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Speaker 1: I'm Alec Baldwin and this is Here's the thing. Sound

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Speaker 1: is very inspirational to me. We didn't have any sound

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Speaker 1: system in the house. We had nothing, no high find

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Speaker 1: nothing today to musicians, both English each picked up the

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Speaker 1: guitar at a very young age. Tom York at seven,

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Speaker 1: Peter Frampton at eight. They listened to whatever they could

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Speaker 1: get their hands on. York spent hours in his dad's

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Speaker 1: car listening to tapes. Frampton worked in a music store

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Speaker 1: and for both it paid off. Okay, come on, admitted.

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Speaker 1: If you're my age, you remember exactly where you were

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Speaker 1: when you first heard this. That's the sound of twenty

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Speaker 1: five year old Peter Frampton performing what would become one

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Speaker 1: of the top selling live records of all time. It

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Speaker 1: was nineteen seventy five and Frampton Comes Alive would change

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Speaker 1: his life. He was young, but hardly a newcomer. By then,

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Speaker 1: he'd already made four solo albums for A and M Records.

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Speaker 1: He started The Man Humble Pie with Steve Marriott when

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Speaker 1: he was eighteen. He'd been part of the Herd at

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Speaker 1: age sixteen, and at fourteen he recorded a song for

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Speaker 1: Bill Wyman of the Rolling Stones. Peter Frampton was a

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Speaker 1: musical prodigy while still just a kid navigating the alcohol

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Speaker 1: and drug laden music scene of the seven I was

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Speaker 1: pretty much of a late bloomer. I had to really

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Speaker 1: learn to drink. You know, when people I expect you to,

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Speaker 1: I think, so there is Yeah, it doesn't matter. Your

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Speaker 1: age didn't really like it, like you're in the army. Yeah, exactly.

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Speaker 1: You gotta swear and drink, you know, and now do drugs.

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Speaker 1: I passed out so many times from anxiety attacks from pot.

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Speaker 1: I'm trying to get high plays. But anyway, I managed

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Speaker 1: it in the end, right, but not really. When I

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Speaker 1: was with Humble Pie, you know, you're talking to somebody

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Speaker 1: who your music is like so important to me, and

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Speaker 1: you talk about me growing up when I was a

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Speaker 1: kid and you were very young then, I mean Humble

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Speaker 1: Pie a kid, you know. You know when I was

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Speaker 1: growing up, there was like the Beatles, the Stones, Zeppelin,

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Speaker 1: the Who and Humble Pie. You don't want to know

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Speaker 1: what I put in my body listening to Doctor. I mean,

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Speaker 1: you don't want to know, and you put and you

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Speaker 1: perform with them for how many years? Seventy four years?

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Speaker 1: And well, how would you characterize that period for stuff.

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Speaker 1: Did you enjoy it? Unbelievable? They were very popular. Yes

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Speaker 1: in the States as well. Yes, that band brought me

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Speaker 1: to America where that's where we started. I met I

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Speaker 1: mean probably one of the first gigs. I met Bill Graham.

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Speaker 1: You know, you realized now when I look back, it

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Speaker 1: was the beginnings of the creation of rock and roll shows. Truly.

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Speaker 1: Bill Graham was the guy on how to do it live?

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Speaker 1: You know? And why did Humble Pie? And a couple

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Speaker 1: of reasons. I was feeling claustrophobic in the band because

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Speaker 1: we started off very democratic and doing it all different

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Speaker 1: types of music, and now our our stage act was

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Speaker 1: narrowing and we were just doing more more of that

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Speaker 1: heavy rock and roll, which I love. Don't get me wrong.

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Speaker 1: That's my riff, I Don't need no Doctor. That's me

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Speaker 1: jamming the sound check in at Madison Square Garden, and

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Speaker 1: Steve just jumped up on the stage and started singing,

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Speaker 1: I Don't need no Doctor over that riff. You know,

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Speaker 1: he and I were very much that's him singing. Yeah. Yeah,

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Speaker 1: he's the one that says it's been a gas. Yeah.

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Speaker 1: We go home on Monday. We go home on Monday.

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Speaker 1: But what I'm tell oh, he was probably a couple

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Speaker 1: of years old. And but you feel claustrophobic white because

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Speaker 1: we want I wasn't being able to do the music,

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Speaker 1: all of this music that I wanted to do. Humble

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Speaker 1: Pie started off really split between acoustic and electric. And

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Speaker 1: also I was coming into my own and Steve and

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Speaker 1: I fought like brothers. Yes, that's which, which is why

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Speaker 1: humble Pie was so fiery. I think because musically it

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Speaker 1: was phenomenal. You know, sometimes we degree and sometimes we

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Speaker 1: just wouldn't agree. It was very sad for me because

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Speaker 1: I knew it would upset them, but I just felt

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Speaker 1: that I had to it was time to go on.

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Speaker 1: And did you know where you wanted to go? No idea.

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Speaker 1: I knew that I was. I didn't want to form

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Speaker 1: another band. I wanted to become a solo artist. Why

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Speaker 1: because I wanted to make all the decisions, because I'm

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Speaker 1: a complete control freak. Did you feel you wanted Yeah,

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Speaker 1: I wanted to try things that. Yeah, I wanted to

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Speaker 1: try things that maybe other people wouldn't want to try.

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Speaker 1: You know, I wanted to do it, and I have

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Speaker 1: to say that it wouldn't have been I wouldn't have

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Speaker 1: had a solo career had it not been for Humble Pie.

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Speaker 1: I learned so much from working with Steve Marriott. I

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Speaker 1: have to hand him a lot of the credit for

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Speaker 1: the sort of things that he introduced me to listen

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Speaker 1: to as well, music blues and build black combo and

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Speaker 1: stuff like that. That was really influential to me. So

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Speaker 1: that's why it was a bitter sweet thing leaving. I

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Speaker 1: wanted to leave, but I didn't want to leave. And then,

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Speaker 1: of course, as soon as I left the live album

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Speaker 1: that I had a big hand in mixing rock in

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Speaker 1: the film or comes Out, I've left right at that point,

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Speaker 1: and it zooms up the charts. It's Humble Pie's first

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Speaker 1: gold record, and I'm going, holy crap, that's it. It's

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Speaker 1: the first big blooper of my career, you know. And

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Speaker 1: so then it was four studio albums before we did

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Speaker 1: Comes Alive, you know, and a lot of a lot

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Speaker 1: of touring and where are you living then? You still

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Speaker 1: I was still living in England until seventy five, when

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Speaker 1: I finished the fourth solo record in England and then

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Speaker 1: moved over. I actually moved to New York orc and

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Speaker 1: stayed at the Mount Kisco Holiday Inn on New Year's Eve.

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Speaker 1: Sw Yeah, it was beautiful and found Bob Mayo Bob

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Speaker 1: Mayo on keyboards from the live record in the band

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Speaker 1: at the holiday and it's it's a long story, but yeah.

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Speaker 1: So basically the first day of seventy five was I

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Speaker 1: was now living in America. When you do comes Alive,

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Speaker 1: how much of the music on that is new music

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Speaker 1: on an album? How much of it was stuff you

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Speaker 1: mind from the previous four solo albums. It was basically

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Speaker 1: all stuff that came from the four studio albums. And

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Speaker 1: rock On from shine On was a humble Pie track

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Speaker 1: that I had written. It was actually from five albums.

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Speaker 1: So it's like six years worth of work mining that

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Speaker 1: went into that one live record. And for people who

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Speaker 1: don't know that live performance was recorded in multiple locations

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Speaker 1: are in. Most of it was one location, which was

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Speaker 1: winter Land in Sanrancisco, Bill Graham gig where The Last

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Speaker 1: Wolfs was filmed two nights before we'd played the Marine

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Speaker 1: Civic Center and we've done two shows there, so we

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Speaker 1: recorded that. I think a couple of numbers came from there,

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Speaker 1: do WI I think comes from there, maybe one of

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Speaker 1: the acoustic songs. But winter Land was the first big

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Speaker 1: headline show we'd ever done, I'd ever done with my

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Speaker 1: name on the ticket people were coming to see me

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Speaker 1: for because the album right prior to Comes Live Just

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Speaker 1: Trampton was the biggest one so far, biggest sellery had done,

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Speaker 1: sold like three hundred thousand copies, which was mega for me.

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Speaker 1: That was better than all the other things in that

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Speaker 1: four album run prior to the live album in winter Land,

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Speaker 1: things were getting better that they were, but that one

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Speaker 1: was definitely setting me up. It was setting me up

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Speaker 1: for something. How many nights at winter Land? One? One show? Okay? Okay,

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Speaker 1: so stop. So you're in winter Land? Yes, and would

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Speaker 1: you say, and the show goes on what time? Eight o'clock,

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Speaker 1: nine o'clock, nine o'clock? Yeah? Probably probably, So somewhere between

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Speaker 1: you pull up to winter Land and you go out

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Speaker 1: of quarter and nine, the devil came in your room

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Speaker 1: and made a deal with you. Correct, you signed a

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Speaker 1: deal with the devil, showed up, poured himself a drink,

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Speaker 1: sat down, said Peter, Peter, Peter, Peter, let's cut, let's cut.

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Speaker 1: It was Peter Cook. Actually it was Peter Cook. And

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Speaker 1: he's and he said, let's make a deal. And the

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Speaker 1: devil makes this deal with you because what happened. First

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Speaker 1: of all, there's probably if I'm not mistaken, if there

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Speaker 1: wasn't sent people out there, then I thought they were set.

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Speaker 1: But it's it definitely sounds like it. It's a big room.

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Speaker 1: They go nuts when we walk out, and it just

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Speaker 1: takes you to a different level. You know. It felt good.

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Speaker 1: It was one of those shows when you come off

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Speaker 1: and you at the band and you just go, I

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Speaker 1: wish we'd recorded that. That was like so good man,

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Speaker 1: And then we went who we did? You know we

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Speaker 1: did record that? We forgot we were do you see?

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Speaker 1: The event was so much more important than the recording.

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Speaker 1: I don't even remember the truck being there. The recording

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Speaker 1: is June of nine, five minutes released when we're still mixing,

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Speaker 1: right up before Christmas, and then it comes out I

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Speaker 1: believe on like January's seventeenth or something like that, ninth

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Speaker 1: January nine or what happens. Well, I knew we were

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Speaker 1: going to tour the whole year, so right after Christmas

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Speaker 1: I went down to the Baham was for ten days

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Speaker 1: and relaxed. Before I left, we had put one show

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Speaker 1: on at Cobo Hall in Detroit, which is a big

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Speaker 1: rum and that's all I knew. And so I go

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Speaker 1: away and I don't call anybody. I'm just on the

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Speaker 1: beach and snorkeling whatever. I come back, We've sold four

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Speaker 1: shows out and I said, what happened, you know? And

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Speaker 1: the album has just started to be on the radio,

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Speaker 1: you know, And that's when everything just went went through

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Speaker 1: the room. After all this time. People think it is overnight,

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Speaker 1: but it's not overnight in the scheme of things. But

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Speaker 1: it's a huge, yes, but it's overnight success, but it is.

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Speaker 1: It's a heady experience. It is just still the highest

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Speaker 1: selling live album of it's in dispute, yeah, but up there. Yeah,

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Speaker 1: because my records only counted as one one album. A

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Speaker 1: certain other artists had it made so that you could count, um,

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Speaker 1: if you released six CD live set, you can count

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Speaker 1: it six times. Well, they didn't do that retroactively. So

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Speaker 1: in my mind it's still the biggest seller. And eventually

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Speaker 1: how many albums did your self. We're up in the

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Speaker 1: seventeen million now, seventeen million records and they're moving across

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Speaker 1: the day. When you come out of that experience of

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Speaker 1: having this huge thing, I want to talk to you.

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Speaker 1: Not about how it affected you career was because obviously

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Speaker 1: that wasn't important. How did it affect you personally? Were

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Speaker 1: you married at the time. I had a girlfriend at

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Speaker 1: the time. I don't think anybody can be ready for

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Speaker 1: that kind of success, and I'm pretty down to earth person.

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Speaker 1: I take things as they come. As I said earlier

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Speaker 1: to you, I was a late bloomer when it came

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Speaker 1: to dulling anything. You know, it was almost unbelievable the

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Speaker 1: amount of success. Get these phone calls in quick succession,

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Speaker 1: your number one in the charts, you know, and I'm going,

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Speaker 1: wait a second, say that one more time, and who

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Speaker 1: are you? Was that the time you thought of you

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Speaker 1: had to start them in yourself? Yeah, it was crazy

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Speaker 1: because people just wanted to her. No, it was very

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Speaker 1: you don't know how to deal with how people treat

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Speaker 1: you differently exactly, and being always being respectful, and and

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Speaker 1: never really thinking of myself as anything special because I've

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Speaker 1: never been a that's just not my came. I felt

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Speaker 1: embarrassed that I was that this entity became it was

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Speaker 1: me over here, you know. Yes, it was very hard

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Speaker 1: to deal with last year. For the first time since

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Speaker 1: nineteen seventy six, Peter Frampton found himself on stage performing

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Speaker 1: the entire Frampton Comes Alive album. My reputation is as

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Speaker 1: a live performer, so's it's been phenomenal for me. But

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Speaker 1: it's hard work touring, but I love it, so that's

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Speaker 1: not hard work for me. The tour was particularly memorable

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Speaker 1: as Frampton was playing a guitar that had been missing

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Speaker 1: for over three decades. First of all, we're talking about

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Speaker 1: the guitar that's on the front cover of Comes Alive,

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Speaker 1: which I got given to me by Mark Mariana in

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Speaker 1: nineteen seventy when I was playing the film or West

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Speaker 1: with Humble Pie, and I was having a terrible time

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Speaker 1: with the guitar that I had at that that night,

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Speaker 1: and Mark said to me, you know, I could see

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Speaker 1: you having problems with that. You want to try my

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Speaker 1: less Paul tomorrow. I said, well, I'm not really big

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Speaker 1: on less pause, but okay, all right, anything is better

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Speaker 1: than this, So he brought it to me. I played it.

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Speaker 1: I don't think my feet touched the ground the entire

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Speaker 1: It's the best guitar I've ever played. Basically, I used

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Speaker 1: that exclusively. It's the only guitar I play all the

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Speaker 1: way through all my solo records and including fram who

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Speaker 1: comes alive. So then we get to touring South America.

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Speaker 1: We just finished playing Caracas, Venezuela and we had a

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Speaker 1: day off, and so we flew commercially to Panama waiting

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Speaker 1: for the gear to arrive on a cargo plane. While

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Speaker 1: it never got off the runway in Caracas, it crashed

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Speaker 1: on take off. My road manager came to me and

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Speaker 1: he said, I got some bad news. And he says,

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Speaker 1: the plane crashed on takeoff. I said, my guitar, he said,

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Speaker 1: and like six people loading people, the pilot, co pilot, loading, inspector,

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Speaker 1: all that. So I mean, yeah, people died. So that

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Speaker 1: took precedent over everything. Then it put it in active,

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Speaker 1: you know. And there's the pilot's wife sitting at the

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Speaker 1: bar who doesn't know yet. It was horrendous. So anyway,

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Speaker 1: sent someone down my guitar tech at the time, a

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Speaker 1: week later to see what was left. Nothing was left, supposedly,

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Speaker 1: and there were guitars were actually in a trunk in

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Speaker 1: cases in cases, and they had a guard to guard

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Speaker 1: the crash site, the debris side. Util the insurance people

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Speaker 1: came down and he decided that the guitars would be

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Speaker 1: much safer at his house. Yes, and then Caracas. Yes,

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Speaker 1: in Caracas two years ago, which is thirty years thirty

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Speaker 1: years later. I opened my email because anybody can email

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Speaker 1: me and I see them all. I opened up this

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Speaker 1: one and there's a picture of photograph of my guitar

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Speaker 1: slightly singed but but it's my lastly right at the up,

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Speaker 1: you know, slightly singed, but but there it is. There's

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Speaker 1: a picture, and I thought this picture where in an

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Speaker 1: email to me from someone who would got ahold of

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Speaker 1: the guitar. As it happens in Kurasau, which is a

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Speaker 1: little island off the coast of Caracas. Someone had sold

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Speaker 1: it to this gentleman and he took it to someone

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Speaker 1: who fixed guitars, and they knew what it was. And

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Speaker 1: it took two years of a very gray area and

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Speaker 1: was he's saying like, I don't want to get proceed.

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Speaker 1: I want to get this guitary, but I want to

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Speaker 1: go to jail. That was the thing. No one wanted

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Speaker 1: to actually come money. It wasn't about he wanted. There

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Speaker 1: was a reward talked about, but every time it would

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Speaker 1: get close to someone coming in, they'd find something reason

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Speaker 1: why they couldn't come in, So that's why it took

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Speaker 1: two years. And then in the end the guy actually

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Speaker 1: checked to see if we had booked in a hotel

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Speaker 1: because he just saw himself in handcuffs at Miami Airport,

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Speaker 1: you know. And what happens while the two gentlemen walk

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Speaker 1: in and he's got it in this probably one of

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Speaker 1: the worst looking gig bags I've ever seen in my life, cheap,

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Speaker 1: old plastic thing. He puts it beside him, you know,

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Speaker 1: and he tells the story in broken English of how

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Speaker 1: this person had it and the whole thing. So then

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Speaker 1: he hands it to me and he goes Philip to

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Speaker 1: Peter Philip so and I know that he knows because

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Speaker 1: it was the lightest les pool I'd ever played. So

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Speaker 1: I just felt it in the case and who this

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Speaker 1: could be it? You know, opened it up. I just

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Speaker 1: looked at it and I just feel it like that,

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Speaker 1: and I go, it's my guitar. How badly was it sed? Where?

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Speaker 1: Just round the very top it lost the binding around

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Speaker 1: the headstock. Get the replaced. No, I didn't, I left it.

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Speaker 1: I've left it with its battle scars. Gibson made it playable,

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Speaker 1: so we refreshed all the caracas kiss and there is

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Speaker 1: this sound the same. Does it feel the same? Just that? Yeah.

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Speaker 1: And when I first played it at rehearsals with the band,

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Speaker 1: everybody had this like cheshire cat grin on their face

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Speaker 1: because it has the sound and it sounds like Frampton

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Speaker 1: comes alive. You know, you don't have to try too hard.

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Speaker 1: And you got that back when I got it back

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Speaker 1: just before we started touring in February and March for

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Speaker 1: the last American leg. I used it a little bit

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Speaker 1: at rehearsals, and then I brought it out for the

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Speaker 1: first night at the Beacon. I think the guitar is

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Speaker 1: more famous than I am now, So you were meant

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Speaker 1: to play that music with that guitar. Yeah, And I

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Speaker 1: remember saying someone that before I went out that night.

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Speaker 1: I just hope emotionally I'm going to be able to

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Speaker 1: play it. And I brought it out for do You Feel?

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Speaker 1: And I messed up the first leg because I couldn't

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Speaker 1: believe I was playing how can you fumble dead? Me?

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Speaker 1: I did? It was like meant to be, you know

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Speaker 1: I And once I got it was saying to me,

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Speaker 1: come on, get it together, you know. And yes, it's

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Speaker 1: I'm back. Now get over it. You know what music

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Speaker 1: do you listen to? Now? Who do you like? Um?

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Speaker 1: Right now? This week band of Skulls. My son turned

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Speaker 1: me onto and daughter turned me onto them. And I

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Speaker 1: went to Coachella I saw Radiohead. I still I'm a

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Speaker 1: Radiohead fanatic. I just loved them. I think they're so

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Speaker 1: not mainstream, but they became mainstream because they're just so unique.

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Speaker 1: Peter Frampton says he didn't listen to Radiohead early on,

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Speaker 1: but now it's one of the few bands he and

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Speaker 1: his kids enjoyed together. Next up, we'll hear from the

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Speaker 1: leader of Radiohead himself, Tom York, also a father. My

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Speaker 1: son is a great drama. But I don't know if

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Speaker 1: you want to do that forever or He's like not

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Speaker 1: bullet really, which is cool too. English musicians, almost twenty

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Speaker 1: years apart in age, each with their own approach to

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Speaker 1: surviving life as a rock star. Peter Frampton seems fueled

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Speaker 1: by a stadium full of adoring fans, but for Tom York, well,

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Speaker 1: performing is more complicated. It takes a long time for

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Speaker 1: that to become natural. I think I'm Alec Baldwin and

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Speaker 1: here's the thing, Take a listen to our archive more

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Speaker 1: in depth conversations with artists, policymakers, and performers like Patti Lapone,

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Speaker 1: Herb Albert, and Erica Jong. The media is more all

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Speaker 1: pervasive and the image of women is even more confusing

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Speaker 1: than it's ever been. I believe that's true. Go to

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Speaker 1: Here's the Thing dot org. This is Alec Baldwin and

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Speaker 1: you're listening to Here's the Thing just engine. Radiohead released

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Speaker 1: their stunning debut single, Creep Slow. It was quiet, yet explosive,

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Speaker 1: even haunting, and it's refrained had a powerful hook. Radioheads

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Speaker 1: frontman and principal songwriter Tom Yorke is my guest, and

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Speaker 1: if it was his wish to be special, the world

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Speaker 1: granted it. York's band has become a commercial and critical success,

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Speaker 1: selling over thirty million albums Do It's Serious. Each new

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Speaker 1: album explores a different sound, delighting their followers and scooping

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Speaker 1: up more fans along the way. The spirit of experimentation

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Speaker 1: isn't limited to their music. In two thousand seven, York

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Speaker 1: and his bandmates released in Rainbows on their website. First

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Speaker 1: fans were invited to pay what they wanted for the album.

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Speaker 1: Radiohead may not have been the first. The thumbags knows

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Speaker 1: that the music industrial complex, but they might be the

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Speaker 1: first to do so and sell out a major arena.

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Speaker 1: That said, Tom York hasn't been comfortable in the spotlight.

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Speaker 1: You don't do a lot of press um where you

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Speaker 1: do what I was now on and as needed basis

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Speaker 1: the need from basis, yea kind of York complains about

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Speaker 1: celebrity worship, and I wasn't sure what to expect. Actually,

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Speaker 1: I've got you a health food snack, did you yeah,

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Speaker 1: because someone told me you were like all vegetarian and

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Speaker 1: non Tom York is, after all, a guy who's married

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Speaker 1: and has two kids. It can be easy to forget

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Speaker 1: he's been a rock star for over twenty years. We

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Speaker 1: started when we were sixteen. Radiohead's and some bands that

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Speaker 1: have had a tremendous longevity, obviously the Rolling Stones of

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Speaker 1: the premier example, they've changed partners over there's like they

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Speaker 1: were the New York Yankees. You know, there's somebody else

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Speaker 1: playing a base every four or five years. But you guys,

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Speaker 1: it's the same cast of people all the sudden. What

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Speaker 1: do you attribute that to persistence? My great diplomatic skills

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Speaker 1: not But there must be times when they've I mean,

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Speaker 1: I'll never forget, McCartney said to me, even the Beatles

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Speaker 1: got tired of being the Beatles. Were the times you

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Speaker 1: guys said there and looked at each other and said,

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Speaker 1: I think we're done. I do that frequently, right, frequently,

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Speaker 1: I mean at least the others two not as much.

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Speaker 1: They just wait for me to do it. Um. It

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Speaker 1: goes through these phases. You know, we've grown up together.

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Speaker 1: It's weird. I mean, um. So, we just did a

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Speaker 1: tour last year, right, and it was probably, in theory,

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Speaker 1: the scariest one we've ever done, because it was lots

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Speaker 1: of big gigs, which I normally am spending my time

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Speaker 1: trying to shy away from. Why because you can't achieve

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Speaker 1: technically in a large space where you normally want to

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Speaker 1: exactly that you can't get across to people the right way,

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Speaker 1: I felt. So we did spend a lot of time

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Speaker 1: and effort coming up with like a stage design which

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Speaker 1: used screens in a certain way which made it intimate,

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Speaker 1: even though you know, some nights was like thirty or

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Speaker 1: forty people trying to create some sort of intimacy with that,

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Speaker 1: and when it worked, it was insane, because the upside

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Speaker 1: of plane to that many people is you have this

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Speaker 1: really crazy collective energy that you can tap into like

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Speaker 1: a crowd, you know. I think there's one chair we

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Speaker 1: did in Phoenix that sticks in my mind where there

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Speaker 1: was something about maybe that it was in Phoenix and

391
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Speaker 1: people don't get the opportunity those sort of people don't

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Speaker 1: get the opportunity to get together that often or something.

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Speaker 1: There was some sort of excitement within the crowd that

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Speaker 1: was so great to play with. When when we hit

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Speaker 1: it musically, it felt like the whole room, the whole

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Speaker 1: of the building was moving. Honestly, we both came off,

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Speaker 1: you know, and bump. I understand that not from my

398
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Speaker 1: own experience, but from seeing artists perform. You know. I

399
00:27:06,720 --> 00:27:10,760
Speaker 1: often asked myself, why the hell would would you put

400
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Speaker 1: yourself through this? Because it's very stressful. It's a lot

401
00:27:14,840 --> 00:27:18,280
Speaker 1: of pressure, and for me mentally, I just build myself

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Speaker 1: up to it in my head gradually and it sounds

403
00:27:21,920 --> 00:27:48,359
Speaker 1: really precious, but it messes with my head. What's your

404
00:27:48,480 --> 00:27:51,440
Speaker 1: preparation before you do a live show, before you because

405
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Speaker 1: in the studio it's obviously a whole different animal. Correct, Yeah,

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Speaker 1: there's no preparation for the studio you do. You know,

407
00:27:58,600 --> 00:28:00,919
Speaker 1: it's building a chill in the shop most of the time,

408
00:28:00,960 --> 00:28:04,040
Speaker 1: which is how she should be I think and performing. Yeah,

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Speaker 1: that's what's given to me. A couple of hours before

410
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Speaker 1: you go out there and you've got to blow this

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Speaker 1: thing out for all these people and just stone cold silence,

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Speaker 1: basically almost meditative. Well, yeah, I do. I do that

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Speaker 1: and focused. I stand on my head for a bit

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Speaker 1: and basically I'm completely on my own until five minutes

415
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Speaker 1: before we go on, and then we're all in the

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Speaker 1: room together, pacing up and down like wild animals, and

417
00:28:29,280 --> 00:28:31,800
Speaker 1: then then we're on. But when we first started doing

418
00:28:31,840 --> 00:28:34,560
Speaker 1: big shows, it was with my from Michael Stipe, and

419
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Speaker 1: he does the total opposite. He literally he'll be talking

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Speaker 1: to you and then someone taps in the should and

421
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Speaker 1: then they're on. And I was like, how the hell

422
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Speaker 1: do you do that? Man? And I tried to do

423
00:28:44,520 --> 00:28:46,800
Speaker 1: it like that, I couldn't do it, and so I

424
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Speaker 1: ended up going did he did? Did you get any

425
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Speaker 1: indication why Stipe could do that? What he used to

426
00:28:52,320 --> 00:28:57,640
Speaker 1: do was you'd stand there for the first two tunes,

427
00:28:57,960 --> 00:29:01,480
Speaker 1: barely move. He was a sort of lightning conductor, and

428
00:29:01,560 --> 00:29:03,640
Speaker 1: he was just waiting for it to hit, and then

429
00:29:03,680 --> 00:29:06,120
Speaker 1: when it hit he was off, but he would wait

430
00:29:06,760 --> 00:29:08,240
Speaker 1: and if it wasn't going to hit, he was still

431
00:29:08,280 --> 00:29:11,680
Speaker 1: there three or four tunes later, and waiting. He kind

432
00:29:11,720 --> 00:29:14,800
Speaker 1: of warmed up in front of everybody, engaging it all.

433
00:29:15,200 --> 00:29:17,800
Speaker 1: Whereas I can't do that because I have to sort

434
00:29:17,800 --> 00:29:22,520
Speaker 1: of be clear of everything before you know whatever, I

435
00:29:22,640 --> 00:29:49,120
Speaker 1: need to UM be completely empty. What do you think

436
00:29:49,160 --> 00:29:54,880
Speaker 1: you'd do best lead a band? You well, you you

437
00:29:55,040 --> 00:29:57,840
Speaker 1: play guitar, you write music, you produce music, you do

438
00:29:58,040 --> 00:30:00,640
Speaker 1: and you sing. What do you think your greatest strengths

439
00:30:00,800 --> 00:30:02,720
Speaker 1: if you had to pick one. So I don't know

440
00:30:02,760 --> 00:30:05,160
Speaker 1: what I'm doing. I like the fact that I still

441
00:30:05,160 --> 00:30:07,960
Speaker 1: don't know what I'm doing. I think we're not. Honestly,

442
00:30:08,160 --> 00:30:11,959
Speaker 1: I can't go I'll go through whole phrases of UM

443
00:30:12,760 --> 00:30:18,440
Speaker 1: months where I've got clue. I regularly lose complete confidence

444
00:30:18,480 --> 00:30:21,120
Speaker 1: in what I'm doing. Why do you think that is

445
00:30:22,520 --> 00:30:28,120
Speaker 1: because I have the same condition? Why partly because I

446
00:30:28,200 --> 00:30:34,120
Speaker 1: think I don't quite understand how it happens after the fact,

447
00:30:34,600 --> 00:30:37,320
Speaker 1: When when what happens when the appreciation comes to you know,

448
00:30:37,480 --> 00:30:41,880
Speaker 1: when you're when you're piecing something together right, things will

449
00:30:41,920 --> 00:30:45,120
Speaker 1: fall into place, make it. I mean, in some ways,

450
00:30:45,200 --> 00:30:47,840
Speaker 1: the nicest bit about the creative thing, the nicest bit

451
00:30:47,880 --> 00:30:51,520
Speaker 1: about recording and writing, is this sort of weird limbo

452
00:30:52,040 --> 00:30:57,400
Speaker 1: where you in between scratching away scratching away, nothing really happening,

453
00:30:57,520 --> 00:31:00,800
Speaker 1: nothing really happening, and then something's wants to be built

454
00:31:00,880 --> 00:31:03,239
Speaker 1: and starts to get built. You just have to let

455
00:31:03,320 --> 00:31:05,320
Speaker 1: it happen. And then it gets to the end and

456
00:31:05,400 --> 00:31:07,080
Speaker 1: you and you look at it a few months later

457
00:31:07,080 --> 00:31:11,600
Speaker 1: and go huh um. Sort of weird amnesia that goes

458
00:31:11,720 --> 00:31:14,440
Speaker 1: with it. Something will happen, one little sound goes off,

459
00:31:14,760 --> 00:31:20,120
Speaker 1: and you go, oh, that's really nice for me. When

460
00:31:20,200 --> 00:31:23,480
Speaker 1: I was at school, I didn't get on with the

461
00:31:23,560 --> 00:31:27,040
Speaker 1: school system at all. Um I see it, and my

462
00:31:27,120 --> 00:31:30,040
Speaker 1: son the same, that sort of the mechanics of how

463
00:31:30,120 --> 00:31:32,440
Speaker 1: a school operates and how you're supposed to blend in

464
00:31:32,640 --> 00:31:36,560
Speaker 1: or whatever. So I hid in the music stroke art

465
00:31:36,600 --> 00:31:39,720
Speaker 1: department and had a great time there and discovered that

466
00:31:39,760 --> 00:31:43,200
Speaker 1: actually that's what I wanted to do. Straight away, the

467
00:31:43,680 --> 00:31:47,000
Speaker 1: heads of both schools just saw what I was up.

468
00:31:47,040 --> 00:31:49,600
Speaker 1: This is the teacher that you often credit with your Yeah,

469
00:31:49,640 --> 00:31:52,360
Speaker 1: where was the teacher's name Terry James, but but it

470
00:31:52,480 --> 00:31:55,680
Speaker 1: was him and my art teacher as well. Actually it

471
00:31:55,840 --> 00:31:58,080
Speaker 1: was like someone sort of takes you under their wing

472
00:31:58,200 --> 00:32:00,520
Speaker 1: and say, well, you know what, you're she quite good

473
00:32:00,560 --> 00:32:03,240
Speaker 1: And then touring is a very critical thing in this business. Yeah,

474
00:32:03,240 --> 00:32:06,240
Speaker 1: because it's enough. It's enough at that age, it's enough

475
00:32:06,640 --> 00:32:09,760
Speaker 1: to just get a little push and then okay, what

476
00:32:09,920 --> 00:32:12,400
Speaker 1: does someone push you in a different direction? Yeah, well

477
00:32:13,160 --> 00:32:15,080
Speaker 1: that would be bad. Yeah, how about do you go

478
00:32:15,200 --> 00:32:19,960
Speaker 1: to the other I think, yeah, my father used to think.

479
00:32:19,960 --> 00:32:24,680
Speaker 1: I used to get advertising, which is like really brilliant. Yeah,

480
00:32:24,680 --> 00:32:26,640
Speaker 1: I'd really be good at that. Well, one thing you're

481
00:32:26,680 --> 00:32:30,920
Speaker 1: good at is avoiding My original question, which was what

482
00:32:31,080 --> 00:32:33,800
Speaker 1: do you think your best at? And let's try to choose.

483
00:32:33,800 --> 00:32:36,200
Speaker 1: If you can't, if you don't mind, confine yourself to

484
00:32:36,320 --> 00:32:40,800
Speaker 1: the list, provide what do you think you're best at? Okay,

485
00:32:40,960 --> 00:32:45,920
Speaker 1: this is multiple choice. Guitar band kind of you know,

486
00:32:46,000 --> 00:33:00,680
Speaker 1: paternal figure, songwriting, producing, singing, mm hmm, I guess singing. Okay,

487
00:33:00,720 --> 00:33:02,680
Speaker 1: I'm glad you chose that one. I was driving. I

488
00:33:02,760 --> 00:33:04,880
Speaker 1: was trying I think when I popped the words singing

489
00:33:04,920 --> 00:33:08,040
Speaker 1: the way I did, I was trying to war singing?

490
00:33:09,560 --> 00:33:13,080
Speaker 1: What was singing to you? How did your singing evolved

491
00:33:13,200 --> 00:33:15,800
Speaker 1: where you arrived at where you are now where most

492
00:33:15,880 --> 00:33:20,240
Speaker 1: people say you have one of the most evocative singing

493
00:33:20,320 --> 00:33:28,040
Speaker 1: voices and all of music today. Um well, basically I

494
00:33:28,160 --> 00:33:30,400
Speaker 1: went to music. I went to a few singing lessons,

495
00:33:31,000 --> 00:33:35,200
Speaker 1: but that was basically just so I could literally breathe

496
00:33:35,280 --> 00:33:40,120
Speaker 1: right you know. Um well, my favorite singers like bu York.

497
00:33:41,040 --> 00:33:46,200
Speaker 1: When I watched bu York sing um, I've been lucky

498
00:33:46,280 --> 00:33:47,840
Speaker 1: enough to sort of sing with it and watch you

499
00:33:47,920 --> 00:33:49,160
Speaker 1: do it. And I was gonna say, you one of

500
00:33:49,160 --> 00:33:51,120
Speaker 1: the people going to use that phrase when I watched

501
00:33:51,160 --> 00:33:53,239
Speaker 1: bu York said yeah, most of I say, well, when

502
00:33:53,280 --> 00:34:25,960
Speaker 1: I listened to bu York, really it's in here, it's

503
00:34:26,120 --> 00:34:29,560
Speaker 1: right here, they say, you know, with with with yoga

504
00:34:29,600 --> 00:34:31,719
Speaker 1: and stuff that whatever it is, kind remember that that

505
00:34:31,800 --> 00:34:34,200
Speaker 1: spot at the top of the forehead that you really

506
00:34:35,400 --> 00:34:38,920
Speaker 1: Most singers like Neil Young is the same. He sings

507
00:34:38,960 --> 00:34:42,400
Speaker 1: into this spot in his head and and what he's singing,

508
00:34:43,640 --> 00:34:46,760
Speaker 1: he's already heard, you know what I mean, He's hearing

509
00:34:47,280 --> 00:34:51,320
Speaker 1: it come out the same with with Bork. When she's singing,

510
00:34:52,239 --> 00:34:57,759
Speaker 1: she's singing what she's hearing, so there's no force. It's

511
00:34:57,800 --> 00:35:03,560
Speaker 1: a force in itself. It took me a while to

512
00:35:03,680 --> 00:35:09,000
Speaker 1: get that, and it keeps changing to me how I

513
00:35:09,120 --> 00:35:12,960
Speaker 1: sing now or to me it feels different to a

514
00:35:13,080 --> 00:35:16,279
Speaker 1: few years ago. It just does. It just does age

515
00:35:16,280 --> 00:35:18,680
Speaker 1: everything to do it. Well, yeah, there's probably some physical

516
00:35:18,719 --> 00:35:22,359
Speaker 1: element to it, but but also just where you're at,

517
00:35:22,560 --> 00:35:25,720
Speaker 1: you know, because singing is nothing but like probably like acting,

518
00:35:25,800 --> 00:35:28,160
Speaker 1: singing is nothing but being in a moment. That's it,

519
00:35:28,520 --> 00:35:31,520
Speaker 1: and where you're at. Yeah, when you do like, um,

520
00:35:32,320 --> 00:35:35,839
Speaker 1: when I used to be like you know, when when

521
00:35:35,880 --> 00:35:38,719
Speaker 1: you're trying to singing or whatever, gender I remember sort

522
00:35:38,760 --> 00:35:41,200
Speaker 1: of okay, computer, I still had this thing like, well

523
00:35:41,520 --> 00:35:43,239
Speaker 1: I need to be a little bit half cut when

524
00:35:43,280 --> 00:35:45,440
Speaker 1: i'm you know, I need to do something or other

525
00:35:45,560 --> 00:35:48,759
Speaker 1: beforehand so that I'm in the right space. Man, where

526
00:35:48,800 --> 00:35:52,239
Speaker 1: it's all bollocks because basically you're just going to learn

527
00:35:52,320 --> 00:35:55,600
Speaker 1: to be there with it. When you do it, you're

528
00:35:55,640 --> 00:35:58,080
Speaker 1: not trying to prove anything. You're not trying to get anywhere,

529
00:35:58,160 --> 00:36:00,640
Speaker 1: you're not trying to achieve any thing. You're not trying

530
00:36:00,640 --> 00:36:03,520
Speaker 1: to get this emotion across. You're not in this space

531
00:36:03,600 --> 00:36:05,400
Speaker 1: trying to get this space across. You're not trying to

532
00:36:05,520 --> 00:36:10,759
Speaker 1: get this mindset across or anything. You're just letting it

533
00:36:10,920 --> 00:36:39,760
Speaker 1: happen when you do this now, when you live inside

534
00:36:39,840 --> 00:36:43,320
Speaker 1: your life now, whether you're performing live or you're producing

535
00:36:43,520 --> 00:36:48,360
Speaker 1: and recording music, do you feel different now that you're older.

536
00:36:48,840 --> 00:36:51,239
Speaker 1: I mean, the chasm between when you're sixteen when you're

537
00:36:51,280 --> 00:36:55,399
Speaker 1: forty three is extraordinary, isn't it. It's just mind bending. Yeah,

538
00:36:55,760 --> 00:37:03,800
Speaker 1: his fatherhood affected your work, Um, yes, but not really

539
00:37:06,480 --> 00:37:09,080
Speaker 1: that you have the obvious things where you run on

540
00:37:09,120 --> 00:37:14,120
Speaker 1: the road more if you didn't have children. Yep, absolutely,

541
00:37:15,120 --> 00:37:18,960
Speaker 1: But that's not necessarily a bad thing at all. You know,

542
00:37:19,080 --> 00:37:22,880
Speaker 1: being on their road is is it's a it's not

543
00:37:22,960 --> 00:37:26,000
Speaker 1: a great it's it's you don't want to do it

544
00:37:26,040 --> 00:37:27,320
Speaker 1: all your life. You get a little bit on, it

545
00:37:27,400 --> 00:37:32,760
Speaker 1: gets a little unhealthy quite quickly mentally, If not physically

546
00:37:33,360 --> 00:37:37,000
Speaker 1: has been difficult for you, mentally it can be different.

547
00:37:37,080 --> 00:37:41,040
Speaker 1: It means it's it's wicked fun, but too much. It's

548
00:37:41,080 --> 00:37:43,719
Speaker 1: either wicked fun or really awful, like when you're sick.

549
00:37:44,239 --> 00:37:48,080
Speaker 1: Then it gets really it's a royal barmer man out there. Yeah,

550
00:37:48,800 --> 00:37:50,279
Speaker 1: try to sing your way through the notes that you

551
00:37:50,360 --> 00:37:53,960
Speaker 1: can't find because you're so sick or whatever. That's really

552
00:37:54,000 --> 00:37:57,400
Speaker 1: super stressful. But you know it is a massive buzz.

553
00:37:57,600 --> 00:38:08,560
Speaker 1: There's no denying it. It's great. Stop. So this is

554
00:38:08,600 --> 00:38:11,920
Speaker 1: Alec Baldwin and you're listening to here's the thing in

555
00:38:12,040 --> 00:38:16,200
Speaker 1: a minute, how Tom York takes a break. We call

556
00:38:16,280 --> 00:38:19,120
Speaker 1: ourselves the Sunday Painters and we go on bad painting trips.

557
00:38:34,440 --> 00:38:37,000
Speaker 1: This is Alec Baldwin, And here's the thing. When you

558
00:38:37,120 --> 00:38:40,080
Speaker 1: reach Tom York's level of success and fame, there's a

559
00:38:40,200 --> 00:38:43,560
Speaker 1: shift in your day to day experiences. Parts of your

560
00:38:43,640 --> 00:38:48,719
Speaker 1: life become unrecognizable. I mean, I'm assuming you're in a

561
00:38:48,840 --> 00:38:52,200
Speaker 1: world where that your phone must have ranged it. Maybe

562
00:38:52,200 --> 00:38:55,120
Speaker 1: it's stopped because because you kept saying no. But maybe

563
00:38:55,160 --> 00:38:57,880
Speaker 1: everybody's like, you know, Bonna wants to pick you up

564
00:38:58,000 --> 00:39:03,800
Speaker 1: tomorrow and fly you to Saint Bart's. Yeah, that never appealed.

565
00:39:04,840 --> 00:39:06,799
Speaker 1: I don't hang out with people because they are who

566
00:39:06,840 --> 00:39:10,080
Speaker 1: they are, necessarily unless I'm a big admirer of them,

567
00:39:10,239 --> 00:39:12,640
Speaker 1: Like I mean, I stalked at Norton for ages until

568
00:39:12,680 --> 00:39:15,520
Speaker 1: eventually gave in because because I'm a big admire of him.

569
00:39:15,560 --> 00:39:17,480
Speaker 1: I think it's brilliant. So I hang out with him

570
00:39:17,520 --> 00:39:21,359
Speaker 1: a bit occasionally. No, tangentially related to that. As you've

571
00:39:21,440 --> 00:39:24,840
Speaker 1: gotten older and you look around the musical landscape, what

572
00:39:25,040 --> 00:39:27,000
Speaker 1: you see does it appeal to you? Meaning of the

573
00:39:27,120 --> 00:39:30,480
Speaker 1: music that's popular music? I mean, what's selling now the

574
00:39:30,640 --> 00:39:35,040
Speaker 1: most successfully? Have you moved into a different place with

575
00:39:35,160 --> 00:39:36,960
Speaker 1: that or do you admire a lot of what's being

576
00:39:37,040 --> 00:39:40,279
Speaker 1: done is your in the mainstream? In the mainstream, there's

577
00:39:40,320 --> 00:39:42,760
Speaker 1: nothing in the mainstream. The mainstream is just a void,

578
00:39:43,000 --> 00:39:46,319
Speaker 1: you know. To me, I mean, what's weird about putting

579
00:39:46,360 --> 00:39:48,440
Speaker 1: a record out? Now? Really? And this is not like

580
00:39:48,560 --> 00:39:51,040
Speaker 1: sour grapes at all. It's just the fact the volume,

581
00:39:51,680 --> 00:39:54,080
Speaker 1: literally the sheer volume and stuff that gets put out.

582
00:39:55,000 --> 00:39:58,720
Speaker 1: It's like this huge fucking waterfall and you're just throwing

583
00:39:58,760 --> 00:40:00,640
Speaker 1: your pebble in and it car is on down the

584
00:40:00,680 --> 00:40:05,160
Speaker 1: waterfall and that's that, right, Okay. Next, basically, you know,

585
00:40:05,360 --> 00:40:08,520
Speaker 1: like in this country, the radio is tied up and

586
00:40:08,600 --> 00:40:10,560
Speaker 1: people don't really listen to radio in the same way.

587
00:40:10,680 --> 00:40:14,080
Speaker 1: It's it's music is going through a weird time because

588
00:40:15,480 --> 00:40:20,120
Speaker 1: on the one hand, as ever, there's always really exciting

589
00:40:20,239 --> 00:40:22,840
Speaker 1: music being made. It's never not being made. It's a

590
00:40:22,960 --> 00:40:24,719
Speaker 1: question of whether you're going to get to hear it

591
00:40:24,880 --> 00:40:28,120
Speaker 1: or not. And I mean I kind of I kind

592
00:40:28,160 --> 00:40:30,480
Speaker 1: of knew the game was up a few years ago

593
00:40:31,040 --> 00:40:33,839
Speaker 1: when one of our sort of team of people came

594
00:40:33,880 --> 00:40:39,360
Speaker 1: in saying, Nokia wants to offer you millions of pounds

595
00:40:39,560 --> 00:40:43,000
Speaker 1: because they want content for their phones. And this is

596
00:40:43,080 --> 00:40:45,760
Speaker 1: like in two thousand, I don't know, early two thousands.

597
00:40:46,320 --> 00:40:49,160
Speaker 1: And you're like, content, what you know? Content? What do

598
00:40:49,200 --> 00:40:54,640
Speaker 1: you mean? Music? Yes? Okay? Content maybe that yes? Yeah?

599
00:40:55,120 --> 00:40:59,359
Speaker 1: Just music stuff? Yeah? Stuff, could snoring? Have you got

600
00:40:59,480 --> 00:41:02,360
Speaker 1: some stuff off? You know? And you're like okay, And

601
00:41:02,480 --> 00:41:04,440
Speaker 1: I think really that my problem with it is it's

602
00:41:04,480 --> 00:41:07,000
Speaker 1: like it's now like something to fill up the hardware with,

603
00:41:07,280 --> 00:41:10,520
Speaker 1: you know, the music itself has become secondary to that,

604
00:41:10,600 --> 00:41:12,440
Speaker 1: which is a weird thing to me. It's like, and

605
00:41:12,480 --> 00:41:14,960
Speaker 1: I think that will change because there's only so many

606
00:41:15,000 --> 00:41:17,439
Speaker 1: different permutations of the same hardware you can make before

607
00:41:17,480 --> 00:41:20,320
Speaker 1: people go, well, actually I have an iPod now, so thanks.

608
00:41:21,040 --> 00:41:23,600
Speaker 1: So I think things will change, and I think the

609
00:41:23,800 --> 00:41:27,359
Speaker 1: radio will change, and sooner the better, because no matter

610
00:41:27,440 --> 00:41:30,920
Speaker 1: what way you look at it, the most pleasurable experiences

611
00:41:30,960 --> 00:41:33,640
Speaker 1: you ever have is like when something's played to you

612
00:41:33,800 --> 00:41:36,200
Speaker 1: don't know, We're like going around to friend's house and

613
00:41:36,239 --> 00:41:38,359
Speaker 1: they'll stick a tune on your like, what the hell's there?

614
00:41:38,640 --> 00:41:41,600
Speaker 1: You know, which is what it's about. You know, that's

615
00:41:41,640 --> 00:41:44,040
Speaker 1: what we're like going into store when I was a kid,

616
00:41:44,239 --> 00:41:47,080
Speaker 1: like and the new Smith's records come out, and like,

617
00:41:47,320 --> 00:41:48,879
Speaker 1: and I'm going up to the guy. I think that's

618
00:41:48,920 --> 00:41:51,200
Speaker 1: like he's really cool, like the indie store in town

619
00:41:51,280 --> 00:41:53,440
Speaker 1: and just talking to him about music for twenty minutes,

620
00:41:53,560 --> 00:41:56,520
Speaker 1: you know, and you know, you share everywhere you go.

621
00:41:56,719 --> 00:41:59,439
Speaker 1: Music is everywhere, It's everywhere, But it's not like, yeah,

622
00:41:59,440 --> 00:42:02,000
Speaker 1: that's what I'm saying. It's content. Yeah, it's content, is

623
00:42:02,120 --> 00:42:05,840
Speaker 1: king that will change, And when it does, then I

624
00:42:05,960 --> 00:42:09,919
Speaker 1: think we'll have a resurgence. The underbelly will come back

625
00:42:11,120 --> 00:42:14,520
Speaker 1: overbelly and then well, if it's middle aged would be

626
00:42:14,600 --> 00:42:17,359
Speaker 1: over belly. Well do you have ways to go there?

627
00:42:17,360 --> 00:42:19,759
Speaker 1: I'm gonna be taking some slimming bills. Yeah. But now

628
00:42:19,800 --> 00:42:21,880
Speaker 1: we know in the way that you talked about this

629
00:42:22,000 --> 00:42:25,680
Speaker 1: pebble in the baderfall and content and music marketing. Now,

630
00:42:25,920 --> 00:42:29,759
Speaker 1: so if that changes, certainly, which it has, does your

631
00:42:29,800 --> 00:42:33,560
Speaker 1: willingness to release your music into that world change, Like,

632
00:42:33,640 --> 00:42:36,160
Speaker 1: for example, an obvious example maybe too obvious is you

633
00:42:36,160 --> 00:42:38,480
Speaker 1: don't want to play creep anymore? Now do you sit

634
00:42:38,520 --> 00:42:40,160
Speaker 1: there and say, like if the Sultan of Brunei I

635
00:42:40,239 --> 00:42:42,319
Speaker 1: called you up and said I want you to come

636
00:42:42,400 --> 00:42:45,440
Speaker 1: to Brunei and we'll give you a million pounds, just

637
00:42:45,640 --> 00:42:48,279
Speaker 1: play creep. I would play creeping and go home. I

638
00:42:48,320 --> 00:42:53,040
Speaker 1: would say to something, BRUNEI, why do you have that

639
00:42:53,120 --> 00:42:56,239
Speaker 1: house near me that you never used I get? Just

640
00:42:56,320 --> 00:42:58,080
Speaker 1: meet you down the block. I mean, come on, it's

641
00:42:58,080 --> 00:43:01,480
Speaker 1: an empty house, man, it must be whatever. That's what

642
00:43:01,520 --> 00:43:22,520
Speaker 1: I'd said, trillion and I'd say, no, obviously, But when

643
00:43:22,560 --> 00:43:25,239
Speaker 1: you retire a song that way, why do you do that? Well,

644
00:43:25,760 --> 00:43:28,920
Speaker 1: I didn't know, not necessarily retire it. I mean I

645
00:43:29,000 --> 00:43:31,680
Speaker 1: don't recognize it as me, which is kind of quite interesting.

646
00:43:32,000 --> 00:43:34,680
Speaker 1: When I hear singing just that voice, I don't even

647
00:43:34,719 --> 00:43:41,719
Speaker 1: recognize that. It's kind of odd. Whatever you want. But

648
00:43:41,840 --> 00:43:44,400
Speaker 1: then I remember hearing I remember hearing Lee read like

649
00:43:44,640 --> 00:43:49,479
Speaker 1: on some radio station in Dublin years and years, I guess,

650
00:43:49,719 --> 00:43:53,319
Speaker 1: and they were asking inevitably about Underground, and he said, yeah,

651
00:43:53,360 --> 00:43:55,560
Speaker 1: well sometimes it comes on. I'm like, well, this is cool.

652
00:43:55,600 --> 00:43:59,799
Speaker 1: What's this? And then I realized it's about Underground I'm like, wow, yeah,

653
00:44:00,600 --> 00:44:02,160
Speaker 1: I kind of know what he means. So you get

654
00:44:02,160 --> 00:44:14,960
Speaker 1: to the point where like, what's that So you're forty

655
00:44:15,000 --> 00:44:18,839
Speaker 1: three years old? Fort four years old? It's just our

656
00:44:18,920 --> 00:44:21,080
Speaker 1: professional courtesy that we shave a year off of all

657
00:44:21,120 --> 00:44:23,880
Speaker 1: of our already all of them. Um, you're in the

658
00:44:24,000 --> 00:44:26,200
Speaker 1: now and you're in the here what have you? And

659
00:44:26,239 --> 00:44:29,239
Speaker 1: I'm not saying that glibly, and you're know what I'm saying.

660
00:44:29,280 --> 00:44:31,880
Speaker 1: But you're not somebody who like Mick Jagger, for example,

661
00:44:31,960 --> 00:44:33,799
Speaker 1: Like I wonder if Mick Jagger is going to hit

662
00:44:33,840 --> 00:44:36,200
Speaker 1: a day, like does it happen in a day? Like

663
00:44:36,280 --> 00:44:38,960
Speaker 1: as Mick Jagger in bed one day and he picks

664
00:44:39,040 --> 00:44:41,560
Speaker 1: up the phony, He's like, you know, I just can't

665
00:44:41,640 --> 00:44:43,919
Speaker 1: do it anymore. I can't get out of this bed.

666
00:44:44,640 --> 00:44:48,719
Speaker 1: I can't do another show again. And it's over. Like

667
00:44:48,880 --> 00:44:51,200
Speaker 1: do you think of other things? I think all the

668
00:44:51,360 --> 00:44:55,040
Speaker 1: time of the next thing I'm gonna do. Yeah, the

669
00:44:55,320 --> 00:44:56,880
Speaker 1: next thing. You don't have to tell us what it is,

670
00:44:56,960 --> 00:45:05,040
Speaker 1: but you know, uh no, I mean it would end

671
00:45:05,080 --> 00:45:08,960
Speaker 1: if someone happened to my voice. I don't know. Certain

672
00:45:09,000 --> 00:45:11,320
Speaker 1: things could make it physically stop, and it will stop

673
00:45:11,360 --> 00:45:17,359
Speaker 1: at some point. Something will happen. But for me, I'm yeah,

674
00:45:17,360 --> 00:45:20,520
Speaker 1: I'm always hearing different things. There's always half finished things,

675
00:45:20,600 --> 00:45:22,800
Speaker 1: which you ask poor old Nigel he knows about that.

676
00:45:23,320 --> 00:45:26,160
Speaker 1: There's always a mountain of half stuff. I want to

677
00:45:26,200 --> 00:45:29,200
Speaker 1: get into stuff I've started, stuff I want to you know.

678
00:45:29,480 --> 00:45:33,359
Speaker 1: But I also think it's good to sort of take

679
00:45:33,480 --> 00:45:36,799
Speaker 1: breaks because I've gone straight from this radio tour last year,

680
00:45:36,840 --> 00:45:39,359
Speaker 1: which was a really heavy mother but really good fun,

681
00:45:39,840 --> 00:45:42,719
Speaker 1: straight into doing sort of atoms for stuff and not

682
00:45:42,840 --> 00:45:46,080
Speaker 1: really had a break. And to breakers do a break

683
00:45:46,160 --> 00:45:48,880
Speaker 1: is do you because what I've found with a breakers

684
00:45:49,200 --> 00:45:51,440
Speaker 1: can be an incredibly exciting thing, with that thing of

685
00:45:51,560 --> 00:45:53,920
Speaker 1: like you just all the stuff you want to do,

686
00:45:54,080 --> 00:45:56,600
Speaker 1: but you just force yourself not just force yourself to

687
00:45:56,680 --> 00:46:01,320
Speaker 1: wait and get back into just time and space and

688
00:46:01,640 --> 00:46:05,480
Speaker 1: um yeah, not being in music all the time, I think,

689
00:46:05,800 --> 00:46:09,640
Speaker 1: because it's like anything, you start to go in small circles,

690
00:46:09,920 --> 00:46:11,960
Speaker 1: so you've got to stop when that happens. I've had

691
00:46:12,000 --> 00:46:14,719
Speaker 1: to practice that now. I mean, I got married again

692
00:46:15,320 --> 00:46:19,279
Speaker 1: and I really sat and thought about that way that

693
00:46:19,440 --> 00:46:23,840
Speaker 1: I want to have a more ordinary and more normal

694
00:46:24,960 --> 00:46:27,800
Speaker 1: handling of my emotions. I think the best way to

695
00:46:27,840 --> 00:46:29,480
Speaker 1: put it is where people in my business, say which

696
00:46:29,520 --> 00:46:31,440
Speaker 1: is would you rather live it in real life or

697
00:46:31,440 --> 00:46:34,319
Speaker 1: word you rather play it on screen? And I'm thinking

698
00:46:34,480 --> 00:46:36,160
Speaker 1: I want to walk away from because I'd rather live

699
00:46:36,200 --> 00:46:38,120
Speaker 1: it in real life now than play it on screen.

700
00:46:38,719 --> 00:46:42,680
Speaker 1: I think with what I do, it's slightly different because

701
00:46:42,719 --> 00:46:45,279
Speaker 1: what I would I do it Actually, unless you you

702
00:46:45,520 --> 00:46:50,120
Speaker 1: literally you're spending, unless you are just literally working too hard,

703
00:46:50,760 --> 00:46:55,960
Speaker 1: it's a regenerative thing. I find that I'm well, I mean,

704
00:46:56,040 --> 00:46:59,040
Speaker 1: my family, my friends know that I'm a nicer person.

705
00:46:59,400 --> 00:47:02,080
Speaker 1: If I'm working and I'm into what I'm doing, then

706
00:47:02,160 --> 00:47:06,520
Speaker 1: if I stop, there is a period where I'm fairly unbearable.

707
00:47:06,640 --> 00:47:09,799
Speaker 1: If I do stop, yeah, for too long, but then

708
00:47:11,120 --> 00:47:14,480
Speaker 1: probably yeah, there's a threshold. But like if you want

709
00:47:14,520 --> 00:47:18,280
Speaker 1: to shift right with your work, if you want to shift,

710
00:47:18,360 --> 00:47:21,960
Speaker 1: if you're writing, if you're being creative at all, you

711
00:47:22,160 --> 00:47:26,600
Speaker 1: kind of have to stop to make that shift because

712
00:47:26,640 --> 00:47:30,520
Speaker 1: if you just I'm constantly creating, I've got this mountain

713
00:47:30,640 --> 00:47:34,759
Speaker 1: of brilliant ideas. You're making the basic mistake that you're

714
00:47:34,760 --> 00:47:38,239
Speaker 1: assuming all ideas are brilliant, where in fact, actually the

715
00:47:38,280 --> 00:47:40,880
Speaker 1: more you do they're probably the more it kind of

716
00:47:40,960 --> 00:47:45,120
Speaker 1: your thing in reverse because actually I can't write unless

717
00:47:46,239 --> 00:47:50,720
Speaker 1: I have a period where restored. Well, no, it's not restored,

718
00:47:50,840 --> 00:47:56,400
Speaker 1: just just reset. I'm like just normal, normal, normal, normal, normal, normal, normal.

719
00:47:56,480 --> 00:48:00,200
Speaker 1: Speaking of normal, do you have siblings? Yeah? But what

720
00:48:00,280 --> 00:48:02,640
Speaker 1: do you have a brother? What does he do? Russian

721
00:48:02,640 --> 00:48:10,560
Speaker 1: politics and stuff? He teaches? No, he's what do you

722
00:48:10,600 --> 00:48:16,120
Speaker 1: mean investigations on people? Your parents studied Russian Oxford and

723
00:48:16,160 --> 00:48:20,759
Speaker 1: then went into various Are your parents all there? What

724
00:48:20,920 --> 00:48:24,520
Speaker 1: do your I would love people in your business? Above all?

725
00:48:25,600 --> 00:48:27,400
Speaker 1: What are your parents and your brother make of you?

726
00:48:28,320 --> 00:48:33,160
Speaker 1: Going from being Tom York Tom to becoming Tom York. Well,

727
00:48:33,200 --> 00:48:34,800
Speaker 1: my brother was in a band of his own for

728
00:48:34,840 --> 00:48:37,600
Speaker 1: a while as well, so he has slightly like he

729
00:48:37,680 --> 00:48:39,640
Speaker 1: can see what it is from another point of view.

730
00:48:40,520 --> 00:48:42,920
Speaker 1: What do my parents think? I don't know. They like

731
00:48:44,400 --> 00:48:46,120
Speaker 1: when I was a kid, they didn't approve. Now that

732
00:48:46,440 --> 00:48:50,399
Speaker 1: I'm happy, Why do you go into advertising? Yes? Well

733
00:48:50,480 --> 00:48:52,440
Speaker 1: you know it was like fair enough. I was I

734
00:48:52,560 --> 00:48:54,719
Speaker 1: piste off with them at the time, but you know

735
00:48:54,920 --> 00:48:56,600
Speaker 1: it's kind of what that's what you do, isn't it.

736
00:48:56,719 --> 00:48:59,120
Speaker 1: I mean tell you Abouty's parents. Right when I left

737
00:48:59,640 --> 00:49:01,920
Speaker 1: a law program and I was destined to go to

738
00:49:02,040 --> 00:49:04,279
Speaker 1: law school and I went into the acting program. My

739
00:49:04,400 --> 00:49:07,359
Speaker 1: mother was she literally screamed at me over the path.

740
00:49:07,920 --> 00:49:09,759
Speaker 1: My mom was very upset when I when I chose

741
00:49:09,800 --> 00:49:12,319
Speaker 1: to go to art college because she'd been to art

742
00:49:12,320 --> 00:49:14,200
Speaker 1: college and she said, it's complete waste of time. Don't

743
00:49:14,239 --> 00:49:17,279
Speaker 1: bother I. When I became successful with my business, mother

744
00:49:17,440 --> 00:49:19,600
Speaker 1: was like, I'm so proud of them. Oh my god,

745
00:49:19,680 --> 00:49:23,160
Speaker 1: this is wonderful. Yeah, it's kind of bond because like

746
00:49:23,320 --> 00:49:26,040
Speaker 1: seeing them backstage at a really big show. That will

747
00:49:26,080 --> 00:49:27,560
Speaker 1: come to a big show and there's my mom and

748
00:49:27,600 --> 00:49:32,200
Speaker 1: I going that was fun, Corney beer or whatever. When

749
00:49:32,280 --> 00:49:36,040
Speaker 1: you do step away from it, what are there? Art?

750
00:49:36,360 --> 00:49:39,200
Speaker 1: Are you? Are you interested in art? Photography? My mate

751
00:49:39,560 --> 00:49:43,000
Speaker 1: theater film, my mate Stanley don Wood who I went

752
00:49:43,080 --> 00:49:46,040
Speaker 1: to art college with, who does all our art work with.

753
00:49:46,560 --> 00:49:47,960
Speaker 1: I mean I do it with him kind of thing.

754
00:49:48,800 --> 00:49:51,040
Speaker 1: We we always have these lovely plans about we want

755
00:49:51,080 --> 00:49:53,080
Speaker 1: to go and live in Berlin for a month and

756
00:49:53,200 --> 00:49:55,719
Speaker 1: just paint and get in trouble and things like that.

757
00:49:56,160 --> 00:49:58,400
Speaker 1: We call ourselves the Sunday Painters and we go on

758
00:49:58,480 --> 00:50:03,960
Speaker 1: bad painting trips. We did one where um, they're bad

759
00:50:04,000 --> 00:50:07,480
Speaker 1: painting troops because I'm involved. Um, there was one one

760
00:50:07,520 --> 00:50:09,600
Speaker 1: of my favorite ones was we went on the moors

761
00:50:10,560 --> 00:50:13,680
Speaker 1: down in Cornwall. Do you know what I mean by

762
00:50:13,719 --> 00:50:16,640
Speaker 1: the moors and Dartmore basically, which is very very very

763
00:50:16,719 --> 00:50:21,359
Speaker 1: bleak but really beautiful. We're in the Stone Circle, drove

764
00:50:21,440 --> 00:50:22,759
Speaker 1: part of the way, walked the rest of the way

765
00:50:22,760 --> 00:50:26,840
Speaker 1: with these big canvases and paints. But we only we

766
00:50:27,080 --> 00:50:30,320
Speaker 1: discovered we only have purple and blue and yellow, so

767
00:50:30,440 --> 00:50:33,080
Speaker 1: we thought, well, okay, we'll use that, and we painted

768
00:50:33,160 --> 00:50:37,040
Speaker 1: landscapes all afternoon, but they were purple and blue and yellow.

769
00:50:37,960 --> 00:50:40,719
Speaker 1: Some Paul and I remember coming like late afternoon, coming

770
00:50:40,760 --> 00:50:43,759
Speaker 1: and asked us, asking us for directions. We're both sitting there,

771
00:50:43,840 --> 00:50:47,279
Speaker 1: you know, canvases up like this, all huddled up with

772
00:50:47,320 --> 00:50:52,759
Speaker 1: the hooded hoods on, you know, just doing this, and

773
00:50:52,840 --> 00:50:57,400
Speaker 1: this ball woman comes up, asks for asks, directions, was

774
00:50:57,520 --> 00:51:00,120
Speaker 1: somewhere or other and then looks at the paintings. It's

775
00:51:00,200 --> 00:51:06,160
Speaker 1: wonders off like good lucky career. I hope you're not

776
00:51:06,280 --> 00:51:07,880
Speaker 1: counting on it. I was like, I didn't think the

777
00:51:07,960 --> 00:51:10,880
Speaker 1: purple's working. It was like me being in Italy and

778
00:51:10,920 --> 00:51:13,360
Speaker 1: this beautiful couple they were like late, they were older,

779
00:51:13,640 --> 00:51:15,000
Speaker 1: and the men walked up to me in the camera

780
00:51:15,040 --> 00:51:17,760
Speaker 1: and he said, schools A, schools A. He's a photo

781
00:51:18,239 --> 00:51:20,400
Speaker 1: and he's pointing to me and his wife. He's triangularly

782
00:51:20,600 --> 00:51:22,000
Speaker 1: and I go oh, and I put my arm around

783
00:51:22,080 --> 00:51:23,719
Speaker 1: his wife to take a photo. He goes, no, no,

784
00:51:23,880 --> 00:51:27,040
Speaker 1: you photo of my wife and yeah, you take the

785
00:51:28,440 --> 00:51:32,279
Speaker 1: the mountain in the background. And I was like, oh, god, yeah,

786
00:51:32,360 --> 00:51:33,960
Speaker 1: they don't know who I am. I should move here,

787
00:51:34,000 --> 00:51:38,719
Speaker 1: I should move here. Um. You mentioned someone gave you

788
00:51:39,239 --> 00:51:44,279
Speaker 1: that push his mentorship in your career. Do people come

789
00:51:44,360 --> 00:51:46,520
Speaker 1: to you and do you give them a push A

790
00:51:46,640 --> 00:51:49,759
Speaker 1: little bit? I mean, um, you must have a lot

791
00:51:49,760 --> 00:51:51,600
Speaker 1: of people in the music world, young people who look

792
00:51:51,640 --> 00:51:56,160
Speaker 1: up to you. Um. To me, it's one of the

793
00:51:56,239 --> 00:52:00,560
Speaker 1: best buzzes. Really, is that thing where some comes up

794
00:52:01,360 --> 00:52:04,120
Speaker 1: who's new and they're really into you know, I'm really

795
00:52:04,160 --> 00:52:06,200
Speaker 1: into what they're doing. It's really fascinating and it's really

796
00:52:06,360 --> 00:52:11,919
Speaker 1: totally new to me. But yet the occasions when yeah,

797
00:52:12,239 --> 00:52:13,839
Speaker 1: and you're like, how could you? How could you feel

798
00:52:13,880 --> 00:52:18,840
Speaker 1: off me? I don't see any of my stuff, but

799
00:52:18,960 --> 00:52:21,239
Speaker 1: they see it, and I'm like, wow, that's so cool,

800
00:52:21,560 --> 00:52:23,920
Speaker 1: especially when it's like like it's in hip hop and

801
00:52:24,000 --> 00:52:27,080
Speaker 1: like really, you know, people within hip hop who are

802
00:52:27,120 --> 00:52:30,120
Speaker 1: into radiohead. I'm like, I find that so fascinating because

803
00:52:30,360 --> 00:52:33,040
Speaker 1: i mean, obviously I'm massively into hip hop, and we've

804
00:52:33,440 --> 00:52:35,360
Speaker 1: we use hip hop as a reference point in the

805
00:52:35,400 --> 00:52:39,280
Speaker 1: way we build tracks and stuff. But really, wow, that's bonkers,

806
00:52:39,480 --> 00:52:41,839
Speaker 1: you know, and that obviously that's one of the really

807
00:52:41,880 --> 00:52:44,480
Speaker 1: good bits. But it's not really mental ship. It's just

808
00:52:45,080 --> 00:52:48,880
Speaker 1: people who you admire good at their ship, you know,

809
00:52:49,560 --> 00:52:55,239
Speaker 1: when it happens, it happens. Yeah, how does success make

810
00:52:55,320 --> 00:53:00,279
Speaker 1: you feel? How does it make me feel? Really now? Something? Yeah,

811
00:53:01,440 --> 00:53:09,440
Speaker 1: which which I think is well, has it made me feel?

812
00:53:13,239 --> 00:53:16,800
Speaker 1: It's always been a little bit far away from me,

813
00:53:17,760 --> 00:53:19,840
Speaker 1: And the only time it sort of makes sense is

814
00:53:19,920 --> 00:53:22,600
Speaker 1: when we play in front of people, you know, And

815
00:53:22,719 --> 00:53:24,839
Speaker 1: the rest of the time, it's like, well, it's it's

816
00:53:24,920 --> 00:53:29,400
Speaker 1: just it's who I've been for so long I can't

817
00:53:29,719 --> 00:53:34,279
Speaker 1: tell you because it's just that's what it is. And

818
00:53:34,400 --> 00:53:36,960
Speaker 1: I think I've probably been doing it more than I

819
00:53:37,080 --> 00:53:40,160
Speaker 1: haven't in my life in terms of years, in terms

820
00:53:40,200 --> 00:53:44,440
Speaker 1: of time. So most of the time I don't really notice.

821
00:53:44,560 --> 00:53:46,759
Speaker 1: Some people come up and I go, well, that's nice,

822
00:53:46,840 --> 00:53:48,759
Speaker 1: you know, thanks very much, And it's not like I'm

823
00:53:48,800 --> 00:53:51,680
Speaker 1: not grateful them, just I just don't notice. And then

824
00:53:51,800 --> 00:53:54,120
Speaker 1: sometimes something will whack you over the head and you

825
00:53:54,200 --> 00:53:57,080
Speaker 1: go blimey, things like doing the first time we did

826
00:53:57,120 --> 00:54:00,359
Speaker 1: Saturday in my life, for example, and you go really

827
00:54:01,480 --> 00:54:03,680
Speaker 1: because sometimes you can't you don't know, you don't know,

828
00:54:03,920 --> 00:54:06,800
Speaker 1: you've got you on the inside, you can't see it.

829
00:54:06,920 --> 00:54:11,040
Speaker 1: And and and also we've spent so long running away

830
00:54:11,080 --> 00:54:12,879
Speaker 1: from it, and I don't feel like a run away

831
00:54:12,920 --> 00:54:17,279
Speaker 1: from it now because there's nowhere to run run, no

832
00:54:17,320 --> 00:54:20,680
Speaker 1: where to run. And also it is like, yeah, I'm

833
00:54:20,760 --> 00:54:24,560
Speaker 1: really grateful for I'm very incredibly lucky. It's a very

834
00:54:24,600 --> 00:54:27,560
Speaker 1: good point. There's nowhere to run and still do it. Yeah,

835
00:54:27,880 --> 00:54:30,880
Speaker 1: I mean, I just think I'm well jammy. As we

836
00:54:31,080 --> 00:54:34,880
Speaker 1: take it's just really jammy, especially in the US, and

837
00:54:35,000 --> 00:54:37,200
Speaker 1: it's like, well, that's amazing. I guess I have one

838
00:54:37,200 --> 00:54:40,439
Speaker 1: more question, was what does well Jammy mean? I don't know, really,

839
00:54:40,760 --> 00:54:45,520
Speaker 1: you don't know. Jammie is like, um you it's so Jammy,

840
00:54:45,840 --> 00:54:51,560
Speaker 1: like you just I'm dating myself as it's a total fluke, man,

841
00:54:51,880 --> 00:54:55,040
Speaker 1: it's not really, You're just lucky. I mean, I'm British, right,

842
00:54:55,080 --> 00:54:58,240
Speaker 1: so I assume I'm just Lucky. There's no skill involved.

843
00:54:58,320 --> 00:55:13,200
Speaker 1: I'm Jammy. This is from a Muck, Tom York's latest

844
00:55:13,280 --> 00:55:20,440
Speaker 1: release with his other band, Adams for Peace. You can

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Speaker 1: find out more about York on our website, where you

846
00:55:23,719 --> 00:55:27,160
Speaker 1: can also hear longer interviews in our archive with people

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00:55:27,239 --> 00:55:30,759
Speaker 1: like Brian Williams, Andrew Luck and Saturday Night Live writer

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00:55:31,040 --> 00:55:35,000
Speaker 1: Paula Pell. Pleasure Island Welcome. I read a book about

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00:55:35,040 --> 00:55:37,680
Speaker 1: it and suddenly I went and did it. That changed

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Speaker 1: my life. Go to Here's the Thing dot org. Here's

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Speaker 1: the Thing is produced by Emily Botin and Cathy Russo

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00:55:48,600 --> 00:55:53,680
Speaker 1: with Chris Bannon, Jim Briggs, ed Herbstman, Melanie Hoops, Monica Hopkins,

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00:55:53,800 --> 00:55:59,000
Speaker 1: Trey k Sharon mashehe At Loewolkowski. Thanks to Larry Josephson

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00:55:59,280 --> 00:56:02,759
Speaker 1: and the ray Do Foundation. I'm Alec Baldwin and this

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Speaker 1: is Here's the Thing