Transcrição completa de ifitbeyourwill #167 • Sister Ray Davies

cheap. 00:03:00.159 --> 00:03:06.000 And the pace of life is if you if you don't mind a slow pace of life as an artist, it's pretty amazing. 00:03:06.000 --> 00:03:18.319 But I I guess about it's been a little over 10 years, started playing with bands in town, and Jamie was playing in bands, but also starting to run studios. 00:03:18.319 --> 00:03:26.080 He's a studio engineer, so who now he has Portside Sound, which is in the former Muscle Shoal Sound Studio. 00:03:26.080 --> 00:03:30.719 So yeah, it's it's pretty amazing that we get to just goof around in there. 00:03:30.719 --> 00:03:39.759 But I think we met in his studio, but you know, it is a small town, and so you just know everybody pretty quickly. 00:03:39.759 --> 00:04:00.319 And we kept kind of coming back to one another and realizing that we had similar interests, and you know, there's a lot of a Nashville connection with the shoals now that is more kind of Americana-driven and or just straight up country and that old way of like songwriters and players and all of that. 00:04:00.319 --> 00:04:06.400 And Jamie and I wanted to talk about the Velvet Underground and Shoe Gaze and all this other stuff. 00:04:06.400 --> 00:04:17.040 So I think maybe what took the band a while to come together is we played in other projects together and worked on stuff in the studio because it is a music business town in a way. 00:04:17.040 --> 00:04:22.079 But this, you know, when the session would end or we were just hanging out, it's like, oh, let's put Suvlaki on. 00:04:22.079 --> 00:04:29.199 Let's listen to the new slow dive record when that came out in I guess 2016, or let's revisit the ride stuff. 00:04:29.199 --> 00:04:32.800 Let's how are they getting that reverse reverb sound on Loveless? 00:04:32.800 --> 00:04:44.160 You know, just being the typical dorks and slowly realized, oh, why don't why are we not just making things that we love instead of sprinkling that stuff into these other projects? 00:04:44.160 --> 00:04:52.079 Let's just like, you know, it we assume no one would ever hear this, that we would make it and we'd put it on band camp, and that would be that. 00:04:52.079 --> 00:04:55.600 But yeah, that's a long answer to how we this came about. 00:04:55.600 --> 00:05:03.600 But very complete classic two introverts made a shoe gaze record. 00:05:04.720 --> 00:05:07.199 That's your thesis statement for the record. 00:05:07.199 --> 00:05:09.040 Awesome. 00:05:09.040 --> 00:05:12.879 And what what was what were the two complimentary sides? 00:05:12.879 --> 00:05:20.800 Like I had also read where you guys had kind of different influences, but they kind of started to merge nicely together. 00:05:20.800 --> 00:05:30.879 You know, you were more post-Rocky, and you know, Jamie was a little bit more of a the indie, the folky, and and correct me if I'm wrong here, this is what I I found online. 00:05:30.879 --> 00:05:41.199 What were those those merging styles that you both brought into the mix to make this new I you called it post-genre? 00:05:41.199 --> 00:05:50.879 Like it's it's hard to pigeonhole in in a sense that what genre is it, because there's these two uh big influences coming from both of you. 00:05:50.879 --> 00:06:02.079 Can you paint us that picture a little bit of how those how this how your sound kind of got developed through these two kind of different perspectives on on what influenced you guys? 00:06:02.480 --> 00:06:06.079 It's definitely the easiest way to describe it is shoe gaze for sure. 00:06:06.079 --> 00:06:20.800 I think the post-genre thing is is more about like how we're taking music in now, but I don't think you know shoe gaze became such a a dirty word in England at a point after that initial rush. 00:06:20.800 --> 00:06:25.439 And I I think now, you know, who who cares? 00:06:25.439 --> 00:06:36.240 You know, the you no longer have to take your record to the counter to buy it from, unfortunately, from the record store clerk who's gonna, you know, either approve or disapprove of what you're doing. 00:06:36.240 --> 00:06:56.319 But I think, you know, Jamie, I definitely came from kind of an indie rock, maybe a little folkier kind of background, but also very, very interested in ambient music and anything that sounded kind of cinematic is a word that gets thrown around a lot. 00:06:56.319 --> 00:06:57.680 That that kind of world. 00:06:57.680 --> 00:07:09.680 Jamie is into that stuff as well, but just has an encyclopedic knowledge of like late 50s, 60s, and 70s, 45s from garage rock bands. 00:07:09.680 --> 00:07:15.360 Like he loves that, loves punk, early punk, loves CBGBs. 00:07:15.360 --> 00:07:21.279 He's would probably be an encyclopedia of the roster, the lineup for every night of Hits Hey Day. 00:07:21.279 --> 00:07:29.759 But so there's and anything that wasn't at the center of the Venn diagram, we both still loved, I think. 00:07:29.759 --> 00:07:34.160 So there was no like, hey, leave that influence at the door, we're we're doing this. 00:07:34.160 --> 00:07:36.800 It's let's just put it all in the pot and see what happens. 00:07:37.040 --> 00:07:37.920 Yeah, yeah. 00:07:37.920 --> 00:07:42.800 And so Holy Island is considered a concept album. 00:07:42.800 --> 00:07:50.639 I like that was thrown around, like where you first start the idea came from that you wanted to create this concept record. 00:07:50.639 --> 00:07:53.439 Can you put some meat on that bone? 00:07:53.439 --> 00:07:54.720 Sure. 00:07:54.800 --> 00:08:06.560 And I'll start by saying I was texting a buddy a couple weeks ago, and we were just laughing because he has a metal band, great metal band called Lagerhead, and they do concept record kind of stuff as well. 00:08:06.560 --> 00:08:08.399 And we're like, it is ridiculous. 00:08:08.399 --> 00:08:23.439 The idea of a concept record is so nerdy and so it could feel self-important in a really off-putting way, but at the same time, it's it's like again to go back to the nerds

entertaining themselves thing. 00:08:23.439 --> 00:08:30.319 It's you know, there's no expectation, so why not try it to do something that would interest you as a listener? 00:08:30.319 --> 00:08:40.080 And I think we were already kind of experimenting with some of these sounds and didn't have a it wasn't called a band yet. 00:08:40.080 --> 00:08:44.960 It was just like a new set of songs that because me and Jamie are always texting demos back and forth. 00:08:44.960 --> 00:09:02.639 And I remember where I was walking when I thought I should try to make Jamie laugh by saying, What if we did a record about these monks on this island off the coast of northern England that I went to last year when I was on tour? 00:09:02.639 --> 00:09:07.039 And but then I thought about it and it was like a beautiful early spring day. 00:09:07.039 --> 00:09:18.480 I was like, I think to borrow your phrase, there's some meat on the bone here to maybe get into some ideas that me and Jamie are in regular conversation with us anyway. 00:09:18.480 --> 00:09:29.360 So yeah, it just became and then it happened really fast because it once you have that framework and you kind of agree on it, it's like, all right, you can you can put the house up now. 00:09:29.600 --> 00:09:29.919 Right. 00:09:30.080 --> 00:09:30.480 Yeah. 00:09:30.799 --> 00:09:33.039 And how did how did the record come together? 00:09:33.039 --> 00:09:39.840 Like, was it a purely collaborative, or did you each bring kind of your own songs or structure of a song in? 00:09:39.840 --> 00:09:42.960 Like, how did that collaboration work between the two of you? 00:09:43.679 --> 00:09:54.080 Jamie would say that I wrote most of the songs, but I would disagree with Jamie on that because it does start in the front room of my house here most of the time. 00:09:54.080 --> 00:10:06.159 And I'll try to put something together in logic and you know, just whatever, if it's a pedal or like a new bass line or like a guitar part that's cool, whatever, you kind of just build around that. 00:10:06.159 --> 00:10:07.600 And I would send it to him. 00:10:07.600 --> 00:10:13.279 Technology makes it so easy to be like, I just had this idea of three minutes ago, what do you think? 00:10:13.279 --> 00:10:17.360 And he would listen to it on his phone, and we'd just go back and forth. 00:10:17.360 --> 00:10:25.679 And so at pretty much all points, one of us, if one of us is even alone, the other one is still involved, if that makes sense. 00:10:25.679 --> 00:10:34.879 And it there's no way Jamie would say I wrote these songs, and I if Jamie ever listens to this, he knows I disagree with him. 00:10:34.879 --> 00:10:37.120 But I didn't. 00:10:37.120 --> 00:10:54.240 It was a thousand percent collaborative, and everything once once it was kind of in place, we took it to Portside Sound to Jamie's studio, and that's where like the bulk of the the polishing of the record happened. 00:10:54.240 --> 00:11:10.720 And we tried to be as consciously unsential about the editing process as we could be, and moved parts around and deleted things, and yeah, just tried to make something that held our attention and was fun. 00:11:10.720 --> 00:11:17.440 You know, if it I've said that a few times, like if it stopped being fun at any point in the process, we just it's like, oh, this is boring. 00:11:17.440 --> 00:11:19.519 You know, this shouldn't this shouldn't feel like work. 00:11:19.519 --> 00:11:21.759 So let's let's move on. 00:11:22.159 --> 00:11:35.919 And what were some of the first songs that started to come together where you guys started to realize that there might be some legs for these songs, you know, like they might sustain themselves, you know, and and people will get something from them. 00:11:35.919 --> 00:11:42.159 W like were there certain songs that started to like pop forward as you guys were going through that process? 00:11:42.639 --> 00:11:45.840 The writing process only took about two weeks. 00:11:45.840 --> 00:11:59.360 And it was, it's funny, it was two years ago this time of year at this, you know, and well, you noted you're a good bit further north than me, but we're kind of starting that transition to spring here, and it's you know, just it feels like a magical time of year. 00:11:59.360 --> 00:12:00.720 I love being outside. 00:12:00.720 --> 00:12:02.399 That's a big influence. 00:12:02.399 --> 00:12:09.840 And so the energy felt really good, and we ended up writing the record in the order that the tracks are now. 00:12:09.840 --> 00:12:32.080 So Linda's Farm was the first song, and it was very consciously to make like kind of a a haunted feeling dusky kind of thing about this place that I had been, and as we worked for, I thought, oh, there's some cool sounds here, and then you kind of start moving forward, and you know, I was into everything. 00:12:32.080 --> 00:12:34.240 Iona came together pretty fast. 00:12:34.240 --> 00:12:37.039 Aiden was took a lot of work from both of us. 00:12:37.039 --> 00:12:43.039 Like we spent a good bit of time later on that summer following that writing period. 00:12:43.039 --> 00:12:52.639 I think I felt really good about big ships while it was happening, but I think Rowan's was the one to me where it's like, I think we have something kind of special here. 00:12:52.960 --> 00:12:53.200 Right. 00:12:53.200 --> 00:12:54.159 Yeah, yeah. 00:12:54.399 --> 00:12:56.240 And what's your process, Adam? 00:12:56.240 --> 00:13:01.840 Like, how do you how do you know that that you're onto something that you would want to share with Jamie? 00:13:01.840 --> 00:13:09.279 You know that it's worth his like what where does that something happen in in your process itself? 00:13:09.279 --> 00:13:18.720 Like, do you do a lot of like phone notes or like do you really just sit down and just start noodling around to find, you know, a line or a bass track? 00:13:18.720 --> 00:13:22.960 Or talk to us a little bit about your your process of creating.

00:13:23.519 --> 00:13:29.919 It usually if there's a phone recording, it's almost never like an acoustic guitar and vocal. 00:13:29.919 --> 00:13:40.080 And I've written like that before, and I don't, you know, I mean, I've recorded a lot of music, and I don't think that the results of that are very interesting at this point. 00:13:40.080 --> 00:13:44.320 Sometimes I'll like a melody will happen and I'll just kind of hum it. 00:13:44.320 --> 00:13:55.360 And Jamie does the same thing on guitar, he'll like send me something melodically that he comes up with, or is the cool part, and we'll kind of collect pieces to drop in later, if that makes sense. 00:13:55.360 --> 00:14:03.039 Like you don't even necessarily know where it's gonna go, but you know, we have that in the in the back pocket, same thing with lyrics. 00:14:03.039 --> 00:14:07.600 But starting a song, I'll use the word unsentimental again. 00:14:07.600 --> 00:14:33.519 The more unsentimental I can be about like sitting down and saying, okay, this is an interesting set of chords, or this is a great guitar texture or lead or whatever, and then immediately start writing a song structure on a piece of paper, and then just build that grid in logic in the you know, just on in the computer, and then try to flesh it out from there. 00:14:33.519 --> 00:14:48.240 And then of course that can change and and should, but that's a really easy way to just like forward momentum is very important to me, and it being interesting and again fun is like the kind of the driving factor. 00:14:48.639 --> 00:14:49.600 Absolutely. 00:14:49.600 --> 00:14:54.320 And so you put out this holy island in in 2025. 00:14:54.320 --> 00:14:55.519 I think it was November, right? 00:14:55.519 --> 00:14:57.360 Yeah, November great 2025. 00:14:57.360 --> 00:14:59.600 So it's been out there for a while. 00:14:59.600 --> 00:15:07.519 What has what have been some surprises with putting that out there or unexpectedness that that came to you guys that you didn't expect? 00:15:08.159 --> 00:15:11.039 It coming out in the way that it did was a surprise. 00:15:11.039 --> 00:15:15.600 All everything from the time that we stopped working on the record has been unexpected. 00:15:15.600 --> 00:15:33.279 Not to sound all shucks about it, but you know, we the fact that Nat at Sonic Cathedral, which is a label that I love so much and is tied into so much history that we were obviously drawing influence from. 00:15:33.279 --> 00:15:48.720 The fact that he wanted to talk at first, the fact that the record ended up coming out with him, all of that, the artwork that his buddy Stewart put together, everything has just been like such a pleasant surprise, beyond pleasant. 00:15:48.720 --> 00:15:53.519 We feel very, very lucky and fortunate that it has gone the way that it has. 00:15:53.519 --> 00:16:08.559 And so any it connecting with with those guys first, and then anybody that's connected with after that is yeah, just it feels like again, we made it thinking we'll probably just put this up online, and if anybody hears it, then cool. 00:16:08.559 --> 00:16:21.440 But to you know, people really engaging with it and everything from like reviewers saying nice things to just people messaging us and saying I listened to this while this was happening, and it meant a lot. 00:16:21.440 --> 00:16:35.440 And yeah, I think I think maybe the strength of it is that Shoe Gaze is a a nice like tribe identifier, you know, like if it's for music like this, if it's for you, it's probably really for you. 00:16:35.440 --> 00:16:42.720 And I don't know that that has that much to do with what we're doing, it's just like the ingredients that we're using resonate with people. 00:16:42.960 --> 00:16:43.840 Yeah, yeah. 00:16:44.159 --> 00:16:52.320 And can you can you pinpoint those things like because I I'm throwing my hat in that ring too, like it resonates with me like so much. 00:16:52.320 --> 00:17:02.559 Like the first listen, I just had to listen to it all over again because it it's got so much space for you to move around in in your mind as it's playing. 00:17:02.559 --> 00:17:12.160 What what were some of those things that people like grabbed onto that told you, you know, what they told you about like why it meant something to them so much? 00:17:12.160 --> 00:17:14.720 Like can you put that into words? 00:17:14.720 --> 00:17:16.160 It's hard to put into words, right? 00:17:16.160 --> 00:17:23.119 Because it's like this feeling and this like mood and this ambient structure that you guys put in there. 00:17:23.119 --> 00:17:27.680 What is it that you think that people responded with it would be? 00:17:28.079 --> 00:17:38.400 I think that's kind of what you're saying is what they respond to and what I respond to in this genre, or really any, it feels silly to pigeonhole just a specific genre. 00:17:38.400 --> 00:17:53.759 Obviously, it can exist in a lot of music where there's that space to kind of it's not like you're getting lost, but it seems to be almost like more, say more lyrics or busier parts would get in the way. 00:17:53.759 --> 00:18:11.759 You know, and I think great art is greater than the sum of its parts, you know, to where you can't really pinpoint, and I'm in no way saying that we made great art, but the effect of like, I don't know why I like that so much. 00:18:11.759 --> 00:18:13.680 Especially when it's something simple. 00:18:13.680 --> 00:18:22.880 I listen, there's there's a great Brian Eno interview where he says when he knows a song is great, it's because it's so simple that he's pissed off that he didn't come up with it. 00:18:22.880 --> 00:18:24.559 I love that. 00:18:24.559 --> 00:18:24.880 Yeah. 00:18:24.880 --> 00:18:34.720 And that that's like such a great thing to remember as you're working, is that you know, I I remember like deleting lyrics, like there's too much in here. 00:18:34.720 --> 00:18:37.759 Just let the let the space happen. 00:18:37.759 --> 00:18:50.960 You

know, uh we were really surprised that Aiden, that song, was what Matt chose as the lead single and has done, I don't know what the numbers are, but it's the response to it. 00:18:50.960 --> 00:18:52.880 I've definitely thought that was like an album track. 00:18:52.880 --> 00:18:55.119 It's like a long wall of sound. 00:18:55.119 --> 00:19:09.440 But I think those those sounds have just been a part of people's lives going back to the original run of great shoe gays that you know it it just hits a pleasure center in your brain if you're a certain kind of listener. 00:19:09.680 --> 00:19:10.640 Yeah, I love that. 00:19:10.640 --> 00:19:11.759 Yeah, totally. 00:19:11.759 --> 00:19:14.640 And I mean, it's great art, I will say. 00:19:14.640 --> 00:19:17.440 I'm gonna put my my words behind that. 00:19:17.440 --> 00:19:19.920 I think it's a wonderful, wonderful record. 00:19:19.920 --> 00:19:33.279 And it seems like everything in there has its intention, you know, it's like it's sparse but has this like richness to it that just uh kind of in envelops you as you go through the listen. 00:19:33.279 --> 00:19:46.880 So you have uh a remix version coming out April of of this year, fewer tracks to it, but what what what what's the idea behind the Holy Island baby? 00:19:46.880 --> 00:19:48.880 If I can ask you, I don't know. 00:19:48.960 --> 00:19:53.599 Like Yeah, that's it was again Matt at Sonic Cathedral. 00:19:53.599 --> 00:20:15.519 This was his idea, and you know, he does remix stuff for a lot of his records, which is coming from our world of, you know, I said earlier, like kind of Nashville-y certainly American music has less remix element to it, I think, than like if it's a rock record or whatever, indie record. 00:20:15.519 --> 00:20:30.319 So, but I had heard you know the stuff that had been done with Andy Bell's records and you know, all of all the great stuff Matt puts out, and it's was really fun for us because we didn't know what the other artists were gonna do. 00:20:30.319 --> 00:20:32.480 But never been a part of this before, you know. 00:20:32.480 --> 00:20:41.119 So it was such a treat to see it, see those come back, see the songs come back from Malvapores and Pie Warner Audio. 00:20:41.119 --> 00:20:48.480 And I mean it was so cool to to hear what they heard in those songs and how they put them back together. 00:20:48.480 --> 00:21:00.559 And then we did one of our tracks is already out, the kind of dubby mix of Iona, which was really a good time for us because I love I won't I won't wrap Jamie up in this. 00:21:00.559 --> 00:21:06.160 I love dub music, I love the the Lee Scratch Perry, King Tubby, Augustus Pablo stuff. 00:21:06.160 --> 00:21:19.039 And it I know it doesn't sound like that and we're a pale imitation of it, but you know, to lay the tracks out and kind of try to reinvent them and run them through some of the effects processors was a really good time. 00:21:19.039 --> 00:21:32.000 And then the other track that we did was

Big Ships, and it's like an acoustic version where we got 10 of our friends here in town to come in and play, all play acoustic guitar at the same time. 00:21:32.000 --> 00:21:35.359 So it's this just like massive wall of sound. 00:21:35.359 --> 00:21:38.880 It was fun to just be like, Yeah, do you have a guitar? 00:21:38.880 --> 00:21:39.359 Let's do it. 00:21:39.359 --> 00:21:40.079 Come on. 00:21:40.640 --> 00:21:42.640 Uh that's a great idea. 00:21:42.880 --> 00:21:46.880 And it was yeah, it was a a fun reason to revisit the songs. 00:21:46.880 --> 00:21:54.799 And you know, things move so fast now, like a record comes out and it's how long do you live with it most of the time? 00:21:54.799 --> 00:21:56.400 You know, if you just listen on online. 00:21:56.400 --> 00:21:57.839 I'm guilty of that too. 00:21:57.839 --> 00:22:02.319 So to maybe Extend that universe is a good thing. 00:22:02.559 --> 00:22:03.440 Yeah, absolutely. 00:22:03.440 --> 00:22:11.279 And do you make like do you take the original tracks and then like you're not re-recording per se? 00:22:11.279 --> 00:22:15.599 You're taking the original tracks and then mixing around with them, like playing around. 00:22:15.599 --> 00:22:16.079 Yeah. 00:22:16.400 --> 00:22:19.920 That's what we did with Iona, and that's what the other guys did with their tracks. 00:22:19.920 --> 00:22:24.640 They added on, we added on new stuff to it, but the the core is there. 00:22:25.039 --> 00:22:25.359 Okay. 00:22:25.359 --> 00:22:26.400 Nice. 00:22:26.400 --> 00:22:28.319 And well, I'm excited. 00:22:28.319 --> 00:22:39.440 April 17th, this will drop, but it's a five five-track kind of remixing of So Adam, to kind of bring things to a close here again. 00:22:39.440 --> 00:22:43.119 Thanks so much for for carving a little time for a chapter today. 00:22:43.119 --> 00:22:48.559 Uh I've been really enjoying your stories and your history and the journey that you've been on. 00:22:48.559 --> 00:22:50.480 What what can we look forward to? 00:22:50.480 --> 00:22:56.559 What's coming down the pipe for you guys as the band uh Sister Ray Davies? 00:22:56.559 --> 00:22:58.079 What can we expect? 00:22:58.559 --> 00:23:02.799 So the EP will come out on the first day of our UK tour. 00:23:02.799 --> 00:23:09.039 So we'll be over there for a couple weeks getting to do some all of the shows look amazing. 00:23:09.039 --> 00:23:18.160 They're gonna take me to some new corners of the UK that I haven't toured in before, and we're gonna do shows with the Absolute Legends chapter house. 00:23:18.160 --> 00:23:22.000 So I'm I'm very excited to get over there and do that. 00:23:22.000 --> 00:23:45.279 We're working pretty steady and have been really for a year on the second record and figuring out how to do that, and that's always like a do you wait for the other record to come out first to kind of mentally clear the deck and maybe go play those songs out a lot more to I don't know, just your your mind changes around all

that stuff. 00:23:45.279 --> 00:23:50.000 But the other big thing is Jamie has just had his first kid. 00:23:50.000 --> 00:23:51.119 Him and his wife. 00:23:51.119 --> 00:23:54.000 So there's there's a bit of like we're yeah. 00:23:54.000 --> 00:23:55.519 Huge congrats to them. 00:23:55.519 --> 00:24:02.079 Obviously some navigating to do for the new the new normal, which we'll get it figured out. 00:24:02.079 --> 00:24:11.759 But uh yeah, we're gonna just get through this the tour and then the first few months of the new parenthood for him and then see where we're at. 00:24:11.759 --> 00:24:14.240 Plenty of fodder for songs in there, I'm sure. 00:24:14.559 --> 00:24:17.200 Yeah, I'm sure he'll be inspired or too tired. 00:24:17.839 --> 00:24:18.240 One of the two. 00:24:18.240 --> 00:24:19.039 Inspired. 00:24:19.039 --> 00:24:24.319 I think there could be some good shoe gays playing from a from the depths of exhausted fatherhood. 00:24:24.559 --> 00:24:25.039 That's right. 00:24:25.039 --> 00:24:28.000 Very sluggish and slow. 00:24:28.000 --> 00:24:29.200 Yeah. 00:24:29.200 --> 00:24:32.880 And just like your live setup when I mean you're a duo. 00:24:32.880 --> 00:24:38.240 When you play live, do you uh do you bring in other players to help kind of support that sound? 00:24:38.720 --> 00:24:40.079 We haven't so far. 00:24:40.079 --> 00:24:52.000 We it's both of us on guitar, and I'll use a sampler to bring in all the elements from the record, which is that was a learning curve for me. 00:24:52.000 --> 00:24:53.279 I'd never done anything like that. 00:24:53.279 --> 00:25:00.000 And it you know, to actually you're pressing play, but you're also bringing stuff in and manipulating stuff in real time. 00:25:00.000 --> 00:25:24.079 And it I've I've told folks that like something could still go wrong, you know, which is kind of uh especially with me running technology, something can really go wrong, but it feels it feels good, and uh obviously we live in such there's so many great musicians around us and we have friends that we've played with for years and years and years that we love to bring out at some point. 00:25:24.079 --> 00:25:26.960 So fingers crossed the opportunity comes up for that. 00:25:27.359 --> 00:25:27.839 Amazing. 00:25:27.839 --> 00:25:38.000 Well, I'm just so happy that you're the music is going forward and that there's writing and there's another album in the purview and like amazing, amazing, amazing. 00:25:38.000 --> 00:25:40.799 I'd love to see you guys play live at one point. 00:25:40.799 --> 00:25:42.799 So maybe you want to come to Canada. 00:25:42.799 --> 00:25:46.240 Yeah, come on down, uh, we'll take care of you and everything. 00:25:46.640 --> 00:25:47.759 We need to summer in Canada. 00:25:47.759 --> 00:25:50.480 We need to get out of Alabama and head up there. 00:25:51.119 --> 00:25:52.240 That's right, that's right. 00:25:52.240 --> 00:25:53.599 Well, Adam, thanks so much. 00:25:53.599 --> 00:25:56.559 This has been a real treat for for me and the listeners. 00:25:56.559 --> 00:26:06.960 Uh great storytelling, great uh you know, delivery on the record and the music, and it it I just want to go back and listen to it again, so I will. 00:26:06.960 --> 00:26:09.119 Listeners, stay tuned at the end. 00:26:09.119 --> 00:26:12.480 There'll be a track by Sister Ray Davies. 00:26:12.480 --> 00:26:13.920 Thanks so much, Adam.