 Here's Jack to entertain us with their new hit single, Don't Come Knocking. Matt and I had been talking for a long time about what the video was going to become. And early on in those discussions, Matt was interested in kind of doing a take, you know, like a more of a live show or make it feel like a live show. And he talked a little bit about like Ed Sullivan and we just started, we let the conversation kind of evolve from there. I mean, Matt can describe it much more because it was his, the seed of the idea was his and he had a real specific notion of what the video should be. And I just remember the first thing that he sent me was the doors on Ed Sullivan. So that infamous show, that show. The infamous show that has been talked about and has been depicted in the Oliver Stone film. I was really interested in the idea of really the set design was kind of, because we know the lore of this performance, this is the famous performance where they supposedly were warned, don't say, you girl, don't say hi. You can say it here in this, aren't we progressive here? Yes, that's great, I love that. But back then they were forbidden from saying that and he went ahead and said it and supposedly got kicked off forever. So there's like kind of like a rock and roll, double may care attitude about that. And I just thought it was really funny that that's the story because when you look at the set, it's like almost like a Sesame Street set or something that's like so basic, bright colored doors hanging. The band's called The Doors. It's like there's not really a ton of nuance there. And I just love that. And that's really the stuff that we were trying to tap into for the video. It wasn't like trying to be super tongue-in-cheek. It wasn't trying to be super, I don't know, parody. Yeah, over the top. Yeah, it was good. Yeah, it was very tastefully done. Thank you, yeah. We were trying to just like kind of play it straight because we figured if we played it straight, it would, anything like we think is funny now would just come across organically. Most people, if they wanted to go retro, would do it with a camera from 2022, 2023. You used circa 1982 Akigami, which covered the Continental Congress in Philly, if I can recall. But you wanted to go totally retro with star filters with the kaleidoscope filters. Tell us about that. I mean, the whole touch, the audience, the cutaways to the audience, the slate, everything, J.P. I think we're both interested in nostalgia and nostalgia for old TV and I don't know, old processes. Matt's partner had a connection to these cameras here and she had told us about ACMI and she said they have like a little, like a retro museum full of old cameras. And I wanted to get my hands on one of these cameras. So when we started talking about the Don't Come Knock in music video, Matt and I just kind of harkened back to that conversation. We're like, what if we checked in at ACMI to see if they have the Akigami? So it was really fun to just kind of get the tour of ACMI. We kind of picked through their museum and tried to like see if we could find a working camera. Our next act called themselves Jack, J-A-T-K. I like doing things the hard way because yeah, everybody I talk to, they're like, what are you working on? I'm like, oh, I've got this music video working on it and we're gonna use old tube cameras. And the first reaction was like, why would you ever do that when you could just throw a filter on it? But it's just, I don't know, for anybody that's maybe worked in the industry, like 90% of people can't tell the difference between like a VHS filter and like... But you can. Of course, yeah, so it's more fun. I'm the same way with music. Like you can kind of tell when somebody does something analog versus digitally. Now 90% of people don't know. You're really doing it authentically for the 10 people who can tell and who know, yeah, who can just like see or hear the difference. So that's why we did it that way. We just tried to be true to ourselves because we would be able to tell. So we wanted to make sure we were like... And both of you obviously love what you're doing. So I mean, you wanted to make it totally authentic. Gentlemen, thanks so much for being in our studio today and we'll see you on town day. Thank you. We're looking forward to it. These guys weave a whole bunch of genres of music together to make an incredible sound. So ladies and gentlemen, without further ado, I got to interview these guys in the studio just about a week and a half ago and they're just really so cool. Ladies and gentlemen, for a big round of applause, welcome the band, Jack. Honey, beaky sweet, make it all the take for me. Grass is green, what does that mean? Cut it with machines to grow its bud to be. Kill it easy. Kill it easy. It's easy to care. Simple thing. Waking up is hard, but so is it. Saga kills. Music Studio as a Wellington Center has received a phone call. It's a town day for having us hooked up with Town Day through the folks at ACMI, the local TV studio. So shout out to them. They've been doing some awesome stuff. Yes, we just, and they've been filming and streaming this whole thing today, so thank you to them. We just shot a music video, not just, but a while back and they lent us these vintage cameras for it. It was a game changer, so thank you again for that. Songs called Don't Come Knock Him and it goes like this. Everything in between, you're gonna love these guys. They're from Martha's Vineyard. Vince was such diverse, Gazzbury, Jukes, James Montgomery, Gary Burton, and Blood, Sweat and Tears is everybody in. The ceremony is about to begin. Ladies and gentlemen, from Martha's Vineyard, and Kevin, can I have a little less guitar and vocal in my monitor, please? Less guitar, less vocal, please. And a little bit of horn, all three horns. Let you love me, but you don't do it. Stop it. There's nothing. I can't let it go. But you're always me. Every little thing. Now, oh no. I can't let it go. Showing up to dinner, but you're going to drum do. Oh no. I can't let it go. Now, I don't know why I said to take this drum do. Oh no. I can't let it go. Say. Tom Major on the drums, ladies and gentlemen. Say that. I'm Mr. Bo Diddley. I had the good fortune of being able to play in Bo's band for about seven years on the road. This is the beat that made him famous. I mean, it's the song of ours called Mother Street. It's got the Bo Diddley beat and it goes something like this. We hope to be back next year. Thanks to Kevin for doing sound. Trained professionals only. The last song. This one's called Death.