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Speaker 1: Live Game.

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Speaker 2: Business.

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Speaker 1: It's the third of July twenty twenty four. Welcome all

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Speaker 1: you bespokey dokies to the Daily Bespoke Podcast. And today

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Speaker 1: we've got a big gift. We've got Iver Davies from

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Speaker 1: Bloody Ice House. I A Davis, not Iver dv Okay,

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Speaker 1: it's not Iver Davis, No, it's IV Davis. I have

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Speaker 1: the idea what I was short for either of a

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Speaker 1: big dick.

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Speaker 3: That's heart good sounds like this of course electric blue

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Speaker 3: tune and then wounds like this.

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Speaker 1: Bring it's the RNA.

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Speaker 4: Just one that is a good tune. Now one what

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Speaker 4: about this one across the water?

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Speaker 1: Have you got that one that goes we can get together?

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Speaker 5: Oh?

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Speaker 4: What's that called?

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Speaker 6: Gotta be please the mother by like you tune?

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Speaker 1: So you gotta beyond? What are we gonna talk about?

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Speaker 1: Because first question surely has to be used to running

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Speaker 1: a mullett with her. But he's not fan in front

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Speaker 1: of you, now he's not.

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Speaker 3: Last time I saw you nineteen eighty nine, found as

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Speaker 3: there in Hamilton, you were rolling a mullett with a

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Speaker 3: fan with a billowy chiffon shirt hanging up with that.

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Speaker 1: You used to running out at your consorts.

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Speaker 4: Do you know my favorite I O song is that

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Speaker 4: nothing too serious one? But I don't have the hook

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Speaker 4: already loaded in, but you know the song goes nothing

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Speaker 4: to Yeah. I don't know why I love that tune

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Speaker 4: so much. That always plays at stadiums as well. Anyway,

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Speaker 4: shall we call them or what's the buz?

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Speaker 1: Well, hang on a minute, We've got to address the

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Speaker 1: elephant in the room. The elephant in the room is

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Speaker 1: that we promised and people that listen to Jimmy Barnes

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Speaker 1: podcast will know that we promised to go live with

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Speaker 1: Ivor Davy worth a little diorama of our Davis Davis Davis.

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Speaker 1: Remember it's Davis with the little di roma of ice

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Speaker 1: house made out of our downstairs, right. Yeah, but we

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Speaker 1: would have done that, and so people that say the

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Speaker 1: well sell outs are not doing it. We would have

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Speaker 1: done that, except for the fact it's a phone call,

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Speaker 1: so we can't. It's not a zoom call.

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Speaker 4: Okay, it's good.

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Speaker 5: Okay.

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Speaker 4: If I always hard out at ten, apparently I's got

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Speaker 4: places to be, people to see, so I can just

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Speaker 4: all him up. Now, I shouldn't read real.

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Speaker 3: Name, Ivor Davis. Okay, that makes sense. It's not Ivor

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Speaker 3: at all. It's ivor Ivor. It's a Russian name, dangerously

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Speaker 3: long number.

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Speaker 4: I've got this right.

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Speaker 1: He does the sound trick for Master and Commander, Great movies.

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Speaker 1: Know that I did not know that. Hello, Hell was

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Speaker 1: that ivy?

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Speaker 5: Hi Iver?

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Speaker 1: It's Matt and Jerry here from RADIOHKI. How are you good?

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Speaker 1: Thank you, we're already live and recording.

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Speaker 7: Ever, okay, no worries.

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Speaker 1: Thanks, thanks for joining us today, pleasure and doing our

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Speaker 1: deep amount of research for this interview. I realized that

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Speaker 1: you composed the soundtrack for Master and Commander.

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Speaker 7: Wow, okay, yes, I mean we know.

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Speaker 3: A lot about you, obviously, we know a lot about

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Speaker 3: your a lot about your songs. Grew up with your songs,

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Speaker 3: love Ice House, and have a huge appreciation for your

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Speaker 3: song writing ability.

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Speaker 1: But I didn't bloody know you did Master and Commander.

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Speaker 7: Yeah, and it was a big thing. It was right

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Speaker 7: in the top of the A list Hollywood. The full

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Speaker 7: bells and whistles, you know, most famous orchestra recording studio

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Speaker 7: in the world. It's incredible, it's great fun and.

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Speaker 1: It's a fantastic movie.

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Speaker 3: The soundtrack sensational.

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Speaker 7: Well, it was, I mean, Peter, were was the director,

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Speaker 7: and you know, you'll know loads of his iconic films

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Speaker 7: and absolute joy to work with because he just knows

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Speaker 7: exactly what he wants. And you know, that was probably

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Speaker 7: one of the most heavily researched movies in terms of

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Speaker 7: being absolutely accurate to the period of the Napoleonic Wars,

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Speaker 7: which was said that in that period, and you know,

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Speaker 7: it was kind of epic every on every level.

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Speaker 3: Really, so iver when you go about writing the soundtrack

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Speaker 3: for something like Master and Commander, you obviously get the film.

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Speaker 1: You watch the film, absolutely you do.

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Speaker 7: And in fact, the the the editor of that, Peter

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Speaker 7: we Uses, is an Australian fellow who went on to

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Speaker 7: one win an Academy Award, and he work very closely

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Speaker 7: with the composition team, my technicians, and he also is

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Speaker 7: a kind of he is a music editor as well,

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Speaker 7: So while he was actually editing the movie and putting

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Speaker 7: it all together, he's putting together kind of temporary bits

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Speaker 7: of music which give us a guideline to what he's thinking,

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Speaker 7: what Peter Weir is thinking. It's a very collaborative process, really.

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Speaker 1: I mean, I just watched interestingly a documentary on the

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Speaker 1: making this movie the other day, and you know they

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Speaker 1: built the ships exactly like they were. The details of

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Speaker 1: they built the two ships. They had the one out

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Speaker 1: on the water, they had they had Russell Crowe making

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Speaker 1: people introduced to each other by the rankings as they

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Speaker 1: were actors from the start. So you're coming on into

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Speaker 1: a situation like that. So are you bringing that idea

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Speaker 1: to the music that the music has to be right

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Speaker 1: for the time as well?

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Speaker 7: If you know what I'm saying, Well, we're part of

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Speaker 7: a music team. Was Richard Tonie and you'll probably know

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Speaker 7: him as being world class concert violinist and director of

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Speaker 7: the Australian Chamber Orchestra. Now his wealth of music of

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Speaker 7: knowledge is in period music and so he knew exactly

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Speaker 7: what it was. The two main characters, of course, the

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Speaker 7: Russell Crowe's characters, being the captain and the ship's doctor,

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Speaker 7: are very different people and that's part of the fun

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Speaker 7: of the movie is the relationship between these two because

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Speaker 7: they only get together really when they play music together,

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Speaker 7: and that's the kind of connection. And so there are

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Speaker 7: a lot of scenes in the movie where they had

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Speaker 7: to turn up in the captain's cabin, the doctor with

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Speaker 7: his cello and the Captain Russell Crowe with his violin.

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Speaker 7: Richard Tonietti was Russell Crowe's violin coach. I had to

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Speaker 7: learn how to play some of these pieces, believe it

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Speaker 7: or not, and the music for the period had to

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Speaker 7: be just exactly right. And that, of course is a

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Speaker 7: great asset in Richard Tanya's knowledge of all that period is.

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Speaker 1: That great line with the chief goes as they get

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Speaker 1: scratching and scratching a way and nothing you can dance to.

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Speaker 1: He's from the other room when he's hearing them play.

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Speaker 3: A lot of people probably won't know that about you either,

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Speaker 3: that you were classically trained, you were involved in orchestras

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Speaker 3: and then I think was it in your early twenties

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Speaker 3: maybe is it twenty one when you when you dropped

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Speaker 3: out of the New South Wales Conservative conservatorium of music

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Speaker 3: to start writing pop music. Well, looking now, obviously you

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Speaker 3: must listen to a lot of classical music now and

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Speaker 3: probably all genres of music. What do you what do

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Speaker 3: you currently listen to?

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Speaker 7: You're right, actually, you know music has worked for me,

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Speaker 7: so it's it's it's not the sort of thing where

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Speaker 7: I put on music sort of relaxed. I had a

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Speaker 7: girlfriend back in the early days, and she liked to

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Speaker 7: go to sleep with the radio on, and this was

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Speaker 7: absolute nightmare for me because of course I'd be sitting

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Speaker 7: there analyzing the songs and making notes for tomorrow's work

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Speaker 7: and so you know. So, but you know, as of

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Speaker 7: last night, for example, I was listening to Yo Hunsterbuskin Bark,

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Speaker 7: I was probably my favorite composer. And if I'm going

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Speaker 7: to put something on, I'll put on something from probably

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Speaker 7: the classical repertipe, because it's a fair distance away from

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Speaker 7: what I've been doing for the last forty years. Let's

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Speaker 7: face it, I don't you know, I don't put on

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Speaker 7: popular rock music because that's my work. But yes, by

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Speaker 7: going back to those early days, a very interesting relationship

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Speaker 7: because I was paying the rent partly with cleaning jobs,

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Speaker 7: but also very early on, once I dropped out of

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Speaker 7: the full time orchestra that I was principal Obo's I

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Speaker 7: believe it. I was actually principal burst of working orchestra.

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Speaker 7: And once I dropped out of that, I actually got

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Speaker 7: a job writing out music to all the songs that

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Speaker 7: were in the Australian charts. Because in those days you

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Speaker 7: had to produce a piece of sheet music to pass

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Speaker 7: on to APRA, which is the kind of copyright body

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Speaker 7: in Australia to register your songs. And as part of

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Speaker 7: that job, one of the publishing companies rang me up

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Speaker 7: and said, we'd like you to write the Cold Chisel Songbook.

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Speaker 7: And so I actually have in my possession a songbook

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Speaker 7: which I wrote the piano arrangements to which are probably

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Speaker 7: the a list of all the Cold Chisel hits that

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Speaker 7: you've ever listened to. And this of course brings us

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Speaker 7: around to the conversation that we're having about coming over

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Speaker 7: next year and playing. But I'll be able to remind

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Speaker 7: Jimmy and Don Wrger and whatever that I wrote their

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Speaker 7: songbook when I was around about well.

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Speaker 1: We had Jimmy Barnes on the show the other day

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Speaker 1: who was talking very highly of you, and you know

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Speaker 1: because we brought you up, because I mean I had

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Speaker 1: a spiritual experience when I first saw you play in

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Speaker 1: nineteen eighty nine in New Zealand, and I was just

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Speaker 1: talking to one of the bosses that here, one of

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Speaker 1: the wider bosses in NZBA, and we said we're talking

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Speaker 1: to you, and he goes Founder's Theater nineteen eighty nine.

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Speaker 1: It was my first concert. It blew my freaking mind.

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Speaker 1: But you know it's interesting that, you know, because you know,

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Speaker 1: from the New Zealand perspective there's all these legendary Australian

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Speaker 1: bands that had the whole career. But you know, whenever

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Speaker 1: you talk to anyone of you is aways go Jimmy

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Speaker 1: Barnes Thus and he's like, I have a Davey's that.

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Speaker 1: So it's quite a small close community as well, isn't it.

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Speaker 7: Well, we when we were starting out, we were signed

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Speaker 7: to a management company. It was only a trio of

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Speaker 7: three managers and they were kind of maverick group of managers.

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Speaker 7: They'd broken away from the very big network of managers

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Speaker 7: in Australia and they could do that because they had

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Speaker 7: the two biggest bands in Australia by miles and they

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Speaker 7: were The Angels and Cole Chisel, and those two bands

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Speaker 7: are at their absolute peak and we were brand new

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Speaker 7: and so we were the little brothers. So we did

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Speaker 7: lots and lots of supports spots for both those bands,

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Speaker 7: but especially Cold Chisel, and so you know, we were

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Speaker 7: the newbies, so they were kind of big brothers to us.

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Speaker 7: And that's where the kind of weird special relationship comes from.

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Speaker 7: And people have said to me, oh, it must be

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Speaker 7: weird going on and supporting Colds, and I went, well, no,

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Speaker 7: we were doing that forty five years.

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Speaker 1: Ago, So well, I bet there was opening times for

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Speaker 1: you guys coming out being involved in that. You know

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Speaker 1: those guys, I mean legendary stories indeed.

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Speaker 7: Indeed, Yeah, yeah, so I look, you know, I'm a

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Speaker 7: huge fan, so you know I'll be side of stage

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Speaker 7: every night watching what the hell Ian Moss plays that

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Speaker 7: particular night, because he never plays the same thing twice.

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Speaker 7: So yeah, it'll be great fun.

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Speaker 3: I'm going to take you back to that nineteen eighty

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Speaker 3: nine I Cell tour and that you that you had

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Speaker 3: three in New Zealand. I'm going to ask you a

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Speaker 3: question about the clothes that you're wearing at the time,

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Speaker 3: the haircut that you had, plus the fan that you

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Speaker 3: had situated just in front of you that was blowing

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Speaker 3: You're very very loose fitting what looked like possibly some

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Speaker 3: kind of chiffon shirt back.

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Speaker 1: And was that a decision of yours.

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Speaker 3: To have the fan that was blowing your hair back

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Speaker 3: or was that was that a management idea or is

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Speaker 3: that a wider band idea.

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Speaker 7: That is a purely practical stage and I still do that.

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Speaker 7: Have that fan there, Yeah, and it's the only way

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Speaker 7: that I'm kind of I've got any control over regulating

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Speaker 7: the temperature that's going on because we play in some

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Speaker 7: massively varied environments and if you're playing in a small

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Speaker 7: theater or even tighter than that, a small pub, it's

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Speaker 7: probably going to get incredibly hot. But then on the

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Speaker 7: other hand, if you're playing outside in a big open

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Speaker 7: air environment, then you know it's possibly going to get

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Speaker 7: very cold. And it's actually quite difficult to get that right.

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Speaker 7: But I have a relationship with my guitar tech who

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Speaker 7: is side stage, and I look at him and he

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Speaker 7: pointed the fan and turn it on.

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Speaker 1: It just so happened to look so good with because

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Speaker 1: you know, you say, you say you're a classic change mission,

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Speaker 1: but you arrived as a fully formed rock star that

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Speaker 1: you know growing up in dun Eden where I did.

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Speaker 1: When you when you played, it was like it was

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Speaker 1: like nothing I'd ever seen before. It was it was

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Speaker 1: so rock and roll and so so glamorous, and yeah,

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Speaker 1: to burst the bubble.

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Speaker 7: It's all about.

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Speaker 1: So the fan will be on tour with you again.

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Speaker 1: With this this Greenstone Tour at Summer Concert to Tour

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Speaker 1: twenty twenty five. It's it's you, It's it's Cold Chisel,

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Speaker 1: it's bit Hunger and it's ever clear. It's going to

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Speaker 1: be a great three shows.

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Speaker 7: Yeah, no, look and looking incredibly because every time, I mean,

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Speaker 7: New Zealand is such a great sort of joy to after.

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Speaker 7: I mean you take it for granted there because you

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Speaker 7: live there, but you know it's a beautiful place. And

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Speaker 7: we love coming to New Zealand and have done right

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Speaker 7: from the very beginning. And if you go tralling YouTube,

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Speaker 7: you'll find us in nineteen eighty playing at the Sweetwaters

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Speaker 7: Festival and oh wow, that was you know, that was

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Speaker 7: a real highlight for us because I don't think we've

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Speaker 7: ever been anywhere, so to arrive in New Zealand play

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Speaker 7: on a massive bill like that, and you'll find it

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Speaker 7: on that same bill we were supporting Golgers.

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Speaker 1: Oh wow, there we go. The circle of life. There's

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Speaker 1: the circle of life, isn't it. Iver Davies, thank you

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Speaker 1: so much for joining us on the Mat and Jerry Podcast.

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Speaker 1: It's been a great pleasure to talk to you. To

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Speaker 1: look forward to seeing you when you come over to

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Speaker 1: New Zealand. Yeah, me too, I see you then right, cheers,

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Speaker 1: thank you, Thanks mate, he's got a heart out. We've

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Speaker 1: told a ten heart out.

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Speaker 3: You look at that heart out and we are eighteen

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Speaker 3: seconds away.

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Speaker 4: From Shall we just take a quick break and then

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Speaker 4: come back with our debrief?

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Speaker 1: Actually got so much a depri I'm actually quite angry

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Speaker 1: with some of the stuff you said you. I don't

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Speaker 1: want to actually have a go at me full disclosure,

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Speaker 1: false drama created before their break. I don't have anything

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Speaker 1: to ever got that. I wish that we could have

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Speaker 1: talked for longer. I wish we could I mean, did

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Speaker 1: we ever get rid of because no one came on

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Speaker 1: and said hard out? We were just told it hard out.

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Speaker 4: You don't know we were going to get This is

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Speaker 4: the thing that you guys don't get exposed to as

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Speaker 4: we to text and emails, get out throughout interviews.

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Speaker 1: Can you hurry get out and don't get out get

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Speaker 1: exposed to it. I was just sitting on the phone

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Speaker 1: with the throat cutting these guys.

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Speaker 4: Two miss calls from Ruda at home.

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Speaker 3: I hate these guys. Get I'm sick of talking about

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Speaker 3: what fascinated what's fascinating to me. I just looked into

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Speaker 3: I saw it into the brain of Ivor Davies there

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Speaker 3: and a whole lot of realizations came to me. One

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Speaker 3: was that that, unfortunately because we didn't have enough time,

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Speaker 3: we can get into. But one of those things was

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Speaker 3: when you are a musician, and I've spoken to guys

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Speaker 3: in the New Zealand Sophie Orchestra about this, when you're

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Speaker 3: a really, really big time musician who's grown up with

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Speaker 3: music all their lives and studied music and stuff, music,

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Speaker 3: you don't, it becomes a different thing. So you actually

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Speaker 3: kind of hate it, yeah, because it's constantly you can't

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Speaker 3: listen to anything it's shop talk without just going into

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Speaker 3: the rhythm of it, the tempo of it, the way

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Speaker 3: that it's been resolved, and then you can't you can't

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Speaker 3: help but think, oh, if only they had have done this.

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Speaker 3: And so he that was interestingly saying that he couldn't

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Speaker 3: listen to music with his girlfriend because he just can't.

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Speaker 3: He can't just have it wash over him.

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Speaker 1: He's right in it, Mash, would it kill you to

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Speaker 1: whip up? We can we can get together? Oh, I

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Speaker 1: can find blust at as we talk.

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Speaker 3: About it in the background and It also made me

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Speaker 3: realize there's classically trained all of ice House's hurts. They

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Speaker 3: have a beautiful resolve on the particularly on the choruses.

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Speaker 1: Well you gotta me crazy baby to love a girl

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Speaker 1: like me. The keys up there going higher, I did crazy.

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Speaker 6: That's an amazing change wherever the way it left us

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Speaker 6: walking upstairs that song. Yeah, so that's going down the

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Speaker 6: stairs and then it goes back up the stairs.

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Speaker 1: That's why it's so pleasing. Let you gotta we can

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Speaker 1: get together and up up your as mechigan.

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Speaker 4: I don't know if I do.

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Speaker 1: We can get together, can you?

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Speaker 4: You might have to fire that off your computers.

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Speaker 1: Okay, yeah, we just played one sometimes.

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Speaker 4: Yeah, it just went on recording. I don't have excess.

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Speaker 1: Yeah, Mane and I never got under it.

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Speaker 3: Because he plays the bloody Bear big pipes, he plays

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Speaker 3: the obo, he plays the English horn, he plays a clarinet,

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Speaker 3: he plays keyboards. That guy I have a Davies I'm

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Speaker 3: calling musical genius. Oh he's undoubtedly j Yeah, I mean,

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Speaker 3: listen to this tune. Listen to this junior. This is

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Speaker 3: a freaking tune. It sounds like mesh pumping away.

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Speaker 1: That's not fast. Yeah, he goes, fine, Oh, this is

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Speaker 1: a churn. This is a freaking chune. This is early

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Speaker 1: on in their career.

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Speaker 3: This is a dancing little number, is not there. He's

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Speaker 3: coming out the back after disco. I know he's been

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Speaker 3: listening to their D Bowie D Bowie and Roxy music.

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Speaker 2: Ah yeah, pick up sticks is a good line. It's

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Speaker 2: such a good song.

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Speaker 5: You gotta wait for the chorus.

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Speaker 1: Now you know what he means when he goes, you

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Speaker 1: know that line. The song goes, you can pick up

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Speaker 1: my sticks, you can back up my shoe. You know

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Speaker 1: he's talking about He's talking about pick up sticks and

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Speaker 1: I'm foxing a shoe.

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Speaker 5: Here he go, he goes the chorus. It's a lot

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Speaker 5: of bari there.

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Speaker 4: I think it was over David. I saw an interview

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Speaker 4: with him be having done once and he was talking

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Speaker 4: about his songwriting. And I could be completely wrong here,

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Speaker 4: but he said that what he does the song is

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Speaker 4: he'll start with the chorus and then turn that chorus

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Speaker 4: into the first verse. Ah yeah, so just goes. You

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Speaker 4: just make sure that this first verse is the catches

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Speaker 4: fucking thing that he can possibly come up with, and

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Speaker 4: then he'll go and actually write a chorus and don't borrow.

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Speaker 1: Write a period. Yeah, don't borrows. Get to the chorus exactly.

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Speaker 4: So he writes a whole bunch of choruses and then

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Speaker 4: shoves that at the beginning of the song because every

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Speaker 4: apparently every part of the song, according to other Davies,

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Speaker 4: should be of course, it should be worthy of a chorus.

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Speaker 1: Catchy, that's a really good point. Can fire off, just randomly,

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00:20:25,880 --> 00:20:28,720
Speaker 1: fire off? I see how song? How it starts?

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Speaker 4: Okay, shy thing, I can start one?

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Speaker 1: Oh you can't start?

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00:20:31,880 --> 00:20:32,720
Speaker 4: Well, you should start one?

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00:20:33,680 --> 00:20:44,840
Speaker 1: Fire one and and and and just a random one. Okay, okay, okay,

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00:20:44,880 --> 00:20:48,399
Speaker 1: here we go. I've still got the other one playing

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Speaker 1: running situation. Okay, there we go.

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Speaker 4: I mean this might completely debang my theory.

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Speaker 1: Don't wake me tonight before I go. I'm about to

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Speaker 1: take one more request on this video. It's over Davy

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00:20:58,800 --> 00:21:01,440
Speaker 1: pretending to be a you're on the radio host in

375
00:21:01,480 --> 00:21:04,280
Speaker 1: the video. Oh that's great, good morning. Do you mind

376
00:21:04,320 --> 00:21:08,240
Speaker 1: if I work you tonight that you request? Use mate?

377
00:21:09,160 --> 00:21:25,959
Speaker 7: Well, you play crazy for me? Right?

378
00:21:26,000 --> 00:21:26,200
Speaker 1: Sad?

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00:21:26,280 --> 00:21:26,600
Speaker 6: What song?

380
00:21:27,600 --> 00:21:33,840
Speaker 1: Moody? I've got a pocus.

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00:21:34,960 --> 00:21:35,280
Speaker 2: Hello.

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00:21:36,480 --> 00:21:42,680
Speaker 1: Okay, So chick chorus, And he's now drawing into the

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00:21:42,880 --> 00:21:45,320
Speaker 1: ny for what's this woman? Who's rung? I'm on the

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Speaker 1: radio for the rainbow.

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00:21:53,200 --> 00:21:54,960
Speaker 4: I'm in a different song. If this is the chorus.

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Speaker 1: Guys, here you guys.

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00:21:57,760 --> 00:21:58,679
Speaker 5: Roving with the woman the one?

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00:21:59,480 --> 00:21:59,920
Speaker 7: Here we are.

389
00:22:02,240 --> 00:22:04,280
Speaker 8: Where you gotta be crazy?

390
00:22:05,840 --> 00:22:11,200
Speaker 1: How he's gonna take say that you've gotta here, You've

391
00:22:11,320 --> 00:22:13,520
Speaker 1: gotta be your man.

392
00:22:15,320 --> 00:22:15,919
Speaker 3: Crazy?

393
00:22:19,600 --> 00:22:23,760
Speaker 1: Don't we use it as we run this as a man?

394
00:22:23,880 --> 00:22:24,800
Speaker 1: Jerry sting that way?

395
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Speaker 4: If I can find that, you can get that us

396
00:22:28,280 --> 00:22:30,359
Speaker 4: jerm Okay, what one is it going to be?

397
00:22:30,400 --> 00:22:30,600
Speaker 3: Called?

398
00:22:32,880 --> 00:22:35,080
Speaker 1: Crazy? Icehound? There we go you ready go? Here we go,

399
00:22:35,200 --> 00:22:37,399
Speaker 1: here we get ready ready, ready, here we go, here

400
00:22:37,440 --> 00:22:38,120
Speaker 1: we got.

401
00:22:38,840 --> 00:22:44,000
Speaker 6: Well, it's gotta be mad and jailry oh read hold

402
00:22:44,440 --> 00:22:48,480
Speaker 6: key hold on weekday morning some.

403
00:22:48,720 --> 00:22:54,280
Speaker 1: Six until night. Listen, Jerry, you should have played it

404
00:22:54,359 --> 00:22:55,040
Speaker 1: to either fun.

405
00:22:55,119 --> 00:22:59,000
Speaker 2: It should have played an ivy mesh, yeah, applied to Eiva.

406
00:22:59,359 --> 00:23:01,800
Speaker 1: That's not my get it back on the line.

407
00:23:01,800 --> 00:23:04,359
Speaker 4: I also noticed you guys didn't ask him about you

408
00:23:04,400 --> 00:23:06,359
Speaker 4: guys didn't end up doing the thing with you downstairs

409
00:23:06,400 --> 00:23:07,960
Speaker 4: and the bush hanging out the top of your pants.

410
00:23:08,000 --> 00:23:11,440
Speaker 1: And I personally hadn't trimmed my pub so I could

411
00:23:11,480 --> 00:23:15,200
Speaker 1: belong the fan with the hairback. I felt disrespectful, did

412
00:23:15,240 --> 00:23:15,920
Speaker 1: you Yeah?

413
00:23:16,480 --> 00:23:18,480
Speaker 4: I mean there's classic you guys, isn't it. As you've

414
00:23:18,480 --> 00:23:21,120
Speaker 4: got your come in cock of a hope, confidence through

415
00:23:21,200 --> 00:23:22,440
Speaker 4: the roof and then you actually have to talk to

416
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Speaker 4: the person.

417
00:23:23,720 --> 00:23:25,400
Speaker 1: He's so much greater in New Zealander than I thought

418
00:23:25,440 --> 00:23:26,919
Speaker 1: he was. And I thought he was. I thought he's

419
00:23:26,960 --> 00:23:28,320
Speaker 1: going to be a great New Zealander. I mean, the

420
00:23:28,359 --> 00:23:31,480
Speaker 1: guy is just squeezing out the theme to Master and Commander,

421
00:23:31,520 --> 00:23:34,760
Speaker 1: one of my favorite movies of all time. I freaking

422
00:23:34,840 --> 00:23:36,800
Speaker 1: love that movie and it's so gutting because the Pirates

423
00:23:36,840 --> 00:23:39,880
Speaker 1: of the Caribbean. Russell Crow spitting to this day because

424
00:23:39,880 --> 00:23:41,840
Speaker 1: that those movies should have gone forever. My dad reads

425
00:23:41,840 --> 00:23:44,440
Speaker 1: all the books because it's hundreds of books, but it's

426
00:23:44,440 --> 00:23:47,879
Speaker 1: amazing to Pirates of the Caribbean came out just before

427
00:23:48,200 --> 00:23:51,840
Speaker 1: Master and Commander, so the movie company decided to advertise

428
00:23:51,920 --> 00:23:54,440
Speaker 1: Master and Commander like it was Pirates of the Caribbean

429
00:23:54,960 --> 00:23:57,520
Speaker 1: with the stupid Johnny Depp running around pretending to be

430
00:23:58,240 --> 00:24:04,600
Speaker 1: bloody Captain Jack Sparrow and the bloody Keith Richards. And

431
00:24:04,680 --> 00:24:06,080
Speaker 1: then the movie came out and it was actually a

432
00:24:06,200 --> 00:24:09,840
Speaker 1: really high quality movie that should have won Oscars, but

433
00:24:09,960 --> 00:24:12,120
Speaker 1: it kind of tanked at the box office because people

434
00:24:12,280 --> 00:24:15,200
Speaker 1: like people were like where the Fox Pilot through here Aban,

435
00:24:15,600 --> 00:24:18,040
Speaker 1: But it has had such a huge renaissance in that movie.

436
00:24:18,119 --> 00:24:20,840
Speaker 1: It's so loved over time, and it's because it's a

437
00:24:21,520 --> 00:24:24,200
Speaker 1: movie about male relationships, and there's not a lot of

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00:24:24,280 --> 00:24:26,280
Speaker 1: movies about that. I mean, because there's no females in

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00:24:26,359 --> 00:24:28,000
Speaker 1: that movie at all, except for at one point where

440
00:24:28,000 --> 00:24:29,800
Speaker 1: they're picking up some supplies and they see a woman

441
00:24:29,880 --> 00:24:31,640
Speaker 1: in a boat. Apart from that, it's just completely about

442
00:24:31,680 --> 00:24:35,720
Speaker 1: male relationships. So a lot of men lean into that movie.

443
00:24:36,320 --> 00:24:42,280
Speaker 1: But fucking great movie. Great movie is there? Do you

444
00:24:42,359 --> 00:24:46,720
Speaker 1: know who that's based on? Joseph Banks and Captain? Those

445
00:24:46,720 --> 00:24:49,680
Speaker 1: two characters. Yeah, would it have killed them? Would it

446
00:24:49,760 --> 00:24:51,600
Speaker 1: have killed us to talk to Iver Davies about the

447
00:24:51,760 --> 00:24:54,040
Speaker 1: Needen line? Should it could have? Would?

448
00:24:54,280 --> 00:24:57,080
Speaker 4: Do you know what I'm realizing about these Aussie acts

449
00:24:57,200 --> 00:24:59,879
Speaker 4: that kind of were making a lot of money from

450
00:24:59,880 --> 00:25:02,320
Speaker 4: the pub scene and that kind of seventy to eighties

451
00:25:02,400 --> 00:25:06,840
Speaker 4: nineties is every single one of them are just great people.

452
00:25:06,960 --> 00:25:10,240
Speaker 4: Because yeah, I assume it required some level of self

453
00:25:10,280 --> 00:25:13,440
Speaker 4: awareness and just being okay with who you are doing

454
00:25:13,480 --> 00:25:15,240
Speaker 4: all those kinds of gigs for so long, you know,

455
00:25:15,600 --> 00:25:17,440
Speaker 4: they're just seems like there's a massive scene going on

456
00:25:17,520 --> 00:25:19,840
Speaker 4: in the music of music of kind of New Zealand

457
00:25:19,840 --> 00:25:21,639
Speaker 4: and Australia where it's just you know, you just go

458
00:25:21,680 --> 00:25:23,080
Speaker 4: around pubs and playing all the time.

459
00:25:23,520 --> 00:25:25,120
Speaker 3: I think as well, they made a bit more money

460
00:25:25,160 --> 00:25:27,280
Speaker 3: than the New Zealand ones. True, but they like he

461
00:25:27,320 --> 00:25:29,240
Speaker 3: would have done pretty well over Davies over time.

462
00:25:29,400 --> 00:25:29,600
Speaker 5: Yeah.

463
00:25:29,600 --> 00:25:31,879
Speaker 1: Oh well yeah, especially when you went men are colors.

464
00:25:32,160 --> 00:25:34,960
Speaker 4: They're just always so nice, these people that just went around, Yeah.

465
00:25:34,840 --> 00:25:36,840
Speaker 1: They are exactly. I think you're right. I think there's

466
00:25:36,840 --> 00:25:39,720
Speaker 1: a humbling of you because you have to go and

467
00:25:39,760 --> 00:25:42,520
Speaker 1: play mining towns. Yeah, and you have to you have

468
00:25:42,680 --> 00:25:47,760
Speaker 1: to have your like an excess, you know, cultures or

469
00:25:48,200 --> 00:25:51,560
Speaker 1: all these bands, the Angels, all those os rock bands,

470
00:25:51,640 --> 00:25:54,720
Speaker 1: they had to have their fricking chops. You you had to.

471
00:25:55,000 --> 00:25:56,600
Speaker 1: You had to have your chops at a band and

472
00:25:56,760 --> 00:25:58,720
Speaker 1: as a band like you didn't anywhere else in the

473
00:25:58,760 --> 00:26:01,880
Speaker 1: world because you you would night out, night and night

474
00:26:01,960 --> 00:26:05,200
Speaker 1: out going to these small towns in one hundred and

475
00:26:05,280 --> 00:26:09,800
Speaker 1: fifty fifteen hundred people, one thousand people. Yeah, and if

476
00:26:09,840 --> 00:26:11,720
Speaker 1: you didn't have your chops. You were in trouble and

477
00:26:11,800 --> 00:26:13,400
Speaker 1: that's why you had to chop wood at the back.

478
00:26:13,520 --> 00:26:15,080
Speaker 3: Yeah, but I think that as well they got better.

479
00:26:15,200 --> 00:26:16,960
Speaker 3: They got better because they're playing with each other, they're

480
00:26:16,960 --> 00:26:17,879
Speaker 3: probably listening to each other.

481
00:26:17,960 --> 00:26:21,600
Speaker 1: Well, that's a problem for New Zealand bands because they Auckland.

482
00:26:22,160 --> 00:26:24,600
Speaker 1: Play about two shows in Auckland. Then you go down

483
00:26:24,680 --> 00:26:27,320
Speaker 1: to Hamilton. No one turns up to that show. Then

484
00:26:27,359 --> 00:26:29,720
Speaker 1: you're down at the Mount. A couple of people turn

485
00:26:29,800 --> 00:26:30,560
Speaker 1: up to that show, a.

486
00:26:30,600 --> 00:26:32,720
Speaker 4: Couple of parents with that. Yes, a couple of months

487
00:26:32,720 --> 00:26:33,159
Speaker 4: and days.

488
00:26:33,240 --> 00:26:35,240
Speaker 3: Try and play a show and get on the glass

489
00:26:35,280 --> 00:26:38,080
Speaker 3: barbecue through and you got to try and do a

490
00:26:38,119 --> 00:26:40,040
Speaker 3: couple of shows coming down off the glass barbecue.

491
00:26:40,119 --> 00:26:42,720
Speaker 1: Play Wellington and actually some people turn up in Wellington.

492
00:26:43,240 --> 00:26:45,000
Speaker 1: Then there's a long way you have to go. You

493
00:26:45,080 --> 00:26:46,840
Speaker 1: try and play Nelson, no one turns out. You're going

494
00:26:46,880 --> 00:26:48,640
Speaker 1: to get on the cock straight fery. There is a problem.

495
00:26:48,880 --> 00:26:50,480
Speaker 1: Then you're down in christ Church, people turn up the

496
00:26:50,480 --> 00:26:52,720
Speaker 1: egg Sailing. You go to Dneden and this is the

497
00:26:52,800 --> 00:26:55,119
Speaker 1: problem that tours have. Then they have to get all

498
00:26:55,119 --> 00:26:56,720
Speaker 1: the way back and there's no gigs to play on

499
00:26:56,760 --> 00:27:00,760
Speaker 1: the way back. But the circular nature of Australia means

500
00:27:00,800 --> 00:27:02,040
Speaker 1: you just can go on the road and you can

501
00:27:02,119 --> 00:27:04,239
Speaker 1: actually you can actually do a tour because you can

502
00:27:04,280 --> 00:27:06,199
Speaker 1: do ten shows and different places of Sydney. You can

503
00:27:06,280 --> 00:27:09,040
Speaker 1: playing manly mate, playing alright.

504
00:27:09,880 --> 00:27:11,159
Speaker 4: House came down here and we were just seing them

505
00:27:11,200 --> 00:27:13,040
Speaker 4: up back up through a groymouth like they wouldn't come

506
00:27:13,040 --> 00:27:15,200
Speaker 4: out of life. Yeah that's the only way, isn't it.

507
00:27:15,240 --> 00:27:17,320
Speaker 1: Really? What Daja Voodo asually happened was they tour on

508
00:27:17,359 --> 00:27:19,720
Speaker 1: the road, but I'd fly between places. I'd meet the

509
00:27:19,840 --> 00:27:21,919
Speaker 1: band in different places and they'd drive in the band

510
00:27:22,040 --> 00:27:24,200
Speaker 1: be increasingly angry at me. Just skip the coast because

511
00:27:24,200 --> 00:27:26,560
Speaker 1: I'm not. I'm not going on the fucking fairy mate.

512
00:27:26,800 --> 00:27:28,400
Speaker 1: Oh yeah, I got to get I've got to get

513
00:27:28,440 --> 00:27:30,840
Speaker 1: back to I've got a pitic here on Auckland.

514
00:27:30,920 --> 00:27:32,359
Speaker 4: Who did we have that got over to that? I

515
00:27:32,440 --> 00:27:34,080
Speaker 4: was rock pub scene with the crowded house about it?

516
00:27:35,040 --> 00:27:37,800
Speaker 1: Yeah, I know there were a few the dudes.

517
00:27:38,040 --> 00:27:39,040
Speaker 4: My dudes got over there.

518
00:27:39,240 --> 00:27:42,480
Speaker 1: My six, My six did he smash did a bit

519
00:27:42,520 --> 00:27:43,080
Speaker 1: of time over there.

520
00:27:43,359 --> 00:27:43,760
Speaker 5: My six.

521
00:27:44,840 --> 00:27:47,240
Speaker 1: Are you familiar with my six? My six are a gros.

522
00:27:47,119 --> 00:27:49,360
Speaker 3: Push pushment over They did one, they did a tour

523
00:27:49,400 --> 00:27:52,080
Speaker 3: and then Mike realized Mikey realized that he didn't even

524
00:27:52,240 --> 00:27:52,720
Speaker 3: want to do that.

525
00:27:55,160 --> 00:27:56,600
Speaker 4: I can imagine there was quite a lot of that

526
00:27:56,680 --> 00:27:58,439
Speaker 4: going on as people thought that there was just going

527
00:27:58,480 --> 00:28:00,680
Speaker 4: to be fascinating, amazing kind of expert sperience and people

528
00:28:00,720 --> 00:28:02,199
Speaker 4: they're just gonna be woman everywhere and all that kind

529
00:28:02,240 --> 00:28:02,399
Speaker 4: of thing.

530
00:28:02,400 --> 00:28:04,040
Speaker 1: But I think there was that, but I think they did.

531
00:28:04,680 --> 00:28:06,640
Speaker 1: They were quite big, push push, quite big in Australia.

532
00:28:06,680 --> 00:28:10,760
Speaker 1: There so this is this is a New Zealand band

533
00:28:10,760 --> 00:28:13,320
Speaker 1: that made it in Australia. Computer Games, My Sex. I

534
00:28:13,440 --> 00:28:14,040
Speaker 1: know this song?

535
00:28:14,359 --> 00:28:15,160
Speaker 4: Yeah, okay, my bad.

536
00:28:18,680 --> 00:28:45,280
Speaker 1: They accused Blue are roopping the song off? Oh yeah, yeah,

537
00:28:45,320 --> 00:28:49,000
Speaker 1: there it is. I mean, is that the one they

538
00:28:49,040 --> 00:28:50,120
Speaker 1: say they ripped off?

539
00:28:50,160 --> 00:28:50,200
Speaker 6: No?

540
00:28:50,240 --> 00:28:51,840
Speaker 1: I think it's another one they reckon, Blue rapped off.

541
00:28:51,880 --> 00:28:53,640
Speaker 1: But this is a fucking great song. I still love

542
00:28:53,680 --> 00:28:55,520
Speaker 1: the song so much when I was a kid. This

543
00:28:55,760 --> 00:28:58,160
Speaker 1: is my Sex. This is a huge hit in Australia.

544
00:28:58,400 --> 00:29:05,320
Speaker 1: You know the song Jeremy not so far. I'm amazed

545
00:29:05,360 --> 00:29:07,520
Speaker 1: that we're artists and using like a right songs. That's good.

546
00:29:11,520 --> 00:29:14,560
Speaker 4: Oh live the bongo back there there we go.

547
00:29:16,240 --> 00:29:20,840
Speaker 1: It's a very sad song so Australia. So the New

548
00:29:20,920 --> 00:29:24,200
Speaker 1: Zealand means that went over there about it. They became

549
00:29:24,280 --> 00:29:28,120
Speaker 1: very Australian. I used to listen to the song over

550
00:29:28,160 --> 00:29:35,160
Speaker 1: and over again. It's hard to believe. Every day. Okay,

551
00:29:35,160 --> 00:29:41,960
Speaker 1: I'm thinking about my own life. Things should be.

552
00:29:43,240 --> 00:29:44,280
Speaker 4: I see why you listen to this?

553
00:29:46,480 --> 00:29:48,120
Speaker 1: Yeah, if you.

554
00:29:50,640 --> 00:29:55,080
Speaker 4: Resolves nicely all the time, the shadows.

555
00:29:56,920 --> 00:29:59,640
Speaker 2: Here we go. So this is my sis.

556
00:30:00,480 --> 00:30:00,960
Speaker 6: It's just.

557
00:30:03,120 --> 00:30:04,560
Speaker 1: Dragon made it really huge over there.

558
00:30:04,840 --> 00:30:05,080
Speaker 3: Ah.

559
00:30:05,440 --> 00:30:06,479
Speaker 4: Yes, Dragon's another one.

560
00:30:07,080 --> 00:30:09,480
Speaker 1: Noise Works, but that was just really our boy in

561
00:30:09,520 --> 00:30:10,560
Speaker 1: front of it, an Australian man.

562
00:30:11,080 --> 00:30:13,480
Speaker 4: I saw Dragon at the Vicagle Town Hall not that

563
00:30:13,560 --> 00:30:15,920
Speaker 4: long ago, part of their fiftieth anniversary tour. I think

564
00:30:15,960 --> 00:30:18,480
Speaker 4: it was in Mark Williams. Do you know Mark Williams?

565
00:30:18,600 --> 00:30:21,160
Speaker 4: Yeah he was, He now saying he's now the lead

566
00:30:21,200 --> 00:30:22,200
Speaker 4: singer for Dragon.

567
00:30:22,360 --> 00:30:24,160
Speaker 1: So Mark Williams was noise Works, isn't he?

568
00:30:24,400 --> 00:30:24,440
Speaker 6: No?

569
00:30:24,600 --> 00:30:27,240
Speaker 4: So that's John Stevens, John Stevens, So make Williams is

570
00:30:27,280 --> 00:30:28,760
Speaker 4: another one, but he came out. Do you know the

571
00:30:28,840 --> 00:30:32,480
Speaker 4: song Mercy Mercy? It's an absolute tune that I have

572
00:30:32,640 --> 00:30:35,320
Speaker 4: to play in this episode. All right, be absolutely gutted.

573
00:30:35,480 --> 00:30:37,320
Speaker 1: Okay, can we get over Dave's back on the line

574
00:30:37,360 --> 00:30:38,520
Speaker 1: and ask him some of those questions.

575
00:30:39,040 --> 00:30:40,240
Speaker 4: I mean, no, I think he's gone.

576
00:30:40,280 --> 00:30:41,400
Speaker 1: Now he's gone again.

577
00:30:41,480 --> 00:30:43,600
Speaker 4: We got the heart out for Mercy, Mark.

578
00:30:43,880 --> 00:30:46,480
Speaker 1: Isn't it funny? Like being hard out means that you're

579
00:30:46,480 --> 00:30:47,920
Speaker 1: really going to go for it, But a hard out

580
00:30:48,040 --> 00:30:50,400
Speaker 1: means you're really not going to go for it, doesn't it.

581
00:30:50,440 --> 00:30:52,480
Speaker 1: That's weird, isn't it? It is weird? Okay, what do

582
00:30:52,520 --> 00:30:53,040
Speaker 1: you got Mercy?

583
00:30:53,240 --> 00:30:53,520
Speaker 7: You no?

584
00:30:53,640 --> 00:30:55,160
Speaker 4: Just right now, just trying to skip over a copper

585
00:30:55,240 --> 00:30:58,000
Speaker 4: kettle ad with Jason Hoyt voicing it, so we don't

586
00:30:58,040 --> 00:31:05,920
Speaker 4: want that. Yeah, he's caught the end of that prega.

587
00:31:08,240 --> 00:31:11,000
Speaker 4: Oh yeah, this is Mark Williams shoon, no Mercy. It's

588
00:31:11,040 --> 00:31:13,840
Speaker 4: an absolute tune. But now he's singing for dragon.

589
00:31:16,800 --> 00:31:20,560
Speaker 1: Oh that that's the Young Tears for Fears Baseline.

590
00:31:21,880 --> 00:31:29,040
Speaker 5: Shure Mercy lemsy, Oh that you got you got again?

591
00:31:29,840 --> 00:31:31,800
Speaker 1: Shure, no Mercy.

592
00:31:33,480 --> 00:31:36,120
Speaker 9: It's about sex ustrangulation, isn't it. It feels a little

593
00:31:36,120 --> 00:31:39,480
Speaker 9: bit like that. It's about a Peter funny Walker situation.

594
00:31:41,240 --> 00:31:43,400
Speaker 9: This song just grows and grows for four and a

595
00:31:43,440 --> 00:31:45,240
Speaker 9: half minutes. By the end of it, Oh, this is

596
00:31:45,240 --> 00:31:46,280
Speaker 9: two Cutters forty five and.

597
00:31:46,360 --> 00:31:58,320
Speaker 1: Now sure mercy sure, mercy me, sure.

598
00:32:00,240 --> 00:32:03,800
Speaker 3: Do you jerymmy sr Miles away suck the life out

599
00:32:03,840 --> 00:32:06,040
Speaker 3: of me with that song that you were playing before.

600
00:32:06,720 --> 00:32:07,720
Speaker 1: I switched off at that point.

601
00:32:07,840 --> 00:32:10,400
Speaker 4: Okay, we'll let Mark Williams is Jersey up again. Here, mate,

602
00:32:10,400 --> 00:32:28,800
Speaker 4: you're there, he goes anyway, he's singing for Dragon.

603
00:32:28,880 --> 00:32:29,000
Speaker 5: Now.

604
00:32:29,200 --> 00:32:31,640
Speaker 1: Who was that bloody key we check that went over there?

605
00:32:31,760 --> 00:32:38,000
Speaker 1: Fucking she used to make love to Bloody that actor? Nah, mate,

606
00:32:38,120 --> 00:32:40,080
Speaker 1: She the guy that had his cock out at the

607
00:32:40,080 --> 00:32:44,680
Speaker 1: start of the Quiet Earth, Bruno Lawrence Lord, Bruno Lawrence's

608
00:32:44,720 --> 00:32:47,040
Speaker 1: girlfriend Joe Cotton. No, I think he was cheating on

609
00:32:47,080 --> 00:32:50,440
Speaker 1: her with his wife Jenny. And she sang that song

610
00:32:50,720 --> 00:32:54,560
Speaker 1: Lawrence broke Fraser. She Oh fuck. She was a big

611
00:32:55,640 --> 00:32:58,040
Speaker 1: and Neil Finn would write her songs for her. She

612
00:32:58,160 --> 00:33:01,000
Speaker 1: was big like fat, No she was. She was beautiful

613
00:33:02,120 --> 00:33:04,240
Speaker 1: and then she was a big hat over there. I

614
00:33:04,280 --> 00:33:07,120
Speaker 1: feel like her name started with Jenny, not Jenny Morris.

615
00:33:07,880 --> 00:33:10,680
Speaker 1: Was it Jenny Morris? Jenny Morris. There was definitely a

616
00:33:10,760 --> 00:33:14,080
Speaker 1: song called Jenny Morris. And did she have a song

617
00:33:14,120 --> 00:33:18,640
Speaker 1: about change in the weather. Yeah, that was a breaking

618
00:33:18,680 --> 00:33:23,520
Speaker 1: the weather and body Bardy in Soul last.

619
00:33:24,760 --> 00:33:27,600
Speaker 4: Lasted, Buddy and soul think about.

620
00:33:27,400 --> 00:33:29,480
Speaker 1: Crank it h crank it hoty. So this is another

621
00:33:29,560 --> 00:33:31,360
Speaker 1: key with that did the odd circuit? Here you go,

622
00:33:32,480 --> 00:33:33,520
Speaker 1: here we go. Crank and hotty?

623
00:33:38,000 --> 00:33:38,320
Speaker 5: Is it?

624
00:33:38,800 --> 00:33:43,640
Speaker 1: And suboncious? I won't speaking out a term when I

625
00:33:43,680 --> 00:33:45,480
Speaker 1: said that she made love to Bruno Lawrence.

626
00:33:47,960 --> 00:33:50,400
Speaker 2: About fine, she's real hot.

627
00:33:51,600 --> 00:33:57,080
Speaker 4: It's a bit pots and pansy for me, buddy, and

628
00:33:57,360 --> 00:34:06,880
Speaker 4: so it's good.

629
00:34:06,920 --> 00:34:08,880
Speaker 1: It's very Australian. That's very Australia.

630
00:34:09,480 --> 00:34:11,839
Speaker 4: What happened? Did Monte Verdeo even make it over?

631
00:34:14,000 --> 00:34:16,720
Speaker 1: What's the shoot? I again?

632
00:34:16,800 --> 00:34:18,920
Speaker 3: He did go over to Sydney for a while, Mary Grinley.

633
00:34:19,640 --> 00:34:20,960
Speaker 3: That's kind of where he learn part of his trade

634
00:34:21,040 --> 00:34:22,799
Speaker 3: is playing in the cross for a while. And then

635
00:34:22,840 --> 00:34:24,560
Speaker 3: they came back with shoop ship did he What did

636
00:34:24,600 --> 00:34:24,960
Speaker 3: you like this.

637
00:34:25,040 --> 00:34:27,399
Speaker 1: Song from Gimmy Morris? This was written by Neil Phone.

638
00:34:31,560 --> 00:34:35,719
Speaker 1: This was another hats It's quite great of ours, isn't it?

639
00:34:36,400 --> 00:34:36,480
Speaker 3: Ye?

640
00:34:43,480 --> 00:34:43,799
Speaker 4: All right?

641
00:34:44,760 --> 00:34:48,000
Speaker 1: Religion okay, he goes into the religion category. Yeah, what

642
00:34:48,120 --> 00:34:50,720
Speaker 1: a great great man. I mean, it was only about

643
00:34:50,760 --> 00:34:55,720
Speaker 1: one eighth of their podcast, but that's right, that's all right, Okay,

644
00:34:56,239 --> 00:34:57,520
Speaker 1: going back to the hunt day calendar.

645
00:34:57,600 --> 00:35:01,719
Speaker 8: Now, okay, see you later, alright, okay, all right then

646
00:35:02,040 --> 00:35:10,359
Speaker 8: all right, okay then oh yay, Hello, I'm Matt Heath.

647
00:35:10,400 --> 00:35:13,120
Speaker 1: You have been listening to the Matt and Jerry Daily

648
00:35:13,160 --> 00:35:16,160
Speaker 1: Bespoke podcast. Right now you can listen to our Radio

649
00:35:16,280 --> 00:35:21,080
Speaker 1: Highlights podcast, which you will absolutely get barred up about anyway.

650
00:35:21,239 --> 00:35:24,279
Speaker 1: Sit to download, like, subscribe, write, review, all those great things.

651
00:35:24,440 --> 00:35:27,000
Speaker 1: It really helps myself and Jerry and to a lesser extent,

652
00:35:27,120 --> 00:35:29,520
Speaker 1: mess and ruder. If you want to discuss anything raised

653
00:35:29,560 --> 00:35:31,600
Speaker 1: in this pod, check out the Conclave, a Matt and

654
00:35:31,680 --> 00:35:34,959
Speaker 1: Jerry Facebook discussion group. And while I'm plugging stuff, my book,

655
00:35:35,000 --> 00:35:37,480
Speaker 1: A Lifeless Punishing Thirteen Ways to Love the Life You've

656
00:35:37,480 --> 00:35:40,200
Speaker 1: Got is out now get it wherever you get your books,

657
00:35:40,480 --> 00:35:44,200
Speaker 1: or just google the bastard. Anyway you seem busy, I'll

658
00:35:44,280 --> 00:35:47,080
Speaker 1: let you go. Bless Blessed, blessed, give them a taste

659
00:35:47,080 --> 00:35:47,960
Speaker 1: of key we from me,