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Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.

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Speaker 1: Radiohead released their stunning debut single Creep when You're In.

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Speaker 1: It was quiet, yet explosive, even haunting, and its refrain

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Speaker 1: had a powerful hook. Special, so fucking special. Radio Heads

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

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

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

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Speaker 1: selling over thirty million albums. Radio Heads music actively resists definition.

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Speaker 1: Each new album explores a different sound, delighting their followers

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Speaker 1: and scooping up more fans along the way. The New

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Speaker 1: York Times called Radiohead rocks most experimental top ten band,

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Speaker 1: and this spirit of experimentation isn't limited to their music.

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Speaker 1: In two thousand seven, York and his bandmates released In

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Speaker 1: Rainbows on their website. First fans were invited to pay

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Speaker 1: what they wanted for the album. Radiohead may not have

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Speaker 1: been the first to thumb its nose the music industrial complex,

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Speaker 1: but they might be the first to do so and

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Speaker 1: sell out a major arena. That said, Tom York hasn't

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Speaker 1: necessarily been comfortable under the spotlight. He complains about celebrity worship,

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Speaker 1: and I wasn't sure what to expect. Actually, I've got

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Speaker 1: your health food snack, did you? Yeah? Because someone told

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Speaker 1: me you were like all vegetarian and that Tom your

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Speaker 1: has a new record out a mark. The band called

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Speaker 1: themselves Atoms for Peace. You don't do a lot of

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Speaker 1: gross Were you do? What? I was an Almairs needed

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Speaker 1: basis on a need to know basis? Yeah, kind of,

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Speaker 1: I kind of need to explain what I'm doing a

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Speaker 1: bit with the Aldams for Peace thing, just a little

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Speaker 1: bit because it's something different, and some vague effort to

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Speaker 1: explain myself occasionally I think is morally acceptable tell us

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Speaker 1: about the Albams for Peace. Well, it's just it was.

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Speaker 1: I did a record on my own called the Eraser

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Speaker 1: a few years ago. Was that your first solo record? Yes,

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Speaker 1: first time. I sort of worked on my own with

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Speaker 1: Nigel who norm produces Radiohead and it came out it

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Speaker 1: was okay, people liked it a bit. A couple of

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Speaker 1: years after, I suddenly thought I really want to actually

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Speaker 1: because it was all done, it was all programmed, it

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Speaker 1: was all computers and stuff, and I thought, actually, I

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Speaker 1: really I'm curious to know what it would be like

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Speaker 1: to actually get a band together to play this, And

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Speaker 1: it was an excuse to go on a jolly to

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Speaker 1: l A and hang out, and I emailed friends of

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Speaker 1: mine who I knew like the record. One was Flee

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Speaker 1: from the Chili Peppers. One was my friend Joey, who's

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Speaker 1: drummed with everybody's genius drummer from anyway. We got it

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Speaker 1: together and it turned into this thing became really exciting,

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Speaker 1: and we ended up calling the band Absoms for Peace

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Speaker 1: and making a record out of the excitement of that.

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Speaker 1: And it was all brand new to me because I've

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Speaker 1: been in the same band since I was seventeen sixteen.

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Speaker 1: And when you do that, when you go into another

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Speaker 1: room with people, it's not so much I'm assuming and

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Speaker 1: you can help me that you want to not play

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Speaker 1: with those guys anymore. You just want to play with

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Speaker 1: different people for a change. It was a yeah, it

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Speaker 1: was a totally different process. I mean, it's it's always

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Speaker 1: fun if you know what you're aiming at, if you

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Speaker 1: know what the tunes are, you're not trying to write them,

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Speaker 1: you're just emulating what's already been written. That makes it

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Speaker 1: fun straight away because it's a different sort of creative process. Um,

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Speaker 1: you're not struggling around in the dark for a way

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Speaker 1: into a piece of music. You're figuring out how to

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Speaker 1: strip it down to its all essentials, especially if it's

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Speaker 1: something has been written on a computer and then you

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Speaker 1: have to humanly won't learn how to play it. It

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Speaker 1: brings in this quite interesting thing with the feel of

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Speaker 1: what you're playing anyway, it's loads of different things, but

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Speaker 1: it's a lot more fun, a lot more relaxed if

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Speaker 1: you're not trying to write, you know, which is what

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Speaker 1: also all the time what we're trying to do with Radiohead.

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Speaker 1: What's the first time or first experience you had with

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Speaker 1: using computers to create music? That was I think after

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Speaker 1: we did Okay Computer. I finally in the late late

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Speaker 1: nineties you could like go on tour with the laptop

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Speaker 1: and it was powerful enough that you could record, edit,

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Speaker 1: use synthesizers, bit into it and it wouldn't crash and

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Speaker 1: it was fairly stable. So I first started getting into

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Speaker 1: it then. And what I thought was really interesting is

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Speaker 1: when we were working on Okay Computer, I started using

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Speaker 1: learning the software that we were using the studio to

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Speaker 1: and we were still mostly working on tape old school.

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Speaker 1: But I suddenly thought, we'll hang on a minute. If

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Speaker 1: I can learn how all this equipment works, I'll have

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Speaker 1: a completely different way of thinking about how to write.

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Speaker 1: So I forced myself to learn all all this uh,

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Speaker 1: all this equipment and learn to use the laptop because

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Speaker 1: a lot of music I was into was being made

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Speaker 1: electronically anyway, and I kind of thought it would be

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Speaker 1: interesting to do it within the band, because you know

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Speaker 1: a band. Normally musicians don't fall into doing the production

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Speaker 1: side of it or building the tracks. They're like, stay

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Speaker 1: this side of the studio, offense with the mix and

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Speaker 1: let someone tell them. So I definitely was much more

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Speaker 1: into blurring that up. Did Ni produce both your solo albums?

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Speaker 1: Yeah he does. He does a lot and get all

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Speaker 1: of the radio, Yeah he does. When you attribute that

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Speaker 1: to having that kind of faith in someone, UM, for me,

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Speaker 1: it's UM you find someone you trust. I mean not

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Speaker 1: all the time, and we do argue a lot, but

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Speaker 1: to have someone who's like um, a sounding board all

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Speaker 1: the time, it makes everything so much more fun because

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Speaker 1: if you're if you're knocking out ideas, you can't edit

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Speaker 1: them and knock them out at the same time, Like,

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Speaker 1: if you're on stage and you're trying to get through

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Speaker 1: your part or whatever, you have to have someone out

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Speaker 1: front saying, okay, that's not working. I mean I do

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Speaker 1: on my own a lot. I do work. You know,

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Speaker 1: you generate ideas, but all I then have is a

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Speaker 1: mounting ideas that gradually I don't have to sit through,

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Speaker 1: and it just takes so long. It's so much more

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Speaker 1: fun sharing it with someone. What did you think about

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Speaker 1: your fourays into computerized music? He was into it. I

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Speaker 1: did wonder when I first started doing it, but he

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Speaker 1: was into it because he watched me doing it in

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Speaker 1: such a different way to him. I mean, I was

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Speaker 1: like a kid being given a hammer. I was just

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Speaker 1: hamming away on stuff. I didn't really know what I

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Speaker 1: was doing, but he was kind of fascinated about that,

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Speaker 1: you know, and he'd come and literally tidy up the

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Speaker 1: mess done on the computer. What were other people who

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Speaker 1: were other people that were working in that in that

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Speaker 1: area that you listened to Who was then? Well, then

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Speaker 1: it was I was obsessed with aph X, Twin then

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Speaker 1: and Oteka. There was a lot of really interesting things

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Speaker 1: happening in Britain then on this label called Warp and

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Speaker 1: it was it was as warp w RP, like the

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Speaker 1: floor is warped after the fun Yeah, And then I say,

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Speaker 1: with your accent, that could have been anyone of four

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Speaker 1: wards when on this label called War War Warm, War, War,

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Speaker 1: Wall War War, Whoop Yeah, saying like we're saying here

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Speaker 1: in the United States War it's country and Western record

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Speaker 1: bit you bottom now and there boy? So you you

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Speaker 1: as you were, you were obsessed with the music that

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Speaker 1: was on Whoop Records because it didn't have any guitars

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Speaker 1: and I was having a troubled relationship with my guitar

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Speaker 1: at the time. Is it true, Well, not really. It's

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Speaker 1: just like I ended up being in a band, signing

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Speaker 1: this to this big record label, and it's a band

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Speaker 1: and when big letters, so certain things go with that.

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Speaker 1: But yet when I was at college, I was listening

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Speaker 1: to a lot of other things, and after a while

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Speaker 1: it was like, oh, this is it's really annoying that

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Speaker 1: I felt like we couldn't break out of that. So

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Speaker 1: I just started forcing us to break out of that

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Speaker 1: because it didn't make sense to me. You've been with

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Speaker 1: those guys for how long? Now? We started when we're

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Speaker 1: sixteen Radiohead, which is um, now I'm forty four, so

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Speaker 1: that's quite a while. And some bands that have had

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Speaker 1: a tremendous longevity, obviously the Rolling Stones of the premier example,

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Speaker 1: they've changed partners over the years, like they were the

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Speaker 1: New York Yankees. You know, there's somebody else playing in

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

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

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

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Speaker 1: Not but there must be times when they've I mean,

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

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

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

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

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

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

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Speaker 1: it changes so it's like, yeah, it's stick around. I'm

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Speaker 1: feeling it's coming up. I mean, you know, something to

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Speaker 1: do with the fact we haven't done any useful for

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Speaker 1: three weeks. It goes through these phases. You know, we've

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Speaker 1: grown up together. It's weird. I mean, um, so we

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Speaker 1: just did a tour last year right, and it was probably,

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Speaker 1: in theory, the scariest one we've ever done, because it

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Speaker 1: was lots of big gigs, which I normally am spending

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Speaker 1: my time trying to shy away from. Why because you

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Speaker 1: can't achieve technically in a large space where you normally

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Speaker 1: want to exactly that you can't get across to people

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Speaker 1: the right way, I felt. So we did spend a

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Speaker 1: lot of time and effort coming up with like a

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Speaker 1: stage design which used screens in a certain way which

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Speaker 1: made it intimate, even though you know, some nights was

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Speaker 1: like thirty or forty people trying to create some sort

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Speaker 1: of intimacy, and when it worked, it was insane. It

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Speaker 1: was because the upside of playing to that many people

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Speaker 1: is you have this really crazy collective energy that you

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Speaker 1: can tap into like a crowd, you know. Thing. There's

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Speaker 1: one show we did in Phoenix that sticks in my

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Speaker 1: mind where there was something about maybe that it was

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Speaker 1: in Phoenix and people don't get the opportunity, those sort

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Speaker 1: of people don't get the opportunity to get together that

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Speaker 1: often or something. There was some sort of excitement within

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Speaker 1: the crowd that was so great to play with. When

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Speaker 1: when we hit it musically, it felt like the whole room,

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

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Speaker 1: came off, you know, and it's bob. I understand that

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Speaker 1: not from my own experience, but from seeing artists perform.

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Speaker 1: You know. I often asked myself, why the hell would

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Speaker 1: would you put yourself through this? Because it's very stressful.

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Speaker 1: It's a lot of pressure, and for me mentally, I've

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Speaker 1: just build myself up to it in my head gradually,

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Speaker 1: and it sounds really precious, but it messes with my head.

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Speaker 1: I want to get to that, but I want to

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Speaker 1: come around it and say, your music has such a

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Speaker 1: spiritual quality to it. There's a spiritual element to it.

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Speaker 1: Another stated one. It just emanates a vibe to me,

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Speaker 1: that's to me that that but to me that comes

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Speaker 1: off the audience. That's what I find. It's something that's developed.

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Speaker 1: It's not like we're not going into this intending to

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Speaker 1: do any of that. It just sort of happens when

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Speaker 1: when the waves go right, you know, when the waves

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Speaker 1: fall into place. So then you'll get to the end

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Speaker 1: of the song and you can feel, Okay, we've done

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Speaker 1: whatever it is that was it. What's your preparation before

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Speaker 1: you do a live show before you because in the

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Speaker 1: studio it's obviously a whole different animal, correct, Yeah, there's

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

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Speaker 1: billowing a china shop most of the time, which is

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Speaker 1: how it should be. I think, and performing live, that's

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

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

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

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

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

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

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

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

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Speaker 1: then then we're on. But when we first started doing

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Speaker 1: big shows, it was with my friend Michael Stipe, and

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

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

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

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

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Speaker 1: it like that, I couldn't it, and so I ended

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Speaker 1: up going did He said, did you get any indication

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Speaker 1: why Stipe could do that? There's a lot of nice

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Speaker 1: spiritual tones inside of R. E. M's music too. Yeah, No,

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Speaker 1: I don't know. I think what he used to do

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Speaker 1: was you'd stand there for the first two tunes, barely move.

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Speaker 1: He was a sort of lightning conductor, and he was

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Speaker 1: just waiting for it to hit, and then when it hit,

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Speaker 1: he was off. But he would wait, and if it

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Speaker 1: wasn't going to hit, he was still there three or

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Speaker 1: four tunes later and waiting. He kind of warmed up

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Speaker 1: in front of everybody, engaging it all. Whereas I can't

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Speaker 1: do that because I have to sort of be clear

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Speaker 1: of everything before you know, whatever, I need to um

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Speaker 1: be completely empty. I started playing guitar when I was seven.

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Speaker 1: I sat down and said I was going to be

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Speaker 1: Brian May when I was a lot of bad thing

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Speaker 1: to be. And then I tried to do I read

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Speaker 1: like when I was ten or something. I read that

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Speaker 1: he built his first guitar himself, which is when he

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Speaker 1: still plays. So I tried to do that, but my

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Speaker 1: efforts would crafting the guitar, and I had to cheat

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Speaker 1: with the neck on the guitar I found and all

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Speaker 1: that someone a neighbor gave me a neck of an

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Speaker 1: electric guitar. Is that great? Okay, that's good, But you

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Speaker 1: know I was ten or eleven, so I was trying

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Speaker 1: to like bolt it together to this other piece of

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Speaker 1: wood that I'd cut out, and it was just a disaster.

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Speaker 1: But it kind of worked, but it was ugly. Was

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Speaker 1: your family musical Not really? No. The only one that

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Speaker 1: sticks out is barently my great grandmother. She'd get really

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Speaker 1: hammered and then stay up playing her pump organ thing

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Speaker 1: downstairs all night and keep the family up. You were

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Speaker 1: around your witness dad. I met her once and she

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Speaker 1: was kind of she wore black. I was quite scary

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Speaker 1: when I was really tiny. But now that your parents

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Speaker 1: were artists musicians, no, no, no, no. When the guitar

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Speaker 1: came into your life when your seven Brian may or, no,

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Speaker 1: was it music itself and where you moved by music itself?

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Speaker 1: Or was it like many people when they're very young?

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Speaker 1: Was rock stardom was never? Then? It was? It was

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Speaker 1: you weren't running around your bedroom imitating Jagger and you

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Speaker 1: thought like you and my My whole thing was we

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Speaker 1: didn't have any sound system in the house. We had nothing,

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Speaker 1: no high fi, nothing except for and my dad's car

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Speaker 1: and had a type player in it, so I when

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Speaker 1: and would sit for hours. I would sit for hours,

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Speaker 1: and you know, it was the sound of Brian May's guitar,

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Speaker 1: actually was. It was one of those funny things where

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Speaker 1: you know, when you you turned something up and you're

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Speaker 1: in a very controlled loud environment, just that sounds just

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Speaker 1: you know, nothing else. It was that when you're that

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Speaker 1: small and you've never I've never really heard music particularly

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Speaker 1: at all up until that point. You know, it's funny,

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Speaker 1: it's got a weird thing. But I mean, lots of

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Speaker 1: kids at that age that you know, their parents didn't

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Speaker 1: really have hi fires or anything as such. The only

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Speaker 1: guy I did know who had to high fight down

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Speaker 1: the road only played Abbert, which I thought was worse

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Speaker 1: than not everyone, but that was me some of those kids.

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Speaker 1: And then and then the guitar, and you're trying to

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Speaker 1: fashion your own guitar by the time you're eleven, and

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Speaker 1: then when you take another step toward deepening your commitment,

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Speaker 1: how old are you when you form the band six Team.

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Speaker 1: I did have a band when I was eleven, but um,

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Speaker 1: what's an eleven year old band sound like? Yeah? No,

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Speaker 1: not very good at all? Um, But it was it

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Speaker 1: was very exciting, like going around to a friend's house

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Speaker 1: is setting up and jamming, and all our mates would

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Speaker 1: come and hang out and girls, which I thought, this

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Speaker 1: is interesting as puberty hit, but that sort of fell

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Speaker 1: to bits because I kept fighting with the drum. And

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Speaker 1: then when I was sixteen, I was thinking, well, okay,

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Speaker 1: I need to get this together really and just went

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Speaker 1: around the school sort of choosing people. So you went

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Speaker 1: around picking people. I got it. I got it because

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Speaker 1: he was dressed like Morrissey and he had some cool socks,

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Speaker 1: and I saw he had a guitar. I had no

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Speaker 1: idea where they could play or not. I don't really care.

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Speaker 1: I got Colin because I knew Colin could play very

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Speaker 1: well and I needed a bass player could play very well.

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Speaker 1: But he had never played bass before and his brother

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Speaker 1: Johnny was this mythical musical prodigy. So roped him in.

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Speaker 1: And then Phil was the only druma we knew anyway.

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Speaker 1: So and and he had a house down the road

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Speaker 1: that we could rehearse him and you lived where you

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Speaker 1: grew up where well, this was an Abingdon school in

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Speaker 1: near Oxford. And then when you form Radiohead when you're

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Speaker 1: six team basically yeah, we started sort of writing, doing

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Speaker 1: demos and messing about, and it was, you know, it

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Speaker 1: was quite interesting straight away that it was quite I

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Speaker 1: think as Field had quite a lot of experience. He

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Speaker 1: was a bit older, and he'd had his own band,

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Speaker 1: so he knew how to put things together a bit.

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Speaker 1: And in fact we used to go and do demos

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Speaker 1: in his sister's bedroom like right from the beginning, which

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Speaker 1: which was great. I mean, there's nothing better than like

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Speaker 1: just starting off by just trying to write demos from scratch,

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Speaker 1: even though you can't really play, even though you don't

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Speaker 1: know each other. That's where you start, you know. It's

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Speaker 1: kind of a nice way to figure out where you're about.

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Speaker 1: What do you think you do best? You lead a band,

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Speaker 1: you well you you play guitar, you write music, you

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Speaker 1: produce music, you do it and you sing. What do

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Speaker 1: you think your greatest strength is? If you had to

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Speaker 1: pick one. So I don't know what I'm doing right,

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Speaker 1: I like the fact that still I don't know what

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Speaker 1: I'm doing. I think we're not. Honestly, I can't go

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Speaker 1: I'll go through whole phrases of um months where i'n't

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Speaker 1: got a clue. I regularly lose complete confidence in what

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Speaker 1: I'm doing. Why do you think that is because I

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Speaker 1: have the same condition. Why partly because I think I

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Speaker 1: don't quite understand how it happens after the fact, when

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Speaker 1: when what happens when the appreciation comes to you know,

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Speaker 1: when you're when you're piecing something together right, things will

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Speaker 1: fall into place you make it. I mean, in some ways,

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Speaker 1: the nicest bit about the creative thing, the nicest bit

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Speaker 1: about recording and writing, is this sort of weird limbo

347
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Speaker 1: where you in between scratching away scratching away, nothing really happening,

348
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Speaker 1: nothing really happening, and then something wants to be built

349
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Speaker 1: and starts to get built. You just have to let

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Speaker 1: it happen. And then it gets to the end and

351
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Speaker 1: you and you look at it a few months later

352
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Speaker 1: and go huh um, sort of weird amn, easier that

353
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Speaker 1: goes with it. Something will happen, one little sound goes

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Speaker 1: off all and you go, oh, that's really nice. For

355
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Speaker 1: when I was at school, I didn't get on with

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Speaker 1: the school system at all. Um I see it, and

357
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Speaker 1: my son the same. That sort of the mechanics of

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Speaker 1: how a school operates and how you're supposed to blend

359
00:21:15,520 --> 00:21:19,439
Speaker 1: in or whatever so I hid in the music stroke

360
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Speaker 1: art department and had a great time there and discovered

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Speaker 1: that actually that's what I wanted to do. Straight away,

362
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Speaker 1: the heads of both schools just saw what I was up.

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Speaker 1: Is this the teacher that you often credit with your Yeah,

364
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Speaker 1: where was the teacher's name? Terry James? But but it

365
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Speaker 1: was him and my art teacher as well. Actually it

366
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Speaker 1: was like someone sort of takes you under their wing

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Speaker 1: and say, well, you know what you're actually quite good at.

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Speaker 1: Then touring is a very critical thing in this business. Yeah,

369
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Speaker 1: because it's enough. It's enough at that age, it's enough

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Speaker 1: to just get a little push and then okay, do

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Speaker 1: someone push you in a different direction? Yeah, well that

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Speaker 1: would be bad. How about do you go to the

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Speaker 1: other I think you need to hear. Yeah, that's my

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Speaker 1: father used to think. I used to get too advertising,

375
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Speaker 1: which is like really brilliant. Yeah, I'd really be good

376
00:22:08,480 --> 00:22:11,360
Speaker 1: at that. Other people ship. Well, one thing you're good

377
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Speaker 1: at is avoiding. My original question, which was what do

378
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Speaker 1: you think your best at? And let's try to choose.

379
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Speaker 1: If you can't, if you if you don't mind, confine

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Speaker 1: yourself to the list, I provide, what do you think

381
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Speaker 1: your best at this is multiple choice guitar band, kind

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Speaker 1: of you know, paternal figure, songwriting, producing, singing. Mm hmm,

383
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Speaker 1: I guess singing. Okay, I'm glad you chose that one.

384
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Speaker 1: I was driving. I was trying I think when I

385
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Speaker 1: popped the words singing the way I did, I was

386
00:22:50,440 --> 00:22:55,520
Speaker 1: trying to do or singing? What was singing to you?

387
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Speaker 1: How did your singing evolve where you arrived at where

388
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Speaker 1: you are now? We're most people say you have one

389
00:23:01,720 --> 00:23:05,960
Speaker 1: of the most evocative singing voices and all of music

390
00:23:06,080 --> 00:23:09,439
Speaker 1: today either that or melancholy to the point of what

391
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Speaker 1: people who love who love radio, they crave their music,

392
00:23:13,160 --> 00:23:21,440
Speaker 1: and they crave particularly you're singing. Well, basically I went

393
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Speaker 1: to music went to a few singing lessons, but that

394
00:23:24,480 --> 00:23:29,800
Speaker 1: was basically just so I could literally breathe right, you know, um,

395
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Speaker 1: my favorite singers like the York When I watched Buyork

396
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Speaker 1: sing um, I've been lucky enough to sort of sing

397
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Speaker 1: with her and watch you do it. And I was

398
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Speaker 1: gonna say, you're one of the few people going to

399
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Speaker 1: use that phrase when I watched The York saying yeah,

400
00:23:45,400 --> 00:23:46,960
Speaker 1: most of them say well, when I listened to the

401
00:23:47,080 --> 00:23:54,680
Speaker 1: Yorks and it's uh in here, it's right here, they say,

402
00:23:54,800 --> 00:23:57,639
Speaker 1: you know, with with with yoga and stuff that whatever

403
00:23:57,640 --> 00:23:59,479
Speaker 1: it is, can't remember that that spot at the top

404
00:23:59,520 --> 00:24:04,239
Speaker 1: of the four head that you really Most singers like

405
00:24:04,400 --> 00:24:07,040
Speaker 1: Neil Young's the same. He sings into this spot in

406
00:24:07,040 --> 00:24:11,760
Speaker 1: his head and and what he's singing, he's already heard,

407
00:24:12,720 --> 00:24:15,040
Speaker 1: you know what I mean, He's hearing it come out.

408
00:24:15,520 --> 00:24:19,879
Speaker 1: The same with with Bork. When she's singing, she's singing

409
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Speaker 1: what she's hearing. So there's no force, it's a force

410
00:24:25,920 --> 00:24:31,200
Speaker 1: in itself. It took me a while to get that,

411
00:24:32,440 --> 00:24:36,119
Speaker 1: you know, even when we were on tour with R. E. M.

412
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Speaker 1: Back when we're doing the Bends in nineties six or

413
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Speaker 1: whatever it was. I was still trying to figure it

414
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Speaker 1: out then watching Michael and wanting to sound like Michael.

415
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Speaker 1: But I couldn't, you know, because my voice is in

416
00:24:50,119 --> 00:24:53,760
Speaker 1: a different tone completely and so on. But what I

417
00:24:53,840 --> 00:24:56,240
Speaker 1: did learn, what you know, watching him, was again that

418
00:24:56,320 --> 00:25:01,280
Speaker 1: thing of like watching someone who their voices in sort

419
00:25:01,280 --> 00:25:05,160
Speaker 1: of command of them rather than the other way around. Yeah,

420
00:25:05,200 --> 00:25:07,840
Speaker 1: and but it's very natural, but it takes a long

421
00:25:07,960 --> 00:25:12,040
Speaker 1: time for that to become natural. I think you, like

422
00:25:12,800 --> 00:25:16,000
Speaker 1: any singer, it takes a long time to find that thing,

423
00:25:16,480 --> 00:25:20,760
Speaker 1: and it keeps changing to me how I sing now,

424
00:25:20,920 --> 00:25:24,880
Speaker 1: or to me it feels different to a few years ago.

425
00:25:25,800 --> 00:25:28,680
Speaker 1: It just does. It just does age to do it. Well, yeah,

426
00:25:28,680 --> 00:25:31,240
Speaker 1: there's probably some physical element to it, but but also

427
00:25:31,640 --> 00:25:35,400
Speaker 1: just where you're at, you know, because singing is nothing

428
00:25:35,440 --> 00:25:38,200
Speaker 1: but like probably like acting, sing is nothing but being

429
00:25:38,240 --> 00:25:40,840
Speaker 1: in a moment, that's it, and where you're at. Yeah,

430
00:25:40,880 --> 00:25:44,560
Speaker 1: when you do like, um, when I used to be like,

431
00:25:44,760 --> 00:25:48,480
Speaker 1: you know, when when you're trying to singing or whatever,

432
00:25:48,560 --> 00:25:51,640
Speaker 1: general I remember sort of okay, computer, I still had

433
00:25:51,640 --> 00:25:53,440
Speaker 1: this thing like, well I need to be a little

434
00:25:53,440 --> 00:25:55,760
Speaker 1: bit half cut when I'm you know, I need to

435
00:25:55,760 --> 00:25:58,080
Speaker 1: do something or other beforehand so that I'm in the

436
00:25:58,160 --> 00:26:02,760
Speaker 1: right space. Man, where all bollocks because basically you've just

437
00:26:02,800 --> 00:26:05,720
Speaker 1: got to learn to be there with it. When you

438
00:26:05,800 --> 00:26:08,119
Speaker 1: do it, you're not trying to prove anything. You're not

439
00:26:08,160 --> 00:26:11,240
Speaker 1: trying to get anywhere, you're not trying to achieve anything.

440
00:26:11,280 --> 00:26:13,879
Speaker 1: You're not trying to get this emotion across. You're not

441
00:26:13,960 --> 00:26:16,159
Speaker 1: in this space trying to get this space across. You're

442
00:26:16,160 --> 00:26:20,440
Speaker 1: not trying to get this mindset across or anything. You're

443
00:26:20,640 --> 00:26:49,920
Speaker 1: just letting it happen when you do this now, when

444
00:26:49,920 --> 00:26:52,720
Speaker 1: you live inside your life now, whether you're performing live

445
00:26:52,840 --> 00:26:58,119
Speaker 1: or you're producing and recording music, do you feel different

446
00:26:58,600 --> 00:27:01,439
Speaker 1: now that you're older. I mean, the chasm between when

447
00:27:01,480 --> 00:27:04,800
Speaker 1: you're sixteen when you're forty three is extraordinary. It's just

448
00:27:04,880 --> 00:27:08,159
Speaker 1: mind bending. Yeah. Do you feel like you're sick of

449
00:27:08,160 --> 00:27:09,720
Speaker 1: it and you want to be done with it? Yeah?

450
00:27:09,920 --> 00:27:13,680
Speaker 1: You do sometimes, but not. It's never really the music.

451
00:27:13,760 --> 00:27:17,040
Speaker 1: It's always everything else, you know, primarily what we'll just

452
00:27:18,080 --> 00:27:22,320
Speaker 1: stresses of life. Whatever. You know, something's good. So your

453
00:27:22,359 --> 00:27:24,000
Speaker 1: life is not like I mean a lot of people

454
00:27:24,000 --> 00:27:28,960
Speaker 1: think they think that successful artists, Uh, we just walk

455
00:27:29,000 --> 00:27:32,680
Speaker 1: across this bed of rose pedals all day. The greatest

456
00:27:32,680 --> 00:27:34,640
Speaker 1: torment of our life is do we go to Paris

457
00:27:34,640 --> 00:27:39,959
Speaker 1: on spring break or Anguillah, my god, I can't. I

458
00:27:40,000 --> 00:27:43,359
Speaker 1: can't answer that. It is able. It is a problem,

459
00:27:43,400 --> 00:27:48,000
Speaker 1: but it's not. It's supposed to say that. But what

460
00:27:48,040 --> 00:27:50,040
Speaker 1: I'm saying is is that they think that, like, do

461
00:27:50,080 --> 00:27:54,159
Speaker 1: you ever sit there? You're very active socially, Yes, I

462
00:27:54,160 --> 00:27:57,040
Speaker 1: guess you care. You've made some comments about world affairs

463
00:27:57,040 --> 00:27:58,840
Speaker 1: and you care about the world. Yeah, you care about

464
00:27:58,840 --> 00:28:01,280
Speaker 1: what's going on? If I said to you that I

465
00:28:01,320 --> 00:28:03,960
Speaker 1: snapped my fingers and you go back to having a

466
00:28:04,040 --> 00:28:05,879
Speaker 1: very normal life when you're not you at all with

467
00:28:05,920 --> 00:28:07,480
Speaker 1: everything that goes with it, and the rest of the

468
00:28:07,480 --> 00:28:11,880
Speaker 1: world is elevated unless of the world gets better. Things

469
00:28:11,920 --> 00:28:15,080
Speaker 1: you care about, think of an issue you can. I

470
00:28:15,119 --> 00:28:20,359
Speaker 1: say to you, Tom York, Tommy York, Tom your you

471
00:28:20,440 --> 00:28:23,120
Speaker 1: go back and the world gets better, would you make

472
00:28:23,119 --> 00:28:28,920
Speaker 1: that change define better? It's a tricky question, but you do.

473
00:28:29,040 --> 00:28:31,560
Speaker 1: It's not an either or, but you do care. But

474
00:28:31,720 --> 00:28:34,720
Speaker 1: other things. Is there an issue that you're embracing now?

475
00:28:34,800 --> 00:28:39,000
Speaker 1: Is there something you're involved with now? I well, in

476
00:28:39,080 --> 00:28:42,880
Speaker 1: my slack asked fashion, I was helping UM Greenpeace do

477
00:28:43,000 --> 00:28:45,680
Speaker 1: this thing which was trying to stop drilling in the Arctic.

478
00:28:45,960 --> 00:28:49,240
Speaker 1: But it sounds like it's kind of working because the

479
00:28:49,240 --> 00:28:51,400
Speaker 1: company seem to be pulling out because they can't just

480
00:28:51,400 --> 00:28:53,560
Speaker 1: pull up. Yeah, that's right. I don't think that's entirely

481
00:28:53,600 --> 00:28:55,760
Speaker 1: down to us, but I think it definitely helped that

482
00:28:55,800 --> 00:28:58,520
Speaker 1: we're making their life extremely difficult everywhere they turned. But

483
00:28:59,160 --> 00:29:01,720
Speaker 1: challenge now is turned the Arctic into reserve, so it

484
00:29:01,760 --> 00:29:04,840
Speaker 1: can't happen because what that was going to do is

485
00:29:04,920 --> 00:29:08,520
Speaker 1: create this gold rush, you know, all rush up there,

486
00:29:08,560 --> 00:29:12,000
Speaker 1: which was just going to be insane. And this at

487
00:29:12,000 --> 00:29:14,080
Speaker 1: the same time where the ice is melting. Basically the

488
00:29:14,120 --> 00:29:17,120
Speaker 1: only started considering it was a possibility because the ice

489
00:29:17,160 --> 00:29:19,400
Speaker 1: was melting. They thought, okay, great, maybe got a better

490
00:29:19,440 --> 00:29:27,800
Speaker 1: chance of jelling, which is like yeah. So I was

491
00:29:28,080 --> 00:29:29,800
Speaker 1: kind of stuck in that for a while because Yeah,

492
00:29:30,680 --> 00:29:33,160
Speaker 1: to me, the irony of it was too much. Um,

493
00:29:33,200 --> 00:29:35,480
Speaker 1: I don't know where I'll go next. I don't I

494
00:29:35,520 --> 00:29:37,800
Speaker 1: find it very stressful. I did get involved. A few

495
00:29:37,840 --> 00:29:40,120
Speaker 1: years ago. We did this thing in Britain, the first

496
00:29:40,160 --> 00:29:45,240
Speaker 1: Climate Change Act, which meant the government was is committed

497
00:29:45,680 --> 00:29:51,040
Speaker 1: to reducing c O two emissions and now lots of

498
00:29:51,080 --> 00:29:53,360
Speaker 1: countries that got it. It was the first one and

499
00:29:53,440 --> 00:29:55,160
Speaker 1: the government didn't want to do it. Bled didn't want

500
00:29:55,160 --> 00:29:58,600
Speaker 1: to do it, but we found this interesting loophole and

501
00:29:58,680 --> 00:30:01,560
Speaker 1: got thousands of people to say letters in and said

502
00:30:01,560 --> 00:30:04,080
Speaker 1: at the bottom of the letter to the the MP police,

503
00:30:04,120 --> 00:30:07,520
Speaker 1: can you pass this on to Blair? Right, And apparently

504
00:30:08,280 --> 00:30:10,640
Speaker 1: they were obliged to pass on these letters. So Blair

505
00:30:10,760 --> 00:30:14,280
Speaker 1: was literally getting thousands and thousands and thousands and thousands

506
00:30:14,320 --> 00:30:17,600
Speaker 1: and thousands of letters, which doesn't normally happen, and he

507
00:30:17,680 --> 00:30:21,320
Speaker 1: did pass the law after much arguing and me refusing

508
00:30:21,320 --> 00:30:23,160
Speaker 1: to meet him because it was during the Iraq War

509
00:30:24,280 --> 00:30:28,880
Speaker 1: and all sorts. Yeah, well any normal human being would

510
00:30:28,960 --> 00:30:32,480
Speaker 1: be anyway, I was very glad I did it. And

511
00:30:32,520 --> 00:30:34,120
Speaker 1: the people I was working for at the time I

512
00:30:34,160 --> 00:30:36,000
Speaker 1: was it was was Friends of the Earth, and it

513
00:30:36,040 --> 00:30:39,240
Speaker 1: was really inspiring and I became really good friends with

514
00:30:39,280 --> 00:30:40,960
Speaker 1: the guy who's running Friends of the Earth at time,

515
00:30:41,040 --> 00:30:46,480
Speaker 1: Tony Juniper, who now works with Prince Charles um And

516
00:30:46,480 --> 00:30:48,680
Speaker 1: and it was a great period. But I just it

517
00:30:48,720 --> 00:30:52,320
Speaker 1: burnt me out getting that close to politics. The most

518
00:30:52,320 --> 00:30:55,680
Speaker 1: fascinating figure that we work with was the lobbyist that

519
00:30:55,760 --> 00:30:59,840
Speaker 1: we had, our one lobbyist, So like we went into

520
00:31:00,120 --> 00:31:02,400
Speaker 1: this port Color's house in Britain. You probably have the

521
00:31:02,400 --> 00:31:04,440
Speaker 1: equivalent here. I don't know what it's called. But port

522
00:31:04,480 --> 00:31:08,360
Speaker 1: Color's house was built for the lobbyists. It was built

523
00:31:08,400 --> 00:31:11,200
Speaker 1: for special interests to go and sit with a cup

524
00:31:11,200 --> 00:31:14,640
Speaker 1: of coffee, round table about this size and wait for

525
00:31:14,800 --> 00:31:19,240
Speaker 1: MPs to go past, Color them, sit them down and

526
00:31:19,480 --> 00:31:24,320
Speaker 1: lobby them in big capital building. Anyway, I found it

527
00:31:24,360 --> 00:31:26,960
Speaker 1: completely fascinating, you know, because it's There's hundreds of these

528
00:31:26,960 --> 00:31:31,120
Speaker 1: people walking around, and I'm like, none of them are

529
00:31:31,320 --> 00:31:35,440
Speaker 1: lobbying for us. So when you maybe possibly could argue

530
00:31:35,480 --> 00:31:38,040
Speaker 1: that our one mate friends of the earth, it was like, technically,

531
00:31:38,080 --> 00:31:40,240
Speaker 1: you know, maybe speaking for the people a little bit,

532
00:31:40,520 --> 00:31:45,320
Speaker 1: but basically they were all special interests and they had

533
00:31:45,360 --> 00:31:47,320
Speaker 1: the ear of government. And I just thought, hang on,

534
00:31:47,720 --> 00:31:50,720
Speaker 1: hang on a minute, how did this happen? Anyway? Where

535
00:31:50,760 --> 00:31:53,360
Speaker 1: were we a minute ago? Where I want to go? Okay,

536
00:31:53,400 --> 00:31:56,080
Speaker 1: go and let go there? Your children? Oh no, no,

537
00:31:56,240 --> 00:31:58,479
Speaker 1: that's too much for a job. Hang on, where were

538
00:31:58,560 --> 00:32:03,360
Speaker 1: Let's finish with this first? Uh no? Then your children?

539
00:32:03,400 --> 00:32:05,760
Speaker 1: I'm lost. Now do your children know who you are

540
00:32:05,800 --> 00:32:09,440
Speaker 1: and what you do? Yep, they're used to it. They're

541
00:32:09,480 --> 00:32:12,120
Speaker 1: used to people coming up and saying hello. But most

542
00:32:12,120 --> 00:32:16,360
Speaker 1: of the time it's very friendly, and that's normal. That's

543
00:32:16,400 --> 00:32:20,040
Speaker 1: their normal. That's what they've grown up in. Old twelve

544
00:32:20,080 --> 00:32:23,960
Speaker 1: and seven So one seven the age that you decided

545
00:32:24,000 --> 00:32:29,600
Speaker 1: you wanted to be Brian May and by then he's

546
00:32:29,840 --> 00:32:32,400
Speaker 1: he he would already have made his guitar with that neck.

547
00:32:32,480 --> 00:32:35,440
Speaker 1: That was eleven, I think you said, So where are

548
00:32:35,440 --> 00:32:39,160
Speaker 1: they at? Musically? Um? My son is a great drummer,

549
00:32:39,440 --> 00:32:41,000
Speaker 1: but I don't know if you want to do that

550
00:32:41,120 --> 00:32:43,560
Speaker 1: forever or not. He's like not bothered really, which is cool.

551
00:32:43,720 --> 00:32:46,040
Speaker 1: You know, he just and he comes and hangs out

552
00:32:46,080 --> 00:32:48,160
Speaker 1: with me when I'm working in my studio. We just

553
00:32:48,240 --> 00:32:51,080
Speaker 1: hang out. You know, we're friends. But I don't think

554
00:32:51,160 --> 00:32:54,600
Speaker 1: you know, they're burning ambition to be musicians or anything. Really,

555
00:32:54,600 --> 00:32:58,239
Speaker 1: even though he's really good, he's for pleasure. I mean

556
00:32:58,280 --> 00:33:00,520
Speaker 1: at that age, that's good, right his father? It affected

557
00:33:00,600 --> 00:33:10,640
Speaker 1: your work, um, yes, but not really that you have

558
00:33:10,680 --> 00:33:13,120
Speaker 1: the obvious things where you go round on the road

559
00:33:13,120 --> 00:33:19,200
Speaker 1: more if you didn't have children. Yep, absolutely, But that's

560
00:33:19,200 --> 00:33:22,960
Speaker 1: not necessarily a bad thing at all. You know, being

561
00:33:23,000 --> 00:33:26,720
Speaker 1: on the road is is it's a it's not a

562
00:33:26,760 --> 00:33:29,880
Speaker 1: great it's it's you don't want to do it all

563
00:33:29,920 --> 00:33:31,320
Speaker 1: your life. You get a little bit on, it gets

564
00:33:31,320 --> 00:33:37,240
Speaker 1: a little unhealthy quite quickly mentally, if not physically has

565
00:33:37,320 --> 00:33:40,840
Speaker 1: been difficult for you. Mentally, it can be differently. It

566
00:33:40,840 --> 00:33:45,040
Speaker 1: means it's it's wicked fun, but too much. It's either

567
00:33:45,040 --> 00:33:48,160
Speaker 1: wicked fun or really awful, like when you're sick. Then

568
00:33:48,160 --> 00:33:50,800
Speaker 1: it gets really it's a roll barmber man to get

569
00:33:50,800 --> 00:33:53,560
Speaker 1: out there. Yeah, try to sing your way through the

570
00:33:53,600 --> 00:33:55,960
Speaker 1: notes that you can't find because you're so sick, cool

571
00:33:56,040 --> 00:34:00,200
Speaker 1: or whatever. That's really super stressful. But you know, is

572
00:34:00,200 --> 00:34:13,200
Speaker 1: a massive buzz. There's no denying it. It's great. But

573
00:34:13,320 --> 00:34:15,520
Speaker 1: Tom York is the first to admit that it takes

574
00:34:15,600 --> 00:34:18,720
Speaker 1: work to keep it fun in the studio and on tour.

575
00:34:19,120 --> 00:34:21,640
Speaker 1: It's very difficult to play with people you don't if

576
00:34:21,640 --> 00:34:25,640
Speaker 1: there's problems between you, for example, if the issues come up.

577
00:34:25,800 --> 00:34:28,400
Speaker 1: I mean, I'm very much I'm a Libran and I

578
00:34:28,480 --> 00:34:31,240
Speaker 1: need to sort of out. I can't have stuff hanging around,

579
00:34:31,880 --> 00:34:34,120
Speaker 1: you know, because it gets in the way. More in

580
00:34:34,160 --> 00:34:37,160
Speaker 1: a minute with Tom York, this is Alec Baldwin and

581
00:34:37,239 --> 00:34:51,000
Speaker 1: you're listening to Here's the thing. Given the level of

582
00:34:51,040 --> 00:34:54,680
Speaker 1: success that Radiohead has reached, I did have certain expectations

583
00:34:54,680 --> 00:34:57,719
Speaker 1: of Tom's lifestyle. I mean, I'm assuming you're in a

584
00:34:57,800 --> 00:35:01,120
Speaker 1: world where that your phone must have rang it maybe

585
00:35:01,160 --> 00:35:04,120
Speaker 1: it's stopped because because you kept saying no. But maybe

586
00:35:04,160 --> 00:35:06,880
Speaker 1: everybody's like, you know, Barno wants to pick you up

587
00:35:06,920 --> 00:35:12,800
Speaker 1: tomorrow and fly you too. St Bart's Yeah, that never appealed.

588
00:35:13,800 --> 00:35:15,799
Speaker 1: I don't hang out with people because they are who

589
00:35:15,800 --> 00:35:19,160
Speaker 1: they are. Necessarily unless I'm a big admirer of them,

590
00:35:19,200 --> 00:35:21,600
Speaker 1: Like I mean, I stalked at Norton for ages until

591
00:35:21,640 --> 00:35:24,480
Speaker 1: eventually gave in because because I'm a big admire of him,

592
00:35:24,520 --> 00:35:26,480
Speaker 1: I think it's brilliant. So I hang out with him

593
00:35:26,480 --> 00:35:32,200
Speaker 1: a bit occasionally. Um And I've always really admired Fulle anyway,

594
00:35:32,400 --> 00:35:34,600
Speaker 1: So even before it became an issue of sort of

595
00:35:34,600 --> 00:35:38,440
Speaker 1: playing no tangentially related to that. As you've gotten older

596
00:35:38,719 --> 00:35:41,600
Speaker 1: and you look around the musical landscape, what you see

597
00:35:41,640 --> 00:35:43,879
Speaker 1: does it appeal to you? Meaning of the music that's

598
00:35:43,960 --> 00:35:48,319
Speaker 1: popular music? I mean, what's selling now the most successfully?

599
00:35:48,520 --> 00:35:51,600
Speaker 1: Have you moved into a different place with that? Or

600
00:35:51,640 --> 00:35:53,600
Speaker 1: do you admire a lot of what's being done? Is

601
00:35:53,680 --> 00:35:56,880
Speaker 1: your in the mainstream? In the mainstream? There's nothing in

602
00:35:56,920 --> 00:35:59,400
Speaker 1: the mainstream. The mainstream is just a void, you know.

603
00:35:59,520 --> 00:36:03,800
Speaker 1: To me, I mean, what's weird about putting a record out? Now? Really?

604
00:36:03,880 --> 00:36:05,919
Speaker 1: And this is not like sour grapes at all. It's

605
00:36:05,960 --> 00:36:09,239
Speaker 1: just the fact the volume, literally the sheer volume and

606
00:36:09,239 --> 00:36:12,960
Speaker 1: stuff that gets put out. It's like this huge fucking

607
00:36:12,960 --> 00:36:15,839
Speaker 1: waterfall and you're just throwing your pebble in and it

608
00:36:15,960 --> 00:36:21,040
Speaker 1: carries on down the waterfall and that's that right, Okay. Next, basically,

609
00:36:21,160 --> 00:36:23,520
Speaker 1: you know, like in this country, the radio is tied

610
00:36:23,640 --> 00:36:26,319
Speaker 1: up and people don't really listen to radio in the

611
00:36:26,360 --> 00:36:29,480
Speaker 1: same way. It's it's music is going through a weird

612
00:36:29,520 --> 00:36:35,480
Speaker 1: time because on the one hand, as ever, there's always

613
00:36:35,600 --> 00:36:38,640
Speaker 1: really exciting music being made. It's never not being made.

614
00:36:38,800 --> 00:36:40,600
Speaker 1: It's a question of whether you're going to get to

615
00:36:40,640 --> 00:36:43,960
Speaker 1: hear it or not. And I mean I kind of

616
00:36:44,000 --> 00:36:46,080
Speaker 1: I kind of knew the game was up a few

617
00:36:46,200 --> 00:36:49,480
Speaker 1: years ago when one of our sort of team of

618
00:36:49,520 --> 00:36:55,080
Speaker 1: people came in saying, Nokia wanted to offer you millions

619
00:36:55,080 --> 00:36:58,840
Speaker 1: of pounds because they want content for their phones. And

620
00:36:58,920 --> 00:37:01,280
Speaker 1: this is like in two and I don't know, early

621
00:37:01,320 --> 00:37:04,680
Speaker 1: two thousand and you like content? What you know content?

622
00:37:05,200 --> 00:37:10,880
Speaker 1: What do you mean music? Yes? Okay? Content maybe that yes? Yeah?

623
00:37:11,280 --> 00:37:14,960
Speaker 1: Just could be music stuff, Yeah, stuff could be snoring.

624
00:37:15,120 --> 00:37:18,080
Speaker 1: Have you got some stuff? You know? And you're like okay,

625
00:37:18,520 --> 00:37:20,440
Speaker 1: And I think really that my problem with it is

626
00:37:20,480 --> 00:37:22,640
Speaker 1: it's like it's now like something to fill up the

627
00:37:22,680 --> 00:37:26,040
Speaker 1: hard ware with. You know, the music itself has become

628
00:37:26,040 --> 00:37:28,160
Speaker 1: secondary to that, which is a weird thing to me.

629
00:37:28,280 --> 00:37:30,560
Speaker 1: Is like and I think that will change because there's

630
00:37:30,600 --> 00:37:33,080
Speaker 1: only so many different permutations of the same hardware you

631
00:37:33,080 --> 00:37:35,000
Speaker 1: can make before people go, well, actually I have an

632
00:37:35,040 --> 00:37:38,960
Speaker 1: iPod now, so thanks. So I think things will change,

633
00:37:39,000 --> 00:37:42,600
Speaker 1: and I think the radio will change, and sooner the better,

634
00:37:42,920 --> 00:37:45,520
Speaker 1: because no matter what way you look at it, the

635
00:37:45,600 --> 00:37:49,400
Speaker 1: most pleasurable experiences you ever have is like when something's

636
00:37:49,440 --> 00:37:51,680
Speaker 1: played to you don't know, We're like going around to

637
00:37:51,760 --> 00:37:53,640
Speaker 1: friend's house and they'll stick a tune on your like,

638
00:37:53,719 --> 00:37:57,160
Speaker 1: what the hell's there? You know, which is what it's about?

639
00:37:57,280 --> 00:37:59,400
Speaker 1: You know, that's what Or like going into a store

640
00:37:59,400 --> 00:38:02,640
Speaker 1: when I was a kid, like and then Smiths Records

641
00:38:02,640 --> 00:38:04,320
Speaker 1: come out, and like and I'm going up to the

642
00:38:04,360 --> 00:38:06,239
Speaker 1: guy I think. I was, like he's really cool, like

643
00:38:06,360 --> 00:38:08,319
Speaker 1: the indie store in town and just talking to him

644
00:38:08,320 --> 00:38:11,520
Speaker 1: about music for twenty minutes, you know. And you know,

645
00:38:11,960 --> 00:38:14,680
Speaker 1: now everywhere you go, music is everywhere. It's everywhere, But

646
00:38:14,760 --> 00:38:17,480
Speaker 1: it's not like, yeah, that's what I'm saying. It's content. Yeah,

647
00:38:17,480 --> 00:38:21,640
Speaker 1: it's content. Is king that bullshit will change, And when

648
00:38:21,680 --> 00:38:25,120
Speaker 1: it does, then I think we'll have a resurgence. The

649
00:38:25,360 --> 00:38:30,279
Speaker 1: underbelly will come back overbelly, and then well with its

650
00:38:30,320 --> 00:38:33,479
Speaker 1: middle aged will be overbelly. Well you have a ways

651
00:38:33,520 --> 00:38:35,960
Speaker 1: to go there. I'm gonna be taking some slimming bills. Yeah,

652
00:38:36,080 --> 00:38:38,520
Speaker 1: but now in the way that you talked about this

653
00:38:38,600 --> 00:38:42,319
Speaker 1: pebble in the baderfall and content and music marketing. Now,

654
00:38:42,520 --> 00:38:46,359
Speaker 1: so if that changes, certainly, which it has, does your

655
00:38:46,400 --> 00:38:50,200
Speaker 1: willingness to release your music into that world change? Like,

656
00:38:50,239 --> 00:38:52,759
Speaker 1: for example, an obvious example, maybe too obvious, is you

657
00:38:52,760 --> 00:38:55,279
Speaker 1: don't want to play Creep anymore. Now you sit there

658
00:38:55,280 --> 00:38:57,080
Speaker 1: and say, like if the Sultan of Brunei I called

659
00:38:57,080 --> 00:38:59,080
Speaker 1: you up and said, I want you to come to

660
00:38:59,160 --> 00:39:02,840
Speaker 1: Brunei and we'll give you a million pounds, just play Creep.

661
00:39:03,280 --> 00:39:05,359
Speaker 1: I would play Creeping in the home. I would say

662
00:39:05,360 --> 00:39:09,959
Speaker 1: to something of BRUNEI, why do you have that house

663
00:39:10,000 --> 00:39:13,080
Speaker 1: near me that you never used? I get this meet

664
00:39:13,120 --> 00:39:14,799
Speaker 1: you down the block. I mean, come on, it's an

665
00:39:14,800 --> 00:39:18,040
Speaker 1: empty house, man, it must be worth whatever. That's what

666
00:39:18,120 --> 00:39:39,720
Speaker 1: I'd say. And I'd say, no, obviously, will you retire

667
00:39:39,760 --> 00:39:41,839
Speaker 1: a song that way? Why do you do that? Well?

668
00:39:42,400 --> 00:39:45,560
Speaker 1: I didn't Moss, not necessarily retire it. I mean I

669
00:39:45,600 --> 00:39:48,320
Speaker 1: don't recognize it as me, which is kind of quite interesting.

670
00:39:48,600 --> 00:39:51,279
Speaker 1: When I hear Elain just that voice, I don't even

671
00:39:51,320 --> 00:39:58,239
Speaker 1: recognize that it's kind of odd. Whatever you want, it's

672
00:39:58,320 --> 00:40:04,640
Speaker 1: so fucking special. But then I remember hearing I remember

673
00:40:04,640 --> 00:40:09,160
Speaker 1: hearing Lee read like on some radio station in Dublin

674
00:40:09,719 --> 00:40:12,760
Speaker 1: years and years ago, and they were asking inevitably about

675
00:40:12,840 --> 00:40:15,680
Speaker 1: underground and they said, yeah, well sometimes it comes on.

676
00:40:15,760 --> 00:40:17,799
Speaker 1: I'm like, well, this is cool. What's this? And then

677
00:40:17,840 --> 00:40:22,080
Speaker 1: I realized it's about the underground? Wow, yeah, I kind

678
00:40:22,080 --> 00:40:23,400
Speaker 1: of know what he means. Sort of you get to

679
00:40:23,400 --> 00:40:37,399
Speaker 1: the point where like, what's that? So you're forty three

680
00:40:37,440 --> 00:40:41,080
Speaker 1: years old, forty four years old? But it's just our

681
00:40:41,120 --> 00:40:43,319
Speaker 1: professional courtesy that we shave a year off of all

682
00:40:43,360 --> 00:40:46,120
Speaker 1: of our already all of them, Um, you're in the

683
00:40:46,200 --> 00:40:48,319
Speaker 1: now and you're in the here or what have you.

684
00:40:48,360 --> 00:40:51,040
Speaker 1: And I I'm some saying that glibly and you're know

685
00:40:51,040 --> 00:40:53,600
Speaker 1: what I'm saying, But you're not somebody who like Mick Jagger,

686
00:40:53,640 --> 00:40:55,680
Speaker 1: for example, Like I wonder if Mick Jagger is going

687
00:40:55,760 --> 00:40:57,799
Speaker 1: to hit a day, like does it happen in a day?

688
00:40:58,400 --> 00:41:00,880
Speaker 1: Like as Mick Jagger in bed one day and he

689
00:41:01,000 --> 00:41:03,400
Speaker 1: picks up the phony, He's like, you know, I just

690
00:41:03,520 --> 00:41:06,200
Speaker 1: can't do it anymore. I can't get out of this bed.

691
00:41:06,880 --> 00:41:10,920
Speaker 1: I can't do another fucking show again and it's over.

692
00:41:11,840 --> 00:41:14,160
Speaker 1: Do you think of other things? I think all the

693
00:41:14,280 --> 00:41:18,160
Speaker 1: time of the next thing I'm gonna do. Yeah, the

694
00:41:18,280 --> 00:41:19,840
Speaker 1: next thing. You don't have to tell us what it is,

695
00:41:19,880 --> 00:41:27,960
Speaker 1: but you know, uh no, I mean it would end

696
00:41:28,040 --> 00:41:31,920
Speaker 1: if someone happened to my voice. I don't know. Certain

697
00:41:31,920 --> 00:41:34,280
Speaker 1: things could make it physically stop, and it will stop

698
00:41:34,280 --> 00:41:40,319
Speaker 1: at some point, something will happen. But for me, I'm yeah,

699
00:41:40,360 --> 00:41:43,520
Speaker 1: I'm always hearing different things. There's always half finished things,

700
00:41:43,560 --> 00:41:45,799
Speaker 1: which you ask poor old Nigel, he knows about that.

701
00:41:46,280 --> 00:41:49,120
Speaker 1: There's always a mountain of half stuff. I want to

702
00:41:49,160 --> 00:41:52,200
Speaker 1: get into, stuff I've started, stuff I want to you know.

703
00:41:52,400 --> 00:41:56,319
Speaker 1: But I also think it's good to sort of take

704
00:41:56,400 --> 00:41:59,759
Speaker 1: breaks because I've gone straight from this radio tour last year,

705
00:41:59,760 --> 00:42:02,359
Speaker 1: which was a really heavy mother but really good fun,

706
00:42:02,800 --> 00:42:05,719
Speaker 1: straight into doing sort of atoms fee stuff and not

707
00:42:05,760 --> 00:42:08,719
Speaker 1: really had a break. And to break is do. A

708
00:42:08,760 --> 00:42:11,600
Speaker 1: break is do because what I've found with a break

709
00:42:11,760 --> 00:42:14,319
Speaker 1: is can be an incredibly exciting thing with that thing

710
00:42:14,320 --> 00:42:16,960
Speaker 1: of like you just all the stuff you want to do,

711
00:42:17,000 --> 00:42:19,560
Speaker 1: but you just force yourself not just force yourself to

712
00:42:19,640 --> 00:42:24,279
Speaker 1: wait and get back into just time and space and

713
00:42:24,600 --> 00:42:28,479
Speaker 1: um yeah, not being in music all the time, I think,

714
00:42:28,719 --> 00:42:32,640
Speaker 1: because it's like anything, you start to go in small circles,

715
00:42:32,840 --> 00:42:34,879
Speaker 1: so you've got to stop when that happens. I've had

716
00:42:34,920 --> 00:42:37,680
Speaker 1: to practice that now. I mean, I got married again

717
00:42:37,800 --> 00:42:40,000
Speaker 1: and my wife is pregnant and I'm going to have

718
00:42:40,000 --> 00:42:43,560
Speaker 1: a kid, and I really sat and thought about that

719
00:42:43,640 --> 00:42:48,120
Speaker 1: way that I want to have a more ordinary and

720
00:42:48,239 --> 00:42:52,719
Speaker 1: more normal handling of my emotions. I think the best

721
00:42:52,719 --> 00:42:54,399
Speaker 1: way to put it iss where people in my business say,

722
00:42:54,440 --> 00:42:56,480
Speaker 1: which is would you rather live it in real life

723
00:42:56,520 --> 00:42:59,520
Speaker 1: or word you rather playing on screen? And I'm thinking

724
00:42:59,640 --> 00:43:01,319
Speaker 1: I want to walk away from because I'd rather live

725
00:43:01,360 --> 00:43:03,320
Speaker 1: it in real life now than play it on screen.

726
00:43:03,880 --> 00:43:07,880
Speaker 1: I think with what I do, it's slightly different because

727
00:43:07,880 --> 00:43:10,440
Speaker 1: what I would I do it actually unless you you

728
00:43:10,680 --> 00:43:15,280
Speaker 1: literally are spending, unless you are just literally working too hard.

729
00:43:15,920 --> 00:43:21,120
Speaker 1: It's a regenerative thing. I find that I'm well, I mean,

730
00:43:21,200 --> 00:43:24,240
Speaker 1: my family, my friends know that I'm a nicer person.

731
00:43:24,560 --> 00:43:27,279
Speaker 1: If I'm working and I'm into what I'm doing. Then

732
00:43:27,320 --> 00:43:31,719
Speaker 1: if I stop, there is a period where I'm fairly unbearable.

733
00:43:31,760 --> 00:43:36,919
Speaker 1: If I do stop, yeah, for too long, probably, Yeah,

734
00:43:36,920 --> 00:43:40,920
Speaker 1: there's a threshold. But like if you want to shift

735
00:43:41,480 --> 00:43:43,640
Speaker 1: right with your work. If you want to shift, if

736
00:43:43,640 --> 00:43:47,520
Speaker 1: you're writing, if you're being creative over all, you kind

737
00:43:47,560 --> 00:43:51,960
Speaker 1: of have to stop to make that shift, because if

738
00:43:51,960 --> 00:43:55,800
Speaker 1: you just I'm constantly creating, I've got this mountain of

739
00:43:55,960 --> 00:44:00,320
Speaker 1: brilliant ideas. You're making the basic mistake that you're assuming

740
00:44:00,360 --> 00:44:03,400
Speaker 1: all our ideas are brilliant, where in fact, actually the

741
00:44:03,440 --> 00:44:06,080
Speaker 1: more you do they're probably the more it kind of

742
00:44:06,120 --> 00:44:09,399
Speaker 1: your thing in reverse, because actually I need to go

743
00:44:09,560 --> 00:44:13,200
Speaker 1: and do normal ship. I need to. I can't write

744
00:44:13,440 --> 00:44:18,879
Speaker 1: unless I have a period where restored. Well, no, it's

745
00:44:18,920 --> 00:44:24,600
Speaker 1: not restored, just just reset. I'm like just normal, normal, normal, normal, normal,

746
00:44:24,640 --> 00:44:28,279
Speaker 1: normal normal. Speaking of normal, do you have siblings? Yeah?

747
00:44:28,880 --> 00:44:30,520
Speaker 1: What do you have a brother? What does he do?

748
00:44:31,040 --> 00:44:39,080
Speaker 1: Russian politics and stuff? He teaches? No, he'sa town. What

749
00:44:39,120 --> 00:44:42,880
Speaker 1: do you mean all sorts of ship investigations on people?

750
00:44:44,200 --> 00:44:48,560
Speaker 1: Studied Russian Oxford and then went into there is? Are

751
00:44:48,560 --> 00:44:52,680
Speaker 1: your parents all there? What do your I always love

752
00:44:52,680 --> 00:44:55,880
Speaker 1: people in your business above all? What do your parents

753
00:44:55,880 --> 00:44:58,920
Speaker 1: and your brother make of you? Going from being Tom

754
00:44:59,040 --> 00:45:03,239
Speaker 1: York Tom to becoming Tom York. Well, my brother was

755
00:45:03,280 --> 00:45:05,000
Speaker 1: in a band of his own for a while as well,

756
00:45:05,040 --> 00:45:07,920
Speaker 1: so he has slightly like you can see what it

757
00:45:08,000 --> 00:45:11,000
Speaker 1: is from another point of view. What do my parents think?

758
00:45:11,040 --> 00:45:14,560
Speaker 1: I don't know. They like when I was a kid,

759
00:45:14,600 --> 00:45:17,520
Speaker 1: they didn't approve. Now that I'm happy, why do you

760
00:45:17,520 --> 00:45:20,560
Speaker 1: go into advertising? Yes, well, you know it was like

761
00:45:20,640 --> 00:45:23,080
Speaker 1: fair enough. I was I piste off with him at

762
00:45:23,080 --> 00:45:25,359
Speaker 1: the time, but you know, it's kind of what that's

763
00:45:25,360 --> 00:45:27,719
Speaker 1: what you do, isn't it. I mean Abody's parents. Right

764
00:45:28,000 --> 00:45:30,759
Speaker 1: when I left a pre law program and I was

765
00:45:30,840 --> 00:45:32,640
Speaker 1: destined to go to law school and I went into

766
00:45:32,680 --> 00:45:36,200
Speaker 1: the acting program, my mother was She literally screamed at

767
00:45:36,239 --> 00:45:38,640
Speaker 1: me over the part. My mom was very upset when

768
00:45:38,640 --> 00:45:41,240
Speaker 1: I when I chose to go to art college, because

769
00:45:41,239 --> 00:45:42,960
Speaker 1: she'd been to art college, and she said, it's complete

770
00:45:43,000 --> 00:45:46,120
Speaker 1: waste of time, don't mother. I when it became successful

771
00:45:46,120 --> 00:45:48,279
Speaker 1: with my business, mother was like, I'm so proud of him.

772
00:45:48,480 --> 00:45:52,040
Speaker 1: Oh my god, this is wonderful. Yeah, it's kind of

773
00:45:52,080 --> 00:45:55,080
Speaker 1: bond because like seeing them backstage at a really big

774
00:45:55,120 --> 00:45:56,480
Speaker 1: show that will come to a big show and then

775
00:45:56,520 --> 00:45:58,479
Speaker 1: there's all sorts of ship came off with my mates.

776
00:45:58,480 --> 00:46:00,640
Speaker 1: They're doing whatever, you know, and there's my mom and

777
00:46:00,680 --> 00:46:05,319
Speaker 1: the going that was fun Courtney beer or whatever. When

778
00:46:05,320 --> 00:46:09,799
Speaker 1: you do step away from it. Whether there art are you?

779
00:46:10,040 --> 00:46:13,719
Speaker 1: Are you interested in art? Photography? Well, my mate theater film,

780
00:46:13,719 --> 00:46:16,480
Speaker 1: my mate Stanley don Wood, who I went to art

781
00:46:16,480 --> 00:46:19,719
Speaker 1: college with, who does all our art work with. I

782
00:46:19,719 --> 00:46:22,200
Speaker 1: mean I do it with him kind of thing. We

783
00:46:22,200 --> 00:46:24,239
Speaker 1: we always have these lovely plans about we want to

784
00:46:24,239 --> 00:46:26,400
Speaker 1: go and live in Berlin for a month and just

785
00:46:26,640 --> 00:46:29,319
Speaker 1: paint and get in trouble and things like that. We

786
00:46:29,400 --> 00:46:31,799
Speaker 1: call ourselves the Sunday Painters and we go on bad

787
00:46:31,800 --> 00:46:37,440
Speaker 1: painting trips. We did one where um they're bad painting

788
00:46:37,440 --> 00:46:40,799
Speaker 1: trips because I'm involved. There was one one of my

789
00:46:40,840 --> 00:46:44,680
Speaker 1: favorite ones was we went on the moors down in Cornwall.

790
00:46:45,920 --> 00:46:47,160
Speaker 1: Do you know what I mean by the moors and

791
00:46:47,239 --> 00:46:51,040
Speaker 1: Dartmore basically, which is very very very bleak but really beautiful.

792
00:46:51,800 --> 00:46:55,040
Speaker 1: We're in the stone Circle, drove part of the way,

793
00:46:55,120 --> 00:46:57,120
Speaker 1: walked the rest of the way with these big canvases

794
00:46:57,920 --> 00:47:01,440
Speaker 1: and paints. But we only discovered we only have purple

795
00:47:01,520 --> 00:47:04,960
Speaker 1: and blue and yellow, so we thought, okay, we'll use that,

796
00:47:05,280 --> 00:47:09,240
Speaker 1: and we painted landscape all afternoon, but they were purple

797
00:47:09,320 --> 00:47:12,520
Speaker 1: and blue and yellow. Some poor woman I remember coming

798
00:47:12,560 --> 00:47:15,920
Speaker 1: like late afternoon, coming and ask us asking us for directions.

799
00:47:15,920 --> 00:47:19,480
Speaker 1: We're both sitting there, you know, cavases up like this,

800
00:47:19,560 --> 00:47:21,640
Speaker 1: all huddled up with the hood hoods on, you know,

801
00:47:22,400 --> 00:47:27,760
Speaker 1: just doing there. And this ball woman comes up, asks

802
00:47:27,800 --> 00:47:32,880
Speaker 1: for asks directions somewhere rather and then looks at the paintings.

803
00:47:32,880 --> 00:47:39,160
Speaker 1: That just wanders off like good luck. I hope you're

804
00:47:39,160 --> 00:47:41,800
Speaker 1: not counting. I was like, didn't think the purple's working.

805
00:47:42,640 --> 00:47:44,719
Speaker 1: It was like me being in Italy and this beautiful

806
00:47:44,760 --> 00:47:46,880
Speaker 1: couple they were like later they were older, and the

807
00:47:46,960 --> 00:47:48,200
Speaker 1: men walked up to me in the camera and he

808
00:47:48,239 --> 00:47:51,960
Speaker 1: said schools, schools as a photo, and he's pointing to

809
00:47:52,040 --> 00:47:54,120
Speaker 1: me and his wife. He's triangularly and I go, oh.

810
00:47:54,120 --> 00:47:55,719
Speaker 1: When I put my arm around his wife to take

811
00:47:55,719 --> 00:47:58,279
Speaker 1: a photo, he goes, no, no, you photo of my

812
00:47:58,280 --> 00:48:03,120
Speaker 1: way and yeah, you take the mountain in the background.

813
00:48:03,239 --> 00:48:05,719
Speaker 1: And I was like, oh, god, bless. Yeah, they don't

814
00:48:05,719 --> 00:48:09,880
Speaker 1: know who I am. I should move here, I should here. Um,

815
00:48:10,040 --> 00:48:15,000
Speaker 1: you mentioned someone gave you that push his mentorship in

816
00:48:15,080 --> 00:48:18,040
Speaker 1: your career. Do people come to you and do you

817
00:48:18,080 --> 00:48:22,239
Speaker 1: give them a push a little bit? I mean you

818
00:48:22,320 --> 00:48:23,879
Speaker 1: must have a lot of people in the music world,

819
00:48:23,960 --> 00:48:28,000
Speaker 1: young people who look up to you. Um, one of

820
00:48:28,000 --> 00:48:32,279
Speaker 1: the best buzzes really is that thing where someone comes

821
00:48:32,360 --> 00:48:35,799
Speaker 1: up who's new and they're really into you know, I'm

822
00:48:35,840 --> 00:48:37,879
Speaker 1: really into what they're doing. It's really fascinating and it's

823
00:48:37,880 --> 00:48:42,560
Speaker 1: really totally new to me. But yet the occasions when

824
00:48:42,960 --> 00:48:45,040
Speaker 1: off of you yeah, and you're like, how could you

825
00:48:45,080 --> 00:48:47,640
Speaker 1: how could you feel off me? I don't see any

826
00:48:47,719 --> 00:48:52,240
Speaker 1: of my stuff, yeah, but they see it, and I'm like, wow,

827
00:48:52,280 --> 00:48:55,200
Speaker 1: that's so cool, especially when it's like like it's in

828
00:48:55,280 --> 00:48:58,359
Speaker 1: hip hop and like really, you know, people within hip

829
00:48:58,360 --> 00:49:00,680
Speaker 1: hop who are into Radiohead. I'm like, I find that

830
00:49:00,880 --> 00:49:04,640
Speaker 1: so fascinating because i mean, obviously I'm massively into hip hop,

831
00:49:04,640 --> 00:49:07,080
Speaker 1: and we've we use hip hop as a reference point

832
00:49:07,120 --> 00:49:10,320
Speaker 1: in the way we build tracks and stuff. But but really, wow,

833
00:49:10,400 --> 00:49:13,280
Speaker 1: that's bonkers. Obviously that's one of the really good bits.

834
00:49:13,760 --> 00:49:17,839
Speaker 1: But it's not really mental ship. It's just people who

835
00:49:17,880 --> 00:49:21,120
Speaker 1: you admire good at their ship. You know, when it happens,

836
00:49:21,160 --> 00:49:28,680
Speaker 1: it happens. How does success make you feel? How does

837
00:49:28,719 --> 00:49:33,960
Speaker 1: it make me feel? Really something which which I think

838
00:49:34,080 --> 00:49:44,839
Speaker 1: is well has it made me feel? It's always been

839
00:49:44,840 --> 00:49:49,160
Speaker 1: a little bit far away from me, and the only

840
00:49:49,200 --> 00:49:51,560
Speaker 1: time it sort of makes sense is when we play

841
00:49:51,760 --> 00:49:53,960
Speaker 1: in front of people you know, and the rest of

842
00:49:54,000 --> 00:49:57,480
Speaker 1: the time, it's like, well, it's it's just it's who

843
00:49:57,520 --> 00:50:01,760
Speaker 1: I've been for so long. I can't tell you because

844
00:50:01,760 --> 00:50:06,160
Speaker 1: it's just that's what it is. And I think I've

845
00:50:06,160 --> 00:50:08,799
Speaker 1: probably been doing it more than I haven't in my

846
00:50:08,880 --> 00:50:12,439
Speaker 1: life in terms of years, in terms of time. So

847
00:50:13,320 --> 00:50:15,920
Speaker 1: most of the time I don't really notice. Some people

848
00:50:15,920 --> 00:50:17,920
Speaker 1: come up and I go, well, that's nice, you know,

849
00:50:18,120 --> 00:50:20,240
Speaker 1: thanks very much. And it's not like I'm not grateful.

850
00:50:20,280 --> 00:50:23,879
Speaker 1: I'm just I just don't notice. And then sometimes something

851
00:50:23,920 --> 00:50:26,280
Speaker 1: will whack you over the head and you go blidy

852
00:50:26,600 --> 00:50:28,480
Speaker 1: things like doing the first time we did Saturday in

853
00:50:28,480 --> 00:50:32,160
Speaker 1: our life, for example, and you go, really, people give

854
00:50:32,200 --> 00:50:35,360
Speaker 1: a ship, because sometimes you can't. You don't know, you

855
00:50:35,400 --> 00:50:38,840
Speaker 1: don't know you've got on the inside. You can't see it.

856
00:50:38,920 --> 00:50:43,040
Speaker 1: And and and also we've spent so long running away

857
00:50:43,040 --> 00:50:44,879
Speaker 1: from it, and I don't feel like a run away

858
00:50:44,880 --> 00:50:49,239
Speaker 1: from it now because there's nowhere to run run, no

859
00:50:49,280 --> 00:50:52,680
Speaker 1: where to run. And also it is like, yeah, I'm

860
00:50:52,719 --> 00:50:56,560
Speaker 1: really grateful for I'm very incredibly lucky. It's a very

861
00:50:56,560 --> 00:50:59,600
Speaker 1: good point. There's nowhere to run and still do it. Yeah,

862
00:50:59,800 --> 00:51:02,880
Speaker 1: I mean, I just think I'm well Jammy. As we

863
00:51:03,040 --> 00:51:06,799
Speaker 1: take it's just really jammy, especially in the US, you know,

864
00:51:07,000 --> 00:51:09,600
Speaker 1: like people really give a ship and it's like, well,

865
00:51:09,680 --> 00:51:11,680
Speaker 1: that's amazing. I guess I have one more question was

866
00:51:11,960 --> 00:51:14,640
Speaker 1: what does well Jammy mean. I don't know, really, you

867
00:51:14,719 --> 00:51:19,400
Speaker 1: don't know. Jammie is like, um, yeah, it's so Jammy,

868
00:51:19,680 --> 00:51:25,520
Speaker 1: like you just I'm dating myself. It's a total float man,

869
00:51:25,719 --> 00:51:28,920
Speaker 1: it's not really. You're just lucky. I mean I'm British, right,

870
00:51:28,960 --> 00:51:32,120
Speaker 1: so I assume I'm just lucky. There's no skill involved.

871
00:51:32,160 --> 00:51:47,080
Speaker 1: I'm Jammy. This is from Tom York's most recent album, Amock.

872
00:51:47,640 --> 00:51:50,440
Speaker 1: He'll be touring in support of the album later this year.

873
00:51:50,960 --> 00:51:54,560
Speaker 1: Find out more on our website Here's the Thing dot org.

874
00:52:07,760 --> 00:52:10,960
Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.