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Speaker 1: Look, we've been talking to people about this incredible year

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Speaker 1: least in nineteen eighty four. What an exciting year. It

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Speaker 1: was all round exciting year for one of our finest

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Speaker 1: inexcess of course, with that Swing album going number one here,

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Speaker 1: but the band right on the verge of taking over

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Speaker 1: US chart domination and around the world as well level

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Speaker 1: and the man who wrote so many of those wonderful

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Speaker 1: songs with his note Michael Hutchins Andrew Farisse. Real pleasure to.

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Speaker 2: Talk to you, Ed Hi Clerzyhi Lusa.

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Speaker 1: How are you very well?

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Speaker 3: First vol Can you believe it's been forty years?

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Speaker 2: Sure? Yeah, well, yeah I can because one of my

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Speaker 2: daughters married at a farm where we live some and yeah,

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Speaker 2: about two weeks ago. And it's kind of in shock

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Speaker 2: with all that. Can't believe we're that wamp, But it's

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Speaker 2: all good actually, And we did so much together as

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Speaker 2: a band in excess amazing during not just during eighty

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Speaker 2: four but before.

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Speaker 3: And yeah, yeah, well lady, eighty four was the year

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Speaker 3: you released the Swing, had your first number one with

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Speaker 3: Original Sin, found international fame, and went on a NonStop

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Speaker 3: tour of Europe, the UK, the US and Australia. It

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Speaker 3: really was the year it sort of all went to

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Speaker 3: another level, don't you think.

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Speaker 2: Absolutely well, the first two in excess albums we released

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Speaker 2: I Think of you Know, which I think was around

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Speaker 2: about nineteen eighty the first album came out, and then

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Speaker 2: those first two albums really more like a soundtrack for

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Speaker 2: our live shows in some ways. It was almost funny.

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Speaker 2: We sort of we used to think, oh, well, live

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Speaker 2: audience like this as opposed to you know, radio people

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Speaker 2: like this. You know. But then the third album, which

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Speaker 2: came out in nineteen eighty three or late eighty two,

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Speaker 2: I think it was, had two top forty hits in

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Speaker 2: the US as well, which was Don't Change and the

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Speaker 2: One Thing, and Bruce Springsteen covered Don't Change when he

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Speaker 2: came out to Australia did perform. Yeah. But eighty four,

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Speaker 2: so eighty four rolled around well before that all go

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Speaker 2: back to eighty three. We've had that success in America

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Speaker 2: and other places in the world in eighty three, but

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Speaker 2: mainly with Original Sin, which we recorded with Nile Rodgers

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Speaker 2: back then in New York. And then so as eighty

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Speaker 2: four rolled around, we realized we were promoting that work

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Speaker 2: that we've been doing for the swing and you know that. Yeah,

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Speaker 2: And we recorded the rest of The Swing in England

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Speaker 2: actually in Hiddlington. I think it was in the manor

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Speaker 2: which is Richard Branson. He was living there while we

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Speaker 2: were recording there actually, And so we actually tracked the

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Speaker 2: album The Swing mostly in the UK, but also in

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Speaker 2: New York. Yeah, yeah, unreal.

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Speaker 1: And then you have things like Daryl Hall just happened

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Speaker 1: to be down the Hall and came in and did

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Speaker 1: some vocals for when you're working with Nile that was

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Speaker 1: that was these are incredible times. What was going on?

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Speaker 1: And like you say that Shad bush Bar with that

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Speaker 1: incredible success and then this album setting you up for

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Speaker 1: what was to come with listen like for you later?

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Speaker 1: Did you get to enjoy it? Andrew? Are you working

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Speaker 1: so bloody hard?

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Speaker 2: You know, I'm a bit odd like that. I like

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Speaker 2: working bloody hard and I'm not a lazy person, but

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Speaker 2: that can be bad and good for me. But I

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Speaker 2: liked the challenge musically of it all. I think we

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Speaker 2: all did. I think we really enjoyed it. And I

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Speaker 2: think if I can just connect the Daryl Hall part

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Speaker 2: of it, Darrell wasn't living down the hall. What happened

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Speaker 2: was yeah, story, Yeah, yeah, yeah, Nola Rodgers the record

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Speaker 2: producer on Original Sin. He was an all first and

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Speaker 2: awesome talented man and great record producer. But secondly, I

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Speaker 2: was staying the hole in the chord chart for him

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Speaker 2: that I've written. I was twenty three years of age

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Speaker 2: holding this thing, and I've written the guitar rifts and

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Speaker 2: chords and things, and Michael at the melody and a

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Speaker 2: lyric of that song. But I was standing there hold

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Speaker 2: in this courtyard for now. I was really nervous. And

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Speaker 2: we've actually recorded that take of Original Sin. It was

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Speaker 2: a third take, so we only done three passes and

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Speaker 2: he was happy with the third one, which shares a

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Speaker 2: lot for us as a live act, if I can

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Speaker 2: say as well. And but what happened was we were

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Speaker 2: doing backing vocals and we were trying to do a

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Speaker 2: sort of a I don't know, a soul kind of

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Speaker 2: thing in the background, and he listened to it and

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Speaker 2: he was cool. You know, he's a good guy. He said, look,

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Speaker 2: I like these, but I can't make a telephone call.

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Speaker 2: And we were like, sure, it's your studio, you know.

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Speaker 2: So he calls up Darryl, and Daryl walks through the

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Speaker 2: door and I turned around. I was like, well, that's

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Speaker 2: that's interesting telephone book you got right there, you know,

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Speaker 2: and you know, and he walks in starts saying and

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Speaker 2: he was. He was an absolutely brilliant guy as well,

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Speaker 2: a very friendly and no attitude at all, just a

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Speaker 2: real consumer professional. And then he left and I remember

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Speaker 2: taking the recording of Original Sin back to my hotel

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Speaker 2: room in Midtown Manhattan and put it on in the

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Speaker 2: hotel room and I thought, what, nurse's this? What do

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Speaker 2: we just record? You know? Yeah? And it blew me away,

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Speaker 2: you know, and still it has always years later. I mean,

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Speaker 2: unfortunately Jason Cassaro, who was the recording engineer, he's passed

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Speaker 2: away since. But you know, Nile and Jason did an

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Speaker 2: awesome job in a band.

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Speaker 1: Of course, beautiful soul voice.

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Speaker 3: You talk about it being recorded in the UK in Islington,

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Speaker 3: but it was. It had a huge success around the world,

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Speaker 3: number one in Australia, number one in Argentina and France,

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Speaker 3: six in New Zealand. The list goes on, but it

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Speaker 3: was kind of ignored in the UK. What do you

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Speaker 3: think that was about?

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Speaker 2: Potentially, because Original Sin, to me when it came out,

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Speaker 2: was not like anything else that all the bands of

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Speaker 2: our era. If you're like, we're all doing it wasn't

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Speaker 2: a sort of new new way. It was really you know,

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Speaker 2: it was anything like this, And the lyric wasn't a nice, tidy,

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Speaker 2: little pop lyric that you go, ay like this, so

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Speaker 2: mom and dad like this song, and it wasn't like that.

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Speaker 2: It was a bit confronting, especially for people at radio.

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Speaker 2: But I think that goes to show you a lot

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Speaker 2: about Australian radio back in back in those years. Yeah,

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Speaker 2: that that were open mind.

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Speaker 1: Yeah, honest, absolutely, And the UK thing changed by the

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Speaker 1: time Wembley came around, because it only took six or

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Speaker 1: seven years and they were mean before that. Man they

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Speaker 1: love with the band, were they?

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Speaker 2: Yeah? And then you know that's right. We were touring

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Speaker 2: constantly and you know, working like crazy, but it was exciting,

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Speaker 2: you know, and we could we could see we could

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Speaker 2: see that. I don't know how to put it, but

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Speaker 2: back then you didn't spend your time looking at flat screens.

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Speaker 2: You know, you got out there and you did it

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Speaker 2: physically most of the time. He got out there round

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Speaker 2: around and wasn't done all online and everything, and so

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Speaker 2: I think that was a very important part of it. Too.

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Speaker 2: Where for young guys running around doing all this stuff.

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Speaker 2: It was exciting. You know.

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Speaker 3: Well the swing one most popular group and best album,

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Speaker 3: well you one most popular group and the Swing one

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Speaker 3: Best album at the Countdown Awards that year was that.

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Speaker 1: Can you remember?

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Speaker 2: Was it a count almost? But it was? It was

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Speaker 2: like yeah, and I think that's another thing too. You had,

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Speaker 2: instead of the television getting involved with the music industry

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Speaker 2: and putting the lead singers in front of curtains, which

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Speaker 2: is what it is now. You know, they hats off

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Speaker 2: to the ABC and Molly because they were promoting not

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Speaker 2: just oddy music, but introducing international music with people playing

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Speaker 2: live on television. And I look back at that and

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Speaker 2: I think, you know when there was a groundbreaking.

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Speaker 1: Yeah, absolutely, and just you know fear.

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Speaker 2: You know, it was sort of like, you know, it's

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Speaker 2: so hard to imagine now everything's so you know, santized.

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Speaker 3: Yeah, the Countdown was an institute just so awful to

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Speaker 3: wasn't It was everything? And of course we didn't have that,

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Speaker 3: you know, only had a couple of choicest you.

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Speaker 2: Know, I think I think I can remember not just

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Speaker 2: younger people, but you know, families would sit around and want.

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Speaker 1: Wasn't it.

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Speaker 2: Yeah, and it's hard to believe all that was going

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Speaker 2: on forty years ago. It was really unbreaking actually, but

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Speaker 2: I look at all out of side, I think for

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Speaker 2: an success, I think it was you know, particularly uh,

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Speaker 2: you know, really fantastic to get that chart success obviously

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Speaker 2: at home in Australia, but also in what i'd call

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Speaker 2: new territories, which were You've got to kind of understand

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Speaker 2: this a little bit, is that places like South America

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Speaker 2: you were talking about, Argentina and other places like that,

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Speaker 2: even Japan to a certain extent, you know where We've

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Speaker 2: made a couple of videos forward to Swing in Japan.

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Speaker 2: We shot the video for Original Sin on a wharf

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Speaker 2: in Toko, and then we went to the famous old

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Speaker 2: Buddhist thousands of years old temple in the middle of

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Speaker 2: Tokyo to shoot I send a message, and all that

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Speaker 2: experience was sort of leading somewhere for us. Well. We

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Speaker 2: began to get the idea that it's not just having

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Speaker 2: success at home and a slap on the back and

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Speaker 2: playing a good gig short. That's great, but it was

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Speaker 2: we began to realize that we're on the edge of

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Speaker 2: doing something a bit bigger, and we could keep if

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Speaker 2: we kept doing what we were doing and didn't let

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Speaker 2: up and kept going, we might go somewhere really interesting.

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Speaker 2: And I think that's exactly what happened.

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Speaker 3: That really sums up nineteen eighty four because one of

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Speaker 3: the first shows you did in nineteen eighty four was

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Speaker 3: it The Generator in more Lands. Next minute you're on

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Speaker 3: the road doing a full world tour and then came

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Speaker 3: back and wrapped it up with some shows at the

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Speaker 3: Entertainment Center in September. I mean, that's quite the juxtape.

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Speaker 2: Thank you. I get it. I mean we've been playing

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Speaker 2: around in the late seventies as the Faris Brothers in

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Speaker 2: West Australia. Actually we ran out of gigs to play

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Speaker 2: because I think the promoters didn't want us to play

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Speaker 2: our own songs. They wanted us to play covers because

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Speaker 2: to the bar the hotels. Right. So that's why we

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Speaker 2: left Western Show, not because we didn't love being there,

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Speaker 2: but because you know, that was what it was like

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Speaker 2: back and I hope it's not that way anymore, but

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Speaker 2: that was what it was like back then. That's one.

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Speaker 2: But all I can say is that shows you you

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Speaker 2: got when you when you set out to do the

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Speaker 2: impossible keep going. You just never know.

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Speaker 1: Yeah. Absolutely, you had a manager who was You're all

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Speaker 1: on the same page, weren't you, because Murphy wanted to

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Speaker 1: take you to the world and do everything it could

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Speaker 1: to make you big stars. And it worked because we're

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Speaker 1: on the same page.

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Speaker 2: Yeah, I mean, I think we all worked to make

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Speaker 2: us all big stars, I guess. But you know, it

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Speaker 2: doesn't go down well in Australia. We like to think,

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Speaker 2: I think, do you like to think about ourselves as

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Speaker 2: a sporting nation first? You know, and we just had

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Speaker 2: Antac Day go past, and we pay respect to obviously

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Speaker 2: people who did extraordinary things under a huge pressure. To

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Speaker 2: a certain degree, I'm also very proud of us as

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Speaker 2: Australians doing what we were doing when we first went

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Speaker 2: to the US in the early eighties. We go to

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Speaker 2: radio stations and they go, you guys from.

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Speaker 1: Astria, Austria. Good one, that's right, Yeah, that's as good.

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Speaker 1: This is before.

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Speaker 2: Well, actually round about that time and we got a

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Speaker 2: request from Strop and Delving Delaney to go up to

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Speaker 2: Kakadu where they were shooting the film Crocodiles Dundee. So

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Speaker 2: Michael and I thought up there and went out to

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Speaker 2: the set and met those guys on the set, which

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Speaker 2: is awesome. And I remember talking to Osla about Crocodile's stuff,

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Speaker 2: which I didn't know that much about then. I still

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Speaker 2: don't know that much about. But anyway, and thankfully and

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Speaker 2: but yeah, it was. It was sort of a really

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Speaker 2: interesting time in just not just for an excess but

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Speaker 2: in the world. I think we had I think you

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Speaker 2: had people seriously trying to work towards if I can

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Speaker 2: just go sideways from it, work towards peace in the

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Speaker 2: world instead of other stuff. Interesting time.

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Speaker 3: I think I think that that tall poppies Inndrome that

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Speaker 3: we were quite renowned for is not as tall these

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Speaker 3: days as it was. But at this time it was

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Speaker 3: really peak and I never really understood it, and I

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Speaker 3: always thought it must have been quite hurtful sometimes when

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Speaker 3: it felt like people wanted people who were doing well

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Speaker 3: to fail try to bring them, yeah, to just try

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Speaker 3: to bring them down. It's like, well, I don't know,

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Speaker 3: it was that Australian sort of thing of who do

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Speaker 3: you think you are? Or you know, don't get too

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Speaker 3: big for your boots. Did you find that well.

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Speaker 2: Yes, But I will say that with empathy to other

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Speaker 2: Australian artists before and after us who've gone off to

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Speaker 2: try and do similar things. Yeah, a lot of it,

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Speaker 2: a lot of them live overseas. Is exactly what you

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Speaker 2: just said.

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Speaker 1: Yeah, absolutely, When you talked about your work, I think

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Speaker 1: and not being afraid of hard work, in fact thriving

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Speaker 1: on it. Would you have broken America? Do you think

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Speaker 1: if you didn't do what you guys did, and that

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Speaker 1: is relentless touring like Credit House and the Oils did

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Speaker 1: just after you and all similar times, would that have

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Speaker 1: happened for you? Or because Chisel didn't do it and

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Speaker 1: I didn't break Crack America.

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Speaker 2: I won't be specific, but I think the best way

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Speaker 2: I can say it is I don't know that much

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Speaker 2: about min A or or Credit Houses touring schedules during

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Speaker 2: those years. I don't really know, to be honest, but

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Speaker 2: I do know that it was really one of the

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Speaker 2: things for an Excess was we weren't the best band

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Speaker 2: to come out of Australia. I think there are other

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Speaker 2: amazing acts that had come around at the same time

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Speaker 2: or tried to do what we were doing. But I

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Speaker 2: think one of the things that really I give this

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Speaker 2: respect to the guys in the band, our band, any

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Speaker 2: excess is that we did whatever it took to do

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Speaker 2: what we had to do, and we didn't stop. And

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Speaker 2: I think some of the other acts got freaked out

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Speaker 2: at what that actually meant, because you didn't have a

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Speaker 2: weekend with your mates, you didn't have a normal existence.

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Speaker 2: You're away from your family, potentially your children, and you

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Speaker 2: know people who care about you love you. You will

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Speaker 2: be away for a long time. And I suppose a

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Speaker 2: little bit like what some people in our militaryp haves

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Speaker 2: to go through. And I think that if you couldn't

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Speaker 2: handle that, then you didn't do it and you went

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Speaker 2: home again.

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Speaker 1: Yeah, more comfortable.

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Speaker 3: Yeah, I have to ask what music were you listening

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Speaker 3: to in nineteen eighty four?

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Speaker 2: Interesting, Well, ironically, one of the albums I loved that

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Speaker 2: came out around about them was Let's Dance because David

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Speaker 2: Bewie album because that had literally literally Nile Rogers and

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Speaker 2: Jason Burrow his original Sin Bowie's gear was being humped

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Speaker 2: out of the power station in New York and we

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Speaker 2: moved our gear in the same day. So that was

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Speaker 2: what was around. The clash was around, like you is

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Speaker 2: the early Vun van Halen stuff with David Lee Roth

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Speaker 2: and well, you know, there were so many amazing artists

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Speaker 2: in that period of time and a different kind of

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Speaker 2: energy to a lot of things. You had. Also, by

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Speaker 2: the early eighties you had a turn of the tide

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Speaker 2: away from sort of punk and very agro rock. You

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Speaker 2: had people re exploring other sort of styles of music

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Speaker 2: and maybe I don't know, a bit more experimental things.

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Speaker 2: Then you had the beginnings of what became you know,

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Speaker 2: hip hop and rap and all kinds of you know,

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Speaker 2: diffusion of rock with hip hop and exciting things like

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Speaker 2: that to me, which were really cool at the time

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Speaker 2: because no one had tried anything on like that, putting

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Speaker 2: like electronic music with you know, electric guitars, and it

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Speaker 2: was really good.

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Speaker 1: And some time you mentioned Van Hailend nineteen eighty four

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Speaker 1: because Eddie was in great form of the guitar and

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Speaker 1: they had an album called nineteen eighty four as well.

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Speaker 1: Right there, exciting times, and so I.

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Speaker 2: Just want to say as well, you know, so I think, yes,

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Speaker 2: they were exciting times, but I think that the chart

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Speaker 2: success we've had it kind of led on. It led

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Speaker 2: on beautifully and segued into listen like these the album marketers.

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Speaker 2: But that was really important too, because that gave us

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Speaker 2: our first top five hit in the US and other

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Speaker 2: places in the world, and we got attention in a

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Speaker 2: different kind of way. But it was it was all

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Speaker 2: pretty amazing. But I think the swing in particular in

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Speaker 2: Australia seems to be in a very affectionate album for Australians.

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Speaker 2: I think, yeah, you know, and it has some really

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Speaker 2: I don't know what. Some of the songs are very broad,

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Speaker 2: you know, some of some of us just good. Some

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Speaker 2: of it's good sort of simple lyrics to understand, you know,

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Speaker 2: some some pretty straightforward funk and pop and rock stuff,

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Speaker 2: and then you know, but we weren't trying to change

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Speaker 2: the world. That's the other thing, you know. We didn't

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Speaker 2: have a soapbox and agenda. We were just sort of

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Speaker 2: as songwriters, especially myself and Michael, were always to reach

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Speaker 2: a broad range of people. We didn't see it's only

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Speaker 2: these people that are cool, you know. Yeah, if anybody

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Speaker 2: who likes your music, you're lucky.

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Speaker 3: Yeah. Well, it's only now that we know, forty years

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Speaker 3: down the track, it's being enjoyed by a second and

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Speaker 3: then third generation equally as much as we did back

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Speaker 3: in nineteen eighty four, so thank you for that.

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Speaker 1: Yeah, thanks, man.

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Speaker 2: Mate.

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Speaker 1: When nineteen year olds nowhere is when nineteen year olds

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Speaker 1: talking to me at Bet Johnson's aeroplane, I go, well,

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Speaker 1: that's me. That's to Mark. That's very cool.

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Speaker 2: I mean you should mention that, but I was just

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Speaker 2: going to shamelessly add as well. I released my own

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Speaker 2: self titled album. It took me a long time to

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Speaker 2: get my act together. I'm still training but in twenty

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Speaker 2: twenty one and then I'm working on my follow up

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Speaker 2: to at album. I put out an EP during COVID,

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Speaker 2: which is just the whole experience is crazy. But I'm

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Speaker 2: putting together another album right now. It's called The Prospector

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Speaker 2: and I aim to have it out this year at

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Speaker 2: some point. And I'm also working on you know, most

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Speaker 2: of the songs that I've recorded I'm pretty happy with

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Speaker 2: and there you got it. And I'd love to tour

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Speaker 2: with the West too. Yeah. Yeah, I've been turning in

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Speaker 2: Australia on the east side of it. Yeah five at

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Speaker 2: the agencies keep throwing those gigs at us, which is great.

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Speaker 2: But we've been We've played as far up as Cans

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Speaker 2: in North Gwen's Lane down to tazzy a few times now, so,

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Speaker 2: but I'm going to head WestEd. Well, good point.

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Speaker 1: You know, we'll roll out the red carpet for any brother. Yeah, well,

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Speaker 1: we'll get you over here, get your homeway from home,

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Speaker 1: and get your headlining a muster or something over here. Man,

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Speaker 1: that'd be.

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Speaker 3: Great and lovely to reminisce about nineteen eighty four with you.

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Speaker 2: Yeah.

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Speaker 1: Thanks, and for your generosity of time, mate, we appreciate it.

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Speaker 2: Yeah. And it's good that George Orwall's prediction didn't come true.

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Speaker 1: Absolutely yeah, right