This is Bringing the Darkness to the Light with Katherine Nadal, professional psychic medium.
Today's guest is Sean Murphy. Sean is an American blues and R&B singer, songwriter known for her
powerhouse singing style. It's a pleasure to have you on Sean.
Great to be here Katherine.
Yes, no, this is amazing. I have been introduced by my cousin Tommy Del Rossi.
He's been your drummer for I think six albums. He's also just produced your most recent album
in his studio, brand new studio in the home.
And also Nissi is a good friend of yours also.
So, yeah, yeah. So you're in good company there with those two.
Very good. Wow. So tell me, just to start out the interview, tell me about recording this last album
because I know Tommy's new studio. Tell me more about that.
The name of the studio, first of all, is Coming Soon Sounds.
And he's very proud of that. And we all sign the wall. There's a big mural and everything.
And it was just, we are so thrilled for him that he's getting to do this.
And he just jumped right in. And we said, you know, we've been recording over at XYZ studio.
As I said, let's just go to Tom's house and record it there.
And we did. It was just, he was so professional and so on top of everything.
And just everything, his ideas and everything just gelled with us.
Yes, yes. It's very exciting, especially to have your own studio.
But in Nashville, you know, he and I had talked and it was like everyone in Nashville has like a home studio.
So he's like very lucky about that.
Fighting a home with a home studio is probably very difficult in Nashville.
Yeah. He had a studio in his old house, but it just wasn't conducive to the full, full amount.
He had done some records over there for friends. But when he found this place, it was like God said here.
Here's your next calling. So we're hoping to keep him as a drummer though.
You know, we're so happy for him.
Oh, very good. Well, your entire career has been very impressive.
I was looking at your bio and you've worked with some really big, big acts.
I mean, from Little Feed to Bob Seager to Meatloaf to Eric Clapton, the Moody Blues,
Herbert Hancock, Phil Collins, Glenn Fry, Joe Walsh.
And the list goes on and on. It's wow. You have just really been very blessed.
I have. I have. And the list makes me very tired now. Just kidding.
I have been graced with the most wonderful experiences with working with all of these people.
Of course, I have to tip my hat to Eric Clapton at first because I did two or three tours with them, one in Canada.
And then of course we did Live Aid, which was it was so amazing that we all had a physical reaction from the actual sound of the crowd coming at us when he started doing Leila.
And it was 101,000 people and they all yelled at the same time he started the song and the physicality of it.
But actually, we all stepped back like a couple of steps and we kind of looked at each other, what just happened.
So that was that was something that I don't think anything can top that.
So that's why I picked Eric first. And of course, Mr. Seager, I've worked with him.
Oh gosh, over 40 years since the 60s. So a little bit there and then joined the band in 73 and then in and out and then 78 through his retirement.
I was with the band. That's incredible because those two may happen to be in favor to mine.
But as you're performing with them and working with them and seeing them kind of side by side with you, how does it feel being part of their circle, but also in your mind, you're still also a fan.
How does that feel for you? Because those two guys are really iconic.
Yeah, I can understand that with Bob, it was sort of I got to know him through his manager and his manager was managing me for a while and booking me in the local clubs and festivals and the Detroit area.
And so we got a chance to open up for him in a couple of clubs and things like that. So I knew him pretty well before I actually started working with them.
The first time I recorded with him was on Catman Doo. So that was what 74, maybe before that 72.
But yeah, I didn't join as a full time member until 78 and then Clapton was like, I had initially worked with Seager with this lady, Marcy Levy, who's changed her name to Marcel and Detroit.
And she had gone off to do other things and left the state and worked with other people. And finally, she ended up writing some songs and joining Clapton.
And so she was the other singer when I finally had gone to do Behind the Sun, Eric asked her at that point. He said, well, do you know any strong female voices? And she goes absolutely.
And she called me right up. And so I went down to Montserrat and we did Behind the Sun. And after the first song, Eric said, well, how would you like to be on the road and support the record?
Okay. It took me about two seconds. Exactly. Oh, wow. That's a dream come true. Wow.
And the thing was, as I told my manager, he goes, what did you think after working with Clapton? And I said, well, and I'm getting emotional right now.
When we weren't singing anything, we were backstage listening. And he'd start one of the angst kind of songs in the solo that I would just tear up. It was just the level of emotion that hit me was never ending.
Every time he played like that, it was very emotional for me. Yes. Yeah.
He really has a made an impact in the music list of greats, not just playing the guitar, but his songwriting and the lyrics have really changed a lot of people's lives.
You know, he's just incredible. Wow. I wanted to ask you about Phil Collins. He's another one that people are just like blown away by his career, not just Genesis, but his solo work.
Absolutely. And I, it's my understanding that he just now got inducted into the Rock and Roll Hall of Fame. After all these years, I had the big fortune of being able to work with both Eric and Phil.
Phil was the producer on that record behind the sun for Eric. And then, of course, we did the tour. And then when we went to live aid, Phil was playing with Genesis and his solo thing over in the show.
And then we went over in the UK. He got on the flight, flew over here and played with us on our three song set. And it was, it was just phenomenal. And I have to say backtrack a little bit about being in the studio with him.
that had all of his ducks in a row at all times.
And we did the whole record in 13 hours.
I mean, all the backgrounds and everything.
And all the ideas that came from, you know,
setting up the backgrounds and everything.
And it was phenomenal.
Yeah, that is interesting.
Everyone has their own style, I guess, you know?
That's really someone that's working in a very systematic way,
you know, especially with doing takes.
I'm sure you've had to do many takes.
And if someone hears it right, they just keep moving on.
You know, there's no needing to do multiple takes.
That's really great.
Another person that I always wanted to meet,
which I have not met is Alice Cooper.
Now that's a story.
That's a story.
I was living in LA at the time.
And of course, I've worked with Alice on many festivals,
not in his band, but on the roster,
even back when he was bringing chickens on stage
and all that kind of silliness,
I was involved with a lot of the bigger background singers
in LA at the time and got a call that he was calling all these
singers to come down to the studio to work on the record.
Hey, stupid.
So I showed up and I mean,
there must have been 15, 17 great singers.
And we all did the record.
Gosh, I can't even remember.
I know Mike Finnegan was there and a few other people.
A lot of them that I knew their name,
but I never met them before.
But we were in the middle of doing about the third song
and somebody came in and go,
we're going to take about a 45 minute break.
Oh, OK.
So said Alice is bringing a box of rattlesnakes
into the control room and he wants to show everybody.
I didn't go into the control room at all.
And then we just continued on and did the rest of the records.
Well, that's a great story.
I know I have seen him live and you know,
he brings out the cobra around his neck and you know,
all sorts of things are happening when he's on stage.
Yeah, so unique.
You know, I think that's what has really been captured
over time with Alice Cooper is not just his lyrics,
but his ability to be a performer and a showman.
You know, he just drags the audience along with him, you know,
on this, you know, episode that he puts on stage, I guess.
Yeah, someone you did work with that I have seen on stage
several times is Michael Bolton.
And wow, yeah, his voice to me.
Oh, that is just it's like listening.
What to me would be the male version of Whitney Houston.
I don't know.
But Michael Bolton really to me is a male Whitney Houston.
I've known Michael since I'm going to say, gosh,
the early 80s, I think 83 has banned open for Seager
for about four months.
And so we got a chance to become friends and I worked on one
of his record early records as well as he brought me into the
fold and I worked on a album for Jimmy Barnes,
who's like the Australian Bob Seager, I would say,
got a rough voice, wonderful, wonderful singer as well.
We've had some great times together and he's just a wonderful
singer and I remember him giving me a cassette.
I said, you're right.
So I'm so I'm like the year sometimes.
So he hands me a cassette and it's got all of his big hits on
him, you know, his the demos for it.
I think I still have it somewhere.
That's incredible.
Well, and you know, I can't not mention Glenn Fry and Joe
Walsh.
I mean, Joe Walsh, my gosh, I mean, I've been to see the Eagles
and Joe Walsh is like something.
So what do you have about those two talented musicians?
Well, Court Glenn was born in Michigan and and he used to come
to Seager shows a lot.
So I got to meet him there always a really, really nice guy.
And as far as Joe initially when he was in the James gang,
he played in Detroit and Michigan a lot and we were on the same
bill a number of times.
So I got to meet him then.
And then of course, when he got the job with the Eagles and I
think it was on one of their first hiatus, Glenn and Joe
decided to they weren't ready to sit back.
So they went on the road themselves and that's that's where
I got the job and did some background work for him.
And of course, Joe was every time we'd stop at a we were
doing bus bus tours.
Every time we'd stop at a gas station.
Oh, I got to I got to go to the end of the store.
So he'd go into the store and he'd come out with all of these
kids toys and they weren't for kids.
They were stuff for him to access and do on stage.
It was ridiculous.
It's so funny.
Oh, he's just a great guy.
So he was buying props for his show.
Absolutely.
Wow.
So I know we mentioned a lot of performers and a lot of
really talented musicians.
Who is someone that you have not worked with that in the
back of your mind?
You always thought, I hope I get a chance to work with them.
Oh, God, you know, you got me stumped right now.
I'm going to throw one out to you.
Brian Ferry.
Oh, who Brian Ferry?
Brian Ferry.
Oh, wow.
So what would you like to do with him?
What would you first see doing with him if you had the chance?
Well, first I have to have the hammer.
I am such a fan, such a fan.
But after I get over being flabbergasted, I would love to
to tour with them.
He's got some amazing singers that he records with.
I think most of them are over in Europe, but all of his solo
stuff since he's left Roxy music, including Avalon.
I think that Roxy music was still together at the time.
But that whole era just kind of shifted and he went into this
lush kind of very sexy, but not overt.
It was just so classy and he's just a wonderful, wonderful
entertainer.
That's not great.
Edible, the people that you've worked with, who do you think
was the most instrumental in encouraging you to have your
own solo career?
Oh, gosh, probably little feet.
I worked with them 15 plus years.
I'd known all those guys quite a long time since, as a matter of fact,
86, Bill Payne and Fred Tackett joined the Seager tour at the time.
Bob was contemplating maybe retiring and he said, you know,
I've had all these people, wonderful musicians play in the studio,
but I'd like to do a band, a big band and have everybody that
that I'd so admire in the studio have them come out and be
on the road with me.
So that's what we did.
I don't know.
I think there was 30 people in the band at the time.
We had like three or four keyboard players and I was just mad
house, but it was a wonderful time.
But that's where I met Fred and Bill Payne.
And I'd known Paul Burere when I first moved to LA back in 85,
he was working with this other guy from from Detroit.
So I'd gone out to see him.
So that's how I had met him.
We got together and they really started spurring my writing on.
And I got into the fold of writing songs with them,
the four of Fred, Paul, Bill and
Fred, Paul, Bill and me.
Yeah, the four of us.
That's so great.
Wow.
So when did you really feel like you can see yourself doing that?
Because it is a big transition to be part of a band and then to think
that you could have your own band.
For some people, it's an easy transition.
Other people struggle with that.
Well, I'd started out as a solo artist.
So when I first started singing, I was always in my own bands.
Then I had a little diversion into the theater thing and I got married.
And this my husband at the time said, you know, I just saw an ad in the paper
for their holding auditions for some musical downtown.
Why did you go try out?
I said, OK.
So I went down there and it was hair and they were doing a rendition of it
in the Detroit area at the Best Pocket Theater.
So I walked in and there was like this big theater and it was really dark
except you could see the lights on the stage and I got about four steps
into the area and I went, I heard there she is.
I went, whoa, what's going on?
And it was Meatloaf who I'd been in a lot of festivals with the same
festivals in different bands at the time.
So I'd known him for a long time.
And what happened was he was trying to get into the hair out in LA.
They said, we're full, but we're going out to Detroit and do a show there.
Then they said, well, if you know anybody that would fit into any of these
roles, call up and have them come down and go, I know the one person I'd want
and I have no idea how to get in touch with her.
So that's the whole story about that.
And so I got up and I think I sang maybe two sentences of a song that I was going,
okay, okay, thank you so much.
That'll be all.
I went, oh, that didn't last long.
So as it turned out, they'd already knew that they were going to accept me.
They just want me to walk through the whole thing.
So I was in the run of the play in Detroit and then I went to Broadway
and did it there and then another run of the play in Washington, D.C.
So I thought, well, I'm going to be an actress now.
That didn't work out either, but I was in a couple of Broadway plays.
So that was a wonderful experience.
Well, you've really had such an incredible life, just like listening to these stories
and all of these twists and turns to think that meatloaf would be just there.
I mean, it's just like that again is like Lucky Strike.
I'm very much into signs and things like that.
So I had some really good entities following me around and helping me, you know, along the way.
And my horse goes, I'm going to be, everything's going to be roses now after eight, nine years.
Turned more.
Wow.
Well, I'm really excited to speak about this album.
I want to start talking about the songs that you have.
The first song I want to mention is Mama's Home.
Tell me about that song.
Mama's Home came from my very good friend, Jay Edwards.
He is an enigma.
I first met him when he walked in to this blues jam and he looked like an accountant.
Only he was probably six, five and just wire rim glasses, real short hair and a button down shirt.
But the voice that came out of him was like, oh my God, it was like Chris Stapleton.
It was unbelievable.
We've stayed in touch along the way and he now looks more like Chris Stapleton with the beard and everything.
But he writes some amazing songs.
I've done other songs by him on other albums and I called them up when I was getting ready to put this together.
And I said, Jay, do you have any songs?
And he's like, yeah, I got a couple I sent in.
So he sent me two songs and we ended up recording them both.
So Mama's Home is the first one.
Gosh, the other one is a
Take your kiss up off my lips.
Wow, yeah.
So we're going to play Mama's Home right now.
So open your eyes.
Sweet.
That ain't.
My.
Miss.
Home.
Ain't no time for cleaning hanging up the phone.
Cause the downer grand is leading TV on.
Open your eyes.
Sweet.
Sweet.
That ain't.
My.
Home.
So open your eyes.
Sweet.
Daddy.
My.
Miss.
Home.
It's been for here.
I just hope that you'll love in my mind.
Baby, like me.
Cause I'm ready to do my time tonight.
That's in the hallway.
It won't turn up the stairs.
Bring in the background now.
Love and live away.
Open your eyes.
Sweet.
Sweet.
Daddy.
My.
Miss.
Home.
Open your eyes.
Sweet.
Daddy.
My.
Miss.
Home.
Your.
Home.
It's been for here when I only have nobody can hold the hill in my mind.
Baby like me like we're like red hands, just do my time
Tonight, dancing in the hallway, walking up the stairs
Boo, you're in the bedroom, guys, I've been everywhere
Open your lungs, sweet, sweet daddy, momma's home
Open your arms, sweet daddy, momma's home
Open your arms, sweet daddy, momma's home
Open your arms, sweet daddy, momma's home
Wow, so this album, if you had to describe the vibe of this album
How would you describe it, rock blues?
Pretty much, it's got a little bit of everything
We kind of tried to widen the genre and we're doing some rock blues
We're doing some rock, we're doing some just blues
But we got a lot of energy this time, we're very happy with everything the way it turned out
So exciting, tell me about the next song that we selected
It's called the brand new blues
That's kind of a funny story, I had written a number of songs on the record
And we had a full 13 songs that we were going to do in this good friend of mine
Doug Jones called me up and he goes, well, are you still looking for songs?
I said, no, not really and he said, well, I have a song I think you should hear
And I went, oh, okay, so he said it to me and it knocked me back
I'm telling you, it was an amazing song, he did it through AI
He and a friend of mine, Roger Mason wrote it
We took one of my songs out that I wrote, we took it off the map and put this on
And liked it so much, we ended up titling the record by it
That is so great, wow, so we're gonna play brand new blues now
Always going back
In the same old ways
Trying to figure out yesterday
What you can't change today
Say you'll remember me treating you wrong
Blame is easy when the game goes along
It's that same old thing
Over and over
Wasted away
Crimson and flowers
I've got no more time to waste on you
You need to figure out what you're gonna do
Yeah
Maybe it's time for you to start something new
Cause baby got some brand new blues
brand new blues
Yeah
Baby got some brand new blues
Flu,
Take me way back down home
You know your dad wasn't too proud to roam
You can't remember what you did yesterday
Let alone those sweet sweet words you say
Say you surrender, say you got remorse
Make me uneasy and it's just getting worse
It's that same old thing over and over
Wasting away, a crimson and clover
I got no more time to waste on you
You need to figure out what you're the one to do
Maybe it's time for you to start something new
Cause baby got some brand new blues
Yeah, yeah, yeah
Cause baby got some brand new blues
Oh baby got some brand new blues
Cause baby got some brand new blues
Oh baby got some brand new blues
Say you know I can end
Say you're talking in our brand new blues
Yeah, yeah, yeah
I'm talking about brand new blues
You know it's interesting when you mentioned AI
Times have really changed
So when you go back to your beginning years
Did you ever think how the computer would be able to help us
The way we are now?
Music was so different than even like how music has heard
Now you have your audience streaming
You just have to go and stand online at the record store
You know there's been so many changes since you started
What are the things that you like right now
That you think are good changes in the business
I think there's a lot of good coming out of AI
But don't put it out as your single
I think the AI music trend is great for people like me
That don't play an instrument but writes lyrics
And can possibly just put your lyrics and I guess they call them prompts
Or whatever into this thing
And a song comes out in about 30 seconds
And it's really really amazing
And it really helps a lot
But I would never put out a record with what finished off AI
I would only ever use them I would think as demos
What do you think about social media and expanding the play of songs?
You know music is really being heard so quickly now because of social media
Yeah and I think there's a lot of good in that
But I think there's a lot of danger in that
There's just no gatekeeper on some things that need to be kind of more harnessed
Social media in general just sort of gotten away from people and humanity
And don't get me started about that
I know, I think of some of the stuff that I see on TikTok
You know, they're doing these dances but they're actually doing the answers to certain songs
You know, so like certain songs actually take off
Because of things like TikTok and stuff
So there's like, you know, the angel on the shoulder and the devil on the other shoulder with a lot of this
You know, it's interesting
Before we go on to the next song
You had said something earlier which I have lived by my entire life
Is following signs in life
When you were little, how did you feel about music?
Did you have a lot of family influences?
Or did you feel that you had been given early signs that you would spend your life and most of your career in music?
Well, you know, my mom and dad could sing
And they made this acetate record
My mom sang hard-hearted Hannah and my dad sang another song
And of course the acetate got lost in a divorce
So my mom could play piano and she wanted to teach me piano
Well, I knew better
I knew better
I don't need this, I'd never want to play the piano
And so I said, I quit the lessons and that's that is my one huge heartache that I didn't end up playing piano
But I don't think I really thought I'd be in music for a long time
Because I was into so much theater when I got going and maybe starting around 9th grade
I started being in plays and musicals and things like that
So that's where I really thought that I was heading, but music won
Yes, but I think a lot of the theater really has helped you on stage
Because a lot of times performers struggle with that
They have like anxiety that people are looking at them
So when you've actually had that major experience, you're already used to people looking at you, you know
You know, the thing that's so interesting to me, I always had a terror time giving a speech in speech class
Well, it room, just a few people, I would just get tongue tied
But give me a high stage with 10,000 people, oh, I'm in my element
That doesn't make any sense, but that's what that's what it's like for me
So do you remember any early signs?
Just that I guess I could sing, I did enjoy it
And as a matter of fact, right after I graduated high school
When I was in high school, I had a little duo with an ex-boyfriend of mine
And he played guitar and we sang little ditties and country songs and things like that
And so I'm graduated, I'm sitting there, what am I going to do with myself, I'm doing a waitress, or whatever
And I get a phone call, and this lady said
Hi, I heard that you sang, and right away I'm thinking, oh, my ex-boyfriend, they want to hire us, right?
So this is the only time in my entire life that I actually set a bunch of fibs
And I said, oh yes, we have a huge catalog, and we can play anything you want
And I'm just on and on and on, she can't get awarded edgel-wise, and I'm trying to sell myself
No, no, no, she goes, my daughters have a band, and we wanted to know if you wanted to come down in audition
Oh boy, luckily I knew a couple of current R&B songs, you know, knock on wood and things like that
And I went over, and I auditioned and didn't know what to do with my hands or anything, I picked up a tambourine
I'm hitting my leg with the tambourine and trying to sing, and okay, thank you very much
We'll get back to you, and I went home, and my leg was about five inches long and three inches wide, black and blue
It was just horrible, but I didn't get the gig, so that's really how I started, didn't you see?
That is a great story, I love it, wow. So tell me about your song Killing Time
Killing Time is a great song written by Chris Anderson, another great friend of mine
He was a lead guitar player in the band called The Outlaws
He's been writing for a long time, and I've actually co-written some songs with him along the way
And he's since moved down to Florida, and I thought, well, you know, let's see, let's time to talk to Chris and see what he's got
So he sent me three songs, which are on the record, by the way
If he would have sent me more, it might have been the Chris Anderson show, but he sent me these songs and I just loved them
And my manager was crazy for him, and we just tried to do as close to his rendition, his demos were just flawless
We went in there and just did the songs, and at one point we were thinking about naming the record against the wind or one of his other songs, but brand new blues went out
So that story is about Killing Time?
I think it's about, the song is about sort of a breakup, this guy is very, very, very sad, and he's just in a really, really bad place
And he wants to get back to the girl, and in the meantime, just Killing Time, so Time kills me
That's what I love about lyrics, because so many fans and so many in the audience can relate to these songs and to these situations and the lyrics
Sometimes people say, I don't have any friends, but I have music, and music becomes their friend
I hear that expression so many times, because it is hard to hang on to people, but these songs, they don't leave
Thank God, right? So we're going to play Killing Time now
["Pomp and Circumstance"]
Out in cracks on the ceiling tonight
Each one's a story of battles and fights, so I keep sticking, but I just can't sleep
And in the meantime, before Time kills me
Heads keeps spinning around like a wheel
Every second of things I can't steal, past is a shadow for future's to believe
Killing Time, before Time kills me
["Pomp and Circumstance"]
I talk to the walls, they don't, it's a flash
Dreams in my pocket, they're starting to crack
Silence is heavy, it's hard to breathe
And in the time, before Time kills me
If I could freeze in just more than day
Can't just stop rising, make it stay
Time to go away, I'm slipping free
Killing Time, before Time kills me
Heads keeps spinning around like a wheel
Every second of things I can't steal, past is a shadow for future's to believe
Killing Time, before Time kills me
So I lied to my child, let it burn slow
Watching fate out while the moments go
A prisoner of ours, I can't sleep free
Killing Time, before Time kills me
You know, before we go on, I just wanted to reflect on you making this album
Working with Tommy Del Rossi, working in his new studio
What was one of the things that was surprising, you know, that you went in not expecting to have happened?
Was there something that when the project is over, you're like, wow, you know, like that was something like that?
Both myself and my manager were so wonderfully surprised at Tommy's profession
Well, we were always surprised at his professionality, but just his grasp of everything that was going on
And when you're in the studio trying to, you know, engineer and co-produce and play the drums and do all this other stuff
You've got to really have focus all the time, so we were just overly excited about Tommy's contributions
To the everything of the record
And he's very easy going to, and I think when you work with people, especially in stressful situations
Where you feel like you're under the gun for time, or things aren't working out, or there's equipment issues
Or whatever, I mean, when you work in music, you realize if anything's going to go wrong, it goes wrong, right?
So, you always have to stay flexible, right?
But Tommy is so easygoing
It's like everything just rolls right off of him, so that probably added to your experience
So that's really exciting
Before we talk about the Leos Swang, which is one of your hits on this album
I wanted to talk about what the rest of the year looks like for you
What are the things you have coming up? Do you have any social appearances?
What are the promotional things for you for the rest of the year?
Right now, we're still getting the record organized, and we haven't received the final copies of the record yet
So we're waiting to hear from the factory that they're actually printed
And we've got a presale going on right now
And we did the first single that we just released
So there's that, and we're our own record company
All the ins and outs, all the minutiae that go along with everything else, we have to do ourselves
So that's a full plate right now
Absolutely, well, I will be promoting whatever I can do to help to promote this, because I love it
Tell me about this last song, which we're going to roll out the interview with, called, I'm going to take the money
Tell me about that
That one, another couple of friends of mine, Darrell Burgess and Joanna Cotton along with a lady named Angie Russell wrote the song
Darrell played drums on one of my records, so I've been knowing him for quite a long time
And we've been friends, and so I called him up and said, what do you got?
And he sent me some songs, and I really liked this one
Of course, the demo was sung by Joanna Cotton, who's a fabulous voice
We said, well, I was a little country, but let's actually try to kind of steer it over to a more of a blues rock song
And I think that came through, it's a great song
So exciting, tell me about your social media, how can the fans reach out and find all you have going on?
I am on Facebook, I am Sean Murphy, and I'm also in a private group, please come and join the group
It's called Sean Murphy, Her Life in Music, and then of course I'm on X as Sean Murphy Band, and I'm on YouTube as Sean Murphy Band
I think that's it
Oh, I am, yes, I am.
I'm going to get that
Very good, wow, well, it has been a pleasure to have you on
I look forward to promoting you and listening to all of your music
It has been really an honor to speak with you, and it is really an incredible career that you've had
Thank you so much for doing this show, Sean
You're welcome, and the record actually comes out May 25th
Oh, perfect, all right, perfect timing
I'm gonna join that pre-sale
Exactly, pre-sale, that's right
We're gonna roll out with I'm gonna take the money by Sean Murphy
Thank you again, Sean
First time you married for love, but there's no guarantees
Love don't pay for no groceries
They never tell you, there's a debt to us part
And I can't even afford to fix this broken heart
Now if I have to choose between love and money
I'm gonna take the money
Well, I've already had my heart up there
But I what I need is a million there
I had a loss, I would sell for respect
That's the man I'd say, I don't think that's gonna be a credit check
Yeah, if I had to choose between love and money
I'm gonna take the money
Well, you don't have to be alone for a penny
If I could get a seat up in a country club
Yeah, I'm just a super little country girl
But I don't turn on my nose and all diamonds and paper
I'm just a super little country
I'm just a super little country
No, I'm not greedy, honey
Just wanna know what it's like to be rolling and green
On the other side
Listen, you're a wall of babies and platinum or black
Cause I might be inclined to call you back
Yeah, if I had a choice between love and money
I'm gonna take the money
I'm gonna take the money
I'm gonna take the money
When you
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Bringing the darkness to the light with Catherine Adele, professional psychic medium
Dream Central Station, LLC
My audio editor is Al Hemberger at the Law for Quoting Studios in Bronxville, New York
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