Sam Lapides | Matt Connarton Unleashed

0:00 Speaker 1: What a great sound. I really like that song a lot. That is tonight. That is Sam Lapidese, but we're going to find out if I'm saying his last name correctly. Hey, Sam, welcome to the show. Thanks.

0:10 Speaker 2: How are you doing, Matt?

0:11 Speaker 1: Good, good. Am I in the ballpark with your last name?

0:14 Speaker 2: It's Lapidus, but it's been butchered many times.

0:19 Speaker 1: Oh, I can imagine. Lapidas.

0:22 Speaker 2: Yeah, no problem there.

0:23 Speaker 1: Okay, all right. Well, I'm excited to talk to you. Welcome to the show. I do love that song. It's a little sad, though. It's a little melancholy, but I like it. I love your voice, and I really like the guitar work on that, too. Thanks. Absolutely. I know that this is the second single that you've released recently, right? Because you've also got Kisses in My Pocket, which we're actually going to play later at the end of our conversation.

0:48 Speaker 2: Yeah.

0:49 Speaker 1: But, um, but do these two songs, do they, do they go together in a way or they, are they related or, or do they just happen to be, uh, uh, follow the pattern of singles that you've released lately?

1:01 Speaker 2: Uh, they're distant cousins, I'd say. Cause, uh, um, tonight was a song that I'd worked on for, I had it kicking around for a while, like in a couple of years. And it was, uh, kind of, a result of, you know, getting off a tour in Europe and just having a hard, you know, meeting somebody, having a hard time coming back and just getting back into the regular life, you know, that I was leading. And Kisses in My Pocket was more of, you know, literally it came to me in a dream. I mean, I woke up in the morning and I was, I started I grabbed my guitar, which happens sometimes, but it never seems to work out like it did that time.

1:49 Speaker 2: Yeah. And I kind of just, you know, wrote the chorus, you know, had the chorus in my head already. So kind of did that. And, you know, the rest of it just kind of flowed out. I mean, it was it was one of those songs. That song was one of those songs you write in, you know, five minutes or 10 minutes total. And you're like, OK, yeah, I think it's done. Yeah.

2:09 Speaker 1: Uh, it's, it's kind of implied. It sounds like tonight actually, was that the opposite? Did that take a long time to finish?

2:17 Speaker 2: Yeah. I mean, it took me a while to write and then I just kept thinking, Oh, you know, there's something missing and this and that. And, you know, finally, um, you know, I, I brought it to a band I was working with and they were kind of like, yeah, whatever. And then I started working with, uh, Bill, Bill Lloyd, um, from he's, it's not the Bill Lloyd from Nashville, but a different Bill Lloyd. Um, and he, um, he ended up, uh, listening to and going, yeah, this is great. Yeah. Let's work with this.

2:50 Speaker 2: And he came up with that, you know, beautiful guitar part that he does. And, uh, you know, the solo, and it just kind of came together pretty easily, you know? So it was, um, I mean, in that sense, it was, it was great because, uh, you know, Kisses in My Pocket was easy in the sense of coming up with it. Tonight was like, you know, a long time figuring out what to do with it and then bringing it to somebody who kind of saw a vision with it and kind of went with it and did it justice as far as I'm concerned.

3:26 Speaker 1: Right, right. Well, it's a great song, so I would agree. You've been at this for a long time writing songs, right? Like, how do you know when a song is done?

3:38 Speaker 2: Um, I mean, usually, well, I mean, over the years I've had many ways of figuring that out. It used to be, I always had to figure a bridge, um, you know, and then when I had the bridge, it was over like the, the interlude. Um, whereas now I'm just, you know, I figure if, uh, you know, I have something to say, I say it, uh, there's a chorus, you know, I'll listen to it. I'll record it. I mean, now it's so easy to record anywhere on your phone and walk around listening to it. And, you know, you kind of get a sense.

4:14 Speaker 2: And I think that's as radio as people who listen to radio know, the more, you know, something is played, you know, people kind of their ears open up to it. So, you know, it's, you know, kind of, I guess, listening to it more and more is a good way to know when it's done, too, you know. Yeah. If that makes sense.

4:36 Speaker 1: It does. It does. Although, you know, I've heard some artists say, too, if they work on a song for too long or if they hear it too many times, they start to get sick of it. And then there almost becomes this sort of the law of diminishing returns if you work on, you know, really labor on something, trying to get it perfect or what you think perfection is or something close to perfect. Because, you know, music really should never be perfect, necessarily. Right. Um, but you probably, I mean, I would assume over, you know, something like 40 years, you've probably got songs that, um, you know, that go way back that you, that you haven't finished and maybe revisit from time to time or, or maybe not.

5:13 Speaker 1: I don't know. I'm curious about that.

5:15 Speaker 2: Yeah. I, I mean, I can think of definitely think of one right now that I've, uh, you know, I've kicked around for years and I'm always like, ah, I don't know, you know, maybe that's another one that I can, uh, bring to Bill and he'll be like, I think there's something here, you know? Right. And, you know, it could become something from that, which would be great. But, yeah, you know, I will say after all these years, it is harder in some ways because your expectations are greater. You're also wanting to make sure that it's good enough, you know, that it fits what you're doing or you've done.

5:58 Speaker 2: So it's almost harder to really come up with, you know, new ideas or new things. I mean, it does get more difficult. I mean, you just have to keep working at it a little harder. You know, when I was younger, it's, it was almost like, uh, it was so easy. You know, you always hear about bands. Oh, we wrote like 20 songs in a month, you know, and we recorded our album and that's always the story they tell you. And, uh, you know, it's kind of interesting because, um, it's, it is, there is some truth that it is.

6:29 Speaker 2: I think there is a sense when you're really young, you're, you're new in the world and you're excited and you have so much to say. And, you know, if you're a songwriter, you tend to write, you know, a lot of songs and, and lyrics and whatnot, you know, and you're, you're very on, there's no filters in your world. So it makes it easier because you think you're so, you're the next greatest thing that's going to, that's been in the world. So it's, it's easy to kind of go with it.

6:55 Speaker 1: Right, right. No, that makes sense. That makes sense. How has the music business affected you two over these years? Because again, it's been a long time. Have you become cynical or are you still able to hold on to optimism or how is that... especially because we're in a time right now, you know, with AI, especially we're in one of those, those really, I think anyway, that we're in one of those really transformative moments in the music industry. I liken it to on the scale of back when, you know, late nineties, early two thousands, when Napster came in and file sharing became a thing and there was this seismic shift in how everything worked.

7:35 Speaker 1: I feel like we're in another one of those periods where, So I'm curious as you look back and, you know, are you still optimistic? Have you, have you grown cynical? Are you somewhere in between? How do you feel about it all?

7:48 Speaker 2: Um, that's, that's a, that's a very good question. I'd have to say, you know, when Napster first came out and everybody was excited, I was kind of like, you know, I was one of those people. I was like, well, why should you get music for free? You know, what makes you think that?

8:03 Speaker 1: Yeah.

8:04 Speaker 2: And, you know, to now it's even, you know, it's, it is almost free. I mean, what you get from all the streaming services is minimal compared to what they make. And even, even well-known artists, I mean, you need like millions of, of listens to really make any money in that sense. And selling CDs has gone out the window. Um, but to AI is a little scary. And I know that, um, you know, I've had friends and bandmates who have played, you know, played around with my songs and said, Hey, check out this song.

8:35 Speaker 2: It's a big band song, you know, that I put on, I made AI, you know, I did it on AI and I'm like, wow, that does sound kind of cool. You know what I mean? It's a, I mean, it is a good tool to like, you know, maybe you can change an arrangement of a song, which could be, or speed it up, slow it down. In that sense, it's really good. As far as also the problem, I guess I have too, is the problem of everybody can, record and everybody's a musician you know whereas it was it seems like it's it's almost less special now than it used to be for me maybe yeah whereas it's uh you know everybody's like yeah i'm in a band or my brother's in a band or you know my dog's in a band and uh you know he barks on cue you know things like that and you're like oh i'm sorry you know another uh another um another musician and And, and recording was so much more technical.

9:30 Speaker 2: I mean, you had tape and you had a splice and it was much more difficult. So the ease factor, um, is much better now. Um, am I cynical? Uh, yeah, I mean, it's, you know, you're still, you have ups and downs, you know, I played last night and we were the last band. I actually got home at one o'clock. So about six hours ago. Yeah. Um, but, uh, You know, it was like being the last band of the night. Our drummer's really young and he was like all excited like we're headlining whereas if you've been you know if you know most people are like oh it's 11 o'clock and i'm going home so when you're the band at 11 it's it's kind of like you're like trying to keep people there and going so it's uh you know so that but then you know the beautiful thing was You know, as much as I was like, I was trying to keep my positive attitude on stage and I got off stage and there was like three or four people that came up to me and they said, that was, I mean, your music is so good.

10:32 Speaker 2: You know, how do I find you and where are you? And that really kind of made it, took away a little bit of the cynicism and made me kind of feel good, you know. And on top of it, we got paid a little bit of money, which is great. in LA at least, um, you know, these days, which is, you know, it's awesome. So cynical. Yeah. You know, but also I'll, I'll end with this. I don't want to gab too much, but, uh, I think that social, you know, Facebook for me has been great because I do a Saturday show every Saturday, Saturdays with Sam, where I just do like one song, um, sometimes original cover, just do it acoustically.

11:11 Speaker 2: And it's been, uh, you know, I've done it for like two years now. And, uh, it's been, uh, it's been really good. I get a lot of, you know, quite a few views as far as I'm concerned, which is great.

11:21 Speaker 1: Oh, very cool. Very cool. Um, have you been doing that for a while? Because a lot of these things, um, uh, artists started doing these types of things during the pandemic. Is, is that, is that when this started or was it more recent?

11:33 Speaker 2: You know, I, I started it, um, I did a few shows in the pandemic, you know, one or two, and I would, you know, do like an hour show. Yeah. And then I just, um, I didn't do it for a while. And, uh, you know, we're, I was powwowing with my wife about like, you know, what can we, you know, she's an artist, you know, she's a visual artist and a painter and we were trying to powwow on what we could do to, uh, you know, make our artistic lives more, uh, fulfilling. And, you know, we kind of somehow came up with, uh, doing a Saturday show for me on Facebook.

12:09 Speaker 2: And I said, Oh, that's cool. That's a great idea. And it just kind of, you know, went from there. And I had a, Part of it was I would, like, learn a, you know, kind of pick up a song sometimes and just go, I kind of know it. And, you know, work on it for a few minutes and play it. And, you know, it was a bit of a challenge sometimes, but it was fun.

12:28 Speaker 1: Yeah, we should mention, too, so you're in Los Angeles. You're on the West Coast, correct?

12:34 Speaker 2: Yes.

12:34 Speaker 1: So for any, so for anyone who's wondering, you know, because you mentioned, uh, uh, 1am was six hours ago. So we do appreciate you joining us. So, so this is early, this is kind of early for you. So we especially, especially appreciate you being with us, uh, Sam, especially after, after you just played a show last night, but, um, speaking of playing live, I'm curious about this. So you started out as a busker, correct?

12:58 Speaker 2: Yes. Um, I, God, years ago, I was living in Ann Arbor, Michigan, and I ended up recording just like with a dub deck, you know, a couple songs. And then I had a friend make a better recording with his studio. And, you know, I put it in the local record store, but I was like, oh, you know, we haven't sold any. So I was like, what do I need to do? So I just kind of, there was a place where I could, I could busk. And I also had this girlfriend who said, I think the people that have any guts are the ones that go play in the engineering arch, you know, underneath the engineering school.

13:41 Speaker 2: And I was like, all right, I'll take that challenge. And so I started busking there and it was like, you know, it was such a success for me. I mean, it was almost like, it was almost, you know, things went really well so quickly for me there. that it was like, Oh, this is, you know, music business is so easy. I never thought it would be this easy.

14:04 Speaker 1: Right.

14:05 Speaker 2: So I was like, wow. You know, and then, you know, the band came together and we would sell out clubs locally. Wow. And it was great. Yeah. It was, uh, you know, and it was always from busking. Um, and then I went to Boston for, uh, for two, two stints in Boston where it's a great place to bus. I mean, close by you, you know, you know, Manchester. Yep. And, uh, It was, you know, just doing that. And also, you know, people would say to me, especially in Boston, they were like, you know, why are you doing this?

14:37 Speaker 2: Why aren't you playing in clubs? And I said, I just looked at them and I said, yeah, but are you going to come?

14:43 Speaker 1: Right.

14:43 Speaker 2: And they would go, oh. I'm like, yeah, okay, I get your point.

14:47 Speaker 1: Right.

14:48 Speaker 2: I was like, yeah, I'm bringing the music to you so you can hear it, you know?

14:51 Speaker 1: Yeah.

14:52 Speaker 2: Because otherwise you're never going to hear it. So that's kind of what got me to busk.

14:57 Speaker 1: Do you feel like that is... Oh, go ahead.

15:00 Speaker 2: I'm sorry. Go ahead.

15:01 Speaker 1: Uh, well, I was curious if you feel like you learned things from, from doing that, that you wouldn't have learned, you know, if you, if you were just playing in clubs, but you had never busked, you know, what, what did that teach you that you might not have learned otherwise?

15:13 Speaker 2: Oh, I mean, the biggest thing probably was, you know, busking is, you know, it's, you're trying to, you're trying to make money. So a lot of it was what song's, make people react, um, the best, you know? And I mean, I always heard complaints from people. It's funny. I don't know why people always seem to say things to me where it's like, are you trying to goat me? And they would be like, why do all these people in the subways play the same songs over and over again? And I was like, I looked at, you know, I'd look at these people and just be like, well, I try not to do that.

15:50 Speaker 2: I'm changing everything. But, you know, a lot of it, I think a lot of it was they figured what song made them, you know, 20 bucks before the next train came versus 50 cents, you know? So it was a good test of like what works.

16:07 Speaker 1: Right, right.

16:07 Speaker 2: Yeah.

16:08 Speaker 1: No, that makes a lot of sense. Do you remember the first time, the very first time someone stopped and, you know, put some money in your guitar case or just stopped to really listen and pay attention?

16:24 Speaker 2: I'm trying to think. I mean, it's a very different... Ann Arbor was a very different experience because you had a lot of students going to class.

16:34 Speaker 1: Yeah.

16:35 Speaker 2: And, you know, they were passing through. I mean, later in the day, people would listen. But I'm trying to think. I mean, usually, you know, I've always felt like people couldn't say... too much because I knew I was good enough, you know, but I still needed, I still needed to get better. So I don't know. I mean, I guess I can't really specifically remember, but I guess I got enough of a positive, um, response that I kept coming back and it didn't scare me away. Right. So, uh, you know, and there's always, you know, you're always going to encounter somebody who's just, you know, they're just cranky or whatever, and they're going to, you know, say something to you that may not be, you know, as nice as you'd like it to be.

17:23 Speaker 2: Sure. You know, I've gotten thicker skin as I've gotten a bit, you know, as I've gotten older too, which is, uh, which is great, you know, cause you're like, eh, you know, bad sound, which is, you know, always an issue in clubs you play because either they don't know your music well enough or, uh, they're just not, they're just, they don't care. They're just not that good.

17:46 Speaker 1: Right.

17:46 Speaker 2: And, uh, You know, you kind of used to just upset me so much, you know, a bad sound system or this or that. Now I'm like, you know what? All I can do is hope that my point gets across and people get what I'm doing.

18:00 Speaker 1: Right.

18:01 Speaker 2: And so, yeah.

18:04 Speaker 1: It's a good way to look at it.

18:05 Speaker 2: Yeah.

18:05 Speaker 1: There's only so much that's in your control. And unfortunately, you know, part of human nature is, you know, we like to worry about things that are out of our control. And you do it, you know, as you get older, you kind of learn to let some of that go, or at least some of us do. And I think that's a good thing. You did mention your band too. So is that the Rotten Liars? Is that the band that you've been playing with?

18:28 Speaker 2: Yes. Okay. Yes.

18:30 Speaker 1: And then, oh, go ahead.

18:33 Speaker 2: No, go ahead. Sorry.

18:33 Speaker 1: No, I was just curious to know more about it.

18:39 Speaker 2: It's changed over the years. I mean, I've worked with Bill Lloyd on and off. Drummers and bass players have come and gone. The current band I'm working with, I really like. I mean, it's so nice to have a drummer that really commands the band instead of the band commanding him, which a lot of times I've, I've been in the opposite end where it's like, you know, you're commanding the drummer and you're telling him when to end the song. And this guy is just so like on the money. It's just, it's just such a pleasure.

19:18 Speaker 2: It makes, it makes, it makes you feel so good when you work with people like that. So, you know, the current incarnation is just, you know, it's great. I can't say enough good things.

19:31 Speaker 1: Is it hard to find a... Well, let me ask the question this way, because this is a subject that comes up constantly on the show. Every drummer I know is in multiple bands, because it's hard to find drummers. Is your drummer in multiple bands, or is he just committed to your band, or how does how does that work because look i mean literally every drummer i know it's like you you there's there's they're an endangered species you can't find drummers so they end up in multiple projects.

19:59 Speaker 2: I always thought it was bass players but uh Yeah, no, I mean, he's, well, this guy is like, he's very talented. I mean, he's a really good guitar player, and he also, he's actually set my guitar up, so he actually has a pretty good skill set.

20:17 Speaker 1: Yeah.

20:18 Speaker 2: You know, he can just, he's a guitar tech, he's a drummer, and he's good at all these things. And I think, you know, he plays in a heavy metal band as a guitar player.

20:29 Speaker 1: Okay.

20:29 Speaker 2: And I keep saying I want to come see him, and they never tell me exactly... When he's playing, I'm like, come on, Will. Tell me when it is. But it's harder to get good musicians. And I'm pretty forgiving. Maybe that's my fatal flaw, which is I'm like, well, they're good. We can get through this. So sometimes you don't get the best musicians. you settle for second best, so to speak. But I think in this carnation, I'm pretty satisfied.

21:09 Speaker 1: Oh, that's excellent. And this started in 2014, is that correct?

21:14 Speaker 2: Yeah.

21:16 Speaker 1: Okay.

21:16 Speaker 2: Yeah, actually, yeah, with a completely different drummer, completely different bass player, completely different guitar player. But that was part of it. I said, you know what, after all these years, I'm not going to say, you know, a band name. I'm just going to keep my name and the Rotten Liars, you know, because it's just easier, you know, because they can change.

21:37 Speaker 1: Right, right. No, that makes sense. That makes sense. And can you also tell me about working with Steve Wynn of the Dream Syndicate? He produced some of your early releases, correct?

21:48 Speaker 2: Yes. Okay. Yeah, the funny thing with Steve was I was busking in Venice Beach one day with a friend of mine. And, uh, in my mind, I always, you know, always was, uh, I always thought the dream syndicate was probably one of my favorite bands is, you know, in those days. And I was just like, Oh my God, you know, and I started playing burn, which was off medicine show. One of their second release. And, um, you know, I would play it now and again, and I hadn't played it in a while. And I just started playing it one day on the beach.

22:21 Speaker 2: And, guess who walked by Steve? When I was like, Oh my God. Yeah. And, uh, he was really funny and, uh, very, you know, very, uh, just really nice guy. And, um, you know, I think probably about a year or two later, it kind of came up, um, that, you know, I was doing a record for this Italian label and, uh, kind of, you know, I was doing a cover of burn on it and I figured, um, you know, hey, would you want to produce this and a couple songs? And he was like, yeah, sure, I'd love to. So we kind of worked with him.

22:57 Speaker 2: He gave us a song for our next record to record before he recorded it, which was interesting because he said, you got to do it exactly like this because you're doing it before me. So I don't want to have the alternate version. It's my version. So do it like I did it. So that was kind of funny. Yeah.

23:19 Speaker 1: Yeah.

23:20 Speaker 2: And then a couple of, yeah. And there was a few other times where we worked together and did some stuff. So it was always, and he's always cordial, you know, very nice and very, uh, just a good guy, you know?

23:31 Speaker 1: Yeah. Yeah. Oh, that's, uh, that's fantastic. Um, and then I'm curious too, because again, you've been at, been at this a long time. how much of your, your early material, like, do you still play songs that you played when you were first starting out playing in clubs and all that?

23:49 Speaker 2: Um, some of them I do. Yeah. I mean, you know, it's like, it's, it's the catalog. So you're like, you know, why not? Um, it's funny. My wife is from Detroit and she said she used to, uh, always see Kid Rock playing around Detroit. Yeah. She said, he just played that one song for years, which ended up being his big hit. I forgot. It was in 1999. It was his really big hit and it put him on the map. But it was just funny because it made me think, yeah, I got it. He believed in that song and he was like, I'm going to keep going.

24:32 Speaker 2: So yeah, to answer your question, yes. I do, you know, I kind of do old, new, middle, in between. Yeah, some covers sometimes. It just kind of varies.

24:42 Speaker 1: Yeah, yeah. Outstanding. Sam, in a moment, we're going to— the time goes quickly. We're going to wrap up in a moment. Like I said, though, we're going to end our conversation with Kisses in My Pocket, another great song. And then what's—but I'm curious. So you've got these singles. What's— What's the current trajectory with these? Do you intend to do another album or an EP? We live in an era, and again, you've been around a long time, so you know things have changed a lot. We talked about how the music industry has changed, and now a lot of artists just release singles or they release a series of singles that eventually coalesce into an album and sort of the inverse of what it used to be where you'd have an album and then you'd have singles from the album but what what's kind of your long-term plan or if you have one.

25:32 Speaker 2: Uh i mean i think you know i think that it is singles seem to be easier to do only because you know i mean albums it's like then you have to i mean do you need a i don't even know what the answer answer with an album is you put it out as like a piece of uh you know metal or vinyl I know vinyls come back cassettes, unfortunately too, but.

25:55 Speaker 1: Uh, the cassette thing is weird, isn't it?

25:59 Speaker 2: Oh my God. It's like, it was horrible then. It's like, why would anybody want to bring those back?

26:04 Speaker 1: You don't like the sound. I get, you don't like the sound of tapis.

26:07 Speaker 2: What?

26:09 Speaker 1: It's strange, isn't it? Yeah, it's very strange. Yeah, vinyl is, nothing sounds better than vinyl, but the warmth, but yeah, cassettes do sound pretty terrible. I think it's more just the novelty of it. Most people who buy cassettes, I'm sure they're just really big fans of that artist and want to get everything that they do. And I'm sure most people don't even have a, hell, a lot of people don't even have a record player anymore. They just buy the vinyl, you know, because they're a fan and they want to have it to collect it.

26:36 Speaker 1: You know what I mean?

26:38 Speaker 2: Right. Sure. Absolutely.

26:40 Speaker 1: Yeah.

26:41 Speaker 2: Yeah.

26:42 Speaker 1: But, um, I don't know.

26:43 Speaker 2: I mean, I'll see what happens. I mean, I've done, I've done probably about five or six singles, uh, in the last three years.

26:52 Speaker 1: Okay.

26:53 Speaker 2: I mean, these, the last two have been, you know, the ones that I've kind of, uh, you know, pushed along a little more, but there was other ones that we just kind of, you know, that I put on Spotify and, uh, itunes and all that so um and you know wherever else you can youtube everywhere yeah um which is a challenge in itself but you know it's uh yeah i mean i'll see what happens i guess if i get enough songs for an album and it makes sense um you know i could do that.

27:25 Speaker 1: Right right yeah it's it's almost like uh like you have too many choices now in a way right there's so many different ways to release music now Um, and, and it's interesting to see, you know, the different artists that we talked to on the show, how they, they choose to navigate that. Um, you know, it used to just be so simple, you know, you got an album coming out for a single goes to radio, you know, six to eight weeks before the album, second single after the album comes out, you know, assuming all goes well, there's a second single.

27:52 Speaker 1: If not, then that's it. So it's a lot more.

27:55 Speaker 2: There was a formula. Yes. Yeah. Yes. And now it's like, what's the formula? What do we do?

28:00 Speaker 1: Right.

28:00 Speaker 2: I'm sure like, you know, All the new, you know, up and comings, they're like, oh, this is no problem. You know, we can figure it out. What's wrong with you? But yeah, for people like, you know, yeah, I'm still, I'm still baffled and challenged by it. You know, I just, I just keep doing, you know, keep going, keep doing what I can do, you know. Yeah. Yeah. Because it reaches people.

28:23 Speaker 1: Yeah, because the truth is there is no right answer. It's just whatever is working for you as an artist. And, you know, this seems to be working for you. So I think it's great. Sam, one more thing, though, before we let you go, and then we're going to hit that track. But where's the best place for people to go online to keep up with everything that you're doing?

28:43 Speaker 2: Probably would be iTunes, Facebook, Sam Lapidus, or Sam Lapidus and the Rotten Liars. Um, either one of those places, um, Instagram, um, those are probably, you know, any social media is probably the best and YouTube, YouTube, because you can, you know, you can hear, but for where I'm playing and stuff, probably Facebook and Instagram.

29:08 Speaker 1: Um, yep and i would encourage artists i mean uh i'm sorry i would encourage uh listeners to uh get the music on bandcamp if you can because bandcamp is um i'm glad that you're on there because it's i'm a big proponent of it it's so artist friendly and also what a lot of people don't realize is you actually get a higher quality file from bandcamp than you do say if you're just streaming it on on youtube or whatever so um I'm a big fan of, uh, big fan of band camp. So I'm glad that your stuff is on there too.

29:37 Speaker 1: Um, well, this yeah well this has been wonderful we're gonna play that song kisses in my pocket so we'll let you go sam lapidus did i get it right You got it. Oh, wonderful. Sam Lapidus. Thank you so much for joining us. And, uh, listen, I'm sure you've got more music coming in the future, so we will definitely have you back and, uh, would love to have you back on, uh, whenever the, the next single, do you know, actually, let me just ask you now, do you know when the next single is? Are you, are you working on the next one yet?

30:03 Speaker 2: Um, we were talking about it last night, uh, you know, but we'll see what happens, you know, probably in the next, uh, We're kind of, Bill and I are a little slow. We take our time, you know. Yeah. He kind of likes to ponder over things, which is cool, you know. Yeah. He likes to come up with his parts and do, you know, it's all, he does a lot of things MIDI, which is great, you know, because he's just a master of that, which is awesome.

30:26 Speaker 1: Yeah.

30:28 Speaker 2: But, yeah, you know, we're always working on something, cooking something up, so.

30:32 Speaker 1: Outstanding.

30:33 Speaker 2: Hopefully we'll have something soon. All right.

30:35 Speaker 1: Well, we can't wait to hear that. So, all right. Sam Lapidus, thank you so much. And we'll talk to you again soon, I'm sure. Take care.

30:42 Speaker 2: Thank you, Matt. It really has been a pleasure.

30:44 Speaker 1: Oh, thank you. All right. Bye-bye.

30:46 Speaker 2: Take care.

30:47 Speaker 1: All right. That is the great Sam Lapidus. And let's give this a listen. This is another great song. This is called Kisses in My Pocket.