The noise of the week is behind us.
The feed is off.
The record is spinning.
It's time to stop interviewing and start listening.
Welcome to Sunday Brunch.
Good morning, good afternoon, and good evening, you dashing, daring discoverers of digital domains.
Welcome to the fourth serving of Sunday Brunch.
And today is, you guessed it, Sunday.
It is the 1st of February and very much brunch time on the East Coast of the United States,
which can only mean one thing, your favorite music or the lightning-laced airwaves.
Now settle in. This is not your regular podcast.
I don't have any questions prepared. I don't have a sermon.
and I won't be asking our guest about the inherent nihilism of brutalist architecture.
There's just a table, some coffee and a record player.
The guest is the DJ here.
And because there is no corporate sponsor in the booth,
you are the ones keeping the coffee pot full.
This is a Valley for Valley production.
We don't run ads, we run on Vibe.
If you enjoyed the selection today, you can throw some sats in the digital tip jar by boosting on fountain or zapping on Noster.
Here's the house rule.
When the needle drops, the sats follow.
90% of everything you stream during the song goes directly to the artist.
You're tipping the band.
When the music fades and we're just chatting, you're buying a round for me and the guest.
And my guest today is a man who is resembling David Lynch more and more with each passing day.
Jim Costello is here and he's brought his own playlist with him.
We're going to spin some tracks.
We're going to talk about whatever topics bubble up in the silences between the music
and give everyone listening a chance to enter this decompression chamber after a long week.
So, uncock that moette.
Your Bellini is running low.
Jim Costello, welcome to Sunday Brunch.
Good morning.
How are you?
Thank you for having me.
I'm doing very well, Jim.
Are you a David Lynch fan by any chance?
Mulholland Drive definitely speaks to my time in L.A. a little bit.
yeah I mean I definitely appreciate
his
dream like
thought process
I don't think
visually in any way shape or form
so I could never do
what he's done but
you know aside from
his comments about Roman
Polanski
I think he was
a pretty amazing director
oh yeah
I mean you said Mulholland Drive
that was a great one
Lost Highway
Lost Highway I think is probably
one of his better ones
if not his best
I never saw that
oh that is a real mind bender
if you think Mulholland Drive
was a mind bender
Lost Highway
Lost Highway was from
it was earlier
it was from the late 90s I think
really great soundtrack too
they had Rammstein
Nine Inch Nails
that was the other thing
do you know who the music
producer was
on David Lynch movies
it was some long Italian sounding name
Bartolini or something like that
Brandolini
I honestly don't know
I'm looking up the Wikipedia
for Lost Highway right now
music
oh look at you
look at you Avi
the music production on Lost Highway
was Angelo
Bada Lamenti.
That's the guy.
Yeah.
I'm trying to look at...
Wow. Born in 1937.
Passed away in 22.
Film, television, and scoring.
He did Nightmare on Elm Street,
and he also did
Christmas Vacation.
He did Twin Peaks.
Wow.
Wild at Heart
oh yeah
Firewall
yeah
wow
look at that
Blue Velvet
was another really good one
yeah
and
and I think this
Bartolo Manthe guy
if I'm pronouncing his name right
he
was the music guy
on almost all his movies
and it would
that was the thing
one of the things
that made the movies
so special
that the music used to be
the music scholar
used to be fantastic
I think
there was
who's the
Anyway, he used to pick musicians from the 50s, 60s,
and then he'd have someone else sing it
and do it in a completely different way.
Roy Orbison, that's the guy I was searching for.
No kidding.
So Mulholland Drive has that,
there's a scene in Mulholland Drive
where the two girls are, two women rather,
they're in this empty theater
and there's this woman and the singer who gets up on stage and she sings this haunting song
um uh it's echoing through this empty room and it's just these two women listening to it
that's actually a roy orbison song uh which one is
i am i'm just perusing through this dude and i'm like i'm i'm rather embarrassed that i don't know
more about him. I mean, my God, he
worked with
Orbital, he
worked with Dolores O'Riordan,
he worked with Anthrax,
worked with
Dusty Springfield,
Paul McCartney, Pet Shoppeau,
I mean, holy, Nina Simone,
one of my favorites, my goodness.
Damn.
You're talking about Bartolo Menti?
Yeah.
Wow.
thank you man i love it when people drop buckets of music into my lap that i'm completely
unfamiliar with and and this wouldn't have happened jim if you uh didn't start resembling
david lynch how did you manage that it's not a conscious choice i just haven't had a haircut in
probably three months i don't know i've been busy been busy but uh yeah i mean i definitely have the
spiky gray hair thing going on.
Yeah.
So, Jim, talking about busy, right,
you started Phantom Power Media.
And for those listening who,
I suspect most of them know,
but for the odd couple who are listening
who don't know what Phantom Power Media does,
what's the story there?
Well, the story is we wanted to
take everything that we've learned
on behalf of my daughter's success in this space
and try to teach as many other artists as we can about this.
And when I say we, I mean my wife Julie and I.
It's been a wild ride ever since Ainsley met the guys from Wave Lake
at Bitcoin Park back in the summer of, I think, 23, two and a half years now.
And so everything that we have learned on behalf of her success, we have tried to teach
other artists about it.
And we have just been so fortunate to meet so many amazing people along the way.
Everybody from, you know, Sam at WayBlake and Open Mic and Adam Curry and Oscar and Dobie Doss over there at Fountain and Sethi and yourself and QW and Heather and everybody.
I mean, it's, you know, I kind of joked with Sam Means a year and a half ago or so the last time I saw him.
I'm like, you know, like you guys changed my life and this is all your fault.
you know, that, you know, we jumped in so deep with it. So we, you know, when Ainsley started
having some success on Wave Lake and then on Adams Booster Graham Ball, you know, Open Mic
reached out and then we did that first show up in Minneapolis in December of 23. And we took
everything that we learned from that and just tried to do every gig bigger and better than the
last one um you know we um i've played and toured um you know spent four years of my life on the
road i was singer songwriter in la for a number of years before i met my wife and and uh and our
daughter came along um and i still play today so i'm um you know i'm playing in bands around here
in nashville so um i have a lot of live production experience live you know in in studio experience
touring experience things like that so it's kind of a given that my daughter would get into this
and with my audio knowledge and production knowledge and my wife's exceptional abilities
in the tech space and in operation mindset you know we've we've just kind of really
instead of fight the current of spotify and pay to play and and you know me not having a million
dollars I met in my back pocket to push my daughter's music.
We have, instead of fighting the wave, we've rode the current, I guess you could say.
And it's been a great two and a half years in this space.
We've done a lot of great gigs thanks to Open Mic and Adam and Wavelake.
And we did the bands at Bitcoin when they had the big Bitcoin convention here in Nashville in 2024.
You know, we had a three-day stage at the Embassy Suites right across the street.
And we're fortunate enough to have a lot of great artists, you know, want to come in and play at that.
And then we did a residency at the Vinyl Lounge for a month with a great band here in Nashville called the Blue House Band, where we broadcast that every Monday night on Toonster and Noster.
and then we did launch festival in Pennsylvania last March or April where we brought in another
20 bands or so three-day stage live streamed it sats flowing and then we did Vegas live gig in
Vegas. So yeah, there's been a lot of activity. It's been a lot of fun. Never thought my life
would go on this trajectory. So hope that gives you a good background.
Oh, it does. And I actually want to talk about that a little more. But you mentioned your
daughter Ainsley Costello. She's been on PlapChain Radio a few times. The first time she was on the
show was right before that Minneapolis gig in December of 2023 that that open mic and
others were involved in but she told an interesting story a funny story actually about how this entire
thing started you mentioned her meeting Sam and and his partner the Wavelake partner in Bitcoin
park michael michael yeah michael rhea yeah um you i think the story ainsley told us was
even before that you so you live in nashville with your family you were passing by bitcoin
park and i think you stopped by to sell mortgages or something to them and you ended up getting
orange spilled somehow is that is that true or is is it a yeah no it's absolutely it's absolutely
true. I've been, when we left LA, my wife and I in 2003, and I left being a full-time musician
and I left the entertainment industry, I really just found myself in sales for lack of a better
description right For what my day job is for what I do in the salt mines as they say in the fiat mines So when we came here and I got my mortgage license in Tennessee
I made a habit, just because when you have a mortgage license, you're in sales,
you're outside sales, you're knocking on every door you possibly can. And I would go to every
tech meeting that I could possibly find in Nashville. I didn't care if it was Bitcoin,
if it was C++, if it was weird architectural nihilistic stuff that you referenced at the
top of the podcast, right? Like I'd just go out and go to as many events as I could
as soon as COVID broke because we unfortunately moved here literally six weeks before COVID hit.
um so i started going to bitcoin park because they had and they still have uh public events
um and i had always been interested in bitcoin and it that was the lightning summit in um july
of 2023 and i and i figured i'm like well shit excuse me i don't know if you can be vulgar on
the show, but I figured what the hell, you know, there's bound to be some people with money at this
place called Bitcoin Park. And maybe I can, you know, make some contacts and find some clients
on the mortgage side of things. And of course, the script just got completely flipped. And
after going to a couple of those public events, and then when the lightning summit was brought up,
I'm like, oh, I can't miss this.
I got to go check this out.
Because at that point, I had been to several of the monthly meetings and just got more
and more into it and really started to get orange-filled.
And so, yeah, so I met Sam and one of his partners there during the Lightning Summit.
And the way Ainsley tells it, I mean, she's spot on.
I came home that night and I'm like, look, kiddo, just trust me on this.
Like, you got nothing to lose.
Give this a shot.
why don't you and your mom go down there, sit in on this presentation of this website called
Wave Lake. And, you know, and if you dig it, you got nothing to lose. You know, who knows what'll
happen. So she and Jules went down and I remember, like I stopped by for a minute, but then I had to
run. I had a meeting on the other side of town or something. And I remember Bobby Shell was in the
room too. And they gave it a shot and boom, you know, that song took off and Adam Curry was nice
enough to put it on Boost to Graham Ball. And then Julian Ainsley did a really good job of promoting
it on X and she made more in the first six to eight weeks in the Bitcoin world than she had
made in five years on Spotify. And that's when Julian and I were like, holy mackerel. All right,
Let's really dive deep. Let's make sure we understand Bitcoin. Let's make sure we understand the payments. Let's make sure we understand the intellectual property. Let's make sure we're protecting her assets, not just the Bitcoin that she was earning, but making sure that the intellectual property and the publishing and all that kind of stuff was protected in space as well.
So, yeah, the way Ainsley told it is spot on, but that's a more in-depth background to it.
And that led me into doing podcasts and bringing in more artists because I had already – because during that time, mortgages really started to slow down.
At the beginning of 23, the economy started to crack and crumble.
and um well the interest rates started going up which had a knock-on effect or mortgage rates
obviously and yeah yeah too much you know too much liquidity in the market um russia going into
ukraine did not help uh our financial this country's financial situation at all so mortgages
really slowed down and i had and um and i really had the time um to to spend to dive into this
and and that's when i started doing a lot of podcasts at the time and and and i spent really
the the better part of a year and a half just really diving deep into the space for musicians
and get in in podcasts and shows and things like that so yeah and um and now my wife is is is the
one who's really leading the charge in this space you know my wife and on behalf you know for ainsley
and my wife are the ones that are really pushing the power all right we'll get back to that
uh jim but uh why don't we play your first song it's called backwards sideways by jack femister
is that am i pronouncing it right yeah um i'll give you a little background on it just because
i'm such a music theory nut um jack is a wonderful bohemian kid from australia comes from a family
of artists. He is part John Mayer, part Jeff Buckley. And if you listen to a lot of his heavier
stuff, it's almost like he's part Frank Black, right? This is a beautiful track, key of F,
nice waltz feel. The chord progression kills me. Floating bridge with the drums is fantastic. And
then just wait for the horns and the flute to come in. It's a beautiful track by Jack Femister.
Love it. And one of the things I try to do, Jim, on the show is not listen to the songs when they're sent to me before the show, just so that I can listen to them for the first time with fresh ears.
So this is Backwards Sideways by Jack Famister.
But when I look around, I'm ten days out of town
When no line will be found
I'm not making it wrong
You're still sewing by myself
Am I doing too well?
At least as far as you can tell
Say, wouldn't it be a fine night for a dream
I'll be thrown back down the well
I see a pinch in your sill
By the time I'm inside out
Backwards sideways
Back round the right way
All played along it
This time
so where will you be five years from me in a town by the sea
now we'll let go in another 15 more when the last boat leaves the shore
don't you know you're a door
I hope that by then I'll be out of my head, no longer on the mend
Don't know what I'll be or if I'll even agree with what I did way back when
What I'll do with that then
Mmm, by the time I'm inside out, backwards sideways
We're back around the right way
I'll play the long game this time
Mmm, sailing in circles
I'm wondering just why
We never need a change
But I guess that we all do
Size is only so much
Do we back the same way
By the time
By the time I
By the time I'm inside
I'm backwards sideways
The background and the right way
I'll play the long game
Backwards sideways
My background and the right way
I'll play the long game this time
I'm backwards sideways
We're back round the right way
I'll play the long game this time
By the time I
By my time
I'll be fine
That was Backwards Sideways by Jack Famister.
And you were right, Jim.
You know, it's such a nice brunch song
because it has that easy vibe.
But at the same time,
it's not a simple chord progression.
So it makes you think.
Your brain is never fully like,
oh, these are familiar patterns
because they're not.
So it's a beautiful balance right there.
Yeah, I love his stuff.
That's probably the most commercial of his tracks.
I found him before we got into this whole Bitcoin thing.
Phantom Power Music was actually a blog.
I would go onto this website out of the UK called Muso Soup.
and I would be writing reviews of independent artists.
And Jack was one of the ones that I found.
And I just absolutely fell in love with his stuff.
So that whole record, which is called Death of the Closed-Minded,
that whole record is up on Fountain,
as well as his follow-up record is up there as well.
But he's brilliant.
He is absolutely brilliant.
Last time I talked to him, he's living over in, I want to say Budapest.
But it's been a while since I've spoken to him.
But what a talent.
What a talent.
What a great kid.
And he's funnier than hell, too.
He's just a wacky bohemian, you know.
Well, we should see if we can get him for one of these Valley for Valley events.
oh I would oh my god I would love it if he could if he could do it I'll um yeah I'll reach out to
him this week and it'll take like three weeks for him to respond just because you know he's like a
he's a bit of a Luddite like that um but uh yeah so so Jack Femister is a guy that you brought
into this open music ecosystem, correct?
Through Phantom Power?
Yeah.
So we were talking about Phantom Power Media earlier
and how it sort of,
it started with,
well, obviously it was a blog, you said,
but then with Ainsley getting into this,
it became this,
almost like a one,
I guess it's like a jack-of-all-trades type of entity
that helps artists do whatever they need to
to either do these live shows
and get onboarded into the Valley for Valley ecosystem?
Is that a fair sort of summary?
Yeah.
Yeah, I'd say so.
Yeah.
I'd say so.
How many artists have you brought on?
Oh, my gosh.
I'd have to go look at my spreadsheet.
A couple dozen.
Easy.
there's another
there's two more artists on this playlist
that I gave you that I brought on
Marina Osh
who I also found
from Musso Soup
great jazz singer out of Iceland
Abby Muir
who I actually play
Abby Muir is a pop artist from Australia
I was hired by her family
to play piano for her
when she came up and did a gig up here
brought her on uh the trusted um they were another uh independent band out of the uk that i wrote a
blog on um and i onboarded them um tj wong um who who you're gonna hear in this podcast is one of
actually ainsley's buddies from uh portland when we live in seattle he's great brought him on
the guys from the blue house band um all the artists from launch honestly like i'd have to
go back and look at my and I have a log of it somewhere It been a little while since I onboarded somebody but a couple dozen easy What does the process look like
Do you see, is it that you actively go around
looking for musicians and like,
this one's a good fit, this one's independent,
they don't have a place, let's bring them here,
or is it more like they come to you now?
It's a little bit of both.
um and it's a sales pitch right you kind of have to as sean from uh amboss will always say you got
to kind of meet them where they're at right um a lot of musicians are are i mean they're they're
interested in tech but then again then i'd say probably 50 of them kind of like jack minister
and Loathe and our Luddites.
But you have to meet them where they're at
and you have to tread carefully.
You can't necessarily lead with Bitcoin.
You have to, the way we phrase it is,
hey, there's, let me show you something that exists
that is a new way for you to monetize your music.
and there's very, very few middlemen, if not any middlemen,
and you're going to get the lion's share of the payments that are instantaneous.
And then you just kind of ease them into it.
And you have to bring up some real world examples and say, look,
there's artists out here that are using this and are doing really well at it. And if you go hard
in the paint, you can do well in this space. Manlike Quex, Joe Mark, Ainsley, like those are
just a couple of them that are doing quite well in this space. And it's a little bumpy. You're
going to need some patience. And oh, by the way, it's Bitcoin. But I mean, you don't lead with
Bitcoin, right? You just have to say, look, there's better opportunities out there than
getting screwed over by Spotify. As Joe Martin loves to say, like, you pay Spotify for the
pleasure of them ripping you off. And I'm paraphrasing, but he's absolutely right. You
pay these distribution companies $25, $10, $50, whatever your arrangement is for that particular
release for, uh, for the privilege of being up on a massive website, that's going to ignore you
and pay you 0.006 cents a spin. Right. Yeah. So, and artists are absolutely sick and tired of,
of Spotify. They know it's rigged. They know it's pay to play.
And if you can say, look, here's another opportunity for you. Here's a way where you
can get paid directly. You're going to find a very open audience out here. You're going to
over here in the Bitcoin world. You're going to find people that are passionate about
wanting new artists. You're going to find people who are okay with sending you 25 cents, 50 cents,
It's five bucks, 10 bucks, you know, when they like your stuff and you're going to get it instantaneously.
But it's it it's a bit of a challenge, too, because there are a lot of a lot of artists.
As soon as the word Bitcoin is dropped, they want nothing to do with it because of the image of politics.
And we've actually onboarded a couple of people who have come back to us and said, look, this is too Trumpy.
I want nothing to do with this.
And it's heartbreaking because it's like, okay, you don't really necessarily understand it.
And then as the person who brought them in, you kind of have to go back and reevaluate the pitch.
Yeah.
Okay.
So this is an important topic, Jim.
And I want to get back to this onboarding artists, how to craft that sales pitch.
And there's lots more to this.
But before we do that, why don't we listen to your second song, which is it's a song called Apple Pie by TJ Wong.
I think you just mentioned her, correct?
Him, TJ.
Yeah.
OK, great.
He is an amazing blues guitar player.
He's out of Portland.
for anybody who is in the Pacific Northwest. Look up this kid. He is stunning. He and Ainsley go way
back. They wrote some songs pre-COVID. It made it on her second record. Ainsley actually opened up
for him last July when we were in Portland. This is just a great instrumental blues tune in B-flat.
love the chord progression on this
look out for the
great Rhodes
the great Rhodes tones on this track
it's awesome
this is Apple Pie by
DJ Wong
Thank you.
That was Apple Pie
by T.J. Wong.
And, you know, Jim, the only thought I had
as I was listening to this,
and as I'm freezing here in this cold, snowy upstate New York,
is this feels like a warm, late summer day
driving down a country road with sunflowers on both sides,
blowing gently in the wind,
and this song playing in the background.
Yeah.
Yeah, for sure.
Right?
I mean, it sounds like it's like a warm apple pie, the whole thing, right?
Yeah.
And his tone is so great.
And I love, like, I don't know if you can hear this, but when they do that minor two and the major two on the five on the chord progression, it's such a great turn.
I love that.
And you should, TJ Wong is his blues name, but you should also look at him in the regular world as Timothy James.
Like if you search Timothy James, Portland, Oregon, you'll find him.
He's just such a good kid, brilliant player.
Yeah, good stuff.
Good stuff.
Yeah.
Love that song.
And I will definitely be checking more of his work out.
so Jim we were talking about
getting new artists
into this world
and it's getting easier
but we're not quite there yet
and one of the issues
that I see as
someone who's you know for this show
for my other shows
other show Plep Chain Radio where I
play one song as well
is I need to find
music that I actually want to listen to
and it's really hard
It's hard because there's no simple way of discovering.
Podcast Index is just a place that there's a dump of songs there.
Fountains trying to build something, but there's no,
I mean, you know, you're kind of looking at the charts
and trying to pick something out.
How would you know if there's someone you want,
someone you'd like, right?
And so part of it is the work I'm doing with my tech startup,
hypnosfabrica is building on building web of trust tools that are applicable anywhere but in the
context of music we could build an open source recommendation engine so i've been looking into
that and i'll just take an example here a guy like longy great musician oh uh if someone had to find
so if i'm building an app right that's trying to sort through music and categorize artists and
and into genres and all of that.
Longhi, I don't know,
he must have come in in multiple different,
different songs came in,
were brought in by different people
because there's no unique identifier
to a Longhi as the musician.
Typically, you look for something in the RSS block,
you look for something called the Feed Good
or some kind of global ID
and Longhi has about five or six different ones.
uh yeah and it that to me means how however he was onboarded those different times it was a
different person and they were they just you know published an rss feed without checking
for other things so you know that gets complicated as well right because because this is an open ecosystem there isn a single company that saying i will grant you a global identifier and that will be the one that tied to your identity
You have this completely fragmented ecosystem that makes discovery and curation really hard.
So I don't know if that's something you've thought about at all, Jim, as you bring these people on, how to streamline the tech side of it as well.
yeah i mean it does get a little messy sometimes when you have duplicate feeds
right um you know i there was a early on i definitely made that mistake um and i and i had to
jump in with the assistance of doby das and dave jones from the index to try and you know clean up
some of that stuff. But I agree with you. It's a little messy. And I also agree with you that
discovery is hard. My wife's been working on something that we'll announce in the coming
weeks that I hope, we hope, we believe can help change that. And the discovery aspect of it is
difficult. And one of the things that I've tried to do when I've onboarded artists,
quite frankly, is to be pretty picky about it. I obviously have an ear for this. I like to think
that I'm pretty good at picking quality stuff. I'll pick stuff that I don't necessarily like,
that I wouldn't listen to in my personal life, but I can tell, be like, okay, this was well-written,
well-performed, and well-recorded. And those are three very different things.
Because I know from having spent a lot of time parsing through the index and parsing through
Wavelake, that in many respects, it's kind of like parsing through Spotify. And quite frankly,
forgive me for saying this, but a majority of the stuff that's out there for public consumption
shouldn't be. It's garbage. You know, there's so much competition out there, you know, because
you know, everybody, any knucklehead can record a song at home. Well, that doesn't mean that they
should release it that doesn't mean it was well written well performed and well recorded well now
so there's a lot of so there's a lot of trash out there and it's hard to find good stuff that is
well written well performed and well recorded that is worthy of people's time because like we don't
want to create this wasteland of, you know, poor art.
Well, one of the things that happened with Wavelake, while there were a lot of good songs
and good musicians who got onboarded with Wavelake, there were also, there was such an
influx of AI generated crap on there.
Yeah.
And it's really hard to, and, you know, people would game the top 40.
list by zapping themselves yeah and i got and i got sucked into that too because i mean there was
definitely a couple of artists where i was like oh wow this is really good i kind of like you know
i like this and then i didn't realize and then i found out later on that it was ai i'm like damn
it like that's you know it's it's gotten that good you know the the quality of it um i i don't
know how to solve that other than, you know, you know, getting on a video call with the
artist to go, all right, prove to me that this is your crap, right?
Like, you know, but yeah, AI is a, AI is a, is a massive problem for artists, not, not
just in, in our space, but also on the, in, in the fiat world.
And it's, and it's just going to get worse.
You know, it's just going to get worse.
Well, one of the things that I'm trying to do with the people I'm working with, David Strahan, Vito Pamplona, and John Gordon, is with these web of trust tools, anyone can make AI music.
But if someone who you trust picks a song and says, this is AI, this is, hey, actually, this is really good.
It's a beautiful jazz piece.
And you trust their musical taste.
The chances are you will see more of that.
And you will see the stuff that someone you trust.
It can be multiple people, right, that they flag as AI.
And you would avoid it.
So it's still in the works.
It's probably a few months away at this point, Jim,
but we are trying to tackle that head on.
Not by saying we ban AI music and we, you know,
that's not the point, right?
People should be able to, if they want to put crap out there,
you know what, pay the bill and do it.
It's fine, knock yourself out.
But there will be human curators within people's personal webs of trust
who will curate songs and chances are garbage will get filtered out.
I hope so. I look forward to that, to what you're working on. I'll stay tuned. But yeah, discovery in this space is hard. I know that. But, you know, also artists need to be telling their Fiat fans, hey, come over here.
come check me out over here. I don't care if you're Nate Jonovan, who is a brilliant rock
songwriter out of Michigan, or if you're The Trusted, or if you're Abby Muir, or Man Like
Quex. I don't care where you are in the world. If you have your music up in this space, you need to
be telling your fiat friends, come over here. Come check me out over here. You can support me over
here. You can support me directly. When you listen to my stuff on Spotify, thank you very much.
But it really doesn't do anything for me. So artists need to be pulling their fiat friends
over into this space. That's something that has to happen. Bitcoiners need to be cool with,
you know, putting a crowbar in the wallet and spending a little bit of money in support of
artists, you know, I certainly get the whole hodl thing. I certainly do it. We all do it here.
But, you know, you got to share the love a little bit. And but yeah, I mean, those are just a couple
of things that just pop off the top of my head. Artists need to tell their fiat friends, come over
here. Artists need to promote themselves over here. They need to go hard in the paint. You know,
Joe, Joe does a good job. Quex does a good job. Ainsley does a pretty good job. You know, if you're
an artist in this space, go hard in the paint.
Go hard in the paint.
Promote it here.
And what would be helpful is if onboarding is essentially a one or two click process,
which is not quite.
Oh, amen.
Amen.
So let's get to that.
We'll get to that in a second, in a bit, Jim.
But why don't we play your third song?
This is, you'd mentioned the singer Marina Oshk.
Is that how you put it?
Oshk.
Yeah, from Iceland.
Oh, yeah, you're going to love this one.
Yeah, you're going to love this one. If you, forgive me for jumping in, but if you played in a jazz quartet, you would probably say to yourself, holy crap, this song deserves to be on page 141 of the real book. Like, it fits right in this vein.
It is a great swing, D-flat, listen to her vocalizations.
This is as good as anything you're going to hear in the great American songbook.
And get ready for a great trumpet solo.
You're going to love this one.
This is Hey Love by Marina Oshk.
Hey love, you caught me off guard Hey love, I took it quite hard
Oh love, you got me good Wildest dreams aside, I never thought I'd dare admit it
But hey love, I'm doing alright since love
My head is all fried
But love, I like the fact you stumbled my way
I used to visit gay places and all then come what made
Places seemed so charming and swell
But since that fateful day
I've been trying to stay away
Hey love, I'm not used to this thing called love.
It sure ain't no fling, but love, I like the fact you stumbled my way.
All right, baby.
guitar solo
I used to visit gay places in Northern Cal, but my places seem so charming and swell.
But since that fateful day, I've been trying to stay away.
Hey, love, I'm not used to this thing called love.
It sure ain't no fling, but love, I like the fact you stumbled my way.
That was Hey Love by Marina Oshk.
And Jim, I felt like I sat in a time machine
and was transported back 50, 60, 70 years into the past.
Wow.
Yeah, isn't she great?
Oh, my gosh.
Yeah.
I just adore her voice.
It's just, it's perfect.
Lovely stuff.
She has a, like she got her master's in vocal performance, I think, from Copenhagen.
And she's active and, you know, playing gigs and teaching in Reykjavik and does a lot of rock covers too.
Like she's a hoot.
She's a lot of fun.
Yeah, that was a lot of fun for sure.
So Jim, let's go back to the onboarding process.
We talked about discovery,
but there's the actual process of getting someone new.
And you were talking about the sales pitch
and how do we approach it without leading with Bitcoin
because that could put people off.
And then now there's people have political associations with it,
which is completely unfortunate for a truly neutral technology.
But surely there's got to be a way.
And what the guys at Fountainhead are doing,
Oscar, Dorvidas, Nick, and others,
maybe Wave Lake 2.0 when Sam's back from tour
and that gets launched.
Hopefully it becomes as simple
as the artist just fills in some very basic information,
hits go, and the next thing they know,
their feet set up, they're also on Noster,
They have an NPUB, they have a wallet where you can receive either ZAPs or Boots.
It's distributed across the entire system, the podcast index, wherever it is.
No duplication.
Feed IDs, try to NPUB, try to, you know, it's all one thing.
We can't be that far away from this.
I hope not. I completely agree with where you're going. And it's something that Julie and I talk
about quite a bit. And that is, if it is not simple and elegant, it's not going to get used.
You know, there's a lot of bumps and hurdles in this space. It has gotten better in the last two
and a half years, for sure. It's gotten better. And the payment rails are getting better.
the integration is getting better
but yeah if it's not simple and elegant
I don't care if it's
if it's
if it's Bitcoin if it's Noster
if it's a car you're driving
if it's a safety device
you know
if it's
if it's a lawnmower
like if it's not simple
and elegant people aren't going to use it and that was
something that was really
beaten into me
when I worked for an engineering firm in Seattle for five years.
So, yeah, I completely agree with you.
It's gotten better.
It's gotten a lot better in the last two and a half years.
But there's still some more to go, for sure.
Well, I mean, you're talking about Ainsley going and talking to her musician friends
who are completely outside of this world, but they're independent,
to try and bring them in saying, hey, this is amazing.
Joe Martin might be doing that.
Others are possibly doing that.
And then they come in and the first thing Ainsley has to tell her friend is, yeah, you know, there's this key send thing here and there's Ellen URL here.
Some not all.
I'll be helped is the only one that does both.
And it just who is going to stay if that is the first conversation we're having.
Yeah.
And then you got to have like cash app or strike or blah, blah, blah, you know.
And then, yeah, it's a lot.
It's a lot.
And what a lot of people in this space who are passionate about music in Bitcoin, whether you're self-hosting or you're hosting through Fountain or Wave Lake, however you're doing it, what a lot of people fail to recognize, they fail to put themselves in the shoes of the artist.
And what I mean by that is artists today, singer-songwriters today, I don't care if it's Jack Themister, Marina Oshk, Joe Martin, Ainsley, Man Like Wex, I don't care who it is.
They have to spend so much of their time just on the business side of things.
With social media.
With recording.
With licensing.
With publishing.
With songwriting.
they have to spend so much time doing that in addition most of them have one if not two
day jobs or part-time jobs just so that they can make feet make enough fiat to support going into
the studio at 2 000 bucks a song right a lot of people forget a lot of people in this space forget
that musicians already have a really full plate. So asking them to completely dive into
Noster or hosting or KeySend or LNURL or Cash App or whatever, they're already taxed physically
and mentally in the fiat world.
And now let's throw something that's pretty bumpy and complicated on top of it.
It's hard to do, yet it's hard to find the right musicians who have the time and who
understand the beauty of Bitcoin and understand the opportunity here, who are willing to go
hard in the paint and promote themselves in this space and bring their fiat friends into this space.
You know, again, if it's not simple and elegant, it's not going to succeed.
No, it's it's I think that really is the call to action to anyone who's building these front ends
for musicians and back ends for that matter. But really, it's the front end that from an artist
presentation standpoint
is what's going to make a difference.
Where what I'm working on
at Nosfabrica is really infrastructure.
It's not just applicable to music. It's applicable to
a broad range of things.
We might end up leading with music just because
this is such a pressing problem and it's so
meaningful to people.
How can we do
how can we solve discovery
and recommendation in a completely decentralized
way without making it
custodial or anything at all?
I think we're close.
We're getting there.
But yes, it's got to be easy.
It's got to be one click, two clicks, tops.
No need to talk about any of these distinctions
between key send, L and URL.
Now, if the artist wants to dig in,
then that's great.
They can go to the advanced settings in their app
and play around and click on the readmes and whatnot.
But that needs to be their choice,
not something that's forced upon them.
You know, I'm very bullish and I'm very bearish on this opportunity for musicians. If I had this 30 years ago when I was, you know, making the rounds in L.A., I would have been all over it.
So it kind of surprises me that it hasn't blown up yet.
but that's why I'm still so passionate about it.
Like I,
you and I and,
and Sam and open mic and my wife and,
and Derek and Heather and everybody,
Adam,
everybody who's in this space,
like we see it for what it is,
is going to be.
And I think that,
you know,
we can sit here and talk about the challenges that artists face in the
fiat world and the challenges that they face when they're onboarding into
this world.
But I think we also need to recognize that I think that Bitcoin is going to need some sort of massive public moment that really kind of, you know, that pushes it over the edge for everybody else.
And that's harder for people in this country, in the Western world, to see that possibility.
You know, when you speak with people in developing nations who are into Bitcoin, you get it because they, you know, they got onto it so much faster because of the instability within their own countries.
Over here, they don't necessarily see the opportunity as quickly as they should because of the relatively stable environment that we're all in.
So, you know, but I'm bullish and I'm bearish on it.
You know, I'm amazed that it hasn't blown up yet.
I'm amazed we haven't had some C-level or B-level artist give the middle finger to the record companies and the distributors and say,
screw it. I own my whole catalog and I'm going over here, you know? Um, but you know, that,
that's another thing that, that I think would really help, you know, it's, you know, these are
massive, uh, cultural and technological problems that we, that we need to overcome. And it's,
and it's, it's never just one thing in life. I don't care if it's a car accident, a sales pitch
or, or fixing something like it's never just one thing. And there's a lot, um, there's a lot of
opportunity here, but there's still some bumps.
Let's, I do want to come back to one of the things you've mentioned there, which is Bitcoin's
perception in the West, especially these days in America, it's gotten sanitized with these
treasury companies, politicized with what I was happening, strategic reserve and all of that stuff.
but let's
listen to the next song first
this is from our mutual friend
Joe Martin
this I think might be the second or third time Joe Martin's made an appearance
on the show
on this young show
and it is
do you want to talk about it
first Jim
yeah just you know it's from his
record called
Small World
you know to know Joe
is to love him. I mean, he's just such, he's a great songwriter and such a sweet guy. Um,
this track really, um, I, I, I'm, I'm so impressed with his songwriting ability, um,
and, and how somebody from the, you know, the middle of the UK can sound like they grew up,
uh, in the Laurel Canyon neighborhood of LA. Right. Um, but this is, this is one of my favorite
tracks of his um for for two reasons number one the instrumentation of it i love i love his use
of the double bass and the lap steel in this and number two um i love how he didn't edit himself
lyrically in this song this is a hard topic breakups are hard right and it's it's just like
you're just turning over a bucket of emotion on this um yeah that's all i'll say about this one
It's one of my favorite Joe tracks, and I hope he's listening.
He's such a good dude.
For sure.
This is Killing Me Slowly by Joe Martin.
guitar solo
Didn't want this anymore
That's how we left it
Last time
I always seem to find my way back in your life
And it's killing me
Slowly
Sitting on my porch smoking a fuck you cigarette
Tortured by the memories I try so hard to forget
Will you call me up that night and say that we ain't done just yet
Then I'm running back to you again
I say to the mirror, this is the last time
But you always somehow making me change my damn mind
You steal my heart and smash it apart
I want out of this somehow
We're one out of us
Girl, I thought that I could handle
A girl like you, but I can't
Can you see that you're killing me slowly?
Looking at you sleeping as a lion in your bed.
And you'll be lying to yourself when I leave.
Saying you be moving on to someone else instead You won just give in to all you need I could drink myself blind
But I'd still walk right behind you
Picking up the pieces of our lives
And if that ain't enough
I'll deny your love's a drug
And I'm an addict
And it's killing me slowly
Well I want out of this somehow
I want out of you and me
Girl I thought that I could handle a girl like you
But I can't, can't you see
That you're killing me slowly
You're gonna be the end of me, girl
Killing me slowly
Mmm
That was Killing Me Slowly by Joe Martin.
And Jim, you know, with a guy like Joe, such a soft-spoken, happy guy,
and most of his songs are just beautiful and gentle.
And this one is true, right?
It's a soft, gentle song, but then you hear some of the lyrics,
and you're like oh wow he felt it and yeah yeah yeah that's what i mean like i i love how he didn't
edit himself on that you know like you know like rhyming couplets and making sure everything hits
the right syllables and you know trying to be so scientific and and um uh you know an actuary with
your songwriting and this is like oh this is a breakup song like i'm just gonna i'm just gonna
bucket out my vomit on the floor here right like this is that's great i love that one yeah and yet
somehow gentle in
the classic
Joe Martin way.
Yeah, good kid.
Yeah, for sure.
He doesn't know this yet, but once he
approaches the
release, or when it's just
about to be released, his new album,
he's going to come on the show
and he's going to play his songs.
Yeah.
Good. Yeah, I look forward to it.
I look forward to it.
Yeah, I saw him
gosh i want to say it was autumn or late summer here he uh here in nashville he had just been here
recording the record and caught him between sessions and it was a treat to see him so
well he played the set with uh ainsley at bitcoin park and i was there for that one but when was
that for nosterville wasn't it yeah that was the last time i saw him i i couldn't i couldn't make
it that night for whatever reason. I think I had a gig that night. But I met him for lunch that day.
And I do want to talk about your music as well, Jim. But let's talk about this topic first,
which is what you mentioned right before we played the song. Bitcoin perhaps doesn't have that
appeal in not yet anyway in the West that it does in countries that are suffering from
hyperinflation that are suffering from authoritarian regimes that and you know people are using it as
an escape hatch not not some shiny investment uh as tends to be the case here uh i think one of the
interesting things with bitcoin is that look bitcoin was a money that was born out of rebellion
right chancellor on the brink of bailout of the banks if it came out of the ashes of the 2008
financial crisis. And it is, in some sense, a dissident money, right? It's a money that you can
use without anyone's permission. And somehow, in the last two or three years, especially in the US,
but that's kind of permeated to Western Europe as well, is this sanitized version of Bitcoin,
where the suits have come in.
And we have politicians talking about creating strategic reserves.
And that, at least in the countries where this is happening,
that dissident, rebellious nature of Bitcoin,
which I honestly think is, that hasn't actually gone away, right?
You can still use Bitcoin for exactly those reasons that it was created for,
which is money that only you control and there's no third party involved.
But that is not as apparent here because of the sanitization and politicization that's happened.
And I'm sure, Jim, especially on the politicization front, you've run into issues trying to onboard musicians.
Oh, yeah. Yeah, for sure.
And I think what you're talking about that's happening over here is just the standard fare for anything like this, for any cultural change like this.
I don't care if it's, you know, a new technology or a new medicine or things like this.
You know, at first it's evil and it's bad.
And then as the truth and the quote unquote science behind it comes out, people are like, oh, maybe it's not so bad.
Oh, maybe the state of Tennessee should put 10% of their budget into a Bitcoin reserve, which they started talking about openly, right?
That doesn't, yeah, it doesn't really surprise me.
It's just kind of like the standard progression of life, you know.
Think back, I don't know why I just thought of this, but you think back 150, 200 years ago, and people thought that tomatoes were dangerous.
and terrible, right?
And then finally, I think that the old wives' tale
is like some guy cut one open
and stood up in front of a crowd
and took a bite out of it.
It was like, not a big deal.
You know, so I don't, yeah,
that whole side of it doesn't bother me.
And I think in many respects it's needed
so that the greater public, you know,
will go, oh, well, if Jamie Dimon
is now okay with it being part of their portfolio, or if this bank is now okay with Bitcoin being part
of their portfolio, maybe it isn't a bad thing. Maybe it's not all drug money, like Elizabeth
Warren said. Maybe it's not being nefariously used primarily around the world. So that's just
kind of like the natural course of life for me i think it's i i i think it's it's good
that it doesn't bother me it's getting it's getting washed over just if because if it helps
the the the normies out in the middle of the world go oh well maybe i should buy 200 bucks and
and start taking a look at it what i was saying is it's losing its punk rock element
which had probably had that niche appeal.
But yes, no, I see what you're saying, Jim.
Yeah, but everything, but doesn't everything though, Avi?
I mean, punk rock lost its appeal, its punk rock appeal, right?
I mean, you know, tie-dye shirts.
You see conservatives wearing tie-dye shirts.
You know, you see, you know, I mean,
I think everything loses its punk rock appeal
until the next Jagged Edge appears.
You know, that's just kind of like sociology, I think.
So, Jim, let's play your last song.
And then I want to talk about your musical career as well.
Okay.
So this one is Halfway to Houston by Alicia Stockton.
Stockman?
Did I get the name?
Yeah.
She, I found her on Wavelake.
She played bands at Bitcoin here.
2024. Alicia is the real deal. She is an independent artist based in Utah trying to
make it work. And I love her writing and I love her voice. She's kind of like a cross between
Patti Griffin and Emmylou Harris. This is a great arrangement. I think she recorded it
out here in Nashville. Like she comes out once or twice a year and does tracks out here.
listen to the vocal recording on this the compression and the reverb on her voice is just
absolutely fantastic great lyrics lovely progression in the bridge like this is a great
example of how I've always viewed songwriting as like building a house right like the chorus is
the kitchen and the verses are the bedrooms that type of thing and then when you go into the bridge
it's like, you know, you find this whole other room.
But yeah, this song's called Halfway to Houston.
It's from her record called These Four Walls.
And she's a great artist from Utah
and she's the real deal.
Halfway to Houston by Alicia Stockman.
I was up before the sun that morning
Tiptoeing on eggshells and packing up my car
The key was on the counter when I locked the door behind me
So I wouldn't have the chance to change my mind
I was halfway to Houston by the time he woke up
Did he wonder was I coming back or was he glad to see me gone
I was trying not to turn that car around
I was halfway to Houston
And I broke down
I guess you could say that nothing happened
It's not the same saying nothing was wrong
And how could we not notice
A tender touch turned cold
It takes time to build a callus thick enough
I was halfway to Houston
By the time he woke up
Did he wonder was I coming back
Or was he glad to see me gone?
I was trying not to turn that car around.
I was halfway to Houston.
And I broke down.
For the first time.
Oh, in a long time.
I had the chance to ask myself
Just what I needed
Oh, the interstate
Gave me space to see it
And then every mile
Hurt just a little less guitar solo I just knew less I was halfway to Houston
By the time he woke up
Did he wonder was I coming back
Or was he glad to see me gone
And I knew that there was no turning around
I was halfway to Houston
Halfway to Houston
When I broke down
That was Halfway to Houston by Alicia Stockman.
Another great pick there, Jim.
Love those.
Nice, buddy.
Yeah, I like those guitars.
I love that guitar tone, you know.
It's a bit of the George Harrison type vibe as well.
yeah
yeah I can see that
early 70s
Harrison solo records type of stuff
yeah
so
Jim let's talk about
we've spent this entire time
with you
talking about Ainsley who's a great musician
and all these other great musicians
that you've
shared here but
you're a musician yourself
So let's talk about that journey and what you're doing on that front these days.
Well, for me, it's really just, I mean, it's more than a hobby.
Of course, it's my passion.
I am 55, but I'm still playing gigs actively.
I started when I was a kid.
I started playing piano when I was nine. Just about every day that I come down here in my studio, I've got my piano up.
I started writing when I was 15, started playing in bands when I was 13.
Started at the University of Colorado as a piano composition major.
and left college for two and a half years to go on the road and play piano for a touring production.
And then I studied jazz piano and jazz guitar in Switzerland for half a year and loved it.
That was 93. Went back to the University of Colorado, got my undergrad in advertising.
I didn't, you know, after being in music school for a while, I was like, I don't want to be a,
you know, what the hell am I going to do with this degree? I don't want to be a teacher.
And I regret that decision now. I kind of wish I would have gotten my undergrad in music and
education, but moved out to LA, did the singer songwriter thing from 95 to 03,
uh, had a lot of fun, um, got, got pretty close, um, but, uh, definitely learned a lot and had a
lot of great experiences. I was able to tour for another two years. I was able to, uh, record and
work, uh, in some of the best studios out there. Um, I played just about all the clubs on Sunset
Strip. I played the Whiskey, the Troubadour, uh, the Rainbow Room, House of Blues, um,
dragon lair uh genghis cohen like you name it um i had a lot of fun doing it um and then quite
frankly i got sober i've been sober now 25 years and um just had to walk away from it from my own
sanity um and um my wife and i just had to get the hell out of southern california so
we, we left, we moved to the East coast and, and I kind of put it down for about five years or so.
And then I started playing and pick up bands again, just for fun. And then, and then we moved
back to the West coast. We moved to Seattle and really quickly I started playing in bands out
there, my wife came across a group, a big band that was in need of a piano player. And before I
knew it, in Seattle, I was playing in like seven bands at one time. I was playing in two big bands,
a jazz quartet, an independent rock project that introduced me to a great scene in Seattle.
and I got really busy even though I had a great day job in Seattle I was I was doing like 60 70
gigs a year and just loving it and then and that's that's right about the time that my daughter caught
the music bug and I really started working with her and just teaching her about running a band and
you know teaching her about how to be a musician and things like that and then
she wanted to move here to support her career. And obviously, my wife and I were behind that.
We felt at the time that, you know, there was really only one or two more things she could
have done in Seattle. So why wait? Let's just go. So we moved here to Nashville in January 2020.
And then, of course, six weeks later, everything shut down.
um but um i was lucky enough in my time as as a musician i i put out a solo record 95 and then
that morphed into a band and we put out another 10 songs in like 2000 2001 um i had it i had
two dozen other tracks that i had um written up and recorded at home that i'm uh starting to release
re-release um and all of those were in the singer songwriter rock and roll vein with me on guitar
but uh as a um as a musician piano was my first love um and that that was in the very first record
i ever wrote was all instrumental stuff on piano and i had i've gone back and re-recorded those
uh within the past year and and i put them up on um
fountain just instrumental piano pieces oh wow so yeah so you can like there's a there's 10 songs
that's that's all instrumental piano um over on fountain that you can find um and i've and
between you and me avi i've got two more records in my brain that i want to record before i die
and i gotta i probably got about 25 years to do it right like i want to do it i want to do another
singer-songwriter album
with me on guitar.
And I have a couple dozen
ideas,
instrumental ideas
that I want to do
with a
jazz quartet.
But, you know,
as the saying goes,
life is what happens when you're busy
making other plans.
So I've just, you know,
music has been
the third greatest joy of my life, the first two being my family, right?
And even today, I love going out and playing with other people. Ainsley does a podcast with a great
singer-songwriter here in town by the name of Catherine, and I've been playing piano for her
at some gigs and it just love it, love doing it. Um, I go play the casinos up in, in, uh, Kentucky
and Indiana with this top 40 band. Um, and I love it, you know, and I, and I've been, uh, been playing,
uh, like classic rock and classic country here with a bunch of, you know, with, with a bunch
of good old boys. And, and it has taught me a whole other side of piano. So, um, you know,
some guys go hunting, some guys go boating, some guys go golfing.
For me, like if I'm not doing the day job thing,
I'm picking up a guitar or playing piano.
Love that, Jim.
And folks, make sure you check out Jim's music on Fountain.
I will put a link to that in the show notes.
And I'm always on the lookout for independent background music
for whether it's podcasting or filmmaking or what have you.
Jim, so I've been turning to AI for that, which is actually, depending on how you prompt it.
You're breaking my heart, baby.
But if there is independent instrumental music, especially piano pieces, then certainly worth looking into.
So Jim, I'm going to play my song now.
And I think by now, people who have listened to the last few episodes kind of know that it's not quite going to be a branch song.
and we're going to drop the vocals for this one.
Sometimes the best way to reset on a Sunday
is just to let the rhythm do the thinking for you.
And the next track is a beautiful piece
of instrumental storytelling
from an avant-garde project called Shmooley Kraut.
I think I'm pronouncing that right.
And as the name suggests,
it has elements of the kraut rock tradition.
the track is called
Carsis 3
it's repetitive
but it's still rhythmic somehow
it's a fractal loop
that pulls you inward
so stare out of the window
and make sure you add a splash
of bourbon to your coffee
you're going to need it
nice
Thank you.
Thank you Thank you MUZIEK
***
MUZIEK
TV Gelderland 2021
Dat was Karsus 3 by Schmooleykraut.
En wat on earth was dat?
Ik weet het niet, maar ik absoluut het.
Dit is het.
Ja, go ahead, Jim.
Ik was going to zeggen, ik ben zitten hier googel wat de helde Karsus is.
Ik ben, de song was in drie movements.
Yes.
Dat is probably waar de Rome manoeuvre 3 is.
Maar ja, ik agree met je.
Wat de helde was dat?
Dat was like Jethro Toll, Rick James, Daft Punk, Progressive Rock.
Like everything.
Dat was beautiful.
I loved it.
Yeah, so you nailed it there, Jim.
The song managed to squeeze three completely different,
but somehow cohesive movements into a five-minute span.
This is the kind of song that would happen if you got Robert Fripp
to do the string arrangements and sound mixing for a Stephen Wilson fever dream
rather than the other way around.
Het is een soundtrack to een 1970s sci-fi movie dat never werd gemaakt
omdat de director werd hart-attacht midwijd bij de CIA
voor het blijk de whistle op de moon landing.
Maar het zou hebben gemaakt door David Lynch.
Yes, er is ook de perfect thinking music.
Het is ook een long article, of just staring solemnly.
At Number Go Down, which is wat ik seem te doen deze dag,
Het is de kind van instrumental track dat helpt je lock in.
Je seem pretty astute aan music.
Do you play music at all?
Do you know music theory?
Only, so my brother's a musician.
And he's completely self-taught.
So when you were saying you taught yourself piano when you were nine,
it kind of reminded me of my brother,
who self-taught himself piano when he was six.
And then he has a band.
So he taught me a few chords on the guitar.
So I understand how chord progressions work.
I know how to construct, well, theoretically,
how the melody itself is sort of carried on the chord progressions
and you can sort of tweak things with that.
And I listen to a lot of prog rock, Jim.
So the odd time signature thing is like bread and butter for me.
Yeah, that's what got me in the first movement there.
Ik was zitten hier, je hebt me, ik ben counting uit de vijf,
want het was vijf, vijf, en dan ze een measure van vijf,
en dan een vijf, en dan een andere vijf, en dan ze drie meisjes van vijf.
Ik ben, wat de hel is er dan hier?
Ja, dat is het leuk.
Maar je bent een jazz musician, toch, right, Jim?
Ja, dat is mijn biggest passion.
Dat is wat ik hou van de vijf, want het meest challenges me.
de moest.
Het is gewoon,
playing in top 40
or country,
oké, het is fun,
find the pocket,
maar if I'm not
doing something
that's making me
a better musician,
I can get bored
pretty quickly.
Jazz never does that.
Jazz intimidates
the shit out of me.
The most fun
I've ever had
has been playing
in jazz quartets
and trios
because you're just
riding the rail
every gig.
??
Ik wil het meer dan anything else.
Het is mijn favorit genre.
In een vreerde woorden, ik wil eenや余 πολjeringen cole
vad further calls het jazz pianist.
Ik wil je voorle기 laten,
dan grant me dat label.
Ik wil WiFiavored� うwpez dat label.
Maar ik wil niet zeggen het aan mij.
En er is eenel Belblijat tussen pro het vonegages,
vanavadharen en Ger 63.
which is all about playing with time signatures and jazz.
In a strange way, they sort of connect horseshoe theory, as some say.
It moves so far away from the unstructured nature of jazz
that it comes all the way around,
sounding a bit like jazz at times.
Yes, in the same way that you can take Haydn's symphonies
Fox Brandenburg Concertos
en
draw
a straight line
to speed metal
draw a straight line
to
a lot of that really
fast paced
Yngwie Malmsteen type of
rock music
absolutely
so Jim
anything else you want to
de audience with? Wat kan we
look forward to from Phantom Power
media, from you personally, from
Ainsley, from Julie?
Well,
me personally, you can catch me at
Bally's Casino in Hemmingsville,
Indiana, at the end of the month.
I know Ainsley
and her buddy
Katie, they're doing the Snap podcast,
which is
cool. If you're a songwriter,
They talk about a lot of the stuff that you and I talked about in terms of Bitcoin and whatnot.
I think Ainsley has a gig in D.C. March 15th, right around the whole Runster event with PubKey, I think.
Don't quote me on that.
Hoping Frog happens, musically speaking.
Ik weet dat ze had een conversaties op dat.
Maar dat is niet mijn plekje om te zeggen.
Wanneer dat ze er niet mee is.
Ze zijn er niet mee.
Voor Ainslie's band, ik ben gewoon de bass player.
Ik denk we're going to be...
Of ze is er niet mee.
In Camp Nakamoto in New Hampshire.
Dat'll be fun.
Julie has started talking to some guys.
at Bitcoin for the Arts,
which is
based out of Chicago.
They support artists across
all disciplines
with Bitcoin for
microgrants and workshops.
It's not Dionne Wilson by any chance, is it?
I think it is.
Oh yeah, I'm working with him. They're based out of New York,
Jim. Oh, okay.
I'm involved in that.
Oh, good.
Yeah.
You know, I'm just
Ik ben gewoon voor de ride in
in sommige respect.
Maar ja, en Jules
has been working on
a project here for de past couple months
dat ik weet dat ze verkozen
is hier volgens her.
Dat is het. Angelica's got some gigs coming up
en goed stuff coming.
Awesome.
Great. Well, thank you for
stopping by, Jim, and thank you for
sharing this great music.
Good conversation.
looking forward to
everything that you
and your family, really super family
in the value space
has in store
and thank you
to our live stream audience for listening
and for the zaps
if you're listening to the recorded
episode and this session
added a little flavor
to your day, if it helped you
reset, relax or discover
a new favorite track, please consider
***
Dank u wel.
TV Gelderland 2021