1 00:00:11,119 --> 00:00:15,840 Speaker 1: Clearsy releases The story behind the album Here We Go. 2 00:00:16,079 --> 00:00:22,040 Speaker 2: Purple Rain is the sixth studio album by singer, songwriter, producer, 3 00:00:22,120 --> 00:00:26,720 Speaker 2: on multi instrumentalist Prince. It was released on June twenty five, 4 00:00:26,920 --> 00:00:30,560 Speaker 2: nineteen eighty four, as the soundtrack album to the nineteen 5 00:00:30,560 --> 00:00:33,320 Speaker 2: eighty four film of the same name. Purple Rain was 6 00:00:33,440 --> 00:00:38,400 Speaker 2: musically denser than Prince's previous albums, emphasizing full band performances 7 00:00:38,520 --> 00:00:41,199 Speaker 2: because it is Prince and the Revolution that's from and 8 00:00:41,400 --> 00:00:45,919 Speaker 2: multiple layers of guitars and keyboards and electronic synthesier effects, 9 00:00:46,000 --> 00:00:48,160 Speaker 2: synthesizer effects and drum machines. 10 00:00:48,440 --> 00:00:50,280 Speaker 3: It was all about the sound. 11 00:00:50,760 --> 00:00:54,240 Speaker 2: And I guess one person who knew more than anyone 12 00:00:54,360 --> 00:00:57,920 Speaker 2: about the sound was Prince's sound engineer, Susan Rogers. 13 00:00:58,000 --> 00:00:59,800 Speaker 4: That's right, because it was no surprise that he was 14 00:01:00,040 --> 00:01:02,000 Speaker 4: and as a workaholic place and Prince wanted what he 15 00:01:02,040 --> 00:01:03,800 Speaker 4: wanted to I wanted to be ready to go with 16 00:01:03,920 --> 00:01:07,680 Speaker 4: inspirations stuck and the studio set up, and he was 17 00:01:07,800 --> 00:01:10,000 Speaker 4: very demanding like that. And as you mentioned, Susan Rodgers 18 00:01:10,240 --> 00:01:12,520 Speaker 4: knew all about it. He's work ethic and he's set 19 00:01:12,600 --> 00:01:13,119 Speaker 4: up right here. 20 00:01:13,160 --> 00:01:15,360 Speaker 5: Well, his favorite way to work was to have everything 21 00:01:15,400 --> 00:01:17,800 Speaker 5: set up and routed so that he could work silently, 22 00:01:17,800 --> 00:01:22,400 Speaker 5: because he didn't like small talk interrupted that flow, that river, 23 00:01:22,920 --> 00:01:26,280 Speaker 5: that niagara falls of ideas it was coming through his brain. 24 00:01:26,920 --> 00:01:29,520 Speaker 5: It interrupted that flow if he had to have conversations. 25 00:01:29,520 --> 00:01:31,800 Speaker 5: So if he could start a session with everything set 26 00:01:31,840 --> 00:01:37,199 Speaker 5: up and routed, just headed to tape, happy, happy, Happy. 27 00:01:37,720 --> 00:01:39,800 Speaker 5: Sometimes you'd get a phone call saying here's what he 28 00:01:39,800 --> 00:01:41,959 Speaker 5: wants set up. Sometimes you'd come to the studio and 29 00:01:41,959 --> 00:01:44,400 Speaker 5: there'd be a note waiting on the console saying here's 30 00:01:44,440 --> 00:01:46,440 Speaker 5: what he wants set up. If the sunset, he would 31 00:01:46,480 --> 00:01:48,960 Speaker 5: tell the front desk, tell the engineers, I want this 32 00:01:49,040 --> 00:01:52,240 Speaker 5: set up. But you come in and try to get 33 00:01:52,240 --> 00:01:54,720 Speaker 5: as much routed for him. Get his bass tuned, get 34 00:01:54,720 --> 00:01:57,840 Speaker 5: his guitars tuned before handing it to him. 35 00:01:58,600 --> 00:02:00,000 Speaker 3: Never hand him an untuned instrument. 36 00:02:00,360 --> 00:02:01,280 Speaker 4: You'll imagine doing that. 37 00:02:01,280 --> 00:02:04,640 Speaker 3: He had one job, yes, could you imagine? 38 00:02:04,560 --> 00:02:04,720 Speaker 6: Yeah? 39 00:02:04,960 --> 00:02:06,400 Speaker 4: You know he had lots of band mates over the years, 40 00:02:06,400 --> 00:02:08,200 Speaker 4: didn't he know so many people who went on to 41 00:02:08,320 --> 00:02:09,360 Speaker 4: other things in their careers. 42 00:02:09,560 --> 00:02:12,520 Speaker 2: Yeah. The interesting thing about Purple Rain is its generally 43 00:02:12,560 --> 00:02:16,239 Speaker 2: regarded as the most pop oriented of Prince's career. Yeah, 44 00:02:16,280 --> 00:02:19,240 Speaker 2: but it has a number of elements that point towards 45 00:02:19,240 --> 00:02:21,760 Speaker 2: the more experimental records that he would go on to 46 00:02:21,840 --> 00:02:23,400 Speaker 2: release after Purple Rain. 47 00:02:23,520 --> 00:02:24,919 Speaker 3: So it was such a pivotal moment. 48 00:02:25,480 --> 00:02:31,959 Speaker 2: His previous albums were primarily solo recordings Prince by Prince, 49 00:02:32,160 --> 00:02:35,800 Speaker 2: but Purple Rain contained the credits, produced, arranged, composed and 50 00:02:35,880 --> 00:02:39,440 Speaker 2: performed by Prince and the Revolution, so he gave over 51 00:02:39,520 --> 00:02:41,760 Speaker 2: some of the responsibility. 52 00:02:41,880 --> 00:02:46,200 Speaker 4: Yeah, more of a band, even though he was always 53 00:02:46,200 --> 00:02:48,679 Speaker 4: have the final say, let's be honest, it was absolutely yeah, 54 00:02:48,680 --> 00:02:50,200 Speaker 4: and he had lots of people around him. You could 55 00:02:50,200 --> 00:02:52,960 Speaker 4: call him a few muses over the years, and the 56 00:02:53,120 --> 00:02:55,079 Speaker 4: likes and Shela. He was in the band of one stage, 57 00:02:55,080 --> 00:02:57,880 Speaker 4: but he had Lisa and Wendy and Wendy Melvin here 58 00:02:58,000 --> 00:03:00,480 Speaker 4: is talking about the revesues from the Revolution, talking about 59 00:03:00,480 --> 00:03:03,400 Speaker 4: performing and the advice that Prince gave her that night at. 60 00:03:03,360 --> 00:03:04,720 Speaker 3: First Avenue was. 61 00:03:06,280 --> 00:03:11,080 Speaker 7: A foreshadowing for sure, because there were at least three 62 00:03:11,160 --> 00:03:14,960 Speaker 7: tracks that ended up being the you know, the recorded 63 00:03:15,040 --> 00:03:16,359 Speaker 7: versions for the album. 64 00:03:17,360 --> 00:03:19,760 Speaker 5: And you I mean it was my first show. 65 00:03:20,480 --> 00:03:22,239 Speaker 3: It was my first show with the band. 66 00:03:22,720 --> 00:03:26,280 Speaker 7: Best advice I've ever gotten that I share with other 67 00:03:26,400 --> 00:03:30,360 Speaker 7: musicians when they're starting, he said to me, when I 68 00:03:30,400 --> 00:03:33,079 Speaker 7: get nervous, and you hear the beat and you hear 69 00:03:33,120 --> 00:03:36,520 Speaker 7: the rhythm, and you hear how fast we're going, cut 70 00:03:36,560 --> 00:03:40,600 Speaker 7: your body in halftime. So if you're feeling one two 71 00:03:40,600 --> 00:03:44,480 Speaker 7: three four, one two three four, if you're nervous, you're 72 00:03:44,480 --> 00:03:47,520 Speaker 7: going to be pushing the beat, right, he said, go 73 00:03:47,640 --> 00:03:53,760 Speaker 7: halftime one. And it's like it's a meditation. You slow, 74 00:03:53,760 --> 00:03:57,840 Speaker 7: you're breathing down, and you don't rush, and you stay 75 00:03:57,880 --> 00:04:01,120 Speaker 7: behind the beat. And that's where funk. And that was 76 00:04:01,160 --> 00:04:03,560 Speaker 7: the best advice she ever gave me. 77 00:04:03,680 --> 00:04:05,120 Speaker 4: That's pretty cool, isn't it. 78 00:04:05,120 --> 00:04:08,680 Speaker 2: It's amazing, amazing advice from Prince Purple. Rain was well 79 00:04:08,720 --> 00:04:12,000 Speaker 2: received by contemporary critics. Kurt Loder, who was writing for 80 00:04:12,080 --> 00:04:14,680 Speaker 2: Rolling Stone in nineteen eighty four, compared Prince to Jimmy 81 00:04:14,720 --> 00:04:18,560 Speaker 2: Hendrix and praised him for merging black and white styles. 82 00:04:18,600 --> 00:04:21,800 Speaker 2: He said, the spirit of Jimmy Hendrix must surely smile 83 00:04:21,880 --> 00:04:25,320 Speaker 2: down on Prince Rogers Nelson. Like Hendrix, Prince seems to 84 00:04:25,400 --> 00:04:29,520 Speaker 2: have tapped into some extraterrestrial music dimension where black and 85 00:04:29,520 --> 00:04:33,360 Speaker 2: white styles are merely different aspects of the same funky thing. 86 00:04:33,720 --> 00:04:36,080 Speaker 4: Yeah, he was a light about incredible guitarist. But we 87 00:04:36,080 --> 00:04:38,559 Speaker 4: saw how versatile when we finally got him in Perth 88 00:04:38,839 --> 00:04:41,440 Speaker 4: and that gig, those gigs at the Arena, Yeah you know, 89 00:04:41,839 --> 00:04:44,159 Speaker 4: it was just a piano and microphone tour and he 90 00:04:44,200 --> 00:04:47,479 Speaker 4: showed his versatility. But he was also, as Susan Rogers 91 00:04:47,560 --> 00:04:49,680 Speaker 4: mentioned earlier, he was pretty shy and he didn't really 92 00:04:49,680 --> 00:04:51,320 Speaker 4: want to do small talk. No, you could hear it 93 00:04:51,360 --> 00:04:53,360 Speaker 4: when he accepted the Oscar. 94 00:04:54,160 --> 00:04:57,919 Speaker 8: Thank you very much. This is Lisa, and this is 95 00:04:58,000 --> 00:05:11,760 Speaker 8: when this is very unbelievable. I can never imagine this 96 00:05:11,880 --> 00:05:13,039 Speaker 8: in my wildest dreams. 97 00:05:13,080 --> 00:05:18,719 Speaker 9: And I would like to thank the Academy, mister Albert Magnoli, 98 00:05:19,320 --> 00:05:24,240 Speaker 9: my manager, Stephen, Bob, Joe, Bobby, American Matt who couldn't 99 00:05:24,279 --> 00:05:27,360 Speaker 9: be with us today, and Moss of God. 100 00:05:27,960 --> 00:05:28,760 Speaker 8: Thank you very much. 101 00:05:30,360 --> 00:05:32,479 Speaker 2: Burble Rame was originally written as a country song and 102 00:05:32,520 --> 00:05:34,640 Speaker 2: intended to be a collaboration with Stevie Nicks. 103 00:05:34,680 --> 00:05:36,960 Speaker 4: Oh really, who knew that? 104 00:05:37,480 --> 00:05:38,279 Speaker 3: How about that? 105 00:05:38,480 --> 00:05:42,039 Speaker 2: But of course the lead single was when Doves Cry, 106 00:05:42,760 --> 00:05:46,000 Speaker 2: What a Ripper? Princess first Billboard Hot one hundred number 107 00:05:46,000 --> 00:05:49,159 Speaker 2: one single, where it stayed for five weeks, and it 108 00:05:49,200 --> 00:05:58,440 Speaker 2: was also a worldwide hit. 109 00:06:02,800 --> 00:06:05,440 Speaker 1: Releases the story behind the album. 110 00:06:05,839 --> 00:06:08,359 Speaker 2: So it's hard to believe that was nineteen eighty six 111 00:06:08,680 --> 00:06:11,800 Speaker 2: that Whispering Jack came out. The twelfth studio album by 112 00:06:11,920 --> 00:06:15,520 Speaker 2: John Farnham, released on the twenty ninth of September nineteen 113 00:06:15,560 --> 00:06:17,960 Speaker 2: eighty six, peaking at number one on the Australian Kent 114 00:06:18,040 --> 00:06:22,039 Speaker 2: Music Reports Report Albums chart. It became the second biggest 115 00:06:22,040 --> 00:06:25,760 Speaker 2: selling album in Australia, behind only Meatloafs album Bat Out 116 00:06:25,760 --> 00:06:28,440 Speaker 2: of Hell, and the highest selling album in Australia by 117 00:06:28,440 --> 00:06:31,240 Speaker 2: an Australian artist. It remains the third best selling album 118 00:06:31,279 --> 00:06:33,919 Speaker 2: of all time in Australia because Shana Twain came along 119 00:06:33,920 --> 00:06:35,600 Speaker 2: with her oh really tight. 120 00:06:35,440 --> 00:06:41,920 Speaker 3: Pants on Brad Pitt b well that carry on, it 121 00:06:42,040 --> 00:06:42,440 Speaker 3: wasn't it. 122 00:06:42,760 --> 00:06:45,560 Speaker 2: But anyway, that's another album for another day. 123 00:06:45,680 --> 00:06:48,480 Speaker 4: What a phenomenon it was. It's just incredible, wasn't it. 124 00:06:48,880 --> 00:06:51,920 Speaker 2: Well, as we said prior to this, because Glenn Wheatley 125 00:06:51,920 --> 00:06:54,080 Speaker 2: mortgage the home to raise the funds for recording of 126 00:06:54,080 --> 00:06:54,480 Speaker 2: the album. 127 00:06:54,560 --> 00:06:58,160 Speaker 3: Such was his belief because fans he was broke, so broke. 128 00:06:58,360 --> 00:07:00,120 Speaker 4: Yeah, it is incredible. I make you think about it. 129 00:07:00,720 --> 00:07:02,760 Speaker 4: After he was the King of pop and Sadie the 130 00:07:02,760 --> 00:07:05,160 Speaker 4: cleaning eighty all that stuff. By the mid eighties, John 131 00:07:05,240 --> 00:07:07,320 Speaker 4: was playing pub gigs, doing Bob c Could covers and 132 00:07:07,320 --> 00:07:07,920 Speaker 4: stuff like that. 133 00:07:07,960 --> 00:07:10,080 Speaker 2: What happened there was so bad him. There was some 134 00:07:10,280 --> 00:07:14,880 Speaker 2: bad sort of decisions. Yeah, financially, Yeah, yeah, not the 135 00:07:14,920 --> 00:07:16,720 Speaker 2: best advice, not the best advice. 136 00:07:17,080 --> 00:07:19,200 Speaker 4: He wasn't playing big gigs. He was playing small gigs. 137 00:07:19,200 --> 00:07:21,240 Speaker 4: And have a listen to this. This is how broke 138 00:07:21,320 --> 00:07:21,960 Speaker 4: John Farne was. 139 00:07:22,080 --> 00:07:22,880 Speaker 3: I had to sell everything. 140 00:07:22,880 --> 00:07:28,200 Speaker 10: I had to sell my house and my car, and 141 00:07:28,280 --> 00:07:29,960 Speaker 10: we didn't have durably much to begin with. 142 00:07:30,280 --> 00:07:32,440 Speaker 4: Yeah, hard to believe, isn't it really hard to believe? 143 00:07:32,520 --> 00:07:32,880 Speaker 3: Indeed? 144 00:07:32,960 --> 00:07:35,600 Speaker 4: And you talk about that relationship with Glenn Weekley. Those 145 00:07:35,600 --> 00:07:38,000 Speaker 4: two were so tight and how many times have you 146 00:07:38,080 --> 00:07:39,160 Speaker 4: saved one another's But. 147 00:07:41,120 --> 00:07:46,680 Speaker 1: I mean he got me when when I whispering Jacks 148 00:07:46,800 --> 00:07:49,360 Speaker 1: lived to that album and you're pretty solid, actually. 149 00:07:49,040 --> 00:07:52,040 Speaker 3: Done, and that was a big one. 150 00:07:52,320 --> 00:07:53,600 Speaker 4: Why did you keep backing him? 151 00:07:54,440 --> 00:07:58,560 Speaker 11: I mean, probably or mainly because I believe in him, 152 00:07:58,920 --> 00:08:02,200 Speaker 11: and most because he's worfriend and Glenn. 153 00:08:02,200 --> 00:08:05,440 Speaker 4: When John couldn't get a record deal, what made you 154 00:08:05,560 --> 00:08:08,200 Speaker 4: believe that he had the talent when a lot of 155 00:08:08,240 --> 00:08:09,560 Speaker 4: other people didn't think he had it. 156 00:08:10,000 --> 00:08:13,440 Speaker 12: I just think that John threw but not a good advice, 157 00:08:13,800 --> 00:08:16,040 Speaker 12: just lost a little bit of direction. He never lost 158 00:08:16,040 --> 00:08:16,680 Speaker 12: his talent. 159 00:08:17,040 --> 00:08:17,600 Speaker 4: He's so true. 160 00:08:17,760 --> 00:08:20,800 Speaker 2: It all happened fairly quickly, really, because it was nineteen 161 00:08:20,840 --> 00:08:24,680 Speaker 2: eighty five. Farnham was still in the Little Riverband. When 162 00:08:24,680 --> 00:08:27,080 Speaker 2: he started collecting a song list for a future album. 163 00:08:27,080 --> 00:08:29,320 Speaker 2: He just had this germ of an idea of I'm 164 00:08:29,360 --> 00:08:31,160 Speaker 2: going to, you know, make this album that's going to 165 00:08:31,200 --> 00:08:34,800 Speaker 2: go on to be just a huge piece of Australian 166 00:08:34,840 --> 00:08:38,679 Speaker 2: album history. It was an early nineteen eighty six that 167 00:08:38,800 --> 00:08:41,720 Speaker 2: sound engineer Ross Fraser suggested to Glenn Wheatley it was 168 00:08:41,760 --> 00:08:45,000 Speaker 2: time to start working on said solo album, and that's 169 00:08:45,240 --> 00:08:47,320 Speaker 2: when they searched in Vain for a producer and record 170 00:08:47,440 --> 00:08:50,840 Speaker 2: label willing to work with Farnham. They couldn't, so Fraser 171 00:08:50,880 --> 00:08:53,720 Speaker 2: took on the producer role, and that's why Wheatley provided 172 00:08:53,720 --> 00:08:54,720 Speaker 2: that financial support. 173 00:08:54,840 --> 00:08:56,679 Speaker 4: Isn't hard to believe too. We look at the success 174 00:08:56,720 --> 00:08:58,400 Speaker 4: of it now, the sales and the history and all 175 00:08:58,440 --> 00:08:59,760 Speaker 4: the rest of it, and how it's such an iconic 176 00:08:59,760 --> 00:09:02,960 Speaker 4: gal But even John wasn't sure whether he could believe 177 00:09:02,960 --> 00:09:03,920 Speaker 4: in himself at that stage. 178 00:09:03,960 --> 00:09:05,680 Speaker 3: Well, he didn't a nervous wreck. 179 00:09:05,480 --> 00:09:06,000 Speaker 4: Going to a line. 180 00:09:06,200 --> 00:09:08,600 Speaker 3: As we saw in that amazing document entry is. 181 00:09:08,840 --> 00:09:11,000 Speaker 4: Shown up and you mentioned LB there. One of his 182 00:09:11,040 --> 00:09:14,800 Speaker 4: bandmates was David Hirschfelder, that musical genius who was for 183 00:09:14,880 --> 00:09:17,280 Speaker 4: many years part of his band and the musical director. 184 00:09:17,280 --> 00:09:19,959 Speaker 4: Really he is David talking about putting together you the voice. 185 00:09:20,000 --> 00:09:22,000 Speaker 6: We decided to go for the machine gun sort of 186 00:09:22,000 --> 00:09:28,520 Speaker 6: handclap effect as a sort of militaristic it's also celebratory tribalism. 187 00:09:28,840 --> 00:09:30,000 Speaker 4: I don't know what we were doing. 188 00:09:29,840 --> 00:09:32,760 Speaker 6: But it just all that sort of stuff seemed to 189 00:09:32,840 --> 00:09:36,400 Speaker 6: feel right for the lyric of the song. But in 190 00:09:36,440 --> 00:09:41,040 Speaker 6: the solo section, my idea was pan pipes, all these 191 00:09:41,080 --> 00:09:43,800 Speaker 6: pan pipes of the Andes, and I simulated them all 192 00:09:43,840 --> 00:09:47,880 Speaker 6: on synthesizers and samples of actual pan pipes as well. 193 00:09:48,240 --> 00:09:50,760 Speaker 6: But John said, there's something this thing is just not 194 00:09:50,880 --> 00:09:52,160 Speaker 6: quite lifting enough. 195 00:09:53,600 --> 00:10:00,280 Speaker 4: I know, bagpipes. Wow, what a moment. Absolutely, bagpipes, didn't 196 00:10:00,280 --> 00:10:01,320 Speaker 4: they that's just increadting. 197 00:10:01,440 --> 00:10:02,120 Speaker 3: Yeah, they did. 198 00:10:02,760 --> 00:10:06,160 Speaker 2: And also because at that time John was still trying 199 00:10:06,200 --> 00:10:10,360 Speaker 2: to shed that Sadie the cleaning Lady Johnny Johnny Johnny 200 00:10:10,360 --> 00:10:14,480 Speaker 2: Farnham's sort of persona and Initially, the public interest in 201 00:10:14,559 --> 00:10:17,760 Speaker 2: the rebranded former teen Ardol was difficult to cultivate, and 202 00:10:17,840 --> 00:10:20,680 Speaker 2: radio stations refused to play him. So there was that 203 00:10:20,800 --> 00:10:25,320 Speaker 2: great story about them taking your voice into the Sydney 204 00:10:25,400 --> 00:10:26,960 Speaker 2: radio station two DAYFM. 205 00:10:27,160 --> 00:10:28,679 Speaker 3: And this is back in the days where you could 206 00:10:28,720 --> 00:10:29,240 Speaker 3: actually just. 207 00:10:29,240 --> 00:10:32,280 Speaker 2: Run into the studio with the song and they play 208 00:10:32,440 --> 00:10:36,360 Speaker 2: this now, and they did and the rest is history. 209 00:10:36,520 --> 00:10:38,800 Speaker 4: And that's that weird story. It happens a few times 210 00:10:38,800 --> 00:10:41,120 Speaker 4: where they go, we may not even put the name 211 00:10:41,160 --> 00:10:44,400 Speaker 4: of the artist on here, so there's no bias. But 212 00:10:44,480 --> 00:10:46,920 Speaker 4: the Wheatleys, even though they're back, John, they didn't really 213 00:10:47,040 --> 00:10:48,600 Speaker 4: like the recording of your the voice at the start. 214 00:10:48,679 --> 00:10:50,480 Speaker 4: This is such an amazing story. 215 00:10:50,240 --> 00:10:52,640 Speaker 12: And we had a bottle of champagne. We're going to 216 00:10:52,640 --> 00:10:55,400 Speaker 12: the studio and get ready to hear them. Okay, hit me, 217 00:10:55,760 --> 00:10:58,760 Speaker 12: plan it to me and I left me flap. 218 00:11:00,080 --> 00:11:02,360 Speaker 1: Looked at each other and it was like, that's not 219 00:11:03,679 --> 00:11:06,320 Speaker 1: It wasn't quite And John looked at us. 220 00:11:06,240 --> 00:11:07,200 Speaker 12: So you don't like it, do you? 221 00:11:07,600 --> 00:11:10,040 Speaker 3: I said, well, it wasn't like the demo. He said no, 222 00:11:10,120 --> 00:11:11,520 Speaker 3: but we recorded it properly. 223 00:11:12,000 --> 00:11:13,920 Speaker 12: My problem is I thought that your vocal on the 224 00:11:13,960 --> 00:11:16,120 Speaker 12: demo was better than the vocals you've done on this 225 00:11:16,440 --> 00:11:18,920 Speaker 12: and he was angry, so he got. 226 00:11:18,960 --> 00:11:19,760 Speaker 4: Very angry with me. 227 00:11:20,800 --> 00:11:22,520 Speaker 12: The rossphrase that I'm going out there, and I was 228 00:11:22,559 --> 00:11:26,240 Speaker 12: singing again, turn the lights out, turn the cans up 229 00:11:27,080 --> 00:11:28,800 Speaker 12: well and down people in the studio when I'm trying 230 00:11:28,800 --> 00:11:30,760 Speaker 12: to sing because I get paranoid, you do potly laughing 231 00:11:30,760 --> 00:11:31,800 Speaker 12: at me, be talking about me. 232 00:11:32,600 --> 00:11:34,760 Speaker 4: Do you trying to understand? 233 00:11:35,640 --> 00:11:37,520 Speaker 13: Make an eye to make it cheap? 234 00:11:39,960 --> 00:11:43,719 Speaker 12: And he sang the living hell out of that song. 235 00:11:44,080 --> 00:11:46,760 Speaker 6: And the hiss on our arms in the back of 236 00:11:46,800 --> 00:11:49,640 Speaker 6: our necks came up and it was like, that's the song. 237 00:11:50,160 --> 00:11:52,040 Speaker 4: I got him, Now I got the poet. 238 00:11:52,880 --> 00:11:53,360 Speaker 3: Amazing. 239 00:11:53,480 --> 00:11:57,120 Speaker 2: Isn't it worse story when when your album becomes your 240 00:11:57,160 --> 00:11:58,640 Speaker 2: alter ego whispering Jack? 241 00:11:58,800 --> 00:12:00,760 Speaker 3: Yeah, that that says it all. 242 00:12:00,800 --> 00:12:12,679 Speaker 14: Really doesn't get much better, does it? 243 00:12:13,280 --> 00:12:15,600 Speaker 1: Clearsy releases the story. 244 00:12:15,360 --> 00:12:19,120 Speaker 2: Behind the album material Girl was what The second release 245 00:12:19,440 --> 00:12:23,280 Speaker 2: of the album Like a Virgin, which is Madonna's second 246 00:12:23,400 --> 00:12:26,520 Speaker 2: studio album, had that wonderful film clip to the pay 247 00:12:26,600 --> 00:12:30,839 Speaker 2: homage to Marilyn Monroe's performance of Diamonds Are a Girl's 248 00:12:30,840 --> 00:12:33,959 Speaker 2: Best Friend in the film Gentleman for Blondes. 249 00:12:34,440 --> 00:12:37,600 Speaker 3: Everyone loved the video clip it was. 250 00:12:37,679 --> 00:12:40,520 Speaker 2: The album Like a Virgin was released on November twelve, 251 00:12:40,600 --> 00:12:43,160 Speaker 2: nineteen eighty four, by Sire Records. Following the success of 252 00:12:43,200 --> 00:12:46,640 Speaker 2: her nineteen eighty three self titled debut, Madonna was eager 253 00:12:46,679 --> 00:12:49,199 Speaker 2: to start working on its follow up, and so because 254 00:12:49,200 --> 00:12:52,360 Speaker 2: she was a big fan of Let's Dance nineteen eighty 255 00:12:52,360 --> 00:12:56,960 Speaker 2: three David Bowie, which was produced by Nile Rodgers, and 256 00:12:57,280 --> 00:13:00,800 Speaker 2: boy was he the hot commodity, and she was as 257 00:13:00,840 --> 00:13:03,920 Speaker 2: big a fan as any, she selected Nile to produce 258 00:13:04,000 --> 00:13:04,480 Speaker 2: the album. 259 00:13:04,600 --> 00:13:06,480 Speaker 4: Yeah, he's Madonna talking about that. It was a noisy 260 00:13:06,480 --> 00:13:08,920 Speaker 4: evental venue this was recorded. But it's interesting to hear 261 00:13:08,920 --> 00:13:10,920 Speaker 4: what she said about the great man from Sheikh Nile. 262 00:13:11,280 --> 00:13:13,480 Speaker 3: That wasn't like working with Nile really great. 263 00:13:13,840 --> 00:13:14,920 Speaker 13: He's a genius. 264 00:13:15,559 --> 00:13:16,200 Speaker 3: I have to say. 265 00:13:17,360 --> 00:13:18,680 Speaker 4: Did you contact yea. 266 00:13:20,440 --> 00:13:24,000 Speaker 13: Yeah, actually, well my record company did. But as soon 267 00:13:24,040 --> 00:13:25,599 Speaker 13: as we met, we hit it off really well and 268 00:13:25,679 --> 00:13:29,280 Speaker 13: I thought it would be a great union. So seems 269 00:13:29,280 --> 00:13:29,800 Speaker 13: to have been. 270 00:13:30,040 --> 00:13:31,440 Speaker 3: Yeah, it's gonna be great. 271 00:13:31,880 --> 00:13:33,840 Speaker 15: How has he helped you out over other people who 272 00:13:33,960 --> 00:13:36,760 Speaker 15: produced you in the past. 273 00:13:37,120 --> 00:13:39,160 Speaker 13: We just have a really good chemistry and he understand 274 00:13:39,240 --> 00:13:42,840 Speaker 13: my musicality. He's trained musician, and I'm not really and 275 00:13:43,400 --> 00:13:46,080 Speaker 13: I don't have to. I don't know musical terminology can 276 00:13:46,200 --> 00:13:46,959 Speaker 13: just read my mind. 277 00:13:47,320 --> 00:13:49,600 Speaker 10: So do you think he really knows how to work 278 00:13:49,640 --> 00:13:50,800 Speaker 10: with a vocalist per se? 279 00:13:50,840 --> 00:13:54,640 Speaker 13: Then yeah, well he's very sensitive. I think he could 280 00:13:54,679 --> 00:13:56,000 Speaker 13: work with anyone that's could. 281 00:13:56,280 --> 00:13:57,920 Speaker 4: And he was working with pretty much everyone. 282 00:13:58,320 --> 00:14:00,320 Speaker 3: Wasn't he really talking on a red compet there? I 283 00:14:00,320 --> 00:14:02,480 Speaker 3: think roundside to an awards show or something. 284 00:14:02,520 --> 00:14:05,000 Speaker 4: It's pretty noisy sounding. But it's interesting how you could 285 00:14:05,000 --> 00:14:05,959 Speaker 4: tell him much she loved him. 286 00:14:06,280 --> 00:14:08,959 Speaker 2: I like how she said, you know, I was not 287 00:14:09,080 --> 00:14:12,280 Speaker 2: really musically trained the same way, and so I rely 288 00:14:12,360 --> 00:14:14,800 Speaker 2: on him for the you know, the musicality of what. 289 00:14:14,920 --> 00:14:16,640 Speaker 2: She didn't know quite how to express it as I 290 00:14:16,640 --> 00:14:19,680 Speaker 2: do right now because she was train the way Nile is. 291 00:14:19,720 --> 00:14:23,080 Speaker 2: But when it was released, it received mixed reviews from 292 00:14:23,160 --> 00:14:23,840 Speaker 2: music critics. 293 00:14:24,080 --> 00:14:26,760 Speaker 3: Niles production received huge praise. 294 00:14:26,440 --> 00:14:30,120 Speaker 2: But Paul Madonna's vocals got criticized and not with the fans. 295 00:14:30,160 --> 00:14:32,960 Speaker 2: Though it became Madonna's first number one album on the 296 00:14:32,960 --> 00:14:36,000 Speaker 2: Billboard two hundred, as well as the first female album 297 00:14:36,040 --> 00:14:38,640 Speaker 2: to sell over five million copies in the United States, 298 00:14:38,840 --> 00:14:43,120 Speaker 2: the first female album to sell over five million copies 299 00:14:43,160 --> 00:14:43,720 Speaker 2: in the US. 300 00:14:43,840 --> 00:14:46,120 Speaker 3: It got to number two on the Aussie charts. 301 00:14:46,240 --> 00:14:48,920 Speaker 4: Yeah, isn't that incredible? Speaking about Australia, I mean, Countdown 302 00:14:48,920 --> 00:14:50,760 Speaker 4: and Molly Meldrim had an influence on the career of 303 00:14:50,800 --> 00:14:53,560 Speaker 4: Madonna in Australia. And there was apparently that pivotal moment 304 00:14:53,560 --> 00:14:56,760 Speaker 4: when they hadn't met and Molly said to someone, who's Madonna? 305 00:14:56,840 --> 00:14:58,880 Speaker 4: And she went, what's a Maley? You know that kind 306 00:14:58,920 --> 00:15:01,240 Speaker 4: of thing. So here are the two them talking about she. Look, 307 00:15:01,280 --> 00:15:03,360 Speaker 4: there were no things called influences back then, but she 308 00:15:03,400 --> 00:15:06,240 Speaker 4: really was one. Talking about the influence of the Madonna look. 309 00:15:06,480 --> 00:15:09,960 Speaker 4: They called it the Madonna look. And I mean there 310 00:15:09,600 --> 00:15:13,040 Speaker 4: were thousands of kids. 311 00:15:12,800 --> 00:15:15,000 Speaker 3: Across continents dress. 312 00:15:15,160 --> 00:15:15,760 Speaker 4: Dressing like you. 313 00:15:17,360 --> 00:15:18,920 Speaker 14: Is that surprise you do that? 314 00:15:18,920 --> 00:15:19,560 Speaker 3: Absolutely? 315 00:15:20,040 --> 00:15:21,840 Speaker 16: I mean I didn't. You know the thing that I 316 00:15:21,920 --> 00:15:24,440 Speaker 16: used to tie in my hair all the time. My 317 00:15:24,520 --> 00:15:26,280 Speaker 16: hair was really short and it was growing out, so 318 00:15:26,320 --> 00:15:28,200 Speaker 16: it was bugging me. It was always getting in our face. 319 00:15:28,240 --> 00:15:30,800 Speaker 16: So I used to take a pair of tights stockings 320 00:15:31,080 --> 00:15:36,040 Speaker 16: tied around my head or you know. It was completely 321 00:15:36,080 --> 00:15:38,200 Speaker 16: absurd to me that everybody wanted to do that. 322 00:15:38,760 --> 00:15:40,480 Speaker 5: I mean, it was a mistake, really. 323 00:15:41,040 --> 00:15:43,880 Speaker 16: You know what I mean, yeah, so, and all the 324 00:15:43,920 --> 00:15:46,960 Speaker 16: bracelets and all the necklaces. A group of my friends, 325 00:15:46,960 --> 00:15:48,960 Speaker 16: Martin included, we just got on this kick where we 326 00:15:49,000 --> 00:15:51,640 Speaker 16: would we started this thing with those rubber bracelets and 327 00:15:51,680 --> 00:15:54,560 Speaker 16: we would we had we literally had a competition to 328 00:15:54,560 --> 00:15:57,280 Speaker 16: see how many we could get a choir, and we 329 00:15:57,360 --> 00:15:58,360 Speaker 16: never took them off. 330 00:15:58,360 --> 00:16:00,000 Speaker 10: We would take baths in them and everything. 331 00:16:00,880 --> 00:16:01,920 Speaker 13: And then the later thing. 332 00:16:01,760 --> 00:16:04,640 Speaker 16: With the crosses kind of was inspired, you know, by 333 00:16:04,640 --> 00:16:07,880 Speaker 16: the bracelets and the thing about wearing a rosary around 334 00:16:07,920 --> 00:16:10,080 Speaker 16: my neck. There was something kind of irreverent and tongue 335 00:16:10,080 --> 00:16:13,480 Speaker 16: in cheek about that because it didn't really go with 336 00:16:13,520 --> 00:16:14,480 Speaker 16: the clothes I was wearing. 337 00:16:14,520 --> 00:16:20,000 Speaker 4: So it just really evolved organically, something being premeditated. 338 00:16:20,160 --> 00:16:23,920 Speaker 2: The Swifties in your Friendship, Bracelet's get over Yourselves Madonna, 339 00:16:24,680 --> 00:16:27,360 Speaker 2: Madonna started at All and There's. 340 00:16:27,240 --> 00:16:29,960 Speaker 3: A girl who finished school in nineteen eighty four. There 341 00:16:30,000 --> 00:16:32,640 Speaker 3: was definitely a look. We all had those gloves, you know, 342 00:16:32,680 --> 00:16:34,640 Speaker 3: the lace gloves. 343 00:16:34,760 --> 00:16:40,440 Speaker 2: The album was described as smart, funny, and of course sexy, 344 00:16:40,600 --> 00:16:44,040 Speaker 2: and this was a big talking point, and you know, 345 00:16:44,120 --> 00:16:47,880 Speaker 2: you had to feel for it that the men, male 346 00:16:47,960 --> 00:16:50,560 Speaker 2: singers didn't have to put up with this, didn't have to, 347 00:16:50,720 --> 00:16:53,680 Speaker 2: you know, didn't have to break through all the talk 348 00:16:53,720 --> 00:16:56,440 Speaker 2: about whether or not their album was sexy before we 349 00:16:56,480 --> 00:16:57,000 Speaker 2: could get. 350 00:16:56,880 --> 00:16:58,400 Speaker 3: To the actual album party. 351 00:16:58,760 --> 00:17:01,520 Speaker 4: As Madonna at that time, I. 352 00:17:01,440 --> 00:17:04,199 Speaker 17: Don't think that I'm using sex to sell myself. I 353 00:17:04,240 --> 00:17:08,399 Speaker 17: think that I'm a very sexual person and that comes 354 00:17:08,440 --> 00:17:12,040 Speaker 17: through in my performing and if that's what gets people 355 00:17:12,040 --> 00:17:14,160 Speaker 17: to buy my records, then that's fine. But I don't 356 00:17:14,200 --> 00:17:16,639 Speaker 17: think of it consciously. Well, I'm going to be sexy 357 00:17:16,760 --> 00:17:18,119 Speaker 17: to get people interested in me. 358 00:17:18,720 --> 00:17:20,520 Speaker 3: That's the way I am. That's the way I've always been. 359 00:17:21,200 --> 00:17:22,560 Speaker 4: Use sexist of the book later this. 360 00:17:22,560 --> 00:17:24,760 Speaker 2: Is true, but I mean, no one was sexier than Prince, 361 00:17:25,040 --> 00:17:27,439 Speaker 2: but he was allowed to just be he could, you know, 362 00:17:27,480 --> 00:17:30,239 Speaker 2: he could just be Prince and we didn't have to, 363 00:17:30,440 --> 00:17:33,200 Speaker 2: you know, make a huge issue of it before we 364 00:17:33,280 --> 00:17:33,520 Speaker 2: got to. 365 00:17:33,520 --> 00:17:36,000 Speaker 4: Talk about he was an album principle on stage and 366 00:17:36,200 --> 00:17:38,480 Speaker 4: pretty much in a G string in boots two or 367 00:17:38,480 --> 00:17:39,480 Speaker 4: three years earlier than that. 368 00:17:39,560 --> 00:17:41,159 Speaker 2: Having said that, now we're going to go into like 369 00:17:41,160 --> 00:17:44,320 Speaker 2: a Virginie today. 370 00:17:44,520 --> 00:17:45,840 Speaker 3: But whatever, what not? 371 00:17:57,600 --> 00:17:59,760 Speaker 1: And lisas the story behind me? 372 00:18:00,480 --> 00:18:05,040 Speaker 2: Well. The Stranger is Billy Joel's fifth studio album. It 373 00:18:05,080 --> 00:18:08,320 Speaker 2: came out in September nineteen seventy seven. It was the 374 00:18:08,359 --> 00:18:11,840 Speaker 2: first of Joel's albums to be produced by Phil Ramone, 375 00:18:12,240 --> 00:18:15,720 Speaker 2: with whom he would work for five subsequent albums. 376 00:18:15,760 --> 00:18:16,720 Speaker 4: Incredible his Phil. 377 00:18:16,880 --> 00:18:20,520 Speaker 9: I was so determined to capture everything about this guy. 378 00:18:20,920 --> 00:18:23,879 Speaker 3: It wasn't about anybody could wrote these little simple ditties. 379 00:18:24,240 --> 00:18:26,800 Speaker 4: He wanted to be the rock and roll star. Geesus 380 00:18:26,840 --> 00:18:28,280 Speaker 4: were success together, those two, weren't they? 381 00:18:28,320 --> 00:18:31,600 Speaker 3: They certainly were. He's not one of the Ramones. 382 00:18:31,200 --> 00:18:34,879 Speaker 4: Though, he's not in a punk bands, well, not that 383 00:18:34,960 --> 00:18:35,480 Speaker 4: I know of. 384 00:18:35,480 --> 00:18:37,840 Speaker 3: A different unrelated Ramone. 385 00:18:37,880 --> 00:18:39,520 Speaker 4: I don't think he went to rock and roll high school. 386 00:18:39,640 --> 00:18:39,840 Speaker 3: Now. 387 00:18:39,960 --> 00:18:44,280 Speaker 2: It's just as well it did good because Joel's previous album, Turnstiles, 388 00:18:44,320 --> 00:18:48,240 Speaker 2: had sold very modestly and peked very low on the charts, 389 00:18:48,280 --> 00:18:51,840 Speaker 2: and it prompted Columbia, which was the label, to consider 390 00:18:51,920 --> 00:18:54,240 Speaker 2: dropping him if his next release had sold poorly. 391 00:18:54,359 --> 00:18:56,320 Speaker 4: Yeah, it's incredible, isn't it, Because like that album, as 392 00:18:56,320 --> 00:18:58,560 Speaker 4: you mentioned, the first one called Spring Harbor and street 393 00:18:58,560 --> 00:19:01,520 Speaker 4: Life Serenade. The previous albums they had some great songs on, 394 00:19:01,680 --> 00:19:04,199 Speaker 4: but they just didn't sell. It's billy talking about it. 395 00:19:04,200 --> 00:19:05,359 Speaker 4: I didn't know this at the time, but. 396 00:19:05,400 --> 00:19:07,600 Speaker 15: Had it not been a successful album, the label probably 397 00:19:07,640 --> 00:19:09,800 Speaker 15: would have dropped me, because you have to remember, this 398 00:19:09,920 --> 00:19:12,760 Speaker 15: was my fifth album without having had a major hit. 399 00:19:13,359 --> 00:19:15,560 Speaker 15: But now, yeah, clindsight, I could see it was a 400 00:19:15,600 --> 00:19:17,360 Speaker 15: really quick album because I might have been. 401 00:19:18,000 --> 00:19:21,240 Speaker 3: Flushed interesting lighting doors moments. 402 00:19:21,680 --> 00:19:23,200 Speaker 4: And he didn't know at the time. Imagine the pressure. 403 00:19:23,200 --> 00:19:24,840 Speaker 4: If you'd known that, it probably wouldn't have been he 404 00:19:24,840 --> 00:19:26,639 Speaker 4: would ad writer's block. It was. 405 00:19:26,960 --> 00:19:30,600 Speaker 2: It ended up being considered his critical and commercial breakthrough, 406 00:19:30,720 --> 00:19:34,520 Speaker 2: really and that was five in four singles were released 407 00:19:34,600 --> 00:19:37,600 Speaker 2: off this album, all of which became top forty hits 408 00:19:37,640 --> 00:19:40,200 Speaker 2: on the Billboard Hot one hundred chart. Moving out Anthony 409 00:19:40,320 --> 00:19:42,760 Speaker 2: song that we just played, She's always a woman, only 410 00:19:42,800 --> 00:19:46,160 Speaker 2: the good die young and of course just the way 411 00:19:46,280 --> 00:19:46,720 Speaker 2: you are. 412 00:19:46,840 --> 00:19:48,639 Speaker 4: It's it a funny way we see in hindsight and 413 00:19:48,680 --> 00:19:51,320 Speaker 4: they say, oh, this song nearly didn't get on. We're 414 00:19:51,480 --> 00:19:53,920 Speaker 4: really sure a lot and sometimes you need to get 415 00:19:54,000 --> 00:19:56,680 Speaker 4: clarification from others. He's billy talking about just where you are. 416 00:19:56,760 --> 00:19:59,600 Speaker 18: And we were sitting around, got a bunch of guys. 417 00:19:59,320 --> 00:20:00,640 Speaker 4: Here, all in the band. 418 00:20:00,680 --> 00:20:03,160 Speaker 18: It was just all guys and we're listening back, gone, 419 00:20:03,720 --> 00:20:04,560 Speaker 18: do you like it? 420 00:20:04,600 --> 00:20:04,919 Speaker 3: I don't know. 421 00:20:04,920 --> 00:20:05,720 Speaker 1: It's a chick song. 422 00:20:06,520 --> 00:20:08,800 Speaker 3: You know, none of us were all that hot to put. 423 00:20:08,600 --> 00:20:18,160 Speaker 17: It on the album. 424 00:20:18,400 --> 00:20:19,000 Speaker 1: I love it. 425 00:20:19,280 --> 00:20:25,280 Speaker 15: Just Phoebe Snow came by with Linda Ronstad and they said, 426 00:20:25,280 --> 00:20:29,440 Speaker 15: you're crazy, You've got to put that song on the Alight. 427 00:20:29,960 --> 00:20:31,040 Speaker 3: These girls like the song. 428 00:20:31,080 --> 00:20:32,480 Speaker 16: I guess we should put it on the album. 429 00:20:32,680 --> 00:20:34,240 Speaker 18: So we kept it on thanks. 430 00:20:34,040 --> 00:20:35,359 Speaker 4: To that wonderful chick. 431 00:20:36,760 --> 00:20:39,680 Speaker 2: A chicks so love song, although a couple of chicks 432 00:20:39,680 --> 00:20:41,360 Speaker 2: did tell him to make sure you did. 433 00:20:41,359 --> 00:20:43,840 Speaker 4: It would be great that Phoebe Snow and Linda Ronstadt 434 00:20:43,880 --> 00:20:48,840 Speaker 4: just sort of walking yes, okay, yeah, yeah, I love 435 00:20:48,880 --> 00:20:51,840 Speaker 4: that had quite a bit of cred, didn't I unreal? 436 00:20:52,119 --> 00:20:54,119 Speaker 4: And another song on the album last was a beauty 437 00:20:54,720 --> 00:20:57,919 Speaker 4: only the Legendary, only the good. Die Young listened to 438 00:20:58,080 --> 00:20:58,800 Speaker 4: a little bit about that. 439 00:20:58,840 --> 00:20:59,960 Speaker 18: You know, when I was a kid, I mean I 440 00:21:00,160 --> 00:21:02,200 Speaker 18: wasn't Catholic, but all my friends were, and I used 441 00:21:02,200 --> 00:21:04,760 Speaker 18: to go to Mass with my friends, thinking that's what 442 00:21:04,800 --> 00:21:06,919 Speaker 18: you did on a Sunday, And I came up with 443 00:21:07,000 --> 00:21:10,680 Speaker 18: this song about a guy trying to seduce a Catholic grum. 444 00:21:11,040 --> 00:21:15,680 Speaker 15: They got damned at Seaton Hall University Radio some Larch diocese, 445 00:21:15,680 --> 00:21:18,000 Speaker 15: I think with Saint Louis said that people. 446 00:21:17,720 --> 00:21:18,760 Speaker 4: Shouldn't buy the record. 447 00:21:19,280 --> 00:21:20,960 Speaker 15: And as soon as you tell people they shouldn't hear 448 00:21:21,040 --> 00:21:24,000 Speaker 15: something and they shouldn't have something, people wanted. 449 00:21:26,400 --> 00:21:27,520 Speaker 3: And they went out and bought. 450 00:21:27,359 --> 00:21:29,439 Speaker 9: It and drove and it drove the record way up 451 00:21:29,480 --> 00:21:30,040 Speaker 9: the charts. 452 00:21:30,119 --> 00:21:32,399 Speaker 18: So I remember writing a letter saying, please ban my 453 00:21:32,480 --> 00:21:35,760 Speaker 18: next record, Thank you very much, Billy Joel. 454 00:21:36,400 --> 00:21:38,800 Speaker 3: I think writing that in nineteen seventies New York. 455 00:21:39,720 --> 00:21:41,680 Speaker 2: He makes a very good point. It would have been 456 00:21:41,840 --> 00:21:43,480 Speaker 2: they would have been looking at banning. 457 00:21:43,200 --> 00:21:44,919 Speaker 4: It absolutely controversy. 458 00:21:45,119 --> 00:21:46,440 Speaker 3: Yeah, and his diocese. 459 00:21:46,520 --> 00:21:48,480 Speaker 4: He's right, We've seen it over the years where the 460 00:21:48,600 --> 00:21:51,000 Speaker 4: song becomes a hit or an album. Yeah, because people say, well, 461 00:21:51,040 --> 00:21:53,520 Speaker 4: you can't go near that. You know, the themes or 462 00:21:53,960 --> 00:21:55,800 Speaker 4: the lyrics on it, but that one worked a treat. 463 00:21:56,200 --> 00:22:01,320 Speaker 3: The Stranger Billy Joel. 464 00:22:09,200 --> 00:22:12,320 Speaker 1: Clearsy releases the story behind the album. 465 00:22:12,640 --> 00:22:16,240 Speaker 2: A Night at the Opera, Queen's fourth studio album, released 466 00:22:16,280 --> 00:22:20,560 Speaker 2: in November nineteen seventy five. Produced by Roy Thomas Baker 467 00:22:20,600 --> 00:22:25,040 Speaker 2: and Queen, it was reportedly the most expensive album ever 468 00:22:25,119 --> 00:22:28,560 Speaker 2: recorded at the time of its release. Of course, the 469 00:22:28,680 --> 00:22:32,040 Speaker 2: name probably sounded familiar to a lot of people. It's 470 00:22:32,119 --> 00:22:34,480 Speaker 2: named after the Marx Brothers film of the same name. 471 00:22:34,560 --> 00:22:37,040 Speaker 4: Yeah, he's drummer Roger Taylor talking about the name, and. 472 00:22:37,040 --> 00:22:39,600 Speaker 10: The title came about it's a simple story. Actually, we're 473 00:22:39,640 --> 00:22:45,239 Speaker 10: all literally and the Welsh borders in sitting down in 474 00:22:45,280 --> 00:22:50,399 Speaker 10: our on our plush sofas and it's a very so 475 00:22:50,680 --> 00:22:55,320 Speaker 10: basic place, and that we had had this fantastic new 476 00:22:55,359 --> 00:23:01,000 Speaker 10: thing called video player, and I think Roy our producer, 477 00:23:01,600 --> 00:23:04,320 Speaker 10: and got the Marx Brothers moving a night at the opera, 478 00:23:05,040 --> 00:23:07,200 Speaker 10: and I remember just sitting down, we were settling down 479 00:23:07,240 --> 00:23:10,680 Speaker 10: after dinner, you know, Saturday night. It was our night 480 00:23:10,720 --> 00:23:13,560 Speaker 10: off and we were going to do any more work, 481 00:23:13,600 --> 00:23:17,680 Speaker 10: and Fred and I looked on one another and good, 482 00:23:17,960 --> 00:23:21,080 Speaker 10: good title. Good title, because we've just been doing this 483 00:23:21,760 --> 00:23:26,119 Speaker 10: sort of mock operatic thing Overhumian Rhapsody. And then I 484 00:23:26,160 --> 00:23:29,560 Speaker 10: think I think everybody just sort of thought, yeah, good title, 485 00:23:29,600 --> 00:23:30,119 Speaker 10: good title. 486 00:23:31,280 --> 00:23:33,879 Speaker 4: As simple as that as that. 487 00:23:33,960 --> 00:23:37,080 Speaker 2: What wasn't simple was the recording. Because they did it 488 00:23:37,080 --> 00:23:40,200 Speaker 2: at seven different studios over a period of four months. 489 00:23:40,200 --> 00:23:43,040 Speaker 2: That seems like a lot of moving around and setting 490 00:23:43,160 --> 00:23:45,760 Speaker 2: up each area that you want to get the best 491 00:23:45,920 --> 00:23:49,040 Speaker 2: sound out of it. They employed a complex production that 492 00:23:49,200 --> 00:23:52,720 Speaker 2: extensively used multi track recording, and the songs incorporated a 493 00:23:52,760 --> 00:23:57,240 Speaker 2: wide range of styles such as musical, Sea Shandies, Dixie Land, 494 00:23:57,600 --> 00:24:01,359 Speaker 2: hard rock, and progressive rock influences. Aside from their usual equipment, 495 00:24:01,480 --> 00:24:04,920 Speaker 2: they also utilized a diverse range of instruments such as 496 00:24:04,920 --> 00:24:08,639 Speaker 2: a double bass, harp and uku leley. And of course 497 00:24:09,400 --> 00:24:10,640 Speaker 2: technology was. 498 00:24:10,600 --> 00:24:13,840 Speaker 3: Well, it's ever evolving, isn't it. Absolutely at this moment, 499 00:24:13,920 --> 00:24:14,159 Speaker 3: it was. 500 00:24:14,160 --> 00:24:15,720 Speaker 4: Coming on and they've just come off their album Sheer 501 00:24:15,760 --> 00:24:18,520 Speaker 4: Heart Attack, which was working on that classic Queen sound. 502 00:24:18,520 --> 00:24:21,200 Speaker 4: But Brian May we know, he can be a bit 503 00:24:21,280 --> 00:24:24,240 Speaker 4: robotic with things. He's a very smart man, and he 504 00:24:24,440 --> 00:24:26,600 Speaker 4: loved the technology. He loved getting in the studio. 505 00:24:26,760 --> 00:24:29,000 Speaker 11: We loved the studio. We always did and I still 506 00:24:29,040 --> 00:24:32,600 Speaker 11: do because it's an open canvas and you can do 507 00:24:32,840 --> 00:24:37,439 Speaker 11: anything you want. And we were kind of disciples of 508 00:24:38,000 --> 00:24:41,119 Speaker 11: Hendrix and the Beatles, particularly the way they used studios 509 00:24:41,200 --> 00:24:46,359 Speaker 11: as almost like an instrument. But obviously we had more 510 00:24:46,400 --> 00:24:48,600 Speaker 11: technology than they had had, so we could push things 511 00:24:48,600 --> 00:24:49,200 Speaker 11: a lot further. 512 00:24:49,320 --> 00:24:51,440 Speaker 4: They were very experimental in a Beatley kind of way. 513 00:24:51,440 --> 00:24:54,119 Speaker 2: Work well it was that, I mean they you know, 514 00:24:54,280 --> 00:24:57,680 Speaker 2: it was the luxury of that time. Things a running 515 00:24:57,720 --> 00:24:59,280 Speaker 2: new once and also you. 516 00:24:59,240 --> 00:25:01,919 Speaker 4: Had big, quite big budgets from record companies back then 517 00:25:01,920 --> 00:25:02,280 Speaker 4: as well. 518 00:25:02,400 --> 00:25:04,920 Speaker 2: They were all involved. Each member of the band wrote 519 00:25:04,920 --> 00:25:07,880 Speaker 2: at least one song. Freddie wrote five of the songs, 520 00:25:08,080 --> 00:25:12,320 Speaker 2: Brian wrote four, and Taylor and Deacon wrote one song each. 521 00:25:12,359 --> 00:25:14,080 Speaker 2: Of course You're my best friend, as we heard from 522 00:25:14,160 --> 00:25:20,199 Speaker 2: Deeks John and it's it's that's how they decide who 523 00:25:20,240 --> 00:25:22,159 Speaker 2: gets the final say on things too, isn't it. 524 00:25:22,320 --> 00:25:27,960 Speaker 4: Yeah, I wrote it, I boss, Brian May and Freddie 525 00:25:28,000 --> 00:25:28,840 Speaker 4: Merker even. 526 00:25:28,640 --> 00:25:33,040 Speaker 11: We were a bit taken aback with the with how 527 00:25:33,160 --> 00:25:35,920 Speaker 11: vicious Freddy wanted it to be. I remember thinking, oh, 528 00:25:38,160 --> 00:25:40,879 Speaker 11: but it was what Freddie wanted, you know. And the 529 00:25:41,200 --> 00:25:43,720 Speaker 11: kind of unwritten law was that the author of the 530 00:25:43,800 --> 00:25:44,880 Speaker 11: song got his own way. 531 00:25:45,119 --> 00:25:49,440 Speaker 12: Sometimes you just disagree and in the end what does 532 00:25:49,480 --> 00:25:53,040 Speaker 12: happen is the writer is is the boss that he. 533 00:25:53,040 --> 00:25:54,960 Speaker 1: Can say, yeah, look this is the way I want 534 00:25:54,960 --> 00:25:56,320 Speaker 1: the song, and this is. 535 00:25:56,320 --> 00:25:57,760 Speaker 4: The way I'm going to have it. They did have 536 00:25:57,800 --> 00:25:59,440 Speaker 4: that falling out, didn't they times, Oh for. 537 00:25:59,400 --> 00:26:01,439 Speaker 2: Sure, But I think that's a very wise you know, 538 00:26:01,480 --> 00:26:04,159 Speaker 2: the writer gets them. It's like when if you're driving, 539 00:26:04,480 --> 00:26:06,200 Speaker 2: you get to decide where you're going. 540 00:26:06,359 --> 00:26:09,600 Speaker 4: Beckseat drivers in the game exactly. I love it the 541 00:26:09,760 --> 00:26:11,880 Speaker 4: same idea very cool. I do also love the fact 542 00:26:11,880 --> 00:26:13,560 Speaker 4: that the next album is called Doubt the Races. I 543 00:26:13,600 --> 00:26:16,400 Speaker 4: think we all got the jocos. It was pretty cute. 544 00:26:16,600 --> 00:26:19,159 Speaker 4: But here is the one and only Freddie Mercury. You know, 545 00:26:19,240 --> 00:26:21,840 Speaker 4: he's sort of talking about the band peaking at that 546 00:26:21,920 --> 00:26:24,000 Speaker 4: stage and is there any future once you've got to 547 00:26:24,000 --> 00:26:25,520 Speaker 4: the to the top it is. 548 00:26:25,760 --> 00:26:28,800 Speaker 11: It is going to be difficult, especially with Behemian Rhapsody 549 00:26:28,840 --> 00:26:30,200 Speaker 11: being as large. 550 00:26:30,600 --> 00:26:33,119 Speaker 10: Well be a letter about that and said, I study 551 00:26:33,520 --> 00:26:35,679 Speaker 10: demonology and satanic things. 552 00:26:35,760 --> 00:26:38,760 Speaker 1: Why do they use bills above which. 553 00:26:38,640 --> 00:26:42,200 Speaker 4: I suppose that's a legitimate question. Why do we use it? 554 00:26:42,320 --> 00:26:43,520 Speaker 4: I mean, why do we use anything? 555 00:26:43,560 --> 00:26:47,200 Speaker 1: I mean it doesn't necessarily mean im I study demonology 556 00:26:47,200 --> 00:26:47,600 Speaker 1: and things. 557 00:26:47,920 --> 00:26:51,160 Speaker 4: I just love them. The word bells about. 558 00:26:53,680 --> 00:26:56,600 Speaker 2: Isn't that sounds like an Australian the interviewer, It does 559 00:26:56,600 --> 00:26:59,920 Speaker 2: sound like anas yeah in there and asking the tough questions, Yeah, 560 00:27:00,160 --> 00:27:01,840 Speaker 2: you are you satanic in anyway? 561 00:27:02,359 --> 00:27:03,960 Speaker 4: No, we're just like the sound of the word, the 562 00:27:04,080 --> 00:27:04,880 Speaker 4: sound of the word. 563 00:27:05,160 --> 00:27:05,639 Speaker 3: Who doesn't