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Speaker 1: It's time to talk music lace and we love doing

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Speaker 1: this that way. Yes, because a man who's written a

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Speaker 1: new book, and he's been a music journalist for a

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Speaker 1: hell of a long time journalist and author. His first

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Speaker 1: two books were years ago with Rock Brain of the

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Speaker 1: Universe Glenae Baker and the new memoir Shakes Some Action.

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Speaker 1: Stuart could, good morning, that's great to talk to you.

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Speaker 2: Good morning to you both.

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Speaker 3: Good morning. So I don't want to go all the

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Speaker 3: way back. It could take too long to add. But Stuart,

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Speaker 3: how did you become a music journalist? Well, the aspiring

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Speaker 3: music journalists want want to know what's the secret?

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Speaker 4: Look disloving music? I mean I still type with one figure. Yeah,

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Speaker 4: I have appalling grammar, appalling spelling, but I have an

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Speaker 4: unbridled passion for music and that developed pretty early on

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Speaker 4: when I was growing up in Lonceeston, in Tasmania and

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Speaker 4: I just something in my psyche said, I love music

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Speaker 4: and I want to tell everybody I can possibly find about.

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Speaker 2: Music that I love.

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Speaker 4: And more decades than we care to think about, I'm

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Speaker 4: still that guy running around going have you heard this band?

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Speaker 2: This? Yeah?

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Speaker 3: Grabbing people and shaking them.

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Speaker 2: Absolutely.

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Speaker 1: Stewart how does a twenty five year old end up

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Speaker 1: from lon Syston and end up in Paris talking to

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Speaker 1: the boss Bruce Springsteen like there was such a freaky story.

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Speaker 4: The twenty five year old sort of looks at himself

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Speaker 4: and goes, how did this happen? Yeah, yeah, because I

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Speaker 4: did have course to reflect that. You know, it was

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Speaker 4: only nine years earlier than that that my school teacher,

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Speaker 4: you know, I'm still in high school in Loncesteron had

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Speaker 4: brought me back the first Bruce Springsteen album and I

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Speaker 4: completely fallen in love with it. And then, you know,

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Speaker 4: nineteen eighty one, I'm you know, in Paris sitting at

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Speaker 4: three o'clock in the morning backstage with Bruce Springsteen.

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Speaker 2: So you know, look, it was a reflection.

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Speaker 4: At that time I was I was writing a column

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Speaker 4: for the Sun Herald newspaper, which was, you know, the

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Speaker 4: biggest selling paper in the country in those days, and.

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Speaker 2: You know, the record label.

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Speaker 4: It's hard to imagine now, but they were saying, oh,

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Speaker 4: we're having trouble getting much exposure for Bruce Springsteack, you know.

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Speaker 2: Yeah, yeah, yeah, twenty three and the.

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Speaker 4: Head of the record level set, we think we should

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Speaker 4: send someone over to overseas to see him play and

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Speaker 4: write about what he's like live.

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Speaker 2: What are you doing next week?

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Speaker 4: So I paused for about three seconds and looked like

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Speaker 4: I had something else to do.

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Speaker 2: I schedule.

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Speaker 4: Yeah, of course, I've never been out of Australia. You know,

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Speaker 4: it's my first This was my first overseas trip. So

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Speaker 4: it was a pinch, pinch and pinch again moment.

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Speaker 2: Yeah, to have that happen.

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Speaker 3: It sounds like Bruce was very nice to deal with,

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Speaker 3: which would have been a great help to you know,

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Speaker 3: that early sort of experience, coupled with all the other

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Speaker 3: you know, going overseas and all that. But one of

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Speaker 3: the things that really grabbed me early in reading the book,

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Speaker 3: probably because I think we can all relate to this,

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Speaker 3: is the the concept of the don't interview your heroes.

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Speaker 3: The possibility when you have the great luxury of being

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Speaker 3: able to interview people that you really admire, that comes

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Speaker 3: with the risk of what if I turned out to

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Speaker 3: be Is there anyone that you would care to share

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Speaker 3: with this Stewart that I had that effect on you?

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Speaker 4: Oh, look, there's been people that have been difficult, and

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Speaker 4: as you say, people that I went and maybe I

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Speaker 4: would have preferred to have just watched the shows and

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Speaker 4: listened to the music. You know, I found Tom Waits

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Speaker 4: particularly unpleasant.

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Speaker 2: I interviewed, you know, Lou Reid.

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Speaker 4: I managed, you know, he was notoriously and rude and arrogant,

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Speaker 4: and I managed to turn him around in a conversation

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Speaker 4: and it went pretty well. But then I turned on

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Speaker 4: a radio station soon after and he was back to.

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Speaker 2: Being lou.

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Speaker 4: And you know, it was tough interviewing Bob Dylan the

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Speaker 4: first time I spoke with Dylan, because you know, there's

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Speaker 4: nothing worse than Dylan's my ultimate musical hero. And you're

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Speaker 4: in a hotel bar in Auckland at two o'clock in

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Speaker 4: the morning with Bob Dylan, who doesn't want to do

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Speaker 4: an interview.

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Speaker 2: That's tough work. And then there's been a couple where

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Speaker 2: you just.

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Speaker 4: Go, was that really like when I interviewed Mick Jagger

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Speaker 4: in Paris? And now I went on this I've just finished,

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Speaker 4: you know, interviewing one of the most recognizable faces on

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Speaker 4: the planet, and within fifteen minutes we were talking about cricket.

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Speaker 2: And then then that wasn't overly interesting. But I did

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Speaker 2: get to.

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Speaker 4: Spend the entire night in his room because he went

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Speaker 4: back to London and I was going to New York

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Speaker 4: the next morning to meet That was Paul Kelly, who

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Speaker 4: I was managing. And I said to the record company,

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Speaker 4: can you recommend a cheap hotel for the night?

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Speaker 2: They said, well, Mix left so you can stay here.

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Speaker 4: And it was the most expensive, most expensive hotel in Paris.

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Speaker 2: Yeah, and it had a fridge full of Moway at

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Speaker 2: the phone. So I just thought myself a drink book

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Speaker 2: called Anyone I Knew around the World, So you.

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Speaker 1: Wouldn't believe where I am at the moment, and everyone's

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Speaker 1: going to Jerry in the room.

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Speaker 2: It's incredible.

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Speaker 1: Well, you did talk about you changing music taste, and

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Speaker 1: I remember being fifteen sixteen, at all I knew was

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Speaker 1: the music on the charts. Then someone at school had

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Speaker 1: heard of a new bandit of the UK called Spandau Ballet,

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Speaker 1: and someone else was listening to punk or listening to

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Speaker 1: the Buzzcocks or you know what. I went, well, what's that?

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Speaker 1: So you go and explore. But you said that a

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Speaker 1: lot of the bands didn't change, but you did, yes, I.

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Speaker 4: Mean, you know, it's it's interesting as you get older,

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Speaker 4: just how you know anyone. I think that your musical

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Speaker 4: taste does change and evolve. You know, there are people

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Speaker 4: I write about in the book that at the time

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Speaker 4: I just didn't I mean, it wasn't like there was

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Speaker 4: anything wrong with them. It was well and probably nothing

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Speaker 4: wrong with me, but I just didn't connect with them.

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Speaker 2: Steely Dan was a case in point.

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Speaker 4: You know, I used to go not Steely Dan, and

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Speaker 4: now I absolutely adore them, And interestingly enough, I sort

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Speaker 4: of didn't have the cold Chisel gene when I was

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Speaker 4: around I don't know, yeah, you know, totally, any opportunity

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Speaker 4: I will go and see you know, Mossy or Don

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Speaker 4: Walker or Jimmy or ideally you know Chisel, you know,

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Speaker 4: in flight together. But it took a long time, and

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Speaker 4: it wasn't like they got better.

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Speaker 2: I mean they were great.

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Speaker 5: I realized now when I was just not appreciating change.

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Speaker 5: Adore bunsy ability to embrace music as you get old,

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Speaker 5: and writing this book, I went back and listened to

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Speaker 5: a lot of records that I bought in the late

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Speaker 5: sixties and early seventies, which I thought was the greatest

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Speaker 5: thing ever.

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Speaker 2: Some of them still are the.

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Speaker 4: Greatest thing ever, and some of them are not the

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Speaker 4: greatest thing ever.

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Speaker 1: Not everything's in my mind. Everything.

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Speaker 3: A couple of amazing things that stand out to me

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Speaker 3: been sketched by Leonard Cohen. Oh my god, you've interviewed

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Speaker 3: Anthony Bourdain. Can you explain how you'd like to be

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Speaker 3: the Bordaine of pilots.

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Speaker 4: Well, I have this great desire to write a book

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Speaker 4: about airline pilots, and I cannot get a publisher interested.

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Speaker 4: And I was pitching this idea when the idea came

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Speaker 4: up of.

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Speaker 2: Doing this memoir.

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Speaker 4: And the thing is, as I've said to everyone, you know,

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Speaker 4: no one really thought that writing a book about what

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Speaker 4: happened in the kitchens of restaurants in New York City

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Speaker 4: was that great idea until Bourdaine did it.

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Speaker 2: And I said, I want to write a book about

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Speaker 2: airline puts. Do they get scared? How often do things

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Speaker 2: go wrong?

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Speaker 4: What's how tired are they after an eighteen hour flight

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Speaker 4: to somewhere? You know all of that, but no one

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Speaker 4: gets it with quite the same enthusias.

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Speaker 3: Well, I'm going to read it because I mean kitchen confidential,

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Speaker 3: change the whole landscape of you know, traveling and cooking

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Speaker 3: and everything. Yeah, Stuart, we would love.

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Speaker 2: To talk to you. We would talk to you about Yes, but.

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Speaker 3: We have to go. But the new memoir Shake Some

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Speaker 3: Action is out now. Lovely to chat with his Stuart,

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Speaker 3: great book, good to.

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Speaker 1: Talk to me.

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Speaker 2: Thank you both for your time. Thank you,