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Speaker 1: Pushkin.

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Speaker 2: Crowded House had one of the most enduring hits of

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Speaker 2: the eighties with Don't Dream It's Over. The commercial and

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Speaker 2: critical success of that song launched to the Australian New

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Speaker 2: Zealand band and its esteemed KIWI songwriter Neil Finn to

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Speaker 2: pop stardom.

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Speaker 3: The band made.

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Speaker 2: Three more critically acclaimed records before breaking up in ninety six,

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Speaker 2: but over the years they've come back together at various

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Speaker 2: times to put out new projects, including their latest Gravity Stairs.

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Speaker 2: Crowded House is now made up of their original bassist,

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Speaker 2: Nick Seymour, the American producer of their earliest albums, Mitchell

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Speaker 2: Froom on keyboards, their frontman Neil Finn, and his two sons,

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Speaker 2: Liam on guitar and vocals, and Elroy, who's taken over

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Speaker 2: for the late Paul Hester on drums. On today's episode,

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Speaker 2: Crowded House talked to Bruce Headlam about how they look

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Speaker 2: to tread new ground while still honoring the group's roots,

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Speaker 2: what it's like for Neil Finn to with his sons,

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Speaker 2: Plus they tell some hilarious stories from the rehearsing of

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Speaker 2: their new album at an Airbnb. This is broken record

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Speaker 2: liner notes for the digital age.

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Speaker 3: I'm justin Mitchman.

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Speaker 2: Here's Bruce Headlin's conversation with Nick Seymour, Mitchell Farum, and

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Speaker 2: Neil Liam and el Roy Finn of Crowded House.

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Speaker 1: We never have to do this, but because it's a podcast,

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Speaker 1: could you just go around and introduce yourselves.

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Speaker 4: Hello, I'm Liam Finn. Hello, I'm Nick, and I am

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Speaker 4: Neil Finn, Mitchell and I'm Elroy.

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Speaker 1: All right, and you are Crowded House and this is

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Speaker 1: just great to have you. I'll start with you, Neil,

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Speaker 1: because you did the bulk of the writing. Can you

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Speaker 1: talk about writing the songs for this album how it

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Speaker 1: came about.

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Speaker 5: I make little demos in my writing rooms, go up,

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Speaker 5: try and get a five period.

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Speaker 4: I can go in every.

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Speaker 5: Day just sort of turn up and some days are

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Speaker 5: non productive, and then beget into a flow and you

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Speaker 5: have a few breakthroughs and all of a sudden, it

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Speaker 5: feels like you're in the groove. And that's how the

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Speaker 5: songs come out in stages. Basically, I'll make a little

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Speaker 5: demo of a verse maybe, and then a chorus will

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Speaker 5: occur to me. In the process of that, I'll make

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Speaker 5: another demo. Just a series of demos and it's always well,

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Speaker 5: since I've got a four track cassette recorder back in

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Speaker 5: the early eighties, that's been the way I've written. I

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Speaker 5: very rarely sit down on a piano and just write

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Speaker 5: in the old fashioned way. I kind of jam, listen back,

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Speaker 5: find the bits that seem golden, and then add to them.

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Speaker 1: Do you write on piano or do you write on guitar?

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Speaker 4: I do right on both.

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Speaker 5: But yeah, often they're just little atmospheres that spark an idea,

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Speaker 5: and then I often deconstruct them at various points. I'll

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Speaker 5: the band will play them and will learn them, and

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Speaker 5: we'll do them a certain way and they'll be pretty

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Speaker 5: really good, and then I'll decide that there's more to

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Speaker 5: be had. I'll deconstruct them, and then next thing they

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Speaker 5: hear they're completely different. Well, you know, it's a relearning

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Speaker 5: all of a sudden.

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Speaker 1: And I was Liam as well, because you co wrote

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Speaker 1: some of the songs. Tell me about what was that like.

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Speaker 6: It's all kind of been pretty organic because we've made

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Speaker 6: music together a lot over the years, and especially in

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Speaker 6: the last eight years or so. Yeah, I probably write

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Speaker 6: in a fairly similar fashion to Dad, just kind of

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Speaker 6: making noises and playing with pedals and stuff until I

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Speaker 6: get excited by something and then stuff kind of gets

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Speaker 6: birthed from that without even really realizing it. It's always

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Speaker 6: the thing when you go away and you realize you're

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Speaker 6: humming a malady around and around that that's probably the

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Speaker 6: thing that's come out of it. And you know, for

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Speaker 6: this record, I had a couple of songs. For one

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Speaker 6: song that was pretty fully formed that I just got

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Speaker 6: to bring to the band and I think we played

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Speaker 6: it twice and that was it, and that's what the

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Speaker 6: second one was to can take was on the record,

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Speaker 6: And so it's yeah, I mean the next record, I'm

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Speaker 6: hoping that we'll all have a bit more time beforehand

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Speaker 6: to come to the table with as much stuff as

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Speaker 6: we're at least a bit closer to the amount that

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Speaker 6: Dad does. We get like the sixteen demos sent to

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Speaker 6: us like it was kind of an unexpected session. Really,

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Speaker 6: we were isolating in Byron Bay before Australian tour. We

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Speaker 6: had to spend two weeks in isolation, and so we

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Speaker 6: did it in a studio, made a lot of sense

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Speaker 6: and fooled ourselves into thinking, oh, it's just rehearsal and

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Speaker 6: maybe we'll cut a track, but we probably did like

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Speaker 6: eight or nine songs and that became the sort of

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Speaker 6: meat of the record really, and they were just things

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Speaker 6: that Dad had and that he sort of gave to

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Speaker 6: everyone and sort of see what got.

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Speaker 4: Responded to and stuff.

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Speaker 6: But it was all kind of half halfway there already

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Speaker 6: with as far as the atmosphere and stuff.

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Speaker 1: Yeah, I would think presenting songs to the full band

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Speaker 1: would be a really intimidating situation. I would think presenting

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Speaker 1: songs to my father in a band would be which way.

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Speaker 3: You're talking about it, and like, it is really intimidating.

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Speaker 3: But I'm never sure that he feels just as intimidated

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Speaker 3: presenting his songs as as I do, actually feeling like

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Speaker 3: I don't know his songs as well as he knows.

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Speaker 3: And I think that's the main thing, is that when

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Speaker 3: somebody presents an idea, a demo or whatever, it is

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Speaker 3: everybody's obligation to know it as well as the person

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Speaker 3: who's actually formulated the thing before you actually try to

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Speaker 3: add or converse about any ideas you might have to

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Speaker 3: help that song, you know, if we're going to actually

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Speaker 3: play it together. And that's probably the most intimidating thing.

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Speaker 5: Is, let's wish for thinking in some cases, because obviously,

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Speaker 5: even to make a demo, you get deep inside your

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Speaker 5: idea you have very kind of fixed ideas about certain things.

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Speaker 5: And you know, and el Roy had a couple of

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Speaker 5: things that I picked my ears up demos of his

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Speaker 5: that we actually kept relatively intact actually because they have

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Speaker 5: they had a kind of untouchable mystery about them that

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Speaker 5: we couldn't really we didn't want to break down. Sometimes

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Speaker 5: with my stuff, I'll have a feeling on a demo too,

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Speaker 5: that's very hard to recapture. But what happens with the

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Speaker 5: band is that it doesn't sound like you imagined it would,

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Speaker 5: but actually it lets light into the arrangement a little

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Speaker 5: bit and actually in a way makes it, i think,

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Speaker 5: more approachable and you know, surprising in a good way.

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Speaker 5: So I but you know, not expected when I've seen

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Speaker 5: demos out that everyone learns the demo exactly as it is.

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Speaker 4: A familiarity is nice, right. Yeah.

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Speaker 5: The first song we did on the record was Magic Piano,

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Speaker 5: which is the opening song on the album, and it

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Speaker 5: was quite a different demo if you heard it now.

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Speaker 5: I mean the song itself had very familiar parts, but

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Speaker 5: we worked. It was really quite a complicated song to

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Speaker 5: start first, we took two days to learn it and

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Speaker 5: we've got a really really good take on the floor.

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Speaker 5: We sort of knew we were onto something at that point,

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Speaker 5: but in a way it was, you know, counterintuitive to

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Speaker 5: start with one of the most complicated songs.

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Speaker 1: But what made it a complicated song.

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Speaker 5: Just as unusual, well a the demo. We had to

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Speaker 5: reconstruct the demo. We took out several bits from the

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Speaker 5: demo and just found our own way with it, and

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Speaker 5: there was still familiarity in there, but and it had

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Speaker 5: some unusual time changes in the end, a great deal

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Speaker 5: of interplay between bass and guitar that was really beautiful

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Speaker 5: and took a while to evolve, you know, just it

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Speaker 5: just had a thing. And our engineer, who we'd never

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Speaker 5: worked with before, was probably incredibly happy that we took

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Speaker 5: two days to get to that point because he was

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Speaker 5: able to get the most kick ass sound over two

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Speaker 5: days by moving MIC's around, and by the time we

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Speaker 5: got the take it sounded really really impressive as well.

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Speaker 4: So it was that the first song we did, Yeah,

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Speaker 4: Magic Piant Yeah.

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Speaker 3: So I guess when you move into a new space

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Speaker 3: and then you're actually trying to get sounds together, and

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Speaker 3: one of the songs is suggested or a thing is

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Speaker 3: suggested in a way to try to break the threshold

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Speaker 3: of collaboration and everyone actually, you know, gelling, and that

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Speaker 3: goes with the engineer as well. The engineer is probably

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Speaker 3: really under so much scrutiny and can be quite anxious

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Speaker 3: to have the band break through because it's partly their

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Speaker 3: responsibility to get a great sound. Yeah, and you know,

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Speaker 3: a song. Sometimes a song can end up being the

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Speaker 3: sacrificial lamb for finding that threshold, you know. So, but

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Speaker 3: that was it was really encouraging when we actually got

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Speaker 3: that taste and suddenly we went, oh, okay, we're in

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Speaker 3: the right zone hopefully.

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Speaker 1: Now are you set up in the studio to rehearse

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Speaker 1: or are you set up to record?

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Speaker 5: At that point, it depends if you talk to my

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Speaker 5: guitar Tick at the time, he thought we were there

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Speaker 5: to rehearse. The engineers we were there to record. We

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Speaker 5: were trying to keep the pretense that we were just

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Speaker 5: rehearsing so that we wouldn't get red light syndrome and

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Speaker 5: put too much pressure on ourselves. But yeah, so somewhere

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Speaker 5: in the middle there we were kind of it was

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Speaker 5: an unspoken thing. I was thinking it was. We'd planned

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Speaker 5: it so that we found a good engineer, had a

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Speaker 5: proper studio, and it was always in my mind the

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Speaker 5: possibility of getting some new songs going.

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Speaker 7: Yet, yeah, we were in a fully functioning recording studio

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Speaker 7: and everything was miked up, and so it was all

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Speaker 7: going to be usable. But it is something. There's something

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Speaker 7: to be said about the semantics of believing you're not

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Speaker 7: doing a take. It's got a real irreverence or a

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Speaker 7: little bit of a lack of self consciousness that can

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Speaker 7: sometimes be a lot better than when you're like, Okay,

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Speaker 7: we're going for this specific song version, like we're going

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Speaker 7: to get it now. It's like there's a subconscious pressure

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Speaker 7: on it that sometimes it works and it helps the performance,

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Speaker 7: but sometimes it's just a bit more thought about than

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Speaker 7: it needs to be.

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Speaker 1: We're not taping now, by the way, so you can

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Speaker 1: to say, so, Mitchell, you're you're both the keyboard player

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Speaker 1: and the producer.

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Speaker 8: Well, no, I'm not the producer of this band. No

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Speaker 8: you don't, now it's a there is no producer. Well,

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Speaker 8: the engineer was a co producer, but this is not

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Speaker 8: a band that needs a what I would call a

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Speaker 8: proper that kind of everyone here is very skilled and

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Speaker 8: everyone here is a producer.

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Speaker 1: So but you you produced their first few album, Yeah,

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Speaker 1: the first three I worked on. So what was what

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Speaker 1: did you do then that you don't have to do now?

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Speaker 1: Or what do you do now? You didn't do that?

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Speaker 8: It was a completely different time in music. It was

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Speaker 8: a different time in Neil's life as a writer, and

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Speaker 8: so I could bring well, you know, we were both

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Speaker 8: just starting off, so we just threw anything in the

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Speaker 8: pot that we could and and.

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Speaker 1: That was.

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Speaker 8: It was more of that kind of proper situation. But

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Speaker 8: now has made so many records. Any of that kind

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Speaker 8: of guidance or anything. It just I mean, I'll speak

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Speaker 8: up if I feel something, but yeah, but it's not

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Speaker 8: we're not looking for the leader to.

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Speaker 5: You know, Mitchell's fully engaged with the production but with

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Speaker 5: us all and he's in the room with.

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Speaker 8: Us, But they don't look to me, which I'm very

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Speaker 8: grateful to, you know, like you're the producer.

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Speaker 3: I look to you, Mitch. I study your left hand.

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Speaker 5: It's a very funny dynamic actually, because Mitchell often gets

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Speaker 5: involved in helping Nick complete his base parts, and it's

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Speaker 5: like an old married couple that just really, you know,

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Speaker 5: sort of just beyond just about getting shirty with each other.

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Speaker 4: But not not quite.

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Speaker 5: And Mitchell's very good at just you know, reinforcing the

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Speaker 5: important beats that the bass has to land and gets

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Speaker 5: get some over the line, doesn't doesn't.

228
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Speaker 4: He's still got some production now.

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Speaker 5: Used to be in the control room with Chad most

230
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Speaker 5: of the time, playing a few things the control room,

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Speaker 5: so there was a there was a physical.

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Speaker 8: Yeah, you look too for a different role, but I

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Speaker 8: don't think a person could come into this band with

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Speaker 8: that role and be welcome. They'd have to They'd have

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Speaker 8: to be very gentle with the way they move things around.

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Speaker 8: You're not going to say, oh, Neil, like that form

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Speaker 8: is all wrong. You should be doing this because Neil's

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Speaker 8: got his own way of writing now and it's it's

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Speaker 8: it's unique to himself. So it take a real delicate presence.

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Speaker 5: I could benefit from that sometimes. Yeah, I think remaking

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Speaker 5: them the structures about five times.

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Speaker 8: Yeah, but that's to get it to where you want it.

243
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Speaker 8: No one else can get it to where you want it.

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Speaker 4: Well, someone else could come along.

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Speaker 8: I tried once. Yeah, on the last record. I tried

246
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Speaker 8: once or twice, but I just ended up straightening it

247
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Speaker 8: out too much and it was a failure. So it's

248
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Speaker 8: you know, it's just different.

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Speaker 1: And you're the base wrangler and I'm not even the

250
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Speaker 1: full keyboard PA because I play.

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Speaker 8: But then these guys all go away and play some

252
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Speaker 8: stuff too.

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Speaker 1: So then I'm interested about in the sound of this

254
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Speaker 1: album because it is a very distinctive sound. It's not

255
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Speaker 1: each song has its own kind of pace, in its

256
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Speaker 1: own feeling. That's got a very experimental sound. How did

257
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Speaker 1: that emerge out of these songs?

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Speaker 8: I think that was more with the engineer and in

259
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Speaker 8: Neil's area because we how many times do we get

260
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Speaker 8: together three times and to cut tracks?

261
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Speaker 5: Yeah, we wait to ten days three times to get

262
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Speaker 5: all the tracks done because we.

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Speaker 8: All live in different places. When it came down to

264
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Speaker 8: the actual full formulation of the sound, it was mostly

265
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Speaker 8: done in New Zealand with Neil and Stephen Shram and

266
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Speaker 8: we get things and we contribute, but they were mostly

267
00:14:02,276 --> 00:14:06,076
Speaker 8: getting that down. I mean, everyone says things. Everyone has

268
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Speaker 8: an opinion and might say one thing that people respond

269
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Speaker 8: to and then keep that in mind. But it's more, Yeah,

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Speaker 8: I don't know I just think it's more relaxed. It's

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Speaker 8: not like there's no guru in the room colon things out.

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Speaker 6: And I think the atmosphere and the sort of the

273
00:14:26,276 --> 00:14:28,996
Speaker 6: vibe of the record was very much formed in those

274
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Speaker 6: that first by and Bay Thing And maybe it was

275
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Speaker 6: a combination of working with Stephen for the first time

276
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Speaker 6: and the way we were all playing. But there was

277
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Speaker 6: something happened which was really kind of languid and kind

278
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Speaker 6: of lush and something we were responding to in the

279
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Speaker 6: rainforest of you know, northern New South Wales or something.

280
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Speaker 6: And it really like when we took it away, I

281
00:14:48,916 --> 00:14:52,916
Speaker 6: was really excited by this relatively unseelf conscious sound that

282
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Speaker 6: we were making. It felt really different from the last

283
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Speaker 6: one and really cool, and I think that was retained

284
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Speaker 6: when I listened to it now. I can still hear

285
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Speaker 6: that as the essence of it, but it did certainly

286
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Speaker 6: go in many different directions over the next year.

287
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Speaker 5: Well, you can hear the crickets and the rain at

288
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Speaker 5: the beginning of the end of songs and a couple

289
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Speaker 5: of them.

290
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Speaker 7: Yeah, we got to record with the doors open to

291
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Speaker 7: the forest, you know, and so it was kind of.

292
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Speaker 3: Hot. I mean, what time of year was. It was

293
00:15:20,956 --> 00:15:24,756
Speaker 3: it January March, okay, so it's the end of summer.

294
00:15:25,036 --> 00:15:30,276
Speaker 3: But they were they were inundated with biblical proportions of rainfall.

295
00:15:31,156 --> 00:15:34,076
Speaker 3: There were floods. There's actually a town now that's been

296
00:15:34,116 --> 00:15:37,956
Speaker 3: declared a disaster zone that the government, Australian government is

297
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Speaker 3: buying compulsory purchasing people's houses because they can't keep there anymore.

298
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Speaker 3: From you know, there was so much rain fell in

299
00:15:46,636 --> 00:15:50,196
Speaker 3: that period and we were kind of isolated by the

300
00:15:50,276 --> 00:15:54,916
Speaker 3: quarantining of the compulsory two weeks that you have to

301
00:15:54,956 --> 00:15:58,036
Speaker 3: have when you arrive in Australia at that time, and

302
00:15:58,116 --> 00:16:01,996
Speaker 3: also the fact that we couldn't leave the studio because

303
00:16:02,036 --> 00:16:04,516
Speaker 3: of the rain it was. And then one night actually

304
00:16:04,556 --> 00:16:07,796
Speaker 3: I got my room was flooded. My bedroom was flooded

305
00:16:09,316 --> 00:16:10,276
Speaker 3: up in the middle of the night and know it

306
00:16:10,356 --> 00:16:13,436
Speaker 3: was knee deep deep in water when I put my

307
00:16:13,596 --> 00:16:14,716
Speaker 3: feet out of the bed, you.

308
00:16:14,676 --> 00:16:16,916
Speaker 4: Know, And you can hear that on the record.

309
00:16:17,316 --> 00:16:21,076
Speaker 3: You can hear it on the very wet ankle deep

310
00:16:21,436 --> 00:16:22,476
Speaker 3: bass tone.

311
00:16:23,196 --> 00:16:25,156
Speaker 1: It reminded me a bit of Temple of the Lowman.

312
00:16:25,396 --> 00:16:27,476
Speaker 1: Of of all your albums, it was the album that

313
00:16:27,596 --> 00:16:30,556
Speaker 1: kind of in it sort of sounds. It also reminded

314
00:16:30,556 --> 00:16:34,516
Speaker 1: me of an album and I didn't realize till this

315
00:16:34,516 --> 00:16:37,476
Speaker 1: week that you had produced because it's one of my

316
00:16:37,516 --> 00:16:41,676
Speaker 1: all time favorite albums, which is Keiko Oh Rights Lobos.

317
00:16:42,156 --> 00:16:44,196
Speaker 1: Someday I'd love to talk to you about that album because.

318
00:16:44,036 --> 00:16:47,076
Speaker 8: That was Yeah, I would say if there's a similarity,

319
00:16:48,796 --> 00:16:50,996
Speaker 8: because I was there for all of them, was there

320
00:16:51,036 --> 00:16:54,316
Speaker 8: was a free spirit. It was an open kind of

321
00:16:54,356 --> 00:16:57,076
Speaker 8: creative spirit going on that was backed up with a

322
00:16:57,116 --> 00:17:00,796
Speaker 8: lot of confidence, and if you have that, you can

323
00:17:00,836 --> 00:17:02,996
Speaker 8: get a long ways. In the case of this record,

324
00:17:03,036 --> 00:17:06,436
Speaker 8: for me, that one of the most difficult things is

325
00:17:06,476 --> 00:17:10,316
Speaker 8: if you have a a demo that's attractive, and now

326
00:17:10,356 --> 00:17:12,356
Speaker 8: you bring it into a band, and now the band

327
00:17:12,396 --> 00:17:17,476
Speaker 8: interprets it, and sometimes it doesn't get better, but magic

328
00:17:17,556 --> 00:17:21,156
Speaker 8: piano it got a lot better. And it was just

329
00:17:21,196 --> 00:17:24,196
Speaker 8: one of those things where like for Neil bringing that

330
00:17:24,236 --> 00:17:26,596
Speaker 8: song into the band, it was kind of clear to

331
00:17:26,636 --> 00:17:30,316
Speaker 8: all of us that it was what we were doing

332
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Speaker 8: was just of a high level. Maybe it was the

333
00:17:33,276 --> 00:17:35,636
Speaker 8: best track we had cut up as a band up

334
00:17:35,676 --> 00:17:38,996
Speaker 8: to that point, so that certainly got us going and

335
00:17:39,356 --> 00:17:42,316
Speaker 8: gave us confidence because you can hear a demo I mean,

336
00:17:42,356 --> 00:17:44,116
Speaker 8: Neil can bring in a demo and you think, whoa

337
00:17:44,116 --> 00:17:47,796
Speaker 8: that that just sounds really good. But what should we keep?

338
00:17:47,876 --> 00:17:49,956
Speaker 8: What should we just try it and not think about

339
00:17:49,956 --> 00:17:52,916
Speaker 8: what's there already or you so you have a small

340
00:17:52,916 --> 00:17:56,276
Speaker 8: window in which you better get to some kind of

341
00:17:56,316 --> 00:17:59,916
Speaker 8: improvement to make you feel like, let's just let go

342
00:17:59,956 --> 00:18:03,556
Speaker 8: of this demo and move forward as a band. And yeah,

343
00:18:03,596 --> 00:18:08,196
Speaker 8: so it's tricky, and it's also for writers, at least

344
00:18:08,196 --> 00:18:10,836
Speaker 8: in my experience, that's when people are the most vulnerable,

345
00:18:11,516 --> 00:18:15,196
Speaker 8: like Neil or Liam or oh where they can write something,

346
00:18:15,556 --> 00:18:18,956
Speaker 8: but if people haven't heard it before, the way you

347
00:18:19,036 --> 00:18:22,676
Speaker 8: react when you first hear it is much more has

348
00:18:22,716 --> 00:18:25,316
Speaker 8: a much greater effect on them than if the song's

349
00:18:25,356 --> 00:18:28,996
Speaker 8: already released. And then someone will come up to Liam

350
00:18:29,036 --> 00:18:30,916
Speaker 8: and say, oh, I love that, you know, I love

351
00:18:30,956 --> 00:18:34,916
Speaker 8: how Yeah it's insecure. Yeah, so you've got to all

352
00:18:35,316 --> 00:18:38,756
Speaker 8: keep a very positive outlook on it and try just

353
00:18:38,796 --> 00:18:41,956
Speaker 8: try not to feel pressure and just just try and

354
00:18:41,996 --> 00:18:44,356
Speaker 8: see what happens. And all those records, it was like

355
00:18:44,436 --> 00:18:46,996
Speaker 8: that temple Ment. Some people said was a bit dark,

356
00:18:47,036 --> 00:18:48,836
Speaker 8: but we had a lot of fun doing that record,

357
00:18:48,876 --> 00:18:51,596
Speaker 8: and my memory, you know, it was it's much less

358
00:18:51,596 --> 00:18:54,036
Speaker 8: stressful than the first album, and you know it was

359
00:18:54,116 --> 00:18:55,036
Speaker 8: it was fun to do.

360
00:18:55,836 --> 00:18:59,716
Speaker 5: It's always weird to react when you see reactions to

361
00:18:59,756 --> 00:19:03,476
Speaker 5: an overall body of work because people make assumptions that

362
00:19:03,516 --> 00:19:06,036
Speaker 5: you were sort of going for that. Yeah, you're not

363
00:19:06,076 --> 00:19:08,076
Speaker 5: really going for anything. You're just going to try and

364
00:19:08,116 --> 00:19:09,796
Speaker 5: make the songs sound as good as they can, you know,

365
00:19:09,836 --> 00:19:13,236
Speaker 5: And maybe we're in a point now where we're attracted

366
00:19:13,236 --> 00:19:17,596
Speaker 5: to more more dreamy landscapes than we would have been

367
00:19:17,636 --> 00:19:19,716
Speaker 5: as we were a more rollicking pop band in the

368
00:19:19,756 --> 00:19:22,716
Speaker 5: early days, you know, because that's what we just that

369
00:19:22,836 --> 00:19:28,516
Speaker 5: stage of our lives, and people do sometimes compare our

370
00:19:28,556 --> 00:19:30,436
Speaker 5: new records to what we were like then, and you

371
00:19:30,476 --> 00:19:33,276
Speaker 5: sort of go, well, that's just beside the point. Really, Yeah,

372
00:19:33,276 --> 00:19:36,596
Speaker 5: it's not. We're not trying to be or wanting to

373
00:19:36,636 --> 00:19:40,796
Speaker 5: be a rollicking pop band every now and again. It's fun,

374
00:19:40,836 --> 00:19:43,076
Speaker 5: and there might be one that comes along that works that,

375
00:19:43,116 --> 00:19:45,996
Speaker 5: but we're interested in exploring the atmospheres that we're capable

376
00:19:45,996 --> 00:19:48,476
Speaker 5: of creating, which you know, if you listen to Alroy's

377
00:19:48,476 --> 00:19:51,396
Speaker 5: demos for instance, and the ones that are on the

378
00:19:51,436 --> 00:19:54,716
Speaker 5: record Blurry Grass and Thirsty, the music that he had

379
00:19:54,716 --> 00:19:58,916
Speaker 5: made which had just a great sense of atmosphere and

380
00:19:59,076 --> 00:20:01,516
Speaker 5: the way he approaches drums is he's not a big,

381
00:20:02,276 --> 00:20:06,036
Speaker 5: you know, Keith moonstyle guy. He's got a really nice

382
00:20:06,036 --> 00:20:10,076
Speaker 5: feel going and beautiful fills here and there. A Liam's

383
00:20:10,076 --> 00:20:12,996
Speaker 5: got incredible atmospheres that he makes with his pedals on

384
00:20:13,036 --> 00:20:14,716
Speaker 5: the guitar. We want to embrace all of that and

385
00:20:14,756 --> 00:20:17,996
Speaker 5: make it part of what and we're getting really better

386
00:20:18,036 --> 00:20:20,956
Speaker 5: at doing that too. I think on stage you might

387
00:20:20,956 --> 00:20:23,796
Speaker 5: have noticed the other night, but we're starting to feel

388
00:20:23,796 --> 00:20:26,076
Speaker 5: the freedom to be able to jump off the script

389
00:20:26,636 --> 00:20:30,276
Speaker 5: like we used to back in the day and utilize

390
00:20:30,276 --> 00:20:36,036
Speaker 5: all of that, you know, those beautiful attributes, knowing that

391
00:20:36,076 --> 00:20:41,236
Speaker 5: if I go into a strange moment, Liam will engage

392
00:20:41,276 --> 00:20:43,436
Speaker 5: a pedal somewhere and it will suddenly make me feel

393
00:20:43,476 --> 00:20:47,396
Speaker 5: okay about it, and Nicole will always join in, you know,

394
00:20:47,596 --> 00:20:51,116
Speaker 5: and Mitchell'll be standing by with some cool keyboard thing.

395
00:20:51,156 --> 00:20:54,196
Speaker 5: And that's a really beautiful feeling that bands only get

396
00:20:54,196 --> 00:20:56,316
Speaker 5: when they've been playing together for quite a while, I think.

397
00:20:56,476 --> 00:20:58,356
Speaker 5: And some bands don't ever want that, They just want

398
00:20:58,396 --> 00:21:01,756
Speaker 5: to learn the song, turn up, do the same show

399
00:21:01,836 --> 00:21:04,716
Speaker 5: every night. But it's always been part of our manifesto.

400
00:21:04,796 --> 00:21:09,556
Speaker 5: To try, and then every album to album explore new things,

401
00:21:09,716 --> 00:21:13,716
Speaker 5: nuances and possibilities. For Watson, I think we're just getting

402
00:21:13,756 --> 00:21:16,076
Speaker 5: to a point where it feels to me like we

403
00:21:16,076 --> 00:21:19,396
Speaker 5: could make our best record. Hopefully they all are, but

404
00:21:19,676 --> 00:21:23,276
Speaker 5: the next one might be, you know, a real breakthrough.

405
00:21:24,556 --> 00:21:27,236
Speaker 7: Everyone's got quite a distinct personality and the way they

406
00:21:27,236 --> 00:21:29,836
Speaker 7: play in this band, I think, and so and all

407
00:21:29,836 --> 00:21:33,436
Speaker 7: the you know, greatest bands I think have got those

408
00:21:33,556 --> 00:21:36,956
Speaker 7: identifiable characters musically that you hear the song and you

409
00:21:36,996 --> 00:21:38,996
Speaker 7: can kind of tell who's playing drums or tell who's

410
00:21:39,036 --> 00:21:42,996
Speaker 7: playing bass, and you know, that's what you'd strive to do,

411
00:21:43,156 --> 00:21:45,676
Speaker 7: be able to put out great songs that have a

412
00:21:45,716 --> 00:21:50,036
Speaker 7: bunch of individual character but then together make this wonderful

413
00:21:50,476 --> 00:21:51,996
Speaker 7: cohesive geiled noise.

414
00:21:52,876 --> 00:21:56,516
Speaker 1: And how does your personality come out in your songs

415
00:21:56,556 --> 00:21:58,676
Speaker 1: on the album?

416
00:21:59,116 --> 00:22:00,956
Speaker 7: I mean, I think the way I write is probably

417
00:22:01,076 --> 00:22:06,036
Speaker 7: again not that dissimilar to Neil or Liam, but I

418
00:22:06,036 --> 00:22:09,356
Speaker 7: I guess just having the time to explore those little

419
00:22:09,396 --> 00:22:13,396
Speaker 7: avenues and then present them as you've had all the

420
00:22:13,876 --> 00:22:16,756
Speaker 7: chance to vet bad ideas into stuff you feel self

421
00:22:16,796 --> 00:22:19,116
Speaker 7: conscious about before someone hears it, and then you know

422
00:22:19,156 --> 00:22:22,876
Speaker 7: you've got something you believe in a little bit more yourself.

423
00:22:24,316 --> 00:22:27,036
Speaker 5: But I always always got little remnants and fragments of

424
00:22:27,116 --> 00:22:29,916
Speaker 5: ideas that were early ideas that are.

425
00:22:29,836 --> 00:22:31,076
Speaker 4: Just like, what the hell is that?

426
00:22:31,196 --> 00:22:34,116
Speaker 5: And then he can't really you sometimes can't explain what

427
00:22:34,156 --> 00:22:36,596
Speaker 5: they are either, you've got a track of where it

428
00:22:36,636 --> 00:22:37,156
Speaker 5: came from.

429
00:22:37,396 --> 00:22:40,396
Speaker 7: The way I write sometimes is you get a cool

430
00:22:40,476 --> 00:22:42,276
Speaker 7: vocal idea in your head, and so you sing it

431
00:22:42,276 --> 00:22:44,116
Speaker 7: into your phone and then you listen to it two

432
00:22:44,116 --> 00:22:46,516
Speaker 7: weeks later, and it's got no time signature and no

433
00:22:47,236 --> 00:22:50,196
Speaker 7: key that you can pull from, and it sounds like

434
00:22:50,236 --> 00:22:56,676
Speaker 7: oh yes, and might be some trigger of like, oh,

435
00:22:56,716 --> 00:22:59,956
Speaker 7: I can get that back again. But it really pays

436
00:22:59,996 --> 00:23:02,596
Speaker 7: to put a lot more down than a straight vocal

437
00:23:02,636 --> 00:23:03,036
Speaker 7: at first.

438
00:23:03,236 --> 00:23:05,716
Speaker 1: If you can, you should carry around a bit of time.

439
00:23:06,436 --> 00:23:07,876
Speaker 4: Yeah, I mean, look, sometimes it works.

440
00:23:08,076 --> 00:23:11,156
Speaker 5: I write an open tuning sometimes, and if I don't

441
00:23:11,316 --> 00:23:15,316
Speaker 5: make a record of the tuning, it's just impossible to

442
00:23:15,436 --> 00:23:17,876
Speaker 5: learn my song that I just wrote, you know, like

443
00:23:18,756 --> 00:23:21,316
Speaker 5: it slips your mind on what the shapes were. You'll

444
00:23:21,356 --> 00:23:23,756
Speaker 5: never get that feeling back from the open tuning. It's

445
00:23:24,596 --> 00:23:26,636
Speaker 5: even after all this time, I still haven't learned to

446
00:23:26,636 --> 00:23:28,676
Speaker 5: write down my tunings.

447
00:23:29,916 --> 00:23:32,316
Speaker 2: We'll be right back with more from Crowded House. After

448
00:23:32,356 --> 00:23:39,156
Speaker 2: the break, we're back with the rest of Crowded House.

449
00:23:39,836 --> 00:23:42,516
Speaker 1: You know, one thing that is consistent in the band

450
00:23:43,116 --> 00:23:45,636
Speaker 1: neck is your artwork. And I always thought when you

451
00:23:45,676 --> 00:23:49,076
Speaker 1: guys first came out, you were this band that arrived

452
00:23:49,196 --> 00:23:53,396
Speaker 1: with a kind of like there's a sort of whole sensibility,

453
00:23:53,596 --> 00:23:56,236
Speaker 1: and I think so much of that was your early covers,

454
00:23:56,316 --> 00:23:58,836
Speaker 1: and you designed the costumes initially too.

455
00:23:59,036 --> 00:24:02,836
Speaker 3: Yeah, I guess that was probably the connection. When the

456
00:24:02,916 --> 00:24:08,996
Speaker 3: first paint, the first cover that I did, I sort

457
00:24:08,996 --> 00:24:12,316
Speaker 3: of these caricature were kind of costume or outfits within

458
00:24:12,356 --> 00:24:16,436
Speaker 3: this kind of little theatrical setting. And then when we

459
00:24:16,436 --> 00:24:21,796
Speaker 3: were going to start playing in pubs in Australia, I thought, well,

460
00:24:21,876 --> 00:24:25,516
Speaker 3: I'll make those jackets, and so then there was a

461
00:24:25,636 --> 00:24:30,516
Speaker 3: much more cohesive link between you know, the artwork and

462
00:24:30,756 --> 00:24:33,636
Speaker 3: advertising posters, all that sort of stuff, with the way

463
00:24:33,676 --> 00:24:36,196
Speaker 3: we looked on stage, which also was a hangover from

464
00:24:36,236 --> 00:24:38,996
Speaker 3: Split Ends because they did that, and I was always

465
00:24:38,996 --> 00:24:42,036
Speaker 3: impressed with that. I liked going to see bands that

466
00:24:42,116 --> 00:24:45,316
Speaker 3: actually had some sort of theatricality in the way they

467
00:24:45,316 --> 00:24:49,556
Speaker 3: present it, in the way they looked, and we're probably

468
00:24:49,556 --> 00:24:53,116
Speaker 3: not that it's not. We don't We're not so sort

469
00:24:53,156 --> 00:25:00,596
Speaker 3: of theatrically confined now. I mean, we don't wear matching

470
00:25:00,636 --> 00:25:05,356
Speaker 3: outfits or anything particularly, But with each album cover, I mean,

471
00:25:05,596 --> 00:25:08,996
Speaker 3: I when we're in the studio, I'm trying to actually

472
00:25:09,436 --> 00:25:14,516
Speaker 3: somehow threads some sort of documentation of the conversation and

473
00:25:14,636 --> 00:25:18,636
Speaker 3: the musical setting, the just things to be able to

474
00:25:18,636 --> 00:25:22,156
Speaker 3: present something to the band at the end of a session, saying, look,

475
00:25:22,156 --> 00:25:26,636
Speaker 3: I've got an idea for a record cover or you know,

476
00:25:26,876 --> 00:25:32,476
Speaker 3: add material or whatever, stage or whatever, just keeping illustrations.

477
00:25:32,556 --> 00:25:38,636
Speaker 3: And this one obviously is a homage to class Forman,

478
00:25:38,716 --> 00:25:42,716
Speaker 3: you know, the guy who designed Revolver, but it was

479
00:25:42,756 --> 00:25:49,076
Speaker 3: also a means to show different personalities within the heads

480
00:25:49,676 --> 00:25:53,636
Speaker 3: and the hair and the similarly to that record but

481
00:25:53,756 --> 00:26:00,916
Speaker 3: probably that record cover. I'm not entirely sure whether it's

482
00:26:00,956 --> 00:26:03,036
Speaker 3: actually a positive thing or not. I mean, I've not

483
00:26:03,076 --> 00:26:06,036
Speaker 3: gotten any flack about it, but I've seen a few

484
00:26:06,756 --> 00:26:10,516
Speaker 3: comments on social media saying like, that's just a rip

485
00:26:10,556 --> 00:26:13,156
Speaker 3: off of the Revolver album cover, you know, and I'm

486
00:26:13,196 --> 00:26:15,396
Speaker 3: kind of, well, that's a homage, you know what. People

487
00:26:15,396 --> 00:26:16,356
Speaker 3: don't know what that means.

488
00:26:16,516 --> 00:26:18,236
Speaker 8: So is a ripoff of a different song.

489
00:26:18,756 --> 00:26:21,236
Speaker 5: Well, I just want you to explain why I'm in

490
00:26:21,276 --> 00:26:25,476
Speaker 5: a lifeboat with a huge wave about to swamp my boat.

491
00:26:26,036 --> 00:26:29,236
Speaker 3: If it's describing, what's the most exciting one I came

492
00:26:29,316 --> 00:26:31,956
Speaker 3: up with. I thought this is perfect. He's trapped in

493
00:26:32,036 --> 00:26:35,396
Speaker 3: reeds on one side edge, you know, and then or

494
00:26:35,596 --> 00:26:39,556
Speaker 3: kind of you know, some sort of mangroves. You know,

495
00:26:39,596 --> 00:26:41,636
Speaker 3: you're in a boat. And then then there's this other

496
00:26:41,756 --> 00:26:46,356
Speaker 3: lifeboat that of survivors of a shipwreck and in his quiff,

497
00:26:46,436 --> 00:26:49,756
Speaker 3: because I mean, Neil's hair is a law unto itself.

498
00:26:49,796 --> 00:26:51,676
Speaker 3: I mean, really we could.

499
00:26:51,836 --> 00:26:53,116
Speaker 4: It's an illustrator's dream.

500
00:26:54,676 --> 00:26:56,596
Speaker 1: It's an homage.

501
00:26:56,676 --> 00:26:59,956
Speaker 3: It's a homage to marsupical life in Australia. You know,

502
00:27:02,956 --> 00:27:05,636
Speaker 3: I was delighted when I got his his Oh, I've

503
00:27:05,636 --> 00:27:07,276
Speaker 3: got a good one of Neil. And that's a good

504
00:27:07,396 --> 00:27:09,796
Speaker 3: likeness of Neil, you know. And then then I started

505
00:27:09,836 --> 00:27:12,436
Speaker 3: in on on on Liam wearing a kind of a

506
00:27:12,476 --> 00:27:15,436
Speaker 3: sun Rah kind of warrior hat helmet, you know, with

507
00:27:16,396 --> 00:27:19,916
Speaker 3: you know, good style of climped motifs ober it, and.

508
00:27:20,276 --> 00:27:25,076
Speaker 4: You revealed nothing of yourself. There's nothing like blank. That's

509
00:27:25,076 --> 00:27:26,796
Speaker 4: a blank, blank canvas.

510
00:27:26,876 --> 00:27:34,476
Speaker 3: Iss I'm the most pholically challenged in the band as well,

511
00:27:34,516 --> 00:27:36,756
Speaker 3: and I gave him a perfectly good head of hair.

512
00:27:39,276 --> 00:27:42,116
Speaker 1: Well, it's not a phollically challenged band, shall we say.

513
00:27:41,956 --> 00:27:48,196
Speaker 7: Overall ficular speaking, no speaking, speculating hair.

514
00:27:48,356 --> 00:27:50,316
Speaker 4: No, this decent amount of here going on.

515
00:27:51,356 --> 00:27:52,876
Speaker 1: So I do want to go back to the beginning

516
00:27:54,316 --> 00:27:57,716
Speaker 1: first of all, in the Finn family, because this is

517
00:27:57,756 --> 00:28:00,556
Speaker 1: a kind of it's just become a like a Johnny

518
00:28:00,556 --> 00:28:03,316
Speaker 1: Cash band or something. You've got all the relatives coming

519
00:28:03,316 --> 00:28:06,796
Speaker 1: in and out. So, Neil, you grew up in New Zealand. Yeah,

520
00:28:06,916 --> 00:28:08,956
Speaker 1: And was it a musical family you grew up in.

521
00:28:09,716 --> 00:28:12,876
Speaker 5: Not in the sense of there being any you know,

522
00:28:13,476 --> 00:28:17,236
Speaker 5: professional serious musicians in the family. But my mother had

523
00:28:17,356 --> 00:28:19,836
Speaker 5: could play piano by ear, although she only really knew

524
00:28:19,876 --> 00:28:22,116
Speaker 5: two chords. Every song would be reduced to two chords,

525
00:28:22,156 --> 00:28:24,236
Speaker 5: but she could play the.

526
00:28:23,836 --> 00:28:24,516
Speaker 4: Hits of the day.

527
00:28:25,716 --> 00:28:28,796
Speaker 5: And when she met my dad and she taught really,

528
00:28:28,796 --> 00:28:30,756
Speaker 5: when I think about it, taught me to harmonize doing

529
00:28:30,756 --> 00:28:33,036
Speaker 5: the dishes. You know, we just sing you are My

530
00:28:33,076 --> 00:28:35,916
Speaker 5: Sunshine and she'd do the harmony and then we'd swap.

531
00:28:35,956 --> 00:28:39,236
Speaker 5: And when I think about it, that's how the harmony started.

532
00:28:39,316 --> 00:28:43,316
Speaker 5: And my dad was a jazz fanatic. He used to

533
00:28:43,356 --> 00:28:45,476
Speaker 5: listen to jazz records after work every day with a

534
00:28:45,476 --> 00:28:47,596
Speaker 5: whiskey in one hand, and you'd hear him in the

535
00:28:47,636 --> 00:28:49,996
Speaker 5: other room because at that time I thought jazz was

536
00:28:50,036 --> 00:28:51,956
Speaker 5: real lame, you know, because I was into pop music.

537
00:28:52,476 --> 00:28:54,876
Speaker 5: And i'd hear him go, Go, Joe Go, you know,

538
00:28:54,916 --> 00:28:57,116
Speaker 5: on some jazz genre and'd be doing a solo, and

539
00:28:57,156 --> 00:28:59,796
Speaker 5: he really got into it. So he had the love

540
00:28:59,836 --> 00:29:03,636
Speaker 5: of music. He was kind of tone deaf. He couldn't

541
00:29:03,636 --> 00:29:05,996
Speaker 5: sing in tune, but he had a beautiful tone, a

542
00:29:06,036 --> 00:29:09,116
Speaker 5: really warm, rich vibrato. But he'd just sing on one note.

543
00:29:10,876 --> 00:29:12,996
Speaker 7: Really helped when auto tune came along for him.

544
00:29:13,156 --> 00:29:15,836
Speaker 4: You got that tone. But yeah, but.

545
00:29:17,276 --> 00:29:18,996
Speaker 5: You know, in the mass A church, we go to

546
00:29:19,076 --> 00:29:20,676
Speaker 5: church and he would I just tear him singing the

547
00:29:20,716 --> 00:29:22,956
Speaker 5: hymns like this is my command and I.

548
00:29:22,996 --> 00:29:25,316
Speaker 8: Give you.

549
00:29:24,396 --> 00:29:27,916
Speaker 4: Know, really it's a beautiful tone. But there's no tune whatsoever.

550
00:29:28,396 --> 00:29:30,876
Speaker 5: But that was and we sing every They'd have parties

551
00:29:30,876 --> 00:29:33,396
Speaker 5: every weekend and they'd always be singing. The piano player

552
00:29:33,436 --> 00:29:36,676
Speaker 5: called Colin O'Brien, who would knew all the songs, and

553
00:29:37,156 --> 00:29:41,156
Speaker 5: they'd ply him with cigarettes and alcohol and he'd keep

554
00:29:41,156 --> 00:29:41,916
Speaker 5: playing all night.

555
00:29:42,156 --> 00:29:42,356
Speaker 7: You know.

556
00:29:42,476 --> 00:29:46,476
Speaker 5: He unfortunately didn't live to a great age, but he

557
00:29:46,556 --> 00:29:48,396
Speaker 5: provided a lot of entertainment along the way.

558
00:29:48,516 --> 00:29:52,596
Speaker 1: And that would these be like pop songs, beatles songs.

559
00:29:53,476 --> 00:30:00,156
Speaker 5: Those those parties were more like the old songs, you know, Sinatra, Eli, Fitzgerald,

560
00:30:00,156 --> 00:30:02,836
Speaker 5: Bing Cross, all those that era. But then when we'd

561
00:30:02,836 --> 00:30:05,036
Speaker 5: be gatherings when we were kids and we'd be drawn

562
00:30:05,076 --> 00:30:07,996
Speaker 5: in and hauled up to sing. My brother and I

563
00:30:08,076 --> 00:30:12,436
Speaker 5: that was included B songs, and you know, everyone had

564
00:30:12,476 --> 00:30:15,196
Speaker 5: their item that they had to do well known for

565
00:30:15,236 --> 00:30:16,916
Speaker 5: a party piece. My brother and I used to do

566
00:30:16,996 --> 00:30:21,756
Speaker 5: Jamaican farewell. It was a beautiful two part harmony and

567
00:30:21,836 --> 00:30:23,676
Speaker 5: that you know.

568
00:30:23,676 --> 00:30:24,196
Speaker 3: We did that.

569
00:30:24,236 --> 00:30:30,396
Speaker 5: We had Catholic priests that used to sing two little boys.

570
00:30:31,516 --> 00:30:34,436
Speaker 3: I was about to make a job and it just

571
00:30:34,476 --> 00:30:36,756
Speaker 3: made itself. Were just formed the.

572
00:30:39,276 --> 00:30:42,836
Speaker 5: Darning Brothers and you know my auntie used to sing

573
00:30:42,876 --> 00:30:48,156
Speaker 5: Stormy Weather actually know Piggy Dawson. Yeah, just people would

574
00:30:48,196 --> 00:30:51,876
Speaker 5: know that if you've grown up in that environment, people

575
00:30:51,956 --> 00:30:54,676
Speaker 5: know that in the next family is very similar.

576
00:30:54,836 --> 00:30:57,996
Speaker 1: You know, we would have your family were performers though,

577
00:30:57,996 --> 00:30:58,556
Speaker 1: weren't they.

578
00:30:58,436 --> 00:31:00,676
Speaker 3: Well, I mean in the sense that you know, we

579
00:31:00,756 --> 00:31:04,596
Speaker 3: went to church and we were known as a singing family,

580
00:31:05,036 --> 00:31:09,276
Speaker 3: and so we would get asked to be the the

581
00:31:09,676 --> 00:31:14,916
Speaker 3: kind of choir associated with a with we with weddings particularly,

582
00:31:14,956 --> 00:31:17,676
Speaker 3: we'd sing, but they would be hymns though, like partys

583
00:31:17,716 --> 00:31:19,796
Speaker 3: angelic cors saw, I mean, very casus.

584
00:31:19,796 --> 00:31:21,476
Speaker 4: What sort of outfits would you have to dress? And

585
00:31:21,556 --> 00:31:22,676
Speaker 4: when you did those more?

586
00:31:22,756 --> 00:31:25,436
Speaker 3: Oh, no, no, you'd wear cities, you know, you wouldn't

587
00:31:25,436 --> 00:31:26,116
Speaker 3: be kind.

588
00:31:26,076 --> 00:31:27,036
Speaker 4: They dress you in those.

589
00:31:27,156 --> 00:31:29,956
Speaker 3: Yeah, well I've never asked actually in the early days. No,

590
00:31:32,516 --> 00:31:35,876
Speaker 3: we we didn't have to wear kind of chorister outfits

591
00:31:35,956 --> 00:31:39,516
Speaker 3: or anything. But but we'd get paid to do a wedding.

592
00:31:39,596 --> 00:31:42,436
Speaker 3: You'd get a little backhander from the family that you

593
00:31:42,516 --> 00:31:46,036
Speaker 3: sang for. But this is in country towns that we

594
00:31:46,116 --> 00:31:50,876
Speaker 3: lived in in in Victoria, Australia. But we learned to

595
00:31:50,916 --> 00:31:55,876
Speaker 3: harmonize around, you know, doing family jobs like the dishes

596
00:31:55,996 --> 00:31:58,396
Speaker 3: and the you know. And when we go camping, you know,

597
00:31:58,476 --> 00:32:02,476
Speaker 3: we'd we'd we'd sing in the tent and all the

598
00:32:02,556 --> 00:32:05,956
Speaker 3: other people in the camping ground had sort of know

599
00:32:05,996 --> 00:32:09,676
Speaker 3: we were singing family and we'd get asked to, you know,

600
00:32:09,756 --> 00:32:12,156
Speaker 3: come to different parties to sing. And I think but

601
00:32:12,196 --> 00:32:13,756
Speaker 3: it was a lot of it was like Von Trapp

602
00:32:13,876 --> 00:32:17,716
Speaker 3: kind of stuff, you know, Gilbert, Gilbert and Sullivan.

603
00:32:17,956 --> 00:32:21,076
Speaker 1: You know. So when did the bas start for you?

604
00:32:22,916 --> 00:32:25,116
Speaker 3: I was in the school at high school, I did,

605
00:32:25,436 --> 00:32:28,036
Speaker 3: you know, I did music, But then I took up

606
00:32:28,116 --> 00:32:32,716
Speaker 3: violin and played in the school orchestra. Both my brother

607
00:32:32,756 --> 00:32:35,516
Speaker 3: and I were first and second violins in the school

608
00:32:35,596 --> 00:32:39,996
Speaker 3: orchestra and then in an area orchestra in Melbourne. And

609
00:32:40,636 --> 00:32:43,596
Speaker 3: I kind of I realized when I was I played guitar,

610
00:32:43,676 --> 00:32:47,396
Speaker 3: but I realized that all everything I could hear was

611
00:32:47,716 --> 00:32:50,756
Speaker 3: kind of the counterpoint of bass and the top line

612
00:32:50,756 --> 00:32:53,476
Speaker 3: of vocal. That's that's what songs made sense to me,

613
00:32:53,516 --> 00:32:55,396
Speaker 3: you know. And then I realized that that's all the

614
00:32:55,476 --> 00:32:58,876
Speaker 3: ladies ever here as well. So that was was a motivation.

615
00:33:00,436 --> 00:33:03,036
Speaker 1: That's why bass flayers are just cat nap.

616
00:33:06,556 --> 00:33:08,356
Speaker 4: He'd get to hang around with musicians.

617
00:33:12,556 --> 00:33:14,476
Speaker 1: All bass players want to hang around with musicians.

618
00:33:16,156 --> 00:33:17,436
Speaker 3: Yeah, that's what they say.

619
00:33:17,556 --> 00:33:19,196
Speaker 4: How many strings for that'll suit me?

620
00:33:21,276 --> 00:33:25,716
Speaker 1: Neil? Did you have formal music lessons as well?

621
00:33:26,116 --> 00:33:28,356
Speaker 5: I played piano, Yeah, I did. I got a few

622
00:33:28,436 --> 00:33:31,436
Speaker 5: music lessons, maybe really early on. I had a couple,

623
00:33:31,476 --> 00:33:33,916
Speaker 5: and then I just watched my brother and learned the

624
00:33:33,916 --> 00:33:36,836
Speaker 5: things he was learning. But then I got formal lessons

625
00:33:36,876 --> 00:33:39,036
Speaker 5: and did like the Trinity College of Music sort of.

626
00:33:39,476 --> 00:33:41,516
Speaker 5: I actually got up to grade eight and the practical

627
00:33:41,596 --> 00:33:44,756
Speaker 5: and I wasn't a very good sight reader, but it was.

628
00:33:44,876 --> 00:33:48,036
Speaker 5: I'm so sort of grateful glad that I did it,

629
00:33:48,076 --> 00:33:50,796
Speaker 5: because it's quite hard, you know, learning piano, as most

630
00:33:50,916 --> 00:33:54,556
Speaker 5: kids will testify us, it's pretty tedious.

631
00:33:54,756 --> 00:33:56,636
Speaker 3: Scale to the Trinity.

632
00:33:56,916 --> 00:33:59,276
Speaker 5: You know, you've got to really apply yourself, and doesn't

633
00:33:59,276 --> 00:34:01,116
Speaker 5: seem like it's that much point when you're a kid.

634
00:34:01,156 --> 00:34:03,796
Speaker 5: But I'm glad because my left hand is still not

635
00:34:03,916 --> 00:34:05,756
Speaker 5: it's not amazing, but at least I've got a sort

636
00:34:05,756 --> 00:34:07,956
Speaker 5: of a left hand. Most people learn how to play

637
00:34:07,956 --> 00:34:13,556
Speaker 5: piano just a just whole you know, just marking the

638
00:34:13,596 --> 00:34:15,636
Speaker 5: beat with the left hand, and it's all about playing

639
00:34:15,716 --> 00:34:17,476
Speaker 5: chords with the right. So I feel like that was

640
00:34:17,636 --> 00:34:18,236
Speaker 5: very valuable.

641
00:34:19,156 --> 00:34:21,356
Speaker 1: The reason I ask is, you know, you're known as

642
00:34:21,396 --> 00:34:25,716
Speaker 1: this great, great melody writer. I think that's what people

643
00:34:25,716 --> 00:34:29,156
Speaker 1: would sort of say about you, but it's actually the

644
00:34:29,156 --> 00:34:32,196
Speaker 1: harmony in a lot of your songs is incredibly interesting.

645
00:34:32,436 --> 00:34:35,996
Speaker 1: Even the song like Don't Dream It's Over, which people

646
00:34:35,996 --> 00:34:37,996
Speaker 1: would think well, that's like a three chord pops on.

647
00:34:38,076 --> 00:34:45,156
Speaker 1: It's not at all. It's quite complicated.

648
00:34:43,556 --> 00:34:44,116
Speaker 4: In a sense.

649
00:34:44,636 --> 00:34:47,756
Speaker 5: There's all I would hope anyway that most songs, and

650
00:34:47,836 --> 00:34:50,956
Speaker 5: it's not a prerequisite, but most songs would have a

651
00:34:51,036 --> 00:34:54,556
Speaker 5: moment where it dips or dives into something that you

652
00:34:54,596 --> 00:34:58,476
Speaker 5: weren't expecting. It just feels like it's a good thing

653
00:34:58,516 --> 00:35:02,636
Speaker 5: to aim for, and I think that would be actually

654
00:35:02,796 --> 00:35:07,676
Speaker 5: consistent with these guys as well, because and even making

655
00:35:07,676 --> 00:35:09,796
Speaker 5: a record, like I said before, it seems like every

656
00:35:09,836 --> 00:35:13,476
Speaker 5: record should contain some little mystery that's unlocked during the

657
00:35:13,476 --> 00:35:19,076
Speaker 5: course of the recording, rather than just repeating the same thing,

658
00:35:19,116 --> 00:35:23,436
Speaker 5: which seems less point I suppose with harmony, it's always

659
00:35:23,436 --> 00:35:27,436
Speaker 5: interesting to me the addition of an odd note will

660
00:35:27,476 --> 00:35:32,516
Speaker 5: do because they will contain feelings. They all harmony is

661
00:35:32,716 --> 00:35:36,756
Speaker 5: enhancing feeling, and you can put a different nuance into

662
00:35:36,796 --> 00:35:39,596
Speaker 5: your feeling. Yeah, and you recognize a feeling when you

663
00:35:39,636 --> 00:35:41,716
Speaker 5: first get an idea for a song, like Liam referred to,

664
00:35:42,396 --> 00:35:44,436
Speaker 5: that moment where you suddenly go, ah, and this is

665
00:35:45,196 --> 00:35:47,596
Speaker 5: I'm feeling something from this idea that just emerged, And

666
00:35:48,516 --> 00:35:51,596
Speaker 5: then the fun is decorating it and you can go

667
00:35:51,636 --> 00:35:54,756
Speaker 5: too far, but the way you decorate it can help

668
00:35:54,796 --> 00:35:55,876
Speaker 5: that feeling along or.

669
00:35:56,116 --> 00:35:58,916
Speaker 6: Bring a lot of effort into making it sound effortless

670
00:35:59,076 --> 00:36:02,036
Speaker 6: at the end that to explore it like to the

671
00:36:02,156 --> 00:36:06,076
Speaker 6: nth degree, and sometimes, like you said, it goes too far,

672
00:36:06,836 --> 00:36:08,956
Speaker 6: but you keep pushing into all of a sudd that's

673
00:36:09,316 --> 00:36:10,956
Speaker 6: like it was always that way, And I think that

674
00:36:10,956 --> 00:36:14,756
Speaker 6: that's something the Beatles did really well is do quite

675
00:36:15,196 --> 00:36:17,916
Speaker 6: intellectual things and music that didn't turn people off because

676
00:36:17,916 --> 00:36:18,876
Speaker 6: it was too intellectual.

677
00:36:18,956 --> 00:36:19,956
Speaker 3: It just sounded right.

678
00:36:20,516 --> 00:36:24,116
Speaker 6: Actually, there was crazy time changes and you know, things

679
00:36:24,116 --> 00:36:27,356
Speaker 6: that actually on a if you look at it in

680
00:36:27,676 --> 00:36:29,876
Speaker 6: an intellectual way, it's like, oh, how did they slip

681
00:36:29,916 --> 00:36:30,156
Speaker 6: that one?

682
00:36:30,196 --> 00:36:32,276
Speaker 7: And it's kind of the exciting part to me a

683
00:36:32,276 --> 00:36:35,076
Speaker 7: lot when writing is that you've got something that your

684
00:36:35,476 --> 00:36:38,476
Speaker 7: brain hears a strange harmony or a strange malady over

685
00:36:38,556 --> 00:36:41,116
Speaker 7: top of something and it won't work. But if you're

686
00:36:41,196 --> 00:36:44,116
Speaker 7: convinced that it's the right idea, you kind of keep

687
00:36:44,116 --> 00:36:46,236
Speaker 7: working at it until it does work, until it does

688
00:36:46,316 --> 00:36:49,116
Speaker 7: make sense, and some times you'll get a really strange result,

689
00:36:49,836 --> 00:36:51,756
Speaker 7: as you know, at the end of it, where you've

690
00:36:51,836 --> 00:36:55,156
Speaker 7: kind of got this quite unique sounding thing because you

691
00:36:55,276 --> 00:36:59,756
Speaker 7: had to adapt everything to make your strangeness success.

692
00:36:59,756 --> 00:37:03,676
Speaker 3: Beauty of that then, is that it always existed When

693
00:37:03,756 --> 00:37:06,156
Speaker 3: you know it so well, it's just suddenly like, yes,

694
00:37:06,236 --> 00:37:11,756
Speaker 3: it's always been that way, like you know do in

695
00:37:11,836 --> 00:37:14,116
Speaker 3: the Beatles song here comes the Sound. I mean, what

696
00:37:14,236 --> 00:37:16,756
Speaker 3: a crazy little resolve that would be.

697
00:37:17,516 --> 00:37:20,076
Speaker 8: Some people are good at it. The truth of the

698
00:37:20,116 --> 00:37:22,916
Speaker 8: matter is, and you know, I've worked on with a

699
00:37:22,956 --> 00:37:26,436
Speaker 8: lot of different people. Some people are very good, uh,

700
00:37:26,676 --> 00:37:28,756
Speaker 8: you know, a harmonic way. The Beatles will be an

701
00:37:28,756 --> 00:37:33,076
Speaker 8: example of pretty much every chord in every song sounds beautiful.

702
00:37:33,756 --> 00:37:37,076
Speaker 8: So it's it's a combination of the harmony and the

703
00:37:37,116 --> 00:37:40,396
Speaker 8: melodic line are just you know, over the top. And

704
00:37:40,476 --> 00:37:44,956
Speaker 8: I think in Neil's case, I think that that's You're right.

705
00:37:44,996 --> 00:37:47,436
Speaker 8: I mean, that's sort of something people don't notice. You

706
00:37:47,476 --> 00:37:50,716
Speaker 8: may think that it's the melody, but it's also the

707
00:37:50,716 --> 00:37:55,756
Speaker 8: harmonic language, which also happens to be distinctively Nils. And

708
00:37:55,796 --> 00:37:59,556
Speaker 8: it's the two together that give you that emotion. It's

709
00:37:59,676 --> 00:38:02,636
Speaker 8: if you if you just made the chords what just

710
00:38:02,796 --> 00:38:06,156
Speaker 8: very vanilla c major to a major and had the

711
00:38:06,156 --> 00:38:09,836
Speaker 8: same melody, it wouldn't it wouldn't do it. It's some

712
00:38:09,876 --> 00:38:12,796
Speaker 8: people are just good at that. Some people are clumsy

713
00:38:12,836 --> 00:38:15,236
Speaker 8: with their chords, and you know, some people just can

714
00:38:15,276 --> 00:38:17,156
Speaker 8: only deal with very simple chords.

715
00:38:17,636 --> 00:38:22,356
Speaker 1: But it's you know, you have a lot of use,

716
00:38:22,396 --> 00:38:24,796
Speaker 1: a lot of chromatic movement, like I'm thinking four seasons

717
00:38:24,796 --> 00:38:28,516
Speaker 1: in one day, moves back and forth between a couple

718
00:38:28,556 --> 00:38:29,156
Speaker 1: of chords.

719
00:38:30,116 --> 00:38:34,116
Speaker 5: Yeah, I'm not sure what the I'm attracted to sixth

720
00:38:35,076 --> 00:38:37,956
Speaker 5: in terms of intervals, I like sixth and minor six

721
00:38:38,036 --> 00:38:41,636
Speaker 5: is min six is a part of what I find

722
00:38:41,636 --> 00:38:45,316
Speaker 5: myself attracted to all the time, and nights and add ons.

723
00:38:45,356 --> 00:38:47,316
Speaker 4: You know. Actually, sometimes if.

724
00:38:47,196 --> 00:38:51,756
Speaker 5: I get too far with that, I actually try playing

725
00:38:51,756 --> 00:38:55,636
Speaker 5: the song with no added notes whatsoever. And sometimes actually

726
00:38:55,636 --> 00:38:58,836
Speaker 5: it's the key one instrument. Just playing the chord straight

727
00:38:58,876 --> 00:39:01,196
Speaker 5: can suddenly make the whole song come into.

728
00:39:01,676 --> 00:39:05,196
Speaker 8: If the play melody is singing six and ninth, yeah,

729
00:39:05,436 --> 00:39:08,356
Speaker 8: a straight chord can sound beautiful because yeah, you're not

730
00:39:09,156 --> 00:39:11,996
Speaker 8: sticking within those three notes the tryad notes.

731
00:39:12,076 --> 00:39:14,836
Speaker 5: So it's but the mystery of it is the is

732
00:39:14,836 --> 00:39:17,516
Speaker 5: the weird thing I am. I think I'm better now.

733
00:39:17,996 --> 00:39:21,196
Speaker 5: Experience has taught me to spot the good stuff, but

734
00:39:21,236 --> 00:39:22,956
Speaker 5: it's still coming at it like a child, and you

735
00:39:22,996 --> 00:39:25,836
Speaker 5: go like just play along and something hits you, and

736
00:39:26,476 --> 00:39:29,116
Speaker 5: I like to keep it in that pretty free form

737
00:39:29,196 --> 00:39:31,636
Speaker 5: state for as long as it possibly can, and then

738
00:39:31,716 --> 00:39:33,916
Speaker 5: you use your critical mind, your adult mind to kind

739
00:39:33,916 --> 00:39:37,236
Speaker 5: of organize at various points because you know you have to,

740
00:39:37,316 --> 00:39:41,636
Speaker 5: really but it's still a mystery. I still don't really

741
00:39:41,676 --> 00:39:43,036
Speaker 5: know what I'm doing, you know.

742
00:39:43,116 --> 00:39:45,196
Speaker 8: But you have the language, that's the thing. You have

743
00:39:45,236 --> 00:39:47,916
Speaker 8: your own harmonic language, and we have gone about things,

744
00:39:47,916 --> 00:39:49,956
Speaker 8: and then you can just stretch it out into whatever

745
00:39:50,596 --> 00:39:52,076
Speaker 8: if you're not coming from a.

746
00:39:52,036 --> 00:39:55,316
Speaker 7: Place I think you and I strive to be like

747
00:39:55,356 --> 00:39:57,516
Speaker 7: that as well, But your songs are sort of more

748
00:39:57,596 --> 00:40:01,116
Speaker 7: like you've You've just got a goal to get it

749
00:40:01,156 --> 00:40:02,876
Speaker 7: as good as it can be. And it's not that

750
00:40:02,996 --> 00:40:05,036
Speaker 7: it should sound like this or it should sound like

751
00:40:05,036 --> 00:40:08,236
Speaker 7: this and the inspiration for it needs to be aligned in.

752
00:40:08,156 --> 00:40:10,076
Speaker 4: This style of music.

753
00:40:10,116 --> 00:40:13,036
Speaker 7: It's just like, this is a magical concept, this song,

754
00:40:13,076 --> 00:40:15,676
Speaker 7: and it can go anywhere, and if I kind of, yeah,

755
00:40:15,756 --> 00:40:18,516
Speaker 7: am free with it, it will take itself in its

756
00:40:18,516 --> 00:40:21,836
Speaker 7: own direction rather than me pigeonholing what the potential of

757
00:40:21,836 --> 00:40:22,476
Speaker 7: it is, you know.

758
00:40:22,556 --> 00:40:25,276
Speaker 5: And I think that's really valid, actually, what you just said,

759
00:40:25,316 --> 00:40:29,116
Speaker 5: because that's what leads you forward. If you just follow you,

760
00:40:29,636 --> 00:40:31,636
Speaker 5: it can be surprising. Sometimes you go, actually, there's a

761
00:40:31,676 --> 00:40:33,276
Speaker 5: hint of Greek in this thing, and I don't know

762
00:40:33,276 --> 00:40:36,076
Speaker 5: where that came from, or you know, it seems to

763
00:40:36,116 --> 00:40:40,316
Speaker 5: demand a little baroque touch, but I don't know why.

764
00:40:40,356 --> 00:40:42,196
Speaker 7: But yeah, and then you explore that and you push

765
00:40:42,276 --> 00:40:44,556
Speaker 7: that too far and realize now it's way too borroke.

766
00:40:44,836 --> 00:40:46,196
Speaker 7: You get rid of that and leave it as a

767
00:40:46,236 --> 00:40:47,756
Speaker 7: hint and then move on to the next thing, and

768
00:40:47,756 --> 00:40:51,076
Speaker 7: you know that becomes this amalgamation of just nods to

769
00:40:51,116 --> 00:40:54,716
Speaker 7: stuff rather than it being in a real a Greek song.

770
00:40:54,796 --> 00:40:55,956
Speaker 3: Yeah, exactly for your.

771
00:40:55,796 --> 00:40:58,116
Speaker 5: Brain, like I think, you know, I don't know. Sometimes

772
00:40:58,196 --> 00:41:00,796
Speaker 5: I wonder, but can drive you crazy as well. The

773
00:41:00,916 --> 00:41:02,556
Speaker 5: song on the album called night Song, which is a

774
00:41:02,596 --> 00:41:05,796
Speaker 5: little bit about the experience of being obsessive about music

775
00:41:05,836 --> 00:41:09,156
Speaker 5: and all night having the tune you're working on go

776
00:41:09,196 --> 00:41:12,556
Speaker 5: around in your head. And I'm sure everyone relates to

777
00:41:12,596 --> 00:41:17,116
Speaker 5: that that plays music. It's unfortunately it can be really

778
00:41:17,316 --> 00:41:20,876
Speaker 5: like maddening. You know, it can feel like you're going

779
00:41:20,916 --> 00:41:23,116
Speaker 5: crazy with her with it.

780
00:41:23,196 --> 00:41:25,076
Speaker 7: Will you watch to so you watch the same film

781
00:41:25,076 --> 00:41:27,316
Speaker 7: for nine hours of a day. You'd go to bed

782
00:41:27,356 --> 00:41:29,156
Speaker 7: thinking of that film as well as as you spend

783
00:41:29,196 --> 00:41:30,756
Speaker 7: a whole day to doing music, it's going to be

784
00:41:30,756 --> 00:41:31,276
Speaker 7: there all night.

785
00:41:31,316 --> 00:41:31,716
Speaker 2: Probably.

786
00:41:32,196 --> 00:41:33,476
Speaker 5: I used to be able to work through the night,

787
00:41:33,516 --> 00:41:35,436
Speaker 5: but I have to stop after dinner now generally, or us,

788
00:41:35,476 --> 00:41:36,356
Speaker 5: I'm going to not sleep.

789
00:41:37,996 --> 00:41:39,556
Speaker 2: When we come back, we'll have the rest of Bruce

790
00:41:39,596 --> 00:41:47,396
Speaker 2: Headlen's conversation with Crowded House. We're back with the rest

791
00:41:47,516 --> 00:41:48,316
Speaker 2: of Crowded House.

792
00:41:49,236 --> 00:41:55,036
Speaker 1: I saw a speech you gave to the Yale It

793
00:41:55,116 --> 00:41:58,316
Speaker 1: was a group of psychiatrists. Yeah, I should say it

794
00:41:58,316 --> 00:41:59,836
Speaker 1: was a speech. It was not a session.

795
00:42:00,236 --> 00:42:02,556
Speaker 4: It was they asked me to talk to do a

796
00:42:02,636 --> 00:42:04,036
Speaker 4: talk on creativity.

797
00:42:04,076 --> 00:42:04,276
Speaker 8: Yeah.

798
00:42:04,316 --> 00:42:08,596
Speaker 1: Yeah, it was seminar and I was fascinated how much

799
00:42:08,596 --> 00:42:13,516
Speaker 1: you talked to about your subconscious and how you try

800
00:42:13,516 --> 00:42:15,716
Speaker 1: and keep the conscious mind out of your writing as

801
00:42:15,796 --> 00:42:16,756
Speaker 1: long as possible.

802
00:42:17,436 --> 00:42:17,956
Speaker 4: Yeah.

803
00:42:18,076 --> 00:42:20,676
Speaker 1: Is that the same today.

804
00:42:20,116 --> 00:42:20,876
Speaker 4: Yeah it is.

805
00:42:20,956 --> 00:42:22,796
Speaker 5: I mean there's about you have to look at it

806
00:42:22,836 --> 00:42:26,396
Speaker 5: and coming in the morning often after it putting stuff together,

807
00:42:26,436 --> 00:42:31,716
Speaker 5: and you get some insight into the mechanics if they're

808
00:42:31,716 --> 00:42:34,516
Speaker 5: actually working, and you start to analyze the mechanics of

809
00:42:34,556 --> 00:42:37,916
Speaker 5: the song. But I do like to keep that free

810
00:42:37,956 --> 00:42:41,956
Speaker 5: floating feeling of a that you haven't discovered everything about

811
00:42:41,996 --> 00:42:45,836
Speaker 5: an idea until long as possible. Sometimes it's as I'm

812
00:42:45,876 --> 00:42:48,396
Speaker 5: putting the final vocal on before that goes to mastering,

813
00:42:48,996 --> 00:42:52,676
Speaker 5: I'll have a little revelation about something might be better.

814
00:42:53,676 --> 00:42:56,156
Speaker 5: I don't know that it's always a very good thing

815
00:42:56,236 --> 00:42:59,636
Speaker 5: that I do. But this album was a classic example

816
00:42:59,676 --> 00:43:04,716
Speaker 5: of us continually changing and improving, and it actually, I

817
00:43:04,756 --> 00:43:07,596
Speaker 5: think most of the time did get better. And we

818
00:43:07,636 --> 00:43:11,236
Speaker 5: would Stephen and I would look at each other after

819
00:43:11,916 --> 00:43:15,476
Speaker 5: we just changed something. I go, I like it better.

820
00:43:15,556 --> 00:43:17,156
Speaker 5: You know, you like it better. Whether or not these

821
00:43:17,156 --> 00:43:19,796
Speaker 5: guys did, I don't know. I've seen it off to them.

822
00:43:20,076 --> 00:43:22,436
Speaker 8: There was about a four month period where they were

823
00:43:22,476 --> 00:43:24,356
Speaker 8: just hitting home runs and I was like, wow, this

824
00:43:24,396 --> 00:43:27,716
Speaker 8: is incredible. And then a couple came in that weren't.

825
00:43:28,316 --> 00:43:30,596
Speaker 8: Those are the hard ones because you don't want to

826
00:43:30,636 --> 00:43:33,996
Speaker 8: be negative, but you can just say, hey, maybe, you know,

827
00:43:34,036 --> 00:43:35,756
Speaker 8: I think maybe that was better before.

828
00:43:36,556 --> 00:43:38,876
Speaker 5: I always appreciate that's the thing about a band, you know,

829
00:43:38,636 --> 00:43:41,636
Speaker 5: you get to hope that it is a little bit

830
00:43:42,516 --> 00:43:45,516
Speaker 5: sensitive to get knocked back on an idea.

831
00:43:45,316 --> 00:43:47,876
Speaker 8: But it's hard. It's a painful.

832
00:43:47,676 --> 00:43:49,156
Speaker 4: Relief to have somebody to do it.

833
00:43:49,356 --> 00:43:51,796
Speaker 8: Yeah, but it's painful to have to say it to someone,

834
00:43:51,796 --> 00:43:54,076
Speaker 8: and it's painful to hear because, like I say, that's

835
00:43:54,116 --> 00:43:56,756
Speaker 8: when you're your most vulnerable. You know, no one's heard

836
00:43:56,796 --> 00:43:58,036
Speaker 8: it yet, so you're.

837
00:43:57,876 --> 00:43:59,756
Speaker 5: Just but it's not like, you know, it's not like

838
00:44:00,796 --> 00:44:03,676
Speaker 5: Britain's got talent or something. It's like, you know, you're

839
00:44:03,676 --> 00:44:06,316
Speaker 5: not sitting in front of a panel of that's painful,

840
00:44:06,556 --> 00:44:07,476
Speaker 5: it's brutal, No.

841
00:44:07,556 --> 00:44:10,356
Speaker 8: But you know what I mean. It's just it's best

842
00:44:10,356 --> 00:44:13,996
Speaker 8: to be as positive as possible through this whole, the

843
00:44:14,036 --> 00:44:17,356
Speaker 8: whole process until you're done recording, because then once it's

844
00:44:17,396 --> 00:44:19,796
Speaker 8: out who you don't care anymore, you know.

845
00:44:20,556 --> 00:44:27,356
Speaker 1: But do that that trying to keep your subconscious so engaged.

846
00:44:27,556 --> 00:44:29,476
Speaker 1: Is that with both lyrics and the music.

847
00:44:30,476 --> 00:44:33,836
Speaker 5: It's only just the way I've ended up feeling like

848
00:44:33,916 --> 00:44:35,836
Speaker 5: the way I can work. I kind of wish I

849
00:44:35,996 --> 00:44:39,276
Speaker 5: was a guy who had like poetry, just books of

850
00:44:39,436 --> 00:44:41,916
Speaker 5: you know, lines that I could then apply to music,

851
00:44:41,916 --> 00:44:43,996
Speaker 5: because I think that would be a really nice change.

852
00:44:44,036 --> 00:44:46,636
Speaker 4: But it's just not not the way it rolls for me.

853
00:44:46,716 --> 00:44:50,236
Speaker 5: I find that I'm most trusting of lines that come

854
00:44:50,276 --> 00:44:56,356
Speaker 5: out spontaneously as I'm writing. I don't often know what

855
00:44:56,476 --> 00:44:58,116
Speaker 5: I'm singing, and then I listen back to it and

856
00:44:58,156 --> 00:44:59,876
Speaker 5: I go, oh, that's that's quite a good line that

857
00:44:59,996 --> 00:45:02,756
Speaker 5: it suggests this. So I maybe write a couple more

858
00:45:02,796 --> 00:45:06,716
Speaker 5: lines along those lines, along that train of thought at

859
00:45:06,756 --> 00:45:10,156
Speaker 5: the time, and then I'll get excited about the little

860
00:45:10,156 --> 00:45:13,476
Speaker 5: idea developing. I go and reward myself with a coffee,

861
00:45:13,476 --> 00:45:15,036
Speaker 5: and you know, and then I'll come back and I

862
00:45:15,036 --> 00:45:16,316
Speaker 5: won't be in the same frame of mind.

863
00:45:16,436 --> 00:45:19,236
Speaker 4: It'll be really hard all of a sudden to finish

864
00:45:19,276 --> 00:45:19,596
Speaker 4: the song.

865
00:45:19,636 --> 00:45:22,236
Speaker 1: But yeah, but it also means your songs have a

866
00:45:22,356 --> 00:45:26,516
Speaker 1: very particularly the lyrics have a very dreamy quality. Things

867
00:45:26,556 --> 00:45:30,596
Speaker 1: are associated, you know. I think a song like whether

868
00:45:30,676 --> 00:45:33,716
Speaker 1: with You, You've got the line about the car on

869
00:45:33,796 --> 00:45:38,156
Speaker 1: the shelf, Oh yeah, boat boat, pardon yeah, and then

870
00:45:38,156 --> 00:45:40,716
Speaker 1: you've got the beautiful line or sing like a bird released?

871
00:45:40,756 --> 00:45:43,876
Speaker 1: I can I can imagine a lot of songwriters would say,

872
00:45:44,916 --> 00:45:46,596
Speaker 1: I've just written this line. Do I sing like a

873
00:45:46,636 --> 00:45:47,316
Speaker 1: bird released?

874
00:45:47,396 --> 00:45:47,556
Speaker 8: Now?

875
00:45:47,596 --> 00:45:49,796
Speaker 1: I have to rewrite this whole thing about being a

876
00:45:49,796 --> 00:45:55,076
Speaker 1: bird released? And you don't it stays in a bigger picture.

877
00:45:55,316 --> 00:45:58,876
Speaker 5: Yeah, Well there again, as l we referred to before,

878
00:45:58,916 --> 00:46:02,476
Speaker 5: it's kind of like the the they slot into place

879
00:46:02,476 --> 00:46:03,156
Speaker 5: at a various point.

880
00:46:03,556 --> 00:46:05,956
Speaker 4: It's really quite weird and.

881
00:46:07,436 --> 00:46:11,516
Speaker 5: Sometimes quite time consuming to find words that I'm not consistent.

882
00:46:11,556 --> 00:46:15,116
Speaker 5: I'm not bothered whether they follow each thought follows in

883
00:46:15,156 --> 00:46:17,876
Speaker 5: a logical progression, but they have to relate to each

884
00:46:17,916 --> 00:46:20,996
Speaker 5: other in a way that's kind of opens people's minds

885
00:46:21,036 --> 00:46:25,156
Speaker 5: to little thoughts and doorways and things that are not intellectual.

886
00:46:25,276 --> 00:46:28,516
Speaker 5: Because I like songs always have that I didn't really

887
00:46:28,556 --> 00:46:30,476
Speaker 5: know what they meant. I just liked the sound of

888
00:46:30,516 --> 00:46:33,876
Speaker 5: the words and the way that they certain phrases just

889
00:46:33,916 --> 00:46:36,196
Speaker 5: pick you up and take you somewhere and you can

890
00:46:36,236 --> 00:46:38,556
Speaker 5: switch off your conscious mind that you use for reading

891
00:46:38,636 --> 00:46:41,756
Speaker 5: or you use for analyzing every other thing in your day.

892
00:46:41,796 --> 00:46:43,596
Speaker 4: And so that's the kind of lyric that.

893
00:46:43,556 --> 00:46:46,116
Speaker 5: I always liked, and that's what I've allowed myself to

894
00:46:47,516 --> 00:46:50,516
Speaker 5: pursue as a lyricist now. And when they hit, I

895
00:46:50,516 --> 00:46:52,516
Speaker 5: think they hit really in a powerful way because they're

896
00:46:52,516 --> 00:46:55,796
Speaker 5: not They're operating on a different level than an academic thing.

897
00:46:56,236 --> 00:46:58,236
Speaker 5: And sometimes I don't hit. When I look back on

898
00:46:58,236 --> 00:47:00,596
Speaker 5: some of the lyrics, I go, that's clunky and clumsy

899
00:47:00,596 --> 00:47:02,356
Speaker 5: and didn't really make it there.

900
00:47:02,436 --> 00:47:04,916
Speaker 1: But you know, one of my co hosts, and I'm Malcolm.

901
00:47:04,956 --> 00:47:07,436
Speaker 1: We did a book with Paul Simon, and I was

902
00:47:07,476 --> 00:47:10,236
Speaker 1: amazed when he talked about song how much of it

903
00:47:10,276 --> 00:47:13,036
Speaker 1: was just like I just like the sound of that line, and.

904
00:47:12,956 --> 00:47:15,636
Speaker 5: That was just I mean, he's a great lyricist, and

905
00:47:15,756 --> 00:47:18,836
Speaker 5: at his best he was able to write. I mean

906
00:47:18,836 --> 00:47:22,036
Speaker 5: they were impressionistic lyrics too. Actually, when I think about it,

907
00:47:22,076 --> 00:47:24,796
Speaker 5: like Sound of Silence, you don't really see a clear

908
00:47:24,876 --> 00:47:28,196
Speaker 5: narrative in there, but it's incredibly evocative. And I always

909
00:47:28,196 --> 00:47:30,916
Speaker 5: think it's sort of a combination of enough concrete images

910
00:47:31,276 --> 00:47:33,756
Speaker 5: that put you in in a place you can sense

911
00:47:33,796 --> 00:47:39,676
Speaker 5: a place, and abstract images that you become dream you know,

912
00:47:39,756 --> 00:47:42,676
Speaker 5: dream like in your mind. And also it's really nice

913
00:47:42,716 --> 00:47:44,636
Speaker 5: to sort of sense the person who's singing, and even

914
00:47:44,676 --> 00:47:47,556
Speaker 5: if you don't get a it's not the person who's singing.

915
00:47:47,556 --> 00:47:51,276
Speaker 5: And I'm not imagining Paul Simon's life when I'm listening

916
00:47:51,276 --> 00:47:54,196
Speaker 5: to Sounds of Silence, but I'm imagining somebody on the

917
00:47:54,196 --> 00:48:01,196
Speaker 5: streets having a particular convergence of you know, awareness and

918
00:48:01,676 --> 00:48:06,596
Speaker 5: you know loneliness possibly, And so it has to evoke

919
00:48:06,876 --> 00:48:10,316
Speaker 5: a good lyric by hook Crook has to evoke a

920
00:48:10,356 --> 00:48:14,756
Speaker 5: time and a place and a person subliminally at least.

921
00:48:15,076 --> 00:48:17,156
Speaker 1: Are you a visual thinker because a lot of your

922
00:48:17,236 --> 00:48:19,556
Speaker 1: lyrics have a really strong sense of place.

923
00:48:21,916 --> 00:48:24,796
Speaker 5: I think that that's been a sort of a thing

924
00:48:24,836 --> 00:48:26,876
Speaker 5: I try and put in, and I don't always do it.

925
00:48:26,956 --> 00:48:29,636
Speaker 5: Sometimes it's just the way I'm feeling.

926
00:48:30,556 --> 00:48:31,236
Speaker 4: That's the lyric.

927
00:48:31,316 --> 00:48:35,436
Speaker 5: Other kind of lyrics just and nowadays, particularly the confessional

928
00:48:35,516 --> 00:48:39,156
Speaker 5: lyric is very much the order of the day, you know,

929
00:48:39,316 --> 00:48:41,436
Speaker 5: like writing a diary and the way you made me

930
00:48:41,476 --> 00:48:44,396
Speaker 5: feel because you were mean to me, or you drop me,

931
00:48:44,516 --> 00:48:44,956
Speaker 5: or you know.

932
00:48:46,796 --> 00:48:46,876
Speaker 7: That.

933
00:48:48,516 --> 00:48:50,916
Speaker 5: I like a lyric that's got a couple of phrases

934
00:48:50,956 --> 00:48:52,756
Speaker 5: that link you to the day, like you know, whether

935
00:48:52,796 --> 00:48:55,196
Speaker 5: it's the boat made of China or something, there's an

936
00:48:55,196 --> 00:48:59,636
Speaker 5: image that you can put yourself in a room and yeah,

937
00:49:00,356 --> 00:49:01,916
Speaker 5: is that maybe a yes to your question?

938
00:49:02,076 --> 00:49:04,356
Speaker 3: I don't know. I think it is. I think they're

939
00:49:04,476 --> 00:49:10,116
Speaker 3: very visual. I'm continually struck with the once I hear

940
00:49:10,196 --> 00:49:15,436
Speaker 3: the lyric not necessarily confirmed when we're working a song up,

941
00:49:16,036 --> 00:49:20,196
Speaker 3: but it will evoke a definite visual reference to me

942
00:49:20,356 --> 00:49:25,876
Speaker 3: that then inspires me to actually affect a certain approach

943
00:49:25,996 --> 00:49:31,476
Speaker 3: to what the foundation notes or styles should be to

944
00:49:31,556 --> 00:49:34,756
Speaker 3: actually set that visual scene.

945
00:49:34,996 --> 00:49:37,556
Speaker 1: And how do you go about assuming Mitchell isn't in

946
00:49:37,596 --> 00:49:39,596
Speaker 1: the room to keep you on the beat?

947
00:49:39,836 --> 00:49:43,276
Speaker 8: Now that was I work with Nick a lot more

948
00:49:43,276 --> 00:49:47,556
Speaker 8: in the early days. Okay, he's way beyond all that now.

949
00:49:48,036 --> 00:49:50,676
Speaker 1: Because you do it makes sense you played violent. There's

950
00:49:50,676 --> 00:49:56,156
Speaker 1: a lot of beautiful little figures in the in you're playing,

951
00:49:57,476 --> 00:50:00,676
Speaker 1: including Teenage Summer, which I think was your first single.

952
00:50:00,756 --> 00:50:03,676
Speaker 1: After that, there's a lot of great little figure A lot.

953
00:50:03,516 --> 00:50:06,836
Speaker 3: Of those little counterpoint ideas come off the skip of

954
00:50:06,956 --> 00:50:10,476
Speaker 3: Neil's words, so that if he if if a lyric

955
00:50:10,556 --> 00:50:12,796
Speaker 3: in a in a verse partickee like a chorus will

956
00:50:12,836 --> 00:50:16,796
Speaker 3: be hopefully the same, it'll be a refrain and he

957
00:50:16,876 --> 00:50:20,196
Speaker 3: sings it the same words when it is so that

958
00:50:20,276 --> 00:50:25,556
Speaker 3: the bass can sit underpinning in a solid give its solidity.

959
00:50:25,676 --> 00:50:30,316
Speaker 3: But with with with verses, often I'll look for a

960
00:50:30,356 --> 00:50:37,236
Speaker 3: counterpoint that has a slight gap in, or an announcement

961
00:50:37,636 --> 00:50:42,156
Speaker 3: that skips off his palette. If he's saying a certain word,

962
00:50:42,276 --> 00:50:44,596
Speaker 3: or the way he's the word is falling around the beat,

963
00:50:44,916 --> 00:50:49,276
Speaker 3: I'll try and and and identify that in a in

964
00:50:49,316 --> 00:50:51,196
Speaker 3: a way on the bass as well. It's sort of

965
00:50:51,276 --> 00:50:54,956
Speaker 3: it's quite inspiring, but with a song like I remember

966
00:50:54,996 --> 00:51:01,356
Speaker 3: we were recording Blackwater White Circle, and I came up

967
00:51:01,436 --> 00:51:04,916
Speaker 3: with a bassline, and I remember because Neil had just

968
00:51:05,116 --> 00:51:07,436
Speaker 3: plotted down and put the chords down to that on

969
00:51:07,516 --> 00:51:10,436
Speaker 3: acoustic guitar and saying a a vocal over it, because

970
00:51:10,476 --> 00:51:12,996
Speaker 3: we we hadn't learned that song by this stage, and

971
00:51:13,036 --> 00:51:16,436
Speaker 3: there's a lot of chords, and so I had to

972
00:51:16,516 --> 00:51:18,316
Speaker 3: Suddenly the pressure was on me to come up with

973
00:51:18,356 --> 00:51:20,356
Speaker 3: a baseline on Nick, can you do a baseline now?

974
00:51:20,396 --> 00:51:23,796
Speaker 3: And I'm like, and you were. You were texting somewhere.

975
00:51:23,836 --> 00:51:26,756
Speaker 3: You're on your phone and you're calling out the cords

976
00:51:26,796 --> 00:51:30,476
Speaker 3: as I'm moving through a baseline that I had this

977
00:51:30,596 --> 00:51:33,756
Speaker 3: idea of a sort of a tango style baseline. And

978
00:51:34,476 --> 00:51:36,956
Speaker 3: meanwhile Mitchell sitting on the couch behind me with his

979
00:51:37,156 --> 00:51:39,396
Speaker 3: arms folded, and I can just I can just see

980
00:51:39,476 --> 00:51:41,796
Speaker 3: him shaking his head, you know, like in the in

981
00:51:41,836 --> 00:51:45,356
Speaker 3: the glass. Yeah, but was moving through these notes. Neil's

982
00:51:45,396 --> 00:51:50,156
Speaker 3: going see sharp A, oh, it's a minor. Then it

983
00:51:50,196 --> 00:51:53,996
Speaker 3: goes to E a major E major, and he's calling

984
00:51:54,036 --> 00:51:56,956
Speaker 3: them out before I'm actually landing on the note to

985
00:51:57,036 --> 00:51:58,436
Speaker 3: do the little figure, and then.

986
00:51:58,836 --> 00:52:01,556
Speaker 5: Well, yeah, and then the temperatures rising in the in

987
00:52:01,596 --> 00:52:04,636
Speaker 5: the room as next trying to fashion a bass partner.

988
00:52:05,276 --> 00:52:07,556
Speaker 5: I go outside, I think to continue my phone call

989
00:52:07,636 --> 00:52:10,356
Speaker 5: or something, and suddenly there's Nick flying through the door

990
00:52:10,356 --> 00:52:12,916
Speaker 5: and jumped straight in the pool in some kind of

991
00:52:13,796 --> 00:52:16,956
Speaker 5: it was in some existential crisis with the with the baseline.

992
00:52:16,956 --> 00:52:18,836
Speaker 5: He just needed to go. And you know, it was

993
00:52:18,916 --> 00:52:20,436
Speaker 5: quite a moment actually that I think.

994
00:52:20,396 --> 00:52:24,116
Speaker 3: The reason I ran out, put the base, put my

995
00:52:24,156 --> 00:52:27,036
Speaker 3: base on his stand, and ran outside and dived into

996
00:52:27,036 --> 00:52:32,276
Speaker 3: the pool with clothes. I just needed to I had

997
00:52:32,276 --> 00:52:34,516
Speaker 3: a terrible hangover and so I recall and I just

998
00:52:34,556 --> 00:52:39,156
Speaker 3: needed to shock myself into knowing to just be decisive.

999
00:52:39,356 --> 00:52:41,996
Speaker 5: Basically, well, that's when you and Steve it had opened

1000
00:52:42,036 --> 00:52:47,236
Speaker 5: that bottle of incredibly expensive tequila at the house and

1001
00:52:47,316 --> 00:52:50,276
Speaker 5: then went and bought a cheap bottle to fill the

1002
00:52:50,276 --> 00:52:51,036
Speaker 5: bottle back up.

1003
00:52:51,076 --> 00:52:51,356
Speaker 3: Again.

1004
00:52:51,916 --> 00:52:52,236
Speaker 7: That was.

1005
00:52:54,156 --> 00:52:55,196
Speaker 3: B and B behavior.

1006
00:52:55,276 --> 00:52:59,716
Speaker 1: That is right there. Yeah uh, And I'm sure you've

1007
00:52:59,716 --> 00:53:03,276
Speaker 1: heard this before, but I do think one of the

1008
00:53:03,276 --> 00:53:06,556
Speaker 1: most exciting parts of Don't Dream It's Over is in

1009
00:53:06,636 --> 00:53:08,636
Speaker 1: the It's in the third chorus where you do that

1010
00:53:08,716 --> 00:53:10,076
Speaker 1: walker with the bass.

1011
00:53:10,636 --> 00:53:11,916
Speaker 3: Oh okay, thank you.

1012
00:53:12,036 --> 00:53:14,916
Speaker 1: Do you remember that. Yeah, yeah, but do you come

1013
00:53:14,956 --> 00:53:15,956
Speaker 1: at it from the bottom, but.

1014
00:53:18,236 --> 00:53:21,076
Speaker 4: The A flat predominant A flat it's an F mine.

1015
00:53:21,156 --> 00:53:23,236
Speaker 8: Yeah, I get that.

1016
00:53:23,316 --> 00:53:24,956
Speaker 1: F minor and you hit A. I think it's A,

1017
00:53:25,396 --> 00:53:31,196
Speaker 1: isn't it A? You go d E and then you're

1018
00:53:31,916 --> 00:53:32,196
Speaker 1: the court.

1019
00:53:32,236 --> 00:53:37,316
Speaker 3: Actually, I know you usually hit a little grace no

1020
00:53:38,156 --> 00:53:41,516
Speaker 3: drumming section. If it's where I think you're talking.

1021
00:53:41,516 --> 00:53:45,316
Speaker 8: Last, you're talking about the last course after the solo section. Yeah,

1022
00:53:45,356 --> 00:53:48,756
Speaker 8: so it's it's everything is the same, except it's n F.

1023
00:53:49,076 --> 00:53:52,116
Speaker 8: It's normally an A flat bass an F minor core

1024
00:53:52,196 --> 00:53:56,236
Speaker 8: with an A flat bass. That last chorus, it finally

1025
00:53:56,316 --> 00:53:58,716
Speaker 8: lands on the F minor, but everything else about the

1026
00:53:58,756 --> 00:53:59,876
Speaker 8: chorus is the same.

1027
00:54:02,116 --> 00:54:05,516
Speaker 5: The bass part on that song that obviously is signature

1028
00:54:06,396 --> 00:54:08,076
Speaker 5: is the do do Do Do Do Do Do Do.

1029
00:54:08,236 --> 00:54:08,916
Speaker 4: At the beginning.

1030
00:54:10,116 --> 00:54:12,276
Speaker 5: Nick can get tables at restaurants that are full by

1031
00:54:12,356 --> 00:54:14,476
Speaker 5: just going do do Do Do Do Do Do Do,

1032
00:54:14,876 --> 00:54:16,716
Speaker 5: And you know that's that's his cold card.

1033
00:54:16,876 --> 00:54:19,796
Speaker 3: Yeah, they say, we don't do walk ups at this

1034
00:54:19,796 --> 00:54:22,036
Speaker 3: this restaurant. You have to reserve a table, and I'll

1035
00:54:22,076 --> 00:54:24,556
Speaker 3: just go do do Do Do Do Do do do.

1036
00:54:27,036 --> 00:54:31,556
Speaker 8: Remember you, I remember we had the whole song was

1037
00:54:31,596 --> 00:54:33,356
Speaker 8: worked out, and then there was idea, oh, maybe we

1038
00:54:33,356 --> 00:54:35,036
Speaker 8: should do something on the base to bring it in,

1039
00:54:35,076 --> 00:54:36,916
Speaker 8: And you did that, and I was like, is that

1040
00:54:36,996 --> 00:54:41,396
Speaker 8: any good? Because it was so fast, you know, like

1041
00:54:41,436 --> 00:54:44,196
Speaker 8: the song has this kind of beautiful slow move. Also,

1042
00:54:44,276 --> 00:54:48,036
Speaker 8: song's coming in, just playing kind of quickly, And it

1043
00:54:48,116 --> 00:54:50,676
Speaker 8: took me a minute before I realized it was good,

1044
00:54:50,716 --> 00:54:53,276
Speaker 8: but I was. We we just did it. And those

1045
00:54:53,276 --> 00:54:54,756
Speaker 8: are the days you had to punch in and out

1046
00:54:54,876 --> 00:54:57,876
Speaker 8: so you couldn't go We couldn't just do a bunch

1047
00:54:57,916 --> 00:54:58,236
Speaker 8: of things.

1048
00:54:58,236 --> 00:55:01,316
Speaker 3: And yeah, I punched in. Remember that Chad, poor old

1049
00:55:01,396 --> 00:55:04,076
Speaker 3: Chad Blake. He used to used to he was the

1050
00:55:04,116 --> 00:55:09,036
Speaker 3: best punch or arena ever. And and because I was

1051
00:55:09,236 --> 00:55:15,236
Speaker 3: so inconsistent that actually playing a straight linear delivery of bass,

1052
00:55:15,316 --> 00:55:17,956
Speaker 3: he'd be punching me in and out for single notes

1053
00:55:18,036 --> 00:55:22,396
Speaker 3: or whatever, and he I could used to drive him crazy.

1054
00:55:22,516 --> 00:55:25,476
Speaker 3: It used to really drive him crazy. But god, I

1055
00:55:25,476 --> 00:55:27,716
Speaker 3: mean the stress in those days for him to hit

1056
00:55:27,956 --> 00:55:31,676
Speaker 3: record play, record play, you know, just dropping single notes

1057
00:55:31,676 --> 00:55:32,476
Speaker 3: in you know for me.

1058
00:55:32,796 --> 00:55:35,516
Speaker 8: Yeah, and phrases. But that's it's kind of we were

1059
00:55:35,516 --> 00:55:38,316
Speaker 8: talking about. This is kind of how the base style evolved.

1060
00:55:38,756 --> 00:55:41,276
Speaker 8: Like we would be in the control room and we're

1061
00:55:41,356 --> 00:55:43,476
Speaker 8: just punch in a section, and you'd just be trying

1062
00:55:43,516 --> 00:55:45,716
Speaker 8: all these things and then it's like, oh, that's good,

1063
00:55:46,036 --> 00:55:47,916
Speaker 8: But then we'd have to deal with the next bar.

1064
00:55:48,236 --> 00:55:53,676
Speaker 8: You can never remember what you just played, and then

1065
00:55:53,756 --> 00:55:55,756
Speaker 8: once in a while if he if he messed up,

1066
00:55:55,796 --> 00:55:58,276
Speaker 8: then we'd have to go back and do the whole thing.

1067
00:55:58,356 --> 00:56:02,476
Speaker 8: But it kind of that freedom and that you were

1068
00:56:02,516 --> 00:56:07,196
Speaker 8: just trying things kind of helped develop the style within

1069
00:56:07,276 --> 00:56:10,716
Speaker 8: the band. So it was it's kind of interesting.

1070
00:56:11,156 --> 00:56:13,396
Speaker 1: And he could get into any restaurant just by singing

1071
00:56:13,436 --> 00:56:15,916
Speaker 1: that little kit and sang I pushed that in.

1072
00:56:16,796 --> 00:56:18,676
Speaker 3: Chad would have to go Chad would.

1073
00:56:20,596 --> 00:56:22,916
Speaker 4: That would be obscure? Wouldn't get into that many places

1074
00:56:22,956 --> 00:56:23,276
Speaker 4: like that?

1075
00:56:23,836 --> 00:56:24,396
Speaker 1: That would do it?

1076
00:56:24,476 --> 00:56:25,436
Speaker 4: That'd look a bit creepy.

1077
00:56:25,436 --> 00:56:28,636
Speaker 1: Actually, I did want to ask you because you know,

1078
00:56:28,716 --> 00:56:34,556
Speaker 1: so much of the band's early sound was Paul Hester's drums,

1079
00:56:34,556 --> 00:56:38,076
Speaker 1: and I always thought he was underrated as a drummer.

1080
00:56:38,236 --> 00:56:43,516
Speaker 1: So he had such great swing and great drive. What

1081
00:56:43,916 --> 00:56:46,596
Speaker 1: when you when you started learning those songs? Were there

1082
00:56:46,636 --> 00:56:47,956
Speaker 1: things you took from his drumming?

1083
00:56:48,836 --> 00:56:52,636
Speaker 7: Yeah, undoubtedly, I mean all the recordings of the early

1084
00:56:52,636 --> 00:56:55,716
Speaker 7: crowdit Hoouse records have got against so much character and

1085
00:56:55,756 --> 00:56:58,676
Speaker 7: the playing, and Paul was huge part of that. And

1086
00:56:59,076 --> 00:57:02,516
Speaker 7: like you say, the swing and the drive and the

1087
00:57:02,596 --> 00:57:06,276
Speaker 7: explosiveness when it needed to be is really distinctly Paul.

1088
00:57:06,316 --> 00:57:08,796
Speaker 7: So yeah, it was definitely something that I was really

1089
00:57:08,836 --> 00:57:11,156
Speaker 7: mind when I was learning all these songs for touring

1090
00:57:11,196 --> 00:57:16,476
Speaker 7: and trying to get you know, my own personality as

1091
00:57:16,516 --> 00:57:19,396
Speaker 7: a drummer into the music as well is obviously something

1092
00:57:19,516 --> 00:57:22,036
Speaker 7: I want to do. But when it comes to the

1093
00:57:22,276 --> 00:57:25,796
Speaker 7: classic songs that everyone has come to love and have

1094
00:57:26,196 --> 00:57:29,476
Speaker 7: listened to for a long time, it rewards the audience

1095
00:57:29,516 --> 00:57:33,596
Speaker 7: a lot when they hear those signature films or something

1096
00:57:33,676 --> 00:57:37,636
Speaker 7: from the record that is you know, maybe bands over

1097
00:57:37,756 --> 00:57:40,396
Speaker 7: the years would stop being really faithful to the recordings

1098
00:57:40,436 --> 00:57:42,116
Speaker 7: because they get tired of it and stuff like that

1099
00:57:42,236 --> 00:57:43,236
Speaker 7: or want to explore.

1100
00:57:44,196 --> 00:57:44,916
Speaker 4: And that's cool too.

1101
00:57:44,916 --> 00:57:47,436
Speaker 7: But I think there's a few things in drumming, and

1102
00:57:47,476 --> 00:57:50,556
Speaker 7: Paul's drumming in particular, that were really important to me,

1103
00:57:50,836 --> 00:57:52,996
Speaker 7: and I would guess that they were really important to

1104
00:57:52,996 --> 00:57:55,916
Speaker 7: the listener. So I wanted to get some things really

1105
00:57:55,956 --> 00:57:57,276
Speaker 7: spot on that Paul had done.

1106
00:57:57,756 --> 00:58:03,556
Speaker 3: Brush Your brush's style is just so evocative of Yeah,

1107
00:58:03,636 --> 00:58:03,996
Speaker 3: you know that.

1108
00:58:05,236 --> 00:58:07,636
Speaker 8: I think a big thing that I didn't even know

1109
00:58:07,676 --> 00:58:09,556
Speaker 8: it at the time, but a big thing that Paul

1110
00:58:09,636 --> 00:58:13,036
Speaker 8: had that Elwer has because I've seen Neil with different

1111
00:58:13,116 --> 00:58:16,796
Speaker 8: drummers when Neil's playing acoustic guitar, and it's the amount

1112
00:58:16,836 --> 00:58:18,716
Speaker 8: of swing in the high hat. I mean, Neil's talked

1113
00:58:18,716 --> 00:58:21,436
Speaker 8: about that and it's just the way it went together.

1114
00:58:21,476 --> 00:58:26,076
Speaker 8: I just sort of took for granted. But Elwer has

1115
00:58:26,116 --> 00:58:29,236
Speaker 8: got that. I think even when we play the more

1116
00:58:29,276 --> 00:58:31,556
Speaker 8: classic songs, so it to me it sounds like Elwright

1117
00:58:31,636 --> 00:58:34,476
Speaker 8: doesn't sound like Paul, but it has that swing, so

1118
00:58:35,276 --> 00:58:39,276
Speaker 8: it's satisfying. It's just got a different, slightly different shade

1119
00:58:39,316 --> 00:58:41,596
Speaker 8: to it, and most people in the audience wouldn't know

1120
00:58:41,676 --> 00:58:45,276
Speaker 8: the difference, but he's when Elwar is playing in this band,

1121
00:58:45,276 --> 00:58:46,116
Speaker 8: it's Elroy's.

1122
00:58:46,596 --> 00:58:47,076
Speaker 1: Absolutely.

1123
00:58:47,196 --> 00:58:49,036
Speaker 6: It's a right of passage in the Finn family that

1124
00:58:49,076 --> 00:58:51,436
Speaker 6: you have to learn how to play a mid tempo

1125
00:58:51,556 --> 00:58:54,516
Speaker 6: song without something like you're slowing down. Yeah, a lot

1126
00:58:54,516 --> 00:58:57,756
Speaker 6: of the classic songs are of a medium pace or

1127
00:58:58,236 --> 00:59:00,316
Speaker 6: not super fast, and so to play that and have

1128
00:59:00,396 --> 00:59:02,836
Speaker 6: it not feel like it's slugging along at any point,

1129
00:59:02,836 --> 00:59:05,476
Speaker 6: and the song is really important.

1130
00:59:05,036 --> 00:59:06,316
Speaker 1: It's really interesting. How do you do that?

1131
00:59:06,876 --> 00:59:09,316
Speaker 7: It's a you got well just be mindful of. Like

1132
00:59:10,716 --> 00:59:12,516
Speaker 7: speeding up is the most common thing as a drummer,

1133
00:59:12,556 --> 00:59:14,996
Speaker 7: I think, and so you don't want to do that either.

1134
00:59:15,036 --> 00:59:18,036
Speaker 7: But when a song is mid tempo, it has the

1135
00:59:18,076 --> 00:59:20,956
Speaker 7: same tendency to slacken off because you don't want to

1136
00:59:21,036 --> 00:59:23,676
Speaker 7: rush things and the singing as soon as it gets

1137
00:59:23,716 --> 00:59:25,556
Speaker 7: too fast, you notice that because you can't get the

1138
00:59:25,556 --> 00:59:28,196
Speaker 7: words out in time, and so it's easier to.

1139
00:59:28,676 --> 00:59:29,756
Speaker 4: Very rarely speed up.

1140
00:59:29,876 --> 00:59:30,476
Speaker 8: Like it's.

1141
00:59:32,156 --> 00:59:34,276
Speaker 4: The acoustic, like Mitchell said, the acoustic.

1142
00:59:33,876 --> 00:59:37,276
Speaker 5: Guitar is my way of trying to generate the kind

1143
00:59:37,356 --> 00:59:39,596
Speaker 5: of amount of swing that you want from a song

1144
00:59:39,636 --> 00:59:44,356
Speaker 5: that you've written, and so the l was tuned into that.

1145
00:59:44,836 --> 00:59:47,116
Speaker 7: Yeah, I think one difference would be that Paul, when

1146
00:59:47,196 --> 00:59:51,316
Speaker 7: you had a symbiotic rhythm thing going on from the

1147
00:59:51,356 --> 00:59:54,956
Speaker 7: start that you know, Paul was uninhibited as he played.

1148
00:59:54,956 --> 00:59:57,876
Speaker 7: He was really you know, played with a lot of passion,

1149
00:59:57,916 --> 01:00:02,916
Speaker 7: a lot of irreverence. And I think I've got a

1150
01:00:02,956 --> 01:00:06,236
Speaker 7: different version of trying to lock in with your time

1151
01:00:06,316 --> 01:00:10,116
Speaker 7: because as a songwriter and bandleader, you're right, you know,

1152
01:00:10,156 --> 01:00:12,796
Speaker 7: your rhythm guitar is powerful force. You know, you can

1153
01:00:12,836 --> 01:00:14,796
Speaker 7: carry a whole song on its own, don't even need

1154
01:00:14,876 --> 01:00:18,276
Speaker 7: drums with Neil playing guitar, it's really incredible rhythm. And

1155
01:00:18,316 --> 01:00:21,156
Speaker 7: so you can't come in as a drummer with that

1156
01:00:21,956 --> 01:00:25,156
Speaker 7: other instrument being so rhythmic and demand that everyone's going

1157
01:00:25,196 --> 01:00:26,956
Speaker 7: to follow you the whole time. So there's this sort

1158
01:00:26,996 --> 01:00:29,636
Speaker 7: of push and pull between me and Dad. I think

1159
01:00:29,876 --> 01:00:32,996
Speaker 7: on stage sometimes where it's who's who's leading the charge

1160
01:00:33,036 --> 01:00:35,956
Speaker 7: and who's dictating the terms of this rhythm, But in

1161
01:00:36,076 --> 01:00:39,316
Speaker 7: that it's micro seconds, you know, where we're really locked in.

1162
01:00:39,396 --> 01:00:42,396
Speaker 7: But there's something cool about I don't know who's driving

1163
01:00:42,436 --> 01:00:44,436
Speaker 7: the songs to dance and a dance you know.

1164
01:00:44,596 --> 01:00:48,196
Speaker 8: That's what makes the mid temple stuff sound like it's

1165
01:00:48,236 --> 01:00:51,036
Speaker 8: moving forward because a lot of drummers on mid temple songs,

1166
01:00:51,076 --> 01:00:53,596
Speaker 8: they really like the snare to feel really back. They

1167
01:00:53,676 --> 01:00:56,036
Speaker 8: think that that's deep and soulful.

1168
01:00:57,156 --> 01:00:58,316
Speaker 1: A bit of a delay, yeah.

1169
01:00:58,396 --> 01:01:01,396
Speaker 8: You really delayed, you're behind the beat and then and

1170
01:01:01,436 --> 01:01:02,116
Speaker 8: then the high hat.

1171
01:01:02,316 --> 01:01:05,436
Speaker 5: But this is you know, like a Christmas in a feel,

1172
01:01:05,556 --> 01:01:09,076
Speaker 5: you know, like a it has to be slightly danced,

1173
01:01:09,636 --> 01:01:14,076
Speaker 5: and it's even if it's slow or so I'll push sometimes.

1174
01:01:14,116 --> 01:01:19,156
Speaker 5: I mean, Alroy is probably having to be conscious of

1175
01:01:19,236 --> 01:01:22,076
Speaker 5: not speeding up with me, because I probably would. My

1176
01:01:22,316 --> 01:01:26,116
Speaker 5: idea of crispness and the feel might to some drummers

1177
01:01:26,156 --> 01:01:29,036
Speaker 5: just be like an invitation to get right on top

1178
01:01:29,116 --> 01:01:30,996
Speaker 5: and hit the snare a little bit too.

1179
01:01:30,996 --> 01:01:32,156
Speaker 4: You know, bristpiled.

1180
01:01:32,196 --> 01:01:35,836
Speaker 5: Alroy's got a really lovely way of setting things back.

1181
01:01:35,836 --> 01:01:38,036
Speaker 5: When you listen to the recordings from the live it's

1182
01:01:38,116 --> 01:01:43,076
Speaker 5: remarkable how relaxed it feels, and yet it's not. It's

1183
01:01:43,156 --> 01:01:46,196
Speaker 5: not lacking energy, but it's that he's got a really

1184
01:01:46,236 --> 01:01:49,116
Speaker 5: good sense of and things very rarely speed up. If

1185
01:01:49,116 --> 01:01:52,516
Speaker 5: I'm if I'm making it'd be the odd song we've

1186
01:01:52,516 --> 01:01:55,596
Speaker 5: made up time differences. But generally speaking, I listened to

1187
01:01:55,636 --> 01:01:58,076
Speaker 5: the end of a song, it hasn't gone up more

1188
01:01:58,076 --> 01:02:00,636
Speaker 5: than one or two bpm from the beginning, and that's

1189
01:02:00,756 --> 01:02:01,916
Speaker 5: quite unusual, I think.

1190
01:02:02,356 --> 01:02:04,796
Speaker 1: I mean, it's such a pleasure these days listening to

1191
01:02:04,836 --> 01:02:06,796
Speaker 1: a band that can speed up and slow down since

1192
01:02:06,836 --> 01:02:07,556
Speaker 1: everything else.

1193
01:02:09,236 --> 01:02:09,676
Speaker 3: That as well.

1194
01:02:09,756 --> 01:02:13,396
Speaker 7: Some songs do want to get three five faster than

1195
01:02:13,436 --> 01:02:15,076
Speaker 7: the breadge or in the chorus and at the end

1196
01:02:15,116 --> 01:02:17,196
Speaker 7: of the song, you know, like and that's a nice

1197
01:02:17,276 --> 01:02:21,076
Speaker 7: natural amount of swaying, and I value that in music

1198
01:02:21,076 --> 01:02:24,076
Speaker 7: a lot too. So I think drummings weird because you've

1199
01:02:24,076 --> 01:02:26,396
Speaker 7: got to be some sort of you've got to have

1200
01:02:26,396 --> 01:02:29,596
Speaker 7: some sort of discipline, but then also total inhibition to

1201
01:02:29,676 --> 01:02:33,756
Speaker 7: make it feel like this thunderous instrument when it needs

1202
01:02:33,796 --> 01:02:35,716
Speaker 7: to be. But as soon as you get carried away

1203
01:02:35,716 --> 01:02:38,876
Speaker 7: with yourself, you will speed up five bpm and everyone's

1204
01:02:38,876 --> 01:02:40,836
Speaker 7: looking at you, what's going on, And you're like, oh god,

1205
01:02:40,836 --> 01:02:42,396
Speaker 7: I had too much fun there for one bar.

1206
01:02:42,556 --> 01:02:45,236
Speaker 1: Yeah, you just have to And then that night you

1207
01:02:45,316 --> 01:02:46,356
Speaker 1: drive a car into the pool.

1208
01:02:46,556 --> 01:02:49,596
Speaker 8: That's the ya the way it feels like to play

1209
01:02:49,636 --> 01:02:52,476
Speaker 8: in the band. It feels like everyone's trying to play

1210
01:02:52,476 --> 01:02:54,916
Speaker 8: the mood of the song, and so I think everything

1211
01:02:54,956 --> 01:02:55,556
Speaker 8: just comes.

1212
01:02:55,316 --> 01:02:55,796
Speaker 1: Out of that.

1213
01:02:56,116 --> 01:02:57,916
Speaker 8: Now you must just play the mood of the song.

1214
01:02:58,676 --> 01:03:00,116
Speaker 8: Everything will take care of itself.

1215
01:03:00,196 --> 01:03:02,316
Speaker 1: You know, have you worked with bands where that's a

1216
01:03:02,316 --> 01:03:10,476
Speaker 1: problem almost all the no.

1217
01:03:10,596 --> 01:03:14,516
Speaker 8: I mean it's the way music used to be. The

1218
01:03:14,916 --> 01:03:18,076
Speaker 8: backing would be a mood and then the singer, you know,

1219
01:03:18,116 --> 01:03:21,116
Speaker 8: would kind of dictate the mood and everyone just followed

1220
01:03:21,156 --> 01:03:25,156
Speaker 8: the singer and it became something where everything is now individual.

1221
01:03:25,276 --> 01:03:28,356
Speaker 8: And you know, bands that play use a click track live.

1222
01:03:29,036 --> 01:03:33,596
Speaker 8: It's just horrible because now you're introducing this rigid thing

1223
01:03:34,396 --> 01:03:36,916
Speaker 8: where you should be playing music, so you're playing along

1224
01:03:36,956 --> 01:03:40,436
Speaker 8: with this rigid thing instead of playing together, I mean something.

1225
01:03:40,436 --> 01:03:42,876
Speaker 8: There's certain situations where something like that can work, but

1226
01:03:42,956 --> 01:03:45,436
Speaker 8: in general, if you see a whole concert and it's all,

1227
01:03:47,156 --> 01:03:49,516
Speaker 8: you know, people playing with a click, you're going to

1228
01:03:49,596 --> 01:03:51,036
Speaker 8: be bored and not know why.

1229
01:03:52,476 --> 01:03:56,476
Speaker 3: Yeah, surgeon retard is the thing of when you're going

1230
01:03:56,516 --> 01:03:59,116
Speaker 3: to see a band. I love it when a band

1231
01:03:59,236 --> 01:04:02,556
Speaker 3: just yes.

1232
01:04:04,476 --> 01:04:08,316
Speaker 1: They got in trouble for the name changed, it's changed now.

1233
01:04:09,396 --> 01:04:13,796
Speaker 3: But yeah, where there's a hesitancy as it goes into

1234
01:04:13,836 --> 01:04:18,036
Speaker 3: the first chorus and then it sits and then slows

1235
01:04:18,076 --> 01:04:21,276
Speaker 3: down again when it goes into the next verse. I mean,

1236
01:04:21,316 --> 01:04:23,796
Speaker 3: I love detecting that sort of thing when I'm watching

1237
01:04:23,836 --> 01:04:29,476
Speaker 3: a really you know, a really dynamic band, rock band,

1238
01:04:30,476 --> 01:04:33,956
Speaker 3: or ensemble, I mean in orchestras, that's always the way

1239
01:04:33,996 --> 01:04:36,636
Speaker 3: the conductor will say, as it moves from this section

1240
01:04:36,676 --> 01:04:40,876
Speaker 3: to this section, there is actually three breaths, four breaths.

1241
01:04:40,916 --> 01:04:43,636
Speaker 3: You're all rushing those four breaths, you know, and just

1242
01:04:43,676 --> 01:04:48,356
Speaker 3: watch my conducting and the piece will slow down. You know,

1243
01:04:48,716 --> 01:04:52,076
Speaker 3: it's extraordinary. They're even using click tracks now in orchestras,

1244
01:04:52,116 --> 01:04:54,876
Speaker 3: you know, right, well, you know, not for concert performances,

1245
01:04:54,996 --> 01:04:58,156
Speaker 3: but for TV. Yeah, film and TV.

1246
01:04:58,956 --> 01:05:00,756
Speaker 1: I don't know. I mean, you played violin, I don't

1247
01:05:00,796 --> 01:05:02,876
Speaker 1: know if you played in a quartet. I did for

1248
01:05:02,916 --> 01:05:05,996
Speaker 1: a little while. But it's all that looking back and

1249
01:05:06,036 --> 01:05:09,116
Speaker 1: forth and yeah, when it gets going, it's really amazing.

1250
01:05:09,316 --> 01:05:13,476
Speaker 3: Yeah, and it's natural people, that's the way people perceive, you.

1251
01:05:13,436 --> 01:05:17,876
Speaker 5: Know, well, it's the benefit of ours spent. You know,

1252
01:05:17,956 --> 01:05:20,356
Speaker 5: the tipping point concept that everybody talks about.

1253
01:05:20,356 --> 01:05:22,236
Speaker 4: Well, we're a while ago, and.

1254
01:05:22,316 --> 01:05:24,276
Speaker 5: If with a band, it's exciting at the moment because

1255
01:05:24,276 --> 01:05:27,756
Speaker 5: we're at that point. We've played enough shows now that

1256
01:05:27,876 --> 01:05:30,916
Speaker 5: we can I can sense us getting much better and

1257
01:05:31,116 --> 01:05:34,676
Speaker 5: understanding those kind of little micro the way that music

1258
01:05:35,756 --> 01:05:38,916
Speaker 5: is capable of being thought about, and you know, micro

1259
01:05:39,716 --> 01:05:43,956
Speaker 5: metering of the gap between beats. We're just leaving a

1260
01:05:43,996 --> 01:05:47,196
Speaker 5: tiny hole before the beginning of the next bar can

1261
01:05:47,236 --> 01:05:50,956
Speaker 5: add And you only get those moments when everybody's focused together,

1262
01:05:51,036 --> 01:05:55,276
Speaker 5: and so we feel like we're capable of becoming much better,

1263
01:05:55,316 --> 01:05:56,836
Speaker 5: you know, which is pretty exciting for an up and

1264
01:05:56,836 --> 01:05:57,436
Speaker 5: coming band.

1265
01:05:59,276 --> 01:06:01,596
Speaker 8: It keeps so we don't get bored. I don't, at

1266
01:06:01,676 --> 01:06:03,996
Speaker 8: least me, but we don't. It doesn't feel like anyone

1267
01:06:03,996 --> 01:06:05,756
Speaker 8: gets bored playing any of these songs. And no matter

1268
01:06:05,796 --> 01:06:07,996
Speaker 8: how many times we play them, because when we play them,

1269
01:06:07,996 --> 01:06:11,316
Speaker 8: we're playing the mood. It's not like, oh, here's this song,

1270
01:06:11,356 --> 01:06:12,476
Speaker 8: I've done it a million times.

1271
01:06:12,516 --> 01:06:14,676
Speaker 7: You know, you were listening to what everyone else is doing.

1272
01:06:14,716 --> 01:06:16,436
Speaker 7: I think a lot of people.

1273
01:06:16,716 --> 01:06:19,956
Speaker 8: To see how that mood is at that moment, and

1274
01:06:20,116 --> 01:06:22,436
Speaker 8: it might be moving a little and how can you

1275
01:06:22,476 --> 01:06:23,396
Speaker 8: contribute to it?

1276
01:06:23,436 --> 01:06:26,236
Speaker 1: So does that change with the crowd? When I saw

1277
01:06:26,236 --> 01:06:29,036
Speaker 1: you the other night, you know that was a concert

1278
01:06:29,076 --> 01:06:33,756
Speaker 1: where people were singing along with everything, clapping. How how

1279
01:06:33,796 --> 01:06:35,556
Speaker 1: does that change the playing crowd?

1280
01:06:35,556 --> 01:06:40,476
Speaker 5: Definitely to hear the crowd, because it doesn't lend itself.

1281
01:06:40,516 --> 01:06:42,116
Speaker 5: We did an open air the other night and we'd

1282
01:06:42,156 --> 01:06:44,716
Speaker 5: had two really nice sheds to get into a bounce

1283
01:06:44,756 --> 01:06:46,876
Speaker 5: back and hear the crowd, and we just weren't hearing

1284
01:06:46,916 --> 01:06:50,076
Speaker 5: them rebill. It's quite disarming, and you don't know whether

1285
01:06:50,076 --> 01:06:51,836
Speaker 5: they're really going along for it with it, you know.

1286
01:06:52,636 --> 01:06:55,956
Speaker 5: But yeah, the crowd will make their presence felt fairly

1287
01:06:55,996 --> 01:06:58,556
Speaker 5: early on if they often get them to sing early

1288
01:06:58,596 --> 01:07:01,276
Speaker 5: on to figure out whether they've got the you know,

1289
01:07:01,476 --> 01:07:04,476
Speaker 5: the gusto not to try it too much.

1290
01:07:05,516 --> 01:07:08,196
Speaker 1: I do want to talk through some of the songs

1291
01:07:08,236 --> 01:07:11,276
Speaker 1: on the new album, and I wanted to start with

1292
01:07:11,396 --> 01:07:13,756
Speaker 1: the Howl, which I think has got that beautiful guitar

1293
01:07:14,516 --> 01:07:16,596
Speaker 1: figure that starts it. Can you tell me a little

1294
01:07:16,596 --> 01:07:18,196
Speaker 1: bit about writing that song.

1295
01:07:18,676 --> 01:07:21,636
Speaker 6: I wrote it as part of a solo project I

1296
01:07:21,676 --> 01:07:24,556
Speaker 6: was doing in the last few years called Hyperverse, where

1297
01:07:24,596 --> 01:07:29,396
Speaker 6: I streamed myself writing and recording a record on this

1298
01:07:29,476 --> 01:07:33,596
Speaker 6: platform Twitch. I've always had a very different experience in

1299
01:07:33,596 --> 01:07:37,476
Speaker 6: a studio than I do on stage, mainly with energy

1300
01:07:37,556 --> 01:07:39,836
Speaker 6: levels I find, and I wanted to figure out how

1301
01:07:39,836 --> 01:07:42,876
Speaker 6: to recreate that energy level I get on stage in

1302
01:07:42,916 --> 01:07:44,356
Speaker 6: a studio, and I thought, well, I think it's the

1303
01:07:44,636 --> 01:07:47,396
Speaker 6: fact you're being watched in the performance.

1304
01:07:47,076 --> 01:07:47,756
Speaker 3: Aspect of it.

1305
01:07:47,796 --> 01:07:51,076
Speaker 6: So I have made this whole record through doing my

1306
01:07:51,116 --> 01:07:52,836
Speaker 6: one man band thing, which is the thing I do

1307
01:07:52,916 --> 01:07:57,156
Speaker 6: as a solo artist, making a pre energetic record. And

1308
01:07:57,876 --> 01:08:00,556
Speaker 6: I handed a bunch of the songs over to Dad

1309
01:08:00,596 --> 01:08:03,396
Speaker 6: to listen to when I was kind of halfway through

1310
01:08:04,156 --> 01:08:06,956
Speaker 6: writing them, and so I was doing these long, sprawling

1311
01:08:06,996 --> 01:08:10,236
Speaker 6: jams basically, and then cut editing them down into songs,

1312
01:08:10,756 --> 01:08:15,716
Speaker 6: and that one in particular he really responded to, unknowingly

1313
01:08:15,996 --> 01:08:18,276
Speaker 6: responded to when he had it on a few playlists

1314
01:08:18,316 --> 01:08:21,716
Speaker 6: when he was on vacation and kept coming up and

1315
01:08:21,756 --> 01:08:23,196
Speaker 6: he would be like, what's that song? And it was

1316
01:08:23,916 --> 01:08:25,436
Speaker 6: the hell, I'm not even sure I knew it was you,

1317
01:08:25,516 --> 01:08:27,356
Speaker 6: but I thought it was something that would catch my

1318
01:08:27,396 --> 01:08:30,636
Speaker 6: ear from another room. There's something about music that sounds

1319
01:08:30,636 --> 01:08:33,156
Speaker 6: good from the next room. That's a lot of my

1320
01:08:33,236 --> 01:08:34,676
Speaker 6: music whole in the next room.

1321
01:08:36,196 --> 01:08:38,516
Speaker 7: The sonics actually really coming better.

1322
01:08:39,036 --> 01:08:41,796
Speaker 6: But when we were going into the second session of

1323
01:08:41,836 --> 01:08:45,676
Speaker 6: the of the album, Dad was really keen to try it,

1324
01:08:45,836 --> 01:08:47,756
Speaker 6: as he was a couple of hourroys things and stuff,

1325
01:08:47,756 --> 01:08:49,716
Speaker 6: and we That's like I said, it.

1326
01:08:49,676 --> 01:08:50,556
Speaker 3: Was done really quickly.

1327
01:08:51,436 --> 01:08:53,996
Speaker 6: Nick had to all of a sudden scramble to learn

1328
01:08:54,076 --> 01:08:56,396
Speaker 6: It's really quite a simple song except for the one

1329
01:08:56,516 --> 01:08:59,556
Speaker 6: change that happens, and I had a very particular baseline

1330
01:08:59,836 --> 01:09:03,676
Speaker 6: in that part. But we got it really, We got

1331
01:09:04,316 --> 01:09:07,236
Speaker 6: a very vibe take of it very quickly. But it

1332
01:09:07,316 --> 01:09:09,516
Speaker 6: was actually for me. It was a really nice thing

1333
01:09:09,556 --> 01:09:12,636
Speaker 6: because I had often I would be if I'm teaching

1334
01:09:12,636 --> 01:09:15,796
Speaker 6: a band a song, I'm probably only three quarters written

1335
01:09:16,676 --> 01:09:19,076
Speaker 6: with it, and a lot of it I ended up

1336
01:09:19,076 --> 01:09:20,916
Speaker 6: finishing on the back end, but that song was kind

1337
01:09:20,956 --> 01:09:24,036
Speaker 6: of a finished thing, and it made me realize how

1338
01:09:24,516 --> 01:09:25,916
Speaker 6: and that's what I was going to say, I want

1339
01:09:25,916 --> 01:09:28,396
Speaker 6: to bring finished songs to the band because you can

1340
01:09:28,436 --> 01:09:31,356
Speaker 6: actually move through them so much quicker and figure them

1341
01:09:31,396 --> 01:09:33,756
Speaker 6: out as far as what the end result would be

1342
01:09:33,836 --> 01:09:37,996
Speaker 6: so much and in such well, basically with less anxiety

1343
01:09:38,076 --> 01:09:42,076
Speaker 6: and less torturous behavior on my part. So it was

1344
01:09:42,116 --> 01:09:43,836
Speaker 6: really cool because I had so I had a version,

1345
01:09:43,956 --> 01:09:46,836
Speaker 6: this demo version for my record that if we did it.

1346
01:09:46,916 --> 01:09:48,196
Speaker 4: Dad was like, well, if we do it, we've.

1347
01:09:48,036 --> 01:09:50,756
Speaker 6: Got to make it better than your version, because otherwise

1348
01:09:50,756 --> 01:09:51,716
Speaker 6: what's the point.

1349
01:09:52,276 --> 01:09:53,036
Speaker 8: And so we did.

1350
01:09:53,076 --> 01:09:55,596
Speaker 6: We worked on it really hard and actually cut quite

1351
01:09:55,596 --> 01:09:57,196
Speaker 6: a bit out of it and made a three and

1352
01:09:57,236 --> 01:10:00,036
Speaker 6: a half minute version of what my was like five

1353
01:10:00,076 --> 01:10:03,076
Speaker 6: minutes and full of long guitar solos and stuff like that.

1354
01:10:03,636 --> 01:10:05,716
Speaker 6: And then I went back in after we'd finished the

1355
01:10:05,716 --> 01:10:10,076
Speaker 6: credit House record and made my version better, not better

1356
01:10:10,076 --> 01:10:12,036
Speaker 6: than the Crowdhouse version, but I got to go and

1357
01:10:12,076 --> 01:10:14,316
Speaker 6: take what I learned from the.

1358
01:10:13,716 --> 01:10:16,196
Speaker 4: Crowded House one and apply that to my version. And

1359
01:10:16,236 --> 01:10:18,676
Speaker 4: so now I've got these two different versions of the song.

1360
01:10:18,756 --> 01:10:21,596
Speaker 1: It's a great vocal in that song too, just really

1361
01:10:21,636 --> 01:10:26,236
Speaker 1: lovely and can I ask for Teenage Summer which became

1362
01:10:26,356 --> 01:10:28,996
Speaker 1: the Was it designed as a did you think we

1363
01:10:29,036 --> 01:10:29,636
Speaker 1: need a single?

1364
01:10:29,876 --> 01:10:32,156
Speaker 4: Or it just not really?

1365
01:10:33,156 --> 01:10:35,596
Speaker 5: But I saw potential in it. It was a jam

1366
01:10:36,036 --> 01:10:39,236
Speaker 5: that we did. Actually Elru was in on the original jam,

1367
01:10:39,676 --> 01:10:43,356
Speaker 5: and if you heard the demo that, yeah, it's very different.

1368
01:10:44,076 --> 01:10:49,476
Speaker 5: A couple of parts have remained. The bassline that starts

1369
01:10:49,476 --> 01:10:52,796
Speaker 5: the song was actually the main bass riff in the

1370
01:10:52,836 --> 01:10:57,396
Speaker 5: song at that point, and I just kept reworking it

1371
01:10:57,436 --> 01:10:59,596
Speaker 5: and reworking it and reworking it and taking apart and

1372
01:10:59,636 --> 01:11:02,156
Speaker 5: putting it back together again. We tried it with drum machine,

1373
01:11:02,196 --> 01:11:06,116
Speaker 5: we tried at Latin, We tried it a number of

1374
01:11:06,156 --> 01:11:10,036
Speaker 5: different ways, and it was really hardy like his demo,

1375
01:11:10,756 --> 01:11:13,356
Speaker 5: it was really experimental and weird song. But when it

1376
01:11:13,396 --> 01:11:16,516
Speaker 5: got to the end part of it where it had the.

1377
01:11:16,596 --> 01:11:18,916
Speaker 6: One been near you and are we going to have

1378
01:11:18,996 --> 01:11:21,156
Speaker 6: some sort of new that there was this like pop

1379
01:11:21,196 --> 01:11:21,796
Speaker 6: song in there.

1380
01:11:21,956 --> 01:11:24,076
Speaker 4: There's a pop sign dying to get out. Yeah.

1381
01:11:24,556 --> 01:11:26,596
Speaker 6: But we tried it the three of us once and

1382
01:11:26,636 --> 01:11:28,476
Speaker 6: didn't really get anywhere, and then we tried it again.

1383
01:11:28,756 --> 01:11:30,316
Speaker 6: We tried it and then with the band we tried

1384
01:11:30,356 --> 01:11:31,556
Speaker 6: it didn't really get anywhere.

1385
01:11:31,876 --> 01:11:33,276
Speaker 4: It changed a lot, it did.

1386
01:11:33,556 --> 01:11:35,596
Speaker 5: I just had I knew there was something in there,

1387
01:11:35,636 --> 01:11:38,996
Speaker 5: and I just chased it basically, and Elroy played the

1388
01:11:39,076 --> 01:11:41,956
Speaker 5: drums the drum track on it about three different times,

1389
01:11:42,036 --> 01:11:45,676
Speaker 5: three different places. And in the actual fact, we used

1390
01:11:45,676 --> 01:11:47,796
Speaker 5: a couple of the fills from the I used a

1391
01:11:47,796 --> 01:11:50,796
Speaker 5: couple of his fills from the early takes and sliced

1392
01:11:50,836 --> 01:11:52,516
Speaker 5: them and even though the drums sounded completely different.

1393
01:11:52,556 --> 01:11:53,916
Speaker 4: You can sort of do anything, really.

1394
01:11:53,716 --> 01:11:57,076
Speaker 5: But yeah, I was very happy with the way it

1395
01:11:57,116 --> 01:11:59,996
Speaker 5: turned out because it was kind of fully realized, and

1396
01:12:00,716 --> 01:12:03,116
Speaker 5: sometimes they don't turn out to be fully realized.

1397
01:12:03,156 --> 01:12:05,876
Speaker 1: So did you ever think of giving up on it?

1398
01:12:05,916 --> 01:12:06,636
Speaker 1: Was it just that.

1399
01:12:06,636 --> 01:12:09,116
Speaker 4: Prust probably did? Yeah, I would have had a few

1400
01:12:09,276 --> 01:12:12,356
Speaker 4: moments Rolf was not happening. Let's forget about it.

1401
01:12:12,436 --> 01:12:15,356
Speaker 8: Yeah, it was subject to a lot of discussion, that song,

1402
01:12:15,716 --> 01:12:18,516
Speaker 8: a lot of things. I did a failed effort at

1403
01:12:18,516 --> 01:12:20,716
Speaker 8: trying to edit it into what I thought was a

1404
01:12:20,796 --> 01:12:24,276
Speaker 8: more cohesive form, and it was just landed like a

1405
01:12:24,276 --> 01:12:28,196
Speaker 8: ton of bricks. You know. That was bad. We had

1406
01:12:28,196 --> 01:12:32,236
Speaker 8: a version that we had the drums really lively sounding

1407
01:12:32,276 --> 01:12:35,516
Speaker 8: really roomy and lively and which is exciting, but it

1408
01:12:35,556 --> 01:12:37,476
Speaker 8: seemed to wear out. And then we tried a version

1409
01:12:37,476 --> 01:12:40,236
Speaker 8: where the drums were very dry, thinking, oh, more intimate,

1410
01:12:40,316 --> 01:12:41,596
Speaker 8: that'll carry the song.

1411
01:12:42,516 --> 01:12:43,876
Speaker 4: We've got a rap over the sixty.

1412
01:12:44,756 --> 01:12:49,156
Speaker 8: So we just went through a bunch of different things.

1413
01:12:49,636 --> 01:12:51,636
Speaker 8: And then you know, there was if you listen to

1414
01:12:51,676 --> 01:12:53,836
Speaker 8: the song, like after the first chorus, the way it

1415
01:12:53,876 --> 01:12:57,316
Speaker 8: goes back to the intro is really tricky. I mean,

1416
01:12:57,356 --> 01:13:01,396
Speaker 8: that's that. That was that was Neil's idea. But so

1417
01:13:01,436 --> 01:13:05,636
Speaker 8: we finally got a dynamic where the song felt like, Okay,

1418
01:13:05,956 --> 01:13:08,356
Speaker 8: this is how it's the shape of it, and by

1419
01:13:08,356 --> 01:13:12,156
Speaker 8: the end it's its peak. So we had to figure

1420
01:13:12,156 --> 01:13:14,516
Speaker 8: out all kinds of things and after it was breakdown

1421
01:13:14,556 --> 01:13:16,036
Speaker 8: and you know, all these things.

1422
01:13:15,996 --> 01:13:18,836
Speaker 6: After it was mastered for the third time and already

1423
01:13:18,876 --> 01:13:22,396
Speaker 6: imprinting in for the vinyl, Dad changed the title of

1424
01:13:22,396 --> 01:13:26,756
Speaker 6: the song and changed the beginning of the song. Well

1425
01:13:26,836 --> 01:13:29,156
Speaker 6: that's what we kind of thought. Maybe he was losing it.

1426
01:13:29,236 --> 01:13:34,396
Speaker 5: Yeah, I don't even know what the title changed because

1427
01:13:35,236 --> 01:13:40,116
Speaker 5: actually just only because I was on a zoom call

1428
01:13:40,276 --> 01:13:44,036
Speaker 5: or a FaceTime with my grandson and I are Liam's son,

1429
01:13:44,956 --> 01:13:46,836
Speaker 5: and he was listening to it, I think, and he said,

1430
01:13:46,876 --> 01:13:51,916
Speaker 5: I like that song, Papa teenage summer song. Well he's

1431
01:13:51,956 --> 01:13:54,756
Speaker 5: just the kids have spoken, you know. That's what it

1432
01:13:54,836 --> 01:13:56,596
Speaker 5: was called Life's imitation.

1433
01:13:57,876 --> 01:13:59,596
Speaker 4: I thought, oh, yeah.

1434
01:13:59,316 --> 01:14:00,876
Speaker 5: For a couple of years, or for a year, for

1435
01:14:00,876 --> 01:14:03,396
Speaker 5: a couple of years. Yeah, I've never done that before

1436
01:14:03,516 --> 01:14:06,756
Speaker 5: that late in the piece. But hey, there's this surprises

1437
01:14:06,836 --> 01:14:07,836
Speaker 5: yet to come, I'm sure.

1438
01:14:09,436 --> 01:14:12,876
Speaker 1: And I wanted to ask about Thirsty, which began with you.

1439
01:14:12,916 --> 01:14:15,876
Speaker 1: We talked about it a little. Yeah, So what was

1440
01:14:15,916 --> 01:14:17,836
Speaker 1: it like, Neil when you first heard it?

1441
01:14:19,196 --> 01:14:23,796
Speaker 5: If you listened to the instrumental version of Thirsty without

1442
01:14:24,356 --> 01:14:27,396
Speaker 5: it's really nice instrumental and that's how it was Elroy.

1443
01:14:27,676 --> 01:14:30,036
Speaker 5: I mean, it's a little scrubbed up. Engineer has done

1444
01:14:30,036 --> 01:14:32,956
Speaker 5: a bit of job on it, and maybe a couple

1445
01:14:33,036 --> 01:14:36,116
Speaker 5: of editions I've been added. Mitchell might have played some things,

1446
01:14:36,196 --> 01:14:39,196
Speaker 5: I think, and Liam's added a bit of guitar, but

1447
01:14:40,956 --> 01:14:44,916
Speaker 5: essentially the arrangement was the way Elroy had. It was

1448
01:14:44,956 --> 01:14:48,796
Speaker 5: a beautiful instrumental. I think the daughter of Stephen, who

1449
01:14:48,836 --> 01:14:50,756
Speaker 5: mixed the album, came in one day as he was

1450
01:14:50,796 --> 01:14:54,396
Speaker 5: before the vocal was added and loved it, absolutely loved it,

1451
01:14:54,436 --> 01:14:56,556
Speaker 5: and I think she was disappointed when she heard the vocal.

1452
01:14:56,636 --> 01:14:59,036
Speaker 5: So whether or not we improved it, I don't know.

1453
01:14:59,956 --> 01:15:01,876
Speaker 5: But it's a beautiful piece of music. The way the

1454
01:15:01,956 --> 01:15:07,716
Speaker 5: chords flow is just effortless and very elegant. Yeah, they

1455
01:15:07,796 --> 01:15:09,796
Speaker 5: picked my ears up and I found himut that seemed

1456
01:15:09,836 --> 01:15:12,076
Speaker 5: to work with it, and ran with it. And then Ail,

1457
01:15:12,836 --> 01:15:16,356
Speaker 5: you know, helped we sort of to and fro on

1458
01:15:16,436 --> 01:15:17,476
Speaker 5: what the lyrics might be.

1459
01:15:19,756 --> 01:15:22,956
Speaker 3: To me, it took on a kind of a Simon

1460
01:15:22,996 --> 01:15:28,516
Speaker 3: and Garf uncle vibe at some point as to falling

1461
01:15:28,516 --> 01:15:30,916
Speaker 3: in love with it, I think was. And then the

1462
01:15:31,316 --> 01:15:35,236
Speaker 3: idea of some people never getting thirsty, that just was

1463
01:15:35,356 --> 01:15:36,716
Speaker 3: so abstract to me, you.

1464
01:15:36,636 --> 01:15:39,236
Speaker 5: Know, Yeah, I didn't know if it was appropriate to

1465
01:15:39,276 --> 01:15:41,836
Speaker 5: even have that, and as we fought against that a

1466
01:15:41,836 --> 01:15:44,876
Speaker 5: little bit because it was like what, but I it

1467
01:15:45,196 --> 01:15:47,876
Speaker 5: had really evocative feeling for me, because there are people

1468
01:15:47,876 --> 01:15:51,876
Speaker 5: like Mcfleetwood's mother never drank water for thirty that he

1469
01:15:51,876 --> 01:15:53,316
Speaker 5: said he never saw her drink water.

1470
01:15:53,516 --> 01:15:56,196
Speaker 4: She only ever had drink cups of tea, cups of tea.

1471
01:15:56,236 --> 01:15:58,556
Speaker 5: I suppose that still quenches a thirst, but you know some,

1472
01:15:59,396 --> 01:16:01,916
Speaker 5: but it's also now it's got a modern.

1473
01:16:01,956 --> 01:16:04,156
Speaker 7: Well yet to be thirsty is kind of hungry for

1474
01:16:04,236 --> 01:16:08,316
Speaker 7: sex and the modern concept of someone's too thirsty. They're

1475
01:16:08,316 --> 01:16:11,356
Speaker 7: like showing off too many signs of being into it,

1476
01:16:11,916 --> 01:16:15,636
Speaker 7: and so suddenly some people never get thirsty. It has

1477
01:16:15,676 --> 01:16:17,196
Speaker 7: a very different meaning if you think of.

1478
01:16:17,236 --> 01:16:17,636
Speaker 1: It that way.

1479
01:16:17,756 --> 01:16:17,996
Speaker 8: A bit of.

1480
01:16:21,076 --> 01:16:23,276
Speaker 1: Shed separated that from Mick Fleetwood's.

1481
01:16:22,796 --> 01:16:28,596
Speaker 7: Mother that you can do that in post, right, you

1482
01:16:28,636 --> 01:16:29,996
Speaker 7: can chuck a better time in between.

1483
01:16:30,356 --> 01:16:32,476
Speaker 4: It's a good juxtaposition. I'd be happy with that in

1484
01:16:32,516 --> 01:16:35,876
Speaker 4: a lyric. We will talk to Mick about it first,

1485
01:16:35,876 --> 01:16:36,436
Speaker 4: but yeah.

1486
01:16:36,596 --> 01:16:39,196
Speaker 1: You know, we haven't talked about this because this is

1487
01:16:39,476 --> 01:16:42,436
Speaker 1: one of your many bands. But you did tour with

1488
01:16:42,476 --> 01:16:43,636
Speaker 1: Fleetwood Mac did that?

1489
01:16:44,036 --> 01:16:44,276
Speaker 4: Yeah?

1490
01:16:44,436 --> 01:16:47,956
Speaker 1: Did it? Did you learn anything about bands?

1491
01:16:47,996 --> 01:16:49,276
Speaker 4: Not a thing.

1492
01:16:50,876 --> 01:16:51,956
Speaker 8: Or think?

1493
01:16:53,116 --> 01:16:53,356
Speaker 4: Yeah?

1494
01:16:53,436 --> 01:16:55,836
Speaker 5: It was amazing experience, like stepping into another life for

1495
01:16:55,876 --> 01:16:57,836
Speaker 5: a while, you know, and so unexpected.

1496
01:16:59,236 --> 01:17:00,676
Speaker 4: We knew Mick well enough for me.

1497
01:17:00,676 --> 01:17:03,076
Speaker 5: To know that I would have a good time with him,

1498
01:17:03,196 --> 01:17:08,796
Speaker 5: you know, that wasn't entirely unknown, but really unexpected. And

1499
01:17:08,836 --> 01:17:10,756
Speaker 5: learning somebody else's songs and the way they put songs

1500
01:17:10,756 --> 01:17:13,436
Speaker 5: together is really fascinating, getting deep inside it because you

1501
01:17:13,436 --> 01:17:16,156
Speaker 5: think you know the way that songs work, but then

1502
01:17:16,196 --> 01:17:18,236
Speaker 5: when you actually learn them, you find that there's more

1503
01:17:18,276 --> 01:17:21,236
Speaker 5: going on than you realized. And they're harder to learn

1504
01:17:21,316 --> 01:17:23,916
Speaker 5: other people's songs too, the little nuances that they add

1505
01:17:24,236 --> 01:17:26,076
Speaker 5: and mine would be hard for people to learn.

1506
01:17:26,796 --> 01:17:28,356
Speaker 4: I understand that as well.

1507
01:17:28,396 --> 01:17:30,796
Speaker 1: But can you give me an example of just one

1508
01:17:30,836 --> 01:17:33,276
Speaker 1: of their songs that once you got into it, you're like, well,

1509
01:17:33,276 --> 01:17:34,956
Speaker 1: this doesn't work the way I.

1510
01:17:34,916 --> 01:17:37,316
Speaker 5: Thought, Well, maybe all of them. Really, I think they're

1511
01:17:37,316 --> 01:17:39,596
Speaker 5: all like that. They're all sort of even go your

1512
01:17:39,596 --> 01:17:41,276
Speaker 5: own way, which you think you've heard. And I wasn't

1513
01:17:41,316 --> 01:17:43,396
Speaker 5: like a big fan of the band in those days particularly,

1514
01:17:43,476 --> 01:17:45,636
Speaker 5: I liked admired them for what I knew that they

1515
01:17:45,636 --> 01:17:49,116
Speaker 5: were really big, you know, great pop songs, and they

1516
01:17:49,116 --> 01:17:50,916
Speaker 5: had something and I'd seen a couple of live things

1517
01:17:50,956 --> 01:17:53,276
Speaker 5: back in the day that were amazing, you know, when

1518
01:17:53,316 --> 01:17:57,356
Speaker 5: they were at their prime. And but you think you

1519
01:17:57,396 --> 01:17:59,236
Speaker 5: know and it is a very simple song, but it's

1520
01:17:59,276 --> 01:18:01,956
Speaker 5: just learning it is more is more difficult than you think.

1521
01:18:02,036 --> 01:18:04,836
Speaker 5: And it's not that they're I think I have more

1522
01:18:05,196 --> 01:18:07,236
Speaker 5: quirks and nuances and the way that I put songs

1523
01:18:07,276 --> 01:18:12,236
Speaker 5: together than Lindsay, but somehow they're hard and like things

1524
01:18:12,236 --> 01:18:15,876
Speaker 5: like I was serlening Monday morning. Just quite a strange

1525
01:18:15,876 --> 01:18:18,116
Speaker 5: song and a weird lyric as well, actually, but so

1526
01:18:18,236 --> 01:18:20,676
Speaker 5: much singing, and it's really high and it's very hard

1527
01:18:20,676 --> 01:18:24,116
Speaker 5: to sing. It's because there's no gaps in the vocal

1528
01:18:24,116 --> 01:18:25,556
Speaker 5: and I found I had to actually in the end,

1529
01:18:25,596 --> 01:18:27,036
Speaker 5: So I can't. Don't think I can do that one

1530
01:18:27,676 --> 01:18:29,396
Speaker 5: unless we drop the key quite a bit. And we

1531
01:18:29,396 --> 01:18:32,316
Speaker 5: stopped doing it anyway because I just I was blowing

1532
01:18:32,316 --> 01:18:35,556
Speaker 5: my voice out every night trying to do it. So yeah,

1533
01:18:36,196 --> 01:18:38,756
Speaker 5: things I would have if I'd been doing that myself,

1534
01:18:39,236 --> 01:18:43,596
Speaker 5: I would have created space somewhere so I get a breath. Yeah,

1535
01:18:43,596 --> 01:18:47,156
Speaker 5: these are not particularly interesting details. What I did learn

1536
01:18:47,276 --> 01:18:50,956
Speaker 5: was that classic bands are a result of and music

1537
01:18:50,996 --> 01:18:54,756
Speaker 5: as a result of five in that case, individuals having

1538
01:18:54,836 --> 01:19:00,756
Speaker 5: quite distinctive personalities musically, and something about that being undeniable

1539
01:19:00,916 --> 01:19:06,396
Speaker 5: and unreplaceable. Although having said that, I did replace Lindsey.

1540
01:19:06,796 --> 01:19:09,676
Speaker 1: But did you ever talk to about it.

1541
01:19:10,196 --> 01:19:13,076
Speaker 5: I've not met him. No, I have a feeling we'd

1542
01:19:13,116 --> 01:19:14,916
Speaker 5: probably get on just fine. And I don't think he

1543
01:19:14,996 --> 01:19:18,276
Speaker 5: was I mean, it was very he was not happy

1544
01:19:18,276 --> 01:19:21,196
Speaker 5: about the situation. I understand that, but I don't think

1545
01:19:21,236 --> 01:19:23,596
Speaker 5: he would have blamed me for it particularly, and I

1546
01:19:23,636 --> 01:19:29,036
Speaker 5: think he probably had some awareness of my songs and probably,

1547
01:19:29,076 --> 01:19:30,556
Speaker 5: you know, I would hope at some point he might

1548
01:19:30,596 --> 01:19:34,236
Speaker 5: have thought, well, at least somebody that can write a

1549
01:19:34,236 --> 01:19:38,956
Speaker 5: good song is you know, taken my part. But the

1550
01:19:39,036 --> 01:19:41,876
Speaker 5: believing in a band, and actually it can be redefined,

1551
01:19:41,956 --> 01:19:45,796
Speaker 5: especially Fleetwood Mack have redefined themselves so many times, have

1552
01:19:45,836 --> 01:19:49,316
Speaker 5: been so many different kinds of bands. I related to that,

1553
01:19:49,356 --> 01:19:51,636
Speaker 5: and I thought, oh, maybe I can do that. And

1554
01:19:51,676 --> 01:19:53,276
Speaker 5: at the same time as I thought that, and I

1555
01:19:53,356 --> 01:19:56,356
Speaker 5: was appreciating that about Fleetwood Mac, I thought, I've been

1556
01:19:56,396 --> 01:19:59,476
Speaker 5: playing music with el Roy and Liam for the last

1557
01:19:59,516 --> 01:20:01,636
Speaker 5: few years and it's been feeling great, So why not

1558
01:20:01,796 --> 01:20:04,516
Speaker 5: just you know, one ring to bind them all. And

1559
01:20:05,236 --> 01:20:07,396
Speaker 5: I put it to Nick and he was super enthusiastic

1560
01:20:07,436 --> 01:20:09,116
Speaker 5: about it. And then we thought, well, what about Mitchell

1561
01:20:09,156 --> 01:20:09,476
Speaker 5: as well?

1562
01:20:09,556 --> 01:20:10,516
Speaker 4: Why don't we ask him?

1563
01:20:10,596 --> 01:20:12,836
Speaker 5: We asked him twenty five thirty years ago and he

1564
01:20:12,916 --> 01:20:15,316
Speaker 5: was too busy trying to be a producer. But maybe

1565
01:20:15,436 --> 01:20:17,196
Speaker 5: the time will be right, and it just was, you know,

1566
01:20:17,956 --> 01:20:18,316
Speaker 5: was right.

1567
01:20:19,076 --> 01:20:20,716
Speaker 1: I was interested when I saw you the other night,

1568
01:20:20,716 --> 01:20:25,116
Speaker 1: which was a great show that the crowd got to

1569
01:20:25,196 --> 01:20:28,916
Speaker 1: vote on the song they were playing, and you seem surprised,

1570
01:20:29,636 --> 01:20:32,436
Speaker 1: and I don't know if you were genuinely surprised that

1571
01:20:32,556 --> 01:20:35,156
Speaker 1: they chose Into Temptation, which I think.

1572
01:20:34,996 --> 01:20:41,076
Speaker 4: Is just we give them an option of It's an

1573
01:20:41,076 --> 01:20:41,916
Speaker 4: experiment on this too.

1574
01:20:41,916 --> 01:20:43,796
Speaker 5: We haven't done this before, but we thought they like

1575
01:20:44,676 --> 01:20:48,156
Speaker 5: having some degree of people request songs all the time,

1576
01:20:48,196 --> 01:20:50,476
Speaker 5: and we often don't do them because they come at

1577
01:20:50,476 --> 01:20:53,156
Speaker 5: the wrong time, or it's a way of people being

1578
01:20:53,196 --> 01:20:54,436
Speaker 5: able to express an opinion.

1579
01:20:55,796 --> 01:20:56,876
Speaker 4: I got you gets a lot of.

1580
01:20:56,836 --> 01:20:59,836
Speaker 5: Nods, and that Into Temptation is a surprising one, but

1581
01:20:59,876 --> 01:21:02,636
Speaker 5: it has endured for a lot of people as one

1582
01:21:02,676 --> 01:21:05,876
Speaker 5: of our best songs. And we don't play it every

1583
01:21:05,956 --> 01:21:09,036
Speaker 5: night because if we've got four seasons in the set,

1584
01:21:09,556 --> 01:21:13,196
Speaker 5: they occupy quite a similar dynamic and feels like sometimes

1585
01:21:13,236 --> 01:21:18,556
Speaker 5: too many of that kind of song might lower the

1586
01:21:18,596 --> 01:21:22,516
Speaker 5: tempo of the show, but it's actually finishes the show

1587
01:21:22,596 --> 01:21:26,076
Speaker 5: quite well. Strangely, it doesn't leave people feeling depressed. That

1588
01:21:26,196 --> 01:21:29,836
Speaker 5: leaves them feeling sort of content in a funny kind

1589
01:21:29,836 --> 01:21:30,116
Speaker 5: of way.

1590
01:21:30,116 --> 01:21:33,516
Speaker 1: It seems well, it seems like a very catholic song,

1591
01:21:33,556 --> 01:21:35,156
Speaker 1: so maybe it's like man, it.

1592
01:21:35,076 --> 01:21:39,516
Speaker 5: Does express, it does express all the dimensions of temptation

1593
01:21:39,636 --> 01:21:40,116
Speaker 5: and guilty.

1594
01:21:40,156 --> 01:21:43,396
Speaker 1: Yeah, so what's next for you is that you're going

1595
01:21:43,436 --> 01:21:44,876
Speaker 1: to keep touring and then.

1596
01:21:45,636 --> 01:21:47,356
Speaker 5: Well we are in the short term, we're going to

1597
01:21:47,396 --> 01:21:51,356
Speaker 5: the end of the year pretty NonStop now, which is

1598
01:21:51,396 --> 01:21:54,676
Speaker 5: you know, amazing for developing as a band and has

1599
01:21:54,716 --> 01:21:57,476
Speaker 5: some degree of you know, a bit of a wrench

1600
01:21:57,556 --> 01:22:01,756
Speaker 5: for Liam to be away from family and we all

1601
01:22:01,796 --> 01:22:05,356
Speaker 5: have the and Nick, you know, and Mitchell below. Mitchell's

1602
01:22:05,356 --> 01:22:07,716
Speaker 5: son's just left home so he's free as a bird.

1603
01:22:08,756 --> 01:22:10,436
Speaker 5: So yeah, it's but we're going to be touring next

1604
01:22:10,516 --> 01:22:12,276
Speaker 5: year a little bit less, but we're going to make

1605
01:22:12,276 --> 01:22:13,476
Speaker 5: a new record next year, I think.

1606
01:22:14,356 --> 01:22:16,116
Speaker 6: Yeah, it was we didn't know until we did an

1607
01:22:16,116 --> 01:22:21,116
Speaker 6: interview that it's thirty forty thirty forty years since the

1608
01:22:21,196 --> 01:22:24,436
Speaker 6: first since the band started. Next year, so we've got to,

1609
01:22:24,756 --> 01:22:27,516
Speaker 6: you know, that's kind oft to the anniversary, make the

1610
01:22:27,556 --> 01:22:29,476
Speaker 6: best record that Crowded House has ever made.

1611
01:22:29,636 --> 01:22:30,636
Speaker 4: Yeah, after forty years.

1612
01:22:30,676 --> 01:22:32,396
Speaker 5: Well, we're capable of it, and everyone will be coming

1613
01:22:32,436 --> 01:22:36,876
Speaker 5: with a clean slate, a fresh palette. There's no other

1614
01:22:37,516 --> 01:22:41,836
Speaker 5: you know, nothing else that is competing for our attention.

1615
01:22:42,156 --> 01:22:44,316
Speaker 5: Next year so and we can be together in a

1616
01:22:44,356 --> 01:22:48,276
Speaker 5: studio more often if we can navigate it from a

1617
01:22:48,316 --> 01:22:49,476
Speaker 5: geographical point of view.

1618
01:22:50,716 --> 01:22:52,516
Speaker 1: Well, listen, thank you so much for coming in here.

1619
01:22:52,596 --> 01:22:54,436
Speaker 1: It's been thank you, it was till late.

1620
01:22:54,556 --> 01:22:57,996
Speaker 4: Thank you, thank you the real very nice conversation. Thanks

1621
01:22:58,036 --> 01:22:58,796
Speaker 4: for jowing us.

1622
01:22:59,156 --> 01:23:02,036
Speaker 1: Thank you, Bruce, thank you, thank you, great Honor.

1623
01:23:04,716 --> 01:23:07,756
Speaker 2: Thanks so much to Neil Finn, Liam Finn, Al Ray Finn,

1624
01:23:07,876 --> 01:23:10,916
Speaker 2: Nick Seymour and Miss Froom of Crowded House for talking

1625
01:23:10,956 --> 01:23:14,836
Speaker 2: about their new project and their long histories together. To

1626
01:23:14,876 --> 01:23:17,076
Speaker 2: hear a playlist of our favorite songs from Crowded House.

1627
01:23:17,116 --> 01:23:19,956
Speaker 2: You can go to this episode's description or visit us

1628
01:23:19,996 --> 01:23:23,636
Speaker 2: at broken Record podcast dot com. Subscribe to our YouTube

1629
01:23:23,676 --> 01:23:26,836
Speaker 2: channel at YouTube dot com slash broken Record Podcast, where

1630
01:23:26,876 --> 01:23:29,916
Speaker 2: you can find all of our new episodes. You can

1631
01:23:29,956 --> 01:23:33,276
Speaker 2: follow us on Twitter at broken Record. Broken Record is

1632
01:23:33,316 --> 01:23:36,356
Speaker 2: produced and edited by Leah Rose, with marketing help from

1633
01:23:36,436 --> 01:23:40,076
Speaker 2: Eric Sandler and Jordan McMillan. Our engineer is Ben Tollinay.

1634
01:23:40,676 --> 01:23:44,196
Speaker 2: Broken Record is a production of Pushkin Industries. If you

1635
01:23:44,236 --> 01:23:47,516
Speaker 2: love this show and others from Pushkin, consider subscribing to

1636
01:23:47,676 --> 01:23:51,636
Speaker 2: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

1637
01:23:51,676 --> 01:23:55,276
Speaker 2: bonus content and actually listening for four ninety nine a month.

1638
01:23:55,956 --> 01:23:59,836
Speaker 2: Look for Pushkin Plus on Apple Podcasts, subscriptions, and if

1639
01:23:59,876 --> 01:24:02,276
Speaker 2: you like this show, please remember to share, rate, and

1640
01:24:02,356 --> 01:24:05,156
Speaker 2: review us on your podcast app. Our theme music's by

1641
01:24:05,236 --> 01:24:05,916
Speaker 2: Kenny Beats.

1642
01:24:06,036 --> 01:24:07,116
Speaker 3: I'm justin Richmond.