Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.
Speaker 1: Radiohead released their stunning debut single Creep when You're In.
Speaker 1: It was quiet, yet explosive, even haunting, and its refrain
Speaker 1: had a powerful hook. Special, so fucking special. Radio Heads
Speaker 1: frontman and principal songwriter Tom York is my guest, and
Speaker 1: if it was his wish to be special, the world
Speaker 1: granted it. York's band has become a commercial and critical success,
Speaker 1: selling over thirty million albums. Radio Heads music actively resists definition.
Speaker 1: Each new album explores a different sound, delighting their followers
Speaker 1: and scooping up more fans along the way. The New
Speaker 1: York Times called Radiohead rocks most experimental top ten band,
Speaker 1: and this spirit of experimentation isn't limited to their music.
Speaker 1: In two thousand seven, York and his bandmates released In
Speaker 1: Rainbows on their website. First fans were invited to pay
Speaker 1: what they wanted for the album. Radiohead may not have
Speaker 1: been the first to thumb its nose the music industrial complex,
Speaker 1: but they might be the first to do so and
Speaker 1: sell out a major arena. That said, Tom York hasn't
Speaker 1: necessarily been comfortable under the spotlight. He complains about celebrity worship,
Speaker 1: and I wasn't sure what to expect. Actually, I've got
Speaker 1: your health food snack, did you? Yeah? Because someone told
Speaker 1: me you were like all vegetarian and that Tom your
Speaker 1: has a new record out a mark. The band called
Speaker 1: themselves Atoms for Peace. You don't do a lot of
Speaker 1: gross Were you do? What? I was an Almairs needed
Speaker 1: basis on a need to know basis? Yeah, kind of,
Speaker 1: I kind of need to explain what I'm doing a
Speaker 1: bit with the Aldams for Peace thing, just a little
Speaker 1: bit because it's something different, and some vague effort to
Speaker 1: explain myself occasionally I think is morally acceptable tell us
Speaker 1: about the Albams for Peace. Well, it's just it was.
Speaker 1: I did a record on my own called the Eraser
Speaker 1: a few years ago. Was that your first solo record? Yes,
Speaker 1: first time. I sort of worked on my own with
Speaker 1: Nigel who norm produces Radiohead and it came out it
Speaker 1: was okay, people liked it a bit. A couple of
Speaker 1: years after, I suddenly thought I really want to actually
Speaker 1: because it was all done, it was all programmed, it
Speaker 1: was all computers and stuff, and I thought, actually, I
Speaker 1: really I'm curious to know what it would be like
Speaker 1: to actually get a band together to play this, And
Speaker 1: it was an excuse to go on a jolly to
Speaker 1: l A and hang out, and I emailed friends of
Speaker 1: mine who I knew like the record. One was Flee
Speaker 1: from the Chili Peppers. One was my friend Joey, who's
Speaker 1: drummed with everybody's genius drummer from anyway. We got it
Speaker 1: together and it turned into this thing became really exciting,
Speaker 1: and we ended up calling the band Absoms for Peace
Speaker 1: and making a record out of the excitement of that.
Speaker 1: And it was all brand new to me because I've
Speaker 1: been in the same band since I was seventeen sixteen.
Speaker 1: And when you do that, when you go into another
Speaker 1: room with people, it's not so much I'm assuming and
Speaker 1: you can help me that you want to not play
Speaker 1: with those guys anymore. You just want to play with
Speaker 1: different people for a change. It was a yeah, it
Speaker 1: was a totally different process. I mean, it's it's always
Speaker 1: fun if you know what you're aiming at, if you
Speaker 1: know what the tunes are, you're not trying to write them,
Speaker 1: you're just emulating what's already been written. That makes it
Speaker 1: fun straight away because it's a different sort of creative process. Um,
Speaker 1: you're not struggling around in the dark for a way
Speaker 1: into a piece of music. You're figuring out how to
Speaker 1: strip it down to its all essentials, especially if it's
Speaker 1: something has been written on a computer and then you
Speaker 1: have to humanly won't learn how to play it. It
Speaker 1: brings in this quite interesting thing with the feel of
Speaker 1: what you're playing anyway, it's loads of different things, but
Speaker 1: it's a lot more fun, a lot more relaxed if
Speaker 1: you're not trying to write, you know, which is what
Speaker 1: also all the time what we're trying to do with Radiohead.
Speaker 1: What's the first time or first experience you had with
Speaker 1: using computers to create music? That was I think after
Speaker 1: we did Okay Computer. I finally in the late late
Speaker 1: nineties you could like go on tour with the laptop
Speaker 1: and it was powerful enough that you could record, edit,
Speaker 1: use synthesizers, bit into it and it wouldn't crash and
Speaker 1: it was fairly stable. So I first started getting into
Speaker 1: it then. And what I thought was really interesting is
Speaker 1: when we were working on Okay Computer, I started using
Speaker 1: learning the software that we were using the studio to
Speaker 1: and we were still mostly working on tape old school.
Speaker 1: But I suddenly thought, we'll hang on a minute. If
Speaker 1: I can learn how all this equipment works, I'll have
Speaker 1: a completely different way of thinking about how to write.
Speaker 1: So I forced myself to learn all all this uh,
Speaker 1: all this equipment and learn to use the laptop because
Speaker 1: a lot of music I was into was being made
Speaker 1: electronically anyway, and I kind of thought it would be
Speaker 1: interesting to do it within the band, because you know
Speaker 1: a band. Normally musicians don't fall into doing the production
Speaker 1: side of it or building the tracks. They're like, stay
Speaker 1: this side of the studio, offense with the mix and
Speaker 1: let someone tell them. So I definitely was much more
Speaker 1: into blurring that up. Did Ni produce both your solo albums?
Speaker 1: Yeah he does. He does a lot and get all
Speaker 1: of the radio, Yeah he does. When you attribute that
Speaker 1: to having that kind of faith in someone, UM, for me,
Speaker 1: it's UM you find someone you trust. I mean not
Speaker 1: all the time, and we do argue a lot, but
Speaker 1: to have someone who's like um, a sounding board all
Speaker 1: the time, it makes everything so much more fun because
Speaker 1: if you're if you're knocking out ideas, you can't edit
Speaker 1: them and knock them out at the same time, Like,
Speaker 1: if you're on stage and you're trying to get through
Speaker 1: your part or whatever, you have to have someone out
Speaker 1: front saying, okay, that's not working. I mean I do
Speaker 1: on my own a lot. I do work. You know,
Speaker 1: you generate ideas, but all I then have is a
Speaker 1: mounting ideas that gradually I don't have to sit through,
Speaker 1: and it just takes so long. It's so much more
Speaker 1: fun sharing it with someone. What did you think about
Speaker 1: your fourays into computerized music? He was into it. I
Speaker 1: did wonder when I first started doing it, but he
Speaker 1: was into it because he watched me doing it in
Speaker 1: such a different way to him. I mean, I was
Speaker 1: like a kid being given a hammer. I was just
Speaker 1: hamming away on stuff. I didn't really know what I
Speaker 1: was doing, but he was kind of fascinated about that,
Speaker 1: you know, and he'd come and literally tidy up the
Speaker 1: mess done on the computer. What were other people who
Speaker 1: were other people that were working in that in that
Speaker 1: area that you listened to Who was then? Well, then
Speaker 1: it was I was obsessed with aph X, Twin then
Speaker 1: and Oteka. There was a lot of really interesting things
Speaker 1: happening in Britain then on this label called Warp and
Speaker 1: it was it was as warp w RP, like the
Speaker 1: floor is warped after the fun Yeah, And then I say,
Speaker 1: with your accent, that could have been anyone of four
Speaker 1: wards when on this label called War War Warm, War, War,
Speaker 1: Wall War War, Whoop Yeah, saying like we're saying here
Speaker 1: in the United States War it's country and Western record
Speaker 1: bit you bottom now and there boy? So you you
Speaker 1: as you were, you were obsessed with the music that
Speaker 1: was on Whoop Records because it didn't have any guitars
Speaker 1: and I was having a troubled relationship with my guitar
Speaker 1: at the time. Is it true, Well, not really. It's
Speaker 1: just like I ended up being in a band, signing
Speaker 1: this to this big record label, and it's a band
Speaker 1: and when big letters, so certain things go with that.
Speaker 1: But yet when I was at college, I was listening
Speaker 1: to a lot of other things, and after a while
Speaker 1: it was like, oh, this is it's really annoying that
Speaker 1: I felt like we couldn't break out of that. So
Speaker 1: I just started forcing us to break out of that
Speaker 1: because it didn't make sense to me. You've been with
Speaker 1: those guys for how long? Now? We started when we're
Speaker 1: sixteen Radiohead, which is um, now I'm forty four, so
Speaker 1: that's quite a while. And some bands that have had
Speaker 1: a tremendous longevity, obviously the Rolling Stones of the premier example,
Speaker 1: they've changed partners over the years, like they were the
Speaker 1: New York Yankees. You know, there's somebody else playing in
Speaker 1: third base every four or five years. But you guys,
Speaker 1: it's the same cast of people all the sudd What
Speaker 1: do you attribute that to persistence? My great diplomatic skills.
Speaker 1: Not but there must be times when they've I mean,
Speaker 1: I'll never forget McCartney said to me, even the Beatles
Speaker 1: got tired of being the Beatles. Were the times you
Speaker 1: guys sat there and looked at each other and said,
Speaker 1: I think we're done. I do that frequently, right frequently.
Speaker 1: I mean at least the others two not as much.
Speaker 1: They just wait for me to do it. Um, but
Speaker 1: it changes so it's like, yeah, it's stick around. I'm
Speaker 1: feeling it's coming up. I mean, you know, something to
Speaker 1: do with the fact we haven't done any useful for
Speaker 1: three weeks. It goes through these phases. You know, we've
Speaker 1: grown up together. It's weird. I mean, um, so we
Speaker 1: just did a tour last year right, and it was probably,
Speaker 1: in theory, the scariest one we've ever done, because it
Speaker 1: was lots of big gigs, which I normally am spending
Speaker 1: my time trying to shy away from. Why because you
Speaker 1: can't achieve technically in a large space where you normally
Speaker 1: want to exactly that you can't get across to people
Speaker 1: the right way, I felt. So we did spend a
Speaker 1: lot of time and effort coming up with like a
Speaker 1: stage design which used screens in a certain way which
Speaker 1: made it intimate, even though you know, some nights was
Speaker 1: like thirty or forty people trying to create some sort
Speaker 1: of intimacy, and when it worked, it was insane. It
Speaker 1: was because the upside of playing to that many people
Speaker 1: is you have this really crazy collective energy that you
Speaker 1: can tap into like a crowd, you know. Thing. There's
Speaker 1: one show we did in Phoenix that sticks in my
Speaker 1: mind where there was something about maybe that it was
Speaker 1: in Phoenix and people don't get the opportunity, those sort
Speaker 1: of people don't get the opportunity to get together that
Speaker 1: often or something. There was some sort of excitement within
Speaker 1: the crowd that was so great to play with. When
Speaker 1: when we hit it musically, it felt like the whole room,
Speaker 1: the whole of the building was moving. Honestly, we both
Speaker 1: came off, you know, and it's bob. I understand that
Speaker 1: not from my own experience, but from seeing artists perform.
Speaker 1: You know. I often asked myself, why the hell would
Speaker 1: would you put yourself through this? Because it's very stressful.
Speaker 1: It's a lot of pressure, and for me mentally, I've
Speaker 1: just build myself up to it in my head gradually,
Speaker 1: and it sounds really precious, but it messes with my head.
Speaker 1: I want to get to that, but I want to
Speaker 1: come around it and say, your music has such a
Speaker 1: spiritual quality to it. There's a spiritual element to it.
Speaker 1: Another stated one. It just emanates a vibe to me,
Speaker 1: that's to me that that but to me that comes
Speaker 1: off the audience. That's what I find. It's something that's developed.
Speaker 1: It's not like we're not going into this intending to
Speaker 1: do any of that. It just sort of happens when
Speaker 1: when the waves go right, you know, when the waves
Speaker 1: fall into place. So then you'll get to the end
Speaker 1: of the song and you can feel, Okay, we've done
Speaker 1: whatever it is that was it. What's your preparation before
Speaker 1: you do a live show before you because in the
Speaker 1: studio it's obviously a whole different animal, correct, Yeah, there's
Speaker 1: no preparation for the studio, you do. You know, it's
Speaker 1: billowing a china shop most of the time, which is
Speaker 1: how it should be. I think, and performing live, that's
Speaker 1: what's given to me. A couple of hours before you
Speaker 1: go out there and you've got to blow this thing
Speaker 1: out for all these people and just stone cold silence,
Speaker 1: basically almost meditative. Well, yeah, I do. I do that
Speaker 1: and focused. I stand on my head for a bit
Speaker 1: and basically I'm completely on my own until five minutes
Speaker 1: before we go on, and then we're all in the
Speaker 1: room together, pacing up and down like wild animals, and
Speaker 1: then then we're on. But when we first started doing
Speaker 1: big shows, it was with my friend Michael Stipe, and
Speaker 1: he does the total opposite. He literally he'll be talking
Speaker 1: to you and then someone taps in the should and
Speaker 1: then they're on. And I was like, how the hell
Speaker 1: do you do that? Man? And I tried to do
Speaker 1: it like that, I couldn't it, and so I ended
Speaker 1: up going did He said, did you get any indication
Speaker 1: why Stipe could do that? There's a lot of nice
Speaker 1: spiritual tones inside of R. E. M's music too. Yeah, No,
Speaker 1: I don't know. I think what he used to do
Speaker 1: was you'd stand there for the first two tunes, barely move.
Speaker 1: He was a sort of lightning conductor, and he was
Speaker 1: just waiting for it to hit, and then when it hit,
Speaker 1: he was off. But he would wait, and if it
Speaker 1: wasn't going to hit, he was still there three or
Speaker 1: four tunes later and waiting. He kind of warmed up
Speaker 1: in front of everybody, engaging it all. Whereas I can't
Speaker 1: do that because I have to sort of be clear
Speaker 1: of everything before you know, whatever, I need to um
Speaker 1: be completely empty. I started playing guitar when I was seven.
Speaker 1: I sat down and said I was going to be
Speaker 1: Brian May when I was a lot of bad thing
Speaker 1: to be. And then I tried to do I read
Speaker 1: like when I was ten or something. I read that
Speaker 1: he built his first guitar himself, which is when he
Speaker 1: still plays. So I tried to do that, but my
Speaker 1: efforts would crafting the guitar, and I had to cheat
Speaker 1: with the neck on the guitar I found and all
Speaker 1: that someone a neighbor gave me a neck of an
Speaker 1: electric guitar. Is that great? Okay, that's good, But you
Speaker 1: know I was ten or eleven, so I was trying
Speaker 1: to like bolt it together to this other piece of
Speaker 1: wood that I'd cut out, and it was just a disaster.
Speaker 1: But it kind of worked, but it was ugly. Was
Speaker 1: your family musical Not really? No. The only one that
Speaker 1: sticks out is barently my great grandmother. She'd get really
Speaker 1: hammered and then stay up playing her pump organ thing
Speaker 1: downstairs all night and keep the family up. You were
Speaker 1: around your witness dad. I met her once and she
Speaker 1: was kind of she wore black. I was quite scary
Speaker 1: when I was really tiny. But now that your parents
Speaker 1: were artists musicians, no, no, no, no. When the guitar
Speaker 1: came into your life when your seven Brian may or, no,
Speaker 1: was it music itself and where you moved by music itself?
Speaker 1: Or was it like many people when they're very young?
Speaker 1: Was rock stardom was never? Then? It was? It was
Speaker 1: you weren't running around your bedroom imitating Jagger and you
Speaker 1: thought like you and my My whole thing was we
Speaker 1: didn't have any sound system in the house. We had nothing,
Speaker 1: no high fi, nothing except for and my dad's car
Speaker 1: and had a type player in it, so I when
Speaker 1: and would sit for hours. I would sit for hours,
Speaker 1: and you know, it was the sound of Brian May's guitar,
Speaker 1: actually was. It was one of those funny things where
Speaker 1: you know, when you you turned something up and you're
Speaker 1: in a very controlled loud environment, just that sounds just
Speaker 1: you know, nothing else. It was that when you're that
Speaker 1: small and you've never I've never really heard music particularly
Speaker 1: at all up until that point. You know, it's funny,
Speaker 1: it's got a weird thing. But I mean, lots of
Speaker 1: kids at that age that you know, their parents didn't
Speaker 1: really have hi fires or anything as such. The only
Speaker 1: guy I did know who had to high fight down
Speaker 1: the road only played Abbert, which I thought was worse
Speaker 1: than not everyone, but that was me some of those kids.
Speaker 1: And then and then the guitar, and you're trying to
Speaker 1: fashion your own guitar by the time you're eleven, and
Speaker 1: then when you take another step toward deepening your commitment,
Speaker 1: how old are you when you form the band six Team.
Speaker 1: I did have a band when I was eleven, but um,
Speaker 1: what's an eleven year old band sound like? Yeah? No,
Speaker 1: not very good at all? Um, But it was it
Speaker 1: was very exciting, like going around to a friend's house
Speaker 1: is setting up and jamming, and all our mates would
Speaker 1: come and hang out and girls, which I thought, this
Speaker 1: is interesting as puberty hit, but that sort of fell
Speaker 1: to bits because I kept fighting with the drum. And
Speaker 1: then when I was sixteen, I was thinking, well, okay,
Speaker 1: I need to get this together really and just went
Speaker 1: around the school sort of choosing people. So you went
Speaker 1: around picking people. I got it. I got it because
Speaker 1: he was dressed like Morrissey and he had some cool socks,
Speaker 1: and I saw he had a guitar. I had no
Speaker 1: idea where they could play or not. I don't really care.
Speaker 1: I got Colin because I knew Colin could play very
Speaker 1: well and I needed a bass player could play very well.
Speaker 1: But he had never played bass before and his brother
Speaker 1: Johnny was this mythical musical prodigy. So roped him in.
Speaker 1: And then Phil was the only druma we knew anyway.
Speaker 1: So and and he had a house down the road
Speaker 1: that we could rehearse him and you lived where you
Speaker 1: grew up where well, this was an Abingdon school in
Speaker 1: near Oxford. And then when you form Radiohead when you're
Speaker 1: six team basically yeah, we started sort of writing, doing
Speaker 1: demos and messing about, and it was, you know, it
Speaker 1: was quite interesting straight away that it was quite I
Speaker 1: think as Field had quite a lot of experience. He
Speaker 1: was a bit older, and he'd had his own band,
Speaker 1: so he knew how to put things together a bit.
Speaker 1: And in fact we used to go and do demos
Speaker 1: in his sister's bedroom like right from the beginning, which
Speaker 1: which was great. I mean, there's nothing better than like
Speaker 1: just starting off by just trying to write demos from scratch,
Speaker 1: even though you can't really play, even though you don't
Speaker 1: know each other. That's where you start, you know. It's
Speaker 1: kind of a nice way to figure out where you're about.
Speaker 1: What do you think you do best? You lead a band,
Speaker 1: you well you you play guitar, you write music, you
Speaker 1: produce music, you do it and you sing. What do
Speaker 1: you think your greatest strength is? If you had to
Speaker 1: pick one. So I don't know what I'm doing right,
Speaker 1: I like the fact that still I don't know what
Speaker 1: I'm doing. I think we're not. Honestly, I can't go
Speaker 1: I'll go through whole phrases of um months where i'n't
Speaker 1: got a clue. I regularly lose complete confidence in what
Speaker 1: I'm doing. Why do you think that is because I
Speaker 1: have the same condition. Why partly because I think I
Speaker 1: don't quite understand how it happens after the fact, when
Speaker 1: when what happens when the appreciation comes to you know,
Speaker 1: when you're when you're piecing something together right, things will
Speaker 1: fall into place you make it. I mean, in some ways,
Speaker 1: the nicest bit about the creative thing, the nicest bit
Speaker 1: about recording and writing, is this sort of weird limbo
Speaker 1: where you in between scratching away scratching away, nothing really happening,
Speaker 1: nothing really happening, and then something wants to be built
Speaker 1: and starts to get built. You just have to let
Speaker 1: it happen. And then it gets to the end and
Speaker 1: you and you look at it a few months later
Speaker 1: and go huh um, sort of weird amn, easier that
Speaker 1: goes with it. Something will happen, one little sound goes
Speaker 1: off all and you go, oh, that's really nice. For
Speaker 1: when I was at school, I didn't get on with
Speaker 1: the school system at all. Um I see it, and
Speaker 1: my son the same. That sort of the mechanics of
Speaker 1: how a school operates and how you're supposed to blend
Speaker 1: in or whatever so I hid in the music stroke
Speaker 1: art department and had a great time there and discovered
Speaker 1: that actually that's what I wanted to do. Straight away,
Speaker 1: the heads of both schools just saw what I was up.
Speaker 1: Is this the teacher that you often credit with your Yeah,
Speaker 1: where was the teacher's name? Terry James? But but it
Speaker 1: was him and my art teacher as well. Actually it
Speaker 1: was like someone sort of takes you under their wing
Speaker 1: and say, well, you know what you're actually quite good at.
Speaker 1: Then touring is a very critical thing in this business. Yeah,
Speaker 1: because it's enough. It's enough at that age, it's enough
Speaker 1: to just get a little push and then okay, do
Speaker 1: someone push you in a different direction? Yeah, well that
Speaker 1: would be bad. How about do you go to the
Speaker 1: other I think you need to hear. Yeah, that's my
Speaker 1: father used to think. I used to get too advertising,
Speaker 1: which is like really brilliant. Yeah, I'd really be good
Speaker 1: at that. Other people ship. Well, one thing you're good
Speaker 1: at is avoiding. My original question, which was what do
Speaker 1: you think your best at? And let's try to choose.
Speaker 1: If you can't, if you if you don't mind, confine
Speaker 1: yourself to the list, I provide, what do you think
Speaker 1: your best at this is multiple choice guitar band, kind
Speaker 1: of you know, paternal figure, songwriting, producing, singing. Mm hmm,
Speaker 1: I guess singing. Okay, I'm glad you chose that one.
Speaker 1: I was driving. I was trying I think when I
Speaker 1: popped the words singing the way I did, I was
Speaker 1: trying to do or singing? What was singing to you?
Speaker 1: How did your singing evolve where you arrived at where
Speaker 1: you are now? We're most people say you have one
Speaker 1: of the most evocative singing voices and all of music
Speaker 1: today either that or melancholy to the point of what
Speaker 1: people who love who love radio, they crave their music,
Speaker 1: and they crave particularly you're singing. Well, basically I went
Speaker 1: to music went to a few singing lessons, but that
Speaker 1: was basically just so I could literally breathe right, you know, um,
Speaker 1: my favorite singers like the York When I watched Buyork
Speaker 1: sing um, I've been lucky enough to sort of sing
Speaker 1: with her and watch you do it. And I was
Speaker 1: gonna say, you're one of the few people going to
Speaker 1: use that phrase when I watched The York saying yeah,
Speaker 1: most of them say well, when I listened to the
Speaker 1: Yorks and it's uh in here, it's right here, they say,
Speaker 1: you know, with with with yoga and stuff that whatever
Speaker 1: it is, can't remember that that spot at the top
Speaker 1: of the four head that you really Most singers like
Speaker 1: Neil Young's the same. He sings into this spot in
Speaker 1: his head and and what he's singing, he's already heard,
Speaker 1: you know what I mean, He's hearing it come out.
Speaker 1: The same with with Bork. When she's singing, she's singing
Speaker 1: what she's hearing. So there's no force, it's a force
Speaker 1: in itself. It took me a while to get that,
Speaker 1: you know, even when we were on tour with R. E. M.
Speaker 1: Back when we're doing the Bends in nineties six or
Speaker 1: whatever it was. I was still trying to figure it
Speaker 1: out then watching Michael and wanting to sound like Michael.
Speaker 1: But I couldn't, you know, because my voice is in
Speaker 1: a different tone completely and so on. But what I
Speaker 1: did learn, what you know, watching him, was again that
Speaker 1: thing of like watching someone who their voices in sort
Speaker 1: of command of them rather than the other way around. Yeah,
Speaker 1: and but it's very natural, but it takes a long
Speaker 1: time for that to become natural. I think you, like
Speaker 1: any singer, it takes a long time to find that thing,
Speaker 1: and it keeps changing to me how I sing now,
Speaker 1: or to me it feels different to a few years ago.
Speaker 1: It just does. It just does age to do it. Well, yeah,
Speaker 1: there's probably some physical element to it, but but also
Speaker 1: just where you're at, you know, because singing is nothing
Speaker 1: but like probably like acting, sing is nothing but being
Speaker 1: in a moment, that's it, and where you're at. Yeah,
Speaker 1: when you do like, um, when I used to be like,
Speaker 1: you know, when when you're trying to singing or whatever,
Speaker 1: general I remember sort of okay, computer, I still had
Speaker 1: this thing like, well I need to be a little
Speaker 1: bit half cut when I'm you know, I need to
Speaker 1: do something or other beforehand so that I'm in the
Speaker 1: right space. Man, where all bollocks because basically you've just
Speaker 1: got to learn to be there with it. When you
Speaker 1: do it, you're not trying to prove anything. You're not
Speaker 1: trying to get anywhere, you're not trying to achieve anything.
Speaker 1: You're not trying to get this emotion across. You're not
Speaker 1: in this space trying to get this space across. You're
Speaker 1: not trying to get this mindset across or anything. You're
Speaker 1: just letting it happen when you do this now, when
Speaker 1: you live inside your life now, whether you're performing live
Speaker 1: or you're producing and recording music, do you feel different
Speaker 1: now that you're older. I mean, the chasm between when
Speaker 1: you're sixteen when you're forty three is extraordinary. It's just
Speaker 1: mind bending. Yeah. Do you feel like you're sick of
Speaker 1: it and you want to be done with it? Yeah?
Speaker 1: You do sometimes, but not. It's never really the music.
Speaker 1: It's always everything else, you know, primarily what we'll just
Speaker 1: stresses of life. Whatever. You know, something's good. So your
Speaker 1: life is not like I mean a lot of people
Speaker 1: think they think that successful artists, Uh, we just walk
Speaker 1: across this bed of rose pedals all day. The greatest
Speaker 1: torment of our life is do we go to Paris
Speaker 1: on spring break or Anguillah, my god, I can't. I
Speaker 1: can't answer that. It is able. It is a problem,
Speaker 1: but it's not. It's supposed to say that. But what
Speaker 1: I'm saying is is that they think that, like, do
Speaker 1: you ever sit there? You're very active socially, Yes, I
Speaker 1: guess you care. You've made some comments about world affairs
Speaker 1: and you care about the world. Yeah, you care about
Speaker 1: what's going on? If I said to you that I
Speaker 1: snapped my fingers and you go back to having a
Speaker 1: very normal life when you're not you at all with
Speaker 1: everything that goes with it, and the rest of the
Speaker 1: world is elevated unless of the world gets better. Things
Speaker 1: you care about, think of an issue you can. I
Speaker 1: say to you, Tom York, Tommy York, Tom your you
Speaker 1: go back and the world gets better, would you make
Speaker 1: that change define better? It's a tricky question, but you do.
Speaker 1: It's not an either or, but you do care. But
Speaker 1: other things. Is there an issue that you're embracing now?
Speaker 1: Is there something you're involved with now? I well, in
Speaker 1: my slack asked fashion, I was helping UM Greenpeace do
Speaker 1: this thing which was trying to stop drilling in the Arctic.
Speaker 1: But it sounds like it's kind of working because the
Speaker 1: company seem to be pulling out because they can't just
Speaker 1: pull up. Yeah, that's right. I don't think that's entirely
Speaker 1: down to us, but I think it definitely helped that
Speaker 1: we're making their life extremely difficult everywhere they turned. But
Speaker 1: challenge now is turned the Arctic into reserve, so it
Speaker 1: can't happen because what that was going to do is
Speaker 1: create this gold rush, you know, all rush up there,
Speaker 1: which was just going to be insane. And this at
Speaker 1: the same time where the ice is melting. Basically the
Speaker 1: only started considering it was a possibility because the ice
Speaker 1: was melting. They thought, okay, great, maybe got a better
Speaker 1: chance of jelling, which is like yeah. So I was
Speaker 1: kind of stuck in that for a while because Yeah,
Speaker 1: to me, the irony of it was too much. Um,
Speaker 1: I don't know where I'll go next. I don't I
Speaker 1: find it very stressful. I did get involved. A few
Speaker 1: years ago. We did this thing in Britain, the first
Speaker 1: Climate Change Act, which meant the government was is committed
Speaker 1: to reducing c O two emissions and now lots of
Speaker 1: countries that got it. It was the first one and
Speaker 1: the government didn't want to do it. Bled didn't want
Speaker 1: to do it, but we found this interesting loophole and
Speaker 1: got thousands of people to say letters in and said
Speaker 1: at the bottom of the letter to the the MP police,
Speaker 1: can you pass this on to Blair? Right, And apparently
Speaker 1: they were obliged to pass on these letters. So Blair
Speaker 1: was literally getting thousands and thousands and thousands and thousands
Speaker 1: and thousands of letters, which doesn't normally happen, and he
Speaker 1: did pass the law after much arguing and me refusing
Speaker 1: to meet him because it was during the Iraq War
Speaker 1: and all sorts. Yeah, well any normal human being would
Speaker 1: be anyway, I was very glad I did it. And
Speaker 1: the people I was working for at the time I
Speaker 1: was it was was Friends of the Earth, and it
Speaker 1: was really inspiring and I became really good friends with
Speaker 1: the guy who's running Friends of the Earth at time,
Speaker 1: Tony Juniper, who now works with Prince Charles um And
Speaker 1: and it was a great period. But I just it
Speaker 1: burnt me out getting that close to politics. The most
Speaker 1: fascinating figure that we work with was the lobbyist that
Speaker 1: we had, our one lobbyist, So like we went into
Speaker 1: this port Color's house in Britain. You probably have the
Speaker 1: equivalent here. I don't know what it's called. But port
Speaker 1: Color's house was built for the lobbyists. It was built
Speaker 1: for special interests to go and sit with a cup
Speaker 1: of coffee, round table about this size and wait for
Speaker 1: MPs to go past, Color them, sit them down and
Speaker 1: lobby them in big capital building. Anyway, I found it
Speaker 1: completely fascinating, you know, because it's There's hundreds of these
Speaker 1: people walking around, and I'm like, none of them are
Speaker 1: lobbying for us. So when you maybe possibly could argue
Speaker 1: that our one mate friends of the earth, it was like, technically,
Speaker 1: you know, maybe speaking for the people a little bit,
Speaker 1: but basically they were all special interests and they had
Speaker 1: the ear of government. And I just thought, hang on,
Speaker 1: hang on a minute, how did this happen? Anyway? Where
Speaker 1: were we a minute ago? Where I want to go? Okay,
Speaker 1: go and let go there? Your children? Oh no, no,
Speaker 1: that's too much for a job. Hang on, where were
Speaker 1: Let's finish with this first? Uh no? Then your children?
Speaker 1: I'm lost. Now do your children know who you are
Speaker 1: and what you do? Yep, they're used to it. They're
Speaker 1: used to people coming up and saying hello. But most
Speaker 1: of the time it's very friendly, and that's normal. That's
Speaker 1: their normal. That's what they've grown up in. Old twelve
Speaker 1: and seven So one seven the age that you decided
Speaker 1: you wanted to be Brian May and by then he's
Speaker 1: he he would already have made his guitar with that neck.
Speaker 1: That was eleven, I think you said, So where are
Speaker 1: they at? Musically? Um? My son is a great drummer,
Speaker 1: but I don't know if you want to do that
Speaker 1: forever or not. He's like not bothered really, which is cool.
Speaker 1: You know, he just and he comes and hangs out
Speaker 1: with me when I'm working in my studio. We just
Speaker 1: hang out. You know, we're friends. But I don't think
Speaker 1: you know, they're burning ambition to be musicians or anything. Really,
Speaker 1: even though he's really good, he's for pleasure. I mean
Speaker 1: at that age, that's good, right his father? It affected
Speaker 1: your work, um, yes, but not really that you have
Speaker 1: the obvious things where you go round on the road
Speaker 1: more if you didn't have children. Yep, absolutely, But that's
Speaker 1: not necessarily a bad thing at all. You know, being
Speaker 1: on the road is is it's a it's not a
Speaker 1: great it's it's you don't want to do it all
Speaker 1: your life. You get a little bit on, it gets
Speaker 1: a little unhealthy quite quickly mentally, if not physically has
Speaker 1: been difficult for you. Mentally, it can be differently. It
Speaker 1: means it's it's wicked fun, but too much. It's either
Speaker 1: wicked fun or really awful, like when you're sick. Then
Speaker 1: it gets really it's a roll barmber man to get
Speaker 1: out there. Yeah, try to sing your way through the
Speaker 1: notes that you can't find because you're so sick, cool
Speaker 1: or whatever. That's really super stressful. But you know, is
Speaker 1: a massive buzz. There's no denying it. It's great. But
Speaker 1: Tom York is the first to admit that it takes
Speaker 1: work to keep it fun in the studio and on tour.
Speaker 1: It's very difficult to play with people you don't if
Speaker 1: there's problems between you, for example, if the issues come up.
Speaker 1: I mean, I'm very much I'm a Libran and I
Speaker 1: need to sort of out. I can't have stuff hanging around,
Speaker 1: you know, because it gets in the way. More in
Speaker 1: a minute with Tom York, this is Alec Baldwin and
Speaker 1: you're listening to Here's the thing. Given the level of
Speaker 1: success that Radiohead has reached, I did have certain expectations
Speaker 1: of Tom's lifestyle. I mean, I'm assuming you're in a
Speaker 1: world where that your phone must have rang it maybe
Speaker 1: it's stopped because because you kept saying no. But maybe
Speaker 1: everybody's like, you know, Barno wants to pick you up
Speaker 1: tomorrow and fly you too. St Bart's Yeah, that never appealed.
Speaker 1: I don't hang out with people because they are who
Speaker 1: they are. Necessarily unless I'm a big admirer of them,
Speaker 1: Like I mean, I stalked at Norton for ages until
Speaker 1: eventually gave in because because I'm a big admire of him,
Speaker 1: I think it's brilliant. So I hang out with him
Speaker 1: a bit occasionally. Um And I've always really admired Fulle anyway,
Speaker 1: So even before it became an issue of sort of
Speaker 1: playing no tangentially related to that. As you've gotten older
Speaker 1: and you look around the musical landscape, what you see
Speaker 1: does it appeal to you? Meaning of the music that's
Speaker 1: popular music? I mean, what's selling now the most successfully?
Speaker 1: Have you moved into a different place with that? Or
Speaker 1: do you admire a lot of what's being done? Is
Speaker 1: your in the mainstream? In the mainstream? There's nothing in
Speaker 1: the mainstream. The mainstream is just a void, you know.
Speaker 1: To me, I mean, what's weird about putting a record out? Now? Really?
Speaker 1: And this is not like sour grapes at all. It's
Speaker 1: just the fact the volume, literally the sheer volume and
Speaker 1: stuff that gets put out. It's like this huge fucking
Speaker 1: waterfall and you're just throwing your pebble in and it
Speaker 1: carries on down the waterfall and that's that right, Okay. Next, basically,
Speaker 1: you know, like in this country, the radio is tied
Speaker 1: up and people don't really listen to radio in the
Speaker 1: same way. It's it's music is going through a weird
Speaker 1: time because on the one hand, as ever, there's always
Speaker 1: really exciting music being made. It's never not being made.
Speaker 1: It's a question of whether you're going to get to
Speaker 1: hear it or not. And I mean I kind of
Speaker 1: I kind of knew the game was up a few
Speaker 1: years ago when one of our sort of team of
Speaker 1: people came in saying, Nokia wanted to offer you millions
Speaker 1: of pounds because they want content for their phones. And
Speaker 1: this is like in two and I don't know, early
Speaker 1: two thousand and you like content? What you know content?
Speaker 1: What do you mean music? Yes? Okay? Content maybe that yes? Yeah?
Speaker 1: Just could be music stuff, Yeah, stuff could be snoring.
Speaker 1: Have you got some stuff? You know? And you're like okay,
Speaker 1: And I think really that my problem with it is
Speaker 1: it's like it's now like something to fill up the
Speaker 1: hard ware with. You know, the music itself has become
Speaker 1: secondary to that, which is a weird thing to me.
Speaker 1: Is like and I think that will change because there's
Speaker 1: only so many different permutations of the same hardware you
Speaker 1: can make before people go, well, actually I have an
Speaker 1: iPod now, so thanks. So I think things will change,
Speaker 1: and I think the radio will change, and sooner the better,
Speaker 1: because no matter what way you look at it, the
Speaker 1: most pleasurable experiences you ever have is like when something's
Speaker 1: played to you don't know, We're like going around to
Speaker 1: friend's house and they'll stick a tune on your like,
Speaker 1: what the hell's there? You know, which is what it's about?
Speaker 1: You know, that's what Or like going into a store
Speaker 1: when I was a kid, like and then Smiths Records
Speaker 1: come out, and like and I'm going up to the
Speaker 1: guy I think. I was, like he's really cool, like
Speaker 1: the indie store in town and just talking to him
Speaker 1: about music for twenty minutes, you know. And you know,
Speaker 1: now everywhere you go, music is everywhere. It's everywhere, But
Speaker 1: it's not like, yeah, that's what I'm saying. It's content. Yeah,
Speaker 1: it's content. Is king that bullshit will change, And when
Speaker 1: it does, then I think we'll have a resurgence. The
Speaker 1: underbelly will come back overbelly, and then well with its
Speaker 1: middle aged will be overbelly. Well you have a ways
Speaker 1: to go there. I'm gonna be taking some slimming bills. Yeah,
Speaker 1: but now in the way that you talked about this
Speaker 1: pebble in the baderfall and content and music marketing. Now,
Speaker 1: so if that changes, certainly, which it has, does your
Speaker 1: willingness to release your music into that world change? Like,
Speaker 1: for example, an obvious example, maybe too obvious, is you
Speaker 1: don't want to play Creep anymore. Now you sit there
Speaker 1: and say, like if the Sultan of Brunei I called
Speaker 1: you up and said, I want you to come to
Speaker 1: Brunei and we'll give you a million pounds, just play Creep.
Speaker 1: I would play Creeping in the home. I would say
Speaker 1: to something of BRUNEI, why do you have that house
Speaker 1: near me that you never used? I get this meet
Speaker 1: you down the block. I mean, come on, it's an
Speaker 1: empty house, man, it must be worth whatever. That's what
Speaker 1: I'd say. And I'd say, no, obviously, will you retire
Speaker 1: a song that way? Why do you do that? Well?
Speaker 1: I didn't Moss, not necessarily retire it. I mean I
Speaker 1: don't recognize it as me, which is kind of quite interesting.
Speaker 1: When I hear Elain just that voice, I don't even
Speaker 1: recognize that it's kind of odd. Whatever you want, it's
Speaker 1: so fucking special. But then I remember hearing I remember
Speaker 1: hearing Lee read like on some radio station in Dublin
Speaker 1: years and years ago, and they were asking inevitably about
Speaker 1: underground and they said, yeah, well sometimes it comes on.
Speaker 1: I'm like, well, this is cool. What's this? And then
Speaker 1: I realized it's about the underground? Wow, yeah, I kind
Speaker 1: of know what he means. Sort of you get to
Speaker 1: the point where like, what's that? So you're forty three
Speaker 1: years old, forty four years old? But it's just our
Speaker 1: professional courtesy that we shave a year off of all
Speaker 1: of our already all of them, Um, you're in the
Speaker 1: now and you're in the here or what have you.
Speaker 1: And I I'm some saying that glibly and you're know
Speaker 1: what I'm saying, But you're not somebody who like Mick Jagger,
Speaker 1: for example, Like I wonder if Mick Jagger is going
Speaker 1: to hit a day, like does it happen in a day?
Speaker 1: Like as Mick Jagger in bed one day and he
Speaker 1: picks up the phony, He's like, you know, I just
Speaker 1: can't do it anymore. I can't get out of this bed.
Speaker 1: I can't do another fucking show again and it's over.
Speaker 1: Do you think of other things? I think all the
Speaker 1: time of the next thing I'm gonna do. Yeah, the
Speaker 1: next thing. You don't have to tell us what it is,
Speaker 1: but you know, uh no, I mean it would end
Speaker 1: if someone happened to my voice. I don't know. Certain
Speaker 1: things could make it physically stop, and it will stop
Speaker 1: at some point, something will happen. But for me, I'm yeah,
Speaker 1: I'm always hearing different things. There's always half finished things,
Speaker 1: which you ask poor old Nigel, he knows about that.
Speaker 1: There's always a mountain of half stuff. I want to
Speaker 1: get into, stuff I've started, stuff I want to you know.
Speaker 1: But I also think it's good to sort of take
Speaker 1: breaks because I've gone straight from this radio tour last year,
Speaker 1: which was a really heavy mother but really good fun,
Speaker 1: straight into doing sort of atoms fee stuff and not
Speaker 1: really had a break. And to break is do. A
Speaker 1: break is do because what I've found with a break
Speaker 1: is can be an incredibly exciting thing with that thing
Speaker 1: of like you just all the stuff you want to do,
Speaker 1: but you just force yourself not just force yourself to
Speaker 1: wait and get back into just time and space and
Speaker 1: um yeah, not being in music all the time, I think,
Speaker 1: because it's like anything, you start to go in small circles,
Speaker 1: so you've got to stop when that happens. I've had
Speaker 1: to practice that now. I mean, I got married again
Speaker 1: and my wife is pregnant and I'm going to have
Speaker 1: a kid, and I really sat and thought about that
Speaker 1: way that I want to have a more ordinary and
Speaker 1: more normal handling of my emotions. I think the best
Speaker 1: way to put it iss where people in my business say,
Speaker 1: which is would you rather live it in real life
Speaker 1: or word you rather playing on screen? And I'm thinking
Speaker 1: I want to walk away from because I'd rather live
Speaker 1: it in real life now than play it on screen.
Speaker 1: I think with what I do, it's slightly different because
Speaker 1: what I would I do it actually unless you you
Speaker 1: literally are spending, unless you are just literally working too hard.
Speaker 1: It's a regenerative thing. I find that I'm well, I mean,
Speaker 1: my family, my friends know that I'm a nicer person.
Speaker 1: If I'm working and I'm into what I'm doing. Then
Speaker 1: if I stop, there is a period where I'm fairly unbearable.
Speaker 1: If I do stop, yeah, for too long, probably, Yeah,
Speaker 1: there's a threshold. But like if you want to shift
Speaker 1: right with your work. If you want to shift, if
Speaker 1: you're writing, if you're being creative over all, you kind
Speaker 1: of have to stop to make that shift, because if
Speaker 1: you just I'm constantly creating, I've got this mountain of
Speaker 1: brilliant ideas. You're making the basic mistake that you're assuming
Speaker 1: all our ideas are brilliant, where in fact, actually the
Speaker 1: more you do they're probably the more it kind of
Speaker 1: your thing in reverse, because actually I need to go
Speaker 1: and do normal ship. I need to. I can't write
Speaker 1: unless I have a period where restored. Well, no, it's
Speaker 1: not restored, just just reset. I'm like just normal, normal, normal, normal, normal,
Speaker 1: normal normal. Speaking of normal, do you have siblings? Yeah?
Speaker 1: What do you have a brother? What does he do?
Speaker 1: Russian politics and stuff? He teaches? No, he'sa town. What
Speaker 1: do you mean all sorts of ship investigations on people?
Speaker 1: Studied Russian Oxford and then went into there is? Are
Speaker 1: your parents all there? What do your I always love
Speaker 1: people in your business above all? What do your parents
Speaker 1: and your brother make of you? Going from being Tom
Speaker 1: York Tom to becoming Tom York. Well, my brother was
Speaker 1: in a band of his own for a while as well,
Speaker 1: so he has slightly like you can see what it
Speaker 1: is from another point of view. What do my parents think?
Speaker 1: I don't know. They like when I was a kid,
Speaker 1: they didn't approve. Now that I'm happy, why do you
Speaker 1: go into advertising? Yes, well, you know it was like
Speaker 1: fair enough. I was I piste off with him at
Speaker 1: the time, but you know, it's kind of what that's
Speaker 1: what you do, isn't it. I mean Abody's parents. Right
Speaker 1: when I left a pre law program and I was
Speaker 1: destined to go to law school and I went into
Speaker 1: the acting program, my mother was She literally screamed at
Speaker 1: me over the part. My mom was very upset when
Speaker 1: I when I chose to go to art college, because
Speaker 1: she'd been to art college, and she said, it's complete
Speaker 1: waste of time, don't mother. I when it became successful
Speaker 1: with my business, mother was like, I'm so proud of him.
Speaker 1: Oh my god, this is wonderful. Yeah, it's kind of
Speaker 1: bond because like seeing them backstage at a really big
Speaker 1: show that will come to a big show and then
Speaker 1: there's all sorts of ship came off with my mates.
Speaker 1: They're doing whatever, you know, and there's my mom and
Speaker 1: the going that was fun Courtney beer or whatever. When
Speaker 1: you do step away from it. Whether there art are you?
Speaker 1: Are you interested in art? Photography? Well, my mate theater film,
Speaker 1: my mate Stanley don Wood, who I went to art
Speaker 1: college with, who does all our art work with. I
Speaker 1: mean I do it with him kind of thing. We
Speaker 1: we always have these lovely plans about we want to
Speaker 1: go and live in Berlin for a month and just
Speaker 1: paint and get in trouble and things like that. We
Speaker 1: call ourselves the Sunday Painters and we go on bad
Speaker 1: painting trips. We did one where um they're bad painting
Speaker 1: trips because I'm involved. There was one one of my
Speaker 1: favorite ones was we went on the moors down in Cornwall.
Speaker 1: Do you know what I mean by the moors and
Speaker 1: Dartmore basically, which is very very very bleak but really beautiful.
Speaker 1: We're in the stone Circle, drove part of the way,
Speaker 1: walked the rest of the way with these big canvases
Speaker 1: and paints. But we only discovered we only have purple
Speaker 1: and blue and yellow, so we thought, okay, we'll use that,
Speaker 1: and we painted landscape all afternoon, but they were purple
Speaker 1: and blue and yellow. Some poor woman I remember coming
Speaker 1: like late afternoon, coming and ask us asking us for directions.
Speaker 1: We're both sitting there, you know, cavases up like this,
Speaker 1: all huddled up with the hood hoods on, you know,
Speaker 1: just doing there. And this ball woman comes up, asks
Speaker 1: for asks directions somewhere rather and then looks at the paintings.
Speaker 1: That just wanders off like good luck. I hope you're
Speaker 1: not counting. I was like, didn't think the purple's working.
Speaker 1: It was like me being in Italy and this beautiful
Speaker 1: couple they were like later they were older, and the
Speaker 1: men walked up to me in the camera and he
Speaker 1: said schools, schools as a photo, and he's pointing to
Speaker 1: me and his wife. He's triangularly and I go, oh.
Speaker 1: When I put my arm around his wife to take
Speaker 1: a photo, he goes, no, no, you photo of my
Speaker 1: way and yeah, you take the mountain in the background.
Speaker 1: And I was like, oh, god, bless. Yeah, they don't
Speaker 1: know who I am. I should move here, I should here. Um,
Speaker 1: you mentioned someone gave you that push his mentorship in
Speaker 1: your career. Do people come to you and do you
Speaker 1: give them a push a little bit? I mean you
Speaker 1: must have a lot of people in the music world,
Speaker 1: young people who look up to you. Um, one of
Speaker 1: the best buzzes really is that thing where someone comes
Speaker 1: up who's new and they're really into you know, I'm
Speaker 1: really into what they're doing. It's really fascinating and it's
Speaker 1: really totally new to me. But yet the occasions when
Speaker 1: off of you yeah, and you're like, how could you
Speaker 1: how could you feel off me? I don't see any
Speaker 1: of my stuff, yeah, but they see it, and I'm like, wow,
Speaker 1: that's so cool, especially when it's like like it's in
Speaker 1: hip hop and like really, you know, people within hip
Speaker 1: hop who are into Radiohead. I'm like, I find that
Speaker 1: so fascinating because i mean, obviously I'm massively into hip hop,
Speaker 1: and we've we use hip hop as a reference point
Speaker 1: in the way we build tracks and stuff. But but really, wow,
Speaker 1: that's bonkers. Obviously that's one of the really good bits.
Speaker 1: But it's not really mental ship. It's just people who
Speaker 1: you admire good at their ship. You know, when it happens,
Speaker 1: it happens. How does success make you feel? How does
Speaker 1: it make me feel? Really something which which I think
Speaker 1: is well has it made me feel? It's always been
Speaker 1: a little bit far away from me, and the only
Speaker 1: time it sort of makes sense is when we play
Speaker 1: in front of people you know, and the rest of
Speaker 1: the time, it's like, well, it's it's just it's who
Speaker 1: I've been for so long. I can't tell you because
Speaker 1: it's just that's what it is. And I think I've
Speaker 1: probably been doing it more than I haven't in my
Speaker 1: life in terms of years, in terms of time. So
Speaker 1: most of the time I don't really notice. Some people
Speaker 1: come up and I go, well, that's nice, you know,
Speaker 1: thanks very much. And it's not like I'm not grateful.
Speaker 1: I'm just I just don't notice. And then sometimes something
Speaker 1: will whack you over the head and you go blidy
Speaker 1: things like doing the first time we did Saturday in
Speaker 1: our life, for example, and you go, really, people give
Speaker 1: a ship, because sometimes you can't. You don't know, you
Speaker 1: don't know you've got on the inside. You can't see it.
Speaker 1: And and and also we've spent so long running away
Speaker 1: from it, and I don't feel like a run away
Speaker 1: from it now because there's nowhere to run run, no
Speaker 1: where to run. And also it is like, yeah, I'm
Speaker 1: really grateful for I'm very incredibly lucky. It's a very
Speaker 1: good point. There's nowhere to run and still do it. Yeah,
Speaker 1: I mean, I just think I'm well Jammy. As we
Speaker 1: take it's just really jammy, especially in the US, you know,
Speaker 1: like people really give a ship and it's like, well,
Speaker 1: that's amazing. I guess I have one more question was
Speaker 1: what does well Jammy mean. I don't know, really, you
Speaker 1: don't know. Jammie is like, um, yeah, it's so Jammy,
Speaker 1: like you just I'm dating myself. It's a total float man,
Speaker 1: it's not really. You're just lucky. I mean I'm British, right,
Speaker 1: so I assume I'm just lucky. There's no skill involved.
Speaker 1: I'm Jammy. This is from Tom York's most recent album, Amock.
Speaker 1: He'll be touring in support of the album later this year.
Speaker 1: Find out more on our website Here's the Thing dot org.
Speaker 1: This is Alec Baldwin and you're listening to Here's the Thing.