1 00:00:00,000 --> 00:00:10,000 [Music] 2 00:00:10,000 --> 00:00:18,000 Hey everybody! Greetings from the Northside of Nashville, just across the river on the Northern side. 3 00:00:18,000 --> 00:00:24,000 The Union side, as I like to say, welcome back to Phantom Power Music Review. 4 00:00:24,000 --> 00:00:41,000 And today we are going to be featuring songs from Alicia Stockman, Daddy Nat, and my favorite indie band from the UK called The Trusted. 5 00:00:41,000 --> 00:00:46,000 Really excited to have these guys in the value for value universe. 6 00:00:46,000 --> 00:00:51,000 We're boosting his loving, we're stacking sats and staying humble. 7 00:00:51,000 --> 00:00:54,000 We're boosting sats and we're boosting sats and staying humble. 8 00:00:54,000 --> 00:00:57,000 We're boosting sats and staying humble. 9 00:00:57,000 --> 00:01:00,000 We're boosting sats and staying humble. 10 00:01:00,000 --> 00:01:03,000 We're boosting sats and staying humble. 11 00:01:03,000 --> 00:01:06,000 We're boosting sats and staying humble. 12 00:01:06,000 --> 00:01:09,000 We're boosting sats and staying humble. 13 00:01:09,000 --> 00:01:12,000 We're boosting sats and staying humble. 14 00:01:12,000 --> 00:01:15,000 We're boosting sats and staying humble. 15 00:01:15,000 --> 00:01:18,000 We're boosting sats and staying humble. 16 00:01:18,000 --> 00:01:22,000 We're boosting sats and staying humble. 17 00:01:22,000 --> 00:01:26,000 We're boosting sats and staying humble. 18 00:01:26,000 --> 00:01:30,000 We're boosting sats and staying humble. 19 00:01:30,000 --> 00:01:33,000 We're boosting sats and staying humble. 20 00:01:33,000 --> 00:01:36,000 We're boosting sats and staying humble. 21 00:01:36,000 --> 00:01:39,000 We're boosting sats and staying humble. 22 00:01:39,000 --> 00:01:42,000 We're boosting sats and staying humble. 23 00:01:42,000 --> 00:01:45,000 We're boosting sats and staying humble. 24 00:01:45,000 --> 00:01:47,000 We're boosting sats and staying humble. 25 00:01:47,000 --> 00:01:50,000 We're boosting sats and staying humble. 26 00:01:50,000 --> 00:01:53,000 We're boosting sats and staying humble. 27 00:01:53,000 --> 00:01:56,000 We're boosting sats and staying humble. 28 00:01:56,000 --> 00:01:59,000 We're boosting sats and staying humble. 29 00:01:59,000 --> 00:02:02,000 We're boosting sats and staying humble. 30 00:02:02,000 --> 00:02:05,000 We're boosting sats and staying humble. 31 00:02:05,000 --> 00:02:08,000 We're boosting sats and staying humble. 32 00:02:08,000 --> 00:02:11,000 We're boosting sats and staying humble. 33 00:02:11,000 --> 00:02:14,000 We're boosting sats and staying humble. 34 00:02:14,000 --> 00:02:16,000 We're boosting sats and staying humble. 35 00:02:16,000 --> 00:02:22,000 We're going to dive into the theory, the composition, some of the recording tips and tricks behind these songs, why I like them. 36 00:02:22,000 --> 00:02:30,000 If you're not a musician, I hope you dig this because it'll hopefully help you understand songwriting and music production a little more. 37 00:02:30,000 --> 00:02:39,000 And I would always suggest you get yourself a nice pair of cans, a nice pair of headphones, throw away those stupid earbuds you're wasting money on. 38 00:02:39,000 --> 00:02:41,000 They're good for phone calls. 39 00:02:41,000 --> 00:02:48,000 But if you really want to listen to music properly, get yourself a good set of monitors, get yourself a good set of headphones. 40 00:02:48,000 --> 00:02:50,000 Over the ear. 41 00:02:50,000 --> 00:02:51,000 Alright, I'll shut up. 42 00:02:51,000 --> 00:02:58,000 Let's check out this first song by The Trusted and the song is called Millennium. 43 00:02:58,000 --> 00:03:00,000 If you dig it, you got to boost it. 44 00:03:00,000 --> 00:03:01,000 Let's check it out. 45 00:03:01,000 --> 00:03:21,000 [Music] 46 00:03:21,000 --> 00:03:47,000 [Music] 47 00:03:47,000 --> 00:03:57,000 [Music] 48 00:03:57,000 --> 00:04:07,000 [Music] 49 00:04:07,000 --> 00:04:27,000 [Music] 50 00:04:27,000 --> 00:04:35,000 [Music] 51 00:04:35,000 --> 00:04:45,000 [Music] 52 00:04:45,000 --> 00:04:55,000 [Music] 53 00:04:55,000 --> 00:04:59,000 [Music] 54 00:04:59,000 --> 00:05:09,000 [Music] 55 00:05:09,000 --> 00:05:19,000 [Music] 56 00:05:19,000 --> 00:05:29,000 [Music] 57 00:05:29,000 --> 00:05:39,000 [Music] 58 00:05:39,000 --> 00:05:43,000 [Music] 59 00:05:43,000 --> 00:06:05,000 [Music] 60 00:06:05,000 --> 00:06:12,000 Alright, before we talk about that track, shout out to Absolute Absalom. 61 00:06:12,000 --> 00:06:18,000 Don't could feel mall, Amigo, over there in Switzerland laying down those back bumpers. 62 00:06:18,000 --> 00:06:23,000 Don't worry, I'm not going to wrap in Swiss German this time like I did on one of the previous episodes. 63 00:06:23,000 --> 00:06:26,000 Alright, so let's talk about The Trusted. 64 00:06:26,000 --> 00:06:29,000 I love this band. 65 00:06:29,000 --> 00:06:32,000 I've loved this band for about a year and a half. 66 00:06:32,000 --> 00:06:41,000 I would really encourage you to load up these guys on some sats and wait to hear the other stuff that they've got coming out. 67 00:06:41,000 --> 00:06:45,000 Texturally, this band has always blown me away. 68 00:06:45,000 --> 00:06:54,000 And let me start with the drummer, Dave, and the guitar player, Dale. 69 00:06:54,000 --> 00:07:04,000 When you go back through all of their songs, their entire catalog, Arkansas, Marrow, Burning the Night, the one with Shandleers and cigarettes, 70 00:07:04,000 --> 00:07:09,000 like go, go way back. These guys have been around for a while. They're young kids, they're in their 20s. 71 00:07:09,000 --> 00:07:14,000 But they've been putting music out. I want to say eight, nine years now. 72 00:07:14,000 --> 00:07:18,000 One of the amazing things about this band is the textures that they put out. 73 00:07:18,000 --> 00:07:23,000 Number two is none of the musicians in this band are bragging. 74 00:07:23,000 --> 00:07:32,000 You can tell Dale, the guitar player is a shredder just by the tastiness of his licks that he drops in from here and there. 75 00:07:32,000 --> 00:07:40,000 But like, the dude doesn't brag. He doesn't need to because the parts of that this band create, they're so solid. 76 00:07:40,000 --> 00:07:42,000 It's the same thing with Dave on the drums. 77 00:07:42,000 --> 00:07:49,000 Like, if you notice the change in the patterns throughout this song that we just heard, great tom fills. 78 00:07:49,000 --> 00:07:53,000 And then how he switches it up over to a snare bass. 79 00:07:53,000 --> 00:08:00,000 This is such trademark of these guys. Like, you know, everybody will always look at the lead singer. 80 00:08:00,000 --> 00:08:11,000 But this is a great example of how a band has got to be four parts running perfectly together on all cylinders. 81 00:08:11,000 --> 00:08:26,000 Finn, bass player who I also believe doubles on keys. Great subtle lines with some good climbs to him. His playing reminds me a lot of one of the most underrated bass players in rock and roll. 82 00:08:26,000 --> 00:08:38,000 And that's Adam Clayton. Finn's playing is fantastic. And I love the fuzziness, the little distortion that he put on his bass line for this track. 83 00:08:38,000 --> 00:08:46,000 So behind Tom, the lead singer, you've got Finn, Dave and Dale. And these guys have always created great parts. 84 00:08:46,000 --> 00:08:50,000 And every track I've ever listened to, Arkansas, Marl, Burning the Night, anything. 85 00:08:50,000 --> 00:08:58,000 And they're not bragging. They're not stepping over the lines. They're not trying to overstate their abilities. 86 00:08:58,000 --> 00:09:05,000 They remind me of a young in excess, a young nothing but thieves, a young cold play, a young you too. 87 00:09:05,000 --> 00:09:13,000 And then you've got Tom. I love Tom's voice. It's a very memorable voice, very clear, a good mix of head and chest, tenor and alto. 88 00:09:13,000 --> 00:09:23,000 Great clear tone. I haven't heard him, you know, really belt like the top of pride in the name of love. 89 00:09:23,000 --> 00:09:31,000 I think Bono hits a B in that and that's just a brutal note to hit. I haven't heard him do that but he doesn't really need to. 90 00:09:31,000 --> 00:09:39,000 He's really got a great Chris Martin tone to his voice. Not only that, but he's got a very strong sense of melody. 91 00:09:39,000 --> 00:09:43,000 An excellent diction in his pronunciation. 92 00:09:43,000 --> 00:09:52,000 I'm kind of jumping around a bit, but another part that I loved is the ascending chord progression that kind of holds the listener up. 93 00:09:52,000 --> 00:10:02,000 It kind of makes the listener feel enriched, makes the listener get excited, raise the listener's heartbeat. If I play it on the piano, it sounds like this. 94 00:10:02,000 --> 00:10:19,000 Right, you've got that ascending line that is going to kind of bring a smile to your face. That's a great trick, great trick in songwriting. 95 00:10:19,000 --> 00:10:27,000 I also love how they used a different chord progression in the pre-chorus to kind of set up some tension and release. 96 00:10:27,000 --> 00:10:32,000 They start that pre-chorus on the five, smart trick, smart trick. 97 00:10:32,000 --> 00:10:43,000 The last thing I'll say is how much I love the mix and the clear separation of it, which is indicative of everything they've put out. 98 00:10:43,000 --> 00:10:51,000 Everything they've put out has been top shelf, and I've come to expect nothing less from these guys. 99 00:10:51,000 --> 00:11:00,000 So that is the trusted from South and Don C, about 60 minutes east of London, and I hope you guys load them up with some sats. 100 00:11:00,000 --> 00:11:02,000 Excellent. 101 00:11:02,000 --> 00:11:11,000 All right, let's move on. We are going to go to Utah, and we are going to hear a song from Alicia Stockman. 102 00:11:11,000 --> 00:11:19,000 And the name of this song is Halfway to Houston. And if you dig it, you got to boost it. Let's go. 103 00:11:19,000 --> 00:11:39,000 I was out for the sun in the morning. 104 00:11:40,000 --> 00:11:47,000 Tipped on on eggshells and packing up my car. 105 00:11:47,000 --> 00:11:55,000 The key was on the counter when I locked the door behind me. 106 00:11:55,000 --> 00:12:02,000 So I wouldn't have the chance to change my mind. 107 00:12:02,000 --> 00:12:10,000 I was halfway to Houston by the time he woke up. 108 00:12:10,000 --> 00:12:14,000 Did he wonder what was I coming back? 109 00:12:14,000 --> 00:12:17,000 Or was he glad to see me calling? 110 00:12:17,000 --> 00:12:23,000 I was trying to not turn that car around. 111 00:12:23,000 --> 00:12:29,000 I was halfway to Houston. 112 00:12:29,000 --> 00:12:38,000 And I broke down. 113 00:12:38,000 --> 00:12:45,000 I guess you could say nothing happened. 114 00:12:45,000 --> 00:12:52,000 That's not the same, saying nothing was wrong. 115 00:12:52,000 --> 00:13:00,000 How could we not notice a tender touch turned cold? 116 00:13:00,000 --> 00:13:07,000 It takes time to build a callous, thinking of us. 117 00:13:07,000 --> 00:13:14,000 I was halfway to Houston by the time he woke up. 118 00:13:14,000 --> 00:13:18,000 Did he wonder what was I coming back? 119 00:13:18,000 --> 00:13:22,000 Or was he glad to see me calling? 120 00:13:22,000 --> 00:13:28,000 I was trying to not turn that car around. 121 00:13:28,000 --> 00:13:33,000 I was halfway to Houston. 122 00:13:33,000 --> 00:13:40,000 And I broke down. 123 00:13:40,000 --> 00:13:44,000 For the first time, 124 00:13:44,000 --> 00:13:51,000 I was halfway to Houston by the time he woke up. 125 00:13:51,000 --> 00:13:56,000 I was halfway to Houston by the time he woke up. 126 00:13:56,000 --> 00:14:02,000 I was halfway to Houston by the time he woke up. 127 00:14:02,000 --> 00:14:08,000 I was halfway to Houston by the time he woke up. 128 00:14:08,000 --> 00:14:31,000 I was halfway to Houston by the time he woke up. 129 00:14:31,000 --> 00:14:37,000 He wondered what was I coming back? 130 00:14:37,000 --> 00:14:41,000 Or was he glad to see me calling? 131 00:14:41,000 --> 00:14:46,000 And I knew that there was no turning around. 132 00:14:46,000 --> 00:14:51,000 I was halfway to Houston. 133 00:14:51,000 --> 00:14:56,000 Halfway to Houston. 134 00:14:56,000 --> 00:15:17,000 And that, my friends, is a really great example of country music. 135 00:15:17,000 --> 00:15:21,000 Really nice job, Alicia. 136 00:15:21,000 --> 00:15:28,000 If you've never been to Nashville, but you've heard of what songwriter rounds are. 137 00:15:28,000 --> 00:15:34,000 This is where you'll go down to a club in town and you've got like three or four writers up on stage. 138 00:15:34,000 --> 00:15:37,000 And everybody takes a turn playing a song. 139 00:15:37,000 --> 00:15:41,000 They get about three songs each. 140 00:15:41,000 --> 00:15:45,000 And Alicia would fit right in. 141 00:15:45,000 --> 00:15:50,000 If you haven't come out here to do that yet, I would highly encourage you to do it. 142 00:15:50,000 --> 00:15:56,000 I think you're going to find, not only are you going to be sitting up on stage with some amazing songwriters 143 00:15:56,000 --> 00:16:00,000 and you're going to hear some stuff that will blow you away every time I go to around. 144 00:16:00,000 --> 00:16:02,000 I hear stuff that blows me away. 145 00:16:02,000 --> 00:16:05,000 But I also hear a lot of garbage. 146 00:16:05,000 --> 00:16:13,000 And this song, Alicia, is as good if not better than what I hear in the rounds. 147 00:16:13,000 --> 00:16:22,000 First of all, her vocals, the delivery and the tone are absolutely on point from modern music. 148 00:16:22,000 --> 00:16:28,000 Even classic country, a little bit of loretta in there, little. 149 00:16:28,000 --> 00:16:33,000 Doesn't have the twang at dolly, but she's got a little bit of the grit of loretta. 150 00:16:33,000 --> 00:16:37,000 Number two, lyrics are fantastic. 151 00:16:37,000 --> 00:16:44,000 And I love the double-enthonder of when I broke down the last line of the chorus. 152 00:16:44,000 --> 00:16:47,000 It's like, okay, well, did your car break down? 153 00:16:47,000 --> 00:16:51,000 Or did you just go, you know, that shit crazy. 154 00:16:51,000 --> 00:16:58,000 I love how you don't really know which one it was. 155 00:16:58,000 --> 00:17:04,000 But the story is always the most important thing in country music. 156 00:17:04,000 --> 00:17:07,000 And I think she nailed it here. 157 00:17:07,000 --> 00:17:16,000 And there's wonderful energy, wonderful imagery, and anytime you can bring in the name of a major city, 158 00:17:16,000 --> 00:17:22,000 or a popular location and tied into your song, it definitely helps. 159 00:17:22,000 --> 00:17:31,000 So we're in the key of B, we're about 67 BPMs, starts with a really pretty lap-steel part. 160 00:17:31,000 --> 00:17:34,000 And the tones on the lap are great. 161 00:17:34,000 --> 00:17:37,000 I love that chord progression in the intro and how it's different than everything else. 162 00:17:37,000 --> 00:17:45,000 And also the solo on the slide, that was a great choice, wonderful changes. 163 00:17:45,000 --> 00:17:51,000 And I love how the progression is different than other parts of the song on that. 164 00:17:51,000 --> 00:17:57,000 A lot of respect for the mix on this and for the straight ahead production. 165 00:17:57,000 --> 00:18:02,000 And I've alluded to on all the blogs that I've written over the past two years, songs like this, 166 00:18:02,000 --> 00:18:07,000 you gotta have it where the vocals are the most important thing, straight ahead production. 167 00:18:07,000 --> 00:18:15,000 Vocals in story are the most important and the production absolutely keeps that true here. 168 00:18:15,000 --> 00:18:17,000 What else did I want to mention? 169 00:18:17,000 --> 00:18:19,000 Blast all the way through my notes here. 170 00:18:19,000 --> 00:18:25,000 Again, like this is the vulnerability and the softness of her voice in the story. 171 00:18:25,000 --> 00:18:29,000 This would fit right in with modern Nashville. 172 00:18:29,000 --> 00:18:36,000 I also really like one thing that she did on this where she does not hold to the Nashville standard ish is, 173 00:18:36,000 --> 00:18:39,000 this is the song is longer than three minutes. 174 00:18:39,000 --> 00:18:43,000 And I wouldn't chop a second out of it. 175 00:18:43,000 --> 00:18:49,000 If you'd like country music, I would definitely suggest that you check out the rest of her tracks over on Wabelike. 176 00:18:49,000 --> 00:18:58,000 She's got ten songs over there. Grit is a good track, lonely together just checking in, which has a great cello part. 177 00:18:58,000 --> 00:19:05,000 This is a really great example of country and kudos, Alicia, great song. 178 00:19:05,000 --> 00:19:09,000 And I hope people load up your wallet with some sats, right? 179 00:19:09,000 --> 00:19:20,000 Alright, last track of the day, let's go down to Austin and we are going to hear a song from Daddy Matt. 180 00:19:20,000 --> 00:19:23,000 Here we go, if you dig it, you gotta boost it. 181 00:19:23,000 --> 00:19:40,000 [Music] 182 00:19:40,000 --> 00:19:51,000 Feels like summer in the low light, thinking that there's one night only and I can't lie that I'd rather stay at home and home. 183 00:19:51,000 --> 00:20:02,000 That you're in between the lines, that's just my moonlight, so I'm set to choose the moonlight, finally time to do it right. 184 00:20:02,000 --> 00:20:13,000 Baby, buy a new light, maybe this could be one night, we hold till the day we're dying of love. 185 00:20:13,000 --> 00:20:22,000 If we go, hope, people make you be alright. If we go, love, then I'm not your forever right. 186 00:20:22,000 --> 00:20:31,000 When we go, trust that I'll keep this together light, so my time here and by. 187 00:20:31,000 --> 00:20:46,000 Talk to me, baby, live with me, baby, stay with me, baby, talk to me, baby, I'll be late too much to ask you to stay with me on my line. 188 00:20:46,000 --> 00:21:04,000 Talk to me, baby, live with me, baby, stay with me, baby, talk to me, baby, I'll be late too much to ask you to stay with me on my line. 189 00:21:04,000 --> 00:21:22,000 [Music] 190 00:21:22,000 --> 00:21:31,000 If we go, hope, people make you be alright. If we go, love, then I'm not your forever right. 191 00:21:31,000 --> 00:21:40,000 When we go, trust that I'll keep this together light, so my time here and by. 192 00:21:40,000 --> 00:21:58,000 Talk to me, baby, live with me, baby, stay with me, baby, talk to me, baby, talk to me, baby, talk to me, baby, talk to me, baby, talk to me, baby, I'll be late too much to ask you to stay with me, baby, I'll be late too much to ask you to stay with me on my line. 193 00:21:58,000 --> 00:22:02,320 ♪ Talk to me, baby. Live with me, baby. ♪ 194 00:22:02,320 --> 00:22:04,480 ♪ Stay with me, baby. ♪ 195 00:22:04,480 --> 00:22:05,760 ♪ Talk to me, baby. ♪ 196 00:22:05,760 --> 00:22:08,960 ♪ Talk to me, baby. ♪ 197 00:22:08,960 --> 00:22:10,960 ♪ Talk to me, baby. ♪ 198 00:22:10,960 --> 00:22:13,120 ♪ Talk to me, baby. ♪ 199 00:22:13,120 --> 00:22:22,800 - You know, it's so hard to be simple. 200 00:22:24,560 --> 00:22:36,720 And simple is really the key. I think just about every pop song ever, especially the great ones. 201 00:22:36,720 --> 00:22:45,520 It might be weird to hear that, but it is really hard to be simple and have a great 202 00:22:45,520 --> 00:22:54,560 hook and have a great staying power. And I think that this song absolutely has all of that in spades. 203 00:22:54,560 --> 00:23:01,360 You know what it kind of reminds me of? It kind of reminds me of that song, "How Bizarre" from 204 00:23:01,360 --> 00:23:11,280 like '96, '97, right? And if you don't like that song, let me ask you a couple of questions. 205 00:23:12,080 --> 00:23:20,240 If you've heard it, you of course will remember it, right? And that song is damn near 30 years old. 206 00:23:20,240 --> 00:23:27,520 And why do you still remember it? Because it is simple and it has a great stinking 207 00:23:27,520 --> 00:23:37,520 hook to it. And I think this one has the exact same thing. It is so hard to construct something 208 00:23:37,520 --> 00:23:44,480 that is memorable and let alone strip it down so that it just really thrives. Great hook, 209 00:23:44,480 --> 00:23:51,920 great bass line, full scale summer vibes, which is fantastic considering the snow and ice we've had 210 00:23:51,920 --> 00:23:58,080 here in Nashville. Like I just absolutely dug this song. I got a smile on my face. I started moving 211 00:23:58,080 --> 00:24:05,520 in my chair. Love how the vibe totally opens up in the chorus when you get those pads in the background. 212 00:24:06,240 --> 00:24:12,160 Love all the textures that change in your cans when you're listening. Love that squiggly little 213 00:24:12,160 --> 00:24:19,680 effect on this voice. Great, sacs break, completely unexpected. Nice change in the chord progression too. 214 00:24:19,680 --> 00:24:27,440 If I, like if this band was touring live, if Daddy and I was taking this out on the road and I was the 215 00:24:27,440 --> 00:24:32,400 musical director, I would stretch that section out during gigs and get the crowd going. 216 00:24:34,320 --> 00:24:40,320 There's a lot going on sonically but it doesn't overwhelm you and that's because of the production 217 00:24:40,320 --> 00:24:44,640 and because of the mix and I'm sure that when he was writing this and they were producing this, 218 00:24:44,640 --> 00:24:50,800 I'm sure they had more parts to choose from than they could count on. So whomever produced it with 219 00:24:50,800 --> 00:25:01,760 him. Or maybe he did it all himself. Kudos for your choices in keeping this simple and making this 220 00:25:01,760 --> 00:25:09,280 work so well. This is such a great pop song man. Like how can you not appreciate this? The production, 221 00:25:09,280 --> 00:25:18,400 the hook, the vocals, the lyrics, his voice is perfect for this genre? I mean, damn. Do you want to 222 00:25:18,400 --> 00:25:26,880 teach a class on writing a pop song? Show him this one. This is a great track. Be flat. 126 BPM. 223 00:25:28,720 --> 00:25:35,600 Killed it. Love this stuff. Load them up with some sats man. I mean, this is one of the reasons why 224 00:25:35,600 --> 00:25:43,040 I love independent musicians because there's so much great stuff out there that you would never hear 225 00:25:43,040 --> 00:25:50,160 like Daddy Nat and the trusted and Alicia and all these songs that we've heard here. But the big 226 00:25:50,160 --> 00:25:59,360 thing with this Daddy Nat song is, and again, it sounds crazy to say it, but it's so hard to be simple. 227 00:25:59,360 --> 00:26:04,880 It is so hard to be simple. The longer you're in this game, the more songs you write, the more 228 00:26:04,880 --> 00:26:10,720 complicated you you want to be, the more you want to show off, the more you want to show everybody how 229 00:26:10,720 --> 00:26:17,440 you can rip that solo or write the next Bohemian rhapsody. But man, if you can just keep it simple, 230 00:26:18,320 --> 00:26:22,480 you'd be amazed what you find. And this is a beautiful example of that. So Daddy Nat, 231 00:26:22,480 --> 00:26:32,960 Kudos, man. Kudos. Great track. All right, folks. Let us read off some Boostergrams. Let's go 232 00:26:32,960 --> 00:26:39,120 down the hall, open up the vault that has all of the notes in the Boostergram, 233 00:26:39,120 --> 00:26:46,560 Zaps and all of that fun stuff. Let's get past the dogs. And let's do this properly and say 234 00:26:46,560 --> 00:26:53,280 some thank yous to a bunch of people, shall we? Hell yeah. Let's do that. So the other day on the 235 00:26:53,280 --> 00:27:01,440 Phantom Power Music Hour that was all jazz, I read off a bunch of Boosts and Zap going back to 236 00:27:01,440 --> 00:27:09,600 January 13th. And I just want to make sure I cover all my bases. So I'm going to start on January 19th, 237 00:27:11,280 --> 00:27:17,280 Tamarack with a couple of Hyundai coming in. Thank you so much, Nicholas, underscore B58 with the 238 00:27:17,280 --> 00:27:26,480 streaming Sats. Just Brian with 418 Sats coming in off a fountain. Thank you, sir. Rubber factory, 239 00:27:26,480 --> 00:27:34,480 dropping 765 Sats. Thanks, man. Thank you for putting that music up on Wave Lake. Absolutely 240 00:27:34,480 --> 00:27:43,680 love it. Nonimus with 99 Sats coming in. Alan C. Paul listening along. Thanks, dude. Man like 241 00:27:43,680 --> 00:27:52,640 Quacks coming in hard listening to episode six of the artist hour with Enid Malal, man like Quacks 242 00:27:52,640 --> 00:27:58,320 dropped like a thousand in one shot and then 352 and another dude you didn't need to do that. Man, 243 00:27:58,320 --> 00:28:07,520 thank you. Appreciate it. Users 71885120 whoever you are throwing down a lot of streaming Sats. Thank you 244 00:28:07,520 --> 00:28:15,360 for that. I'm very kind on fountain. Of course, Dovey Doss, Double D with his Dovey tips coming in. 245 00:28:15,360 --> 00:28:21,360 Thanks for listening, man. Appreciate the Sats. Silent G kicking down a thousand. Chad F, 246 00:28:21,360 --> 00:28:27,440 lots of streaming Sats coming in from you, sir. And thanks for all the notes on social media as well 247 00:28:27,440 --> 00:28:34,320 in Noster in other places. Eric, Double P coming in with some streaming Sats. Thank you. 248 00:28:34,320 --> 00:28:42,400 The one and only pod father, Dr. Adam Curry, the Dutch Duke. Thank you, sir. 1200 Sats really 249 00:28:42,400 --> 00:28:49,760 appreciate it. Thanks for all your tutelage. You know what I mean. OT, thanks for putting up the 250 00:28:49,760 --> 00:28:53,520 usual cats, man. That's some great stuff. He certainly didn't need to send me some Sats, 251 00:28:54,400 --> 00:29:01,040 but I greatly appreciate it. Borsen Globen, again, streaming big fan. Thank you very much, 252 00:29:01,040 --> 00:29:07,120 sir. Appreciate it. Nate, Johnovan, dude, love your stuff, man. Please reach out to me. I got a question 253 00:29:07,120 --> 00:29:13,840 for you. And then last but not least, but not last or last but not whatever. I can't even talk anymore. 254 00:29:13,840 --> 00:29:20,640 It's late. Nick, thanks, Nick, for kicking in your streaming Sats as well. So those are all from the 255 00:29:20,640 --> 00:29:26,960 last couple of days in between when we put out the jazz hour as well as covering some of the 256 00:29:26,960 --> 00:29:33,440 Anneds interview on episode six of the Phantom Power Artist Hour. And don't forget, we also had 257 00:29:33,440 --> 00:29:41,040 the Phantom Power Business Hour where we talked to a couple of Noster folks, Derek Ross and Vanessa 258 00:29:41,040 --> 00:29:47,120 Gray from Domus. And that's where Adam was listening in. But we've got a bunch of shows. We're trying to 259 00:29:47,120 --> 00:29:54,080 do four shows a week and we really appreciate all of the boosts and all of the Zaps. Please don't forget 260 00:29:54,080 --> 00:30:02,960 to boost and zap the artists that you heard today, such as The Trusted and Alicia and Daddy Nat. 261 00:30:02,960 --> 00:30:09,200 Cool. Thank you guys so much for listening. Have a great rest of your day and don't forget to 262 00:30:09,200 --> 00:30:21,920 smile for the mug shot.