WEBVTT - Lauren Christy

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<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Leftstetch Podcast. My

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<v Speaker 1>guest today is producer songwriters sometimes artist Lauren Christy. Lauren,

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<v Speaker 1>good to have you on the podcast.

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<v Speaker 2>It's great to be here, Bob.

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<v Speaker 3>So, what's the status of songwriting today in a world

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<v Speaker 3>that's dominated by streaming and frequently only one song off

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<v Speaker 3>an album has millions of plays?

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<v Speaker 2>If that hm hm, wells, yeah, it's very, very different.

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<v Speaker 2>I'm on the board of SONA and the new NMPA

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<v Speaker 2>Songs Board, and of course we spent a lot of

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<v Speaker 2>time talking to this about this problem, and Michelle Lewis

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<v Speaker 2>and Kay Hanley, who are the heads of SONA, there's

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<v Speaker 2>so much more equipped to talk about the details of this.

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<v Speaker 2>But I can tell you what it means to me

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<v Speaker 2>is okay, So basically it's voluntary.

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<v Speaker 3>Just to start for a second, that's a National Music

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<v Speaker 3>Publishers Association for those people who don't know an MPs. Yes, okay,

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<v Speaker 3>so it means.

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<v Speaker 2>To you, It means to me that I mean, I

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<v Speaker 2>teach a masterclass on songwriting and the first thing I

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<v Speaker 2>say is please don't just be a songwriter. It was

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<v Speaker 2>very important to me that in nineteen ninety nine after

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<v Speaker 2>I came from being an artist that I started the

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<v Speaker 2>Matrix and with my partner Scott Sparkan my ex husband

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<v Speaker 2>Graham Edwards, and so we were producers. And so I

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<v Speaker 2>didn't even realize at the time that that was a

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<v Speaker 2>very important thing to do because of what was going

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<v Speaker 2>to happen in the future with songwriting becoming volunteer work

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<v Speaker 2>basically because there's no money on streaming really unless you

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<v Speaker 2>maybe there is money if you have a massive top

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<v Speaker 2>forty radio hit, like Top ten, because then the songs

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<v Speaker 2>get synced in all the TV adverts and you know,

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<v Speaker 2>basically Top forty still pays money, but that's like kind

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<v Speaker 2>of the quan right getting to that top ten spot.

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<v Speaker 2>And today with streaming, that's all anyone really cares about,

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<v Speaker 2>and it seems that's all the record labels care about.

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<v Speaker 2>Like radio. I don't even know many kids in their

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<v Speaker 2>early twenties who are listening to traditional radio. So it

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<v Speaker 2>means that the streaming is not really paying an artist.

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<v Speaker 2>So what I preach is, please become a producer. Please

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<v Speaker 2>become the artist or the producer, because then you have

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<v Speaker 2>master ownership, and that's what it's all about. If you

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<v Speaker 2>don't have master ownership. You are basically not going to

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<v Speaker 2>get paid. And it's like sort of like being a poet.

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<v Speaker 2>And I'm sure it's very nice to be a poet,

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<v Speaker 2>but they don't make a lot of money, or maybe

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<v Speaker 2>two of them do in the world.

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<v Speaker 3>Right. Okay, Let's say an artist with some success says

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<v Speaker 3>to you, I want you to write songs for me.

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<v Speaker 3>Do you only choose to work with people who have

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<v Speaker 3>a good chance of having a hit single with the

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<v Speaker 3>song you're writing, or is it like the old days

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<v Speaker 3>since you get a royalty on every song on the CD?

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<v Speaker 2>You say, fine, I mean, I do this for the

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<v Speaker 2>love of it. So if I think the artist is

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<v Speaker 2>a star and they've got an incredible voice, if they've

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<v Speaker 2>got nothing going on, I'll work with them as long

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<v Speaker 2>as I'm the producer. I have to be the producer,

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<v Speaker 2>So I'm taking like long bets, you know. Yeah, it

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<v Speaker 2>doesn't have to be that. I can see that, you know,

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<v Speaker 2>the president of the labels signed them and that they've

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<v Speaker 2>got the best manager in the world and all that stuff,

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<v Speaker 2>because I've seen things come out of nowhere and become

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<v Speaker 2>successful in my career. So it's really like, does my

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<v Speaker 2>heart feel like I want to do it if they

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<v Speaker 2>if they're impressive to me, then something extraordinary could happen.

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<v Speaker 3>Okay. Needless to say, recording budgets have gone down. Prior

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<v Speaker 3>to the Internet era, producer, we get three to four

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<v Speaker 3>and frequently from record one in addition an advance against

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<v Speaker 3>those royalties. What are the deals like today?

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<v Speaker 2>Well, I mean, I do think that there seems to

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<v Speaker 2>not be so much money, especially for newer artists. I

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<v Speaker 2>think still there's probably I should think Mark Ronson and

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<v Speaker 2>Rick Rubin of making some gangbuster money. Still, I kind

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<v Speaker 2>of have a certain price list of how I do

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<v Speaker 2>things for independent artists, it's so rare I'm ever going

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<v Speaker 2>to see any money on the back end, so I

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<v Speaker 2>charge quite a big fee on the front end. For majors,

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<v Speaker 2>I drop it a little bit because there's maybe a

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<v Speaker 2>chance of getting to that top forty spot, you know.

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<v Speaker 2>I see a lot of people working for like what

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<v Speaker 2>I think seems like ridiculously small amounts of money. I

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<v Speaker 2>just think as usual in this business, there's no rules.

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<v Speaker 2>It's the wild wild West, and you have once you

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<v Speaker 2>have some success, you sort of have to set a

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<v Speaker 2>standard of what you get paid. And it's worked out

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<v Speaker 2>quite well for me to just say no quite a lot.

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<v Speaker 2>It's the most powerful world, most powerful word in the

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<v Speaker 2>music business or in entertainment is no, and I stick

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<v Speaker 2>to that quite often. Okay, sometimes if I love somebody

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<v Speaker 2>and it's they've got no money to pay me, I'll

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<v Speaker 2>sign them and to my production company and just do

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<v Speaker 2>it all for nothing.

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<v Speaker 3>Now, there are a lot of people who've made money

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<v Speaker 3>from record labels in the last century beginning of this century,

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<v Speaker 3>and that money has dried up, and they have done

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<v Speaker 3>vanity records over the last ten or fifteen years. Where

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<v Speaker 3>somebody says, I have the money, my son or daughter

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<v Speaker 3>is twelve, they want to make a record. Is that

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<v Speaker 3>something that's in your world that you've done.

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<v Speaker 2>M yes, I have. But I have a very strict

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<v Speaker 2>rule about that too, that is, if they're not an

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<v Speaker 2>amazing singer, I'm not doing it. I feel like, when

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<v Speaker 2>you've got a reputation for doing some good work, I

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<v Speaker 2>don't want to ruin that reputation and just be about

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<v Speaker 2>the money. And it's not really ever been about the

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<v Speaker 2>money for me, thank god. It's just been you know,

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<v Speaker 2>as long as they're really talented. Sometimes they have a cause,

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<v Speaker 2>like I work with a girl who had a very

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<v Speaker 2>pretty voice, and she was running this charity for children

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<v Speaker 2>with Down syndrome, and she were going I think it

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<v Speaker 2>was called Happy House or something, and just they would

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<v Speaker 2>all like do music together, and I just thought it

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<v Speaker 2>was so beautiful that I got involved and made eight

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<v Speaker 2>songs with her. And I wasn't sure where it was

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<v Speaker 2>going to go or if there was going to be

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<v Speaker 2>any success, but she had a lovely voice and it

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<v Speaker 2>was a good cause, and so yeah, I'll do things

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<v Speaker 2>again if my heart's in it. I never just want

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<v Speaker 2>to say I'll give me the money. This kid's crap,

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<v Speaker 2>you know, but I'll take the money. I just can't

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<v Speaker 2>do that.

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<v Speaker 3>Okay, Diane Warren. She is hustling, even in this late

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<v Speaker 3>day twenty four or seven. She's calmbing the trades, you know, movies,

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<v Speaker 3>et cetera. Looking for work. Are you more active or

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<v Speaker 3>you more passive waiting for the phone to ring? What's

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<v Speaker 3>it like for you?

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<v Speaker 2>I'm definitely more passive in arm a person of faith,

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<v Speaker 2>and I feel like sometimes it's not your door you

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<v Speaker 2>earth to open or to bang on. So I do

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<v Speaker 2>kind of wait for things to come to me, and

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<v Speaker 2>things do come to me, thank God. I feel like

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<v Speaker 2>I'm really busy, and I'm always saying, Okay, I got

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<v Speaker 2>to slow down. I got to slow down. About ten

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<v Speaker 2>years ago, I tried to drop my schedule to three

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<v Speaker 2>days a week because I really wanted to be in

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<v Speaker 2>my kid's life and I have two daughters and I

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<v Speaker 2>had to I wanted to go pick them up from

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<v Speaker 2>school like three days a week and just you know,

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<v Speaker 2>be hanging out of the house while they're doing the homework.

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<v Speaker 2>I just didn't want to be in sets every day.

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<v Speaker 2>So I've tried to stick to that. But what happens

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<v Speaker 2>is that suddenly one week I'll be working six days

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<v Speaker 2>and then I'm like, okay, slow down, next week three days.

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<v Speaker 2>So I would never say that I'm lost for being

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<v Speaker 2>able to find work. It's always being offered to me.

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<v Speaker 2>And have a lot of friendships in this business, long

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<v Speaker 2>standing friendships, and people come back, so I don't think

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<v Speaker 2>I feel I don't feel like I'm hustling. I could

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<v Speaker 2>probably hustle for like bigger, more high profile artists and

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<v Speaker 2>seek them out, but I'm kind of a strange fish,

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<v Speaker 2>and that I really love working with new artists or

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<v Speaker 2>up and coming artists. And I've worked with a lot

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<v Speaker 2>of stars and you find yourself waiting at the studio

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<v Speaker 2>for two hours for them to show up. But it

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<v Speaker 2>was more exciting working with them before they became stars.

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<v Speaker 2>But I'm busy now.

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<v Speaker 3>If someone wants to work with you, do they contact

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<v Speaker 3>you directly or do you have a manager or an

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<v Speaker 3>attorney who filters?

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<v Speaker 2>So I very closely with my partner in crime, Donna

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<v Speaker 2>Cassain at Reservoir Media. I have ADMIN through that company,

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<v Speaker 2>and Donna is way more than just admin. She's really

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<v Speaker 2>my publisher and we've been working together, oh like sixteen years,

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<v Speaker 2>very closely. So on my Instagram and TikTok, I think

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<v Speaker 2>I have like Donn reach out to Donna Cassain, and

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<v Speaker 2>then it started to get a bit overwhelming. So at

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<v Speaker 2>that point I put like an email up. I don't

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<v Speaker 2>have management. I just manage myself because I know my

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<v Speaker 2>schedule better than anyone and it's just quicker for me.

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<v Speaker 2>And so between Donna and I, we we deal with

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<v Speaker 2>it with everything. People can direct directly email me like

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<v Speaker 2>they see me on TikTok, and people will send me stuff.

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<v Speaker 2>I found some incredible stuff. You know, amazing artists who

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<v Speaker 2>want to work with me and they've got nothing going on.

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<v Speaker 2>Sometimes I want to sign them. Sometimes I'm just like,

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<v Speaker 2>you know, this is my fee, and quite often they

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<v Speaker 2>want to pay it again, as I say, they have

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<v Speaker 2>to be a ma but just me and Donna really

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<v Speaker 2>working it all out, Okay.

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<v Speaker 3>Frequently there's negotiation involved. Do you do your own negotiation?

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<v Speaker 2>I do? I do everything.

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<v Speaker 3>Okay, So I'm an artist and I say I want

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<v Speaker 3>to pay you X, and in your mind you say,

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<v Speaker 3>well I'll do it for two X. Do you then

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<v Speaker 3>say well I'll do it for three X. What's your

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<v Speaker 3>negotiation technique?

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<v Speaker 2>I mean, if they say, you know, they want to

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<v Speaker 2>do one song, then I'm pretty much just going to

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<v Speaker 2>charge my fee. But if they say they're going to

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<v Speaker 2>do three songs, I might lower my fee by five

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<v Speaker 2>grand a track.

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<v Speaker 3>Okay. What I'm trying to say is, let's say you

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<v Speaker 3>quote a fee and they say, oh on, I want

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<v Speaker 3>to pay that. You're you charge five grand? I want

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<v Speaker 3>to pay three grand? What would you say?

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<v Speaker 1>Yeah?

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<v Speaker 2>If I really love then I might say, okay, that's fine,

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<v Speaker 2>but can we do three songs at three grand?

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<v Speaker 3>Let me change it a little bit. You're obviously talented

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<v Speaker 3>on the creative end. How good a business person are you?

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<v Speaker 2>I mean, I've managed myself for the last fifteen years

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<v Speaker 2>and I feel like I've done pretty well, so I

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<v Speaker 2>think I'm good at business. I had to become a

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<v Speaker 2>business person. I had to.

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<v Speaker 3>Okay, you're with Reservoir, which is a relatively new company.

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<v Speaker 3>How'd you end up with Reservoir?

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<v Speaker 2>Well, what happened was I finally managed to get out

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<v Speaker 2>of my record publishing deal with Universal and Donna Cassein

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<v Speaker 2>had been at Universal. She kind of inherited us after

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<v Speaker 2>I can't remember his name now, but he left the company,

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<v Speaker 2>the head who'd signed us when I was in the matrix,

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<v Speaker 2>So Donna was there. We started working together. My contract

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<v Speaker 2>then came to an end, and I was like, let

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<v Speaker 2>me just do my own publishing company myself. And I

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<v Speaker 2>get this call from Donner and she says, Babe, I'm

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<v Speaker 2>going to work at this company called Reservoir Media. It's

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<v Speaker 2>run by this incredible woman, Golna closure Shahi, and it's

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<v Speaker 2>female run publishing company. And what do you think? And

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<v Speaker 2>I said, when do we start? Actually, I couldn't be

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<v Speaker 2>without Donna. She was so amazing and just the thought

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<v Speaker 2>of getting to be with all these incredible women, Faith Newman, Golna.

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<v Speaker 2>It's incredible there. And I get to talk to Donna

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<v Speaker 2>like every week and just kind of plot what we're

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<v Speaker 2>up to. It's a great company, and I think they're

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<v Speaker 2>like just doing amazing things, expanding all over the place,

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<v Speaker 2>buying catalog they have, They bought Christmas records. It's like,

0:12:50.679 --> 0:12:52.360
<v Speaker 2>I don't think there's any stopping them. Actually.

0:12:54.200 --> 0:12:57.920
<v Speaker 3>Okay, you say you've got out of your deal with Universal?

0:12:58.080 --> 0:13:00.920
<v Speaker 3>Is that an admin deal? Did you have a regular

0:13:00.920 --> 0:13:01.640
<v Speaker 3>publishing deal?

0:13:01.720 --> 0:13:03.839
<v Speaker 2>Now? That was a traditional publishing deal?

0:13:04.679 --> 0:13:11.040
<v Speaker 3>Okay, So when you had success with the Matrix, gigantic

0:13:11.120 --> 0:13:16.240
<v Speaker 3>success with Avril Levine, did you own your publishing then

0:13:16.440 --> 0:13:18.040
<v Speaker 3>or were you with a company?

0:13:20.600 --> 0:13:25.120
<v Speaker 2>Actually, I was on Warner Chapel when we wrote the

0:13:25.160 --> 0:13:28.760
<v Speaker 2>Avil stuff, and then Scott Francis that was it signed

0:13:28.840 --> 0:13:32.440
<v Speaker 2>us to Universal. We actually sort of publishing deal ended

0:13:32.480 --> 0:13:36.800
<v Speaker 2>about six months after the Avil record blew up, which

0:13:36.920 --> 0:13:40.680
<v Speaker 2>was fantastic, and of course our manager at the time

0:13:40.720 --> 0:13:43.080
<v Speaker 2>steamed in and got us a big publishing deal with

0:13:43.400 --> 0:13:47.520
<v Speaker 2>Scott's at Universal, and of course that you know, it

0:13:47.559 --> 0:13:49.280
<v Speaker 2>took a long time to play out and pay all

0:13:49.280 --> 0:13:51.760
<v Speaker 2>the money back. But once it was done, I kind

0:13:51.760 --> 0:13:53.480
<v Speaker 2>of felt really strongly that I didn't want to do

0:13:53.480 --> 0:13:54.480
<v Speaker 2>another publishing deal.

0:13:55.600 --> 0:14:01.280
<v Speaker 3>Okay, the songs that you wrote with Universal, do they

0:14:01.320 --> 0:14:04.880
<v Speaker 3>still have ownership interest in those? Or do you own

0:14:05.040 --> 0:14:07.360
<v Speaker 3>those songs one hundred percent? Now?

0:14:08.040 --> 0:14:14.080
<v Speaker 2>Ooh gosh. I would say they're slowly coming back to me.

0:14:14.320 --> 0:14:19.120
<v Speaker 2>Some of them are still owned by Universal, and they're

0:14:19.160 --> 0:14:21.760
<v Speaker 2>slowly coming back to me, and then I take them

0:14:21.760 --> 0:14:23.400
<v Speaker 2>over to Reservoir as they come back to me.

0:14:24.360 --> 0:14:29.040
<v Speaker 3>Okay. So someone starting out might say, Okay, if I

0:14:29.120 --> 0:14:32.760
<v Speaker 3>write the songs, I get one hundred percent. If I

0:14:32.840 --> 0:14:36.480
<v Speaker 3>make a publishing deal, I get an advance, but the

0:14:36.520 --> 0:14:40.120
<v Speaker 3>publishing company's going to have an ownership in that. Everything's negotiable.

0:14:40.760 --> 0:14:42.440
<v Speaker 3>What would you tell a young person?

0:14:43.840 --> 0:14:47.960
<v Speaker 2>But I think if you're a young songwriter trying to

0:14:48.120 --> 0:14:51.160
<v Speaker 2>make it, I think the reason to sign a publishing

0:14:51.200 --> 0:14:53.400
<v Speaker 2>deal is one because you really need some money. Like

0:14:53.600 --> 0:14:55.800
<v Speaker 2>obviously that's the first thing. If you really don't need

0:14:55.800 --> 0:14:57.880
<v Speaker 2>the money, then you don't really you shouldn't really do

0:14:57.880 --> 0:15:01.880
<v Speaker 2>a publishing deal, do an admin deal. But I also

0:15:02.000 --> 0:15:06.200
<v Speaker 2>feel that probably having a good team is important to you.

0:15:06.680 --> 0:15:10.080
<v Speaker 2>Having Donner at Universal, they were like pushing me into

0:15:10.120 --> 0:15:15.400
<v Speaker 2>the right sessions, and that's invaluable to have a team

0:15:15.440 --> 0:15:17.160
<v Speaker 2>that's like working with you and getting you in the

0:15:17.240 --> 0:15:20.160
<v Speaker 2>right rooms. So they're the reasons to do a publishing deal.

0:15:20.600 --> 0:15:22.520
<v Speaker 2>But if you're already in the right rooms, and you

0:15:22.560 --> 0:15:24.920
<v Speaker 2>have a hit already and you're kind of on the

0:15:25.480 --> 0:15:28.840
<v Speaker 2>going up, and you don't really need the money, then

0:15:28.920 --> 0:15:30.720
<v Speaker 2>I would definitely just do an admin deal.

0:15:38.360 --> 0:15:40.880
<v Speaker 3>Okay, you said at the top of the hour here

0:15:41.400 --> 0:15:45.080
<v Speaker 3>you tell everybody to be a producer. You started off

0:15:45.280 --> 0:15:49.320
<v Speaker 3>as an artist. How did you learn to become a producer,

0:15:49.480 --> 0:15:54.480
<v Speaker 3>And in your eyes, what does a producer actually do well?

0:15:54.480 --> 0:15:57.760
<v Speaker 2>I mean, I think there's many different ways producers work.

0:15:57.800 --> 0:16:00.280
<v Speaker 2>I mean, like Rick Rubin doesn't work the board right,

0:16:00.360 --> 0:16:04.520
<v Speaker 2>and he's not an recording engineer. He's got excellent taste

0:16:04.560 --> 0:16:06.960
<v Speaker 2>and that's worked out to be very beneficial for the

0:16:07.120 --> 0:16:10.080
<v Speaker 2>artists he's worked with. But I started out when I

0:16:10.120 --> 0:16:13.400
<v Speaker 2>was seventeen getting signed to E and my publishing by

0:16:13.560 --> 0:16:15.920
<v Speaker 2>Alan Jacobs. And the first thing they did was they

0:16:16.080 --> 0:16:18.720
<v Speaker 2>bought me a four track recording studio for my bedroom.

0:16:19.480 --> 0:16:21.760
<v Speaker 2>Then I got an eight track recording studio, and then

0:16:21.760 --> 0:16:24.760
<v Speaker 2>I got a sixteen track recording studio, and I would

0:16:24.800 --> 0:16:27.320
<v Speaker 2>sit at home and I would just knock out my

0:16:27.360 --> 0:16:30.720
<v Speaker 2>own little demos. So I felt like I kind of

0:16:30.800 --> 0:16:32.280
<v Speaker 2>knew how to work all the gear and do all

0:16:32.280 --> 0:16:36.880
<v Speaker 2>the programming. As I progressed in the music industry, I

0:16:36.960 --> 0:16:39.040
<v Speaker 2>started to find it annoying that I was looking to

0:16:39.520 --> 0:16:43.080
<v Speaker 2>for loops and kick drums and snare sounds, and I

0:16:43.120 --> 0:16:46.000
<v Speaker 2>was like, hang on, what I'm really really good at

0:16:46.360 --> 0:16:50.600
<v Speaker 2>is lyrics and melody and chords, and it was slowing

0:16:50.600 --> 0:16:56.040
<v Speaker 2>me down. And so when I and also being a

0:16:56.080 --> 0:16:59.480
<v Speaker 2>female artist, you know, suddenly you're put with all the biggest,

0:16:59.520 --> 0:17:02.400
<v Speaker 2>coolest producers. And I was eager to learn when I

0:17:02.440 --> 0:17:04.480
<v Speaker 2>came to America, So I wasn't going to say I

0:17:04.520 --> 0:17:07.600
<v Speaker 2>need to produce myself, but I felt like I've always

0:17:07.600 --> 0:17:10.560
<v Speaker 2>been a producer, and I've always been involved in the

0:17:10.600 --> 0:17:15.320
<v Speaker 2>sonic bed of a track of is the groove right

0:17:15.359 --> 0:17:18.320
<v Speaker 2>to me? As soon as we've written the song, getting

0:17:18.359 --> 0:17:21.080
<v Speaker 2>the groove right is so important, So I feel like

0:17:21.080 --> 0:17:25.080
<v Speaker 2>I've always been a producer. After my career as an

0:17:25.160 --> 0:17:27.840
<v Speaker 2>artist started to kind of wane a bit, that was

0:17:27.880 --> 0:17:32.760
<v Speaker 2>when I started the Matrix, and what I found was

0:17:32.920 --> 0:17:36.280
<v Speaker 2>having a team of people who made up for my strengths,

0:17:36.280 --> 0:17:39.560
<v Speaker 2>like Scott Spark was an absolute genius programmer and a

0:17:39.560 --> 0:17:43.720
<v Speaker 2>brilliant piano player and an arranger. He had a degree

0:17:43.720 --> 0:17:48.440
<v Speaker 2>in arranging. And my ex husband, Graham Edwards had been

0:17:48.560 --> 0:17:51.560
<v Speaker 2>like he played with Mick Jagger and Jeff Beck, and

0:17:51.119 --> 0:17:53.800
<v Speaker 2>he really knew how to routine bands, and he'd done

0:17:53.800 --> 0:17:57.199
<v Speaker 2>a lot of production himself. So I tell people like,

0:17:57.359 --> 0:18:00.000
<v Speaker 2>if you're like, at some point, I kind of really

0:18:00.160 --> 0:18:02.639
<v Speaker 2>lost interest in doing all the tech side of it,

0:18:02.760 --> 0:18:05.919
<v Speaker 2>of producing the tracks and building the tracks. But I

0:18:06.000 --> 0:18:09.320
<v Speaker 2>was sitting there the whole time saying, hmm, that's not

0:18:09.400 --> 0:18:11.720
<v Speaker 2>quite right, Let's do this. How about a keyboard sound

0:18:11.760 --> 0:18:16.320
<v Speaker 2>like this? So I feel like I'm just incredibly involved

0:18:16.520 --> 0:18:20.280
<v Speaker 2>with the production, and now today that's mainly what I do.

0:18:20.400 --> 0:18:23.199
<v Speaker 2>It's like everything I do is, but I have a

0:18:23.240 --> 0:18:27.960
<v Speaker 2>co producer almost on every session I'm in because I

0:18:28.000 --> 0:18:33.280
<v Speaker 2>don't want to be torn between making a great song

0:18:33.480 --> 0:18:35.560
<v Speaker 2>and trying to think about the production at the same time.

0:18:35.840 --> 0:18:38.119
<v Speaker 2>So I'm kind of jumping between yeah, how about this

0:18:38.200 --> 0:18:40.960
<v Speaker 2>idea and then like, okay, how about this MIDI I

0:18:40.960 --> 0:18:43.080
<v Speaker 2>work with this guy, Middie Jones a lot and He'll

0:18:43.119 --> 0:18:46.440
<v Speaker 2>be like, literally, we call it building the plane while

0:18:46.440 --> 0:18:49.120
<v Speaker 2>we're flying the plane. It's all happening at the same

0:18:49.160 --> 0:18:54.479
<v Speaker 2>time today, and everything takes honestly like one day, Like

0:18:54.880 --> 0:18:57.320
<v Speaker 2>we go in at one o'clock and by seven o'clock

0:18:57.400 --> 0:18:59.840
<v Speaker 2>we have something that sounds like a record written and produced.

0:19:00.400 --> 0:19:02.920
<v Speaker 2>To me that it all comes from the song. If

0:19:02.920 --> 0:19:05.760
<v Speaker 2>the song's no good, then I'm just we're polishing a turd.

0:19:06.280 --> 0:19:09.320
<v Speaker 2>So I try to focus in the session on the

0:19:09.359 --> 0:19:13.560
<v Speaker 2>song being amazing, and then I'm running over and like

0:19:13.600 --> 0:19:16.000
<v Speaker 2>talking about Chap used to go here, We need to

0:19:16.000 --> 0:19:18.159
<v Speaker 2>how about this? How about we lay out on this point.

0:19:18.640 --> 0:19:21.720
<v Speaker 2>So I'm very involved with the production. It's so important

0:19:21.720 --> 0:19:21.919
<v Speaker 2>to me.

0:19:22.359 --> 0:19:25.320
<v Speaker 3>Okay, So you were saying you're in the studio today.

0:19:25.320 --> 0:19:26.920
<v Speaker 3>You used to work with your ex husband in a

0:19:27.000 --> 0:19:31.679
<v Speaker 3>third guy Spock, you're working today you literally are you

0:19:31.760 --> 0:19:34.679
<v Speaker 3>saying about working with an engineer or you literally have

0:19:34.720 --> 0:19:36.360
<v Speaker 3>a co producer in every session.

0:19:36.440 --> 0:19:39.400
<v Speaker 2>I have about five different co producers that I love,

0:19:39.800 --> 0:19:42.800
<v Speaker 2>So I probably have like five different records being made

0:19:42.840 --> 0:19:46.560
<v Speaker 2>around town every day, and I will be on the

0:19:46.600 --> 0:19:50.840
<v Speaker 2>phone or popping in to hear what's going on. And

0:19:51.320 --> 0:19:54.720
<v Speaker 2>you know, after that initial day where you kind of

0:19:54.760 --> 0:19:58.399
<v Speaker 2>take a shot for an artist, and normally it's on spec.

0:19:58.480 --> 0:20:01.960
<v Speaker 2>By the way, you don't get paid up front. And

0:20:02.040 --> 0:20:04.800
<v Speaker 2>at the end of the day, I said to my husband,

0:20:04.800 --> 0:20:07.040
<v Speaker 2>I feel like I'm on chopped sometimes, you know, where

0:20:07.040 --> 0:20:09.040
<v Speaker 2>the three people have all the ingredients and you've got

0:20:09.080 --> 0:20:11.119
<v Speaker 2>to like present your dish, and whoever's dish sounds the

0:20:11.160 --> 0:20:14.560
<v Speaker 2>best gets to be the winner. It's kind of like that.

0:20:15.440 --> 0:20:18.399
<v Speaker 2>And so sorry, what was the question again, Bob? I

0:20:18.440 --> 0:20:18.800
<v Speaker 2>lost it.

0:20:18.920 --> 0:20:23.680
<v Speaker 3>No, no, you gave a great answer. But today, literally

0:20:23.720 --> 0:20:27.560
<v Speaker 3>as we speak, do you have multiple sessions happening in town?

0:20:28.320 --> 0:20:31.520
<v Speaker 2>Yes, right on my way here, I was just talking

0:20:31.520 --> 0:20:33.960
<v Speaker 2>to two different producers about what we need to do

0:20:34.040 --> 0:20:38.439
<v Speaker 2>on the track. Okay, on two different tracks. And then

0:20:38.600 --> 0:20:41.679
<v Speaker 2>I have like three different records going on for my

0:20:41.800 --> 0:20:47.760
<v Speaker 2>daughters that I'm helping oversee. And yeah, it's music, music, music.

0:20:48.040 --> 0:20:53.640
<v Speaker 3>Well, this is interesting because most people who had success

0:20:54.160 --> 0:20:57.560
<v Speaker 3>prior to the last ten years, they have trouble getting

0:20:57.560 --> 0:21:01.560
<v Speaker 3>work at all. And you're saying that you know you're working,

0:21:01.880 --> 0:21:03.679
<v Speaker 3>you know you've got a plethora of work.

0:21:04.920 --> 0:21:08.080
<v Speaker 2>I do, I really do. I feel so blessed to

0:21:08.080 --> 0:21:13.400
<v Speaker 2>say that, and I I'm not even like again, I've

0:21:13.480 --> 0:21:15.280
<v Speaker 2>said to my husband, shall I get a manager so

0:21:15.280 --> 0:21:17.080
<v Speaker 2>I can really organize this stuff? And he says, what

0:21:17.080 --> 0:21:18.800
<v Speaker 2>are you going to do? How can you work anymore?

0:21:20.600 --> 0:21:23.160
<v Speaker 2>It just comes to me naturally the things I want

0:21:23.160 --> 0:21:25.960
<v Speaker 2>to work with work on, and I don't. When you've

0:21:25.960 --> 0:21:29.000
<v Speaker 2>been doing something for this long, it's like a hard

0:21:29.080 --> 0:21:32.040
<v Speaker 2>cruise ship to turn around. I don't know how I'm

0:21:32.040 --> 0:21:36.120
<v Speaker 2>going to stop. And as long as amazing artists come

0:21:36.160 --> 0:21:38.879
<v Speaker 2>to me, I think I'm getting better as a songwriter.

0:21:39.640 --> 0:21:42.280
<v Speaker 2>So I think it might be a bit of a joke.

0:21:42.320 --> 0:21:44.879
<v Speaker 2>I might be in my you know, seventies and still

0:21:44.880 --> 0:21:47.919
<v Speaker 2>working with young artists, but it's still exciting for me,

0:21:48.040 --> 0:21:50.159
<v Speaker 2>and I don't want to stop.

0:21:50.480 --> 0:21:54.640
<v Speaker 3>Okay, let's go a little bit more micro. Somebody approaches

0:21:54.760 --> 0:21:57.520
<v Speaker 3>you and they say, I want to work with you

0:21:58.080 --> 0:22:01.200
<v Speaker 3>forgetting the money. What's the first thing you say to them?

0:22:02.960 --> 0:22:06.240
<v Speaker 2>I have to listen and see if I like their voice,

0:22:06.320 --> 0:22:08.399
<v Speaker 2>and see if I think they've got some real talent.

0:22:08.720 --> 0:22:14.640
<v Speaker 3>When people send you something, how many people send piano

0:22:15.040 --> 0:22:18.480
<v Speaker 3>or guitar and vocal rough demos? How many people send

0:22:18.520 --> 0:22:21.280
<v Speaker 3>pretty fully fleshed what tends to come over the transfer?

0:22:22.000 --> 0:22:22.160
<v Speaker 1>Well?

0:22:22.240 --> 0:22:25.040
<v Speaker 2>Quite Often it's artists who've already got stuff released. So

0:22:26.040 --> 0:22:28.000
<v Speaker 2>I'll say, let me just go and check you out,

0:22:28.240 --> 0:22:30.399
<v Speaker 2>and I'll go to Spotify as soon as I'll just

0:22:30.960 --> 0:22:33.960
<v Speaker 2>google them find who they are. If Donna sends me something,

0:22:33.960 --> 0:22:35.840
<v Speaker 2>do you want to work with this person, I'll go

0:22:35.880 --> 0:22:38.560
<v Speaker 2>on Spotify and have a listen, and if I like

0:22:38.600 --> 0:22:41.480
<v Speaker 2>it and they sound good, I'll take a shot. I'll

0:22:41.520 --> 0:22:41.960
<v Speaker 2>take a day.

0:22:42.080 --> 0:22:44.879
<v Speaker 3>Okay, a little bit slower forgetting the money. Once again,

0:22:45.359 --> 0:22:48.240
<v Speaker 3>you listen to it, you say, this is interesting, I

0:22:48.359 --> 0:22:51.480
<v Speaker 3>want to work with you. A financial deal is made,

0:22:51.760 --> 0:22:53.040
<v Speaker 3>what's the next step.

0:22:53.720 --> 0:22:57.160
<v Speaker 2>There's no financial deal made at first, it's just literally,

0:22:57.320 --> 0:23:02.560
<v Speaker 2>will you take a shot? And if I am, I

0:23:02.600 --> 0:23:04.720
<v Speaker 2>have to be blown away. It has to be really

0:23:04.720 --> 0:23:07.040
<v Speaker 2>really interesting. There's just so much music out there, so

0:23:07.040 --> 0:23:09.560
<v Speaker 2>it has to be really amazing. I have to go ooh,

0:23:09.640 --> 0:23:11.960
<v Speaker 2>I could help. I think that's the most important thing

0:23:12.000 --> 0:23:15.760
<v Speaker 2>is I could help this person get to the next level,

0:23:16.000 --> 0:23:18.360
<v Speaker 2>or I could. I can see what they're angling at,

0:23:18.400 --> 0:23:20.720
<v Speaker 2>but I don't think they have a hit. I feel

0:23:20.760 --> 0:23:23.639
<v Speaker 2>like that's kind of my special sources that I've helped

0:23:23.640 --> 0:23:26.119
<v Speaker 2>find the key to the door for a few people

0:23:27.000 --> 0:23:31.000
<v Speaker 2>like Avril Hillary Duff her first single, Jason Moraz his

0:23:31.040 --> 0:23:33.720
<v Speaker 2>first single with a remedy, but I feel like that's

0:23:33.880 --> 0:23:37.280
<v Speaker 2>my and the Matrix Special source was being able to

0:23:37.800 --> 0:23:39.920
<v Speaker 2>kind of say, okay, where does this need to go?

0:23:40.200 --> 0:23:43.440
<v Speaker 2>So that's my first thing is can I help? And

0:23:44.200 --> 0:23:47.160
<v Speaker 2>after that, once I've listened to the music, then let's

0:23:47.200 --> 0:23:49.320
<v Speaker 2>set up a session. And so I look at my

0:23:49.400 --> 0:23:51.840
<v Speaker 2>calendar and they look at their calendar, and we find

0:23:51.880 --> 0:23:54.320
<v Speaker 2>a day. I pick one of my co producers that

0:23:54.359 --> 0:23:57.840
<v Speaker 2>I think would really suit you know, this style of music.

0:23:58.200 --> 0:23:59.560
<v Speaker 2>Do you want to do it? I say to my

0:23:59.560 --> 0:24:01.800
<v Speaker 2>cop do you want to do a day on spec?

0:24:02.200 --> 0:24:04.800
<v Speaker 2>You know? And we show up at one o'clock and

0:24:04.840 --> 0:24:08.160
<v Speaker 2>by seven o'clock we've we've taken our shot. And that's

0:24:08.200 --> 0:24:10.880
<v Speaker 2>when you hope everyone says, oh my god, this is amazing.

0:24:10.880 --> 0:24:12.600
<v Speaker 2>This has to go on the record. How much you're

0:24:12.600 --> 0:24:15.640
<v Speaker 2>going to charge us? And that's when you make a deal.

0:24:16.960 --> 0:24:20.080
<v Speaker 3>Okay, let's just assume you hear something. Let's call it

0:24:20.119 --> 0:24:23.560
<v Speaker 3>an established artist. You can go on Spotify, you can

0:24:23.600 --> 0:24:27.120
<v Speaker 3>hear their past material. You say I want to take

0:24:27.160 --> 0:24:33.320
<v Speaker 3>a shot. Do you then say send me what you've got? Well?

0:24:33.400 --> 0:24:35.520
<v Speaker 2>Yes, if they've had stuff released. Then they're working on

0:24:35.560 --> 0:24:38.040
<v Speaker 2>a new project. I'll say, I'm so interested to hear

0:24:38.240 --> 0:24:40.920
<v Speaker 2>what this new EP or this new album is. Where

0:24:40.920 --> 0:24:43.879
<v Speaker 2>are you heading with this? And so I'll have a

0:24:43.920 --> 0:24:47.879
<v Speaker 2>listen to it, and if I love it, then like

0:24:47.960 --> 0:24:51.199
<v Speaker 2>I'm in, you know. And sometimes it's so good, I'm like,

0:24:51.280 --> 0:24:54.200
<v Speaker 2>oh wow, I gotta I gotta come with my a

0:24:54.400 --> 0:24:58.240
<v Speaker 2>game today and I love it. I'm so excited to

0:24:58.280 --> 0:25:01.479
<v Speaker 2>go in. I'm just so excited to know the first thing.

0:25:01.480 --> 0:25:02.960
<v Speaker 2>I'll say someone answers to what do you what do

0:25:02.960 --> 0:25:05.600
<v Speaker 2>you work on yesterday? And if they say, ah, oh,

0:25:05.640 --> 0:25:07.320
<v Speaker 2>we just did this with so and so, so and so,

0:25:07.359 --> 0:25:09.800
<v Speaker 2>I'm like, oh my goodness, let's hear it. I hear it,

0:25:09.840 --> 0:25:13.760
<v Speaker 2>and I'm like, okay, okay, I got to beat this one.

0:25:14.040 --> 0:25:17.000
<v Speaker 3>Okay, wait wait. Let's just assume you've decided to work

0:25:17.480 --> 0:25:21.679
<v Speaker 3>someone sends you a demo. Will you react to that

0:25:21.920 --> 0:25:24.720
<v Speaker 3>demo before you get in the studio. Will you say, well,

0:25:24.800 --> 0:25:27.359
<v Speaker 3>I think it needs this or ex or why? Or

0:25:27.359 --> 0:25:28.800
<v Speaker 3>do you wait until you're in the studio?

0:25:29.680 --> 0:25:32.080
<v Speaker 2>Well, are you saying that a demo just for me

0:25:32.200 --> 0:25:35.240
<v Speaker 2>to produce their song that's already existing? Because nobody's really

0:25:35.240 --> 0:25:38.040
<v Speaker 2>coming to me to produce something they've already written, and

0:25:38.119 --> 0:25:42.200
<v Speaker 2>I'm not really that interested in it. I'm a songwriter, okay, okay,

0:25:42.200 --> 0:25:42.760
<v Speaker 2>that's for sure.

0:25:43.080 --> 0:25:47.040
<v Speaker 3>So when somebody walks in the front door, there is.

0:25:47.119 --> 0:25:51.840
<v Speaker 2>No song, no nothing. We have a conversation, We have

0:25:51.880 --> 0:25:54.400
<v Speaker 2>a cup of tea and talk about Okay, who's going

0:25:54.480 --> 0:25:59.160
<v Speaker 2>through what? Let's like. I also like to bring two

0:25:59.280 --> 0:26:03.240
<v Speaker 2>or three concepts to the table. It's always been that

0:26:03.320 --> 0:26:05.840
<v Speaker 2>way for me. I like, I think it's plight if

0:26:05.920 --> 0:26:08.720
<v Speaker 2>an artist is coming to spend the day with you

0:26:08.840 --> 0:26:11.200
<v Speaker 2>and you just say I got nothing, I feel it's

0:26:11.240 --> 0:26:12.960
<v Speaker 2>a little rude because they've taken the time to be

0:26:13.040 --> 0:26:15.080
<v Speaker 2>with you. So I like to have three things up

0:26:15.119 --> 0:26:18.640
<v Speaker 2>my sleeve, and then the first thing to be polite

0:26:18.720 --> 0:26:20.639
<v Speaker 2>is to say what do you want to do today?

0:26:20.960 --> 0:26:24.919
<v Speaker 2>And listen to them, And quite often the artist is like,

0:26:25.320 --> 0:26:28.160
<v Speaker 2>I've just been through a breakup. I just feel so awful,

0:26:28.320 --> 0:26:31.720
<v Speaker 2>I just feel so nervous, I can't hardly breathe. I'm like,

0:26:32.200 --> 0:26:35.159
<v Speaker 2>do you want to write about it? Yes? Then I

0:26:35.320 --> 0:26:38.960
<v Speaker 2>just keep my three ideas up my sleeve for another

0:26:39.000 --> 0:26:42.719
<v Speaker 2>session with someone else. And if they say I've got nothing,

0:26:42.800 --> 0:26:45.399
<v Speaker 2>I'm completely lost, I don't know what I'm doing. Have

0:26:45.480 --> 0:26:49.240
<v Speaker 2>you got anything? That's when I'll bring out something, and hopefully,

0:26:49.680 --> 0:26:51.520
<v Speaker 2>more often than not, they like it because I've really

0:26:51.560 --> 0:26:53.920
<v Speaker 2>listened to what they do and I've tried to cater

0:26:54.080 --> 0:26:57.040
<v Speaker 2>to something I spend my mornings. I'll work out in

0:26:57.040 --> 0:26:59.359
<v Speaker 2>the morning, and then before the session, I'll sit at

0:26:59.359 --> 0:27:00.920
<v Speaker 2>the piano and I'll try and come up with something

0:27:00.920 --> 0:27:03.320
<v Speaker 2>that sounds exactly in the vein of what they're doing

0:27:04.320 --> 0:27:06.439
<v Speaker 2>and their vocal range too. I try and figure out

0:27:06.600 --> 0:27:09.399
<v Speaker 2>where's their vocal range. Oh, this chorus, I'll start with,

0:27:09.480 --> 0:27:13.439
<v Speaker 2>like a chorus that will hit their perfect money notes

0:27:13.720 --> 0:27:17.439
<v Speaker 2>and their timber of their voice. So then when I

0:27:17.480 --> 0:27:19.679
<v Speaker 2>play them my little ideas I have up my sleeve,

0:27:19.800 --> 0:27:22.040
<v Speaker 2>they're often like, oh, I can see myself singing it,

0:27:22.480 --> 0:27:25.840
<v Speaker 2>you know. So it's always very exciting because you never know.

0:27:25.960 --> 0:27:32.680
<v Speaker 2>Sometimes occasionally I've played my rough and I'm only talking

0:27:32.720 --> 0:27:35.160
<v Speaker 2>about like a verse and a pre chorus and a chorus.

0:27:35.280 --> 0:27:37.280
<v Speaker 2>It would be really presumptuous to say, and here's a

0:27:37.320 --> 0:27:39.240
<v Speaker 2>whole song with a second verse and a bridge written,

0:27:39.800 --> 0:27:43.879
<v Speaker 2>So I like to maybe it's just a chorus. But

0:27:43.960 --> 0:27:45.640
<v Speaker 2>usually I have a little verse to go with it.

0:27:45.840 --> 0:27:48.560
<v Speaker 2>You know, sometimes they hate it and they say no,

0:27:48.680 --> 0:27:51.440
<v Speaker 2>I don't like that, and I'm like, okay, great. Then

0:27:51.480 --> 0:27:53.199
<v Speaker 2>they can be a little uncomfortable and you just have

0:27:53.240 --> 0:27:57.280
<v Speaker 2>to So the other way we start, it's okay, any

0:27:57.320 --> 0:27:59.639
<v Speaker 2>songs that you love right now, tracks that you're just

0:27:59.640 --> 0:28:01.680
<v Speaker 2>as so inspired by, And they'd be like, I love

0:28:01.760 --> 0:28:03.399
<v Speaker 2>this track by so and so, so and so and

0:28:03.520 --> 0:28:05.560
<v Speaker 2>this one of the So we'll have a listening session

0:28:05.600 --> 0:28:08.679
<v Speaker 2>at the top of the the session and I'm like,

0:28:09.640 --> 0:28:13.840
<v Speaker 2>something will calm, like my co producer partner and I

0:28:13.880 --> 0:28:16.159
<v Speaker 2>will sit like maybe with a bass and piano and

0:28:16.200 --> 0:28:19.240
<v Speaker 2>I'll just be playing. And then suddenly the artists will say, Okay,

0:28:19.320 --> 0:28:22.080
<v Speaker 2>I like that. That feels like me, and we go

0:28:22.119 --> 0:28:24.520
<v Speaker 2>from there and I and then I always have a

0:28:24.560 --> 0:28:28.800
<v Speaker 2>list of fifteen titles, not just the you know, that's

0:28:28.880 --> 0:28:31.359
<v Speaker 2>just my backup, is fifteen titles that I think are

0:28:31.400 --> 0:28:35.760
<v Speaker 2>hot with a little bit of a concept of what

0:28:35.880 --> 0:28:40.480
<v Speaker 2>it's about. Like for instance, I have a song called

0:28:40.560 --> 0:28:44.560
<v Speaker 2>Last Hurrah that I did with Bebie, and I took

0:28:44.600 --> 0:28:47.840
<v Speaker 2>into the session these lines that I had. I'd pretty

0:28:47.880 --> 0:28:49.880
<v Speaker 2>much I call it a song map. I teach this

0:28:49.920 --> 0:28:53.640
<v Speaker 2>on my masterclass so I i'd do you want me

0:28:53.680 --> 0:28:56.760
<v Speaker 2>to go into this bob. It's a long story, okay.

0:28:57.040 --> 0:29:01.520
<v Speaker 2>So basically, one day my husband said to me, I'm

0:29:01.520 --> 0:29:03.400
<v Speaker 2>going to the store. What do you want? And I said,

0:29:03.520 --> 0:29:05.920
<v Speaker 2>I have a pine to pistachio Hargenedaz And he's like, well,

0:29:05.920 --> 0:29:07.520
<v Speaker 2>I thought you were on a no sugar diet. And

0:29:07.560 --> 0:29:13.200
<v Speaker 2>I'm like, last hurrah, ooh voice my memos on my

0:29:13.240 --> 0:29:16.560
<v Speaker 2>phone and my notes lyric notes, last Hurrah. And I

0:29:16.600 --> 0:29:21.240
<v Speaker 2>was like, hmmm, I'm done with the drinking, I'm done

0:29:21.240 --> 0:29:23.400
<v Speaker 2>with the smoking, I'm done with the playing, I'm done

0:29:23.440 --> 0:29:25.920
<v Speaker 2>with the joking. And I was like, oh, that's a

0:29:25.920 --> 0:29:29.800
<v Speaker 2>good verse. So I then thought, oh, like, what's this

0:29:29.840 --> 0:29:32.600
<v Speaker 2>song about. It's not about hargain Das and my my

0:29:33.240 --> 0:29:36.400
<v Speaker 2>weak wills, so what is it about? And I said, well,

0:29:36.520 --> 0:29:42.120
<v Speaker 2>maybe it's about how everyone in life has something they're

0:29:42.160 --> 0:29:47.440
<v Speaker 2>struggling with and we all put it off and put

0:29:47.440 --> 0:29:49.560
<v Speaker 2>it off and put it off. And so I was like, Okay,

0:29:49.600 --> 0:29:51.240
<v Speaker 2>so the verse is going to be I'm done with

0:29:51.280 --> 0:29:53.040
<v Speaker 2>the drinking, I'm done with the smoking, I'm done with

0:29:53.080 --> 0:29:57.120
<v Speaker 2>the playing, I'm done with the joking. And then I'm

0:29:57.120 --> 0:29:59.720
<v Speaker 2>done with the ladies. I'm done with the fellas just saying.

0:30:01.040 --> 0:30:03.120
<v Speaker 2>Then I was, and the pre chorus has got to

0:30:03.120 --> 0:30:07.560
<v Speaker 2>say something like, I know we've said it all before,

0:30:07.600 --> 0:30:10.240
<v Speaker 2>but would it hurt to do it just once more?

0:30:10.720 --> 0:30:12.360
<v Speaker 2>And then I was like, then the chorus has to hit.

0:30:13.080 --> 0:30:17.360
<v Speaker 2>The chorus is going to say this is my last Hurrah.

0:30:17.400 --> 0:30:18.880
<v Speaker 2>And then I was like, that's going to be a

0:30:18.880 --> 0:30:21.880
<v Speaker 2>cool chorus. But that hurrah word is really cool. So now,

0:30:21.920 --> 0:30:24.200
<v Speaker 2>because a post chorus is, post hook is a big

0:30:24.200 --> 0:30:26.320
<v Speaker 2>thing today. So I was like, I'm going to make

0:30:26.360 --> 0:30:31.400
<v Speaker 2>a post hook out of that word hurrah hurrah. Yeah, yeah, yeah, yeah,

0:30:31.560 --> 0:30:33.959
<v Speaker 2>something like that. So I go into the session. I

0:30:34.000 --> 0:30:38.040
<v Speaker 2>have not got a melody, and I said, Bibi nick

0:30:38.120 --> 0:30:44.200
<v Speaker 2>long and wonderful producer Andrew, Oh my god, it's the

0:30:44.200 --> 0:30:46.720
<v Speaker 2>problem with getting old Bob. I can't remember his last name.

0:30:46.760 --> 0:30:49.360
<v Speaker 2>I'll let you know. I said, listen, Biby, how about this.

0:30:49.440 --> 0:30:51.600
<v Speaker 2>I got this verse. I'm done with the drinking, I'm

0:30:51.600 --> 0:30:54.000
<v Speaker 2>done with the smoking. I'm done with the playing, I'm

0:30:54.000 --> 0:30:55.920
<v Speaker 2>done with the joking. She because I love it, and

0:30:55.960 --> 0:30:57.640
<v Speaker 2>I said, then we do it another second half of

0:30:57.680 --> 0:30:59.760
<v Speaker 2>that verse. Then we go into the pre I know

0:30:59.800 --> 0:31:01.920
<v Speaker 2>it all before, but would it hurt to do it

0:31:01.960 --> 0:31:05.520
<v Speaker 2>all once more? This is my last hurrah? And she's like,

0:31:05.520 --> 0:31:07.080
<v Speaker 2>oh my god, And I said, we do a whole

0:31:07.160 --> 0:31:08.880
<v Speaker 2>chorus after that, and at the end of the chorus

0:31:08.920 --> 0:31:13.160
<v Speaker 2>we go hurrah yah. Yeah. Yeah. So without even having

0:31:13.480 --> 0:31:16.440
<v Speaker 2>a single melody, I could pretty much show them the

0:31:16.520 --> 0:31:19.200
<v Speaker 2>song map, and we wrote that song in about half

0:31:19.240 --> 0:31:21.880
<v Speaker 2>an hour, the four of us, and it became a

0:31:21.920 --> 0:31:26.800
<v Speaker 2>single for her and I kind of sketched out like

0:31:26.880 --> 0:31:29.560
<v Speaker 2>the goalposts, I knew where to kick between.

0:31:37.080 --> 0:31:40.840
<v Speaker 3>Okay, just to stopping you for one second. Four point

0:31:40.920 --> 0:31:43.680
<v Speaker 3>people are involved. How do you split up ownership?

0:31:44.560 --> 0:31:50.560
<v Speaker 2>Four ways? Okay, because honestly, everybody was so integral to

0:31:50.920 --> 0:31:55.360
<v Speaker 2>the melodies and building the track is really really important.

0:31:55.600 --> 0:31:58.760
<v Speaker 2>I mean, right, didn't it used to be just lyrics

0:31:58.760 --> 0:32:00.959
<v Speaker 2>and melody were important. I think in the days of

0:32:01.160 --> 0:32:04.360
<v Speaker 2>Scott Storch, when suddenly he was doing tracks like in

0:32:04.400 --> 0:32:06.920
<v Speaker 2>the Club for fifty cent and the track was a

0:32:06.960 --> 0:32:10.400
<v Speaker 2>star before you'd even put anything on it. That was

0:32:10.440 --> 0:32:12.120
<v Speaker 2>a new way of writing for me, by the way,

0:32:12.760 --> 0:32:17.680
<v Speaker 2>But again, fifteen years ago started to be so interesting.

0:32:17.720 --> 0:32:20.960
<v Speaker 2>I'd walk in and the track sounds like a fucking

0:32:21.040 --> 0:32:23.720
<v Speaker 2>hit already, and I'm like, it's kind of like sex

0:32:23.760 --> 0:32:26.560
<v Speaker 2>that's already started and you have to jump in. It

0:32:26.640 --> 0:32:28.840
<v Speaker 2>was new to me rather than just sitting at the piano,

0:32:29.360 --> 0:32:31.800
<v Speaker 2>and I feel like I got really good at it

0:32:32.000 --> 0:32:34.840
<v Speaker 2>just jumping on in and coming up with hot melodies

0:32:34.840 --> 0:32:37.600
<v Speaker 2>and lyrics on top of a blinding track. So I

0:32:37.600 --> 0:32:41.160
<v Speaker 2>think everyone it's like a soup and everyone's involved, and

0:32:41.320 --> 0:32:44.680
<v Speaker 2>I'm happy to split it four ways. Of course, now

0:32:44.680 --> 0:32:46.640
<v Speaker 2>it gets kind of crazy because after you've written that

0:32:46.680 --> 0:32:50.040
<v Speaker 2>initial day, suddenly some star will get involved and they

0:32:50.080 --> 0:32:51.640
<v Speaker 2>have their team, and that's how you end up with

0:32:51.680 --> 0:32:55.240
<v Speaker 2>ten writers on it. But initially I just split the

0:32:55.280 --> 0:32:58.680
<v Speaker 2>song between who's there on that day when we start

0:32:58.680 --> 0:32:59.160
<v Speaker 2>writing it.

0:33:00.160 --> 0:33:04.959
<v Speaker 3>So let's just assume you start at one pm. You

0:33:05.000 --> 0:33:07.840
<v Speaker 3>say you wrote that song in a half hour. What's

0:33:07.880 --> 0:33:09.960
<v Speaker 3>the longest it will take you to come up with

0:33:10.000 --> 0:33:10.400
<v Speaker 3>a song.

0:33:11.800 --> 0:33:14.800
<v Speaker 2>Honestly, it's three hours. If I haven't got anything in

0:33:14.840 --> 0:33:16.600
<v Speaker 2>three hours, I'm going to call the session. I'm just

0:33:16.640 --> 0:33:18.600
<v Speaker 2>going to see no, I don't have the juice today,

0:33:19.160 --> 0:33:23.080
<v Speaker 2>And it very rarely happens. It just doesn't happen because

0:33:24.000 --> 0:33:27.000
<v Speaker 2>we're pros. You know, anyone who I know in this town,

0:33:27.120 --> 0:33:30.080
<v Speaker 2>who's used to doing stuff. Even if you come out

0:33:30.120 --> 0:33:32.640
<v Speaker 2>with I'm not saying everything I do is fantastic either,

0:33:32.800 --> 0:33:36.880
<v Speaker 2>but it's kind of a practice to learn how to

0:33:36.960 --> 0:33:40.600
<v Speaker 2>weave a song together and get it done. I like

0:33:40.680 --> 0:33:43.800
<v Speaker 2>to say that two hours is spent probably on writing

0:33:43.840 --> 0:33:46.800
<v Speaker 2>the song, and then two hours will be spent on

0:33:46.840 --> 0:33:49.560
<v Speaker 2>the vocal, and then probably another two hours will be

0:33:49.880 --> 0:33:53.080
<v Speaker 2>spent on brushing up the production. Because the artist is

0:33:53.080 --> 0:33:56.920
<v Speaker 2>going to want to go away with an MP three

0:33:56.960 --> 0:33:58.720
<v Speaker 2>at the end of the day and they are immediately

0:33:58.720 --> 0:34:00.840
<v Speaker 2>going to play it to their team. So I don't

0:34:00.920 --> 0:34:02.880
<v Speaker 2>like to leave until I have something that sounds like

0:34:02.880 --> 0:34:05.360
<v Speaker 2>a smash on that day. So I kind of divide

0:34:05.440 --> 0:34:09.160
<v Speaker 2>up the time like that. Very occasionally, I've been in

0:34:09.200 --> 0:34:12.520
<v Speaker 2>the session where it's just the songwriting's not going very well,

0:34:12.840 --> 0:34:16.400
<v Speaker 2>and it's just I would say it hasn't happened to

0:34:16.400 --> 0:34:20.080
<v Speaker 2>me for years that I haven't nailed it in the day,

0:34:20.320 --> 0:34:21.840
<v Speaker 2>You know, I don't. I'm not saying it's a smash,

0:34:21.920 --> 0:34:23.439
<v Speaker 2>but we get it done.

0:34:23.760 --> 0:34:27.359
<v Speaker 3>Let's say there's a male singer or female singer, that's

0:34:27.400 --> 0:34:32.360
<v Speaker 3>all they have. Will you hire musicians? How will that work?

0:34:33.840 --> 0:34:36.080
<v Speaker 2>You mean they don't play any instrument.

0:34:35.840 --> 0:34:38.440
<v Speaker 3>Well playing instruments, and there is no band.

0:34:39.920 --> 0:34:42.000
<v Speaker 2>Or that happens to me, that happens all the time.

0:34:43.000 --> 0:34:46.640
<v Speaker 2>That's why I pick co producers who are amazing instrumentalists,

0:34:47.200 --> 0:34:50.760
<v Speaker 2>you know, as otherwise I'd be doing it all myself

0:34:51.000 --> 0:34:54.919
<v Speaker 2>if I could, if I could play really, really well,

0:34:54.920 --> 0:35:00.239
<v Speaker 2>I can play piano, but I'm no virtuoso and I

0:35:00.320 --> 0:35:02.680
<v Speaker 2>can't play guitar. It's just never been something I've got

0:35:02.719 --> 0:35:06.719
<v Speaker 2>my head around. So I'm definitely picking co producers that

0:35:06.760 --> 0:35:09.759
<v Speaker 2>can just fill in all the gaps. And you know,

0:35:09.840 --> 0:35:11.600
<v Speaker 2>I can do the vocal production. I used to do

0:35:11.640 --> 0:35:16.040
<v Speaker 2>that in the Matrix all Averrols vocals I recorded, comped

0:35:16.600 --> 0:35:22.040
<v Speaker 2>and tuned and consolidated, and nowadays can I still always

0:35:22.080 --> 0:35:25.839
<v Speaker 2>record the vocals and I like to camp them too.

0:35:26.040 --> 0:35:31.359
<v Speaker 2>It's really important to me. So when there's an artist

0:35:31.400 --> 0:35:36.040
<v Speaker 2>who doesn't care, it doesn't matter because my producer partner

0:35:36.040 --> 0:35:38.120
<v Speaker 2>and I are going to be actually coming up with

0:35:38.719 --> 0:35:42.440
<v Speaker 2>the sounds. Okay, well, very it's important to us that

0:35:42.480 --> 0:35:43.440
<v Speaker 2>the artist loves it.

0:35:44.400 --> 0:35:47.800
<v Speaker 3>I understand, but you're not saying I'm working with this person.

0:35:48.280 --> 0:35:50.760
<v Speaker 3>So I'm going to call in a guitarist and a drummer.

0:35:51.680 --> 0:35:55.719
<v Speaker 2>But I do because I just think there's like amazing people.

0:35:55.760 --> 0:35:58.840
<v Speaker 2>There's a guy I'm working with right now called Lowell Wolf.

0:35:59.320 --> 0:36:02.240
<v Speaker 2>He's new and and I found him through an artist

0:36:02.280 --> 0:36:03.680
<v Speaker 2>I was working with. She hired him to do a

0:36:03.719 --> 0:36:06.440
<v Speaker 2>gig and he was so impressed of I hired him

0:36:06.440 --> 0:36:08.480
<v Speaker 2>to do a gig when I played at Hotel Cafe

0:36:08.800 --> 0:36:10.960
<v Speaker 2>and he played with me. And then just the other

0:36:11.000 --> 0:36:12.840
<v Speaker 2>day I had in come and play on this Jasmine

0:36:12.840 --> 0:36:18.440
<v Speaker 2>Bean record I'm working on for Interscope and Corky James.

0:36:18.880 --> 0:36:22.160
<v Speaker 2>He played on all the Matrix stuff. Incredible. I'll hire

0:36:22.239 --> 0:36:25.319
<v Speaker 2>him and he's so great. I can send him my

0:36:25.440 --> 0:36:27.759
<v Speaker 2>record and say I want some stuff like this, I

0:36:27.800 --> 0:36:30.120
<v Speaker 2>want it to sound like this, and he does all

0:36:30.320 --> 0:36:32.399
<v Speaker 2>his studio with all his amps and sends it right

0:36:32.400 --> 0:36:37.719
<v Speaker 2>back to me. Victor Druso plays drums with Alanis Morissette now,

0:36:37.719 --> 0:36:41.160
<v Speaker 2>who's Macy Gray's drummer. Same thing. He has his own

0:36:41.200 --> 0:36:44.960
<v Speaker 2>studio set up. Victor, I need drums like this. We've

0:36:44.960 --> 0:36:46.799
<v Speaker 2>already programmed the drums to be what we want, but

0:36:46.840 --> 0:36:49.600
<v Speaker 2>we just want the real live thing. So yes, we

0:36:49.640 --> 0:36:54.200
<v Speaker 2>do hire people and violinists. Bianca McClure I use all

0:36:54.239 --> 0:36:54.680
<v Speaker 2>the time.

0:36:57.280 --> 0:37:02.480
<v Speaker 3>I have some false they're not in the studio. You

0:37:02.560 --> 0:37:04.799
<v Speaker 3>send them the track, they work on it, they send

0:37:04.840 --> 0:37:05.200
<v Speaker 3>it back.

0:37:06.160 --> 0:37:08.719
<v Speaker 2>Sometimes like Lowell Wolf came in the other day and

0:37:08.760 --> 0:37:11.279
<v Speaker 2>he bought his little pedal board and we did it there.

0:37:11.480 --> 0:37:13.480
<v Speaker 2>That's not done on the day of writing, though, the

0:37:13.560 --> 0:37:16.560
<v Speaker 2>day of the writing where we do the sketch of

0:37:16.600 --> 0:37:18.000
<v Speaker 2>the whole thing. So at the end of the day

0:37:18.000 --> 0:37:20.160
<v Speaker 2>we kind of have what sounds like a hit. If

0:37:20.719 --> 0:37:24.080
<v Speaker 2>the label or their part of business managers say we

0:37:24.200 --> 0:37:27.160
<v Speaker 2>love it, then the next step is, let's put some

0:37:27.239 --> 0:37:29.080
<v Speaker 2>violin on this. This was some real drums on it,

0:37:29.400 --> 0:37:32.040
<v Speaker 2>and generally we go out for the real drums, and

0:37:32.400 --> 0:37:35.239
<v Speaker 2>but violin will bring them in. Guitarists normally we bring

0:37:35.280 --> 0:37:38.600
<v Speaker 2>them in, so that will be another day. We'll take

0:37:38.600 --> 0:37:42.240
<v Speaker 2>a day on production once we've got the gig Okay.

0:37:42.760 --> 0:37:45.160
<v Speaker 3>Now, in the old days, these records were cut soup

0:37:45.239 --> 0:37:47.960
<v Speaker 3>to nuts in big studios, maybe in the smaller room.

0:37:48.360 --> 0:37:51.040
<v Speaker 3>Then it became we'll cut basics in the big studio,

0:37:51.040 --> 0:37:54.520
<v Speaker 3>we'll do the rest at home. Where are you cutting

0:37:54.560 --> 0:37:55.280
<v Speaker 3>this stuff?

0:37:57.280 --> 0:38:00.759
<v Speaker 2>Bo It's so strange, like it's so such a long

0:38:00.760 --> 0:38:02.719
<v Speaker 2>time since I've been in a studio where there's a

0:38:02.760 --> 0:38:06.200
<v Speaker 2>huge SSL desk. It's just not it's not needed anymore.

0:38:08.120 --> 0:38:08.399
<v Speaker 3>You know.

0:38:10.040 --> 0:38:12.319
<v Speaker 2>The song I'm Not Like Alice that I did with

0:38:12.360 --> 0:38:15.080
<v Speaker 2>my girls, that was cut in my daughter's bedroom. We

0:38:15.160 --> 0:38:18.239
<v Speaker 2>have like a studio set up in there. Everybody's just

0:38:18.280 --> 0:38:21.520
<v Speaker 2>working at home. The quality is so good today, I believe.

0:38:23.440 --> 0:38:25.960
<v Speaker 2>I'm sure Barbara Streisen is still in those big rooms.

0:38:26.239 --> 0:38:30.920
<v Speaker 2>But like today, with the way the businesses, we're just

0:38:31.000 --> 0:38:34.799
<v Speaker 2>working in. Sometimes it's really nice places like publishing studios,

0:38:34.840 --> 0:38:38.120
<v Speaker 2>but most of the co producers I work with John Levine,

0:38:38.400 --> 0:38:42.560
<v Speaker 2>they have like amazing home studios, getting garage conversions, and

0:38:43.200 --> 0:38:47.160
<v Speaker 2>just like and I would rather be there. In fact,

0:38:47.280 --> 0:38:50.319
<v Speaker 2>every produce I co produce with wants to be on

0:38:50.360 --> 0:38:52.000
<v Speaker 2>their own gear. The last thing they want to do

0:38:52.120 --> 0:38:55.600
<v Speaker 2>is have to go down to Capitol Records and cut something.

0:38:55.719 --> 0:38:58.200
<v Speaker 2>The string sessions are done there. Of course, you know

0:38:58.280 --> 0:39:00.960
<v Speaker 2>you need those rooms with the big for that, but

0:39:01.120 --> 0:39:02.040
<v Speaker 2>not for what we're doing.

0:39:02.560 --> 0:39:05.000
<v Speaker 3>And what about getting the sound of drums.

0:39:04.840 --> 0:39:08.200
<v Speaker 2>Real drums, Well that's where we do go out, and

0:39:08.280 --> 0:39:11.520
<v Speaker 2>like Victor has his own room that's tuned just to

0:39:11.800 --> 0:39:16.280
<v Speaker 2>sound fantastic, so we will go out for drums. Definitely.

0:39:16.440 --> 0:39:19.080
<v Speaker 2>John Levine has drum kick because he plays drums set

0:39:19.160 --> 0:39:21.440
<v Speaker 2>up in his live room, which is in a garage conversion,

0:39:21.920 --> 0:39:26.160
<v Speaker 2>and he just hops right up on the drums and yeah, okay, amazing.

0:39:27.320 --> 0:39:30.879
<v Speaker 3>The tr eight oh eight Roland came out really hit

0:39:30.920 --> 0:39:34.440
<v Speaker 3>it stride in the early eighties, then disappeared, and it's like,

0:39:34.560 --> 0:39:37.760
<v Speaker 3>on every record, what's your take with that sound?

0:39:38.800 --> 0:39:41.640
<v Speaker 2>Okay, Honestly, Bob, that is way above my pay grade.

0:39:41.640 --> 0:39:43.080
<v Speaker 2>I have no idea what you're talking about.

0:39:43.120 --> 0:39:46.239
<v Speaker 3>Okay, you get those faking in claps. You hear them

0:39:46.280 --> 0:39:49.239
<v Speaker 3>on both pop records and country records. They're set to

0:39:49.320 --> 0:39:52.160
<v Speaker 3>a rhythm. They're quite obviously synthesized.

0:39:54.800 --> 0:39:57.600
<v Speaker 2>Yeah, I'm not aware of that. Again, that stuff that

0:39:57.640 --> 0:40:00.160
<v Speaker 2>I stopped doing years ago, of looking for sounds and

0:40:00.200 --> 0:40:03.160
<v Speaker 2>looking for drum loops that sound cool. I'm just like

0:40:03.200 --> 0:40:05.200
<v Speaker 2>to my co producer, I feel like it should be

0:40:05.280 --> 0:40:07.880
<v Speaker 2>like this, the groove should be this kind of feel.

0:40:07.960 --> 0:40:11.320
<v Speaker 2>Can you make that happen for me? And I wouldn't

0:40:11.320 --> 0:40:14.840
<v Speaker 2>be able to say, call up that sound on this keyboard.

0:40:14.920 --> 0:40:17.560
<v Speaker 2>That's just not my bag. I'm too deep in the

0:40:17.600 --> 0:40:20.920
<v Speaker 2>lyrics with the artists at that point. Normally, as I

0:40:21.000 --> 0:40:24.760
<v Speaker 2>saw Tody, we're building the plane while we're flying the plane.

0:40:25.040 --> 0:40:30.200
<v Speaker 3>Okay, so you're a pro, you're never gonna do something bad.

0:40:31.360 --> 0:40:34.640
<v Speaker 3>But well, no, listen, it's a nature of the game

0:40:34.680 --> 0:40:36.640
<v Speaker 3>that's not only a compliment, it's a nature of being

0:40:36.640 --> 0:40:40.640
<v Speaker 3>a pro. Do you know when you have an eleven?

0:40:41.200 --> 0:40:45.080
<v Speaker 3>Let's be very clear, eleven's are inherently weird. No one

0:40:45.080 --> 0:40:46.560
<v Speaker 3>can create eleven every day.

0:40:47.280 --> 0:40:49.800
<v Speaker 2>But it's so funny because I just talked to a

0:40:49.880 --> 0:40:52.200
<v Speaker 2>manager of an artist I'm working with this morning and

0:40:52.239 --> 0:40:54.560
<v Speaker 2>he said, this song's an eleven, and I've never heard

0:40:54.560 --> 0:40:56.560
<v Speaker 2>some had somebody say that to me. So it's fun

0:40:56.800 --> 0:40:59.839
<v Speaker 2>so weird that you would say that today, and I

0:41:00.000 --> 0:41:08.920
<v Speaker 2>I would say that most sessions I go to, I

0:41:09.040 --> 0:41:13.600
<v Speaker 2>feel like it's a nine, like I'm really hitting hard.

0:41:14.239 --> 0:41:18.920
<v Speaker 2>I'm so disappointed if it's It doesn't often happen to

0:41:18.960 --> 0:41:22.279
<v Speaker 2>me that I feel it's a dud anymore. But it

0:41:22.320 --> 0:41:25.880
<v Speaker 2>will be that production and that other day that we

0:41:26.040 --> 0:41:28.160
<v Speaker 2>take to brush it all up that can make it

0:41:28.200 --> 0:41:29.040
<v Speaker 2>into an eleven.

0:41:29.960 --> 0:41:32.879
<v Speaker 3>No, But my question is a little bit different. There's

0:41:32.920 --> 0:41:37.400
<v Speaker 3>a Eureka moment where you go, holy fuck, this is

0:41:37.520 --> 0:41:42.399
<v Speaker 3>just fantastic. Do you know. You know there are people

0:41:42.440 --> 0:41:46.320
<v Speaker 3>who say I made the record, I had no idea

0:41:46.400 --> 0:41:47.279
<v Speaker 3>this would be a hit.

0:41:48.440 --> 0:41:48.640
<v Speaker 2>You know.

0:41:48.840 --> 0:41:51.960
<v Speaker 3>I'll give you a different example that's dated. Talking to

0:41:52.000 --> 0:41:54.800
<v Speaker 3>Al Cooper produced Leonard Skinnyard and they came in a

0:41:54.920 --> 0:41:57.880
<v Speaker 3>year before the record was released. They called up and

0:41:57.880 --> 0:41:59.920
<v Speaker 3>they said, I want to cut a song. They cut home.

0:42:00.239 --> 0:42:03.120
<v Speaker 3>They cut Sweet Home Alabama a year before it came out.

0:42:03.480 --> 0:42:05.640
<v Speaker 3>I said, Dal did you know it was a hit?

0:42:05.719 --> 0:42:10.000
<v Speaker 3>And he goes, it was sweet Home Alabama. Do you

0:42:10.040 --> 0:42:13.040
<v Speaker 3>ever have that feeling like, wow, this is amazing.

0:42:13.560 --> 0:42:16.200
<v Speaker 2>Yeah, I did, honestly with the April Levine stuff. When

0:42:16.239 --> 0:42:19.759
<v Speaker 2>we did Complicated, I was like, holy shit, this is

0:42:19.800 --> 0:42:23.239
<v Speaker 2>a hit. And I remember Graham's dad playing it to

0:42:23.320 --> 0:42:25.479
<v Speaker 2>him and us being so excited. He said, I don't

0:42:25.520 --> 0:42:28.440
<v Speaker 2>think that's going to cut the mustard. We were like

0:42:28.520 --> 0:42:31.560
<v Speaker 2>so disappointed and they were like, no, this is a hit.

0:42:32.000 --> 0:42:35.680
<v Speaker 2>And Skater Boy I had the same feeling about it,

0:42:35.800 --> 0:42:40.399
<v Speaker 2>just oh my goodness, I'm with you. I did not know.

0:42:41.200 --> 0:42:43.440
<v Speaker 2>I did not know that that song. And my manager

0:42:43.480 --> 0:42:47.279
<v Speaker 2>at the time said, I just think it's a nice

0:42:47.320 --> 0:42:50.439
<v Speaker 2>album track. That one took me by surprise, that it's

0:42:50.640 --> 0:42:53.120
<v Speaker 2>kind of beloved by a lot of people. I look,

0:42:53.840 --> 0:42:55.680
<v Speaker 2>I even put a tattoo on my wrist of it

0:42:55.960 --> 0:43:00.600
<v Speaker 2>because it's actually my favorite song that I've written. It

0:43:00.640 --> 0:43:03.200
<v Speaker 2>just meant so much to me. It's kind of dark

0:43:03.840 --> 0:43:07.520
<v Speaker 2>and sad, and I didn't expect it to hit so hard.

0:43:08.080 --> 0:43:12.040
<v Speaker 2>So that's a rare one, but quite often, like last Hurrah,

0:43:12.239 --> 0:43:15.120
<v Speaker 2>I was like, oh, this is a smash. I wished

0:43:15.120 --> 0:43:16.960
<v Speaker 2>it had gone higher on the charts, but I think

0:43:18.120 --> 0:43:20.759
<v Speaker 2>it kind of made a video that was like a

0:43:20.760 --> 0:43:24.440
<v Speaker 2>priest in a bath with an upside down cross smoking

0:43:24.480 --> 0:43:27.799
<v Speaker 2>a cigarette with a nun adjusting her habit, and I

0:43:27.840 --> 0:43:31.880
<v Speaker 2>was just like, I think maybe the video was a

0:43:31.920 --> 0:43:36.000
<v Speaker 2>little too edgy to make that song push into the

0:43:36.000 --> 0:43:38.080
<v Speaker 2>top five at top forty. But I knew it was

0:43:38.120 --> 0:43:41.360
<v Speaker 2>a hit when we wrote it. And right now I

0:43:41.440 --> 0:43:43.879
<v Speaker 2>have about five songs. I have this song coming out

0:43:43.920 --> 0:43:49.279
<v Speaker 2>called Sweat Tomorrow Night with Hayden Henderson Thursday night. It

0:43:49.320 --> 0:43:53.759
<v Speaker 2>comes out nine pm, and I think it's a smash.

0:43:53.840 --> 0:43:57.839
<v Speaker 2>And my daughter's next single, boy Sober, comes out again

0:43:57.960 --> 0:44:01.920
<v Speaker 2>Thursday night. I think it's a smash. I I'm so

0:44:01.960 --> 0:44:05.719
<v Speaker 2>excited about the records I'm working on. Yeah, I feel

0:44:05.719 --> 0:44:09.279
<v Speaker 2>there smashes and the day he wrote it, I was like, damn.

0:44:16.960 --> 0:44:20.440
<v Speaker 3>You mentioned it. Tattoo. It's very visible. This is not

0:44:20.480 --> 0:44:24.040
<v Speaker 3>a video podcast, but it's very visible to me inside

0:44:24.040 --> 0:44:27.400
<v Speaker 3>your right wrist. Yeah, is that your only tattoo?

0:44:27.840 --> 0:44:30.920
<v Speaker 2>It's my only one. When I went through my divorce,

0:44:31.200 --> 0:44:33.520
<v Speaker 2>I thought, I'm going to get I'm with you put

0:44:33.520 --> 0:44:37.000
<v Speaker 2>on my wrist because it's just me. It's just me,

0:44:37.080 --> 0:44:41.680
<v Speaker 2>myself and I there's another song we wrote. And then

0:44:42.520 --> 0:44:46.680
<v Speaker 2>I became a Christian in two thousand and nine and

0:44:47.120 --> 0:44:53.080
<v Speaker 2>I realized, no, you're saying to God I'm with you.

0:44:53.160 --> 0:44:55.480
<v Speaker 2>It's a decision you make, and he says it back

0:44:55.520 --> 0:44:58.439
<v Speaker 2>to you, I'm with you. So it meant so much

0:44:58.520 --> 0:45:01.319
<v Speaker 2>to me, and that when I put the tattoo on me,

0:45:01.360 --> 0:45:03.360
<v Speaker 2>it wasn't just about me. I'm alone and it's just

0:45:03.440 --> 0:45:05.680
<v Speaker 2>me against the world. And then I thought, you know

0:45:05.840 --> 0:45:07.600
<v Speaker 2>how nice I put this on my wrist because I

0:45:07.640 --> 0:45:10.799
<v Speaker 2>really feel as a human being, I want to say

0:45:10.800 --> 0:45:14.000
<v Speaker 2>to artists or just other human beings in general, I'm

0:45:14.000 --> 0:45:16.440
<v Speaker 2>with you. Let me just let me just sit with

0:45:16.480 --> 0:45:18.319
<v Speaker 2>you and we'll try and work it out whatever you're

0:45:18.320 --> 0:45:21.000
<v Speaker 2>going through and put it into a song or just

0:45:21.040 --> 0:45:24.160
<v Speaker 2>have a conversation as humans together. So I felt very

0:45:24.160 --> 0:45:26.760
<v Speaker 2>comfortable putting that on. It's my favorite song I've ever written.

0:45:26.800 --> 0:45:29.800
<v Speaker 2>And yeah, it's a huge, great, big tattoo. It's no

0:45:29.920 --> 0:45:30.440
<v Speaker 2>hiding it.

0:45:31.719 --> 0:45:35.200
<v Speaker 3>So you talk about working with your husband and then

0:45:35.239 --> 0:45:39.800
<v Speaker 3>getting a divorce. Was a divorce caused by working together

0:45:39.960 --> 0:45:44.480
<v Speaker 3>all the time or this business? Were those contributing factors?

0:45:45.680 --> 0:45:48.360
<v Speaker 2>I think? So? I mean, I got together with my

0:45:48.400 --> 0:45:50.600
<v Speaker 2>ex husband when I was nineteen, I moved in with him,

0:45:50.680 --> 0:45:52.279
<v Speaker 2>and I was with him until I was forty two.

0:45:52.719 --> 0:45:55.560
<v Speaker 2>It's a good kick of the ball, right, And we

0:45:55.600 --> 0:45:58.640
<v Speaker 2>had a very successful marriage, and we have two amazing children,

0:45:58.719 --> 0:46:01.520
<v Speaker 2>and we created all these other babies with our songs.

0:46:02.200 --> 0:46:07.920
<v Speaker 2>And I think just people grow apart and probably like

0:46:08.280 --> 0:46:11.080
<v Speaker 2>you know, like me rolling over in bed and saying

0:46:11.080 --> 0:46:13.920
<v Speaker 2>to him, what about that bridge? Do you think the

0:46:14.000 --> 0:46:16.680
<v Speaker 2>last line could be better? You know, I'm kind of

0:46:16.719 --> 0:46:21.560
<v Speaker 2>intense about music and both of us. Graham is now

0:46:21.600 --> 0:46:25.360
<v Speaker 2>married to a lovely lady, Sarah, who's not in music,

0:46:25.640 --> 0:46:29.040
<v Speaker 2>and my husband's a business guy and a golfer and

0:46:29.520 --> 0:46:33.080
<v Speaker 2>an actor. Funnily enough, all three things. And it's actually

0:46:33.160 --> 0:46:36.920
<v Speaker 2>refreshing to come home after doing music all day to

0:46:37.000 --> 0:46:40.319
<v Speaker 2>someone who doesn't particularly want to hear all about it.

0:46:42.280 --> 0:46:44.360
<v Speaker 2>And it was really difficult for Graham and I to

0:46:44.600 --> 0:46:48.480
<v Speaker 2>just we lived and breathed it, and sometimes like after

0:46:48.520 --> 0:46:50.880
<v Speaker 2>the session, the bands would come back to our house

0:46:50.920 --> 0:46:53.839
<v Speaker 2>and then we'd party until like two am, talking about

0:46:53.920 --> 0:46:56.640
<v Speaker 2>music and playing songs around the pool. And I just

0:46:56.680 --> 0:46:59.600
<v Speaker 2>think Graham and I grew apart, and we're great friends

0:47:00.680 --> 0:47:04.400
<v Speaker 2>and appreciate everything that happened with us, but we just

0:47:04.440 --> 0:47:04.920
<v Speaker 2>grew apart.

0:47:05.680 --> 0:47:07.320
<v Speaker 3>And how did you meet your new husband?

0:47:08.640 --> 0:47:10.799
<v Speaker 2>I met him on a movie set, one of my

0:47:10.840 --> 0:47:14.040
<v Speaker 2>really good friends inviting me to go down and see

0:47:14.040 --> 0:47:17.120
<v Speaker 2>her filming, and when I was there, I met him

0:47:17.160 --> 0:47:18.880
<v Speaker 2>and we've been together ever since.

0:47:19.880 --> 0:47:23.520
<v Speaker 3>Okay, let's go back to the records. You're talking about hits.

0:47:24.120 --> 0:47:28.400
<v Speaker 3>The business has completely changed, certainly from the eighties to

0:47:28.840 --> 0:47:32.400
<v Speaker 3>the first decade of this century. It was we lived

0:47:32.480 --> 0:47:34.759
<v Speaker 3>to a great degree in a monoculture, certainly in the

0:47:34.840 --> 0:47:37.920
<v Speaker 3>days of MTV, where if a song was a hit,

0:47:37.960 --> 0:47:40.319
<v Speaker 3>it was ubiquitous, as on MTV, it was on Top

0:47:40.360 --> 0:47:44.279
<v Speaker 3>forty radio, it might even slip over to other formats.

0:47:45.000 --> 0:47:50.480
<v Speaker 3>Today there's the Spotify Top fifty. Terrestrial radio reaches a

0:47:50.480 --> 0:47:54.759
<v Speaker 3>lot of people, but has never been less powerful. And

0:47:54.800 --> 0:47:58.080
<v Speaker 3>in addition, there are a lot of successful songs that

0:47:58.120 --> 0:48:02.279
<v Speaker 3>are not on the Spotify top fifty. To what degree

0:48:02.600 --> 0:48:07.160
<v Speaker 3>do your clients and yourself focus on those are the

0:48:07.239 --> 0:48:10.280
<v Speaker 3>hits the Spotify top fifty, they do have the greatest

0:48:10.320 --> 0:48:14.040
<v Speaker 3>market share. To what degree are you influenced in trying

0:48:14.080 --> 0:48:15.080
<v Speaker 3>to penetrate that.

0:48:17.400 --> 0:48:20.200
<v Speaker 2>I mean, I'm always standing with the bat trying to

0:48:20.239 --> 0:48:23.400
<v Speaker 2>hit a home run. And it's different now because I

0:48:23.400 --> 0:48:25.640
<v Speaker 2>feel like if I wrote skate a Boy today, it

0:48:25.719 --> 0:48:27.759
<v Speaker 2>might just be a niche thing that blows up a

0:48:27.760 --> 0:48:31.320
<v Speaker 2>bit on TikTok. But we're talking about to go to top

0:48:31.280 --> 0:48:35.319
<v Speaker 2>forty radio now. You really need to have over one

0:48:35.440 --> 0:48:38.000
<v Speaker 2>hundred million streams before a record label is going to

0:48:38.000 --> 0:48:40.880
<v Speaker 2>put their muscle behind sending it to top forty radio. With

0:48:41.160 --> 0:48:44.759
<v Speaker 2>the independent promotion money they have to spend, right, it's

0:48:44.800 --> 0:48:50.680
<v Speaker 2>expensive and I feel like I just can't think about

0:48:50.680 --> 0:48:52.600
<v Speaker 2>it if I do that, So I'm just going to

0:48:52.640 --> 0:48:58.200
<v Speaker 2>get like miserable because it's so different today. Now, it's

0:48:58.280 --> 0:49:02.600
<v Speaker 2>just so different, and I don't I think also with

0:49:02.719 --> 0:49:07.840
<v Speaker 2>social media, like things become successful because you were a

0:49:07.880 --> 0:49:13.719
<v Speaker 2>girlfriend of somebody who like at another artist who was

0:49:13.760 --> 0:49:18.360
<v Speaker 2>a Disney star wrote about you. And these things help,

0:49:18.920 --> 0:49:22.000
<v Speaker 2>Like the tea as they call it, the gossip that

0:49:22.080 --> 0:49:25.560
<v Speaker 2>spreads around social media can really elevate a song. And

0:49:25.600 --> 0:49:27.600
<v Speaker 2>so it's a bit difficult to just come with a

0:49:27.600 --> 0:49:30.600
<v Speaker 2>good song and a good voice. You know, it's like,

0:49:31.080 --> 0:49:33.160
<v Speaker 2>what have you got going on in your life? Like

0:49:35.120 --> 0:49:38.920
<v Speaker 2>to make it interesting to people? You know?

0:49:39.320 --> 0:49:42.360
<v Speaker 3>Okay, there are hits songs today there are one chord.

0:49:43.400 --> 0:49:46.960
<v Speaker 3>There are hits that have very little melody, hits that

0:49:47.040 --> 0:49:50.400
<v Speaker 3>are to a beat. So these are big hits in

0:49:50.440 --> 0:49:54.360
<v Speaker 3>the Spotify top fifty. When you go into the studio,

0:49:54.560 --> 0:49:58.040
<v Speaker 3>you're starting from scratch. Are you saying I want to

0:49:58.040 --> 0:50:01.880
<v Speaker 3>fit in their quote into that matrix? Or do you

0:50:01.880 --> 0:50:04.440
<v Speaker 3>say I'm a traditional verse chorus person. I just want

0:50:04.480 --> 0:50:07.200
<v Speaker 3>to write the verse, chorus, bridge, et cetera. And if

0:50:07.200 --> 0:50:09.160
<v Speaker 3>you do it well enough, there's always room for it.

0:50:10.680 --> 0:50:14.359
<v Speaker 2>I don't really think there's any rules to songwriting. I've

0:50:14.400 --> 0:50:17.200
<v Speaker 2>written songs that are over one chord and things that

0:50:17.239 --> 0:50:21.719
<v Speaker 2>are almost like a rap, and I just don't think

0:50:21.719 --> 0:50:24.960
<v Speaker 2>there's any rules, and I'm down to adapt, you know,

0:50:25.239 --> 0:50:27.879
<v Speaker 2>I really am. I had the number one hip hop

0:50:27.920 --> 0:50:31.880
<v Speaker 2>song with Me myself and I and I just feel

0:50:31.880 --> 0:50:37.160
<v Speaker 2>like I'm down. Let's evolve, evolve or die. You know,

0:50:37.320 --> 0:50:41.280
<v Speaker 2>I don't want to just come writing kind of classic

0:50:41.440 --> 0:50:43.839
<v Speaker 2>Elton John songs when I'm trying to fit into an

0:50:43.960 --> 0:50:50.560
<v Speaker 2>artist that's more techno or you know, you just got

0:50:50.600 --> 0:50:54.360
<v Speaker 2>to adapt no rule and that can be great. You know,

0:50:55.080 --> 0:51:00.480
<v Speaker 2>like something that's just so simple, remember liked How simple

0:51:00.600 --> 0:51:02.600
<v Speaker 2>was that? To me? That's just one of the biggest

0:51:02.640 --> 0:51:03.640
<v Speaker 2>smashes of all time.

0:51:05.360 --> 0:51:11.000
<v Speaker 3>Okay, we have the Beatles, we have classic rock. I

0:51:11.040 --> 0:51:13.560
<v Speaker 3>could go through every genre. I'm not going to. But

0:51:13.600 --> 0:51:18.960
<v Speaker 3>my point is, are you really as excited about today's

0:51:19.040 --> 0:51:21.520
<v Speaker 3>music as you were about the music of the past.

0:51:22.440 --> 0:51:26.239
<v Speaker 2>Yeah, I am. I think there's an incredible music out there.

0:51:26.440 --> 0:51:28.600
<v Speaker 2>I'm a big fan of Chapel Roone right now. I

0:51:28.600 --> 0:51:33.680
<v Speaker 2>think she's amazing. I think her songwriting is fantastic. This guy,

0:51:33.719 --> 0:51:37.720
<v Speaker 2>Hayden Henderson, I think he's a great songwriter, great singer,

0:51:37.800 --> 0:51:42.239
<v Speaker 2>can really pull it off live. My daughters some of

0:51:42.239 --> 0:51:45.680
<v Speaker 2>the best singers I've ever heard, and they constantly impressed

0:51:45.680 --> 0:51:51.520
<v Speaker 2>me with their music and their songwriting ability is so amazing.

0:51:52.360 --> 0:51:55.359
<v Speaker 2>It's frustrating because I almost wish if it had been

0:51:55.400 --> 0:51:57.359
<v Speaker 2>back in the averall day, I really could have helped

0:51:57.360 --> 0:52:00.440
<v Speaker 2>them because all you needed was a smash song and

0:52:00.680 --> 0:52:02.600
<v Speaker 2>a label that believed in you, and then they go

0:52:02.640 --> 0:52:05.640
<v Speaker 2>to radio. And today that's just not the case. You know,

0:52:05.760 --> 0:52:08.239
<v Speaker 2>you've got to build it through social media. You had

0:52:08.680 --> 0:52:11.920
<v Speaker 2>the olden days, it was I guess when I was

0:52:11.960 --> 0:52:15.000
<v Speaker 2>an artist, we were sort of infantilized and that you

0:52:15.120 --> 0:52:16.960
<v Speaker 2>just show up at the studio with your music and

0:52:18.040 --> 0:52:20.600
<v Speaker 2>you make the music and then we'll take it from there.

0:52:20.680 --> 0:52:22.640
<v Speaker 2>And the record label did everything. And now the record

0:52:22.719 --> 0:52:27.240
<v Speaker 2>label's like, that's fantastic, good job. Now go blow yourself

0:52:27.320 --> 0:52:30.680
<v Speaker 2>up on social media. So you have to be a

0:52:30.719 --> 0:52:35.000
<v Speaker 2>marketing genius today to be an artist, and you've got

0:52:35.040 --> 0:52:37.319
<v Speaker 2>to work at it every day. And that's what's frustrating

0:52:37.360 --> 0:52:41.239
<v Speaker 2>to me. It's like, whoa, it's not enough to just

0:52:41.320 --> 0:52:45.400
<v Speaker 2>be like imagine if Elton John had had to you know, now,

0:52:45.840 --> 0:52:48.640
<v Speaker 2>turn your phone on yourself and make short form content

0:52:48.719 --> 0:52:52.600
<v Speaker 2>every day and do five stories on TikTok, and that's

0:52:52.640 --> 0:52:55.680
<v Speaker 2>how you're going to break Elton. You know, it's a

0:52:55.719 --> 0:52:58.600
<v Speaker 2>different time, but I think the music's just as good.

0:52:59.280 --> 0:53:02.439
<v Speaker 2>I keep hearing them amazing music now.

0:53:02.520 --> 0:53:06.360
<v Speaker 3>You have a good presence on social media. Are you

0:53:06.640 --> 0:53:09.680
<v Speaker 3>someone who's always been into the internet or does someone say, hey,

0:53:09.719 --> 0:53:12.359
<v Speaker 3>you have to be on social media. What was the

0:53:12.400 --> 0:53:12.920
<v Speaker 3>start of this?

0:53:13.719 --> 0:53:17.319
<v Speaker 2>Yeah, And I'm not at all like somebody who knew

0:53:17.320 --> 0:53:20.400
<v Speaker 2>about it or was interested. But what happened was my

0:53:20.600 --> 0:53:24.479
<v Speaker 2>daughters once they got signed to Warners, well actually before

0:53:24.520 --> 0:53:27.799
<v Speaker 2>they got signed to Warners, they had a friend called

0:53:27.840 --> 0:53:30.640
<v Speaker 2>Sam Short, who's a wonderful artist that I work with

0:53:31.040 --> 0:53:33.799
<v Speaker 2>and she has a record coming out on Thursday night too,

0:53:33.840 --> 0:53:38.399
<v Speaker 2>called Supermodel that I didn't do, but she's amazing. And

0:53:39.160 --> 0:53:43.640
<v Speaker 2>Sam was helping my girls to get them used to

0:53:43.760 --> 0:53:46.480
<v Speaker 2>posting every single day. And she was ran at our

0:53:46.480 --> 0:53:49.280
<v Speaker 2>house one day filming them and she says to me, Lauren,

0:53:51.040 --> 0:53:53.040
<v Speaker 2>we'd be interested to hear about you. And I said,

0:53:53.040 --> 0:53:55.080
<v Speaker 2>who is we and she said all of us young

0:53:55.160 --> 0:53:58.200
<v Speaker 2>people in the business. She's like twenty one or something.

0:53:58.920 --> 0:54:00.799
<v Speaker 2>She said, all of us would love to hear from you.

0:54:01.400 --> 0:54:03.480
<v Speaker 2>And I'm like, well, I'm really behind the scenes, and

0:54:03.520 --> 0:54:05.920
<v Speaker 2>she said no seriously, And then she said the kindest

0:54:05.960 --> 0:54:08.560
<v Speaker 2>thing to me and always would be grateful. She said,

0:54:08.600 --> 0:54:10.759
<v Speaker 2>can I do it for you? And I said, what

0:54:10.800 --> 0:54:13.799
<v Speaker 2>do you mean? She said, I will come round once

0:54:13.840 --> 0:54:17.279
<v Speaker 2>a week and film you, and then I'll edit them

0:54:17.560 --> 0:54:19.239
<v Speaker 2>and I will do three posts a week and we'll

0:54:19.280 --> 0:54:21.959
<v Speaker 2>just see how it goes. Oh my god, no one's

0:54:22.000 --> 0:54:25.279
<v Speaker 2>going to be interested. I think maybe two years before

0:54:25.360 --> 0:54:27.880
<v Speaker 2>I tried a couple of times and got like fifty

0:54:27.960 --> 0:54:31.280
<v Speaker 2>views and stuff and retreated fast because I was nervous

0:54:31.280 --> 0:54:33.919
<v Speaker 2>about it. So anyway, we do a calf of things.

0:54:34.040 --> 0:54:37.960
<v Speaker 2>She's just telling me point and she plays like complicated

0:54:38.000 --> 0:54:41.520
<v Speaker 2>above and a little box above my finger. I got like

0:54:41.560 --> 0:54:45.120
<v Speaker 2>four point nine million views, and then I do it

0:54:45.200 --> 0:54:48.399
<v Speaker 2>like another one and get like, you know, three point

0:54:48.480 --> 0:54:51.640
<v Speaker 2>nine million views. I was like, okay. So then she

0:54:51.920 --> 0:54:53.400
<v Speaker 2>started saying to me, Okay, I'm going to give you

0:54:53.480 --> 0:54:56.359
<v Speaker 2>a list of what I think I I'll come round

0:54:56.360 --> 0:54:58.640
<v Speaker 2>to your garden. I'm just going to ask you questions

0:54:59.080 --> 0:55:00.840
<v Speaker 2>that we would want to know young people in the

0:55:00.880 --> 0:55:03.120
<v Speaker 2>music business, and I would just answer them and then

0:55:03.160 --> 0:55:05.960
<v Speaker 2>she'd edit it up for me. And I've been doing

0:55:05.960 --> 0:55:08.920
<v Speaker 2>it ever since. I do three a week, three posts

0:55:08.920 --> 0:55:11.880
<v Speaker 2>a week, and it took off on Instagram, and it

0:55:11.920 --> 0:55:14.960
<v Speaker 2>took off on TikTok, and it took off on YouTube.

0:55:15.000 --> 0:55:16.560
<v Speaker 2>So it's kind of part of my business now, while

0:55:16.560 --> 0:55:19.879
<v Speaker 2>I'm lying in bed three mornings a week, I take

0:55:19.880 --> 0:55:22.279
<v Speaker 2>the little thing. I have a folder with everything that

0:55:22.320 --> 0:55:24.719
<v Speaker 2>we drop in, and it really does come down to

0:55:24.760 --> 0:55:26.880
<v Speaker 2>me too, because it's like, Okay, this week, I'm going

0:55:26.920 --> 0:55:28.560
<v Speaker 2>to sit at the piano and play I'm with You

0:55:28.600 --> 0:55:31.359
<v Speaker 2>and show how I came up with the verse. I'm

0:55:31.400 --> 0:55:33.919
<v Speaker 2>going to talk about bridges. I'm going to talk about

0:55:33.920 --> 0:55:35.719
<v Speaker 2>who I think is the next five big acts are

0:55:35.719 --> 0:55:37.520
<v Speaker 2>going to break, and so I kind of come up

0:55:37.560 --> 0:55:40.319
<v Speaker 2>with ideas and I'll run them past Sam. I work

0:55:40.360 --> 0:55:42.279
<v Speaker 2>with a lovely girl, Eva now because Sam got a

0:55:42.320 --> 0:55:46.120
<v Speaker 2>big record deal and she said, can Eva do your

0:55:46.239 --> 0:55:48.440
<v Speaker 2>editing now? So Eva hits me up. She just hit

0:55:48.480 --> 0:55:49.799
<v Speaker 2>me up before I got here. What are we doing

0:55:49.800 --> 0:55:52.279
<v Speaker 2>this week? Lauren? If I go from my folder, I

0:55:52.360 --> 0:55:56.759
<v Speaker 2>have fifty pieces of footage, I'll be driving in my

0:55:56.840 --> 0:55:58.600
<v Speaker 2>car and I'll be, oh, let me talk about this,

0:55:59.280 --> 0:56:01.440
<v Speaker 2>and I'll just put the camera on while I'm driving

0:56:01.880 --> 0:56:05.000
<v Speaker 2>and I'll just talk about the music business. I'll send

0:56:05.000 --> 0:56:08.520
<v Speaker 2>two or three things to Eva every week. She edits

0:56:08.560 --> 0:56:10.279
<v Speaker 2>it for me, sends it back, and then I do

0:56:10.360 --> 0:56:15.040
<v Speaker 2>the posting myself. Monday, Wednesday, Friday, that's it. It's just

0:56:15.080 --> 0:56:17.080
<v Speaker 2>like another little business. And then I have my email

0:56:17.160 --> 0:56:20.880
<v Speaker 2>at the top and I have a new emails, so

0:56:20.960 --> 0:56:24.200
<v Speaker 2>it's just for business and people constantly hit me up.

0:56:24.239 --> 0:56:28.040
<v Speaker 2>Sometimes it's scary the people who hit me up, and

0:56:28.120 --> 0:56:29.440
<v Speaker 2>sometimes it's amazing.

0:56:29.520 --> 0:56:32.920
<v Speaker 3>Oh okay, let's just assume you're lying in bed, you

0:56:32.960 --> 0:56:37.160
<v Speaker 3>get an idea, you film something. You ever say, Oh

0:56:37.320 --> 0:56:40.040
<v Speaker 3>I filmed it. I'm gonna post it right now without

0:56:40.040 --> 0:56:40.960
<v Speaker 3>going to the editor.

0:56:41.480 --> 0:56:43.480
<v Speaker 2>Yeah, I do so, they do.

0:56:45.120 --> 0:56:45.200
<v Speaker 1>So.

0:56:45.440 --> 0:56:47.719
<v Speaker 2>Actually even now cut it down to two posts a

0:56:47.760 --> 0:56:52.560
<v Speaker 2>week for me, I do my masterclass Little Flyer. You've

0:56:52.560 --> 0:56:55.200
<v Speaker 2>probably seen it. I post that once a week, and

0:56:55.239 --> 0:56:58.560
<v Speaker 2>then I post me in the studio stories of me

0:56:58.640 --> 0:57:01.880
<v Speaker 2>and the studio stories of me talking. I'll just post

0:57:01.880 --> 0:57:04.640
<v Speaker 2>that stuff myself. Yeah, I would say i'd probably post

0:57:04.680 --> 0:57:05.680
<v Speaker 2>like eight times a week.

0:57:06.320 --> 0:57:08.759
<v Speaker 3>Okay, just so we can get the time frame.

0:57:08.920 --> 0:57:12.560
<v Speaker 2>When did this start last July?

0:57:13.120 --> 0:57:15.960
<v Speaker 3>Okay, so like, are you sixteen months something like that?

0:57:16.120 --> 0:57:17.240
<v Speaker 2>Yeah?

0:57:17.280 --> 0:57:18.840
<v Speaker 3>Okay, what works?

0:57:20.520 --> 0:57:20.680
<v Speaker 1>Uh?

0:57:20.920 --> 0:57:28.000
<v Speaker 2>Oh, I think just being brutally honest works. I'll tell

0:57:28.000 --> 0:57:31.120
<v Speaker 2>you what works is showing me sitting at the piano

0:57:31.240 --> 0:57:33.680
<v Speaker 2>writing the songs. Like people don't really get to see

0:57:33.720 --> 0:57:36.840
<v Speaker 2>songwriters really like saying this is how we did it,

0:57:39.200 --> 0:57:47.080
<v Speaker 2>that really works, giving little secrets and tips about songwriting

0:57:47.320 --> 0:57:51.560
<v Speaker 2>that really works, what works every time. But I don't

0:57:51.600 --> 0:57:53.200
<v Speaker 2>like to do it because I feel like, yeah, everyone

0:57:53.240 --> 0:57:55.320
<v Speaker 2>knows you're at the Avrolovine stuff. Is like if I

0:57:55.320 --> 0:57:57.640
<v Speaker 2>could keep pointing to skater Boy and probably get like

0:57:57.720 --> 0:58:00.560
<v Speaker 2>millions of views because it's like the algorithms strange. It's

0:58:00.560 --> 0:58:04.000
<v Speaker 2>sending out to new people too, so it's like you

0:58:04.080 --> 0:58:07.120
<v Speaker 2>have to sort of you have to get over the

0:58:07.160 --> 0:58:10.840
<v Speaker 2>fact that all your friends and family are looking God

0:58:10.960 --> 0:58:13.720
<v Speaker 2>Lauren's work in social media again, because it's just new

0:58:13.760 --> 0:58:17.960
<v Speaker 2>people that you're reaching, And I'm always like, why am

0:58:17.960 --> 0:58:20.600
<v Speaker 2>I doing this so well? The reason I'm doing it

0:58:20.640 --> 0:58:24.440
<v Speaker 2>is because I want to keep doing music, and songwriters

0:58:24.480 --> 0:58:27.520
<v Speaker 2>have kind of always been pushed to the background. I

0:58:27.520 --> 0:58:30.720
<v Speaker 2>think it's really important in this day and age, particularly

0:58:31.080 --> 0:58:34.000
<v Speaker 2>with them being so undervalued and streaming, to say, hey,

0:58:34.040 --> 0:58:37.400
<v Speaker 2>we're the guys here behind the scenes. That there's no

0:58:37.480 --> 0:58:41.680
<v Speaker 2>recording studios needed, no engineers needed, no mastering engineers needed,

0:58:42.040 --> 0:58:44.720
<v Speaker 2>no producers needed, no record labels, A and R men,

0:58:44.880 --> 0:58:48.320
<v Speaker 2>nothing without a song. So that's what drives me to

0:58:48.360 --> 0:58:51.760
<v Speaker 2>do it, is to keep saying, hey, folks, us songwriters

0:58:51.840 --> 0:58:56.160
<v Speaker 2>are back here like starting your project off, We're the

0:58:57.480 --> 0:58:58.520
<v Speaker 2>we're the beginning of it.

0:58:59.480 --> 0:59:02.760
<v Speaker 3>Okay, would you ever post like your grocery shopping You're

0:59:02.800 --> 0:59:06.520
<v Speaker 3>in Whole Foods or erewhon and the fruit looks amazing.

0:59:06.600 --> 0:59:08.760
<v Speaker 3>Will you ever shoot it and go wow, I'm here,

0:59:08.800 --> 0:59:11.160
<v Speaker 3>it looks amazing or is everything music connected?

0:59:11.960 --> 0:59:14.560
<v Speaker 2>For me? Everything's music connected? Because who wants to see

0:59:14.600 --> 0:59:18.040
<v Speaker 2>my old ass in the supermarket? You know? It's like No,

0:59:18.400 --> 0:59:21.600
<v Speaker 2>for me, it's like I'm there to educate and help

0:59:21.760 --> 0:59:24.000
<v Speaker 2>people and that's it. And I don't think anyone would

0:59:24.000 --> 0:59:26.240
<v Speaker 2>be interested in me lying on the beach drinking a

0:59:26.240 --> 0:59:29.600
<v Speaker 2>glass of champagne. No, no one wants to see that.

0:59:29.800 --> 0:59:32.520
<v Speaker 3>Okay, you talked that you could post Avril Levigne every

0:59:32.560 --> 0:59:35.520
<v Speaker 3>time for obvious reasons. You're not going to do that.

0:59:36.520 --> 0:59:39.960
<v Speaker 3>To what degree are you tracking? Like, Oh, I did this,

0:59:40.040 --> 0:59:42.200
<v Speaker 3>it got amazing number of views. I did this. I

0:59:42.200 --> 0:59:45.360
<v Speaker 3>thought everybody would love it, but almost no one saw it.

0:59:45.760 --> 0:59:48.120
<v Speaker 3>To what degree are you invested by in that?

0:59:48.880 --> 0:59:50.680
<v Speaker 2>I don't even think about it, Bob. I post it

0:59:50.720 --> 0:59:52.360
<v Speaker 2>and maybe at the end of the day I'll look

0:59:52.400 --> 0:59:57.040
<v Speaker 2>and go ehh, damn, this one got like twenty thousand views. Wow.

0:59:57.280 --> 0:59:59.440
<v Speaker 2>And then I take it really seriously to answer everybody

0:59:59.480 --> 1:00:02.480
<v Speaker 2>who writes me. So maybe the next morning I'll spend

1:00:02.800 --> 1:00:05.280
<v Speaker 2>like half an hour just writing back to people. And

1:00:05.320 --> 1:00:08.360
<v Speaker 2>sometimes you get like five hundred views. Why whatever, it

1:00:08.400 --> 1:00:11.280
<v Speaker 2>doesn't matter, It doesn't matter. I don't have anything that

1:00:11.480 --> 1:00:11.640
<v Speaker 2>you know.

1:00:11.720 --> 1:00:16.959
<v Speaker 3>There's Instagram, wheels, there's TikTok. Do you find any platform

1:00:17.200 --> 1:00:18.800
<v Speaker 3>is more productive than another?

1:00:21.520 --> 1:00:27.280
<v Speaker 2>I think equally TikTok, Instagram, YouTube shorts, and Instagram feeds

1:00:27.320 --> 1:00:32.120
<v Speaker 2>right through to Facebook. Facebook's that my least successful one

1:00:32.200 --> 1:00:35.120
<v Speaker 2>because somehow I kind of got off Facebook years ago

1:00:35.480 --> 1:00:37.320
<v Speaker 2>and I feel like they won't let me back in.

1:00:38.600 --> 1:00:41.200
<v Speaker 2>But I do post everything on Instagram and it goes

1:00:41.240 --> 1:00:45.400
<v Speaker 2>through to Facebook. Somehow my algorithm has been hidden. And

1:00:45.760 --> 1:00:47.720
<v Speaker 2>am I going to really care to go and figure

1:00:47.720 --> 1:00:51.040
<v Speaker 2>out why? No, because I'm too busy making music, you know,

1:00:51.640 --> 1:00:53.360
<v Speaker 2>just it's just fun.

1:00:53.080 --> 1:00:56.200
<v Speaker 3>For me, Okay. And what is the optimum length for

1:00:56.280 --> 1:00:57.560
<v Speaker 3>a post?

1:00:58.240 --> 1:01:00.880
<v Speaker 2>Well, definitely less than a minute. Sometimes I'll do a

1:01:00.920 --> 1:01:03.520
<v Speaker 2>long post like where I'll take a whole complicated and

1:01:03.560 --> 1:01:05.480
<v Speaker 2>talk about how I wrote it. Well, I'll tell you

1:01:05.520 --> 1:01:08.080
<v Speaker 2>one thing that did really well, I showed like the

1:01:08.120 --> 1:01:11.480
<v Speaker 2>pictures of me and Arol and the original lyrics of

1:01:11.600 --> 1:01:14.360
<v Speaker 2>I'm with You and skater Boy, and people love that.

1:01:14.480 --> 1:01:15.960
<v Speaker 2>So that could be like a whole minute of me

1:01:16.040 --> 1:01:18.520
<v Speaker 2>talking and really homing in on the page this is

1:01:18.520 --> 1:01:20.440
<v Speaker 2>where we wrote this, see how we crossed this line

1:01:20.440 --> 1:01:24.600
<v Speaker 2>out and people dig that kind of thing. So, but

1:01:24.680 --> 1:01:28.840
<v Speaker 2>sometimes eleven seconds it can be amazing and get a

1:01:28.880 --> 1:01:29.480
<v Speaker 2>lot of views.

1:01:37.000 --> 1:01:39.400
<v Speaker 3>So tell me about this master class.

1:01:40.800 --> 1:01:45.240
<v Speaker 2>Okay, Well, when this all took off with my social media,

1:01:46.720 --> 1:01:54.240
<v Speaker 2>my neighbor Angelie Pasad, who's an amazing artist, Canadian, very smart.

1:01:54.520 --> 1:01:57.800
<v Speaker 2>She said, Lauren need to create a business of the

1:01:57.800 --> 1:02:00.560
<v Speaker 2>fact that all these people are interested in you. I'm like, well,

1:02:00.760 --> 1:02:02.840
<v Speaker 2>what am I going to do? You know? And she said,

1:02:02.840 --> 1:02:07.360
<v Speaker 2>why didn't you start some master classes and career consultations?

1:02:08.120 --> 1:02:12.160
<v Speaker 2>And so I had to think about that, like why

1:02:12.200 --> 1:02:14.840
<v Speaker 2>would I do this and what is it? And my

1:02:14.960 --> 1:02:16.640
<v Speaker 2>husband was lying next to me and he said, you

1:02:16.720 --> 1:02:21.680
<v Speaker 2>know what, I would pay to know how you write songs.

1:02:22.760 --> 1:02:25.000
<v Speaker 2>You didn't go to Juilliard, you didn't go to Berkeley

1:02:25.000 --> 1:02:29.640
<v Speaker 2>School of Music. You pretty much self taught. So I

1:02:29.680 --> 1:02:31.640
<v Speaker 2>would really pay to just hear how you do it,

1:02:31.720 --> 1:02:33.480
<v Speaker 2>and he says, I hear you sitting at the piano

1:02:33.760 --> 1:02:37.160
<v Speaker 2>hunting and pecking finding the bass notes that you want

1:02:37.240 --> 1:02:40.640
<v Speaker 2>against the vocal melody. Can you put that into words?

1:02:41.360 --> 1:02:44.120
<v Speaker 2>So I said, yeah, I think I can. So I

1:02:44.280 --> 1:02:47.040
<v Speaker 2>started to write it with absolutely no limit of when

1:02:47.080 --> 1:02:49.600
<v Speaker 2>it would be finished. And it took me about three months.

1:02:50.000 --> 1:02:53.320
<v Speaker 2>And I literally just went every process that I do,

1:02:53.680 --> 1:02:56.560
<v Speaker 2>from lying in bed or in the shower to hearing

1:02:56.560 --> 1:02:58.480
<v Speaker 2>the melody? How do I do it? And I just

1:02:58.560 --> 1:03:00.760
<v Speaker 2>analyzed it all and I just sort of free form

1:03:00.920 --> 1:03:04.240
<v Speaker 2>rose all this stuff. Then a very nice lady who's

1:03:04.560 --> 1:03:07.040
<v Speaker 2>a friend of mine called Aviva. I can't give her

1:03:07.080 --> 1:03:10.240
<v Speaker 2>last name, but she's she's actually a speechwriter for the

1:03:10.240 --> 1:03:13.560
<v Speaker 2>president current president, and she's a friend of mine. She

1:03:13.560 --> 1:03:14.640
<v Speaker 2>came to the house and I said, I'm in the

1:03:14.680 --> 1:03:16.240
<v Speaker 2>middle of writing this thing, and she said, can I

1:03:16.240 --> 1:03:18.440
<v Speaker 2>have a look at it? Showed it to her and

1:03:18.440 --> 1:03:21.920
<v Speaker 2>she said, this is fantastic. Let me show you how

1:03:21.920 --> 1:03:24.440
<v Speaker 2>to organize it. And she says, when I'm writing a speech,

1:03:24.480 --> 1:03:26.000
<v Speaker 2>this is how we do it, because first of all,

1:03:26.000 --> 1:03:30.680
<v Speaker 2>do this, what is your overview? What are your tools? Right,

1:03:30.960 --> 1:03:34.800
<v Speaker 2>Let's let's break it down, you know, to how you

1:03:34.800 --> 1:03:36.480
<v Speaker 2>actually do it, how do you put the melody to

1:03:36.560 --> 1:03:38.960
<v Speaker 2>the lyrics? What comes first? And she just kind of

1:03:39.240 --> 1:03:41.680
<v Speaker 2>gave me all these bullet points and it really helped

1:03:41.680 --> 1:03:44.240
<v Speaker 2>me organize the masterclass into something that I thought was

1:03:44.760 --> 1:03:48.560
<v Speaker 2>very cool. So I decided that I would do it

1:03:48.600 --> 1:03:52.120
<v Speaker 2>on Zoom and it's not that expensive, And to be honest,

1:03:52.200 --> 1:03:56.720
<v Speaker 2>like I, I do like specials fifty percent off for

1:03:56.800 --> 1:03:59.080
<v Speaker 2>like three months, so if everyone wants to sign up,

1:03:59.200 --> 1:04:01.280
<v Speaker 2>they can sign up up in those first three months.

1:04:01.520 --> 1:04:05.400
<v Speaker 2>I'm only doing it bi annually. So next one's October fifth,

1:04:05.480 --> 1:04:10.680
<v Speaker 2>twelve noon on Zoom, and it's an hour of me

1:04:11.720 --> 1:04:15.200
<v Speaker 2>doing a breakdown crash course on how I write songs,

1:04:15.640 --> 1:04:18.640
<v Speaker 2>and then half an hour industry crash course just my

1:04:18.720 --> 1:04:21.800
<v Speaker 2>opinion on everything about the music business. Again, you've got

1:04:21.800 --> 1:04:25.000
<v Speaker 2>to be the producer or the artist. Today. All the

1:04:25.040 --> 1:04:27.280
<v Speaker 2>advice I would give to my own daughters I poured

1:04:27.320 --> 1:04:30.720
<v Speaker 2>into this. And then I do a fifteen minute guest speaker,

1:04:32.120 --> 1:04:34.720
<v Speaker 2>and then I do a fifteen minute question answer and

1:04:35.280 --> 1:04:38.280
<v Speaker 2>one member I pick their name out of a hat

1:04:38.320 --> 1:04:43.840
<v Speaker 2>and I send them a home studio setup with a

1:04:43.920 --> 1:04:47.040
<v Speaker 2>video that we've made of how to assemble the studio

1:04:47.240 --> 1:04:49.560
<v Speaker 2>and how to record your demos so you can start

1:04:49.600 --> 1:04:51.920
<v Speaker 2>to be a producer. And it's really very simple. I mean,

1:04:51.920 --> 1:04:56.040
<v Speaker 2>if you've got a laptop, it's pretty simple. And I

1:04:56.120 --> 1:04:59.040
<v Speaker 2>just wanted people to understand that for one hundred dollars,

1:04:59.120 --> 1:05:01.120
<v Speaker 2>you can get a little studio set up. You know

1:05:01.520 --> 1:05:03.960
<v Speaker 2>it's and you can start doing it yourself, because you're

1:05:04.000 --> 1:05:06.160
<v Speaker 2>going to write fifty songs to get one good one

1:05:06.160 --> 1:05:08.320
<v Speaker 2>when you first start out, so you don't want to

1:05:08.320 --> 1:05:10.480
<v Speaker 2>be going into a local recording studio and paying big

1:05:10.520 --> 1:05:13.720
<v Speaker 2>fees when you just need to really be learning. And

1:05:13.800 --> 1:05:17.640
<v Speaker 2>so that's that's how it started, and I love it. Now.

1:05:18.000 --> 1:05:21.160
<v Speaker 2>I have kids from Teen Cancer America that I work with.

1:05:21.640 --> 1:05:26.439
<v Speaker 2>I have four spots every class given to students from there,

1:05:26.720 --> 1:05:30.840
<v Speaker 2>and two from SONA and two from the NMPA, so

1:05:31.440 --> 1:05:34.720
<v Speaker 2>I always have eight people in the class who kind

1:05:34.720 --> 1:05:37.800
<v Speaker 2>of have scholarship spots. And then other people just from

1:05:37.840 --> 1:05:41.160
<v Speaker 2>my socials hit up that email and I have a

1:05:41.200 --> 1:05:43.840
<v Speaker 2>lovely assistant called Kelly, and she reaches out to everybody.

1:05:43.840 --> 1:05:47.280
<v Speaker 2>They all sign a waiver and that's it. And then

1:05:47.280 --> 1:05:48.840
<v Speaker 2>I have a lot of people calling me to do

1:05:48.960 --> 1:05:51.720
<v Speaker 2>private career consultations and that really came from the fact

1:05:51.720 --> 1:05:54.240
<v Speaker 2>again of like how can I help people. I feel

1:05:54.280 --> 1:05:56.840
<v Speaker 2>like I could give people short cuts in this industry

1:05:56.920 --> 1:05:59.840
<v Speaker 2>so they don't come into peril in it any way.

1:06:00.160 --> 1:06:04.200
<v Speaker 2>And I think that's really important to keep people knowing

1:06:04.280 --> 1:06:06.760
<v Speaker 2>the truth. And even if the truth is you have

1:06:06.880 --> 1:06:08.919
<v Speaker 2>to get a day job if you want to do this,

1:06:09.240 --> 1:06:12.080
<v Speaker 2>because what is it, three percent of people in entertainment

1:06:12.120 --> 1:06:16.360
<v Speaker 2>make money from it. So fund your love of music

1:06:16.560 --> 1:06:19.200
<v Speaker 2>by having a regular day gig. Why not? You know

1:06:19.440 --> 1:06:20.640
<v Speaker 2>I did for a long time.

1:06:21.840 --> 1:06:23.960
<v Speaker 3>So how many people might sign into one of.

1:06:23.960 --> 1:06:30.400
<v Speaker 2>These zooms At the moment twenty five, we're about there

1:06:30.880 --> 1:06:34.600
<v Speaker 2>and it's twenty five thirty. I'm hoping it builds over time.

1:06:34.640 --> 1:06:37.000
<v Speaker 2>But again I'm doing it for the love of it

1:06:37.040 --> 1:06:41.200
<v Speaker 2>and to sort of give back to people. And if

1:06:41.240 --> 1:06:42.880
<v Speaker 2>it was three people, I would do it.

1:06:43.640 --> 1:06:45.840
<v Speaker 3>You know, if eight people are scholarship to get the

1:06:45.880 --> 1:06:50.040
<v Speaker 3>other seventeen. You're on social media? How often do you

1:06:50.080 --> 1:06:52.240
<v Speaker 3>have to tell people about it? How often do you

1:06:52.280 --> 1:06:53.120
<v Speaker 3>have to sell it?

1:06:53.800 --> 1:06:56.439
<v Speaker 2>I tell people every week. That's one of my things

1:06:56.480 --> 1:07:00.680
<v Speaker 2>that I drop every week is sign up for my masterclass. Yeah,

1:07:01.360 --> 1:07:04.840
<v Speaker 2>and then like on October eleventh, I'm doing a whole

1:07:04.920 --> 1:07:08.800
<v Speaker 2>school in Exeter. It's coming and I just made a

1:07:08.840 --> 1:07:10.600
<v Speaker 2>deal with them and I'm doing it on Zoom and

1:07:10.640 --> 1:07:13.560
<v Speaker 2>it's going to be a class of fifty people and

1:07:13.800 --> 1:07:16.160
<v Speaker 2>they only want the one hour crash course in songwriting,

1:07:16.200 --> 1:07:17.480
<v Speaker 2>so it's going to be so easy.

1:07:17.640 --> 1:07:20.680
<v Speaker 3>And wait, well let me make you said, Exeter.

1:07:21.160 --> 1:07:22.280
<v Speaker 2>Exeter in England.

1:07:23.240 --> 1:07:25.800
<v Speaker 3>Yeah, they track you down out of the bluey.

1:07:26.240 --> 1:07:28.480
<v Speaker 2>They tracked me down from my social media and said

1:07:28.480 --> 1:07:31.760
<v Speaker 2>would you do your songwriting masterclass to the whole school?

1:07:32.120 --> 1:07:34.840
<v Speaker 2>And I was like why not? Why not?

1:07:35.200 --> 1:07:41.000
<v Speaker 3>Okay, so you're already very busy these one on one consultations.

1:07:41.040 --> 1:07:42.240
<v Speaker 3>Do you have enough time for that?

1:07:44.000 --> 1:07:48.920
<v Speaker 2>Well, here's the thing. It's quite expensive to do, and

1:07:49.000 --> 1:07:52.400
<v Speaker 2>I'm already doing that for free for people I just

1:07:52.720 --> 1:07:56.400
<v Speaker 2>meet and love and want to help. So I'm pretty choosy.

1:07:56.680 --> 1:07:59.600
<v Speaker 2>I have to again feel like this person's really got

1:07:59.640 --> 1:08:03.240
<v Speaker 2>something going and they've really got a great voice before

1:08:03.240 --> 1:08:06.160
<v Speaker 2>I'll take it on, you know. So I read through

1:08:06.160 --> 1:08:09.200
<v Speaker 2>it and I'll i'll go at people. I don't really

1:08:09.280 --> 1:08:11.600
<v Speaker 2>like to listen to submissions because that could open me

1:08:11.680 --> 1:08:15.400
<v Speaker 2>to a problem. So I like to say, have you

1:08:15.440 --> 1:08:18.400
<v Speaker 2>released anything, and then I'll go and listen to what

1:08:18.439 --> 1:08:20.240
<v Speaker 2>they had released, and if I think they're really good

1:08:20.280 --> 1:08:22.559
<v Speaker 2>and I don't want to just like take people's money,

1:08:22.680 --> 1:08:24.920
<v Speaker 2>it's got to be something that I really feel I

1:08:24.960 --> 1:08:28.679
<v Speaker 2>can help them with and make a map. Had one

1:08:28.760 --> 1:08:31.080
<v Speaker 2>nice lady who went to Berkeley. She came she'd written

1:08:31.080 --> 1:08:34.439
<v Speaker 2>the musical and I'd been involved in working on the musical.

1:08:34.520 --> 1:08:36.360
<v Speaker 2>I'm still doing it right now. I can't really talk

1:08:36.360 --> 1:08:39.880
<v Speaker 2>about it, but it's I kind of knew so much

1:08:39.920 --> 1:08:42.160
<v Speaker 2>information about it of how to do it that she

1:08:42.280 --> 1:08:47.040
<v Speaker 2>came away going, Wow, this is amazing. You've given me

1:08:47.240 --> 1:08:50.040
<v Speaker 2>the next ten steps of what I need to do,

1:08:50.080 --> 1:08:52.639
<v Speaker 2>and I felt so good. I was like, Wow, that's

1:08:52.640 --> 1:08:55.040
<v Speaker 2>what I needed when I was younger, to just have

1:08:55.160 --> 1:08:58.479
<v Speaker 2>someone lay out the map for me. So nothing feels

1:08:58.479 --> 1:09:01.160
<v Speaker 2>better than that. Okay, that's why I do it.

1:09:01.320 --> 1:09:03.639
<v Speaker 3>If I don't call Lauren Christy, who do I.

1:09:03.640 --> 1:09:10.840
<v Speaker 2>Call Linda Perry. There's only two of us who've been

1:09:10.920 --> 1:09:15.679
<v Speaker 2>nominated for Producer of the Year for Grammy, who didn't

1:09:15.720 --> 1:09:21.400
<v Speaker 2>produce other people. I think Linda's a badass. There's other

1:09:21.439 --> 1:09:24.120
<v Speaker 2>people because there's so many people. I'm just one of

1:09:24.160 --> 1:09:25.120
<v Speaker 2>many in this town.

1:09:25.520 --> 1:09:30.800
<v Speaker 3>You know, Okay, you've had a lot of success. What

1:09:30.840 --> 1:09:33.720
<v Speaker 3>do you do with the money? Do you manage it?

1:09:34.680 --> 1:09:37.360
<v Speaker 3>You know, musicians frequently feel they're going to run out

1:09:37.360 --> 1:09:39.200
<v Speaker 3>of money? How do you deal with it?

1:09:40.439 --> 1:09:44.920
<v Speaker 2>Okay, well, I mean so I used to live a

1:09:44.920 --> 1:09:50.760
<v Speaker 2>pretty extravagant lifestyle when the matrix blew up, and you know,

1:09:50.840 --> 1:09:55.240
<v Speaker 2>that's what happens, like bigger cars, bigger houses, all that stuff.

1:09:55.240 --> 1:09:57.320
<v Speaker 2>And then when I went through my divorce, I just

1:09:57.360 --> 1:10:00.040
<v Speaker 2>went through this period. Honestly. I became a Christian in

1:10:00.120 --> 1:10:02.920
<v Speaker 2>two thousand and nine, and you know what happens when

1:10:02.960 --> 1:10:06.760
<v Speaker 2>you become a Christians become incredibly happy and content. I

1:10:06.800 --> 1:10:11.679
<v Speaker 2>was always a little bit itchy and like nervous about things,

1:10:11.760 --> 1:10:14.080
<v Speaker 2>and that all went away. And so the first thing

1:10:14.120 --> 1:10:17.280
<v Speaker 2>I did was I don't want ever ever ever worry

1:10:17.360 --> 1:10:19.240
<v Speaker 2>about money. And I said that to my husband. I

1:10:19.280 --> 1:10:21.519
<v Speaker 2>don't want to ever lose anything. I don't want to

1:10:21.560 --> 1:10:24.200
<v Speaker 2>ever lie in bed at night feeling like I'm biting

1:10:24.240 --> 1:10:26.920
<v Speaker 2>my fingernails saying I need to have another hit. What

1:10:27.040 --> 1:10:29.760
<v Speaker 2>do I do to accomplish that? And he said downsize?

1:10:30.400 --> 1:10:38.080
<v Speaker 2>So I downsized everything. I literally live a pretty small life.

1:10:38.360 --> 1:10:41.280
<v Speaker 2>I don't want to boat. I don't really like to travel.

1:10:42.680 --> 1:10:45.320
<v Speaker 2>I will if it's like to see my family, important

1:10:45.320 --> 1:10:48.680
<v Speaker 2>things for my family, or there's a large check at

1:10:48.680 --> 1:10:50.640
<v Speaker 2>the end when I get there. I live in the

1:10:50.760 --> 1:10:53.360
<v Speaker 2>Los Angeles. I'm one of the rare people who thinks

1:10:53.400 --> 1:10:56.000
<v Speaker 2>this is paradise. And I felt it when I got

1:10:56.000 --> 1:10:57.720
<v Speaker 2>off the plane when I was twenty three. I was like,

1:10:57.920 --> 1:11:01.080
<v Speaker 2>this is it. I love it. And so I don't

1:11:01.120 --> 1:11:04.080
<v Speaker 2>live a big lifestyle and I can't really see the

1:11:04.120 --> 1:11:08.760
<v Speaker 2>need for me to say, sell my catalog. I did

1:11:08.800 --> 1:11:11.799
<v Speaker 2>sell half my catalog back in two thousand and seven,

1:11:12.479 --> 1:11:16.200
<v Speaker 2>and it comes back to me. Fortunately I kept the

1:11:16.600 --> 1:11:20.160
<v Speaker 2>bi RISI's side and then I built a new catalog

1:11:20.200 --> 1:11:26.519
<v Speaker 2>with Donna at Reservoir and it was it facilitated some stuff.

1:11:26.520 --> 1:11:27.640
<v Speaker 2>But I kind of feel, what am I going to

1:11:27.680 --> 1:11:29.679
<v Speaker 2>do buy a big mansion. It's just me and my husband.

1:11:29.720 --> 1:11:31.920
<v Speaker 2>My kids have left home now, just me and the

1:11:32.000 --> 1:11:36.720
<v Speaker 2>cats and Lawrence. So I don't worry about money. And

1:11:38.600 --> 1:11:42.320
<v Speaker 2>it's nice. I'm gain making more money and I'll leave

1:11:42.320 --> 1:11:45.840
<v Speaker 2>it to my kids. But I can't really think of

1:11:45.880 --> 1:11:48.760
<v Speaker 2>anything that I would want to do. I don't want

1:11:48.760 --> 1:11:51.400
<v Speaker 2>to build a massive recording studio because, as I said,

1:11:51.439 --> 1:11:54.479
<v Speaker 2>like I pop into my co producers studios, and they

1:11:54.479 --> 1:11:56.600
<v Speaker 2>have all built their studios. I don't need to do that.

1:11:57.200 --> 1:12:00.439
<v Speaker 2>I don't have ambitions on things like I I really

1:12:00.479 --> 1:12:02.000
<v Speaker 2>want a house in the south of France or in

1:12:02.040 --> 1:12:06.320
<v Speaker 2>Santa Barbara less as I get order less.

1:12:07.840 --> 1:12:12.519
<v Speaker 3>Okay, do you regret selling in two thousand and seven?

1:12:14.000 --> 1:12:17.519
<v Speaker 2>I can't say that. The only thing is I have

1:12:17.600 --> 1:12:22.960
<v Speaker 2>a lot more understanding of why it's not so good

1:12:23.000 --> 1:12:26.320
<v Speaker 2>to sell. And I actually loved your piece you did

1:12:26.360 --> 1:12:30.479
<v Speaker 2>about it, calling everyone's suckers for selling it, because I

1:12:30.479 --> 1:12:32.280
<v Speaker 2>thought it was so brilliant. You're going to end up

1:12:32.320 --> 1:12:35.880
<v Speaker 2>potentially on a preparation h commercial with complicated or something,

1:12:35.920 --> 1:12:39.880
<v Speaker 2>and you'd have no say in it. And so I

1:12:40.000 --> 1:12:43.360
<v Speaker 2>understand that. And mainly because my husband was a banker,

1:12:43.800 --> 1:12:47.160
<v Speaker 2>He's like, well, if they're offering you twenty multiple of

1:12:47.200 --> 1:12:50.200
<v Speaker 2>twenty in the front door, that's forty out the back door,

1:12:50.360 --> 1:12:53.120
<v Speaker 2>and just know that and why we And so that's

1:12:53.200 --> 1:12:56.439
<v Speaker 2>twenty years of money that you're going to receive or

1:12:56.439 --> 1:12:58.920
<v Speaker 2>what happens in year twenty five or year thirty or

1:12:59.000 --> 1:13:01.479
<v Speaker 2>year forty five? You know, wouldn't you rather just hang

1:13:01.520 --> 1:13:04.760
<v Speaker 2>onto your hits And if they're they're drizzling in a

1:13:04.880 --> 1:13:08.559
<v Speaker 2>ten grand you know a year, well in year forty,

1:13:08.640 --> 1:13:11.200
<v Speaker 2>that's not bad. Like if I sell it, and again,

1:13:11.360 --> 1:13:13.160
<v Speaker 2>I don't know what to do with the money. And

1:13:13.240 --> 1:13:16.160
<v Speaker 2>I know people say money's worth more now than it

1:13:16.200 --> 1:13:18.479
<v Speaker 2>will be in the future. I don't know about that.

1:13:19.160 --> 1:13:22.679
<v Speaker 2>It's an everyone's looking for passive income, you know, money

1:13:22.680 --> 1:13:25.519
<v Speaker 2>you're making while you're sleeping. And that's what I have.

1:13:25.560 --> 1:13:27.240
<v Speaker 2>And it's a nice piece of mind. It's a nice

1:13:27.240 --> 1:13:30.000
<v Speaker 2>clean transaction. It doesn't gather moth and rust.

1:13:31.760 --> 1:13:31.920
<v Speaker 4>You know.

1:13:31.960 --> 1:13:34.439
<v Speaker 2>I had a house at the beach. I never stopped

1:13:34.439 --> 1:13:37.320
<v Speaker 2>having to like redo the stuff that was rotting from

1:13:37.360 --> 1:13:40.680
<v Speaker 2>the seawater, the pipes and everything. It's all these problems.

1:13:40.840 --> 1:13:44.080
<v Speaker 2>So I just I feel like, keep hold of it.

1:13:44.560 --> 1:13:46.880
<v Speaker 2>Why do you need to sell it? You know, and

1:13:46.920 --> 1:13:50.360
<v Speaker 2>then what you put the money into could be risky,

1:13:51.439 --> 1:13:56.040
<v Speaker 2>you know, earthquakes, fires, I don't. At one point I

1:13:56.080 --> 1:13:59.920
<v Speaker 2>had four homes, one at the beach, one in Handcock Park,

1:14:00.400 --> 1:14:03.960
<v Speaker 2>one in Studio City actually in two in Tarzana. I

1:14:04.000 --> 1:14:06.240
<v Speaker 2>didn't sleep well at night. It was like it got

1:14:06.240 --> 1:14:10.000
<v Speaker 2>bigger and bigger and bigger, and I just don't feel

1:14:10.000 --> 1:14:12.720
<v Speaker 2>like I don't want that I just want a nice

1:14:12.720 --> 1:14:15.920
<v Speaker 2>small life and to have good health and peace of

1:14:15.960 --> 1:14:17.519
<v Speaker 2>mind and get to do my music.

1:14:18.160 --> 1:14:21.960
<v Speaker 3>So at this point in time, how many houses? How

1:14:22.000 --> 1:14:22.639
<v Speaker 3>many cars?

1:14:24.000 --> 1:14:31.360
<v Speaker 2>One house and three lease cars from the company for

1:14:31.479 --> 1:14:34.160
<v Speaker 2>my for my kids, because I'm because we're smart about

1:14:34.200 --> 1:14:36.840
<v Speaker 2>business and I need, you know, live the life or

1:14:36.880 --> 1:14:41.040
<v Speaker 2>pay the taxes. And another car that we own, which

1:14:41.120 --> 1:14:43.559
<v Speaker 2>is my husband's, and that's it.

1:14:44.200 --> 1:14:45.639
<v Speaker 3>So where did you grow up?

1:14:47.040 --> 1:14:52.200
<v Speaker 2>I grew up in Shirley Croydon. Surrey. Croydon's like famous

1:14:52.200 --> 1:14:55.559
<v Speaker 2>because Kate Moss comes from there and David Bowie grew

1:14:55.600 --> 1:14:59.200
<v Speaker 2>up around the corner in Beckenham. So it's South London.

1:14:59.400 --> 1:15:02.280
<v Speaker 2>Took us about thirty minutes to drive up to Big Ben,

1:15:02.840 --> 1:15:04.800
<v Speaker 2>so I felt like very close to the city, but

1:15:04.960 --> 1:15:10.320
<v Speaker 2>it was very nice countryside vibes you calabasas vibes, I'd say.

1:15:11.280 --> 1:15:13.120
<v Speaker 3>And what did your parents do for a living?

1:15:14.600 --> 1:15:19.280
<v Speaker 2>So my father was the youngest comedian in England. He

1:15:19.360 --> 1:15:25.200
<v Speaker 2>started professionally working at sixteen and had like a wonderful career.

1:15:25.520 --> 1:15:29.000
<v Speaker 2>He opened for Shirley Bassie at the Palladium and he

1:15:29.080 --> 1:15:33.320
<v Speaker 2>was doing very well right before TV really took off,

1:15:33.360 --> 1:15:35.639
<v Speaker 2>like the Frost report became a big thing on TV,

1:15:36.320 --> 1:15:39.080
<v Speaker 2>and his first marriage didn't work out. He had two children,

1:15:39.200 --> 1:15:42.640
<v Speaker 2>my brother and sister, Stephen and Sharon, and when he

1:15:42.680 --> 1:15:45.960
<v Speaker 2>met my mom, my mom was like, oh, hell no,

1:15:46.120 --> 1:15:49.400
<v Speaker 2>you're not like traveling around the UK doing this anymore

1:15:49.400 --> 1:15:53.080
<v Speaker 2>with all those hot show girls. And so my father

1:15:53.160 --> 1:15:55.760
<v Speaker 2>quit and my mother was a stay at home mom

1:15:55.840 --> 1:16:01.479
<v Speaker 2>and did it brilliantly and never stopped talking to my

1:16:01.560 --> 1:16:04.879
<v Speaker 2>brother Brandon and I about his years on the stage

1:16:05.280 --> 1:16:08.559
<v Speaker 2>and performing and he was the biggest supporter for me

1:16:08.800 --> 1:16:13.439
<v Speaker 2>of my music when I showed an inkling, you know,

1:16:13.640 --> 1:16:17.280
<v Speaker 2>I wanted to be a ballet dancer very seriously, and

1:16:17.720 --> 1:16:20.200
<v Speaker 2>I auditioned for the Royal Ballet School and I didn't

1:16:20.240 --> 1:16:22.840
<v Speaker 2>get in. I was devastated. But a girl at the

1:16:22.880 --> 1:16:25.639
<v Speaker 2>audition said you should audition for this other school, Bush Davies,

1:16:26.240 --> 1:16:28.840
<v Speaker 2>and it's the optional school to the Royal Ballet and

1:16:28.880 --> 1:16:31.320
<v Speaker 2>they do instead of just doing ballet, they do jazz

1:16:31.360 --> 1:16:35.040
<v Speaker 2>and tap, singing, acting everything. So I was like, Okay,

1:16:35.080 --> 1:16:37.200
<v Speaker 2>I'll try auditioning, thinking I'm not going to get in there,

1:16:37.200 --> 1:16:40.840
<v Speaker 2>and I got in and on my first day of

1:16:40.880 --> 1:16:43.439
<v Speaker 2>having to go to boarding school when I was eleven,

1:16:44.080 --> 1:16:47.599
<v Speaker 2>I met Michelle Hatch and her dad was Tony Hatch,

1:16:47.760 --> 1:16:53.400
<v Speaker 2>who wrote Downtown for Patula Clark. And that's the moment

1:16:53.439 --> 1:16:56.600
<v Speaker 2>that changed my life because I was like, what songwriting?

1:16:57.160 --> 1:17:00.960
<v Speaker 2>What's that? That's a job? She said, yeah, my dad's

1:17:01.000 --> 1:17:05.479
<v Speaker 2>really successful. And in every ballet studio there was a

1:17:05.520 --> 1:17:10.799
<v Speaker 2>piano and so I before I knew, I wasn't interested

1:17:10.840 --> 1:17:12.519
<v Speaker 2>in ballet at all. I just wanted to sit and

1:17:12.600 --> 1:17:15.599
<v Speaker 2>write songs. And that's how it started for me. And

1:17:15.680 --> 1:17:20.000
<v Speaker 2>my dad was like, Okay, let's buy you an amp

1:17:20.040 --> 1:17:22.479
<v Speaker 2>and a mic He was just so supportive because he

1:17:22.520 --> 1:17:25.559
<v Speaker 2>had it in his blood to be an entertainer, you know.

1:17:26.200 --> 1:17:30.160
<v Speaker 2>And my brothers ended up doing music too, and he

1:17:30.240 --> 1:17:34.559
<v Speaker 2>is a great singer, the music for TV shows, and

1:17:34.600 --> 1:17:36.960
<v Speaker 2>it's just it really came passed down through our dad

1:17:37.240 --> 1:17:41.960
<v Speaker 2>of just kind of his frustration to not be able

1:17:42.000 --> 1:17:44.080
<v Speaker 2>to perform anymore because he stayed at home. Was a

1:17:44.120 --> 1:17:47.639
<v Speaker 2>really hard working father. He became a manufacturer's sales agent

1:17:47.680 --> 1:17:50.160
<v Speaker 2>of furniture and did very well at it, and his

1:17:50.200 --> 1:17:52.400
<v Speaker 2>gift of the gap just he would travel all around

1:17:52.400 --> 1:17:56.040
<v Speaker 2>London at all the stores, and every shop owner loved

1:17:56.120 --> 1:17:57.800
<v Speaker 2>my dad's showing up and he'd just come back and

1:17:57.800 --> 1:18:01.440
<v Speaker 2>saved like fifteen orders today. You know, he was a businessman,

1:18:02.400 --> 1:18:06.599
<v Speaker 2>but still he said to me, don't do this because

1:18:06.640 --> 1:18:08.160
<v Speaker 2>you want to do it, do it because you have

1:18:08.240 --> 1:18:08.599
<v Speaker 2>to do it.

1:18:10.320 --> 1:18:13.760
<v Speaker 3>So you went to boarding school at eleven? How long

1:18:13.800 --> 1:18:14.719
<v Speaker 3>did you stay there?

1:18:16.200 --> 1:18:19.200
<v Speaker 2>Till I was sixteen? And when I was fifteen, I

1:18:19.280 --> 1:18:22.960
<v Speaker 2>became a day girl, so I would travel it there

1:18:23.000 --> 1:18:26.200
<v Speaker 2>every day. So yeah, wait, wait, wait, wait, why did

1:18:26.240 --> 1:18:26.880
<v Speaker 2>you be coming?

1:18:26.960 --> 1:18:27.479
<v Speaker 3>What is that?

1:18:28.320 --> 1:18:30.880
<v Speaker 2>A day girl? That's what they called it. So instead

1:18:30.880 --> 1:18:32.880
<v Speaker 2>of going, instead of sleeping at the school, you got

1:18:32.920 --> 1:18:34.840
<v Speaker 2>to get a day girl, they called it. So you

1:18:34.840 --> 1:18:36.559
<v Speaker 2>would just show up like I get a day girl.

1:18:36.600 --> 1:18:38.080
<v Speaker 3>Okay, if I was thinking of a job, I mean,

1:18:38.120 --> 1:18:41.320
<v Speaker 3>you didn't board anymore. So yeah, what was it like

1:18:41.640 --> 1:18:43.400
<v Speaker 3>going to boarding school to eleven?

1:18:45.000 --> 1:18:48.559
<v Speaker 2>I mean I always tell the story about how my

1:18:48.720 --> 1:18:51.080
<v Speaker 2>first night there, I was the only kid not crying.

1:18:51.840 --> 1:18:54.400
<v Speaker 2>We had a room of twenty girls in the beds

1:18:54.439 --> 1:18:57.360
<v Speaker 2>all around this big dormitory room, and a nanny who

1:18:57.360 --> 1:18:59.360
<v Speaker 2>had this little room at the end, and she kissed

1:18:59.360 --> 1:19:02.920
<v Speaker 2>everyone good night. Right before I went to boarding school,

1:19:02.960 --> 1:19:05.160
<v Speaker 2>we had a burglary in my house where a man

1:19:05.200 --> 1:19:08.120
<v Speaker 2>broke into our house, and it was terrifying and my

1:19:08.240 --> 1:19:11.599
<v Speaker 2>dad had to chase him down the street. So literally,

1:19:11.680 --> 1:19:13.640
<v Speaker 2>I was going to boarding school the next week. And

1:19:14.080 --> 1:19:17.120
<v Speaker 2>that safety and numbers thing really worked for me. I

1:19:17.160 --> 1:19:20.559
<v Speaker 2>was like, I feel safe here with all these kids.

1:19:20.680 --> 1:19:22.680
<v Speaker 2>All these girls were crying they missed their parents, and

1:19:22.760 --> 1:19:25.200
<v Speaker 2>I was like, I'm so fucking glad I'm not so

1:19:25.600 --> 1:19:28.120
<v Speaker 2>it was terrifying this guy breaking into our house.

1:19:29.320 --> 1:19:31.880
<v Speaker 3>Okay, I went to college and forty five percent of

1:19:31.880 --> 1:19:36.760
<v Speaker 3>the people went to prep school, boarding school, and they

1:19:36.760 --> 1:19:40.639
<v Speaker 3>had a radically different upbringing in that you know, it's

1:19:40.680 --> 1:19:43.360
<v Speaker 3>almost like one of these movies where they grow up

1:19:43.400 --> 1:19:46.519
<v Speaker 3>real fast, they understand the system they're acting out.

1:19:46.600 --> 1:19:52.920
<v Speaker 2>What was your experience, Well, I feel like it's kind

1:19:52.920 --> 1:19:56.200
<v Speaker 2>of like being raised by wolves going to boarding school,

1:19:56.240 --> 1:19:58.240
<v Speaker 2>because they give you prefects, who are girls who are

1:19:58.280 --> 1:20:00.519
<v Speaker 2>like fifteen who are in charge, or sixteen, you know,

1:20:00.560 --> 1:20:06.640
<v Speaker 2>the older girls. And it was it was crazy, like

1:20:07.040 --> 1:20:09.760
<v Speaker 2>it was a crazy time. It was like being in

1:20:09.880 --> 1:20:12.800
<v Speaker 2>It was like a mini Los Angeles for me, Like

1:20:12.880 --> 1:20:15.320
<v Speaker 2>last night, we had the entertainment capital of the world.

1:20:15.320 --> 1:20:19.479
<v Speaker 2>We had our own theater, we had constant musicals being done,

1:20:19.479 --> 1:20:22.400
<v Speaker 2>and it was it was incredible. I could just pop

1:20:22.439 --> 1:20:24.640
<v Speaker 2>off with a like a boombox to a studio on

1:20:24.680 --> 1:20:26.720
<v Speaker 2>my own. And I was really into choreography as well,

1:20:26.720 --> 1:20:31.440
<v Speaker 2>which is very close to songwriting, and it was incredible.

1:20:31.640 --> 1:20:35.040
<v Speaker 2>And we also could be really naughty because they just

1:20:35.080 --> 1:20:37.479
<v Speaker 2>couldn't watch us. I was often having a cigarette and

1:20:37.520 --> 1:20:40.759
<v Speaker 2>a Gin and tonic before ballet class, you know, at fourteen.

1:20:41.200 --> 1:20:44.080
<v Speaker 2>So I grew up very young and we had boys

1:20:44.160 --> 1:20:46.479
<v Speaker 2>like sneaking up to meet us in the woods or

1:20:46.520 --> 1:20:49.760
<v Speaker 2>in the car park at night. Your parents had no

1:20:49.840 --> 1:20:52.200
<v Speaker 2>idea what you were doing. It was. It was kind

1:20:52.240 --> 1:20:56.639
<v Speaker 2>of a wild time and I loved every minute of it.

1:20:57.360 --> 1:20:59.280
<v Speaker 2>I wouldn't regrets it. It's like when I talked to

1:20:59.360 --> 1:21:02.000
<v Speaker 2>people who went to Bush Davies, We're all like, yeah,

1:21:02.120 --> 1:21:05.040
<v Speaker 2>it was. It was something that no one would ever understand,

1:21:05.360 --> 1:21:07.360
<v Speaker 2>kind of like Centrinians. I don't know if you know

1:21:07.360 --> 1:21:09.960
<v Speaker 2>the cent Trinian's books of like the Wild All Girls

1:21:10.040 --> 1:21:12.960
<v Speaker 2>school that's a boarding school. It was very similar. I

1:21:13.000 --> 1:21:16.320
<v Speaker 2>would say it was definitely Hogwarts Vibes in the countryside

1:21:16.320 --> 1:21:18.640
<v Speaker 2>in England, a big old house. It was. It was

1:21:18.720 --> 1:21:22.080
<v Speaker 2>amazing and I think it set me up for the

1:21:22.120 --> 1:21:26.280
<v Speaker 2>work ethic of being in this business that I'm in.

1:21:26.320 --> 1:21:30.320
<v Speaker 3>Now, Okay, you're sixteen, you stop going to that school.

1:21:30.360 --> 1:21:30.840
<v Speaker 3>What do you do?

1:21:30.960 --> 1:21:36.880
<v Speaker 2>Then I did some photographs because I still thought I'm

1:21:36.920 --> 1:21:40.720
<v Speaker 2>going to be a dancer. And this is where my

1:21:40.840 --> 1:21:44.799
<v Speaker 2>brother Stephen, from my dad's first marriage, we're really close.

1:21:44.840 --> 1:21:48.200
<v Speaker 2>And he had a best friend called George McFarlane and

1:21:48.320 --> 1:21:50.720
<v Speaker 2>he was signed in a band called The Quick, and

1:21:51.200 --> 1:21:55.040
<v Speaker 2>he had his fabulous recording studio, and when I was fourteen,

1:21:55.680 --> 1:21:59.080
<v Speaker 2>he agreed to do some of my demos and that

1:21:59.240 --> 1:22:01.519
<v Speaker 2>was so amazing for me because the school heard the

1:22:01.560 --> 1:22:03.519
<v Speaker 2>demos and then they wanted to use all my songs

1:22:03.520 --> 1:22:06.240
<v Speaker 2>in the school shows. So I'd already like had this

1:22:06.360 --> 1:22:07.640
<v Speaker 2>kind of this is what I'm going to do with

1:22:07.680 --> 1:22:10.200
<v Speaker 2>my life. And I had other people saying, are you crazy.

1:22:10.240 --> 1:22:12.360
<v Speaker 2>You're such a good dancer, you need to be a dancer,

1:22:12.400 --> 1:22:14.040
<v Speaker 2>And I was like, no, I'm going to do music.

1:22:14.640 --> 1:22:17.719
<v Speaker 2>So I went to this photographer to get my shots

1:22:17.720 --> 1:22:19.880
<v Speaker 2>done to be a dancer, and he said to me,

1:22:20.840 --> 1:22:24.559
<v Speaker 2>you know a friend of mine starting a band and

1:22:24.640 --> 1:22:27.559
<v Speaker 2>Bruce Forsythe's daughter's going to be in the band. And

1:22:27.560 --> 1:22:30.440
<v Speaker 2>Bruce Forsythe at the time was one of the biggest

1:22:31.720 --> 1:22:33.879
<v Speaker 2>comedians in England. He had this show called The Generation

1:22:34.080 --> 1:22:37.000
<v Speaker 2>Game and it was one of my favorites. So it

1:22:37.040 --> 1:22:38.920
<v Speaker 2>was just such a big deal to be invited to

1:22:38.920 --> 1:22:41.000
<v Speaker 2>go to an audition or this band that this girl

1:22:41.120 --> 1:22:44.120
<v Speaker 2>was going to be in, who was pretty famous. I

1:22:44.160 --> 1:22:47.479
<v Speaker 2>went to do the audition, sat down at Wigmore Hall

1:22:47.760 --> 1:22:50.720
<v Speaker 2>in London and I played a song I'd written at

1:22:50.720 --> 1:22:53.559
<v Speaker 2>the piano and they immediately said, you're in the band.

1:22:54.280 --> 1:22:57.719
<v Speaker 2>And so for the next two years sixteen seventeen eighteen,

1:22:57.920 --> 1:23:01.280
<v Speaker 2>I you know, to get a record deal with this band,

1:23:01.360 --> 1:23:04.360
<v Speaker 2>and we didn't get a record deal, and it was

1:23:04.400 --> 1:23:07.680
<v Speaker 2>kind of disappointing. I was like, oh, how am I

1:23:07.720 --> 1:23:10.080
<v Speaker 2>going to get into this business? But one of the

1:23:10.080 --> 1:23:14.360
<v Speaker 2>producers I'd worked with with that band, he offered to

1:23:14.400 --> 1:23:16.880
<v Speaker 2>do some demos with me, and at that point he

1:23:17.000 --> 1:23:20.120
<v Speaker 2>introduced me to a bass player who came to one

1:23:20.160 --> 1:23:25.120
<v Speaker 2>of the sessions, and that's my ex husband, Graham, and

1:23:25.160 --> 1:23:27.920
<v Speaker 2>Graham said, you're so talented and can I take you

1:23:27.960 --> 1:23:34.160
<v Speaker 2>for dinner? And we got close and got together and

1:23:34.960 --> 1:23:37.680
<v Speaker 2>around about that time this is an incredible story, but

1:23:37.920 --> 1:23:41.439
<v Speaker 2>Tony Hatch, my friend's father, offered me a publishing deal

1:23:42.040 --> 1:23:44.240
<v Speaker 2>because he'd been listening to the demos I've been doing

1:23:44.320 --> 1:23:47.439
<v Speaker 2>because I was still friends with Michelle, and I think

1:23:47.439 --> 1:23:50.880
<v Speaker 2>it was like for seven thousand pounds. I was like

1:23:51.160 --> 1:23:55.360
<v Speaker 2>seven thousand pounds, Oh my god. And what happened was

1:23:55.600 --> 1:23:58.320
<v Speaker 2>Graham said, do you mind if I'd just played to

1:23:58.320 --> 1:24:02.160
<v Speaker 2>my friend Alan Jacobs em and I was like, they're

1:24:02.160 --> 1:24:04.519
<v Speaker 2>not going to be interested. I went in and I

1:24:04.560 --> 1:24:06.519
<v Speaker 2>had a meeting with Alan Jacobs and it was the

1:24:06.560 --> 1:24:11.080
<v Speaker 2>worst meeting of my life. It was just cold, nothing.

1:24:11.720 --> 1:24:13.639
<v Speaker 2>I came out saying I'm going to sign to Tony

1:24:13.680 --> 1:24:16.479
<v Speaker 2>Hatch and the next day I get a call from Alan,

1:24:16.640 --> 1:24:18.960
<v Speaker 2>the nicest phone call ever. I think he was trying

1:24:18.960 --> 1:24:20.599
<v Speaker 2>to like just be tough with me in the meeting

1:24:20.600 --> 1:24:22.519
<v Speaker 2>to see if I had what it takes, and he said,

1:24:22.560 --> 1:24:24.559
<v Speaker 2>I think you're it. I want to sign you. So

1:24:24.600 --> 1:24:27.320
<v Speaker 2>I ended up signing to EMI when I was nineteen,

1:24:28.240 --> 1:24:29.599
<v Speaker 2>and that was the beginning.

1:24:29.760 --> 1:24:33.400
<v Speaker 3>Let's go back a chapter. You met this girl when

1:24:33.439 --> 1:24:37.960
<v Speaker 3>you were eleven whose father wrote Downtown. At what point

1:24:38.040 --> 1:24:40.880
<v Speaker 3>did you literally start writing songs and what did that

1:24:40.920 --> 1:24:41.320
<v Speaker 3>look like?

1:24:42.040 --> 1:24:44.080
<v Speaker 2>Right then? I said, will show me how to do it.

1:24:44.280 --> 1:24:46.040
<v Speaker 2>So we sat at the piano together in the music

1:24:46.160 --> 1:24:48.120
<v Speaker 2>room and we wrote a song called I'm Sick of

1:24:48.160 --> 1:24:50.400
<v Speaker 2>Your Trick. That was our first one that we did.

1:24:50.720 --> 1:24:52.800
<v Speaker 2>And then Michelle was not interested in writing songs. She

1:24:52.800 --> 1:24:55.559
<v Speaker 2>went on to become an actress and she's fabulous. But

1:24:55.800 --> 1:24:58.559
<v Speaker 2>was it just clicked with me? And then the fact

1:24:58.560 --> 1:25:01.120
<v Speaker 2>that my brother Stephen had this friend and who had

1:25:01.120 --> 1:25:03.800
<v Speaker 2>a record deal, and that will became very glamorous to

1:25:03.840 --> 1:25:06.439
<v Speaker 2>me of getting a record deal. That was the path

1:25:06.560 --> 1:25:06.800
<v Speaker 2>for me.

1:25:07.920 --> 1:25:09.719
<v Speaker 3>Did you already know how to play the piano?

1:25:10.439 --> 1:25:13.240
<v Speaker 2>Yes? Yeah, My mom and had given me piano lessons

1:25:13.240 --> 1:25:15.720
<v Speaker 2>from a piano teacher when I was like five, so

1:25:16.400 --> 1:25:19.599
<v Speaker 2>I could read music a bit. But again, I never

1:25:19.760 --> 1:25:22.760
<v Speaker 2>I've never ever gone, let me really study this. My

1:25:22.760 --> 1:25:26.400
<v Speaker 2>brother became a brilliant pianist, but for me, it was

1:25:26.400 --> 1:25:29.040
<v Speaker 2>the songwriting and I'm just like, let me figure out

1:25:29.040 --> 1:25:32.519
<v Speaker 2>these chords rather than I have to. You know, I

1:25:32.520 --> 1:25:35.120
<v Speaker 2>can't even be bothered to this day when I write songs,

1:25:35.479 --> 1:25:42.360
<v Speaker 2>I'm just like chill. Before before I'd like to play

1:25:42.400 --> 1:25:45.760
<v Speaker 2>bass notes to find that special melody and then I

1:25:45.840 --> 1:25:48.320
<v Speaker 2>can fill them in too if I want to. But

1:25:48.400 --> 1:25:52.400
<v Speaker 2>I'm not really that interested. I never got better. I

1:25:52.400 --> 1:25:55.400
<v Speaker 2>wish I had that soul too late.

1:25:55.479 --> 1:25:59.160
<v Speaker 3>Now, when you're sixteen, seventeen, and eighteen and you're in

1:25:59.160 --> 1:26:03.320
<v Speaker 3>this band looking for a record deal, where are you

1:26:03.439 --> 1:26:04.840
<v Speaker 3>living and what are you living on?

1:26:06.520 --> 1:26:10.200
<v Speaker 2>And when I'm sixteen, I was still living at home

1:26:10.360 --> 1:26:13.120
<v Speaker 2>with my mom and dad, and we had like a

1:26:13.200 --> 1:26:15.640
<v Speaker 2>garage with carpet in it, and we had mirrors set up,

1:26:15.680 --> 1:26:17.240
<v Speaker 2>and we were the girls and I. We were in

1:26:17.720 --> 1:26:20.040
<v Speaker 2>the three of us krashishi haha, and we were doing

1:26:20.080 --> 1:26:23.400
<v Speaker 2>all these dance moves and stuff. And I just after

1:26:23.439 --> 1:26:25.240
<v Speaker 2>about a couple of years, I'm like, this isn't working.

1:26:25.479 --> 1:26:27.639
<v Speaker 2>And then one of the producers who'd worked with us said,

1:26:27.640 --> 1:26:29.760
<v Speaker 2>I'll do your demos and then as I said, I

1:26:29.800 --> 1:26:33.000
<v Speaker 2>met Graham, he played them to EMI had I had

1:26:33.000 --> 1:26:34.800
<v Speaker 2>some really good songs. I had a song called my

1:26:34.880 --> 1:26:37.320
<v Speaker 2>jeans I Want Them Back about one of my ex

1:26:37.360 --> 1:26:39.519
<v Speaker 2>boyfriends who when we broke up, he said I want

1:26:39.560 --> 1:26:41.840
<v Speaker 2>my fucking jeans back. That was his last words to me.

1:26:41.880 --> 1:26:45.400
<v Speaker 2>And I was like, ooh, wow, my jeans, I want

1:26:45.439 --> 1:26:48.120
<v Speaker 2>them back, you know I was. That was one of

1:26:48.160 --> 1:26:51.120
<v Speaker 2>the first songs I got signed on to EMI. And

1:26:51.160 --> 1:26:54.000
<v Speaker 2>then EMI introduced me to my first manager and my

1:26:54.040 --> 1:26:56.960
<v Speaker 2>first manager. His name was Andrew Tribe, God Rest his soul,

1:26:57.439 --> 1:26:59.640
<v Speaker 2>and he said to me, we need to go to America.

1:27:00.800 --> 1:27:03.920
<v Speaker 2>This is I don't know if you're going to get

1:27:04.000 --> 1:27:06.679
<v Speaker 2>signed here. There was an A and R man heard

1:27:06.720 --> 1:27:08.800
<v Speaker 2>my stuff and basically said, I just don't really think

1:27:08.800 --> 1:27:13.280
<v Speaker 2>it's good enough. And then what happened was my manager

1:27:13.320 --> 1:27:16.160
<v Speaker 2>went over to America and he met this fabulous man

1:27:16.280 --> 1:27:19.960
<v Speaker 2>called John Carter. And that's John Carter who was behind

1:27:20.200 --> 1:27:24.519
<v Speaker 2>Tina Turner's success with Private Dancer, her big comeback. He's

1:27:24.560 --> 1:27:26.760
<v Speaker 2>the guy in the documentary and Tina Turner who got

1:27:26.760 --> 1:27:29.040
<v Speaker 2>on his knees and said to the A and R man,

1:27:29.120 --> 1:27:33.880
<v Speaker 2>you can't drop her. So John Carter signed me without

1:27:33.880 --> 1:27:35.760
<v Speaker 2>ever meeting me. He just talked to me on the

1:27:35.760 --> 1:27:38.160
<v Speaker 2>phone and there was no FaceTime back then. He loved

1:27:38.200 --> 1:27:40.479
<v Speaker 2>my geenes and want them back, and a couple of

1:27:40.520 --> 1:27:42.439
<v Speaker 2>other songs I had, And at that point, I'm still

1:27:42.479 --> 1:27:46.840
<v Speaker 2>doing my demos on an eight track and I moved

1:27:46.880 --> 1:27:52.439
<v Speaker 2>in with Graham and John Carter said that's it. So

1:27:52.479 --> 1:27:58.320
<v Speaker 2>he signed me and gave me some money and I

1:27:58.360 --> 1:28:00.479
<v Speaker 2>paid off my debts with the money, and then they

1:28:00.520 --> 1:28:02.720
<v Speaker 2>gave me some money to make a record, and so

1:28:02.920 --> 1:28:05.559
<v Speaker 2>we're in the studio making the record and then we

1:28:05.600 --> 1:28:09.960
<v Speaker 2>get a call that they fired everybody at Atlantic and

1:28:10.280 --> 1:28:15.720
<v Speaker 2>John was gone. He's like, I'm so sorry, Lauren. And

1:28:15.760 --> 1:28:17.640
<v Speaker 2>now I look back on it, I'm like, this was

1:28:17.760 --> 1:28:19.960
<v Speaker 2>kind of a crazy story. But my manager convinced me

1:28:20.040 --> 1:28:23.000
<v Speaker 2>to go to my bank and get alone for like

1:28:23.040 --> 1:28:28.120
<v Speaker 2>one hundred thousand pounds to finish the album. Bad idea.

1:28:29.640 --> 1:28:33.280
<v Speaker 2>I did it and made the rest of the record

1:28:33.360 --> 1:28:36.000
<v Speaker 2>and then like, my man's like, it's amazing, let's send

1:28:36.000 --> 1:28:41.599
<v Speaker 2>it to Atlantic Crickets. No one responded. So I'm stuck

1:28:42.080 --> 1:28:47.759
<v Speaker 2>with all this debt at twenty one years old, twenty

1:28:47.760 --> 1:28:50.479
<v Speaker 2>two years old maybe, And I remember at night just

1:28:50.520 --> 1:28:55.120
<v Speaker 2>thinking I'm fucked. That's what I thought. I've completely blown it.

1:28:55.280 --> 1:28:59.200
<v Speaker 2>I'm screwed. And what happened was John Carter did not

1:28:59.320 --> 1:29:01.759
<v Speaker 2>let me down. He said, I'm going to my friend

1:29:01.840 --> 1:29:04.799
<v Speaker 2>Tom Vickers. I don't know if you know Tom Vickers.

1:29:04.920 --> 1:29:07.519
<v Speaker 2>He is an amazing, amazing A and R man, and

1:29:07.560 --> 1:29:10.920
<v Speaker 2>he's responsible for me being in America. And he took

1:29:10.960 --> 1:29:13.839
<v Speaker 2>it to Ed Eckstein, who was the head of Mercury Records,

1:29:13.880 --> 1:29:17.000
<v Speaker 2>and Tom and Ed worked very closely together. And they

1:29:17.000 --> 1:29:20.360
<v Speaker 2>flew me to New York and I'm like, tainted goods.

1:29:20.360 --> 1:29:25.639
<v Speaker 2>I'm signed to Atlantic, right this is? And I sat

1:29:25.680 --> 1:29:28.160
<v Speaker 2>and played for Ed in his office and he said,

1:29:28.240 --> 1:29:30.800
<v Speaker 2>let's make a deal, and so they literally bought me

1:29:30.960 --> 1:29:35.000
<v Speaker 2>off Atlantic. Doug Morris was very nice. I had to

1:29:35.000 --> 1:29:36.720
<v Speaker 2>write to him because no one would reply to me

1:29:37.200 --> 1:29:40.439
<v Speaker 2>all the messages. My management said that no one would reply,

1:29:40.800 --> 1:29:46.160
<v Speaker 2>and Doug Morris FedEx me a release and the advance

1:29:46.200 --> 1:29:49.240
<v Speaker 2>from Mercury Records paid off the one hundred thousand pound

1:29:49.360 --> 1:29:51.960
<v Speaker 2>debt and all my lawyer's fees, and I showed up

1:29:52.000 --> 1:29:56.840
<v Speaker 2>in LA in ninety one at twenty three. It took

1:29:56.880 --> 1:30:01.000
<v Speaker 2>me that long, Bob, from nineteen to twenty three. I

1:30:01.040 --> 1:30:02.719
<v Speaker 2>know it's probably not a long time, but it felt

1:30:02.800 --> 1:30:06.639
<v Speaker 2>like forever. And I taught tap dancing to supplement myself

1:30:06.840 --> 1:30:11.640
<v Speaker 2>in that time. And so I show up with one

1:30:11.720 --> 1:30:15.080
<v Speaker 2>hundred bucks in my pocket and they told me you're

1:30:15.080 --> 1:30:17.599
<v Speaker 2>going to get a PIDM of fifteen hundred bucks a month.

1:30:17.640 --> 1:30:20.000
<v Speaker 2>And I was like, what, this is amazing. And they

1:30:20.000 --> 1:30:22.400
<v Speaker 2>put me up at the Oakward Apartments on Woodman Avenue,

1:30:23.200 --> 1:30:25.320
<v Speaker 2>and that was the beginning. I kind of felt like

1:30:25.400 --> 1:30:29.400
<v Speaker 2>I'd just been so much struggle, and I almost like quit,

1:30:29.560 --> 1:30:31.680
<v Speaker 2>you know, because I didn't think it was what am

1:30:31.720 --> 1:30:34.519
<v Speaker 2>I doing? Chasing this dream? And so I showed up

1:30:34.560 --> 1:30:42.320
<v Speaker 2>in La and that was the beginning of good things.

1:30:45.200 --> 1:30:49.320
<v Speaker 3>Okay, let's go back. Why did the bank lend you

1:30:49.400 --> 1:30:52.360
<v Speaker 3>the money? Did your parents have to guarantee it or something?

1:30:52.800 --> 1:30:55.400
<v Speaker 2>No, they didn't. I don't know how they gave me

1:30:55.439 --> 1:30:57.679
<v Speaker 2>the money. I don't. My dad knew the bank manager

1:30:57.720 --> 1:31:00.000
<v Speaker 2>quite well, and I don't know how might my dad.

1:31:00.040 --> 1:31:03.120
<v Speaker 2>It's not with us anymore. I would love to ask him,

1:31:04.280 --> 1:31:07.360
<v Speaker 2>what were you thinking? Dad? But he didn't guarante all

1:31:07.360 --> 1:31:09.800
<v Speaker 2>the money. They could have lost it easily, but I

1:31:09.880 --> 1:31:12.839
<v Speaker 2>paid back every penny. It was just a stupid move because,

1:31:14.040 --> 1:31:16.320
<v Speaker 2>you know, my manager just believed in me so much.

1:31:16.360 --> 1:31:19.559
<v Speaker 2>He thought Atlantic, the new people at Atlantic would be

1:31:19.600 --> 1:31:22.800
<v Speaker 2>won over by my amazing record that I've made. It

1:31:22.840 --> 1:31:26.599
<v Speaker 2>was a very bad move. Don't don't finance your own stuff,

1:31:27.280 --> 1:31:27.880
<v Speaker 2>do it for free.

1:31:28.040 --> 1:31:31.320
<v Speaker 3>Okay, the label puts you up in Oakwood on Woodmanten.

1:31:31.920 --> 1:31:32.719
<v Speaker 3>Where's Graham?

1:31:33.840 --> 1:31:39.840
<v Speaker 2>So Graham he came out with me and he became

1:31:39.880 --> 1:31:42.760
<v Speaker 2>part of my band, and he was in a band

1:31:42.840 --> 1:31:45.639
<v Speaker 2>called Breathe as well, who were doing quite well in America.

1:31:45.760 --> 1:31:48.320
<v Speaker 2>They had that song Hands to Heaven, and so when

1:31:48.360 --> 1:31:50.040
<v Speaker 2>he came out, he kind of had stuff to do

1:31:50.080 --> 1:31:54.040
<v Speaker 2>and he was quite busy, and but he joined my

1:31:54.120 --> 1:31:56.719
<v Speaker 2>band and we got like work visas through the record

1:31:56.800 --> 1:32:00.639
<v Speaker 2>label and it was great. It was I started making

1:32:00.680 --> 1:32:07.439
<v Speaker 2>my album with Tony Paluso from the Carpenters. Well, it

1:32:07.520 --> 1:32:09.040
<v Speaker 2>was so weird. The first thing they did was they

1:32:09.040 --> 1:32:11.800
<v Speaker 2>put me with about five different producers. One was called

1:32:12.120 --> 1:32:18.320
<v Speaker 2>Michael James Jackson who produced Kiss. There was Pieter Vanetta

1:32:18.400 --> 1:32:26.160
<v Speaker 2>and his partner who were very nice, Tony Paluso. They

1:32:26.200 --> 1:32:28.280
<v Speaker 2>all did one song for me, no different to what

1:32:28.360 --> 1:32:31.920
<v Speaker 2>I do today, taking that shot like chopped. And Tony

1:32:32.000 --> 1:32:34.160
<v Speaker 2>came through and he was one of the funniest people

1:32:34.160 --> 1:32:37.360
<v Speaker 2>I've ever met. I love him dearly to this day.

1:32:37.800 --> 1:32:41.120
<v Speaker 2>And we made a great record together. It was a

1:32:41.160 --> 1:32:48.559
<v Speaker 2>beautiful experience, and that record I got a Best New

1:32:48.640 --> 1:32:52.040
<v Speaker 2>Artist nomination at the American Music Awards in I believe

1:32:52.800 --> 1:32:56.320
<v Speaker 2>nineteen ninety five, and I had a song called the

1:32:56.360 --> 1:33:00.160
<v Speaker 2>Color of Night, which got a Golden Globe nomination for

1:33:00.240 --> 1:33:02.519
<v Speaker 2>that Bruce Willis movie, that thriller I don't know if

1:33:02.560 --> 1:33:07.679
<v Speaker 2>you remember it. The color of the night, but still close,

1:33:07.760 --> 1:33:11.280
<v Speaker 2>but no cigar. I knew that this is a money

1:33:11.320 --> 1:33:14.080
<v Speaker 2>business and my record had sold one hundred and fifty

1:33:14.120 --> 1:33:16.960
<v Speaker 2>thousand copies and that wasn't going to cut it. And

1:33:18.920 --> 1:33:22.080
<v Speaker 2>then I had left the company and Tom and they

1:33:22.120 --> 1:33:24.479
<v Speaker 2>bought in Danny Goldberg and I'm at a brand new

1:33:24.520 --> 1:33:28.000
<v Speaker 2>company again, and at this point my manager and I

1:33:28.080 --> 1:33:31.519
<v Speaker 2>had kind of just grown apart. It did it did

1:33:31.560 --> 1:33:36.799
<v Speaker 2>not work, and I went to my friends at Hits Magazine.

1:33:36.840 --> 1:33:39.080
<v Speaker 2>I knew a girl who works at Hits Magazine, and

1:33:39.120 --> 1:33:41.679
<v Speaker 2>she said, you should go and talk to Lenny, and

1:33:42.080 --> 1:33:45.599
<v Speaker 2>so I went and took Lenny beer for lunch at

1:33:45.640 --> 1:33:48.360
<v Speaker 2>the IVY. I remember him being very amused that I

1:33:48.400 --> 1:33:50.760
<v Speaker 2>pulled that cash from my purse to pay I wanted

1:33:50.760 --> 1:33:53.080
<v Speaker 2>to pay for him. And I asked his advice and

1:33:53.120 --> 1:33:54.960
<v Speaker 2>what she should do. And I said, I'm stuck on

1:33:54.960 --> 1:33:58.280
<v Speaker 2>this label. Now Ed's gone, Tom's gone, what am I

1:33:58.280 --> 1:33:59.600
<v Speaker 2>going to do? And he said, let me go and

1:33:59.600 --> 1:34:02.760
<v Speaker 2>talk to day Annie Goldberg. And they listened to my

1:34:02.840 --> 1:34:04.320
<v Speaker 2>music first and they were like, this is really good.

1:34:04.360 --> 1:34:06.000
<v Speaker 2>And they made me come over to his house and

1:34:06.040 --> 1:34:08.800
<v Speaker 2>sit at the piano and play and they you're really good,

1:34:09.720 --> 1:34:13.920
<v Speaker 2>like back to the beginning. And they came back and

1:34:14.080 --> 1:34:16.880
<v Speaker 2>Danny Goldberg gave me some money and then I made

1:34:16.960 --> 1:34:21.479
<v Speaker 2>my next record, which was called Breed because at that

1:34:21.479 --> 1:34:23.320
<v Speaker 2>point I really started to think, how am I going

1:34:23.400 --> 1:34:28.080
<v Speaker 2>to have kids? Like I'm twenty seven or something like that,

1:34:28.320 --> 1:34:30.559
<v Speaker 2>and how am I going to do this? Like I

1:34:30.600 --> 1:34:36.680
<v Speaker 2>will the clock sticking? So I made that album with

1:34:36.720 --> 1:34:41.040
<v Speaker 2>my friend Gary Clark, and Tony did some of it too,

1:34:41.400 --> 1:34:46.200
<v Speaker 2>I do believe, and had the song in the Batman movie.

1:34:46.520 --> 1:34:48.320
<v Speaker 2>And then I remember Lennie calling me one day and

1:34:48.360 --> 1:34:51.639
<v Speaker 2>said record label doesn't want to do another single. It's

1:34:51.680 --> 1:34:56.840
<v Speaker 2>not reacting, it's over. Oh dagger to the heart. I

1:34:56.840 --> 1:34:59.720
<v Speaker 2>remember crying all the way home and then just like

1:35:00.000 --> 1:35:00.559
<v Speaker 2>am I going to do?

1:35:02.439 --> 1:35:02.519
<v Speaker 3>It?

1:35:02.600 --> 1:35:05.519
<v Speaker 2>Was bad? I'm in La. I'm like, why am I

1:35:05.560 --> 1:35:08.000
<v Speaker 2>in La? Why am I living here when you know

1:35:08.040 --> 1:35:10.000
<v Speaker 2>all my family's in England? What am I going to do?

1:35:11.000 --> 1:35:15.680
<v Speaker 2>And at that point a friend of mine, Gavin McKillop,

1:35:16.240 --> 1:35:18.760
<v Speaker 2>who produced Tone in the Wet Sprocket, he said to me,

1:35:18.840 --> 1:35:20.599
<v Speaker 2>let me do some demos view and he came around

1:35:20.600 --> 1:35:22.679
<v Speaker 2>and set up a studio in my house. Very nice

1:35:22.720 --> 1:35:25.640
<v Speaker 2>of him, and we did four songs. He said, let

1:35:25.640 --> 1:35:28.679
<v Speaker 2>me play it to my manager. Played it to his manager,

1:35:28.720 --> 1:35:31.400
<v Speaker 2>Sandy Robertson. Sandy said, I think I can get you

1:35:31.439 --> 1:35:34.439
<v Speaker 2>a deal. I'm like, okay, fantastic, because I think you

1:35:34.520 --> 1:35:36.320
<v Speaker 2>need to go to England and meet this a ANDR guy.

1:35:36.360 --> 1:35:38.759
<v Speaker 2>He's interested. So I flew all the way to England

1:35:38.960 --> 1:35:40.880
<v Speaker 2>to sit down the restaurant and the guy said to me,

1:35:41.240 --> 1:35:42.919
<v Speaker 2>I don't know that I see you as an artist.

1:35:43.600 --> 1:35:46.080
<v Speaker 2>Could I have this song called Sugar Snow that I'd

1:35:46.080 --> 1:35:48.760
<v Speaker 2>written with Gary Clark? He said, could I have that

1:35:48.840 --> 1:35:53.120
<v Speaker 2>song for Natalie? I'm Brulia And I was just like, ooh,

1:35:53.280 --> 1:36:00.360
<v Speaker 2>this is over. It's over. Maybe I was twenty nine. Anyway,

1:36:00.439 --> 1:36:06.479
<v Speaker 2>it was nineteen ninety eight. Yeah, so I was. I

1:36:06.520 --> 1:36:09.000
<v Speaker 2>was thirty, and I was like trying to pretend like

1:36:09.040 --> 1:36:12.000
<v Speaker 2>I was twenty six, and you know, it's an age's

1:36:12.040 --> 1:36:17.519
<v Speaker 2>business back then at least it was so where am

1:36:17.520 --> 1:36:19.080
<v Speaker 2>I in the story, Bob, I just lost it.

1:36:19.920 --> 1:36:22.920
<v Speaker 3>Well, the guy says, can I have this song? You're

1:36:22.960 --> 1:36:24.320
<v Speaker 3>thinking about having kids?

1:36:24.400 --> 1:36:24.719
<v Speaker 2>Okay?

1:36:24.720 --> 1:36:25.040
<v Speaker 3>Thirty?

1:36:25.680 --> 1:36:27.719
<v Speaker 2>Yeah. So I get on the plane to come back,

1:36:27.800 --> 1:36:30.679
<v Speaker 2>and on the plane, I'm just like don't cry, don't

1:36:30.720 --> 1:36:35.120
<v Speaker 2>you cry? Like this be tough. And I was like,

1:36:35.760 --> 1:36:38.520
<v Speaker 2>I kept seeing when I was in London at these meetings,

1:36:38.560 --> 1:36:42.040
<v Speaker 2>this girl Britney spears all over the TV and I'm like,

1:36:42.040 --> 1:36:45.200
<v Speaker 2>who's behind this? And my man and this guy Sandy

1:36:45.280 --> 1:36:48.360
<v Speaker 2>Robertson kept talking about Max Martin, Max Martin. So I

1:36:48.400 --> 1:36:51.120
<v Speaker 2>did some research and Max Martin had this company called Shaeron,

1:36:52.080 --> 1:36:54.920
<v Speaker 2>And so I'm on the plane saying don't cry, and

1:36:54.960 --> 1:36:58.080
<v Speaker 2>I'm like, it just came to me. I'm going behind

1:36:58.120 --> 1:37:00.160
<v Speaker 2>the scenes and I'm going to be Max Martin and

1:37:00.200 --> 1:37:02.040
<v Speaker 2>I'm going to have share On and I'm going to

1:37:02.080 --> 1:37:04.839
<v Speaker 2>start it with Graham because Graham was signed to RCA.

1:37:05.400 --> 1:37:08.599
<v Speaker 2>And I'm like, we're going to be Shareon, and I'm

1:37:08.600 --> 1:37:10.400
<v Speaker 2>going to ask Graham to ask the other guy in

1:37:10.439 --> 1:37:12.920
<v Speaker 2>the band, Scott, who does all the production, who's like

1:37:12.920 --> 1:37:15.640
<v Speaker 2>a genius with all the gear, if the three of

1:37:15.720 --> 1:37:18.920
<v Speaker 2>us can form a company. So we came back, we

1:37:18.960 --> 1:37:21.200
<v Speaker 2>sat and had a meeting, the three of us, and went,

1:37:21.360 --> 1:37:25.320
<v Speaker 2>let's do it. I called my fancy management who managed

1:37:25.360 --> 1:37:27.240
<v Speaker 2>Fleet with Mac that Lennie had hooked me up with,

1:37:27.920 --> 1:37:29.960
<v Speaker 2>and Lenny was kind of co managing me He's always

1:37:29.960 --> 1:37:33.360
<v Speaker 2>been like my godfather in the business and I love him.

1:37:33.720 --> 1:37:38.400
<v Speaker 2>And he said, I said, Lenny, I'm going behind the scenes.

1:37:38.400 --> 1:37:40.360
<v Speaker 2>I'm not going to do this artist thing anymore. I

1:37:40.439 --> 1:37:44.920
<v Speaker 2>just want to write and produce. And He's like, okay, fine,

1:37:45.200 --> 1:37:48.320
<v Speaker 2>And I said, I'm saying goodbye to you as a manager.

1:37:48.360 --> 1:37:50.200
<v Speaker 2>Is that okay? Because I need to go be managed

1:37:50.240 --> 1:37:52.800
<v Speaker 2>by this guy, Sandy Robertson, And he said that's fine

1:37:52.800 --> 1:37:55.000
<v Speaker 2>with me. Lauren, I love you. And I called Tony

1:37:55.080 --> 1:37:58.080
<v Speaker 2>Demitriardist and I remember his partner said, Lauren, what makes

1:37:58.120 --> 1:37:59.720
<v Speaker 2>you think you can just go behind the scenes and

1:37:59.760 --> 1:38:01.479
<v Speaker 2>be as songwriter? And I said, I don't know, but

1:38:01.520 --> 1:38:04.280
<v Speaker 2>I'm going to do it. And that was the beginning

1:38:04.320 --> 1:38:06.280
<v Speaker 2>of the Matrix. And we came up with a name

1:38:06.320 --> 1:38:08.720
<v Speaker 2>because we'd looked like what could be a cool name

1:38:09.200 --> 1:38:11.880
<v Speaker 2>before the movie had come out, and we thought the

1:38:11.960 --> 1:38:14.439
<v Speaker 2>matrix means the womb if you look up in the

1:38:14.520 --> 1:38:17.559
<v Speaker 2>Oxford English Dictionary, and we're like, ooh, we'll be like

1:38:17.600 --> 1:38:21.599
<v Speaker 2>this womb where artists. I don't think they'd been really

1:38:21.640 --> 1:38:24.479
<v Speaker 2>apart from Sharon and Max Martin like a team. The

1:38:24.520 --> 1:38:26.960
<v Speaker 2>Neptunes came up at the same time as us, Well,

1:38:26.960 --> 1:38:28.840
<v Speaker 2>we can I just can just come and hang out,

1:38:28.960 --> 1:38:30.680
<v Speaker 2>like sit on the floor and eat pizza with us,

1:38:30.720 --> 1:38:34.519
<v Speaker 2>and we'll just like let them incubate with us, and

1:38:34.560 --> 1:38:36.840
<v Speaker 2>we'll kind of find a direction for them. And that's

1:38:36.880 --> 1:38:39.960
<v Speaker 2>how the Matrix started and we didn't look back.

1:38:40.360 --> 1:38:43.240
<v Speaker 3>Okay, we live in a world where there are almost

1:38:43.280 --> 1:38:49.040
<v Speaker 3>no bands anymore. Everybody's a solo artist. Everybody's sophisticated about finances.

1:38:49.640 --> 1:38:52.639
<v Speaker 3>You got three people doing the job that one person does,

1:38:52.680 --> 1:38:57.840
<v Speaker 3>you got to split it three ways. Anybody thinking about that, Well, not.

1:38:57.760 --> 1:39:00.040
<v Speaker 2>Really, because as I said, we all made up for

1:39:00.080 --> 1:39:05.559
<v Speaker 2>each other's weaknesses, you know, and it just worked out

1:39:05.640 --> 1:39:08.599
<v Speaker 2>and we made a lot of money. And also it's

1:39:08.640 --> 1:39:12.200
<v Speaker 2>like we had a studio at my house then our

1:39:12.240 --> 1:39:15.400
<v Speaker 2>main studio, so we could be running two sessions at

1:39:15.400 --> 1:39:17.360
<v Speaker 2>the same time, and then invariably Graham would be at

1:39:17.360 --> 1:39:21.000
<v Speaker 2>a different studio like routining a band and getting them

1:39:21.040 --> 1:39:25.920
<v Speaker 2>ready to record. So, you know, when there's only one person,

1:39:26.520 --> 1:39:28.519
<v Speaker 2>you can only only be one place at one time.

1:39:28.680 --> 1:39:33.320
<v Speaker 2>So we had music going on all the time, every day,

1:39:33.479 --> 1:39:35.479
<v Speaker 2>and we worked ten to seven every day.

1:39:35.720 --> 1:39:40.040
<v Speaker 3>The dearly departed Sandy Robertson, did he get you gigs.

1:39:41.520 --> 1:39:43.320
<v Speaker 2>And I got to tell you, Sandy was the hardest

1:39:43.360 --> 1:39:45.479
<v Speaker 2>working man in show business. This is how I met you.

1:39:45.520 --> 1:39:47.360
<v Speaker 2>Remember at the party and I met you and you

1:39:47.400 --> 1:39:49.439
<v Speaker 2>said you haven't done anything that sucks yet, And I said,

1:39:49.479 --> 1:39:51.280
<v Speaker 2>I'm going to try and live up to that bomb

1:39:51.360 --> 1:39:54.960
<v Speaker 2>and not do anything that ever sucks. So Sandy worked

1:39:55.040 --> 1:39:57.920
<v Speaker 2>so hard once he realized that he had this team,

1:39:58.680 --> 1:40:00.600
<v Speaker 2>and it was shit or bust. I was pregnant, by

1:40:00.640 --> 1:40:05.240
<v Speaker 2>the way, but I decided I'm just going to get pregnant.

1:40:05.920 --> 1:40:09.559
<v Speaker 2>Dangerous thing to do. We didn't have any money really

1:40:09.560 --> 1:40:12.559
<v Speaker 2>when we started, and we took out alone for one

1:40:12.600 --> 1:40:16.920
<v Speaker 2>hundred and fifty thousand dollars again, and then we.

1:40:16.800 --> 1:40:19.799
<v Speaker 3>Once again banks don't give you money for no reason.

1:40:19.880 --> 1:40:22.200
<v Speaker 3>What was one hundred and fifty k? What was the

1:40:22.840 --> 1:40:24.639
<v Speaker 3>collateral your house or whatever.

1:40:25.439 --> 1:40:27.320
<v Speaker 2>I don't know how we did it, but we got

1:40:27.560 --> 1:40:31.120
<v Speaker 2>fifty grand each and we bought like a portable studio

1:40:31.120 --> 1:40:33.000
<v Speaker 2>that we could take anywhere in the world with us,

1:40:33.040 --> 1:40:36.719
<v Speaker 2>like rolling in all the great big rigs of stuff.

1:40:36.880 --> 1:40:41.160
<v Speaker 2>And that's how we started. And Sandy, oh boy, I've

1:40:41.200 --> 1:40:44.600
<v Speaker 2>never known anyone work people like this. It was I

1:40:44.640 --> 1:40:46.759
<v Speaker 2>would sleep in the studio when I was pregnant, sometimes

1:40:46.880 --> 1:40:50.160
<v Speaker 2>till like four in the morning. And it's very exciting

1:40:50.200 --> 1:40:52.639
<v Speaker 2>when you get someone like Sandy who believes in you.

1:40:53.560 --> 1:40:56.639
<v Speaker 2>He would tell me you're the best songwriter out there.

1:40:57.160 --> 1:40:59.719
<v Speaker 2>That's why he would say, you, guys, there's no better

1:40:59.760 --> 1:41:02.679
<v Speaker 2>team out there than you. And we didn't even believe

1:41:02.680 --> 1:41:05.720
<v Speaker 2>in ourselves, but he believed in us, and he just

1:41:06.040 --> 1:41:10.439
<v Speaker 2>never stopped hustling and going to every He was on

1:41:10.479 --> 1:41:12.880
<v Speaker 2>a plane to New York all the time, going around

1:41:12.920 --> 1:41:15.200
<v Speaker 2>all the labels, the Matrix or the next big thing.

1:41:15.240 --> 1:41:17.000
<v Speaker 2>You've got to work with them. And so I would

1:41:17.000 --> 1:41:20.080
<v Speaker 2>say that started in nineteen ninety nine. By two thousand

1:41:20.120 --> 1:41:22.360
<v Speaker 2>and one, we were easily making half a million dollars

1:41:22.360 --> 1:41:25.000
<v Speaker 2>a year between the three of us, just on stuff

1:41:25.000 --> 1:41:28.439
<v Speaker 2>that wasn't successful, stuff that was you know, back in

1:41:28.479 --> 1:41:30.920
<v Speaker 2>the day, they would commission you to do five songs,

1:41:31.800 --> 1:41:34.960
<v Speaker 2>ten grand a song, you know. So our schedules was

1:41:35.040 --> 1:41:39.200
<v Speaker 2>like jam packed with these money gigs that we were doing,

1:41:39.520 --> 1:41:43.000
<v Speaker 2>and none of it had become successful, but we were

1:41:43.000 --> 1:41:48.240
<v Speaker 2>having a blast, and you know, we bought houses, little

1:41:48.280 --> 1:41:51.000
<v Speaker 2>houses to start. Oh and of course Sandy signed our

1:41:51.040 --> 1:41:54.240
<v Speaker 2>publishing too, with warners like a joint venture. So we

1:41:54.320 --> 1:41:56.880
<v Speaker 2>got some money from that too, not much, but it

1:41:57.040 --> 1:42:00.000
<v Speaker 2>was it was an I felt like, my god, I'm successful.

1:42:00.360 --> 1:42:04.320
<v Speaker 2>Finally after all the close but no cigar, the Matrix

1:42:04.439 --> 1:42:07.760
<v Speaker 2>was rolling and then one of the people that came

1:42:07.800 --> 1:42:09.000
<v Speaker 2>along was Avril Lavine's.

1:42:09.600 --> 1:42:13.000
<v Speaker 3>We were a little bit slower before Avril shows up.

1:42:13.720 --> 1:42:17.559
<v Speaker 3>You're making money, but you're having no success. Does that

1:42:17.680 --> 1:42:21.160
<v Speaker 3>taint your image or you just still keep having gigs?

1:42:21.479 --> 1:42:23.160
<v Speaker 3>You know you would normally didn't want to work with

1:42:23.200 --> 1:42:23.840
<v Speaker 3>a hit maker.

1:42:25.160 --> 1:42:28.120
<v Speaker 2>Well, I would say that we were getting b sides

1:42:28.160 --> 1:42:33.080
<v Speaker 2>on rolling keating. We were making albums for people and

1:42:33.120 --> 1:42:36.280
<v Speaker 2>then they would get dropped just because everyone got fired

1:42:36.320 --> 1:42:38.240
<v Speaker 2>at the label. When we talk about the stars having

1:42:38.240 --> 1:42:41.160
<v Speaker 2>to align to become successful, there was just so many

1:42:41.280 --> 1:42:44.200
<v Speaker 2>things where I was like, oh my god, what are

1:42:44.240 --> 1:42:46.200
<v Speaker 2>we going to do? We got to quit, We've got

1:42:46.240 --> 1:42:48.240
<v Speaker 2>to do something else with our lives. I remember going

1:42:48.280 --> 1:42:50.800
<v Speaker 2>back to my mom and dad and just saying, I

1:42:50.800 --> 1:42:53.080
<v Speaker 2>don't know if we're ever going to have success. I

1:42:53.240 --> 1:42:56.679
<v Speaker 2>just don't. Our ship has not come in, but we're

1:42:56.720 --> 1:42:59.160
<v Speaker 2>making money and we're paying our mortgage on our house,

1:43:00.360 --> 1:43:03.080
<v Speaker 2>little house that we had, and I and I got

1:43:03.080 --> 1:43:07.280
<v Speaker 2>pregnant again. So this is two thousand and one, I

1:43:07.280 --> 1:43:10.000
<v Speaker 2>get pregnant for the second time. It was still you know,

1:43:10.400 --> 1:43:12.759
<v Speaker 2>it's the first good money I've made in the business.

1:43:13.360 --> 1:43:16.640
<v Speaker 2>And that was when Sweet Aril Levine, well were a

1:43:16.680 --> 1:43:17.720
<v Speaker 2>little bit slower.

1:43:18.120 --> 1:43:21.479
<v Speaker 3>How does the Matrix get hooked up with Arril Levine?

1:43:22.320 --> 1:43:25.320
<v Speaker 2>Well, that's what I'm saying. So what happened was Sandy

1:43:25.400 --> 1:43:27.920
<v Speaker 2>called me, as he did most weeks, like you're working

1:43:27.960 --> 1:43:30.040
<v Speaker 2>with this band this week. There's three of them. They're

1:43:30.040 --> 1:43:32.400
<v Speaker 2>called the Swallow members from Canada. You know, we were

1:43:32.479 --> 1:43:34.920
<v Speaker 2>just he just fired stuff at us, and we would

1:43:34.920 --> 1:43:38.320
<v Speaker 2>show up ten to seven, six days a week. We

1:43:38.360 --> 1:43:42.679
<v Speaker 2>would do this just NonStop. He calls me up. There's

1:43:42.720 --> 1:43:45.080
<v Speaker 2>this girl. She's only sixteen years old. She's been signed

1:43:45.080 --> 1:43:46.880
<v Speaker 2>to Arista for a couple of years and they don't

1:43:46.960 --> 1:43:49.200
<v Speaker 2>really know what they're doing with her or where it's going,

1:43:49.280 --> 1:43:53.479
<v Speaker 2>and they and they're a little so we're like, bring around,

1:43:53.560 --> 1:43:56.760
<v Speaker 2>let's have a meeting. And so this little sixteen year

1:43:56.760 --> 1:44:01.240
<v Speaker 2>old walks into the room and she has toothbrushes melted

1:44:01.280 --> 1:44:03.960
<v Speaker 2>together into bangles all the way up her arm on

1:44:04.000 --> 1:44:07.800
<v Speaker 2>both sides. I was like, this girl's interesting. She's beautiful.

1:44:08.400 --> 1:44:12.639
<v Speaker 2>She's got crazy like braids, like little braids that she's

1:44:12.720 --> 1:44:16.360
<v Speaker 2>done herself, and and she looked kind of like in

1:44:16.400 --> 1:44:20.360
<v Speaker 2>a bad mood. And so we were like, okay, what

1:44:20.439 --> 1:44:22.360
<v Speaker 2>do you want to do? And she's played us a

1:44:22.360 --> 1:44:24.760
<v Speaker 2>few dems. She goes, but I hate these demos, and

1:44:24.800 --> 1:44:27.120
<v Speaker 2>I'm like, oh, so, what do you want to do?

1:44:27.400 --> 1:44:30.960
<v Speaker 2>And she said I like this and she puts on

1:44:31.040 --> 1:44:33.519
<v Speaker 2>system of a down the Band. I don't know if

1:44:33.560 --> 1:44:40.360
<v Speaker 2>you remember them, but yeah, right, and we were all like, Nah,

1:44:40.439 --> 1:44:42.519
<v Speaker 2>this isn't going to work, this is not going to

1:44:42.560 --> 1:44:46.599
<v Speaker 2>work now. I just finished my Breed record, remember, which

1:44:46.600 --> 1:44:50.960
<v Speaker 2>had caused had not happened for me. Had a song

1:44:51.000 --> 1:44:53.800
<v Speaker 2>could I Want what I Want? Which was in the

1:44:53.800 --> 1:44:59.000
<v Speaker 2>Wild Things movie with Denise Richard's I think her name is,

1:44:59.720 --> 1:45:04.599
<v Speaker 2>And I played Avrol some of my last records in particular.

1:45:04.640 --> 1:45:07.360
<v Speaker 2>She loved that song I Want what I Want, and

1:45:07.720 --> 1:45:10.040
<v Speaker 2>she goes, I like that vibe. So we were kind

1:45:10.040 --> 1:45:13.000
<v Speaker 2>of like, ah, okay, we know what to do with this.

1:45:13.200 --> 1:45:16.400
<v Speaker 2>And I was kind of very influenced by say, Garbage

1:45:16.520 --> 1:45:20.360
<v Speaker 2>the Band and Butch Big and that kind of stuff.

1:45:21.080 --> 1:45:25.040
<v Speaker 2>So she went away and the three of us sat

1:45:25.080 --> 1:45:27.879
<v Speaker 2>down and just started like fleshing out a few ideas.

1:45:28.000 --> 1:45:30.519
<v Speaker 2>I think she came back the very next day and

1:45:30.560 --> 1:45:34.280
<v Speaker 2>we had the basic chords for Complicated and we started

1:45:34.280 --> 1:45:39.960
<v Speaker 2>writing that and she said, you know, complicated frustrated. I'm like, oh,

1:45:40.040 --> 1:45:46.760
<v Speaker 2>complicated frustrated. That sounds cool. We typical, no different to

1:45:46.760 --> 1:45:50.320
<v Speaker 2>today's session, start at one o'clock, kind of come up

1:45:50.360 --> 1:45:55.200
<v Speaker 2>with a loose format for the song. Quite often I'll

1:45:55.240 --> 1:45:59.280
<v Speaker 2>sing the demo because the artists is so like rushed

1:45:59.320 --> 1:46:02.040
<v Speaker 2>off their feet with people like calling them about other stuff.

1:46:02.080 --> 1:46:03.680
<v Speaker 2>I'm like, okay, do we have all the parts that

1:46:03.680 --> 1:46:05.960
<v Speaker 2>we like? Okay, I'm gonna pop in. I'm going to

1:46:06.000 --> 1:46:07.840
<v Speaker 2>do a quick demo for you, like just a one

1:46:07.920 --> 1:46:10.320
<v Speaker 2>take vocal and you take it away and we'll meet

1:46:10.400 --> 1:46:13.360
<v Speaker 2>up the next day. And so I did the rough vocal,

1:46:13.560 --> 1:46:16.360
<v Speaker 2>and then when she left, I was like, this verse

1:46:16.439 --> 1:46:20.120
<v Speaker 2>isn't good enough? And so that's when I had that

1:46:21.080 --> 1:46:25.439
<v Speaker 2>chilled out yellnivo lay back is I'm being done before?

1:46:25.479 --> 1:46:27.559
<v Speaker 2>And I was like, ooh, this melody is amazing, but

1:46:27.680 --> 1:46:31.440
<v Speaker 2>I know it's something else. It's so catchy. So I

1:46:31.479 --> 1:46:34.439
<v Speaker 2>called my brother, who's like an encyclopedia of music. I said,

1:46:34.479 --> 1:46:37.320
<v Speaker 2>you know this, da da dad, da da da dad.

1:46:37.760 --> 1:46:40.320
<v Speaker 2>What is that? He's like, I have no idea. I

1:46:40.360 --> 1:46:46.040
<v Speaker 2>called five other trusted sources, no one could put their

1:46:46.080 --> 1:46:47.719
<v Speaker 2>finger on it. So I was like, I think it's ours.

1:46:47.800 --> 1:46:50.760
<v Speaker 2>I think that's it. So I went back in recorded

1:46:50.800 --> 1:46:55.120
<v Speaker 2>that verse, sent it over to Averrol's manager. He called

1:46:55.120 --> 1:46:58.840
<v Speaker 2>me back and he said, she's been driving around for

1:46:58.920 --> 1:47:01.000
<v Speaker 2>the for the last three days listening to this in

1:47:01.040 --> 1:47:03.280
<v Speaker 2>the car with a very serious look on her face.

1:47:04.080 --> 1:47:05.600
<v Speaker 2>And I said, well, she doesn't like it, and he

1:47:05.640 --> 1:47:09.080
<v Speaker 2>said no, she thinks it's too pop, but she knows

1:47:09.080 --> 1:47:12.000
<v Speaker 2>it's going to change her life. And I was like,

1:47:13.600 --> 1:47:18.200
<v Speaker 2>that's it. Come around. So Avril shows up one night

1:47:18.240 --> 1:47:21.479
<v Speaker 2>and it's just me and her, just has avel and

1:47:21.520 --> 1:47:26.240
<v Speaker 2>I and we have this weird studio on Saint Clair Avenue,

1:47:26.240 --> 1:47:28.719
<v Speaker 2>and Studio City is just a house that we've converted

1:47:28.720 --> 1:47:31.200
<v Speaker 2>into our studio. The living room's got all our gear

1:47:31.240 --> 1:47:33.479
<v Speaker 2>and then there's a bedroom which has no windows and

1:47:33.520 --> 1:47:36.000
<v Speaker 2>it's just made of wood, all inside wood ceiling.

1:47:36.840 --> 1:47:37.240
<v Speaker 3>It was a.

1:47:37.240 --> 1:47:40.000
<v Speaker 2>Perfect vocal booth. So and we put like a double

1:47:40.040 --> 1:47:41.960
<v Speaker 2>door on it, closed that door, and I said, are

1:47:41.920 --> 1:47:44.080
<v Speaker 2>you ready to do it? And she said yeah, So

1:47:44.120 --> 1:47:47.519
<v Speaker 2>I hit record and she sung the whole thing down

1:47:47.760 --> 1:47:51.479
<v Speaker 2>and it was unbelievable. I was like, hang on a second,

1:47:52.320 --> 1:47:54.519
<v Speaker 2>can you do that again? She said yeah, she does

1:47:54.560 --> 1:47:59.280
<v Speaker 2>it again and it's just as good. I said, do

1:47:59.320 --> 1:48:01.360
<v Speaker 2>it one more time. She does it again. I'm like, okay,

1:48:01.520 --> 1:48:03.479
<v Speaker 2>that's all I need. Come on, sit down the couch

1:48:03.520 --> 1:48:06.120
<v Speaker 2>and I just comped all the vocal then and there,

1:48:06.280 --> 1:48:08.519
<v Speaker 2>and it was it was like goose bumps. There's a

1:48:08.760 --> 1:48:12.120
<v Speaker 2>sounds of her voice that cuts like really, no one

1:48:12.160 --> 1:48:16.560
<v Speaker 2>I've heard you know, Adele, you know someone putting it

1:48:16.800 --> 1:48:19.559
<v Speaker 2>in a magazine that she can set off car alarms.

1:48:19.680 --> 1:48:23.639
<v Speaker 2>It's very strong her voice, and it was so much

1:48:23.680 --> 1:48:26.680
<v Speaker 2>better than me singing it. But she got a lot

1:48:26.720 --> 1:48:31.360
<v Speaker 2>of my intonations and just nailed it. It was incredible.

1:48:32.000 --> 1:48:35.240
<v Speaker 2>So that's how we started, and Avril and I became

1:48:35.479 --> 1:48:38.719
<v Speaker 2>very close. We had this I call it well Josh

1:48:38.800 --> 1:48:41.559
<v Speaker 2>Sarabyn and La Read I got a handsOn. They just

1:48:41.680 --> 1:48:44.320
<v Speaker 2>they listened to complicated and this song called Falling Down,

1:48:44.479 --> 1:48:48.040
<v Speaker 2>which we did, which ended up in that movie Sweet

1:48:48.040 --> 1:48:52.680
<v Speaker 2>Home Alabama, funnily enough, and they said send her right

1:48:52.760 --> 1:48:56.120
<v Speaker 2>back there for the summer. So she came back for

1:48:56.160 --> 1:48:58.640
<v Speaker 2>the whole summer and we had this crazy summer and

1:48:58.680 --> 1:49:02.600
<v Speaker 2>we just wrote songs. I remember Josh coming round and

1:49:02.680 --> 1:49:06.320
<v Speaker 2>us playing him skater Boy and him just like lighting up,

1:49:07.040 --> 1:49:11.240
<v Speaker 2>and you know, like things don't often go the right

1:49:11.240 --> 1:49:13.479
<v Speaker 2>way in life or the way you expect it. But

1:49:13.720 --> 1:49:16.000
<v Speaker 2>when we wrote these songs, and then La Reid and

1:49:16.080 --> 1:49:20.240
<v Speaker 2>Josh Sarabyn said, Complicator is the first single, Skater Boys

1:49:20.280 --> 1:49:23.040
<v Speaker 2>the second single, I'm with You's the third single. I'm like,

1:49:23.960 --> 1:49:29.320
<v Speaker 2>sweet Jesus, thank you for making everything go right, you

1:49:29.360 --> 1:49:33.000
<v Speaker 2>know it just I'd never seen anything happen like that.

1:49:33.160 --> 1:49:37.560
<v Speaker 2>And then it came out and we always had TRL

1:49:37.640 --> 1:49:40.360
<v Speaker 2>on the TV in the background while we're working, so

1:49:40.400 --> 1:49:42.800
<v Speaker 2>that we're aware of what the hot songs are, what

1:49:42.880 --> 1:49:47.439
<v Speaker 2>Britney's doing and all that, and Avrol goes on and

1:49:47.520 --> 1:49:50.160
<v Speaker 2>suddenly we see like these like kind of sea of

1:49:50.280 --> 1:49:57.280
<v Speaker 2>kids all singing Complicated, and I remember just crying, just thinking, Dahn,

1:49:57.360 --> 1:50:00.599
<v Speaker 2>this is going to work out. You know. It was amazing,

1:50:00.600 --> 1:50:05.000
<v Speaker 2>and it didn't stop that. You remember, Complicated was number

1:50:05.000 --> 1:50:09.160
<v Speaker 2>one for I would say, I don't know, maybe like

1:50:09.240 --> 1:50:13.200
<v Speaker 2>four months or five months. It was number one constantly,

1:50:13.880 --> 1:50:17.680
<v Speaker 2>and then Skater Boy came out and went nuts, So

1:50:17.760 --> 1:50:19.479
<v Speaker 2>we had the number one spot on the chart, I

1:50:19.520 --> 1:50:21.720
<v Speaker 2>would say for a year and a half, because then

1:50:21.760 --> 1:50:25.680
<v Speaker 2>I'm with You came out, and of course then I

1:50:25.680 --> 1:50:30.439
<v Speaker 2>wanted the next single to be this song anything but Ordinary,

1:50:30.520 --> 1:50:33.400
<v Speaker 2>which was what I thought the first single should have been.

1:50:33.800 --> 1:50:37.800
<v Speaker 2>And at that point, I think maybe Averrol's management were like,

1:50:37.960 --> 1:50:40.360
<v Speaker 2>let's try something with something that the Matrix didn't do.

1:50:40.720 --> 1:50:43.840
<v Speaker 2>And I remember thinking, don't be greedy, Lauren. You've had

1:50:44.520 --> 1:50:46.639
<v Speaker 2>a year and a half of number one songs. Your

1:50:46.680 --> 1:50:49.920
<v Speaker 2>life's been changed. Barbara Kane and E and I came

1:50:49.920 --> 1:50:52.360
<v Speaker 2>and sat and talked to me and the guys and

1:50:52.400 --> 1:50:56.679
<v Speaker 2>said would you like a check? And I was like, what,

1:50:57.600 --> 1:51:00.599
<v Speaker 2>never made any major money in my life? Life and

1:51:01.160 --> 1:51:02.960
<v Speaker 2>everything changed from that point.

1:51:03.320 --> 1:51:07.759
<v Speaker 3>Okay, you have this success forgetting the money, which is good.

1:51:08.800 --> 1:51:11.960
<v Speaker 3>What other opportunities come down the pike is a result

1:51:12.040 --> 1:51:13.519
<v Speaker 3>of this success.

1:51:13.760 --> 1:51:18.200
<v Speaker 2>So people want to work with the person who's number

1:51:18.240 --> 1:51:21.200
<v Speaker 2>one on the chart. So a lot of people came

1:51:21.240 --> 1:51:24.080
<v Speaker 2>through our studio and we had a lot of great success.

1:51:24.120 --> 1:51:28.320
<v Speaker 2>We had a bank called Lilox. We had Jason Mraz

1:51:28.400 --> 1:51:32.000
<v Speaker 2>come by and wrote the Remedy with him. We had

1:51:32.240 --> 1:51:34.760
<v Speaker 2>Liz Fair come by and we wrote why Can't I,

1:51:34.920 --> 1:51:37.880
<v Speaker 2>which was a huge hit for us, and Extraordinary, which

1:51:37.880 --> 1:51:42.320
<v Speaker 2>did very well too. A lot of things that miss too,

1:51:42.479 --> 1:51:45.600
<v Speaker 2>like you Know you Can't. They're not all hits, but

1:51:45.680 --> 1:51:49.479
<v Speaker 2>I would say we consistently kept having stuff on the chart,

1:51:49.600 --> 1:51:52.720
<v Speaker 2>so much so that people at Sandy's office were complaining

1:51:52.760 --> 1:51:55.479
<v Speaker 2>that he turned us into a cottage industry and they

1:51:55.520 --> 1:51:57.880
<v Speaker 2>were leaving him because they were like, all you care

1:51:57.880 --> 1:52:00.400
<v Speaker 2>about is the matrix. And he really did put a

1:52:00.439 --> 1:52:02.640
<v Speaker 2>lot of time into us. But I think one of

1:52:02.640 --> 1:52:06.760
<v Speaker 2>the most incredible things that happened was that Korn decided

1:52:06.880 --> 1:52:10.200
<v Speaker 2>that they wanted to try us out, and we had

1:52:10.240 --> 1:52:14.400
<v Speaker 2>been kind of known as the people who did female artists.

1:52:14.840 --> 1:52:17.960
<v Speaker 2>Shakira took us to Madrid and we spent a week

1:52:18.000 --> 1:52:20.400
<v Speaker 2>in a farmhouse with her and got the first single

1:52:20.439 --> 1:52:24.120
<v Speaker 2>with her called Don't Bother. It was just wonderful opportunities

1:52:24.200 --> 1:52:28.519
<v Speaker 2>over and over again. Heineken commercials where we were paid

1:52:28.640 --> 1:52:31.519
<v Speaker 2>a lot of money to just rip off a song

1:52:32.200 --> 1:52:35.520
<v Speaker 2>identical to make a new master of, like a Pussycat

1:52:35.520 --> 1:52:40.200
<v Speaker 2>Dolls song, movie stuff that we got asked to do.

1:52:40.360 --> 1:52:43.400
<v Speaker 2>David Bowie asked us to do a remix and we

1:52:43.439 --> 1:52:47.920
<v Speaker 2>got to like record vocals and Graham sang on it.

1:52:47.560 --> 1:52:51.080
<v Speaker 2>It was incredible. But Korn was an interesting one to

1:52:51.160 --> 1:52:54.479
<v Speaker 2>us because one, I'd never done any music like that,

1:52:54.960 --> 1:52:56.920
<v Speaker 2>and when I listened to it, I was like, Ugh,

1:52:57.560 --> 1:53:01.479
<v Speaker 2>what new metal? What is there? But there was something

1:53:01.479 --> 1:53:04.599
<v Speaker 2>about Jonathan's voice I loved, and I said, this guy's

1:53:04.600 --> 1:53:06.800
<v Speaker 2>an incredible singer. He's got really one of the best

1:53:06.840 --> 1:53:08.880
<v Speaker 2>singers in the world. I would say, the notes he

1:53:08.920 --> 1:53:12.880
<v Speaker 2>can hit, let's do it. So he was trying out

1:53:13.040 --> 1:53:15.760
<v Speaker 2>a few different people to go in there, and I

1:53:15.800 --> 1:53:18.200
<v Speaker 2>think the idea was that this was their sixth album.

1:53:18.280 --> 1:53:20.840
<v Speaker 2>They were out of a deal, the deal had ended,

1:53:21.479 --> 1:53:24.559
<v Speaker 2>and they were just up for trying anything. And so

1:53:25.160 --> 1:53:27.519
<v Speaker 2>we went along to the studio kind of nervous, the

1:53:27.560 --> 1:53:30.599
<v Speaker 2>three of us, and the whole band's there and they're

1:53:30.640 --> 1:53:33.880
<v Speaker 2>like quite intimidating, these guys, and they looked at us

1:53:33.920 --> 1:53:37.160
<v Speaker 2>like who the fuck are you guys like you pop guys,

1:53:37.760 --> 1:53:39.720
<v Speaker 2>and we were like, Hi, nice to meet you. And

1:53:39.880 --> 1:53:42.479
<v Speaker 2>Graham and I went out in the live room with them,

1:53:42.479 --> 1:53:45.000
<v Speaker 2>and Graham picked up the guitar and it just drew

1:53:45.080 --> 1:53:48.800
<v Speaker 2>a blank. They looked at us like you guys are

1:53:48.840 --> 1:53:51.800
<v Speaker 2>about to be kicked out the studio. That's the vibe

1:53:51.800 --> 1:53:55.360
<v Speaker 2>they gave to us. And I was like ooh, and

1:53:55.439 --> 1:53:59.600
<v Speaker 2>I think Scott said, let's have them play. Let's have

1:53:59.640 --> 1:54:03.040
<v Speaker 2>them So all this stuff was set up. It was

1:54:03.080 --> 1:54:06.120
<v Speaker 2>their studio, so all the drums are already miked, and

1:54:06.240 --> 1:54:08.680
<v Speaker 2>we said just jam and so they went in and

1:54:08.720 --> 1:54:16.920
<v Speaker 2>started playing this thing and so it was like and

1:54:16.960 --> 1:54:19.880
<v Speaker 2>it had all their the guitars that have been like

1:54:20.080 --> 1:54:23.599
<v Speaker 2>tuned down the way they do it. And then that

1:54:23.720 --> 1:54:25.519
<v Speaker 2>night we said goodbye and they all looked at us

1:54:25.600 --> 1:54:28.000
<v Speaker 2>like see ya, like we'll never see you guys again.

1:54:28.160 --> 1:54:31.000
<v Speaker 2>We didn't do anything except record them, and then that

1:54:31.320 --> 1:54:38.520
<v Speaker 2>night stayed up half the night. Chris Holmes, our engineer,

1:54:38.720 --> 1:54:43.240
<v Speaker 2>Scott Spark, edited this recording of them into what we

1:54:43.280 --> 1:54:46.240
<v Speaker 2>would call a pop song with a verse, a pre,

1:54:46.840 --> 1:54:54.840
<v Speaker 2>a chorus, bridge, everything, and I came up with this

1:54:54.920 --> 1:54:59.440
<v Speaker 2>lyric twisted Transistor, and I had like a verse and

1:54:59.480 --> 1:55:03.080
<v Speaker 2>a pre and a chorus. Went back in the next day,

1:55:04.560 --> 1:55:08.240
<v Speaker 2>Graham and Scott and I came up with melodies to

1:55:08.320 --> 1:55:11.400
<v Speaker 2>these lyrics that I'd written, and we were like, we're

1:55:11.400 --> 1:55:14.320
<v Speaker 2>about to for sure get kicked out today, Let's just

1:55:14.640 --> 1:55:17.320
<v Speaker 2>shoot for the moon because who cares, right. It was

1:55:17.360 --> 1:55:22.080
<v Speaker 2>a fun experience for our rolodex of memories, right, and

1:55:23.000 --> 1:55:26.440
<v Speaker 2>we played the track and they were all like, yeah,

1:55:26.560 --> 1:55:29.080
<v Speaker 2>that's good. And I said, Jonathan, I've got this idea.

1:55:29.880 --> 1:55:31.440
<v Speaker 2>I don't know if you're gonna like it, but here

1:55:31.440 --> 1:55:35.080
<v Speaker 2>we go like, hey you, hey, you Devil's little sister,

1:55:35.640 --> 1:55:40.120
<v Speaker 2>listening to your twisted turns sister. Hold it between your legs,

1:55:40.560 --> 1:55:44.440
<v Speaker 2>turn it up, turn it up. Vibrations coming too, you

1:55:44.520 --> 1:55:47.360
<v Speaker 2>know this? And he's like, what the fuck is this?

1:55:47.840 --> 1:55:52.120
<v Speaker 4>And then I like, because the music, dude, and it

1:55:52.320 --> 1:55:58.800
<v Speaker 4>is reaching inside you forever preaching fuck you two. Your

1:55:58.800 --> 1:56:02.840
<v Speaker 4>screams are whisper heng oh you twisted jan sister.

1:56:03.280 --> 1:56:05.520
<v Speaker 2>And he's like, what the fuck is this? And I said,

1:56:05.560 --> 1:56:07.280
<v Speaker 2>I don't know, but would you try singing it? And

1:56:07.320 --> 1:56:11.200
<v Speaker 2>he's like, I'll try singing it. He got up on

1:56:11.240 --> 1:56:15.360
<v Speaker 2>the mic and it sounded incredible. I have the video

1:56:15.400 --> 1:56:22.840
<v Speaker 2>of me recording him. And then we wrote the rest

1:56:22.880 --> 1:56:26.880
<v Speaker 2>of the pre together, Jonathan and I. We wrote the

1:56:26.920 --> 1:56:29.200
<v Speaker 2>rest of the lyrics, so the next verse we kind

1:56:29.200 --> 1:56:31.640
<v Speaker 2>of put a bridge together and all the rest of

1:56:31.640 --> 1:56:35.080
<v Speaker 2>the band Field monkey. I can see they're thinking what's

1:56:35.120 --> 1:56:37.320
<v Speaker 2>going on here? And Jonathan was kind of in it

1:56:37.360 --> 1:56:41.120
<v Speaker 2>at that point, and so I took a chance. As

1:56:41.160 --> 1:56:43.040
<v Speaker 2>we were about to leave at the end of the day,

1:56:43.160 --> 1:56:47.200
<v Speaker 2>I went up to him and we had a three

1:56:47.240 --> 1:56:50.240
<v Speaker 2>week holiday that we'd convinced Sandy to give all of

1:56:50.320 --> 1:56:53.280
<v Speaker 2>us because we'd been working so hard. It was kind

1:56:53.280 --> 1:56:56.360
<v Speaker 2>of nuts. And I went up to Jonathan at the

1:56:56.440 --> 1:56:58.320
<v Speaker 2>end of the day and I said, we've got a

1:56:58.320 --> 1:57:01.720
<v Speaker 2>three week holiday starting tomorrow. Do you want us to

1:57:01.720 --> 1:57:04.480
<v Speaker 2>come in and work with you because we could cancel

1:57:04.520 --> 1:57:09.280
<v Speaker 2>our holiday, And he didn't really react. I remember going

1:57:09.280 --> 1:57:11.920
<v Speaker 2>out for dinner that night and Sandy calls me while

1:57:11.920 --> 1:57:13.480
<v Speaker 2>I'm at dinner and he says, your book for the

1:57:13.480 --> 1:57:18.680
<v Speaker 2>next three weeks with Corn. So we go in and

1:57:18.880 --> 1:57:23.680
<v Speaker 2>we recorded twenty three songs with them in three weeks,

1:57:24.240 --> 1:57:28.120
<v Speaker 2>and they got their huge Live Nation deal off the

1:57:28.160 --> 1:57:33.560
<v Speaker 2>back of those songs, and had we wrote Coming Undone

1:57:34.400 --> 1:57:37.800
<v Speaker 2>and that's their second biggest song to this day, it's

1:57:37.800 --> 1:57:42.240
<v Speaker 2>one of my favorites. And I'm still friends with Jonathan,

1:57:42.400 --> 1:57:46.000
<v Speaker 2>really good friends to this day, and I've worked with him.

1:57:46.120 --> 1:57:49.760
<v Speaker 2>Then we did the entire next album too, called The

1:57:49.800 --> 1:57:51.720
<v Speaker 2>first one was called See You on the Other Side,

1:57:52.160 --> 1:57:55.040
<v Speaker 2>and then that was their sixth album. Their seventh album

1:57:55.200 --> 1:58:01.920
<v Speaker 2>was untitled. We did that one too, and I have

1:58:02.160 --> 1:58:06.680
<v Speaker 2>worked on their record, I don't know three years ago

1:58:07.160 --> 1:58:10.120
<v Speaker 2>and had a number one at rock with them. I

1:58:10.160 --> 1:58:12.920
<v Speaker 2>still work with him. I did his song with him

1:58:13.360 --> 1:58:17.200
<v Speaker 2>with Gary Clark what It Is on Jonathan's solo record,

1:58:17.520 --> 1:58:21.640
<v Speaker 2>and a couple of others. He's probably my favorite person

1:58:21.720 --> 1:58:25.640
<v Speaker 2>in the music business as an artist, because it's just

1:58:26.280 --> 1:58:29.800
<v Speaker 2>he loves that band, it's his band, and he just

1:58:30.040 --> 1:58:33.440
<v Speaker 2>he nurtures it like it's a never ending thing. And

1:58:33.520 --> 1:58:37.200
<v Speaker 2>I feel like they're ageless. You know, they're on tour

1:58:37.280 --> 1:58:38.960
<v Speaker 2>right now. I'm going to go see them in November.

1:58:39.720 --> 1:58:45.080
<v Speaker 3>Unbelievable, Okay, but the matrix was not timeless and endless.

1:58:45.080 --> 1:58:45.880
<v Speaker 3>How did that end?

1:58:47.560 --> 1:58:50.360
<v Speaker 2>Well, you know, my marriage fell apart in two thousand

1:58:50.360 --> 1:58:54.839
<v Speaker 2>and eight, and we kept it going for another two years,

1:58:54.920 --> 1:58:58.640
<v Speaker 2>working constantly because again that's a hard cruise ship to

1:58:58.680 --> 1:59:02.640
<v Speaker 2>turn around. But then slowly people start to find out

1:59:02.640 --> 1:59:07.680
<v Speaker 2>the interests Scott. He's a very clever guy, and he

1:59:07.720 --> 1:59:10.480
<v Speaker 2>also had a big interest in cars, and he built

1:59:11.120 --> 1:59:14.920
<v Speaker 2>a car, a charger, and he did it all himself,

1:59:15.040 --> 1:59:17.480
<v Speaker 2>and then that car became the main car and the

1:59:17.520 --> 1:59:20.080
<v Speaker 2>Fast and Furious. You know, it's the famous car from

1:59:20.080 --> 1:59:24.440
<v Speaker 2>the First and Furious. It's called Maximus. And so Scott

1:59:24.560 --> 1:59:29.560
<v Speaker 2>had that interest and Graham, like had some other interests.

1:59:29.640 --> 1:59:32.960
<v Speaker 2>And also I just felt it was a little unhealthy

1:59:33.200 --> 1:59:35.760
<v Speaker 2>that I was still working with my ex husband all

1:59:35.760 --> 1:59:42.280
<v Speaker 2>the time, and and Donna called me and said, will

1:59:42.320 --> 1:59:44.560
<v Speaker 2>you go to a session with this guy DJ Frankie,

1:59:44.560 --> 1:59:46.839
<v Speaker 2>And I hadn't really done many sessions outside the matrix,

1:59:46.880 --> 1:59:49.080
<v Speaker 2>and this is just to go as a writer. And

1:59:49.400 --> 1:59:52.160
<v Speaker 2>I went and popped a hit. I wrote this song

1:59:52.200 --> 1:59:55.320
<v Speaker 2>Tonight I'm Fucking You. It was called and I didn't

1:59:55.320 --> 1:59:56.760
<v Speaker 2>want it to be called that at all. I wanted

1:59:56.800 --> 1:59:58.440
<v Speaker 2>to be called Tonight I'm loving You, which is how

1:59:58.520 --> 2:00:01.600
<v Speaker 2>it is how it went to radio. But we wrote

2:00:01.600 --> 2:00:03.400
<v Speaker 2>that song and three weeks later it was number one

2:00:03.480 --> 2:00:06.320
<v Speaker 2>all around the world. I've never had anything happen so fast,

2:00:07.000 --> 2:00:10.960
<v Speaker 2>and so then suddenly I'm in demand as a writer

2:00:11.080 --> 2:00:12.920
<v Speaker 2>on my own, and it was just a breath of

2:00:12.920 --> 2:00:14.760
<v Speaker 2>fresh air to not be in the studio every day

2:00:14.760 --> 2:00:16.640
<v Speaker 2>with my ex husband. And that's the truth, that's kind

2:00:16.680 --> 2:00:23.120
<v Speaker 2>of And Scott was losing interest. You know, you run

2:00:23.160 --> 2:00:26.520
<v Speaker 2>something for ten years, like everybody grows apart a little

2:00:26.560 --> 2:00:30.000
<v Speaker 2>bit and it just doesn't seem as fun. But it's

2:00:30.120 --> 2:00:33.520
<v Speaker 2>very amicable, you know, no hard feelings. And I've still

2:00:33.560 --> 2:00:38.480
<v Speaker 2>worked with Graham to this day. Things will come up

2:00:38.520 --> 2:00:39.360
<v Speaker 2>and we'll do it together.

2:00:40.760 --> 2:00:42.040
<v Speaker 3>Did he ever get remarried.

2:00:42.880 --> 2:00:45.680
<v Speaker 2>Yes, he's remarried and has two lovely children. He's married

2:00:45.680 --> 2:00:49.200
<v Speaker 2>to Sarah Weinstein and has William and Emily his children.

2:00:49.720 --> 2:00:53.240
<v Speaker 2>And he's just being nominated for an Emmy, a second

2:00:53.280 --> 2:00:57.280
<v Speaker 2>Emmy for his wife. Works for PBS and makes wonderful

2:00:57.280 --> 2:00:59.840
<v Speaker 2>documentaries and he does a lot of the music for them.

2:01:00.400 --> 2:01:02.440
<v Speaker 2>So he's still got a lovely life in music.

2:01:03.560 --> 2:01:05.280
<v Speaker 3>How do you ended up working with bb Rex?

2:01:08.120 --> 2:01:10.520
<v Speaker 2>Bb Rex that I met on the steps at the

2:01:10.520 --> 2:01:14.640
<v Speaker 2>bm My Awards and someone said, uh, I think it

2:01:14.680 --> 2:01:16.480
<v Speaker 2>was Samantha Cox at B and My. You guys should

2:01:16.480 --> 2:01:21.760
<v Speaker 2>work together, and she hit me up. We did a

2:01:21.760 --> 2:01:24.120
<v Speaker 2>couple of things. First song we did together with a

2:01:24.160 --> 2:01:26.760
<v Speaker 2>song called I'm Going to Show You Crazy. She said

2:01:26.760 --> 2:01:28.840
<v Speaker 2>that a couple of producers had said, nah, that's no good.

2:01:29.200 --> 2:01:32.080
<v Speaker 2>We did it and it went to number one. I

2:01:32.080 --> 2:01:35.000
<v Speaker 2>think in Germany it was it wasn't huge in America,

2:01:35.080 --> 2:01:38.040
<v Speaker 2>but it's kind of sealed our deal of writing together.

2:01:38.320 --> 2:01:42.440
<v Speaker 2>And we loved it. And BB's actually a genius writer.

2:01:42.680 --> 2:01:45.320
<v Speaker 2>She's a trumpet player, and her melodies, if you look

2:01:45.320 --> 2:01:47.920
<v Speaker 2>at that, hey my mam, mama, hama, I'm getting the

2:01:48.040 --> 2:01:52.240
<v Speaker 2>JOm like them did they She's she's like messing with

2:01:52.360 --> 2:01:55.560
<v Speaker 2>like trumpet rhythms and melodies. She's so cool, and we

2:01:55.640 --> 2:01:59.080
<v Speaker 2>had a period of time where we just worked probably

2:01:59.160 --> 2:02:02.200
<v Speaker 2>four times a week, did some really great work together.

2:02:03.040 --> 2:02:04.680
<v Speaker 2>One of my favorite songs I've ever done is Me

2:02:04.800 --> 2:02:11.120
<v Speaker 2>Myself and I and I Got You Last Hurrah. My

2:02:11.240 --> 2:02:15.000
<v Speaker 2>favorite song is a Bad Bitch Gateway Drug and Small Doses.

2:02:15.160 --> 2:02:17.320
<v Speaker 2>And she actually just hit me up like three days

2:02:17.360 --> 2:02:19.520
<v Speaker 2>ago and said I need songs like these three again,

2:02:19.840 --> 2:02:22.200
<v Speaker 2>and I'm like, let's do it, you know, because we

2:02:22.320 --> 2:02:28.440
<v Speaker 2>have something special. She'll she'll like, the hardest thing is

2:02:29.400 --> 2:02:32.240
<v Speaker 2>having people who respect you. You know, sometimes you meet

2:02:32.320 --> 2:02:35.000
<v Speaker 2>new artists and they hear or your old stuff, but

2:02:35.040 --> 2:02:36.360
<v Speaker 2>they don't know what you did in it. So it's

2:02:36.400 --> 2:02:38.480
<v Speaker 2>really nice when you've got someone who respects you. He'll say,

2:02:38.480 --> 2:02:41.280
<v Speaker 2>hold hold up, listen to Lauren what she's doing and

2:02:41.480 --> 2:02:44.960
<v Speaker 2>I feel the same about her, like I trust in

2:02:45.040 --> 2:02:47.680
<v Speaker 2>her instinct. She really can make things great.

2:02:48.800 --> 2:02:52.400
<v Speaker 3>Okay, what happens if you have success with somebody and

2:02:52.480 --> 2:02:54.120
<v Speaker 3>then they go to work with somebody else.

2:02:56.640 --> 2:03:00.360
<v Speaker 2>Well, I mean, of course, it's endless heartbreak over and

2:03:00.520 --> 2:03:03.880
<v Speaker 2>over and over when you because you feel like you

2:03:04.000 --> 2:03:06.400
<v Speaker 2>have this special connection. But you know, I kind of

2:03:06.440 --> 2:03:13.680
<v Speaker 2>feel like artists are bees and we're the flowers, the producer, songwriters,

2:03:14.400 --> 2:03:17.360
<v Speaker 2>and the bee wants to go from flower to flower

2:03:18.040 --> 2:03:20.160
<v Speaker 2>and that's okay. You just have to be okay with that,

2:03:20.720 --> 2:03:23.160
<v Speaker 2>and it's averroll. I didn't work on her second album,

2:03:23.560 --> 2:03:26.040
<v Speaker 2>and I'm a big believer, if you know, don't go

2:03:26.160 --> 2:03:30.600
<v Speaker 2>where you're not invited. And it served me well. So

2:03:30.880 --> 2:03:35.680
<v Speaker 2>I just don't really worry about it because people always

2:03:35.680 --> 2:03:39.920
<v Speaker 2>come back. You know. I've never really fallen out with anyone,

2:03:40.840 --> 2:03:43.960
<v Speaker 2>and so it's people will come back because they remember

2:03:44.040 --> 2:03:46.880
<v Speaker 2>the experience they had, and it's just they know that

2:03:46.920 --> 2:03:50.000
<v Speaker 2>I'm going to take it seriously and I really want

2:03:50.040 --> 2:03:52.440
<v Speaker 2>what's best for them, so I don't. I try not

2:03:52.520 --> 2:03:53.280
<v Speaker 2>to trip too much.

2:03:54.400 --> 2:03:58.240
<v Speaker 3>Okay, you've been in US for a long time and

2:03:58.320 --> 2:04:01.440
<v Speaker 3>I love Los Angeles too. What do people in America.

2:04:02.200 --> 2:04:04.960
<v Speaker 3>Not get about the UK. What is different?

2:04:06.280 --> 2:04:09.840
<v Speaker 2>M I mean, because I'm so out of touch with

2:04:09.920 --> 2:04:11.760
<v Speaker 2>the UK. I did go back for the first time

2:04:11.840 --> 2:04:15.360
<v Speaker 2>in sixteen years last year. Literally I had a sixteen

2:04:15.440 --> 2:04:17.600
<v Speaker 2>year break and that was because I moved my parents out.

2:04:17.680 --> 2:04:19.640
<v Speaker 2>My parents my mom had a stroke and my dad

2:04:19.680 --> 2:04:21.880
<v Speaker 2>had dementia, so I moved them out to live in

2:04:22.080 --> 2:04:25.200
<v Speaker 2>la and my brother was already here. I have cousins here.

2:04:25.560 --> 2:04:28.360
<v Speaker 2>It's like, you know, the valley along Venturrea a boulevard

2:04:28.480 --> 2:04:31.040
<v Speaker 2>is littered with my family and we all play tennis together.

2:04:33.280 --> 2:04:35.640
<v Speaker 2>My brother and sisters back in England, though, so they

2:04:35.680 --> 2:04:38.920
<v Speaker 2>would come and visit us. I felt like I had

2:04:39.160 --> 2:04:41.320
<v Speaker 2>no connection to what it's like to be in the

2:04:41.400 --> 2:04:45.520
<v Speaker 2>music business in the UK. And it's just because I

2:04:45.600 --> 2:04:47.600
<v Speaker 2>made it in America and not there, and they've had

2:04:47.760 --> 2:04:50.280
<v Speaker 2>I probably have more success internationally than I do even

2:04:50.320 --> 2:04:52.680
<v Speaker 2>in America from my songs when I look at my statements,

2:04:53.280 --> 2:04:56.400
<v Speaker 2>but I would say that it's quite difficult in Los

2:04:56.440 --> 2:05:00.320
<v Speaker 2>Angeles to say, you know, it's like a jaded ordience

2:05:00.400 --> 2:05:04.040
<v Speaker 2>to get them out to performances. And in England, my

2:05:04.200 --> 2:05:07.920
<v Speaker 2>daughter's just open for Manchester Orchestra at Union Chapel in

2:05:08.120 --> 2:05:11.600
<v Speaker 2>Islington last year and I went as like Mamager T

2:05:11.800 --> 2:05:15.800
<v Speaker 2>shirt sales lady because I wanted to see my family

2:05:16.120 --> 2:05:20.320
<v Speaker 2>and also just support my kids. And what I realized

2:05:20.880 --> 2:05:23.640
<v Speaker 2>is that people take it a lot more seriously going

2:05:23.680 --> 2:05:26.240
<v Speaker 2>to see live music. You could hear a pin drop

2:05:26.400 --> 2:05:29.080
<v Speaker 2>people that were there, like there's no alcohol allowed in

2:05:29.120 --> 2:05:31.920
<v Speaker 2>this place because it's an old church, and people were

2:05:32.040 --> 2:05:34.840
<v Speaker 2>just there to like soak up the music. So I

2:05:34.960 --> 2:05:38.400
<v Speaker 2>think there is kind of something special. Because my daughter's

2:05:38.440 --> 2:05:40.560
<v Speaker 2>the Citizens of UK two, they're going to go over

2:05:40.640 --> 2:05:43.320
<v Speaker 2>and spend some time there working because they just loved it.

2:05:43.960 --> 2:05:46.200
<v Speaker 2>And so I think that's the difference, is that it's

2:05:46.240 --> 2:05:48.240
<v Speaker 2>a good place to really sort of incubate if you're

2:05:48.240 --> 2:05:52.120
<v Speaker 2>an artist, because there's so much support on the live scene,

2:05:52.560 --> 2:05:58.240
<v Speaker 2>you know, But there's no place like La. Bob Yeah, yeah,

2:05:58.560 --> 2:05:59.840
<v Speaker 2>became the capital of the world.

2:06:00.000 --> 2:06:02.600
<v Speaker 3>I could complain about La all day long, but there's

2:06:02.680 --> 2:06:03.840
<v Speaker 3>nowhere I'd rather live.

2:06:04.840 --> 2:06:07.280
<v Speaker 2>Yeah, okayd the traffic case tell.

2:06:07.240 --> 2:06:10.520
<v Speaker 3>And all this other stuff, but I'm not moving. But

2:06:10.680 --> 2:06:15.000
<v Speaker 3>in any event, you had a couple of solo albums

2:06:15.240 --> 2:06:19.680
<v Speaker 3>with major label releases. You had some success in addition

2:06:19.800 --> 2:06:21.720
<v Speaker 3>to being a songwriter. If someone were to listen to

2:06:21.840 --> 2:06:26.160
<v Speaker 3>those records, you have a very good voice. To what

2:06:26.480 --> 2:06:30.480
<v Speaker 3>degree in the back of your mind do you say, hmm,

2:06:31.200 --> 2:06:37.320
<v Speaker 3>if only I wish, or you're totally happy where you are? Oh?

2:06:37.600 --> 2:06:41.040
<v Speaker 2>No, I'm totally happy where I am because the most

2:06:41.120 --> 2:06:42.640
<v Speaker 2>important thing to me is that I wanted to be

2:06:42.680 --> 2:06:45.600
<v Speaker 2>a mother. It was like in belt to me since

2:06:45.840 --> 2:06:47.640
<v Speaker 2>I don't know when, like probably when I was a kid,

2:06:47.920 --> 2:06:49.640
<v Speaker 2>to want to be a mum, And there was a

2:06:49.680 --> 2:06:52.360
<v Speaker 2>time when I was twenty nine and it wasn't going

2:06:52.440 --> 2:06:53.760
<v Speaker 2>right for me that I was like, how do I

2:06:53.880 --> 2:06:57.240
<v Speaker 2>have kids? And so to being blessed to have the

2:06:57.280 --> 2:06:59.200
<v Speaker 2>stability of being able to make money and to be

2:06:59.280 --> 2:07:01.520
<v Speaker 2>able to own a how elson be able to be

2:07:01.640 --> 2:07:06.680
<v Speaker 2>around my kids, and it's just been incredible. There was

2:07:06.720 --> 2:07:08.800
<v Speaker 2>a moment where I was very sad, like when I

2:07:08.880 --> 2:07:10.600
<v Speaker 2>had that song in the Color of Night and it

2:07:10.720 --> 2:07:12.560
<v Speaker 2>was really about to pop off, and there was some

2:07:12.760 --> 2:07:15.520
<v Speaker 2>political stuff at the label that caused it to get

2:07:15.640 --> 2:07:18.880
<v Speaker 2>kind of shelved, and that was very upsetting to me

2:07:19.080 --> 2:07:22.680
<v Speaker 2>because it was kind of my shot. I saw like

2:07:22.880 --> 2:07:26.000
<v Speaker 2>stardom for a second, and the label was ready to

2:07:26.040 --> 2:07:28.520
<v Speaker 2>make it happen, and I can't really go into it

2:07:28.600 --> 2:07:32.480
<v Speaker 2>because I'll get sued, But something happened. One day, I'll

2:07:32.480 --> 2:07:35.240
<v Speaker 2>put it in a book where another act had to

2:07:35.400 --> 2:07:40.040
<v Speaker 2>like basically said stop promoting that it's going to get

2:07:40.080 --> 2:07:42.360
<v Speaker 2>in the way of us. And they were a big act.

2:07:44.640 --> 2:07:47.040
<v Speaker 2>But no, sooner had I given up that dream. I

2:07:47.160 --> 2:07:52.920
<v Speaker 2>told you, like on that plane, I'm tough, I was like, no,

2:07:53.400 --> 2:07:57.440
<v Speaker 2>look forward, don't look back. And so, as you probably know,

2:07:57.480 --> 2:08:01.360
<v Speaker 2>I've I decided after twenty five years of not releasing

2:08:01.400 --> 2:08:04.240
<v Speaker 2>any music that it might be time to just have

2:08:04.560 --> 2:08:07.720
<v Speaker 2>fun because I have the ability to make music for free.

2:08:09.520 --> 2:08:13.720
<v Speaker 2>So I started doing this. There hits My Way project

2:08:14.160 --> 2:08:17.400
<v Speaker 2>and it's just all my biggest songs I've done reimagined

2:08:17.480 --> 2:08:20.320
<v Speaker 2>versions and they're one take vocals because I was like,

2:08:20.440 --> 2:08:22.120
<v Speaker 2>the last thing I'm going to do is get in

2:08:22.200 --> 2:08:24.840
<v Speaker 2>there and be like, you know, taking everyone's time up,

2:08:24.960 --> 2:08:27.080
<v Speaker 2>Like no, just got to be perfect. So I made

2:08:27.120 --> 2:08:30.200
<v Speaker 2>sure it's literally one take vocals on each one. And

2:08:32.120 --> 2:08:34.560
<v Speaker 2>I've loved it. But I can't tell you that I

2:08:35.400 --> 2:08:39.680
<v Speaker 2>would like to be Adele or Taylor Swift. I think

2:08:39.760 --> 2:08:44.080
<v Speaker 2>it's it's an It's incredibly hard work to you know,

2:08:44.160 --> 2:08:46.200
<v Speaker 2>I said to my girls, do you realize that the

2:08:46.360 --> 2:08:50.040
<v Speaker 2>destination if you're successful is to be on planes traveling

2:08:50.080 --> 2:08:53.040
<v Speaker 2>around the world and performing great, big places and selling

2:08:53.080 --> 2:08:55.680
<v Speaker 2>T shirts. That's where all the money is, right and

2:08:56.640 --> 2:08:59.600
<v Speaker 2>so are you game for it? Because I think now

2:09:00.000 --> 2:09:02.360
<v Speaker 2>so it's kind of serendipitous that I ended up going

2:09:02.400 --> 2:09:04.840
<v Speaker 2>behind the scenes because I'm kind of a homebody. I

2:09:05.000 --> 2:09:06.680
<v Speaker 2>like to be home with my cats in my pool.

2:09:07.120 --> 2:09:09.200
<v Speaker 2>If I'm not in a session, I'm with my mom

2:09:09.920 --> 2:09:12.960
<v Speaker 2>and my brother and his new baby and the family

2:09:13.160 --> 2:09:14.200
<v Speaker 2>and hanging with my kids.

2:09:14.480 --> 2:09:18.480
<v Speaker 3>So do you think there's any parallel to your father

2:09:18.600 --> 2:09:22.240
<v Speaker 3>being a comedian and then coming home to you being

2:09:22.280 --> 2:09:25.680
<v Speaker 3>an artist, and then being home and shifting to behind

2:09:25.720 --> 2:09:26.120
<v Speaker 3>the scenes.

2:09:26.240 --> 2:09:28.320
<v Speaker 2>Gusha, nobody's ever said that to me, But it's kind

2:09:28.320 --> 2:09:30.360
<v Speaker 2>of making sense now, is that. I have to say

2:09:30.440 --> 2:09:33.840
<v Speaker 2>my parents had the most incredibly happy marriage, and my

2:09:33.960 --> 2:09:36.760
<v Speaker 2>mom says it's because dad quit doing show business to

2:09:36.840 --> 2:09:41.200
<v Speaker 2>stay home. And you know, I have no regrets, because

2:09:41.640 --> 2:09:43.600
<v Speaker 2>I just don't know if that would have worked out

2:09:43.680 --> 2:09:46.840
<v Speaker 2>for me. My equilibrium's not so good to be like

2:09:47.120 --> 2:09:49.200
<v Speaker 2>shot on, like off on tour, and I did do

2:09:49.320 --> 2:09:52.640
<v Speaker 2>quite a lot of touring I opened for Kenny Loggins

2:09:52.680 --> 2:09:55.360
<v Speaker 2>at Red Rocks. I got the taste of it. Chastain

2:09:55.520 --> 2:09:58.400
<v Speaker 2>Park in Atlanta did Kenny g and I got to

2:09:58.520 --> 2:10:04.800
<v Speaker 2>do some amazing thing. But my true love is making records.

2:10:05.880 --> 2:10:09.000
<v Speaker 2>It's exhilarating to me being in the studio. I say,

2:10:10.240 --> 2:10:13.160
<v Speaker 2>that's the hit for me in that moment when you

2:10:13.240 --> 2:10:15.760
<v Speaker 2>write the song. I feel like every song edifies God.

2:10:16.480 --> 2:10:18.600
<v Speaker 2>Even if it's a mediocre song, it's not the best.

2:10:18.680 --> 2:10:21.600
<v Speaker 2>If it's a six, it's not an eleven. So I

2:10:22.120 --> 2:10:25.720
<v Speaker 2>feel that that's the excitement for me, more exciting than

2:10:25.800 --> 2:10:27.920
<v Speaker 2>really like, it's so funny. We're on the road with

2:10:27.960 --> 2:10:31.200
<v Speaker 2>our girls and they're playing like the Fox Theater in Oakland,

2:10:31.560 --> 2:10:35.640
<v Speaker 2>and it's so like, this is four thousand sister ed

2:10:35.760 --> 2:10:38.800
<v Speaker 2>Sheeran's playing there in two days time after my girls

2:10:38.840 --> 2:10:40.960
<v Speaker 2>and I said, girls, this is it. You see this

2:10:41.120 --> 2:10:43.560
<v Speaker 2>dressing room, how cold and dark it is and shabby

2:10:43.600 --> 2:10:47.840
<v Speaker 2>and cold, and this is it. This is the big time,

2:10:48.280 --> 2:10:50.760
<v Speaker 2>you know, And I said, and the really big time

2:10:50.840 --> 2:10:53.880
<v Speaker 2>will be flying on a private jet everywhere and going

2:10:53.920 --> 2:10:55.960
<v Speaker 2>into the dressing room and then getting out on stage.

2:10:56.040 --> 2:10:59.240
<v Speaker 2>And that's really great for me. It's more exciting being

2:10:59.320 --> 2:11:04.640
<v Speaker 2>in the lab, creating something that could be viral on TikTok.

2:11:04.760 --> 2:11:06.320
<v Speaker 2>Let's face it. It may not be on the radio

2:11:06.400 --> 2:11:08.520
<v Speaker 2>today because it's so hard to get on there. But

2:11:08.920 --> 2:11:12.680
<v Speaker 2>you know, I'm about like touching people and changing people's

2:11:13.080 --> 2:11:16.120
<v Speaker 2>feeling in their heart for the day and lifting people up.

2:11:16.560 --> 2:11:18.520
<v Speaker 2>And I can do that just from sitting in a

2:11:18.560 --> 2:11:22.240
<v Speaker 2>little studio. Now, this is the best gig ever.

2:11:22.840 --> 2:11:26.040
<v Speaker 3>Okay, you're doing all this work. Do you ever go

2:11:26.160 --> 2:11:28.680
<v Speaker 3>on vacation and can you turn it off? Or in

2:11:28.800 --> 2:11:30.120
<v Speaker 3>your mind? Is it always going?

2:11:30.920 --> 2:11:34.360
<v Speaker 2>Oh no, I'm good at relaxing. I'm really good at relaxing.

2:11:34.640 --> 2:11:36.840
<v Speaker 2>But the thing is is that I always have my

2:11:36.960 --> 2:11:40.000
<v Speaker 2>phone next to me, and there's always like ideas. I'll

2:11:40.000 --> 2:11:42.760
<v Speaker 2>watch a movie and just go, oh, that line, I

2:11:42.880 --> 2:11:45.000
<v Speaker 2>teach this in my masterclass. Just write it down in

2:11:45.080 --> 2:11:48.520
<v Speaker 2>new lyric notes. Or I'll start crying about something in

2:11:48.600 --> 2:11:52.120
<v Speaker 2>a movie and I'm like, oh am I crying? Oh

2:11:52.360 --> 2:11:54.560
<v Speaker 2>it's because of that. Write that down in your lyric notes.

2:11:54.800 --> 2:11:56.480
<v Speaker 2>So it's like a never ending thing. I mean, I'm

2:11:56.520 --> 2:11:59.240
<v Speaker 2>a songwriter, it's my whole. My husband says, who you

2:11:59.280 --> 2:12:01.000
<v Speaker 2>are is not what you'd do, and I'm like, hmm,

2:12:01.880 --> 2:12:04.200
<v Speaker 2>I think it might be. I think who I am

2:12:04.400 --> 2:12:07.280
<v Speaker 2>is what I do. So I do take vacations, but

2:12:07.360 --> 2:12:10.600
<v Speaker 2>it's normally like last year, I did the go back

2:12:10.640 --> 2:12:14.280
<v Speaker 2>to see my family and that was very important. Family

2:12:14.400 --> 2:12:18.720
<v Speaker 2>is so important to me. I'll take I so my

2:12:18.800 --> 2:12:21.040
<v Speaker 2>mom off to Newport Beach to see all the Christmas

2:12:21.080 --> 2:12:23.800
<v Speaker 2>ships go down and Balboa Island, all all the ships

2:12:23.840 --> 2:12:25.840
<v Speaker 2>are decorated, and I love it and I can just

2:12:26.400 --> 2:12:28.520
<v Speaker 2>i can switch off and relax. I'll go down to

2:12:28.600 --> 2:12:31.720
<v Speaker 2>the Coronado Hotel for two days. It's just paradise here.

2:12:31.760 --> 2:12:34.800
<v Speaker 2>As we said, I got to Lake Arrowhead. It's normally

2:12:34.840 --> 2:12:38.120
<v Speaker 2>when I'm completely exhausted and I've just finished a project,

2:12:38.680 --> 2:12:40.720
<v Speaker 2>mixing it and everything, and I'm just like, I need

2:12:40.800 --> 2:12:43.640
<v Speaker 2>two days off and I'll take these like mini breaks.

2:12:44.360 --> 2:12:47.880
<v Speaker 2>But I have not gone to Spain or you know.

2:12:48.160 --> 2:12:51.240
<v Speaker 2>And my parents also traveled us as kids. We had

2:12:51.280 --> 2:12:53.960
<v Speaker 2>a home in Spain, and so I felt like the

2:12:54.040 --> 2:12:56.080
<v Speaker 2>first part of my life we were in New Zealand,

2:12:56.160 --> 2:13:00.640
<v Speaker 2>where my mom's from Australia. I've been to call Through

2:13:00.680 --> 2:13:03.720
<v Speaker 2>and Greece. I've been so many amazing South of France

2:13:03.840 --> 2:13:07.120
<v Speaker 2>making albums. Madrid with Shakira I'm like, yeah, I've seen Europe.

2:13:07.240 --> 2:13:11.200
<v Speaker 2>It's amazing, but I'm not jonesing to go back to.

2:13:12.720 --> 2:13:13.080
<v Speaker 3>To do that.

2:13:13.240 --> 2:13:14.920
<v Speaker 2>And the reason I would go back to England is

2:13:15.000 --> 2:13:16.880
<v Speaker 2>because I love my family and I want to see

2:13:16.920 --> 2:13:19.000
<v Speaker 2>them or my girls. I have to go on tour

2:13:19.040 --> 2:13:21.560
<v Speaker 2>and they need me and they want mom to come.

2:13:22.040 --> 2:13:24.400
<v Speaker 2>You know, they don't even need me anymore, so that's

2:13:24.440 --> 2:13:27.800
<v Speaker 2>not going to happen. But I don't really take vacations now.

2:13:29.400 --> 2:13:32.400
<v Speaker 3>Well, thanks so much for taking this time to speak

2:13:32.440 --> 2:13:33.400
<v Speaker 3>with my audience.

2:13:33.520 --> 2:13:36.000
<v Speaker 2>Lauren ah Bob. You know, I'm such a big fan

2:13:36.080 --> 2:13:38.680
<v Speaker 2>of yours. I read you every week and I like

2:13:38.800 --> 2:13:41.360
<v Speaker 2>your personal stuff that you do too as much as

2:13:41.400 --> 2:13:44.000
<v Speaker 2>I like this stuff about the music business. But I

2:13:44.080 --> 2:13:46.280
<v Speaker 2>can say I've been listening, I've been reading you for

2:13:46.680 --> 2:13:51.400
<v Speaker 2>thirty years. I would say, amazing. Thank you so much

2:13:51.440 --> 2:13:51.920
<v Speaker 2>for having me.

2:13:52.200 --> 2:13:53.760
<v Speaker 3>Well, you know I could go, well, we'll do this

2:13:53.880 --> 2:13:55.560
<v Speaker 3>on our own time. But you know it's funny if

2:13:55.560 --> 2:13:59.760
<v Speaker 3>you nail the personal stuff that resonates more than anything. Really,

2:14:00.080 --> 2:14:03.800
<v Speaker 3>If you want more of Lauren, certainly follow her on

2:14:03.920 --> 2:14:07.600
<v Speaker 3>social media and of course she has her master class.

2:14:08.120 --> 2:14:10.360
<v Speaker 3>So in any event, Lauren, thanks.

2:14:10.160 --> 2:14:12.000
<v Speaker 2>Again, thank you so much Bob.

2:14:12.840 --> 2:14:15.640
<v Speaker 3>Until next time. This is Bob left stets