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Speaker 1: Hey, it's Alec Baldwin here before we launch our next

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Speaker 1: season of Here's the Thing at iHeartRadio in January, I

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Speaker 1: thought I'd play some of my favorite shows from the archives.

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Speaker 1: In nineteen ninety two, Radiohead released their stunning debut single

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Speaker 1: Creep When Youful. It was quiet yet explosive, even haunting,

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Speaker 1: and its refrain had a powerful hook.

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Speaker 2: I wish how special?

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Speaker 1: So fucking special? Radioheads frontman and principal songwriter Tom York

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Speaker 1: is my guest, and if it was his wish to

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Speaker 1: be special, the world granted it. York's band has become

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Speaker 1: a commercial and critical success, selling over thirty million albums.

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Speaker 1: Radiohead's music actively resists definition. Each new album explores a

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Speaker 1: different sound, delighting their followers and scooping up more fans

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Speaker 1: along the way. The New York Times called Radiohead rock's

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Speaker 1: most experimental top ten band, and this spirit of experimentation

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

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Speaker 1: York and his bandmates released In Rainbows on their website.

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Speaker 1: First fans were invited to pay what they wanted for

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Speaker 1: the album. Radiohead may not have been the first to

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

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

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

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Speaker 1: He complains about celebrity worship and I wasn't sure what

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Speaker 1: to expect.

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Speaker 2: Actually, I got you a health food snack, did you Yeah,

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Speaker 2: because someone told me you were like all vegetarian and that.

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Speaker 1: Tom Yorke has a new record out a mark. The

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Speaker 1: band calls themselves Adams for Peace. You don't do a

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Speaker 1: lot of press, were you doing? It was an on

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Speaker 1: an as needed basis.

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Speaker 2: Yeah, on a need to know basis, Yeah, yeah, kind of.

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Speaker 2: I kind of need to explain what I'm doing a

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Speaker 2: bit with the Adams for Peace thing, just a little

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Speaker 2: bit because it's something different and some vague effort to

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Speaker 2: explain myself occasionally I think is morally acceptable.

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Speaker 1: Tell us about the Adams for Peace.

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Speaker 2: Well, it's just it was. I did a record on

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Speaker 2: my own called The Eraser a few years ago.

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Speaker 1: Was that your first solo record?

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Speaker 2: Yes, first time. I sort of worked on my own

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Speaker 2: with Nigel who when he produces Radiohead, and it came

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Speaker 2: out it was okay, people liked it a bit. A

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Speaker 2: couple of years after I suddenly thought I really want

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Speaker 2: to actually because it was all done, it was all programmed,

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Speaker 2: it was all computers and stuff, and I thought, actually,

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Speaker 2: I really I'm curious to know what it would be

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Speaker 2: like to actually get a band together to play this.

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Speaker 2: And it was an excuse to go on a jolly

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Speaker 2: to LA and hang out. And I emailed friends of

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Speaker 2: mine who I knew like the record. One was Flee

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Speaker 2: from the Chili Peppers. One was my friend Joey, who's

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Speaker 2: drummed with everybody's genius drummer from LA. And anyway, we

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Speaker 2: got it together and it turned into this thing became

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Speaker 2: really exciting, and we ended up calling the band Atoms

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Speaker 2: for Peace and making a record out of the excitement

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Speaker 2: of that. And it was all brand new to me

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Speaker 2: because I'd been in the same band since I was

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Speaker 2: seventeen sixteen.

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

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

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

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

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Speaker 1: people for a change.

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Speaker 2: It was a good. Yeah, it was a totally different process.

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Speaker 2: I mean, it's always fun if you know what you're

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Speaker 2: aiming at. If you know what the tunes are, you're

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Speaker 2: not trying to write them, you're just emulating what's already

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Speaker 2: been written. That makes it fun straight away, because it's

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Speaker 2: a different sort of creative process, So you're not struggling

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Speaker 2: around in the dark for a way into a piece

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Speaker 2: of music. You're figuring out how to strip it down

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Speaker 2: to its all essentials, especially if it's something's been written

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Speaker 2: on a computer, and then you have to humanly learn

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Speaker 2: how to play it. It brings in this quite interesting

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Speaker 2: thing with the feel of what you're playing. Anyway, it's

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Speaker 2: loads of different things, but it's a lot more fun

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Speaker 2: and a lot more relaxed if you're not trying to write,

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Speaker 2: you know, which is what also all the time what

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Speaker 2: we're trying to do with Radiohead.

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

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Speaker 1: using computers to create music?

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Speaker 2: That was I think after we did Okay Computer I

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Speaker 2: finally in the late late nineties you could like go

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Speaker 2: on tour with the laptop and it was powerful enough

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Speaker 2: that you could record, edit, use synthesizers built into it

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Speaker 2: and it wouldn't crash and it was fairly stable. So

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Speaker 2: I first started getting into it then, And what I

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Speaker 2: thought was really interesting is when we were working on

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Speaker 2: Okay computer, I started using learning the software that we

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Speaker 2: were using the studio to edit. We were still mostly

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Speaker 2: working on tape old school, but I suddenly thought, well,

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Speaker 2: hang on a minute, if I can learn how all

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Speaker 2: this equipment works, I'll have a completely different way of

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Speaker 2: thinking about how to write. So I forced myself to

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Speaker 2: learn all this equipment and learn to use the laptop

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Speaker 2: because a lot of music I was into was being

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Speaker 2: made electronically anyway, and I kind of thought it would

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Speaker 2: be interesting to do it within the band, because you

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Speaker 2: know a band. Normally musicians don't fall into doing the

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Speaker 2: production side of it or building the tracks. They're like,

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Speaker 2: stay this side of the studio of fence with the

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Speaker 2: mics and let someone tell me. So I definitely was

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Speaker 2: much more into blurring that up.

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Speaker 1: Did Naj produce both your solo albums?

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Speaker 2: Yeah he does. He does the lot and all of

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Speaker 2: the radio Head album, Yeah he does. Well.

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Speaker 1: When you attribute that to having that kind of faith in.

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Speaker 2: Someone, for me, it's sort of you find someone you trust.

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Speaker 2: I mean not all the time, and we do argue

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Speaker 2: a lot, but to have someone who's like a sounding

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Speaker 2: board all the time. It makes everything so much more

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Speaker 2: fun because if you're if you're knocking out ideas, you

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Speaker 2: can't edit them and knock them out at the same time.

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Speaker 2: Like if you're on stage and you're trying to get

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Speaker 2: through your part or whatever, you have to have someone

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Speaker 2: out front saying, okay, that's not working. I mean I

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Speaker 2: do on my own a lot. I do work. You know,

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Speaker 2: you generate ideas, but all I then have is a

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Speaker 2: mountain ideas that gradually I then have to sit through

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Speaker 2: and it just takes so long. It's so much more

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Speaker 2: fun sharing it with someone.

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Speaker 1: What did he think about your forays into computerized music?

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Speaker 2: Oh, he was into it. I did wonder when I

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Speaker 2: first started doing it, but he was into it because

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Speaker 2: he watched me doing it in such a different way

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Speaker 2: to him. I mean, I was like a kid being

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Speaker 2: given a hammer. I was just hammering away and stuff.

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Speaker 2: I didn't really know what I was doing, but he

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Speaker 2: was kind of fascinated about that, you know, and he'd

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Speaker 2: come and literally tidy up the mess down on the computer.

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Speaker 1: What were other people who were other people that were

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Speaker 1: working in that in that area that you listened to,

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Speaker 1: who are making the now?

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Speaker 2: Well, then it was. I was obsessed with AFX twin

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Speaker 2: then and O Tekra. There was a lot of really

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Speaker 2: interesting things happening Britain. Then on this label called Warp

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Speaker 2: and it was it was a.

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Speaker 3: Funny Spells warp w arp, like the floor is warped, Yeah,

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Speaker 3: after the fun Yeah. And then I say, with your accent,

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Speaker 3: that could have been anyone in four wards when I said, on.

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Speaker 1: This label called Warm Warm, Wall w Warp, Yeah, say

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Speaker 1: it like we say it here in the United States.

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Speaker 2: War it's war country and Western record bit.

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Speaker 1: Your bottom down there, boy? So you were you is?

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Speaker 1: You were? You were obsessed with the music that was

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Speaker 1: on Warp Records.

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Speaker 2: Because it didn't have any guitars and I was having

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Speaker 2: a troubled relationship with my guitar at the time.

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Speaker 1: Is that true?

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Speaker 2: Well not really. It's just like I ended up being

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Speaker 2: in a band signing this to this big record label,

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Speaker 2: and it's a band with big letters, so certain things

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Speaker 2: go with that. But yet when I was at college,

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Speaker 2: I was listening to a lot of other things, and

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Speaker 2: after a while it was like, oh, this is is

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Speaker 2: really annoying that I felt like we couldn't break out

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Speaker 2: of that. So I just started forcing us to break

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Speaker 2: out of that because it didn't make sense to me.

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Speaker 1: You've been with those guys for how long now we.

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Speaker 2: Started when we're sixteen Radiohead, which is now I'm forty four,

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Speaker 2: so that's quite a while.

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Speaker 1: And some bands that have had tremendous longevity, obviously the

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Speaker 1: Rolling Stones are the premier example. They've changed partners over there,

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Speaker 1: like they were the New York Yankees. You know, there's

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Speaker 1: somebody else playing third base every four or five years. Yeah,

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Speaker 1: but you guys, it's the same cast of people all

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Speaker 1: this suff What do you attribute.

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Speaker 2: That to persistence? My great diplomatic skills.

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

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

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

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

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Speaker 1: I think we're done.

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Speaker 2: I do that frequently, frequently. I mean, at least the

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Speaker 2: others two not as much. They just wait for me

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Speaker 2: to do it. But it changes.

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Speaker 1: It's like, yeah, it's like to stick around.

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Speaker 2: I'm feeling it's coming up. I mean, you know, something

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Speaker 2: to do with the fact we haven't done any useful

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Speaker 2: for three weeks. It goes through these phases. You know,

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Speaker 2: we've grown up together. It's weird. I mean, So, we

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Speaker 2: just did a tour last year, right, and it was probably,

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Speaker 2: in theory, the scariest one we've ever done, because it

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Speaker 2: was lots of big gigs, which I normally am spending

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Speaker 2: my time trying to shy away from.

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Speaker 1: Why because you can't achieve technically in a large space

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Speaker 1: where you normally want.

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Speaker 2: To exactly that you can't get across to people the

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Speaker 2: right way, I felt. So we did spend a lot

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Speaker 2: of time and effort coming up with like a stage

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Speaker 2: design which used screens in a certain way which made

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Speaker 2: it intimate, even though you know, some nights was like

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Speaker 2: thirty or forty thousand people trying to create some sort

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Speaker 2: of intimacy with that, and when it worked, it was insane.

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Speaker 2: It was because the upside of playing to that many

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Speaker 2: people is you have this really crazy collective energy that

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Speaker 2: you can tap into like a crowd, you know. Thing.

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Speaker 2: There's one show we did in Phoenix that sticks in

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Speaker 2: my mind where there was something about maybe that it

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Speaker 2: was in Phoenix and people don't get the opportunity. Those

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Speaker 2: sort of people don't get the opportunity to get together

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Speaker 2: that often or something. There was some sort of excitement

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Speaker 2: within the crowd that was so great to play with.

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Speaker 2: When we hit it musically, it felt like the whole room,

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Speaker 2: the whole of the building was moving. Honestly, we both

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Speaker 2: came off their you know, yeah, and it's bombed.

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Speaker 1: I understand that not from my own experience, but from

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Speaker 1: seeing artists perform.

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Speaker 2: You know, I often ask myself, why the hell would

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Speaker 2: you put yourself through this? Because it's very stressful. It's

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Speaker 2: a lot of pressure, and for me mentally, I just

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Speaker 2: build myself up to it in my head gradually and

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Speaker 2: it sounds really precious, but it messes with my head.

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

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

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

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Speaker 1: and not a stated one. It just emanates a vibe.

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Speaker 2: To me, it comes to me that yeah, but to me,

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Speaker 2: that comes off the audience. That's what I find. It's

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Speaker 2: something that's developed. It's not like we're not going into

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Speaker 2: this intending to do any of that. It just sort

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Speaker 2: of happens when when the waves go right, you know,

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Speaker 2: when the waves fall into place. Then you'll get to

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Speaker 2: the end of the song and you can feel, Okay,

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Speaker 2: we've done whatever it is. That was it.

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Speaker 1: What's your preparation before you do a live show before

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Speaker 1: you go because in the studio it's obviously a whole

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Speaker 1: different animal.

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Speaker 2: Correct, Yeah, there's no preparation for the studio. Do you know?

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Speaker 2: It's bull in a china shop most of the time,

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Speaker 2: which is how it should be, I think.

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Speaker 1: And performing live, yeah, what's give it to me a

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Speaker 1: couple of hours before you go out there and you've

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Speaker 1: got to blow this thing out for all these people.

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Speaker 2: Just stone cold silence, basically almost meditative. Well, yeah, I do.

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Speaker 1: I do that and focused.

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Speaker 2: I stand on my head for a bit and I

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Speaker 2: basically I'm completely on my own until five minutes before

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Speaker 2: we go on, and then we're all in the room together,

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Speaker 2: pacing up and down like wild animals, and then then

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Speaker 2: we're on. But when we first started doing big shows,

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Speaker 2: it was with my from Michael Stipe, and he does

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Speaker 2: the total opposite. He literally he'll be talking to you

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Speaker 2: and then someone taps in the shoulder and then they're on.

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Speaker 2: And I was like, how the hell do you do that? Man?

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Speaker 2: And I tried to do it like that, couldn't it?

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Speaker 1: And so I ended up going, did you get any

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

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Speaker 1: nice spiritual tones inside of r EM's music too.

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Speaker 2: Yeah, No, I don't know. I think what he used

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Speaker 2: to do was you'd stand there for the first two

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Speaker 2: tunes move. He was a sort of lightning conductor, and

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Speaker 2: he was just waiting for it to hit, and then

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Speaker 2: when it hit, he was off, but he would wait

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Speaker 2: and if it wasn't going to hit, he was still

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Speaker 2: there three or four tunes later, and waiting. He kind

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Speaker 2: of warmed up in front of everybody, gauging it all,

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Speaker 2: whereas I can't do that because I have to sort

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Speaker 2: of be clear of everything before, you know whatever. I

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Speaker 2: need to be completely empty.

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Speaker 1: We're taking a break, stay with us.

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Speaker 2: I started playing guitar when I was seven. I sat

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Speaker 2: down and said I was going to be Brian May

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Speaker 2: and not a bad thing to be. Yeah, And then

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Speaker 2: I tried to do I read like when I was

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Speaker 2: ten or something. I read that he'd built his first

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Speaker 2: guitar himself, which is the one he still plays. So

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Speaker 2: I tried to do that, but my efforts was and.

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Speaker 1: Then said she were not Brian may in s handcrafting

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Speaker 1: the guitar, and I.

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Speaker 2: Had to cheat with the neck on the guitar I

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Speaker 2: found in old someone a neighbor gave me a neck

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Speaker 2: of an electric guitar. That's great, Okay, that's good. But

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Speaker 2: you know I was ten or eleven, so I was

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Speaker 2: trying to like bolt it to get to this other

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Speaker 2: piece of wood that I'd cut out, and it was

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Speaker 2: just a disaster. But it kind of worked, but it

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Speaker 2: was ugly.

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Speaker 1: Was your family musical?

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Speaker 2: Not really?

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Speaker 1: No.

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Speaker 2: The only one that sticks out is apparently my great grandmother.

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Speaker 2: She'd get really hammered and then stay up playing her

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Speaker 2: pump organ thing downstairs all night and keep the family up.

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Speaker 1: You were around, did you witness that?

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Speaker 2: I met her once and she was kind of she

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Speaker 2: wore black and was quite scary when I was really tiny.

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Speaker 1: But neither of your parents were artists musicians?

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Speaker 2: No, no, no, no.

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Speaker 1: When the guitar came into your life when or seven,

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Speaker 1: Brian may or, no, was it music itself? And were

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Speaker 1: you moved by music itself? Or was it like many

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Speaker 1: people when they're very young? Was it rock stardom? Was never?

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Speaker 2: Then? It was?

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

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Speaker 1: and you thought like you.

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Speaker 2: And my whole thing was we didn't have any sound

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Speaker 2: system in the house. We had nothing, no high fi

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Speaker 2: nothing except for in my dad's car and had a

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Speaker 2: tight player in it. So I went and would sit

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Speaker 2: for hours. I would sit for hours, and you know,

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Speaker 2: it was the sound of Brian May's guitar. Actually, it's

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Speaker 2: one of those funny things where you know, when you

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Speaker 2: turned something up and you're in a very controlled, loud environment,

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Speaker 2: just that sound was just, you know, nothing else was that.

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Speaker 2: When you're that small and you've never I've never really

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Speaker 2: heard music particularly at all up until that point. You know,

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Speaker 2: it's funny. It's got a weird thing. But I mean,

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Speaker 2: lots of kids of that age, you know, their parents

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Speaker 2: didn't really have high fires or anything as such. The

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Speaker 2: only guy I did know who had a high fight

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Speaker 2: down the road only played abbat, which I thought was

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Speaker 2: worse than not having one. But that was me somehow.

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

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Speaker 1: to fashion your own guitar by the time you were eleven,

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

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Speaker 1: commitment how old are you when you form the band sixteen?

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Speaker 2: I did have a band when I was eleven, But

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Speaker 2: what's an eleven year old band sound like? Yeah? No,

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Speaker 2: it were not very good at all, but it was.

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Speaker 2: It was very exciting, like going around to a friend's

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Speaker 2: house is setting up and jamming, and all our mates

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Speaker 2: would come and hang out and girls, which I thought,

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Speaker 2: this is interesting. Yes, as puberty hit, but that sort

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Speaker 2: of fell to bits because I kept fighting with the drummer.

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Speaker 2: And then when I was six, then I was thinking, well, okay,

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Speaker 2: I need to get this together really and just went

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Speaker 2: around the school sort of choosing people.

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Speaker 1: So you went around picking people.

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Speaker 2: I got it because he was dressed like Morrissey and

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Speaker 2: he had some cool socks, and I saw he'd had

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Speaker 2: a guitar. I had no idea whether he could play

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Speaker 2: or not. I didn't really care. I got Colin because

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Speaker 2: I knew Colin could play very well, and I needed

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Speaker 2: a bass player. He could play very well, but he

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Speaker 2: had never played bass before. And his brother Johnny was

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Speaker 2: this mythical musical prodigy. So wroped him in. And then

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Speaker 2: Phil was the only drummer we knew anyway, So and

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Speaker 2: and he had a house down the road that we

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Speaker 2: could rehearse him.

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Speaker 1: And you're all and you lived where you grew up

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Speaker 1: were well, this.

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Speaker 2: Was at Abingdon School in near Oxford.

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

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Speaker 2: Sixteen, basically, yeah, we started sort of writing, doing demos

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Speaker 2: and messing about and it was, you know, it was

347
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Speaker 2: quite interesting straight away that it was quite I think

348
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Speaker 2: because Field had quite a lot of experience. He was

349
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Speaker 2: a bit older and he'd had his own band, so

350
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Speaker 2: he knew how to put things together a bit. And

351
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Speaker 2: in fact we used to go and do demos in

352
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Speaker 2: his sister's bedroom, like right from the beginning, which which

353
00:19:16,040 --> 00:19:19,639
Speaker 2: was great. I mean, there's nothing better than just starting

354
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Speaker 2: off by just trying to write demos from scratch, even

355
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Speaker 2: though you can't really play, even though you don't know

356
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Speaker 2: each other. That's where you start, you know. It's kind

357
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Speaker 2: of a nice way to figure out where you're about.

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

359
00:19:33,560 --> 00:19:38,640
Speaker 1: you well, you play guitar, you write music, you produce music,

360
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Speaker 1: you do and you're sing. What do you think your

361
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Speaker 1: greatest strength is? If you had to pick one.

362
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Speaker 2: I don't know what I'm doing. I like the fact

363
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Speaker 2: that I still don't know what I'm doing, I think, well,

364
00:19:48,440 --> 00:19:51,920
Speaker 2: not honestly, I can't go. I'll go through whole phases

365
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Speaker 2: of months where i'n't got a clue. I regularly lose

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Speaker 2: complete confidence in what I'm doing. Why do you think

367
00:20:00,960 --> 00:20:05,160
Speaker 2: that is? Umm, because I have the same condition. Why

368
00:20:07,520 --> 00:20:11,440
Speaker 2: partly because I think I don't quite understand how it

369
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Speaker 2: happens after the fact, When.

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Speaker 1: When what happens when the appreciation comes.

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Speaker 2: To you know, when you're piecing something together right, things

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Speaker 2: will fall into place how you make it. Yeah, I mean,

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Speaker 2: in some ways, the nicest bit about the creative thing,

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Speaker 2: or nicest bit about recording and writing, is this sort

375
00:20:30,600 --> 00:20:36,280
Speaker 2: of weird limbo where you in between scratching away scratching away,

376
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Speaker 2: nothing really happening, nothing really happening, and then something wants

377
00:20:40,280 --> 00:20:42,720
Speaker 2: to be built and starts to get built. You just

378
00:20:42,840 --> 00:20:44,920
Speaker 2: have to let it happen. And then it gets to

379
00:20:44,960 --> 00:20:46,399
Speaker 2: the end and you and you look at it a

380
00:20:46,440 --> 00:20:50,240
Speaker 2: few months later and go, huh that it's sort of

381
00:20:50,320 --> 00:20:53,239
Speaker 2: weird amnesia that goes with it. Something will happen, one

382
00:20:53,280 --> 00:20:55,640
Speaker 2: little sound goes off, and you go, well, that's really

383
00:20:55,760 --> 00:21:02,359
Speaker 2: nice for me. When I was at school. I didn't

384
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Speaker 2: get on with the school system at all. I see it,

385
00:21:06,840 --> 00:21:09,760
Speaker 2: and my son the same, that sort of the mechanics

386
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Speaker 2: of how a school operates and how you're supposed to

387
00:21:12,000 --> 00:21:15,639
Speaker 2: blend in or whatever. So I hid in the music

388
00:21:15,960 --> 00:21:18,960
Speaker 2: stroke art department and had a great time there and

389
00:21:19,080 --> 00:21:22,639
Speaker 2: discovered that actually that's what I wanted to do. Straight away,

390
00:21:23,119 --> 00:21:26,760
Speaker 2: the heads of both schools just saw what I was

391
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Speaker 2: up there.

392
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Speaker 1: Is this the teacher that you often credit with you

393
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Speaker 1: or yeah, what was the teacher's.

394
00:21:30,400 --> 00:21:33,959
Speaker 2: Name, Terry James, But it was him and my art

395
00:21:34,000 --> 00:21:36,879
Speaker 2: teacher as well. Actually it was like someone sort of

396
00:21:37,080 --> 00:21:39,480
Speaker 2: takes you under their wing and say, well, you know what,

397
00:21:39,640 --> 00:21:41,080
Speaker 2: you're actually quite good at that mentoring.

398
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Speaker 1: Is it a very critical thing in this business?

399
00:21:43,040 --> 00:21:46,240
Speaker 2: Yeah, because it's it's enough at that age, it's enough

400
00:21:46,640 --> 00:21:49,159
Speaker 2: to just get a little push and then okay.

401
00:21:49,760 --> 00:21:51,800
Speaker 1: Or does someone push you in a different direction?

402
00:21:52,000 --> 00:21:54,760
Speaker 2: Yeah, well yeah, that would be bad. Yeah, how about

403
00:21:54,880 --> 00:21:59,679
Speaker 2: you go to the other I think my father used

404
00:21:59,720 --> 00:22:01,639
Speaker 2: to think I used to get too advertising, which is

405
00:22:01,760 --> 00:22:05,520
Speaker 2: like really brilliant. Yeah, I'd really be good at that.

406
00:22:06,280 --> 00:22:09,880
Speaker 1: Other people, well, one thing you're good at is avoiding.

407
00:22:09,920 --> 00:22:13,000
Speaker 1: My original question, which was what do you think you're

408
00:22:13,080 --> 00:22:15,439
Speaker 1: best at? And let's try to choose if you can,

409
00:22:15,520 --> 00:22:17,520
Speaker 1: if you may, if you don't mind, confine yourself to

410
00:22:17,640 --> 00:22:21,520
Speaker 1: the list, I provide, what do you think you're best at?

411
00:22:22,320 --> 00:22:31,240
Speaker 1: This is multiple choice guitar band, kind of paternal figure, songwriting, producing, singing.

412
00:22:32,000 --> 00:22:32,760
Speaker 2: I guess singing.

413
00:22:33,400 --> 00:22:35,600
Speaker 1: Okay, I'm glad you chose that one. I was driving,

414
00:22:35,600 --> 00:22:37,840
Speaker 1: I was I think when I popped the words singing

415
00:22:37,880 --> 00:22:41,000
Speaker 1: the way I did, I was trying to do or singing.

416
00:22:42,520 --> 00:22:46,000
Speaker 1: What was singing to you? How did your singing evolve

417
00:22:46,200 --> 00:22:48,800
Speaker 1: where you arrived, at where you are now, where most

418
00:22:48,840 --> 00:22:53,080
Speaker 1: people say you have one of the most evocative singing

419
00:22:53,200 --> 00:22:54,680
Speaker 1: voices in all of music.

420
00:22:54,480 --> 00:22:57,280
Speaker 2: Today, melancholy to the point of well, people who.

421
00:22:57,240 --> 00:23:00,639
Speaker 1: Loved who loved radio, they crave their music, and they

422
00:23:00,760 --> 00:23:02,760
Speaker 1: crave particularly you were singing.

423
00:23:04,240 --> 00:23:08,560
Speaker 2: Well, basically I went to music. I went to a

424
00:23:08,640 --> 00:23:12,159
Speaker 2: few singing lessons, but that was basically just so I

425
00:23:12,200 --> 00:23:19,240
Speaker 2: could literally breathe. Right, you know, my favorite singers like Bjork.

426
00:23:20,160 --> 00:23:25,680
Speaker 2: When I watched Byork sing, I've been lucky enough to

427
00:23:25,720 --> 00:23:27,280
Speaker 2: sort of sing with her and watch you do it.

428
00:23:27,359 --> 00:23:28,439
Speaker 1: And I was gonna say, you're one of the few

429
00:23:28,440 --> 00:23:30,359
Speaker 1: people going to use that phrase when I watched B.

430
00:23:30,480 --> 00:23:32,440
Speaker 1: York sing, Yeah, most of us say, well, when I

431
00:23:32,520 --> 00:23:33,000
Speaker 1: listened to B.

432
00:23:33,080 --> 00:23:40,640
Speaker 2: Yorky and it's in here, it's right here, they say,

433
00:23:40,800 --> 00:23:43,159
Speaker 2: you know, with with with in yoga and stuff that

434
00:23:43,320 --> 00:23:45,359
Speaker 2: whatever it is, can't remember that that spot at the

435
00:23:45,400 --> 00:23:50,200
Speaker 2: top of the forehead that you really Most singers like

436
00:23:50,400 --> 00:23:52,960
Speaker 2: Neil Young's the same. He sings into this spot in

437
00:23:53,080 --> 00:23:58,680
Speaker 2: his head and what he's singing he's already heard. Do

438
00:23:58,720 --> 00:24:01,040
Speaker 2: you know what I mean, He's hearing it come out.

439
00:24:01,560 --> 00:24:05,960
Speaker 2: The same with Buork when she's singing, she's singing what

440
00:24:06,080 --> 00:24:12,560
Speaker 2: she's hearing, So there's no force. It's a force in itself.

441
00:24:14,560 --> 00:24:18,639
Speaker 2: It took me a while to get that, you know,

442
00:24:18,760 --> 00:24:23,440
Speaker 2: even when we were on tour with Iram back when

443
00:24:23,480 --> 00:24:26,840
Speaker 2: we're doing the Benz in ninety six or whatever it was.

444
00:24:27,119 --> 00:24:31,200
Speaker 2: I was still trying to figure it out. Then watching

445
00:24:31,280 --> 00:24:34,520
Speaker 2: Michael and wanting to sound like Michael, but I couldn't,

446
00:24:34,600 --> 00:24:37,080
Speaker 2: you know, because my voice is in a different tone

447
00:24:37,160 --> 00:24:40,560
Speaker 2: completely and so on. But what I did learn, what

448
00:24:40,720 --> 00:24:42,800
Speaker 2: you know, watching him, was again that thing of like

449
00:24:43,040 --> 00:24:47,879
Speaker 2: watching someone who their voices in sort of command of

450
00:24:47,920 --> 00:24:51,760
Speaker 2: them rather than the other way. Around. Yeah, but it's

451
00:24:51,920 --> 00:24:56,280
Speaker 2: very natural. But it takes a long time for that

452
00:24:56,400 --> 00:24:59,840
Speaker 2: to become natural. I think, like any singer, it takes

453
00:24:59,840 --> 00:25:03,120
Speaker 2: a long time to find that thing and it keeps

454
00:25:03,240 --> 00:25:08,359
Speaker 2: changing to me how I sing now, or to me

455
00:25:08,480 --> 00:25:11,879
Speaker 2: it feels different to a few years ago. Why it

456
00:25:12,040 --> 00:25:15,240
Speaker 2: just does it? Just do it? Well, Yeah, there's probably

457
00:25:15,280 --> 00:25:19,480
Speaker 2: some physical element to it, but also just where you're at,

458
00:25:19,680 --> 00:25:22,840
Speaker 2: you know, because singing is nothing but like probably like acting,

459
00:25:22,920 --> 00:25:24,760
Speaker 2: sing is nothing but being in a moment.

460
00:25:24,920 --> 00:25:26,399
Speaker 1: That's it, and where you're at.

461
00:25:26,560 --> 00:25:30,240
Speaker 2: Yeah, when you do like when I used to be

462
00:25:30,440 --> 00:25:35,080
Speaker 2: like you know, when when you're trying to singing or whatever, chrele,

463
00:25:35,119 --> 00:25:37,680
Speaker 2: I remember sort of okay, computer, I still had this

464
00:25:37,800 --> 00:25:39,560
Speaker 2: thing like, well, I need to be a little bit

465
00:25:39,640 --> 00:25:41,840
Speaker 2: half cut when i'm you know, I need to do

466
00:25:41,960 --> 00:25:44,080
Speaker 2: something or other beforehand. So I thought I'm in the

467
00:25:44,160 --> 00:25:48,600
Speaker 2: right space, man, where it's all bollocks because basically you've

468
00:25:48,720 --> 00:25:51,640
Speaker 2: just got to learn to be there with it. When

469
00:25:51,680 --> 00:25:54,040
Speaker 2: you do it, you're not trying to prove anything. You're

470
00:25:54,080 --> 00:25:57,240
Speaker 2: not trying to get anywhere, you're not trying to achieve anything.

471
00:25:57,280 --> 00:25:59,800
Speaker 2: You're not trying to get this emotion across. You're not

472
00:26:00,080 --> 00:26:02,200
Speaker 2: in this space trying to get this space across. You're

473
00:26:02,200 --> 00:26:06,440
Speaker 2: not trying to get this mindset across or anything. You're

474
00:26:06,800 --> 00:26:08,639
Speaker 2: just letting it happen.

475
00:26:33,320 --> 00:26:37,080
Speaker 1: When you do this now, when you live inside your

476
00:26:37,160 --> 00:26:40,720
Speaker 1: life now, whether you're performing live or you're producing and

477
00:26:40,840 --> 00:26:45,480
Speaker 1: recording music, do you feel different now that you're older?

478
00:26:45,960 --> 00:26:48,360
Speaker 1: I mean, the chasm between when you're sixteen when you're

479
00:26:48,400 --> 00:26:51,440
Speaker 1: forty three is extraordinary, isn't it. It's just mind bending?

480
00:26:52,320 --> 00:26:52,520
Speaker 2: Yeah.

481
00:26:53,119 --> 00:26:54,399
Speaker 1: Do you feel like you're sick of it and you

482
00:26:54,440 --> 00:26:55,159
Speaker 1: want to be done with it?

483
00:26:55,480 --> 00:26:59,280
Speaker 2: Yeah? You do sometimes, but not it's never really. The

484
00:26:59,400 --> 00:27:03,000
Speaker 2: music is everything else, you know, primarily what we'll just

485
00:27:04,080 --> 00:27:07,760
Speaker 2: stresses of life. Whatever. You know, something's good.

486
00:27:08,040 --> 00:27:09,600
Speaker 1: So your life is not like I mean a lot

487
00:27:09,640 --> 00:27:13,520
Speaker 1: of people think they think that successful artists, whether it

488
00:27:13,640 --> 00:27:16,720
Speaker 1: just walk across this bed of rose petals all day,

489
00:27:17,080 --> 00:27:18,920
Speaker 1: the greatest torment of our life is do we go

490
00:27:19,000 --> 00:27:23,920
Speaker 1: to Paris on spring break or Anguilla? My god, I

491
00:27:24,080 --> 00:27:27,359
Speaker 1: can't I can't answer. It is a problem. It is

492
00:27:27,400 --> 00:27:31,680
Speaker 1: a problem, but it's not we're supposed to say that.

493
00:27:32,680 --> 00:27:34,800
Speaker 1: But what I'm saying is is that they think that, like,

494
00:27:34,920 --> 00:27:38,480
Speaker 1: do you ever sit there? You're very active socially. Yes,

495
00:27:39,000 --> 00:27:41,919
Speaker 1: I guess you care. You've made some comments about world affairs.

496
00:27:41,960 --> 00:27:42,920
Speaker 2: I don't care about the world.

497
00:27:43,080 --> 00:27:44,880
Speaker 1: Yeah, you care about what's going on. If I said

498
00:27:44,920 --> 00:27:47,480
Speaker 1: to you that, I snapped my fingers and you go

499
00:27:47,680 --> 00:27:49,480
Speaker 1: back to having a very normal life and you're not

500
00:27:49,680 --> 00:27:51,320
Speaker 1: you at all? What everything that goes with it, and

501
00:27:51,400 --> 00:27:53,520
Speaker 1: the rest of the world is elevated and the rest

502
00:27:53,520 --> 00:27:56,040
Speaker 1: of the world gets better. Things you care about. Think

503
00:27:56,080 --> 00:27:59,160
Speaker 1: of an issue you care and I say to you, Tom,

504
00:27:59,320 --> 00:28:05,280
Speaker 1: yorke Tom, your Tom. You go back and the world

505
00:28:05,320 --> 00:28:07,000
Speaker 1: gets better, would you make that change.

506
00:28:08,240 --> 00:28:09,080
Speaker 2: To find better?

507
00:28:10,480 --> 00:28:12,760
Speaker 1: It's a tricky question, but you do. It's not an

508
00:28:12,800 --> 00:28:15,480
Speaker 1: either or, But you do care about other things. Is

509
00:28:15,560 --> 00:28:18,080
Speaker 1: there an issue that you are embracing now? Is there

510
00:28:18,119 --> 00:28:20,120
Speaker 1: something you're involved with that or where I'm going?

511
00:28:20,280 --> 00:28:24,359
Speaker 2: I well, in my slack asked fashion, I was helping

512
00:28:25,359 --> 00:28:28,119
Speaker 2: Greenpeace do this thing, which was trying to stop drilling

513
00:28:28,160 --> 00:28:30,840
Speaker 2: in the Arctic. But it sounds like it's kind of

514
00:28:30,920 --> 00:28:33,720
Speaker 2: working because the company seemed to be pulling out because

515
00:28:33,720 --> 00:28:36,600
Speaker 2: they can't. Yeah, that's right. I don't think that's entirely

516
00:28:36,680 --> 00:28:38,800
Speaker 2: down to us, but I think it definitely helped that

517
00:28:38,880 --> 00:28:41,400
Speaker 2: we were making their life extremely difficult everywhere they turned.

518
00:28:41,480 --> 00:28:44,520
Speaker 2: But challenge now is to turn the Arctic into a reserve,

519
00:28:44,640 --> 00:28:47,560
Speaker 2: so it can't happen because what that was going to

520
00:28:47,640 --> 00:28:50,280
Speaker 2: do is create this gold rush, you know, or rush

521
00:28:51,280 --> 00:28:54,400
Speaker 2: up there, which was just going to be insane. And

522
00:28:54,800 --> 00:28:57,080
Speaker 2: this at the same time where the ice is melting. Basically,

523
00:28:57,120 --> 00:28:59,880
Speaker 2: they only started considering it was a possibility because the

524
00:29:00,040 --> 00:29:02,280
Speaker 2: eyes was melting. They thought, Okay, great, maybe got a

525
00:29:02,320 --> 00:29:04,160
Speaker 2: better chance for drilling, which is like.

526
00:29:04,840 --> 00:29:08,920
Speaker 1: A global global less oil to him, it means more well.

527
00:29:09,040 --> 00:29:12,040
Speaker 2: Yeah, so I was kind of stuck in that for

528
00:29:12,080 --> 00:29:14,560
Speaker 2: a while because, yeah, the to me, the irony of

529
00:29:14,600 --> 00:29:17,440
Speaker 2: it was too much. I don't know where I'll go next.

530
00:29:17,920 --> 00:29:20,600
Speaker 2: I don't I find it very stressful. I did get involved.

531
00:29:20,640 --> 00:29:22,360
Speaker 2: A few years ago. We did this thing in Britain,

532
00:29:22,800 --> 00:29:27,440
Speaker 2: the first Climate Change Act, which meant the government is

533
00:29:27,840 --> 00:29:32,920
Speaker 2: committed to reducing CO two emissions twenty fifty by ninety percent.

534
00:29:33,480 --> 00:29:34,920
Speaker 2: And now lots of countries have got it, but it

535
00:29:35,000 --> 00:29:37,320
Speaker 2: was the first one and the government didn't want to

536
00:29:37,360 --> 00:29:39,000
Speaker 2: do it. Blair didn't want to do it. But we

537
00:29:39,120 --> 00:29:42,880
Speaker 2: found this interesting loophole and got thousands of people to

538
00:29:42,920 --> 00:29:45,240
Speaker 2: send letters in and said at the bottom of the

539
00:29:45,320 --> 00:29:47,720
Speaker 2: letter to the at the MP police, can you pass

540
00:29:47,720 --> 00:29:52,160
Speaker 2: this on to Blair? Right? And apparently they were obliged

541
00:29:52,200 --> 00:29:54,840
Speaker 2: to pass on these letters. So Blair was literally getting

542
00:29:54,960 --> 00:29:58,320
Speaker 2: thousands and thousands and thousands and thousands and thousands of letters,

543
00:29:58,360 --> 00:30:01,800
Speaker 2: which doesn't normally happen. And he did pass the law

544
00:30:02,120 --> 00:30:05,120
Speaker 2: after much arguing and me refusing to meet him because

545
00:30:05,120 --> 00:30:08,480
Speaker 2: it was during the Iraq War and all sorts of

546
00:30:09,040 --> 00:30:13,240
Speaker 2: critical of Yeah, well, any normal human being would be anyway.

547
00:30:14,400 --> 00:30:15,960
Speaker 2: I was very glad I did it, and the people

548
00:30:16,000 --> 00:30:17,960
Speaker 2: I was working for at the time it was with

549
00:30:18,080 --> 00:30:20,680
Speaker 2: Friends of the Earth, and it was really inspiring and

550
00:30:21,080 --> 00:30:23,160
Speaker 2: I became really good friends with the guy who's running

551
00:30:23,200 --> 00:30:25,239
Speaker 2: Friends of the Earth at the time, Tony Juniper, who

552
00:30:25,360 --> 00:30:30,680
Speaker 2: now works with Prince Charles. And it was a great period.

553
00:30:30,720 --> 00:30:34,800
Speaker 2: But I just burnt me out getting that close to politics.

554
00:30:35,080 --> 00:30:37,920
Speaker 2: The most fascinating figure that we work with was the

555
00:30:38,000 --> 00:30:41,600
Speaker 2: lobbyist that we had, our one lobbyist, so like we

556
00:30:41,800 --> 00:30:45,320
Speaker 2: went into this Port Colis House in Britain. You probably

557
00:30:45,320 --> 00:30:47,040
Speaker 2: have the equivalent here. I don't know what it's called,

558
00:30:47,200 --> 00:30:50,880
Speaker 2: but Port Cullis House was built for the lobbyists. It

559
00:30:51,040 --> 00:30:53,880
Speaker 2: was built for special interests to go and sit with

560
00:30:54,000 --> 00:30:57,160
Speaker 2: a cup of coffee, round table about this size and

561
00:30:57,360 --> 00:31:01,000
Speaker 2: wait for MPs to go past colin of them, sit

562
00:31:01,080 --> 00:31:03,240
Speaker 2: them down and lobby them in.

563
00:31:03,280 --> 00:31:06,400
Speaker 1: Bigit Congress the Capitol building.

564
00:31:06,560 --> 00:31:08,960
Speaker 2: Anyway, I found it completely fascinating, you know, because it's

565
00:31:09,160 --> 00:31:11,560
Speaker 2: there's hundreds of these people walking around, and I'm like,

566
00:31:12,480 --> 00:31:17,240
Speaker 2: none of them are lobbying for us, except when you

567
00:31:17,320 --> 00:31:19,560
Speaker 2: maybe possibly could argue that our one mate, Friends of

568
00:31:19,560 --> 00:31:22,280
Speaker 2: the Earth, who was like technically, you know, maybe speaking

569
00:31:22,320 --> 00:31:25,440
Speaker 2: for the people a little bit. But basically they were

570
00:31:25,520 --> 00:31:29,280
Speaker 2: all special interest and they had the ear of government.

571
00:31:29,360 --> 00:31:31,600
Speaker 2: And I just thought, hang on, hang on a minute,

572
00:31:31,960 --> 00:31:34,200
Speaker 2: how did this happen? Anyway? Where where were we a

573
00:31:34,240 --> 00:31:34,680
Speaker 2: minute ago?

574
00:31:35,280 --> 00:31:36,080
Speaker 1: I know where I want to go?

575
00:31:36,200 --> 00:31:37,080
Speaker 2: Okay, go on and go there.

576
00:31:37,160 --> 00:31:40,000
Speaker 1: Then your children, Oh no, no, that's too much for

577
00:31:40,040 --> 00:31:40,440
Speaker 1: a jump.

578
00:31:40,880 --> 00:31:43,440
Speaker 2: Hang on where we Let's finish with this first? H

579
00:31:44,760 --> 00:31:46,920
Speaker 2: Then your children. I'm lost.

580
00:31:46,960 --> 00:31:49,040
Speaker 1: Now do your children know who you are and what

581
00:31:49,160 --> 00:31:49,360
Speaker 1: you do?

582
00:31:50,800 --> 00:31:53,360
Speaker 2: Yeah, they're used to it. They're used to people coming

583
00:31:53,440 --> 00:31:55,640
Speaker 2: up and saying hello. But most of the time it's

584
00:31:55,720 --> 00:32:00,320
Speaker 2: very friendly and that's normal. That's their normal. That's what

585
00:32:00,400 --> 00:32:03,640
Speaker 2: they've grown up and how old are they? Twelve and seven?

586
00:32:04,280 --> 00:32:07,480
Speaker 1: So one seven the age that you decided you wanted

587
00:32:07,520 --> 00:32:12,640
Speaker 1: to be Brian may The's twelve and by then he's

588
00:32:12,960 --> 00:32:15,200
Speaker 1: he he would already have made his guitar with that

589
00:32:15,360 --> 00:32:17,080
Speaker 1: neck that was eleven. I think you said to the

590
00:32:17,120 --> 00:32:18,800
Speaker 1: other kids, where are they at?

591
00:32:18,880 --> 00:32:23,160
Speaker 2: Basically, my son is a great drummer, but I don't

592
00:32:23,160 --> 00:32:24,760
Speaker 2: know if you want to do that forever or not.

593
00:32:24,880 --> 00:32:27,000
Speaker 2: He's like not bothered really, which is cool. You know,

594
00:32:27,120 --> 00:32:29,360
Speaker 2: he just and he comes and hangs out with me

595
00:32:29,440 --> 00:32:31,720
Speaker 2: when I'm working in my studio. We just hang out.

596
00:32:31,800 --> 00:32:34,400
Speaker 2: You know, we're friends. But I don't think you know

597
00:32:34,480 --> 00:32:37,640
Speaker 2: that there's a burning ambition to be musicians or anything. Really,

598
00:32:37,680 --> 00:32:41,320
Speaker 2: even though he's really good, he's for pleasure. I mean

599
00:32:41,360 --> 00:32:49,560
Speaker 2: at that age that's good, right. His fatherhood affected your work, yes,

600
00:32:49,800 --> 00:32:54,920
Speaker 2: but not really that you have the obvious things where

601
00:32:54,960 --> 00:32:56,560
Speaker 2: you would go out on the road more if you

602
00:32:56,560 --> 00:33:03,040
Speaker 2: didn't have children. Yep, absolutely, but that's not necessarily a

603
00:33:03,120 --> 00:33:06,600
Speaker 2: bad thing at all. You know, being on their road

604
00:33:06,680 --> 00:33:12,120
Speaker 2: is it's a it's not a great necessary it's it's

605
00:33:12,200 --> 00:33:13,320
Speaker 2: you don't want to do it all your life. You

606
00:33:13,360 --> 00:33:15,200
Speaker 2: get a little bit on it gets a little unhealthy

607
00:33:15,320 --> 00:33:19,560
Speaker 2: quite quickly mentally, if not physically.

608
00:33:20,120 --> 00:33:21,920
Speaker 1: Has it been difficult for you mentally.

609
00:33:22,360 --> 00:33:25,680
Speaker 2: Uh, it can be different. It means it's it's wicked

610
00:33:25,840 --> 00:33:28,800
Speaker 2: fun a bit too much. It's either wicked fun or

611
00:33:28,960 --> 00:33:31,840
Speaker 2: really awful, like when you're sick. Then it gets really

612
00:33:32,080 --> 00:33:33,160
Speaker 2: it's a roll bumber man.

613
00:33:33,480 --> 00:33:34,239
Speaker 1: Have to get out there.

614
00:33:34,680 --> 00:33:36,960
Speaker 2: Yeah, try to sing your way through the notes that

615
00:33:37,040 --> 00:33:40,400
Speaker 2: you can't find because you're so sick or whatever. That's

616
00:33:40,520 --> 00:33:43,840
Speaker 2: really super stressful. But you know, it is a massive

617
00:33:43,880 --> 00:33:45,800
Speaker 2: buzz and there's no denying it. It's great.

618
00:33:56,240 --> 00:33:58,280
Speaker 1: But Tom Yorke is the first to admit that it

619
00:33:58,360 --> 00:34:01,080
Speaker 1: takes work to keep it fun in the studio and

620
00:34:01,320 --> 00:34:01,800
Speaker 1: on tour.

621
00:34:02,160 --> 00:34:04,680
Speaker 2: It's very difficult to play with people you don't if

622
00:34:04,720 --> 00:34:08,680
Speaker 2: there's problems between you, for example, if the issues come up,

623
00:34:08,880 --> 00:34:11,480
Speaker 2: I mean, I'm very much I'm a librin and I

624
00:34:11,600 --> 00:34:14,280
Speaker 2: need to sort it out. I can't have stuff hanging around,

625
00:34:14,960 --> 00:34:16,279
Speaker 2: you know, because it gets in the way.

626
00:34:16,840 --> 00:34:19,480
Speaker 1: More in a minute with Tom Yorke, this is Alec

627
00:34:19,520 --> 00:34:32,880
Speaker 1: Baldwin and you're listening to here's the thing. Given the

628
00:34:33,000 --> 00:34:35,840
Speaker 1: level of success that Radiohead has reached, I did have

629
00:34:36,000 --> 00:34:39,960
Speaker 1: certain expectations of Tom's lifestyle. I mean, I'm assuming you're

630
00:34:39,960 --> 00:34:43,239
Speaker 1: in a world where that your phone must have rang it.

631
00:34:43,320 --> 00:34:46,480
Speaker 1: Maybe it stopped because you kept saying no. But maybe

632
00:34:46,560 --> 00:34:49,239
Speaker 1: everybody's like, you know, Bonno wants to pick you up

633
00:34:49,320 --> 00:34:52,680
Speaker 1: tomorrow and fly you to Saint Bart's.

634
00:34:53,920 --> 00:34:57,399
Speaker 2: Yeah, that never appealed. I don't hang out with people

635
00:34:57,480 --> 00:35:00,200
Speaker 2: because they are who they are, necessarily unless I'm a

636
00:35:00,280 --> 00:35:02,719
Speaker 2: big admirer of them, Like I mean, I stalked ed

637
00:35:02,760 --> 00:35:06,000
Speaker 2: Norton for ages until eventually he gave it because I'm

638
00:35:06,040 --> 00:35:07,800
Speaker 2: a big admirer of him. I think it's brilliant. So

639
00:35:07,880 --> 00:35:11,719
Speaker 2: I hang out with him a bit occasionally. And Flea.

640
00:35:12,080 --> 00:35:15,680
Speaker 2: I've always really admired Flea anyway, so even before it

641
00:35:15,760 --> 00:35:17,400
Speaker 2: became an issue of sort of playing with.

642
00:35:17,680 --> 00:35:21,160
Speaker 1: No tangentially related to that. As you've gotten older and

643
00:35:21,280 --> 00:35:24,160
Speaker 1: you look around the musical landscape, what you see, does

644
00:35:24,200 --> 00:35:27,160
Speaker 1: it appeal to you? Meaning of the music that's popular music,

645
00:35:27,239 --> 00:35:31,440
Speaker 1: I mean, what's selling now the most successfully. Have you

646
00:35:31,640 --> 00:35:34,120
Speaker 1: moved into a different place with that or do you

647
00:35:34,239 --> 00:35:35,920
Speaker 1: admire a lot of what's being done.

648
00:35:35,880 --> 00:35:39,239
Speaker 2: Is in the mainstream. In the mainstream, there's nothing in

649
00:35:39,320 --> 00:35:42,120
Speaker 2: the mainstream. The mainstream is just avoid you know, to me,

650
00:35:43,200 --> 00:35:45,759
Speaker 2: I mean, what's weird about putting a record out? Now?

651
00:35:45,840 --> 00:35:46,080
Speaker 1: Really?

652
00:35:46,280 --> 00:35:48,279
Speaker 2: And this is not like sour grapes at all. It's

653
00:35:48,400 --> 00:35:51,880
Speaker 2: just the fact the volume, literally the sheer volume stuff

654
00:35:51,920 --> 00:35:55,960
Speaker 2: that gets put out. It's like this huge fucking waterfall

655
00:35:56,520 --> 00:35:58,720
Speaker 2: and you're just thrown your pebble in and it carries

656
00:35:58,760 --> 00:36:03,320
Speaker 2: on down the waterfall. That's that, right, Okay. Next, basically,

657
00:36:03,600 --> 00:36:05,879
Speaker 2: you know, like in this country the radio is tied

658
00:36:06,000 --> 00:36:08,640
Speaker 2: up and people don't really listen to radio in the

659
00:36:08,680 --> 00:36:12,120
Speaker 2: same way. It's it's music's going through a weird time

660
00:36:12,320 --> 00:36:18,200
Speaker 2: because on the one hand, as ever, there's always really

661
00:36:18,280 --> 00:36:21,319
Speaker 2: exciting music being made. It's never not being made. It's

662
00:36:21,360 --> 00:36:23,160
Speaker 2: a question of whether you're going to get to hear

663
00:36:23,239 --> 00:36:26,440
Speaker 2: it or not. And I mean I kind of I

664
00:36:26,560 --> 00:36:28,839
Speaker 2: kind of knew the game was up a few years

665
00:36:28,840 --> 00:36:32,120
Speaker 2: ago when one of our sort of team of people

666
00:36:32,239 --> 00:36:37,480
Speaker 2: came in saying Nokia wanted to offer you millions of

667
00:36:37,560 --> 00:36:41,360
Speaker 2: pounds because they want content for their phones. And this

668
00:36:41,520 --> 00:36:44,320
Speaker 2: is like in two thousand, I don't know, early two thousands,

669
00:36:44,840 --> 00:36:47,800
Speaker 2: and you're like content, what you know, content? What you

670
00:36:47,880 --> 00:36:48,400
Speaker 2: mean music?

671
00:36:48,680 --> 00:36:55,799
Speaker 1: Yes? Okay? Content? Maybe that? Yes? Yeah, just could be music. Stuff. Yeah,

672
00:36:55,840 --> 00:36:57,320
Speaker 1: stuff could be got snoring.

673
00:36:57,520 --> 00:37:00,399
Speaker 2: Have you got some stuff? You know, and you're like, oh, okay,

674
00:37:00,920 --> 00:37:03,000
Speaker 2: And I think, really my problem with it is it's

675
00:37:03,080 --> 00:37:05,600
Speaker 2: like it's now like something to fill up the hardware with,

676
00:37:05,840 --> 00:37:09,080
Speaker 2: you know, the music itself has become secondary to that,

677
00:37:09,160 --> 00:37:10,960
Speaker 2: which is a weird thing to me. It's like, and

678
00:37:11,040 --> 00:37:13,520
Speaker 2: I think that will change because there's only so many

679
00:37:13,560 --> 00:37:16,000
Speaker 2: different permutations of the same hardware you can make before

680
00:37:16,040 --> 00:37:18,880
Speaker 2: people go, well, actually, I have an iPod now, so thanks.

681
00:37:19,600 --> 00:37:22,200
Speaker 2: So I think things will change, and I think the

682
00:37:22,360 --> 00:37:25,920
Speaker 2: radio will change, and sooner the better, because no matter

683
00:37:26,000 --> 00:37:29,480
Speaker 2: what way you look at it, the most pleasurable experiences

684
00:37:29,560 --> 00:37:32,200
Speaker 2: you ever have is like when something's played to you

685
00:37:32,239 --> 00:37:34,680
Speaker 2: you don't know. We'll like going around to friend's house

686
00:37:34,719 --> 00:37:36,320
Speaker 2: and they'll stick a tune on you, Like what the

687
00:37:36,440 --> 00:37:39,520
Speaker 2: hell is there? You know, which is what it's about.

688
00:37:39,680 --> 00:37:41,759
Speaker 2: You know. That's why we're like going into a store

689
00:37:41,800 --> 00:37:44,600
Speaker 2: when I was a kid, like and the new Smith's

690
00:37:44,640 --> 00:37:46,600
Speaker 2: records come out, and like and I'm going up to

691
00:37:46,680 --> 00:37:48,640
Speaker 2: the guy. I think that's like he's really cool, like

692
00:37:48,719 --> 00:37:50,680
Speaker 2: the indie store in town, and just talking to him

693
00:37:50,719 --> 00:37:54,040
Speaker 2: about music for twenty minutes, you know, and you know you.

694
00:37:54,080 --> 00:37:56,120
Speaker 1: Share now everywhere you go. Music is everywhere.

695
00:37:56,320 --> 00:37:58,760
Speaker 2: It's everywhere, but it's not nice. Yeah, that's what I'm saying.

696
00:37:58,880 --> 00:37:59,520
Speaker 1: It's content.

697
00:37:59,680 --> 00:38:04,000
Speaker 2: Ye, content is king that bullshit will change, And when

698
00:38:04,040 --> 00:38:07,520
Speaker 2: it does, then I think we'll have a resurgence. The

699
00:38:07,760 --> 00:38:12,400
Speaker 2: underbelly will come back overbelly and then well.

700
00:38:12,360 --> 00:38:15,520
Speaker 1: If it's middle age, it'll be overbelly. Well you have

701
00:38:15,560 --> 00:38:16,319
Speaker 1: a ways to go there.

702
00:38:16,400 --> 00:38:17,839
Speaker 2: I'm gonna be taking some slimming pill.

703
00:38:18,040 --> 00:38:20,479
Speaker 1: Yeah, but we know in the way that you talked

704
00:38:20,480 --> 00:38:24,680
Speaker 1: about this pebble in the borderfall and content and music marketing. Now,

705
00:38:24,920 --> 00:38:28,719
Speaker 1: so if that changes, certainly, which it has, does your

706
00:38:28,800 --> 00:38:32,560
Speaker 1: willingness to release your music into that world change? I mean, like,

707
00:38:32,600 --> 00:38:35,120
Speaker 1: for example, an obvious example, maybe too obvious, is you

708
00:38:35,160 --> 00:38:37,440
Speaker 1: don't want to play Creep anymore. Now do you sit

709
00:38:37,520 --> 00:38:39,439
Speaker 1: there and say, like, if the Sultan of Brunei called

710
00:38:39,480 --> 00:38:41,440
Speaker 1: you up and said, I want you to come to

711
00:38:41,600 --> 00:38:45,200
Speaker 1: Brunei and we give you a million pounds, just play Creep.

712
00:38:45,640 --> 00:38:46,960
Speaker 1: I would play Creep and you can go home.

713
00:38:47,239 --> 00:38:51,680
Speaker 2: I would say to the Sulting of Brunei, why do

714
00:38:51,719 --> 00:38:53,520
Speaker 2: you have that house near me that you never use?

715
00:38:54,840 --> 00:38:56,200
Speaker 1: I can just meet you down the block.

716
00:38:56,280 --> 00:38:58,440
Speaker 2: I mean, come on, it's an empty house, man, it

717
00:38:58,560 --> 00:39:01,560
Speaker 2: must be worse whatever. That's what I'd say, trillion and

718
00:39:01,600 --> 00:39:05,960
Speaker 2: I'd say no, but I'm up.

719
00:39:15,920 --> 00:39:23,120
Speaker 1: He will you retire a song that way? Why do

720
00:39:23,200 --> 00:39:23,520
Speaker 1: you do that?

721
00:39:24,040 --> 00:39:27,920
Speaker 2: Well? I don't not necessarily retire it. I mean I

722
00:39:27,960 --> 00:39:30,319
Speaker 2: don't recognize it as me, which is kind of quite

723
00:39:30,320 --> 00:39:33,480
Speaker 2: interesting when I expecting it, just that voice, I don't

724
00:39:33,520 --> 00:39:36,879
Speaker 2: even recognize that. It's kind of odd. Whatever you want,

725
00:39:40,440 --> 00:39:46,520
Speaker 2: you're so fucking special. But then I remember hearing I

726
00:39:46,640 --> 00:39:50,920
Speaker 2: remember hearing Lou read like on some radio station in

727
00:39:51,040 --> 00:39:53,960
Speaker 2: the Dublin years and years ago, and they were asking

728
00:39:54,120 --> 00:39:57,520
Speaker 2: inevitably about the underground and they said, yeah, or sometimes

729
00:39:57,560 --> 00:39:59,360
Speaker 2: it comes on. I'm like, oh, this is cool. What's this?

730
00:40:00,000 --> 00:40:03,359
Speaker 2: And then I realized it's about an underground? Wow? Yeah,

731
00:40:04,120 --> 00:40:05,400
Speaker 2: I kind of know what he means to sort of

732
00:40:05,440 --> 00:40:07,680
Speaker 2: you get to the point where like, what's that? Like?

733
00:40:07,880 --> 00:40:08,719
Speaker 1: I sounds pretty good.

734
00:40:12,840 --> 00:40:13,200
Speaker 2: Blood.

735
00:40:18,920 --> 00:40:21,719
Speaker 1: So you're forty three years old, forty four, forty four

736
00:40:21,800 --> 00:40:24,640
Speaker 1: years old, but it's just our professional courtesy that we

737
00:40:24,719 --> 00:40:26,799
Speaker 1: shave a year off of all of our already, Yeah,

738
00:40:26,920 --> 00:40:29,480
Speaker 1: all of them. You're in the now and you're in

739
00:40:29,600 --> 00:40:32,280
Speaker 1: the here, what have you. And I'm not saying that glibly,

740
00:40:32,840 --> 00:40:34,560
Speaker 1: and you're know what I'm saying, but you're not somebody

741
00:40:34,600 --> 00:40:37,160
Speaker 1: who like Mick Jagger, for example, Like I wonder if

742
00:40:37,200 --> 00:40:39,279
Speaker 1: Mick Jagger is going to hit a day, like does

743
00:40:39,320 --> 00:40:41,680
Speaker 1: it happen in a day? Like as Mick Jagger in

744
00:40:41,760 --> 00:40:44,279
Speaker 1: bed one day and he picks it the phoney, He's like,

745
00:40:44,320 --> 00:40:47,560
Speaker 1: you know, I just can't do it anymore. I can't

746
00:40:47,680 --> 00:40:50,800
Speaker 1: get out of this bed. I can't do another fucking

747
00:40:51,040 --> 00:40:54,880
Speaker 1: show again. And it's over. Like do you think of

748
00:40:55,000 --> 00:40:57,680
Speaker 1: other things? I think all the time of the next

749
00:40:57,760 --> 00:41:01,480
Speaker 1: thing I'm gonna do. Yeah, the next thing. You don't

750
00:41:01,520 --> 00:41:02,480
Speaker 1: have to tell us what it is, but you.

751
00:41:05,200 --> 00:41:11,440
Speaker 2: Or no, I mean, it would end if something happened

752
00:41:11,480 --> 00:41:14,960
Speaker 2: to my voice. I don't know. Certain things could make

753
00:41:15,040 --> 00:41:17,239
Speaker 2: it physically stop, and it will stop at some point,

754
00:41:17,440 --> 00:41:23,560
Speaker 2: something will happen. But for me, yeah, I'm always hearing

755
00:41:23,840 --> 00:41:26,520
Speaker 2: different things. There's always half finished things, which you ask

756
00:41:26,760 --> 00:41:29,200
Speaker 2: poor old Nigel he knows about that. There's always a

757
00:41:29,280 --> 00:41:32,280
Speaker 2: mountain of half stuff. I want to get into stuff

758
00:41:32,320 --> 00:41:35,000
Speaker 2: I've started stuff I want to you know. But I

759
00:41:35,120 --> 00:41:40,000
Speaker 2: also think it's good to sort of take breaks because

760
00:41:40,000 --> 00:41:42,359
Speaker 2: I've gone straight from this radio tour last year, which

761
00:41:42,440 --> 00:41:45,480
Speaker 2: was a really heavy mother but really good fun, straight

762
00:41:45,520 --> 00:41:48,319
Speaker 2: into doing sort of atoms for stuff and not really

763
00:41:48,360 --> 00:41:51,640
Speaker 2: had a break. And so breakers do a breakers do

764
00:41:51,800 --> 00:41:54,960
Speaker 2: because what I've found with a breaker can be an

765
00:41:55,000 --> 00:41:57,320
Speaker 2: incredibly exciting thing with that thing of like you just

766
00:41:58,200 --> 00:41:59,800
Speaker 2: all the stuff you want to do, but you just

767
00:42:00,080 --> 00:42:03,799
Speaker 2: force yourself not just force yourself to wait and get

768
00:42:03,880 --> 00:42:09,120
Speaker 2: back into just time and space and yeah, not being

769
00:42:09,200 --> 00:42:12,200
Speaker 2: in music all the time, I think, because it's like anything,

770
00:42:12,760 --> 00:42:15,680
Speaker 2: you start to go in small circles, so you've got

771
00:42:15,719 --> 00:42:16,800
Speaker 2: to stop when that happens.

772
00:42:16,840 --> 00:42:19,200
Speaker 1: I've had to practice that now. I mean, I got

773
00:42:19,280 --> 00:42:22,000
Speaker 1: married again and my wife is pregnant and I'm going

774
00:42:22,040 --> 00:42:24,919
Speaker 1: to have a kid, and I really sat and thought

775
00:42:24,960 --> 00:42:29,120
Speaker 1: about that way that I want to have a more

776
00:42:29,360 --> 00:42:34,640
Speaker 1: ordinary and more normal handling of my emotions. I think

777
00:42:34,640 --> 00:42:36,000
Speaker 1: the best way to put it is what people in

778
00:42:36,040 --> 00:42:38,120
Speaker 1: my business say, which is would you rather live it

779
00:42:38,200 --> 00:42:40,360
Speaker 1: in real life or words you rather play it on screen?

780
00:42:41,120 --> 00:42:42,759
Speaker 1: And I'm thinking I want to walk away from it

781
00:42:42,760 --> 00:42:44,640
Speaker 1: because I'd rather live it in real life now than

782
00:42:44,680 --> 00:42:45,520
Speaker 1: play it on screen.

783
00:42:46,120 --> 00:42:50,080
Speaker 2: I think with what I do is slightly different because

784
00:42:50,120 --> 00:42:55,160
Speaker 2: what I do it Actually, unless you're literally spending, unless

785
00:42:55,200 --> 00:42:59,719
Speaker 2: you are just literally working too hard, it's a regenerative thing.

786
00:43:00,320 --> 00:43:03,360
Speaker 2: I find that I'm well. I mean, my family, my

787
00:43:03,560 --> 00:43:06,760
Speaker 2: friends know that I'm a nicer person if I'm working

788
00:43:06,920 --> 00:43:09,240
Speaker 2: and I'm into what I'm doing than if I stop.

789
00:43:10,280 --> 00:43:13,320
Speaker 2: There is a period where I'm fairly unbearable if I

790
00:43:13,400 --> 00:43:18,200
Speaker 2: do stop too long, Yeah, for too long time probably, Yeah,

791
00:43:18,200 --> 00:43:22,160
Speaker 2: there's a threshold. But like, if you want to shift

792
00:43:22,760 --> 00:43:24,920
Speaker 2: right with your work, if you want to shift, if

793
00:43:24,960 --> 00:43:28,839
Speaker 2: you're writing, if you're being creative at all, you kind

794
00:43:28,880 --> 00:43:33,239
Speaker 2: of have to stop to make that shift because if

795
00:43:33,280 --> 00:43:37,120
Speaker 2: you just I'm constantly creating, I've got this mounting of

796
00:43:37,239 --> 00:43:41,600
Speaker 2: brilliant ideas. You're making the basic mistake that you're assuming

797
00:43:41,640 --> 00:43:44,239
Speaker 2: all your ideas are brilliant, where in fact, the more

798
00:43:44,320 --> 00:43:46,880
Speaker 2: you do they're probably the more it kind of your

799
00:43:46,920 --> 00:43:50,200
Speaker 2: thing in reverse, because actually, I need to go and

800
00:43:50,360 --> 00:43:54,440
Speaker 2: do normal shit. I need to. I can't write unless

801
00:43:55,560 --> 00:43:59,960
Speaker 2: I have a period where restored. Well no it's not restored,

802
00:44:00,200 --> 00:44:05,719
Speaker 2: just just reset. I'm like just normal, normal, normal, normal, normal, normal, normal.

803
00:44:05,800 --> 00:44:09,759
Speaker 1: Speaking of normal, do you have siblings? Yeah, do you

804
00:44:09,800 --> 00:44:11,040
Speaker 1: have a brother, What does he do?

805
00:44:11,600 --> 00:44:13,720
Speaker 2: Russian politics and stuff.

806
00:44:14,440 --> 00:44:14,960
Speaker 1: He teaches.

807
00:44:15,600 --> 00:44:20,080
Speaker 2: No, he's the mayor of all what do you mean

808
00:44:20,280 --> 00:44:25,800
Speaker 2: all sorts of ship investigations on people? He studied Russian

809
00:44:25,840 --> 00:44:28,920
Speaker 2: Oxford and then went into various.

810
00:44:29,000 --> 00:44:33,080
Speaker 1: Are your parents all there? What do your I would

811
00:44:33,120 --> 00:44:36,080
Speaker 1: love people in your business? Above all? What are your

812
00:44:36,160 --> 00:44:39,080
Speaker 1: parents and your brother make of you? Going from being

813
00:44:39,239 --> 00:44:42,760
Speaker 1: Tom York Tom to becoming Tom York.

814
00:44:43,160 --> 00:44:44,759
Speaker 2: Well, my brother was in a band of his own

815
00:44:44,880 --> 00:44:46,520
Speaker 2: for a while as well, so he has a slightly

816
00:44:47,200 --> 00:44:49,480
Speaker 2: like he can see what it is from another point

817
00:44:49,480 --> 00:44:51,920
Speaker 2: of view. What do my parents think? I don't know.

818
00:44:52,040 --> 00:44:55,880
Speaker 2: They like when I was a kid, they didn't approve.

819
00:44:56,000 --> 00:45:00,560
Speaker 2: Now that I'm happy, Why do you go into advertising? Yes? Well,

820
00:45:00,600 --> 00:45:02,960
Speaker 2: you know it was like fair enough. I was pissed

821
00:45:03,000 --> 00:45:05,200
Speaker 2: off with them at the time, but you know it's

822
00:45:05,320 --> 00:45:07,040
Speaker 2: kind of what that's what you do, isn't it. I mean,

823
00:45:07,120 --> 00:45:08,080
Speaker 2: well to everybody's parents.

824
00:45:08,160 --> 00:45:11,200
Speaker 1: Right when I left a pre law program and I

825
00:45:11,320 --> 00:45:12,960
Speaker 1: was destined to go to law school and I went

826
00:45:13,000 --> 00:45:16,640
Speaker 1: into the acting program, my mother was She literally screamed

827
00:45:16,680 --> 00:45:17,560
Speaker 1: at me out.

828
00:45:18,040 --> 00:45:19,919
Speaker 2: My mom was very upset when I when I chose

829
00:45:19,960 --> 00:45:22,480
Speaker 2: to go to art college because she'd been to art

830
00:45:22,480 --> 00:45:24,560
Speaker 2: college and she says, it's complete waste of time, doesn't mother.

831
00:45:25,480 --> 00:45:27,719
Speaker 1: But when it became successful with my business, mother was like,

832
00:45:27,800 --> 00:45:30,680
Speaker 1: I'm so proud of them. Oh my god, this is wonderful.

833
00:45:31,320 --> 00:45:35,200
Speaker 2: Yeah, it's kind of bonkers, like seeing them backstage at

834
00:45:35,200 --> 00:45:36,640
Speaker 2: a really big show that will come to a big

835
00:45:36,680 --> 00:45:38,600
Speaker 2: show and there's all sorts of shit came off with

836
00:45:38,680 --> 00:45:40,920
Speaker 2: my mates. They're doing whatever, you know, and there's my

837
00:45:41,000 --> 00:45:44,800
Speaker 2: mom and I going that was fun, corny beer or whatever.

838
00:45:45,719 --> 00:45:49,360
Speaker 1: When you do step away from it, what are their

839
00:45:49,560 --> 00:45:52,160
Speaker 1: art are you? Are you interested in art? Photography?

840
00:45:52,200 --> 00:45:56,000
Speaker 2: Well, my mate theater film, my mate Stanley don Wood

841
00:45:56,280 --> 00:45:58,160
Speaker 2: who I went to art college with, who does all

842
00:45:58,200 --> 00:46:00,920
Speaker 2: our art work with. I mean, I do it with

843
00:46:01,040 --> 00:46:04,200
Speaker 2: him kind of thing. We always have these lovely plans

844
00:46:04,200 --> 00:46:06,239
Speaker 2: about we want to go and live in Berlin for

845
00:46:06,280 --> 00:46:08,440
Speaker 2: a month and just paint and get in trouble and

846
00:46:08,880 --> 00:46:11,640
Speaker 2: things like that. We call ourselves the Sunday Painters and

847
00:46:11,760 --> 00:46:14,479
Speaker 2: we go on bad painting trips. We did one where

848
00:46:16,880 --> 00:46:20,560
Speaker 2: people well they're bad painting trips because I'm involved there

849
00:46:20,640 --> 00:46:22,719
Speaker 2: was one of my favorite ones was we went on

850
00:46:22,840 --> 00:46:27,000
Speaker 2: the moors down in Cornwall. Do you know what I

851
00:46:27,080 --> 00:46:29,759
Speaker 2: mean by the moors and Dartmore basically, which is very

852
00:46:29,920 --> 00:46:32,920
Speaker 2: very very bleak, but really beautiful. We were in the

853
00:46:33,000 --> 00:46:36,200
Speaker 2: stone Circle, drove part of the way, walked the rest

854
00:46:36,239 --> 00:46:40,359
Speaker 2: away with these big canvases and paints. But we only

855
00:46:40,480 --> 00:46:42,920
Speaker 2: we discovered we only had purple and blue and yellow,

856
00:46:43,960 --> 00:46:46,120
Speaker 2: so we thought, well, okay, we'll use that, and we

857
00:46:46,400 --> 00:46:50,239
Speaker 2: painted landscape all afternoon. But they were purple and blue

858
00:46:50,280 --> 00:46:54,120
Speaker 2: and yellow. Some poor women I remember coming like late afternoon,

859
00:46:54,200 --> 00:46:56,879
Speaker 2: coming and ask us, asking us for directions. We're both

860
00:46:56,920 --> 00:47:00,720
Speaker 2: sitting there, you know, canvases up like this, all huddled

861
00:47:00,800 --> 00:47:03,520
Speaker 2: up with the hoods on, you know, just in this,

862
00:47:04,360 --> 00:47:10,680
Speaker 2: and this ball woman comes up, asks for asks, directions

863
00:47:11,200 --> 00:47:13,759
Speaker 2: somewhere rather and then looks at the paintings. That just

864
00:47:13,880 --> 00:47:14,719
Speaker 2: wanders off, like.

865
00:47:17,960 --> 00:47:20,320
Speaker 1: Have another career. I hope you're not counting on.

866
00:47:20,400 --> 00:47:22,399
Speaker 2: It was like, didn't think the purple is working.

867
00:47:23,280 --> 00:47:25,280
Speaker 1: It was like me being in Italy and this beautiful

868
00:47:25,360 --> 00:47:27,360
Speaker 1: couple they were like late, they were older, and the

869
00:47:27,560 --> 00:47:29,040
Speaker 1: men walked up to me in a camera and he said,

870
00:47:29,320 --> 00:47:32,680
Speaker 1: schools a schooser is a photo and he's pointing to me,

871
00:47:32,800 --> 00:47:34,759
Speaker 1: and his wife is triangularly and I go oh, and

872
00:47:34,880 --> 00:47:36,640
Speaker 1: I put my arm around his wife to take a photo.

873
00:47:36,719 --> 00:47:40,719
Speaker 1: He goes, no, no, you photo of you? Take the

874
00:47:40,840 --> 00:47:45,120
Speaker 1: photo the mountain in the background. I was like, oh god,

875
00:47:45,160 --> 00:47:47,240
Speaker 1: bless Yeah, they don't know who I am. I should

876
00:47:47,320 --> 00:47:52,239
Speaker 1: move here, I should move here. You mentioned someone gave

877
00:47:52,360 --> 00:47:57,719
Speaker 1: you that push his mentorship in your career. Do people

878
00:47:57,800 --> 00:47:59,440
Speaker 1: come to you and do you give them a push

879
00:48:00,200 --> 00:48:03,440
Speaker 1: a little bit? I mean, you must have a lot

880
00:48:03,440 --> 00:48:05,239
Speaker 1: of people in the music world, young people who look

881
00:48:05,320 --> 00:48:05,600
Speaker 1: up to you.

882
00:48:08,320 --> 00:48:11,560
Speaker 2: One of the best buzzes really is that thing where

883
00:48:12,239 --> 00:48:16,120
Speaker 2: someone comes up who's new and they're really into you know,

884
00:48:16,239 --> 00:48:18,239
Speaker 2: I'm really into what they're doing. It's really fascinating and

885
00:48:18,320 --> 00:48:22,960
Speaker 2: it's really totally new to me. But yet the occasions

886
00:48:23,000 --> 00:48:25,799
Speaker 2: when they yeah, and You're like, how could you? How

887
00:48:25,840 --> 00:48:28,360
Speaker 2: could you feel off me? I don't see any of

888
00:48:28,960 --> 00:48:32,759
Speaker 2: my stuff, but they see it and I'm like, Wow,

889
00:48:32,880 --> 00:48:35,759
Speaker 2: that's so cool, especially when it's like like it's in

890
00:48:35,880 --> 00:48:39,080
Speaker 2: hip hop, like really you know people within hip hop

891
00:48:39,120 --> 00:48:41,520
Speaker 2: who are into Radiohead. I'm like, I find that so

892
00:48:41,719 --> 00:48:45,160
Speaker 2: fascinating because i mean, obviously I'm massively into hip hop,

893
00:48:45,239 --> 00:48:47,680
Speaker 2: and we we use hip hop as a reference point

894
00:48:47,719 --> 00:48:50,799
Speaker 2: and the way we build tracks and stuff. But but really, wow,

895
00:48:51,000 --> 00:48:53,839
Speaker 2: that's bonkers. Obviously that's one of the really good bits.

896
00:48:54,320 --> 00:48:58,440
Speaker 2: But it's not really mental ship. It's just people who

897
00:48:58,560 --> 00:49:00,440
Speaker 2: admire good at their ship, you know.

898
00:49:00,920 --> 00:49:06,719
Speaker 1: And when it happens, it happens. How does success make

899
00:49:06,840 --> 00:49:07,360
Speaker 1: you feel?

900
00:49:09,000 --> 00:49:14,480
Speaker 2: How does it make me feel? Something which I think

901
00:49:14,640 --> 00:49:22,160
Speaker 2: is well, has it make me feel? It's always been

902
00:49:22,200 --> 00:49:26,440
Speaker 2: a little bit far away from me, And the only

903
00:49:26,520 --> 00:49:28,879
Speaker 2: time it sort of makes sense is when we play

904
00:49:29,120 --> 00:49:31,279
Speaker 2: in front of people, you know, and the rest of

905
00:49:31,320 --> 00:49:35,000
Speaker 2: the times like, well, it's it's just it's who I've

906
00:49:35,080 --> 00:49:39,279
Speaker 2: been for so long. I can't tell you because it's

907
00:49:39,520 --> 00:49:42,640
Speaker 2: just that's what it is. And I think I've probably

908
00:49:42,680 --> 00:49:45,319
Speaker 2: been doing it more than I haven't in my life

909
00:49:45,960 --> 00:49:49,719
Speaker 2: in terms of years, in terms of time. So most

910
00:49:49,760 --> 00:49:52,239
Speaker 2: of the time I don't really notice and people come

911
00:49:52,320 --> 00:49:54,560
Speaker 2: up and I go, well, it's nice, you know, thanks

912
00:49:54,640 --> 00:49:56,640
Speaker 2: very much, And it's not like I'm not grateful. I'm

913
00:49:56,719 --> 00:50:00,120
Speaker 2: just I just don't notice. And then sometimes some thing

914
00:50:00,120 --> 00:50:02,000
Speaker 2: will whack you over the head and you go, BlimE me,

915
00:50:02,800 --> 00:50:05,040
Speaker 2: things like doing the first time we did Saturday in life,

916
00:50:05,160 --> 00:50:08,680
Speaker 2: for example, and you go, really, people give a shit,

917
00:50:09,640 --> 00:50:11,880
Speaker 2: because sometimes you can't you don't know you don't know

918
00:50:12,080 --> 00:50:15,160
Speaker 2: you've got on the inside. You can't see it. And

919
00:50:16,320 --> 00:50:19,680
Speaker 2: also you spent so long running away from it, and

920
00:50:19,800 --> 00:50:21,600
Speaker 2: I don't feel like I run away from it now

921
00:50:22,040 --> 00:50:23,680
Speaker 2: because there's nowhere to run.

922
00:50:25,680 --> 00:50:25,920
Speaker 1: To run.

923
00:50:26,000 --> 00:50:29,759
Speaker 2: And also it is like, yeah, I'm really grateful for

924
00:50:29,880 --> 00:50:31,920
Speaker 2: I'm it's very incredibly lucky.

925
00:50:32,200 --> 00:50:34,160
Speaker 1: There's a very good point. There's nowhere to run and

926
00:50:34,400 --> 00:50:34,920
Speaker 1: still do it.

927
00:50:35,560 --> 00:50:38,920
Speaker 2: Yeah, I mean, I just think I'm well Jammy. As

928
00:50:39,000 --> 00:50:42,680
Speaker 2: we take it's just really jammy, especially in the US,

929
00:50:42,800 --> 00:50:45,680
Speaker 2: you know, like people really give a shit, and it's like, well,

930
00:50:45,880 --> 00:50:46,480
Speaker 2: that's amazing.

931
00:50:46,560 --> 00:50:48,480
Speaker 1: I guess I have one more question, was what does

932
00:50:48,600 --> 00:50:49,680
Speaker 1: well Jammy mean.

933
00:50:49,800 --> 00:50:52,040
Speaker 2: I don't know, really, you don't know Jammy is like

934
00:50:53,480 --> 00:50:59,520
Speaker 2: you're so Jammy, like you just I'm dating myself. No, no, no,

935
00:51:00,360 --> 00:51:03,400
Speaker 2: it's a total floke, man, it's not really. You're just lucky.

936
00:51:04,040 --> 00:51:07,160
Speaker 2: I mean, I'm British, right, so I assume I'm just lucky.

937
00:51:07,239 --> 00:51:13,160
Speaker 2: There's no skin involved. I'm Jammy goes on.

938
00:51:20,239 --> 00:51:24,080
Speaker 1: This is from Tom Yorke's most recent album, Amok. He'll

939
00:51:24,120 --> 00:51:26,560
Speaker 1: be touring in support of the album later this year.

940
00:51:27,160 --> 00:51:30,719
Speaker 1: Find out more on our website Here's the Thing dot Org.

941
00:51:38,239 --> 00:51:41,239
Speaker 1: This is Alec Baldwin. Here's the thing comes from w

942
00:51:41,560 --> 00:51:43,080
Speaker 1: NYC Radio