Jake: 0:09

Coming to you almost live from Berkeley, California, it's Aaron's Radio Show with your host, Aaron Gobler.

Aaron Gobler: 0:19

Thanks, Jake. And welcome, everybody to Episode 64. Welcome to Let's Play It By Year, a show where my two guests and I listen to and talk about three popular songs from a particular year. Today joining me on the panel, are past radio show guests, Howard Feinberg and Joanne Kaufmann. Joanne is a marketing strategist with a large healthcare organization in Pittsburgh, Pennsylvania. And Howard is a non-profit professional, who is currently the Executive Director of the Hebrew Free Loan association of San Antonio. I recommend you check out their interviews on My Three Songs, Visit our website, Aaron's Radio dot show to hear them talk about three meaningful songs from their lives. Howard and Joanne, I'm delighted to welcome you both back to the show. And I want to thank you so much for joining me for the first episode in this new format.

Howard Feinberg: 1:33

Honor to be considered.

Joanne Kaufmann: 1:34

Thank you, Aaron. We're glad to be here.

Aaron Gobler: 1:37

Well, thank you again, for taking the time today. So for the first episode of Let's Play It By Year, we're focusing on the year 1970. Joanne, is there something about that year's music or otherwise about the year that is significant to you?

Joanne Kaufmann: 1:51

Well, I think a lot of it in, as I look at the year, I look at some of the music from the year, as I look back over it, it was a turbulent time. I think the music reflected that. And I think today, a lot of that music is very relevant, because we're seeing some of that same turbulence in our society, maybe not the exact same causes, but many of the same. And I think it's just, it's, it's almost like it's a turning, it's a cyclical, it's cyclical, and we're coming up on it, you know, a little 50 years later, and we're seeing a lot of the same issues arise.

Aaron Gobler: 2:35

Howard, how about you? Was there something significant in the 70s or?

Howard Feinberg: 2:39

So the easy response is Joanne hit it really spot on. You might recall I'm a bit of a history nut and to me music is history, history is music, art imitating life, life imitating art, which one is causative? God only knows. But I will say in those days, the turbulence, both political, social, cultural, so much was happening. Given my age, I was kind of really smack in the middle of certain things that contextually we couldn't fully appreciate at the time. I think that whole issue of history and which we'll, I think we'll explore in the songs themselves will become evident.

Aaron Gobler: 3:25

Yeah, both of your answers Joanne and Howard, very historical, technical answers. And for me, it's more of a, I want to say a very simple thing. In that I was going to kindergarten -- already it sounds kind of simple talking about kindergarten, right? I was going to kindergarten around that time, 1970. Our family barber would drive me to kindergarten, because it was on his way to his shop. And he would play WFIL which was a radio station to Philadelphia. And that's where I was actually like, introduced to like really loving the radio. And so I just feel like 1970s was very poignant for me just for very personal reasons in that I really just started to, to to grasp that the radio, my mom would play a lot of music when I was in the crib. So as I was already kind of like weaned or groomed at some ways on music, but then actually being able to, like start getting into it myself at the age of six or so and really appreciate music. So, but I do like your analysis. I think that's spot on both of you.

Howard Feinberg: 4:38

Oh, that's also an age thing. You were in kindergarten. Yeah, I was in high school.

Joanne Kaufmann: 4:44

I'm with Aaron. I was in kindergarten in 1970.

Aaron Gobler: 4:48

Well, I have to admit Howard, one reason that I wanted to have you on the show was because during your interview on My Three Songs you did talk about and you will probably repeat some of those great observations in the show today, so why don't we get to the songs? You know, last month I offered listeners and others a survey of 20 Top Songs from 1970 and today we're going to listen to three songs from the top of those survey results. And the songs are "Woodstock" by Crosby, Stills, Nash and Young, "Lola" by The Kinks and "Cecilia" by Simon and Garfunkel, I'm really eager to start listening to the songs and in hearing your thoughts, or memories about each one. So let's jump into the first song, "Woodstock" by Crosby, Stills, Nash and Young.

Aaron Gobler.: 5:34

So Howard, I'll start with you. When you hear this song "Woodstock," does it bring you back to a time and place in your life? Does it have particular meaning to you specifically?

Howard Feinberg: 5:58

Absolutely. And two things are interrelated. The first was the weekend of Woodstock. Pretty much in line with the weekend that my grandparents celebrated, I think it was their 50th wedding anniversary, my entire family were up in the Stevensville Hotel in the Lower Catskills within 25-30 miles of where this action was taking place. Now, I was already I was 13, 14 I couldn't figure out at the time, the immensity of what was taking place. But of course, later on when you saw it, and you realized what happened, to me, and I wrote it down while I was listening to the song again, why that thing hits me so hard is because it is pure recounting history. It was taking an age of, if you will, turbulence and trying to make sense of it. The line, "Maybe it's the time of year, maybe it's the time of man, I don't know who I am. But life is for learning." It's the journey. And Crosby, Stills Nash and Young captured I think what the whole generation, the younger generation was feeling at that time, and really hoping for the best, you know, "turning into butterflies above our nation," but really not knowing what was going to happen now. How was Vietnam gonna end, what, where were we going politically, just craziness but the music was kind of capturing some of that. And it certainly was given the high school I was in in its location. We were smack in the middle of a lot of activism that was taking place in the New York City area and you know, it kind of really, it hit home.

Aaron Gobler: 7:50

Joanne, how about you?

Joanne Kaufmann: 7:51

Never heard this song in 1970. My parents had quite an age gap. And my father was listening to 40s and my mother was listening to country, so I never really heard of them. But as I got older and got more exposed to music through my own music lessons, or, or as I grew older in school, and was at friend's houses, what I really saw in that song, what I see in it today is really hope. There's hope, we were half a million strong by the time we got to Woodstock by the time we got there. And really, that's the whole bit was that these youth--and they were youthful-- these youth were coming together and I think they really saw themselves as a big part of the solution to all the social ills that were happening at the time. It's a song of hope and the butterflies and some of that might have been drug references. But I really see it as a song of hope and what youths could do to bring society sort of back to a center where it needed to be.

Aaron Gobler: 9:02

Yeah it definitely seemed like a gathering of peace-focused and peaceful-minded people and and references in the song of like bombers and then butterflies. I think it's a symbolism right of like, because of Vietnam and I guess this has only been two decades since World War Two. That's you know, let's try to turn a corner and use this as like a tipping point or an inflection point for more peaceful, more peacefulness and it is one of the songs from me like, as I got older, I started understanding the song more and, and it is kind of like a little bit of the history of Woodstock if you were not old enough to really grasp Woodstock when it was happening. And I think Joanne and I were both around five years old, I think for us, when you and I, Woodstock meant the character on The Peanuts.

Joanne Kaufmann: 9:51

Absolutely.

Aaron Gobler: 9:53

I don't understand why like Charles Schulz, like why he chose you know the name Woodstock for this character you know, but it was a bird, ... it was part of the logo of the Woodstock concert. Yeah. You know, I know Joni Mitchell wrote this song, that was in '69, I think. But when they put out the song in '70, I think that really solidified it in the music canon. And it might be just how a lot of people were introduced to Woodstock, because they heard about Woodstock, but they didn't know what it was. And this song kind of gives it this... it definitely has a certain vibe to it.

Howard Feinberg: 10:26

Crosby, Stills, Nash, and Young and in different constellations had a habit of doing that. And you know, there's a lot of fun music there. But then there's also"Four Dead in Ohio." It was, they were, they were saying something to our generation, to my generation. And they were warning us that if we don't change things, it's going to get a lot worse. And what Joanne said earlier about basically repeating history, those that forget it are doomed to repeat it. I believe that historian George Santayana once said that.

Aaron Gobler: 11:06

And so maybe some people who listened to "Ohio" and say, or you know, the magic of Wikipedia that can go on there and realize that this was, like a storytelling of what was going on there and recognition of government fascism. Yeah, although they don't use those words in the song, but I just have a memory of the person kneeling on the ground, you know, with their hands up, like, you know, what's going on? Very, I mean, just from an early age, that was such a such an powerful image. So yeah, yeah. So they were, they were they were storytellers, a very, very talented, they were like a super group of extremely talented people and musicians and songwriters. Yeah. So so thanks for that discussion. Let's jump on to our next song, which is"Lola" by The Kinks.

Aaron Gobler.: 11:56

It's always fun hearing that song. Joanne, so let's start with you. Like when you hear the song, what does it bring back? Does it bring you back to a time and place in your life? Or does it have a particular meaning for you?

Joanne Kaufmann: 12:17

It brings me back really to junior high. I think that was the first time I'd heard this song. And it's just, it's kind of pop-y. And I think that's what really appealed to me. And it was really the first song by The Kinks I think I'd ever heard. And it's what turned me on to The Kinks to be a fan. So I think the attraction to me was that kind of pop Enos of it. But when I look at it historically, it's actually there's a lot of meaning in it, I think. And I think looking forward as well. You know, if you take them out of 1970, I think you could easily drop that sound, The Kink's sound and in that song, in particular, into the grunge era. So I think it was, it was groundbreaking in the attractiveness to me it was the pop-iness but it was groundbreaking in it's content. And I think in some ways in it's sound as well.

Aaron Gobler: 13:19

Howard, what's your feeling about the song?

Howard Feinberg: 13:22

Well, you know, when I first heard it, I loved the music. And it was catchy tune. And then I started to think about it. And as my friends were starting to come out to me as gay... CLICK. You know, it kind of hit. And I'm thinking 1970. And where are we today in 2022 and LGBTQ are still fighting for rights and for validation, as if they need it. And they don't need validation. Nobody does. They are who they are. And "Lola" was, in my opinion now is enough double innuendo in there where you know, I'm glad I'm a man and so is Lola. Is Lola glad he is a man, is Lola also a man? And, you know, you could read it any way you want. But to me that was clearly a sign that LGBTQ issues were percolating. And once again, the music was beginning or if not beginning, but clearly speaking to it in ways that were socially acceptable to the FCC at the time.

Joanne Kaufmann: 14:37

And if you think about the timing of it, the Stonewall riots had really just been the year before. And the background of the song when you read interviews with Ray Davies, that was not part of the genesis. For this song, it was their manager actually dancing with someone who was a beautiful woman, but turns out was not a woman. But if you think about it, there we were with the Stonewall riots in 1969. And this, then this song comes out and gives validation to trans people. And gay relationships. So I think it was really groundbreaking at the time, and it was banned in a lot of places. And it's like, if you would hear what's on the radio now? Come on, this was tame!

Howard Feinberg: 15:42

I mean you had to actually understand and look for it in this song, so.

Joanne Kaufmann: 15:45

Yeah. Yeah, it was brilliantly done.

Aaron Gobler: 15:49

Yeah. And both of you had talked about how you can get away with a lot more now. And back when this song came out, it was... it had to kind of... Howard, would you say it was kind of a double entendre? And I never actually really analyzed his statement about, you know, I'm glad I'm a man and so is Lola, what that means, but you can, you know, you can assume he means that Lola is a man. But it doesn't, it's not, you know, it's very, very clever lyrics. But the one thing that I think about inflection points in certain artists, bands lives and also thinking about the historical context, that we keep putting in these songs in 1970, what was going on, was The Kinks were part of the British Invasion. So the mid 60s, they were putting out songs that were not like, I wouldn't call them fluff. But they were like really melodic and harmonies and great music and stuff, but didn't really have any kind of like political message. If you listen to other songs by The Kinks, like Apeman also from 1970. He talks about not wanting to die in a nuclear war, but just getting more into more social issues. And even The Beatles, right, their lyrics, stopped being bubblegum at some point and being much more like statements about what was happening. So yeah, I don't think... I think that a lot of other songs, I didn't understand the meaning of the intent of the song until like, I was much, much older. So I think Joanne, you kind of mentioned that, like, the song had been around from 1970. But it wasn't until much later in your life that it kind of really resonated with you.

Joanne Kaufmann: 17:20

And I think in some ways, too, it's sort of the The Kinks are certainly not glam rockers, but I think with this song, they were kind of on the rough edge of glam rock, and allowed people like Bowie to come out and be very androgynous.

Howard Feinberg: 17:37

Very good. Yes.

Joanne Kaufmann: 17:38

So, Bowie gave it the polished edge, and they were the very rough edge.

Aaron Gobler: 17:45

I will mention, and this is a shout out to my high school friends. We had a parking lot at our high school, that teachers and administrators were parking in and the students were very, very upset because this is really for students to park in. And so we made a hidden film of an administrator parking in the lot. And then and somebody I think it was a silent movie because I think it was like super 8 or something I don't know. And then we played it as part of some kind of like assembly or something with the song "Lola" because our slogan was "Leave our lot alone." So that Lola...so shout out to Lower Merion High School and our activist group tried to keep our parking lot only for students. That is one memory I have of that song. When I hear that I think about being up in the balcony as part of the AV crew running the video on the screen of film, or whatever it was, that was kind of fun. Well, thanks for that great discussion about about "Lola." The last song in our set is "Cecilia" by Simon and Garfunkel. Let's, let's give it a listen. And we'll talk about it on the other side. I just feel I gotta be tapping something... I was tapping my, I was kind of slapping my knees on that one. If I had a pencil or something in my hand, I'd probably be tapping on the desk with it. I started this format with this idea of like, you know, there are 100 Top Songs from Billboard for each year. And there's only so many of those songs that I have licensed to use, and then narrowed that down to another set of 20. And then I think even with the with the 100 this is definitely bubbled up to be one of my most favorite songs from 1970. When I saw that on the list, it doesn't have any kind of political... it has like no other significance to me. Then when it comes on, you just can't be sad. It's like from the very, very beginning. It just comes out of the gate and it also has this story which is very relatable and my understanding is that when they say "Making love in the afternoon" in 1970, that was pretty radical for Simon and Garfunkel to say because a lot of their stuff was much more deep, deep and poetic and not something like that. It just stands out to me as being very unique song and just makes me smile and kind of bop around whenever I hear it. No historic connections at all for me. So Joanne, what do you what do you think?

Joanne Kaufmann: 20:20

I love that song. I basically love anything by Simon and Garfunkel. Let's face it, they are the masters for me. And this is like one song I can say I actually heard in 1970 because my, my mother's youngest brother was going to college and he lived with us during break. And he was a huge Simon and Garfunkel fan. So I that's like the one music other than country or the 40s that I heard now, certainly in 1970. I had no idea what the song was about. But it was pop-y. And it was bouncy. And like you said you can't be sad when it comes on. Because it's just such an upbeat song when you factor out the lyrics and just the instrumentation is so upbeat. It's just it's a very cool song and it wasn't as deep as something like "The Boxer" or the "Sound of Silence." It was a much lighter take for Simon and Garfunkel. I like that.

Aaron Gobler: 21:22

Yes. Howard, what are your thoughts?

Howard Feinberg: 21:26

Well, I agree totally. It's just a beautiful pop, let's have fun song. I think it comes from these two guys from Queens who grew up in New York City, middle, I think middle class families went to Flushing ... no, Forest Hills High School, and found each other and they just loved playing music together. And they found they had a knack for writing. And whether it's melancholy, whether it's history, whether it's just having good old fashioned fun, these guys were brilliant. And for that era, they were one of the... they were superstars. And it was really something I mean, but again, I you know, I keep going back to what was happening around them in their calculus of life and and even as their careers progressed both together and then singularly and then coming back, "Save the Life of My Child." You know, the at the"Book Ends" album was a brilliant album. So many they took on race, they took on, they took on depression, they took on travel, the traveling, so we've all gone to look for America, right? I mean, it's just so much in their collection of music. And "Cecilia" to me was one of them. Just fun songs. You would listen to it, whatever the storyline was, was irrelevant. That was just fun.

Joanne Kaufmann: 22:54

Yeah, I was just gonna say if you had to put a season to their songs. I always see Simon and Garfunkel, if it's because I live in the north. It's always fall or winter that I envisioned with their songs. Except for"Cecilia" the feeling is all summer. It is July.

Aaron Gobler: 23:12

Wow. That's, that's remarkable way to look at it. Because definitely... it stands out. I don't know their whole catalogue. But I know songs like "Me and Julio Down By the Schoolyard"... that that may just be a Paul Simon song. It's pretty bop-y and the lyrics are just incredible.

Howard Feinberg: 23:28

But it's also real. New York City.

Aaron Gobler: 23:31

Yeah. And you know, the "Queen of Corona," right. But that if you look from what I know about their catalog, it really is so much more of poetic, melodic, and that this is a standout, just crazy, happy song. And it's nice to have that kind of bubble gum thing. But it's not bubble gum in the way that it's like bubble gum that retains its flavor for 50 years. If you want to look at it that way. I use the word bubble gum a lot.

Howard Feinberg: 24:00

Great metaphor. Love it.

Aaron Gobler: 24:02

Yeah. Well, I really had a great time with that discussion. That is remarkable song. And it was so fun revisiting it and listening to it. So to wrap up, I'd like each of us to talk briefly about particular music or artists we're listening to currently, if there's something that you listen to currently or a song you just discovered that you know you're playing all of a sudden, a lot kind of freeform answer here. Just want to get a feel for what's happening musically in your life right now. We'll start with Howard.

Howard Feinberg: 24:29

So I'm going retro. I, I've found a couple of artists recently that I always know and I can pick out a song here or there, but that I've unfortunately gotten to know after the fact and one being Tom Petty and the Heartbreakers, I absolutely love them. And, you know some of their songs are just really amazing. I found, there's a lot of videos of live shows, and there's even the video of the last show that he did. And when you understand the pain he was in and he died because of an overdose of painkillers. He wouldn't let his fans down, he wouldn't let his band down, and which was a shame that twosome but, you know,"Last Dance with Mary Jane" is sort of good. And then just so many others that ring about life for him, it was California, but he grew up in Gainesville, Florida, you know, and he has this whole, almost good, bad boy thing going on. Right? So I'm listening to a lot of Tom Petty. And then of course, I mentioned to you Aaron, a little earlier that I have a tape of of a Billy Joel concert that was done in New York City at the end of the Stranger Tour. And we came back to New York in 1977. I have a lot of friends who are Billy, like me, super Billy Joel fans. And so I've had to make CDs of this recording for a lot of people recently. And as I burned CDs, I keep going back and listening to that music. And that was the core of his, I think the best performing band he had was in the late 70s, 1977. December it was the concert. So I'm totally into that, you know, retro things.

Aaron Gobler: 26:36

And Joanne, what are you listening to? Or what have you discovered recently?

Joanne Kaufmann: 26:40

I have been revisiting a band that I've I've never liked. And that's Weather Report. And I don't know what it was about Weather Report that I didn't like, but I didn't other than, like maybe "Birdland," I did not like them. And after a lot of ribbing from my husband and my drum instructor and then Todd Sucherman referencing them at something I was at with him. I thought, Oh, God, I better revisit this band and I love so many of the people in it, Peter Erskine, Jaco Pastorius. And I'm really now finally after decades really developing an appreciation for the talent of Weather Report. So that's what I've been listening to a lot of lately, that and The Aristocrats.

Aaron Gobler: 27:32

The Aristocrats, is it a band or is that?

Joanne Kaufmann: 27:35

It's a band, and it's an instrumental group, they were formed mid-aught years, I think. And it's Marco Minnemann, who is a really excellent drummer from Germany, Guthrie Govan and Bryan Beller. And they are just somewhat along the lines of Weather Reports. So maybe that's also why I've kind of come to appreciate Weather Report better, but they're just a really intense band that is always in the pocket. And really just very cool.

Aaron Gobler: 28:07

So I've just started, I've just started exploring an app called Amp, which is an Amazon product. And you can do your own live radio shows. And it's still kind of a newer app, and not a lot of people are on it. But I've had some fun doing my own like live radio show. But I've had some good experiences just listening to other shows. And the reason I mentioned all this is that one disc jockey, if you want to call it that, one curator played a song called "Are 'Friends' Electric?" by Gary Numan. And most people know Gary Numan from his song "Cars." And that on like every single 80s collection and 80s movies and such ... when I heard this song, "Are'Friends' Electric?" I thought this song is like 10 times better than "Cars" and like why did it take me like... this song was recorded in 1979 why'd it take me all these years for like to finally hear it and I'm so delighted that I heard this song. And then I went and found a video of him performing it only five years ago. And it was like, it was just like an incredible live performance. And the song was still fresh, in my mind. So I recommend people check out "Are 'Friends' Electric?" I think it's a song about robots. Maybe like, I think that's why he's asking"Are 'Friends' Electric?" So check that out. So that's what like, this week more like my head exploded when I heard that song. So, I mean, I put it back together. As you can see on the video here. So finally, like I just want to know from each of you very briefly, what year should this show focus on next? So just quickly, like what year and why you think that it would be a good year to discuss.

Joanne Kaufmann: 29:50

I'm gonna go with anywhere from 82 to 84 just because that was Toto's heyday.

Aaron Gobler: 29:59

Okay, You're a big fan. You're a huge fan of Toto.

Howard Feinberg: 30:06

"Gonna take a lot to pull me..."

Joanne Kaufmann: 30:07

If I never hear that song again. It will be too soon. I've heard it... it's still in their concerts.

Howard Feinberg: 30:12

And, harmonize, you could sit in your car and harmonize to it ...

Joanne Kaufmann: 30:18

Any total fan who's been to a number of concerts is tired of hearing it.

Howard Feinberg: 30:23

I'm sure.

Aaron Gobler: 30:24

And Howard?

Howard Feinberg: 30:25

So, I would have to say 77 into 78. And why is that? It's because I mentioned it earlier, Billy Joel"The Stranger" album. When he insisted upon doing studio recordings with his travel ban, Richie Cannata, Doug Stegmeyer, Liberty DeVitto, hats off to the drummer on this broadcast, Liberty DeVitto being one of the probably best live drummers in in rock history, people. He's underrated Carl Palmer... but I truly love that era for Billy Joel, his breakout album, it really put him on the charts. But there were so many so many other things that were going on in the world. Think about it, Son of Sam, that was the summer,"The Bronx is Burning". There's just too much that was happening. And, and of course, it led into the crazy 80s which, which saw a political change with music evolving in 20 different directions, all good, by the way, different. And creative. So I kind of like that. And I would I would say that year. To me was just like the end of the 60s, if you will, became sort of an inflection point. I think I think the same thing happened 70s In the 80s, particularly '78.

Joanne Kaufmann: 31:53

'78 too was the first Toto album was released.

Aaron Gobler: 31:59

So you know, most of the Gregorian calendar is kind of like our gauge as to where things start and stop and whatever. And for Joanne it's like when Toto was born, right? What years they've been on tour, it's all based on... I see it now.

Aaron Gobler.: 32:15

So I wanted to say some year in the 80s. But I feel like for me, I think '77 something about say like"Saturday Night Fever" and the disco through like what was going on, you know, in New York City and such. And prior to the the 80s, where we started going into more synth music. So pure disco with some synth, but like just like, Chic, and just like the height of Nile Rodgers. And it also makes me think again, about like how, as humans we'd like oh, 1970 is kind of like this line, this delineation. 1980 is the delineation. But if you look at the history of music, you can see just how we kind of move and kind of moozshe or integrate the sound and then the sound changes into something more pure. And then something else comes in and it kind of brings on so you can hear the beginning of the 80s some of the 70s stuff. But I think '77 was I feel like it was kind of a pure... that was more like a delineation like the 80s started in 1977. That's, no, I don't know, that sounds kind of crazy. But...

Howard Feinberg: 33:26

Yeah, I guess. And and don't forget in 1977 some people think that Elvis Presley died. Some people still think he's alive.

Aaron Gobler: 33:37

Yeah, I don't know. Maybe he's still working. So I will take note of those years. I was originally going to start with like, you know, 70 and go, you know, year by year. But I think I'd like to, like, you know, pick more random assortment of years because I want to be able to touch on a lot of different kinds of sounds. So I want to thank you both, again, for indulging me on this experiment. I had a great time. I hope both of you enjoyed yourself.

Joanne Kaufmann: 34:05

Oh, absolutely. Thanks for inviting us. Well, I don't want to put words in Howard's mouth. But thank you for inviting me here.

Aaron Gobler: 34:12

You're very welcome. Howard? Howard how do you follow up on that?

Howard Feinberg: 34:17

Ditto. Well, I thank you very much for inviting us because I got to meet a new friend, a new from a fan of music. And, you know, looking forward to continuing the dialogue and listening to it. I think what you're doing is fabulous. And I thank you for taking this on and offering a new venue and a way for people to appreciate music.

Aaron Gobler: 34:42

Thank you. And I'm going to as I move forward with this format, I'm going to be mixing up guests. I'm not mixing up in terms of confusing them. I know who they are and they know who they are, but more like different combinations of guests and based on what people, some people really want to talk about a particular year, and I may want to have that particular guest on but I do hope to have both of you on again at different times. So I hope you can be available for that.

Joanne Kaufmann: 35:10

I would love that!

Aaron Gobler: 35:12

Great, thank you. And I'm gonna say to my listeners if you enjoyed this show, please visit our website Aaron's Radio dot show and sign up for our mailing list, so you'll know immediately when new episodes are available. And you can find Aaron's radio show on your favorite podcast service. But the podcast episodes only include interviews and no licensed music. And finally, as I mentioned before, Aaron's radio show is now live on the Amp app. Check out the Amp page on our website, Aaron's Radio dot show to see the live show schedule and learn how to listen to and interact with the show on your iPhone or iPad. So until next time, keep your ears and mind open and let more music into your world.

Female voice: 36:06

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