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(upbeat music)

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- Well, hello everybody, welcome back to Phantom Power Music Review.

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This is the show where I dive into the inner workings

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of three songs that you would find in the value verse.

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Meaning these three artists are in support of Bitcoin

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and they receive little tiny bits of Satoshi's

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from the people who love their music.

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That is what value for value is all about.

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It is a mindset, it is a mantra, it is a way of life

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that's gonna change the music industry.

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And we're thrilled to be a part of it.

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You kidding me?

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These artists are making more in this format

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than they do on the traditional streaming services.

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So with that said, today we are gonna look at three songs,

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one from Emily Rona, one from Martin Grooms,

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and then another one from Victoria Fregosa.

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And Victoria, I apologize if I just pronounced

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your last name incorrectly.

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But we're gonna dive into what I like about these songs.

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We're gonna dive into melody, structure,

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chord progression, maybe a little bit of recording technologies,

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all that kind of fun stuff.

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So this is a show for music geeks, but also if you're not a musician

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and you're not a songwriter

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and you're just curious about how musicians think,

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I hope that this helps.

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I hope that you enjoy it.

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So having said all that, let's dive in, shall we?

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Let's check out this great song by Nashville artist, Emily Rona,

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and this song is called "Someone Else"

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and then we'll break it down.

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Are you ready?

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Here we go.

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Can't go anywhere without tripping on the closure

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that line around and I swear.

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I'm tired every day, slipping away from my side,

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and you don't care.

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Takes all this is stranger in my house,

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but it's easier to tell myself it's someone else,

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someone else,

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so I've been silent all day,

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where I make excuses,

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I'm the boy, I'm the chain,

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where I feel an anxious,

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turns out I'm a stranger in my own house,

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in my own house,

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but it's easier to tell myself it's someone else,

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someone else,

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you're ditches in the sink,

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in the middle of weeks,

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and I can't bring myself to one.

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Sitting on the kitchen floor,

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I don't go out,

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I don't like it,

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sitting on the kitchen floor,

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I don't like it,

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there's no way I'm going to be able to get out of my seat,

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to do it.

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Takes all this is stranger in my house,

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in my house,

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but it's easier to tell myself it's someone else,

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someone else,

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so I've been silent all day,

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where I feel an anxious,

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turns out I'm a stranger in my own house,

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in my own house,

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but it's easier to tell myself it's someone else,

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someone else,

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where I could kick you out,

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and change the locks,

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oh, I always said I was living alone,

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but we know I'm not,

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step inside and I'll bring,

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where I make excuses,

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I'm the boy and I change,

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where I feel anxious,

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turns out I'm a stranger in my own house,

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in my own house,

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but it's easier to tell myself it's someone else,

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someone else,

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so,

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that is a deceptive track,

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that's a deceptive track,

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because you think it's simple,

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but then when you break down the cord changes,

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there's some really neat stuff going on in there.

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So the first thing that I picked up on is that

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this is not an a key that you typically hear artists work in,

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and I gotta, Emily, I gotta kinda make fun of you for this one,

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because like, really, G-flat, F-sharp,

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really, you're not making it easy on the piano players out there.

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For those of you who don't play piano,

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that's basically like one of the toughest keys to play in.

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It's like, you know, six flats,

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you know, it's all,

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it's predominantly dark keys in the fingering is difficult.

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So I have the feeling that Emily wrote it on a guitar

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that was probably tuned down a half step

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and maybe had a K-po on,

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or maybe even tuned it down,

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you know, a step in a half, who knows?

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But any time,

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that's just me being a little bit of a smart ally,

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like anytime anybody writes in a key like that,

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I love it because so much of what you hear on the radio

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is in standard basic boring key of the people type stuff,

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you know, G, C, D, E, you know, whatever.

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So anytime it's done in a different key like this,

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it always stands out, and I love that.

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I love that.

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The baseline, the keyboard line,

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is really interesting too.

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That's a progression that you don't hear a lot of,

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62/34, let me see if I can get it right.

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(guitar music)

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You don't hear that progression too often.

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So that is very refreshing to hear,

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then she goes up to the five,

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right, and then pulls it back down to the four.

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But that is really nice.

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(guitar music)

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That ascending line that you hear in the bass and in the guitar,

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you don't hear that a lot, that sticks out to me.

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I love the all start on this song.

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All start means like the first thing you hear is the vocals.

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To me anyways, that's what I call it.

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I think her voice is perfect for this genre

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and I love the way she sells it.

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She kind of reminds me of Cassidy Pope,

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kind of reminds me of Avril Lavigne.

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It is absolutely perfect for this genre.

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I love the sigh that she gives in the first verse,

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you know when she goes, (sighs)

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it's great, it's perfect for this.

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There's a great vocal presentation.

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So the two things right off the bat

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that I love about this track

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are her delivery and the chord progression.

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Also go back and listen to that guitar tone at the beginning.

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It's really pristine and it's got a nice bite to it.

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It sounds like she's got a fender Mustang on the back pickups.

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And then also, I hope you're listening

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with a really good set of cans on,

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because there's some really nice background vocals in there

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that are ducted into the mix.

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It's kind of like some (humming)

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that are just fantastic.

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When she hits the chorus,

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love the double vocal effect.

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(humming)

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When you double up the vocals like that,

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it really does a great job of opening up the song.

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And notice how she,

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when her lead line goes up, her harmony goes down,

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smart production.

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Really nice stuff.

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It opens up the track.

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Nice hand claps in the back to let you know

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that something bigger is coming.

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Great track building there.

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And I love how the whole band

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drops in when she sings,

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"Stand inside of my brain, why not make excuses?"

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That's a cool way to bring the band in.

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And then halfway through the chorus,

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drop out to reinforce the chorus,

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where it's just her and the guitar.

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That's really cool.

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Like she did that in the first chorus.

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She didn't do it in the second.

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So it's a nice little building,

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nice little presence, little, you know,

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earworms that she's leaving you all around the track.

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Notice the musical feeling you get

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when she's singing "Stranger in My Own House"

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with the full band pulling out.

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Like, that's a,

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I love it when artists make the music match the lyrics.

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That's what I think her intent was there.

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I'd have to ask her, you know,

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the production crew, you know,

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her and her producer on this.

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And maybe she did the,

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maybe she self produced the whole thing

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if she did even more kudos.

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Second verse,

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did you hear that bass line rising up

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on the same progression?

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Like in the first verse,

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the guitar took it,

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the second verse bass took it.

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Love that.

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And I love bringing the whole band back in

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on a half tempo vibe.

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The lyrics to me are completely relatable.

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Even though I've been happily married for 20 years, you know,

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I mean, anybody who's been through a breakup

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and moving in and moving out,

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this is absolutely relatable.

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Absolutely relatable.

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Bridge comes out of nowhere.

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And that to me is the nice cherry on top,

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so to speak, on this one.

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Really comes in as far as structure goes,

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where exactly you would hear it,

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but I love how she starts in her higher register

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and where as the whole song,

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a lot of her chord progressions were going up

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on the bridge she goes down.

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And then she has a different spin on the third chorus

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with a nice build.

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This is a, as I said at the beginning,

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it sounds like a simple song,

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but it's really deceiving.

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It's quite simple,

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but the way the bass line rises in conjunction

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with everything else shows you that it's done.

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And I would love to see her pull this off with a live band.

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I don't think she played this one

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when I saw her last fall here in Nashville.

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But that's the way I look at this one.

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And I love her voice again,

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and I think the production is great.

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It's right in line with great pop songs

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that you're hearing today.

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Love the angst,

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love the delivery,

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the really cool track.

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Really cool track.

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All right.

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Thank you, Emily.

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That's a fun one.

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That's a fun one.

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Aside from the fact that you're playing in G-flat,

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and no, I'm not to type a piano player

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who like hits the half transpose button

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so I can play in all the easy keys.

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Nope.

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I'll take that challenge.

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All right.

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Let's move on.

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Let's do a great song from Martin Grooms

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called "The Hard Way."

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Ready?

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Here we go.

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(upbeat music)

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♪

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♪

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I knew it when we first met

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something wasn't right

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and better judgment

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would've kept me to myself.

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♪

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Sweet nothings

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and nothing.

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Fed me full of lies

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and still I can't forget

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the emptiness I felt.

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♪

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I gave you all I had

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to give in it

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never was enough.

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♪

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♪

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Bricks me with those

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and the arms

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inside your hollow

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clutch.

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♪

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But you never meant it

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when you told me

273
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that you loved me.

274
00:12:36,560 --> 00:12:38,560
I had to find out

275
00:12:38,560 --> 00:12:42,560
the hard way.

276
00:12:42,560 --> 00:12:44,560
You said that you'd never

277
00:12:44,560 --> 00:12:48,560
put someone else above me.

278
00:12:48,560 --> 00:12:50,560
And I'm pretty sure

279
00:12:50,560 --> 00:12:54,560
that's what they all say.

280
00:12:54,560 --> 00:12:57,560
You were talking when I tuned out.

281
00:12:57,560 --> 00:12:59,560
Your timing's never

282
00:12:59,560 --> 00:13:00,560
right.

283
00:13:00,560 --> 00:13:02,560
Scuces always seem to

284
00:13:02,560 --> 00:13:06,560
glide right out your mouth.

285
00:13:06,560 --> 00:13:08,560
Sweet nothings

286
00:13:08,560 --> 00:13:10,560
and nothing.

287
00:13:10,560 --> 00:13:12,560
Faded all those nights

288
00:13:12,560 --> 00:13:14,560
I watched us fuck it up

289
00:13:14,560 --> 00:13:18,560
as bottles bottom down.

290
00:13:18,560 --> 00:13:21,560
We made all the marks

291
00:13:21,560 --> 00:13:23,560
put in progress

292
00:13:23,560 --> 00:13:25,560
them all fit

293
00:13:25,560 --> 00:13:27,560
perfect,

294
00:13:27,560 --> 00:13:31,560
this array.

295
00:13:31,560 --> 00:13:36,560
I gave you all I had

296
00:13:36,560 --> 00:13:38,560
to give in

297
00:13:38,560 --> 00:13:44,560
it.

298
00:13:44,560 --> 00:13:45,560
♪

299
00:13:45,560 --> 00:13:46,560
And you never meant it

300
00:13:46,560 --> 00:13:48,560
when you told me

301
00:13:48,560 --> 00:13:50,560
that you loved me.

302
00:13:50,560 --> 00:13:52,560
I had to find out

303
00:13:52,560 --> 00:13:57,560
the hard way.

304
00:13:57,560 --> 00:13:59,560
You said that you'd never

305
00:13:59,560 --> 00:14:03,560
put someone else above me.

306
00:14:03,560 --> 00:14:04,560
And I'm pretty sure

307
00:14:04,560 --> 00:14:09,560
that's what they all say.

308
00:14:09,560 --> 00:14:11,560
You never meant it

309
00:14:11,560 --> 00:14:12,560
when you told me

310
00:14:12,560 --> 00:14:15,560
that you loved me.

311
00:14:15,560 --> 00:14:17,560
I had to find out

312
00:14:17,560 --> 00:14:21,560
the hard way.

313
00:14:21,560 --> 00:14:23,560
You said that you'd never

314
00:14:23,560 --> 00:14:27,560
put someone else above me.

315
00:14:27,560 --> 00:14:29,560
And I'm pretty sure

316
00:14:29,560 --> 00:14:35,560
that's what they all say.

317
00:14:35,560 --> 00:14:36,560
Forgive me

318
00:14:36,560 --> 00:14:37,560
but I love this chord progression

319
00:14:37,560 --> 00:14:39,560
so much I got a solo over it.

320
00:14:39,560 --> 00:14:41,560
Hang on.

321
00:14:41,560 --> 00:14:49,560
♪

322
00:14:49,560 --> 00:14:58,560
♪

323
00:14:58,560 --> 00:15:01,560
But I just love that chord progression.

324
00:15:01,560 --> 00:15:02,560
Oh, I love that chord progression.

325
00:15:02,560 --> 00:15:04,560
That's a soloist's dream.

326
00:15:04,560 --> 00:15:07,560
I'm sorry for pooping all over your track there.

327
00:15:07,560 --> 00:15:08,560
Hey shout out

328
00:15:08,560 --> 00:15:12,560
as my chords are getting tangled up in my chair here.

329
00:15:12,560 --> 00:15:15,560
Shout out to Bobby Schell who was a co-writer on that one.

330
00:15:15,560 --> 00:15:17,560
Nice job guys.

331
00:15:17,560 --> 00:15:18,560
Nice job.

332
00:15:18,560 --> 00:15:20,560
Really love that track.

333
00:15:20,560 --> 00:15:23,560
I'm getting full on Bobby Calwell vibes, right?

334
00:15:23,560 --> 00:15:26,560
What you would not do for love.

335
00:15:26,560 --> 00:15:28,560
Love this track.

336
00:15:28,560 --> 00:15:30,560
Let's start with the chord progression.

337
00:15:30,560 --> 00:15:33,560
We're in A minor and it just works its way up all the way through.

338
00:15:33,560 --> 00:15:35,560
It's really simple.

339
00:15:35,560 --> 00:15:37,560
Really simple.

340
00:15:37,560 --> 00:15:39,560
But it's really effective.

341
00:15:39,560 --> 00:15:40,560
Here's what it sounds like.

342
00:15:40,560 --> 00:15:50,560
♪

343
00:15:50,560 --> 00:15:53,560
And I'm riffin' a little bit, but...

344
00:15:53,560 --> 00:15:56,560
Just I love that whole progression.

345
00:15:56,560 --> 00:15:58,560
That is a soloist's dream.

346
00:15:58,560 --> 00:16:00,560
You got so much room to work with.

347
00:16:00,560 --> 00:16:02,560
Like this would just be killer.

348
00:16:02,560 --> 00:16:04,560
Killer to see a band do.

349
00:16:04,560 --> 00:16:06,560
Killer to see a band do it live.

350
00:16:06,560 --> 00:16:07,560
So effective.

351
00:16:07,560 --> 00:16:10,560
Very simple progression repeats all the way through the song,

352
00:16:10,560 --> 00:16:15,560
but it's so effective because you're giving so much room

353
00:16:15,560 --> 00:16:17,560
to the other players in the band.

354
00:16:17,560 --> 00:16:22,560
I love Martin's vocal performance on this.

355
00:16:22,560 --> 00:16:27,560
Just the heartbreak that he talks about in the song really comes out

356
00:16:27,560 --> 00:16:29,560
perfectly on this.

357
00:16:29,560 --> 00:16:32,560
Love that dropout after the first chorus.

358
00:16:32,560 --> 00:16:36,560
And did you guys hear that dropout at the end of the second verse?

359
00:16:36,560 --> 00:16:39,560
Right on the phrase when he talks about walk-to-way

360
00:16:39,560 --> 00:16:41,560
and the whole band drops out?

361
00:16:41,560 --> 00:16:43,560
That's so cool.

362
00:16:43,560 --> 00:16:45,560
That's so well done.

363
00:16:45,560 --> 00:16:47,560
But here's...

364
00:16:47,560 --> 00:16:50,560
There are so many little things in this song

365
00:16:50,560 --> 00:16:52,560
that stick out to me.

366
00:16:52,560 --> 00:16:56,560
It is so hard to keep the groove simple,

367
00:16:56,560 --> 00:17:02,560
to not get carried away and let the small elements really carry the track.

368
00:17:02,560 --> 00:17:04,560
Case in point.

369
00:17:04,560 --> 00:17:08,560
That little guitar riff that you hear at the end of the last chorus,

370
00:17:08,560 --> 00:17:12,560
or that little fuzzy organ line that you hear.

371
00:17:12,560 --> 00:17:16,560
You also hear some diads in there.

372
00:17:16,560 --> 00:17:19,560
A diad is a two note riff, and I think they did it in fourths.

373
00:17:19,560 --> 00:17:21,560
It was something like this.

374
00:17:21,560 --> 00:17:28,560
There's a tasty little diad in there that they go to a couple of times.

375
00:17:28,560 --> 00:17:33,560
Love that tasty little drum fill in the middle of the first verse.

376
00:17:33,560 --> 00:17:37,560
Those ethereal keyboard parts that come in and out of the chorus

377
00:17:37,560 --> 00:17:39,560
that carry the main line.

378
00:17:39,560 --> 00:17:43,560
That main melodic riff that you hear is really neat too.

379
00:17:43,560 --> 00:17:45,560
I think it's...

380
00:17:45,560 --> 00:17:53,560
[Bell]

381
00:17:53,560 --> 00:17:55,560
Something like that, right?

382
00:17:55,560 --> 00:17:57,560
This song is so...

383
00:17:57,560 --> 00:18:01,560
It kind of reminds me of Emily's song that we talked about earlier

384
00:18:01,560 --> 00:18:03,560
where you think it's...

385
00:18:03,560 --> 00:18:05,560
that it's simple.

386
00:18:05,560 --> 00:18:07,560
And the chord progression doesn't change throughout the song,

387
00:18:07,560 --> 00:18:11,560
but what makes this song so effective is all that little ear candy

388
00:18:11,560 --> 00:18:14,560
that Martin and Bobby threw in all throughout the song.

389
00:18:14,560 --> 00:18:16,560
It's so well done. It's so smart.

390
00:18:16,560 --> 00:18:20,560
Like, go back and listen to Bobby call well.

391
00:18:20,560 --> 00:18:24,560
Just such smooth R&B smooth pop.

392
00:18:24,560 --> 00:18:26,560
Great stuff, man.

393
00:18:26,560 --> 00:18:28,560
Absolutely love that.

394
00:18:28,560 --> 00:18:30,560
I could sit there and solo over this track for hours.

395
00:18:30,560 --> 00:18:34,560
And you know what I was thinking of too, actually.

396
00:18:34,560 --> 00:18:38,560
I was actually thinking how cool it would be

397
00:18:38,560 --> 00:18:43,560
to have a band like FM Rodeo or a band like Iroh cover this song.

398
00:18:43,560 --> 00:18:49,560
If you were to speed it up, so I grabbed my acoustic and this is what I mean.

399
00:18:49,560 --> 00:19:11,560
[Bell]

400
00:19:11,560 --> 00:19:13,560
I think that'd be really cool to hear.

401
00:19:13,560 --> 00:19:15,560
I think it'd be really cool to hear it.

402
00:19:15,560 --> 00:19:17,560
If one of those bands wanted to cover this song.

403
00:19:17,560 --> 00:19:24,560
I always love it when you take a song from one genre and you cover it into another one.

404
00:19:24,560 --> 00:19:25,560
And that's...

405
00:19:25,560 --> 00:19:27,560
If you've heard the artist hour podcast that I do,

406
00:19:27,560 --> 00:19:29,560
one of the things I love to ask is,

407
00:19:29,560 --> 00:19:33,560
"Hey, give me the name of somebody that's outside of your genre

408
00:19:33,560 --> 00:19:35,560
that you would love to have cover one in your songs."

409
00:19:35,560 --> 00:19:39,560
In case some point, like the guy at Iroh, he said,

410
00:19:39,560 --> 00:19:41,560
"I'd love to have a Dell cover one of my tunes."

411
00:19:41,560 --> 00:19:45,560
I was like, "Yeah, that'd be, that'd be hell or cool. That'd be really neat."

412
00:19:45,560 --> 00:19:49,560
But I love that song, Martin and Bobby,

413
00:19:49,560 --> 00:19:53,560
beautiful chord progression, beautiful production, great vibes,

414
00:19:53,560 --> 00:19:57,560
not surprised at all that that is number one over on Wave Lake right now.

415
00:19:57,560 --> 00:19:59,560
Really cool stuff.

416
00:19:59,560 --> 00:20:03,560
All right, let's move on. Let's go to Victoria Fregosa.

417
00:20:03,560 --> 00:20:07,560
And her song called Love Goes Free.

418
00:20:07,560 --> 00:20:09,560
Let's check it out.

419
00:20:09,560 --> 00:20:17,560
[Music]

420
00:20:17,560 --> 00:20:27,560
[Music]

421
00:20:27,560 --> 00:20:37,560
[Music]

422
00:20:37,560 --> 00:20:47,560
[Music]

423
00:20:47,560 --> 00:20:55,560
[Music]

424
00:20:55,560 --> 00:21:05,560
[Music]

425
00:21:05,560 --> 00:21:15,560
[Music]

426
00:21:15,560 --> 00:21:25,560
[Music]

427
00:21:25,560 --> 00:21:35,560
[Music]

428
00:21:35,560 --> 00:21:45,560
[Music]

429
00:21:45,560 --> 00:21:55,560
[Music]

430
00:21:55,560 --> 00:22:05,560
[Music]

431
00:22:05,560 --> 00:22:15,560
[Music]

432
00:22:15,560 --> 00:22:25,560
[Music]

433
00:22:25,560 --> 00:22:35,560
[Music]

434
00:22:35,560 --> 00:22:39,560
[Music]

435
00:22:39,560 --> 00:22:49,560
[Music]

436
00:22:49,560 --> 00:22:59,560
[Music]

437
00:22:59,560 --> 00:23:09,560
[Music]

438
00:23:09,560 --> 00:23:11,560
[Music]

439
00:23:11,560 --> 00:23:13,560
[Music]

440
00:23:13,560 --> 00:23:15,560
[Music]

441
00:23:15,560 --> 00:23:25,560
[Music]

442
00:23:25,560 --> 00:23:35,560
[Music]

443
00:23:35,560 --> 00:23:45,560
[Music]

444
00:23:45,560 --> 00:24:09,560
[Music]

445
00:24:09,560 --> 00:24:19,560
[Music]

446
00:24:19,560 --> 00:24:29,560
[Music]

447
00:24:29,560 --> 00:24:39,560
[Music]

448
00:24:39,560 --> 00:24:49,560
[Music]

449
00:24:49,560 --> 00:24:59,560
[Music]

450
00:24:59,560 --> 00:25:09,560
[Music]

451
00:25:09,560 --> 00:25:19,560
[Music]

452
00:25:19,560 --> 00:25:29,560
[Music]

453
00:25:29,560 --> 00:25:33,560
[Music]

454
00:25:33,560 --> 00:25:43,560
[Music]

455
00:25:43,560 --> 00:25:53,560
[Music]

456
00:25:53,560 --> 00:26:03,560
[Music]

457
00:26:03,560 --> 00:26:13,560
[Music]

458
00:26:13,560 --> 00:26:23,560
[Music]

459
00:26:23,560 --> 00:26:33,560
[Music]

460
00:26:33,560 --> 00:26:43,560
[Music]

461
00:26:43,560 --> 00:26:53,560
[Music]

462
00:26:53,560 --> 00:27:03,560
[Music]

463
00:27:03,560 --> 00:27:13,560
[Music]

464
00:27:13,560 --> 00:27:23,560
[Music]

465
00:27:23,560 --> 00:27:33,560
[Music]

466
00:27:33,560 --> 00:27:43,560
[Music]

467
00:27:43,560 --> 00:27:53,560
[Music]

468
00:27:53,560 --> 00:28:03,560
[Music]

469
00:28:03,560 --> 00:28:13,560
[Music]

470
00:28:13,560 --> 00:28:17,560
[Music]

471
00:28:17,560 --> 00:28:21,560
[Music]

472
00:28:21,560 --> 00:28:31,560
[Music]

473
00:28:31,560 --> 00:28:41,560
[Music]

474
00:28:41,560 --> 00:28:45,560
[Music]

475
00:28:45,560 --> 00:28:55,560
All right folks, let's read off the boosts and the zaps that we had been fortunate enough to see, to receive.

476
00:28:55,560 --> 00:29:05,560
In the last two weeks, I didn't do a music review last Friday because I had to jump on a plane and go down the Phoenix for culture shock,

477
00:29:05,560 --> 00:29:13,560
nocturifix, and boy did I pay for that one, I got sick for the first time in five years, thank you very much airline flu,

478
00:29:13,560 --> 00:29:23,560
but it is now time to thank all the beautiful people who have been sending us boosts and zaps over the past two weeks.

479
00:29:23,560 --> 00:29:24,560
Are you ready?

480
00:29:24,560 --> 00:29:25,560
Let's begin, shall we?

481
00:29:25,560 --> 00:29:27,560
Thank you PW.

482
00:29:27,560 --> 00:29:37,560
So shout out to Dovey Doss for helping me put some tools together that would make it easier to figure out all of these stats,

483
00:29:37,560 --> 00:29:47,560
as well as whomever wrote the code for Saturn.Fly.dev to be able to look on the back end of all the boosts as well.

484
00:29:47,560 --> 00:29:51,560
Thank you very much, makes life easy.

485
00:29:51,560 --> 00:29:59,560
Lightning Store, thanks for having us on, Jim, boost for a poop or work academy in Sarajay.

486
00:29:59,560 --> 00:30:03,560
Lightning Store, thank you man, you know how I feel.

487
00:30:03,560 --> 00:30:14,560
Just listening, dude, you're always listening, and boosts and zaps for Hey Love with that great Marina Osk track.

488
00:30:14,560 --> 00:30:20,560
Thank you for the zaps, let's see, just rolling down Joe Martin, brother Joe, check it in,

489
00:30:20,560 --> 00:30:24,560
looking forward to seeing you out here in Nashville this summer. Got your back man.

490
00:30:24,560 --> 00:30:33,560
QW, quiet warrior boosts and zaps for the Amit & Phoenix pleasure meeting user, that was a lot of fun.

491
00:30:33,560 --> 00:30:35,560
Looking forward to more.

492
00:30:35,560 --> 00:30:39,560
Tonerecker, great to be among the makers in the world overrun with takers.

493
00:30:39,560 --> 00:30:42,560
Who I love that, thanks for the zaps, man.

494
00:30:42,560 --> 00:30:49,560
Man like Quacks, Chyman Inn, chime in on my interview with Real Richard.

495
00:30:49,560 --> 00:30:54,560
Yeah man, Real Richard, Calvin Harris type stuff, right?

496
00:30:54,560 --> 00:31:00,560
Alan C. Paul, boosts and zaps saying killer open and track for the show, thanks man.

497
00:31:00,560 --> 00:31:06,560
Just listening again, bumping up the Jack Feemeister, Nocturne and Black & Gold.

498
00:31:06,560 --> 00:31:09,560
I love that tune by Jack Feemeister.

499
00:31:09,560 --> 00:31:13,560
And I just love that Jack is screw you guys, I'm putting out whatever I want.

500
00:31:13,560 --> 00:31:21,560
I just love that whole attitude. The Bear Snare, thanks for the zaps, man.

501
00:31:21,560 --> 00:31:25,560
Thank you so much Sarah Jade. Thank you. Yeah, appreciate the zaps.

502
00:31:25,560 --> 00:31:32,560
Happy to be doing all these shows, hope you are enjoying them all, looking forward to having you on the artist hour in a couple of weeks.

503
00:31:32,560 --> 00:31:35,560
Irma Moore Band, Pittsburgh's finest.

504
00:31:35,560 --> 00:31:42,560
Love you guys, thanks for the zaps. Chad F, just Brian Moore stuff from Just Listening.

505
00:31:42,560 --> 00:31:48,560
I'm Mappy, whomever you are, dude you are fantastic and I can't thank you enough for all the zaps.

506
00:31:48,560 --> 00:31:56,560
Tumbleweed, Noster eggs, Moore from Alan C. Paul, true fans, chime in with some zaps.

507
00:31:56,560 --> 00:31:59,560
Thanks man, you should be on vacation.

508
00:31:59,560 --> 00:32:03,560
Don't be doss with a test. Yeah, your test works buddy, thanks.

509
00:32:03,560 --> 00:32:05,560
Thanks for the zaps, I'll take you.

510
00:32:05,560 --> 00:32:08,560
Moore from Chad F, Moore from Cody Christopher.

511
00:32:08,560 --> 00:32:14,560
Thank you sir, looking forward to talking to you tomorrow for the business hour that's going to come out on Monday.

512
00:32:14,560 --> 00:32:22,560
Lion styles, thank you very much, appreciate it. Nice boosts and notes, notes I should say.

513
00:32:22,560 --> 00:32:25,560
They're from Nick, thank you sir, appreciate it.

514
00:32:25,560 --> 00:32:29,560
Worsen Galover from Germany, thank you very much.

515
00:32:29,560 --> 00:32:32,560
Appreciate those zaps sir.

516
00:32:32,560 --> 00:32:36,560
What, something tells me your name is Thomas?

517
00:32:36,560 --> 00:32:42,560
Maybe. Shout out to Salty Crayon as well man.

518
00:32:42,560 --> 00:32:50,560
I love your comment in fountain where you said NFTs are nothing more than JPEGs that can be copy and pasted for free.

519
00:32:50,560 --> 00:32:52,560
Big of scam in the last few years.

520
00:32:52,560 --> 00:32:56,560
I think you're on points sir, and I thank you for your sats.

521
00:32:56,560 --> 00:33:06,560
And tone record also chiming in on fountain, and I believe I mentioned you already, but I appreciate you guys smiley boosts in a thousand sats.

522
00:33:06,560 --> 00:33:17,560
Thanks man, Colomona, Kentzilla, Moore stuff from Colomona, Moore stuff from Certigay the Raffle of the Dwarffuls, thanks, but I really appreciate it.

523
00:33:17,560 --> 00:33:25,560
Also the Dutch Duke of decentralized music, that's my title, I'm giving to him.

524
00:33:25,560 --> 00:33:33,560
Mr. Adam Curry, thank you sir, appreciate it looking forward to having another long-winded conversation with you about all this fun stuff.

525
00:33:33,560 --> 00:33:35,560
That will do it.

526
00:33:35,560 --> 00:33:45,560
My friends really appreciate you guys liking these shows, boosting these shows, and sharing these shows.

527
00:33:45,560 --> 00:33:57,560
And if you guys know any unsigned aspiring musician that is interested in getting into this space, we would be happy to speak with them and help them feel welcome.

528
00:33:57,560 --> 00:34:00,560
That's what I'll say about that.

529
00:34:00,560 --> 00:34:04,560
You guys can tell I have been fighting a cold and fighting the...

530
00:34:04,560 --> 00:34:16,560
Whatever the heck it is, I caught on that fantastic Frontier Airlines flight, so I am going to call it a day and get to get to Postal List up there.

531
00:34:16,560 --> 00:34:20,560
Love all you guys in the value verse, can't wait to see what this does.

532
00:34:20,560 --> 00:34:24,560
I believe in it wholeheartedly and I thank you for listening.

533
00:34:24,560 --> 00:34:27,560
Smile for the mug shot, see ya.

534
00:34:27,560 --> 00:34:37,560
[Music]