar with
(39:00):
the song, So you can hear the horns, I don't
hear anything. Oh, here we go. Hang on, all right,
here it comes. You can hear the horns right, Your
(39:25):
time now? Okay, So he actually does say my time
is now, but the song is called the Time is Now.
All right, let's pause that. Uh so there's an uncleared
sample on that apparently. So here's the here's the article again.
(39:45):
This is from Billboard. WWE superstar and actor John Cena
is facing a lawsuit over the iconic horn riff from
his entrance theme, The Time is Now. A questionable legal case,
but one that shines a light on a tortured history
of sam and credits behind the famed song. That's interesting.
So apparently there have been other legal issues with the
(40:06):
song that I was not aware of, says. The lawsuit
was filed by the daughter of Pete Schofield, who's nineteen
seventy four recording of the Night the Lights Went Out
in Georgia. Everybody knows that song right That's the Night
that the lights went out in Georgia is the undisputed
source of the blaring horn blasts at the start of
(40:26):
Sina's two thousand and five track. In it, she claims
that Sina and the WWE failed to properly clear the
sample and breached an earlier fifty thousand dollars settlement over
the dispute. Now, I did not know. This is news
to me. I did not know that that had ever happened.
I think they kept it very quiet. I did not
(40:48):
know that there was ever a problem established previously over
that horn section. I do want to and I didn't
know that there was a settlement. Now you might be thinking,
though I do know this, might be thinking, why if
this was already settled, why is this coming up again.
There's a very good reason. There's a very good reason.
But we'll come back to that, because I want to
(41:09):
pull this up. Now. I know the song the Nights
the night the lights went out in Georgia, I do
not know. I can't remember though, like I haven't heard
it in a long time. Is that like if I
pull that song up, which I'm going to do now,
and we listen to that, are we going to hear
(41:31):
that exact I just want to hear it for myself.
Is it really sampled from that? Because I haven't heard
that song in forever, But I don't remember hearing in
that song, you know, the horns. So let's let's find out.
Pete Schofield and the Canadians The Night the Lights Went
Out in Georgia. Let's see. I don't know where in
(41:56):
the song the horns appear, but let's uh, let's find out.
(42:35):
So this is obviously not the version of the song
that we're used to hearing. I can't remember because the
version we're used to hearing, the big hit song The
Night the Lights Went Out in Georgia has vocals. I
can't remember who does it, but this is Pete Schofield,
you know, jazz musician doing his version of it, which
is an instrumental. I'm hearing a lot of horns, and
the horns sound similar in tone and timbore to the
(42:58):
horns in John seen As theme. But I don't hear
so far. I don't hear that actual.
Speaker 3 (43:06):
Do you.
Speaker 9 (43:07):
I don't hear the actual riff. But let's listen to
a little bit more of this. Not hearing it.
Speaker 8 (43:49):
Where is it?
Speaker 9 (43:51):
Is it right at the beginning, because I failed to
unmute this right at the beginning. Let's go back to
the very beginning. We're not going to listen to a
whole thing, I promise, because just kill me. I don't
like this kind of stuff. But here, oh there it is.
It's in the beginning. Okay, here, all right, okay, guilty. Yeah,
(44:17):
they definitely took it from that, all right, no getting
around it. I'm glad I went back to the beginning.
Let's see, let's go back to this article. Okay, so
they settled. They settled that for fifty grand. Now there's
more to this article. Let's back up a little bit actually, Okay.
(44:41):
So the lawsuit was filed by the daughter of Pete Schofield,
who's nineteen seventy four recording is the undisputed source of
the Blaring Horns Horn blasts at the start of Sina's
two thousand and five track. In it, she claims that
SENA and the WWE failed to properly clear the sample
and reached an earlier fifty thousand dollar settlement over the dispute. Okay, so,
(45:03):
Kim Schofield rights. This is from her December second lawsuit
obtained by Billboard, which names both John Cena and WWE
as defendants. Quote. Every effort at informed resolution has been
met with threats, misrepresentations, and intimidation tactics, leaving plaintiff with
(45:24):
no recourse but to seek relief from this court. Unquote.
Now again, this was previously settled, So why is this
coming up again? Says here The time is now, in
which Sina wraps over a beat created by producer Jake
One was released in two thousand and five by Columbia
House Records and WWE Music Group. The track served as
(45:45):
a theme song during Sena's rise to superstardom and later
became a popular track in social media memes. The track
will likely play at some point during his final WWE
appearance next week before he retires from wrestling. The song
is something of a crediting nightmare. The famed horns are
pulled from Schofield's recording of the Night Went Out in
(46:05):
Georgia I'm Sorry the Night the Lights Went Out in Georgia,
which is a cover of a composition by songwriter Bobby
Russell that's also been released by multiple other artists, including
Vicky Lawrence, Oh, Vicky Lawrence. She's the one who had
the big hit with it, Vicky Lawrence and Reba McIntyre.
Sena song also samples heavily the mop's two thousand hip
hop classic Anti Up, which itself drew on samples from
(46:28):
Sam and Dave's soul sister Brown Sugar. Yeah, that's a
lot of sampling. The complex audio lineage has already led
to previous legal battles. Back in two thousand and eight,
MOP sued WWE Oversena's use of the Anti Up sample,
claiming that they had expressly refused to approve the use
(46:50):
of their track and that WWE had cleared it by
getting a signature from a receptionist at an unaffiliated company.
I didn't know about any of this. This is fast,
but that case was quickly dropped a few months later
on undisclosed terms. In Schofield's lawsuit, filed with the help
of lawyers Kim, Schofield paints a complicated picture of her allegations.
(47:14):
She says she finally didn't know about seeing his use
of the song until twenty fifteen, and that they had
signed a settlement deal in twenty seventeen. This is important
with WWE for fifty thousand dollars covering the sample of
the sound recording, but at some point later, she claims,
(47:35):
they realized they also owned publishing rights two aspects of
Schofield Scofield's nineteen seventy four song that were distinct from
Russell's original composition. This guet's very complicated. Such allegations could
face an uphill climb in court. Decade old claims of
copyright infringement could very likely be barred in the statute
(47:59):
of limitations or by earlier settlement. Yeah, I mean copyright law,
trademark law, intellectual property law. All of it gets very,
very complicated. I find it fascinating. I hope some of
you do. It's also not legally clear that Schofield can
claim the rights she says she owns, nor that she
can blame WWE for the fact that she was unaware
(48:20):
of them when she signed the earlier deal. Reps for
Sena and the WWE did not immediately return her request
for a comment on Friday. In her lawsuits, Schofield says
lawyers for WWE told her that the twenty seventeen settlement
was final and binding on any claims related to the
(48:43):
time is now, and that she could not later reopen
negotiations merely because she had seller's remorse. They also allegedly
told her that they had fully cleared the sample by
inking a license with the airs of Bobby Russell, the
songwriter who wrote the song that Schofield recorded. The lawsuit
(49:03):
also names Russell's airs as defendants. The younger Schofield claims
they have improperly been receiving the royalties for seen as
use of the sample, and that they have recently threatened
to sue her if she does not stop claiming her
own rights to the song. The Russell Airs could not
immediately be located for comment. While cover artists can get
sound recording copyrights to their specific performances, they cannot typically
(49:27):
claim composition rights, a common sense rule, since the underlying
music in a cover was necessarily written by someone else.
In fact, making substantial changes to the underlying song can
turn a legal cover track into an unauthorized derivative. Now
there's something else to this that this article leaves out.
That I was reading last night, and that is and
(49:52):
I'm surprised it is not included in this article. Part
of what Kim Schofield is mad about is that she
claims that when that fifty thousand dollars settlement was reached,
because that seems like a low number to me for
this kind of case. When she agreed and her lawyers
agreed to that fifty thousand dollars settlement, they were unaware,
(50:17):
and she has claimed that WWE and their attorneys intentionally
tried to hide this from her. She was unaware that
that song was about to be used in a national
advertising campaign for I Think It's Toyota, that I Think
(50:37):
there were Toyota ads with John Cena's voice in the
ad is the voiceover, and that that song is playing
in the ad, specifically with that horn riff that's in
the ad, and she agreed to that fifty thousand dollars figure,
not knowing that. Two days later, two days after she
(51:02):
agreed to that settlement, that ad campaign rolls out and
on televisions throughout the United States. People are seeing this
ad with that song and that horns sample in the
ad for Toyota, and and she claims that they intentionally
tried to hide that from her. They concealed that from
(51:24):
her because they knew she would ask for a bigger
number if she knew that that song was about to
be used in a national advertising campaign, a high profile
national advertising campaign, so she's mad about that. So that's
also part of her claim here. But so there you go.
(51:45):
That is again that is from Billboard dot com. So
there's a lot a lot there. All right, we are
going to begin to wrap up. I want to fit
in one more track from the Fods, great song called Shopping.
This was the first single that we ever played them
on the show. But again, I do want to thank
everybody who joined us today, Rob Critch Lee from the
Fods of course in the first hour, and then we
(52:07):
had Jordan from the Forensics in the third hour, and
we had the whole band of Baron Kismo in the
second hour who joined us today. So a fun show today.
I hope everyone is well. If you want to know
more about me and all the things I'm up to,
Matt Coonorton dot com is my website. Jenny is not
here with us today, she's at home, but she'll be
back soon. But her website is Jencoffee dot com. Please
(52:29):
check that out because she's always up to a lot
of really good stuff, important work that she is doing.
And oh and this weekend, I believe Eric Pilter and
I will be doing a new episode of Tough Bumps,
a new live stream on Sunday night, so be sure
to tune in for that and please subscribe to that
podcast on your podcast platform of choice. And Eric, of
(52:51):
course is you know, he's still he hasn't been directly involved,
but he's still an important part of Matt Connorton Unleashed
as well, which is to say that those classic film
are views that were very popular on the show, those
will be coming back, I believe in January as Eric's plan.
So so Eric is still very much with us as well,
very very much involved. Dad, if you're listening, I love you.
I hope you're well or will be well. You're not well,
(53:14):
but that's why you're in mass general, but but you
had surgery. I hope your recovery goes well and there
is a path forward for you coming out of what
you've been going through. And thank you everyone who's been
very supportive with that.
Speaker 8 (53:27):
Appreciate you.
Speaker 9 (53:28):
And if you missed any part of today's show, we'll
be up in just a little bit at wmnhradio dot
org and at my website Matt Connorton dot com, and
we will leave you with this track again. This is
from the Fodds. This is the first single that we
played on the show and I love this a lot.
This is called shopping. To close out this week's Matt
Connorton Unleashed Bye everybody.
Speaker 5 (53:53):
She wears goo car.
Speaker 1 (53:58):
And he's one of them.
Speaker 5 (53:59):
Thank you, burned time.
Speaker 6 (54:03):
No, as soon as buy your brand new too.
Speaker 13 (54:09):
You're just su same all the races. I see you
by that brand new dress. Something's going wrong. I know
they shouldn't take this roll.
Speaker 5 (54:21):
Somebody give me out all right by while crazy? You
(54:50):
mustn't ray.
Speaker 14 (54:54):
Ill this farming just want to follow me to be the.
Speaker 10 (55:02):
May?
Speaker 8 (55:02):
What about?
Speaker 5 (55:03):
Says? I don't see some does some especially within me,
especially with ly sep ly do sils just got some
(56:11):
time le sills got some time. Hole. So what we
do and made ourselves just passes? Stop that leave si
(57:32):
sa when we do any little souls listen lexee me No,
(58:00):
did I would make you proud? Come so far from
Mona yesterday? Still not clear?
Speaker 1 (58:08):
How the hell are we get here the rest of years?
Speaker 5 (58:11):
Ancern in sua age's concerning me? Mean, go hon there's
nothing from me? So I don't want a time.
Speaker 14 (58:27):
So got about the trainway, got up to the Free
just a dot of cr.
Speaker 5 (58:36):
Something's not.
Speaker 2 (58:42):
Always chasing something new, got to something.
Speaker 4 (58:45):
In of you.
Speaker 5 (58:46):
And am I going on my way? Not not to
me over look that you never thought I should. I
am lunching you and all go gasserted me. I mean
there's nothing.
Speaker 14 (59:05):
From me, I said, I want to tell you I
got I got the train. Anyway you go to the Free,
it's just a dollar cross
Speaker 8 (59:20):
The st
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