WEBVTT - The ChrissieCast: Dopamine Hits With Andy McClusky

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<v Speaker 1>Andy McCluskey is the lead singer and basis of the

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<v Speaker 1>iconic group OMD and has given us the gifts of

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<v Speaker 1>such tunes as Joan of Arc Electricity and Oligay, and

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<v Speaker 1>of course the dopamine hit we are featuring today. If

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<v Speaker 1>you lead in the magical Pretty in Pink, he's during

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<v Speaker 1>Australia in fair But twenty twenty five and you can

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<v Speaker 1>get you to get from Destroy All Lines dot com

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<v Speaker 1>sounds like a synth to obside. Frankly, I'll see you there,

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<v Speaker 1>Christy casters, please welcome and in mclusky from OMD.

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<v Speaker 2>Hi Andy, Hello, nice to talk to you. Thank you.

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<v Speaker 3>Oh gosh, it's such a thrill that you've agreed to

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<v Speaker 3>be part.

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<v Speaker 1>Of this little mini snacksy series called Dopamine Hits, where

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<v Speaker 1>I talk about the songs that are on my playlist.

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<v Speaker 1>At the minute they start, I get a rush of

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<v Speaker 1>great feelings. And of course if you leave is one

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<v Speaker 1>of then minute that drumbeat kicks I feel alive. Can

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<v Speaker 1>you tell me how this song cameded out?

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<v Speaker 2>Well, I mean it was. It was a remarkable piece

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<v Speaker 2>of storyline. Actually, we were specifically asked by John Hughes

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<v Speaker 2>to write a song for Pretty and Pink for the

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<v Speaker 2>prom scene right at the end. He was very angliphile.

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<v Speaker 2>He liked his English music. So we went down to

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<v Speaker 2>Paramount Studios, we saw them filming it. They said exactly

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<v Speaker 2>what they wanted. We went home and we wrote the song,

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<v Speaker 2>and we came back to America with the song ready

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<v Speaker 2>to mix, and he said, bit of a problem. Actually

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<v Speaker 2>we've changed the end of the movie and your lyrics

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<v Speaker 2>don't work. We wrote a song called Goddess of Love,

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<v Speaker 2>actually criticy. He couldn't use it. He said, does your start?

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<v Speaker 2>Does your tour start for another two days? If you've

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<v Speaker 2>got time, can you write me another one today? We've

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<v Speaker 2>just flown into La ready to mix. So we wrote

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<v Speaker 2>if You Leave in one day in the studio, totally

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<v Speaker 2>from scratch, and we got really lucky. We got really

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<v Speaker 2>lucky with that one. But yeah, that was a really

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<v Speaker 2>crazy story. We had to throw away the first song

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<v Speaker 2>we wrote.

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<v Speaker 1>Okay, I've got so many questions with that process. Did

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<v Speaker 1>you view rushes of the film so far to get

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<v Speaker 1>the buy?

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<v Speaker 2>Not at all, No, because they were still filming it

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<v Speaker 2>when we were writing the song. And the only thing

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<v Speaker 2>that John said to us was it just has to

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<v Speaker 2>be one twenty beats per minute because we filmed the

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<v Speaker 2>people dancing at the prom to Don't You Forget About

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<v Speaker 2>Me by Simple Minds, which was in the song the

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<v Speaker 2>year before the Breakfast Club, So that is just same tempo.

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<v Speaker 2>That's it. So of course when we did finally see

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<v Speaker 2>the edit, we were invited to the premiere at the

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<v Speaker 2>Man's Chinese the or on Hollywood Boulevard, red carpet treatment, everything.

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<v Speaker 2>It was amazing and we waited him. We waited it up.

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<v Speaker 2>It comes on the screen and we're like, okay, we

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<v Speaker 2>did one twenty beats a minute. Who edited this movie?

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<v Speaker 2>Because nobody's dancing on the fricking beat? So the only

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<v Speaker 2>paravity we were given, didn't I love?

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<v Speaker 3>I think this is interesting because I did read a

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<v Speaker 3>little bit about Pretty in Pink and they had to

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<v Speaker 3>change the ending.

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<v Speaker 1>Initially, Molly Ringwolve's character, who I believe is called Andy

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<v Speaker 1>as well, but with an Ie, ends up with Ducky,

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<v Speaker 1>who's the kind of you know, nerdy, good guy, and

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<v Speaker 1>the audiences didn't like that, so they changed it that

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<v Speaker 1>she ended up with you know, the broody, moody, rich

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<v Speaker 1>guy Blaine. Hence the misfit of Goddess of Love.

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<v Speaker 2>I guess you're absolutely right. Yeah, this is it. The

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<v Speaker 2>test audience, the teenage girl said no, no, Ducky's her friend.

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<v Speaker 2>She should end up with the good looking guy. So

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<v Speaker 2>they had to rework the ending. Yeah, exactly, that's exactly

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<v Speaker 2>what happened.

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<v Speaker 1>Wow. So when you're coming to Australia, how long has

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<v Speaker 1>it been since you've been here? I've read ulternating stories

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<v Speaker 1>it says one time, this is the first Australian tour.

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<v Speaker 1>But I'm sure you've been here before.

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<v Speaker 2>No, no, you were just a baby last time we

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<v Speaker 2>were there. It was thirty eight years ago. Scary huh.

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<v Speaker 1>Oh, you're very kind and very kind and wow, so

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<v Speaker 1>this is going to be amazing.

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<v Speaker 3>What is it like to be, you know, living your

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<v Speaker 3>whole amazing.

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<v Speaker 1>Life over on the other side of the world, and

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<v Speaker 1>then you come to a place like Australia which feels

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<v Speaker 1>so remote and far away, and yet we are all

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<v Speaker 1>going to be there leaving in the audience knowing every

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<v Speaker 1>single word to your tracks.

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<v Speaker 2>This is the amazing thing is that obviously, yes, I

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<v Speaker 2>grew up in England. We have toured Australia twice before.

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<v Speaker 2>In the mid eighties. But yeah, we're going to come

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<v Speaker 2>back having not played for thirty eight years. But we

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<v Speaker 2>are blessed that so many of our songs are still

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<v Speaker 2>played on the radio in Australia and as you say,

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<v Speaker 2>the tracks like if you Leave in Inola Gay, everybody

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<v Speaker 2>seems to know them and so it's these are great

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<v Speaker 2>calling cards to have, you know, when you come visiting

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<v Speaker 2>and you go, well, I've got this song and this

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<v Speaker 2>song and this song and you know this one, people

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<v Speaker 2>go come on in. So yeah, I mean we are

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<v Speaker 2>so excited. It's been way too long, so we can't

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<v Speaker 2>wait to come back next year.

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<v Speaker 1>What's it like knowing that the skills that you have

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<v Speaker 1>bring so much joy to millions of people still every day.

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<v Speaker 2>Do you know what again, I'll use the word it's

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<v Speaker 2>a blessing. You've got to remember here. Paul Humphries and

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<v Speaker 2>I were a pair of working class kids from the

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<v Speaker 2>wrong side of the River Mersey in Liverpool and we

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<v Speaker 2>were doing a hobby. We were inspired by German music.

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<v Speaker 2>It was just our hobby. We never thought we were

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<v Speaker 2>ever going to make a living out of it, and

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<v Speaker 2>then we just had a series of lucky things happened

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<v Speaker 2>to us and the next thing, you know, after daring

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<v Speaker 2>to do one gig with a stupid name like Orchestral

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<v Speaker 2>Maneuvers in the dark, it was just a dare for

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<v Speaker 2>one gig. Eighteen months later, we're having our first hit

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<v Speaker 2>single and things just exploded. So it's it's amazing, But

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<v Speaker 2>you know what, it wasn't everything we ever predicted or wanted.

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<v Speaker 2>But when people come up to me and say, I'm

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<v Speaker 2>sorry to bother you, but I just wanted to say

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<v Speaker 2>that this song you wrote means something to me because

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<v Speaker 2>you know it was my first song at my wedding

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<v Speaker 2>or I played it at my father's funeral or something.

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<v Speaker 2>You know, you just realized something I did that the

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<v Speaker 2>last three and a half minutes is indelibly in people's lives.

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<v Speaker 2>It doesn't change the world, but it made a difference,

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<v Speaker 2>and it's an amazing feeling.

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<v Speaker 1>It is truly extraordinary, isn't it. How do you choose

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<v Speaker 1>where those dopamine hits go in the sett list?

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<v Speaker 2>You have to spread them out, But because you don't,

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<v Speaker 2>you don't want, you know, you got to. You gotta

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<v Speaker 2>give drop a few hits in first and then take

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<v Speaker 2>it on a journey. I mean, we are fortunate that

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<v Speaker 2>we have quite a lot of hits, so it's not

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<v Speaker 2>it's not like people are waiting for the hit or

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<v Speaker 2>we're saving it for the encore, you know, So we

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<v Speaker 2>will Yeah, you'll get you'll you'll you'll get some early

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<v Speaker 2>ones and some middle ones, and all I'll say is

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<v Speaker 2>my dancing still hasn't improved for the Maid of Orleans

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<v Speaker 2>Joan of Arc So there will be a slow one

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<v Speaker 2>immediate after that, but it'll still be a hit.

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<v Speaker 3>Listen enough for that negative self talk.

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<v Speaker 1>We live for that, Dad through a tea. Don't you

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<v Speaker 1>worry about that now?

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<v Speaker 3>Speaking of.

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<v Speaker 1>Speaking of your the other member of the of the

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<v Speaker 1>of the group, there is a third member called Winston.

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<v Speaker 1>Who was he and is he coming on tour?

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<v Speaker 2>There was a third member? No, No, Winston is where

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<v Speaker 2>Paul Humphries and I should be behind glass in the

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<v Speaker 2>Museum of Liverpool and for those who don't know, For

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<v Speaker 2>those who don't know, Winston is a tape recorder. When

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<v Speaker 2>we were teenagers and we wanted to play our music,

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<v Speaker 2>our friends thought it was well not music they were

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<v Speaker 2>into like Genesis and the Eagles, and they didn't get

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<v Speaker 2>what we were into. So we had to be a

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<v Speaker 2>band and the rest of the band was the tape

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<v Speaker 2>recorder because nobody else wanted to play with us. We

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<v Speaker 2>used to make a joke actually that if Lennon and

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<v Speaker 2>McCartney had had a tape recorder in the sixties, then

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<v Speaker 2>the other two wouldn't have been in the Beatles. So

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<v Speaker 2>totally true.

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<v Speaker 1>They've become obsolete, much like Winston himself.

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<v Speaker 2>Yeah, but but yeah, Winston is actually definitely is in

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<v Speaker 2>a museum. He was great to begin with, but we'd

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<v Speaker 2>rather play with real people now that they want to

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<v Speaker 2>play with us.

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<v Speaker 1>Nineteen eighty six was such a massive year. It was,

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<v Speaker 1>you know, that the year I became a teenager, thirteen

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<v Speaker 1>years old. But there were some unbelievable albums released that year.

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<v Speaker 1>Graceland licensed to ill Over in America of Unbasted Boys

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<v Speaker 1>Peter Gabriels So, which is still one of the greatest

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<v Speaker 1>albums of all time. Absolutely, I inhiled this music. Australia

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<v Speaker 1>in the eighties, you know, without the Internet and without

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<v Speaker 1>you know, any sort of global communications platform, we felt

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<v Speaker 1>so far away and I've always said that, you know,

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<v Speaker 1>if I could go back to any time, it would

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<v Speaker 1>be eighties. In the UK. I you know, I spent

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<v Speaker 1>all my pocket money on smash hits, you know, magazines

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<v Speaker 1>and the import ones very expensive. What was it like

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<v Speaker 1>to be amid that amazing cut and thrust of culture

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<v Speaker 1>and music in Britain in the eighties.

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<v Speaker 2>Of course, the crazy thing was that I can only

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<v Speaker 2>look back now and go, oh wow. At the time,

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<v Speaker 2>you were just doing it, you know, and very quickly

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<v Speaker 2>our hobby became our job, and it became our normal.

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<v Speaker 2>You know, I lived in a suitcase. I was traveling

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<v Speaker 2>around the world. I was doing television and photographs of

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<v Speaker 2>radio and concerts, and then back in the studio and boomber.

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<v Speaker 2>It was just your feet never touched the ground. But

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<v Speaker 2>that became your normal, and I didn't. I mean, I

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<v Speaker 2>finally left home and because previously I was being on

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<v Speaker 2>top of the pops and then going home to my

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<v Speaker 2>little box room that was like six foot by seven

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<v Speaker 2>foot the room I grew up in. The bed took

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<v Speaker 2>up half the room. But give me, mother, here, can

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<v Speaker 2>you do me washing? I've got to go to Berlin tomorrow.

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<v Speaker 2>You know, It's just it, but that was my that

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<v Speaker 2>was my normal. It was nuts.

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<v Speaker 1>And what were the photo shoots like for smash Sheets magazine.

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<v Speaker 2>Well, do you know, do you know, I'll tell you

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<v Speaker 2>a funny story. Right, one day in nineteen eighty four,

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<v Speaker 2>we were doing a photo shoot four Smash Shits photographer

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<v Speaker 2>studio called Eric Watson. We were being interviewed by the

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<v Speaker 2>guy who was the deputy editor of Smash Shits, who said,

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<v Speaker 2>this is going to be my last interview because I've

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<v Speaker 2>got a band and we're going to release a record

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<v Speaker 2>next month. And we said, oh, good luck. What's the

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<v Speaker 2>record called West End Girls? Neil Tennant Neil Kenny. Neil

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<v Speaker 2>Tenner was interviewing us for Smash It in his last

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<v Speaker 2>interview before he started the Pet Shop Boys. And then,

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<v Speaker 2>just to make it even more surreal, I walked over

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<v Speaker 2>to a light box that Eric had and I switched

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<v Speaker 2>it on and went, oh, she's cute. Who's that? And

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<v Speaker 2>he went, just some dancer from New York who thinks

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<v Speaker 2>she can sing. Madonna just before she released her first

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<v Speaker 2>single Donna. Yeah, So this was nineteen eighty four that

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<v Speaker 2>this was what it was like. Neil Tenner was interviewing us.

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<v Speaker 2>We were looking at some photographs by this girl who

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<v Speaker 2>was called Madonna, who we never heard of, but it

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<v Speaker 2>was just a blur. Every day was just another day like.

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<v Speaker 1>That, unbelievable. God, I could talk to you forever.

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<v Speaker 3>Thank you so much for joining us, Andy McCluskey. If

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<v Speaker 3>you want to go and see OMD, do not miss

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<v Speaker 3>the meturing in February. It is going to be an

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<v Speaker 3>absoluute vibe. Get you tickets from destroy alllines dot com.

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<v Speaker 1>They kickoff in February in Perth and in the how

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<v Speaker 1>do I ever? Thank you so much?

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<v Speaker 2>Come to the gigs and say hello, well we cannot

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<v Speaker 2>wait to play. It's basically we're bringing all the greatest

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<v Speaker 2>sits down to Australia because we owe it to you

0:12:10.160 --> 0:12:11.440
<v Speaker 2>because it's been way too long.

0:12:11.720 --> 0:12:14.800
<v Speaker 1>I love that. And you know, always whenever I go

0:12:14.880 --> 0:12:16.880
<v Speaker 1>to a show and the new stuff comes out, I

0:12:16.880 --> 0:12:19.079
<v Speaker 1>call it the city break because that's where you go

0:12:19.640 --> 0:12:22.000
<v Speaker 1>to get your hot dog and chips and you drink.

0:12:22.040 --> 0:12:22.440
<v Speaker 1>I love that.

0:12:22.480 --> 0:12:25.439
<v Speaker 2>You say, listen, you know the songs have been good

0:12:25.520 --> 0:12:28.080
<v Speaker 2>to us. Don't mess around. Play them exactly how people

0:12:28.120 --> 0:12:30.679
<v Speaker 2>remember them. Give them every song that was a hit,

0:12:31.000 --> 0:12:35.360
<v Speaker 2>because that you know, we the songs have been good

0:12:35.400 --> 0:12:37.040
<v Speaker 2>to us. We need to be good to the songs

0:12:37.080 --> 0:12:39.160
<v Speaker 2>and treat the audience with respect. So come and see

0:12:39.200 --> 0:12:41.120
<v Speaker 2>the gigs and we'll have a great party.

0:12:41.240 --> 0:12:43.880
<v Speaker 1>Amen and the Fussy, thank you so much for joining me,

0:12:43.920 --> 0:12:45.959
<v Speaker 1>and you go off to bed with a couple of

0:12:46.000 --> 0:12:47.360
<v Speaker 1>haul it's in the channel.

0:12:49.120 --> 0:12:51.720
<v Speaker 2>Thank you and I'll see you next year. Bye.