1
00:00:00,440 --> 00:00:04,280
Speaker 1: Hey, it's Alec Baldwin here. Before we launch our next

2
00:00:04,400 --> 00:00:08,520
Speaker 1: season of Here's the Thing at iHeartRadio in January, I

3
00:00:08,560 --> 00:00:12,080
Speaker 1: thought I'd play some of my favorite shows from the archives.

4
00:00:13,840 --> 00:00:18,400
Speaker 1: In nineteen ninety two, Radiohead released their stunning debut single

5
00:00:18,760 --> 00:00:25,560
Speaker 1: Creep When You'reful. It was quiet, yet explosive, even haunting,

6
00:00:26,000 --> 00:00:30,320
Speaker 1: and its refrain had a powerful hook. I wish our special,

7
00:00:33,640 --> 00:00:41,320
Speaker 1: so fucking special. Radioheads frontman and principal songwriter Tom York

8
00:00:41,760 --> 00:00:44,320
Speaker 1: is my guest, and if it was his wish to

9
00:00:44,360 --> 00:00:48,000
Speaker 1: be special, the world granted it. York's band has become

10
00:00:48,000 --> 00:01:03,280
Speaker 1: a commercial and critical success, selling over thirty million albums.

11
00:01:03,720 --> 00:01:09,319
Speaker 1: Radiohead's music actively resists definition. Each new album explores a

12
00:01:09,360 --> 00:01:13,480
Speaker 1: different sound, delighting their followers and scooping up more fans

13
00:01:13,520 --> 00:01:27,360
Speaker 1: along the way. The New York Times called Radiohead rock's

14
00:01:27,440 --> 00:01:31,800
Speaker 1: most experimental top ten band, and this spirit of experimentation

15
00:01:31,959 --> 00:01:34,960
Speaker 1: isn't limited to their music. In two thousand and seven,

16
00:01:35,120 --> 00:01:39,199
Speaker 1: York and his bandmates released In Rainbows on their website.

17
00:01:39,240 --> 00:01:42,880
Speaker 1: First fans were invited to pay what they wanted for

18
00:01:43,000 --> 00:01:45,600
Speaker 1: the album. Radiohead may not have been the first to

19
00:01:45,680 --> 00:01:49,400
Speaker 1: thummets nose the music industrial complex but they might be

20
00:01:49,440 --> 00:01:52,920
Speaker 1: the first to do so and sell out a major arena.

21
00:01:53,960 --> 00:01:58,680
Speaker 1: That said, Tom York hasn't necessarily been comfortable under the spotlight.

22
00:01:58,960 --> 00:02:02,320
Speaker 1: He complains about celebrity worship and I wasn't sure what

23
00:02:02,440 --> 00:02:03,080
Speaker 1: to expect.

24
00:02:03,440 --> 00:02:06,360
Speaker 2: Actually, I got you a health food snack, did you Yeah,

25
00:02:06,520 --> 00:02:08,640
Speaker 2: because someone told me you were like all vegetarian and that.

26
00:02:12,200 --> 00:02:15,440
Speaker 1: Tom Yorke has a new record out Amok. The band

27
00:02:15,560 --> 00:02:25,960
Speaker 1: calls themselves Adams for Peace. You don't do a lot

28
00:02:26,000 --> 00:02:28,639
Speaker 1: of pros. Were you doing? I was an an as

29
00:02:28,680 --> 00:02:32,359
Speaker 1: needed a basis, yeah, on a need to know basis, Yeah, yeah,

30
00:02:32,960 --> 00:02:33,359
Speaker 1: kind of.

31
00:02:33,560 --> 00:02:35,560
Speaker 2: I kind of need to explain what I'm doing a

32
00:02:35,600 --> 00:02:37,840
Speaker 2: bit with the Adams for Peace thing, just a little

33
00:02:37,840 --> 00:02:43,600
Speaker 2: bit because it's something different and some vague effort to

34
00:02:43,639 --> 00:02:47,880
Speaker 2: explain myself occasionally I think is morally acceptable.

35
00:02:48,120 --> 00:02:50,240
Speaker 1: Tell us about the Adams for Peace. Well, it's just

36
00:02:50,520 --> 00:02:51,120
Speaker 1: it was.

37
00:02:51,560 --> 00:02:53,760
Speaker 2: I did a record on my own called The Eraser

38
00:02:54,000 --> 00:02:54,840
Speaker 2: a few years ago.

39
00:02:55,320 --> 00:02:57,400
Speaker 1: Was that your first solo record? Yes, first time.

40
00:02:57,440 --> 00:02:59,799
Speaker 2: I sort of worked on my own with Nigel who

41
00:02:59,800 --> 00:03:04,160
Speaker 2: Normal who produces Radiohead, and it came out it was okay.

42
00:03:04,840 --> 00:03:05,760
Speaker 1: People liked it a bit.

43
00:03:06,240 --> 00:03:08,320
Speaker 2: A couple of years after, I suddenly thought I really

44
00:03:08,360 --> 00:03:10,760
Speaker 2: want to actually because it was all done, it was

45
00:03:10,800 --> 00:03:14,680
Speaker 2: all programmed, it was all computers and stuff, and I thought, actually,

46
00:03:14,760 --> 00:03:16,880
Speaker 2: I really I'm curious to know what it would be

47
00:03:16,960 --> 00:03:18,560
Speaker 2: like to actually get a band together to play this.

48
00:03:18,680 --> 00:03:20,799
Speaker 2: And it was an excuse to go on a jolly

49
00:03:20,840 --> 00:03:24,320
Speaker 2: to LA and hang out. And I emailed friends of

50
00:03:24,320 --> 00:03:27,120
Speaker 2: mine who I knew like the record. One was Flee

51
00:03:27,160 --> 00:03:31,520
Speaker 2: from the Chili Peppers. One was my friend Joey, who's

52
00:03:31,720 --> 00:03:35,120
Speaker 2: drummed with everybody who's genius drummer from LA And anyway,

53
00:03:35,160 --> 00:03:37,480
Speaker 2: we got it together and it turned into this thing

54
00:03:38,120 --> 00:03:42,480
Speaker 2: became really exciting, and we ended up calling the band

55
00:03:42,520 --> 00:03:47,000
Speaker 2: Atoms for Peace and making a record out of the

56
00:03:47,040 --> 00:03:49,440
Speaker 2: excitement of that. And it was all brand new to

57
00:03:49,480 --> 00:03:51,200
Speaker 2: me because I've been in the same band since I

58
00:03:51,240 --> 00:03:52,680
Speaker 2: was seventeen sixteen.

59
00:03:53,280 --> 00:03:57,840
Speaker 1: And when you do that, when you go into another

60
00:03:57,920 --> 00:04:01,440
Speaker 1: room with people, it's not so much assuming and you

61
00:04:01,480 --> 00:04:04,000
Speaker 1: can help me that you want to not play with

62
00:04:04,080 --> 00:04:06,000
Speaker 1: those guys anymore. You just want to play with different

63
00:04:06,040 --> 00:04:07,360
Speaker 1: people for a change. It was a good.

64
00:04:07,400 --> 00:04:10,000
Speaker 2: Yeah, it was a totally different process. I mean, it's

65
00:04:10,080 --> 00:04:12,480
Speaker 2: always fun if you know what you're aiming at. If

66
00:04:12,480 --> 00:04:13,800
Speaker 2: you know what the tunes are, you're not trying to

67
00:04:13,800 --> 00:04:17,200
Speaker 2: write them, you're just emulating what's already been written. That

68
00:04:17,320 --> 00:04:19,640
Speaker 2: makes it fun straight away, because it's a different sort

69
00:04:19,640 --> 00:04:22,440
Speaker 2: of creative process.

70
00:04:20,839 --> 00:04:20,919
Speaker 1: So.

71
00:04:22,800 --> 00:04:26,159
Speaker 2: You're not struggling around in the dark for a way

72
00:04:26,200 --> 00:04:29,800
Speaker 2: into a piece of music. You're figuring out how to

73
00:04:29,839 --> 00:04:32,480
Speaker 2: strip it down to its all essentials, especially if it's

74
00:04:32,480 --> 00:04:34,839
Speaker 2: something's been written on a computer, and then you have

75
00:04:34,839 --> 00:04:37,719
Speaker 2: to humanly learn how to play it. It brings in

76
00:04:37,760 --> 00:04:41,839
Speaker 2: this quite interesting thing with the feel of what you're playing. Anyway,

77
00:04:42,279 --> 00:04:44,840
Speaker 2: it's loads of different things, but it's a lot more

78
00:04:44,839 --> 00:04:46,880
Speaker 2: fun and a lot more relaxed if you're not trying

79
00:04:46,920 --> 00:04:49,800
Speaker 2: to write, you know, which is what also all the time,

80
00:04:49,800 --> 00:04:51,000
Speaker 2: what we're trying to do with Radiohead.

81
00:04:51,160 --> 00:04:53,680
Speaker 1: What's the first time or the first experience you had

82
00:04:53,960 --> 00:04:57,919
Speaker 1: with using computers to create music? That was.

83
00:05:00,240 --> 00:05:04,200
Speaker 2: I think after we did Okay Computer I finally in

84
00:05:04,279 --> 00:05:06,840
Speaker 2: the late late nineties you could like go on tour

85
00:05:06,880 --> 00:05:09,279
Speaker 2: with the laptop and it was powerful enough that you

86
00:05:09,320 --> 00:05:13,240
Speaker 2: could record, edit, use synthesizers built into it and it

87
00:05:13,279 --> 00:05:14,640
Speaker 2: wouldn't crash and it.

88
00:05:14,520 --> 00:05:15,480
Speaker 1: Was fairly stable.

89
00:05:15,920 --> 00:05:18,480
Speaker 2: So I first started getting into it then. And what

90
00:05:18,520 --> 00:05:21,040
Speaker 2: I thought was really interesting is when we were working

91
00:05:21,040 --> 00:05:25,599
Speaker 2: on Okay computer, I started using learning the software that

92
00:05:25,640 --> 00:05:28,160
Speaker 2: we were using the studio to edit. We were still

93
00:05:28,200 --> 00:05:32,480
Speaker 2: mostly working on tape old school, but I suddenly thought, well,

94
00:05:32,520 --> 00:05:35,400
Speaker 2: hang on a minute, if I can learn how all

95
00:05:35,400 --> 00:05:38,039
Speaker 2: this equipment works, I'll have a completely different way of

96
00:05:38,080 --> 00:05:40,919
Speaker 2: thinking about how to write. So I forced myself to

97
00:05:41,000 --> 00:05:45,640
Speaker 2: learn all this equipment and learn to use the laptop

98
00:05:45,960 --> 00:05:49,960
Speaker 2: because a lot of music I was into was being

99
00:05:50,040 --> 00:05:52,720
Speaker 2: made electronically anyway, and I kind of thought it would

100
00:05:52,720 --> 00:05:56,039
Speaker 2: be interesting to do it within the band, because you

101
00:05:56,040 --> 00:06:00,560
Speaker 2: know a band. Normally musicians don't fall into doing the

102
00:06:00,560 --> 00:06:03,800
Speaker 2: production side of it or building the tracks. They're like,

103
00:06:04,000 --> 00:06:06,720
Speaker 2: stay this side of the studio of fence with the

104
00:06:06,760 --> 00:06:11,520
Speaker 2: mics and let someone tell you. So I definitely was

105
00:06:12,200 --> 00:06:13,760
Speaker 2: much more into blurring that up.

106
00:06:13,920 --> 00:06:16,680
Speaker 1: Did not produce both your solo albums, Yeah he does.

107
00:06:16,760 --> 00:06:19,920
Speaker 2: He does the lot all of the radio Head album,

108
00:06:20,000 --> 00:06:20,560
Speaker 2: Yeah he does.

109
00:06:20,800 --> 00:06:23,160
Speaker 1: Well. When you attribute that to having that kind of faith.

110
00:06:22,960 --> 00:06:27,440
Speaker 2: In someone, for me, it's sort of you find someone

111
00:06:27,480 --> 00:06:29,640
Speaker 2: you trust. I mean not all the time, and we

112
00:06:29,720 --> 00:06:33,400
Speaker 2: do argue a lot, but to have someone who's like

113
00:06:35,040 --> 00:06:38,360
Speaker 2: a sounding board all the time. It makes everything so

114
00:06:38,440 --> 00:06:41,680
Speaker 2: much more fun because if you're if you're knocking out ideas,

115
00:06:42,160 --> 00:06:45,280
Speaker 2: you can't edit them and knock them out at the

116
00:06:45,279 --> 00:06:47,840
Speaker 2: same time. Like if you're on stage and you're trying

117
00:06:47,839 --> 00:06:49,800
Speaker 2: to get through your part or whatever, you have to

118
00:06:49,839 --> 00:06:53,359
Speaker 2: have someone out front saying, okay, that's not working. I

119
00:06:53,360 --> 00:06:56,160
Speaker 2: mean I do on my own a lot. I do work.

120
00:06:56,720 --> 00:06:59,200
Speaker 2: You know, you generate ideas, but all I then have

121
00:06:59,360 --> 00:07:02,000
Speaker 2: is a mountain ideas that gradually I then have to

122
00:07:02,040 --> 00:07:04,719
Speaker 2: sit through and it just takes so long. It's so

123
00:07:04,839 --> 00:07:07,120
Speaker 2: much more fun sharing it with someone.

124
00:07:07,320 --> 00:07:10,560
Speaker 1: What did he think about your forays into computerized music? Oh,

125
00:07:10,600 --> 00:07:11,240
Speaker 1: he was into it.

126
00:07:11,560 --> 00:07:13,360
Speaker 2: I did wonder when I first started doing it, but

127
00:07:13,400 --> 00:07:17,800
Speaker 2: he was into it because he watched me doing it

128
00:07:18,000 --> 00:07:20,480
Speaker 2: in such a different way to him. I mean, I

129
00:07:20,560 --> 00:07:23,640
Speaker 2: was like a kid being given a hammer. I was

130
00:07:23,680 --> 00:07:25,320
Speaker 2: just hammering away and stuff. I didn't really know what

131
00:07:25,360 --> 00:07:27,640
Speaker 2: I was doing, but he was kind of fascinated by that,

132
00:07:27,720 --> 00:07:29,840
Speaker 2: you know, and he'd come and literally tidy up the

133
00:07:29,880 --> 00:07:31,560
Speaker 2: mess down on the computer.

134
00:07:32,600 --> 00:07:34,920
Speaker 1: What were other people who were other people that were

135
00:07:34,960 --> 00:07:37,520
Speaker 1: working in that in that area that you listened to

136
00:07:37,560 --> 00:07:41,000
Speaker 1: who are making well? Then it was.

137
00:07:41,320 --> 00:07:47,080
Speaker 2: I was obsessed with AFX twin then and O Tekra.

138
00:07:47,200 --> 00:07:49,280
Speaker 2: There was a lot of really interesting things happening Britain.

139
00:07:49,400 --> 00:07:52,720
Speaker 2: Then on this label called Warp and it was it was.

140
00:07:52,720 --> 00:07:59,080
Speaker 1: A fun spell warp w arp, like the floor is warped, yeah,

141
00:07:59,160 --> 00:08:01,720
Speaker 1: after the fun Yeah. And then I say, with your accent,

142
00:08:01,720 --> 00:08:04,440
Speaker 1: that could have been anyone of four wards. When on

143
00:08:04,440 --> 00:08:13,920
Speaker 1: this label called War Warm, Wall w Wop, Yeah, saying

144
00:08:14,040 --> 00:08:17,440
Speaker 1: like we saying here in the United States War it's

145
00:08:17,560 --> 00:08:21,200
Speaker 1: war country and Western record like bitch your bottom down there, boy?

146
00:08:21,760 --> 00:08:24,200
Speaker 1: So you were you is? You were? You were obsessed

147
00:08:24,240 --> 00:08:27,320
Speaker 1: with the music that was on Woop Records.

148
00:08:28,320 --> 00:08:31,280
Speaker 2: Because it didn't have any guitars and I was having

149
00:08:31,320 --> 00:08:33,880
Speaker 2: a troubled relationship with my guitar at the time.

150
00:08:34,080 --> 00:08:35,520
Speaker 1: Is that true? Well not really.

151
00:08:35,920 --> 00:08:38,160
Speaker 2: It's just like I ended up being in a band

152
00:08:38,360 --> 00:08:41,040
Speaker 2: signing this to this big record label, and it's a

153
00:08:41,160 --> 00:08:44,480
Speaker 2: band with big letters, so certain things go with that.

154
00:08:44,720 --> 00:08:48,079
Speaker 2: But yet when I was at college, I was listening

155
00:08:48,120 --> 00:08:50,880
Speaker 2: to a lot of other things, and after a while

156
00:08:50,920 --> 00:08:53,280
Speaker 2: it was like, oh, this is is really annoying that

157
00:08:54,240 --> 00:08:56,079
Speaker 2: I felt like we couldn't break out of that. So

158
00:08:56,240 --> 00:08:58,640
Speaker 2: I just started forcing us to break out of that

159
00:08:58,679 --> 00:09:00,920
Speaker 2: because it didn't make sense to me. You've been with

160
00:09:01,000 --> 00:09:03,120
Speaker 2: those guys for how long Now we started when we're

161
00:09:03,160 --> 00:09:09,240
Speaker 2: sixteen Radiohead, which is now I'm forty four, so that's

162
00:09:09,280 --> 00:09:09,760
Speaker 2: quite a while.

163
00:09:09,960 --> 00:09:13,480
Speaker 1: And some bands that have had tremendous longevity, obviously the

164
00:09:13,600 --> 00:09:17,000
Speaker 1: Rolling Stones are the premier example. They've changed partners over

165
00:09:17,040 --> 00:09:18,719
Speaker 1: theres like they were the New York Yankees. You know,

166
00:09:18,760 --> 00:09:21,880
Speaker 1: there's somebody else playing third base every four or five years. Yeah,

167
00:09:22,280 --> 00:09:25,160
Speaker 1: but you guys, it's the same cast of people all

168
00:09:25,200 --> 00:09:28,200
Speaker 1: of a sudden. What do you attribute that to persistence?

169
00:09:29,040 --> 00:09:33,640
Speaker 1: My great diplomatic skills not but there must be time

170
00:09:33,720 --> 00:09:35,960
Speaker 1: to when they've I mean, I'll never forget McCartney said

171
00:09:35,960 --> 00:09:37,520
Speaker 1: to me, even the Beatles got tired of being The

172
00:09:37,559 --> 00:09:39,880
Speaker 1: Beatles were the times you guys sat there and look

173
00:09:39,880 --> 00:09:41,120
Speaker 1: at each other and said, I think we're done.

174
00:09:41,840 --> 00:09:44,959
Speaker 2: I do that frequently, frequently, I mean, at least the

175
00:09:45,040 --> 00:09:47,839
Speaker 2: others two not as much. They just wait for me

176
00:09:47,960 --> 00:09:48,199
Speaker 2: to do it.

177
00:09:49,840 --> 00:09:53,319
Speaker 1: But it changes. It's like, yeah, it's like to stick around.

178
00:09:54,640 --> 00:09:57,360
Speaker 2: I'm feeling it's coming up. I mean, you know, something

179
00:09:57,360 --> 00:09:59,040
Speaker 2: to do with the fact we haven't done any useful

180
00:09:59,040 --> 00:10:02,160
Speaker 2: for three weeks. It goes through these phases. You know,

181
00:10:02,360 --> 00:10:06,640
Speaker 2: we've grown up together. It's weird. I mean, So, we

182
00:10:06,800 --> 00:10:10,000
Speaker 2: just did a tour last year, right, and it was probably,

183
00:10:10,840 --> 00:10:12,920
Speaker 2: in theory, the scariest one we've ever done, because it

184
00:10:12,960 --> 00:10:15,160
Speaker 2: was lots of big gigs, which I normally am spending

185
00:10:15,200 --> 00:10:16,600
Speaker 2: my time trying to shy away from.

186
00:10:17,480 --> 00:10:20,280
Speaker 1: Why because you can't achieve technically in a large space

187
00:10:20,280 --> 00:10:21,240
Speaker 1: where you normally want.

188
00:10:21,160 --> 00:10:24,240
Speaker 2: To exactly that you can't get across to people the

189
00:10:24,360 --> 00:10:27,640
Speaker 2: right way, I felt. So we did spend a lot

190
00:10:27,679 --> 00:10:29,960
Speaker 2: of time and effort coming up with like a stage

191
00:10:30,000 --> 00:10:32,560
Speaker 2: design which used screens in a certain way which made

192
00:10:32,600 --> 00:10:35,599
Speaker 2: it intimate, even though you know, some nights was like

193
00:10:35,720 --> 00:10:39,400
Speaker 2: thirty or forty thousand people trying to create some sort

194
00:10:39,440 --> 00:10:42,560
Speaker 2: of intimacy with that, and when it worked, it was insane.

195
00:10:42,720 --> 00:10:46,040
Speaker 2: It was because the upside of playing to that many

196
00:10:46,120 --> 00:10:49,959
Speaker 2: people is you have this really crazy collective energy that

197
00:10:50,080 --> 00:10:52,640
Speaker 2: you can tap into like a crowd, you know.

198
00:10:53,360 --> 00:10:53,520
Speaker 1: Thing.

199
00:10:54,200 --> 00:10:57,000
Speaker 2: There's one show we did in Phoenix that sticks in

200
00:10:57,080 --> 00:10:59,920
Speaker 2: my mind where there was something about maybe that it

201
00:11:00,160 --> 00:11:03,080
Speaker 2: was in Phoenix and people don't get the opportunity. Those

202
00:11:03,160 --> 00:11:05,760
Speaker 2: sort of people don't get the opportunity to get together

203
00:11:06,080 --> 00:11:08,480
Speaker 2: that often or something. There was some sort of excitement

204
00:11:08,559 --> 00:11:11,240
Speaker 2: within the crowd that was so great to play with.

205
00:11:11,880 --> 00:11:15,040
Speaker 2: When we hit it musically, it felt like the whole room,

206
00:11:15,280 --> 00:11:17,760
Speaker 2: the whole of the building was moving. Honestly, we both

207
00:11:17,800 --> 00:11:21,120
Speaker 2: came off, you know, yeah, and it's bombed.

208
00:11:21,320 --> 00:11:24,280
Speaker 1: I understand that not from my own experience, but from

209
00:11:24,440 --> 00:11:26,520
Speaker 1: seeing artists perform.

210
00:11:27,040 --> 00:11:31,120
Speaker 2: You know, I often ask myself, why the hell would

211
00:11:31,160 --> 00:11:35,240
Speaker 2: you put yourself through this? Because it's very stressful. It's

212
00:11:35,280 --> 00:11:37,599
Speaker 2: a lot of pressure, and for me mentally, I just

213
00:11:38,320 --> 00:11:41,959
Speaker 2: build myself up to it in my head gradually and

214
00:11:42,200 --> 00:11:44,920
Speaker 2: it sounds really precious, but it messes with my head.

215
00:11:45,520 --> 00:11:46,920
Speaker 1: I want to get to that, but I want to

216
00:11:47,000 --> 00:11:50,319
Speaker 1: come around it and say, your music has such a

217
00:11:50,360 --> 00:11:53,640
Speaker 1: spiritual quality to it. There's a spiritual element to it,

218
00:11:53,720 --> 00:11:56,960
Speaker 1: and not a stated one. It just emanates a vibe.

219
00:11:57,000 --> 00:12:00,199
Speaker 2: To me, it comes to me that yeah, but to me,

220
00:12:00,320 --> 00:12:02,640
Speaker 2: that comes off the audience. That's what I find. It's

221
00:12:02,720 --> 00:12:05,800
Speaker 2: something that's developed. It's not like we're not going into

222
00:12:05,880 --> 00:12:08,560
Speaker 2: this intending to do any of that. It just sort

223
00:12:08,559 --> 00:12:11,360
Speaker 2: of happens when when the waves go right, you know,

224
00:12:11,440 --> 00:12:14,959
Speaker 2: when the waves fall into place, then you'll get to

225
00:12:15,040 --> 00:12:17,120
Speaker 2: the end of the song and you can feel, Okay,

226
00:12:17,440 --> 00:12:18,480
Speaker 2: we've done whatever it is.

227
00:12:19,400 --> 00:12:45,760
Speaker 1: That was it. What's your preparation before you do a

228
00:12:45,880 --> 00:12:48,480
Speaker 1: live show before you go because in the studio it's

229
00:12:48,520 --> 00:12:50,640
Speaker 1: obviously a whole different animal.

230
00:12:50,760 --> 00:12:53,800
Speaker 2: Correct, Yeah, there's no preparation for the studio. Do you

231
00:12:53,840 --> 00:12:56,679
Speaker 2: know it's bull in a china shop most of the time,

232
00:12:56,720 --> 00:13:00,120
Speaker 2: which is how it should be, I think, and performing live, yeah, that's.

233
00:13:00,640 --> 00:13:03,040
Speaker 1: What's give it to me. A couple of hours before

234
00:13:03,080 --> 00:13:04,439
Speaker 1: you go out there and you've got to blow this

235
00:13:04,559 --> 00:13:08,280
Speaker 1: thing out for all these people. Just stone cold silence,

236
00:13:09,320 --> 00:13:12,280
Speaker 1: basically almost meditative. Well, yeah, I do. I do that

237
00:13:12,520 --> 00:13:13,520
Speaker 1: and focused.

238
00:13:13,720 --> 00:13:15,760
Speaker 2: I stand on my head for a bit and I

239
00:13:15,880 --> 00:13:20,600
Speaker 2: basically I'm completely on my own until five minutes before

240
00:13:20,600 --> 00:13:22,559
Speaker 2: we go on, and then we're all in the room together,

241
00:13:22,679 --> 00:13:25,560
Speaker 2: pacing up and down like wild animals, and then then

242
00:13:25,559 --> 00:13:28,079
Speaker 2: we're on. But when we first started doing big shows,

243
00:13:28,160 --> 00:13:30,760
Speaker 2: it was with my from Michael Stipe, and he does

244
00:13:30,880 --> 00:13:34,040
Speaker 2: the total opposite. He literally he'll be talking to you

245
00:13:34,200 --> 00:13:36,040
Speaker 2: and then someone taps in the shoulder and then they're on.

246
00:13:36,280 --> 00:13:38,480
Speaker 1: And I was like, how the hell do you do that?

247
00:13:38,640 --> 00:13:38,760
Speaker 2: Man?

248
00:13:38,880 --> 00:13:41,679
Speaker 1: And I tried to do it like that, couldn't it,

249
00:13:42,040 --> 00:13:44,920
Speaker 1: And so I ended up going, did you get any

250
00:13:44,960 --> 00:13:47,839
Speaker 1: indication why Stipe could do that? There's a lot of

251
00:13:47,960 --> 00:13:50,760
Speaker 1: nice spiritual tones inside of R. E. M's music too.

252
00:13:50,920 --> 00:13:54,000
Speaker 2: Yeah, No, I don't know. I think what he used

253
00:13:54,000 --> 00:13:59,000
Speaker 2: to do was you'd stand there for the first two

254
00:13:59,080 --> 00:14:03,280
Speaker 2: tunes move. He was a sort of lightning conductor, and

255
00:14:03,400 --> 00:14:05,440
Speaker 2: he was just waiting for it to hit, and then

256
00:14:05,480 --> 00:14:07,920
Speaker 2: when it hit, he was off, but he would wait,

257
00:14:08,559 --> 00:14:10,040
Speaker 2: and if it wasn't going to hit, he was still

258
00:14:10,080 --> 00:14:13,559
Speaker 2: there three or four tunes later, and waiting He kind

259
00:14:13,559 --> 00:14:16,600
Speaker 2: of warmed up in front of everybody, gauging it all.

260
00:14:17,040 --> 00:14:19,600
Speaker 2: Whereas I can't do that because I have to sort

261
00:14:19,640 --> 00:14:23,520
Speaker 2: of be clear of everything before, you know whatever.

262
00:14:24,320 --> 00:14:34,480
Speaker 1: I need to be completely empty. We're taking a break.

263
00:14:34,840 --> 00:14:35,440
Speaker 1: Stay with us.

264
00:14:51,840 --> 00:14:54,400
Speaker 2: I started playing guitar when I was seven. I sat

265
00:14:54,480 --> 00:14:56,040
Speaker 2: down and said I was going to be Brian May

266
00:14:56,600 --> 00:14:58,400
Speaker 2: and I was not a bad thing to be. Yeah,

267
00:14:59,040 --> 00:15:01,200
Speaker 2: And then I tried to do I read like when

268
00:15:01,240 --> 00:15:04,400
Speaker 2: I was ten or something. I read that he'd built

269
00:15:04,440 --> 00:15:08,160
Speaker 2: his first guitar himself, which is the one he still plays.

270
00:15:08,800 --> 00:15:11,280
Speaker 1: So I tried to do that, but my efforts was

271
00:15:12,720 --> 00:15:15,840
Speaker 1: and then said she were not Brian May no handcrafting

272
00:15:15,880 --> 00:15:16,320
Speaker 1: of the guitar.

273
00:15:16,440 --> 00:15:17,720
Speaker 2: And I had to cheat with the neck on the

274
00:15:17,760 --> 00:15:20,560
Speaker 2: guitar I found in old someone a neighbor gave me

275
00:15:21,360 --> 00:15:22,400
Speaker 2: a neck of an electric guitar.

276
00:15:22,440 --> 00:15:22,880
Speaker 1: Was that great?

277
00:15:22,880 --> 00:15:25,840
Speaker 2: Okay, that's good, But you know I was ten or eleven,

278
00:15:25,960 --> 00:15:27,440
Speaker 2: so I was trying to like bolt it to get

279
00:15:27,560 --> 00:15:29,280
Speaker 2: to this other piece of wood that I'd cut out,

280
00:15:29,360 --> 00:15:31,880
Speaker 2: and it was just a disaster. But it kind of worked,

281
00:15:32,160 --> 00:15:33,000
Speaker 2: but it was ugly.

282
00:15:33,440 --> 00:15:35,640
Speaker 1: Was your family musical? Not really? No.

283
00:15:36,080 --> 00:15:39,040
Speaker 2: The only one that sticks out is apparently my great grandmother.

284
00:15:40,120 --> 00:15:43,520
Speaker 2: She'd get really hammered and then stay up playing her

285
00:15:43,560 --> 00:15:46,360
Speaker 2: pump organ thing downstairs all night and keep.

286
00:15:46,280 --> 00:15:49,120
Speaker 1: The family up. You were around, did you witness that?

287
00:15:49,360 --> 00:15:51,040
Speaker 2: I met her once and she was kind of she

288
00:15:51,080 --> 00:15:54,080
Speaker 2: wore black and was quite scary when I was really tiny.

289
00:15:54,320 --> 00:15:57,800
Speaker 1: But nowither of your parents were artists musicians? No, no, no, no.

290
00:15:58,280 --> 00:16:00,520
Speaker 1: When the guitar came into your life when you or seven,

291
00:16:01,360 --> 00:16:05,680
Speaker 1: Brian May or no, was it music itself? And were

292
00:16:05,720 --> 00:16:08,560
Speaker 1: you moved by music itself? Or was it like many

293
00:16:08,600 --> 00:16:11,760
Speaker 1: people when they're very young? Was it rock stardom? Was

294
00:16:12,680 --> 00:16:15,400
Speaker 1: never then it was it was you weren't running around

295
00:16:15,400 --> 00:16:18,560
Speaker 1: your bedroom imitating Jagger and you thought like you.

296
00:16:20,160 --> 00:16:23,360
Speaker 2: My whole thing was we didn't have any sound system

297
00:16:23,400 --> 00:16:25,800
Speaker 2: in the house. We had nothing, no high fi nothing

298
00:16:26,320 --> 00:16:30,280
Speaker 2: except for in my dad's car and had a tight

299
00:16:30,360 --> 00:16:35,800
Speaker 2: player in it. So I went and would sit for hours.

300
00:16:35,840 --> 00:16:38,200
Speaker 2: I would sit for hours, and you know, it was

301
00:16:38,280 --> 00:16:40,760
Speaker 2: the sound of Brian May's guitar. Actually, it was one

302
00:16:40,760 --> 00:16:43,760
Speaker 2: of those funny things where you know, when you turned

303
00:16:43,800 --> 00:16:46,680
Speaker 2: something up and you're in a very controlled, loud environment,

304
00:16:47,000 --> 00:16:51,760
Speaker 2: just that sound was just you know, nothing else was that.

305
00:16:52,720 --> 00:16:56,000
Speaker 2: When you're that small and you've never I've never really

306
00:16:57,040 --> 00:17:01,400
Speaker 2: heard music particularly at all up until that point. You know,

307
00:17:01,600 --> 00:17:03,800
Speaker 2: it's funny. It's got a weird thing. But I mean,

308
00:17:04,320 --> 00:17:06,240
Speaker 2: lots of kids at that age, you know, their parents

309
00:17:06,280 --> 00:17:09,840
Speaker 2: didn't really have high fires or anything as such. The

310
00:17:09,960 --> 00:17:11,439
Speaker 2: only guy I did know who had a high fight

311
00:17:11,520 --> 00:17:13,359
Speaker 2: down the road only played abbat, which I thought was

312
00:17:13,440 --> 00:17:14,719
Speaker 2: worse than not having one.

313
00:17:14,840 --> 00:17:18,960
Speaker 1: But that was me somehow. Those and then and then

314
00:17:19,359 --> 00:17:22,040
Speaker 1: the guitar, and you're trying to fashion your own guitar

315
00:17:22,520 --> 00:17:24,399
Speaker 1: by the time you were eleven, and then when you

316
00:17:24,480 --> 00:17:27,720
Speaker 1: take another step toward deepening your commitment. How old are

317
00:17:27,760 --> 00:17:30,240
Speaker 1: you when you form the band sixteen? I did have

318
00:17:30,359 --> 00:17:33,400
Speaker 1: a band when I was eleven, But what's an eleven

319
00:17:33,480 --> 00:17:34,480
Speaker 1: year old band sound like?

320
00:17:36,160 --> 00:17:36,360
Speaker 2: Yeah?

321
00:17:36,520 --> 00:17:39,920
Speaker 1: No, it were not very good at all, but it was.

322
00:17:40,400 --> 00:17:43,639
Speaker 2: It was very exciting, like going around to a friend's

323
00:17:43,680 --> 00:17:46,160
Speaker 2: house is setting up and jamming, and all our mates

324
00:17:46,200 --> 00:17:49,400
Speaker 2: would come and hang out and girls, which I thought,

325
00:17:49,680 --> 00:17:55,680
Speaker 2: this is interesting. Yes, as puberty hit, but that sort

326
00:17:55,720 --> 00:17:57,960
Speaker 2: of fell to bits because I kept fighting with the drummer.

327
00:17:58,640 --> 00:18:02,120
Speaker 2: And then when I was six, I was thinking, well, okay,

328
00:18:02,160 --> 00:18:04,440
Speaker 2: I need to get this together really and just went

329
00:18:04,520 --> 00:18:07,600
Speaker 2: around the school sort of choosing people.

330
00:18:07,960 --> 00:18:11,000
Speaker 1: So you went around picking people. I got it because

331
00:18:11,000 --> 00:18:11,199
Speaker 1: he was.

332
00:18:11,200 --> 00:18:14,440
Speaker 2: Dressed like Morrissey and he had some cool socks, and

333
00:18:14,520 --> 00:18:15,960
Speaker 2: I saw he'd had a guitar. I had no idea

334
00:18:15,960 --> 00:18:17,400
Speaker 2: whether he could play or not. I didn't really care.

335
00:18:17,880 --> 00:18:20,640
Speaker 2: I got Colin because I knew Colin could play very

336
00:18:20,680 --> 00:18:22,200
Speaker 2: well and I needed.

337
00:18:21,960 --> 00:18:22,520
Speaker 1: A bass player.

338
00:18:22,520 --> 00:18:24,840
Speaker 2: He could play very well, but he had never played

339
00:18:24,840 --> 00:18:29,600
Speaker 2: bass before and his brother Johnny was this mythical musical prodigy,

340
00:18:29,800 --> 00:18:33,479
Speaker 2: so wroped him in and then Phil was the only

341
00:18:33,560 --> 00:18:36,040
Speaker 2: drummer IN knew anyway, so and and he had a

342
00:18:36,080 --> 00:18:37,600
Speaker 2: house down the road that we could rehearse him.

343
00:18:37,640 --> 00:18:39,439
Speaker 1: And you're all and you lived where you grew up

344
00:18:39,480 --> 00:18:40,480
Speaker 1: were well.

345
00:18:40,400 --> 00:18:42,679
Speaker 2: This was at Abingdon School in near Oxford.

346
00:18:43,119 --> 00:18:48,000
Speaker 1: And then when you form Radiohead when you're sixteen.

347
00:18:48,680 --> 00:18:52,639
Speaker 2: Basically yeah, we started sort of writing, doing demos and

348
00:18:52,800 --> 00:18:54,920
Speaker 2: messing about and it was, you know, it was quite

349
00:18:54,920 --> 00:18:57,760
Speaker 2: interesting straight away that it was quite I think because

350
00:18:57,800 --> 00:18:59,440
Speaker 2: Field had quite a lot of experience. He was a

351
00:18:59,480 --> 00:19:02,399
Speaker 2: bit older, and he'd had his own band, so he

352
00:19:03,760 --> 00:19:07,760
Speaker 2: knew how to put things together a bit. And in

353
00:19:07,880 --> 00:19:12,040
Speaker 2: fact we used to go and do demos in his

354
00:19:12,359 --> 00:19:16,400
Speaker 2: sister's bedroom, like right from the beginning, which which was great.

355
00:19:16,560 --> 00:19:19,800
Speaker 2: I mean, there's nothing better than like just starting off

356
00:19:19,880 --> 00:19:22,440
Speaker 2: by just trying to write demos from scratch, even though

357
00:19:22,480 --> 00:19:24,880
Speaker 2: you can't really play, even though you don't know each other.

358
00:19:25,040 --> 00:19:26,840
Speaker 2: That's where you start, you know. It's kind of a

359
00:19:26,920 --> 00:19:28,720
Speaker 2: nice way to figure out where you're about.

360
00:19:29,480 --> 00:19:32,840
Speaker 1: What do you think you do best? You lead a band,

361
00:19:33,560 --> 00:19:38,600
Speaker 1: you well, you play guitar, you write music, you produce music,

362
00:19:38,680 --> 00:19:40,520
Speaker 1: you do and you sing. What do you think your

363
00:19:40,560 --> 00:19:43,399
Speaker 1: greatest strength is? If you had to pick one, I

364
00:19:43,440 --> 00:19:45,800
Speaker 1: don't know what I'm doing right. I like the fact

365
00:19:45,840 --> 00:19:48,359
Speaker 1: that I still don't know what I'm doing. I think, well,

366
00:19:48,400 --> 00:19:51,920
Speaker 1: not honestly, I can't go I'll go through whole phrases

367
00:19:52,000 --> 00:19:57,600
Speaker 1: of months where i'n't got a clue. I regularly lose

368
00:19:57,720 --> 00:20:00,880
Speaker 1: complete confidence in what I'm doing. Why do you think

369
00:20:00,920 --> 00:20:03,840
Speaker 1: that is? Umm, because I have the same condition.

370
00:20:04,920 --> 00:20:11,320
Speaker 2: Why partly because I think I don't quite understand how

371
00:20:11,359 --> 00:20:15,080
Speaker 2: it happens after the fact, When.

372
00:20:14,920 --> 00:20:17,119
Speaker 1: When what happens when the appreciation comes to.

373
00:20:17,160 --> 00:20:21,840
Speaker 2: You know, when you're piecing something together right, things will

374
00:20:21,880 --> 00:20:24,520
Speaker 2: fall into place how you make it. Yeah, I mean,

375
00:20:24,560 --> 00:20:27,000
Speaker 2: in some ways, the nicest bit about the creative thing,

376
00:20:27,080 --> 00:20:30,520
Speaker 2: of nicest bit about recording and writing is this sort

377
00:20:30,560 --> 00:20:36,280
Speaker 2: of weird limbo where you in between scratching away scratching away,

378
00:20:36,359 --> 00:20:40,160
Speaker 2: nothing really happening, nothing really happening, and then something wants

379
00:20:40,240 --> 00:20:42,720
Speaker 2: to be built and starts to get built. You just

380
00:20:42,800 --> 00:20:44,879
Speaker 2: have to let it happen, and then it gets to

381
00:20:44,920 --> 00:20:46,399
Speaker 2: the end and you and you look at it a

382
00:20:46,440 --> 00:20:50,240
Speaker 2: few months later and go, huh damn. It's sort of

383
00:20:50,320 --> 00:20:53,199
Speaker 2: weird amnesia that goes with it. Something will happen, one

384
00:20:53,280 --> 00:20:55,640
Speaker 2: little sound goes off, and you go well, that's really

385
00:20:55,720 --> 00:21:02,359
Speaker 2: nice for me. When I was at school, I didn't

386
00:21:02,359 --> 00:21:06,720
Speaker 2: get on with the school system at all. I see it,

387
00:21:06,800 --> 00:21:09,760
Speaker 2: and my son the same, that sort of the mechanics

388
00:21:09,800 --> 00:21:11,720
Speaker 2: of how a school operates and how you're supposed to

389
00:21:11,960 --> 00:21:15,600
Speaker 2: blend in or whatever. So I hid in the music

390
00:21:15,960 --> 00:21:18,920
Speaker 2: stroke art department and had a great time there and

391
00:21:19,080 --> 00:21:22,600
Speaker 2: discovered that actually that's what I wanted to do. Straight away,

392
00:21:23,119 --> 00:21:26,720
Speaker 2: the heads of both schools just saw what I was

393
00:21:26,800 --> 00:21:27,000
Speaker 2: up there.

394
00:21:27,040 --> 00:21:28,800
Speaker 1: This is this the teacher that you often credit with

395
00:21:28,920 --> 00:21:30,640
Speaker 1: here or yeah, what was the teacher's.

396
00:21:30,359 --> 00:21:33,919
Speaker 2: Name, Terry James, But it was him and my art

397
00:21:34,000 --> 00:21:36,879
Speaker 2: teacher as well. Actually it was like someone sort of

398
00:21:37,040 --> 00:21:39,480
Speaker 2: takes you under their wing and say, well, you know what,

399
00:21:39,600 --> 00:21:40,600
Speaker 2: you're actually quite good at that.

400
00:21:40,600 --> 00:21:42,879
Speaker 1: Mentoring is a very critical thing in this business.

401
00:21:43,000 --> 00:21:46,200
Speaker 2: Yeah, because it's it's enough at that age, it's enough

402
00:21:46,640 --> 00:21:49,480
Speaker 2: to just get a little push and then okay.

403
00:21:49,760 --> 00:21:52,160
Speaker 1: Or does someone push you in a different direction, yeah,

404
00:21:52,240 --> 00:21:54,920
Speaker 1: well yeah that would be bad. Yeah, how about you

405
00:21:55,000 --> 00:21:56,520
Speaker 1: go to the other I think you need to.

406
00:21:58,600 --> 00:22:00,280
Speaker 2: I think my father used to think I used to

407
00:22:00,320 --> 00:22:04,359
Speaker 2: get to advertising, which is like really brilliant.

408
00:22:04,440 --> 00:22:07,360
Speaker 1: Yeah, I'd really be good at that. Other people well,

409
00:22:07,400 --> 00:22:10,800
Speaker 1: one thing you're good at is avoiding. My original question,

410
00:22:11,400 --> 00:22:14,159
Speaker 1: which was what do you think you're best at? And

411
00:22:14,320 --> 00:22:15,920
Speaker 1: let's try to choose if you can, if you maybe

412
00:22:15,920 --> 00:22:18,600
Speaker 1: you don't mind confine yourself to the list, I provide,

413
00:22:19,680 --> 00:22:22,520
Speaker 1: what do you think you're best at? Okay? This is

414
00:22:22,600 --> 00:22:31,240
Speaker 1: multiple choice guitar band, kind of paternal figure, songwriting, producing, singing.

415
00:22:31,960 --> 00:22:34,800
Speaker 1: I guess singing. Okay, I'm glad you chose that one.

416
00:22:35,040 --> 00:22:37,439
Speaker 1: I was driving. I think when I popped the words

417
00:22:37,520 --> 00:22:39,320
Speaker 1: singing the way I did, I was trying to do

418
00:22:40,080 --> 00:22:45,040
Speaker 1: or singing. What was singing to you? How did your

419
00:22:45,160 --> 00:22:47,760
Speaker 1: singing evolve where you arrived at where you are now

420
00:22:48,080 --> 00:22:50,640
Speaker 1: where most people say you have one of the most

421
00:22:52,000 --> 00:22:55,840
Speaker 1: evocative singing voices in all of music today, melancholy to

422
00:22:55,920 --> 00:22:58,560
Speaker 1: the point of well, people who loved, who love radio Head,

423
00:22:59,200 --> 00:23:02,760
Speaker 1: they crave their music, and they crave particularly you were singing.

424
00:23:04,200 --> 00:23:08,520
Speaker 2: Well, basically I went to music. I went to a

425
00:23:08,600 --> 00:23:12,119
Speaker 2: few singing lessons, but that was basically just so I

426
00:23:12,200 --> 00:23:14,280
Speaker 2: could literally breathe.

427
00:23:14,359 --> 00:23:14,520
Speaker 1: Right.

428
00:23:14,720 --> 00:23:20,320
Speaker 2: You know, one of my favorite singers, like Byork. When

429
00:23:20,320 --> 00:23:25,639
Speaker 2: I watched b York sing, I've been lucky enough to

430
00:23:25,680 --> 00:23:27,240
Speaker 2: sort of sing with her and watch you do it.

431
00:23:27,359 --> 00:23:28,640
Speaker 1: And I was gonna say, you'ree of the few people

432
00:23:28,640 --> 00:23:30,640
Speaker 1: going to use that phrase when I watched B. York

433
00:23:30,720 --> 00:23:32,760
Speaker 1: saying yeah, most of us say, well, when I listened

434
00:23:32,800 --> 00:23:35,880
Speaker 1: to B. York and it's.

435
00:23:38,480 --> 00:23:41,080
Speaker 2: In here, it's right here, they say, you know, with

436
00:23:41,280 --> 00:23:43,800
Speaker 2: with with in yoga and stuff that whatever it is,

437
00:23:43,800 --> 00:23:45,560
Speaker 2: I can't remember that that spot at the top of

438
00:23:45,600 --> 00:23:50,880
Speaker 2: the forehead that you really most singers like Neil Young

439
00:23:51,000 --> 00:23:53,080
Speaker 2: is the same. He sings into this spot in his

440
00:23:53,240 --> 00:23:58,840
Speaker 2: head and what he's singing he's already heard, you know

441
00:23:58,840 --> 00:24:01,960
Speaker 2: what I mean, He's hearing it come out. The same

442
00:24:02,320 --> 00:24:06,600
Speaker 2: with Buork when she's singing, she's singing what she's hearing,

443
00:24:07,119 --> 00:24:14,560
Speaker 2: so there's no force. It's a force in itself. It

444
00:24:14,640 --> 00:24:18,960
Speaker 2: took me a while to get that, you know, even

445
00:24:19,160 --> 00:24:23,399
Speaker 2: when we were on tour with ira Em back when

446
00:24:23,440 --> 00:24:25,960
Speaker 2: we're doing the Benz in ninety six or whatever.

447
00:24:26,600 --> 00:24:26,800
Speaker 1: It was.

448
00:24:26,840 --> 00:24:28,920
Speaker 2: Still I was still trying to figure it out. Then

449
00:24:30,840 --> 00:24:34,520
Speaker 2: watching Michael and wanting to sound like Michael, but I couldn't,

450
00:24:34,600 --> 00:24:37,080
Speaker 2: you know, because my voice is in a different tone

451
00:24:37,160 --> 00:24:40,560
Speaker 2: completely and so on. But what I did learn, what

452
00:24:40,680 --> 00:24:42,760
Speaker 2: you know, watching him, was again that thing of like

453
00:24:43,040 --> 00:24:47,840
Speaker 2: watching someone who their voices in sort of command of

454
00:24:47,920 --> 00:24:51,720
Speaker 2: them rather than the other way around. Yeah, but it's

455
00:24:51,880 --> 00:24:56,240
Speaker 2: very natural, but it takes a long time for that

456
00:24:56,400 --> 00:24:59,800
Speaker 2: to become natural. I think, like any singer, it takes

457
00:24:59,840 --> 00:25:03,120
Speaker 2: a long time to find that thing and it keeps

458
00:25:03,240 --> 00:25:08,320
Speaker 2: changing to me how I sing now or to me

459
00:25:08,440 --> 00:25:10,800
Speaker 2: it feels different to a few years ago.

460
00:25:11,160 --> 00:25:14,040
Speaker 1: Why it just does it just because to do it?

461
00:25:14,359 --> 00:25:16,440
Speaker 2: Well, yeah, there's probably some physical element to it, but

462
00:25:16,920 --> 00:25:20,920
Speaker 2: also just where you're at, you know, because singing is

463
00:25:21,000 --> 00:25:23,760
Speaker 2: nothing but like probably like acting, singing is nothing but

464
00:25:24,000 --> 00:25:24,760
Speaker 2: being in a moment.

465
00:25:24,880 --> 00:25:27,520
Speaker 1: That's it and where you're at. Yeah, when you do like.

466
00:25:29,480 --> 00:25:32,919
Speaker 2: When I used to be like you know, when when

467
00:25:32,960 --> 00:25:35,840
Speaker 2: you're trying to singing or whatever, channle I remember sort

468
00:25:35,880 --> 00:25:38,320
Speaker 2: of okay, computer, I still had this thing like, well

469
00:25:38,640 --> 00:25:40,360
Speaker 2: I need to be a little bit half cut when

470
00:25:40,400 --> 00:25:43,280
Speaker 2: i'm you know, I need to do something or other beforehand.

471
00:25:43,400 --> 00:25:45,880
Speaker 2: So I thought I'm in the right space, man, Where

472
00:25:45,920 --> 00:25:49,360
Speaker 2: it's all bollocks because basically you just got to learn

473
00:25:49,440 --> 00:25:52,720
Speaker 2: to be there with it. When you do it, you're

474
00:25:52,760 --> 00:25:55,200
Speaker 2: not trying to prove anything. You're not trying to get anywhere,

475
00:25:55,240 --> 00:25:57,840
Speaker 2: You're not trying to achieve anything. You're not trying to

476
00:25:58,000 --> 00:26:00,920
Speaker 2: get this emotion across. You're not in this space trying

477
00:26:00,960 --> 00:26:02,800
Speaker 2: to get this space across. You're not trying to get

478
00:26:02,880 --> 00:26:08,560
Speaker 2: this mindset across or anything. You're just letting it happen.

479
00:26:33,280 --> 00:26:37,080
Speaker 1: When you do this now, when you live inside your

480
00:26:37,119 --> 00:26:40,680
Speaker 1: life now, whether you're performing live or you're producing and

481
00:26:40,840 --> 00:26:45,439
Speaker 1: recording music, do you feel different now that you're older?

482
00:26:45,960 --> 00:26:48,320
Speaker 1: I mean, the chasm between when you're sixteen when you're

483
00:26:48,359 --> 00:26:52,520
Speaker 1: forty three is extraordinary, isn't it? Just it's just mind bending? Yeah.

484
00:26:53,080 --> 00:26:54,359
Speaker 1: Do you feel like you're sick of it and you

485
00:26:54,400 --> 00:26:55,640
Speaker 1: want to be done with it? Yeah?

486
00:26:55,960 --> 00:26:59,640
Speaker 2: You do sometimes, but not, it's never really. The music

487
00:27:00,160 --> 00:27:04,560
Speaker 2: is everything else, you know, primarily what we'll just stresses

488
00:27:04,600 --> 00:27:07,720
Speaker 2: of life whatever. You know, something's good.

489
00:27:08,000 --> 00:27:09,560
Speaker 1: So your life is not like I mean a lot

490
00:27:09,600 --> 00:27:13,480
Speaker 1: of people think they think that successful artists, whether it

491
00:27:13,600 --> 00:27:16,680
Speaker 1: is walk across this bed of rose petals all day,

492
00:27:17,080 --> 00:27:18,920
Speaker 1: the greatest torment of our life is do we go

493
00:27:19,000 --> 00:27:23,879
Speaker 1: to Paris on spring break or Anguilla? My god, I

494
00:27:24,040 --> 00:27:27,119
Speaker 1: can't I can't answer that. It is a problem. It

495
00:27:27,280 --> 00:27:31,520
Speaker 1: is a problem, but it's not we're supposed to say

496
00:27:31,640 --> 00:27:34,760
Speaker 1: that But what I'm saying is is that they think that, like,

497
00:27:34,880 --> 00:27:38,480
Speaker 1: do you ever sit there? You're very active socially. Yes,

498
00:27:38,960 --> 00:27:41,879
Speaker 1: I guess you care. You've made some comments about world affairs.

499
00:27:41,920 --> 00:27:43,720
Speaker 1: I don't care about the world. Yeah, you care about

500
00:27:43,720 --> 00:27:46,000
Speaker 1: what's going If I said to you that, I snapped

501
00:27:46,000 --> 00:27:48,520
Speaker 1: my fingers and you go back to having a very

502
00:27:48,600 --> 00:27:50,560
Speaker 1: normal life and you're not you at all with everything

503
00:27:50,600 --> 00:27:52,040
Speaker 1: that goes with it, and the rest of the world

504
00:27:52,119 --> 00:27:54,400
Speaker 1: is elevated and the rest of the world gets better.

505
00:27:54,720 --> 00:27:56,919
Speaker 1: Things you care about? Think of an issue you care.

506
00:27:57,920 --> 00:28:02,000
Speaker 1: Can I say to you Tom yorke Tom, your Tom,

507
00:28:02,119 --> 00:28:05,960
Speaker 1: you go back and the world gets better, would you

508
00:28:06,040 --> 00:28:11,359
Speaker 1: make that change to find better? It's a tricky question,

509
00:28:11,520 --> 00:28:13,320
Speaker 1: but you do. It's not an either or. But you

510
00:28:13,440 --> 00:28:16,159
Speaker 1: do care about other things. Is there an issue that

511
00:28:16,280 --> 00:28:18,960
Speaker 1: you're embracing now? Is there something you're involved in that

512
00:28:19,200 --> 00:28:20,120
Speaker 1: or where I'm going?

513
00:28:20,280 --> 00:28:24,320
Speaker 2: I well, in my slack asked fashion, I was helping

514
00:28:25,320 --> 00:28:28,119
Speaker 2: Greenpeace do this thing which was trying to stop drilling

515
00:28:28,119 --> 00:28:30,840
Speaker 2: in the Arctic. But it sounds like it's kind of

516
00:28:30,880 --> 00:28:33,720
Speaker 2: working because the company seemed to be pulling out because

517
00:28:33,720 --> 00:28:34,000
Speaker 2: they can't.

518
00:28:34,880 --> 00:28:35,359
Speaker 1: Yeah, that's right.

519
00:28:35,480 --> 00:28:37,359
Speaker 2: I don't think that's entirely down to us, but I

520
00:28:37,440 --> 00:28:40,120
Speaker 2: think it definitely helped that We're making their life extremely

521
00:28:40,200 --> 00:28:43,400
Speaker 2: difficult everywhere they turned. But challenge now is to turn

522
00:28:43,480 --> 00:28:46,120
Speaker 2: the Arctic into a reserve so it can't happen, because

523
00:28:46,760 --> 00:28:49,400
Speaker 2: what that was going to do is create this gold rush,

524
00:28:49,520 --> 00:28:52,600
Speaker 2: you know, or rush up there, which was just going

525
00:28:52,680 --> 00:28:55,760
Speaker 2: to be insane. And this at the same time where

526
00:28:55,760 --> 00:28:58,720
Speaker 2: the ice is melting. Basically they only started considering it

527
00:28:58,840 --> 00:29:01,520
Speaker 2: was a possibility because the was melting. They thought, Okay, great,

528
00:29:01,800 --> 00:29:04,120
Speaker 2: maybe got a better chance for drilling, which is like

529
00:29:04,800 --> 00:29:07,240
Speaker 2: a global global you.

530
00:29:07,240 --> 00:29:08,880
Speaker 1: Mean less oil to them, it means more Well.

531
00:29:09,000 --> 00:29:12,000
Speaker 2: Yeah, So I was kind of stuck in that for

532
00:29:12,080 --> 00:29:14,520
Speaker 2: a while because, yeah, the to me, the irony of

533
00:29:14,560 --> 00:29:17,400
Speaker 2: it was too much. I don't know where I'll go next.

534
00:29:17,920 --> 00:29:20,560
Speaker 2: I don't I find it very stressful. I did get involved.

535
00:29:20,600 --> 00:29:22,320
Speaker 2: A few years ago. We did this thing in Britain,

536
00:29:22,760 --> 00:29:27,440
Speaker 2: the first Climate Change Act, which meant the government is

537
00:29:27,800 --> 00:29:32,920
Speaker 2: committed to reducing CO two emissions twenty fifty by ninety percent,

538
00:29:33,480 --> 00:29:35,040
Speaker 2: and now lots of countries have got it. It was

539
00:29:35,080 --> 00:29:37,440
Speaker 2: the first one and the government didn't want to do it.

540
00:29:37,560 --> 00:29:39,400
Speaker 2: Blair didn't want to do it, but we found this

541
00:29:39,960 --> 00:29:43,520
Speaker 2: interesting loophole and got thousands of people to send letters

542
00:29:43,560 --> 00:29:45,640
Speaker 2: in and said at the bottom of the letter to

543
00:29:45,720 --> 00:29:47,880
Speaker 2: the at the MP police, can you pass this on

544
00:29:47,960 --> 00:29:52,480
Speaker 2: to Blair? Right? And apparently they were obliged to pass

545
00:29:52,520 --> 00:29:55,520
Speaker 2: on these letters. So Blair was literally getting thousands and

546
00:29:55,640 --> 00:29:58,520
Speaker 2: thousands and thousands and thousands and thousands of letters, which

547
00:29:58,680 --> 00:30:02,320
Speaker 2: doesn't normally happen. And he did pass the law after

548
00:30:02,440 --> 00:30:05,120
Speaker 2: much arguing and me refusing to meet him because it

549
00:30:05,200 --> 00:30:09,400
Speaker 2: was during the Iraq War and all sorts of critical

550
00:30:09,440 --> 00:30:13,240
Speaker 2: of Yeah, well, any normal human being would be anyway.

551
00:30:14,360 --> 00:30:15,920
Speaker 2: I was very glad I did it, and the people

552
00:30:15,960 --> 00:30:17,920
Speaker 2: I was working for at the time it was with

553
00:30:18,040 --> 00:30:20,680
Speaker 2: Friends of the Earth, and it was really inspiring and

554
00:30:21,080 --> 00:30:23,160
Speaker 2: I became really good friends with the guy who's running

555
00:30:23,200 --> 00:30:25,200
Speaker 2: Friends of the Earth at the time, Tony Juniper, who

556
00:30:25,320 --> 00:30:30,680
Speaker 2: now works with Prince Charles. And it was a great period.

557
00:30:30,720 --> 00:30:34,800
Speaker 2: But I just burnt me out getting that close to politics.

558
00:30:35,040 --> 00:30:37,920
Speaker 2: The most fascinating figure that we work with was the

559
00:30:38,000 --> 00:30:41,560
Speaker 2: lobbyist that we had our one lobbyist, So like we

560
00:30:41,760 --> 00:30:45,280
Speaker 2: went into this Port Colors house in Britain, you probably

561
00:30:45,320 --> 00:30:47,000
Speaker 2: have the equivalent here. I don't know what it's called,

562
00:30:47,160 --> 00:30:50,840
Speaker 2: but Port Cullis House was built for the lobbyists. It

563
00:30:51,000 --> 00:30:53,840
Speaker 2: was built for special interests to go and sit with

564
00:30:53,960 --> 00:30:57,160
Speaker 2: a cup of coffee, round table about this size and

565
00:30:57,320 --> 00:31:00,960
Speaker 2: wait for MPs to go past colin of them, sit

566
00:31:01,040 --> 00:31:03,200
Speaker 2: them down and lobby them in.

567
00:31:03,280 --> 00:31:06,360
Speaker 1: Big Congress the Capitol building.

568
00:31:06,560 --> 00:31:08,920
Speaker 2: Anyway, I found it completely fascinating, you know, because it's

569
00:31:09,120 --> 00:31:11,560
Speaker 2: there's hundreds of these people walking around, and I'm like,

570
00:31:12,440 --> 00:31:17,200
Speaker 2: none of them are lobbying for us, except when you

571
00:31:17,320 --> 00:31:19,520
Speaker 2: maybe possibly could argue that our one mate, Friends of

572
00:31:19,560 --> 00:31:22,320
Speaker 2: the Earth was like technically, you know, maybe speaking for

573
00:31:22,400 --> 00:31:25,680
Speaker 2: the people a little bit, but basically they were all

574
00:31:26,040 --> 00:31:29,240
Speaker 2: special interest and they had the ear of government.

575
00:31:29,320 --> 00:31:31,560
Speaker 1: And I just thought, hang on, hang on a minute,

576
00:31:31,920 --> 00:31:34,160
Speaker 1: how did this happen? Anyway? Where where were we a

577
00:31:34,200 --> 00:31:36,400
Speaker 1: minute ago? I know where I want to go? Okay,

578
00:31:36,440 --> 00:31:39,160
Speaker 1: go on and go there. Then your children, Oh no, no,

579
00:31:39,320 --> 00:31:41,440
Speaker 1: that's too much for a jump. Hang on where we

580
00:31:41,600 --> 00:31:46,880
Speaker 1: Let's finish with this first? Then your children. I'm lost.

581
00:31:46,960 --> 00:31:49,000
Speaker 1: Now do your children know who you are and what

582
00:31:49,120 --> 00:31:49,320
Speaker 1: you do?

583
00:31:50,800 --> 00:31:53,360
Speaker 2: Yeah, they're used to it. They're used to people coming

584
00:31:53,440 --> 00:31:55,640
Speaker 2: up and saying hello. But most of the time it's

585
00:31:55,720 --> 00:32:00,320
Speaker 2: very friendly and that's normal. That's their normal, that's what

586
00:32:00,400 --> 00:32:01,000
Speaker 2: they've grown up.

587
00:32:01,320 --> 00:32:04,800
Speaker 1: And how old are they? Twelve and seven? So one

588
00:32:05,040 --> 00:32:08,400
Speaker 1: seven the age that you decided you wanted to be

589
00:32:08,520 --> 00:32:13,200
Speaker 1: Brian May the twelve and by then he's he he

590
00:32:13,280 --> 00:32:15,600
Speaker 1: would already have made his guitar with that neck. That

591
00:32:15,720 --> 00:32:17,520
Speaker 1: was eleven. I think you said to the other kids,

592
00:32:18,160 --> 00:32:18,760
Speaker 1: where are they at?

593
00:32:18,840 --> 00:32:23,120
Speaker 2: Basically, my son is a great drummer, but I don't

594
00:32:23,120 --> 00:32:24,760
Speaker 2: know if you want to do that forever or not.

595
00:32:24,840 --> 00:32:26,960
Speaker 2: He's like not bothered really, which is cool. You know,

596
00:32:27,120 --> 00:32:29,320
Speaker 2: he just and he comes and hangs out with me

597
00:32:29,400 --> 00:32:30,560
Speaker 2: when I'm working in my studio.

598
00:32:30,960 --> 00:32:32,560
Speaker 1: We just hang out. You know, we're friends.

599
00:32:33,560 --> 00:32:35,280
Speaker 2: But I don't think you know that there's no burning

600
00:32:35,320 --> 00:32:38,040
Speaker 2: ambition to be a musicians or anything. Really, even though

601
00:32:38,080 --> 00:32:41,520
Speaker 2: he's really good, he's for pleasure. I mean at that

602
00:32:41,600 --> 00:32:42,440
Speaker 2: age that's good, right.

603
00:32:42,560 --> 00:32:53,280
Speaker 1: His fatherhood affected your work, yes, but not really that

604
00:32:53,480 --> 00:32:54,600
Speaker 1: you have the obvious things.

605
00:32:54,720 --> 00:32:56,479
Speaker 2: Were you you go out on the road more if

606
00:32:56,480 --> 00:33:02,920
Speaker 2: you didn't have children, Yep, absolutely, But that's not necessarily

607
00:33:03,000 --> 00:33:06,320
Speaker 2: a bad thing at all. You know, being on their

608
00:33:06,360 --> 00:33:11,880
Speaker 2: road is it's a it's not a great war. It's

609
00:33:11,960 --> 00:33:13,240
Speaker 2: it's you don't want to do it all your life.

610
00:33:13,280 --> 00:33:14,680
Speaker 2: You get a little bit on it gets a little

611
00:33:14,760 --> 00:33:19,960
Speaker 2: unhealthy quite quickly mentally, if not physically.

612
00:33:20,120 --> 00:33:21,920
Speaker 1: Has been difficult for you, mentally.

613
00:33:22,320 --> 00:33:25,640
Speaker 2: Uh, it can be different. It means it's it's wicked

614
00:33:25,800 --> 00:33:28,760
Speaker 2: fun a bit too much. It's either wicked fun or

615
00:33:28,920 --> 00:33:31,800
Speaker 2: really awful, like when you're sick. Then it gets really

616
00:33:32,040 --> 00:33:33,120
Speaker 2: it's a roll bumber man.

617
00:33:33,440 --> 00:33:34,240
Speaker 1: Have to get out there.

618
00:33:34,680 --> 00:33:36,960
Speaker 2: Yeah, try to sing your way through the notes that

619
00:33:37,000 --> 00:33:40,360
Speaker 2: you can't find because you're so sick or whatever. That's

620
00:33:40,480 --> 00:33:43,800
Speaker 2: really super stressful. But you know, it is a massive

621
00:33:43,880 --> 00:33:45,240
Speaker 2: buzz and there's no denying it.

622
00:33:45,320 --> 00:33:58,000
Speaker 1: It's great. But Tom Yorke is the first to admit

623
00:33:58,080 --> 00:34:00,160
Speaker 1: that it takes work to keep it fun in the

624
00:34:00,240 --> 00:34:01,760
Speaker 1: studio and on tour.

625
00:34:02,160 --> 00:34:04,680
Speaker 2: It's very difficult to play with people you don't if

626
00:34:04,720 --> 00:34:08,680
Speaker 2: there's problems between you, for example, if the issues come up.

627
00:34:08,880 --> 00:34:11,440
Speaker 2: I mean, I'm very much I'm a librin and I

628
00:34:11,560 --> 00:34:14,600
Speaker 2: need to sort it out. I can't have stuff hanging around.

629
00:34:14,920 --> 00:34:17,160
Speaker 1: You know, because it gets in a way more in

630
00:34:17,239 --> 00:34:20,160
Speaker 1: a minute with Tom Yorke, this is Alec Baldwin and

631
00:34:20,280 --> 00:34:33,279
Speaker 1: you're listening to here's the thing given the level of

632
00:34:33,400 --> 00:34:37,040
Speaker 1: success that Radiohead has reached. I did have certain expectations

633
00:34:37,080 --> 00:34:40,080
Speaker 1: of Tom's lifestyle. I mean, I'm assuming you're in a

634
00:34:40,160 --> 00:34:43,480
Speaker 1: world where that your phone must have rang it maybe

635
00:34:43,560 --> 00:34:47,080
Speaker 1: it stopped because you kept saying no, but maybe everybody's like,

636
00:34:47,160 --> 00:34:49,880
Speaker 1: you know, Bono wants to pick you up tomorrow and

637
00:34:50,000 --> 00:34:55,160
Speaker 1: fly you to Saint Bart's. Yeah, that never appealed.

638
00:34:56,160 --> 00:34:58,120
Speaker 2: I don't hang out with people because they are who

639
00:34:58,160 --> 00:35:01,440
Speaker 2: they are, necessarily unless I'm a big admirer of them,

640
00:35:01,600 --> 00:35:03,960
Speaker 2: Like I mean, I stalked at Norton for ages until

641
00:35:04,000 --> 00:35:06,839
Speaker 2: eventually he gave it because I'm a big admirer of him.

642
00:35:06,880 --> 00:35:08,839
Speaker 2: I think it's brilliant. So I hang out with him

643
00:35:08,840 --> 00:35:09,719
Speaker 2: a bit occasionally.

644
00:35:11,160 --> 00:35:11,680
Speaker 1: And Flea.

645
00:35:12,040 --> 00:35:15,640
Speaker 2: I've always really admired Flea anyway, so even before it

646
00:35:15,719 --> 00:35:17,560
Speaker 2: became an issue of sort of playing with him.

647
00:35:17,840 --> 00:35:21,279
Speaker 1: Tangentially related to that, As you've gotten older and you

648
00:35:21,360 --> 00:35:24,239
Speaker 1: look around the musical landscape, what you see does it

649
00:35:24,320 --> 00:35:27,160
Speaker 1: appeal to you? Meaning of the music that's popular music,

650
00:35:27,200 --> 00:35:31,400
Speaker 1: I mean, what's selling now the most successfully. Have you

651
00:35:31,640 --> 00:35:34,120
Speaker 1: moved into a different place with that or do you

652
00:35:34,239 --> 00:35:35,960
Speaker 1: admire a lot of what's being done.

653
00:35:36,880 --> 00:35:39,840
Speaker 2: In the mainstream. In the mainstream, there's nothing in the mainstream.

654
00:35:39,920 --> 00:35:43,440
Speaker 2: The mainstream is just avoid you know. To me, I mean,

655
00:35:43,800 --> 00:35:45,520
Speaker 2: what's weird about putting a record out?

656
00:35:45,600 --> 00:35:46,040
Speaker 1: Now? Really?

657
00:35:46,239 --> 00:35:48,239
Speaker 2: And this is not like sour grapes at all. It's

658
00:35:48,360 --> 00:35:51,880
Speaker 2: just the fact the volume, literally the sheer volume stuff

659
00:35:51,880 --> 00:35:55,920
Speaker 2: that gets put out. It's like this huge fucking waterfall

660
00:35:56,520 --> 00:35:58,680
Speaker 2: and you're just thrown your pebble in and it carries

661
00:35:58,719 --> 00:35:59,719
Speaker 2: on down the waterfall.

662
00:36:00,200 --> 00:36:01,120
Speaker 1: That right, Okay.

663
00:36:01,360 --> 00:36:05,400
Speaker 2: Next, basically, you know, like in this country, the radio

664
00:36:05,520 --> 00:36:08,480
Speaker 2: is tied up and people don't really listen to radio

665
00:36:08,520 --> 00:36:11,440
Speaker 2: in the same way. It's it's music's going through a

666
00:36:11,560 --> 00:36:17,279
Speaker 2: weird time because on the one hand, as ever, there's

667
00:36:17,400 --> 00:36:21,000
Speaker 2: always really exciting music being made. It's never not being made.

668
00:36:21,160 --> 00:36:22,920
Speaker 2: It's a question of whether you're going to get to

669
00:36:23,000 --> 00:36:26,279
Speaker 2: hear it or not. And I mean I kind of

670
00:36:26,360 --> 00:36:28,480
Speaker 2: I kind of knew the game was up a few

671
00:36:28,560 --> 00:36:31,800
Speaker 2: years ago when one of our sort of team of

672
00:36:31,840 --> 00:36:37,400
Speaker 2: people came in saying Nokia wanted to offer you millions

673
00:36:37,440 --> 00:36:41,160
Speaker 2: of pounds because they want content for their phones. And

674
00:36:41,280 --> 00:36:43,600
Speaker 2: this is like in two thousand, I don't know, early

675
00:36:43,640 --> 00:36:47,000
Speaker 2: two thousands, and you're like content, what you know, content.

676
00:36:47,520 --> 00:36:53,200
Speaker 2: What do you mean music? Yes, okay, content maybe that yes, yeah,

677
00:36:53,680 --> 00:36:56,520
Speaker 2: just stuff could be music stuff, yeah, stuff could be

678
00:36:56,640 --> 00:36:57,280
Speaker 2: got snoring?

679
00:36:57,520 --> 00:36:59,360
Speaker 1: Have you got some stuff? You know?

680
00:36:59,440 --> 00:37:02,440
Speaker 2: And you're like okay, And I think, really my problem

681
00:37:02,480 --> 00:37:04,280
Speaker 2: with it is it is like it's now like something

682
00:37:04,320 --> 00:37:07,080
Speaker 2: to fill up the hardware with, you know, the music

683
00:37:07,160 --> 00:37:09,879
Speaker 2: itself has become secondary to that, which is a weird

684
00:37:09,960 --> 00:37:11,560
Speaker 2: thing to me. It's like, and I think that will

685
00:37:11,640 --> 00:37:14,680
Speaker 2: change because there's only so many different permutations of the

686
00:37:14,719 --> 00:37:16,960
Speaker 2: same hardware you can make before people go, well, actually

687
00:37:17,000 --> 00:37:20,000
Speaker 2: I have an iPod now, so thanks. So I think

688
00:37:20,400 --> 00:37:23,280
Speaker 2: things will change, and I think the radio will change,

689
00:37:24,040 --> 00:37:26,320
Speaker 2: and sooner the better, because no matter what way you

690
00:37:26,400 --> 00:37:29,960
Speaker 2: look at it, the most pleasurable experiences you ever have

691
00:37:30,200 --> 00:37:33,399
Speaker 2: is like when something's played to you you don't know, well,

692
00:37:33,440 --> 00:37:35,239
Speaker 2: like going around to a friend's house and they'll stick

693
00:37:35,280 --> 00:37:35,719
Speaker 2: a tune on.

694
00:37:35,760 --> 00:37:38,040
Speaker 1: You, Like what the hell is it? You know? Which

695
00:37:38,120 --> 00:37:39,520
Speaker 1: is what it's about?

696
00:37:39,640 --> 00:37:41,760
Speaker 2: You know, that's why we're like going into a store

697
00:37:41,800 --> 00:37:44,560
Speaker 2: when I was a kid, like and the New Smith's

698
00:37:44,600 --> 00:37:46,600
Speaker 2: records come out, and like and I'm going up to

699
00:37:46,640 --> 00:37:48,600
Speaker 2: the guy. I think that's like he's really cool, Like

700
00:37:48,680 --> 00:37:50,680
Speaker 2: the indie store in town and just talking to him

701
00:37:50,680 --> 00:37:52,000
Speaker 2: about music for twenty minutes.

702
00:37:52,080 --> 00:37:55,080
Speaker 1: You know, and you know you share now everywhere you go.

703
00:37:55,239 --> 00:37:56,120
Speaker 1: Music is everywhere.

704
00:37:56,320 --> 00:37:58,719
Speaker 2: It's everywhere, but it's not nicely. Yeah, that's what I'm saying.

705
00:37:58,840 --> 00:37:59,480
Speaker 1: It's content.

706
00:38:00,040 --> 00:38:04,359
Speaker 2: Content is king that bullshit will change. And when it does,

707
00:38:04,440 --> 00:38:08,440
Speaker 2: then I think we'll have a resurgence. The underbelly will

708
00:38:08,480 --> 00:38:12,400
Speaker 2: come back overbelly and then well.

709
00:38:12,360 --> 00:38:15,480
Speaker 1: If it's middle aged, it'll be overbelly. Well you have

710
00:38:15,640 --> 00:38:17,120
Speaker 1: ways to go there. I'm going to be taking some

711
00:38:17,239 --> 00:38:20,000
Speaker 1: slimming pills. Yeah, but no, we in the way that

712
00:38:20,080 --> 00:38:22,840
Speaker 1: you talked about this pebble and the waterfall and content

713
00:38:23,040 --> 00:38:27,480
Speaker 1: and music marketing. Now, so if that changes, certainly, which

714
00:38:27,520 --> 00:38:30,839
Speaker 1: it has, does your willingness to release your music into

715
00:38:30,920 --> 00:38:33,920
Speaker 1: that world change? I mean, like, for example, an obvious example,

716
00:38:34,000 --> 00:38:36,440
Speaker 1: maybe too obvious, is you don't want to play Creep anymore.

717
00:38:36,960 --> 00:38:38,200
Speaker 1: Now do you sit there and say, like, if the

718
00:38:38,239 --> 00:38:40,680
Speaker 1: Sultan of Brunei called you up and said I want

719
00:38:40,719 --> 00:38:43,080
Speaker 1: you to come to Brunei and we give you a

720
00:38:43,160 --> 00:38:46,360
Speaker 1: million pounds, just play Creep, I would play Creep and

721
00:38:46,400 --> 00:38:46,919
Speaker 1: you can go home.

722
00:38:47,200 --> 00:38:51,640
Speaker 2: I would say to the something of BRUNEI, why do

723
00:38:51,719 --> 00:38:53,480
Speaker 2: you have that house near me that you never use.

724
00:38:54,840 --> 00:38:56,160
Speaker 1: I can just meet you down the block.

725
00:38:56,280 --> 00:38:58,440
Speaker 2: I mean, come on, it's an empty house, man, it

726
00:38:58,520 --> 00:39:01,560
Speaker 2: must be worth whatever. That's what I'd say, trillion, and

727
00:39:01,560 --> 00:39:02,799
Speaker 2: I'd say no obvious.

728
00:39:05,160 --> 00:39:05,720
Speaker 1: But am.

729
00:39:15,680 --> 00:39:16,080
Speaker 2: The hell?

730
00:39:21,320 --> 00:39:23,200
Speaker 1: When you retire a song that way? Why do you

731
00:39:23,280 --> 00:39:27,440
Speaker 1: do that? Well? I don't not necessarily retire it.

732
00:39:27,560 --> 00:39:29,640
Speaker 2: I mean I don't recognize it as me, which is

733
00:39:29,760 --> 00:39:33,160
Speaker 2: kind of quite interesting when I hearing just that voice,

734
00:39:33,160 --> 00:39:34,239
Speaker 2: I don't even recognize that.

735
00:39:34,360 --> 00:39:42,239
Speaker 1: It's kind of odd. Whatever you want, you're so fucking special.

736
00:39:45,160 --> 00:39:47,719
Speaker 2: But then I remember hearing I remember hearing Lou read

737
00:39:47,880 --> 00:39:52,839
Speaker 2: Like on some radio station in Dublin years and years ago,

738
00:39:53,200 --> 00:39:56,839
Speaker 2: and they were asking inevitably about the underground and he said, yeah,

739
00:39:56,960 --> 00:39:59,040
Speaker 2: or sometimes it comes on. I'm like, oh, this is cool,

740
00:39:59,040 --> 00:39:59,320
Speaker 2: what's this?

741
00:40:00,000 --> 00:40:02,560
Speaker 1: And then I realized it's an underground comments.

742
00:40:02,760 --> 00:40:05,160
Speaker 2: Wow, Yeah, I kind of know what he means to

743
00:40:05,160 --> 00:40:06,360
Speaker 2: sort of you get to the point where you're like,

744
00:40:06,840 --> 00:40:07,200
Speaker 2: what's that?

745
00:40:07,600 --> 00:40:20,200
Speaker 1: Like? Sounds pretty good? Blood. So you're forty three years old,

746
00:40:20,440 --> 00:40:23,920
Speaker 1: forty four, forty four years old, it's just our professional

747
00:40:24,000 --> 00:40:25,759
Speaker 1: courtesy that we shave a year off of all of

748
00:40:25,800 --> 00:40:28,799
Speaker 1: our already. Yeah, all of them. You're in the now

749
00:40:29,080 --> 00:40:31,120
Speaker 1: and you're in the here what have you? And I'm

750
00:40:31,320 --> 00:40:33,839
Speaker 1: not saying that glibly and you're know what I'm saying,

751
00:40:33,840 --> 00:40:36,440
Speaker 1: But you're not somebody who like Mick Jagger, for example,

752
00:40:36,520 --> 00:40:38,400
Speaker 1: Like I wonder if Mick Jagger is going to hit

753
00:40:38,440 --> 00:40:40,800
Speaker 1: a day, like does it happen in a day? Like

754
00:40:40,880 --> 00:40:43,560
Speaker 1: as Mick Jagger in bed one day and he picks

755
00:40:43,600 --> 00:40:46,160
Speaker 1: it the phone, He's like, you know, I just can't

756
00:40:46,239 --> 00:40:48,520
Speaker 1: do it anymore. I can't get out of this bed.

757
00:40:49,239 --> 00:40:53,239
Speaker 1: I can't do another fucking show again. And it's over.

758
00:40:54,000 --> 00:40:56,279
Speaker 1: Like do you think of other things? I think all

759
00:40:56,480 --> 00:40:59,319
Speaker 1: the time of the next thing I'm gonna do. Yeah,

760
00:41:00,640 --> 00:41:02,120
Speaker 1: next thing. You don't have to tell us what it is,

761
00:41:02,200 --> 00:41:06,640
Speaker 1: but you or no? I mean.

762
00:41:09,840 --> 00:41:12,480
Speaker 2: It would end if something happened to my voice.

763
00:41:13,360 --> 00:41:13,719
Speaker 1: I don't know.

764
00:41:14,000 --> 00:41:16,319
Speaker 2: Certain things could make it physically stop, and it will

765
00:41:16,360 --> 00:41:22,680
Speaker 2: stop at some point, something will happen. But for me, yeah,

766
00:41:22,680 --> 00:41:25,879
Speaker 2: I'm always hearing different things. There's always half finished things,

767
00:41:25,920 --> 00:41:28,080
Speaker 2: which you ask poor old Nigel he knows about that.

768
00:41:28,640 --> 00:41:31,480
Speaker 2: There's always a mountain of half stuff. I want to

769
00:41:31,520 --> 00:41:34,480
Speaker 2: get into stuff, I've started stuff I want to you know,

770
00:41:34,760 --> 00:41:38,640
Speaker 2: But I also think it's good to sort of take

771
00:41:38,800 --> 00:41:42,120
Speaker 2: breaks because I've gone straight from this radio tour last year,

772
00:41:42,120 --> 00:41:44,680
Speaker 2: which was a really heavy mother but really good fun,

773
00:41:45,120 --> 00:41:48,279
Speaker 2: straight into doing sort of atoms stuff and not really

774
00:41:48,360 --> 00:41:51,640
Speaker 2: had a break. And so breakers do a breakers do,

775
00:41:51,800 --> 00:41:54,960
Speaker 2: because what I've found with a breaker can be an

776
00:41:54,960 --> 00:41:57,279
Speaker 2: incredibly exciting thing with that thing of like you just

777
00:41:58,160 --> 00:41:59,800
Speaker 2: all the stuff you want to do, but you just

778
00:42:00,080 --> 00:42:03,759
Speaker 2: force yourself not just force yourself to wait and get

779
00:42:03,840 --> 00:42:09,080
Speaker 2: back into just time and space and yeah, not being

780
00:42:09,200 --> 00:42:12,200
Speaker 2: in music all the time, I think, because it's like anything,

781
00:42:12,719 --> 00:42:15,640
Speaker 2: you start to go in small circles, so you've got

782
00:42:15,719 --> 00:42:16,760
Speaker 2: to stop when that happens.

783
00:42:16,800 --> 00:42:19,160
Speaker 1: I've had to practice that now. I mean, I got

784
00:42:19,239 --> 00:42:21,960
Speaker 1: married again and my wife is pregnant and I'm going

785
00:42:22,040 --> 00:42:24,919
Speaker 1: to have a kid, and I really sat and thought

786
00:42:24,960 --> 00:42:29,080
Speaker 1: about that way that I want to have a more

787
00:42:29,360 --> 00:42:34,600
Speaker 1: ordinary and more normal handling of my emotions. I think

788
00:42:34,640 --> 00:42:35,960
Speaker 1: the best way to put it is what people in

789
00:42:36,000 --> 00:42:38,080
Speaker 1: my business say, which is would you rather live it

790
00:42:38,160 --> 00:42:40,320
Speaker 1: in real life or words you rather play it on screen?

791
00:42:41,120 --> 00:42:42,759
Speaker 1: And I'm thinking I want to walk away from it

792
00:42:42,760 --> 00:42:44,600
Speaker 1: because I'd rather live it in real life now than

793
00:42:44,640 --> 00:42:45,480
Speaker 1: play it on screen.

794
00:42:46,080 --> 00:42:49,280
Speaker 2: I think it with what I do is slightly different

795
00:42:49,719 --> 00:42:53,760
Speaker 2: because what I do it actually unless you're literally spending,

796
00:42:54,840 --> 00:42:58,480
Speaker 2: unless you are just literally working too hard, it's a

797
00:42:58,600 --> 00:43:03,040
Speaker 2: regenerative thing. I find that I'm well, I mean, my family,

798
00:43:03,280 --> 00:43:06,239
Speaker 2: my friends know that I'm a nicer person if I'm

799
00:43:06,440 --> 00:43:09,200
Speaker 2: working and I'm into what I'm doing than if I stop,

800
00:43:10,080 --> 00:43:13,200
Speaker 2: and there is a period where I'm fairly unbearable if

801
00:43:13,239 --> 00:43:18,160
Speaker 2: I do stop too long, Yeah, for too long probably, Yeah,

802
00:43:18,160 --> 00:43:22,160
Speaker 2: there's a threshold. But like, if you want to shift

803
00:43:22,760 --> 00:43:24,880
Speaker 2: right with your work, if you want to shift, if

804
00:43:24,920 --> 00:43:28,799
Speaker 2: you're writing, if you're being creative at all, you kind

805
00:43:28,840 --> 00:43:33,200
Speaker 2: of have to stop to make that shift because if

806
00:43:33,239 --> 00:43:37,120
Speaker 2: you just I'm constantly creating, I've got this mounting of

807
00:43:37,239 --> 00:43:41,560
Speaker 2: brilliant ideas. You're making the basic mistake that you're assuming

808
00:43:41,640 --> 00:43:44,239
Speaker 2: all your ideas are brilliant, where in fact, the more

809
00:43:44,280 --> 00:43:46,879
Speaker 2: you do they're probably the more it kind of your

810
00:43:46,920 --> 00:43:50,200
Speaker 2: thing in reverse, because actually I need to go and

811
00:43:50,320 --> 00:43:51,080
Speaker 2: do normal shit.

812
00:43:51,400 --> 00:43:51,880
Speaker 1: I need to.

813
00:43:52,920 --> 00:43:59,200
Speaker 2: I can't write unless I have a period where you're restored. Well, no,

814
00:43:59,280 --> 00:44:05,680
Speaker 2: it's not restored, just just reset. I'm like just normal, normal, normal, normal, normal, normal, normal.

815
00:44:05,800 --> 00:44:09,719
Speaker 1: Speaking of normal, do you have siblings. Yeah, do you

816
00:44:09,760 --> 00:44:13,720
Speaker 1: have a brother? What does he do? Russian politics and stuff?

817
00:44:14,440 --> 00:44:17,880
Speaker 1: He teaches? No, he's the mayor of all.

818
00:44:19,560 --> 00:44:23,440
Speaker 2: What do you mean all sorts of ship investigations on people?

819
00:44:24,640 --> 00:44:28,959
Speaker 2: You studied Russian Oxford and then went into various.

820
00:44:29,000 --> 00:44:33,080
Speaker 1: Are your parents all there? What do your I always

821
00:44:33,120 --> 00:44:36,080
Speaker 1: let people in your business? Above all? What are your

822
00:44:36,120 --> 00:44:39,080
Speaker 1: parents and your brother make of you going from being

823
00:44:39,200 --> 00:44:42,720
Speaker 1: Tom York Tom to becoming Tom York.

824
00:44:43,120 --> 00:44:44,759
Speaker 2: Well, my brother was in a band of his own

825
00:44:44,840 --> 00:44:46,520
Speaker 2: for a while as well, so he has a slightly

826
00:44:47,200 --> 00:44:49,440
Speaker 2: like he can see what it is from another point

827
00:44:49,480 --> 00:44:49,759
Speaker 2: of view.

828
00:44:50,640 --> 00:44:51,920
Speaker 1: What do my parents think? I don't know.

829
00:44:52,040 --> 00:44:55,840
Speaker 2: They like when I was a kid, they didn't approve.

830
00:44:55,960 --> 00:44:58,000
Speaker 2: Now that I'm happy, Why.

831
00:44:57,920 --> 00:44:59,439
Speaker 1: Do you go into advertising? Yes?

832
00:45:00,320 --> 00:45:02,360
Speaker 2: Well you know it was like fair enough. I was

833
00:45:02,680 --> 00:45:04,840
Speaker 2: pissed off of them at the time, but you know

834
00:45:05,040 --> 00:45:06,719
Speaker 2: it's kind of what that's what you do, isn't it?

835
00:45:06,800 --> 00:45:09,200
Speaker 1: I mean, well to everybody's parents. Right when I left

836
00:45:09,800 --> 00:45:11,880
Speaker 1: a pre law program and I was destined to go

837
00:45:11,960 --> 00:45:13,960
Speaker 1: to law school and I went into the acting program,

838
00:45:14,320 --> 00:45:17,520
Speaker 1: my mother was She literally screamed at me over the past.

839
00:45:18,000 --> 00:45:19,879
Speaker 2: My mom was very upset when I when I chose

840
00:45:19,920 --> 00:45:22,440
Speaker 2: to go to art college because she'd been to art

841
00:45:22,480 --> 00:45:24,040
Speaker 2: college and she said, it's a complete waste of time,

842
00:45:24,080 --> 00:45:25,600
Speaker 2: doesn't bother And.

843
00:45:25,680 --> 00:45:27,680
Speaker 1: When it became successful with my business mother was like,

844
00:45:27,800 --> 00:45:30,640
Speaker 1: I'm so proud of him. Oh my god, this is wonderful.

845
00:45:31,320 --> 00:45:35,200
Speaker 2: Yeah, it's kind of bonkers, like seeing them backstage at

846
00:45:35,200 --> 00:45:36,600
Speaker 2: a really big show that will come to a big

847
00:45:36,640 --> 00:45:38,600
Speaker 2: show and there's all sorts of shit came off with

848
00:45:38,680 --> 00:45:40,880
Speaker 2: my mates. They're doing whatever, you know, and there's my

849
00:45:40,960 --> 00:45:44,759
Speaker 2: mom and I going that was fun, cornie beer or whatever.

850
00:45:45,680 --> 00:45:49,359
Speaker 1: When you do step away from it, what are their

851
00:45:49,520 --> 00:45:52,319
Speaker 1: art are you? Are you interested in art photography? Well,

852
00:45:52,440 --> 00:45:53,759
Speaker 1: my mate theater.

853
00:45:53,600 --> 00:45:56,759
Speaker 2: Film, my mate Stanley don Wood who I went to

854
00:45:56,920 --> 00:45:59,680
Speaker 2: art college with, who does all our art work with.

855
00:46:00,200 --> 00:46:01,640
Speaker 1: I mean I do it with him kind of thing.

856
00:46:02,440 --> 00:46:04,800
Speaker 2: We always have these lovely plans about we want to

857
00:46:04,840 --> 00:46:06,960
Speaker 2: go and live in Berlin for a month and just

858
00:46:07,239 --> 00:46:09,840
Speaker 2: paint and get in trouble and things like that. We

859
00:46:10,000 --> 00:46:12,319
Speaker 2: call ourselves the Sunday Painters and we go on bad

860
00:46:12,400 --> 00:46:17,960
Speaker 2: painting trips. We did one where people they're bad painting

861
00:46:18,000 --> 00:46:21,720
Speaker 2: trips because I'm involved there was one of my favorite

862
00:46:21,760 --> 00:46:25,240
Speaker 2: ones was we went on the moors down in Cornwall.

863
00:46:26,520 --> 00:46:27,759
Speaker 2: Do you know what I mean by the moors and

864
00:46:27,840 --> 00:46:31,640
Speaker 2: Dartmore basically, which is very very very bleak, but really beautiful.

865
00:46:32,360 --> 00:46:35,560
Speaker 2: We were in the Stone Circle, drove part of the way,

866
00:46:35,680 --> 00:46:39,240
Speaker 2: walked the rest away with these big canvases and paints.

867
00:46:39,840 --> 00:46:42,120
Speaker 2: But we only we discovered we only have purple and

868
00:46:42,200 --> 00:46:45,480
Speaker 2: blue and yellow, so we thought, well, okay, we'll use that,

869
00:46:45,880 --> 00:46:49,840
Speaker 2: and we painted landscape all afternoon, but they were purple

870
00:46:49,880 --> 00:46:53,040
Speaker 2: and blue and yellow. Some pool women I remember coming

871
00:46:53,160 --> 00:46:56,480
Speaker 2: like late afternoon, coming and ask us, asking us for directions.

872
00:46:56,520 --> 00:46:59,880
Speaker 2: We're both sitting there, you know, canvases up like this,

873
00:47:00,160 --> 00:47:03,120
Speaker 2: all huddled up with the hoods on, you know, just.

874
00:47:03,200 --> 00:47:04,440
Speaker 1: Doing this, and.

875
00:47:06,480 --> 00:47:10,640
Speaker 2: This ball woman comes up, asks for asks for directions

876
00:47:10,960 --> 00:47:13,400
Speaker 2: or somewhere rather, and then looks at the paintings.

877
00:47:13,480 --> 00:47:18,760
Speaker 1: That just wonders off like, good luck, have another career.

878
00:47:19,360 --> 00:47:21,239
Speaker 1: I hope you're not counting on it. Always like, didn't

879
00:47:21,280 --> 00:47:23,680
Speaker 1: think the purple is working for it. Was like me

880
00:47:23,800 --> 00:47:26,319
Speaker 1: being in Italy and this beautiful couple. They were like late,

881
00:47:26,400 --> 00:47:28,200
Speaker 1: they were older, and the man walked up to me

882
00:47:28,239 --> 00:47:30,880
Speaker 1: in the camera and he said, schools A schooser is

883
00:47:30,920 --> 00:47:33,239
Speaker 1: a photo and He's pointing to me and his wife

884
00:47:33,360 --> 00:47:35,160
Speaker 1: is triangularly and I go oh, and I put my

885
00:47:35,280 --> 00:47:37,360
Speaker 1: arm around his wife to take a photo. He goes, no, no,

886
00:47:37,520 --> 00:47:42,840
Speaker 1: you photo and you take the photo the mountain in

887
00:47:42,960 --> 00:47:45,960
Speaker 1: the background, and I was like, oh, god, bless. Yeah,

888
00:47:46,000 --> 00:47:47,600
Speaker 1: they don't know who I am. I should move here,

889
00:47:47,640 --> 00:47:52,920
Speaker 1: I should move here. You mentioned someone gave you that

890
00:47:53,080 --> 00:47:58,040
Speaker 1: push his mentorship in your career. Do people come to

891
00:47:58,120 --> 00:48:00,799
Speaker 1: you and do you give them a push a little bit?

892
00:48:01,400 --> 00:48:03,759
Speaker 1: I mean, you must have a lot of people in

893
00:48:03,800 --> 00:48:05,560
Speaker 1: the music world, young people who look up to you.

894
00:48:08,280 --> 00:48:11,560
Speaker 2: One of the best buzzes really is that thing where

895
00:48:12,200 --> 00:48:16,120
Speaker 2: someone comes up who's new and they're really into you know,

896
00:48:16,200 --> 00:48:18,239
Speaker 2: I'm really into what they're doing. It's really fascinating and

897
00:48:18,280 --> 00:48:22,960
Speaker 2: it's really totally new to me. But yet the occasions

898
00:48:22,960 --> 00:48:25,080
Speaker 2: when the yeah and You're like.

899
00:48:25,120 --> 00:48:25,520
Speaker 1: How could you?

900
00:48:25,680 --> 00:48:28,200
Speaker 2: How could you feel off me? I don't see any

901
00:48:28,280 --> 00:48:32,719
Speaker 2: of my stuff, but they see it, and I'm like, Wow,

902
00:48:32,840 --> 00:48:35,719
Speaker 2: that's so cool, especially when it's like like it's in

903
00:48:35,840 --> 00:48:39,040
Speaker 2: hip hop, Like really you know people within hip hop

904
00:48:39,080 --> 00:48:41,480
Speaker 2: who are into Radiohead. I'm like, I find that so

905
00:48:41,719 --> 00:48:45,120
Speaker 2: fascinating because I mean, obviously I'm massively into hip hop,

906
00:48:45,200 --> 00:48:47,640
Speaker 2: and we we use hip hop as a reference point

907
00:48:47,680 --> 00:48:50,759
Speaker 2: in the way we build tracks and stuff. But but really, wow,

908
00:48:50,960 --> 00:48:53,840
Speaker 2: that's bonkers. Obviously that's one of the really good bits.

909
00:48:54,320 --> 00:48:58,400
Speaker 2: But it's not really mental ship. It's just people who

910
00:48:58,400 --> 00:49:00,400
Speaker 2: you admire good at their ship, you know.

911
00:49:00,880 --> 00:49:06,719
Speaker 1: And when it happens, it happens. How does success make

912
00:49:06,800 --> 00:49:07,360
Speaker 1: you feel?

913
00:49:09,000 --> 00:49:14,480
Speaker 2: How does it make me feel? Something which I think

914
00:49:14,640 --> 00:49:22,120
Speaker 2: is well, howes it make me feel? It's always been

915
00:49:22,160 --> 00:49:26,399
Speaker 2: a little bit far away from me And the only

916
00:49:26,520 --> 00:49:28,839
Speaker 2: time it sort of makes sense is when we play

917
00:49:29,080 --> 00:49:31,279
Speaker 2: in front of people, you know, and the rest of

918
00:49:31,280 --> 00:49:34,960
Speaker 2: the times like, well, it's it's just it's who I've

919
00:49:35,040 --> 00:49:39,239
Speaker 2: been for so long I can't tell you because it's

920
00:49:39,480 --> 00:49:42,600
Speaker 2: just that's what it is. And I think I've probably

921
00:49:42,640 --> 00:49:45,279
Speaker 2: been doing it more than I haven't in my life

922
00:49:45,920 --> 00:49:49,719
Speaker 2: in terms of years, in terms of time. So most

923
00:49:49,719 --> 00:49:52,239
Speaker 2: of the time I don't really notice and people come

924
00:49:52,320 --> 00:49:54,520
Speaker 2: up and I go, well, that's nice, you know, thanks

925
00:49:54,600 --> 00:49:56,600
Speaker 2: very much. And it's not like I'm not grateful. I'm

926
00:49:56,680 --> 00:50:00,279
Speaker 2: just I just don't notice. And then sometimes some will

927
00:50:00,280 --> 00:50:01,960
Speaker 2: whack you over the head and you go, BlimE me,

928
00:50:02,800 --> 00:50:05,040
Speaker 2: things like doing the first time we did Saturday in life,

929
00:50:05,160 --> 00:50:08,680
Speaker 2: for example, and you go, really, people give a ship

930
00:50:09,640 --> 00:50:11,880
Speaker 2: because sometimes you can't. You don't know, you don't know

931
00:50:12,040 --> 00:50:15,120
Speaker 2: you've got on the inside, you can't see it. And

932
00:50:16,320 --> 00:50:19,680
Speaker 2: also you spent so long running away from it, and

933
00:50:19,760 --> 00:50:21,560
Speaker 2: I don't feel like I run away from it now

934
00:50:22,000 --> 00:50:23,640
Speaker 2: because there's nowhere to run.

935
00:50:25,640 --> 00:50:25,920
Speaker 1: To run.

936
00:50:25,960 --> 00:50:29,719
Speaker 2: And also it is like, yeah, I'm really grateful for

937
00:50:29,880 --> 00:50:31,880
Speaker 2: I'm it's very incredibly lucky.

938
00:50:32,160 --> 00:50:34,120
Speaker 1: There's a very good point, there's nowhere to run and

939
00:50:34,360 --> 00:50:34,920
Speaker 1: still do it.

940
00:50:35,520 --> 00:50:38,920
Speaker 2: Yeah, I mean, I just think I'm well Jammy. As

941
00:50:38,960 --> 00:50:42,640
Speaker 2: we say, it's just really jammy, especially in the US,

942
00:50:42,800 --> 00:50:45,640
Speaker 2: you know, like people really give a shit, and it's like, well,

943
00:50:45,840 --> 00:50:46,440
Speaker 2: that's amazing.

944
00:50:46,560 --> 00:50:48,480
Speaker 1: I guess I have one more question, was what does

945
00:50:48,560 --> 00:50:51,160
Speaker 1: well Jammy mean? I don't know, really, you don't know.

946
00:50:51,400 --> 00:50:57,719
Speaker 2: Jammy is like you're so Jammy, like you just I'm

947
00:50:57,840 --> 00:50:58,600
Speaker 2: dating myself.

948
00:50:59,000 --> 00:51:02,520
Speaker 1: No, no, no, it's a total floke, man, it's not really.

949
00:51:02,600 --> 00:51:03,400
Speaker 1: You're just lucky.

950
00:51:04,040 --> 00:51:07,160
Speaker 2: I mean, I'm British, right, so I assume I'm just lucky.

951
00:51:07,200 --> 00:51:09,399
Speaker 2: There's no skill involved. I'm Jammy.

952
00:51:12,640 --> 00:51:23,280
Speaker 1: Goes off. This is from Tom York's most recent album, Amok.

953
00:51:23,840 --> 00:51:26,560
Speaker 1: He'll be touring in support of the album later this year.

954
00:51:27,120 --> 00:51:30,680
Speaker 1: Find out more on our website. Here's the Thing dot org.

955
00:51:38,200 --> 00:51:41,200
Speaker 1: This is Alec Baldwin. Here's the Thing. Comes from w

956
00:51:41,520 --> 00:51:43,040
Speaker 1: NYC Radio.