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The Armada Sound System Podcast
Host: Jeff Cavanaugh, Director
Guest: David Reilly of God Lives Underwater
Site: http://www.armadasoundsystem.com
Date: October 5, 2005
File: DavidReillyInterview_q.mp3

INTRO:
Welcome to another podcast on the Armada Sound System. We recently caught up with ex-God Lives Underwater front man David Reilly. David Has been through quite a bit over the past few years and has come back with a new lease on life and on the music business. Armed with a four record contract, and the resources to thrive and create, David had some great things to say about what is to come.

INTERVIEW:
JC: Well here we are with David Reilly. Welcome David, How’s it going?
DR: Good!
JC: Alright.
DR: Working, and uh, taking a little break right now. I’m here with my engineer, Walter, in the other room actually engineering this conversation! (laughs)
JC: Right on! That’s the way to do it. I wish I had an engineer on site, but, uh, its just me today. So um…
DR: Well he’s actually my best bro too, like…
JC: Oh that’s cool…
DR: Kinda works out to have a-- one of your best friends from 15 years ago to, also be like the best engineer in town, is pretty much where it’s at, you know?
JC: (laughs) Definitely. Its definitely good to get along when you’re caught in the studio for hours on end with, that’s for sure.
DR: Oh yeah, we have a blast! I couldn’t really imagine anything worse than, like the record that we’re doing-- a lot of the aspects of it are things that me and Walt have listened to, and things that we’ve wanted to do for years and years so we’re spending a lot of time doing it and, uh, if I was working with someone that I didn’t get along with, this would suck.
JC: Yeah, definitely.
DR: It would REALLY suck. But we have a good time every day. Like, the only thing we ever really, like, disagree on is like, maybe a little thing here or there, like, you know, on a vocal thing and we compromise on things and everything works out. I’ve worked with other people in the past though-- I mean that’s why “God Lives” [Underwater] never worked with anybody!
JC: Yeah. How long… How long did GLU start-- let’s back up a little bit here, and kind of talk about, you know, where you were 10 years ago, and that kind of stuff. Uh, How long ago did that come together as a band, and how long was it before you were actually on the road?
DR: Well uh, (Clears throat), “God Lives” actually started in 1992. Um, Jeff [Turzo] was in another band that was signed, and I was just working like, two jobs, and he was home for Christmas Vacation. He had some of the equipment for the band that he was in. We made one song. I believe he went back on the road. But after we made that song and we kind of knew that we were gonna make something, make a go of it, ah, probably within, I guess, like, a year, uh, we had-- we acquired some management and legal, and we got a lot of interest right away. We got, uh, actually there was a DJ in Philadelphia named Josh Wink, who heard it, and a friend of a friend of his worked at American [Recordings]. SO it ended up getting in the hands of Rick Rubin and that started, and then American kind of sat on it for a while. Like, they didn’t release out first record until ‘95, and then the record came out in ‘95 and then we toured for the [God Lives Underwater] EP briefly and then they wanted us to make a full-length right away, so…
JC: Mm hmm, that’s cool.
DR: 95 would be when it pretty much all happened. But we had our deal in ‘93.
JC: Yeah, Rubin’s got a history in music, that’s for sure.
DR: Yeah, he was down with us from the very start
JC: That’s really good…
DR: Yeah. (laughs)
JC: …when you’re starting out.
DR: Definitely.
JC: So, what inspired you guys to just get together and playing? Was it just that you were friends for a while and both into music or were you into music in school together, or…
DR: Well, we were friends back in the day because, you know, we were both skaters, and uh, we were both a little different from everybody else. In fact, the way that I met Jeff is that there was a big high school rumble. This was after I had moved out of the city and was like, up in the suburbs and it was like, the punks and the metal guys were all fighting. There was like a big huge fight, Me and Jeff were the only two guys that was like “This is ridiculous!” And so I was like, “Hey, my name‘s Dave” and then we became friends…
JC: (laughs)
DR: …then like, I don’t know, it was weird! Like, I was a biker, and he was a skater, and I was like, “You should come over, I’m getting a skateboard”, (He was teaching me how to skate). You know, and he came over, and uh, came up to my room, and there was a keyboard there and he played keyboards, and by the end of the night, like, we were working on a song.
JC: (laughs again)
DR: You know, and we sort of, became like, really really good friends, and then started a little band together and…
JC: Wow.
DR: …we had bands on and off through high school. Then, he was an intern at a label, and ended up getting picked up by another band to tour with, when he was in college, and I was working, when he did that, eventually we both kind of figured that at some point we were going to get back together and make some music that was really great. You know, and uh, the time was then, the time was then, because that band was fizzling out and he had gotten all the experience I guess he wanted out of it, you know. You know, he toured, and did everything like that that I hadn’t done yet, you know, and he came home and fortunately he had made some connections. [Cuts off]
JC: You know, you guys definitely had your own sound, yeah that’s definitely something we saw as fans from an early time, um, and we also noticed, it was almost exclusively the use of Nord Leads that we noticed was, pretty distinctive of your sound. What is it about…Yeah?
DR: Actually, the stuff that that’s on empty and the EP was mostly, an Oberheim expander, which is a pretty sought-after piece of gear. Um, but we had that, and we had a sampler, and that was about it. But that synthesizer was pretty versatile, and then we got a Nord, I mean, not a Nord, t an Ovation Bass Station,
JC: Ok
DR: And then we got an Ovation OBMX. The Nord leads came a little bit later, like we got the Nords when we started touring for Empty, and then they became like part of everything we did from sort of that point on. A lot of keyboards came out, like they became our “live” thing, and we made a lot of sounds for it for Space-Age [Life in the So-Called Space Age (1998)] and, but… Then the Axis Virus came out and we used that a lot too.
JC: (laughs)
DR: We were big fans of the Nord Lead. In fact, we had a little endorsement with the company back then.
JC: That’s great! That was… They still are making really, really nice…
DR: Yeah
JC: …equipment. A really, really cool company.
JC: Well speaking of GLU, and Nord Lead, and all the other stuff from way back when, Lets go ahead and hear a track from the 1998 God Lives Underwater release “Empty”, this track is called “Don’t Know How to Be”.
[DKHTB plays at 7:04]
JC: We’ll be right back after this.

[Note: “EMPTY” WAS RELEASED IN 1995, not 1998! That was “LITSCSA“!]
[Interview starts at 10:44]

JC: You know I always liked that song, that was a cool song. Um…
DR: Thank you!
JC: (Giggles) You’re welcome. So um, There was GLU, and then there was a few albums and then there was some movie licensing, uh, and then you guys kind of went off the radar. You came back, with Fluzee, and…
DR: Uh-huh
JC: …that kind of died shortly after, and, uh,
DR: Right.
JC: You know a lot of fans already know, and I know Its not really a secret, but what do you have to say about the demise of GLU? And the pseudo-resurgence with Fluzee, and ultimately, a long sabbatical that find us here with you and a four record contract with Universal?
DR: Well, (pauses) um, the demise of GLU, um, a lot of people would say, uh, that it could almost all be blamed entirely on my substance abuse problem. But it was kind of a culmination of things like, um, the last record deal that we had with A&M [Records], and we had a label deal through that called 1500, and then there was a merger, where we ended up getting shifted onto Interscope, and during that shift, we didn’t really have an Ace in the company, and we were worried about not getting the attention that we wanted. So, we ended up getting funding for our own label again, which went through another label called Riffage, that then in turn, tanked as well.
JC: Mm Hmm.
DR: And so, labels and business things going on wrong, and the band financially, was kind of suffering just because (pauses) you know, because we you know, taking it to the next level, taking it to the NEXT level, you know, BIGGER tours, more equipment, bigger records, selling more records, and then that kind of brought that all to a grinding halt. Then, on top of it, you know, we met, we lost a lot of momentum, because of me and having to get clean, at times, or… or, to have to go away for different reasons that addicts have to take leave of absence. And uh…
JC: Mm Hmm.
DR: So we lost a lot of momentum there like that, and then, “Up Off The Floor” we were making when we were technically on Interscope. And so uh, we technically ended up leaving Interscope, with those masters then it went to Riffage, and then it went to another company, then it wasn’t going ANYWHERE. And um, around that same time, my fiancée go in, she got killed in a train accident, and I think, uh, as terrible as it sounds, that everybody around us and the people that worked for us didn’t think I was ever going to really recover from that so, the emphasis wasn’t really on getting the record out, keeping the band together. It was kind of like, (pauses) you know, its like… (pauses) Its sad to say, but like “Maybe we should get away from David, before EVERYTHING goes with him”. You know what I mean? And um, I couldn’t really blame anybody,
JC: Yeah, yeah I hear you, man.
DR: And, uh, Jeff was doing his own thing producing things, and doing remixes. And the other guys in the band was doing other things as well. Our manager who had the label, he was managing some other bigger bands, and then, you know, my addiction, became the only-- that was what was going on with me. There was no music, I got a short period of time where I was clean where I had Fluzee. That was short-lived and uh (pauses)…
JC: Mm Hmm.
DR: That could have been something too, if I had kind of kept it together. Jeff wanted to work n Fluzee with us too, but, I just couldn’t keep it together, and then…
JC: Yeah?
DR: ….after I did that, I was clean for a year, and at the time, Locomotive and um, Megaforce, bought the rights to “Up Off The Floor” and then, they pressed it with a manufacturing flaw. (Pauses.) The never fixed it, and so I refused to do any kind of promotion for the company, or for the band…
JC: (Laughs.)
DR: As a result that album, uh, I mean, I don’t even know what it sold, but I’m guessing that it didn’t do that well.
JC: Wow!
DR: And then, I decided to make my own music! To, to make solo music…
JC: Yeah.
DR: and, I made some demos and a friend of mine, Tom, put out an EP, on his little label, Corporate Punishment, which just had some demos of mine, and then a friend of me and Walter’s, Chris, has this company, RuffNation, and then, that sort of eventually just came to into play. Like we gave Chris the CD, “This is what me and Walt are working on,” and he liked it, and offered me a deal!
JC: Yeah, you guys seemed like, you were just gonna blow up, and be really huge, several times…
DR: Right.
JC: Like, over the course, and we were always really into that. Um how does the past experience, with fame, and with being, you know a hot record seller, and being on the road and all that stuff that goes along with it-- How does that influence your attitude towards maybe going that direction, again with your career now?
DR: Well I learned a lot. Like I know what NOT to do now, and know to not take any of it for granted. Because, uh, to have a record deal, and to do what-- I mean it’s the only thing I am good at, so I am very blessed to live off of music, indeed. Um, I’m doing everything right, now. You know, we spend a lot of time making things sound the way we want them to, so that when the record comes out, [we wont say] “Man I just wish we had did that one thing we wanted to do.” We’re doing all those things, and the way that I handle the business now, people that are around me, that care about me, about my well-being. You know, like, I have a manager who is also sober, you know, and I have a support network around me this time that, its in their interest for my life and my business. You know so…
JC: That’s great.
DR: I have that kind of going for me, and uh I also know a little bit about the business now! You know, I know about picking a single, and you know, I know about sound scan, and BTS, and and management and legal and stuff like that. And publishing, now, more than I did before. You know, I know what you got to do. You Know, I know they release a single, and I have got to get out on the road, you know, and I know that I’ve got to put on a good show, and you know if a sound system sucks in a club, then, you know, you still got to look like you are having a great time, you know!
JC: (laughs)
DR: You Know like, if things suck, and then you act like a prick on stage, dude, NO ONE is having a good time.
JC: That’s right!
DR: I had an attitude back then in God Lives [Underwater], and um, um, I’m kind of done with that too. So..
JC: Yeah! (laughs).
DR: A LOT of things, you sort of figure out, and I’m fortunate enough to have another go at it! You Know.
JC: Yeah. We actually have, candidly, if I may, actually have some footage of you guys, that a friend of mine, Matt Olsen shot, when you guys were in some small town in California…
DR: Mm Hmm
JC: and… (pauses) You guys were having some problems with the management after the show, and then, they didn‘t want to pay you, and all this kind of stuff. I remember, you manager at the time, was talking -- we have a really funny dialogue piece with your manager talking to the manager of this little Podunk town club and its actually, really hilarious. We should get that online or something.
DR: (laughs)
JC: So people can check it out.
DR: Can you send that to me?
JC: Yeah… (pauses) I can-- Its on a VHS as a matter of fact, and-- but yeah we can, we can get a copy of that to you…
DR: I mean…
JC: (laughs)
DR: So there is actually video of my manager actually arguing with a club manager? Yeah, its really hilarious!
DR: (Laughs) That’s great!
JC: And then he, (Laughs), he, he even goes on like, when the guy is like walking away like “Yeah well, I’m done with..” you know, “Uncle Fucker‘s Chuckle-Hut, here” or something like that…
DR: (Laughs)
JC: It was… it was totally fucking hilarious man. It was awesome.
DR: That’s great! (laughs). I, at least, want to be able to hear it, man.
JC: Hah! Its good stuff. So Um, yeah I’ll get you a copy of that, but um, yeah I just wanted to interject there because of what you were talking about there kind of reminded me of…
DR: I may be able to use a clip from that audio on my album, if its good enough! (laughs)
JC: It… may very well be. I’m sure that that audio… [trails off]
DR: Definitely hook me up with that.
JC: COOL! No problem. SO, what is your overall goal? The term of the contract is 4 records, but what is the time frame, and what’s going on with the constraints of the deal and all that kind of stuff?
DR: Well… My deal is with RuffNation and they have an exclusive deal with universal, and my deal with RuffNation is four albums. You know, the parameters of that are, to see how all the parties feel about moving on to another record after this, and the Life of the first one, and you know, but um, its four, you know, and um, basically, if all goes well, I am making four albums that are coming out on universal! Um, What my Goals are, are kind of low, and I think the label would be ecstatic if I sold 40- or 50,000 records, but if I were able to, uh… You know there are a few factors here. If I were able to get this product into the hands of everybody that bought a GLU album, then they’re probably going to like it. SO that is more like 100,000 people. And then, the other thing is that this music is, maybe even a little bit more accessible than it was back then, so, there is the possibility of me having some hits on it.
JC: Mm hmm
DR: And then there is a whole other market now that we really didn‘t have back then. Like I have 30,000 plays on Myspace right now, you know.
JC: (Laughs)
DR: So, people on there are going to buy the record! You know, and a lot of them, don’t even know who God Lives Underwater is!
JC: That’s incredible.
DR: They, just, found me! You Know, because they were doing a search for influences, You know. They found all the people who came up for “Depeche Mode” and they were like “Oh, I’ll check this out!” and then they liked it!
JC: Yeah, That is really cool.
DR: And then there is your service, like, another outlet.
JC: yeah, exactly. That is just, what it is for. Its designed to, help get the word out, and it’s a presence, it’s a place to go to for stuff that is really cool. So, we’re hoping to do that.
DR: (pauses.) SO my goal is actually to surpass everybody’s expectations, and just continue to be able to make a living off of this for the life of my deal.
JC: That’s incredible! Great! That works! Those are realistic goals. So, um, will you be going on tour? Or…
DR: Yeah, actually, I’m, I’m doing just a few dates. Coming up in November, I’m doing a Philly show, a, uh, Boston Area show, a New York City show. I’m doing like 5 total. And uh, I probably won’t be doing any touring, unless its one off shows, like, if someone comes to me and that, is an offer that I need to take. I’ll be doing that, but, other than that I will just be finishing the album, but when the album is done, I’m hoping to get out on tour, around the time that it gets released, which should be February.
JC: Alright, cool. So let’s get a glimpse of what David’s music might sound like when you catch him out there on tour. This track is called, “MY Till Tomorrow”, its off of David’s upcoming release, “How Humans R(x)” and right after that, you will hear “Slip To Fall” off of the last God Lives Underwater album, “Up Off The Floor”.
[My Till Tomorrow starts playing at 21:14]
JC: Thanks for listening, and we will be right back with more David Reilly.

[Slip to Fall starts at 25:42]

[29:55, Interview starts up again]
JC: Alright, you just heard “My Till Tomorrow” off of David Reilly’s upcoming solo album, “How Humans R(x)” and that was followed by Slip to Fall, from the most recent God Lives Underwater album. Now, A couple of questions. Are the God Lives Underwater albums still available?
DR: Umm… You know… Through all of the change-of-hands, that God Lives Underwater has gone through, I (pauses), I can probably say that all the stuff on Warner Bros./American is probably still in print, “Empty” and the “[God Lives Underwater] EP” are still in print, but maybe hard to find. The “Life In the So-Called Space-Age”, it’s been a while since I’ve seen a copy of that, that was on A&M. I believe that “Up Off The Floor” is still in stores, but I don’t know how long they are going to continue printing that. I…
JC: Cool.
DR: I really hope that they resolve the manufacturing flaw that they made, because, actually I don’t even like thinking about it because it makes my blood pressure go up.
JC: (Laughs.) Alright, Let’s get over that then. (laughs again.)
DR: (Laughs.)
JC: We don’t want to do that to you, sorry!
DR: That’s alright.
JC: So speaking of that, (JC & DR Laugh.) I Noticed that, uh, there are some strategically and not-so-strategically placed places online that there is QUITE an extensive bit of your music available for download.
DR: Right.
JC: Candidly, I don’t want to get you in trouble but, um, I know that you are very progressive technically, and very into computers and uh, modern technology, and uh,
DR: Right.
JC: What’s going on out there with internet file sharing and all that sort of stuff?
DR: Uh, I don’t have a problem with Internet file sharing! I can understand why people have an issue with it, and I can certainly understand if the company that I work for doesn’t want the music out there. If I put something up there on for download, it’s a, it’s a demo version of the song that’s not gonna make it on the album, and wouldn’t really deter them, people, from buying the album. But in my opinion, people are going to rip those songs anyway. You know, and they’re gonna end up on file sharing programs, it happens to the best of ‘em and there’s not much you can do. I guess, if you can stifle it in any way by hopefully keeping your masters by making it online before your album comes out, then that’s a pretty good idea. But, you know, once you have a record in stores, and, and uh, thirteen years olds know how to get something off a piracy CD and get it online no problem. There’s, there’s not much you can do about it. I mean, I’m guilty of downloading music online! I…
JC: Yeah.
DR: I try to buy everything that I like. The reason why I download is to see if I like it, and some times I don’t-- Sometimes I want a good sounding copy but I don’t want to “stream” it from their website. I want to hear, at least, a good sounding MP3 of it, because I don’t just buy records because I like the songs. I mean, I have done that, but, there’s a lot of stuff that I buy because I like the overall thing, I like the way that it’s mixed, everything about it. I’d like to hear a really good sounding MP3 of it. If I really dig it, you know, I’ll buy the album, you know?
JC: Yeah, totally. And, that is a good way to look at it. I think, I agree that a lot of times you want to hear stuff before you buy it, um, you don’t want to stand in line at Virgin, you know, standing at one of those kiosks and…
DR: Right.
JC: …do all of that stuff. You just want to hear the music. And.. The other thing is that it gets shared a lot more. And, you mentioned Myspace earlier, and that’s definitely a HUGE venue for musicians these days.
DR: Yeah.
JC: That is all about internet streaming and downloading, and its pretty interesting to see how the climate is changing. I know yesterday, when we talked on the phone, briefly, um, you mentioned that back in the ‘80s, music was made by people who could afford the equipment, not by those that could play it. And…
DR: Right.
JC: …when GLU started, musicians, you told me that musicians, um, producing the equipment for music was a lot more affordable at the time that you started GLU.
DR: Right.
JC: And…
DR: well it’s even more affordable now. Um, I guess there is a couple different areas with that. There was a time when drum machines and samplers and synthesizers were out of reach because they were too expensive, and people that could afford them wrote terrible, terrible music.
JC: (Laughs)
DR: Eventually, eventually people that learned how to write songs could afford that stuff…
JC: (laughs) Mm Hmm
DR: and then, even since the dawn of God Lives Underwater, the home recording process has improved so much that the demos that I made for my record right now are pressable! The only reason why Walter and I choose to do it at the bigger studio is because you can get a great sound out of a great console that we use, the SSL, the SL-9000, which is a really nice mixing console. Its, its in a room with space, it has a great live room for playing live drums and stuff…
JC: Mm Hmm.
DR: and, ordinarily that would be too expensive, but, our, the label that I’m signed to, uh, owns it. So I get to record there, You know…
JC: Mm Hmm
DR: …with minimal cost.
JC: Yeah, that’s great!
DR: Yeah, otherwise? Uh, you know, when it comes down to, If I could make a great sounding record that everybody would, certainly, not complain about, then spend the rest of my advance on LIVING, so I don’t have to, uh, (pauses), landscape during the day, in order to be a musician, then that’s when you run into “well, would I’ rather spend money at the studio” or “would I rather spend the year touring?”
JC: Mm hmm
DR: You know?
JC: Mm hmm, mm hmm.
DR: I’m able to do both, and that’s because the label owns that studio, but in any other position I would probably be making my records at home.
JC: Mm hmm. (pauses.) Yeah, a lot of people do that these days. I mean, god knows even I’ve played with experimenting with music at home, so…(sighs)
DR: Right.
JC: It’s not out of reach! But, um, you can’t buy talent! And
DR: No, you can’t.
JC: That’s one thing that I run into, and you know, I’m going to be taking some lessons and stuff, so that I can at least further my understanding in the production realm.
DR: Yeah.
JC: And, yeah, that’ll be great, but um. I’d also…
DR: You can…
JC: What’s that?
DR: You can make, you can make music with, um, all of that stuff but, you can’t go and download “John Lennon“-songwriting aspect of it, like, (laughs)
JC: Yeah
DR: If you can do that, when they get to that point, someday, then like… I’m out of a job.
JC: (laughs) Well I also wanted to ask you about that, sort of in closing here… Where do you see music going in technology… I mea, I know that as a content creator myself, in film and video production, and also in web and graphics, and even 3D animation, I see everything coming together, sort of like a freight train with no brakes. Uh…
DR: Right.
JC: I see it getting to a point where, you know, how long is it really going to be until, you have something like a music production studio in something the size of a cell phone? You know, uh, as far as software and connectivity is concerned, and you know, how soon is it going to be where every twelve year old has an indie film that they’re trying to enter at the festival? Um, so where do you see all of this heading, as far as the availability of technology, and sort of, did, did, the “dumbing” down of the artistic side, I mean, of…
DR: Mm hmm.
JC: Do you see that the appreciation for art is, sort of, the intellectual side of our society, do you think that they are losing grasp of really what good art is, or do you think that will ever happen?
DR: Um, well there is always, um… a segment of society that likes music and art and, uh, different arts, period, that is a little left-of-center. Some would say that it is more genuine, and I would have to agree that you know, a lot of the music that I listen to, I believe has a little bit.. There’s more talented songwriting going on than what you would hear on Pop radio, but it’s a different format. I think…
JC: Mm hmm
DR: Like I said before with the technology and, going the way that its going, everybody IS going to have an indie film that they’re shopping at the cons [?]. Like, it will come full circle. Everybody wont be able to make a movie like that or, an indie film like that, or a record, but there’s going to be some that stand out above the rest, that made something look liked a great movie but also a great movie. There’s still very few of those people that can make music…
JC: Mmm hmm, so…
DR: and have the technology to make it at home and make a great sounding record, and write great songs. But, now that you can afford it, now everybody is at least, going to enter. You know what I mean?
JC: Mm hmm. Its gonna just meet the masses, so do you feel that um, we might be fortunate enought to experience some type of artistic renaissance here the next ten or twenty years, where we actually have really really amazing artists? Kind of like, maybe, evenly as recently as the ’60s, coming back for us...
DR: Yeah!
JC: …to the mainstream?
DR: Yeah, I do see that! I mention Myspace, again, because there is such instant access to all kinds of music and a fried of your friends that has an unsigned band. I hear great stuff all the time now, because people couldn’t afford to make music that sounded good enough to put up, you know?
JC: Mm hmm.
DR: and um, a lot of people could write great songs, but they just didn’t have the resources to do it. There is a lot of talented people out there right now that you can see, and hear, and have access to because of sites like Myspace, and because of technology being within their reaches. So I guess, we’re kind of in that right now. There is sort of a renaissance right now!
JC: Mm hmm, yeah, well, that’s great! That’s good news and you know, I’m sure that all of the artists listening are very happy to hear that from somebody that they respect as much as David Reilly.
DR: Yeah. (laughs) JC: (laughs) SO that’s really cool! Well thanks, David!
DR: Sure.
JC: I really appreciate you taking the time to give us the interview today and its really been a pleasure talking to you and sort of catching up on where you’ve been, and where you’re headed and..
DR: Likewise, Thank you.
JC: Alright man, well it’s been great.

OUTTRO:
Thanks for Listening to the Armada Sound System interview, of the inhuman David Reilly. The System give special thanks to Dave Sherman (David’s Manager), RuffNation Records, Universal records, and all of the other powers that make the system possible.

Be sure to check out ruffnation.com, that’s “r-u-f-f” nation .com for more information about David Reilly. And of course, you can catch us at soundsystem.creativearmada.com. Here is one last track on the way out the door, from David’s new album, “How Humans R(x)”. This one is called “Here We Go Now”.

[Song starts at 40:38, ends at 46:16]
~END