is basically a revolutionary war campfire song is what you're saying. Exactly. Hello and welcome to WNC Original Music, episode 141, the Unquod Unium episode. Very happy to have True Verre on the podcast this week.
True Verre has an EP out called Saint Luna, and he has slowly been releasing his full length album, Conventional Comfort's, through a series of kind of gradually releasing singles. You can find him on the streaming sites, but especially you can find him at trueverre.bankap.com. That's T-R-O-U-V-R-E.bankap.com. I know that everybody's favorite part of the podcast is me spelling out band and musician name.
So that's why we started a little bit of it in. And now here is True Verre. The first dude I released with Pete. And in my mind, or you know, I just did my phone when I was listening to him today when I was driving around, you know, just put some alphabetical order.
So I know this isn't the order that you have in the album, probably. But nothing to say. It was like, came in at the right time, was kind of upbeat and a little bit of a departure. I don't have a helping order yet.
Yeah. I'll hire you to just go with it. I mean, alphabetical things are pretty good. But does anybody ever do that?
Why not? Just alphabetical. Like, why do we have to think so hard? Yeah.
Like just alphabetical. You're my manager. You're right. All right.
Yeah, it's easy to do. Yeah, nothing to say is that was the first team I recorded with Pete, the mostly guitars, bass and drums were recorded at Sedgwick. So my buddy Riley, he lives out in Wilmington. He came up on a Friday.
I had sent him demos of just basically guitar and the lyrics that had written. Came up on a Friday. Originally, the tune was kind of just like doing diamonds or like, you know, diamonds are in music. It's like, wait, wait, wait, it was a sort of you cut out.
Right. When you said you said, you know what diamonds are in music, I said, no. And then it would like to start from there. No, I don't know what diamonds are in music.
Yeah, the song started out, you know, as kind of like me just playing diamonds, like in pop music guitars, we say diamonds, which, you know, kind of like means playing on the down. But you're just playing like a whole note, you know, or you know, or tied, you know, whole note, you know, if you want to get real and dirty depending on the song. But essentially, like, there was no rhythms really to it. It was just me like playing this washed out reverb, like, you know, towards sequence.
And I was singing, singing the lyrics that way. And so Riley, my friend, he comes up on a Friday. We were on Saturday. He brings like a little strip down to the back room here.
And we're just like playing, practicing to a kid and stuff. And he was just working out a groove. And all of a sudden, like he comes up with a groove that you hear on the on the on the tune. And I'm like, yeah, I don't I'm not doing this like washed out thing anymore.
So then I start kind of like doing more of a palm muted kind of kind of rhythm. And eventually the tune evolved into what it was now, you know, but I remember there was this moment. This was the first tune we did with Pete. And he's down in the control room in Sedgwick studios.
Have you heard of Sedgwick studios at all? It sounds familiar, but I can't quite place it. I mean, it's a bit away from Nashville in the woods, but it's like this big, like, the house mansion or whatever. And it's the set up and same in the basement.
It's the control room has like the guitar locker and gear locker as a kitchen down there. And then you can go like all the way up to like a third story. And there's like a deck outside, but you go up to the third story. And that's where you record, like it's a great place to record drums.
Because the third story is like split in half to where there's three levels. And one side and there's just a really tall ceiling in the other side of the house. And that huge ceiling makes a great drum room. So at the bottom, you know, you could put some condensers down there and get an amazing drum sound.
Anyway, so yeah, we're at Sedgwick and being Riley are like, you know, I'm playing a strat, a street thin sounding guitar and Riley's pumping away on the tubs on the drums. And Pete's like, you know, he played a couple of sequences through. We didn't hear anything. He's like, I think I found a bass bar.
I think I'll lay it in this time. I'm like, OK, man, I just remember when he started playing, you know, it's like, Riley's got like almost like Al Green kind of vibe going. And Pete, the way he's filled out that tune on that bass line was just like, that's a memory. The first time that's like what you live for as a musician, you know, like when you're playing and like all of a sudden somebody just comes in with a, you know, solid part.
That was that was a great memory. And that's when I was like, yeah, I think we're in good hands. Yeah, you know, that's my first, you know, I heard heard the great tunes. He recorded, he recorded, you know, a record with Greek opponent.
And sounds great. Oh, yeah. She's my favorite. Yeah.
Yeah. Yeah. Amazing songwriter. I'm obviously, you know, I'm a male and I'm more indie than her.
So I'm trying to see how that translated. And then, you know, the minute he laid it down, I was like, yes, we're good. Um, so that's a great memory. So we're at Sajawake laying that down.
Nothing to say. Um, we end up tracking the rest of it at Pete's house and he lives like, you're in the farmer's market off of it's not in Brevard. What's that road? Brevard road.
Yeah. Yeah. It's right off of 40. Yeah.
It was like staying in the house back there and we tracked basically everything else. You know, the keys and stuff there. Um, I would just hop on 40 and get off and, you know, yeah, it was, it was a blast, man. So that's where we knocked out the whole tune.
The whole, the whole like concept behind the song was I was feeling the pressure to write a song. It's like man, it's been a bit like it's been in dry spell. And as a songwriter, I think a lot of songwriters might relate and agree. That's like not a great place to be.
You know, like the magic's gone. I was like, well, you know, I don't have anything significant to say in my life right now. So I just think about that, you know, like that time is relatively monotonous and just kind of getting through the motions. So that's kind of where the song, the friends behind the song, you know, it kind of takes you through day.
Maybe, maybe spent the night like staying up too late, procrastinating, you know, I don't want to think about going, you know, to do things tomorrow and I have a couple of beverages, you know, you wake up a little fucking minded. And I live, I live like on this little hay farm and there's just mocking bird like outside, outside lives in this little holly tree that we have outside front door. We have power lines that go through a property. So like when it comes morning time, he just hops in that power line and just sings for like 30 minutes straight.
And it's beautiful if you don't have a headache way earlier than you want to be out. That kind of like kicks off the song. You know, I guess I was a little violent, but it's hard and it's, you know, it's hyperbole. So.
Saint Luna, I wrote back around the college time. when I was in college. I mean, and I struggled with insomnia then, as I do now. So that's like, you know, Luna is moving in Spanish.
And I don't know, it's just kind of like, anyone who's suffered with severe insomnia, it's going on four o'clock and you weren't continuing on trying to stay up that late. Like, you're grasping at straw. It's like, figure out what's gonna help put you down just for a couple hours. And so I just had this concept of like, praying to the moon, honestly.
So that's kind of where the whole metaphor comes out of. But it's kind of structured as a, not a duet, but we call it, people to sleep. Oh, lullaby. Lullaby.
Lullaby. Yeah. Lullaby. Yeah.
I guess it's sort of a play off of a lullaby to do it. It's about insomnia, essentially. In the different ways, people deal and cope with it. But there's two sections to it.
The first part was just slower. And then the last part has much more energy. And it modulates to G major. And that's supposed to be the anger and energy in it.
I guess maybe as you listen to more of my music, you hear a pattern of like almost bipolar contrasts. And I really appreciate that music where people can help highlight or they can lean on drastic contrasts for the emotional effect. St. Luna, that's the first song I think we really reported.
So I learned a lot during that process. A lot, mostly like what not to do. So that's actually my wife, Santa Barbara singing. Oh, OK.
That's actually how we met songwriting together. I wrote the first verse. She wrote the second verse. Are you guys that you met recording the song?
No, no, no. We met through a love of indie music and songwriting. We played in a band together. She was dating someone else at the time and me too.
And then those ended up we started dating. You know, one thing after another. So that's my wife singing in Saint Luna. And a lot of other tunes that I've released in Will release.
She's probably like the true musician out of the two of us. Her voice is amazing. Does she play a lot of music herself? I'd say less and less, really.
Kind of with the rebirth of true various artists speaking about Pryor, she's kind of taking a step away. If her son's subject to my wife, she's really talented. She just went design here in Western West Carolina and Boone in Asheville. And so weddings are on weekends.
And so her, you know, so she's not as available. Yeah, but my wife's really cool guys. What's the name of a white florist business? Santa Barbara Flowers.
It's Santa Barbara Flowers. S-A-N-T-A-R-A is her name's her name's her. So if you want life hack, just write like mediocre songs without a girl. And then marry them.
And then life is perfect. They have no problems. No, I love my wife dearly. So it's like my first tune is really recorded.
And I learned a lot about what not to do. But it was a great experience. And you had talked about suggestions or recommendations you would give other people. And that kind of leans on it.
One thing I've learned. And I'm still practicing my learning how to improve myself. But I think there's this concept of like wait until later, like wait until I get better. And in my experience, unless you know specifically what you can get better at, you know, it's like, oh, well, I can't do this specific technique or scale quite right now.
Or I can't, I'm not nailing this wrong. I need to practice that. Like you just need to record it and move on. You know, like realistically, you can't be better than who you are.
And realistically, most people accept you for who you are. And people relate with the mistakes and the inability. It's human. And also that's how you, I mean, that's just one more thing to practice.
You practice recording. You practice how you play as you record because that's different than playing live. It's like I always tell a lot of people that one of the best things you can do to learn how to play music is to play with other people. And they're like really playing a band where there's expectations because it's very different.
And that's when you get better. You know, like you can practice at home, but you're very forgiving and selective at home versus if you're in a band. And someone's saying, you know, we're playing this at 130, you're lagging at 120. You need to come along with us, not just decide you're going to play at 120, which you would do at home if you're practicing a lot of times on your own.
And the same thing with recording. You got to match up things. You got to figure out what sounds good together, not just good on that take and that sort of thing. So you have to practice every part of music when you do that recording.
Exactly. Yeah. Definitely playing with, no, I mean, keep it in there. You're speaking words of wisdom.
I tell you. I tell you. I love it. I'm circling in Mother Mary.
All right. Speaking words of wisdom. Yeah. No, you're so right.
You know, playing with other people and playing with as many people as you can and taking as many opportunities as you can. And kind of just honestly being confident with who you are in that moment. I would like to think that most people know their insecurities and it's just like balancing them and ignoring them in a moment of opportunity. You know, I've been, I study classical guitar.
You know, I've been playing music now for eight years, which isn't, you know, incredibly, you know, like actually 10 years, which isn't incredibly long. That's not my point. But I can only speak really from my personal experience. You know, I still see all the things I can't do now.
And I think that probably will always be a thing. So yeah, is that horse dead yet? You know, it's kind of... More from True Bear in just a few moments.
I want to remind you that you can find his music online, just search True Bear or go to truebear.bankamp.com. Also, there will be links in the show notes. Make sure to check out those for other places to find them, both his music and his social media. He does some really cool videos to video clips that are very interesting and entertaining and fit very well with his music.
Hey guys, this is Kendra. This is Zach from the Brown Mountain Lightning Buzz. And this is Waves from our new album, Folk-ish, which you can find online. You can stream it, you can download it, or you can buy physical copies from our website.
Which is brownmountandlightningbugs.com. We also have some really cool t-shirts and some stickers. So head on over there. You can also find us on all of the social medias.
I mean, love for you to come join us. Don't forget to subscribe to the podcast, wherever you get your podcast, just search WNC Original Music, or go to wncoriginalmusic.com for links there. Also, get your smart speaker to play WNC Original Music just by asking it politely. And just last resort, if all else fails, you can just Google WNC Original Music.
And something will come up that will direct you to the podcast. Corrections and clarifications from last week's episode with Matt Walsh. Sweet Home Alabama was a song by Leonard Skinner from the 70s, and Sweet Home Alabama was a romantic comedy from, I think, the 90s or early 2000s. So we were both right.
Hey there, this is Cozetko Bay, and you're listening to WNC Original Music. So I have three new songs in quarantine I wrote. I am a fly track in them too, as I speak about, I guess, a musical family that I have, these connections. And it ends up looking like my friend Jack in Brooklyn is laying down lap steel and lead electric.
Then another friend of mine, Chris Geller, he's out in LA, he's laying down drums, Pete's laying down bass parts, if I'm not playing bass on the tune. And he's mixing out in LA. And then my friend Carson Cody, he's a Nashville. He's laying down like all the keys and senses.
And so during quarantine, I'm sitting here, like, what can I do with these songs? And I just went for a leap of faith, not knowing what they were gonna play, right? I gave them a couple of reference tracks, like this is what I'm thinking. So excited to hear what they played, and everything they did, absolutely blew my minds.
So yeah, that was... And those guys all know each other as well? Most of them know each other now. Oh yeah, yeah, yeah, but some of them did know each other prior.
So this is not like the members of the band or all of a sudden in different parts of the country. They're kind of getting to know each other through doing this as well. So I should, I probably should better explain this then. The members, the original members of the band are all over the country.
When I had moved down here, part of the reason why I was also kind of giving up is like, I had moved away from everyone else. And then eventually everyone was moving away from their college parents, you're like, pursue their job. What happens now, true there to me, doesn't mean like a set group of, you know, like three musicians, like a, you know, doesn't mean a rhythm section and a lead player in room. It's almost like a, sounds really corny, like a family or like a wolf pack.
But you know, it's like, I've played with so many amazing musicians, you know, most specifically like in the Southeast that, you know, like once you play with me, like you're part of True Bear, like it may not be convenient, you know. I, when I play live, I play with the True Bear that's here in the Western, but if there's a certain sound I'm going for and I know somebody has, you know, who I played with prior is capable of doing that. Then I invite him in on that tune. I guess True Bear is really more, it's more me with the family.
What is True Bear mean? Does that have a word that means to you? Yeah, yeah, so True Bear is, so the, the True Bear is, do you know what a True Bear is? A True Bear?
Yeah, so it's just a round scene. Yeah, traveling scene. Yeah, so they were from, True Bear was from France during the Renaissance, but they were Southern France. And so True Bear is actually of Northern France.
And they would have like a Northern accent, they typically would sing about same things, but they would sing with a different dialect. They had a Northern dialect against a really nice accent, but I'm from, I'll say New York originally and I have a Northern accent, I'm a mod, but you know, I don't know, it just makes sense to me. That's the true way it is. That song is inspired by both Dawes and Bahamas.
It's like a little child. It's got kind of like a Motown kind of, it's not really Motown, but it's got kind of like an R&B kind of vibe to it. But it's actually like speaking about like relatively serious existential things. And that was intentional, you know.
Like I said, with the conventional comforts or as I said earlier or later, I don't know. But as I've, I don't know if I say that then. So I will say, when it comes to songwriting, I like to pose questions and like investigate, you know, internal intentions and history and just life in general, you know. But I don't also realize like it's, when people listen to music, it's like a Friday night or it's like a car ride, like on the way home from work.
And it can't all be like serious in another, you know, arduous experience. So I think it's kind of like strikes, it's lighthearted. It's picking up, you know, for me, tough questions. You know, that constantly juggle, it focuses on like dissatisfaction, not being where I want to be.
But it's got like a little bounce to it, you know. It's fun, it's uppity. So that's kind of my angle with the songwriting. I don't want to be too serious, you know, and make people work too hard.
You know, I want you to question a little bit, but sometimes I just want to check out and move, you know. So. You want to have a certain level of accessibility to your music. Exactly.
Yeah. Exactly. And also there's a lot of psychedelia in that too, as well as a lot of other songs. And for me, that's, you know, when I had sort of music, it allows me to kind of like escape, you know, and kind of end up in a trance.
It's a nice mental break from having to keep up with them and not any of the day to day. And I think I was just naturally why I gravitate towards that, you know, from Hendrix to any, you know, really knowing where I'm going with that. But Hendrix is a huge influence on me. That's what I was saying.
When I heard this, I don't like to throw that out too much. Like, you know, here's this sounded like that person. But that is kind of, I thought of Hendrix and do you know, Robert Cray is? I don't know where that is.
He's a blues musician. He's his name. Robert Cray. C-R-A-Y.
That's awesome. You know, I'm young and like spent half my life studying Segovia. So, you know, he's up to date on the hit. No, he's not really.
He's like a, he's a blues guy. He had a couple, you know, he's probably still playing, but he was kind of around in the 80s. Okay. I'll check him out.
There's also this other artist. So, Hendrix, a heavy group in the Sandi. Yeah, so she, it's a cool band. The most likely is in Irish Rio, but they got the tremolo going, they got the psychedelia, the ambiance, you know.
It's just fun. It's just fun. And I love trying to introduce that whenever I can. I did that nothing to say.
Conventional conferences is very much that way. I would say even, you could even argue that with like, Saint Luna, you know, at the end of it. Yeah, I just love a big blur sound. You know, honestly, it almost reminds me of like, you know, like Debussy and Ravelle and how they were, yeah, I'm sorry, I'm blanking.
They were called, what time period is that? That's a... Baroque thing. No.
That's the only thing that they go. Impressionism. Okay. Sorry.
So, Debussy and Ravelle are impressionistic, you know, the following impressionism is a musical style. And that kind of just lingers on, it doesn't really, the vibe of the music, if you will, going in layman's terms, it doesn't really go anywhere. And kind of just evokes emotion, it kind of just, you know, stays. Ravelle, is he his Balero, his most famous one?
Is that... Yeah, that's pretty famous. Yeah. And I think that's famous for like having the exact same tempo, almost no dynamic changes.
Exactly. That's for exactly. Yeah, so impressionism is, yeah. Yeah, so I guess that's not very similar to like a lot of my music because I do like the drasticness to it.
But harmonically speaking at least, conventional conference I would say works with that. Where, you know, it's the same harmonic structure, it's just kind of like hanging there, not really going in any particular direction. Yeah. Yeah.
Well, no, I think, actually, I think Balero does have, no, it has, it builds by adding, kind of like, which I might be wrong, I might be thinking of a different piece. But I think it builds by adding instrument. It has the same underlay, like this, like one instrument comes in and plays the same thing through the whole piece. But then another instrument comes in and plays something else and another instrument comes in and plays something else.
So it kind of builds like you're talking about. Yeah. It's like ranging, yeah. Yeah.
Not through anyone changing what they're doing, he just brings in another section of the orchestra here and there. and there and there and there and there and there. Yeah. So who's the producer?
He kills somebody. He'll spank their, like, we do like a wall sound thing. Yeah. Yeah.
Yeah. Yeah. Which one's more interesting? Yeah.
Or like, you know, Debussy with Clarity Loon, same thing. You know, it's like, same idea. I kind of just over and over hangs out. But I wonder, I gravitate towards that style of classical music.
You know, going to school and studying that and doing a music educator, there's a lot of styles that I've had to study. And I love Impressionism. And I think there's a lot of accessibility to it. You know, because like you said, with Revale, I mean, he's just kind of repeating this motif in various ways over and over.
And so it's kind of hard to forget it. I'm going to look that up before I leave it in the podcast to make sure I'm right. Also, I'm going to do this. Hold on just like, so I'm going to go, oh, you mean Impressionism?
Okay. So I'll edit that in where you said, what are these guys do and it'll sound like any one of those. Yeah. Impressionism.
Yeah. Oh, yeah. Thanks for playing along. Yeah.
Sorry. It's the pressure. It's the pressure I can handle. I was like doing construction for some time before I got my teaching gig.
And I was working, I picked up by this owner. He had this factory. He was his old shoe factory. He was remodeling.
And I did not know very much about construction. To give you a little background about me. My father was in his Green Barre, a second airborne. My mother's an audiologist, but my father was deployed after 9-11 for two tours.
And then after a second tour, he stayed active duty stateside. And so he wasn't home very much. So I think I missed out on a lot of the manly activities as a young man. That's even a term anymore.
But in high school, I think it was good. I missed out on a lot of those. Build in whatever with your dad. What do high schoolers build with their dads?
They work on cars with their dads. I never worked on a car with a dad. I guess they build a deck maybe. Something like that.
Never built a deck. I was going to say tree for it, but I feel like that's like third grade. Yeah. And I never took shop because I was a band nerd.
Yeah. So it's either shop or band. And so there it is. But so I didn't know very much about construction.
I was like, I'm a first-hammer. I could find at Ace Hardware. And I can pick up stuff. So I picked up the first-hammer.
I found Ace Hardware and show up to the job. And I can lift things. I'm young and it's fine. I think I was like 22 at the time.
And I'm willing to say that. I didn't know anything about construction at the time. But he's like, all right, work with these two guys. And I'm like, OK.
We're like, hey, we're installing this kitchen. And they're like, we're going to start with this concrete rock, which they call Dora Rock. I'm not sure if you're familiar with that. So we're installing this Dora Rock.
And so they start installing it on the floor and the wall. But every time they cut it, they cut it. And they're like, all right, we've got stuff away. It's cancerous.
So they go out. No, no. We've got stuff away. It's cancerous.
Literally every single cut. So five minutes worth of work. They would go outside because it's cancerous. And so I'm going to say that.
Yeah. I mean, there's no hate there. You know what? Right.
And they're smoking cigarette. And then they don't come back the next day. The owners were like, yeah, they were really slow. And I had them install electrical work.
And the inspector came in last night. And it was all wrong. And I don't have to redo thousands of dollars of wiring. Yeah.
So that's when I realized they said they know about construction and knew how to do all that, but they didn't. And they just were really kind of the whole entire time. Apparently they had been working with them for months. And this is the build up to it.
So that long story inspired the beginning of Sweet Soccer. Yeah. And the whole concept behind that song is about people who can swing you over with no intentions. Kind of like a con man.
But the whole, exactly the con man. Yeah. But overall, I don't know if you caught this. It's like very, I tried to do like kind of like a neo 50 swing kind of thing.
Yeah. Yeah. With the crush with cross shots in the course. It was just looking at the list of it.
I hope this don't take this the wrong way. It's just the name of it, the title of it was so different after hearing these songs, you know, in the vibe of them. And I saw Sweet Soccer came up and before it started playing, I was like, did I accidentally like put a lead zep, I mean a ZZ Top song in here or something? Because I was like, expanding like some stuff.
Yeah. And you know, it wasn't a Z Top, but it was a little different. That was good. Yeah.
So the way I wrote it, you know, was actually, you know, M Ward. Oh, yeah. Yeah. Yeah.
And that was like, having really nice performers come in, it was a nice studio and they're used to having, you know, like high-end performers who do, you know, Top 50, you know, very accessible styles. And they did a great job, you know, it sounds great. But that was like, you know, that's earlier on in my recording stage. And I love that song and I know a lot of people loved the sound of it.
It honestly was not where I thought like it's not how I thought it would sound. I thought it would sound more indie. you kind of said it's almost like, you know, sticks out as a different sounding tune. Yeah.
Which I'm, you know, I'm saying this, I'm entirely happy with it. Yeah. Yeah. I was saying the bit.
Yeah. It was really like, yeah, it was good to like flex a different muscle once in a while. Yeah, exactly. Yeah.
That's why I have that one, that one big bicep and that's right. That's one muscle flex. Yeah. Yeah.
But anyways, going on with this, I'm ready. You know, it's like, you know, it's like Neo 50's swing kind of vibe. And I mean, is that totally wrong? Like that, in my mind, that's what I was going for.
Yeah. Yeah. Yeah. You think so?
Okay. I appreciate it. I support you. I support you.
Now I got to listen to it again. I was like, okay. Now I'm doubting my agreement with you. Your doubt has seeped into mind.
Yeah. Yeah. I think like a Neo 50's, and a little bit of, I can't think of it, but like Frankie Valley, was that the band, he was in the like four guys harmonizing, not the Beach Boys, but they were like from New Jersey in the 60s. Oh.
And I'm Frankie Valley and the four seasons. The four seasons. Yeah. Is that 60s?
Yeah. Yeah. 60s. It's like a holdover.
It's like pre-beatles 60s. Right. Early 60s. Yeah.
Yeah. Yeah. So exactly. So like pre-beatles, which might as well be like 1800 to 26 or else.
Yeah. No. It's basically a revolutionary war campfire song is what you're saying. Exactly.
Exactly. Right there with Susa. Right there with Susa. Right.
Yeah. Yeah. I can see somebody more. I'll just say I was going for a vintage sound.
Right. So yeah. It covers all the bases. So do you have a musical impression?
Can it be like Nickelback? Yeah, sure. What's the famous song by them? The only song I know by them is look at this photograph.
This is like the first name. I don't know if that's the first name. But that's the first line, right? Yeah.
Yeah. Yeah. You nailed it. This is like the impression, you know, I'm at a party.
It's getting late. We're all feeling great. And I just don't have jokes happening. Okay.
I'm like, Hey, you want to hear my Nickelback impression? All right. So every time I do, it makes me laugh. Yeah.
I like that. I like that breathing in there. It's all about that. Oh, all right.
I want to thank True Verre for being on the show. That's part two. Don't forget to go back and listen to part one of True Verre. Listen out for his music.
As I said, he releases a single I believe around every month. I don't know if he's on a schedule, but it seems like it's about every month or so. You can find his music at trueverre.bankap.com or just search True Verre or even better go to the show notes at this podcast and look for his music and social media. Don't get to subscribe to the podcast.
You can see original music wherever you get your podcast. Make sure to hit that subscription button so you get it every week. It's free podcast. It's also a nonprofit podcast.
That's why we don't have paid commercials. And that is just because I don't want to have to buy the edition of TurboTax that you need if you have two jobs because I'm a cheapskate for the closing song this week. We have a song from the collect pond. That's the stage name of the singer songwriter Donnie Moffat.
He produces and sephrolyces his own music and the collect pond is named at your geographical location in New York, New York. And you can find his music at the collect pond.com. This stuff here is the collect pond. Have a good week.