1 00:00:15,436 --> 00:00:26,596 Speaker 1: Pushkin. Marianne Faithful has been many things throughout her half 2 00:00:26,596 --> 00:00:30,076 Speaker 1: a century in music, a close confidant of the Rolling Stones, 3 00:00:30,596 --> 00:00:34,316 Speaker 1: a pop star, a homeless drug addict, and a critically 4 00:00:34,316 --> 00:00:51,436 Speaker 1: acclaimed comeback artist Evening I Search. Despite a career filled 5 00:00:51,436 --> 00:00:55,276 Speaker 1: with personal and professional turmoil, mary Anne Faithful has always 6 00:00:55,316 --> 00:00:59,316 Speaker 1: managed to find her footing. Last year, just as Europe 7 00:00:59,316 --> 00:01:02,236 Speaker 1: started to go into quarantine, Marie Anne was recording a 8 00:01:02,316 --> 00:01:06,236 Speaker 1: series of spoken word renditions of nineteenth century Romantic poems 9 00:01:06,756 --> 00:01:10,156 Speaker 1: scored by Brian Eno in a Cave and her longtime 10 00:01:10,196 --> 00:01:14,556 Speaker 1: collaborator Warren Ellis. But then in April of twenty twenty, 11 00:01:14,956 --> 00:01:19,476 Speaker 1: Maryanne was hospitalized with the coronavirus. Now, nearly a year later, 12 00:01:19,796 --> 00:01:22,956 Speaker 1: she says she's been deemed a COVID longhauler because of 13 00:01:22,996 --> 00:01:26,876 Speaker 1: the virus's lingering effects on her lungs and short term memory. 14 00:01:27,356 --> 00:01:31,036 Speaker 1: On today's episode, Bruce Heathlam talks to Maryanne Faithful about 15 00:01:31,036 --> 00:01:34,836 Speaker 1: how COVID has impacted her work, her stalled biopic, and 16 00:01:34,956 --> 00:01:43,116 Speaker 1: why she resented being labeled Mick Jagger's news. This is 17 00:01:43,156 --> 00:01:46,756 Speaker 1: broken record liner notes for the Digital Age. I'm justin Richmond. 18 00:01:51,996 --> 00:01:55,676 Speaker 1: Here's Bruce Heathlam and Maryanne Faithful. We want to talk 19 00:01:55,716 --> 00:01:58,236 Speaker 1: about your new album, She Walks in Beauty, And which 20 00:01:58,316 --> 00:02:03,956 Speaker 1: is you reading romantic poetry? We say romantic poetry, We 21 00:02:03,996 --> 00:02:07,596 Speaker 1: mean poetry from the great Romantic writers like Shelley and 22 00:02:07,716 --> 00:02:15,116 Speaker 1: Byron and century Romantic English. And you read over these 23 00:02:15,436 --> 00:02:21,676 Speaker 1: sort of beautiful musical soundscapes created by Warren Ellis, who's 24 00:02:21,676 --> 00:02:26,316 Speaker 1: one of your regular collaborators, Nick cave Brian Eno. So, first, 25 00:02:26,556 --> 00:02:30,276 Speaker 1: when did the idea for this album come to you? Well, 26 00:02:30,716 --> 00:02:34,676 Speaker 1: it's been an idea I've had for a long time, 27 00:02:35,276 --> 00:02:38,476 Speaker 1: but I never thought it would come to the point 28 00:02:38,516 --> 00:02:41,996 Speaker 1: where we could actually do it, you know, that the 29 00:02:42,116 --> 00:02:46,476 Speaker 1: record company would be hip enough. It had a lot 30 00:02:46,516 --> 00:02:51,076 Speaker 1: to do with meeting and working with my manager Francois, 31 00:02:52,476 --> 00:02:58,076 Speaker 1: and of course Warren and Nick. What convinced the record 32 00:02:58,076 --> 00:03:01,716 Speaker 1: company that this was a good idea? I'm not sure, 33 00:03:02,596 --> 00:03:06,916 Speaker 1: but Francois did it. Anyway, It does seem very unlikely, 34 00:03:07,036 --> 00:03:11,356 Speaker 1: you know, for record for anywa company. It's not the 35 00:03:11,396 --> 00:03:15,916 Speaker 1: most commercial project we've ever heard of it, No, but 36 00:03:16,036 --> 00:03:18,996 Speaker 1: it is a terrific project, and it's it is a 37 00:03:19,116 --> 00:03:22,076 Speaker 1: terrific project. It is, And I want to talk about 38 00:03:22,236 --> 00:03:25,116 Speaker 1: I think what makes it so terrific. But first of all, 39 00:03:25,156 --> 00:03:30,076 Speaker 1: how did you choose these particular poems? I went through 40 00:03:30,116 --> 00:03:35,716 Speaker 1: a lot with Head, actually, my producer and Alex. I 41 00:03:35,876 --> 00:03:40,676 Speaker 1: went through a lot of Shelley, a lot of Byron 42 00:03:41,596 --> 00:03:45,636 Speaker 1: Jeetz was the best one, really, because there's so much 43 00:03:45,916 --> 00:03:49,676 Speaker 1: and it's so gorgeous. Not the best one, but the 44 00:03:50,356 --> 00:03:55,036 Speaker 1: easiest one to find, although we still couldn't do everything 45 00:03:55,156 --> 00:04:00,636 Speaker 1: in it. Well, the Thomas Wood one, the Bridge of Size. 46 00:04:01,356 --> 00:04:05,836 Speaker 1: I discovered that when I was about fourteen or fifteen, 47 00:04:06,756 --> 00:04:10,236 Speaker 1: and I loved it then, and I wondered once I 48 00:04:10,356 --> 00:04:14,676 Speaker 1: started making records to all, I wonder if I could 49 00:04:14,716 --> 00:04:19,476 Speaker 1: ever do a record of poetry like things I really like. 50 00:04:20,396 --> 00:04:24,396 Speaker 1: And so I've been slowly gathering it together and having 51 00:04:24,996 --> 00:04:29,156 Speaker 1: thoughts about it. Which poems I wanted to do for 52 00:04:29,236 --> 00:04:33,836 Speaker 1: quite a long time. But what this project did for 53 00:04:34,036 --> 00:04:40,436 Speaker 1: me I never really appreciated or liked words with but 54 00:04:40,676 --> 00:04:45,996 Speaker 1: now through this I've begun to really love words. It 55 00:04:46,076 --> 00:04:49,436 Speaker 1: was very good for me. Like that, Oh, that's interesting. 56 00:04:49,876 --> 00:04:53,476 Speaker 1: A lot of people who like Byron and Shelley, you know, 57 00:04:53,556 --> 00:04:55,316 Speaker 1: part of the deal is they decide they don't like 58 00:04:55,396 --> 00:04:58,676 Speaker 1: Wordsworth early on. Well, I don't think I did that 59 00:04:59,076 --> 00:05:03,516 Speaker 1: consciously anyway. I just didn't really didn't really get it. 60 00:05:03,636 --> 00:05:06,796 Speaker 1: You know. Did you grow up in a home where 61 00:05:06,956 --> 00:05:11,316 Speaker 1: poetry was part of your education, part of daily life. Yes, 62 00:05:11,476 --> 00:05:15,636 Speaker 1: I suppose I did. Your father taught literature right, No, 63 00:05:16,396 --> 00:05:21,116 Speaker 1: he was a professor of Italian Renaissance. Oh, I see 64 00:05:21,796 --> 00:05:27,956 Speaker 1: m But that meant Petrock Dante all that he was 65 00:05:27,996 --> 00:05:32,196 Speaker 1: also a spy, wasn't he he was. Yes, that's how 66 00:05:32,196 --> 00:05:34,436 Speaker 1: he met your mother, I think, And that's I was 67 00:05:34,476 --> 00:05:38,396 Speaker 1: just and that's how he met my mother, who was 68 00:05:38,436 --> 00:05:42,756 Speaker 1: also She wasn't a spy, but she was in was 69 00:05:42,796 --> 00:05:47,836 Speaker 1: hardly any resistance in Vienna, but my mother was involved 70 00:05:47,876 --> 00:05:52,596 Speaker 1: in it because it was very straightforward. My grandmother, my 71 00:05:52,756 --> 00:05:58,676 Speaker 1: lovely grandmother, Flora, was Jewish, so there was no question, 72 00:05:58,956 --> 00:06:03,156 Speaker 1: you know. And your your mother also knew Curvile and 73 00:06:03,316 --> 00:06:07,116 Speaker 1: Brect and these people, well, she only knew them to 74 00:06:07,476 --> 00:06:11,636 Speaker 1: when they were going in for dance rehearsal into the theater. 75 00:06:12,116 --> 00:06:16,476 Speaker 1: She worked in the Corded Ballet with Matt Rhinehart. And 76 00:06:16,516 --> 00:06:19,476 Speaker 1: when all the little dancers would get trooping in to 77 00:06:19,636 --> 00:06:25,236 Speaker 1: the theater for rehearsal, they would meet my uncle Alexander 78 00:06:25,836 --> 00:06:31,796 Speaker 1: brother and that's a breach and Kurt Vilee coming out 79 00:06:31,916 --> 00:06:36,636 Speaker 1: after an all nighter with lots to drink and lots 80 00:06:36,636 --> 00:06:41,316 Speaker 1: of things written, so amazing. Yes, and they would they 81 00:06:41,356 --> 00:06:46,476 Speaker 1: would all say good Morgan, heir breath, good Morgan, heal 82 00:06:46,996 --> 00:06:50,356 Speaker 1: that sort of thing, you know. They were this little 83 00:06:50,396 --> 00:06:55,276 Speaker 1: girl's Did you ever meet them later in life? Oh no, no, 84 00:06:55,356 --> 00:06:58,156 Speaker 1: I wish no, of course not. No. I guess they're 85 00:06:58,196 --> 00:07:03,396 Speaker 1: both gone. Okay, well I thought i'd ask. Yeah, all right, 86 00:07:03,676 --> 00:07:06,076 Speaker 1: so what kind of you said? You read the Thomas 87 00:07:06,076 --> 00:07:10,756 Speaker 1: Hood when you were fourteen? I came across. I think 88 00:07:10,796 --> 00:07:14,236 Speaker 1: I was just very lucky. I somehow got hold of 89 00:07:14,316 --> 00:07:20,436 Speaker 1: the book called Powe Grey's Golden Treasury, and it was 90 00:07:20,476 --> 00:07:23,076 Speaker 1: in there and I read it and I was just 91 00:07:23,276 --> 00:07:26,716 Speaker 1: blown away by it, you know. And a few of 92 00:07:26,756 --> 00:07:30,636 Speaker 1: the other booms that I used were also in this book. 93 00:07:31,356 --> 00:07:34,636 Speaker 1: But it was it was very broad. It wasn't just 94 00:07:35,236 --> 00:07:40,636 Speaker 1: nineteenth century English Romantic. It was all sorts of poetry 95 00:07:40,676 --> 00:07:44,316 Speaker 1: in general. But yeah, was the romantic poetry? Was nineteenth 96 00:07:44,316 --> 00:07:47,316 Speaker 1: century poetry? Was that the poetry that grabbed you when 97 00:07:47,316 --> 00:07:52,236 Speaker 1: you were young? Yes? And also that's the poetry that 98 00:07:52,396 --> 00:07:58,516 Speaker 1: I started with my wonderful English teacher, Missus Simpson, when 99 00:07:58,556 --> 00:08:02,516 Speaker 1: I think I was seventeen, and I would have gone 100 00:08:02,556 --> 00:08:06,276 Speaker 1: on with that if I hadn't been discovered. Do you 101 00:08:06,676 --> 00:08:09,916 Speaker 1: do you want to become a poet or an academic? 102 00:08:11,116 --> 00:08:15,716 Speaker 1: You know? Well, I don't know. I might. I enjoyed learning, 103 00:08:15,756 --> 00:08:19,276 Speaker 1: I enjoyed study. I didn't think I wanted to become 104 00:08:19,276 --> 00:08:23,596 Speaker 1: a poet. Now. My poor father once asked me what 105 00:08:23,716 --> 00:08:28,636 Speaker 1: I wanted to do. Oh no, I asked him. That 106 00:08:28,796 --> 00:08:32,556 Speaker 1: was so awful, A trick question. Really. I asked my 107 00:08:32,596 --> 00:08:37,396 Speaker 1: poor father what he thought I should do, and he 108 00:08:37,476 --> 00:08:42,076 Speaker 1: gave the wrongs. He said he thought I should be 109 00:08:42,156 --> 00:08:48,636 Speaker 1: a social scientist, a social worker. And I was so shocked, 110 00:08:48,996 --> 00:08:51,996 Speaker 1: because of course I wanted to be a film star. 111 00:08:53,036 --> 00:08:55,676 Speaker 1: And then you, famously, when you were I think sixteen, 112 00:08:55,716 --> 00:09:02,276 Speaker 1: you were discovered, yes, well a bit older seventeen eighteen, yea, 113 00:09:03,556 --> 00:09:05,676 Speaker 1: And you were kind of swept up into London at 114 00:09:05,676 --> 00:09:10,676 Speaker 1: the time, and you yeah on the Rolling Stone Andrew 115 00:09:10,756 --> 00:09:14,156 Speaker 1: lou golderm and all that. Yeah, and you recorded as 116 00:09:14,196 --> 00:09:17,276 Speaker 1: Tears go By. It was a huge hit. Yes it 117 00:09:17,356 --> 00:09:20,596 Speaker 1: wasn't a huge hit. I think it did rather well. 118 00:09:21,436 --> 00:09:26,556 Speaker 1: It's a lovely lovely song. It is, I still like, yeah, 119 00:09:26,956 --> 00:09:30,956 Speaker 1: and it's unfortunate getting considering your long career, you were 120 00:09:30,996 --> 00:09:35,596 Speaker 1: always considered like amused to the Rolling Stones. Yeah, and 121 00:09:35,716 --> 00:09:41,276 Speaker 1: that's really not a great job. No, it was accurate, 122 00:09:41,316 --> 00:09:45,756 Speaker 1: but job show. You know, I can think of better ones. 123 00:09:46,476 --> 00:09:49,956 Speaker 1: But yeah, I thought it was. But of course, I mean, 124 00:09:50,756 --> 00:09:57,356 Speaker 1: I'm delighted that Nick or Keith or both found things 125 00:09:57,396 --> 00:10:01,556 Speaker 1: to use in my brain. But that wasn't really what 126 00:10:01,716 --> 00:10:07,116 Speaker 1: I want. You wanted to be your own star. Yeah, 127 00:10:06,796 --> 00:10:09,436 Speaker 1: m and you had. You had a rough time of 128 00:10:09,436 --> 00:10:12,436 Speaker 1: it for a while, and homelessness and addiction. I suppose 129 00:10:12,436 --> 00:10:14,796 Speaker 1: I did, but I had a lot of fun too. 130 00:10:15,956 --> 00:10:20,436 Speaker 1: But then really starting with I guess Broken English, Yeah, 131 00:10:20,596 --> 00:10:24,076 Speaker 1: that was my big comeback. Yeah, and we think about 132 00:10:24,076 --> 00:10:25,836 Speaker 1: it now. You were so young when you did that. 133 00:10:25,916 --> 00:10:30,876 Speaker 1: Everybody I was very seemed so strange. Yeah, And since 134 00:10:30,916 --> 00:10:35,916 Speaker 1: then you've become this incredible interpreter of people's work. I mean, 135 00:10:35,916 --> 00:10:39,996 Speaker 1: you've written songs of yeahs as well as writing my 136 00:10:40,036 --> 00:10:44,596 Speaker 1: own songs. You do, but you've you've covered so many people. 137 00:10:45,156 --> 00:10:49,516 Speaker 1: One of my favorite cover versions you've ever done, and 138 00:10:49,556 --> 00:10:53,916 Speaker 1: you probably don't remember doing it, was Spike Driver Blues 139 00:10:54,316 --> 00:10:58,876 Speaker 1: for the Harry, of course I remember. I mean, you know, 140 00:10:59,156 --> 00:11:04,476 Speaker 1: one of my absolute, very best, dearest, much loved friends 141 00:11:05,156 --> 00:11:09,636 Speaker 1: was how Willna, who has just died because of COVID, 142 00:11:10,556 --> 00:11:13,676 Speaker 1: and I miss him more than I can say, especially 143 00:11:13,756 --> 00:11:19,116 Speaker 1: now with this lovely new boat. He wasn't here, I 144 00:11:19,156 --> 00:11:22,996 Speaker 1: couldn't use him and I miss him so much. And 145 00:11:23,156 --> 00:11:26,756 Speaker 1: all that thing of Spoke Drive Blues, which I love, 146 00:11:27,716 --> 00:11:31,076 Speaker 1: was done. It was a show that how put together 147 00:11:31,716 --> 00:11:36,036 Speaker 1: and he gave me to do spoke Driver Blues and 148 00:11:36,156 --> 00:11:39,156 Speaker 1: it turned out really well. Was that his idea to 149 00:11:39,196 --> 00:11:43,116 Speaker 1: do that? It was? It was Hol's idea. Yeah. Now 150 00:11:43,116 --> 00:11:45,916 Speaker 1: when he first suggested that that's not your usual material 151 00:11:45,996 --> 00:11:49,916 Speaker 1: it's an American blues folk song, well I really love 152 00:11:49,996 --> 00:11:53,996 Speaker 1: American blue. But my question is you so often do songs? 153 00:11:54,036 --> 00:11:56,876 Speaker 1: I think Down from Dover by Dolly Parton is another 154 00:11:56,916 --> 00:12:01,116 Speaker 1: great example where yeah, you bring so much to a 155 00:12:01,196 --> 00:12:03,796 Speaker 1: song when you sit down to say, okay, I'm going 156 00:12:03,836 --> 00:12:07,156 Speaker 1: to cover something like Spike Driver Blues. What's the process? 157 00:12:07,316 --> 00:12:12,116 Speaker 1: How do you? How do you make that song yours? Oh? God, Bruce, 158 00:12:12,956 --> 00:12:19,156 Speaker 1: I don't really know. Something magic happens and it becomes mine. 159 00:12:19,876 --> 00:12:23,636 Speaker 1: M Is it something that happens with the musicians, happens live, 160 00:12:23,796 --> 00:12:26,916 Speaker 1: or it just when you're it does happen live, but 161 00:12:27,036 --> 00:12:31,716 Speaker 1: it also happens when I'm recording, and the how is 162 00:12:31,916 --> 00:12:36,076 Speaker 1: very clever getting me to sing songs that I wouldn't 163 00:12:36,116 --> 00:12:41,516 Speaker 1: know about. You know, I actually did know, But there 164 00:12:41,556 --> 00:12:44,316 Speaker 1: are lots of things, like some of the things on 165 00:12:44,796 --> 00:12:49,356 Speaker 1: Strange Weather that I didn't know. But I want you 166 00:12:49,436 --> 00:12:52,036 Speaker 1: to do it because I want you to please out. 167 00:12:52,716 --> 00:12:55,636 Speaker 1: I loved him, I adored you know. The reason I'm 168 00:12:55,636 --> 00:13:00,356 Speaker 1: asking is, in some ways, this current album almost feels 169 00:13:00,436 --> 00:13:03,876 Speaker 1: like cover versions of great poems. I know that's a 170 00:13:03,916 --> 00:13:08,436 Speaker 1: silly way to say it, but when I listen to it, 171 00:13:08,636 --> 00:13:10,236 Speaker 1: and you know, I've had to learn some of these 172 00:13:10,236 --> 00:13:13,276 Speaker 1: poems in high school like everybody else, and didn't enjoy them. 173 00:13:13,436 --> 00:13:15,876 Speaker 1: I didn't remember them, and that's one of the reasons 174 00:13:16,156 --> 00:13:19,676 Speaker 1: I chose some of them. I wanted to use, choose 175 00:13:19,756 --> 00:13:22,596 Speaker 1: poems that a lot of people would have heard of 176 00:13:22,836 --> 00:13:27,876 Speaker 1: or no. But it's an amazing experience listening to them 177 00:13:27,916 --> 00:13:31,116 Speaker 1: because I feel like I'm hearing them in a different way, 178 00:13:31,196 --> 00:13:33,596 Speaker 1: in the same way when I hear you do Spike 179 00:13:33,716 --> 00:13:36,996 Speaker 1: Driver Blues, I understand the song I feel the song 180 00:13:37,036 --> 00:13:39,756 Speaker 1: in a different way. Does that make any sense? Yes, 181 00:13:40,236 --> 00:13:45,476 Speaker 1: especially with Spike Driver Blues, because that's so far from 182 00:13:45,556 --> 00:13:49,396 Speaker 1: my life, from my own experience, But I feel it 183 00:13:49,756 --> 00:13:53,556 Speaker 1: very much. When I did it, I really felt it. 184 00:13:53,996 --> 00:13:57,436 Speaker 1: I understood it, I knew what it was about, and 185 00:13:57,596 --> 00:14:02,676 Speaker 1: I wanted to get it right. We'll be right back 186 00:14:02,716 --> 00:14:05,356 Speaker 1: with more from Bruce Headlam and Mary Anne. After a 187 00:14:05,436 --> 00:14:12,396 Speaker 1: quick break, we're back with Mary and Faithful and Bruce 188 00:14:12,396 --> 00:14:15,236 Speaker 1: had them and with some of the songs you've done, 189 00:14:15,356 --> 00:14:19,676 Speaker 1: as Tears Go By, a Baby Blue You've done, You've 190 00:14:19,716 --> 00:14:22,196 Speaker 1: done some songs at different points throughout your career. You've 191 00:14:22,196 --> 00:14:26,516 Speaker 1: done three different versions of As Tears Go Tears Go By. Yeah, 192 00:14:28,036 --> 00:14:31,236 Speaker 1: I never felt I really got it running, you see, 193 00:14:31,676 --> 00:14:36,116 Speaker 1: and Warren particularly wanted to do it again, and I agreed. 194 00:14:36,196 --> 00:14:41,116 Speaker 1: I thought, well, let's try it again. And what what 195 00:14:41,156 --> 00:14:43,276 Speaker 1: were you thinking about the second or third time you 196 00:14:43,316 --> 00:14:45,236 Speaker 1: did it? How was it different for you? Well, it's 197 00:14:45,396 --> 00:14:50,436 Speaker 1: very straightforward, very simple the first time. It's really quite 198 00:14:50,436 --> 00:14:54,476 Speaker 1: a perky little bop song. But the strange thing about 199 00:14:54,516 --> 00:14:57,876 Speaker 1: it is that it's a song probably meant to be 200 00:14:57,996 --> 00:15:01,756 Speaker 1: sung by a woman much much older than me. I 201 00:15:01,876 --> 00:15:05,996 Speaker 1: was seventeen, and the second time I did it was 202 00:15:06,156 --> 00:15:12,876 Speaker 1: when I just stopped taking drugs, and I think it 203 00:15:12,956 --> 00:15:17,596 Speaker 1: was very, very sad. It was very It was sad 204 00:15:17,756 --> 00:15:21,116 Speaker 1: because I was sad. You know, you were sad because 205 00:15:21,116 --> 00:15:25,076 Speaker 1: you'd stop taking drugs. And I think, so, yeah, I 206 00:15:25,116 --> 00:15:28,636 Speaker 1: haven't got to the bit yet where you realize how 207 00:15:28,676 --> 00:15:33,356 Speaker 1: wonderful it is to me not change. Did that take 208 00:15:33,396 --> 00:15:37,796 Speaker 1: a while, not too long, but yeah, it didn't come 209 00:15:37,876 --> 00:15:41,516 Speaker 1: right away. And then you did it in twenty and seventeen. 210 00:15:41,596 --> 00:15:44,516 Speaker 1: What was it like doing it then? Well, then I 211 00:15:44,596 --> 00:15:47,836 Speaker 1: really felt I was in the right place to do it, 212 00:15:47,956 --> 00:15:51,396 Speaker 1: the right age, the right place, the right time, and 213 00:15:51,556 --> 00:15:54,316 Speaker 1: with the right people. So if you listen to all 214 00:15:54,356 --> 00:15:59,116 Speaker 1: three versions, now, would that be your favorite? Now? Yes? Yes, 215 00:15:59,196 --> 00:16:01,996 Speaker 1: it is okay. And you've done other You've done Sister 216 00:16:02,076 --> 00:16:05,196 Speaker 1: Morphine a couple of times, You've done Baby Blue a 217 00:16:05,236 --> 00:16:08,276 Speaker 1: couple of times. You're a little bit like Frank Sinatra. 218 00:16:08,436 --> 00:16:12,516 Speaker 1: You do things different points in your career. My wow, 219 00:16:13,236 --> 00:16:15,716 Speaker 1: I mean that. I mean that sincerely as someone who 220 00:16:16,436 --> 00:16:20,236 Speaker 1: I agree. Yeah, thank you. I adore Franks and much 221 00:16:21,396 --> 00:16:24,356 Speaker 1: respect him a lot. I want to talk more about 222 00:16:24,396 --> 00:16:26,956 Speaker 1: these poems because, as I said, they feel like the 223 00:16:26,996 --> 00:16:30,836 Speaker 1: great cover version of a song. I want to ask 224 00:16:30,876 --> 00:16:33,476 Speaker 1: you more about Bridge of Size because I think in 225 00:16:33,476 --> 00:16:37,076 Speaker 1: some ways it's your best performance on this well one 226 00:16:37,156 --> 00:16:40,636 Speaker 1: of them are. There are quite a lot of really 227 00:16:40,676 --> 00:16:45,876 Speaker 1: good performances, you know. I think the Lady of Charlotte 228 00:16:46,556 --> 00:16:51,676 Speaker 1: they owe to a Nightingale Ozemandels is really good. To 229 00:16:51,836 --> 00:16:56,756 Speaker 1: the Moon, it's fantastic. Yeah, you do it twice. Well, 230 00:16:56,956 --> 00:17:01,316 Speaker 1: that was Head's idea. The producer, my producer and engineer, 231 00:17:01,796 --> 00:17:05,476 Speaker 1: and he did something so brilliant. He made it sound 232 00:17:05,996 --> 00:17:09,556 Speaker 1: like I do it, and then it sounds as if 233 00:17:09,596 --> 00:17:13,756 Speaker 1: the moon does it back to me. Oh I like that. 234 00:17:14,556 --> 00:17:18,116 Speaker 1: So why So you know a lot of these and 235 00:17:18,196 --> 00:17:20,516 Speaker 1: there it's romantic poetry. So a lot of them are 236 00:17:20,556 --> 00:17:23,676 Speaker 1: about death, of course, and a lot of them are 237 00:17:23,796 --> 00:17:28,156 Speaker 1: about women who aren't like you at all because they're 238 00:17:28,156 --> 00:17:32,076 Speaker 1: either you know, they're either these temptresses like in the 239 00:17:32,196 --> 00:17:35,556 Speaker 1: in the Kids, or they're they're victims. Bridge of Bridge 240 00:17:35,556 --> 00:17:39,756 Speaker 1: of Size is about a woman who kills herself. Yes, 241 00:17:39,916 --> 00:17:43,836 Speaker 1: she throws herself off a bridge into the Thames. Yes, yeah, 242 00:17:43,836 --> 00:17:46,236 Speaker 1: tell me what what that's like for you to read? 243 00:17:46,316 --> 00:17:50,236 Speaker 1: Did that have any personal Well? I think it it 244 00:17:50,476 --> 00:17:54,276 Speaker 1: got to me more when I was much younger. By 245 00:17:54,316 --> 00:17:58,316 Speaker 1: the time I recorded it, I was well over that 246 00:17:58,356 --> 00:18:01,236 Speaker 1: sort of thing. There was no way I want you 247 00:18:01,276 --> 00:18:05,756 Speaker 1: to be a victim, and I was mhmm. But she is, 248 00:18:07,076 --> 00:18:10,836 Speaker 1: and I don't don't dislike for it, That's just how 249 00:18:10,876 --> 00:18:14,636 Speaker 1: she is. Do you have a favorite on the album? 250 00:18:15,156 --> 00:18:20,116 Speaker 1: Oh god, I don't know. Both Warren and I particularly 251 00:18:20,156 --> 00:18:25,276 Speaker 1: do love Bridgish Eye, probably because it's got this wonderful 252 00:18:25,396 --> 00:18:30,396 Speaker 1: rhythm and the alliteration and the rhyming is so brilliant. 253 00:18:30,796 --> 00:18:34,156 Speaker 1: But a lot of them have that, you know. Did 254 00:18:34,156 --> 00:18:38,716 Speaker 1: you record these first and then he composed the tracks underneath? Yeah. 255 00:18:39,276 --> 00:18:43,396 Speaker 1: I recorded them with Head in London and we sent them. 256 00:18:43,556 --> 00:18:46,756 Speaker 1: Head sent them to Warren in Paris, and he then 257 00:18:46,876 --> 00:18:49,676 Speaker 1: composed the music. Are you in London most of the 258 00:18:49,716 --> 00:18:54,316 Speaker 1: time now? Yes, I've just moved back to London. I 259 00:18:54,396 --> 00:18:58,196 Speaker 1: was in Paris too, but my son really wanted me 260 00:18:58,276 --> 00:19:02,076 Speaker 1: to come back to London, and I realized that I 261 00:19:02,156 --> 00:19:07,156 Speaker 1: really hadn't given him enough time and attention in my life, 262 00:19:07,236 --> 00:19:10,556 Speaker 1: and I should and I came back. And I want 263 00:19:10,596 --> 00:19:14,756 Speaker 1: you to be with my grandchildren. I like them very much. 264 00:19:15,636 --> 00:19:18,716 Speaker 1: The other thing about these poems, and this really got 265 00:19:18,756 --> 00:19:21,396 Speaker 1: to me when I was listening to it over and over, 266 00:19:21,916 --> 00:19:23,716 Speaker 1: which is I mean, so many of them are about 267 00:19:23,996 --> 00:19:28,516 Speaker 1: separation or being solitary, particularly on and I'm going to 268 00:19:28,556 --> 00:19:30,636 Speaker 1: say side too, because that's how I still think of 269 00:19:30,676 --> 00:19:35,476 Speaker 1: these things. You know, to the Moon, We'll go No More, 270 00:19:35,916 --> 00:19:39,836 Speaker 1: Arriving and Lady of Chala they got to me, I 271 00:19:39,876 --> 00:19:43,956 Speaker 1: think because of the isolation everybody's been living in in 272 00:19:43,996 --> 00:19:49,756 Speaker 1: the past year. Yeah, you know, certainly in Roving there's 273 00:19:49,756 --> 00:19:51,396 Speaker 1: a line and I'm going to get it wrong, but 274 00:19:51,716 --> 00:19:54,156 Speaker 1: something the effect that the heart must pause to breathe 275 00:19:54,636 --> 00:19:58,596 Speaker 1: and love itself. You got it right, have rest. It 276 00:19:58,796 --> 00:20:01,636 Speaker 1: really got to me, I think because of now you 277 00:20:01,716 --> 00:20:05,236 Speaker 1: recorded some of this before you were sick, Yeah, some 278 00:20:05,356 --> 00:20:09,996 Speaker 1: of it after you know already it was all almost 279 00:20:10,116 --> 00:20:13,916 Speaker 1: or in fact, it was lockdown when we recorded it, 280 00:20:14,516 --> 00:20:17,916 Speaker 1: so we knew what that was. Both Warren and Guy 281 00:20:18,116 --> 00:20:22,116 Speaker 1: and Head, we all realized that this was a great, 282 00:20:22,276 --> 00:20:27,076 Speaker 1: great record to give people and to make at this moment. 283 00:20:27,836 --> 00:20:30,636 Speaker 1: We'll be back with more from Mary and Faithful. After 284 00:20:30,676 --> 00:20:37,156 Speaker 1: a break. We're back with more from Bruce Head Them 285 00:20:37,196 --> 00:20:41,156 Speaker 1: and Mary and Faithful. We were talking about the songs 286 00:20:41,156 --> 00:20:43,396 Speaker 1: and the second part of the album, and you said 287 00:20:43,876 --> 00:20:46,876 Speaker 1: in some way you were thinking about the isolation people 288 00:20:46,916 --> 00:20:51,036 Speaker 1: we were going through, and I mentioned Roving, But I 289 00:20:51,076 --> 00:20:54,196 Speaker 1: think the performance that really got to me was A 290 00:20:54,276 --> 00:20:59,596 Speaker 1: Lady of Chalot. Oh yeah, well that's it's a very 291 00:20:59,676 --> 00:21:04,356 Speaker 1: interesting poem. It's about I think anyway. It's really about 292 00:21:04,396 --> 00:21:09,316 Speaker 1: a narcissist who can only see life through a mirror. 293 00:21:10,116 --> 00:21:13,636 Speaker 1: And when the mirror cracks. I don't really know why 294 00:21:13,716 --> 00:21:17,956 Speaker 1: it cracks. She does something wrong, doesn't she? Oh she 295 00:21:18,116 --> 00:21:22,316 Speaker 1: looks at life straight. Yeah. Yeah, And at that moment 296 00:21:22,356 --> 00:21:26,236 Speaker 1: the mirror cracked from side to side, and then she 297 00:21:26,316 --> 00:21:30,716 Speaker 1: starts to sing her swan song, and she's going to die. 298 00:21:31,236 --> 00:21:34,316 Speaker 1: Is she gets sick of it? Looking at everything through 299 00:21:34,356 --> 00:21:38,916 Speaker 1: a mirror? Is that wonderful life? I am half sick 300 00:21:38,996 --> 00:21:42,836 Speaker 1: of shadows? Said the Lady of shut up. She is 301 00:21:42,836 --> 00:21:46,396 Speaker 1: a narcissist, but in another sense, it's about someone who 302 00:21:47,036 --> 00:21:49,516 Speaker 1: it's at a great distance from the world. She lives 303 00:21:49,676 --> 00:21:52,916 Speaker 1: beside Camelot. She's not allowed to look at it, and 304 00:21:52,996 --> 00:21:55,796 Speaker 1: so when she tries to enter the world by looking 305 00:21:55,836 --> 00:21:58,836 Speaker 1: at it, she has to die, which again made me 306 00:21:58,916 --> 00:22:02,076 Speaker 1: think so much of people who want to be closer 307 00:22:02,116 --> 00:22:05,436 Speaker 1: to other people now are taking an enormous risk, and 308 00:22:05,836 --> 00:22:09,996 Speaker 1: you know in her body floats up to Camelot where 309 00:22:10,236 --> 00:22:13,236 Speaker 1: everyone can see her. In her song she dies. I 310 00:22:13,236 --> 00:22:16,116 Speaker 1: can't again, I can't remember the exact line, but to me, 311 00:22:16,196 --> 00:22:19,236 Speaker 1: it reminded me so much. You mentioned how Wilner, but 312 00:22:20,036 --> 00:22:22,796 Speaker 1: of reading obituaries of people you might not have even 313 00:22:22,876 --> 00:22:25,316 Speaker 1: known about, and then you find out that they're gone 314 00:22:25,356 --> 00:22:29,196 Speaker 1: because of this. I found that very resonant. Yeah, me too, 315 00:22:30,196 --> 00:22:33,996 Speaker 1: I've always felt about that. Yeah, Oh, was that another 316 00:22:33,996 --> 00:22:39,116 Speaker 1: one you you'd always like? Yes, and a lot of 317 00:22:39,156 --> 00:22:42,556 Speaker 1: people too, you know, it's a lot of people know 318 00:22:42,716 --> 00:22:47,036 Speaker 1: that one. I think you know these poems aren't fashionable 319 00:22:47,116 --> 00:22:51,196 Speaker 1: right now. No, in a way, the romantic poetry isn't. 320 00:22:51,236 --> 00:22:54,436 Speaker 1: I think we want things either more absurd or more direct, 321 00:22:55,836 --> 00:22:58,316 Speaker 1: do you? But you still find something in them? Do 322 00:22:58,356 --> 00:23:00,516 Speaker 1: you find new things in them when you read them? 323 00:23:01,276 --> 00:23:05,516 Speaker 1: I don't care. I never think about fashionable doesn't mean anything. 324 00:23:06,516 --> 00:23:10,876 Speaker 1: I love the beat, but I love all sorts of things, 325 00:23:10,916 --> 00:23:16,436 Speaker 1: and I love nineteenth century romantic poetry too. And I'm 326 00:23:16,516 --> 00:23:21,836 Speaker 1: glad if people aren't all sort of making records like this, 327 00:23:22,316 --> 00:23:25,476 Speaker 1: because that means I count. But You've also been on 328 00:23:25,556 --> 00:23:30,716 Speaker 1: this run of terrific albums from Easycome, Easy Go and 329 00:23:31,516 --> 00:23:35,196 Speaker 1: Give My Love to London. I love that one, yeah, 330 00:23:35,276 --> 00:23:38,636 Speaker 1: which is also a great song you wrote with Steve Earle, 331 00:23:39,436 --> 00:23:43,516 Speaker 1: who I love very much too. What do you account 332 00:23:43,596 --> 00:23:47,756 Speaker 1: for this level of success at an age when most 333 00:23:47,796 --> 00:23:53,476 Speaker 1: people are looking back on their past work. I really 334 00:23:53,516 --> 00:23:58,276 Speaker 1: don't know. I really don't. When you go into make 335 00:23:58,316 --> 00:24:00,836 Speaker 1: an album, do you do you have a particular idea 336 00:24:01,076 --> 00:24:03,436 Speaker 1: that the album is going to be one thing or another. 337 00:24:04,156 --> 00:24:07,476 Speaker 1: So I think I must do deep down, you know, 338 00:24:07,796 --> 00:24:12,916 Speaker 1: But I don't really say okay, but you said this 339 00:24:12,956 --> 00:24:18,516 Speaker 1: one out loud. Yeah, I'm going by feel an instant. 340 00:24:18,756 --> 00:24:23,596 Speaker 1: I don't really know exactly what I'm doing. I think 341 00:24:23,636 --> 00:24:27,596 Speaker 1: how did, but I don't really. Well, maybe I do, 342 00:24:27,916 --> 00:24:31,636 Speaker 1: but I just don't admit it. I don't. Well. Do 343 00:24:31,636 --> 00:24:34,276 Speaker 1: you ever wonder if you were ascribing things to how 344 00:24:34,396 --> 00:24:36,836 Speaker 1: he was really just bringing out in you the ability 345 00:24:36,876 --> 00:24:40,516 Speaker 1: to do these songs. I never thought of that, but 346 00:24:40,756 --> 00:24:44,076 Speaker 1: that might be true. Yeah, I don't know. And you know, 347 00:24:44,836 --> 00:24:46,956 Speaker 1: a couple of the songs I do associate with you 348 00:24:47,156 --> 00:24:54,276 Speaker 1: later songs is like Nick Cave's late Victorian Holocaust. Oh yeah, Oh, 349 00:24:54,316 --> 00:24:56,996 Speaker 1: what a great song. And you do a great, great 350 00:24:57,076 --> 00:24:59,836 Speaker 1: version of an old HOGI Carmichael song, which is I 351 00:24:59,956 --> 00:25:04,516 Speaker 1: get along very well without you. Yeah, it's a great song. Well, 352 00:25:04,556 --> 00:25:06,396 Speaker 1: it also makes me think of you because you had 353 00:25:06,396 --> 00:25:09,596 Speaker 1: this very storied life. You were, for me many people 354 00:25:09,636 --> 00:25:12,356 Speaker 1: still more of an image than a performer. Yeah, you 355 00:25:12,436 --> 00:25:18,476 Speaker 1: were this beautiful girl who represented swinging London. Yes. And 356 00:25:18,596 --> 00:25:21,076 Speaker 1: when I listen to that song, that's what I hear. 357 00:25:21,116 --> 00:25:23,316 Speaker 1: I hear you saying I don't need any of that. 358 00:25:23,956 --> 00:25:29,956 Speaker 1: Oh yeah, So tell me what's what's next for you? Well, 359 00:25:30,036 --> 00:25:34,076 Speaker 1: I don't know. It depends on what happens with this 360 00:25:34,116 --> 00:25:37,396 Speaker 1: record a bit. And also, you know, because I've been 361 00:25:37,476 --> 00:25:43,076 Speaker 1: so ill with the COVID. I got so ill I 362 00:25:43,236 --> 00:25:47,996 Speaker 1: nearly died and how did you know? And it's taking 363 00:25:47,996 --> 00:25:51,956 Speaker 1: me a long time to recover. I've got what they 364 00:25:52,036 --> 00:25:56,996 Speaker 1: called now long term COVID, and it's going to take 365 00:25:57,036 --> 00:26:01,636 Speaker 1: a long time to recover. And actually today, before we 366 00:26:01,796 --> 00:26:07,836 Speaker 1: started this, I was working on my singing, practicing singing 367 00:26:08,196 --> 00:26:12,196 Speaker 1: with a friend of mine who plays guitar, because I 368 00:26:12,236 --> 00:26:15,836 Speaker 1: was really frightened that I wouldn't be able to sing anymore. 369 00:26:16,316 --> 00:26:20,156 Speaker 1: Were you afraid you might die at some point. Um, No, 370 00:26:20,516 --> 00:26:26,436 Speaker 1: that didn't cross my mind. Well, i'm asking because you 371 00:26:26,476 --> 00:26:28,836 Speaker 1: were in the middle of a project about romantic poetry, 372 00:26:28,876 --> 00:26:31,956 Speaker 1: which is, you know, there's the Kids in Half in 373 00:26:32,036 --> 00:26:35,956 Speaker 1: Love with Easeful Death. Oh yeah, but I've known those 374 00:26:35,996 --> 00:26:40,436 Speaker 1: lines forever, you know. No, I don't. I really don't 375 00:26:40,516 --> 00:26:45,236 Speaker 1: think everything is about me. I'm not saying it. You 376 00:26:45,276 --> 00:26:47,996 Speaker 1: thought it was about you, But I'm wondering what those 377 00:26:48,076 --> 00:26:50,556 Speaker 1: lines were like when you were when you were quite sick. 378 00:26:52,036 --> 00:26:54,796 Speaker 1: I wasn't doing it when I was quite sick. I 379 00:26:54,836 --> 00:27:01,116 Speaker 1: was in fucking hospital. You weren't allowed to just sing 380 00:27:01,356 --> 00:27:04,556 Speaker 1: that what you're telling me? No, okay, I was much 381 00:27:04,556 --> 00:27:08,036 Speaker 1: too ill. All I remember about it is that I 382 00:27:08,116 --> 00:27:11,756 Speaker 1: was in a very very dark place, and I'd presume 383 00:27:12,276 --> 00:27:16,156 Speaker 1: that was being very close to death. Yeah, but I 384 00:27:16,196 --> 00:27:19,796 Speaker 1: didn't think that at the time. Well I'm happy that 385 00:27:19,876 --> 00:27:23,596 Speaker 1: wasn't the case. This is a fabulous album and it's 386 00:27:23,636 --> 00:27:25,316 Speaker 1: a thrill to hear it, and I'm glad you finally 387 00:27:25,316 --> 00:27:27,836 Speaker 1: got to do it. Yeah. Have you had any other 388 00:27:27,876 --> 00:27:30,076 Speaker 1: ideas that you've had forever and you thought, no, the 389 00:27:30,196 --> 00:27:34,196 Speaker 1: record company will never go for this. No, not really, 390 00:27:34,236 --> 00:27:38,716 Speaker 1: not yet. You know, I am seventy four, she said, 391 00:27:40,356 --> 00:27:43,196 Speaker 1: I'm not sure how many records I can go on making. 392 00:27:43,756 --> 00:27:46,796 Speaker 1: I think at least I've got another one, and I'd 393 00:27:46,836 --> 00:27:50,236 Speaker 1: like it to be songs, and I'd like to write 394 00:27:50,236 --> 00:27:54,356 Speaker 1: some of them too. Do you have some ideas already? No, 395 00:27:55,756 --> 00:27:59,116 Speaker 1: this record needs to come out. If I've got something 396 00:28:00,476 --> 00:28:03,676 Speaker 1: ready to come out, it has to come out before 397 00:28:04,236 --> 00:28:08,396 Speaker 1: I can turn to my next one. I've got ideas, 398 00:28:09,116 --> 00:28:12,036 Speaker 1: and I'm going to sit down and write something, but 399 00:28:12,276 --> 00:28:17,796 Speaker 1: I'm not feeling very secure about it. Well, listen, I 400 00:28:17,836 --> 00:28:21,036 Speaker 1: hope everybody buys this album because it's terrific. Oh god, 401 00:28:21,116 --> 00:28:25,436 Speaker 1: so do I because I really need the money. Well, 402 00:28:25,516 --> 00:28:30,276 Speaker 1: you know, this whole thing, the pandemic really fucked me up, 403 00:28:30,356 --> 00:28:33,636 Speaker 1: particularly just like you did everyone else. Do you mean 404 00:28:33,716 --> 00:28:38,396 Speaker 1: financially as well. Yes, they were going to make a 405 00:28:38,556 --> 00:28:42,236 Speaker 1: biopic of my life and if they had been able 406 00:28:42,236 --> 00:28:45,556 Speaker 1: to do it, which of course they couldn't, I would 407 00:28:45,556 --> 00:28:49,916 Speaker 1: have made a lot of money and I really need it. 408 00:28:50,716 --> 00:28:53,036 Speaker 1: Well they do you think they'll go ahead and do 409 00:28:53,076 --> 00:28:55,356 Speaker 1: it now that they have a chance. I think, I think. 410 00:28:56,116 --> 00:28:59,796 Speaker 1: I hope So, I hope soon, but maybe not quick 411 00:28:59,916 --> 00:29:03,916 Speaker 1: enough for me. It's really quite desperate. Your life did 412 00:29:03,956 --> 00:29:06,516 Speaker 1: not get less interesting in the meantime, so there's no 413 00:29:06,556 --> 00:29:10,956 Speaker 1: reason for them to stop. I think you should tell them, Oh, yeah, 414 00:29:10,996 --> 00:29:13,796 Speaker 1: I know. I don't know if they realize that. I 415 00:29:13,836 --> 00:29:17,476 Speaker 1: don't know. You know, the one thing about COVID is 416 00:29:19,116 --> 00:29:21,076 Speaker 1: you can't see people in person, so a lot of 417 00:29:21,116 --> 00:29:25,076 Speaker 1: old friends are connecting over phones or zoom or whatever else. 418 00:29:25,996 --> 00:29:28,276 Speaker 1: Through your sickness, through putting out this album, have you 419 00:29:28,316 --> 00:29:31,516 Speaker 1: been able to reconnect with some people in your life? Yes? 420 00:29:31,636 --> 00:29:36,556 Speaker 1: Or no? I like zoom because you know, I use 421 00:29:36,676 --> 00:29:41,956 Speaker 1: it for sort of. I have a group that I 422 00:29:42,076 --> 00:29:46,036 Speaker 1: go to, very well known I won't say its name, 423 00:29:46,676 --> 00:29:50,796 Speaker 1: which now you can do. You can do it on zoom, 424 00:29:50,836 --> 00:29:54,076 Speaker 1: and it's very important to me. And if it wasn't 425 00:29:54,116 --> 00:29:56,876 Speaker 1: for Zoom, I wouldn't be able to do it at all. 426 00:29:57,436 --> 00:30:02,516 Speaker 1: Is that still a daily thing for you? Yeah? I 427 00:30:02,516 --> 00:30:04,916 Speaker 1: mean I don't. I only go to a couple of 428 00:30:04,956 --> 00:30:08,636 Speaker 1: meetings a week, but it's something I always will have 429 00:30:08,676 --> 00:30:12,756 Speaker 1: to think. Okay, well, listen, it's been just wonderful to 430 00:30:12,756 --> 00:30:14,996 Speaker 1: speak to you. I think we tried to talk to 431 00:30:14,996 --> 00:30:16,876 Speaker 1: you after your last album, but I'm thrilled I got 432 00:30:16,876 --> 00:30:19,916 Speaker 1: a chance to speak to you about this one. Well, 433 00:30:19,956 --> 00:30:23,076 Speaker 1: I think I was already not COVID, but I was 434 00:30:23,156 --> 00:30:26,436 Speaker 1: getting very ill already with all those things. You know, 435 00:30:27,356 --> 00:30:30,116 Speaker 1: I've had a very hard time in the last couple 436 00:30:30,156 --> 00:30:33,836 Speaker 1: of years, and whatever happened to me, it wasn't me 437 00:30:34,236 --> 00:30:39,276 Speaker 1: hurting myself, it was coming from outside, all right. Well, 438 00:30:39,276 --> 00:30:42,996 Speaker 1: take care of yourself now. Thanks Sally, Thank you so much. 439 00:30:43,556 --> 00:30:49,836 Speaker 1: Thank you, Bruce. Thanks to Mary and Faithful for talking 440 00:30:49,836 --> 00:30:52,516 Speaker 1: through her new album, She Walks in Beauty with Bruce. 441 00:30:53,236 --> 00:30:55,676 Speaker 1: To hear a playlist of our favorite Mary and Faithful songs, 442 00:30:55,916 --> 00:30:59,156 Speaker 1: head to Broken Record podcast dot com. Be sure to 443 00:30:59,196 --> 00:31:02,116 Speaker 1: subscribe to our YouTube channel, a YouTube dot com slash 444 00:31:02,196 --> 00:31:05,156 Speaker 1: Broken at the Podcast, where we can find extended cuts 445 00:31:05,156 --> 00:31:07,796 Speaker 1: of new and old episodes. You can follow us on 446 00:31:07,836 --> 00:31:11,196 Speaker 1: Twitter at broken Record. Broken Records produced to help from 447 00:31:11,236 --> 00:31:16,956 Speaker 1: Leah Rose, Jason Gambrel, Martin Gonzalez, Eric Sandler, and Jennifer Sanchez, 448 00:31:17,356 --> 00:31:20,716 Speaker 1: with engineering help from Nick Chafee. Our executive producer is 449 00:31:20,796 --> 00:31:24,276 Speaker 1: Mia LaBelle. Broken Record is a production of Pushkin Industries 450 00:31:24,636 --> 00:31:26,876 Speaker 1: and if you like a show, please remember to share, rate, 451 00:31:26,916 --> 00:31:30,116 Speaker 1: and review us on your podcast app. A theme musics 452 00:31:30,116 --> 00:31:32,556 Speaker 1: by Kenny Beats. I'm justin Richmond Peace