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Speaker 1: I am all in again.

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Speaker 2: I guess you.

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Speaker 3: I Smell Pop Culture with Eastern Allen, an iHeartRadio podcast.

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Speaker 3: That's right, everybody take a whiff of that. It's the

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Speaker 3: I Smell Pop Culture Podcast. My name is Easton Allen.

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Speaker 3: Thank you Scott for letting me host this. I'm having

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Speaker 3: so much fun. We are going into the pop culture

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Speaker 3: references that are peppered throughout Gilmore Girls, and we are

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Speaker 3: putting them under a microscope and exploring the people that

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Speaker 3: make them pop culture pieces, the people that put them

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Speaker 3: into the globe, into the universe. Here and this week

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Speaker 3: we're talking to someone. It's two guys, it's a duo,

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Speaker 3: and they're behind one of the most memorable songs I

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Speaker 3: think of all time, a song you all know, a

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Speaker 3: song we have all sang, and a song that exists

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Speaker 3: in Gilmore Girls. But before I tell you who they are,

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Speaker 3: I'm going to tell you why we're talking about him. Okay,

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Speaker 3: here's where I want you to go mentally. I want

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Speaker 3: you to close your eyes. We're gonna go back to

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Speaker 3: a year in the life fall. This is the Netflix

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Speaker 3: revival of Gilmore Girls, and it's the day before Luke

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Speaker 3: in Loralai's wedding. Luke is trying on his suit. This

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Speaker 3: is a very tender moment. He comes downstairs, he looks,

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Speaker 3: he looks great, and Jess looks at him and his

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Speaker 3: reaction is where's right?

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Speaker 1: Said Fred? When you need him? And right said Fred?

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Speaker 1: In case you don't know.

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Speaker 3: Are the masterminds the geniuses behind I'm Too Sexy. I'm

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Speaker 3: Too Sexy was a song that released in nineteen ninety

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Speaker 3: one and it went number one in multiple countries all

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Speaker 3: over the world.

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Speaker 1: It was this massive hit.

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Speaker 3: And I don't know if you guys know this about

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Speaker 3: the song, Like, like you know the song.

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Speaker 1: You know I'm Too Sexy fore my shirt?

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Speaker 3: You know that, Okay, But what you don't know is

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Speaker 3: that this song has a crazy story of how it

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Speaker 3: came together the right, said Fred. It's Fred and Richard

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Speaker 3: Fair Brass. They've got roots in punk rock, in indie rock.

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Speaker 3: These guys are really exceptional and interesting musicians. These aren't

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Speaker 3: just guys that came out of a dance studio and

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Speaker 3: just kind of made a pop song.

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Speaker 1: No, no, no.

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Speaker 3: They have such a crazy background and they have such

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Speaker 3: an interesting approach to the music industry. And I'm so

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Speaker 3: excited to talk to them today, and I'm not going

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Speaker 3: to keep them waiting any longer. Fred and Richard Fairbrass

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Speaker 3: are in the waiting room. They are right, said Fred,

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Speaker 3: this is I small pop culture. Let's get into it.

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Speaker 3: We're so excited to talk to you guys. You guys

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Speaker 3: are such legends. I'm Too Sexy? Is this such a

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Speaker 3: song that stands the test of time. It is the

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Speaker 3: sexy song, if you ask me. Many have tried to

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Speaker 3: take its place, but none have achieved it. I'm Too

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Speaker 3: Sexy is the song. And and you guys are still

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Speaker 3: making music to this day. I want to go back

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Speaker 3: to the beginning. Though I read this about you, Richard,

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Speaker 3: I thought this was really interesting. You were like a

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Speaker 3: session bassist for some like really big artists like Boy

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Speaker 3: George David Bowie.

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Speaker 2: Is that right? Well? I was. I was.

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Speaker 4: I wouldn't want to lie. I was a video I

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Speaker 4: hired me because I was incredibly handsome. I didn't do

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Speaker 4: any work in the studio. It was it was all

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Speaker 4: video work, all visual.

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Speaker 3: Oh excellent, okay, I mean, hey, that makes sense. You're

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Speaker 3: you're a very attractive man. Were what were those what

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Speaker 3: was that experience? Like, like, so you're you're playing in

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Speaker 3: it's a visual yeah, all right, but you're you're playing bass, right, yes.

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Speaker 4: Yes, So what it was was I learnt the parts

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Speaker 4: because I didn't know how picky people like Bowie or

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Speaker 4: people him and boy George it was that was It

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Speaker 4: wasn't basing, Okay, it was Mick jack Yeah, Mick Jager

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Speaker 4: was so I wasn't sure how picky they would be

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Speaker 4: in terms of playing the part. So although I knew

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Speaker 4: it was just visual, I learned the part anyway. But

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Speaker 4: what was into me about it was how how how

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Speaker 4: in a way how ordinary they are. They're just They're

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Speaker 4: just blokes.

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Speaker 2: You know.

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Speaker 4: It's like I said, you know, even the President of

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Speaker 4: the United States has to stand aked sometimes.

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Speaker 2: Yes, and it's a bit like that. I think.

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Speaker 4: I think they are just blokes, very talented in one

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Speaker 4: way or another, but just blokes.

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Speaker 2: Yeah.

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Speaker 4: And they were very enough that David bow was quite

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Speaker 4: shy as I remember.

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Speaker 2: And quite mc dagg was quite boyous. Mick Dagger was

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Speaker 2: very boisleous. Yeah he was. Yeah, we both did that session.

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Speaker 2: He was quite bouncing and and quite lively, yeah, yeah,

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Speaker 2: and shorter than I imagined. Both both small people. Yeah,

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Speaker 2: quite sure.

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Speaker 1: That fascinates me so much.

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Speaker 3: I'm always curious, like how tall they actually seem, and

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Speaker 3: also what they smell like. I don't know if you

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Speaker 3: remember their odors at all. I am fascinated about that

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Speaker 3: kind of thing.

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Speaker 2: No, I never it was not on the.

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Speaker 4: I mean, David Bow did say smiff this once, but

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Speaker 4: I decided I decided not.

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Speaker 1: To wise trust your instincts there.

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Speaker 3: So, so you guys had a band called The Actors before, right,

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Speaker 3: said Fred?

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Speaker 1: Well, because right, said Fred.

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Speaker 3: Something I love about the group is that like its independent, right,

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Speaker 3: like you guys have done everything independent. I thought that

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Speaker 3: was just so cool when I realized that, it's incredible.

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Speaker 1: Uh.

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Speaker 3: The Actors was a different experience. How was that different

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Speaker 3: from when you guys broke out as a duo?

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Speaker 2: Oh? Completely different? Yeah, well that was a very I mean,

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Speaker 2: looking back, occasionally I listened to it. I would never

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Speaker 2: play them to anybody, but occasionally I listened to our demo.

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Speaker 2: We were out there considerably at that time. It was

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Speaker 2: punk and two minute pops on back Bang, you know,

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Speaker 2: and also that in the terms of the market we

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Speaker 2: were in the UK, that whole pub rock things. And

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Speaker 2: then we went on the road with a New York

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Speaker 2: a New York a duo called Suicide who were very electronic,

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Speaker 2: very progressive band, and who were live. I thought they

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Speaker 2: were great, really nice guys, lovely guys, and we realized

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Speaker 2: that we were probably in the wrong decade.

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Speaker 4: But also we had a guitarist who was a big

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Speaker 4: a Stevie Steedee Dan fan and was very very very

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Speaker 4: good guitarist, big Steve Gerard.

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Speaker 2: So yes, Mike Jerrard.

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Speaker 4: So it was very hard to keep Steedee Dan out

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Speaker 4: of what we were doing. We had all sorts of

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Speaker 4: extremely complicated lines and bits and pieces and stuff, you know,

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Speaker 4: So we.

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Speaker 2: Had moments of books. Then what would should have been

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Speaker 2: a two minute pop song would have been a four

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Speaker 2: and a half minute sort of banity project. Yeah, banality project. Yeah.

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Speaker 2: But Brazarrely we did get picked up, we got we

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Speaker 2: got signed on what Back then, there was a thing

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Speaker 2: called a development deal. Oh, very popular back in the seventies, eighties, nineties,

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Speaker 2: and what it was basically there wasn't really much of

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Speaker 2: a commitment. There was the record that or would give

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Speaker 2: you money you would commit to a certain project if

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Speaker 2: they if they pressed go, then the money that money

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Speaker 2: would go on to finish the project. If they pressed

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Speaker 2: stop that money would you wouldn't owe anything, but they

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Speaker 2: would keep your masters. You wouldn't bet you weren't able

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Speaker 2: to use them. And they were pretty healthy deals at

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Speaker 2: the time. So we did one with Electric Records, which

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Speaker 2: was based out of London. But then what happened actually

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Speaker 2: sat in this bit of a spinal chat moment. The guy,

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Speaker 2: the guy, the head of the am R and I

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Speaker 2: can remember his name. I think his name was Jeremy Thomas.

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Speaker 2: I think, oh, yes, it was, I think it was.

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Speaker 2: It was. He became very ill, bless him, and so

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Speaker 2: he got replaced and the guy who replaced him didn't

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Speaker 2: want to work with us, didn't like us. So it's

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Speaker 2: one of those things. We sort of bounced in and

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Speaker 2: out of deals and then we the actors we knocked

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Speaker 2: on the head in about nineteen eighty one, I would

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Speaker 2: think were the eighty. Yeah.

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Speaker 4: The good thing about it was we sort of learned

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Speaker 4: our trade, if you like, I mean we were It

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Speaker 4: was a and plugged in.

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Speaker 2: We've got in the van, drove.

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Speaker 4: All over the country years before GPS with a map

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Speaker 4: on the dashboard.

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Speaker 1: Yes, timers guted under the air.

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Speaker 4: That's what it was, you know, And it was, and

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Speaker 4: it was a really good learning cove.

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Speaker 2: Yeah, you had to. I mean back then, I don't

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Speaker 2: know about in the States, but that the punk rock

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Speaker 2: and the pub the pub rocks in the UK was

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Speaker 2: very It was organized chaos and could be very not violent,

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Speaker 2: it could be very could really test your nerves and

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Speaker 2: you couldn't. It wasn't for the faint hearted, you know.

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Speaker 2: And loads of bands came up through that and it

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Speaker 2: was it was a very good grounding, you know. You

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Speaker 2: couldn't you couldn't.

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Speaker 4: Be a you couldn't be a shrinking violet. You had

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Speaker 4: to be a shrinking value.

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Speaker 2: You had to go out, which is why you had

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Speaker 2: a lot of those bands at the time were really

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Speaker 2: in your face, you know, and we're very visual or

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Speaker 2: quite intimidating if you like bands, bands like the Strangers,

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Speaker 2: I mean hw Cornwell, really good front go and and

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Speaker 2: I think you had to be like that to survive

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Speaker 2: those evenings.

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Speaker 4: I don't know what it's like on the West Coast now,

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Speaker 4: but in London back in the day there were gigs everywhere,

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Speaker 4: I mean every pub, every corner, thousands of gigs. You

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Speaker 4: couldn't trust one to hit a gig. So from that

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Speaker 4: point of view. In the late in the seven mid

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Speaker 4: to late seventies and early eighties and stuff, it was

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Speaker 4: actually pretty good. There are loads of places to play.

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Speaker 4: The sad thing is that that's all gone. Now every

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Speaker 4: pub is either full of guardians, or it's a chop house,

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Speaker 4: or it's a cafe, or it's a block of flats.

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Speaker 4: You know, So that roots, that kind of sort of

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Speaker 4: grassroots growing thing, that organic thing that enabled bands to

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Speaker 4: try their luck and do things has gone, which is

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Speaker 4: why we end up with Adele.

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Speaker 3: Yeah, it's so sad because, like, especially here in America,

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Speaker 3: we saw so much of the punk stuff from you guys.

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Speaker 1: By the way, I apologize on behalf of.

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Speaker 3: America, but it's such an important community for especially young

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Speaker 3: people that are f figuring out where they are, where

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Speaker 3: they fit in. And it's so sad that there's not

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Speaker 3: as many places to go see that kind of music

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Speaker 3: and put on that kind of show. I mean, that's

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Speaker 3: the music that I grew up listening to. It's like

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Speaker 3: a punk rock in. Seeing that you guys had your

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Speaker 3: musical roots there was so exciting too.

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Speaker 4: Yeah, it was it was a really it was a

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Speaker 4: really exciting time. I mean some also some of the bands,

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Speaker 4: because what we've talked about the other day, actually started

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Speaker 4: talking about it the other day. The way musicians are now.

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Speaker 4: When we started off every there were there were two

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Speaker 4: lots of musicians. Really, there were sort of session musicians

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Speaker 4: and then band musicians. In the back of papers like

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Speaker 4: The Enemy or The Sounds or whatever, you'd have adverts,

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Speaker 4: you know, vocalists needed, bass player need and all that.

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Speaker 4: You don't have that anymore. You have you have kind

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Speaker 4: of corporate function bands and then you have professional bands.

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Speaker 4: It doesn't really it is this that kind of community

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Speaker 4: of just pride and see a punk and that kind

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Speaker 4: of attitude is all gone.

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Speaker 2: Really. But there are some bands breaking in the UK.

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Speaker 2: There's Bank with the ratings who are beginning to get

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Speaker 2: some traction. Not my cup of tea at all, but

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Speaker 2: good luck to them and I wish them well and

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Speaker 2: then and they are very various sort of grassroots scene,

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Speaker 2: and I think that's great. And I like bands like

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Speaker 2: Glass Animals and Circle Away, good bands, I think, you know,

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Speaker 2: So there is this movement and my heart sort of

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Speaker 2: sinks when I see some of these bands signing to

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Speaker 2: a major label because I think that goods it depending

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Speaker 2: on how strong they are, could tune them up and

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Speaker 2: spit them out within eighteen months, you know, because we've

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Speaker 2: seen it done before, and it's partly the reason we

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Speaker 2: stayed independent. We did dip ato. You know, we're not

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Speaker 2: We're not holier than now. We don't plan. We did play.

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Speaker 2: We did play that mainstream media role for about eighteen months,

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Speaker 2: maybe two years. Yeah, we tried it. Yeah, we tried it.

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Speaker 2: And when they when when labels and managers said jump,

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Speaker 2: we did say how high? I mean, we did that,

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Speaker 2: We did all that stuff we now criticize. But after

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Speaker 2: about two years, I think we just looked at each

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Speaker 2: other and this is nonsense. So we didn't enjoy it.

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Speaker 2: It wasn't really our thing. And we don't care. I

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Speaker 2: don't care if I'm in a magazine or not. I

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Speaker 2: don't care. I don't need to be in front of

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Speaker 2: the cameras. I don't I like I like playing, I

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Speaker 2: like touring, I like writing songs. That is it. Yeah, yeah,

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Speaker 2: So because the way we looked and yeah, we know,

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Speaker 2: you know, looking back, you know, we sort of shirts

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Speaker 2: off and we we asked for trouble. We asked it

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Speaker 2: was it was completely on us, you know, and we

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Speaker 2: knew we were in good shape. We lived. And also

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Speaker 2: the video director James Lebond, you said it is no

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Speaker 2: longer with us. But James was a lovely man, and

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Speaker 2: he said, do you not get that other bands don't

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Speaker 2: look like this? And in your song it says you're

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Speaker 2: too sexy for your shirts and you take your shirt off,

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Speaker 2: take it? So we did, so we did.

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Speaker 4: And also the other thing you don't realize when you're

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Speaker 4: when you're starting off, when you're a kid or younger,

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Speaker 4: is you don't realize the first impression you make is

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Speaker 4: the first impression that lasts forever.

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Speaker 2: You don't realize that.

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Speaker 4: So I think you realized that back at the time,

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Speaker 4: we might have thought a bit harder about it. Maybe

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Speaker 4: maybe I don't know, I don't know, But we still

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Speaker 4: get people shouting get your shirt off at gigs and stuff.

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Speaker 2: And all that nonsense, you know. So it's just the

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Speaker 2: way it is.

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Speaker 4: It's like if I went to see the Rolling Stones

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Speaker 4: and they didn't do satisfaction, I would feel a bit

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Speaker 4: a bit fed up.

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Speaker 2: That's just the way it is.

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Speaker 3: The voices you're hearing are right, said Fred. That is

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Speaker 3: Fred and Richard fair Brass. They are brothers. They're hanging

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Speaker 3: out with me. We have so much more to talk

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Speaker 3: about I'm too Sexy. You can't cover in just a

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Speaker 3: little bit. You got to get into this deeper, so

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Speaker 3: stick around. We'll be back in one second. It's the

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Speaker 3: I Spell Pop Culture Podcast. If your a thirty second

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Speaker 3: skip button finger was moving a little too fast, you

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Speaker 3: have made it back to the show. We're here with

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Speaker 3: Fred and Richard fair Brass. It's a right, said Fred.

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Speaker 3: I'm too sexy. I mean, just an indelible mark on

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Speaker 3: all of pop culture. So I read this about the song.

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Speaker 3: It was inspired you said, by people posing in front

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Speaker 3: of a mirror and a gym that you owned.

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Speaker 1: Did you guys owned a gym?

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Speaker 2: That was That was just British press talking bollocks. What

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Speaker 2: what happened was we were in a basement studio actually

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Speaker 2: someone's house. They had a little old atari, you know,

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Speaker 2: and it was it was September. We had like what's

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Speaker 2: over here called the Indian Summer, which you get a

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Speaker 2: long summer, and we had this thing going around around

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Speaker 2: which is actually a song at the time called Evan,

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Speaker 2: but the baseline was going and Richard pretty jazzy stuff. Yes,

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Speaker 2: very you know, yeah, yeah, yeah, it's pretty complicated, pretty

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Speaker 2: complicated Windom file. No, they wouldn't understand, they wouldn't understand.

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Speaker 2: And so we So this thing's going around and then

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Speaker 2: Richard gets up and I don't know why, but starts

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Speaker 2: walking around this guy's apartment. And then the guy's got

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Speaker 2: a mirror in his bedroom and rich takes his shirt

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Speaker 2: off and actually seems I'm just sexy for much uh,

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Speaker 2: And and it came back and sung the idea to

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Speaker 2: me and Rob and Robert Richard got it, and me,

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Speaker 2: I was a bit slow because we were working on

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Speaker 2: this other track and it took me a while, like

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Speaker 2: for think fresh and I get it, okay, all right.

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Speaker 2: So then then we took that idea and we just

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Speaker 2: sawt Okay, if we're too sexy for a shirt, what

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Speaker 2: else could we be too sexy for? So we then

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Speaker 2: wrote this stupid list which included there's sorts of people there.

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Speaker 2: Then we decided to make it much more constant, like

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Speaker 2: things that never changed, like cities and animals and uh.

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Speaker 2: And then with the other partner sol I'm a model

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Speaker 2: that was a guitar riff by Rob. So I said, well,

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Speaker 2: just one of us said We've just sung the bassline,

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Speaker 2: the guitar line, and that was it. Yeah, And I

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Speaker 2: had I was going out a model at the time,

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Speaker 2: and she'd actually said to me, I crossed my heart.

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Speaker 2: She actually said to me, I'm a model. Do you

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Speaker 2: know what I mean?

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Speaker 5: She'd actually said it, and she did, I can't I

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Speaker 5: promise it, And I'm going to say her name its

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Speaker 5: Mike Martha Ratters and so so we did.

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Speaker 2: So im a model, you know what I mean? You know?

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Speaker 2: So then we just put the two together. It took us.

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Speaker 2: We had no money, so it took us ages to

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Speaker 2: pay for the studio. Time took us about six months

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Speaker 2: a week. And then we went round all the record companies.

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Speaker 2: We literally, back in those days you had jadgy cassette

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Speaker 2: and you just fired it out to thirty forty companies,

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Speaker 2: which there were back then. They all said no. And

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Speaker 2: in fact, I'll tell you it was ilan the records.

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Speaker 2: Island Records were hilarious because not only did they say no,

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Speaker 2: they then followed up with another letter or fax or

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Speaker 2: whatever it was back then. So not only is this

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Speaker 2: song so appalling, any album that features this song will

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Speaker 2: never sell. Wow, they really hate We were of the

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Speaker 2: opinion that they were wrong. We were right, and we

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Speaker 2: were also the opinion that we don't care about record deals.

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Speaker 2: Who cares? So we were fortunate enough to have a

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Speaker 2: very young manager who was very ballsy, a girl called

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Speaker 2: Tamsy and she said, I'll get it on the radio,

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Speaker 2: and bless her, she did well.

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Speaker 4: She said, if I get it on the radio, can

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Speaker 4: I be your manager?

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Speaker 2: Yeah? That's right, that's that was the deal. Yeah, yeah, yeah.

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Speaker 2: And so we said if you get us on the radio, yeah,

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Speaker 2: knock yourself out, you know so, And never thinking then

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Speaker 2: she says, I'm going into Radio one to see Simon Bates,

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Speaker 2: who had the show. It was the the Breakfast Show,

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Speaker 2: I think, the biggest in Europe at the time, I think,

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Speaker 2: And they went in with the Assetates. The old played

359
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Speaker 2: everyone it doesn't know look up Ascetate. It's a huge

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Speaker 2: disk like this and you can.

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Speaker 4: Only play it three or four times. It's it's like

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Speaker 4: a primary pressing.

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Speaker 2: It's yes, yeah yeah. So when it played that and good,

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Speaker 2: thank Simon Bates and his producer just thought, yeah, why not,

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Speaker 2: let's give it a go. So they did. They played

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Speaker 2: it live and and the phones apparently we weren't there

367
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Speaker 2: the phones went boom, you know, and and that was it.

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Speaker 2: We neither none, no one. If you spoke to the

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Speaker 2: people involved at time, they will to make out that

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Speaker 2: they had this plan. No one had, no one. We

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Speaker 2: didn't know what we were doing. They didn't know what

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Speaker 2: they were doing. And the record went a thousand miles

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Speaker 2: an hour. You couldn't keep up with it. It was

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Speaker 2: just a boog boom all over Europe. And then suddenly

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Speaker 2: we're getting at phone calls from South America and blah

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Speaker 2: blah blah, and then it broke in America on import,

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Speaker 2: broke in America on import, were top forty on import.

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Speaker 2: And then a djai and I really wish I knew

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Speaker 2: his name, but we don't. DJ was a music seminar

380
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Speaker 2: thing in England in very late and this is it

381
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Speaker 2: happen was in winter, so it must have been that

382
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Speaker 2: winter ninety one. Yeah, And he happened to have a

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Speaker 2: drivetime show back in I think it may be in Atlanta,

384
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Speaker 2: but don't quote me. And he took it Batman. He

385
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Speaker 2: took the CV Batman and started playing it and it

386
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Speaker 2: happened to be a taste maker station. Obviously know what

387
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Speaker 2: those are. Back in the so this so something sexy

388
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Speaker 2: starts picking up everywhere and we're just sitting there and

389
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Speaker 2: and we go, what's that, What the hell's going on?

390
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Speaker 2: It was, it was extreme.

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Speaker 4: It was the first time when we were invited, I know,

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Speaker 4: in my bedsit at the time with my partner and

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Speaker 4: the phone rang at sort of two o'clock in the

394
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Speaker 4: morning and they were inviting us the on the Arsenio

395
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Speaker 4: Hall show. Wow, and it was the record company said

396
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Speaker 4: you've got to do this show because it's your demographic.

397
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Speaker 4: I put the phone down and I went straight to

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Speaker 4: a dictionary. I had no idea what demographics. I had

399
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Speaker 4: no idea. And the yeah, I mean it was it

400
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Speaker 4: was the thing about sexy also because I mean I

401
00:19:57,480 --> 00:20:02,280
Speaker 4: was I was not twelve. We've grown up, you know.

402
00:20:02,840 --> 00:20:06,600
Speaker 4: But even for me, when it became a hit abroad,

403
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Speaker 4: that's when it struck me. I suddenly thought, oh my god,

404
00:20:10,200 --> 00:20:12,720
Speaker 4: you can have a hit abroad. Oh my god, this

405
00:20:12,840 --> 00:20:14,720
Speaker 4: is so exciting. Yeah, I mean the hit in the

406
00:20:14,800 --> 00:20:18,240
Speaker 4: UK was the thing. But then sudden yeah, and somebody

407
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Speaker 4: else is paying for it. It was like wow. So that

408
00:20:20,720 --> 00:20:23,320
Speaker 4: it was a real learning curve. And but from my

409
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Speaker 4: point of view, I had no idea what I was singing.

410
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Speaker 4: I'll be abst to be honest, because I'd never sung

411
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Speaker 4: that low before. I'd always wanted to be Steve Tyler

412
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Speaker 4: or you know, one of these rockers. You know, that's

413
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Speaker 4: what I want. And I didn't really understand how low

414
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Speaker 4: my voice was, so that was sexy.

415
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Speaker 2: I literally.

416
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Speaker 4: Plodded my way through it bit by bit, not really

417
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Speaker 4: understanding what I was doing.

418
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Speaker 2: Well, we didn't think about it because the song, going

419
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Speaker 2: back to how we wrote it, the song was an E.

420
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Speaker 2: So it's just bad. It's an email of scale.

421
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Speaker 4: Uh.

422
00:20:55,720 --> 00:20:58,399
Speaker 2: And so if I've been if one of us have

423
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Speaker 2: been detuned, you'd be singing deep, you know, or gating

424
00:21:02,800 --> 00:21:04,840
Speaker 2: or whatever. You know. It just happened to be in

425
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Speaker 2: standard tuning. So that's how it was. That was the

426
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Speaker 2: low note.

427
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Speaker 4: And the weirdest thing was when we went to States

428
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Speaker 4: and did all these radio shows. They the first one

429
00:21:14,600 --> 00:21:16,560
Speaker 4: of the first thing they said was can you sing

430
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Speaker 4: the first line? And I remember thinking why the first

431
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Speaker 4: I don't get this, This is really weird, blah blah blah.

432
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Speaker 4: And the reason was because they thought we were played

433
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Speaker 4: around on the computer. Yes, so make it that low interesting.

434
00:21:30,640 --> 00:21:32,080
Speaker 2: But I talked a bit like that or.

435
00:21:34,480 --> 00:21:38,200
Speaker 4: So, yes, but that only dawned on me. Yeah, yeah,

436
00:21:38,359 --> 00:21:39,600
Speaker 4: they thought we had cheated.

437
00:21:39,760 --> 00:21:42,959
Speaker 2: Cheated. Yeah, back then the technology to cheat that was

438
00:21:43,240 --> 00:21:45,840
Speaker 2: harder to get your hands on, really, and we certainly

439
00:21:45,840 --> 00:21:47,560
Speaker 2: didn't have the budget to sit there and play around

440
00:21:47,560 --> 00:21:50,680
Speaker 2: with that. No. So Rich is the bass baritone, which

441
00:21:50,720 --> 00:21:54,000
Speaker 2: is see, I mean, we've just knew, we didn't know.

442
00:21:54,040 --> 00:21:58,080
Speaker 2: I didn't know. We've actually just had I hit about

443
00:21:58,080 --> 00:22:00,399
Speaker 2: four years ago the UK with a song called Tied,

444
00:22:00,840 --> 00:22:05,560
Speaker 2: and he's opening is a tone below that that's actually

445
00:22:05,840 --> 00:22:10,040
Speaker 2: that's actually bottom D open D. So his voice has

446
00:22:10,080 --> 00:22:12,440
Speaker 2: got lower as we've got order. So when we're about

447
00:22:12,440 --> 00:22:17,520
Speaker 2: eighty five with the Whales.

448
00:22:17,520 --> 00:22:19,880
Speaker 1: Yeah, some Gregorian chants when you get to that age.

449
00:22:21,760 --> 00:22:21,879
Speaker 4: Uh.

450
00:22:22,840 --> 00:22:25,119
Speaker 3: So you were saying like he struggled to pay for

451
00:22:25,160 --> 00:22:27,960
Speaker 3: the recording and I read that did you record it

452
00:22:28,000 --> 00:22:30,000
Speaker 3: at a studio that was like about to close?

453
00:22:31,000 --> 00:22:31,280
Speaker 2: Is that?

454
00:22:31,600 --> 00:22:34,400
Speaker 1: Wow? I thought that was that's so punk rock. Honestly.

455
00:22:35,840 --> 00:22:39,320
Speaker 2: The guy they had a studio guy, a guy looking

456
00:22:39,359 --> 00:22:42,080
Speaker 2: after studio who I don't know what I kind of

457
00:22:42,200 --> 00:22:45,359
Speaker 2: I thought he wasn't an I don't know what he was. Anyway,

458
00:22:45,440 --> 00:22:48,240
Speaker 2: it was in the eating and he all he said was, look,

459
00:22:48,280 --> 00:22:50,359
Speaker 2: come and use this at night. Pay me cash. I

460
00:22:50,480 --> 00:22:52,760
Speaker 2: turn the blind eye, but you can't put the lights on.

461
00:22:53,560 --> 00:22:56,439
Speaker 2: No one was so initially you just go in and

462
00:22:56,480 --> 00:22:59,080
Speaker 2: turn all the equipment and sit in the dark and

463
00:22:59,119 --> 00:23:03,560
Speaker 2: then the eventually your eyes got used to it. And

464
00:23:03,560 --> 00:23:05,200
Speaker 2: that's how we did this. That's how we did Sex.

465
00:23:05,280 --> 00:23:09,239
Speaker 4: And we also we also recorded an Italian version. Yes,

466
00:23:10,040 --> 00:23:15,720
Speaker 4: Spanish version, ye, French and French, but in Italy I

467
00:23:15,760 --> 00:23:18,239
Speaker 4: think yeah, initially my my Italian was so bad. They

468
00:23:18,240 --> 00:23:22,040
Speaker 4: played the English version. It was nobody could understand. Nobody

469
00:23:22,040 --> 00:23:22,560
Speaker 4: can understand.

470
00:23:22,680 --> 00:23:26,280
Speaker 2: There's the vocal on the song on the on the mask,

471
00:23:26,359 --> 00:23:30,639
Speaker 2: on the single of Sex. It is the demo vocal. Yeah, wow,

472
00:23:32,280 --> 00:23:34,600
Speaker 2: we are. We will trying it a couple other times.

473
00:23:34,600 --> 00:23:37,280
Speaker 2: And there was something Richard did on that session that's

474
00:23:37,320 --> 00:23:42,000
Speaker 2: particularly quirky and couldn't copy it. So he's done better

475
00:23:42,080 --> 00:23:45,000
Speaker 2: versions now, but at the time we could. We said

476
00:23:45,040 --> 00:23:47,680
Speaker 2: let's use the demo vocal. So we imported the demo

477
00:23:47,760 --> 00:23:51,080
Speaker 2: vocal off tape and and that's how we did it.

478
00:23:51,320 --> 00:23:55,640
Speaker 3: Yeah, that is incredible. I love that kind of thing too,

479
00:23:55,680 --> 00:23:58,159
Speaker 3: like hearing like like that's such a magical take and

480
00:23:58,240 --> 00:24:00,760
Speaker 3: now that that's the wine, you know you can't.

481
00:24:01,320 --> 00:24:04,480
Speaker 2: It's so serendipitous, this whole thing. Yeah really thinks you

482
00:24:04,520 --> 00:24:06,720
Speaker 2: know us us meaning rather the whole things all. And

483
00:24:06,760 --> 00:24:09,080
Speaker 2: also yeah, the minute the song broke we were labeled

484
00:24:09,080 --> 00:24:12,480
Speaker 2: as one hit Wonders, and even without being given a

485
00:24:12,600 --> 00:24:15,840
Speaker 2: chance to release a second record. So when we did

486
00:24:16,080 --> 00:24:19,400
Speaker 2: Don't Talk Just Kiss, that was a big record for us,

487
00:24:19,520 --> 00:24:22,200
Speaker 2: bigger the Bad abroad actually then bigger than sex in

488
00:24:23,320 --> 00:24:26,639
Speaker 2: certainly in Germany and Austria and even part of South America.

489
00:24:26,640 --> 00:24:29,120
Speaker 2: It was a bigger record. And so that we were

490
00:24:29,160 --> 00:24:32,119
Speaker 2: that in a way, we were happier with that because

491
00:24:32,160 --> 00:24:34,280
Speaker 2: it's stopped that one hit. We still although we still

492
00:24:34,280 --> 00:24:36,040
Speaker 2: get the one hit wonder because people just like to

493
00:24:36,080 --> 00:24:39,639
Speaker 2: be rude. And although I actually don't think one hit

494
00:24:39,680 --> 00:24:44,199
Speaker 2: Wonder is it's better than no hit wonder. Yes, And

495
00:24:44,280 --> 00:24:47,199
Speaker 2: also I think also I think there are some some

496
00:24:47,280 --> 00:24:49,560
Speaker 2: of the bands, when we see our name come up

497
00:24:49,600 --> 00:24:51,600
Speaker 2: one hit Wonder, I look at the other bands who

498
00:24:51,640 --> 00:24:53,560
Speaker 2: must be thinking what we're thinking. But we've had lots

499
00:24:53,560 --> 00:24:56,760
Speaker 2: of other hits. But for example, we've toured in Europe

500
00:24:56,800 --> 00:25:03,200
Speaker 2: with Nina, you know, Red Blues. She is such so famous,

501
00:25:02,680 --> 00:25:06,560
Speaker 2: you can't about that, and she's a really really good band,

502
00:25:06,560 --> 00:25:09,000
Speaker 2: and that we turn with them. They were lovely. But

503
00:25:09,040 --> 00:25:10,800
Speaker 2: we see her name pop up, we see all sorts

504
00:25:10,800 --> 00:25:12,359
Speaker 2: of people's names pop up. We going, what are you

505
00:25:12,440 --> 00:25:15,240
Speaker 2: talking about? These people have had also hits. But the industry,

506
00:25:15,320 --> 00:25:18,360
Speaker 2: like the industry is quite conservative. He likes labels. You're

507
00:25:18,400 --> 00:25:20,520
Speaker 2: a rock band, you're a punk band, you've had one hit,

508
00:25:20,640 --> 00:25:23,399
Speaker 2: you've had teen it. They don't. There's there's very little

509
00:25:23,480 --> 00:25:28,040
Speaker 2: nuance in the industry. Is incredibly narrow minded and petty.

510
00:25:28,200 --> 00:25:31,080
Speaker 2: That's why it's way more narrow minded than punters. Yeah,

511
00:25:31,480 --> 00:25:35,600
Speaker 2: audiences worldwide are much more receptive to weird ideas and

512
00:25:35,800 --> 00:25:39,080
Speaker 2: weird attitudes and all that. But the labels, labels and

513
00:25:39,119 --> 00:25:41,600
Speaker 2: managers think that they they think they think like this.

514
00:25:43,320 --> 00:25:45,359
Speaker 2: They just don't know, you know, which is why you

515
00:25:45,400 --> 00:25:48,280
Speaker 2: have bands like you know, I mean, Matt, who would

516
00:25:48,280 --> 00:25:51,600
Speaker 2: sign Madness? Now? Who would sign Madness? Can't dance that?

517
00:25:51,640 --> 00:25:54,120
Speaker 2: There's no girls, you know that.

518
00:25:54,080 --> 00:25:56,639
Speaker 4: None of them, none of them are particularly pretty, you know,

519
00:25:57,240 --> 00:25:57,760
Speaker 4: do you know what I mean?

520
00:25:58,000 --> 00:25:58,920
Speaker 2: So that's what I love.

521
00:25:58,960 --> 00:26:01,720
Speaker 4: I love the fact that it's so when you let

522
00:26:01,800 --> 00:26:04,320
Speaker 4: punters decide what they like and what they don't like.

523
00:26:04,400 --> 00:26:07,320
Speaker 4: It's completely unpredictable. Yeah, that was a good thing about

524
00:26:07,359 --> 00:26:11,960
Speaker 4: Spinning Records. I definitely familiar with Spinning records. Uh they were.

525
00:26:12,080 --> 00:26:14,479
Speaker 2: I think a Danish I think, and their thing was

526
00:26:14,640 --> 00:26:16,760
Speaker 2: they have a they have a list of songs on

527
00:26:16,760 --> 00:26:20,280
Speaker 2: the website and your audiences go in and choose. And

528
00:26:20,400 --> 00:26:23,280
Speaker 2: that's that's not a bad way of doing which is

529
00:26:23,320 --> 00:26:28,880
Speaker 2: why you had studio killers with uh ah, what's that song?

530
00:26:29,200 --> 00:26:32,440
Speaker 2: Great song student, but I can't remember it's one with

531
00:26:32,520 --> 00:26:38,800
Speaker 2: the cartoon Okay, right, but that's I quite like that.

532
00:26:38,840 --> 00:26:42,040
Speaker 2: I mean, now we've actually just been offered it. We

533
00:26:42,080 --> 00:26:44,520
Speaker 2: got offer a record deal. A major comes to us

534
00:26:44,520 --> 00:26:47,439
Speaker 2: about every three years on average, and do you want

535
00:26:47,480 --> 00:26:48,720
Speaker 2: to do a deal, And we always talk to them

536
00:26:48,760 --> 00:26:51,359
Speaker 2: because we're not anti major label at all, but they

537
00:26:51,400 --> 00:26:53,879
Speaker 2: always do the same thing. They say, we want you

538
00:26:53,920 --> 00:26:56,800
Speaker 2: to do this, but we don't do that. We do this.

539
00:26:58,240 --> 00:27:00,560
Speaker 4: They never talk about the music. They never talk about it.

540
00:27:00,880 --> 00:27:07,800
Speaker 2: Yeah, talk about concepts, beta, data, followers, platforms, platforms, collaborations,

541
00:27:07,960 --> 00:27:11,320
Speaker 2: media partners. That's the conversation you have. Yeah, so where

542
00:27:11,359 --> 00:27:13,800
Speaker 2: that's why we tend to work on our not on

543
00:27:13,840 --> 00:27:15,480
Speaker 2: our own but we tend to work at a very

544
00:27:16,040 --> 00:27:19,280
Speaker 2: small and it's why I was so poor.

545
00:27:23,880 --> 00:27:26,000
Speaker 1: It's Fred and Richard fair Brass, better known as Right.

546
00:27:26,080 --> 00:27:26,600
Speaker 1: Said Fred.

547
00:27:26,600 --> 00:27:28,800
Speaker 3: We're having so much fun with them on Icepell Pop Culture,

548
00:27:28,800 --> 00:27:30,920
Speaker 3: but we got to play some commercials really quick. Stick around,

549
00:27:30,920 --> 00:27:42,920
Speaker 3: We'll be right back. It's the Icebell Pop Culture podcast.

550
00:27:42,920 --> 00:27:45,800
Speaker 3: I'm hanging out with, Right, said Fred. That's Fred and

551
00:27:45,920 --> 00:27:49,600
Speaker 3: Richard Fairbrass. They are just these guys are great. I'm

552
00:27:49,640 --> 00:27:53,400
Speaker 3: having so much fun with these guys. So here's the thing.

553
00:27:53,760 --> 00:27:57,720
Speaker 3: I'm Too Sexy came out in ninety one or when

554
00:27:57,760 --> 00:28:01,240
Speaker 3: it hit. It's still such a mass hit today. I mean,

555
00:28:01,600 --> 00:28:05,119
Speaker 3: and you have artists like Drake Beyonce, Taylor Swift like

556
00:28:05,200 --> 00:28:09,080
Speaker 3: sampling it, like what's your reaction when especially Taylor Swift,

557
00:28:09,119 --> 00:28:10,879
Speaker 3: I mean she use elements of it for look what

558
00:28:10,920 --> 00:28:12,520
Speaker 3: you made me do? What's your reaction to that?

559
00:28:12,920 --> 00:28:16,679
Speaker 2: Well, it's not a sample. It's what's called interpolating.

560
00:28:17,160 --> 00:28:18,240
Speaker 1: Yes, yes.

561
00:28:18,880 --> 00:28:22,760
Speaker 2: An interpolation means someone comes to your song and says, well,

562
00:28:22,800 --> 00:28:24,800
Speaker 2: I like that bit of that song. I'm going to

563
00:28:24,840 --> 00:28:26,720
Speaker 2: take that bit of your song and I'm going to

564
00:28:26,800 --> 00:28:29,280
Speaker 2: use it in my song. And if they're really nice

565
00:28:29,520 --> 00:28:31,720
Speaker 2: like Taylor Swift and Drake and Beyonce. They will do

566
00:28:31,840 --> 00:28:34,199
Speaker 2: the right thing and they will go, we're nicking a

567
00:28:34,200 --> 00:28:36,840
Speaker 2: bit of your song. You can be on the writing credits,

568
00:28:37,880 --> 00:28:41,000
Speaker 2: which is what this should happen. Unfortunately, lots of artists

569
00:28:41,040 --> 00:28:42,840
Speaker 2: out there that don't do that. They just try and

570
00:28:42,840 --> 00:28:46,280
Speaker 2: live off. But they were very sweet, Taylor Swift. They

571
00:28:46,320 --> 00:28:50,120
Speaker 2: all treat us really well, particularly Drake and Taylor Swift,

572
00:28:50,240 --> 00:28:54,080
Speaker 2: very respectful and no sort of no sort of egos

573
00:28:54,080 --> 00:28:57,120
Speaker 2: find around. They just Drake in particularly, he said us

574
00:28:57,120 --> 00:29:01,080
Speaker 2: the demo, Wow, yeah, we got the Devil. What do

575
00:29:01,160 --> 00:29:03,680
Speaker 2: you think you're like a thirty second clip or something?

576
00:29:03,920 --> 00:29:06,760
Speaker 2: And or whoever sent up and met one of his people,

577
00:29:06,800 --> 00:29:08,640
Speaker 2: you know, and they said, we hope you like this.

578
00:29:08,760 --> 00:29:10,479
Speaker 2: You know, it's what's what we're planning to do.

579
00:29:10,520 --> 00:29:12,640
Speaker 4: We thought about sending it back saying no made that.

580
00:29:16,920 --> 00:29:23,640
Speaker 2: After so wait, those two tracks in particular, I really

581
00:29:23,760 --> 00:29:26,280
Speaker 2: like them. I think I think they've done a really

582
00:29:26,560 --> 00:29:30,040
Speaker 2: really good job. And what's nice about it it's sexy. Yeah,

583
00:29:30,040 --> 00:29:32,680
Speaker 2: we we we there's a when it's the summertime over there,

584
00:29:32,680 --> 00:29:35,800
Speaker 2: we set outside cafes or restaurants and we get these

585
00:29:35,840 --> 00:29:39,320
Speaker 2: young kids you know. I mean they're still much younger

586
00:29:39,360 --> 00:29:41,760
Speaker 2: than my daughter. You know, they're in their mid early

587
00:29:41,840 --> 00:29:44,440
Speaker 2: mid teens. You those guys that did that song with

588
00:29:44,560 --> 00:29:46,760
Speaker 2: tailors and we go, yeah, yeah, we cover that and

589
00:29:47,040 --> 00:29:49,360
Speaker 2: then we do photos. So we're doing photos. It's really

590
00:29:49,440 --> 00:29:53,840
Speaker 2: nice that that generational thing is happening. And I think

591
00:29:53,880 --> 00:29:57,160
Speaker 2: that's a real blessing to have that to be an

592
00:29:57,240 --> 00:30:00,000
Speaker 2: appeal to people who, yeah, they won't know our other song,

593
00:30:00,160 --> 00:30:02,880
Speaker 2: so they probably don't care. That's absolutely fine, but so

594
00:30:02,960 --> 00:30:04,080
Speaker 2: I like bridging that gap.

595
00:30:04,320 --> 00:30:06,960
Speaker 4: Also, there's another side to it, which is when Sexually

596
00:30:07,040 --> 00:30:10,760
Speaker 4: first wrote, a mother wrote to us and her son

597
00:30:10,960 --> 00:30:13,680
Speaker 4: had just died from leukemia. I think he was seven,

598
00:30:14,520 --> 00:30:17,880
Speaker 4: and he had requested that he wanted to be buried

599
00:30:17,880 --> 00:30:21,760
Speaker 4: with an I'm Too Sexy CD and T shirt. And

600
00:30:21,800 --> 00:30:25,240
Speaker 4: that's suddenly you think, actually, it's more to this. You

601
00:30:25,280 --> 00:30:27,680
Speaker 4: can take the mickey and you can run it, you know,

602
00:30:27,760 --> 00:30:30,320
Speaker 4: run it down as much as you like. But every

603
00:30:30,440 --> 00:30:33,120
Speaker 4: artist that's been touched in that way, or a song

604
00:30:33,160 --> 00:30:35,920
Speaker 4: that's been involved that way, it just you suddenly have

605
00:30:36,000 --> 00:30:38,120
Speaker 4: to take what you do not you don't take it seriously,

606
00:30:38,200 --> 00:30:41,280
Speaker 4: but you don't ridicule it as you might be tempted

607
00:30:41,320 --> 00:30:44,200
Speaker 4: to do it, shouldn't and you shouldn't know I should

608
00:30:44,320 --> 00:30:44,640
Speaker 4: forget that.

609
00:30:45,680 --> 00:30:49,160
Speaker 3: What a special thing to have a connection to have

610
00:30:49,280 --> 00:30:51,880
Speaker 3: with your fans, Like, what a special moment there. And

611
00:30:51,880 --> 00:30:54,400
Speaker 3: then also I was thinking about this, like I'm too sexy,

612
00:30:54,400 --> 00:30:56,320
Speaker 3: as you know, you're having fun with it.

613
00:30:56,320 --> 00:30:57,240
Speaker 1: It's a very fun song.

614
00:30:57,560 --> 00:30:59,240
Speaker 3: But at the same time, I think about all the

615
00:30:59,280 --> 00:31:01,680
Speaker 3: people that play that song and looked at themselves in the.

616
00:31:01,640 --> 00:31:03,280
Speaker 1: Mirror and said like, yeah, I am sexy.

617
00:31:03,360 --> 00:31:05,760
Speaker 3: I am too, say, like the confidence that you guys

618
00:31:05,800 --> 00:31:10,120
Speaker 3: have inspired in people for decades now is just it's tremendous.

619
00:31:10,160 --> 00:31:10,840
Speaker 1: It's incredible.

620
00:31:11,360 --> 00:31:13,800
Speaker 2: Yeah. We had a letter actually not long ago from

621
00:31:13,800 --> 00:31:17,000
Speaker 2: a trauma surgeon and she she does a lot of

622
00:31:17,080 --> 00:31:23,560
Speaker 2: car crashes and in them she's she's on the wrong

623
00:31:23,600 --> 00:31:26,480
Speaker 2: side of it when they come to hospital and amestic

624
00:31:26,560 --> 00:31:30,440
Speaker 2: violence related stuff and that's her thing, trauma surgery. And

625
00:31:30,480 --> 00:31:32,400
Speaker 2: she said, and she was realcienting she said, I play

626
00:31:32,440 --> 00:31:34,160
Speaker 2: your stuff on the way to work because I have

627
00:31:34,240 --> 00:31:37,040
Speaker 2: to go in there feeling happy, she said, because I

628
00:31:37,040 --> 00:31:40,080
Speaker 2: know I'm going to come out feeling sad. And she said,

629
00:31:40,080 --> 00:31:41,600
Speaker 2: that's how I deal with this. And she just wrote

630
00:31:41,600 --> 00:31:44,280
Speaker 2: a little letters saying thank you so much for upbeat music,

631
00:31:44,360 --> 00:31:46,240
Speaker 2: all this sort of stuff, and that's to us. That's

632
00:31:46,360 --> 00:31:50,280
Speaker 2: really precious because I know it's pretty. You know, I

633
00:31:50,520 --> 00:31:53,560
Speaker 2: don't know where good we're happy and fun music's gone.

634
00:31:53,600 --> 00:31:56,480
Speaker 2: I don't know where it's gone. But there's a lot

635
00:31:56,480 --> 00:31:59,480
Speaker 2: of people moaning about their their ex partners and their

636
00:32:00,080 --> 00:32:02,200
Speaker 2: not having any money, which is great, but it gets

637
00:32:02,280 --> 00:32:07,440
Speaker 2: very boring, and so I I kind of I think

638
00:32:07,480 --> 00:32:09,200
Speaker 2: it's nice to be to do that to people. When

639
00:32:09,200 --> 00:32:11,240
Speaker 2: we do a gig by want people to come out

640
00:32:11,240 --> 00:32:15,160
Speaker 2: fling better than when they walked in. That's our goal

641
00:32:15,640 --> 00:32:17,480
Speaker 2: and if we can do that, then it's a success.

642
00:32:17,560 --> 00:32:18,640
Speaker 2: If we can't, then we've failed.

643
00:32:18,760 --> 00:32:20,560
Speaker 4: Also, if you cast your mind back to some of

644
00:32:20,600 --> 00:32:24,040
Speaker 4: that seventies disco, oh you know it was pure had

645
00:32:24,080 --> 00:32:27,120
Speaker 4: a good time really, I was actually the Good Times

646
00:32:27,160 --> 00:32:30,080
Speaker 4: by Yeah, Bernard.

647
00:32:29,760 --> 00:32:34,840
Speaker 2: Edwards, the Bah. It's like God's gone down, You're going

648
00:32:34,880 --> 00:32:39,720
Speaker 2: to be great and he's playing it. I was some

649
00:32:39,800 --> 00:32:40,040
Speaker 2: of that.

650
00:32:40,000 --> 00:32:43,640
Speaker 4: Stuff was really Earthing the Fire and Sister Sledge all that.

651
00:32:43,680 --> 00:32:46,360
Speaker 4: I mean, just great stuff, really really fantastic.

652
00:32:48,360 --> 00:32:48,960
Speaker 1: Yeah, I love it.

653
00:32:48,960 --> 00:32:51,400
Speaker 3: And in your contribution to making the world feel good,

654
00:32:51,400 --> 00:32:54,280
Speaker 3: it's just it's astounding, and I appreciate it so much.

655
00:32:55,160 --> 00:32:57,560
Speaker 3: I'm so curious, like when when Angie Sexy was like

656
00:32:58,160 --> 00:32:59,240
Speaker 3: just in the stratosphere.

657
00:32:59,240 --> 00:33:00,520
Speaker 1: It's just like at it's height.

658
00:33:00,800 --> 00:33:03,640
Speaker 3: Was there a moment where you guys were like walking

659
00:33:03,680 --> 00:33:07,040
Speaker 3: around and like you heard it on TV or something

660
00:33:07,080 --> 00:33:09,120
Speaker 3: like that. We heard it kind of like in an

661
00:33:09,200 --> 00:33:11,440
Speaker 3: unexpected place and went like, oh my god, this is

662
00:33:11,680 --> 00:33:13,440
Speaker 3: like do you have a memory like that?

663
00:33:14,040 --> 00:33:18,400
Speaker 2: Interesting? When we were in Miami and we had hired

664
00:33:18,680 --> 00:33:22,800
Speaker 2: a convertible thunderbird I think it was a thunderbird, Yeah,

665
00:33:23,200 --> 00:33:25,840
Speaker 2: and we thought let's go for a drive. So we're

666
00:33:26,560 --> 00:33:30,920
Speaker 2: driving around Coconut Grove and all that saver Aia and

667
00:33:31,600 --> 00:33:34,240
Speaker 2: we're just we're serving all the radio, which what you

668
00:33:34,320 --> 00:33:36,680
Speaker 2: used to do about then, and literally we came in

669
00:33:36,720 --> 00:33:40,280
Speaker 2: and said this this week's this week number one, This

670
00:33:40,640 --> 00:33:43,040
Speaker 2: America's number one. This week is right, so fred Unti

671
00:33:43,080 --> 00:33:47,720
Speaker 2: section and we were like, that was here on the

672
00:33:47,800 --> 00:33:52,680
Speaker 2: radio was extraordinary, Yeah, And it was just really fortuitous

673
00:33:52,720 --> 00:33:54,000
Speaker 2: that we were at that moment.

674
00:33:54,240 --> 00:33:57,040
Speaker 4: It was quite scary actually, I mean America, or at

675
00:33:57,080 --> 00:34:00,080
Speaker 4: least for me, was quite scary because it was so

676
00:34:00,240 --> 00:34:03,240
Speaker 4: huge and we've never been there. Before, not what we had,

677
00:34:03,280 --> 00:34:06,840
Speaker 4: but not in that way. And there was there seemed

678
00:34:06,880 --> 00:34:09,320
Speaker 4: to me to be an awful lot of pressure on us,

679
00:34:09,640 --> 00:34:12,439
Speaker 4: and I didn't quite know why, and I wasn't sure

680
00:34:12,480 --> 00:34:14,359
Speaker 4: what we were doing and what sort of song is this?

681
00:34:14,480 --> 00:34:16,880
Speaker 4: And you know, the whole thing was very confusing to

682
00:34:16,880 --> 00:34:17,239
Speaker 4: start with.

683
00:34:17,280 --> 00:34:20,560
Speaker 2: But what America does the entertainment industry is they take

684
00:34:20,719 --> 00:34:24,279
Speaker 2: fame incredibly seriously. Yes, so, because they see it as

685
00:34:24,280 --> 00:34:26,880
Speaker 2: an asset. I guess, you know in the UK and

686
00:34:26,960 --> 00:34:31,799
Speaker 2: Europe they don't. They famous just some byproduct that comes

687
00:34:31,800 --> 00:34:35,040
Speaker 2: from having a get record. America, it's this sort of

688
00:34:35,080 --> 00:34:39,120
Speaker 2: machine which we weren't prepared for at all, and it's

689
00:34:39,120 --> 00:34:42,000
Speaker 2: a very different mindset. And it doesn't matter what if

690
00:34:42,000 --> 00:34:44,200
Speaker 2: you ever speak to any band in the world outside

691
00:34:44,239 --> 00:34:48,080
Speaker 2: of America, if they say America bigg in the American billboard,

692
00:34:48,120 --> 00:34:51,959
Speaker 2: it's not the Holy Grail. They're like, every single band

693
00:34:51,960 --> 00:34:54,320
Speaker 2: wants to be on the billboard, every single band. It

694
00:34:54,600 --> 00:34:57,600
Speaker 2: is because it's a it is the seal of a

695
00:34:57,640 --> 00:35:01,440
Speaker 2: not of approval. But it's like, yes, that because that

696
00:35:01,680 --> 00:35:06,439
Speaker 2: the charts in America filter out much greater than any

697
00:35:06,480 --> 00:35:07,120
Speaker 2: other countries.

698
00:35:07,400 --> 00:35:11,120
Speaker 4: America, because you guys, evangelize your music. Yeah, that's what

699
00:35:11,239 --> 00:35:13,919
Speaker 4: I like, you really do. I mean, there's some great

700
00:35:13,960 --> 00:35:16,800
Speaker 4: bands in Spain, and there's great bands in Germany and Itiba,

701
00:35:16,880 --> 00:35:19,240
Speaker 4: but they're not evangelized, they're not sold to the world.

702
00:35:19,920 --> 00:35:21,640
Speaker 2: And I like what I like about the American thing.

703
00:35:21,680 --> 00:35:24,040
Speaker 4: I like the fact that you evangelize everything you do,

704
00:35:24,560 --> 00:35:28,440
Speaker 4: whether it's Andy Warhol or music or doesn't matter what

705
00:35:28,480 --> 00:35:28,799
Speaker 4: it is.

706
00:35:28,880 --> 00:35:31,960
Speaker 2: Everybody knows about it, you know. But we did it.

707
00:35:32,200 --> 00:35:34,680
Speaker 4: We have never I had never heard of Wayne's world

708
00:35:34,760 --> 00:35:36,960
Speaker 4: at all. It wasn't something that we'd never heard of.

709
00:35:37,000 --> 00:35:40,600
Speaker 4: But we were doing we were having a break during

710
00:35:40,640 --> 00:35:45,839
Speaker 4: a promotion round at a diner and we came out

711
00:35:45,840 --> 00:35:48,000
Speaker 4: of this diner walking down some steps to the car

712
00:35:48,040 --> 00:35:50,839
Speaker 4: park and these two motorbike guys, I mean, all dressed

713
00:35:50,880 --> 00:35:52,879
Speaker 4: in leather with the whole thing getting off the off

714
00:35:52,880 --> 00:35:56,719
Speaker 4: their heart is and they collapsed onto their knees and

715
00:35:56,840 --> 00:35:59,319
Speaker 4: did this whole we're not working.

716
00:36:00,040 --> 00:36:02,400
Speaker 2: And I had no idea what they were talking about. It.

717
00:36:03,280 --> 00:36:05,440
Speaker 2: We had an American tour manager and he explained it

718
00:36:05,440 --> 00:36:08,800
Speaker 2: to us. Yeah, yeah, we didn't know, no, so we

719
00:36:09,120 --> 00:36:12,000
Speaker 2: weren't familiar. Then once we did spring Break, which we

720
00:36:12,040 --> 00:36:16,399
Speaker 2: did with spinal tap. Fantastic And once we did that,

721
00:36:16,440 --> 00:36:20,319
Speaker 2: we tapped into that sort of new culture, if what

722
00:36:20,400 --> 00:36:22,520
Speaker 2: they want to call it. Yes, so way's well we

723
00:36:22,600 --> 00:36:25,680
Speaker 2: understood and butt head and beavers and all this other

724
00:36:25,680 --> 00:36:27,560
Speaker 2: stuff that came along at the time, you know, but

725
00:36:27,680 --> 00:36:29,480
Speaker 2: before that we were a little bit out the loop.

726
00:36:29,520 --> 00:36:32,080
Speaker 2: We were you know, like I said, the record happened

727
00:36:32,120 --> 00:36:35,480
Speaker 2: so fast. We literally went from nobody knowing who we

728
00:36:35,480 --> 00:36:38,440
Speaker 2: were to a lot of a lot of people that

729
00:36:39,520 --> 00:36:43,120
Speaker 2: it wasn't overnight success, but it had this effect as

730
00:36:43,160 --> 00:36:46,919
Speaker 2: opposed to it wasn't gradual, it wasn't a word of mouth.

731
00:36:46,960 --> 00:36:49,680
Speaker 2: It just went bang like that. It was also you

732
00:36:49,800 --> 00:36:53,320
Speaker 2: totally you do think you're ready for it. You just do,

733
00:36:53,800 --> 00:36:55,440
Speaker 2: and actually you're not. You're not.

734
00:36:55,480 --> 00:36:57,880
Speaker 4: And so when people when people are famous at the

735
00:36:57,920 --> 00:37:00,520
Speaker 4: age of twenty, I just think you pulled both. Yeah,

736
00:37:00,760 --> 00:37:04,120
Speaker 4: just jumping beaver, for Heaven's sake, God bless him. But

737
00:37:04,239 --> 00:37:07,520
Speaker 4: you know, to be that famous and to look as

738
00:37:07,560 --> 00:37:10,279
Speaker 4: pretty as he did, he was too pretty to live really, yeah,

739
00:37:10,880 --> 00:37:14,040
Speaker 4: and to be surrounded by people who just apparent, as

740
00:37:14,040 --> 00:37:17,160
Speaker 4: far as I can see, didn't really care. That's pretty

741
00:37:17,160 --> 00:37:19,960
Speaker 4: typical business. Actually, you've got to have some good friends

742
00:37:20,400 --> 00:37:22,640
Speaker 4: that have a good family and people who care about

743
00:37:22,640 --> 00:37:24,520
Speaker 4: you to withstand all that stuff.

744
00:37:24,600 --> 00:37:27,160
Speaker 2: So the artists I really my heart you know when

745
00:37:27,160 --> 00:37:29,919
Speaker 2: I when I see them appearing, you know I knew

746
00:37:30,360 --> 00:37:32,080
Speaker 2: a new name or whatever, I just think, oh God,

747
00:37:32,120 --> 00:37:35,040
Speaker 2: I hope they've got someone around who gives us because

748
00:37:35,600 --> 00:37:39,000
Speaker 2: I look look at a Vichy. Yeah, it's horrible what

749
00:37:39,040 --> 00:37:42,040
Speaker 2: the industry can do if you let it, if you

750
00:37:42,080 --> 00:37:43,520
Speaker 2: let it absolutely.

751
00:37:44,239 --> 00:37:46,960
Speaker 3: And I also wanted to ask you guys, is what

752
00:37:47,040 --> 00:37:50,480
Speaker 3: advice do you have for an artist that's starting out now, Like,

753
00:37:51,160 --> 00:37:54,319
Speaker 3: because you just had every possible experience you can have

754
00:37:54,360 --> 00:37:57,320
Speaker 3: in the music industry. And I know it's different for everybody,

755
00:37:57,320 --> 00:38:00,200
Speaker 3: but like, if someone's out there and they have a

756
00:38:00,239 --> 00:38:03,040
Speaker 3: hit song, they got labels coming at them, they don't

757
00:38:03,080 --> 00:38:03,440
Speaker 3: know what to do.

758
00:38:03,480 --> 00:38:05,120
Speaker 1: What advice do you have for an artist like that?

759
00:38:05,760 --> 00:38:08,520
Speaker 4: Billy Joel said the only two things you need are

760
00:38:08,520 --> 00:38:13,719
Speaker 4: a good lawyer and a gun. That's what he said.

761
00:38:14,640 --> 00:38:17,239
Speaker 4: I think, Well, one of the things we agree on

762
00:38:17,440 --> 00:38:20,200
Speaker 4: is always own your product as much as you can

763
00:38:20,320 --> 00:38:24,480
Speaker 4: own your product, and try and find people that you try.

764
00:38:24,520 --> 00:38:26,240
Speaker 4: I know it sounds a bit a bit a big ask,

765
00:38:26,640 --> 00:38:28,839
Speaker 4: but try and find people that you trust. Only work

766
00:38:28,880 --> 00:38:31,239
Speaker 4: with people you like. And we've been roped in a

767
00:38:31,239 --> 00:38:33,359
Speaker 4: couple of times by people who just span us the deal.

768
00:38:33,440 --> 00:38:37,520
Speaker 4: You played us like violins absolutely looking back and when

769
00:38:37,560 --> 00:38:41,399
Speaker 4: it when when somebody is being too friendly too quickly, Yeah,

770
00:38:41,480 --> 00:38:42,120
Speaker 4: step back.

771
00:38:42,000 --> 00:38:44,920
Speaker 2: And have a think. So we have to realize is

772
00:38:45,440 --> 00:38:47,479
Speaker 2: you tend to think the guy you're talking to knows

773
00:38:47,520 --> 00:38:51,000
Speaker 2: more than you do or the girl. And you have

774
00:38:51,040 --> 00:38:54,520
Speaker 2: to remember you'r the asset. You have, that song, you have,

775
00:38:54,680 --> 00:38:58,400
Speaker 2: you have that content, and that might be your pension.

776
00:38:58,600 --> 00:39:01,600
Speaker 2: It might be if you're very, very So don't piss away,

777
00:39:01,680 --> 00:39:04,839
Speaker 2: don't don't don't sell it short. Don't sell it short.

778
00:39:05,040 --> 00:39:08,960
Speaker 2: Do not go into a meeting unless you've got some leverage. No, no,

779
00:39:09,040 --> 00:39:11,000
Speaker 2: you know you're worth don't go in there, you know.

780
00:39:11,320 --> 00:39:13,000
Speaker 2: Can you please help me? That's yeah.

781
00:39:13,040 --> 00:39:16,480
Speaker 4: That's the thing is the bat bands, artists, whatever. In

782
00:39:16,520 --> 00:39:18,480
Speaker 4: the early stages, they think the guy on the other

783
00:39:18,520 --> 00:39:22,440
Speaker 4: side of the desk knows all the stuff, and he doesn't.

784
00:39:22,800 --> 00:39:24,880
Speaker 4: For the most part, they don't know. And what you

785
00:39:25,000 --> 00:39:27,680
Speaker 4: forget as an artist is that you had the thing

786
00:39:27,760 --> 00:39:31,400
Speaker 4: they want, that all the power is yours. But artists

787
00:39:31,400 --> 00:39:34,440
Speaker 4: don't artists don't remember that. It's really really important to

788
00:39:34,440 --> 00:39:37,239
Speaker 4: remember that the power is yours. It's like you've got

789
00:39:37,360 --> 00:39:41,200
Speaker 4: a fistful of diamonds and they want it. Well, you've

790
00:39:41,200 --> 00:39:43,799
Speaker 4: got that. That's the leverage right there. Yeah, you don't

791
00:39:43,800 --> 00:39:45,680
Speaker 4: have to bow down and say thank you. You just

792
00:39:46,320 --> 00:39:49,399
Speaker 4: you know, be bi, put your shoulders back and stand tall.

793
00:39:49,520 --> 00:39:51,400
Speaker 2: Yeah, and have the balls to walk away if it

794
00:39:51,440 --> 00:39:54,279
Speaker 2: doesn't feel right. Yeah, it won't suddenly feel right. It

795
00:39:54,280 --> 00:40:00,320
Speaker 2: will continue. So you don't think right when this happens

796
00:40:00,320 --> 00:40:02,359
Speaker 2: to be right with that, No, notework. If it's wrong now,

797
00:40:02,719 --> 00:40:05,239
Speaker 2: it will always be wrong, So that would be I'll

798
00:40:05,320 --> 00:40:07,080
Speaker 2: just you know, try and be brave. I'm not. It's

799
00:40:07,120 --> 00:40:08,920
Speaker 2: difficult because you want to deal, you want to be

800
00:40:08,920 --> 00:40:10,840
Speaker 2: on TV, you want to you want you want to

801
00:40:10,840 --> 00:40:13,200
Speaker 2: play music for a living. But if you if you

802
00:40:13,320 --> 00:40:16,279
Speaker 2: start wrong, it will end wrong. There's no doubt about that.

803
00:40:16,280 --> 00:40:16,759
Speaker 2: That's true.

804
00:40:17,719 --> 00:40:19,560
Speaker 1: That that's great advice, guys, thank you.

805
00:40:19,640 --> 00:40:19,920
Speaker 4: And uh.

806
00:40:20,400 --> 00:40:24,400
Speaker 3: That's something that I think the industry has really like pushed,

807
00:40:24,840 --> 00:40:28,720
Speaker 3: especially in America, is like making music is fun. Aren't

808
00:40:28,719 --> 00:40:31,120
Speaker 3: you lucky to get to do that? I'm going to

809
00:40:31,440 --> 00:40:33,919
Speaker 3: now you get to do it for me and I'm

810
00:40:33,920 --> 00:40:36,640
Speaker 3: the key to that. And it's like, hey, anyone can

811
00:40:36,719 --> 00:40:39,200
Speaker 3: like draft up a contract. Only a special few people

812
00:40:39,239 --> 00:40:42,160
Speaker 3: can write a song. I mean, that's that is the value.

813
00:40:42,520 --> 00:40:45,280
Speaker 2: It is the value. You have to remember that minute.

814
00:40:45,360 --> 00:40:47,360
Speaker 2: You hear all the time. But here's the contract. Oh,

815
00:40:47,400 --> 00:40:51,240
Speaker 2: by the way, it's non negotiable. Everything's it's just blak

816
00:40:51,400 --> 00:40:53,080
Speaker 2: or somebody who signed.

817
00:40:54,000 --> 00:40:56,439
Speaker 4: Seriously, we actually know somebody who signed a black piece

818
00:40:56,480 --> 00:40:58,600
Speaker 4: of paper and then managed to put it later.

819
00:40:58,760 --> 00:41:05,120
Speaker 2: Yeah, no, yes, honest, So you're right, anyone can drop

820
00:41:05,160 --> 00:41:07,960
Speaker 2: a contract. But writing and writing a hit song, even

821
00:41:08,000 --> 00:41:10,560
Speaker 2: if even if you hate that song, it doesn't matter

822
00:41:10,640 --> 00:41:14,000
Speaker 2: that person wrote it, and and and and and it's delibered.

823
00:41:14,040 --> 00:41:16,520
Speaker 2: You know, there's lots of people out there, very successful

824
00:41:16,560 --> 00:41:19,319
Speaker 2: who I don't get it. I don't understand why are

825
00:41:19,320 --> 00:41:22,320
Speaker 2: they successful, but nearly they are in good luck to

826
00:41:22,360 --> 00:41:23,600
Speaker 2: the it's my think.

827
00:41:23,800 --> 00:41:25,960
Speaker 4: Yeah, I think, particularly these days, if you can make

828
00:41:25,960 --> 00:41:28,760
Speaker 4: a living out of the music industry, well done, really,

829
00:41:29,239 --> 00:41:33,120
Speaker 4: because it's even more so now it's it's so constrained.

830
00:41:33,200 --> 00:41:34,960
Speaker 2: Yeah, so much money has left it.

831
00:41:36,440 --> 00:41:38,759
Speaker 4: And as Fed said, when we started off, there were

832
00:41:38,800 --> 00:41:41,120
Speaker 4: labels everywhere, gigs everywhere, and now.

833
00:41:40,960 --> 00:41:43,000
Speaker 2: It's about four or four labels whatever. I know.

834
00:41:43,760 --> 00:41:46,040
Speaker 4: So, yeah it is if you're making money, good luck

835
00:41:46,040 --> 00:41:46,200
Speaker 4: to you.

836
00:41:46,320 --> 00:41:48,680
Speaker 2: Yeah, we're not really into that slagging off artist thing.

837
00:41:48,760 --> 00:41:51,399
Speaker 2: I saw a quote from Nor Gallagher the other day

838
00:41:51,440 --> 00:41:55,000
Speaker 2: slagging off Phil Collins. I mean, seriously, mate, Phil Collins.

839
00:41:55,480 --> 00:42:00,120
Speaker 2: Collins has got more talent in this little toe No,

840
00:42:00,960 --> 00:42:03,799
Speaker 2: and and to slag off someone, you know, I don't

841
00:42:03,800 --> 00:42:06,279
Speaker 2: get it, just to let people be don't get on

842
00:42:06,360 --> 00:42:06,480
Speaker 2: with it.

843
00:42:06,680 --> 00:42:13,720
Speaker 4: Yeah, yeah, exactly, particularly with film Collins sing gpe songwriter.

844
00:42:13,800 --> 00:42:15,759
Speaker 4: You know, just is it is what it is.

845
00:42:16,960 --> 00:42:18,759
Speaker 3: So tell me about the music you guys you're making now,

846
00:42:18,840 --> 00:42:20,920
Speaker 3: Like wait, wait, if people want to come and hear

847
00:42:20,960 --> 00:42:22,440
Speaker 3: a new rape, said Fred Staff.

848
00:42:23,000 --> 00:42:24,640
Speaker 2: Right, well, we are in the middle of a very

849
00:42:24,640 --> 00:42:25,560
Speaker 2: bizarre project.

850
00:42:25,840 --> 00:42:26,160
Speaker 1: Okay.

851
00:42:26,719 --> 00:42:28,879
Speaker 2: We have booked up with a couple of remixes called

852
00:42:28,920 --> 00:42:33,800
Speaker 2: Ward and there's also this weird character that we're involved

853
00:42:33,800 --> 00:42:39,040
Speaker 2: with called Bunny Tangent Stitch. Yeah, and it's out there man,

854
00:42:39,160 --> 00:42:41,799
Speaker 2: and it's a new song called It's not the new Rights,

855
00:42:41,840 --> 00:42:43,680
Speaker 2: said Fred Single. But it's the record we're involved in,

856
00:42:44,280 --> 00:42:48,080
Speaker 2: and it's called Wunderbars, and that is doing the rounds

857
00:42:48,080 --> 00:42:50,920
Speaker 2: on social media. Moment that gets released in about ten

858
00:42:51,000 --> 00:42:53,759
Speaker 2: days and we might be coming to La to do

859
00:42:53,800 --> 00:42:57,200
Speaker 2: a launch because there's some people have heard it over

860
00:42:57,200 --> 00:42:59,280
Speaker 2: there and they think we should definitely be over there,

861
00:42:59,440 --> 00:43:03,040
Speaker 2: So we might over there in August, right, that would

862
00:43:03,040 --> 00:43:05,799
Speaker 2: be That'll be all our platforms. So it's it's a

863
00:43:05,920 --> 00:43:08,600
Speaker 2: very bizarre little track. And then we're then we've got

864
00:43:08,560 --> 00:43:11,080
Speaker 2: a writer friend single which will be out end of

865
00:43:11,080 --> 00:43:14,040
Speaker 2: August September. That's called Raise your Hands. That's more typical

866
00:43:14,080 --> 00:43:16,359
Speaker 2: of what we do kind of for on the floor,

867
00:43:16,440 --> 00:43:21,239
Speaker 2: euphoric stuff, you know. Yeah, and that'll be outs really good. Yeah,

868
00:43:21,440 --> 00:43:24,600
Speaker 2: and we've got it's got We've got a bit on

869
00:43:24,600 --> 00:43:27,640
Speaker 2: that track. It's quite a bit tougher. Guitars are heavier,

870
00:43:27,960 --> 00:43:31,960
Speaker 2: beats heavier, so that's an interesting sounding record.

871
00:43:32,120 --> 00:43:34,000
Speaker 4: Also, when we play live at my age, I need

872
00:43:34,040 --> 00:43:37,920
Speaker 4: to wake up on state, so you know, otherwise that does.

873
00:43:39,920 --> 00:43:40,799
Speaker 2: We think we're not now?

874
00:43:46,719 --> 00:43:48,799
Speaker 3: Oh God, you guys are the couset dudes who have

875
00:43:48,880 --> 00:43:51,960
Speaker 3: ever lived. I am loving this so much. I have

876
00:43:51,960 --> 00:43:55,440
Speaker 3: one more question before I let you guys go. So this,

877
00:43:55,440 --> 00:43:59,160
Speaker 3: this podcast is about Gilmour Girls, This show that we love.

878
00:43:59,280 --> 00:44:01,680
Speaker 3: It's it's a comfort show for a lot of people

879
00:44:01,719 --> 00:44:05,759
Speaker 3: like they watch it every far. I'm Too Sexy was

880
00:44:05,800 --> 00:44:08,080
Speaker 3: mentioned in the show, which is the basis of our

881
00:44:08,080 --> 00:44:09,120
Speaker 3: conversation here.

882
00:44:09,760 --> 00:44:11,879
Speaker 1: And I want to know, do you guys have like.

883
00:44:11,880 --> 00:44:14,319
Speaker 3: A comfort TV show that you like to look like

884
00:44:14,840 --> 00:44:16,759
Speaker 3: you you just put it on to fall asleep or

885
00:44:16,840 --> 00:44:17,520
Speaker 3: something like that.

886
00:44:18,160 --> 00:44:22,720
Speaker 4: Brazier Yeah, Brasier Wow. I thought that was that whole

887
00:44:22,920 --> 00:44:25,919
Speaker 4: the whole season, all seasons, apart from maybe the last

888
00:44:25,920 --> 00:44:28,320
Speaker 4: one or two. It was genius right.

889
00:44:28,120 --> 00:44:28,600
Speaker 2: The way through.

890
00:44:29,120 --> 00:44:32,160
Speaker 4: And there's a couple of episodes of Seinfeld You're Big five.

891
00:44:32,560 --> 00:44:37,760
Speaker 2: Yeah, there's Bizarro, Yes, Jerry, And there's the one where

892
00:44:38,280 --> 00:44:42,440
Speaker 2: the opposite George has to do the opposite. Everything he's

893
00:44:42,480 --> 00:44:47,800
Speaker 2: ever done is stupid, So it's you know, and he

894
00:44:47,840 --> 00:44:49,919
Speaker 2: goes to make a decision, he goes, bo I'm gonna

895
00:44:49,920 --> 00:44:53,080
Speaker 2: do And so there's about I'm not a huge fan

896
00:44:53,120 --> 00:44:55,160
Speaker 2: of all the sidfle stuff, but those there's two three

897
00:44:55,160 --> 00:44:59,120
Speaker 2: episodes I think are really really really great. And Brasier

898
00:44:59,239 --> 00:45:00,000
Speaker 2: right across the board.

899
00:45:00,440 --> 00:45:02,200
Speaker 4: What was really good about phrasing was that was the

900
00:45:02,239 --> 00:45:07,640
Speaker 4: colors colors when they started going outside, you know, they

901
00:45:07,640 --> 00:45:10,239
Speaker 4: did a thing in this in a fish market or something.

902
00:45:10,239 --> 00:45:13,560
Speaker 4: I think it's and once the colours changed, it changed

903
00:45:13,560 --> 00:45:14,000
Speaker 4: the mood.

904
00:45:14,040 --> 00:45:14,480
Speaker 2: It was all that.

905
00:45:14,719 --> 00:45:17,160
Speaker 4: It was all those earth colors on the set that

906
00:45:17,280 --> 00:45:19,600
Speaker 4: worked really, really well. So every every week when you

907
00:45:19,719 --> 00:45:23,080
Speaker 4: churched back in the day, whenever you tuned in, it

908
00:45:23,200 --> 00:45:25,080
Speaker 4: was the same color as the same coat. He put

909
00:45:25,080 --> 00:45:27,520
Speaker 4: the keys down in the same place, Marty was in

910
00:45:27,560 --> 00:45:30,759
Speaker 4: the same chair. That was incredibly company and it was

911
00:45:30,880 --> 00:45:32,400
Speaker 4: very well written, brilliantly written.

912
00:45:33,600 --> 00:45:37,560
Speaker 2: Two, there's a couple of European there's a French detective

913
00:45:37,800 --> 00:45:40,840
Speaker 2: series which is quite old now actually called Spiral, and

914
00:45:40,880 --> 00:45:43,400
Speaker 2: we watched that sometimes. We watched it. We know exactly

915
00:45:43,440 --> 00:45:46,759
Speaker 2: what's going to happen. It's fantastic. And the way the

916
00:45:46,800 --> 00:45:49,080
Speaker 2: French police in this are depicted and the way they

917
00:45:49,200 --> 00:45:52,920
Speaker 2: treat they knock everybody around. It's like the shield, the

918
00:45:53,000 --> 00:46:00,759
Speaker 2: shield just whacking everybody. Funny. There's a few, yeah, like

919
00:46:00,800 --> 00:46:02,959
Speaker 2: that lot of songs or whatever people have that little

920
00:46:02,960 --> 00:46:04,960
Speaker 2: go to that's good. Yeah. Yeah, for me, it would

921
00:46:05,000 --> 00:46:05,720
Speaker 2: definitely be Frasier.

922
00:46:05,760 --> 00:46:08,319
Speaker 1: Yeah, I love it. You guys are just so cool.

923
00:46:08,360 --> 00:46:11,359
Speaker 3: Friend Richard fair Prass again right, said Fred, This has

924
00:46:11,480 --> 00:46:13,759
Speaker 3: been so much fun. I thank you guys for the

925
00:46:13,840 --> 00:46:17,000
Speaker 3: music you've made and the inspiration continue to be for

926
00:46:17,080 --> 00:46:17,959
Speaker 3: artists all over the world.

927
00:46:18,080 --> 00:46:19,640
Speaker 1: Just the absolutely greatest you guys, thank you.

928
00:46:20,080 --> 00:46:21,440
Speaker 2: We'll send you a clip of this other thing.

929
00:46:21,560 --> 00:46:22,600
Speaker 1: Yeah, I love it.

930
00:46:22,680 --> 00:46:25,879
Speaker 3: Yes, and everyone go listen to everything right said Fred

931
00:46:25,960 --> 00:46:28,760
Speaker 3: is making. Just listen to it all by the albums,

932
00:46:28,840 --> 00:46:29,319
Speaker 3: buy it all.

933
00:46:29,800 --> 00:46:30,040
Speaker 4: Hey.

934
00:46:30,920 --> 00:46:31,640
Speaker 2: Thank you so much

935
00:47:00,640 --> 00:47:03,880
Speaker 3: Everybody, and don't forget Follow us on Instagram at I

936
00:47:04,160 --> 00:47:08,239
Speaker 3: Am all In podcast and email us at Gilmore at

937
00:47:08,400 --> 00:47:20,040
Speaker 3: iHeartRadio dot com.