1 00:00:00,520 --> 00:00:01,920 Speaker 1: Let me tell you a story. 2 00:00:02,279 --> 00:00:07,840 Speaker 2: Now a time, Cley releases the story behind the song Okay. 3 00:00:07,440 --> 00:00:11,240 Speaker 3: We are kicking it off with Ed. Shearon's Castle on 4 00:00:11,320 --> 00:00:15,280 Speaker 3: the Hill, released in January twenty seventeen as one of 5 00:00:15,320 --> 00:00:19,440 Speaker 3: the double lead singles from his third studio album, Oh 6 00:00:19,640 --> 00:00:21,160 Speaker 3: D Just Write? 7 00:00:21,239 --> 00:00:22,920 Speaker 4: The word would You Divide? 8 00:00:23,040 --> 00:00:24,000 Speaker 2: Is it Division? 9 00:00:26,800 --> 00:00:29,280 Speaker 3: Came out the same day as Shape of You. Castle 10 00:00:29,320 --> 00:00:31,400 Speaker 3: on the Hill was written and produced by Ed and 11 00:00:31,400 --> 00:00:35,400 Speaker 3: Benny Blanco. The song refers to Framlingham Castle, which is 12 00:00:35,440 --> 00:00:37,959 Speaker 3: in Shearon's hometown of Suffolk. In fact, the song has 13 00:00:38,040 --> 00:00:40,800 Speaker 3: been described as a love letter to Suffolk. 14 00:00:40,920 --> 00:00:42,680 Speaker 4: Yeah, not only where he used to live, but where 15 00:00:42,680 --> 00:00:43,159 Speaker 4: he lives now. 16 00:00:43,200 --> 00:00:46,800 Speaker 5: The actual litteral is leads my hometound, which is in 17 00:00:46,800 --> 00:00:50,040 Speaker 5: the middle of nowhere, no one ever visits, and I 18 00:00:50,080 --> 00:00:52,839 Speaker 5: really wants to write an appreciation someone it because it's beautiful. 19 00:00:52,880 --> 00:00:54,360 Speaker 4: How often do you think about home? 20 00:00:54,600 --> 00:00:57,639 Speaker 5: Well, I live there now. I bought a house there, 21 00:00:57,640 --> 00:00:59,920 Speaker 5: so I thankfully get to spend most of my time there. 22 00:01:00,080 --> 00:01:03,920 Speaker 4: That's great, That's incredible. I mean, that's awesome. I mean, 23 00:01:03,920 --> 00:01:06,000 Speaker 4: but it's a lot of traveling here obviously. 24 00:01:06,240 --> 00:01:08,000 Speaker 5: Yeah, but it's worth it. It's worth it. You know, 25 00:01:08,000 --> 00:01:09,680 Speaker 5: I got to I get to wake up and look 26 00:01:09,720 --> 00:01:11,400 Speaker 5: at a field rather than wake up and look at 27 00:01:11,760 --> 00:01:12,959 Speaker 5: a building a house. 28 00:01:13,240 --> 00:01:14,679 Speaker 6: You did not find a house. 29 00:01:14,959 --> 00:01:17,080 Speaker 4: You've got a small village for the whole thing. 30 00:01:17,240 --> 00:01:18,200 Speaker 6: It has its own power. 31 00:01:18,280 --> 00:01:20,559 Speaker 4: But church as well where you got married. 32 00:01:21,120 --> 00:01:22,440 Speaker 3: But sure you look at a field. 33 00:01:22,520 --> 00:01:25,120 Speaker 4: But if you, if you're you can afford it. It's 34 00:01:25,160 --> 00:01:26,080 Speaker 4: not that hard, is it. 35 00:01:27,080 --> 00:01:29,679 Speaker 3: I think a lot of people can relate to this song. Yeah, 36 00:01:29,840 --> 00:01:33,040 Speaker 3: the story that it tells. It always makes me drive 37 00:01:33,080 --> 00:01:33,920 Speaker 3: too fast, though. 38 00:01:33,800 --> 00:01:37,160 Speaker 4: It doesn't really that's dangerous. There's something about it when 39 00:01:37,160 --> 00:01:38,840 Speaker 4: you're about to get the ticket. How does that go down? 40 00:01:38,840 --> 00:01:43,840 Speaker 4: When you use that explanation, by the way, and it 41 00:01:43,920 --> 00:01:46,280 Speaker 4: made me drive faster? Yeah, probably your song is should 42 00:01:46,280 --> 00:01:47,720 Speaker 4: come out with at least would it be cool to 43 00:01:47,720 --> 00:01:49,920 Speaker 4: have someone who became a star and had a song 44 00:01:49,960 --> 00:01:52,600 Speaker 4: referencing you in unless it was Taylor Swift and she 45 00:01:52,640 --> 00:01:54,520 Speaker 4: was bitching about you after the event. It depends on 46 00:01:54,560 --> 00:01:55,440 Speaker 4: which line it is. 47 00:01:55,600 --> 00:01:55,840 Speaker 7: Yeah. 48 00:01:55,920 --> 00:01:57,840 Speaker 4: Yeah, he's then talking about referencing notes. 49 00:01:57,960 --> 00:02:00,480 Speaker 8: I've had a couple couple get and so I mean 50 00:02:00,560 --> 00:02:02,400 Speaker 8: I'm in touch with most of them anyway because they're 51 00:02:02,720 --> 00:02:05,520 Speaker 8: still my mates. But like the same guy that works 52 00:02:05,560 --> 00:02:07,240 Speaker 8: down by the coast is the guy I was running 53 00:02:07,240 --> 00:02:08,960 Speaker 8: from the law through the backfields with and we kind 54 00:02:08,960 --> 00:02:10,600 Speaker 8: of had a bit of a laugh. I spent news 55 00:02:10,600 --> 00:02:11,760 Speaker 8: eve with him, so had we had a bit of 56 00:02:11,800 --> 00:02:15,680 Speaker 8: a laugh about that, remembering being naughty kids. 57 00:02:15,960 --> 00:02:20,480 Speaker 4: Not kids, naughty kids. It's someone who's been influenced by people. 58 00:02:20,480 --> 00:02:23,120 Speaker 4: Of course, of course mus all and songwriters all have 59 00:02:23,160 --> 00:02:25,160 Speaker 4: their influencers, but he talks about one who was a 60 00:02:25,280 --> 00:02:27,000 Speaker 4: fit away from home other side of the Atlantic. 61 00:02:27,160 --> 00:02:30,840 Speaker 8: A lot of listening to Bruce Springsteen and in particular 62 00:02:30,880 --> 00:02:33,440 Speaker 8: of The River and really sort of like wanting to 63 00:02:34,360 --> 00:02:38,840 Speaker 8: write a song that is looks back on childhood and 64 00:02:38,880 --> 00:02:42,760 Speaker 8: childhood friends and how people grew. And I did. I wrote, 65 00:02:42,760 --> 00:02:43,639 Speaker 8: I wrote a few. 66 00:02:43,520 --> 00:02:45,480 Speaker 5: Like that and that was that was by far the 67 00:02:45,520 --> 00:02:46,480 Speaker 5: best of the best of the bunch. 68 00:02:46,800 --> 00:02:49,160 Speaker 8: I mean, my song isn't as detailed as The River 69 00:02:49,320 --> 00:02:52,000 Speaker 8: or as good, but but that, but that was the 70 00:02:52,080 --> 00:02:54,840 Speaker 8: kind of idea was to, you know, show show the 71 00:02:54,840 --> 00:02:58,360 Speaker 8: happiness of and innocence of youth, but and then also 72 00:02:58,440 --> 00:03:01,640 Speaker 8: show the kind of darkness of reality of grown up. 73 00:03:01,720 --> 00:03:05,240 Speaker 3: I guess so Bruce definitely knows his way around a 74 00:03:05,440 --> 00:03:09,320 Speaker 3: writing a love letter to absolutely to youth or Jersey. 75 00:03:09,040 --> 00:03:12,160 Speaker 4: Cars and Girls, Cars and Girls done, but that was 76 00:03:12,160 --> 00:03:14,639 Speaker 4: so and be self deprecating like that. That's good. 77 00:03:14,960 --> 00:03:15,040 Speaker 2: Ed. 78 00:03:15,280 --> 00:03:19,680 Speaker 1: Yeah, let me tell you a story on timeleases. 79 00:03:19,880 --> 00:03:21,920 Speaker 2: The story behind the song. 80 00:03:22,360 --> 00:03:27,679 Speaker 3: Love Song, any old love Song No Love Song by 81 00:03:27,880 --> 00:03:31,200 Speaker 3: The Cure was released as the third single from their 82 00:03:31,200 --> 00:03:36,200 Speaker 3: eighth studio album, Disintegration in nineteen eighty nine. Disintegration considered 83 00:03:36,240 --> 00:03:39,200 Speaker 3: not only The Cure's greatest album, but one of the 84 00:03:39,240 --> 00:03:41,320 Speaker 3: greatest albums of that generation. 85 00:03:41,800 --> 00:03:43,040 Speaker 4: And you love the cue, don't you. 86 00:03:43,920 --> 00:03:44,240 Speaker 1: We do. 87 00:03:44,600 --> 00:03:47,800 Speaker 4: Absolutely. Here's Robert Smith talking about the album Disintegration and 88 00:03:47,800 --> 00:03:48,119 Speaker 4: the song. 89 00:03:48,240 --> 00:03:51,040 Speaker 9: As with everything that we do, once we've done it, 90 00:03:51,080 --> 00:03:54,120 Speaker 9: I feel less like it. Its like it's an exoricism. 91 00:03:54,240 --> 00:03:59,120 Speaker 9: So I feel more piece together since were peaceful, since 92 00:03:59,160 --> 00:04:04,080 Speaker 9: we've made it. And it does revert back a little 93 00:04:04,120 --> 00:04:06,880 Speaker 9: bit too, I mean, certainly musically to around the Faith 94 00:04:07,200 --> 00:04:09,680 Speaker 9: period in that they are a longer, sort of quieter 95 00:04:09,960 --> 00:04:13,040 Speaker 9: or extended atmospheric songs on it, as opposed to kiss 96 00:04:13,080 --> 00:04:17,200 Speaker 9: Me album, which was like pretty kaleidoscopic. But I think 97 00:04:17,240 --> 00:04:19,840 Speaker 9: we're just we tend to do that from the time time. 98 00:04:19,880 --> 00:04:23,560 Speaker 9: It's like look back. I mean the catalog of stuff 99 00:04:23,600 --> 00:04:26,080 Speaker 9: that we've done is so huge now that and I 100 00:04:26,240 --> 00:04:28,159 Speaker 9: sort of look back and think there are things that 101 00:04:28,200 --> 00:04:31,800 Speaker 9: we could still experiment with, and then usually comes out 102 00:04:31,800 --> 00:04:35,039 Speaker 9: of that it's something completely different. So with this record, 103 00:04:35,080 --> 00:04:37,480 Speaker 9: there's a lot. It's a mixture of the two. The 104 00:04:37,480 --> 00:04:40,479 Speaker 9: thing of Disintegration is because I wanted the group to 105 00:04:40,480 --> 00:04:42,400 Speaker 9: do something a bit harder than the kiss Me album, 106 00:04:42,480 --> 00:04:44,880 Speaker 9: a bit more something is a bit more depth throughly. 107 00:04:45,480 --> 00:04:49,120 Speaker 3: Look, he's not David Lee Roth Okay, Robert Smith is 108 00:04:49,160 --> 00:04:53,360 Speaker 3: one of the shyest little things ever in music, hiding 109 00:04:53,400 --> 00:04:54,479 Speaker 3: behind all that hair and I. 110 00:04:54,600 --> 00:05:00,480 Speaker 4: Lin insane, describing another album as kaleidoscopic David words. 111 00:05:00,839 --> 00:05:04,640 Speaker 3: Robert wrote love Song for his partner Mary Now. He 112 00:05:04,720 --> 00:05:08,000 Speaker 3: and Mary had been together since high school. Thet they 113 00:05:09,200 --> 00:05:11,440 Speaker 3: when they were fourteen is when they met. And then 114 00:05:11,480 --> 00:05:14,080 Speaker 3: he wrote love song for Mary and presented it to. 115 00:05:14,040 --> 00:05:15,440 Speaker 6: Her as a wedding present. 116 00:05:16,000 --> 00:05:18,880 Speaker 4: So she took the tape in nineteen eighty eight to 117 00:05:18,960 --> 00:05:21,000 Speaker 4: take to another room and came back and smothered him 118 00:05:21,000 --> 00:05:24,120 Speaker 4: in kisses and you are being a Cure fan, give 119 00:05:24,120 --> 00:05:28,320 Speaker 4: me back my life of course again, and my hair gel? 120 00:05:29,160 --> 00:05:31,360 Speaker 4: Where's my product? You, as a qure fan must have 121 00:05:31,400 --> 00:05:34,360 Speaker 4: sat in front of a stereo many, many times reading 122 00:05:34,360 --> 00:05:37,880 Speaker 4: the lyrics off. The album covers so lyrics like whenever, 123 00:05:38,200 --> 00:05:40,400 Speaker 4: whenever I'm alone with you, you make me feel like 124 00:05:40,400 --> 00:05:43,480 Speaker 4: I'm a home again. I mean really, Robert doesn't get 125 00:05:43,520 --> 00:05:44,080 Speaker 4: much better than that. 126 00:05:44,160 --> 00:05:46,240 Speaker 3: Yes, well, he said, it's an open show of emotion. 127 00:05:46,560 --> 00:05:49,880 Speaker 3: It's not trying to be clever. It's taken me ten years, 128 00:05:49,880 --> 00:05:51,320 Speaker 3: he said. This is what he said at the time 129 00:05:51,560 --> 00:05:54,479 Speaker 3: to reach the point where I feel comfortable singing a 130 00:05:54,560 --> 00:05:56,040 Speaker 3: very straightforward love song. 131 00:05:56,160 --> 00:05:58,200 Speaker 9: It's probably the most difficult song that I've had to 132 00:05:58,240 --> 00:06:02,400 Speaker 9: sing because it doesn't have anything twist. It's very straightforward, 133 00:06:03,080 --> 00:06:05,719 Speaker 9: very honest. I find it very difficult to sing Hones 134 00:06:05,720 --> 00:06:06,760 Speaker 9: slee a at the time. 135 00:06:07,560 --> 00:06:10,000 Speaker 4: He's a man of few words, as we know. 136 00:06:10,560 --> 00:06:13,400 Speaker 3: But an interviewer once called love song the most traditional 137 00:06:13,440 --> 00:06:15,880 Speaker 3: song the cure I've ever written. For this reason, he 138 00:06:15,920 --> 00:06:17,960 Speaker 3: asked Robert Smith if he was proud of it, to 139 00:06:18,000 --> 00:06:19,359 Speaker 3: which Robert replied, it. 140 00:06:19,440 --> 00:06:24,960 Speaker 4: Was simply a cheap and cheerful I married British, isn't it. 141 00:06:25,480 --> 00:06:29,280 Speaker 1: Let me tell you a story One time cy releases 142 00:06:29,480 --> 00:06:31,239 Speaker 1: the story behind the song. 143 00:06:31,520 --> 00:06:35,680 Speaker 3: Today's story behind the song song is miss Free Love 144 00:06:35,800 --> 00:06:39,479 Speaker 3: of nineteen hundred and sixty nine by The Hoodi Gurus, 145 00:06:39,800 --> 00:06:43,839 Speaker 3: released in February nineteen ninety one. I cannot believe that 146 00:06:43,920 --> 00:06:46,640 Speaker 3: it was February nineteen ninety one. I can still remember 147 00:06:46,640 --> 00:06:48,479 Speaker 3: the first time I saw it on whatever. I saw 148 00:06:48,520 --> 00:06:50,080 Speaker 3: it on a rage or. 149 00:06:50,240 --> 00:06:52,000 Speaker 4: Time flies when you're rocking with the Gurus? 150 00:06:52,520 --> 00:06:56,719 Speaker 3: How's that lead single from their fifth studio album, Kinky. 151 00:06:57,360 --> 00:06:59,600 Speaker 3: The song peaked at number nineteen on the ARIA charts 152 00:06:59,600 --> 00:07:03,480 Speaker 3: and number three on the Billboard Modern Rock Tracks in 153 00:07:03,560 --> 00:07:07,080 Speaker 3: June of two thousand. Dave Faulkner said it was written 154 00:07:07,120 --> 00:07:09,880 Speaker 3: on the morning after the events described in the song. 155 00:07:10,120 --> 00:07:12,880 Speaker 3: Although I gave them some embellishment. 156 00:07:12,680 --> 00:07:15,040 Speaker 4: Absolutely, and we've spoken to Davis. We mentioned earlier this 157 00:07:15,080 --> 00:07:17,200 Speaker 4: morning many many times over the years, and they never 158 00:07:17,240 --> 00:07:19,320 Speaker 4: shied away, the Gros from the fact that they love 159 00:07:19,440 --> 00:07:22,520 Speaker 4: sixties pop culture and all things groovy. But the song, well, 160 00:07:22,840 --> 00:07:23,720 Speaker 4: Dave tell the story. 161 00:07:23,840 --> 00:07:23,920 Speaker 7: MS. 162 00:07:24,040 --> 00:07:28,360 Speaker 10: Frelave was literally written in my flat, which I about 163 00:07:28,400 --> 00:07:31,360 Speaker 10: two hundred meters fro where I'm living now, and I 164 00:07:31,440 --> 00:07:34,480 Speaker 10: was there for a long time nineteen years actually, and 165 00:07:34,760 --> 00:07:37,000 Speaker 10: it was just one we played a tour of Japan. 166 00:07:37,080 --> 00:07:39,320 Speaker 10: I came back with a bottle of saki in my suitcase. 167 00:07:40,200 --> 00:07:41,880 Speaker 10: It wasn't the first time I drumk ssaki, but it was, 168 00:07:42,120 --> 00:07:44,360 Speaker 10: you know, brought some from Japan because I was there 169 00:07:44,400 --> 00:07:47,440 Speaker 10: and my friends dropped in, you know, a couple of 170 00:07:47,440 --> 00:07:49,600 Speaker 10: friends and Midge opened the saki, and then a couple 171 00:07:49,680 --> 00:07:53,080 Speaker 10: more came around, and then more ssaki, then more wine 172 00:07:53,080 --> 00:07:55,400 Speaker 10: and beer whatever. It was like before you know, it 173 00:07:55,440 --> 00:07:57,320 Speaker 10: was like two in the morning, the cops are banging 174 00:07:57,360 --> 00:07:58,520 Speaker 10: on the door, and as you know, there's a bit 175 00:07:58,560 --> 00:08:00,920 Speaker 10: of a swinging party going on. So that was a 176 00:08:00,960 --> 00:08:02,600 Speaker 10: story that I work up next day with a smile 177 00:08:02,640 --> 00:08:05,160 Speaker 10: on my face and just write the song in about 178 00:08:05,160 --> 00:08:07,320 Speaker 10: twenty minutes. I mean, I've been wanting to write a 179 00:08:07,320 --> 00:08:09,400 Speaker 10: song with that groove for about a year and hadn't 180 00:08:09,440 --> 00:08:12,720 Speaker 10: managed it. Attempted a few times and didn't quite gell. 181 00:08:12,840 --> 00:08:17,400 Speaker 10: But that party, that experience seemed perfect for that groove 182 00:08:17,680 --> 00:08:20,080 Speaker 10: and it just came together quickly. But the lyrics are 183 00:08:20,120 --> 00:08:22,760 Speaker 10: literally what happened in the story of the song, other 184 00:08:22,800 --> 00:08:25,360 Speaker 10: than the fact in the song, I changed the ending 185 00:08:25,880 --> 00:08:27,880 Speaker 10: to give it a happier ending where the police actually 186 00:08:27,960 --> 00:08:30,480 Speaker 10: joined the party in the song, but in the reality 187 00:08:30,520 --> 00:08:34,320 Speaker 10: it was actually just a tapping inning. They they threatened 188 00:08:34,360 --> 00:08:36,160 Speaker 10: me with saying we come back, it'll be a huge fine. 189 00:08:36,200 --> 00:08:37,959 Speaker 10: I'm like going, oh whatever, and so off they went 190 00:08:38,040 --> 00:08:40,240 Speaker 10: and never came back anyway. So we kept partying. So 191 00:08:40,720 --> 00:08:42,480 Speaker 10: it was a happy ending both stories, you know, the 192 00:08:42,520 --> 00:08:44,960 Speaker 10: real one and the thing. But I made the song, 193 00:08:45,040 --> 00:08:47,679 Speaker 10: as I say, you changed the story a little bit 194 00:08:47,720 --> 00:08:48,920 Speaker 10: to make it a bit more universal. 195 00:08:49,120 --> 00:08:51,040 Speaker 4: I think it's cool that the song says that the 196 00:08:51,040 --> 00:08:52,160 Speaker 4: cops came and joined the party. 197 00:08:52,240 --> 00:08:52,760 Speaker 5: Absolutely. 198 00:08:53,960 --> 00:08:55,680 Speaker 3: The citar in the song was a bit of a 199 00:08:55,720 --> 00:09:00,400 Speaker 3: curiosity though that wasn't sucky esque. When one of the 200 00:09:00,440 --> 00:09:03,360 Speaker 3: many times we've spoken to Dave was in twenty twenty 201 00:09:03,360 --> 00:09:05,720 Speaker 3: two and he talked to us about it. 202 00:09:05,720 --> 00:09:07,319 Speaker 4: Then, Yeah, speaking of parties. 203 00:09:07,040 --> 00:09:08,560 Speaker 11: There's a bit of a hitar plan. 204 00:09:08,920 --> 00:09:12,040 Speaker 4: Yes, yeah, which is actually is actually stolen that that 205 00:09:12,200 --> 00:09:13,000 Speaker 4: hit was real? 206 00:09:13,080 --> 00:09:13,640 Speaker 12: Oh never mind. 207 00:09:13,720 --> 00:09:18,800 Speaker 4: Yes, the sitar itself from the party, from. 208 00:09:18,600 --> 00:09:21,360 Speaker 10: The movie The Party, Peter sellers at the beginning, he's 209 00:09:21,400 --> 00:09:22,400 Speaker 10: playing a sitzar. 210 00:09:23,720 --> 00:09:26,880 Speaker 4: And we just sampled that. We didn't tell anyone's no 211 00:09:26,960 --> 00:09:27,760 Speaker 4: word pay. 212 00:09:28,160 --> 00:09:31,480 Speaker 3: We were talking about the party just the day before yesterday, 213 00:09:31,480 --> 00:09:33,720 Speaker 3: we were talking about your favorite ever comedy movie, and 214 00:09:33,760 --> 00:09:35,040 Speaker 3: I said the party is mine. 215 00:09:34,920 --> 00:09:37,760 Speaker 4: And it's one of our favorite It's yeah, you can't. 216 00:09:37,840 --> 00:09:39,880 Speaker 4: It's hard to beat a little bit of thving there. 217 00:09:40,080 --> 00:09:41,680 Speaker 4: Love it. I love the sample. 218 00:09:42,040 --> 00:09:45,280 Speaker 1: Let Me tell You a Story One time Cleary and 219 00:09:45,400 --> 00:09:49,720 Speaker 1: leases the story behind the song Today's. 220 00:09:49,280 --> 00:09:54,280 Speaker 3: Story behind the Song. Song is Tiny Dancer Elton John 221 00:09:54,320 --> 00:09:58,120 Speaker 3: and Bernie Taupen. Was originally released on Elton's late nineteen 222 00:09:58,160 --> 00:10:00,240 Speaker 3: seventy one album mad Man Across the Water, and then 223 00:10:00,320 --> 00:10:03,840 Speaker 3: later produced and released as a single in nineteen seventy two. 224 00:10:03,960 --> 00:10:05,400 Speaker 5: So what or is it? 225 00:10:05,440 --> 00:10:07,040 Speaker 3: Who is the inspiration? 226 00:10:07,640 --> 00:10:10,160 Speaker 7: There's all lyrics here, and you know, I just sit 227 00:10:10,280 --> 00:10:12,040 Speaker 7: through them. There's one year that I've sort of done 228 00:10:12,080 --> 00:10:16,360 Speaker 7: the other day. Well, Tiny Dancer, which is about Bernie's girlfriend, 229 00:10:18,640 --> 00:10:19,960 Speaker 7: just sort of felt like I looked for all there 230 00:10:20,080 --> 00:10:21,560 Speaker 7: is and that was the one I fancied writing, mainly 231 00:10:21,559 --> 00:10:23,320 Speaker 7: because I knew Bernie would like me to do this 232 00:10:23,320 --> 00:10:25,440 Speaker 7: one because it's about his girlfriend. You look at it 233 00:10:25,720 --> 00:10:29,360 Speaker 7: the words blue Jean, baby, la Lady, seemstress of the bad, 234 00:10:29,760 --> 00:10:32,720 Speaker 7: pretty eyed pirate smile, you marry a music man, ballerina. 235 00:10:32,760 --> 00:10:34,120 Speaker 7: As soon as you get the word ballerina, you know 236 00:10:34,160 --> 00:10:35,760 Speaker 7: it's not going to be fast. It's got to be 237 00:10:35,800 --> 00:10:38,840 Speaker 7: sort of gentle, and it's sort of quite slow. I 238 00:10:38,960 --> 00:10:41,439 Speaker 7: just sort of ran it through and put two verses together, 239 00:10:41,600 --> 00:10:43,199 Speaker 7: then a middle eight, then a chorus and then back 240 00:10:43,240 --> 00:10:44,920 Speaker 7: to the sort of verse sort of thing. 241 00:10:44,880 --> 00:10:46,640 Speaker 4: Is it's it happens very quickly. 242 00:10:47,040 --> 00:10:57,959 Speaker 7: It's sort of starts off Blue Jean, Baby, Elley Lady, seamstressful. 243 00:10:57,480 --> 00:11:01,400 Speaker 4: The baby Is it Cooler? Here A music I deconstructed 244 00:11:01,480 --> 00:11:02,599 Speaker 4: and recreated it like that. 245 00:11:02,840 --> 00:11:07,240 Speaker 3: Well, the girlfriend in question was actually Bernie's wife at 246 00:11:07,280 --> 00:11:11,160 Speaker 3: the time. Her name was Maxine Feebleman, and just back 247 00:11:11,200 --> 00:11:14,000 Speaker 3: in twenty nineteen, Feebleman said, I knew that song was 248 00:11:14,000 --> 00:11:16,400 Speaker 3: about me. I had been into ballet as a little 249 00:11:16,440 --> 00:11:20,160 Speaker 3: girl and sold patches on Elton's jackets and jeans. So 250 00:11:20,360 --> 00:11:23,880 Speaker 3: that's what the seamstress for the band bit. 251 00:11:23,880 --> 00:11:25,760 Speaker 4: It's about where the reference came from. Now, it's not 252 00:11:25,880 --> 00:11:26,600 Speaker 4: a short song. 253 00:11:26,880 --> 00:11:29,240 Speaker 3: Indeed, due to the song's lengthy run time of six 254 00:11:29,360 --> 00:11:32,960 Speaker 3: minutes twelve seconds, A tiny Dnswer was initially a bit 255 00:11:32,960 --> 00:11:35,160 Speaker 3: of a non starter as a single in the US, 256 00:11:35,320 --> 00:11:38,040 Speaker 3: especially reaching only number forty one on their Pop chart, 257 00:11:38,320 --> 00:11:40,560 Speaker 3: and wasn't even released as a single in the UK 258 00:11:40,920 --> 00:11:45,960 Speaker 3: because well, exactly she wrapped it up in maybe ninety seconds. 259 00:11:46,640 --> 00:11:49,280 Speaker 3: It fared better here in Australia. It peaked at number 260 00:11:49,320 --> 00:11:52,959 Speaker 3: thirteen here. It was ranked number forty seven on the 261 00:11:53,000 --> 00:11:55,679 Speaker 3: twenty twenty one Rolling Stone list of the five hundred 262 00:11:55,720 --> 00:11:58,199 Speaker 3: Greatest Songs of All Time, and in twenty twenty was 263 00:11:58,240 --> 00:12:02,439 Speaker 3: inducted into the Grammy Hall of Fame. Yeah, we being 264 00:12:02,520 --> 00:12:05,920 Speaker 3: a big one, you know, in sort of various types 265 00:12:06,000 --> 00:12:08,480 Speaker 3: of media. Of course, it's a great scene and almost famous, 266 00:12:08,480 --> 00:12:09,680 Speaker 3: whether or singing on the bus. 267 00:12:11,040 --> 00:12:11,400 Speaker 4: Friends. 268 00:12:11,520 --> 00:12:16,000 Speaker 3: Phoebe thought that the song was called hold Me Close 269 00:12:16,040 --> 00:12:16,640 Speaker 3: to Tony. 270 00:12:16,440 --> 00:12:20,160 Speaker 4: Yin Tony Danzer. Yeah, and Elton and Bernie. Let's be honest, 271 00:12:20,200 --> 00:12:22,839 Speaker 4: it was. It's been such a unique partnership to have 272 00:12:23,080 --> 00:12:25,640 Speaker 4: someone on one side of the world because Bernie Tubman 273 00:12:25,679 --> 00:12:27,640 Speaker 4: was obsessed with living in the States and pretending he 274 00:12:27,720 --> 00:12:30,319 Speaker 4: was a cowboy, writing lyrics and sending them over to 275 00:12:30,360 --> 00:12:31,360 Speaker 4: Elton and Elton going in there. 276 00:12:31,720 --> 00:12:34,920 Speaker 3: Is this what made it work? It is incredible. 277 00:12:34,960 --> 00:12:36,240 Speaker 4: Yeah, a bit of Elton and then Bernie having your 278 00:12:36,320 --> 00:12:36,959 Speaker 4: chat about the song. 279 00:12:37,160 --> 00:12:39,480 Speaker 12: For some reason, the magic of our relationship is that 280 00:12:39,720 --> 00:12:41,920 Speaker 12: when he gives me that lyric, I see a movie 281 00:12:42,000 --> 00:12:44,160 Speaker 12: in my head and I don't think about it very much, 282 00:12:44,200 --> 00:12:47,000 Speaker 12: and I just go ahead, and that's never changed from 283 00:12:47,000 --> 00:12:48,920 Speaker 12: the word go from the first lyric he ever gave me. 284 00:12:49,200 --> 00:12:51,800 Speaker 12: Tiny Dancer was just a breeze because you know, we 285 00:12:51,880 --> 00:12:54,599 Speaker 12: were both infatuated with it here in Los Angeles, so 286 00:12:54,679 --> 00:12:56,439 Speaker 12: it meant a great deal to write a song about 287 00:12:56,760 --> 00:12:57,520 Speaker 12: La Yeah. 288 00:12:57,520 --> 00:13:00,400 Speaker 13: I think, like Elton said, it's a composite of a 289 00:13:00,440 --> 00:13:03,280 Speaker 13: lot of different ideas and a lot of different people 290 00:13:03,800 --> 00:13:05,679 Speaker 13: and all the things that we saw on the street. 291 00:13:05,720 --> 00:13:07,920 Speaker 13: It was like coming from black and white to color. 292 00:13:08,559 --> 00:13:11,520 Speaker 13: And you know, the people, the people were so free, 293 00:13:11,640 --> 00:13:14,000 Speaker 13: they were much the girls were so much freer than 294 00:13:14,440 --> 00:13:16,880 Speaker 13: you know, what we were used to in England. You know, 295 00:13:17,000 --> 00:13:19,880 Speaker 13: there was there was a light around everything and the 296 00:13:19,960 --> 00:13:21,760 Speaker 13: whole thing was inspiring a lot of. 297 00:13:21,720 --> 00:13:26,360 Speaker 4: The use of the word free, a lot of freer. Yeah, 298 00:13:27,440 --> 00:13:30,440 Speaker 4: they're like, excuse me, it's hilarious. 299 00:13:30,640 --> 00:13:34,400 Speaker 2: Let me tell you a story on time and leases 300 00:13:34,640 --> 00:13:36,360 Speaker 2: The story behind the song. 301 00:13:36,840 --> 00:13:42,080 Speaker 3: Today's story behind the song song is Sweet Dreams by Eurhythmics. 302 00:13:42,280 --> 00:13:45,319 Speaker 3: It was the fourth single from their second album the 303 00:13:45,400 --> 00:13:47,640 Speaker 3: same name in January nineteen eighty three, but it was 304 00:13:47,720 --> 00:13:52,959 Speaker 3: their breakthrough hit, establishing the duo worldwide. It reached number 305 00:13:53,000 --> 00:13:55,920 Speaker 3: two on the UK charts, number one on the US charts, 306 00:13:55,960 --> 00:13:57,959 Speaker 3: and it was number six here in Australia. 307 00:13:58,160 --> 00:14:00,720 Speaker 4: Yeah, huge hit, wasn't It got everyone's tension because they 308 00:14:00,760 --> 00:14:02,800 Speaker 4: were just so different to everybody else out there and 309 00:14:03,000 --> 00:14:06,200 Speaker 4: a duo is any talking about how she was almost done. 310 00:14:06,559 --> 00:14:08,480 Speaker 6: It's a funny story in a way because on the 311 00:14:08,600 --> 00:14:11,880 Speaker 6: day that we started to create this song, Sweet Dreams, 312 00:14:12,120 --> 00:14:14,920 Speaker 6: I was in a terrible mood and I was really 313 00:14:15,080 --> 00:14:17,280 Speaker 6: ready to pack it in and to go back to Scotland. 314 00:14:17,360 --> 00:14:20,960 Speaker 6: I had realized that there was no hope whatsoever and 315 00:14:21,320 --> 00:14:22,480 Speaker 6: it wasn't going to happen, and. 316 00:14:23,000 --> 00:14:23,880 Speaker 2: That was the mood I was in. 317 00:14:24,000 --> 00:14:25,440 Speaker 4: So I was thinking, we're done here. 318 00:14:25,600 --> 00:14:28,880 Speaker 6: Yeah, yeah, absolutely absolutely, and I was, you know, I 319 00:14:29,040 --> 00:14:31,760 Speaker 6: was really depressed about it, and Dave was just like, 320 00:14:32,000 --> 00:14:35,320 Speaker 6: you know, he's a very brilliant individual, so he's like, okay, 321 00:14:35,480 --> 00:14:38,080 Speaker 6: you're down, okay, but now, well you won't mind, will 322 00:14:38,120 --> 00:14:40,200 Speaker 6: you if I just go and do this. And then 323 00:14:40,240 --> 00:14:41,960 Speaker 6: I was sitting sort of mooching in the corner of 324 00:14:42,000 --> 00:14:43,920 Speaker 6: my of the of the studio that we had we 325 00:14:44,000 --> 00:14:46,280 Speaker 6: were working in, I heard him doing this and then 326 00:14:46,320 --> 00:14:48,080 Speaker 6: I was like, hmm, that's interesting. 327 00:14:49,680 --> 00:14:52,840 Speaker 3: Absolutely, Annie and Day wrote the song after the Tourist 328 00:14:52,880 --> 00:14:54,920 Speaker 3: had broken up and they formed a rhythmics, although the 329 00:14:54,960 --> 00:14:56,840 Speaker 3: two of them also broke up as a couple and 330 00:14:57,160 --> 00:14:59,800 Speaker 3: they continued to work together, and he says the lyrics 331 00:14:59,840 --> 00:15:02,360 Speaker 3: for reflected the unhappy time after the breakup of the 332 00:15:02,480 --> 00:15:07,720 Speaker 3: Tourists break up the band, not so when she felt 333 00:15:07,880 --> 00:15:09,400 Speaker 3: they were in a dream world. 334 00:15:09,960 --> 00:15:13,120 Speaker 4: Interesting she is talking about that point in their careers. 335 00:15:13,280 --> 00:15:17,360 Speaker 6: It was about that dreaming of an aspirational dream everybody 336 00:15:17,440 --> 00:15:20,000 Speaker 6: has and then whether or not it comes true, whether 337 00:15:20,040 --> 00:15:22,680 Speaker 6: it or not it is fulfilled. And in the case 338 00:15:22,680 --> 00:15:27,160 Speaker 6: of Sweet Dreams, ironically what the song was all about 339 00:15:27,320 --> 00:15:30,760 Speaker 6: actually fulfilled itself, which is so strange. And I think 340 00:15:30,760 --> 00:15:33,520 Speaker 6: about it because at the time I really had no 341 00:15:35,200 --> 00:15:38,040 Speaker 6: thoughts that the song would have such a sort of 342 00:15:38,280 --> 00:15:39,880 Speaker 6: powerful trajectory. 343 00:15:40,480 --> 00:15:44,160 Speaker 4: Well, it certainly resonates in so many places around the globe. 344 00:15:44,240 --> 00:15:45,960 Speaker 4: I know, why do you think that is? 345 00:15:46,160 --> 00:15:48,800 Speaker 6: You know, it's so interesting. It's something about sweet dreams 346 00:15:49,560 --> 00:15:53,280 Speaker 6: that people latch onto, that they identify with. And whether 347 00:15:53,360 --> 00:15:56,080 Speaker 6: it's because they want to celebrate a victory from a 348 00:15:56,120 --> 00:15:59,520 Speaker 6: football match or it's someone's birthday, I don't really know. 349 00:15:59,760 --> 00:16:02,440 Speaker 6: But there's something in the song that people just love. 350 00:16:02,480 --> 00:16:05,200 Speaker 6: And it's a very peculiar song because it's like a 351 00:16:05,240 --> 00:16:07,440 Speaker 6: little mandra It just goes around and around. It just 352 00:16:07,440 --> 00:16:09,880 Speaker 6: says the same thing over and over, and people just 353 00:16:10,000 --> 00:16:11,440 Speaker 6: have identified with it. 354 00:16:12,280 --> 00:16:14,160 Speaker 4: I think she's selling herself a bit short because there's 355 00:16:14,280 --> 00:16:17,440 Speaker 4: that magnificent voice as well. Yes, Louisy Win, doesn't it exactly? 356 00:16:17,640 --> 00:16:20,400 Speaker 4: Absolutely Loise you in now Dive Stewart, as Andy said, 357 00:16:20,440 --> 00:16:22,760 Speaker 4: there a couple of times he's in extraordinary talent and 358 00:16:22,840 --> 00:16:24,600 Speaker 4: he's proven that for the rest of his career as well. 359 00:16:25,080 --> 00:16:27,680 Speaker 4: But sometimes the best things happen in the studio, and 360 00:16:27,800 --> 00:16:29,560 Speaker 4: it might not even be your equipment that you meant 361 00:16:29,600 --> 00:16:32,120 Speaker 4: to be tampering with that can come up with great songs. 362 00:16:32,160 --> 00:16:38,720 Speaker 11: I started to play this little thing, but then Annie 363 00:16:38,720 --> 00:16:42,800 Speaker 11: acudently left to her feet, going holy and then around. 364 00:16:42,880 --> 00:16:45,560 Speaker 11: So there's synthesizer which wasn't ours. We weren't allowed to 365 00:16:45,600 --> 00:16:48,160 Speaker 11: switch it on, and when we switched it on, the 366 00:16:48,360 --> 00:16:52,000 Speaker 11: sound that was there was magically the other sound which 367 00:16:54,040 --> 00:16:58,800 Speaker 11: right now, remember we only had seven tracks on an 368 00:16:58,920 --> 00:17:02,760 Speaker 11: h Hrat tape recorder, but by recording only three tracks 369 00:17:02,880 --> 00:17:05,399 Speaker 11: they sounded like this, which is those two sequences and 370 00:17:05,440 --> 00:17:05,919 Speaker 11: the drums. 371 00:17:11,359 --> 00:17:13,960 Speaker 4: Wow, it isn't unreal to hear that equivalent of That's 372 00:17:13,960 --> 00:17:16,520 Speaker 4: so damn good hearing in the studio like that. Yeah, 373 00:17:16,720 --> 00:17:17,359 Speaker 4: very very cool.