#186 Michael Tinholme
Michael and Rae chat about his incredible journey of discovery and the process of developing a catalogue and his inspiration from Ray Charles and his ability to explore all genres of music as an artist and a songwriter.
The critically acclaimed old-school crooner Michael Tinholme brings his stylings to his latest album Singled Out. A 13-track journey soaked in Tinholme’s smooth and sophisticated jazzy stylings, backed by genre giants performing at their best.
Opening the album is a rendition of the Bowie classic ‘Lady Stardust’, that sets the tempo for this technically proficient and soulfully rich project. Tinholme’s interpretation of the legacy track bleeds respect for the original while showcasing what makes the artist and his band so special. Backed by long-time Bowie collaborator and the song’s original pianist Mike Garson, Michael’s cool vocals dance across a dynamic range fitting of Lady Stardust’s legacy, while saxophone and piano solos, and beautiful backing singers envelop listeners in a sonically rich and wonderous experience.
Singled Out delivers on the promise of its opening track. Shifting between fantastic renditions of all-time greats and Tinholme originals standing shoulder to shoulder, the album transports listeners back to the time of jazz as a juggernaut, all the while making the most of contemporary production, stylings, and calibre of talent. Joining Michael are the aforementioned Mike Garson, jazz guitarist Mike Miller (Better Midler, Quincey Jones), the acclaimed drummer Gary Novak (Chick Corea, Natalie Cole), and legendary guitarist Steve Lukather (Toto, Michael Jackson’s Thriller, Ringo Starr and Paul McCartney).
Michael’s path to the company of musical prestige was one hard tread. Adopted into a military family at only seven months old, Michael was constantly being relocated all the while suffering extensive abuse. Amongst the catharsis, the artist found solace in music. A perfect fit, Michael played his first professional show aged only twelve.
While the journey there forth remained difficult, with spouts of foster care and homelessness, two threads remain constant from Michael’s collaborators: his kindness and his passion. It is with dedication, talent, and a relentlessly tenacious spirit then that Michael brought himself to the remarkable stature he holds today.
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Transcript
Rae Leigh: All right. Welcome to a, songwriter tryst with Michael Tinholme. Thanks for joining me.
Michael Tinholme: Well, thank you for having me. It's good to be had.
Rae Leigh: So I like to start every single podcast by getting you as the artist. Tell us a little bit about who you are and where you come from.
Michael Tinholme: Well, I'm a recording artist. I'm happy to say that I have music on the radio and around the world and a bunch of different formats on. Pop adult contemporary country, Latin jazz. I then app this derivation of my career for about 10 years now. I was discovered by the producer in place bass player for Ray Charles Tom Fowler 10 years ago back.
And and since then, I'm happy to say I've been recording music constantly and My music catalog is growing and I'm very happy about it.
Rae Leigh: Having fun. That's the most important thing.
Michael Tinholme: Yeah. I'm happily having
Rae Leigh: Yeah. So how did that happen with Tom Fowler? You said you were discovered by him. What happened?
Michael Tinholme: I had a small commercial music company. You're in Los Angeles and my sister Beth asked me to write. Some quote, normal music for a change and, and
Rae Leigh: What does that look
Michael Tinholme: yeah. Instead of jingles and commercials for Mercedes-Benz and, you know, little, you know, little sound design and that kind of stuff. So she she asked me to record something for her.
And so I recorded the little Christmas CD called the last Christmas card. The guy that was pressing the record button was urban, urban magic Kramer. He was a Ray. Charles is a engineer and on his recording team. And I was on, I was on the third take of a singing, make someone happy. And I look over at him and he's got kind of tears running down his face.
And he said that I had. Pursue a professional music career. And he introduced me to Tom Fowler and, and I've been recording every sentence at the very top of the game with the best musicians in the world. I couldn't be more pleased and more happy.
Rae Leigh: That's incredible. That's the universal God's saying this is what you're meant to be doing, and we're going to make you do it by putting you in with these people. That's beautiful. How did you get into music to begin with? Where, where does that journey start? Who inspired you? What made you decide to have music as a career?
Michael Tinholme: I think music has always been an escape for me. I, I can remember being enthusiastically singing music when I was like six years old, I was an army brat and we travel all over the world and all I really had was music. And fortunately my my parents were great. Enthusiasts of music and had a great ear.
They were, I love Louis Armstrong, Ella Fitzgerald, the great music of jazz. So I grew up listening to that. I also grew up listening to international music, being stationed all over the world. And at some point I, I, I gained this ability to be able to copy the singing styles of almost anyone I heard. And and that happened at a pretty young age.
My formal music trend is trending, started pretty seriously around six or seven and eight with piano. And that was hard to keep up being an army brat.
Rae Leigh: Yeah, it would be, I can really, I wasn't an army break, but my, my parents were missionaries. So I traveled all over the world as a kid. And it's isolating because you don't get to just make a friend and like, hang out with that friend every day at school, or you constantly being thrown in with people that you don't know.
And I was really shy. So I think, I think I kind of relate to that connection to music is just being a stable. The year it is hard to keep up. Every time we traveled with my parents, I ended up coming back. I'd learned a different instrument. I don't know about you, but I always went back to piano, but I liked trying different
Michael Tinholme: I think we might have that in common. I think I think traveling as a young kid can make you kind of, more worldly. If you will, it can grow you up faster because you know, you're, you're isolated as a kid and you only have your yourself to count on it. I found that in myself, at least.
Rae Leigh: Yeah. And you realize how big the world is. I know I've got children now and they'd have no idea. I mean, they've been to the UK once, you know, like they haven't really experienced much of the world outside of. My family. But yeah, when I, when I was their age, I was, you know, in Africa and orphanages with kids who had nothing, you know, and to see that at a child's age, I don't, I didn't appreciate it at the time, but you know, when you've seen things like that, when you're younger and like you would have seen with your dad it's a different experience.
I dunno if it's good or bad or anything like that, but it's just, it's a different experience it's going to influence you and I'm interested to see how that's impacted. Your career and your attitude towards your
Michael Tinholme: Well, I think it gives you empathy, you know, and Perhaps sympathy for other people's situations to be thrown into situations like that. I can remember seeing bombed out buildings. And and you know, the scars on the earth were still there for world war II. I mean, you know, how many decades later was it you know, and then seeing people.
And here in America, in the south, especially that that we're struggling socially and financially. You know, I think that had an impact on me. I remember when I was, we were traveling from base to base the Klu Klux Klan was taking pot shots at people on the freeway and in Georgia. So I think these things opened my eyes to the world a little bit.
Rae Leigh: Yeah. Yeah, absolutely. And that's, it's not nice to have to talk about, but at the same time, that is what the world is like. And to be influenced about that as an artist, you can't help, but have that influence what you're doing as well. When did you start writing songs? Do you remember when the poetry and the lyrics and the melodies started pouring out?
Michael Tinholme: At a pretty young age. I was I was fortunate to be supported musically by my parents. It was kind of a crazy household, but music was the one constant that was supported. I played my professional gig at, I think it was 12 years old, but as far as songwriting, I, I think that became, that began even early, again, even earlier on, I was a big fan, of course, John Lennon, Paul McCartney, and and you know, I wanted to do, like everyone wanted to do what they did, you know, and songwriting was such a good part of that.
And I was very inspired by John Lynn and I can remember playing a gig when I was 12 years old at the form uses. And I actually sang John Lennon's, a working class hero and and mother and all that stuff. So songwriting and has been a big deal for me. I think I've always written lyrics. I probably got a file with a.
1500 pages of lyrics. And that I've written through the years.
Rae Leigh: Would you say you're more of a lyricist or is it the melody that comes first? What do you feel like you separate the two and you feel like you're more inclined to one area of your song writing
Michael Tinholme: well, as an instrumentalist, I think that's always you know, a big influence, but you know, with lyrics, I almost feel like it's cheating because. With lyrics, the music really writes themself, you know, you know, the music.
Rae Leigh: That's a talent
Michael Tinholme: Yeah. The music either fits the lyrics or it doesn't. And most lyrics when you hear them song over a melody line, you're just going, yeah.
That works, you know, and nothing else would have worked, you know?
Rae Leigh: Yeah. Maybe in that maybe that means you are more of a melody person. Cause I can relate to that. I had a friend at university who would just give me lyrics and I would just sing it without even like, as I was reading it for the first time, I would sing it for the first time and just insert the melody where it was meant to be.
Because like you said, the, the lyrics tell you where the melody should be. But I think, that's a gift. I don't think everyone has that ability to, to hear the melody in lyrics.
Michael Tinholme: I think,
Rae Leigh: Do you know what I mean?
Michael Tinholme: you know, I th. It gets empathy. You know, I think songwriters the artist song writing is really about humility and being open and accepting I've written songs.
Rae Leigh: yeah, it comes through
Michael Tinholme: I've written songs by overhearing other people's conversation. I, you know,
Rae Leigh: Oh
Michael Tinholme: I, I overheard this conversation of this and I was, had my back to her.
She was a woman breaking up with her. I don't know if it's a husband or a boyfriend, but I only caught her. I only caught her part of the conversation. And that is that inspired a song I'm writing now called the sad conversation where you hear one part of the, the breakup. And the other part is the music responding.
You know, the music plays the part of the other party. So yeah.
Rae Leigh: I love that idea. It's amazing. It's a beautiful concept.
Michael Tinholme: Well, we'll see if it works, know,
Rae Leigh: I'll have to, I'll keep an eye out for it.
Michael Tinholme: it's, everything is experimental and that's what I love about music, everything, every,
Rae Leigh: It is, is it? Yeah. You just got to give it a
Michael Tinholme: yeah, everything is a new experiment and and a new angle of things. And that's what I love most about writing and recording music.
Rae Leigh: do you do much collaboration as far as co-writing or, I mean, I can see from your bio that you've worked with some absolutely incredible musicians. What's your process with a songwriting and collaborating and getting the song to, you know, online or wherever we listen to it. How does it start for you?
Do you like to start in a group or is it just use first and then go find the people that need to finish
Michael Tinholme: I think as a songwriter, it's a solitary experience, but I love collaborating with other people. I've had the fortune of collaborating with Mike Garson, you know, David Bowie's piano man for over 45 years, you know? And that's a fun experience. I've had people, you know, submit lyrics to me to write music to, I loved that experience because now you're trying to.
You know, walk or live in another person's shoes from their perspective. So it's almost like being an actor. It's a, it's a character I wouldn't have played. And I love that experience. It's so new and fresh and, you know, it gives you the permission to be someone that you would have never been in the first place, you know, and musically.
But as far as collaboration, music is collaboration. When you get in the studio, I've had so many visions of songs and arrangements of songs. And when you get in the studio and you have all these great musicians there, you know, it, it takes on a life of its own. And that's also a wonderful experience about music.
You don't really control it. It's it lives on its own. Hopefully.
Rae Leigh: no, that's a really, that was a frustrating, frustrating lesson for me to learn. I definitely tried to control a lot of my life. And then when I wanted to go into this studio and get something, it just never came out the way that I want. It's still great, still beautiful music, but not how I guess I imagined.
And so that, that's a difficult thing as an artist to let go of that control and let it be what it's going to be, because there are other people involved unless you do everything, everything yourself. But I don't know that many people that are. So talented that they can produce and play every single instrument and sing and write And do you know, do everything that needs to be done to get a good track out there.
It's
Michael Tinholme: the ones
Rae Leigh: that's a challenging
Michael Tinholme: that are good at or are great at like, of course, Paul McCartney and Paul McCartney, he can go in the studio and play every instrument there is to play and it comes out fantastic. And you know, but then,
Rae Leigh: He doesn't need
Michael Tinholme: but I also, I love, you know, George Martin produced the hell out of Paul McCartney and, you know, I mean, I just, I, you know, I, I think there's, there's that word again?
It's humility and. Giving yourself over to the process, giving yourself over to a producer. You know, it's like, I, I, I had the fortune to work with Gary Novak, one of the greatest drummers that ever lived and you know,
Rae Leigh: Yeah.
Michael Tinholme: it not a very smart idea to tell Gary Novak how to play drums. That means you've been playing it all of his life and knows more about this subject than I ever will.
You know, it's taught Tom Fowler who, who was originally. Frank Zappa and the mothers of invention, and then went on to play with John, with Pawnee. And then of course, Ray Charles for 12 years, I mean, I'm not going to, I'm not going to tell Ray, you know, Tom Fowler, how to play bass, you know, and when it comes to their parts you know, as a singer it almost feels like being embraced by these guys because they really know what they're doing.
With their thing more than, than you would ever, would you ever would as a musician or as a songwriter, as a singer and there's,
Rae Leigh: and it is,
Michael Tinholme: it is, it's a beautiful thing. It's a, it's a beautiful
Rae Leigh: Yeah.
Michael Tinholme: to be a part of.
Rae Leigh: Tell me about your favorite experience that you've had so far. Like I knew that a career is built up of lots of little achievements that we just have to keep going. But is there one that kind of.
has just meant a lot to you that you've always held on to
Michael Tinholme: I really think that a friendship with Mike Garson, you know, who is such a icon in the world of music, especially as a piano player. And and the music that we made together, that's been a high point. I think to have it appreciated by people. Have it played on the radio, you know, to get, to get feedback from people to, you know, you know, I think that's really the wonderful thing, you know, because that's why we're doing it.
We're doing it. We're doing it to connect with someone, you know, perhaps to express something that can't be said with a spoken word. And then when you make that connection, With someone, a listener and appreciator of music, there's nothing better than that.
Rae Leigh: I couldn't have said it better myself. I love everything you just said. And I think that's probably the trailer for your podcast, because that is what art is. It's all about the connection with other people and yeah, it's, it's a mystery that.
doesn't need to be solved. Just needs to happen. We can just enjoy it.
Michael Tinholme: Well, you know, it's also can be quite nerve wracking too, you know,
Rae Leigh: It's extremely vulnerable.
Michael Tinholme: you put something out there in the world and you know, you you've, you've not only have you involved yourself in it, you know? You've paced over it, you know, it's like you've given birth to something and now it's like, now it's in the other hands of people, you know, and what they decided is, you know, that's you know, I was told by someone a long time ago, never label yourself as an artist that's for other people to do.
And I try not to do that. I try,
Rae Leigh: Yeah,
Michael Tinholme: you know,
Rae Leigh: that's probably a good line. Yeah but it's, it's challenging to let go of it. It's it's you gotta, gotta let go of the ego because if you do, that's where the pain comes in. I think when, if you're still holding on to that ego and then people start to judge and change your art to fit what they want, your ego is going to get bruised no matter who you are.
Michael Tinholme: Yeah, I think the world is a tough place too. I think people tend to be cynical. I mean, if you walk into a room and say, This is going to be the greatest thing, what most people think. Yeah. Right. Yeah. No, it's like,
Rae Leigh: yeah,
Michael Tinholme: yeah, it's going to be great. Sure.
Rae Leigh: yeah. Pretty much, pretty much. And then you'll do something just for fun and then it will be like your number one hit song. And then
Michael Tinholme: Well, I'm waiting for
Rae Leigh: because you just, Yeah. I. I actually had that, that experience for the first time on Wednesday this week. I had a fun song that.
I just released for a friend and is very budget. And it went number one in Australia. So there you go. You never know what's going to happen.
Michael Tinholme: Okay, well maybe I should join your band.
Rae Leigh: Yeah, well, maybe I should get a band.
I'm still at the process of trying to find my team. Like you've got here, like, You know, there's producers and musicians that you're working with is, is inspirational. It's it's incredible. Tell me what would, what would you say the best advice is that you would give to someone who's just starting out in the, in the.
Michael Tinholme: You know, I think artists hate to hear it and especially it's tough in the music business. But you can't forget, it's a music business, you know? And I think that can cause a lot of misery for people and because.
Rae Leigh: What do you mean
Michael Tinholme: Well, we as artists, we, as we, as artists want to do our own thing, you know, we're drawn to what we're drawn to, you know, I mean, you know, you know, you know, Salvador, Salvador Dali probably look at his pain.
This is the best thing I've ever done in my whole life. Now I may look at the same thing he's done and God, oh my God, that's that re represents the worst dream I could ever have. You know, I mean, but, but but he's invested in it, you know, and You know, it's a solitary existence to, to be so invested in yourself.
I don't know if I'm answering the question, but I, I
Rae Leigh: No, I, yeah, I get it. And I do agree, but I just wanted to know what your take on like the music business
Michael Tinholme: I think you need to, I think you need to look, learn everything you can know about the business itself, you know, to focus on the art, not knowing anything about the business is kind of a dangerous existence, especially if you want your art to be successful. You know, I do think it's a mistake to want the artists to be as successful.
I think that happens as a result of great art, you know? So. You know, it's these things that can make or break the human being. You know, it's all about the ego of me that that can be a very dangerous thing for an artist. And we've all seen people the greatest artists in the world fall prey to that kind of thought, you know, cool bang and all
Rae Leigh: It's always okay. To ask
Michael Tinholme: Yeah.
Rae Leigh: Yeah, I agree. I, I grew up, like I said, with missionary parents and being in a religious world as a child, I definitely saw a lot of. What I would call blind faith. So people that just believed everything that they were told, but probably never actually read that much of the Bible themselves or, you know, and didn't actually question and examine things.
And I mean, I did a science degree. I'm, I've, I've been curious by nature my entire life and that's what I love. And that's probably why I ended up in this.
podcast because I just, I have so many questions. I don't think they're ever going to stop, but I've never understood how and I, and I see people get hurt by it, but.
Blindly trusting and believing everyone around them and everything they hear without questioning and just seeking out truth rather than just believing. And that happens in the music industry. Like you said, you know, people just sign a contract without reading it or just do my art and I'll find someone else to do, you know, the business will take care of itself and that's how people get hurt and it happens.
And hopefully you learn from those mistakes as well. But and like, I've, you know, I make mistakes like that as well. But it happens way too often. I find in the music industry, have you experienced much of that?
Michael Tinholme: Yeah, I, I would say that I've been a witness to it. I I've experienced some of it. You know, my own failure in music unfortunately have been my own and I own them completely. I, I probably have had more opportunities. In music than any man should have, or any person should have. You know, I was almost signed a recording contract at 14, and then I was homeless between the ages of 15 and 21 almost was assigned to her.
Rae Leigh: So what happened
Michael Tinholme: You know, it was a family situation where I kind of had to run for my own survival, if you will. You know, at first I, you know, I thought it was going to be something else, you know, I thought I, you know, almost. Kind of viewed myself as the hero of my own movie, if you will. and
Rae Leigh: Yeah, everyone does.
Michael Tinholme: every, you know, everything was gonna work out great.
And you know, it wasn't good. I was going to go on the search sojourn and it turned out to be something other than that. But but I do think it, it artistically, I th I think it gave me something That I treasure because it put me on the outside of the human existence, if you will. I mean, I was a witness to life, not a partaker in life, or at least a life I was involved in wasn't was only partaking in my misery if you get it.
But but I was a witness to people. You know, I like at Christmas time when I was on the streets you know, I could remember hanging out at, you know, near a mall, you know, and watching people on their way, you know, to, and from the stores, you know, I, you know, and then, you know, so it gave me that observation of people kind of, you know, kind of imprinted on me, how, how important belonging is, and then also what it takes to build.
You know, like sometimes you know, when I came off the street as a great example, I, I don't think I'd ever been more than a dishwasher and probably the worst cook ever imaginable. But I did see what it took to succeed in business. And usually that started with a uniform, like, you know, you know, anyone will believe anyone on a crisp.
Thousand dollar or $5,000 suit. Right. I mean, all of that debt. Yeah. That's, that's exactly right. And it took, it took me into into commerce. It was these observations that also, I think kind of, I think crystallize my performances and what's the most important to me when I, when I sing a song, you know?
And you know, I, I, I think I try to put the emphasis. On the listener, but you know, who do I have to be? Do I have to be the sad clown? You know, do I have to be over the top? So you think I'm ridiculous, you know, these kinds of choices we make as an artist. And I think that came out of those observations of observing people when I was on the streets.
Rae Leigh: I love that. And I'm sorry to hear that you had to go through that as well, but at the same time, I love what you're creating and I love what you're doing and that, that is all influenced by everything you've been through your pain and your misery, as well as your greatest joys. So, I'm grateful that you feel like you've grown to be able to share that.
Michael Tinholme: Yes. Well, you know, you know, what I like to say is, I mean, no offense, but they call my music music for manic depressives or those who want to be.
Rae Leigh: that's probably why I like it so much.
Michael Tinholme: Well, thank you for joining the club.
Rae Leigh: Okay. All right. Tell me about your, your latest project. What's, what's exciting. You the most what's coming
Michael Tinholme: Well, I'm about to release a song called I don't want to cry for you anymore. It's a rock tune that I'm really proud of. It's coming out on the 22nd and it features the guitarist, Andy wood. Who's just Power for us on guitar. So that's a rock. That's a rock tune that I'm coming out with on the 22nd.
I'm only happy about that. We just released I just, we just released a song that was written by Mike Garson David Bowie's, piano Madigan called love love
Rae Leigh: Yeah,
Michael Tinholme: called lullaby for our daughter. That it was such a, I just love how they came out. And so I'm currently working on my next releases and I've got about another 10 songs.
I'm going to be releasing over the next, I think six or seven months. So, and an EAP,
Rae Leigh: that's amazing. And you going to be performing anyway, where can people kind of hear you play live
Michael Tinholme: You know, the L
Rae Leigh: connect?
Michael Tinholme: I, you know, everyone, the live thing as you know, is become a real big deal, especially with the COVID and the, you know, and you know, everyone out here in Los Angeles, I mean, there's tours that are good of on the road, then they're canceled even, you know, everyone's kind of weary. So, the plan is to go on the road later this year.
I was just ready to go on the road a couple of years ago, I was doing some tune-ups and then the, you know, the pandemic hit everyone. Had it changed everyone's lives, unfortunately. So many. And so many lives are lost, you know, and it just a terrible thing. And so, I'm a little guarded to say, to give an exact date, but my team are focusing on live performances and doing some tune-ups.
And all of a sudden a parents is out here in California and perhaps north up in Seattle. So on
Rae Leigh: Well, that's exciting. I've got my, my brother-in-law his family's from Seattle. It's a beautiful space up
Michael Tinholme: if you'd like.
Rae Leigh: and I see pictures. Well, just, just from the way that he speaks about it. Like they have a farm and they've just been over there for a visit to, cause I haven't been there since the COVID pandemic.
I just the way they talk about it, you know, it makes, you know, when someone does that, they talk about their home in such a beautiful, romantic way that it makes you want to visit. That's that's me in Seattle. Like I want to go there because of the way that he loves his home so much.
Michael Tinholme: Well, I wish I could say that about Los Angeles, you know, Los Angeles
Rae Leigh: Yeah. I don't know about that one.
Michael Tinholme: it's it's, you know, although it's warm and also could be one of the coldest place on earth, you know? So
Rae Leigh: Really.
Michael Tinholme: it's, it's a, it's a business town and everyone's going for it, you know, and, and some people go for. And some people crawl other people to go for it.
So that's kind of lost.
Rae Leigh: That's an interesting concept, but you know what? I have spoken to a lot of people from lots of different cities And I haven't had any romantic speech about LA yet from anyone it's, it's usually been more the, be careful when you come to LA speech. So I'm very wary.
Michael Tinholme: And when it is, it's usually, oh yeah. I lived in LA once. God, I'm glad I don't live
Rae Leigh: Yeah. So how come you've stayed for so long? What, what is it? That's
Michael Tinholme: Well, if you want to be in the business, you gotta be where the business is and you know, and and in order to be. To have access to the musicians I've had access to you know, it, it it calls on me to be here, you know, plus Y my wife's family is from here. She's got a long history from here and I'm a new Yorker actually, you know, my history and you know, and I, of course I want to move back to New York, but I don't know if they'd have me.
Rae Leigh: You've changed too much. I'm sure. They'd have you both places I'd love to visit and I have to do my comparisons after I get there, but thank you so much. I want to ask you one more question and this is more to do with your inspirations. If you could collaborate with anyone in the world, dead or alive, who would it be and why?
Michael Tinholme: Alright, give me a second.
Rae Leigh: That's okay. She's
Michael Tinholme: Yeah, I know it's a tough one. I don't want you to get, I don't want to give you some predictable answer. I got to say Ray Charles, I would love to sing with Ray Charles. I, you know, I've known a lot of people that knew him personally. I never got to meet the man himself. I've made music with people that were on his team that played with him, you know? I think when I was a young kid, there was one record that I played the Groo's off and it was Ray Charles country record.
When you saying George. And and oh, and I, and I got to record Georgia with Tom valor, who, you know, who played with Ray all those years and all those guys and did another version, some of the brass section in his band or playing on it. I haven't released it yet. But Ray, Charles, I think he did so much, he was, you know, it, wasn't just a rhythm and blues guy.
He's saying everything, rock and roll, you know, gospel, everything. So. Rachel.
Rae Leigh: I love that. That's beautiful. Well, that's all my official questions and I really appreciate you taking the time out to chat to me about your music and what you're doing and why you do it and how you do it. And all of that. Is there anything else you would like to share? I'm going to put your links to your socials and music so that people can follow you and try and find out as much as they can as well.
Is there anything else you'd like to share
Michael Tinholme: Well, I appreciate,
Rae Leigh: before.
Michael Tinholme: I appreciate that greatly. I, you know, I think it's know, I don't know about everyone out there, but these have kind of been tough times to be optimistic and you know, with the, with the pandemic and you know, what's going on with this war and everything you know, I know.
It hits artists particularly hard and and can suck the life out of our inspiration, you know? But I, I think these are times where, you know, the world needs great music. I, I think about how imagine change the world. And so it's a time for great artists and great poets. Great painters to provide sound for this, this, these terrible times with
Rae Leigh: Yeah, we can put some joy into the world and remember that life is still going, even when there's so much death around.
Michael Tinholme: it's gotta be lived.
Rae Leigh: It's still spinning. Exactly. Exactly. Thank you so much. That's amazing. And I look forward to sharing it with
Michael Tinholme: Thank you. I look forward to doing it again.
