December 7, 2025 • 55 mins
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Episode Transcript
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Speaker 1 (00:00):
I love it. 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
(00:20):
you are listening live 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, etc.
(00:41):
Et cetera. And let's see, I think we've got Jordan
King from the Band on the line with us.
Speaker 2 (00:46):
Hello, Yes, Hello, thank you for having me.
Speaker 1 (00:49):
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 2 (01:07):
This has only really been out a week, I believe,
so not too long at all.
Speaker 1 (01:11):
Very new. Yeah, yeah, that's depressed outstanding. Now, Jordan, is
it just you ors anybody with you?
Speaker 2 (01:19):
It's just myself today? Yeah, yeah, yeah, I don't know
what the rest of the guys are doing.
Speaker 1 (01:24):
That's all right. Sometimes less is more. Sometimes we get
you know, a bunch of people on 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 2 (01:35):
So I'm the lead guitarist. Okay, So all the little
riffs and stuff you heard in that track was cut
to see it myself. So yeah, excellent.
Speaker 1 (01:44):
Well 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
you don't see that coming, or perhaps I should say
you don't hear that coming. But it fit's a song perfectly.
I mean, it works really well, but it's a surprise
(02:04):
the first time you 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 2 (02:14):
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.
(02:34):
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, so that's fantastic.
Speaker 1 (02:50):
Yeah, no, it fits perfectly. Baker Street is a great
example too of where you can do that really effectively.
But when you do this, so what happens when you
do that song live? Or have you played that song live?
Speaker 2 (03:02):
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 aim eventually would be to
have someone play that live with us with the sacks.
That'd be pretty cool, but we can't do that at
(03:24):
the moment.
Speaker 1 (03:25):
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, it probably goes over well,
I would imagine, definitely.
Speaker 2 (03:44):
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.
When we played them live, they fade into each other live,
which is quite cool. So yeah, we enjoyed doing stuff
(04:06):
like that when we perform.
Speaker 1 (04:07):
Oh, excellent, excellent, how long have you guys? 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 2 (04:23):
Yeah, that came out first half of this year.
Speaker 1 (04:25):
Yeah, okay, okay, but have you guys been around since
what twenty twenty one, twenty twenty two or.
Speaker 2 (04:32):
Man, time flies, doesn't it. Yeah that sounds about right. Yeah.
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
(04:53):
some things. Then Liam, the lead singer joined. He'd played
in a band previously with our drummer, so that kind
of all things together. And yeah, it must have been
nearly four years now, which is frightening.
Speaker 3 (05:05):
Wow.
Speaker 1 (05:05):
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 2 (05:17):
Yeah? 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
(05:40):
have two shows lined up for the start of next year,
but 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 1 (05:52):
Where do you guys record? You know, I always like to.
I mean, I have a bit of an auto engineering
background myself. 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 buy yourself a little task
(06:14):
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 by
(06:34):
listening to your songs that you put a lot into
not only the writing of the songs, but the recording
of them, so you know it does It certainly doesn't
sound like a situation where you're just going going uh
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 2 (06:54):
Yeah, of course, Yeah. We love going in the studio.
It's it's the favorite thing for all members of the band.
I think they'd all agree 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 a band,
(07:15):
and this is very similar across bands of our size.
Studio higher 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 of the
(07:37):
experiment experimental things come into play. Then we can go
into the 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 to do it.
(07:57):
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,
(08:18):
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 like it,
you know, So that's how we tend to go about it.
I think we recording a place called the Grand in
Clitherol which actually has a huge stage attached to it.
(08:39):
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 guided state side, So
it's about forty minutes drive from Manchester, so not too
far away.
Speaker 1 (08:57):
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 going to the studio. Yeah,
it's cool too that it's got a venue there as well.
I don't know why, uh, I mean, there's definitely examples
here of places like that, but I can't think of
(09:18):
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 uh to do correctly. But I I wish, like,
like I said, I know, this place is like that
(09:38):
here too. I just can't think of many. I can't
think of any off the top of my head. But
have you have you always work like from the beginning
of this project, has it always been the same studio.
Speaker 2 (09:49):
No, 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 clid Throw that we recorded in and then so yeah,
(10:11):
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
(10:33):
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 that was cool.
Speaker 1 (10:40):
Oh that's cool. That's cool. Yeah, 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. Yet, where does the
name come from? The forensics?
Speaker 2 (10:55):
That's a really good question. I'm actually not one hundred
percent myself. I'm completely honest with you. We've had that
name for a good number of years. I think we
just 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 police work and that kind of stuff, but we've
(11:20):
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?
Really likes pointing at you.
Speaker 1 (11:39):
Yeah, I can imagine.
Speaker 2 (11:40):
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 1 (11:56):
Yeah, no, it's excellent. Is that the name that the
band had from the beginning.
Speaker 2 (12:01):
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 of the band.
(12:22):
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 1 (12:34):
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 for him, right.
Speaker 2 (12:42):
I think it was an adjustment.
Speaker 4 (12:44):
Yeah.
Speaker 2 (12:44):
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. 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 light
(13:07):
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 1 (13:28):
So yeah, absolutely absolutely so, yeah, so not giving up
is really new. And then what what's kind of the
do you know when the next single is going to be,
or what's kind of the forward trajectory as far as
because I assume, I mean, it strikes me that you
guys probably have a lot of ideas in the band.
(13:50):
I mean you're probably always writing, I would guess.
Speaker 2 (13:53):
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
(14:13):
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 to the studio
a few months back, got three quarters of them done,
(14:34):
I would say. So we're going back in two weeks
to get vocals and lead guitar finished, which I'm excited for.
When those will come out, I'm not too sure, but
there's three singles that within two weeks time should be
pretty close to mastered and ready for release.
Speaker 1 (14:50):
Oh fantastic, Yeah, no, I get can't wait to hear them. Man,
you know, we'd love to continue to be sort of
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 really
(15:11):
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 or.
Speaker 2 (15:22):
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 promotions and
(15:42):
vinyl pressing and that kind of stuff. So I think
that'll be our main focus for the next few months.
Speaker 1 (15:48):
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 2 (16:08):
So the best place to find us for understanding a
bit more a battles 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
(16:28):
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 places to go.
Speaker 1 (16:42):
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'd love to do the
American radio premiere here and keep up the great work.
We we're big fans here.
Speaker 2 (17:02):
Yeah, for sure, No, I appreciate it. Thank you very
much for having me. It's great to chat.
Speaker 1 (17:06):
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 5 (17:28):
Just can't forget all the places where we've been and
I just kind of raise all the things out we
have seen. Now are you away us to seeing you?
I magine, Oh please, man.
Speaker 3 (17:50):
I've seen send me God a fish swimming against the side.
Speaker 6 (18:30):
The morning brings.
Speaker 7 (18:31):
Me green soon needs us wondering.
Speaker 8 (18:35):
Why that's my decrease, and we stayed everything.
Speaker 7 (18:42):
And something it's don't even don't we ask al sobbeen
text lines that.
Speaker 8 (18:50):
I tells cap a god on the bay says sing things.
Speaker 4 (18:57):
Then I try to get a raison le stems.
Speaker 8 (19:11):
Go please as seven.
Speaker 2 (19:19):
Scene see.
Speaker 7 (19:34):
You stand around the scene.
Speaker 6 (19:38):
You feel like a doll bom three five thos acevening.
Speaker 3 (19:45):
There still the they a sun.
Speaker 4 (19:48):
You wins OBUs since the house says they.
Speaker 9 (19:53):
Bus su same the leading got the way a man's.
Speaker 4 (20:01):
No say please say.
Speaker 7 (20:26):
Se se.
Speaker 4 (21:28):
Scene.
Speaker 1 (21:32):
I love that track so much. That is Maxine. 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 music. Well you'll
(21:55):
it's interesting. I'll just leave it at that. That's my
teaser 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 l s F.
This is a great song.
Speaker 6 (22:21):
How got it?
Speaker 2 (22:23):
Lesser fire?
Speaker 6 (22:25):
You know what needs much fuss?
Speaker 8 (22:28):
I'm pretty interesting, little must electronic Goods, Certifia, the Steeper,
a Sleeper.
Speaker 4 (22:37):
I'm waiting thought.
Speaker 6 (22:48):
Gone get it. I'm coving through a lot of.
Speaker 8 (22:52):
Baba Ni pushes these foks a just gone electronics boy
cross shoot the Moses, a Fire, the Messiah body at
(23:19):
we come start skilled fish of ser fire.
Speaker 6 (23:45):
You know what I needed?
Speaker 8 (23:47):
Mist Closers not playing, just sting almost about it, Lexonics
list Server.
Speaker 3 (23:53):
Fire, miss Steeper, the sleepert mesides your body and DA S.
Speaker 4 (25:41):
S S S.
Speaker 1 (26:46):
You are listening to Mattconnorton Unleash on wmn H ninety
five point three. 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,
(27:09):
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 infos, show archives, etc. Etc.
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
(27:31):
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
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
(27:51):
The Forensics. We just heard two songs from The Forensics
to close out that conversation, Max Scene their first single
and LSF And then we we 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
(28:16):
could do this on two different shows. This is appropriate
for Matt connorton Unleashed because we do 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
(28:37):
weekend sometime on Sunday that is completely separate from WMNH.
Of course, that is strictly a podcast. You can find
it on the IPM nation 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,
(29:02):
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 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
(29:24):
sample of a nineteen seventy four recording that was never
properly cleared. Now you 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
(29:44):
in the song, very often from an early R and
B song, or you know, it could be from anything.
But so these artists would release this music, these hip
hop songs with samples in them that were not cleared
with the right whole of whoever owns that audio, whether
it be the original artist who did that song that
(30:05):
the sample is taken from, or a record label or whomever. Right,
So uncleared samples became a problem. And then you know,
obviously 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
(30:26):
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. But here now John Cena, of course,
John Cena has become a mainstream celebrity. He is one
of the celebrities. He's one of the wrestlers who professional
(30:47):
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 who initially
became famous because of wrestling. 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
(31:10):
example of that. And then of course there's other people
who you know, Hull Cogan, who passed away not too
long ago, uh, hul Cogan, who did not find mainstream
success in cinema. His movies were largely panned because of
the films that he started in. 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
(31:32):
but that doesn't change the fact that hul Cogan, despite
not really finding success outside of professional wrestling, absolutely one
of the most famous people on the planet. So, but
John Cena has also Now John Cena is not he
has not hit the stratosphere that The Rock has hit,
of course, but John Cena very successful in Hollywood and
(31:54):
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 label at the time,
and one of the tracks from that album is called
(32:15):
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
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 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
(32:39):
wrestling recently because he's on his retirement 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 to Hollywood full time,
which makes sense. And of course, there was the John
Cena heel turn that happened a while back, which actually
(33:02):
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 things and a
He'll 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,
(33:23):
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 apparently he 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
(33:43):
of the if not the biggest podcasts in the world.
And Johnsena was just on there. So John Cen 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. Now I should what
I'll do is I should have had this ready, but
(34:03):
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 there's horns in it,
even though it's a hip hop song. Let's see here
(34:24):
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 the song, so you
can hear the horns, I don't hear anything. Oh, here
(34:49):
we go, hang on, all right, here it comes. You
can hear the horns right.
Speaker 5 (35:08):
Now.
Speaker 1 (35:11):
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. This
is from Billboard. WWE superstar and actor John Cena is
facing a lawsuit over the iconic horn riff from his
(35:34):
entrance theme, The Time is Now. A questionable legal case,
but one that shines a light on a tortured history
of samples and credits behind the famed song. That's interesting.
So apparently there have been other legal issues with the
song that I was not aware of it, says the
lawsuit was filed by the daughter of Pete Schofield, who's
nineteen seventy four recording of The Night the Lights Went
(35:57):
Out in Georgia. Everybody knows that song, right, that's an
that the Lights Went Out in Georgia is the undisputed
source of the blaring horn blasts at the start of
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
(36:21):
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
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, You might be thinking, why
(36:43):
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
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
(37:04):
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
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
(37:26):
out pets Goofield and the Canadians The Night the Lights
Went Out in Georgia. Let's see. I don't know where
in the song the horns appear, but let's, uh, let's
find out. So this is obviously not the version of
(38:20):
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
horns in John Cena's theme. But I don't hear so far.
(38:44):
I don't hear that actual.
Speaker 2 (38:48):
Do you.
Speaker 1 (38:48):
I don't hear the actual riff. But let's listen to
a little bit more of this not hearing it? Where
(39:32):
is it? 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,
(39:59):
they definitely took 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 was more
to this article. Let's back up a little bit actually, Okay.
(40:23):
So the lawsuit was filed by the daughter of Pete Scofield,
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 dollars settlement over the dispute. Okay,
(40:44):
so Kim Schofield writes. This is from her December second
lawsuit obtained by Billboard, which names both John Cena and
WWE as defendants. Quote. Every effort added informed resolution has
been met with threats, misrepresentations, and intimidation tactics, leaving plaintiff
(41:06):
with 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 SNA 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 a theme song
(41:28):
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 Georgia. I'm Sorry
(41:48):
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 be hit
with it, Vicky Lawrence and Reba McIntyre. Sina song also
samples heavily the mop's two thousand hip hop classic Anti Up,
which itself drew on samples from Sam and Dave's soul
(42:11):
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 over
Sena's use of the Anti Up sample, claiming that they
had expressly refused to approve the use of their track
(42:32):
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 fascinating, but that case
was quickly dropped a few months later on undisclosed terms.
In Schofield's lawsuit, filed with the help of lawyers Kim,
(42:53):
Schofield paints a complicated picture of her allegations. She says
she finally didn't know about see as us 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, they
(43:17):
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 get'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 of
(43:41):
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 Scofield can
claim the rights she says she owns, nor that she
can blame WWE for the fact that she was unaware
(44:02):
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 lawsuit, Schofield says
lawyers for WWE told her that the twenty seventeen settlement
was final and binding on any claims related to the
(44:25):
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 heirs of Bobby Russell, the
songwriter who wrote the song that Schofield recorded. The lawsuit
(44:45):
also names Russell's airs as defendants. The younger Schofield claims
they have improperly been receiving the royalties for Sena's 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 aires could not immediately
be located for comment. While cover artists can get sound
(45:05):
recording copyrights to their specific performances, they cannot typically claim
composition rights a common sense rule, since the underlying music
and 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
(45:26):
else to this that this article leaves out that I
was reading last night, and that is and I'm surprised
it's 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
(45:47):
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, and she has claimed
that WWE and their attorneys intentionally tried to hide this
from her. She was unaware that that song was about
(46:09):
to be used in a national advertising campaign for I
Think It's Toyota, that I Think 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
(46:34):
agreed to that fifty thousand dollars figure, not knowing that
two days later, two days after she agreed to that settlement,
that ad campaign rolls out and on televisions throughout the
United States. People are seeing this ad with that song
(46:55):
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 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
(47:18):
she's mad about that. So that's also part of her
claim here. But so there you go. That is again
that is from Billboard dot com. So there's a lot there.
All right, we are going to begin to wrap up.
I want to fit in one more track from the Fods,
(47:38):
great song called Shopping. This was the first single that
we ever played for them on the show. But again
I do want to thank everybody who joined us today.
Rob Critchley from the Fods of course in the first hour,
and then we 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
fun show today. I hope everyone is well. If you
(47:59):
want to know more about me and all the things
I'm up to, Matt Coonnorton 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 check up 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
(48:21):
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 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 reviews that were very popular on
(48:43):
the show, those will be coming back. I believe in
January is 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, but that's why
you're in mass general. But but you had surgery. I
hope you're recovery. He goes well, and uh, and there
is a path forward for you coming out of what
(49:04):
you've been going through. And thank you everyone who's been
very supportive with that, appreciate you. 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 Uh.
This is the first single that we played on the
(49:24):
show and I love this a lot. This is called shopping.
To close out this week's Matt Connorton Unleashed, Bye everybody.
Speaker 6 (49:35):
She wears gooky.
Speaker 7 (49:39):
And he's one of those victos. He burns as soon
as by your brando.
Speaker 3 (49:51):
You're just s same.
Speaker 8 (49:55):
Racist to see you buy him that friend new less
something going wrong and.
Speaker 6 (50:01):
Knowledge God to take this wrong. Somebody get me out.
Speaker 4 (50:28):
All right?
Speaker 9 (50:29):
Bad me?
Speaker 6 (50:30):
Well cray see you mustn't.
Speaker 4 (50:33):
Gray, I've this army just fond of fun.
Speaker 6 (50:39):
Of by too little bear Brown may I'm about says.
Speaker 4 (50:45):
I got fine.
Speaker 6 (50:46):
I've seen somebody special with find me.
Speaker 7 (50:52):
Special with f me on sums she less lovel.
Speaker 6 (52:04):
So what we do may ourselves dispasses.
Speaker 7 (52:10):
Stop, Yes, sir, when we do a little lesson.
Speaker 6 (53:40):
To see me now than I would make you proud.
Speaker 7 (53:43):
I'm so far from mana yesterdays.
Speaker 1 (53:47):
When still not clear how the hell.
Speaker 6 (53:51):
Do we get here? The last years it's sad, it's suah,
me mean know ho, there's nothing for me a so
I don't wanna tell.
Speaker 9 (54:09):
Rick got about the trainway you to the Free? Just
got a crushing it's something.
Speaker 4 (54:20):
It's not.
Speaker 6 (54:23):
Always chasing something. You got to something in of you.
And I'm going on my way, not gonna to me
awful look that you never thought at you. I am
lunch to you and all God gags.
Speaker 3 (54:44):
Me.
Speaker 4 (54:45):
I mean all there's nothing for me, sir.
Speaker 6 (54:49):
I don't wanna tell.
Speaker 9 (54:53):
Frick got up, got the train, get up to the
Free just a CRUs The Stad's not
Speaker 2 (55:34):
Go
I love it. 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
(00:20):
you are listening live 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, etc.
(00:41):
Et cetera. And let's see, I think we've got Jordan
King from the Band on the line with us.
Speaker 2 (00:46):
Hello, Yes, Hello, thank you for having me.
Speaker 1 (00:49):
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 2 (01:07):
This has only really been out a week, I believe,
so not too long at all.
Speaker 1 (01:11):
Very new. Yeah, yeah, that's depressed outstanding. Now, Jordan, is
it just you ors anybody with you?
Speaker 2 (01:19):
It's just myself today? Yeah, yeah, yeah, I don't know
what the rest of the guys are doing.
Speaker 1 (01:24):
That's all right. Sometimes less is more. Sometimes we get
you know, a bunch of people on 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 2 (01:35):
So I'm the lead guitarist. Okay, So all the little
riffs and stuff you heard in that track was cut
to see it myself. So yeah, excellent.
Speaker 1 (01:44):
Well 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
you don't see that coming, or perhaps I should say
you don't hear that coming. But it fit's a song perfectly.
I mean, it works really well, but it's a surprise
(02:04):
the first time you 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 2 (02:14):
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.
(02:34):
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, so that's fantastic.
Speaker 1 (02:50):
Yeah, no, it fits perfectly. Baker Street is a great
example too of where you can do that really effectively.
But when you do this, so what happens when you
do that song live? Or have you played that song live?
Speaker 2 (03:02):
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 aim eventually would be to
have someone play that live with us with the sacks.
That'd be pretty cool, but we can't do that at
(03:24):
the moment.
Speaker 1 (03:25):
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, it probably goes over well,
I would imagine, definitely.
Speaker 2 (03:44):
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.
When we played them live, they fade into each other live,
which is quite cool. So yeah, we enjoyed doing stuff
(04:06):
like that when we perform.
Speaker 1 (04:07):
Oh, excellent, excellent, how long have you guys? 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 2 (04:23):
Yeah, that came out first half of this year.
Speaker 1 (04:25):
Yeah, okay, okay, but have you guys been around since
what twenty twenty one, twenty twenty two or.
Speaker 2 (04:32):
Man, time flies, doesn't it. Yeah that sounds about right. Yeah.
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
(04:53):
some things. Then Liam, the lead singer joined. He'd played
in a band previously with our drummer, so that kind
of all things together. And yeah, it must have been
nearly four years now, which is frightening.
Speaker 3 (05:05):
Wow.
Speaker 1 (05:05):
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 2 (05:17):
Yeah? 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
(05:40):
have two shows lined up for the start of next year,
but 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 1 (05:52):
Where do you guys record? You know, I always like to.
I mean, I have a bit of an auto engineering
background myself. 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 buy yourself a little task
(06:14):
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 by
(06:34):
listening to your songs that you put a lot into
not only the writing of the songs, but the recording
of them, so you know it does It certainly doesn't
sound like a situation where you're just going going uh
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 2 (06:54):
Yeah, of course, Yeah. We love going in the studio.
It's it's the favorite thing for all members of the band.
I think they'd all agree 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 a band,
(07:15):
and this is very similar across bands of our size.
Studio higher 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 of the
(07:37):
experiment experimental things come into play. Then we can go
into the 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 to do it.
(07:57):
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,
(08:18):
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 like it,
you know, So that's how we tend to go about it.
I think we recording a place called the Grand in
Clitherol which actually has a huge stage attached to it.
(08:39):
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 guided state side, So
it's about forty minutes drive from Manchester, so not too
far away.
Speaker 1 (08:57):
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 going to the studio. Yeah,
it's cool too that it's got a venue there as well.
I don't know why, uh, I mean, there's definitely examples
here of places like that, but I can't think of
(09:18):
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 uh to do correctly. But I I wish, like,
like I said, I know, this place is like that
(09:38):
here too. I just can't think of many. I can't
think of any off the top of my head. But
have you have you always work like from the beginning
of this project, has it always been the same studio.
Speaker 2 (09:49):
No, 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 clid Throw that we recorded in and then so yeah,
(10:11):
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
(10:33):
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 that was cool.
Speaker 1 (10:40):
Oh that's cool. That's cool. Yeah, 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. Yet, where does the
name come from? The forensics?
Speaker 2 (10:55):
That's a really good question. I'm actually not one hundred
percent myself. I'm completely honest with you. We've had that
name for a good number of years. I think we
just 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 police work and that kind of stuff, but we've
(11:20):
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?
Really likes pointing at you.
Speaker 1 (11:39):
Yeah, I can imagine.
Speaker 2 (11:40):
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 1 (11:56):
Yeah, no, it's excellent. Is that the name that the
band had from the beginning.
Speaker 2 (12:01):
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 of the band.
(12:22):
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 1 (12:34):
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 for him, right.
Speaker 2 (12:42):
I think it was an adjustment.
Speaker 4 (12:44):
Yeah.
Speaker 2 (12:44):
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. 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 light
(13:07):
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 1 (13:28):
So yeah, absolutely absolutely so, yeah, so not giving up
is really new. And then what what's kind of the
do you know when the next single is going to be,
or what's kind of the forward trajectory as far as
because I assume, I mean, it strikes me that you
guys probably have a lot of ideas in the band.
(13:50):
I mean you're probably always writing, I would guess.
Speaker 2 (13:53):
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
(14:13):
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 to the studio
a few months back, got three quarters of them done,
(14:34):
I would say. So we're going back in two weeks
to get vocals and lead guitar finished, which I'm excited for.
When those will come out, I'm not too sure, but
there's three singles that within two weeks time should be
pretty close to mastered and ready for release.
Speaker 1 (14:50):
Oh fantastic, Yeah, no, I get can't wait to hear them. Man,
you know, we'd love to continue to be sort of
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 really
(15:11):
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 or.
Speaker 2 (15:22):
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 promotions and
(15:42):
vinyl pressing and that kind of stuff. So I think
that'll be our main focus for the next few months.
Speaker 1 (15:48):
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 2 (16:08):
So the best place to find us for understanding a
bit more a battles 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
(16:28):
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 places to go.
Speaker 1 (16:42):
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'd love to do the
American radio premiere here and keep up the great work.
We we're big fans here.
Speaker 2 (17:02):
Yeah, for sure, No, I appreciate it. Thank you very
much for having me. It's great to chat.
Speaker 1 (17:06):
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 5 (17:28):
Just can't forget all the places where we've been and
I just kind of raise all the things out we
have seen. Now are you away us to seeing you?
I magine, Oh please, man.
Speaker 3 (17:50):
I've seen send me God a fish swimming against the side.
Speaker 6 (18:30):
The morning brings.
Speaker 7 (18:31):
Me green soon needs us wondering.
Speaker 8 (18:35):
Why that's my decrease, and we stayed everything.
Speaker 7 (18:42):
And something it's don't even don't we ask al sobbeen
text lines that.
Speaker 8 (18:50):
I tells cap a god on the bay says sing things.
Speaker 4 (18:57):
Then I try to get a raison le stems.
Speaker 8 (19:11):
Go please as seven.
Speaker 2 (19:19):
Scene see.
Speaker 7 (19:34):
You stand around the scene.
Speaker 6 (19:38):
You feel like a doll bom three five thos acevening.
Speaker 3 (19:45):
There still the they a sun.
Speaker 4 (19:48):
You wins OBUs since the house says they.
Speaker 9 (19:53):
Bus su same the leading got the way a man's.
Speaker 4 (20:01):
No say please say.
Speaker 7 (20:26):
Se se.
Speaker 4 (21:28):
Scene.
Speaker 1 (21:32):
I love that track so much. That is Maxine. 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 music. Well you'll
(21:55):
it's interesting. I'll just leave it at that. That's my
teaser 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 l s F.
This is a great song.
Speaker 6 (22:21):
How got it?
Speaker 2 (22:23):
Lesser fire?
Speaker 6 (22:25):
You know what needs much fuss?
Speaker 8 (22:28):
I'm pretty interesting, little must electronic Goods, Certifia, the Steeper,
a Sleeper.
Speaker 4 (22:37):
I'm waiting thought.
Speaker 6 (22:48):
Gone get it. I'm coving through a lot of.
Speaker 8 (22:52):
Baba Ni pushes these foks a just gone electronics boy
cross shoot the Moses, a Fire, the Messiah body at
(23:19):
we come start skilled fish of ser fire.
Speaker 6 (23:45):
You know what I needed?
Speaker 8 (23:47):
Mist Closers not playing, just sting almost about it, Lexonics
list Server.
Speaker 3 (23:53):
Fire, miss Steeper, the sleepert mesides your body and DA S.
Speaker 4 (25:41):
S S S.
Speaker 1 (26:46):
You are listening to Mattconnorton Unleash on wmn H ninety
five point three. 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,
(27:09):
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 infos, show archives, etc. Etc.
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
(27:31):
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
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
(27:51):
The Forensics. We just heard two songs from The Forensics
to close out that conversation, Max Scene their first single
and LSF And then we we 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
(28:16):
could do this on two different shows. This is appropriate
for Matt connorton Unleashed because we do 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
(28:37):
weekend sometime on Sunday that is completely separate from WMNH.
Of course, that is strictly a podcast. You can find
it on the IPM nation 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,
(29:02):
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 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
(29:24):
sample of a nineteen seventy four recording that was never
properly cleared. Now you 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
(29:44):
in the song, very often from an early R and
B song, or you know, it could be from anything.
But so these artists would release this music, these hip
hop songs with samples in them that were not cleared
with the right whole of whoever owns that audio, whether
it be the original artist who did that song that
(30:05):
the sample is taken from, or a record label or whomever. Right,
So uncleared samples became a problem. And then you know,
obviously 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
(30:26):
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. But here now John Cena, of course,
John Cena has become a mainstream celebrity. He is one
of the celebrities. He's one of the wrestlers who professional
(30:47):
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 who initially
became famous because of wrestling. 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
(31:10):
example of that. And then of course there's other people
who you know, Hull Cogan, who passed away not too
long ago, uh, hul Cogan, who did not find mainstream
success in cinema. His movies were largely panned because of
the films that he started in. 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
(31:32):
but that doesn't change the fact that hul Cogan, despite
not really finding success outside of professional wrestling, absolutely one
of the most famous people on the planet. So, but
John Cena has also Now John Cena is not he
has not hit the stratosphere that The Rock has hit,
of course, but John Cena very successful in Hollywood and
(31:54):
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 label at the time,
and one of the tracks from that album is called
(32:15):
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
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 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
(32:39):
wrestling recently because he's on his retirement 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 to Hollywood full time,
which makes sense. And of course, there was the John
Cena heel turn that happened a while back, which actually
(33:02):
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 things and a
He'll 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,
(33:23):
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 apparently he 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
(33:43):
of the if not the biggest podcasts in the world.
And Johnsena was just on there. So John Cen 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. Now I should what
I'll do is I should have had this ready, but
(34:03):
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 there's horns in it,
even though it's a hip hop song. Let's see here
(34:24):
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 the song, so you
can hear the horns, I don't hear anything. Oh, here
(34:49):
we go, hang on, all right, here it comes. You
can hear the horns right.
Speaker 5 (35:08):
Now.
Speaker 1 (35:11):
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. This
is from Billboard. WWE superstar and actor John Cena is
facing a lawsuit over the iconic horn riff from his
(35:34):
entrance theme, The Time is Now. A questionable legal case,
but one that shines a light on a tortured history
of samples and credits behind the famed song. That's interesting.
So apparently there have been other legal issues with the
song that I was not aware of it, says the
lawsuit was filed by the daughter of Pete Schofield, who's
nineteen seventy four recording of The Night the Lights Went
(35:57):
Out in Georgia. Everybody knows that song, right, that's an
that the Lights Went Out in Georgia is the undisputed
source of the blaring horn blasts at the start of
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
(36:21):
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
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, You might be thinking, why
(36:43):
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
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
(37:04):
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
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
(37:26):
out pets Goofield and the Canadians The Night the Lights
Went Out in Georgia. Let's see. I don't know where
in the song the horns appear, but let's, uh, let's
find out. So this is obviously not the version of
(38:20):
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
horns in John Cena's theme. But I don't hear so far.
(38:44):
I don't hear that actual.
Speaker 2 (38:48):
Do you.
Speaker 1 (38:48):
I don't hear the actual riff. But let's listen to
a little bit more of this not hearing it? Where
(39:32):
is it? 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,
(39:59):
they definitely took 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 was more
to this article. Let's back up a little bit actually, Okay.
(40:23):
So the lawsuit was filed by the daughter of Pete Scofield,
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 dollars settlement over the dispute. Okay,
(40:44):
so Kim Schofield writes. This is from her December second
lawsuit obtained by Billboard, which names both John Cena and
WWE as defendants. Quote. Every effort added informed resolution has
been met with threats, misrepresentations, and intimidation tactics, leaving plaintiff
(41:06):
with 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 SNA 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 a theme song
(41:28):
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 Georgia. I'm Sorry
(41:48):
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 be hit
with it, Vicky Lawrence and Reba McIntyre. Sina song also
samples heavily the mop's two thousand hip hop classic Anti Up,
which itself drew on samples from Sam and Dave's soul
(42:11):
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 over
Sena's use of the Anti Up sample, claiming that they
had expressly refused to approve the use of their track
(42:32):
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 fascinating, but that case
was quickly dropped a few months later on undisclosed terms.
In Schofield's lawsuit, filed with the help of lawyers Kim,
(42:53):
Schofield paints a complicated picture of her allegations. She says
she finally didn't know about see as us 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, they
(43:17):
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 get'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 of
(43:41):
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 Scofield can
claim the rights she says she owns, nor that she
can blame WWE for the fact that she was unaware
(44:02):
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 lawsuit, Schofield says
lawyers for WWE told her that the twenty seventeen settlement
was final and binding on any claims related to the
(44:25):
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 heirs of Bobby Russell, the
songwriter who wrote the song that Schofield recorded. The lawsuit
(44:45):
also names Russell's airs as defendants. The younger Schofield claims
they have improperly been receiving the royalties for Sena's 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 aires could not immediately
be located for comment. While cover artists can get sound
(45:05):
recording copyrights to their specific performances, they cannot typically claim
composition rights a common sense rule, since the underlying music
and 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
(45:26):
else to this that this article leaves out that I
was reading last night, and that is and I'm surprised
it's 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
(45:47):
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, and she has claimed
that WWE and their attorneys intentionally tried to hide this
from her. She was unaware that that song was about
(46:09):
to be used in a national advertising campaign for I
Think It's Toyota, that I Think 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
(46:34):
agreed to that fifty thousand dollars figure, not knowing that
two days later, two days after she agreed to that settlement,
that ad campaign rolls out and on televisions throughout the
United States. People are seeing this ad with that song
(46:55):
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 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
(47:18):
she's mad about that. So that's also part of her
claim here. But so there you go. That is again
that is from Billboard dot com. So there's a lot there.
All right, we are going to begin to wrap up.
I want to fit in one more track from the Fods,
(47:38):
great song called Shopping. This was the first single that
we ever played for them on the show. But again
I do want to thank everybody who joined us today.
Rob Critchley from the Fods of course in the first hour,
and then we 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
fun show today. I hope everyone is well. If you
(47:59):
want to know more about me and all the things
I'm up to, Matt Coonnorton 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 check up 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
(48:21):
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 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 reviews that were very popular on
(48:43):
the show, those will be coming back. I believe in
January is 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, but that's why
you're in mass general. But but you had surgery. I
hope you're recovery. He goes well, and uh, and there
is a path forward for you coming out of what
(49:04):
you've been going through. And thank you everyone who's been
very supportive with that, appreciate you. 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 Uh.
This is the first single that we played on the
(49:24):
show and I love this a lot. This is called shopping.
To close out this week's Matt Connorton Unleashed, Bye everybody.
Speaker 6 (49:35):
She wears gooky.
Speaker 7 (49:39):
And he's one of those victos. He burns as soon
as by your brando.
Speaker 3 (49:51):
You're just s same.
Speaker 8 (49:55):
Racist to see you buy him that friend new less
something going wrong and.
Speaker 6 (50:01):
Knowledge God to take this wrong. Somebody get me out.
Speaker 4 (50:28):
All right?
Speaker 9 (50:29):
Bad me?
Speaker 6 (50:30):
Well cray see you mustn't.
Speaker 4 (50:33):
Gray, I've this army just fond of fun.
Speaker 6 (50:39):
Of by too little bear Brown may I'm about says.
Speaker 4 (50:45):
I got fine.
Speaker 6 (50:46):
I've seen somebody special with find me.
Speaker 7 (50:52):
Special with f me on sums she less lovel.
Speaker 6 (52:04):
So what we do may ourselves dispasses.
Speaker 7 (52:10):
Stop, Yes, sir, when we do a little lesson.
Speaker 6 (53:40):
To see me now than I would make you proud.
Speaker 7 (53:43):
I'm so far from mana yesterdays.
Speaker 1 (53:47):
When still not clear how the hell.
Speaker 6 (53:51):
Do we get here? The last years it's sad, it's suah,
me mean know ho, there's nothing for me a so
I don't wanna tell.
Speaker 9 (54:09):
Rick got about the trainway you to the Free? Just
got a crushing it's something.
Speaker 4 (54:20):
It's not.
Speaker 6 (54:23):
Always chasing something. You got to something in of you.
And I'm going on my way, not gonna to me
awful look that you never thought at you. I am
lunch to you and all God gags.
Speaker 3 (54:44):
Me.
Speaker 4 (54:45):
I mean all there's nothing for me, sir.
Speaker 6 (54:49):
I don't wanna tell.
Speaker 9 (54:53):
Frick got up, got the train, get up to the
Free just a CRUs The Stad's not
Speaker 2 (55:34):
Go
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