WEBVTT - Paul Brady

0:00:08.600 --> 0:00:12.400
<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Search podcast.

0:00:13.000 --> 0:00:18.599
<v Speaker 1>My guest today is singer songwriter Paul Brady. Paul, last year,

0:00:18.640 --> 0:00:22.599
<v Speaker 1>you put out an autobiography, Crazy Dreams. What inspired you

0:00:22.680 --> 0:00:24.479
<v Speaker 1>to lay down your story at this point?

0:00:26.800 --> 0:00:29.440
<v Speaker 2>Well, I suppose it was to try and remember what

0:00:29.600 --> 0:00:34.159
<v Speaker 2>happened to me. It's so easy to forget what goes on,

0:00:34.280 --> 0:00:37.720
<v Speaker 2>and I spent you know, I used to take notes

0:00:37.800 --> 0:00:40.199
<v Speaker 2>all the time, not a diary per se, but I

0:00:40.240 --> 0:00:43.880
<v Speaker 2>would always sort of when anything exciting happened, I would

0:00:43.920 --> 0:00:45.600
<v Speaker 2>sort of write it up. So I just wanted to

0:00:45.640 --> 0:00:48.720
<v Speaker 2>keep a record and as much to try and understand

0:00:49.120 --> 0:00:50.360
<v Speaker 2>myself as anything else.

0:00:52.000 --> 0:00:53.880
<v Speaker 1>What did you learn about yourself writing the.

0:00:53.880 --> 0:00:58.200
<v Speaker 2>Book That I'm a bit of a lone wolf. I

0:00:58.240 --> 0:01:03.480
<v Speaker 2>guess that that that I sort of dabbled in and

0:01:03.480 --> 0:01:06.480
<v Speaker 2>out of everything. I was kind of a multi lingual

0:01:07.640 --> 0:01:13.680
<v Speaker 2>musically speaking, and you know, not everybody that I knew

0:01:13.840 --> 0:01:16.560
<v Speaker 2>in the music business was like that. I mean, I

0:01:16.640 --> 0:01:19.880
<v Speaker 2>came through three or four different types of music in

0:01:19.920 --> 0:01:24.800
<v Speaker 2>my career. But all the time, I suppose I felt

0:01:25.160 --> 0:01:28.080
<v Speaker 2>that I was a bit of a lone wolf. And

0:01:30.120 --> 0:01:30.800
<v Speaker 2>for better.

0:01:30.680 --> 0:01:33.920
<v Speaker 1>Or for worse, tell me more about being a lone wolf,

0:01:34.120 --> 0:01:36.119
<v Speaker 1>not only in the music business, but in life.

0:01:37.600 --> 0:01:43.720
<v Speaker 2>Hmmm, well, I suppose you're happy in your own company

0:01:43.720 --> 0:01:51.840
<v Speaker 2>for a start, you're happier. I suppose listening and talking

0:01:52.560 --> 0:01:59.440
<v Speaker 2>and a lot of what passes for the mainstream you

0:01:59.520 --> 0:02:04.559
<v Speaker 2>tend to sort of worry about and see through, and

0:02:05.080 --> 0:02:06.640
<v Speaker 2>you tend to want to be I'm sort of on

0:02:06.680 --> 0:02:09.320
<v Speaker 2>the on the periphery of everything, you know, And that's

0:02:09.360 --> 0:02:12.560
<v Speaker 2>the way I've always been. I've never I've been terminally

0:02:12.600 --> 0:02:18.680
<v Speaker 2>non aligned in terms of politics, in terms of musical tastes,

0:02:19.440 --> 0:02:24.040
<v Speaker 2>in terms of social morays. You know, I've just been

0:02:24.960 --> 0:02:29.120
<v Speaker 2>someone who's you know, I've plowed my own furrow.

0:02:29.240 --> 0:02:32.880
<v Speaker 1>I guess. Well, in the book, you're constantly calling on

0:02:33.080 --> 0:02:36.919
<v Speaker 1>friends to play on the records, to go on the road.

0:02:37.840 --> 0:02:39.880
<v Speaker 1>You know, you talk about being a lone wolf. Is

0:02:39.919 --> 0:02:42.680
<v Speaker 1>that difficult for you to have social anxiety? Or it's

0:02:42.840 --> 0:02:45.760
<v Speaker 1>just in your views and lifestyle that you're a lone wolf.

0:02:46.960 --> 0:02:48.920
<v Speaker 2>I think it's just in my views and lifestyle. I mean,

0:02:48.919 --> 0:02:51.840
<v Speaker 2>I'm a sociable animal, you know. I like a bit

0:02:51.880 --> 0:02:58.799
<v Speaker 2>of crack like everybody else. And you know, I tour solo.

0:02:58.880 --> 0:03:01.239
<v Speaker 2>I play solo quite a bit. But I also love

0:03:01.320 --> 0:03:04.160
<v Speaker 2>playing with the band, and you know, I'll go through

0:03:04.200 --> 0:03:06.920
<v Speaker 2>like a year playing solo and then I'll miss the

0:03:06.960 --> 0:03:10.560
<v Speaker 2>camaraderie and and the kickoff the ass of the band,

0:03:10.600 --> 0:03:13.280
<v Speaker 2>you know, and so I'll spend a year doing that.

0:03:13.440 --> 0:03:18.280
<v Speaker 2>And I mean again, I'm fortunate in that that I

0:03:18.320 --> 0:03:22.799
<v Speaker 2>found it easy to do both and saw the beauty

0:03:22.840 --> 0:03:23.440
<v Speaker 2>in both. You know.

0:03:24.560 --> 0:03:29.560
<v Speaker 1>Okay, there's a lot in the book about Ireland, in

0:03:29.720 --> 0:03:34.760
<v Speaker 1>Northern Ireland, and I just read a book called The

0:03:34.760 --> 0:03:38.200
<v Speaker 1>Beasting by Paul Murray, very highly reviewed, and you realize,

0:03:38.400 --> 0:03:41.280
<v Speaker 1>as much as we think outside of Ireland we know

0:03:41.360 --> 0:03:45.480
<v Speaker 1>what's going on, we really don't. So explain to my

0:03:45.720 --> 0:03:50.880
<v Speaker 1>audience the difference between Northern Ireland and the Republic of

0:03:50.920 --> 0:03:52.800
<v Speaker 1>Ireland where you sit on that.

0:03:54.080 --> 0:04:04.080
<v Speaker 2>Oh, dear, dear, dear, well, Well, Northern Ireland is part

0:04:04.120 --> 0:04:08.520
<v Speaker 2>of the United Kingdom, and a lot of people think

0:04:08.560 --> 0:04:10.080
<v Speaker 2>that's a good thing, and a lot of people think

0:04:10.120 --> 0:04:13.320
<v Speaker 2>it's not. And that has sort of been at the

0:04:13.400 --> 0:04:20.760
<v Speaker 2>route of a lot of antagonism and over the last

0:04:21.200 --> 0:04:26.000
<v Speaker 2>one hundred couple of years. But you know, in the

0:04:26.040 --> 0:04:29.280
<v Speaker 2>last couple of decades things have quite done quite a bit.

0:04:29.320 --> 0:04:33.040
<v Speaker 2>People are much more accepting of each other. And whereas

0:04:33.080 --> 0:04:36.679
<v Speaker 2>it's not like walk in the park, the relationship between

0:04:36.680 --> 0:04:41.000
<v Speaker 2>the two parts of the country. You know, things are

0:04:41.040 --> 0:04:45.159
<v Speaker 2>a lot better than they wear. I mean, it's as

0:04:45.279 --> 0:04:51.320
<v Speaker 2>much connected with the United Kingdom the problems as anything

0:04:51.320 --> 0:04:53.160
<v Speaker 2>else than I mean, and the United Kingdom is having

0:04:53.200 --> 0:04:55.560
<v Speaker 2>their own problems at the moment. A lot of people

0:04:55.560 --> 0:05:00.320
<v Speaker 2>in Northern Ireland think that England doesn't really care about

0:05:00.360 --> 0:05:04.159
<v Speaker 2>them and just to soon see them go. And but

0:05:04.320 --> 0:05:06.440
<v Speaker 2>that's that's this is a very long one. You know,

0:05:07.960 --> 0:05:10.599
<v Speaker 2>you might as well try and talk to me about

0:05:10.600 --> 0:05:13.720
<v Speaker 2>the Middle East diabob because it's that complicated.

0:05:14.160 --> 0:05:17.080
<v Speaker 1>Okay, so you're talking to a American. We're ignorant. Let's

0:05:17.080 --> 0:05:19.919
<v Speaker 1>start a little bit back. Tell me about the Irish

0:05:19.960 --> 0:05:21.160
<v Speaker 1>War of Independence.

0:05:24.200 --> 0:05:28.840
<v Speaker 2>Oh, dear, well, the Irish War of Independence was the

0:05:29.800 --> 0:05:35.400
<v Speaker 2>next in a whole many series of revolutions, failed revolutions

0:05:35.440 --> 0:05:40.960
<v Speaker 2>since the arrival of Britain. And you know, in the

0:05:41.120 --> 0:05:50.039
<v Speaker 2>fifteen hundred and sixteen hundreds, and of course, you know,

0:05:53.640 --> 0:05:57.320
<v Speaker 2>it never really left the public imagination, the notion that

0:05:58.800 --> 0:06:01.920
<v Speaker 2>we wanted to be Ireland, to be for the Irish.

0:06:02.720 --> 0:06:08.360
<v Speaker 2>And you know, the nineteen sixteen Revolution was just the

0:06:08.400 --> 0:06:15.680
<v Speaker 2>most recent one of all those attempts, and you know,

0:06:15.800 --> 0:06:18.560
<v Speaker 2>in one way failed it failed, but in another way

0:06:18.720 --> 0:06:25.680
<v Speaker 2>it it heralded in independence of a sort up until

0:06:25.720 --> 0:06:28.320
<v Speaker 2>the mid forties, when Ireland became a republic, or the

0:06:30.200 --> 0:06:32.040
<v Speaker 2>south of Ireland became a republic.

0:06:33.120 --> 0:06:37.400
<v Speaker 1>Okay, when did the division of Northern and Southern Ireland

0:06:37.800 --> 0:06:38.440
<v Speaker 1>take place?

0:06:40.279 --> 0:06:47.039
<v Speaker 2>Nineteen twenty two? I think yeah, round about you know,

0:06:47.839 --> 0:06:50.840
<v Speaker 2>the revolution was in the nineteen sixteen, and then the

0:06:50.880 --> 0:06:54.760
<v Speaker 2>War of Independence was it sort of grumbled along for

0:06:54.760 --> 0:06:57.279
<v Speaker 2>a couple of years, but blew out right into the

0:06:57.279 --> 0:07:02.320
<v Speaker 2>open in nineteen nineteen. It went on and on until

0:07:02.440 --> 0:07:06.279
<v Speaker 2>twenty two, and that's as far as I can recall

0:07:06.320 --> 0:07:10.280
<v Speaker 2>when on Northern Ireland the statelet was kind of invented.

0:07:11.960 --> 0:07:14.080
<v Speaker 2>And then of course there was the Irish Civil War

0:07:14.160 --> 0:07:19.560
<v Speaker 2>because that invention was on foot of a treaty that

0:07:19.640 --> 0:07:24.320
<v Speaker 2>was signed and half the people in the Republic of

0:07:24.360 --> 0:07:28.120
<v Speaker 2>Ireland agreed with the treaty and the other half didn't,

0:07:28.240 --> 0:07:32.400
<v Speaker 2>and so that ushered in the Irish Civil War nineteen

0:07:32.440 --> 0:07:38.040
<v Speaker 2>twenty two twenty three, and that was pretty gruesome. But

0:07:38.440 --> 0:07:43.920
<v Speaker 2>you know, since then there haven't been any outright wars.

0:07:44.000 --> 0:07:47.880
<v Speaker 2>But you know, it's only in the last decade or

0:07:47.880 --> 0:07:53.200
<v Speaker 2>so that things have kind of settled down to, you know,

0:07:53.480 --> 0:07:56.840
<v Speaker 2>a state were not everybody's terrified all the time.

0:07:57.640 --> 0:08:02.800
<v Speaker 1>Okay, you grow up in Derry, which to my understanding

0:08:02.920 --> 0:08:06.040
<v Speaker 1>is Northern Ireland. I grew up in Connecticut. You spend

0:08:06.080 --> 0:08:08.040
<v Speaker 1>time in Norwalk, which is not far from where I

0:08:08.040 --> 0:08:11.440
<v Speaker 1>grew up. But I'm not in Connecticut thinking about I

0:08:11.480 --> 0:08:14.120
<v Speaker 1>was thinking about the Vietnam War, but I'm not thinking

0:08:14.160 --> 0:08:17.200
<v Speaker 1>about whether Connecticut is part of the United States or something.

0:08:17.920 --> 0:08:21.160
<v Speaker 1>You're growing up in Northern Ireland. To what degree is

0:08:21.280 --> 0:08:24.920
<v Speaker 1>politics of presence in your mind and going around.

0:08:26.600 --> 0:08:28.960
<v Speaker 2>Well, it's I mean, it's it's there all the time,

0:08:29.040 --> 0:08:36.480
<v Speaker 2>because you know, politics dictates the social fabric and.

0:08:38.960 --> 0:08:39.160
<v Speaker 1>You know.

0:08:40.720 --> 0:08:43.040
<v Speaker 2>But the other upside of it was that, you know,

0:08:43.120 --> 0:08:46.160
<v Speaker 2>I lived on the border. I lived in Straban actually,

0:08:46.200 --> 0:08:48.880
<v Speaker 2>which was a few miles south of Derry. I went

0:08:48.880 --> 0:08:52.880
<v Speaker 2>to school in Derry. But one of the upsides was

0:08:52.920 --> 0:08:55.680
<v Speaker 2>that that you had two cultures you could share, you know,

0:08:55.800 --> 0:08:59.240
<v Speaker 2>I mean, living right on the border, I was able

0:08:59.280 --> 0:09:02.920
<v Speaker 2>to share in the culture of Ireland and the Republic,

0:09:03.400 --> 0:09:08.240
<v Speaker 2>and also in the culture of Britain and the BBC

0:09:08.520 --> 0:09:13.360
<v Speaker 2>and pop radio from England and all that, and so

0:09:14.000 --> 0:09:17.840
<v Speaker 2>you know it wasn't all a black and white thing.

0:09:18.360 --> 0:09:19.679
<v Speaker 2>There were ups and downs.

0:09:20.559 --> 0:09:24.880
<v Speaker 1>And tell me what the friction is between the Protestants

0:09:24.880 --> 0:09:25.800
<v Speaker 1>and the Catholics.

0:09:29.320 --> 0:09:38.480
<v Speaker 2>Well, it's, oh, well, it's about different, it's about it's tribal,

0:09:38.920 --> 0:09:44.800
<v Speaker 2>simple as that. You know, it's simply tribal. It's a

0:09:44.800 --> 0:09:49.600
<v Speaker 2>different tribe. You see, when Britain conquered Ireland in the

0:09:49.679 --> 0:09:55.080
<v Speaker 2>seventeenth century, they ushered in hundreds of thousands of people

0:09:55.200 --> 0:09:58.320
<v Speaker 2>from from across the water and took the land of

0:09:58.360 --> 0:10:03.000
<v Speaker 2>the Irish people and and in what was called the plantations,

0:10:03.600 --> 0:10:08.880
<v Speaker 2>the plantations of Ulster. So basically that was a whole

0:10:08.920 --> 0:10:12.720
<v Speaker 2>tribe coming in and throwing another tribe on the scrap heap.

0:10:13.480 --> 0:10:16.679
<v Speaker 2>And you know, as we all know when we look

0:10:16.720 --> 0:10:22.000
<v Speaker 2>around the world, even in the contemporary scene, you know,

0:10:22.600 --> 0:10:24.240
<v Speaker 2>tribalism is still very much alive.

0:10:25.920 --> 0:10:31.960
<v Speaker 1>Okay. So we know that subsequent to World War two,

0:10:32.559 --> 0:10:36.319
<v Speaker 1>things were in black and white in the UK and

0:10:36.360 --> 0:10:39.160
<v Speaker 1>there were you know, lack of certain things, etc. What

0:10:39.240 --> 0:10:41.800
<v Speaker 1>does the average American know about Ireland? There was a

0:10:41.840 --> 0:10:45.959
<v Speaker 1>potato famine in the eighteen hundreds, and then you read

0:10:46.080 --> 0:10:50.040
<v Speaker 1>books about our houses in the twentieth century. What was

0:10:50.040 --> 0:10:52.199
<v Speaker 1>the standard of life when you were growing up.

0:10:54.480 --> 0:11:01.840
<v Speaker 2>Well, you know, my parents were school teachers, uh primary

0:11:01.840 --> 0:11:06.360
<v Speaker 2>school teachers, and so they both had had a kind

0:11:06.360 --> 0:11:11.400
<v Speaker 2>of an annual salary. So like whereas we weren't sort

0:11:11.400 --> 0:11:15.400
<v Speaker 2>of rich or anything, you know, we didn't want, we

0:11:15.400 --> 0:11:19.000
<v Speaker 2>were comfortable enough. We could take take a vacation, you know,

0:11:19.800 --> 0:11:26.320
<v Speaker 2>a couple of times a year, and you know, but

0:11:26.320 --> 0:11:28.480
<v Speaker 2>but people were a lot poorer than that than they

0:11:28.480 --> 0:11:35.800
<v Speaker 2>are now. There wasn't as much opportunity to to make money,

0:11:36.080 --> 0:11:42.400
<v Speaker 2>and it was a lot more primitive times. You know,

0:11:43.040 --> 0:11:46.040
<v Speaker 2>Ireland was just a new state, you know, only a

0:11:46.040 --> 0:11:50.560
<v Speaker 2>couple of decades by that stage, and we were it

0:11:50.640 --> 0:11:56.360
<v Speaker 2>was a very poor country and so people didn't have

0:11:56.400 --> 0:12:02.320
<v Speaker 2>a lot to throw around and it was a struggle.

0:12:02.720 --> 0:12:07.280
<v Speaker 2>But you know, I was one of the fortunate generations

0:12:07.280 --> 0:12:14.480
<v Speaker 2>because in the late forties Britain decreed that anybody that

0:12:14.640 --> 0:12:19.439
<v Speaker 2>was had got a certain degree of privss in school exams,

0:12:19.760 --> 0:12:25.400
<v Speaker 2>got a free got a free education, college scholarship to university.

0:12:26.640 --> 0:12:31.480
<v Speaker 2>So that gave a whole generation me included of the

0:12:31.559 --> 0:12:35.000
<v Speaker 2>forty somethings, the fifty somethings, the chance to go to

0:12:35.040 --> 0:12:40.760
<v Speaker 2>third level education which utterly changed the social and educational

0:12:40.800 --> 0:12:46.600
<v Speaker 2>and political map of Northern Ireland. And so I always

0:12:46.640 --> 0:12:47.559
<v Speaker 2>feel grateful for that.

0:12:48.320 --> 0:12:50.199
<v Speaker 1>Okay, I don't want to harp on this issue, but

0:12:50.280 --> 0:12:54.280
<v Speaker 1>you're going to elementary school, primary school. To all the

0:12:54.400 --> 0:12:57.440
<v Speaker 1>kids you're going to school with, do they all have

0:12:57.640 --> 0:12:58.600
<v Speaker 1>indoor plumbing?

0:13:01.760 --> 0:13:05.520
<v Speaker 2>Well yeah, yeah, you know, there might have been a

0:13:05.520 --> 0:13:08.760
<v Speaker 2>couple of toilets out the back, you know, But but

0:13:08.840 --> 0:13:12.800
<v Speaker 2>people had electricity and running water of course, yeah, and

0:13:13.160 --> 0:13:18.840
<v Speaker 2>you know, and food and heat. You know, it's you know,

0:13:18.920 --> 0:13:26.640
<v Speaker 2>it's just it wasn't a rich society. I was unique

0:13:26.760 --> 0:13:31.880
<v Speaker 2>in a way. Most education, even to this day, both

0:13:31.880 --> 0:13:34.680
<v Speaker 2>in Northern Ireland and the Republic, is segregated into first

0:13:35.080 --> 0:13:43.480
<v Speaker 2>first of all gender segregation and secondly religious Catholic schools

0:13:45.400 --> 0:13:51.000
<v Speaker 2>Protestant schools. You know, that was the way it was

0:13:51.040 --> 0:13:54.240
<v Speaker 2>all the time. But I went to a school which

0:13:54.360 --> 0:13:58.520
<v Speaker 2>was mixed religion and mixed gender. And because it was

0:13:58.559 --> 0:14:01.960
<v Speaker 2>a school set up by Quakers in the nineteenth century

0:14:02.520 --> 0:14:05.480
<v Speaker 2>who owned a linen mill in the in the village

0:14:05.480 --> 0:14:09.840
<v Speaker 2>of Sian Mills, which was three miles south of where

0:14:09.880 --> 0:14:12.280
<v Speaker 2>I lived in Straban, and my mother was one of

0:14:12.280 --> 0:14:17.160
<v Speaker 2>the teachers there. So I went to school with girls

0:14:17.160 --> 0:14:21.480
<v Speaker 2>and boys, elementary school with girls and boys, and with

0:14:22.080 --> 0:14:27.160
<v Speaker 2>all religions, and of course, like all children, you think

0:14:27.480 --> 0:14:29.640
<v Speaker 2>that's the way everybody is. And it was only until

0:14:29.680 --> 0:14:32.120
<v Speaker 2>I got a lot older that I realized that that

0:14:32.240 --> 0:14:37.000
<v Speaker 2>was a very unusual thing to happen. And I again,

0:14:37.080 --> 0:14:41.480
<v Speaker 2>I'm extremely grateful for that, because I grew up not

0:14:41.600 --> 0:14:44.440
<v Speaker 2>thinking that the other tribe had two heads.

0:14:44.480 --> 0:14:56.000
<v Speaker 1>You know, Okay, you're growing up. How much television is

0:14:56.040 --> 0:14:58.000
<v Speaker 1>there and how much radio is there?

0:14:59.240 --> 0:15:04.160
<v Speaker 2>Well, there's a lot of We didn't get a television

0:15:04.320 --> 0:15:10.200
<v Speaker 2>until nineteen fifty eight, I think it was I was

0:15:10.280 --> 0:15:13.040
<v Speaker 2>just going to boarding school, and the whole thing at

0:15:13.040 --> 0:15:16.160
<v Speaker 2>the time was, oh, television will distract the kids from

0:15:16.200 --> 0:15:22.720
<v Speaker 2>their education, and it's you know, it's a big intrusion

0:15:22.760 --> 0:15:27.920
<v Speaker 2>into into the life. So but but I said, when

0:15:27.960 --> 0:15:31.480
<v Speaker 2>I came home from for Christmas holidays that that year,

0:15:32.320 --> 0:15:36.680
<v Speaker 2>my first year in boarding school, there was a television

0:15:36.680 --> 0:15:41.760
<v Speaker 2>in the house, a black and white television which had

0:15:41.800 --> 0:15:45.160
<v Speaker 2>Irish Television one or two stations, and also had the BBC,

0:15:46.160 --> 0:15:49.200
<v Speaker 2>so we were able to see all the all the

0:15:49.280 --> 0:15:51.840
<v Speaker 2>music that came from the BBC in the sixties, you know,

0:15:51.920 --> 0:15:57.200
<v Speaker 2>the fifties, sixties, Top of the Pops, you know, all

0:15:57.240 --> 0:16:00.600
<v Speaker 2>the big you know, when the when the British pop

0:16:00.680 --> 0:16:05.960
<v Speaker 2>music booms started in the late fifties earliest sixties. We

0:16:05.960 --> 0:16:10.040
<v Speaker 2>were able to see all that on television in Northern Ireland,

0:16:10.040 --> 0:16:12.680
<v Speaker 2>whereas in the Republic they didn't get to see that

0:16:12.760 --> 0:16:16.320
<v Speaker 2>because they didn't get the BBC there. So we you know,

0:16:16.480 --> 0:16:21.840
<v Speaker 2>I mean, there was a broad multicultural feel growing up

0:16:22.760 --> 0:16:23.520
<v Speaker 2>where I grew up.

0:16:23.760 --> 0:16:26.440
<v Speaker 1>Just so I understand is Northern Ireland is controlled by

0:16:26.440 --> 0:16:30.640
<v Speaker 1>the UK. They didn't get BBC. They did get BBC

0:16:30.760 --> 0:16:33.560
<v Speaker 1>Northern Ireland. Oh, the Republic of Ireland didn't, right right,

0:16:33.600 --> 0:16:35.880
<v Speaker 1>I want to make sure that I had that clear, Okay.

0:16:36.200 --> 0:16:40.760
<v Speaker 1>So throughout your book there's a long discussion and emphasis

0:16:40.760 --> 0:16:45.560
<v Speaker 1>of traditional Irish music. In America, we don't really have that.

0:16:45.640 --> 0:16:50.360
<v Speaker 1>Maybe country in Western but you're listening to the radio

0:16:50.520 --> 0:16:53.200
<v Speaker 1>growing up, what are you listening to?

0:16:55.640 --> 0:16:57.880
<v Speaker 2>Well, I would dispute that you don't have it in America.

0:16:58.120 --> 0:17:01.840
<v Speaker 2>In every single hamlet in America, in every single town

0:17:02.160 --> 0:17:06.160
<v Speaker 2>and city amid the Irish community, there is a hugely

0:17:07.440 --> 0:17:11.840
<v Speaker 2>healthy Irish music scene and there are festivals all over

0:17:12.119 --> 0:17:16.800
<v Speaker 2>the States all summer long, large festivals that deal with

0:17:16.840 --> 0:17:21.600
<v Speaker 2>Irish music. But that said, I mean, Irish music was

0:17:21.760 --> 0:17:24.280
<v Speaker 2>just a part of the music that I heard when

0:17:24.320 --> 0:17:26.800
<v Speaker 2>I was growing up. I mean, like I said, it

0:17:26.880 --> 0:17:31.760
<v Speaker 2>was British and American pop music. You know. We used

0:17:31.760 --> 0:17:35.960
<v Speaker 2>to listen to Radio Luxembourg, which was originally a European

0:17:36.080 --> 0:17:42.080
<v Speaker 2>station which then started to broadcast out of London. And

0:17:43.800 --> 0:17:47.560
<v Speaker 2>what happened was that a lot of the American soldiers

0:17:48.000 --> 0:17:53.959
<v Speaker 2>who were stationed in Germany would have all these records

0:17:53.960 --> 0:17:56.760
<v Speaker 2>that were coming out in the States in the late fifties,

0:17:57.400 --> 0:18:05.800
<v Speaker 2>you know, Elvis, Little Richard, Chuck Berry, Eddie Cochrane, Jean Vincent,

0:18:05.920 --> 0:18:09.240
<v Speaker 2>all that kind of stuff was was coming into Germany

0:18:09.640 --> 0:18:14.080
<v Speaker 2>with an American serviceman and that ended up on Radio Luxembourg,

0:18:14.600 --> 0:18:16.600
<v Speaker 2>and so we heard I heard all this kind of

0:18:16.640 --> 0:18:21.479
<v Speaker 2>stuff well, you know, in the late fifties, and so

0:18:21.560 --> 0:18:23.960
<v Speaker 2>I was totally I was like a blotting paper. I

0:18:24.040 --> 0:18:29.960
<v Speaker 2>just soaked, soaked it all in and all kinds of

0:18:30.000 --> 0:18:32.560
<v Speaker 2>music I listened to, you know, I mean, I didn't

0:18:32.600 --> 0:18:37.040
<v Speaker 2>sort of differentiate between genres of music. It didn't make

0:18:37.040 --> 0:18:38.679
<v Speaker 2>any sense to me to do that it was just

0:18:39.280 --> 0:18:41.280
<v Speaker 2>is it good or is it bad? Is it fun

0:18:41.359 --> 0:18:44.560
<v Speaker 2>or is it awful to listen to? I just took

0:18:44.600 --> 0:18:48.400
<v Speaker 2>it all on board and found, like as I said earlier,

0:18:48.640 --> 0:18:52.200
<v Speaker 2>that I was multi lingual. I was I was able

0:18:52.320 --> 0:18:56.760
<v Speaker 2>easy to be fluent and a vast and a big,

0:18:56.800 --> 0:18:59.600
<v Speaker 2>big variety of music.

0:19:00.920 --> 0:19:05.119
<v Speaker 1>Okay, so I'm a little younger than you. I was.

0:19:05.160 --> 0:19:08.760
<v Speaker 1>Certainly I'm a little late for Elvis, but I remember

0:19:08.800 --> 0:19:11.040
<v Speaker 1>the Beach Boys in the Four Seasons. But when the

0:19:11.040 --> 0:19:15.480
<v Speaker 1>Beatles hit, it was literally a revolution in America. What

0:19:15.720 --> 0:19:20.639
<v Speaker 1>was the bug that got you going on popular music

0:19:20.720 --> 0:19:22.399
<v Speaker 1>that you said, Wow, this is something I have to

0:19:22.480 --> 0:19:23.720
<v Speaker 1>dedicate all my time to.

0:19:25.320 --> 0:19:27.960
<v Speaker 2>Well, it was just totally visceral. I mean, I mean

0:19:28.040 --> 0:19:30.120
<v Speaker 2>the first time you hear little Richard singing long, tall

0:19:30.240 --> 0:19:36.199
<v Speaker 2>sally like, I mean, you're going what you know, I

0:19:36.240 --> 0:19:39.360
<v Speaker 2>have never heard anything like this before, and by god,

0:19:39.440 --> 0:19:47.520
<v Speaker 2>is it exciting. And it was just hugely exciting and inspiring.

0:19:47.800 --> 0:19:53.239
<v Speaker 2>And you know, I felt, hey, I want a bit

0:19:53.280 --> 0:19:55.560
<v Speaker 2>of that. I want to I want to open my

0:19:55.600 --> 0:19:57.720
<v Speaker 2>mouth and let I yell out and see what comes out.

0:19:57.760 --> 0:20:02.800
<v Speaker 2>And so I started singing, and you know, just for fun,

0:20:02.840 --> 0:20:06.200
<v Speaker 2>and I got a guitar from the eleventh birthday, and

0:20:06.320 --> 0:20:10.399
<v Speaker 2>I taught myself because there were no other guitar players

0:20:10.440 --> 0:20:14.159
<v Speaker 2>near me, and the only lesson you could get was

0:20:14.160 --> 0:20:16.719
<v Speaker 2>classical music, and that's not really what I was into.

0:20:17.160 --> 0:20:20.360
<v Speaker 2>So I kind of taught myself three or four cards,

0:20:20.400 --> 0:20:25.600
<v Speaker 2>and I just kept learning through my teens and and

0:20:25.840 --> 0:20:29.880
<v Speaker 2>playing at parties and you know, and it wasn't really

0:20:29.960 --> 0:20:33.159
<v Speaker 2>until I went to college in nineteen sixty four that

0:20:33.320 --> 0:20:38.440
<v Speaker 2>I you know, Harbard sort of seditious thoughts about being

0:20:38.440 --> 0:20:40.040
<v Speaker 2>a musician rather than a teacher.

0:20:41.560 --> 0:20:45.000
<v Speaker 1>So you say your parents were teachers, how did they

0:20:45.040 --> 0:20:47.679
<v Speaker 1>afford for you to go to boarding school? And what

0:20:47.760 --> 0:20:49.560
<v Speaker 1>was your experience at boarding school?

0:20:52.359 --> 0:20:56.920
<v Speaker 2>Well, the education at boarding school was free. They had

0:20:56.960 --> 0:21:00.320
<v Speaker 2>to pay for the accommodation, and you know, they just

0:21:00.440 --> 0:21:04.119
<v Speaker 2>made that sacrifice because it was an opportunity that they

0:21:04.160 --> 0:21:08.720
<v Speaker 2>didn't have, and so I'm grateful to them for that.

0:21:09.600 --> 0:21:14.879
<v Speaker 2>But I hated boarding school for a start. As I

0:21:14.880 --> 0:21:19.000
<v Speaker 2>said earlier, I'd come from an elementary school of mixed

0:21:19.000 --> 0:21:23.080
<v Speaker 2>religions and mixed gender. This boarding school was was a

0:21:23.119 --> 0:21:29.600
<v Speaker 2>Catholic boarding school, and it was all boys, and I saw,

0:21:29.680 --> 0:21:32.280
<v Speaker 2>I mean, it was just immediately to me how stupid

0:21:32.359 --> 0:21:34.280
<v Speaker 2>this is. You know, where's the other half of that

0:21:34.640 --> 0:21:36.040
<v Speaker 2>of humanity?

0:21:36.160 --> 0:21:36.359
<v Speaker 1>You know?

0:21:38.400 --> 0:21:41.639
<v Speaker 2>And I just I didn't like being in a school.

0:21:41.640 --> 0:21:45.880
<v Speaker 2>It was all just one one sex and one religion.

0:21:46.640 --> 0:21:53.400
<v Speaker 2>And you know, there wasn't an awful lot of interest

0:21:53.480 --> 0:21:55.600
<v Speaker 2>in the arts in this school. It was it had

0:21:55.640 --> 0:22:01.000
<v Speaker 2>a good reputation for academia for you know, mathematics, in English, poetry,

0:22:03.080 --> 0:22:05.520
<v Speaker 2>all the sort of the basic things, but they didn't

0:22:05.560 --> 0:22:10.720
<v Speaker 2>really value music. And I just felt that, you know,

0:22:10.720 --> 0:22:14.399
<v Speaker 2>I wasn't even allowed to bring a guitar to boarding school,

0:22:14.920 --> 0:22:18.320
<v Speaker 2>you know, because guitar means rock and roll music, which

0:22:18.359 --> 0:22:23.400
<v Speaker 2>is bad, you know. So I mean that was ridiculous,

0:22:23.920 --> 0:22:28.720
<v Speaker 2>and so I just basically didn't like boarding school. I

0:22:28.760 --> 0:22:29.760
<v Speaker 2>couldn't wait to get out of it.

0:22:30.520 --> 0:22:33.320
<v Speaker 1>Okay. In the book, you talk about going for summer

0:22:33.400 --> 0:22:37.200
<v Speaker 1>vacation with your parents at the beach and they're being

0:22:37.320 --> 0:22:41.240
<v Speaker 1>show bands and then ultimately playing with the showbands. What

0:22:41.359 --> 0:22:42.919
<v Speaker 1>exactly is a show band.

0:22:44.720 --> 0:22:46.960
<v Speaker 2>Show band is a bunch of musicians, you know, maybe

0:22:47.000 --> 0:22:51.000
<v Speaker 2>an eight piece band. You might have a drums, bass, keyboard,

0:22:52.200 --> 0:22:57.439
<v Speaker 2>tenor sacks, trumpet, trombone, a couple of guitars, and a

0:22:57.480 --> 0:23:01.439
<v Speaker 2>singer and well maybe three or four singers maybe the

0:23:01.480 --> 0:23:07.760
<v Speaker 2>other instrumentalists would would sing backups. And you know, they

0:23:07.760 --> 0:23:12.360
<v Speaker 2>would do all the hits today, you know, they they

0:23:12.440 --> 0:23:16.280
<v Speaker 2>would whatever was on top of the pops English television

0:23:16.320 --> 0:23:19.159
<v Speaker 2>the week before, the show band would learn it, and

0:23:19.359 --> 0:23:22.480
<v Speaker 2>the following weekend at the dances they'd be playing cover

0:23:22.600 --> 0:23:27.560
<v Speaker 2>versions of the British and American hits and and some

0:23:27.600 --> 0:23:29.640
<v Speaker 2>Irish hits too. I mean, people were starting to write

0:23:29.640 --> 0:23:34.800
<v Speaker 2>songs in Ireland and so there wasn't much of an

0:23:34.800 --> 0:23:42.720
<v Speaker 2>infrastructure for musicians to write their own songs at the time.

0:23:44.440 --> 0:23:49.360
<v Speaker 2>And there was a huge dancing culture in Ireland. Every

0:23:49.440 --> 0:23:54.240
<v Speaker 2>weekend and every town in Ireland there were dance halls

0:23:54.240 --> 0:23:56.760
<v Speaker 2>where all the young people would go and meet, meet

0:23:56.840 --> 0:23:59.960
<v Speaker 2>up and and that, and that's for the show bands play.

0:24:00.920 --> 0:24:03.800
<v Speaker 2>And there were like hundreds of show bands in Ireland

0:24:03.800 --> 0:24:06.360
<v Speaker 2>at the time, and you know, some of them were

0:24:06.400 --> 0:24:09.119
<v Speaker 2>extremely good. In fact, a few of them went to

0:24:09.359 --> 0:24:14.399
<v Speaker 2>Las Vegas and the Royal show Band played in I

0:24:14.440 --> 0:24:18.199
<v Speaker 2>see a couple of seasons in Las Vegas, and you know,

0:24:18.240 --> 0:24:22.080
<v Speaker 2>and the Tour of America. But they were essentially an

0:24:22.080 --> 0:24:23.120
<v Speaker 2>Irish phenomenon.

0:24:23.800 --> 0:24:25.879
<v Speaker 1>And how did you end up playing in a show band.

0:24:27.119 --> 0:24:29.960
<v Speaker 2>I didn't play in a show band. I played in

0:24:30.000 --> 0:24:33.560
<v Speaker 2>a hotel, just a sort of a little cabaret band

0:24:33.600 --> 0:24:37.280
<v Speaker 2>in a hotel in nineteen sixty two sixty three, when

0:24:37.280 --> 0:24:42.680
<v Speaker 2>I was like my early teens and I was too

0:24:42.720 --> 0:24:47.199
<v Speaker 2>young to play in a show band. It was only like,

0:24:47.240 --> 0:24:48.840
<v Speaker 2>as I said, when I went to Dublin later in

0:24:48.880 --> 0:24:52.800
<v Speaker 2>the decade. I was seventeen years old, eighteen years old

0:24:52.920 --> 0:24:56.040
<v Speaker 2>when I went to UCD in Dublin, and that's when

0:24:56.080 --> 0:25:01.080
<v Speaker 2>I started to play in serio music outfits. But I

0:25:01.160 --> 0:25:02.560
<v Speaker 2>know I didn't play in the show band, just a

0:25:02.560 --> 0:25:03.879
<v Speaker 2>little cabarety band.

0:25:04.240 --> 0:25:07.360
<v Speaker 1>Okay, how do you end up going to college in Dublin.

0:25:09.560 --> 0:25:14.119
<v Speaker 2>Well, that's an interesting question. My sister, three years older

0:25:14.160 --> 0:25:18.919
<v Speaker 2>than me, went to Queen's University in Belfast, which was

0:25:19.800 --> 0:25:23.479
<v Speaker 2>I suppose where logically I should have gone if I

0:25:23.480 --> 0:25:28.120
<v Speaker 2>got to if I passed my exams. But I did

0:25:28.160 --> 0:25:30.239
<v Speaker 2>pass my exams, and the year I applied to go

0:25:30.280 --> 0:25:37.359
<v Speaker 2>to Belfast to Queen's Universities in Belfast, there was a

0:25:37.400 --> 0:25:42.199
<v Speaker 2>superfluity of people applying for the arts faculty. There were

0:25:42.240 --> 0:25:45.600
<v Speaker 2>too many applicants for the number of places, so the

0:25:45.880 --> 0:25:51.000
<v Speaker 2>college in hisst wisdom declared that people born after a

0:25:51.040 --> 0:25:56.320
<v Speaker 2>certain date in the late forties would have to go

0:25:56.400 --> 0:26:00.880
<v Speaker 2>back to high school, boarding school for a and repeat

0:26:00.920 --> 0:26:06.359
<v Speaker 2>their final year again. And there was no way I

0:26:06.400 --> 0:26:09.280
<v Speaker 2>was going to go back to boarding school to repeat

0:26:09.320 --> 0:26:15.560
<v Speaker 2>my last year. So we started looking around and my

0:26:15.680 --> 0:26:18.560
<v Speaker 2>parents said, well, let's try Dublin. Let's try UCD in Dublin.

0:26:19.280 --> 0:26:24.880
<v Speaker 2>So I applied to UCD and I got in. So

0:26:25.160 --> 0:26:30.119
<v Speaker 2>in October nineteen sixty four, I ended up in Dublin City,

0:26:30.480 --> 0:26:33.200
<v Speaker 2>first time I had ever been in Dublin. I'd never

0:26:33.240 --> 0:26:36.600
<v Speaker 2>been more than seventy miles from my home until then,

0:26:37.680 --> 0:26:41.880
<v Speaker 2>and I was on my own in Dublin as a student.

0:26:43.000 --> 0:26:49.160
<v Speaker 2>And that was, you know, intimidating, but also extremely exciting.

0:26:49.920 --> 0:26:52.800
<v Speaker 2>And that's where I first started to listen to rhythm

0:26:52.800 --> 0:26:55.119
<v Speaker 2>and blues bands, and because there was loads of them

0:26:55.119 --> 0:26:58.560
<v Speaker 2>in Dublin, and that's how I started to play music

0:26:58.560 --> 0:26:59.040
<v Speaker 2>in a band.

0:27:00.240 --> 0:27:03.679
<v Speaker 1>Okay, so you're going to school. Tell me about you

0:27:03.720 --> 0:27:08.000
<v Speaker 1>start joining bands and playing out in venues. Tell me

0:27:08.040 --> 0:27:08.520
<v Speaker 1>about that.

0:27:10.800 --> 0:27:12.600
<v Speaker 2>Well, I mean, like there's a small time, you know,

0:27:12.640 --> 0:27:16.080
<v Speaker 2>we were semipro. I mean a lot of the people

0:27:16.080 --> 0:27:18.560
<v Speaker 2>in the bands had daytime jobs. I mean, I was

0:27:18.560 --> 0:27:20.480
<v Speaker 2>supposed to be a student. I wasn't doing and he's

0:27:20.560 --> 0:27:23.320
<v Speaker 2>just studying, to be honest, because as soon as I

0:27:23.320 --> 0:27:25.159
<v Speaker 2>got to university, I kind of went, what am I

0:27:25.200 --> 0:27:28.560
<v Speaker 2>doing here? You know? I was doing an arts degree

0:27:28.880 --> 0:27:36.600
<v Speaker 2>studying French Irish language and archaeology, and I wasn't more

0:27:36.680 --> 0:27:40.440
<v Speaker 2>interested than that than well, I just wasn't interested, And

0:27:41.800 --> 0:27:45.920
<v Speaker 2>so I started going to what was that question again?

0:27:47.280 --> 0:27:52.080
<v Speaker 1>Well, you're in college, and to what degree are you

0:27:52.359 --> 0:27:56.280
<v Speaker 1>playing out in clubs in other venues? And does that

0:27:56.359 --> 0:27:58.200
<v Speaker 1>become your life and how does that happen?

0:28:00.240 --> 0:28:05.119
<v Speaker 2>Well, yes, I I joined the band, and, like a

0:28:05.160 --> 0:28:08.040
<v Speaker 2>lot of bands in those areas, you know, we lasted

0:28:08.080 --> 0:28:11.320
<v Speaker 2>six months and then I went. Then we all imploded

0:28:11.359 --> 0:28:14.640
<v Speaker 2>and became another band and called ourselves a different name.

0:28:14.760 --> 0:28:17.720
<v Speaker 2>And after another six months, I joined another band. So

0:28:17.760 --> 0:28:20.240
<v Speaker 2>I was in three or four bands over the space

0:28:20.280 --> 0:28:26.320
<v Speaker 2>of two college years, and we were playing maybe twice

0:28:27.240 --> 0:28:30.360
<v Speaker 2>three times a week. Sometimes. There was a real upsurge

0:28:30.520 --> 0:28:35.359
<v Speaker 2>of venues for what were called beat groups at the time,

0:28:35.840 --> 0:28:39.960
<v Speaker 2>as opposed to show bands, which were the professional guys

0:28:40.000 --> 0:28:43.840
<v Speaker 2>with the snazzy suits and all that. We were the

0:28:43.840 --> 0:28:49.880
<v Speaker 2>grubby beat groups, and we played we played soul music.

0:28:49.960 --> 0:28:56.360
<v Speaker 2>We played Otis Redding, Wilson Pickett, Ray, Charles I, Cantina Turner,

0:28:56.680 --> 0:29:02.080
<v Speaker 2>marvel Ettes, and of the British blues things, John Mayol,

0:29:04.000 --> 0:29:07.360
<v Speaker 2>Spencer Davis. We did covers of of all that stuff.

0:29:09.720 --> 0:29:11.640
<v Speaker 2>And so that's what a lot of the bands in

0:29:11.720 --> 0:29:13.800
<v Speaker 2>Dublin were doing at the time, the younger bands who

0:29:13.880 --> 0:29:18.560
<v Speaker 2>weren't professional. So there were tennis clubs, there were rugby clubs,

0:29:19.000 --> 0:29:22.560
<v Speaker 2>there were a few, you know, maybe half a dozen

0:29:23.800 --> 0:29:32.000
<v Speaker 2>beat music performing clubs, and there were all classes, you know, schools, stuff,

0:29:32.080 --> 0:29:36.600
<v Speaker 2>you know, where people played. At the time, nobody took

0:29:36.600 --> 0:29:38.920
<v Speaker 2>it very seriously. Nobody thought it was going anywhere. Nobody

0:29:38.920 --> 0:29:42.080
<v Speaker 2>actually even thought about the future. It was just we're

0:29:42.080 --> 0:29:48.200
<v Speaker 2>having fun playing the music we love, and that's that's

0:29:48.360 --> 0:29:53.520
<v Speaker 2>what kept me going for two years until I was,

0:29:54.760 --> 0:30:00.760
<v Speaker 2>you know, someoneed by the registrar of UCD to explain

0:30:01.720 --> 0:30:04.600
<v Speaker 2>why I hadn't been at lectures for the previous year

0:30:04.680 --> 0:30:08.239
<v Speaker 2>and a half. And my parents got word of this

0:30:08.400 --> 0:30:13.960
<v Speaker 2>disgrace and there was an immediate hiatus in my time

0:30:14.000 --> 0:30:21.400
<v Speaker 2>with the bands in Dublin, and there happened to be

0:30:21.520 --> 0:30:25.480
<v Speaker 2>sort of about a six month period where I wasn't

0:30:25.520 --> 0:30:27.640
<v Speaker 2>in the band, but I bought myself an acoustic guitar

0:30:27.680 --> 0:30:29.480
<v Speaker 2>and I was back in Dublin in my final year

0:30:29.520 --> 0:30:33.360
<v Speaker 2>at college and I was playing and what we're now

0:30:33.440 --> 0:30:37.200
<v Speaker 2>just springing up all over the city, things called folk clubs.

0:30:38.400 --> 0:30:43.600
<v Speaker 2>We're talking now sixty six, and of course it started

0:30:43.600 --> 0:30:46.320
<v Speaker 2>earlier in the States. I think Dylan's first album was

0:30:46.360 --> 0:30:49.040
<v Speaker 2>sixty two or something. But it just shows you how

0:30:49.040 --> 0:30:53.000
<v Speaker 2>long it took things to travel in those days. Information

0:30:53.520 --> 0:30:56.480
<v Speaker 2>musical information like that didn't happen overnight the way it

0:30:56.520 --> 0:31:01.560
<v Speaker 2>did hear. So there were the folk scenes started in

0:31:01.600 --> 0:31:07.120
<v Speaker 2>Ireland and there were folk groups that were suddenly at

0:31:07.120 --> 0:31:09.520
<v Speaker 2>the top of the charts in Ireland. There was a

0:31:09.560 --> 0:31:12.760
<v Speaker 2>whole two or three year period where it was just

0:31:12.880 --> 0:31:16.719
<v Speaker 2>all Irish folk music in Ireland, and I was swept

0:31:16.800 --> 0:31:19.360
<v Speaker 2>up in that, which was very exciting, and I fell

0:31:19.360 --> 0:31:23.280
<v Speaker 2>in love with it and became a very strong arrow

0:31:23.320 --> 0:31:27.120
<v Speaker 2>in my quiver of music from then on and still is.

0:31:28.680 --> 0:31:33.440
<v Speaker 2>All of the seventies, basically, while the world was into

0:31:33.480 --> 0:31:36.520
<v Speaker 2>glam rock, I was into hardcore Irish trad music until

0:31:36.680 --> 0:31:39.400
<v Speaker 2>really the end of the seventies, when I decided I

0:31:39.440 --> 0:31:41.960
<v Speaker 2>wanted to I'd had enough of that and I wanted

0:31:41.960 --> 0:31:43.200
<v Speaker 2>to see if it could be a songwriter.

0:31:50.080 --> 0:31:51.880
<v Speaker 1>So how did it end with you in college?

0:31:54.240 --> 0:32:00.960
<v Speaker 2>Badly? I just I failed my fine exams and I

0:32:01.000 --> 0:32:04.200
<v Speaker 2>didn't go back to repeat because at that stage I

0:32:04.240 --> 0:32:08.360
<v Speaker 2>had already become a member of a top A chart

0:32:08.400 --> 0:32:11.480
<v Speaker 2>topping Irish folk group. I'd been asked to join that,

0:32:12.360 --> 0:32:17.320
<v Speaker 2>and suddenly I was making a decent living and I

0:32:17.400 --> 0:32:22.360
<v Speaker 2>was on television and my parents sort of kind of

0:32:22.480 --> 0:32:26.280
<v Speaker 2>saw some kind of logic in that amid their disappointment,

0:32:26.280 --> 0:32:28.120
<v Speaker 2>because I mean, let's face that, they were teachers, you know,

0:32:28.200 --> 0:32:31.480
<v Speaker 2>so they wanted me to have a degree to fall

0:32:31.520 --> 0:32:34.360
<v Speaker 2>back on was the term, you know. But when you're

0:32:34.400 --> 0:32:35.720
<v Speaker 2>that age, you don't want to you don't want to

0:32:35.720 --> 0:32:37.520
<v Speaker 2>think about falling back on anything.

0:32:38.200 --> 0:32:40.520
<v Speaker 1>So how do you end up in the Johnstons?

0:32:41.840 --> 0:32:43.800
<v Speaker 2>Well, that was a series of accidents. I was in

0:32:43.840 --> 0:32:47.560
<v Speaker 2>an apartment above one of the members of the band,

0:32:47.600 --> 0:32:49.480
<v Speaker 2>and we used to play poker at night and he

0:32:49.840 --> 0:32:54.040
<v Speaker 2>would keep me informed of the the personnel fractions that

0:32:54.160 --> 0:32:56.520
<v Speaker 2>happened within the band, and one point one of the

0:32:56.560 --> 0:33:00.360
<v Speaker 2>members left and I had already been opening for this

0:33:00.440 --> 0:33:03.960
<v Speaker 2>band as a solo folk singer in some of the

0:33:03.960 --> 0:33:06.600
<v Speaker 2>clubs in towns. So they were aware of my music,

0:33:07.160 --> 0:33:09.280
<v Speaker 2>so they asked me to join the band, and this

0:33:09.360 --> 0:33:16.640
<v Speaker 2>would have been summer of sixty seven and then from

0:33:16.720 --> 0:33:19.560
<v Speaker 2>then on I was a professional musician. That's I've been

0:33:19.560 --> 0:33:20.960
<v Speaker 2>a professional musician since then.

0:33:22.320 --> 0:33:25.360
<v Speaker 1>Okay, what is the status of the Johnston's at that

0:33:25.440 --> 0:33:26.160
<v Speaker 1>point and what.

0:33:26.120 --> 0:33:31.240
<v Speaker 2>Is the goal? Well, the Johnson's had just had a

0:33:31.320 --> 0:33:35.160
<v Speaker 2>number one hit in Ireland with the Ewan McCalls song

0:33:36.240 --> 0:33:40.160
<v Speaker 2>called the Traveling People about the Trap, about the Gypsy

0:33:40.200 --> 0:33:46.840
<v Speaker 2>community and the travelers as they're called here, and so

0:33:46.960 --> 0:33:49.240
<v Speaker 2>that put them at the top of the charts in Ireland.

0:33:49.520 --> 0:33:53.880
<v Speaker 2>They so we were playing all over the country, making

0:33:53.880 --> 0:33:56.960
<v Speaker 2>big money and on radio and television all the time.

0:33:57.840 --> 0:34:03.760
<v Speaker 2>And then we were discovered by a British label called

0:34:03.760 --> 0:34:13.759
<v Speaker 2>Transatlantic Records, owned by Not Joseph and this was a

0:34:13.760 --> 0:34:17.400
<v Speaker 2>really progressive label in the UK at the time. It

0:34:17.640 --> 0:34:22.160
<v Speaker 2>sort of had a lot of the the the upcoming

0:34:22.320 --> 0:34:27.760
<v Speaker 2>British folk artists like Pentangle, like Bert Jansk, John Renbourn,

0:34:32.040 --> 0:34:36.640
<v Speaker 2>Billy Connolly was was in the band with Jerry Rafferty

0:34:36.680 --> 0:34:41.080
<v Speaker 2>called the Humble Bombs. They were on Transatlantic Records too,

0:34:42.960 --> 0:34:46.600
<v Speaker 2>the Dubliners for a while, we're on Transatlantic Records and

0:34:48.960 --> 0:34:51.719
<v Speaker 2>not Joseph heard about the Johnstons in Ireland and we'd

0:34:51.760 --> 0:34:54.120
<v Speaker 2>done a couple of concerts in London. He came to

0:34:54.120 --> 0:34:57.040
<v Speaker 2>see us in London, so he offered us a record deal.

0:34:57.120 --> 0:35:01.400
<v Speaker 2>So we we had our first international record deal in

0:35:01.520 --> 0:35:07.240
<v Speaker 2>nineteen late nineteen sixty seven early sixty eight with Transatlantic Records.

0:35:07.320 --> 0:35:11.400
<v Speaker 2>So we went to England to make our first album,

0:35:11.760 --> 0:35:14.960
<v Speaker 2>which was called the White Album because it was a

0:35:15.000 --> 0:35:19.680
<v Speaker 2>white sleeve on us. And we made about five or

0:35:19.719 --> 0:35:24.280
<v Speaker 2>six albums maybe even more for Transatlantic from nineteen sixty

0:35:24.320 --> 0:35:32.360
<v Speaker 2>seven through nineteen seventy three seventy four, and then the

0:35:32.400 --> 0:35:33.160
<v Speaker 2>band split up.

0:35:34.000 --> 0:35:37.360
<v Speaker 1>Okay, you're a guy who hasn't been one hundred miles

0:35:37.360 --> 0:35:40.960
<v Speaker 1>from home. You go to college at Dublin, you're kind

0:35:40.960 --> 0:35:44.040
<v Speaker 1>of in and out of college. Suddenly you're on TV

0:35:44.760 --> 0:35:47.400
<v Speaker 1>in America. That was a dream. What was it like

0:35:47.480 --> 0:35:50.320
<v Speaker 1>to suddenly be on TV and to be on the radio.

0:35:54.239 --> 0:35:58.920
<v Speaker 2>Well, you know, you know, as part of the beauty

0:35:58.960 --> 0:36:02.239
<v Speaker 2>and madness of being that age, you know, you go,

0:36:02.600 --> 0:36:05.880
<v Speaker 2>you take it for granted, you go, oh yeah, and

0:36:05.920 --> 0:36:10.800
<v Speaker 2>I mean I always I always had confidence in my

0:36:10.960 --> 0:36:14.000
<v Speaker 2>musical gift, and I call it the gifts because I

0:36:14.080 --> 0:36:18.640
<v Speaker 2>really mean that, you know, it's something you're given, and

0:36:19.520 --> 0:36:22.280
<v Speaker 2>but I never had confidence that it would get noticed.

0:36:25.480 --> 0:36:29.080
<v Speaker 2>I suppose that's that's part of the lone wolf mentality too.

0:36:29.680 --> 0:36:31.640
<v Speaker 2>So for the first time, the music that I felt

0:36:31.680 --> 0:36:34.319
<v Speaker 2>was really good, that I that I was making got

0:36:34.360 --> 0:36:40.279
<v Speaker 2>started to get noticed. So that was exciting, and I

0:36:40.320 --> 0:36:46.400
<v Speaker 2>was I was touring a lot all over the continent

0:36:46.480 --> 0:36:51.760
<v Speaker 2>with with with the Johnston Scandinavia, Germany, Holland, Belgium, France

0:36:52.640 --> 0:36:58.280
<v Speaker 2>and uh, you know, we just took a nurse tride.

0:36:58.320 --> 0:37:00.360
<v Speaker 2>I mean it was exciting. Of course it was siting,

0:37:00.440 --> 0:37:05.680
<v Speaker 2>but but I didn't think it was undeserved.

0:37:06.800 --> 0:37:11.839
<v Speaker 1>Okay, you're a young twenty something on the road. That's

0:37:11.880 --> 0:37:17.279
<v Speaker 1>a legendary situation. Are you partiking of the substances in

0:37:17.360 --> 0:37:18.800
<v Speaker 1>the offerings on the road.

0:37:22.040 --> 0:37:25.000
<v Speaker 2>Well, to a Modica, I'd have to say, I'm you know,

0:37:26.920 --> 0:37:32.239
<v Speaker 2>I'm an irishman, so I like my drink. And you know,

0:37:34.360 --> 0:37:36.680
<v Speaker 2>there was really nothing much going around Ireland at the

0:37:36.680 --> 0:37:42.680
<v Speaker 2>time except a bit of hash and grass, and the

0:37:42.719 --> 0:37:47.960
<v Speaker 2>whole coke thing didn't happen until mid seventies, and fortunately

0:37:48.160 --> 0:37:50.640
<v Speaker 2>I just was able to avoid that. I had no

0:37:50.719 --> 0:37:53.680
<v Speaker 2>interest in COCD and coke at all. Just made your

0:37:53.680 --> 0:37:59.080
<v Speaker 2>teeth tingle. You know, I totally uninterested in coke, So

0:37:59.360 --> 0:38:02.239
<v Speaker 2>I escaped all that. It was lovely, but you know, no,

0:38:02.400 --> 0:38:08.879
<v Speaker 2>I I was sort of, you know, modest in any

0:38:08.920 --> 0:38:13.680
<v Speaker 2>of my obsessions. And I never really got hung up

0:38:13.719 --> 0:38:14.840
<v Speaker 2>on Anathan, thankfully.

0:38:15.040 --> 0:38:16.040
<v Speaker 1>How about the group Bees?

0:38:19.320 --> 0:38:25.160
<v Speaker 2>You know an odd time sir, it's hard to resist.

0:38:28.000 --> 0:38:29.520
<v Speaker 1>You want to you want to stay with that? It

0:38:29.560 --> 0:38:30.400
<v Speaker 1>was hard to resist.

0:38:31.600 --> 0:38:35.360
<v Speaker 2>Yeah, sure you're that age. Sure that's what you are,

0:38:35.920 --> 0:38:36.279
<v Speaker 2>you know.

0:38:36.440 --> 0:38:38.480
<v Speaker 1>And when do you start writing songs?

0:38:40.960 --> 0:38:44.040
<v Speaker 2>Well? I had the thing about the Johnston's was not

0:38:44.239 --> 0:38:48.799
<v Speaker 2>Joseph wanted them to be a contemporary act like the Seekers, uh,

0:38:49.400 --> 0:38:52.959
<v Speaker 2>whereas it was a very schizophrenic band. We were so schizophrenical.

0:38:52.960 --> 0:38:55.000
<v Speaker 2>We actually put out two albums on the one day.

0:38:55.880 --> 0:38:59.200
<v Speaker 2>One was a hardcore trad album Irish Trad, and the

0:38:59.280 --> 0:39:03.520
<v Speaker 2>other was an album an orchestral the arranged album of

0:39:03.560 --> 0:39:11.880
<v Speaker 2>cover songs of Jacques Brill, Gordon Lightfoot, Ian McCall, Leonard Cohen,

0:39:12.080 --> 0:39:18.760
<v Speaker 2>Joni Mitchell. We had a hit single with Jonny Mitchell's

0:39:18.760 --> 0:39:24.799
<v Speaker 2>both sides now and in Ireland, and it got up

0:39:24.840 --> 0:39:30.600
<v Speaker 2>to the mid fifties in the States. And then suddenly

0:39:31.560 --> 0:39:37.480
<v Speaker 2>Electra Records remembered that one of their acts, Judy Collins,

0:39:37.680 --> 0:39:41.720
<v Speaker 2>happened to have a recording of the song on her album.

0:39:41.920 --> 0:39:45.600
<v Speaker 2>I think it was called Wildflowers. So they threw that

0:39:45.719 --> 0:39:48.880
<v Speaker 2>out and we tussled with her for about three or

0:39:48.880 --> 0:39:54.879
<v Speaker 2>four weeks, and eventually Judy Collins's version became the hit

0:39:55.000 --> 0:39:57.400
<v Speaker 2>in the States. So that was as close as we

0:39:57.440 --> 0:40:03.000
<v Speaker 2>came to having a hit single in America. But I

0:40:03.200 --> 0:40:05.840
<v Speaker 2>like to think that in some way I contributed, We

0:40:05.960 --> 0:40:12.240
<v Speaker 2>contributed to her success in that her record company wouldn't

0:40:12.280 --> 0:40:15.759
<v Speaker 2>even have remembered the song on her album if we

0:40:15.800 --> 0:40:17.680
<v Speaker 2>hadn't been tickling the charts.

0:40:19.480 --> 0:40:22.640
<v Speaker 1>So once again, when do you start writing songs?

0:40:24.560 --> 0:40:32.160
<v Speaker 2>Well, I'd been listening to Jerry Rafferty and Al Stewart,

0:40:32.280 --> 0:40:39.359
<v Speaker 2>people like that in London, and I tried to write

0:40:39.360 --> 0:40:41.680
<v Speaker 2>a few songs on In fact, they had written some

0:40:41.800 --> 0:40:46.440
<v Speaker 2>songs with the Johnson's in their last couple of albums.

0:40:46.680 --> 0:40:49.239
<v Speaker 2>There were some songs of mine in the early early

0:40:49.280 --> 0:40:53.560
<v Speaker 2>mid seventies. You know that one song in particularly called

0:40:53.560 --> 0:40:58.360
<v Speaker 2>Continental Trailways Bus, which probably was one of the standout

0:40:58.440 --> 0:41:01.080
<v Speaker 2>songs of my time writing there, but I never really

0:41:01.160 --> 0:41:04.560
<v Speaker 2>took it seriously until one day I was driving along

0:41:04.920 --> 0:41:08.160
<v Speaker 2>and I heard this song on the radio, which turned

0:41:08.200 --> 0:41:11.760
<v Speaker 2>out to be Baker Street, and I just totally freaked

0:41:11.760 --> 0:41:13.640
<v Speaker 2>pulled the car over the side of the road, stop

0:41:13.719 --> 0:41:17.280
<v Speaker 2>the engine and listened to this and I said, what

0:41:17.520 --> 0:41:21.960
<v Speaker 2>is this? And it was Shirry Raffany. I said, I

0:41:21.960 --> 0:41:24.040
<v Speaker 2>know Jerry Rafferty. He's on the same label as me,

0:41:24.080 --> 0:41:26.160
<v Speaker 2>and he's only a folks singer. How did he come

0:41:26.239 --> 0:41:30.919
<v Speaker 2>up with this? And I was totally blown away by

0:41:30.920 --> 0:41:33.840
<v Speaker 2>the song? And then I got his album City to City,

0:41:33.880 --> 0:41:38.200
<v Speaker 2>which was just a stunning album, and I just said,

0:41:39.040 --> 0:41:42.400
<v Speaker 2>you know, hey, bye bye traditional music. I want to

0:41:42.400 --> 0:41:44.840
<v Speaker 2>see if I can write songs like this. So I

0:41:44.840 --> 0:41:50.000
<v Speaker 2>started to write songs in late seventy eight early seventy nine,

0:41:50.360 --> 0:41:53.200
<v Speaker 2>and by the end of seventy nine I had enough

0:41:53.239 --> 0:41:59.920
<v Speaker 2>songs to put together a band in Dublin and start touring.

0:42:00.600 --> 0:42:05.440
<v Speaker 2>And by the end of nineteen eighty I decided I

0:42:05.480 --> 0:42:11.239
<v Speaker 2>got a record deal and I did an album and

0:42:11.640 --> 0:42:14.160
<v Speaker 2>it came in early eighty one. The album is called

0:42:14.200 --> 0:42:14.760
<v Speaker 2>hard station.

0:42:22.360 --> 0:42:25.520
<v Speaker 1>Let's go back. You're in the Johnstons. All of a sudden,

0:42:25.560 --> 0:42:29.440
<v Speaker 1>this Thingali enters the picture. You go to the US

0:42:29.520 --> 0:42:33.480
<v Speaker 1>to get a record deal. You're living on nothing. Tell

0:42:33.560 --> 0:42:34.720
<v Speaker 1>us about that period.

0:42:36.120 --> 0:42:38.759
<v Speaker 2>Oh, that was a dark period in my life. You know, definitely,

0:42:39.719 --> 0:42:42.840
<v Speaker 2>I was very impressionable. I was in my very early twenties,

0:42:43.040 --> 0:42:50.440
<v Speaker 2>and you know, I kind of I suppose all the

0:42:50.520 --> 0:42:53.799
<v Speaker 2>thing I discovered about myself was that, you know, I

0:42:53.840 --> 0:42:57.040
<v Speaker 2>don't like change. I'd rather stick with something that's not

0:42:57.160 --> 0:43:03.920
<v Speaker 2>entirely one hundred percent rather than look for something else

0:43:04.160 --> 0:43:07.800
<v Speaker 2>in the dark. So that's why I probably stuck longer

0:43:07.800 --> 0:43:11.359
<v Speaker 2>in the band the Johnson's than I that than I

0:43:11.400 --> 0:43:16.799
<v Speaker 2>should have. So it was a very difficult time. I mean,

0:43:16.800 --> 0:43:22.120
<v Speaker 2>it's complicated because of things I'm not sure I want

0:43:22.120 --> 0:43:28.120
<v Speaker 2>to go into here, but uh, just it was the

0:43:28.120 --> 0:43:29.640
<v Speaker 2>worst time to be trying to get a record deal

0:43:29.680 --> 0:43:32.640
<v Speaker 2>in America because it was it was the time the

0:43:32.680 --> 0:43:36.760
<v Speaker 2>first energy crisis hit hit the oil industry, and vinyl

0:43:36.800 --> 0:43:41.360
<v Speaker 2>became prohibitively expensive, and a lot of the American labels

0:43:42.520 --> 0:43:44.600
<v Speaker 2>were not only not signing new acts, but they were

0:43:44.760 --> 0:43:49.480
<v Speaker 2>dropping their own acts wholesale because of the cost of vinyl,

0:43:49.760 --> 0:43:53.600
<v Speaker 2>and so that was it was. We were on a

0:43:53.600 --> 0:43:55.880
<v Speaker 2>heightened and often looking for a record deal at that time.

0:43:57.120 --> 0:44:00.840
<v Speaker 2>Even though we did a private addition for Clive Davis

0:44:00.840 --> 0:44:05.000
<v Speaker 2>in his office. We did an acoustic audition for Clive

0:44:05.080 --> 0:44:11.280
<v Speaker 2>Davis and he said, I'll get back.

0:44:11.160 --> 0:44:16.399
<v Speaker 1>To you classic, But you're living as kind of fly

0:44:16.520 --> 0:44:19.160
<v Speaker 1>by night people in the US. You're running out on

0:44:19.320 --> 0:44:22.680
<v Speaker 1>hotel bills. Rent tell me about that.

0:44:24.160 --> 0:44:25.719
<v Speaker 2>Well, I'm not sure I want to go into that

0:44:27.040 --> 0:44:28.680
<v Speaker 2>very deeply. I mean, it's not a period of my

0:44:28.719 --> 0:44:32.920
<v Speaker 2>life I'm very proud of. And I know the statute

0:44:32.920 --> 0:44:38.239
<v Speaker 2>of limitations has probably rung out. We'll probably leave it

0:44:38.239 --> 0:44:38.440
<v Speaker 2>at that.

0:44:39.160 --> 0:44:42.880
<v Speaker 1>Okay, But the guy who ends up being involved with

0:44:43.040 --> 0:44:47.279
<v Speaker 1>the woman in the act, you're accepting it face value.

0:44:47.440 --> 0:44:50.120
<v Speaker 1>At what point do you realize this guy's a liar

0:44:50.160 --> 0:44:50.760
<v Speaker 1>and a crook?

0:44:53.680 --> 0:45:00.520
<v Speaker 2>Well, I can't you. I cand of knew it. I

0:45:00.600 --> 0:45:03.560
<v Speaker 2>never really felt that. I never really felt happy with

0:45:03.640 --> 0:45:07.880
<v Speaker 2>him in the band, but at the time not Joseph,

0:45:08.280 --> 0:45:12.400
<v Speaker 2>the record company boss, was very excited with him and

0:45:12.440 --> 0:45:18.520
<v Speaker 2>wanted to see if he could turn this into songwriters

0:45:18.560 --> 0:45:21.279
<v Speaker 2>and have hits and stuff like that. So, like I said,

0:45:21.320 --> 0:45:23.359
<v Speaker 2>I just kind of went with the flow. And I mean,

0:45:26.000 --> 0:45:27.400
<v Speaker 2>you know, I put up with a lot more than

0:45:27.400 --> 0:45:29.480
<v Speaker 2>I should have, but you put up with an awful

0:45:29.480 --> 0:45:33.759
<v Speaker 2>lot of that age. You know, it seems to be

0:45:33.800 --> 0:45:37.560
<v Speaker 2>going okay, you know, and so let's not rock the boat.

0:45:37.880 --> 0:45:38.640
<v Speaker 2>That was a mistake.

0:45:46.000 --> 0:45:50.320
<v Speaker 1>During this window, you're back in Ireland and you meet

0:45:50.640 --> 0:45:53.839
<v Speaker 1>the woman who becomes your wife. Not only do you

0:45:53.920 --> 0:45:56.600
<v Speaker 1>meet her, she comes a couple of times to the US.

0:45:57.840 --> 0:45:59.760
<v Speaker 1>How'd you meet her? And what did she say about

0:46:00.040 --> 0:46:02.640
<v Speaker 1>your situation when she came to the US having an

0:46:02.680 --> 0:46:03.399
<v Speaker 1>outside view?

0:46:05.320 --> 0:46:08.160
<v Speaker 2>Well, we met at the funeral of a famous Irish

0:46:08.200 --> 0:46:12.320
<v Speaker 2>traditional musician called Willie Clancy down in the west of Ireland,

0:46:12.360 --> 0:46:19.719
<v Speaker 2>in County Claire, and I was back in Ireland for

0:46:19.840 --> 0:46:24.359
<v Speaker 2>Christmas and he died in January. So I went down

0:46:24.400 --> 0:46:26.160
<v Speaker 2>to the funeral with a lot of friends of mine

0:46:26.280 --> 0:46:31.080
<v Speaker 2>and we were having some fun later on after the

0:46:31.120 --> 0:46:35.960
<v Speaker 2>funeral in one of the local pubs when the Skill

0:46:36.120 --> 0:46:38.960
<v Speaker 2>arrives in from Dublin with another friend of hers. They

0:46:39.000 --> 0:46:43.160
<v Speaker 2>were also music fans and they had come down just

0:46:43.200 --> 0:46:47.399
<v Speaker 2>to you know, join in the gathering. So that's where

0:46:47.440 --> 0:46:52.480
<v Speaker 2>I first saw Mary, who went on to become my wife.

0:46:52.520 --> 0:46:58.600
<v Speaker 2>And still is. And I went back to the States

0:46:58.640 --> 0:47:03.200
<v Speaker 2>the end of January. She came over that summer. She

0:47:03.360 --> 0:47:09.239
<v Speaker 2>was still doing her Masters in Trinity in Dublin and

0:47:09.320 --> 0:47:13.160
<v Speaker 2>so she had to wait to finish her exams. And

0:47:14.560 --> 0:47:17.160
<v Speaker 2>she came over and we were living at the time

0:47:17.200 --> 0:47:22.319
<v Speaker 2>in Norwalk, Connecticut, and she immediately saw that this was

0:47:23.280 --> 0:47:27.480
<v Speaker 2>this was a MADS situation, and you know, I knew

0:47:27.560 --> 0:47:33.160
<v Speaker 2>it too, but she kind of really made my mind up.

0:47:33.280 --> 0:47:37.800
<v Speaker 2>And from then on we basically worked steadily to getting

0:47:37.800 --> 0:47:40.920
<v Speaker 2>an exit. It was difficult because I had nowhere to go.

0:47:41.440 --> 0:47:45.680
<v Speaker 2>I had left the whole scene in Ireland. I had

0:47:45.680 --> 0:47:47.759
<v Speaker 2>nothing to step into again if I if I left

0:47:47.760 --> 0:47:52.040
<v Speaker 2>the Johnson's. To some extent, I was a little bit

0:47:52.080 --> 0:47:55.759
<v Speaker 2>embarrassed by all that. Didn't want to go back home

0:47:55.800 --> 0:47:59.839
<v Speaker 2>with nothing. But eventually I got asked to join another

0:48:00.000 --> 0:48:03.279
<v Speaker 2>and which were big in Ireland at the time, called Planksty,

0:48:03.719 --> 0:48:06.560
<v Speaker 2>and that was my ticket out of hell. And I

0:48:06.600 --> 0:48:11.440
<v Speaker 2>found myself back in Ireland in nineteen seventy four again

0:48:11.560 --> 0:48:14.239
<v Speaker 2>in one of the top bands in the country. I mean,

0:48:14.280 --> 0:48:15.080
<v Speaker 2>how lucky? Is that?

0:48:16.200 --> 0:48:20.040
<v Speaker 1>Very lucky? So tell me about your tenure with Planksty.

0:48:21.560 --> 0:48:23.920
<v Speaker 2>Well, that was I mean that was part of a

0:48:23.960 --> 0:48:29.239
<v Speaker 2>whole decade of involvement in Irish traditional music, which was

0:48:29.640 --> 0:48:32.040
<v Speaker 2>you know, I put out an album with the colleague

0:48:32.040 --> 0:48:35.240
<v Speaker 2>of mine, Andy Irvine, who was one of the members

0:48:35.239 --> 0:48:39.640
<v Speaker 2>of Planksty. Planksy didn't last that long. Planksty Mark three

0:48:39.719 --> 0:48:43.440
<v Speaker 2>I call it, which was what I joined, only lasted

0:48:43.440 --> 0:48:46.799
<v Speaker 2>for about a year and a half. And then I

0:48:47.000 --> 0:48:49.120
<v Speaker 2>kept playing with one of the members of that band

0:48:49.120 --> 0:48:53.439
<v Speaker 2>and the Irvine. We made this album in the late

0:48:53.520 --> 0:48:58.759
<v Speaker 2>seventies which went on to become a kind of a

0:48:58.800 --> 0:49:03.520
<v Speaker 2>folk classic, which which was really the album that introduced

0:49:03.560 --> 0:49:08.920
<v Speaker 2>my music to Dylan because he heard that album. He

0:49:08.960 --> 0:49:12.400
<v Speaker 2>was friendly with Happy Troum, Happy and Artie Trum, with

0:49:12.520 --> 0:49:17.560
<v Speaker 2>these brothers who were contemporaneous with Dylan in the village

0:49:17.560 --> 0:49:21.560
<v Speaker 2>in the early sixties, and Dylan would call in Unhappy

0:49:21.640 --> 0:49:24.239
<v Speaker 2>Troum on his way up to Woodstock every so often

0:49:24.239 --> 0:49:27.000
<v Speaker 2>and say, what are you listening to now? And Happy

0:49:27.080 --> 0:49:30.080
<v Speaker 2>had just got this album by Andy and me, so

0:49:30.120 --> 0:49:33.080
<v Speaker 2>he gave it to Dylan, and so that's how I

0:49:33.120 --> 0:49:37.719
<v Speaker 2>came to Bob Dylan's notice, and so that album became

0:49:37.719 --> 0:49:40.160
<v Speaker 2>a classic, and then I did an album of my

0:49:40.160 --> 0:49:43.680
<v Speaker 2>own in the late seventies, which sort of became a

0:49:43.680 --> 0:49:46.640
<v Speaker 2>classic too, in the sense that it won the Melody

0:49:46.640 --> 0:49:50.480
<v Speaker 2>Maker Folk Album of the Year nineteen seventy eight, and

0:49:50.520 --> 0:49:54.200
<v Speaker 2>the melody Maker was probably with the New Musical Express,

0:49:54.280 --> 0:49:56.960
<v Speaker 2>the two leading British music papers at the time, so

0:49:57.040 --> 0:50:02.640
<v Speaker 2>that was a big coup. And so you know, that

0:50:03.360 --> 0:50:07.160
<v Speaker 2>whole type of music interested me hugely, still does and

0:50:07.280 --> 0:50:10.480
<v Speaker 2>kept being going through the seventies. But by seventy nine,

0:50:10.640 --> 0:50:15.640
<v Speaker 2>as I said earlier, I kind of felt that I

0:50:15.680 --> 0:50:18.960
<v Speaker 2>spent enough time doing that and I wanted to see

0:50:19.040 --> 0:50:21.600
<v Speaker 2>what else I had going on inside me, and I

0:50:21.640 --> 0:50:22.840
<v Speaker 2>wanted to become a songwriter.

0:50:23.719 --> 0:50:27.080
<v Speaker 1>Okay, you meet an agent who's a turning point in

0:50:27.120 --> 0:50:29.560
<v Speaker 1>your career, tell us about that.

0:50:30.760 --> 0:50:35.040
<v Speaker 2>I mean a book an agent. Yeah, yeah, Well I

0:50:35.080 --> 0:50:39.360
<v Speaker 2>met with Paul Charles, who at the time was I

0:50:39.400 --> 0:50:42.440
<v Speaker 2>think he was at a festival. I met him and

0:50:42.480 --> 0:50:45.879
<v Speaker 2>he was the agent for Lloyd and Wainwright at the time,

0:50:47.040 --> 0:50:50.600
<v Speaker 2>and he caught me on stage and I was at

0:50:50.640 --> 0:50:52.399
<v Speaker 2>the height of my fame in Ireland at the time,

0:50:54.200 --> 0:51:01.560
<v Speaker 2>just crossing over from folk into rock, and so he

0:51:01.600 --> 0:51:04.160
<v Speaker 2>made an offer to become my book an agent, and

0:51:06.719 --> 0:51:08.920
<v Speaker 2>he was based in London, and I mean he was

0:51:08.960 --> 0:51:11.600
<v Speaker 2>book an agent for lots of huge acts, you know,

0:51:12.719 --> 0:51:18.319
<v Speaker 2>like Crosby, Stills and Nash, Tom Waits, a lot of

0:51:18.320 --> 0:51:21.640
<v Speaker 2>the acts that came in from America. He was the

0:51:21.680 --> 0:51:23.840
<v Speaker 2>agent for us. So look, it was a very prestigious

0:51:23.840 --> 0:51:27.160
<v Speaker 2>agency to be with. And he started to book me

0:51:27.480 --> 0:51:37.240
<v Speaker 2>in the UK and through Europe and I it lasted

0:51:37.320 --> 0:51:40.480
<v Speaker 2>for I don't know, fifteen years, a very good relationship

0:51:40.600 --> 0:51:46.520
<v Speaker 2>and I'm very grateful for him. He largely contributed to

0:51:47.040 --> 0:51:50.160
<v Speaker 2>a lot of whatever success I garnered and still have

0:51:50.360 --> 0:51:51.759
<v Speaker 2>it this day now.

0:51:51.800 --> 0:51:53.480
<v Speaker 1>He wanted to be the manager too.

0:51:57.080 --> 0:51:59.560
<v Speaker 2>Yeah, well, I mean that didn't feel right to me

0:51:59.680 --> 0:52:04.120
<v Speaker 2>because you know, as I say, it's the manager's job

0:52:04.160 --> 0:52:07.759
<v Speaker 2>to beat up the agent, you know, and so there

0:52:07.800 --> 0:52:12.480
<v Speaker 2>was a clear cut conflict of interests there. But you know,

0:52:12.840 --> 0:52:17.920
<v Speaker 2>I mean he he stepped aside when when when another

0:52:18.000 --> 0:52:22.200
<v Speaker 2>management option came to the fore, which was dire strates

0:52:22.280 --> 0:52:29.919
<v Speaker 2>management company called Damage Management, and they they they took

0:52:29.960 --> 0:52:34.400
<v Speaker 2>over the management and you know that worked fine, and

0:52:34.960 --> 0:52:38.440
<v Speaker 2>I was with them for another five years.

0:52:39.560 --> 0:52:43.680
<v Speaker 1>Okay, but Ed mcnell ran the agency. But you were

0:52:43.760 --> 0:52:46.960
<v Speaker 1>with Paul Cummins, who was more of a tour manager

0:52:47.120 --> 0:52:49.040
<v Speaker 1>for Dire Straits. Do I have it right?

0:52:49.800 --> 0:52:53.279
<v Speaker 2>Yeah, Well, at the time he became my manager, he

0:52:53.360 --> 0:52:58.440
<v Speaker 2>was tour manager for Dire Straits. But he wanted he

0:52:58.520 --> 0:53:02.000
<v Speaker 2>wanted something for He wanted an act for himself, you know,

0:53:02.040 --> 0:53:06.399
<v Speaker 2>as well as Dire Straits. He wanted his own little thing,

0:53:06.480 --> 0:53:09.840
<v Speaker 2>you know, so he he offered to manage me. And

0:53:10.040 --> 0:53:14.239
<v Speaker 2>like he mean, obviously he liked my first album and

0:53:15.280 --> 0:53:21.200
<v Speaker 2>he fell in love with a lot of the songs,

0:53:21.239 --> 0:53:24.160
<v Speaker 2>and you know, we got on very well. And and

0:53:24.200 --> 0:53:26.920
<v Speaker 2>so we we sat out on a road of artists

0:53:26.920 --> 0:53:28.000
<v Speaker 2>and manager. Yeah.

0:53:28.600 --> 0:53:30.920
<v Speaker 1>And what was the goal then, because at the time

0:53:31.719 --> 0:53:34.359
<v Speaker 1>his biggest Dire Straits was in the US. People don't

0:53:34.400 --> 0:53:36.400
<v Speaker 1>realize they were the biggest band in the world at

0:53:36.440 --> 0:53:39.160
<v Speaker 1>that time. They were playing stadiums in the rest of

0:53:39.200 --> 0:53:41.560
<v Speaker 1>the world when they were not that big yet in

0:53:41.600 --> 0:53:44.959
<v Speaker 1>the US. But what was the play you know, would

0:53:44.960 --> 0:53:46.640
<v Speaker 1>they say, we're going to turn you into the new

0:53:46.719 --> 0:53:49.400
<v Speaker 1>Jerry Rafferty. What was the goal here?

0:53:51.360 --> 0:53:54.120
<v Speaker 2>I mean the goal was vaguely get as successful as

0:53:54.120 --> 0:53:56.960
<v Speaker 2>you can have hit records. You know, the record company

0:53:56.960 --> 0:54:00.520
<v Speaker 2>wanted me to have hits. I was you know, I toured,

0:54:00.680 --> 0:54:02.800
<v Speaker 2>I opened for Dire Straits and one of their biggest

0:54:02.800 --> 0:54:07.360
<v Speaker 2>ever European tours. As a solo act acoustic guitar, I

0:54:07.400 --> 0:54:09.439
<v Speaker 2>walked out on stage in front the twenty thousand people

0:54:09.480 --> 0:54:16.000
<v Speaker 2>every night in nineteen eighty three, and so that kind

0:54:16.000 --> 0:54:21.440
<v Speaker 2>of blooded me, so to speak. Nothing nothing phased me

0:54:21.480 --> 0:54:24.000
<v Speaker 2>after that. Once you stood on the stage in Italy

0:54:24.520 --> 0:54:26.880
<v Speaker 2>with an audience of twenty thousand people who, let's face it,

0:54:26.960 --> 0:54:29.680
<v Speaker 2>are only there to look at themselves, you know, and

0:54:30.160 --> 0:54:31.560
<v Speaker 2>you get away with it, and you get a few

0:54:31.560 --> 0:54:35.200
<v Speaker 2>people going, hey, hey, hey, you know you're not afraid

0:54:35.200 --> 0:54:35.680
<v Speaker 2>of anything.

0:54:36.880 --> 0:54:40.440
<v Speaker 1>Opening you open for Dire Strait, You opened for Eric Clapton.

0:54:41.239 --> 0:54:44.000
<v Speaker 1>Are you making fans or are you just getting paid?

0:54:45.760 --> 0:54:50.640
<v Speaker 2>Well, I'm making fans, yes, I mean people came to

0:54:50.680 --> 0:54:55.359
<v Speaker 2>my gigs, my own gigs ten years later who said

0:54:55.360 --> 0:54:56.600
<v Speaker 2>to me, like, you know, the first time I ever

0:54:56.640 --> 0:54:59.520
<v Speaker 2>saw you was when you open for Eric Clapton, you know,

0:55:00.320 --> 0:55:08.520
<v Speaker 2>and so you're always reaching people, you know, And but

0:55:08.640 --> 0:55:13.840
<v Speaker 2>you know, at the time, I never expected anything, you know.

0:55:13.920 --> 0:55:16.120
<v Speaker 2>I mean, I just wanted to write music and make

0:55:16.200 --> 0:55:19.319
<v Speaker 2>records and sing and have fun with the band and

0:55:20.239 --> 0:55:26.200
<v Speaker 2>make some money. Yeah, but I never really thought long

0:55:26.239 --> 0:55:33.200
<v Speaker 2>and hard about global fame or success. Didn't really didn't

0:55:33.200 --> 0:55:34.280
<v Speaker 2>really think of it was going to happen.

0:55:35.640 --> 0:55:39.000
<v Speaker 1>Okay, going back a little bit in Ireland there are

0:55:39.040 --> 0:55:44.080
<v Speaker 1>some successful acts. Van Morrison has them and then goes solo.

0:55:44.800 --> 0:55:47.719
<v Speaker 1>There's Thin Lizzy. To what degree are you aware of

0:55:47.760 --> 0:55:51.120
<v Speaker 1>that is a fraternity or is everybody separate? And you

0:55:51.239 --> 0:55:53.719
<v Speaker 1>just have a worldview that's just another hit actor. He said, Oh,

0:55:53.760 --> 0:55:55.480
<v Speaker 1>that's the Irish. They can do it.

0:55:55.560 --> 0:55:56.279
<v Speaker 2>I can do it.

0:55:58.080 --> 0:55:58.120
<v Speaker 1>That.

0:55:58.120 --> 0:55:59.640
<v Speaker 2>It was a bit of both, you know. I mean

0:56:00.520 --> 0:56:07.400
<v Speaker 2>we weren't you know, we weren't exactly buddies. Although I

0:56:07.400 --> 0:56:09.960
<v Speaker 2>did get a nice postcard from Switzerland from Rory Gallaher

0:56:10.480 --> 0:56:12.919
<v Speaker 2>saying how much he loved my first album, which was nice.

0:56:12.960 --> 0:56:19.520
<v Speaker 2>Came out of the blue. You know. Yeah, I loved

0:56:19.600 --> 0:56:27.480
<v Speaker 2>Van Morrison, I loved Rory Gallaher, loved Finn Lizzie, Phil Lennett,

0:56:28.120 --> 0:56:35.319
<v Speaker 2>all those man's great players. And you know I was

0:56:35.360 --> 0:56:36.920
<v Speaker 2>just doing my thing. They were doing theirs.

0:56:38.360 --> 0:56:43.160
<v Speaker 1>Okay, now there's a breakthrough for you. When Ed from

0:56:43.280 --> 0:56:50.200
<v Speaker 1>Damage Management meets with Tina Turner's new manager and suggests

0:56:50.600 --> 0:56:55.280
<v Speaker 1>steel Claw, tell us that story.

0:56:56.400 --> 0:56:58.279
<v Speaker 2>Well, I had to recall I had written a song

0:56:58.320 --> 0:57:03.520
<v Speaker 2>called steel Claw about the underbelly of of of early

0:57:03.560 --> 0:57:08.560
<v Speaker 2>eighties Dublin. Uh and uh it was on my album,

0:57:08.840 --> 0:57:16.200
<v Speaker 2>my second album, and uh, I had well Ed McNall was,

0:57:16.360 --> 0:57:22.160
<v Speaker 2>who was the supremo in in damage management my managed company,

0:57:22.480 --> 0:57:24.919
<v Speaker 2>went to dinner one night with Roger Davies. Roger said,

0:57:25.680 --> 0:57:31.080
<v Speaker 2>you know, he Roger had first got a song from

0:57:31.160 --> 0:57:35.320
<v Speaker 2>Mark Knopfler called Private Dancer, which went on to become

0:57:36.040 --> 0:57:40.960
<v Speaker 2>the title of of I Think our comeback album and

0:57:41.440 --> 0:57:43.000
<v Speaker 2>certainly one of the biggest hits on it.

0:57:43.880 --> 0:57:44.120
<v Speaker 1>Uh.

0:57:44.160 --> 0:57:46.720
<v Speaker 2>And so Roger Davis said that Ed, you know, have

0:57:46.800 --> 0:57:49.320
<v Speaker 2>you got any other acts that have songs? So Ed

0:57:49.400 --> 0:57:52.000
<v Speaker 2>happened to like the song steel Claw on my album.

0:57:52.440 --> 0:57:56.600
<v Speaker 2>He gave he gave a tape of it to Roger,

0:57:56.760 --> 0:57:59.200
<v Speaker 2>and Roger played it for Tina, and Tina loved it.

0:58:00.040 --> 0:58:02.680
<v Speaker 2>And they got back and said, look, yeah, Tina loves

0:58:02.680 --> 0:58:05.040
<v Speaker 2>the song. It's really all right up the street. She'd

0:58:05.080 --> 0:58:06.680
<v Speaker 2>like to change a word or two here, She'd like

0:58:06.720 --> 0:58:09.640
<v Speaker 2>to make it about San Francisco instead of Dublin. Is

0:58:09.640 --> 0:58:14.920
<v Speaker 2>that okay? And I say, you know yeah? And so

0:58:14.960 --> 0:58:19.320
<v Speaker 2>she recorded the song and I got a copy of

0:58:19.320 --> 0:58:23.280
<v Speaker 2>a tape of her recording, and I thought it was great,

0:58:24.120 --> 0:58:26.680
<v Speaker 2>and I was a huge fan obviously, as I told

0:58:26.720 --> 0:58:29.880
<v Speaker 2>you earlier, I'd been singing covers of I Can Tina

0:58:29.920 --> 0:58:34.760
<v Speaker 2>Turner songs, you know, in my early teens in Dublin

0:58:34.840 --> 0:58:36.520
<v Speaker 2>and the first band was and so I was a

0:58:36.640 --> 0:58:39.120
<v Speaker 2>huge fan of Tina Turner's and it was a huge

0:58:39.120 --> 0:58:42.640
<v Speaker 2>honor to get her singing your song. But then two

0:58:42.720 --> 0:58:47.280
<v Speaker 2>weeks later I got a message from management saying, oh,

0:58:47.360 --> 0:58:51.880
<v Speaker 2>Roger has decided to bin the whole album. He feels

0:58:51.920 --> 0:58:56.560
<v Speaker 2>that stylistically the production is too dated, and he's just

0:58:56.560 --> 0:58:59.160
<v Speaker 2>decided that he wants Tina to start again and record

0:58:59.160 --> 0:59:04.920
<v Speaker 2>a whole new album. So that that was very disappointing

0:59:04.920 --> 0:59:09.000
<v Speaker 2>for me, you know, and here was my big chance

0:59:09.040 --> 0:59:11.560
<v Speaker 2>of getting the cut down a Steena Turner album, and

0:59:11.600 --> 0:59:16.919
<v Speaker 2>it's wrestled out of my grasp. But then about six

0:59:17.000 --> 0:59:21.160
<v Speaker 2>months later, to my surprise, I got another phone call saying,

0:59:21.560 --> 0:59:24.200
<v Speaker 2>you know, Paul, Tina's just recorded a whole other album

0:59:24.200 --> 0:59:26.760
<v Speaker 2>and she's been all the songs from the first album

0:59:27.080 --> 0:59:30.520
<v Speaker 2>except one, and guess what that one is? Nice to

0:59:30.840 --> 0:59:35.320
<v Speaker 2>tell me and he said it's steel Claw, your song,

0:59:36.640 --> 0:59:40.680
<v Speaker 2>and I said wow. So that was lucky, very very

0:59:40.760 --> 0:59:47.360
<v Speaker 2>lucky and the song landed up on Tina's Private Dancer album,

0:59:47.640 --> 0:59:53.160
<v Speaker 2>which went on on to sell Squilliams and was my

0:59:53.240 --> 0:59:57.439
<v Speaker 2>first a major hit as a songwriter, and that helps.

0:59:57.480 --> 1:00:00.840
<v Speaker 2>Before that, like with Carlos Santana, had recorded a song

1:00:00.880 --> 1:00:04.880
<v Speaker 2>of mine, you know, but this was like serious, a

1:00:06.080 --> 1:00:09.000
<v Speaker 2>serious hit at a time when there was serious money

1:00:09.080 --> 1:00:12.200
<v Speaker 2>to be made in publishing in the record business. So

1:00:12.760 --> 1:00:14.880
<v Speaker 2>you know, somebody was looking after me at the time.

1:00:15.480 --> 1:00:17.440
<v Speaker 1>Did you own the publishing.

1:00:19.120 --> 1:00:23.120
<v Speaker 2>No, I know, I had a publishing deal where you know,

1:00:23.560 --> 1:00:25.320
<v Speaker 2>the publisher had to split and I had a split,

1:00:25.960 --> 1:00:28.600
<v Speaker 2>you know, But but I mean I the song was mine,

1:00:29.920 --> 1:00:33.560
<v Speaker 2>and you know when the publishing deal was so the

1:00:33.600 --> 1:00:37.680
<v Speaker 2>song was mine again, you know. So yeah, very fortunate.

1:00:38.120 --> 1:00:40.640
<v Speaker 1>You mean, I remember Carter blowing smoke up my ass.

1:00:40.640 --> 1:00:43.200
<v Speaker 1>So I got a new Tina Turner album. No one

1:00:43.320 --> 1:00:47.680
<v Speaker 1>expected that album to be successful other than him. All

1:00:47.720 --> 1:00:51.360
<v Speaker 1>of a sudden, what's it like when it becomes mega successful?

1:00:51.760 --> 1:00:54.640
<v Speaker 1>It's your song. You can see the money waiting down.

1:00:54.840 --> 1:00:57.120
<v Speaker 1>That must have been an amazing experience. It's not like

1:00:57.280 --> 1:01:01.600
<v Speaker 1>you know, having you know, someone color record who's white hot.

1:01:01.600 --> 1:01:05.560
<v Speaker 2>At that time, Yeah, it was like the biggest thing

1:01:05.560 --> 1:01:08.400
<v Speaker 2>that ever happened to me career wise at the time,

1:01:09.280 --> 1:01:14.120
<v Speaker 2>and it was only the beginning, because she recorded another

1:01:14.200 --> 1:01:17.320
<v Speaker 2>song of my on her follow up album, Break Every Rule,

1:01:17.680 --> 1:01:20.000
<v Speaker 2>this time produced by Mark Knopfler, who was very good

1:01:20.040 --> 1:01:26.040
<v Speaker 2>to me. And so it went on from there, and

1:01:26.520 --> 1:01:31.680
<v Speaker 2>suddenly I started to become known as a songwriter who

1:01:31.760 --> 1:01:37.120
<v Speaker 2>wrote songs that you know, had a depth to them

1:01:37.160 --> 1:01:42.480
<v Speaker 2>and had a chance also of commercial success. So a

1:01:42.480 --> 1:01:47.360
<v Speaker 2>lot of people started the cover songs, and I suppose

1:01:48.040 --> 1:01:49.880
<v Speaker 2>the last time I counted, I suppose I've had about

1:01:49.880 --> 1:01:53.840
<v Speaker 2>one hundred and ten covers since I started writing songs,

1:01:54.960 --> 1:01:58.640
<v Speaker 2>So that helped a lot.

1:01:59.720 --> 1:02:02.240
<v Speaker 1>Before we move on the second song, Tina cuts his

1:02:02.320 --> 1:02:06.000
<v Speaker 1>Paradise is Here. I love that song. How did you

1:02:06.120 --> 1:02:07.200
<v Speaker 1>come up with that song?

1:02:11.280 --> 1:02:16.120
<v Speaker 2>Well, I was written a mystic called Christiana Murdy at

1:02:16.160 --> 1:02:23.600
<v Speaker 2>the time and a book called as far as I remember,

1:02:23.640 --> 1:02:32.480
<v Speaker 2>Beyond Violence, and yeah, there was a there was a

1:02:32.520 --> 1:02:38.560
<v Speaker 2>concept in it which appealed to me where he just

1:02:38.680 --> 1:02:41.840
<v Speaker 2>he was discussing, you know, how people live in the

1:02:41.840 --> 1:02:44.960
<v Speaker 2>future and then the present, and the idea was there's

1:02:44.960 --> 1:02:48.600
<v Speaker 2>no such thing as the future. This moment right now

1:02:48.880 --> 1:02:51.200
<v Speaker 2>is actually the first moment of the future, so therefore

1:02:51.320 --> 1:02:54.680
<v Speaker 2>the present it's the only thing that matters, and if

1:02:54.720 --> 1:02:56.160
<v Speaker 2>you have to live, you have to live right in

1:02:56.200 --> 1:03:02.400
<v Speaker 2>the present. And that had a big impact on me,

1:03:02.960 --> 1:03:07.760
<v Speaker 2>you know, psychically and spiritually at the time. And I

1:03:07.800 --> 1:03:10.880
<v Speaker 2>was going through a lot of an age where I was,

1:03:11.000 --> 1:03:13.160
<v Speaker 2>you know, trying to figure out a lot of stuff

1:03:13.160 --> 1:03:16.320
<v Speaker 2>for myself about you know, what I was, what I felt,

1:03:16.720 --> 1:03:20.400
<v Speaker 2>you know, and this made a lot of sense to me,

1:03:21.720 --> 1:03:24.480
<v Speaker 2>you know, to not be living in the future all

1:03:24.520 --> 1:03:28.360
<v Speaker 2>the time, and it just it made sense to try

1:03:28.360 --> 1:03:33.120
<v Speaker 2>and dream up a situation or a relationship situation where

1:03:33.240 --> 1:03:35.080
<v Speaker 2>one of the partners was living in the future all

1:03:35.120 --> 1:03:40.040
<v Speaker 2>the time and the other wanted to, you know, get

1:03:40.080 --> 1:03:43.960
<v Speaker 2>it together right now. And that's was the initial inspiration

1:03:44.000 --> 1:03:46.680
<v Speaker 2>for the song, I suppose, I mean, I was expressing

1:03:47.120 --> 1:03:49.640
<v Speaker 2>my feminine side at the time, because the song, really

1:03:51.080 --> 1:03:56.600
<v Speaker 2>it's probably best as a woman's song, and Tina, you know,

1:03:57.520 --> 1:04:02.200
<v Speaker 2>made that obvious when she sang it. I mean, because

1:04:02.720 --> 1:04:04.880
<v Speaker 2>more often than not, it's the man who's living in

1:04:04.880 --> 1:04:09.120
<v Speaker 2>the future and the woman who wants him to live

1:04:09.120 --> 1:04:12.920
<v Speaker 2>in the present. So I must have been expressing my

1:04:13.160 --> 1:04:14.800
<v Speaker 2>female side when I wrote that song.

1:04:22.800 --> 1:04:27.080
<v Speaker 1>Okay, then you make a record with Gary Katz, who

1:04:27.200 --> 1:04:30.760
<v Speaker 1>was famous, started with Jay and the Americans, was friends

1:04:30.760 --> 1:04:33.360
<v Speaker 1>with them, The Maids, all these records with Steely Dan.

1:04:33.720 --> 1:04:35.680
<v Speaker 1>How do you get hooked up with Gary Katz?

1:04:38.080 --> 1:04:41.120
<v Speaker 2>One of my colleagues in the record company I was

1:04:41.160 --> 1:04:44.120
<v Speaker 2>with at the time in the UK was very friendly

1:04:44.160 --> 1:04:47.920
<v Speaker 2>with Gary Katz, and you know, they were buddies. And

1:04:52.640 --> 1:04:56.280
<v Speaker 2>this guy from the company liked my album, the previous album,

1:04:56.720 --> 1:04:59.640
<v Speaker 2>and he said, why don't you send some of your

1:04:59.640 --> 1:05:02.440
<v Speaker 2>demos to Gary. So I had a whole bunch of

1:05:02.480 --> 1:05:05.800
<v Speaker 2>songs written, which eventually became the album Trick or Treat,

1:05:06.080 --> 1:05:07.880
<v Speaker 2>and I sent them off to Gary Katz and he

1:05:07.920 --> 1:05:11.640
<v Speaker 2>loved them and he said, let's do a record. I'll

1:05:11.640 --> 1:05:13.160
<v Speaker 2>come out here and do it, and let's do it

1:05:13.160 --> 1:05:17.840
<v Speaker 2>in the LA. And so I suddenly found myself in

1:05:18.080 --> 1:05:22.520
<v Speaker 2>LA making a record with Gary Katz's producer, and with

1:05:22.600 --> 1:05:25.840
<v Speaker 2>Jeff Porcaro and drums, and David Pitch on keyboards, and

1:05:25.960 --> 1:05:30.200
<v Speaker 2>Jimmy Johnson and Freddie Washington playing bass on different tracks,

1:05:30.240 --> 1:05:35.800
<v Speaker 2>and Mike Landau playing guitar. You know, I'm going ahead,

1:05:35.800 --> 1:05:39.720
<v Speaker 2>this happen, you know, And but they all love the songs,

1:05:39.760 --> 1:05:42.640
<v Speaker 2>and you know me because I mean, at the time,

1:05:42.680 --> 1:05:45.480
<v Speaker 2>I was writing in a whole variety of styles of songs.

1:05:45.480 --> 1:05:49.040
<v Speaker 2>I was writing in pop style and blues style, and

1:05:49.160 --> 1:05:52.520
<v Speaker 2>rock style and country style and funk style. I mean,

1:05:53.160 --> 1:05:57.680
<v Speaker 2>I was I was sort of thrown everything at the wall,

1:05:57.840 --> 1:06:00.480
<v Speaker 2>just just for the for fun to see, to see

1:06:00.480 --> 1:06:03.560
<v Speaker 2>if it would stick. And all the guys in the

1:06:03.600 --> 1:06:06.720
<v Speaker 2>band love loved the songs, and we had a great

1:06:06.760 --> 1:06:09.880
<v Speaker 2>time making the record, and we eventually ended up in

1:06:09.920 --> 1:06:15.320
<v Speaker 2>Bearsville over in New York, which stock and then finished

1:06:15.320 --> 1:06:20.680
<v Speaker 2>the album in the Hits Factory in New York. This

1:06:20.680 --> 1:06:27.360
<v Speaker 2>would have been nineteen nineteen eighty nine to ninety. Yeah,

1:06:27.680 --> 1:06:33.520
<v Speaker 2>And so the album came out and it got a

1:06:33.520 --> 1:06:37.040
<v Speaker 2>lot of notice, but you know, it didn't set the

1:06:37.040 --> 1:06:39.240
<v Speaker 2>world alight, but got a lot of nice attention.

1:06:39.640 --> 1:06:42.040
<v Speaker 1>So what was your experience, because there was a lot

1:06:42.080 --> 1:06:46.600
<v Speaker 1>of money involved and it sounded very contemporary as opposed

1:06:46.640 --> 1:06:49.280
<v Speaker 1>to some of your other projects, which were made with

1:06:49.440 --> 1:06:52.840
<v Speaker 1>lower budgets and were more singular in terms of style.

1:06:53.320 --> 1:06:56.040
<v Speaker 1>Did you feel like you'd lost control or you said, no,

1:06:56.120 --> 1:06:57.760
<v Speaker 1>I'm riding this train, this is good.

1:06:58.960 --> 1:07:02.720
<v Speaker 2>No, I love I loved, I mean, I mean, I

1:07:03.200 --> 1:07:07.360
<v Speaker 2>thought stylistically very much at home in Trick or Treet.

1:07:07.720 --> 1:07:09.800
<v Speaker 2>You know, there was nothing that was being voisted on

1:07:09.880 --> 1:07:14.080
<v Speaker 2>me that I didn't love, you know, And in fact,

1:07:14.120 --> 1:07:19.280
<v Speaker 2>I was probably golding them on, you know, and I

1:07:19.320 --> 1:07:23.040
<v Speaker 2>loved it, you know, because I'm a huge tally Dan fan.

1:07:23.120 --> 1:07:28.480
<v Speaker 2>I always was, and I loved that kind of music.

1:07:28.600 --> 1:07:33.520
<v Speaker 2>And I was just felt so excited that that the songs,

1:07:33.000 --> 1:07:38.400
<v Speaker 2>the vehicles that I gave them were inspiring enough to

1:07:38.440 --> 1:07:40.320
<v Speaker 2>them to play the beautiful music they did, you know.

1:07:40.400 --> 1:07:42.720
<v Speaker 2>I mean they played some beautiful music on that album,

1:07:43.320 --> 1:07:44.680
<v Speaker 2>absolutely gorgeous music.

1:07:45.680 --> 1:07:49.200
<v Speaker 1>There's a song on there called Can't Stop Wanting You?

1:07:50.280 --> 1:07:53.000
<v Speaker 1>How words on a summer night, you and me having

1:07:53.040 --> 1:07:56.120
<v Speaker 1>a fight one drink at all can't come out before

1:07:56.120 --> 1:07:59.120
<v Speaker 1>I knew what we were fighting about. And then you

1:07:59.200 --> 1:08:01.560
<v Speaker 1>talk about the guy. Tell me about the backstory of

1:08:01.560 --> 1:08:02.040
<v Speaker 1>this song.

1:08:03.840 --> 1:08:07.920
<v Speaker 2>I guess, just a row, you know, I mean you

1:08:08.000 --> 1:08:16.200
<v Speaker 2>watch people, you know, it's a row you had with

1:08:16.360 --> 1:08:20.920
<v Speaker 2>your missus, you know, at the time, and because you had,

1:08:22.080 --> 1:08:33.720
<v Speaker 2>I suppose different points a view on certain subjects. Oh,

1:08:33.760 --> 1:08:36.280
<v Speaker 2>I don't know. I don't like to paraphrase songs on mine,

1:08:36.280 --> 1:08:37.720
<v Speaker 2>you know what I mean? A song is a very

1:08:37.720 --> 1:08:42.360
<v Speaker 2>subtle thing, and I think to explain it is kind

1:08:42.360 --> 1:08:46.040
<v Speaker 2>of neutralizes it and takes the mystery out of it.

1:08:46.120 --> 1:08:48.559
<v Speaker 2>So I'll let you guess what it's about.

1:08:49.120 --> 1:08:52.880
<v Speaker 1>Okay, So you make this album, it's called Trick or Treat,

1:08:53.479 --> 1:08:56.439
<v Speaker 1>you do a duet with Bonnie Ate, which it becomes

1:08:56.439 --> 1:09:00.240
<v Speaker 1>the title song. Was that song already written and were

1:09:00.240 --> 1:09:03.200
<v Speaker 1>you planning not to do it as a duet just yourself?

1:09:04.439 --> 1:09:06.519
<v Speaker 2>Ah? Yeah, I had. I had that song written probably

1:09:06.520 --> 1:09:10.800
<v Speaker 2>two years before, and and in fact, i'd sent it

1:09:10.840 --> 1:09:14.320
<v Speaker 2>to Bunny because she's asked me how to any songs,

1:09:15.200 --> 1:09:17.600
<v Speaker 2>and I sent it to her with a few to

1:09:17.720 --> 1:09:26.000
<v Speaker 2>perhaps her cotting it, you know, But she came down

1:09:26.040 --> 1:09:33.400
<v Speaker 2>to studio and it, you know, it just seemed natural.

1:09:34.680 --> 1:09:39.000
<v Speaker 2>She just suggested singing ana verse and it worked out perfect.

1:09:39.160 --> 1:09:44.960
<v Speaker 2>And I just love that Jewett. I just I think

1:09:45.000 --> 1:09:48.200
<v Speaker 2>the song is perfect for the duet, and I just

1:09:48.280 --> 1:09:50.559
<v Speaker 2>love the way she takes off and makes it her

1:09:50.600 --> 1:09:53.760
<v Speaker 2>own in a song that I felt I pretty much

1:09:53.800 --> 1:09:57.240
<v Speaker 2>made my own, you know too. So there were two

1:09:57.360 --> 1:10:01.600
<v Speaker 2>very strong colors in that and that recording, and I

1:10:01.640 --> 1:10:02.280
<v Speaker 2>always liked that.

1:10:03.240 --> 1:10:07.240
<v Speaker 1>Okay, But how do you meet Balie reid.

1:10:09.920 --> 1:10:13.639
<v Speaker 2>Well it was through her best player, hug Hutchinson, who

1:10:13.840 --> 1:10:18.040
<v Speaker 2>was he liked to call himself hibern new Field, which

1:10:18.080 --> 1:10:23.680
<v Speaker 2>is someone who likes things Irish from the Latin for Ireland, Hibernia.

1:10:24.640 --> 1:10:29.120
<v Speaker 2>And he was always interested in Irish trad music. He

1:10:29.200 --> 1:10:30.920
<v Speaker 2>was very much aware of what I was doing in

1:10:30.960 --> 1:10:34.640
<v Speaker 2>the seventies as a trad act, and he loved he

1:10:34.720 --> 1:10:41.040
<v Speaker 2>always loved Irish music. And a mutual friend of ours,

1:10:41.080 --> 1:10:47.560
<v Speaker 2>Tomorrow O'Connell, an Irish singer who now lives in Nashville,

1:10:48.840 --> 1:10:55.360
<v Speaker 2>told hutch that I was coming to la and hutch said,

1:10:55.360 --> 1:10:59.519
<v Speaker 2>I'd love to meet him, So so I called him

1:10:59.600 --> 1:11:03.960
<v Speaker 2>up and we met, and he invited me down to

1:11:04.320 --> 1:11:07.080
<v Speaker 2>a concert that Bunnie was doing with Jackson Brown and

1:11:07.120 --> 1:11:10.640
<v Speaker 2>the Santa Monic Pacific Auditorium. It was a benefit for

1:11:10.680 --> 1:11:13.760
<v Speaker 2>something or Older, which a lot of Bonnie's concerts are,

1:11:14.600 --> 1:11:18.639
<v Speaker 2>and he took me back stays afterwards, and that's where

1:11:18.640 --> 1:11:23.120
<v Speaker 2>I met Bunnie. And at the same time, she was

1:11:23.160 --> 1:11:25.639
<v Speaker 2>standing with Meryl streep So, I'm going here is Bunny

1:11:25.680 --> 1:11:29.320
<v Speaker 2>rid him marriage streep Hey.

1:11:30.000 --> 1:11:32.000
<v Speaker 1>So when you met her at the Santa Monica Civic,

1:11:32.320 --> 1:11:35.240
<v Speaker 1>did she already know who you were, had you already

1:11:35.280 --> 1:11:35.960
<v Speaker 1>sent the song?

1:11:37.920 --> 1:11:46.160
<v Speaker 2>Well, she My memory is playing tricks on me here now. Ah.

1:11:46.320 --> 1:11:49.240
<v Speaker 2>I can't quite recall whether she had heard not the

1:11:49.280 --> 1:11:53.479
<v Speaker 2>only one before that or not, and whether this was

1:11:53.520 --> 1:11:58.599
<v Speaker 2>just the first time we'd met. If I'd known you're

1:11:58.600 --> 1:12:00.800
<v Speaker 2>going to ask me this question, I would probably thought

1:12:00.800 --> 1:12:03.960
<v Speaker 2>harder about it. But I can't quite remember the sequence

1:12:03.960 --> 1:12:07.160
<v Speaker 2>of events. Okay, as I say, said, you can't walk

1:12:07.240 --> 1:12:07.720
<v Speaker 2>on to it.

1:12:07.840 --> 1:12:10.400
<v Speaker 1>How did she end up coming to the studio.

1:12:11.439 --> 1:12:15.240
<v Speaker 2>Well, you know that happened after the meeting at the

1:12:15.479 --> 1:12:19.640
<v Speaker 2>backstage in the Civic auditorium. I asked her, when you

1:12:19.680 --> 1:12:23.680
<v Speaker 2>come down and listen to stuff, you know? And she

1:12:23.800 --> 1:12:28.040
<v Speaker 2>was very happy to come down and did it. And

1:12:28.080 --> 1:12:32.160
<v Speaker 2>then she said, have you any songs yourself for me?

1:12:33.080 --> 1:12:36.120
<v Speaker 2>And I had just written the night before a song

1:12:36.200 --> 1:12:41.719
<v Speaker 2>called the Look of the Draw, and I still hadn't

1:12:41.760 --> 1:12:44.000
<v Speaker 2>even done a tape of it myself. I just had

1:12:44.040 --> 1:12:47.200
<v Speaker 2>it in my head. So I sang it for her

1:12:47.920 --> 1:12:52.400
<v Speaker 2>on acoustic guitar in the studio and she just said, wow,

1:12:52.880 --> 1:12:56.000
<v Speaker 2>that song that sounds like an album title. She said,

1:12:56.080 --> 1:12:59.559
<v Speaker 2>Love of the Draw, And she took the song and

1:12:59.640 --> 1:13:04.840
<v Speaker 2>record and call the album afterwards, and there you go

1:13:04.920 --> 1:13:06.960
<v Speaker 2>another but a magic that happened to me.

1:13:07.560 --> 1:13:09.960
<v Speaker 1>Okay, just to be clear, she was the one who

1:13:10.040 --> 1:13:12.080
<v Speaker 1>suggested she sing on Trick or Treat.

1:13:12.439 --> 1:13:16.520
<v Speaker 2>You didn't ask her, I can't recall, Okay.

1:13:16.960 --> 1:13:20.160
<v Speaker 1>So then she puts out Look of the Draw which

1:13:20.240 --> 1:13:23.439
<v Speaker 1>is even better than the breakthrough Nick of Time. You

1:13:23.560 --> 1:13:26.000
<v Speaker 1>have those two songs on it not the only one

1:13:26.000 --> 1:13:27.960
<v Speaker 1>in Luck of the Draw on it's the title song.

1:13:28.560 --> 1:13:31.479
<v Speaker 1>How does that feel? And how do you feel any

1:13:31.600 --> 1:13:34.360
<v Speaker 1>changes now that you have all this success as a songwriter.

1:13:36.479 --> 1:13:39.120
<v Speaker 2>Well, I'm you know, I mean, obviously you know. I'm

1:13:40.040 --> 1:13:42.240
<v Speaker 2>I'm a married man of two young children. I have

1:13:42.280 --> 1:13:46.559
<v Speaker 2>a mortgage, and it's great to be making a living frankly,

1:13:47.000 --> 1:13:56.720
<v Speaker 2>and I'm I'm enjoying playing live a lot. I'm not

1:13:56.840 --> 1:14:00.760
<v Speaker 2>enjoying the record business, to have to say, I'm not

1:14:00.960 --> 1:14:05.240
<v Speaker 2>enjoying the music business in terms of the records and

1:14:05.520 --> 1:14:08.960
<v Speaker 2>radio and stuff like that. I'm finding a lot of

1:14:08.960 --> 1:14:14.800
<v Speaker 2>pressure on me to change the kind of music and Megan,

1:14:15.479 --> 1:14:20.120
<v Speaker 2>and I'm finding a lot of pressure on me to

1:14:20.200 --> 1:14:26.200
<v Speaker 2>reach the status that I don't feel as me and

1:14:26.240 --> 1:14:30.560
<v Speaker 2>I don't feel comfortable with. So I started to experience

1:14:30.640 --> 1:14:35.640
<v Speaker 2>a lot of stress within the record business. But but

1:14:35.800 --> 1:14:41.400
<v Speaker 2>I still was writing songs all the time and enjoying

1:14:41.760 --> 1:14:49.559
<v Speaker 2>recording them and enjoying covers very much so, but I

1:14:49.680 --> 1:14:51.920
<v Speaker 2>was definitely going off the record business.

1:14:52.520 --> 1:14:55.920
<v Speaker 1>So were you pitching your songs or were people finding you?

1:14:56.800 --> 1:15:00.240
<v Speaker 1>Or was your manager publisher pitching your song?

1:15:02.560 --> 1:15:10.200
<v Speaker 2>Finally enough, most of the vast majority of my covers

1:15:10.680 --> 1:15:13.639
<v Speaker 2>of the songs that I already recorded, came from people

1:15:13.680 --> 1:15:18.559
<v Speaker 2>hearing my records. My my reputation as a songwriter spread

1:15:18.600 --> 1:15:23.720
<v Speaker 2>among the musical fraternity in a way you know that

1:15:24.080 --> 1:15:28.680
<v Speaker 2>was really organic and got me on a lot of

1:15:28.720 --> 1:15:33.080
<v Speaker 2>interest and got a lot of covers for me. My

1:15:33.680 --> 1:15:37.000
<v Speaker 2>publisher got a few covers, but frankly, not all that many,

1:15:37.840 --> 1:15:43.200
<v Speaker 2>and most of it came from my own recordings.

1:15:43.720 --> 1:15:45.559
<v Speaker 1>But you weren't the type who was sitting at home

1:15:45.600 --> 1:15:48.120
<v Speaker 1>and saying, I have this song, this would be good

1:15:48.120 --> 1:15:50.840
<v Speaker 1>for somebody. Let me feel how to connect to that guy.

1:15:50.920 --> 1:15:53.000
<v Speaker 1>Let me send the song just hit to that person.

1:15:54.040 --> 1:15:59.759
<v Speaker 2>No, I mean I I you know, I never promoted myself.

1:16:00.280 --> 1:16:02.839
<v Speaker 2>I never pushed myself. I never.

1:16:06.280 --> 1:16:06.479
<v Speaker 1>You know.

1:16:07.080 --> 1:16:09.360
<v Speaker 2>I went to Nashville for a while in the early nineties,

1:16:09.680 --> 1:16:12.720
<v Speaker 2>wrote about fifty songs there, and most of them are

1:16:12.720 --> 1:16:16.439
<v Speaker 2>probably sitting in drawers ever since. You know, I just

1:16:16.960 --> 1:16:21.519
<v Speaker 2>the whole songwriting factory thing just left, you know, it

1:16:21.640 --> 1:16:24.519
<v Speaker 2>left me cold. I felt that I didn't want to

1:16:24.520 --> 1:16:28.960
<v Speaker 2>write songs that way, and I just that it wasn't

1:16:28.960 --> 1:16:33.800
<v Speaker 2>my thing. And I was, you know, I was quite comfortable.

1:16:33.840 --> 1:16:38.280
<v Speaker 2>I was making a good living, and my reputation wasn't

1:16:38.280 --> 1:16:43.160
<v Speaker 2>exactly hurting, all right. I wasn't world famous, and you know,

1:16:43.240 --> 1:16:48.080
<v Speaker 2>my record company was thinking maybe they'd signed the wrong act,

1:16:48.160 --> 1:16:55.120
<v Speaker 2>and you know, but I was, you know, I didn't

1:16:55.120 --> 1:16:59.160
<v Speaker 2>feel natural trying to compete within the world of the

1:17:00.240 --> 1:17:04.040
<v Speaker 2>the top top hundred, you know, and feel comfortable doing that.

1:17:04.240 --> 1:17:06.639
<v Speaker 1>You talk about writing Luck of the draw the night

1:17:06.720 --> 1:17:10.559
<v Speaker 1>before Bonnie hears it. Do you write your songs on

1:17:10.680 --> 1:17:13.840
<v Speaker 1>inspiration or do you cobble them together over time?

1:17:17.479 --> 1:17:22.400
<v Speaker 2>Well, you know, most of my most of my earlier

1:17:22.439 --> 1:17:29.120
<v Speaker 2>songs are total inspiration. And then you go to a

1:17:29.160 --> 1:17:32.320
<v Speaker 2>period where you're fed up going down the mine and

1:17:32.360 --> 1:17:34.040
<v Speaker 2>you start to look around you at other people and

1:17:34.080 --> 1:17:36.200
<v Speaker 2>see what they're doing with their lives, and that inspires

1:17:36.200 --> 1:17:40.120
<v Speaker 2>you then to write about other people, but in a

1:17:40.160 --> 1:17:42.479
<v Speaker 2>way that makes it feel like it's coming from you,

1:17:44.840 --> 1:17:49.840
<v Speaker 2>and then later on I enjoyed the whole business of

1:17:49.880 --> 1:17:54.040
<v Speaker 2>co writing, because you know, you get this stage sometimes

1:17:54.080 --> 1:18:02.920
<v Speaker 2>where you know you're fed up traveling through the depths

1:18:02.960 --> 1:18:04.920
<v Speaker 2>of the earth trying to come up with yet another

1:18:05.000 --> 1:18:07.840
<v Speaker 2>original idea, when you could be having fun writing with

1:18:07.920 --> 1:18:13.560
<v Speaker 2>someone else. Whose who whose ideas you see? I I

1:18:13.880 --> 1:18:16.920
<v Speaker 2>as much fun making music as I do write in lyrics,

1:18:17.720 --> 1:18:20.400
<v Speaker 2>and quite often I love somebody to send me a lyric.

1:18:21.160 --> 1:18:25.960
<v Speaker 2>I mean, my latter records have been made up of

1:18:26.040 --> 1:18:29.960
<v Speaker 2>a lot of co writes, which which I really enjoy.

1:18:30.240 --> 1:18:33.320
<v Speaker 2>It shows a different side of myself musically, because when

1:18:33.360 --> 1:18:36.880
<v Speaker 2>when you're writing all the song yourself, you kind of

1:18:36.920 --> 1:18:44.200
<v Speaker 2>subconsciously limit yourself in some way. I can't explain it exactly,

1:18:44.439 --> 1:18:46.599
<v Speaker 2>but when you're writing with someone else, there's no limits.

1:18:46.600 --> 1:18:49.200
<v Speaker 2>And I wrote in styles with other people that I

1:18:49.200 --> 1:18:51.760
<v Speaker 2>wouldn't let myself write and when I was writing a

1:18:51.760 --> 1:18:55.840
<v Speaker 2>song on my own. I mean a perfect example of

1:18:55.840 --> 1:18:57.920
<v Speaker 2>that will be The Long Goodbye, which I wrote with

1:18:58.040 --> 1:19:01.360
<v Speaker 2>Roland Keating. I mean that as a classic pop song,

1:19:01.640 --> 1:19:03.479
<v Speaker 2>and I wrote most of the music in that song,

1:19:03.960 --> 1:19:06.560
<v Speaker 2>so I could make that kind of music, but I

1:19:06.600 --> 1:19:09.439
<v Speaker 2>wouldn't let myself make that kind of music if I

1:19:09.479 --> 1:19:11.920
<v Speaker 2>was writing a song on my own, because I would

1:19:11.920 --> 1:19:13.719
<v Speaker 2>have felt, oh, that's to poppy, Paul, and they won't

1:19:13.720 --> 1:19:17.920
<v Speaker 2>buy that, you know, from you. And so I always

1:19:17.920 --> 1:19:21.519
<v Speaker 2>had these conflicts about how close I wanted to go

1:19:21.600 --> 1:19:26.400
<v Speaker 2>to pop music, and you know, I ended up going

1:19:26.640 --> 1:19:28.439
<v Speaker 2>I just want to write what I want to write myself.

1:19:28.560 --> 1:19:33.519
<v Speaker 1>You know, Okay. In the book you go on and

1:19:33.600 --> 1:19:35.720
<v Speaker 1>on that when a record comes to the end, to

1:19:35.800 --> 1:19:39.920
<v Speaker 1>the mixing stage, you tend to become very anxious and

1:19:40.000 --> 1:19:43.160
<v Speaker 1>have a hard time letting go. You've made a lot

1:19:43.240 --> 1:19:44.840
<v Speaker 1>of records, tell us about that.

1:19:47.680 --> 1:19:49.640
<v Speaker 2>Well, you know, it's not as bad now as it

1:19:49.760 --> 1:19:51.280
<v Speaker 2>used to be because I have a lot more control.

1:19:51.320 --> 1:19:53.320
<v Speaker 2>And when I make a record now, I make it myself,

1:19:53.640 --> 1:19:58.439
<v Speaker 2>make it my own studio. I put it out when

1:19:58.439 --> 1:20:01.960
<v Speaker 2>I want to put it out, you know, which, more

1:20:02.000 --> 1:20:03.680
<v Speaker 2>often than that is probably the worst time to put

1:20:03.720 --> 1:20:08.040
<v Speaker 2>it out. But I couldn't care anymore. I just want Nowadays,

1:20:08.040 --> 1:20:09.800
<v Speaker 2>it's easier for me to make a record. But in

1:20:09.840 --> 1:20:19.479
<v Speaker 2>the old days, yeah, in the old days, you'd you'd

1:20:19.479 --> 1:20:22.800
<v Speaker 2>be in a studio for a limited amount of time,

1:20:23.439 --> 1:20:26.600
<v Speaker 2>and you'd have these musicians. They are all expensive musicians,

1:20:26.920 --> 1:20:30.479
<v Speaker 2>so you felt you had to, you know, you had

1:20:30.520 --> 1:20:32.280
<v Speaker 2>to come up with something in a very short space

1:20:32.280 --> 1:20:34.720
<v Speaker 2>of time. And quite often I found that very stressful.

1:20:35.600 --> 1:20:43.640
<v Speaker 2>And those little pings kind of have just straight as

1:20:44.360 --> 1:20:48.799
<v Speaker 2>those little pings kind of change my my. I forgot

1:20:48.880 --> 1:20:49.920
<v Speaker 2>what we were talking about that.

1:20:49.920 --> 1:20:51.919
<v Speaker 1>Well, as I say, you were talking about the records

1:20:51.960 --> 1:20:54.800
<v Speaker 1>being mixed. Not happy, You want to react, you want

1:20:54.800 --> 1:20:55.599
<v Speaker 1>to spend more time.

1:20:56.360 --> 1:20:59.360
<v Speaker 2>Yeah, yeah, Well, when you live, when you live with

1:20:59.360 --> 1:21:04.040
<v Speaker 2>a record, you know, for as long as I would

1:21:04.040 --> 1:21:05.880
<v Speaker 2>live with a record, you know, and when you know

1:21:06.040 --> 1:21:08.200
<v Speaker 2>everything that's gone on in it, you know, you can

1:21:08.240 --> 1:21:10.160
<v Speaker 2>hear the squeak on the bas drum pedal, you know,

1:21:10.240 --> 1:21:13.080
<v Speaker 2>for God's sake, you've got all this stuff coming at

1:21:13.120 --> 1:21:16.920
<v Speaker 2>you out of the speakers, and you know, it's very

1:21:16.960 --> 1:21:21.400
<v Speaker 2>hard to finally just say all right, that mixes the one,

1:21:21.479 --> 1:21:26.400
<v Speaker 2>you know. And I would always go definitely temporarily insane

1:21:26.600 --> 1:21:28.920
<v Speaker 2>when I finished an album. And that's why, you know,

1:21:28.960 --> 1:21:33.439
<v Speaker 2>I let other people mix my albums, because you know,

1:21:34.000 --> 1:21:37.880
<v Speaker 2>you're too far inside something you can't really you can't

1:21:37.920 --> 1:21:42.880
<v Speaker 2>really hear it anymore. And so it's a lot easier now,

1:21:42.920 --> 1:21:45.160
<v Speaker 2>But in the old days, it was very hard, I

1:21:45.240 --> 1:21:45.840
<v Speaker 2>have to say.

1:21:46.040 --> 1:21:48.280
<v Speaker 1>So now you have your own studio, you're making the

1:21:48.360 --> 1:21:51.160
<v Speaker 1>records yourself. Aid do you mix them yourself? And how

1:21:51.200 --> 1:21:53.240
<v Speaker 1>do you decide when they're done today? When you have

1:21:53.320 --> 1:21:54.040
<v Speaker 1>all the time.

1:21:56.040 --> 1:21:58.160
<v Speaker 2>Well, I don't, you know, I don't mix them myself. No,

1:22:01.000 --> 1:22:04.360
<v Speaker 2>And I think that's a very good thing. And if

1:22:04.360 --> 1:22:07.960
<v Speaker 2>you you know, I work with the mixing engineer and

1:22:08.000 --> 1:22:12.519
<v Speaker 2>we would mutually agree when it was finished at a

1:22:12.560 --> 1:22:17.360
<v Speaker 2>pace that that is where there's total absence of pressure,

1:22:18.160 --> 1:22:20.840
<v Speaker 2>you know, and you sleep on it, and you know,

1:22:20.880 --> 1:22:22.120
<v Speaker 2>you sleep on the mix for a week and you

1:22:22.160 --> 1:22:24.799
<v Speaker 2>listen to it again and you go, maybe just tweet

1:22:24.800 --> 1:22:27.320
<v Speaker 2>tweak it out of EBITs, But other than that, you

1:22:27.320 --> 1:22:30.320
<v Speaker 2>know you're happy with this? Then yeah, I mean I

1:22:30.400 --> 1:22:31.719
<v Speaker 2>let things go an off a lot quicker.

1:22:31.760 --> 1:22:36.000
<v Speaker 1>And now, okay, we live in the internet era where

1:22:36.040 --> 1:22:38.360
<v Speaker 1>anybody can make a track, put it up on a

1:22:38.439 --> 1:22:42.880
<v Speaker 1>streaming service. The biggest acts in music history, most of

1:22:42.920 --> 1:22:47.280
<v Speaker 1>them don't make new music, and those to be who do,

1:22:47.880 --> 1:22:53.080
<v Speaker 1>the album can disappear in a day. So does this

1:22:53.160 --> 1:23:00.640
<v Speaker 1>affect your mindset? Does this affect your motivation? Not remotely? Absolutely,

1:23:00.680 --> 1:23:06.360
<v Speaker 1>not remotely. The things that that affect me. Are what's

1:23:06.360 --> 1:23:09.800
<v Speaker 1>happening with my family right now, you know? And how

1:23:09.880 --> 1:23:11.800
<v Speaker 1>often am I going to see them? I have a

1:23:11.840 --> 1:23:15.599
<v Speaker 1>son that lives in New Zealand with three children there

1:23:15.640 --> 1:23:18.840
<v Speaker 1>three grandchildren. I have a daughter that lives in the

1:23:18.920 --> 1:23:24.240
<v Speaker 1>UK with two grandchildren. You know, I'm at a stage

1:23:24.280 --> 1:23:25.439
<v Speaker 1>where family for me.

1:23:25.520 --> 1:23:29.600
<v Speaker 2>Is you know, I'm not I'm drawing back to some

1:23:29.760 --> 1:23:39.000
<v Speaker 2>extent from the from making music, and to me, family

1:23:39.160 --> 1:23:42.439
<v Speaker 2>is a very important thing at the moment, and I

1:23:42.479 --> 1:23:45.400
<v Speaker 2>don't manage to see half enough of them. We go

1:23:45.439 --> 1:23:48.760
<v Speaker 2>out to New Zealand once a year to see my

1:23:48.880 --> 1:23:56.160
<v Speaker 2>son and but it's a long way away. And yeah,

1:23:56.160 --> 1:23:58.400
<v Speaker 2>we're going back again in January for three weeks. That'll

1:23:58.439 --> 1:23:59.600
<v Speaker 2>be nice.

1:24:00.240 --> 1:24:02.479
<v Speaker 1>How often do you work live now? And what does

1:24:02.520 --> 1:24:03.839
<v Speaker 1>it take to get you out.

1:24:05.560 --> 1:24:10.280
<v Speaker 2>Well? I mean I the first half of this year

1:24:10.280 --> 1:24:12.000
<v Speaker 2>I worked quite a bit. I actually did three nights

1:24:12.040 --> 1:24:15.320
<v Speaker 2>in New York in a new building called the Irish

1:24:15.400 --> 1:24:21.320
<v Speaker 2>Arts Center, which is a small theater up on the

1:24:21.400 --> 1:24:30.800
<v Speaker 2>upper west side Tenth Avenue up there, and and I

1:24:31.040 --> 1:24:35.320
<v Speaker 2>played a lot in Ireland this year. But then in

1:24:35.400 --> 1:24:39.160
<v Speaker 2>July I had some knee surgery which has in a

1:24:39.200 --> 1:24:43.160
<v Speaker 2>way kept me off the boards for a while, and

1:24:43.520 --> 1:24:48.360
<v Speaker 2>I won't really be going back live until early next year.

1:24:49.240 --> 1:24:54.519
<v Speaker 2>I'm getting together with my band, I'm doing a series

1:24:54.520 --> 1:25:00.800
<v Speaker 2>of dates in Ireland, and you know, I have no

1:25:00.840 --> 1:25:05.160
<v Speaker 2>great desire, Bob, to tour America anymore. It's very difficult

1:25:05.200 --> 1:25:13.080
<v Speaker 2>for an artist at my level. The United States government

1:25:13.080 --> 1:25:15.200
<v Speaker 2>doesn't make it easy for people coming in. They take

1:25:15.200 --> 1:25:18.519
<v Speaker 2>a huge amount of of of your growth and tax

1:25:18.720 --> 1:25:22.839
<v Speaker 2>and it's it's difficult to I mean, I would probably

1:25:22.880 --> 1:25:28.840
<v Speaker 2>make more money in a night in Ireland or the

1:25:28.920 --> 1:25:31.759
<v Speaker 2>UK than I would make touring the stage for two weeks,

1:25:31.800 --> 1:25:37.599
<v Speaker 2>you know what kind of way. And it's uh, I mean,

1:25:37.640 --> 1:25:40.120
<v Speaker 2>I'm I'm getting on. I'm in my seventies, you know.

1:25:40.240 --> 1:25:45.439
<v Speaker 2>I mean, I'm I'm still having great time performing, but

1:25:46.120 --> 1:25:51.360
<v Speaker 2>I've I'm not interested in world tours anymore.

1:25:51.560 --> 1:25:54.360
<v Speaker 1>Not really, Are you going to die on stage or

1:25:54.400 --> 1:25:57.840
<v Speaker 1>at one point you say I'm done.

1:25:59.040 --> 1:26:01.639
<v Speaker 2>Oh, I'll keep going as long as I can keep going,

1:26:01.720 --> 1:26:05.400
<v Speaker 2>you know. I mean, you know, I'm a singer and

1:26:06.160 --> 1:26:10.080
<v Speaker 2>I throw ships. What else can I do? You know?

1:26:10.360 --> 1:26:15.280
<v Speaker 2>I write songs. I keep going as long as my

1:26:15.320 --> 1:26:17.240
<v Speaker 2>body stands up to it, you know. And I mean

1:26:18.320 --> 1:26:20.400
<v Speaker 2>I'm not doing too bad. I'm in the mid seventies

1:26:20.439 --> 1:26:26.920
<v Speaker 2>and I'm still, you know, having fun playing music.

1:26:28.520 --> 1:26:29.559
<v Speaker 1>Are you scuba diving?

1:26:30.320 --> 1:26:35.400
<v Speaker 2>Well, I haven't scuba dived since November of twenty two,

1:26:39.920 --> 1:26:43.160
<v Speaker 2>and a lot that's largely between about COVID and stuff

1:26:43.240 --> 1:26:46.840
<v Speaker 2>like that. But I swim three or four times a week,

1:26:46.880 --> 1:26:50.479
<v Speaker 2>and I snorkel at the weekends, and I mean, and

1:26:50.560 --> 1:26:53.080
<v Speaker 2>I'll be quite happy to go scuba diving again when

1:26:53.120 --> 1:26:56.760
<v Speaker 2>we when when something turns up that seems attractive.

1:26:58.479 --> 1:27:03.720
<v Speaker 1>And you referenced early you're about turning away from being

1:27:03.800 --> 1:27:08.800
<v Speaker 1>an international rock star. And there's also in the book

1:27:08.800 --> 1:27:11.479
<v Speaker 1>where you say you have an agent and the agent

1:27:11.520 --> 1:27:16.040
<v Speaker 1>books you, and the promoter wants a restriction that you

1:27:16.080 --> 1:27:18.880
<v Speaker 1>can't play other gigs in Ireland, and you say, I'm done,

1:27:19.360 --> 1:27:22.040
<v Speaker 1>I'm firing the agent. I'm gonna do it differently now.

1:27:22.080 --> 1:27:22.920
<v Speaker 1>Tell us about that.

1:27:25.800 --> 1:27:30.320
<v Speaker 2>You know, that's just I mean, people have, you know,

1:27:30.439 --> 1:27:34.320
<v Speaker 2>relationships that work for a certain period in your life

1:27:34.320 --> 1:27:37.559
<v Speaker 2>and then they don't work, you know, and that's natural.

1:27:38.080 --> 1:27:43.519
<v Speaker 2>It's just changed as I see it. It's partly that

1:27:43.600 --> 1:27:50.599
<v Speaker 2>I just felt that that I was neglecting my fan

1:27:50.680 --> 1:27:56.320
<v Speaker 2>base in my own country by only playing in it

1:27:56.360 --> 1:28:01.360
<v Speaker 2>once or twice a year, and you know, according to

1:28:01.640 --> 1:28:05.880
<v Speaker 2>a logic that that would make sense if you were

1:28:05.880 --> 1:28:09.000
<v Speaker 2>an international act coming to Ireland, you know, and I

1:28:09.120 --> 1:28:11.080
<v Speaker 2>just that didn't suit me any longer, and I felt

1:28:11.080 --> 1:28:17.640
<v Speaker 2>I was I wanted to play my home country a

1:28:17.680 --> 1:28:22.559
<v Speaker 2>lot more and That's what I'm doing and I'm having

1:28:22.560 --> 1:28:23.160
<v Speaker 2>a lot of fun.

1:28:24.000 --> 1:28:27.040
<v Speaker 1>So you're doing your own thing? Do you have still

1:28:27.080 --> 1:28:30.639
<v Speaker 1>have a hunger? Well, I want to get another song covered.

1:28:30.720 --> 1:28:33.000
<v Speaker 1>I still want to be part of the action. Or

1:28:33.040 --> 1:28:34.840
<v Speaker 1>are you saying I'm just doing my own thing and

1:28:34.840 --> 1:28:36.120
<v Speaker 1>I don't care about the rest?

1:28:37.640 --> 1:28:41.080
<v Speaker 2>Well, the second, the latter. Really, I mean, I'm I'm

1:28:41.120 --> 1:28:44.760
<v Speaker 2>not you know, I I don't want to break into

1:28:44.840 --> 1:28:50.000
<v Speaker 2>new territories. I'm I'm. I'm very happy with the dynamic

1:28:50.160 --> 1:28:56.120
<v Speaker 2>that that exists in my career at the moment. I'm

1:28:56.640 --> 1:28:59.479
<v Speaker 2>happy enough. I'm comfortable enough. I'm I'm. I was very

1:28:59.560 --> 1:29:06.360
<v Speaker 2>lucky in my career. So yeah, I'm I'm happy with

1:29:06.439 --> 1:29:11.080
<v Speaker 2>where I am and you know, I will make another

1:29:11.160 --> 1:29:12.320
<v Speaker 2>record when it seems right.

1:29:13.240 --> 1:29:17.639
<v Speaker 1>Okay. For those people who aren't aware of you, you're

1:29:17.800 --> 1:29:23.920
<v Speaker 1>an icon in Ireland and they've gotten many awards, titles,

1:29:24.560 --> 1:29:28.680
<v Speaker 1>So let's say somebody says I want Paul Brady and

1:29:28.720 --> 1:29:32.240
<v Speaker 1>you're unavailable, then do who do they call?

1:29:36.240 --> 1:29:41.840
<v Speaker 2>Wow? Well, you see, that's a hard one to answer,

1:29:41.920 --> 1:29:44.280
<v Speaker 2>because Paul, there are two or three Paul Brady's as

1:29:44.280 --> 1:29:47.080
<v Speaker 2>far as Irish people are concerned. There's the there's the

1:29:47.120 --> 1:29:50.480
<v Speaker 2>fella that sang Irish folk music throughout the whole seventies.

1:29:51.400 --> 1:29:56.799
<v Speaker 2>There's the there's the fella that wrote the song Crazy

1:29:56.880 --> 1:30:02.519
<v Speaker 2>Dreams and wrote the song Nobody Knows. And there's a

1:30:02.600 --> 1:30:12.200
<v Speaker 2>fella you know that that you know plays live on stage.

1:30:12.640 --> 1:30:17.160
<v Speaker 2>I'm a sort of an unusual article altogether. You know,

1:30:17.240 --> 1:30:20.440
<v Speaker 2>there's that there are few. There aren't too many musicians

1:30:21.360 --> 1:30:24.479
<v Speaker 2>who have covered as many musical basis as me, and

1:30:24.479 --> 1:30:27.799
<v Speaker 2>and you know, made a little bit of an impact

1:30:27.880 --> 1:30:31.880
<v Speaker 2>in each one of them. So if somebody was looking

1:30:32.600 --> 1:30:34.640
<v Speaker 2>for me, it would depend on what to say to

1:30:34.640 --> 1:30:37.800
<v Speaker 2>me they were looking for as to who they'd ask next.

1:30:38.720 --> 1:30:42.040
<v Speaker 1>And in Ireland, if you're walking down the street, if

1:30:42.040 --> 1:30:44.200
<v Speaker 1>you're going to dinner, are you recognized?

1:30:45.560 --> 1:30:49.880
<v Speaker 2>Oh yeah, all the time, but in a nice way.

1:30:49.920 --> 1:30:54.599
<v Speaker 2>I'm never hassled, you know, it's nice. I just want

1:30:54.640 --> 1:30:57.280
<v Speaker 2>to get to get my card tested. Today. You know,

1:30:57.360 --> 1:31:00.639
<v Speaker 2>you know, you have a three year test for your

1:31:00.640 --> 1:31:03.920
<v Speaker 2>car's roadworthiness. You know, right, it's called the National you know.

1:31:05.560 --> 1:31:12.919
<v Speaker 2>And I'm sitting there waiting and it comes this call

1:31:13.400 --> 1:31:17.360
<v Speaker 2>BMW and I look around. I says, yeah, ask me,

1:31:18.360 --> 1:31:21.360
<v Speaker 2>and the guy says, Paul, really, I'm a big fan

1:31:21.400 --> 1:31:23.960
<v Speaker 2>of yours. I'm coming to your shows next April. You passed,

1:31:26.240 --> 1:31:27.479
<v Speaker 2>we'll leavenute that. Paul.

1:31:27.560 --> 1:31:29.880
<v Speaker 1>I want to thank you for taking so much time

1:31:29.960 --> 1:31:31.040
<v Speaker 1>talk to my audience.

1:31:33.840 --> 1:31:36.840
<v Speaker 2>Can I just add the last thing here? There's no

1:31:36.920 --> 1:31:40.360
<v Speaker 2>suggestion that the only reason I passed my car past

1:31:40.520 --> 1:31:41.760
<v Speaker 2>was because he was a fan of mine.

1:31:43.120 --> 1:31:44.680
<v Speaker 1>Well, well we'll be the judge of that.

1:31:47.160 --> 1:31:49.000
<v Speaker 2>Bob. Great talking to you, man, and thank you for

1:31:49.080 --> 1:31:52.400
<v Speaker 2>all your your nods in my direction over the years.

1:31:52.720 --> 1:31:56.160
<v Speaker 1>Thank you absolutely, you're a real talent. Hopefully more people

1:31:56.160 --> 1:32:00.400
<v Speaker 1>will connect the songs with the man after this. Until

1:32:00.479 --> 1:32:03.040
<v Speaker 1>next time, This is Bob left six

1:32:25.000 --> 1:32:25.240
<v Speaker 2>Sh