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Speaker 1: You're listening to the Saturday Morning with Jack Teams podcast

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Speaker 1: from News Talks at b.

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Speaker 2: Miracle Soon, Shine On My Sisters, Shine On Our Come Miracle, Shine.

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Speaker 3: Shine Miericals, Shine On.

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Speaker 2: My Sisters, Shine on a Come.

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Speaker 4: Music legends. Dom McGlashan has written some of our most

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Speaker 4: love songs, from Anchor Me in his time with the

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Speaker 4: Muddon Birds, through to his incredible work as a solo

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Speaker 4: artist and composer for film and television. In twenty twenty three,

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Speaker 4: went on a very special tour around New Zealand, and

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Speaker 4: off the back of that, for the first time ever,

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Speaker 4: he's just released a solo live album, Take It to

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Speaker 4: the Bridge. Don McGlashen is with us this morning. Cald A,

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Speaker 4: good morning.

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Speaker 5: How are you.

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Speaker 4: I'm very well, thank you, delighted to be speaking with you,

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Speaker 4: and it feels like you're sort of everywhere everywhere at

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Speaker 4: the moment. But take us back a little bit. It

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Speaker 4: was twenty twenty three when you were touring. Tell us

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Speaker 4: about the recording process for Take It to the Bridge.

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Speaker 6: Well, I've never been really into live albums for some reason.

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Speaker 6: I don't know i've been I must have been part

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Speaker 6: of the making of a dozen or more studio albums,

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Speaker 6: but I've never I guess I've never listened to many

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Speaker 6: live albums, that's the issue. So it sort of surprised

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Speaker 6: me that in the middle of this tour, or early

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Speaker 6: on in the tour with Anita Clark, I suddenly felt

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Speaker 6: this would be great, this is really special. I we

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Speaker 6: should be recording this. And luckily Bob our soundman had

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Speaker 6: already been had already started recording everything, and we had

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Speaker 6: all these cool venues to choose between, each with a

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Speaker 6: different sort of feeling. We did a big house concert

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Speaker 6: in Carterton, and we did Loons in Littleton a couple

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Speaker 6: of times, and and the Q Theater in Auckland, so

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Speaker 6: there was a lot to choose from, and they all

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Speaker 6: had kind of different audience feel I think I think

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Speaker 6: we realized quite early on that it was a sort

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Speaker 6: of an extraordinary event.

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Speaker 4: I don't know why, but yeah, and you wanted to

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Speaker 4: capture it, capture it for posterity's sake, yeah, yeah.

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Speaker 5: Or for for our sake in a way.

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Speaker 6: I mean posterity posterity is are fairly slippery beasts, so

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Speaker 6: got no idea what it's going to be interested in,

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Speaker 6: but certainly certainly as we listened to the stuff more

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Speaker 6: and more, we kind of realized that we were as

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Speaker 6: we played, we were learning about the songs. And that's

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Speaker 6: a bizarre thing for me to say, because I've been

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Speaker 6: playing the songs for so long and patiently explaining to

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Speaker 6: them to anybody who listened for so long, that you

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Speaker 6: wouldn't think that I would need to learn about them.

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Speaker 6: But yeah, we learned a lot. I mean, and Ita

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Speaker 6: is a collaborator that really pushes me hard, and every

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Speaker 6: night it's quite different.

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Speaker 5: So yeah, it was. It was a great too.

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Speaker 4: And so when you say you learn about the songs,

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Speaker 4: what do you mean by that?

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Speaker 5: Well, I guess as I get older.

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Speaker 6: I mean, I I start off with a lot of

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Speaker 6: songwriter to start off with a fragment of melody, and

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Speaker 6: then they hum, They play the guitar and they hum

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Speaker 6: over it and say that outcomes, you know, going to

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Speaker 6: love your baby all night long or whatever.

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Speaker 5: And I'm not really like that.

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Speaker 6: I always sort of think about an idea or a

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Speaker 6: topic or some sort of subject matter that I want

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Speaker 6: to get into, and I gradually write around that for

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Speaker 6: days and days and weeks and months before I let

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Speaker 6: myself pick up the guitar, because picking up the guitar

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Speaker 6: is kind of a that's a door through which I

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Speaker 6: can't return, you know, because it's going to be a song,

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Speaker 6: going to be a song quite soon as soon as

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Speaker 6: I pick up the guitar. And but you'd think that

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Speaker 6: would that would end up with a bunch of songs

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Speaker 6: that are whose meaning is quite tidy. But it's the

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Speaker 6: opposite with me. I mean, yeah, I've got some songs

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Speaker 6: that it's pretty obvious what they're about. But I've got

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Speaker 6: a bunch of other songs that are probably the ones

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Speaker 6: I prefer, which I don't really know what they're about,

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Speaker 6: and every time I perform them, I sort of.

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Speaker 5: Think, oh, that's what it's about.

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Speaker 6: Or better, even somebody comes up to me from the

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Speaker 6: audience tells me what the song's about.

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Speaker 4: That's amazing. So and can you give us an example.

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Speaker 4: It is the one that springs to mind where someone

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Speaker 4: has helped you kind of interpret your own art in

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Speaker 4: that way.

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Speaker 6: Well, I guess White Valiant's a bit like that. It's

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Speaker 6: not so much interpreting, it's about locating it. I've had

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Speaker 6: a lot of people come up to me and say,

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Speaker 6: I know exactly the cliffs that you're talking about, the

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Speaker 6: quarry that you're talking about the road. You know, it'll

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Speaker 6: be somewhere near where they grew up. You know, it'll

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Speaker 6: be some some piece of landscape that's part of their

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Speaker 6: internal landscape, I guess. And in a way that kind

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Speaker 6: of underlines effect that the song. You know, the song's

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Speaker 6: kind of a vessel that people can pour different ideas

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Speaker 6: into if it's not too pompously.

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Speaker 4: No, no, no, not at all. It is interesting like that.

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Speaker 2: Really.

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Speaker 4: No, hey, look at this end of things, guilty as charge,

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Speaker 4: you know, so don't worry. This is a no judge.

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Speaker 5: We can speak freely.

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Speaker 4: Yeah. You know, usually when I think about a live album,

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Speaker 4: and you touched on this a moment ago, you think

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Speaker 4: about an album being recorded in one place. But one

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Speaker 4: thing that distinguishes this record is that actually you've been

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Speaker 4: in these quite quite unique spaces as you tould take

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Speaker 4: it to the bridge. So talk to me about the

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Speaker 4: different kind of environments you were in and the ways

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Speaker 4: in which that may be changed the direction of your

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Speaker 4: performances and influenced you and you and Anita.

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Speaker 6: Yeah, well, I think I think touring, especially when you're

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Speaker 6: you know, not doing main centers and you're touring all

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Speaker 6: over the country to quite far flying places. It reminds

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Speaker 6: It reminds me anyway of how traveling through the country

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Speaker 6: is like is kind of like filling up a reservoir,

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Speaker 6: or like breathing in or something, and then performing is

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Speaker 6: like breathing out, if that makes any sense.

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Speaker 5: So I'm seeing all these things.

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Speaker 6: I'm seeing the trees, I'm seeing people as we go

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Speaker 6: past I stopping in cafes and talking to people, and

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Speaker 6: all of that is all that A is giving me

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Speaker 6: stuff to write about. Janet Frame used to say this

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Speaker 6: cool thing. She used to say that she would never

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Speaker 6: take a cab, never take a taxi to an interviewer,

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Speaker 6: she had to do a book tour or anything because

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Speaker 6: because nothing would be sticking to her as she got

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Speaker 6: out of the taxi, she'd be too slippery, you know,

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Speaker 6: whereas if she takes a bus or something, then she's

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Speaker 6: more like a you know, like a like a like

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Speaker 6: a pylon in the in the in the sea that's

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Speaker 6: covered with molecles.

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Speaker 5: And that's where the writing comes from. I love that,

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Speaker 5: and it's.

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Speaker 6: Kind of true because when I'm driving around, these impressions

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Speaker 6: come and they sick to me and they might turn

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Speaker 6: into songs or when I get to where wherever we're going,

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Speaker 6: they might turn into a better way to sing a

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Speaker 6: particular song, or a different depth to a character that

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Speaker 6: I'm trying to inhabit in a particular song. So it

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Speaker 6: is like like breathing and then breathing out. And this tour,

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Speaker 6: because we went to lots of different places, was very

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Speaker 6: much like.

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Speaker 5: That, you know places is like Glen Haalkee, like right

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Speaker 5: at the far end of the of the lake lake.

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Speaker 6: Like a tip yeah, yeah, and all yeah, all the

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Speaker 6: way to you know to we did away Hiki Show

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Speaker 6: and later the tour was kind of broken up because

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Speaker 6: we got sick and we had to sort of stop

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Speaker 6: the tour and then we had to get back into

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Speaker 6: it about a month later.

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Speaker 5: But went all the way.

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Speaker 6: I think the furthest north was fun and then further

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Speaker 6: south might have been Glen Orky, not sure.

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Speaker 5: Yeah.

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Speaker 4: Do you find too that there's another dimension because you

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Speaker 4: split your time between between Canada and New Zealand. Now,

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Speaker 4: do you find that there's an extra dimension as you

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Speaker 4: travel about New Zealand and that you kind of have

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Speaker 4: this element of separation some of the time and then

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Speaker 4: it's you know you're kind of relearning about these spaces

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Speaker 4: and seeing seeing the country change.

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Speaker 5: Yeah, a little bit.

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Speaker 6: I mean I've always been somebody who can't write about

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Speaker 6: a place that I've just arrived at, so and Canada,

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Speaker 6: even though I've been coming here for over a decade. Now,

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Speaker 6: I don't. I'm not writing about beavers or or hockey

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Speaker 6: or mounties.

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Speaker 5: Yeah, I mean that that might.

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Speaker 4: Happenma Glasson's Maple Syrup tribute album coming up.

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Speaker 5: So well, little bit. Yeah, we could sell it with

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Speaker 5: little bottles of maple syrup. I yeah, I tend to.

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Speaker 6: And I think probably what happens is that images from home,

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Speaker 6: images from alter or kind of clarify as I'm over

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Speaker 6: here in Canada and I'm And it certainly happened to

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Speaker 6: be when I was living in England with the Mutton Birds,

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Speaker 6: that a lot of songs arrived that were more or

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Speaker 6: less let us home, led us home to people, and

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Speaker 6: it was very inco deeply inconvenient for us because I

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Speaker 6: was trying to write like shiny songs and what came

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Speaker 6: out for the four years we were there, which were

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Speaker 6: generally more involved let us let us to friends and relatives. Yeah,

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Speaker 6: it's certainly what's happening now. And I'm finding, Yeah, I'm

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Speaker 6: finding that.

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Speaker 5: I guess. I guess I'm not.

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Speaker 6: I'm not as I'm driving around the country side and

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Speaker 6: as we're heading to this or that venue. I'm not

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Speaker 6: sort of that engaged with what's changed. I'm engaged with

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Speaker 6: where I've changed. And and you know how how you

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Speaker 6: know that particular road looked when I was twenty and

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Speaker 6: when I was thirty driving up on the way to

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Speaker 6: that gig, and how how I'm a different person now.

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Speaker 4: You're listening to Jack Taime on news Talk zed V.

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Speaker 4: I'm speaking to Don McGlashan about his new live album,

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Speaker 4: Take It to the Bridge. You recently came back and

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Speaker 4: performed with the christ Symphony Orchestra. I know that you've

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Speaker 4: performed with orchestras over the years. I think it was

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Speaker 4: that back when it was the Auckland Sinfonia now the

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Speaker 4: Philharmonic Orchestra in Auckland. You've had plenty of experience with them.

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Speaker 4: What is that What is that like being on stage

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Speaker 4: and performing with an orchestra and having that kind of

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Speaker 4: that lush sound.

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Speaker 5: It was fantastic.

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Speaker 6: I mean, the thrill part of the thrill was was

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Speaker 6: working over a period of months, maybe about eight months

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Speaker 6: with Alex Vandenbrook, who's the the CSO arranger, or was

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Speaker 6: working on that project anyway, and he he and I

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Speaker 6: just battered ideas backwards and forwards.

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Speaker 5: You know, how should we approach a thing well made?

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Speaker 5: Is it?

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Speaker 6: Is it like a big, a big arrangement that that

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Speaker 6: gets really dramatic in the middle and then tapes away,

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Speaker 6: or is it something more quiet and threatening?

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Speaker 5: All the way through all these sorts of.

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Speaker 6: Discussions, it was it was not at all. I think

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Speaker 6: sometimes when when an orchestra gets sort of appended to

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Speaker 6: a songwriter, it's more like the arrangers doing there. But

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Speaker 6: you turn up, You've got three days to rehearse or

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Speaker 6: two days to rehearse, and then.

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Speaker 5: That's it was. This was much more back.

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Speaker 6: And forth, and so by the time I got on

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Speaker 6: the stage, I really knew. I knew where everything was going,

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Speaker 6: and it was kind of like the songs were coming

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Speaker 6: to life the way I first imagined them, because I

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Speaker 6: think when when you first imagine the song, it's it's

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Speaker 6: kind of resplendent with all of these colors, and then

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Speaker 6: you play with your guitar and you played with the band,

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Speaker 6: and it goes in a different direction, not not worse

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Speaker 6: or better, but a different direction because it's picked up

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Speaker 6: by whoever you're collaborating with.

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Speaker 5: But this was a chance to.

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Speaker 6: Just just coloring the songs in a really cool way.

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Speaker 6: And it was you know, there were times when I

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Speaker 6: was in front of the orchestra and I just I

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Speaker 6: just it was all I could do to not forget

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Speaker 6: the next line because I was so thrilled by what

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Speaker 6: the orchestra had done on the last line.

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Speaker 4: Ah, that's so special. What an amazing experience.

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Speaker 6: It was amazing, And it was also I mean you

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Speaker 6: mentioned the API before as orcan Symphonia as it was,

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Speaker 6: but it was it was interesting that I had that experience.

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Speaker 6: But that experience was radically different because I was a

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Speaker 6: French horn player. I was actually second horn in the

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Speaker 6: or Symphonia, which then became the ApoA for quite a while,

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Speaker 6: you know, I think two or three years while I

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Speaker 6: was sort of paying my way through the end of university.

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Speaker 6: But I wasn't a very diligent French horn player and

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Speaker 6: I didn't practice enough. And French horns there they have

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Speaker 6: a way of punishing you when you when you think

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Speaker 6: you think you're too smart, and like you know, I can.

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Speaker 6: I can remember times when I just couldn't quite hit

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Speaker 6: the note I was supposed to hit, and the orchid

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Speaker 6: and the conductor would stop the orchestra, and I still

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Speaker 6: carry a lot of anxiety from that. And it was

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Speaker 6: it was a kind of this working with the CSO

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Speaker 6: was a way of exercising that because because I was

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Speaker 6: in charge, you know, if if I made a mistake,

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Speaker 6: I just love from the orchestra would fall about. But

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Speaker 6: it wasn't quite as life and death as it was

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Speaker 6: when it was a French one.

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Speaker 4: Yes, yes, yes, you've gone from hitting the wrong note

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Speaker 4: to very nearly forgetting your lines. But now that you're

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Speaker 4: the man in front, it doesn't matter so much.

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Speaker 6: Yeah.

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Speaker 4: Hey, it is such a pleasure to speak. Thank you

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Speaker 4: so much, and we're so glad that you did make

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Speaker 4: that decision to record Take It to the Bridge. Congratulations Tom,

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Speaker 4: Thanks Jack. That is Don the glasson his new live

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Speaker 4: album is Take It to the Bridge, and all the

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Speaker 4: details are of course on the news Talks.

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Speaker 1: He'd be website for more from Saturday Morning with Jack Tame.

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Speaker 1: Listen live to news Talks he'd be from nine am Saturday,

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Speaker 1: or follow the podcast on iHeartRadio