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Speaker 1: Clearsy releases The story behind the album Here We Go.

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Speaker 2: Purple Rain is the sixth studio album by singer, songwriter, producer,

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Speaker 2: on multi instrumentalist Prince. It was released on June twenty five,

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Speaker 2: nineteen eighty four, as the soundtrack album to the nineteen

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Speaker 2: eighty four film of the same name. Purple Rain was

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Speaker 2: musically denser than Prince's previous albums, emphasizing full band performances

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Speaker 2: because it is Prince and the Revolution that's from and

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Speaker 2: multiple layers of guitars and keyboards and electronic synthesier effects,

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Speaker 2: synthesizer effects and drum machines. It was all about the sound.

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Speaker 2: And I guess one person who knew more than anyone

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Speaker 2: about the sound was Prince's sound engineer, Susan Rogers.

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Speaker 3: That's right, because it was no surprise that he was

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Speaker 3: and as a workaholic p Lice and Prince wanted what

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Speaker 3: he wanted to. I wanted to be ready to go

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Speaker 3: with inspirations stuck and the studio set up, and he

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Speaker 3: was very demanding like that. And as you mentioned, Susan

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Speaker 3: Rodgers knew all about it. He's work ethic and he's

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Speaker 3: set up right here.

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Speaker 4: Well, his favorite way to work was to have everything

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Speaker 4: set up and routed so that he could work silently,

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Speaker 4: because he didn't like small talk.

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Speaker 2: Interrupted that flow.

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Speaker 4: That river, that niagara falls of ideas it was coming

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Speaker 4: through his brain. It interrupted that flow if he had

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Speaker 4: to have conversations. So if he could start a session

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Speaker 4: with everything set up and routed, just headed to tape, happy, happy, Happy.

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Speaker 4: Sometimes you'd get a phone call saying here's what he

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Speaker 4: wants set up. Sometimes you'd come to the studio and

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Speaker 4: there'd be a note waiting on the console saying here's

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Speaker 4: what he wants set up. If the sunset, he would

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Speaker 4: tell the front desk, tell the engineers, I want this

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Speaker 4: set up, But you come in and try to get

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Speaker 4: as much routed for him. Get his bass tuned, get

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Speaker 4: his guitars tuned before handing it to him.

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Speaker 2: Never hand him an untuned instrument.

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Speaker 3: You'll imagine doing that.

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Speaker 2: He had one job, yes, could you imagine?

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Speaker 5: Yeah?

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Speaker 3: You know he had lots of band mates over the years.

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Speaker 3: Didn't he know so many people who went on to

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Speaker 3: other things in their careers.

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Speaker 6: Yeah.

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Speaker 2: The interesting thing about Purple Rain is its generally regarded

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Speaker 2: as the most pop oriented of Prince's career. Yeah, but

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Speaker 2: it has a number of elements that point towards the

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Speaker 2: more experimental records that he would go on to release

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Speaker 2: after Purple Rain. So it was such a pivotal moment.

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Speaker 2: His previous albums were primarily solo recordings Prince by Prince,

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Speaker 2: but Purple Rain contained the credits, produced, arranged, composed and

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Speaker 2: performed by Prince and the Revolution, so he gave over

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Speaker 2: some of the responsibility.

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Speaker 3: Yeah, more of a band, even though he was always

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Speaker 3: had the final say, let's be honest, it was absolutely yeah,

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Speaker 3: And he had lots of people around him. You could

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Speaker 3: call him a few muses over the years, and the

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Speaker 3: likes and Shela. He was in the band of one stage,

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Speaker 3: but he had Lisa and Wendy, and Wendy Melvin here

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Speaker 3: is talking about the revesues from the Revolution, talking about

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Speaker 3: performing and the advice that Prince gave her that night at.

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Speaker 7: First Avenue was a foreshadowing for sure, because there were

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Speaker 7: at least three tracks that ended up being the you know,

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Speaker 7: the recorded versions for the album.

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Speaker 8: And you I mean it was my first show. It

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Speaker 8: was my first show with the band.

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Speaker 7: Best advice I've ever gotten that I share with other

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Speaker 7: musicians when they're starting, He said to me, when I

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Speaker 7: get nervous, and you hear the beat, and you hear

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Speaker 7: the rhythm, and you hear how fast we're going, cut

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Speaker 7: your body in halftime.

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Speaker 8: So if you're feeling one two.

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Speaker 7: Three four one two three four, if you're nervous, you're

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Speaker 7: going to be pushing the beat, right, he said, go

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Speaker 7: halftime one.

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Speaker 8: And it's like it's a meditation.

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Speaker 7: You slow, you're breathing down, and you don't rush, and

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Speaker 7: you stay behind the beat. And that's where funk. And

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Speaker 7: that was the best advice she ever gave me.

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Speaker 3: That's pretty cool, isn't it.

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Speaker 2: It's amazing, amazing advice from Prince Purple. Rain was well

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Speaker 2: received by contemporary critics. Kurt Loder, who was writing for

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Speaker 2: Rolling Stone in nineteen eighty four, compared Prince to Jimmy

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Speaker 2: Hendrix and praised him for merging black and white styles.

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Speaker 2: He said, the spirit of Jimmy Hendrix must surely smile

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Speaker 2: down on Prince Rogers Nelson. Like Hendrix, Prince seems to

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Speaker 2: have tapped into some extraterrestrial music dimension where black and

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Speaker 2: white styles are merely different aspects of the same funky thing.

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Speaker 3: Yeah, he was a light about incredible guitarist. But we

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Speaker 3: saw how versatile when we finally got him in Perth

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Speaker 3: and that gig, those gigs at the Arena, Yeah, you know,

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Speaker 3: it was just a piano and microphone tour and he

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Speaker 3: showed his versatility. But he was also, as Susan Rogers

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Speaker 3: mentioned earlier, he was pretty shy and he didn't really

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Speaker 3: want to do small talk. No, you could hear it

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Speaker 3: when he accepted the Oscar.

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Speaker 9: Thank you very much. This is Lisa, and this is

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Speaker 9: when this is very unbelievable. I can never imagine this

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Speaker 9: in my wildest dreams. And I would like to thank

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Speaker 9: the Academy, mister Albert Magnoli, my manager, Stephen, Bob, Joe Bobby,

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Speaker 9: American Matt who couldn't be with us today, and Moss

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Speaker 9: of our God. Thank you very much.

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Speaker 2: Burble Rame was originally written as a country song and

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Speaker 2: intended to be a collaboration with Stevie Nicks.

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Speaker 3: Oh really, who knew that?

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Speaker 2: How about that? But of course the lead single was

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Speaker 2: when Doves Cry, What a Princess? First Billboard Hot one

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Speaker 2: hundred number one single, where it stayed for five weeks,

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Speaker 2: and it was also a worldwide hit.

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Speaker 1: Releases the story behind the album.

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Speaker 2: So it's hard to believe that was nineteen eighty six

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Speaker 2: that Whispering Jack came out. The twelfth studio album by

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Speaker 2: John Farnham, released on the twenty ninth of September nineteen

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Speaker 2: eighty six, peaking at number one on the Australian Kent

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Speaker 2: Music Reports Report Albums chart. It became the second biggest

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Speaker 2: selling album in Australia, behind only Meatloafs album Bat Out

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Speaker 2: of Hell, and the highest selling album in Australia by

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Speaker 2: an Australian artist. It remains the third best selling album

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Speaker 2: of all time in Australia because Shana Twain came along

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Speaker 2: with her oh really tight pants on Brad Pitt b

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Speaker 2: well that carry.

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Speaker 3: On, it wasn't it.

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Speaker 2: But anyway, that's another album for another day.

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Speaker 3: What a phenomenon it was. It's just incredible, wasn't it.

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Speaker 2: Well, as we said prior to this, because Glenn Wheatley

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Speaker 2: mortgage the home to raise the funds for recording of

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Speaker 2: the album. Such was his belief because.

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Speaker 3: Fans he was broke, so broke. Yeah, it is incredible,

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Speaker 3: I make you think about it. After he was the

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Speaker 3: King of pop and Sadie the Cleaning eighty all that stuff.

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Speaker 3: By the mid eighties, John was playing pub gigs, doing

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Speaker 3: Bob c Could covers and stuff like that.

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Speaker 2: What happened there was so bad him. There was some

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Speaker 2: bad sort of decisions financially.

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Speaker 10: Yeah.

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Speaker 3: Yeah, not the best advice, not the best advice. He

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Speaker 3: wasn't playing big gigs. He was playing small gigs. And

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Speaker 3: have a listen to this. This is how broke John

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Speaker 3: Farne was.

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Speaker 8: I had to sell everything.

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Speaker 11: I had to sell my house and my car, and

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Speaker 11: we didn't have durably much to begin with.

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Speaker 3: Yeah, hard to believe, isn't it really hard to believe?

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Speaker 2: Indeed?

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Speaker 3: And you talk about that relationship with Glenn Weekley. Those

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Speaker 3: two were so tight and how many times have you

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Speaker 3: saved one another's.

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Speaker 11: But I mean he got me when I Whispery Jacks

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Speaker 11: lived to that album and you're.

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Speaker 1: Pretty solid, actually done, and.

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Speaker 2: That was a big one.

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Speaker 12: Why did you keep backing him?

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Speaker 11: I mean, probably or mainly because I believe in him,

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Speaker 11: and most.

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Speaker 8: Because he's my friend.

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Speaker 13: And Glenn, when John couldn't get a record deal, what

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Speaker 13: made you believe that he had the talent when a

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Speaker 13: lot of other people didn't think he had it?

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Speaker 14: I just think that John threw not a good advice,

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Speaker 14: just lost a little bit of direction.

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Speaker 3: He never lost his talents. So true.

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Speaker 2: It all happened fairly quickly, really, because it was nineteen

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Speaker 2: eighty five. Farnham was still in the Little Riverband. When

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Speaker 2: he started collecting a song list for a future album.

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Speaker 2: He just had this germ of an idea of I'm

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Speaker 2: going to, you know, make this album that's going to

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Speaker 2: go on to be just a huge piece of Australian

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Speaker 2: album history. It was an early nineteen eighty six that

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Speaker 2: sound engineer Ross Fraser suggested to Glenn Wheatley it was

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Speaker 2: time to start working on said solo album, and that's

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Speaker 2: when they searched in Vain for a producer and record

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Speaker 2: label willing to work with Farnham. They couldn't, so Fraser

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Speaker 2: took on the producer role, and that's why Wheatley provided

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Speaker 2: that financial support.

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Speaker 3: Isn't hard to believe too. We look at the success

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Speaker 3: of it now, the sales and the history and all

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Speaker 3: the rest of it and how it's such an iconical

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Speaker 3: but even John wasn't sure whether he could believe in

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Speaker 3: himself at that stage. Well, he didn't a nervous wreck.

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Speaker 2: Going to a line as we saw in that amazing

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Speaker 2: documentary is.

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Speaker 3: Shown up and you mentioned LB there. One of his

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Speaker 3: bandmates was David Hirschfelder, that musical genius who was for

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Speaker 3: many years part of his band and the musical director.

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Speaker 3: Really he is David talking about putting together you the voice.

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Speaker 15: We decided to go for the machine gun sort of

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Speaker 15: handclap effect as a sort of militaristic it's also celebratory tribalism.

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Speaker 15: I don't know what we were doing, but it just

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Speaker 15: all that sort of stuff seemed to feel right for

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Speaker 15: the lyric of the song. But in the solo section,

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Speaker 15: my idea was pan pipes, all these pan pipes of

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Speaker 15: the Andes and I simulated them all on synthesizers and

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Speaker 15: samples of actual pan pipes as well. But John said,

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Speaker 15: it's something this thing is just not quite lifting enough.

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Speaker 3: I know, bagpipes. Wow, what a moment. Absolutely, bagpipes, didn't

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Speaker 3: they that's just increating.

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Speaker 2: Yeah, they did. And also because at that time John

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Speaker 2: was still trying to shed that Sadie the cleaning lady

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Speaker 2: Johnny Johnny Johnny Farnham's sort of persona, and initially the

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Speaker 2: public interest in the rebranded former teen Ardol was difficult

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Speaker 2: to cultivate and radio stations refused to play him. So

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Speaker 2: there was that great story about them taking Your the

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Speaker 2: Voice into the Sydney radio station two DAYFM. And this

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Speaker 2: is back in the days where you could actually just

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Speaker 2: run into the studio with the song and they play

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Speaker 2: this now, and they did and the rest is history.

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Speaker 3: And that's that weird story. It happens a few times

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Speaker 3: where they go, we may not even put the name

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Speaker 3: of the artist on here, so there's no bias. But

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Speaker 3: the Wheatleys, even though they're back John, they didn't really

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Speaker 3: like the recording of Your the Voice at the start.

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Speaker 3: This is such an amazing story, and we had a

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Speaker 3: bottle of champagne.

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Speaker 14: We're going to the studio and get ready to hear them. Okay,

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Speaker 14: hit me, plan to me and it left me flap.

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Speaker 1: Looked at each other and it was like, that's not

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Speaker 1: It wasn't quite And John looked at us, So you.

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Speaker 3: Don't like it, do you?

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Speaker 2: I said, well, it wasn't like the demo. He said no,

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Speaker 2: but we recorded it properly.

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Speaker 14: My problem is I thought that your vocal on the

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Speaker 14: demo was better than the vocals you've done on this

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Speaker 14: and he was angry, so he got.

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Speaker 3: Very angry with me.

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Speaker 14: The rossphrase that I'm going out there, and I was

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Speaker 14: singing again, turn the lights out, turn the cans.

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Speaker 16: Up well and down people in the studio when I'm

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Speaker 16: trying to sing, because I get paranoid.

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Speaker 3: If you want me laughing at me, be talking about me, do.

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Speaker 13: You by trying to understand, make an eye to make

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Speaker 13: it cheap?

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Speaker 14: And he sang the living hell out of that song.

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Speaker 2: And the hiss on our arms in the back of

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Speaker 2: our necks came up and it was like, that's the song.

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Speaker 2: I got him, Now I got the pot. Amazing. Isn't

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Speaker 2: it worse story when when your album becomes your alter

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Speaker 2: ego whis scream Jack.

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Speaker 3: Yeah?

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Speaker 2: That that says it all.

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Speaker 3: Really doesn't get much better, does it?

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Speaker 1: Clearsy releases the story behind the album material.

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Speaker 2: Girl was what The second release for the album Like

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Speaker 2: a Virgin, which is Madonna's second studio album, had that

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Speaker 2: wonderful film clip to the pay homage to Marilyn Monroe's

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Speaker 2: performance of Diamonds Are a Girl's Best Friend in the

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Speaker 2: film Gentleman for Blondes. Everyone loved the video clip. It was.

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Speaker 2: The album Like a Virgin was released on November twelve,

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Speaker 2: nineteen eighty four, by Sire Records. Following the success of

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Speaker 2: her nineteen eighty three self titled debut, Madonna was eager

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Speaker 2: to start working on its follow up, and so because

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Speaker 2: she was a big fan of Let's Dance nineteen eighty

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Speaker 2: three David Bowie, which was produced by Nile Rodgers and

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Speaker 2: boy was he the hot commodity, and she was as

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Speaker 2: big a fan as any, she selected Nile to produce

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Speaker 2: the album.

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Speaker 3: Yeah, he's Madonna talking about that. It was a noisy,

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Speaker 3: evental venue this was recorded. But it's interesting to hear

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Speaker 3: what she said about the great man from Sheikh Nile

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Speaker 3: that wasn't.

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Speaker 2: Like working with Nile really great. He's a genius. I

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Speaker 2: have to say.

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Speaker 17: Did you contact y?

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Speaker 10: Yeah, actually, well my record company did.

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Speaker 18: But as soon as we.

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Speaker 8: Met, we hit it off really well and thought it would.

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Speaker 2: Be a great union.

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Speaker 8: So I seems to have been, Yeah, it's gonna be great.

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Speaker 18: How has he helped you out over other people who

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Speaker 18: produced you in the past.

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Speaker 10: We just have a really good chemistry and he understand

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Speaker 10: my musicality. He's trained musician and I'm not really and

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Speaker 10: I don't have to. I don't know musical terminology, can

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Speaker 10: just read my mind.

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Speaker 19: So do you think he really knows how to work

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Speaker 19: with a vocalist per se?

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Speaker 10: Then yeah, well he's very sensitive. I think he could

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Speaker 10: work with anyone that's could.

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Speaker 3: And he was working with pretty much everyone.

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Speaker 2: Wasn't he really talking on a red compet there? I

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Speaker 2: think roundside to an awards show or something.

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Speaker 3: It's pretty noisy sounding. But it's interesting how you could

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Speaker 3: tell him much she loved him.

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Speaker 2: I like how she said, you know, I was not

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Speaker 2: really musically trained the same way, and so I rely

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Speaker 2: on him for the you know, the musicality of what.

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Speaker 2: She didn't know quite how to express it as I

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Speaker 2: do right now because she was train the way Nile is.

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Speaker 2: But when it was released, it received mixed reviews from

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Speaker 2: music critics. Niles production received huge praise, but Paul Madonna's

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Speaker 2: vocals got criticized and not with the fans. Though it

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Speaker 2: became Madonna's first number one album on the Billboard two hundred,

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Speaker 2: as well as the first female album to sell over

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Speaker 2: five million copies in the United States, the first female

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Speaker 2: album to sell over five million copies in the US,

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Speaker 2: It got to number two on the Aussie charts.

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Speaker 3: Yeah, isn't that incredible? Speaking about Australia, I mean, countdown

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Speaker 3: and Molly Meldrim had an influence on the career of

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Speaker 3: Madonna in Australia. And there was apparently that pivotal moment

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Speaker 3: when they hadn't met and Molly said to someone, who's Madonna?

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Speaker 3: And she went, what's a Maley? You know that kind

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Speaker 3: of thing. So here are the two them talking about she. Look,

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Speaker 3: there were no things called influences back then, but she

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Speaker 3: really was one. Talking about the influence of the Madonna look.

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Speaker 3: They called it the Madonna look.

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Speaker 20: And I mean there were thousands of kids.

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Speaker 21: Across continents dressing like you.

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Speaker 3: Is that surprise to do that?

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Speaker 8: Absolutely?

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Speaker 22: I mean I didn't you know the thing that I

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Speaker 22: used to tie in my hair all the time. My

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Speaker 22: hair was really short and it was growing out, so

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Speaker 22: it was bugging me. It was always getting in our face.

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Speaker 22: So I used to take a pair of tights stockings

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Speaker 22: tied around my head or you know. It was completely

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Speaker 22: absurd to me that everybody wanted to do that.

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Speaker 8: I mean, it was a mistake, really, you know what

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Speaker 8: I mean.

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Speaker 22: Yeah, So, and all the bracelets and all the necklaces.

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Speaker 22: A group of my friends, Martin included, we just got

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Speaker 22: on this kick where we would we started this thing

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Speaker 22: with those rubber bracelets and we would we had we

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Speaker 22: literally had a competition to see how many.

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Speaker 8: We could get a choir, and we never took them off.

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Speaker 8: We would take baths in them and everything. And then

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Speaker 8: the layer thing with the crosses kind of.

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Speaker 22: Was inspired, you know, by the bracelets.

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Speaker 8: And the thing about wearing a rosary around my neck.

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Speaker 22: There was something kind of irreverent and tongue in cheek

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Speaker 22: about that because it didn't really go with the clothes.

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Speaker 8: I was wearing. So it just really evolved organically, something cool.

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Speaker 2: Being premeditated the Swifties in your Friendship Bracelet's Get Over

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Speaker 2: Yourselves Madonna, Madonna started at All and There's a girl

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Speaker 2: who finished school in nineteen eighty four. There was definitely

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Speaker 2: a look. We all had those gloves, you know, the

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Speaker 2: lace gloves. The album was described as smart, funny, and

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Speaker 2: of course sexy, and this was a big talking point,

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Speaker 2: and you know, you had to feel for it that

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Speaker 2: the men, male singers didn't have to put up with this,

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Speaker 2: didn't have to you know, didn't have to break through,

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Speaker 2: all the talk about whether or not their album was

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Speaker 2: sexy before we could get to the actual album party.

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Speaker 3: As Madonna at that time, I.

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Speaker 23: Don't think that I'm using sex to sell myself. I

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Speaker 23: think that I'm a very sexual person and that comes

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Speaker 23: through in my performing and if that's what gets people

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Speaker 23: to buy my records, then that's fine. But I don't

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Speaker 23: think of it consciously. Well, I'm going to be sexier

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Speaker 23: to get people interested in me.

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Speaker 8: That's the way I am. It's the way I've always been.

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Speaker 3: Use sexist of the book later this.

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Speaker 2: Is true, but I mean, no one was sexier than Prince,

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Speaker 2: but he was allowed to just be he could, you know,

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Speaker 2: he could just be Prince and we didn't have to,

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Speaker 2: you know, make a huge issue of it before we

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Speaker 2: got to talk about he was an album principle on

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Speaker 2: stage and pretty much in a G string in boots

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Speaker 2: two or three years earlier than that. Having said that,

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Speaker 2: now we're going to go into like a Virginie today.

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Speaker 17: But whatever, what not?

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Speaker 1: And lisas the story behind me?

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Speaker 2: Well. The Stranger is Billy Joel's fifth studio album. It

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Speaker 2: came out in September nineteen seventy seven. It was the

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Speaker 2: first of Joel's albums to be produced by Phil Ramone,

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Speaker 2: with whom he would work for five subsequent albums.

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Speaker 3: Incredible his Phil.

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Speaker 15: I was so determined to capture everything about this guy.

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Speaker 24: It wasn't about anybody could write these little simple ditties.

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Speaker 3: He wanted to be the rock and roll star gesure

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Speaker 3: success together. Those two, weren't they?

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Speaker 2: They certainly were. He's not one of the Ramones.

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Speaker 3: Though, he's not in a punk bands, well, not that

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Speaker 3: I know of.

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Speaker 2: A different, unrelated Ramone.

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Speaker 3: I don't think he went to rock and roll high school.

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Speaker 2: Now It's just as well it did good because Joel's

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Speaker 2: previous album, Turnstiles, had sold very modestly and peked very

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Speaker 2: low on the charts, and it prompted Columbia, which was

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Speaker 2: the label, to consider dropping him if his next release

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Speaker 2: had sold poorly.

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Speaker 3: Yeah, it's incredible, isn't it, Because like that album, as

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Speaker 3: you mentioned, the first one called Spring Harbor and Street

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Speaker 3: Life Serenade. The previous albums they had some great songs on,

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Speaker 3: but they just didn't sell. It's billy talking about it.

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Speaker 8: I didn't know this.

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Speaker 25: At the time, but had it not been a successful album,

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Speaker 25: the label clubly would have dropped me, because you have

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Speaker 25: to remember, this was my fifth album without having had

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Speaker 25: a major hit.

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Speaker 2: But now, yeah, clain'side.

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Speaker 25: I could see it was a really quick album because.

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Speaker 2: I might have been flushed interesting lighting doors moment and

390
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Speaker 2: he didn't know at the time.

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Speaker 3: Imagine the pressure. If you'd known that, it probably wouldn't

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Speaker 3: have been he would ad writer's block it was.

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Speaker 2: It ended up being considered his critical and commercial breakthrough,

394
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Speaker 2: really and that was five in Four singles were released

395
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Speaker 2: off this album, all of which became top forty hits

396
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Speaker 2: on the Billboard Hot one hundred chart. Moving out Anthony

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Speaker 2: song that we just played, She's always a woman, only

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Speaker 2: the good day young and of course just the way

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Speaker 2: you are.

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Speaker 3: It's it a funny way we see in hindsight and

401
00:19:48,680 --> 00:19:51,320
Speaker 3: they say, oh, this song nearly didn't get on. We're

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Speaker 3: really sure a lot, and sometimes you need to get

403
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Speaker 3: clarification from others. He's billy talking about just where you.

404
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Speaker 8: Are, and we were sitting around. I got a bunch

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Speaker 8: of guys.

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Speaker 3: Here, all in the band.

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Speaker 25: It was just all guys and we're listening back, gone,

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Speaker 25: do you like it?

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Speaker 17: I don't know.

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Speaker 25: It's a chick song, you know, none of us were

411
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Speaker 25: all that hot to put.

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Speaker 8: It on the album.

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Speaker 20: I love it.

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Speaker 25: Just Phoebe Snow came by with Linda Ronstad and they.

415
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Speaker 3: Said, you're crazy.

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Speaker 25: You've got to put that song on the Alright.

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Speaker 8: These girls like the song. I guess we should put

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Speaker 8: it on the album.

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Speaker 25: So we kept it on thanks.

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Speaker 3: To that chick.

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Speaker 2: A chicks so love song, although a couple of chicks

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Speaker 2: did tell him to make sure you did.

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Speaker 3: It would be great that Phoebe Snow and Linda Ronstadt

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Speaker 3: just sort of walking yes, okay, yeah, yeah, I love

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Speaker 3: that had quite a bit of cred, didn't I unreal?

426
00:20:52,119 --> 00:20:54,119
Speaker 3: And another song on the album last was a Beauty

427
00:20:54,720 --> 00:20:57,840
Speaker 3: only the Legendary, only the Good Die Young that listened

428
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Speaker 3: to a little bit about that.

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Speaker 25: You know, when I was a kid, I mean I

430
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Speaker 25: wasn't Catholic, but all my friends were, and I used

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Speaker 25: to go to Mass with my friends, thinking that's what

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Speaker 25: you did on a Sunday, And I came up with

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Speaker 25: this song about a guy trying to seduce a Catholic grum.

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Speaker 26: They've got damned a seat in the hall.

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Speaker 25: University radio some Larch diocese, I think Saint Louis said

436
00:21:17,119 --> 00:21:19,800
Speaker 25: that people shouldn't buy the record. And as soon as

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00:21:19,800 --> 00:21:21,880
Speaker 25: you tell people they shouldn't hear something and they shouldn't

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Speaker 25: have something, people wanted.

439
00:21:26,400 --> 00:21:28,320
Speaker 2: And they went out and bought it and drove and

440
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Speaker 2: it drove the record.

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Speaker 8: Way up the charts.

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Speaker 2: So I remember writing a letter saying.

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Speaker 3: Please ban my next record, Thank you very.

444
00:21:34,680 --> 00:21:38,200
Speaker 2: Much, Billy Joel, I think writing that in nineteen seventies

445
00:21:38,280 --> 00:21:41,359
Speaker 2: New York. He makes a very good point. It would

446
00:21:41,359 --> 00:21:43,480
Speaker 2: have been they would have been looking at banning.

447
00:21:43,200 --> 00:21:47,040
Speaker 3: It absolutely controversy. Yeah, and his diocese. He's right, We've

448
00:21:47,040 --> 00:21:49,199
Speaker 3: seen it over the years where the song becomes a

449
00:21:49,240 --> 00:21:51,119
Speaker 3: hit or an album. Yeah, because people say, well, you

450
00:21:51,160 --> 00:21:54,040
Speaker 3: can't go near that, you know, the themes or the

451
00:21:54,119 --> 00:21:55,800
Speaker 3: lyrics on it, But that one worked a treat.

452
00:21:56,200 --> 00:21:58,359
Speaker 2: The Stranger Billy Joel.

453
00:22:09,200 --> 00:22:12,320
Speaker 1: Clearsy releases the story behind the album.

454
00:22:12,640 --> 00:22:16,240
Speaker 2: A Night at the Opera, Queen's fourth studio album, released

455
00:22:16,280 --> 00:22:20,560
Speaker 2: in November nineteen seventy five. Produced by Roy Thomas Baker

456
00:22:20,600 --> 00:22:25,040
Speaker 2: and Queen, it was reportedly the most expensive album ever

457
00:22:25,119 --> 00:22:28,560
Speaker 2: recorded at the time of its release. Of course, the

458
00:22:28,680 --> 00:22:32,040
Speaker 2: name probably sounded familiar to a lot of people. It's

459
00:22:32,119 --> 00:22:34,480
Speaker 2: named after the Marx Brothers film of the same name.

460
00:22:34,560 --> 00:22:37,200
Speaker 3: Yeah, he's drummer Roger Taylor talking about the name and the.

461
00:22:37,160 --> 00:22:39,880
Speaker 21: Title came about. It's a simple story. Actually, we're all

462
00:22:40,760 --> 00:22:45,440
Speaker 21: literally and the Welsh borders in sitting down in our

463
00:22:46,440 --> 00:22:51,480
Speaker 21: on our plush sofas it's a very so basic place,

464
00:22:51,760 --> 00:22:55,760
Speaker 21: and that we had had this fantastic new thing called

465
00:22:55,880 --> 00:23:01,960
Speaker 21: video player, and I think Roy our producer, and got

466
00:23:01,960 --> 00:23:05,119
Speaker 21: the Marx brothers moving a night at the opera, and

467
00:23:05,160 --> 00:23:07,840
Speaker 21: I remember just sitting down, we were settling down after dinner,

468
00:23:08,680 --> 00:23:11,399
Speaker 21: you know, Saturday night. It was our night off and

469
00:23:11,400 --> 00:23:15,400
Speaker 21: we were going to do any more work, and Fred

470
00:23:15,400 --> 00:23:16,320
Speaker 21: and I looked on one another and.

471
00:23:17,480 --> 00:23:18,800
Speaker 3: Good, good title.

472
00:23:19,280 --> 00:23:22,080
Speaker 21: Good title, because we've just been doing this sort of

473
00:23:22,200 --> 00:23:26,480
Speaker 21: mock operatic thing for Overhemian Rhapsody. And then I think

474
00:23:27,119 --> 00:23:29,560
Speaker 21: I think everybody just sort of thought, yeah, good title,

475
00:23:29,600 --> 00:23:30,119
Speaker 21: good title.

476
00:23:31,280 --> 00:23:33,879
Speaker 3: As simple as that as that.

477
00:23:33,960 --> 00:23:37,080
Speaker 2: What wasn't simple was the recording. Because they did it

478
00:23:37,080 --> 00:23:40,120
Speaker 2: at seven different studios over a period of four months.

479
00:23:40,200 --> 00:23:43,040
Speaker 2: That seems like a lot of moving around and setting

480
00:23:43,160 --> 00:23:45,760
Speaker 2: up each area that you want to get the best

481
00:23:45,920 --> 00:23:49,040
Speaker 2: sound out of it. They employed a complex production that

482
00:23:49,200 --> 00:23:52,720
Speaker 2: extensively used multi track recording, and the songs incorporated a

483
00:23:52,760 --> 00:23:57,240
Speaker 2: wide range of styles such as musical, Sea Shandies, Dixie Land,

484
00:23:57,600 --> 00:24:01,359
Speaker 2: hard rock, and progressive rock influences. Aside from their usual equipment,

485
00:24:01,480 --> 00:24:04,920
Speaker 2: they also utilized a diverse range of instruments such as

486
00:24:04,920 --> 00:24:08,639
Speaker 2: a double bass, harp and uku leley. And of course

487
00:24:09,400 --> 00:24:13,320
Speaker 2: technology was, well, it's ever evolving, isn't it. Absolutely at

488
00:24:13,320 --> 00:24:14,159
Speaker 2: this moment, it was.

489
00:24:14,160 --> 00:24:15,720
Speaker 3: Coming on and they've just come off their album Sheer

490
00:24:15,760 --> 00:24:18,520
Speaker 3: Heart Attack, which was working on that classic Queen sound.

491
00:24:18,520 --> 00:24:21,200
Speaker 3: But Brian May, we know, he can be a bit

492
00:24:21,280 --> 00:24:24,240
Speaker 3: robotic with things. He's a very smart man, and he

493
00:24:24,440 --> 00:24:26,600
Speaker 3: loved the technology. He loved getting in the studio.

494
00:24:26,760 --> 00:24:29,000
Speaker 27: We loved the studio. We always did and I still

495
00:24:29,040 --> 00:24:32,600
Speaker 27: do because it's an open canvas and you can do

496
00:24:32,840 --> 00:24:37,439
Speaker 27: anything you want. And we were kind of disciples of

497
00:24:38,000 --> 00:24:41,119
Speaker 27: Hendrix and the Beatles, particularly the way they used studios

498
00:24:41,200 --> 00:24:46,359
Speaker 27: as almost like an instrument. But obviously we had more

499
00:24:46,400 --> 00:24:48,600
Speaker 27: technology than they had had, so we could push things

500
00:24:48,600 --> 00:24:49,200
Speaker 27: a lot further.

501
00:24:49,320 --> 00:24:51,440
Speaker 3: They were very experimental in a Beatley kind of way.

502
00:24:51,440 --> 00:24:54,119
Speaker 2: Work well it was that, I mean they you know,

503
00:24:54,280 --> 00:24:57,800
Speaker 2: it was the luxury of that time. Things areunning new

504
00:24:57,840 --> 00:24:59,280
Speaker 2: once and also you.

505
00:24:59,240 --> 00:25:01,919
Speaker 3: Had big quite big budgets from record companies back then

506
00:25:01,920 --> 00:25:02,280
Speaker 3: as well.

507
00:25:02,400 --> 00:25:04,920
Speaker 2: They were all involved. Each member of the band wrote

508
00:25:04,920 --> 00:25:07,880
Speaker 2: at least one song. Freddie wrote five of the songs,

509
00:25:08,080 --> 00:25:12,320
Speaker 2: Brian wrote four, and Taylor and Deacon wrote one song each.

510
00:25:12,359 --> 00:25:14,080
Speaker 2: Of course You're my best friend, as we heard from

511
00:25:14,160 --> 00:25:20,199
Speaker 2: Deeks John and it's it's that's how they decide who

512
00:25:20,240 --> 00:25:22,520
Speaker 2: gets the final say on things, too, isn't it. Yeah,

513
00:25:22,680 --> 00:25:23,919
Speaker 2: I wrote it, I.

514
00:25:25,080 --> 00:25:28,960
Speaker 3: Boss, Brian May and Freddiemaker even we.

515
00:25:28,800 --> 00:25:33,600
Speaker 27: Were a bit taken aback with the with how vicious

516
00:25:33,720 --> 00:25:38,280
Speaker 27: Freddy wanted it to be. I remember thinking, oh, but

517
00:25:39,320 --> 00:25:41,320
Speaker 27: it was what Freddie wanted, you know, And the kind

518
00:25:41,359 --> 00:25:44,480
Speaker 27: of unwritten law was that the author of the song got.

519
00:25:44,320 --> 00:25:44,880
Speaker 8: His own way.

520
00:25:45,119 --> 00:25:49,440
Speaker 16: Sometimes you just disagree and in the end what does

521
00:25:49,480 --> 00:25:53,000
Speaker 16: happen is the writer is is the boss that he

522
00:25:53,040 --> 00:25:54,960
Speaker 16: can say, yeah, look this is the way I want

523
00:25:54,960 --> 00:25:56,920
Speaker 16: the song, and this is the way I'm going.

524
00:25:56,840 --> 00:25:58,560
Speaker 3: To have it. They did have that falling out, didn't

525
00:25:58,560 --> 00:25:59,440
Speaker 3: they times, Oh for.

526
00:25:59,400 --> 00:26:01,439
Speaker 2: Sure, But I think that's a very wise you know,

527
00:26:01,480 --> 00:26:04,159
Speaker 2: the writer gets that. It's like when if you're driving,

528
00:26:04,480 --> 00:26:06,159
Speaker 2: you get to decide where you're.

529
00:26:06,000 --> 00:26:08,240
Speaker 3: Going beset drivers in the game exactly.

530
00:26:08,480 --> 00:26:10,359
Speaker 2: I love it the same idea.

531
00:26:10,520 --> 00:26:12,040
Speaker 3: Very cool. I do also love the fact that the

532
00:26:12,080 --> 00:26:13,800
Speaker 3: next album is called Doubt the Races. I think we

533
00:26:13,880 --> 00:26:16,960
Speaker 3: all got the jocos. It was pretty cute. But here

534
00:26:17,080 --> 00:26:19,440
Speaker 3: is the one and only Freddie Mercury. You know, he's

535
00:26:19,640 --> 00:26:22,320
Speaker 3: sort of talking about the band peaking at that stage

536
00:26:22,440 --> 00:26:24,119
Speaker 3: and is there any future once you've got to the

537
00:26:24,760 --> 00:26:25,520
Speaker 3: to the top it is.

538
00:26:25,760 --> 00:26:28,800
Speaker 13: It is going to be difficult, especially with Behemian ratsty

539
00:26:28,840 --> 00:26:30,200
Speaker 13: being as large.

540
00:26:30,600 --> 00:26:33,119
Speaker 28: Well be a letter about that and said, I study

541
00:26:33,520 --> 00:26:35,679
Speaker 28: demonology and satanic things.

542
00:26:35,760 --> 00:26:38,760
Speaker 1: Why do they use bills above which.

543
00:26:38,640 --> 00:26:42,200
Speaker 13: I suppose that's a legitimate question. Why do we use it?

544
00:26:42,320 --> 00:26:45,000
Speaker 13: I mean, why do we use anything? I mean doesn't

545
00:26:45,000 --> 00:26:48,199
Speaker 13: necessarily mean im I study demonology and things. I just

546
00:26:48,320 --> 00:26:54,080
Speaker 13: love them. The word beals about, Isn't.

547
00:26:54,600 --> 00:26:56,280
Speaker 2: That sounds like an Australian the interviewer.

548
00:26:56,400 --> 00:26:58,920
Speaker 3: It does sound like anas yeah in there and asking

549
00:26:58,960 --> 00:27:01,840
Speaker 3: the tough questions, Yeah, you are you satanic in anyway?

550
00:27:02,320 --> 00:27:02,399
Speaker 8: Now?

551
00:27:02,440 --> 00:27:03,560
Speaker 3: I would just like the sound.

552
00:27:03,400 --> 00:27:06,000
Speaker 2: Of the word, right, the sound of the word. Who doesn't.

553
00:27:17,240 --> 00:27:19,879
Speaker 1: Releases the story behind the album.

554
00:27:20,200 --> 00:27:24,160
Speaker 2: Wo Face is the third studio album by cra Crowded House.

555
00:27:24,200 --> 00:27:27,520
Speaker 2: The album was produced by Mitchell Froom and Neil Finn

556
00:27:27,560 --> 00:27:31,680
Speaker 2: and was released in July nineteen ninety one by Capitol Records.

557
00:27:31,960 --> 00:27:36,640
Speaker 2: It is chockers full of hits, chocolate cake, full of defeat,

558
00:27:37,000 --> 00:27:41,040
Speaker 2: It's only natural weather with you, four seasons in one day,

559
00:27:42,440 --> 00:27:45,119
Speaker 2: go it does. It's amazing. It was a major hit

560
00:27:45,160 --> 00:27:46,919
Speaker 2: in Australia and New Zealand, as well as giving the

561
00:27:46,920 --> 00:27:49,200
Speaker 2: band their first top ten hit album in the UK.

562
00:27:49,680 --> 00:27:51,760
Speaker 2: It was listed at number three in the book one

563
00:27:51,840 --> 00:27:54,600
Speaker 2: hundred Best Albums in October twenty ten, and it was

564
00:27:54,680 --> 00:27:57,600
Speaker 2: voted at eighty in the third edition of Colin Larkin's

565
00:27:57,880 --> 00:28:00,760
Speaker 2: Top one thousand Albums of All Time.

566
00:28:01,080 --> 00:28:03,959
Speaker 3: Quite incredible. Now, Neil and Tim his brother Tim, had

567
00:28:03,960 --> 00:28:06,679
Speaker 3: written some songs for a forthcoming Finn Brothers album. So

568
00:28:06,720 --> 00:28:09,160
Speaker 3: what happened After the success of the first Credit House album,

569
00:28:09,160 --> 00:28:11,719
Speaker 3: which was a huge monster success, especially in the States,

570
00:28:11,960 --> 00:28:14,000
Speaker 3: Temple of Low Men, the follow up didn't do as well,

571
00:28:14,119 --> 00:28:17,720
Speaker 3: made it to number forty in American Executives at Capitol

572
00:28:17,760 --> 00:28:20,200
Speaker 3: Records were not happy with the new songs that Neil

573
00:28:20,200 --> 00:28:22,200
Speaker 3: had come up with for Credit House is the third album,

574
00:28:22,480 --> 00:28:25,080
Speaker 3: so Neil asked Tim if the band could use some

575
00:28:25,119 --> 00:28:28,400
Speaker 3: of those new Finn Brothers songs, and Tim jokingly said

576
00:28:28,440 --> 00:28:30,920
Speaker 3: on condition I could join the band. The joke was

577
00:28:30,960 --> 00:28:32,560
Speaker 3: on him, because all of a sudden he was part

578
00:28:32,560 --> 00:28:33,960
Speaker 3: of the band. Here are the boys talking about it,

579
00:28:34,000 --> 00:28:34,960
Speaker 3: Neil talking to Tim.

580
00:28:35,040 --> 00:28:40,360
Speaker 28: Joining that period with Tim was inevitably relief and a

581
00:28:40,480 --> 00:28:44,920
Speaker 28: release from from the kind of daily ritual or the

582
00:28:45,960 --> 00:28:48,160
Speaker 28: machinations of being in a band. A lot had sprung

583
00:28:48,240 --> 00:28:50,000
Speaker 28: up around the band, and a lot of expectation, a

584
00:28:50,040 --> 00:28:55,040
Speaker 28: lot of people reliant on credit house, a way of

585
00:28:55,080 --> 00:28:57,920
Speaker 28: doing things, a series of relationships. So you know, I

586
00:28:58,320 --> 00:29:00,520
Speaker 28: think in a way, the Finn Brothers was an un

587
00:29:00,680 --> 00:29:02,400
Speaker 28: was something we were making up on the spot. Nobody

588
00:29:02,440 --> 00:29:05,280
Speaker 28: really even knew about it. It was just a desire

589
00:29:05,320 --> 00:29:07,959
Speaker 28: that we had. So we were writing songs for all

590
00:29:07,960 --> 00:29:10,040
Speaker 28: the right reasons really because we had a desire to

591
00:29:10,320 --> 00:29:11,120
Speaker 28: make music together.

592
00:29:11,920 --> 00:29:14,160
Speaker 2: Or two songwriters better than one, eh well, and there

593
00:29:14,200 --> 00:29:16,560
Speaker 2: was more than two too, because there was Nick Seymour

594
00:29:16,600 --> 00:29:18,680
Speaker 2: and poor Hester. In fact, Paul Hester has a hidden

595
00:29:18,720 --> 00:29:23,120
Speaker 2: track on wood Face. Track fourteen is how You Go,

596
00:29:23,320 --> 00:29:25,880
Speaker 2: And then there's a little hidden excerpt in there called

597
00:29:26,000 --> 00:29:30,680
Speaker 2: I'm Still Here, which was Hester's little hidden egg.

598
00:29:31,040 --> 00:29:32,800
Speaker 3: Which is pretty haunting when you think about it, isn't

599
00:29:32,800 --> 00:29:35,360
Speaker 3: it very much? So he's the band's bass player, Nick Seymour.

600
00:29:35,480 --> 00:29:36,120
Speaker 8: It was going to.

601
00:29:38,600 --> 00:29:43,040
Speaker 10: Help Tim out in respect of how Tim had helped

602
00:29:43,080 --> 00:29:45,440
Speaker 10: Kneel out back in the day of Split Ends.

603
00:29:46,200 --> 00:29:47,640
Speaker 8: It was going to make their mum happy.

604
00:29:48,760 --> 00:29:52,320
Speaker 3: It ticked every box, it was. It was great. That's cute.

605
00:29:52,440 --> 00:29:55,400
Speaker 2: Oh we laugh about you know, mum saying you let

606
00:29:55,480 --> 00:29:59,360
Speaker 2: your brother play. I wasn't expecting Nix. You want to

607
00:29:59,360 --> 00:30:00,120
Speaker 2: say the same.

608
00:30:00,160 --> 00:30:01,880
Speaker 3: Isn't it funny? And there's all these use later because

609
00:30:01,880 --> 00:30:04,240
Speaker 3: that's what happened because Neil was just a kid.

610
00:30:04,280 --> 00:30:07,000
Speaker 2: Neil got he just split into the first place. And

611
00:30:07,120 --> 00:30:10,640
Speaker 2: now mum said, now you replay the favor absolutely.

612
00:30:11,480 --> 00:30:13,000
Speaker 3: Here are the boys talking about the first session and

613
00:30:13,080 --> 00:30:14,920
Speaker 3: of course the pressure of writing a hit song, which

614
00:30:14,960 --> 00:30:16,400
Speaker 3: is what Capital were doing to them.

615
00:30:16,400 --> 00:30:18,320
Speaker 28: And I had some good songs standing by for even

616
00:30:18,360 --> 00:30:21,200
Speaker 28: the first sessions which we went we did in La

617
00:30:21,280 --> 00:30:23,120
Speaker 28: and we went over and we hold up in A

618
00:30:23,200 --> 00:30:25,479
Speaker 28: and M studios and remember we all had easels and

619
00:30:25,520 --> 00:30:27,200
Speaker 28: we all with the intention of all painting in the

620
00:30:27,200 --> 00:30:30,760
Speaker 28: studio discussed it. In reality, Nick was the only one

621
00:30:30,760 --> 00:30:32,760
Speaker 28: who actually painted my room, was there? I think I

622
00:30:32,800 --> 00:30:35,080
Speaker 28: cut a couple of splashes on there because I was

623
00:30:35,080 --> 00:30:37,280
Speaker 28: too involved and agonizing about the songs.

624
00:30:37,360 --> 00:30:39,440
Speaker 29: The pressure on Neil to write a beatlesque sort of

625
00:30:39,440 --> 00:30:44,360
Speaker 29: hooky song with the big chorus, and you know, he

626
00:30:44,400 --> 00:30:46,120
Speaker 29: wanted to explore other kinds of things.

627
00:30:46,160 --> 00:30:47,360
Speaker 2: He didn't want to just do that.

628
00:30:47,440 --> 00:30:49,120
Speaker 28: We got quite a few tracks that didn't end up

629
00:30:49,240 --> 00:30:51,120
Speaker 28: going so well. So maybe one of the problems of

630
00:30:51,160 --> 00:30:53,840
Speaker 28: that early session was that we had twelve songs, but

631
00:30:53,920 --> 00:30:55,880
Speaker 28: only six of them were any good, and so the

632
00:30:55,920 --> 00:30:57,520
Speaker 28: other six were kind of weighing us down a little

633
00:30:57,520 --> 00:30:59,920
Speaker 28: bit because we were chasing things, you know, chasing phantom.

634
00:31:00,320 --> 00:31:01,120
Speaker 24: There's nothing worse.

635
00:31:01,200 --> 00:31:04,200
Speaker 29: Nothing was destructive for any artist. And to be told,

636
00:31:04,400 --> 00:31:06,120
Speaker 29: can you please go away and write a hit single,

637
00:31:07,400 --> 00:31:08,480
Speaker 29: it's just so awful.

638
00:31:08,600 --> 00:31:11,360
Speaker 3: How many times you hear that story? Is there a hit?

639
00:31:11,560 --> 00:31:14,480
Speaker 2: It wasn't to be forever, unfortunately, because during the UK

640
00:31:14,640 --> 00:31:16,040
Speaker 2: leg of the wood Face to a tim and the

641
00:31:16,040 --> 00:31:20,280
Speaker 2: band parted company, multi instrumentalist Mark mark Hart, who had

642
00:31:20,320 --> 00:31:23,760
Speaker 2: played keyboards on wood Face, was recruited to replace him

643
00:31:24,200 --> 00:31:27,080
Speaker 2: for the remaining dates. It wasn't an Oasis Brothers type of.

644
00:31:27,280 --> 00:31:30,080
Speaker 3: No, not really fall out wasn't really working.

645
00:31:30,280 --> 00:31:32,720
Speaker 2: It just wasn't it was. I mean, I guess in

646
00:31:32,760 --> 00:31:35,560
Speaker 2: a way he was just it was he did.

647
00:31:35,520 --> 00:31:37,840
Speaker 3: Joke, Yeah, joined that it was a bit of a joke,

648
00:31:37,920 --> 00:31:38,240
Speaker 3: So it.

649
00:31:38,160 --> 00:31:39,800
Speaker 2: Wasn't I don't think it was going to be a

650
00:31:39,800 --> 00:31:43,280
Speaker 2: permanent thing, but it certainly turned out to be quite

651
00:31:43,320 --> 00:31:43,760
Speaker 2: a moment.

652
00:31:43,920 --> 00:31:45,720
Speaker 3: Yeah. It was a bit of a magical reunion, wasn't it.

653
00:31:45,840 --> 00:31:47,080
Speaker 2: Yeah, a piece of magic.

654
00:31:47,120 --> 00:31:48,920
Speaker 3: And when you listed those songs, incredible And there's a

655
00:31:48,920 --> 00:31:51,480
Speaker 3: little bit about the song whether with You again, about

656
00:31:51,480 --> 00:31:54,360
Speaker 3: the boys, you know, basically coming together Neel and Tim

657
00:31:54,360 --> 00:31:55,440
Speaker 3: once again and songwriting.

658
00:31:55,640 --> 00:31:57,520
Speaker 28: We talked about it for years and we eventually got

659
00:31:57,600 --> 00:32:02,600
Speaker 28: together and we were expect ding Alroy our second son,

660
00:32:03,080 --> 00:32:07,640
Speaker 28: Sharon was quite heavily pregnant at the time, and I

661
00:32:07,760 --> 00:32:10,480
Speaker 28: was cycling around to this little flat that we'd bought

662
00:32:10,680 --> 00:32:14,320
Speaker 28: on Murchison Street next to this house. We were doing it

663
00:32:14,880 --> 00:32:17,440
Speaker 28: in Saint Kilda and Tim and I just had two

664
00:32:17,480 --> 00:32:20,680
Speaker 28: weeks there, which Paul eventually got involved with as well,

665
00:32:21,520 --> 00:32:24,760
Speaker 28: doing some demos, and it was a very effortless and

666
00:32:25,000 --> 00:32:25,800
Speaker 28: fruitful session.

667
00:32:25,840 --> 00:32:26,400
Speaker 8: It really was.

668
00:32:26,400 --> 00:32:28,400
Speaker 28: It was every day we felt that we were coming

669
00:32:28,440 --> 00:32:32,760
Speaker 28: up with something. The very first song that we emerged

670
00:32:32,760 --> 00:32:36,120
Speaker 28: with was weather with you, some of which he already had.

671
00:32:36,160 --> 00:32:37,480
Speaker 8: He had the everywhere you go.

672
00:32:37,520 --> 00:32:39,200
Speaker 28: He was take the weather with You, and the opening

673
00:32:39,320 --> 00:32:40,840
Speaker 28: line walking around the room.

674
00:32:40,760 --> 00:32:43,520
Speaker 29: Singing stormy weather, and they got neil go.

675
00:32:44,000 --> 00:32:47,000
Speaker 28: Some of them came out in one go and out

676
00:32:47,000 --> 00:32:49,920
Speaker 28: of thin air, and others were like drawn from a

677
00:32:50,040 --> 00:32:52,200
Speaker 28: verse here or a chorus there, or a little idea

678
00:32:52,320 --> 00:32:53,040
Speaker 28: that he had.

679
00:32:53,920 --> 00:32:55,120
Speaker 3: I had this repetitive thing.

680
00:32:55,160 --> 00:32:55,680
Speaker 8: Everywhere you go.

681
00:32:55,720 --> 00:32:58,040
Speaker 29: He was hit the weather with you, and they went, yeah,

682
00:32:58,120 --> 00:33:00,400
Speaker 29: you know, we were straight away and he was throwing

683
00:33:00,440 --> 00:33:03,960
Speaker 29: lines at me like because a small boat made of

684
00:33:04,040 --> 00:33:07,320
Speaker 29: china going nowhere on the mantelpiece, you know, wonderful stuff

685
00:33:07,320 --> 00:33:08,960
Speaker 29: like that. It was just free associating.

686
00:33:09,440 --> 00:33:10,720
Speaker 3: Who writes lyrics like that?

687
00:33:11,040 --> 00:33:12,040
Speaker 2: Free associating?

688
00:33:12,440 --> 00:33:13,400
Speaker 17: Too real?

689
00:33:13,640 --> 00:33:16,080
Speaker 3: Yeah, I know. And the fact that they said they

690
00:33:16,120 --> 00:33:18,280
Speaker 3: had twelve songs and six were rubbish And a lot

691
00:33:18,280 --> 00:33:18,920
Speaker 3: of people.

692
00:33:20,360 --> 00:33:23,040
Speaker 2: Yes, lots of people have put their hand up for

693
00:33:23,040 --> 00:33:26,280
Speaker 2: those other seas using them absolutely.

694
00:33:37,520 --> 00:33:42,080
Speaker 1: Cley releases the story behind the album Private Dancer.

695
00:33:42,200 --> 00:33:45,400
Speaker 2: It's the fifth solo studio album by Tina Turner, released

696
00:33:45,440 --> 00:33:49,440
Speaker 2: in May nineteen eighty four after several challenging years of

697
00:33:49,480 --> 00:33:55,160
Speaker 2: going solo after divorcing Ike Turner. Private Dancer propelled Tina

698
00:33:55,200 --> 00:33:59,320
Speaker 2: into becoming a viable solo star. It became a worldwide

699
00:33:59,360 --> 00:34:05,280
Speaker 2: commercial access, earning multi platinum certifications. Recording sessions were overseen

700
00:34:05,320 --> 00:34:09,200
Speaker 2: by four different production teams. Was done in England and

701
00:34:09,239 --> 00:34:12,120
Speaker 2: one of their producers was actually Martin Ware from Heaven

702
00:34:12,200 --> 00:34:13,160
Speaker 2: seventeen amazing.

703
00:34:13,320 --> 00:34:15,400
Speaker 3: It was in the original lineup of Human League as well,

704
00:34:16,040 --> 00:34:18,719
Speaker 3: and he was quite a talent. He's matin quite interesting.

705
00:34:19,120 --> 00:34:22,560
Speaker 30: I was due to record with James Brown on my

706
00:34:22,719 --> 00:34:26,200
Speaker 30: British Electric Foundation projects and he backed out at the

707
00:34:26,239 --> 00:34:29,360
Speaker 30: last minute. So somebody happened to be wandering through the

708
00:34:29,400 --> 00:34:32,719
Speaker 30: Virgin Officers and said, oh, what about Tina Turner, And

709
00:34:32,760 --> 00:34:34,720
Speaker 30: I'd just been to see her do the Proud Mary

710
00:34:34,760 --> 00:34:38,160
Speaker 30: Show in London and I thought, wow, that'd be amazing.

711
00:34:38,239 --> 00:34:41,000
Speaker 30: So we did a cover version of All of Confusion

712
00:34:41,040 --> 00:34:44,560
Speaker 30: by the Temptations, and that led to us being asked

713
00:34:44,600 --> 00:34:51,440
Speaker 30: to record some stuff for Private Dancer, and we quickly

714
00:34:51,680 --> 00:34:55,600
Speaker 30: decided between us, myself and Tina, that we should do

715
00:34:55,680 --> 00:34:58,520
Speaker 30: Let's Stay Together by Al Green, and I said to

716
00:34:58,520 --> 00:35:02,080
Speaker 30: her that she should nail her legacy as one of

717
00:35:02,120 --> 00:35:04,879
Speaker 30: the great's soul singers of all time before she went

718
00:35:04,920 --> 00:35:08,520
Speaker 30: on to do a Real Passion, which was rock and roll, so.

719
00:35:08,480 --> 00:35:11,600
Speaker 2: Good, good advice. I didn't know he was in Human

720
00:35:11,680 --> 00:35:13,560
Speaker 2: Leaf as well seventeen.

721
00:35:13,280 --> 00:35:15,960
Speaker 3: Yeah, before that really took off. Feel like he led

722
00:35:15,960 --> 00:35:17,239
Speaker 3: the band after that. Yeah, right.

723
00:35:17,400 --> 00:35:20,080
Speaker 2: Well. The album received a positive reception from the critics.

724
00:35:20,080 --> 00:35:23,120
Speaker 2: The Los Angeles Times wrote that Tina that Turner's voice

725
00:35:23,239 --> 00:35:29,800
Speaker 2: will Tina Turner, Turner's voice melts. Vinyl Rolling Stone reviewed

726
00:35:29,840 --> 00:35:33,279
Speaker 2: her voice as rasping but strong. You definitely hear that

727
00:35:33,320 --> 00:35:34,520
Speaker 2: in private jazz, so don't you.

728
00:35:34,719 --> 00:35:37,759
Speaker 3: Yeah, absolutely, You think about that time when Tina was playing. Yeah,

729
00:35:37,840 --> 00:35:39,680
Speaker 3: she's doing her review, she's doing the shows and that,

730
00:35:39,719 --> 00:35:41,880
Speaker 3: but wasn't getting the attention. It was a bit like

731
00:35:42,000 --> 00:35:44,120
Speaker 3: well we talked about recently last week with the John

732
00:35:44,160 --> 00:35:46,800
Speaker 3: Farner album. It was always one before we spring Jack.

733
00:35:47,360 --> 00:35:49,680
Speaker 3: He was struggling. So Tina was sort of in that

734
00:35:49,719 --> 00:35:53,319
Speaker 3: same boat. And she had mates like the Stones and

735
00:35:53,560 --> 00:35:56,320
Speaker 3: Rod Stewarts had come out and tour and be a supporter,

736
00:35:56,600 --> 00:35:58,880
Speaker 3: plenty of support, so she had great support and his

737
00:35:59,040 --> 00:36:01,200
Speaker 3: Tina talking about the recording of the album and the

738
00:36:01,200 --> 00:36:02,960
Speaker 3: song them Know for song Probabdanca.

739
00:36:03,239 --> 00:36:08,680
Speaker 4: The album took two weeks I finished a British tour and.

740
00:36:11,239 --> 00:36:14,280
Speaker 31: I worked around the city meeting with different producers, listening

741
00:36:14,280 --> 00:36:17,560
Speaker 31: to songs. Because Roger and I, which is Roger Davis,

742
00:36:17,680 --> 00:36:20,440
Speaker 31: my manager, decided that we would try to make the

743
00:36:20,480 --> 00:36:22,959
Speaker 31: album in London because there was a vibe there. Messa

744
00:36:23,080 --> 00:36:25,680
Speaker 31: together had gone too terrifically well and nothing was happening

745
00:36:25,719 --> 00:36:28,239
Speaker 31: in America and I had been problems with talking with

746
00:36:28,320 --> 00:36:30,680
Speaker 31: producers there to do what we wanted, which was I

747
00:36:30,680 --> 00:36:31,280
Speaker 31: didn't want.

748
00:36:31,160 --> 00:36:34,239
Speaker 8: To do just R and B material, you know.

749
00:36:34,719 --> 00:36:40,239
Speaker 31: So after scouting around for two weeks in London, graught

750
00:36:40,239 --> 00:36:42,920
Speaker 31: to make contact with the Terry Britton and Rock and

751
00:36:42,960 --> 00:36:46,600
Speaker 31: of Foot and U behind. When I received probably the

752
00:36:46,640 --> 00:36:50,080
Speaker 31: dance of the song, I was so excited because it

753
00:36:50,120 --> 00:36:51,560
Speaker 31: was for the first time I would be able to

754
00:36:51,600 --> 00:36:54,920
Speaker 31: sing that type of song. I didn't care that the

755
00:36:54,960 --> 00:36:57,040
Speaker 31: song was possibly about a hook girl, a.

756
00:36:57,000 --> 00:36:58,160
Speaker 18: Girl that dad sort of money.

757
00:36:58,200 --> 00:36:59,279
Speaker 11: I thought it was a beautiful song.

758
00:37:00,080 --> 00:37:01,920
Speaker 3: It's a beautiful song which we just heard moments ago.

759
00:37:01,960 --> 00:37:04,319
Speaker 3: And Roger Davis, the Australian who also was manager of

760
00:37:04,360 --> 00:37:05,720
Speaker 3: many other artists, including Sheber.

761
00:37:05,920 --> 00:37:08,320
Speaker 2: Over the years, the album has sold more than twelve

762
00:37:08,400 --> 00:37:13,080
Speaker 2: million copies worldwide. At the nineteen eighty five Grammy Awards,

763
00:37:13,120 --> 00:37:16,400
Speaker 2: Private Dancer won four of the six awards that it

764
00:37:16,480 --> 00:37:17,279
Speaker 2: was nominated for.

765
00:37:18,160 --> 00:37:20,600
Speaker 3: And we mentioned these albums we're digging deep into, they've

766
00:37:20,600 --> 00:37:23,120
Speaker 3: got so many hits on them. Is Tina talking about

767
00:37:23,120 --> 00:37:24,359
Speaker 3: one of the hits we're about to play, What's Love

768
00:37:24,400 --> 00:37:25,000
Speaker 3: Got to do with It?

769
00:37:25,120 --> 00:37:27,879
Speaker 2: The song What's Love Got to do with It?

770
00:37:27,880 --> 00:37:32,560
Speaker 7: It talks about a distrust of emotion, a distrust.

771
00:37:32,080 --> 00:37:34,480
Speaker 8: Of love, having those feelings.

772
00:37:35,239 --> 00:37:37,600
Speaker 2: Does that at all reflect how you feel about it?

773
00:37:38,640 --> 00:37:38,719
Speaker 21: No?

774
00:37:39,560 --> 00:37:41,520
Speaker 2: In my case that love has a lot to do

775
00:37:41,600 --> 00:37:41,800
Speaker 2: with it.

776
00:37:41,880 --> 00:37:42,400
Speaker 8: I'm sorry.

777
00:37:44,640 --> 00:37:47,279
Speaker 32: But with the world today, I mean, everything is very

778
00:37:47,280 --> 00:37:51,640
Speaker 32: fast and women have changed and men has changed as well.

779
00:37:52,000 --> 00:37:54,080
Speaker 32: So I think the song sort of really fit a

780
00:37:54,080 --> 00:37:56,879
Speaker 32: lot of liberated girls. And if they're like, yeah, that's right,

781
00:37:56,960 --> 00:37:58,040
Speaker 32: do you know what does.

782
00:37:57,880 --> 00:37:58,799
Speaker 8: Love have to do with it?

783
00:37:58,840 --> 00:38:01,480
Speaker 2: Anyway? And I'm going, oh, yeah, that's right, that's what

784
00:38:01,520 --> 00:38:02,000
Speaker 2: it means.

785
00:38:02,040 --> 00:38:05,759
Speaker 32: Okay, you know, But in my case, I'm more of

786
00:38:05,800 --> 00:38:08,120
Speaker 32: a one that I think love has everything to do

787
00:38:08,200 --> 00:38:08,840
Speaker 32: with everything.

788
00:38:09,680 --> 00:38:11,880
Speaker 3: Such a great voice too, speaking voice, Tina. Yes, I

789
00:38:11,880 --> 00:38:14,080
Speaker 3: believe it's a year and a half since we lost her.

790
00:38:15,320 --> 00:38:32,080
Speaker 33: Absolutely anime Bullocky releases The Story Behind the Album.

791
00:38:32,400 --> 00:38:36,040
Speaker 2: East is the third studio album by Cold Chisel, released

792
00:38:36,040 --> 00:38:38,520
Speaker 2: in June nineteen eighty. The album peaked at number two

793
00:38:38,560 --> 00:38:44,720
Speaker 2: and spent sixty three weeks on the National chart. Sixty

794
00:38:44,760 --> 00:38:45,280
Speaker 2: three weeks.

795
00:38:45,280 --> 00:38:46,040
Speaker 3: Phenomenal, wasn't it.

796
00:38:46,120 --> 00:38:48,600
Speaker 2: Yes, it was the biggest selling Australian album release of

797
00:38:48,760 --> 00:38:51,840
Speaker 2: nineteen eighty. It was the only Cold Chisel album to

798
00:38:51,920 --> 00:38:55,920
Speaker 2: chart in America. As we've said, all Killer, no filler.

799
00:38:56,040 --> 00:38:58,360
Speaker 2: The album was preceded by the release of the single

800
00:38:58,440 --> 00:39:00,680
Speaker 2: Quiet Girl, which we we'll get to in just a moment.

801
00:39:01,080 --> 00:39:04,239
Speaker 2: My Baby and Cheap Wine were also released as singles.

802
00:39:04,520 --> 00:39:07,040
Speaker 2: East was the first cultures all album to feature tracks

803
00:39:07,040 --> 00:39:09,000
Speaker 2: written by all the members of the band.

804
00:39:09,080 --> 00:39:09,279
Speaker 17: Yeah.

805
00:39:09,320 --> 00:39:11,279
Speaker 3: True, because even feel Small the bass player come up

806
00:39:11,320 --> 00:39:13,479
Speaker 3: with My Baby, as you mentioned, there were such a great,

807
00:39:13,760 --> 00:39:16,279
Speaker 3: very commercial kind of pop song. But it just worked. Yeah,

808
00:39:16,440 --> 00:39:20,680
Speaker 3: just incredible. So we talk about cheap Wine, what a song,

809
00:39:21,239 --> 00:39:23,880
Speaker 3: What a great song it was. When you talk about

810
00:39:24,520 --> 00:39:27,359
Speaker 3: you know, having this great songwriter in Don Walker being

811
00:39:27,360 --> 00:39:28,799
Speaker 3: able to come up with those songs and a lot

812
00:39:28,800 --> 00:39:30,719
Speaker 3: of it as we just heard on sending it outside,

813
00:39:31,239 --> 00:39:33,719
Speaker 3: you know, piano based. He's done talking about cheap Wine.

814
00:39:33,800 --> 00:39:37,080
Speaker 26: Cheap Wine was bits and pieces of verse that were

815
00:39:37,800 --> 00:39:45,040
Speaker 26: fitted fitted together at the last minute lyrically, and I

816
00:39:45,080 --> 00:39:47,600
Speaker 26: don't think musically it was pretty much like that too.

817
00:39:48,760 --> 00:39:52,560
Speaker 26: There bits and pieces of other half finished songs or put.

818
00:39:52,400 --> 00:39:55,319
Speaker 3: Together magical how they can put things together from a

819
00:39:55,320 --> 00:39:56,920
Speaker 3: starting point where you go, I've got a bit of

820
00:39:56,960 --> 00:39:57,719
Speaker 3: an idea.

821
00:39:57,480 --> 00:39:58,799
Speaker 2: And sounds like mad Max.

822
00:39:58,880 --> 00:40:01,279
Speaker 3: Piece of this, piece of that. Yeah, absolutely lot. He's

823
00:40:01,280 --> 00:40:03,280
Speaker 3: from here cars next to some of the outfits.

824
00:40:03,360 --> 00:40:06,160
Speaker 2: It's a similar vibe. It's about the same time wrong.

825
00:40:06,239 --> 00:40:08,520
Speaker 3: And then you bring in a player, player to the

826
00:40:08,840 --> 00:40:11,520
Speaker 3: to the game called Marc Opitz. Yeah, this great producer.

827
00:40:11,560 --> 00:40:13,680
Speaker 3: He worked with the boys from ac DC. He later

828
00:40:13,719 --> 00:40:15,480
Speaker 3: worked with the vinyls Onnesi Crawl and of course he

829
00:40:15,520 --> 00:40:17,960
Speaker 3: was the guy that put together Shabu Shabar with a excess.

830
00:40:18,040 --> 00:40:21,040
Speaker 3: Marc Opitz and he's don walking talking about working with

831
00:40:21,080 --> 00:40:22,040
Speaker 3: this great producer Mark.

832
00:40:22,120 --> 00:40:24,879
Speaker 26: We've been working with Mark for about twelve months now.

833
00:40:25,080 --> 00:40:30,080
Speaker 28: Initially he was just straight producing it.

834
00:40:28,560 --> 00:40:33,480
Speaker 16: But he's he's taught us so many lessons that now

835
00:40:33,480 --> 00:40:35,520
Speaker 16: it's more into a tape production situation.

836
00:40:35,600 --> 00:40:37,560
Speaker 29: We just work as a team.

837
00:40:37,880 --> 00:40:40,520
Speaker 3: He's very clever, very clever man.

838
00:40:40,560 --> 00:40:43,080
Speaker 2: Indeed, so many great songs. One of the big songs

839
00:40:43,080 --> 00:40:48,680
Speaker 2: on it, of course, was Iter, now already a respected journalist.

840
00:40:49,120 --> 00:40:51,720
Speaker 2: Ita made Iter Buttros very cool.

841
00:40:52,239 --> 00:40:55,000
Speaker 34: I had no idea Colches we're writing the song. It

842
00:40:55,000 --> 00:40:58,160
Speaker 34: came as a complete surprise. That's on their album East.

843
00:40:59,320 --> 00:41:01,480
Speaker 34: I didn't know much about the man I don't quite frankly,

844
00:41:01,520 --> 00:41:04,880
Speaker 34: and I didn't meet them until about twenty eleven. I

845
00:41:04,960 --> 00:41:07,800
Speaker 34: used to present the commercials for the Australian Women's Weekly

846
00:41:07,920 --> 00:41:11,240
Speaker 34: every week on television, and I was always behind a desk.

847
00:41:12,520 --> 00:41:15,839
Speaker 34: And Jimmy Barnes, the lead singer, recently wrote his own

848
00:41:15,880 --> 00:41:19,400
Speaker 34: book about his last and I interviewed him upclose and

849
00:41:19,480 --> 00:41:23,960
Speaker 34: personal for Studio ten. And you know, I made him

850
00:41:23,960 --> 00:41:25,800
Speaker 34: sing me. I made him sing me a few bars

851
00:41:25,800 --> 00:41:30,759
Speaker 34: of my song and he said to me that the boys, well,

852
00:41:30,800 --> 00:41:33,120
Speaker 34: excuse me, but I have to tell you, the boys

853
00:41:33,280 --> 00:41:36,360
Speaker 34: used to fantasize about me because they used to wonder

854
00:41:36,760 --> 00:41:39,239
Speaker 34: what I might be like and what might go on

855
00:41:40,120 --> 00:41:42,839
Speaker 34: follow the desk, and so hence the.

856
00:41:42,840 --> 00:41:44,959
Speaker 3: Song That's funny the deak.

857
00:41:45,840 --> 00:41:50,480
Speaker 2: I can't believe it was thirty one years before she

858
00:41:50,640 --> 00:41:53,840
Speaker 2: met them, isn't that incredible? Thanks? For the song.

859
00:41:54,360 --> 00:41:57,239
Speaker 3: She was absolutely chucked, wasn't she. Yes, it would be

860
00:41:57,640 --> 00:41:59,959
Speaker 3: as you put it perfectly, you know, it made her cool,

861
00:42:01,160 --> 00:42:04,200
Speaker 3: not baud it all. What about that beautiful song, Qui Girl,

862
00:42:04,320 --> 00:42:04,759
Speaker 3: Qui Girl.

863
00:42:04,800 --> 00:42:07,440
Speaker 2: Yes, this was the single that came before the album.

864
00:42:07,680 --> 00:42:09,920
Speaker 2: This sumed. In the old days, they used to release well,

865
00:42:09,960 --> 00:42:11,960
Speaker 2: I mean they still do a bit, but there was

866
00:42:12,000 --> 00:42:14,239
Speaker 2: always a single and then you know, the album would

867
00:42:14,280 --> 00:42:19,040
Speaker 2: come out maybe a couple of months later. Taster, that's

868
00:42:19,080 --> 00:42:19,640
Speaker 2: what's coming.

869
00:42:20,080 --> 00:42:21,160
Speaker 3: And here was Qui Girl.

870
00:42:21,160 --> 00:42:21,600
Speaker 2: A taster.

871
00:42:21,760 --> 00:42:23,000
Speaker 3: That's what a taster?

872
00:42:23,080 --> 00:42:23,279
Speaker 21: It was?

873
00:42:23,360 --> 00:42:26,120
Speaker 3: What a sample? Mark Ope, it's the producer talking about

874
00:42:26,120 --> 00:42:26,600
Speaker 3: that great song.

875
00:42:26,719 --> 00:42:28,400
Speaker 12: Gotta understand, no one said to me go and do

876
00:42:28,440 --> 00:42:31,360
Speaker 12: a single. That's what I wanted to do because I

877
00:42:31,400 --> 00:42:33,960
Speaker 12: had that same feeling that the radio guys had to

878
00:42:34,000 --> 00:42:37,280
Speaker 12: give us something to play with integrity. And I spotted

879
00:42:37,400 --> 00:42:41,400
Speaker 12: Qui Girl, and I applied the technique that I'd picked

880
00:42:41,480 --> 00:42:43,480
Speaker 12: up working with Vandre and Young about where.

881
00:42:43,320 --> 00:42:45,000
Speaker 9: To bring backing vocals in.

882
00:42:45,160 --> 00:42:47,080
Speaker 12: You know, maybe the chorus is a bit long here,

883
00:42:47,160 --> 00:42:50,000
Speaker 12: or et cetera, et cetera, and given the solo and

884
00:42:50,080 --> 00:42:53,120
Speaker 12: more melodic feel and all that sort of thing.

885
00:42:53,600 --> 00:42:56,120
Speaker 3: So damn good and knew how to pick a hit.

886
00:42:56,200 --> 00:43:08,000
Speaker 8: To me, Cozy and.

887
00:43:08,040 --> 00:43:10,560
Speaker 1: LEAs, it's the story behind the album.

888
00:43:10,840 --> 00:43:13,240
Speaker 2: Well, I think that's the first thing that set Thriller apart,

889
00:43:13,360 --> 00:43:14,840
Speaker 2: wasn't it? The Vincent Price medge?

890
00:43:14,840 --> 00:43:15,280
Speaker 3: Definitely?

891
00:43:15,320 --> 00:43:18,880
Speaker 2: Thriller is the sixth studio album by Michael Jackson, released

892
00:43:18,920 --> 00:43:22,839
Speaker 2: on November twenty nine, so just a couple of days ago,

893
00:43:23,080 --> 00:43:26,040
Speaker 2: back in nineteen eighty two, by Epic Records. It was

894
00:43:26,080 --> 00:43:28,680
Speaker 2: produced by Quincy Jones, who'd previously worked with Jackson on

895
00:43:28,719 --> 00:43:30,960
Speaker 2: his nineteen seventy nine album Off the Wall.

896
00:43:31,200 --> 00:43:34,120
Speaker 24: When you were in the studio doing it, were there

897
00:43:34,160 --> 00:43:36,000
Speaker 24: any moments where you thought to here, since you have

898
00:43:36,080 --> 00:43:38,960
Speaker 24: any idea what impact that album was going to have.

899
00:43:39,440 --> 00:43:40,640
Speaker 3: I don't think of it like that.

900
00:43:40,840 --> 00:43:42,400
Speaker 35: I think about what touches me.

901
00:43:43,400 --> 00:43:43,600
Speaker 19: You know.

902
00:43:43,719 --> 00:43:46,920
Speaker 35: I've never in my life ever done music for money

903
00:43:47,040 --> 00:43:50,600
Speaker 35: or fame, never and never will because God walks out

904
00:43:50,640 --> 00:43:53,880
Speaker 35: of the room now and it's not secret anymore, and

905
00:43:53,920 --> 00:43:57,360
Speaker 35: it is sacred, you know, because to me, melody is

906
00:43:57,440 --> 00:44:00,279
Speaker 35: God's voice is clothed by lyrics.

907
00:44:00,239 --> 00:44:02,600
Speaker 3: But that little deuce God for us, that's the power.

908
00:44:02,760 --> 00:44:05,360
Speaker 24: But I always wonder, so when you did the playback

909
00:44:05,400 --> 00:44:08,680
Speaker 24: for Billy Jean or for any of the songs on

910
00:44:08,719 --> 00:44:10,920
Speaker 24: there was there a moment where you said to yourself,

911
00:44:11,520 --> 00:44:14,000
Speaker 24: we've done something different special.

912
00:44:14,080 --> 00:44:16,400
Speaker 8: No, but that was the whole plan in the beginning.

913
00:44:16,480 --> 00:44:19,360
Speaker 35: Man, when you go through eight hundred songs to get nine,

914
00:44:19,680 --> 00:44:23,959
Speaker 35: that's not casual, you know, that's actually aiming.

915
00:44:23,760 --> 00:44:28,200
Speaker 3: For It's so cool? Is a Quincy? The c love him.

916
00:44:28,400 --> 00:44:31,000
Speaker 3: We often talk about entertainment, and especially we talk about

917
00:44:31,040 --> 00:44:33,080
Speaker 3: movies and stuff and someone missed out on a role

918
00:44:33,160 --> 00:44:35,440
Speaker 3: and whatever I found that. We found that stuff quite fascinating.

919
00:44:35,640 --> 00:44:37,960
Speaker 3: It happens with songs on albums as well. He's Quincy

920
00:44:38,000 --> 00:44:39,560
Speaker 3: Giants talking to Deavid Letterman.

921
00:44:39,640 --> 00:44:40,800
Speaker 6: When you get down to the final cut, do you

922
00:44:40,840 --> 00:44:42,799
Speaker 6: ever take a song off and replace it with another

923
00:44:42,800 --> 00:44:44,480
Speaker 6: one and then save that song and then later give

924
00:44:44,480 --> 00:44:45,319
Speaker 6: it to somebody else and.

925
00:44:45,239 --> 00:44:48,000
Speaker 3: It does well, That's happened on Thriller.

926
00:44:48,080 --> 00:44:50,319
Speaker 18: We had four songs on there and had all the

927
00:44:50,320 --> 00:44:53,320
Speaker 18: songs finish, took four off and replaced it with pyt

928
00:44:54,040 --> 00:44:57,120
Speaker 18: and beat it and uh, human nature.

929
00:44:57,200 --> 00:44:58,640
Speaker 3: What became of the four you took off?

930
00:44:58,800 --> 00:45:01,120
Speaker 18: Some other people require it And what happened was it

931
00:45:01,160 --> 00:45:03,239
Speaker 18: was it was okay, you know, it wasn't so.

932
00:45:03,239 --> 00:45:05,640
Speaker 3: You knew what you were doing and we just got lucky.

933
00:45:05,960 --> 00:45:08,399
Speaker 25: No no, no, no no no.

934
00:45:08,520 --> 00:45:10,600
Speaker 3: May I think those hits, they were all hit singles.

935
00:45:10,640 --> 00:45:12,399
Speaker 2: Wouldn't be drawn on who he gave it to him,

936
00:45:12,400 --> 00:45:12,920
Speaker 2: what I was.

937
00:45:12,920 --> 00:45:16,160
Speaker 3: That's right, obviously, El DeBarge or someone maybe.

938
00:45:16,560 --> 00:45:20,719
Speaker 2: Thriller spent a record thirty seven non consecutive weeks at

939
00:45:20,800 --> 00:45:24,359
Speaker 2: number one on Billboard. Seven singles were released, The Girl

940
00:45:24,480 --> 00:45:26,800
Speaker 2: is Mine, Billy Jean, Beat It, want to Be Starting

941
00:45:26,840 --> 00:45:30,160
Speaker 2: Something two, Quincy just mentioned human Nature and pyt Pretty

942
00:45:30,200 --> 00:45:32,759
Speaker 2: Young Thing, and of course Thriller. They all reached the

943
00:45:32,800 --> 00:45:36,399
Speaker 2: top ten, with beat It and Billy Jean reaching number one.

944
00:45:36,560 --> 00:45:39,760
Speaker 2: Following Jackson's performance of Billy Jean in the Motown twenty

945
00:45:39,760 --> 00:45:45,040
Speaker 2: five television special where he debuted his signature Moonwalk dance,

946
00:45:45,640 --> 00:45:49,000
Speaker 2: the album began selling one million copies per week. And

947
00:45:49,080 --> 00:45:53,920
Speaker 2: after he debuted that said signature moonwalk dance, you know who.

948
00:45:53,719 --> 00:45:57,040
Speaker 3: Called him someone pretty famous, Fred Astaire, I'm real.

949
00:45:57,160 --> 00:45:58,920
Speaker 36: The next day after the show, when Freda's stare car

950
00:45:59,080 --> 00:46:01,840
Speaker 36: my House other show, as I taped it, I wasted

951
00:46:01,880 --> 00:46:04,600
Speaker 36: it twice this morning, and he said, you were incredible.

952
00:46:04,640 --> 00:46:06,279
Speaker 36: You're a hell of a mover, and you really put

953
00:46:06,320 --> 00:46:10,200
Speaker 36: them on their said and I said, God, thank you,

954
00:46:10,360 --> 00:46:12,000
Speaker 36: so wonderful for you to say it, because I think

955
00:46:12,040 --> 00:46:15,239
Speaker 36: you're the best. And that was my real reward because

956
00:46:15,239 --> 00:46:16,200
Speaker 36: I think he's brilliant.

957
00:46:16,920 --> 00:46:19,799
Speaker 3: Imagine having as a d having fred A Stair ring you,

958
00:46:19,840 --> 00:46:20,120
Speaker 3: fred A.

959
00:46:20,120 --> 00:46:23,759
Speaker 2: Stare who Dad's wow, heat wave, things like that, call

960
00:46:23,920 --> 00:46:26,600
Speaker 2: you to tell you you went or right with your moves.

961
00:46:26,680 --> 00:46:29,320
Speaker 3: Yeah, fred Astaire. If you google forre to Stare dancing

962
00:46:29,360 --> 00:46:32,840
Speaker 3: in nineteen seventy one, ninety seventy, I think was the Oscars.

963
00:46:32,920 --> 00:46:35,719
Speaker 3: He's still great, it still had it amazing and we

964
00:46:35,760 --> 00:46:38,520
Speaker 3: talk about the actual movie they made, because it wasn't

965
00:46:38,560 --> 00:46:40,239
Speaker 3: just a video for Thriller was at.

966
00:46:40,160 --> 00:46:44,279
Speaker 2: Least no and I remember I remember watching it when

967
00:46:44,280 --> 00:46:47,000
Speaker 2: it was released and it was a huge lead up.

968
00:46:47,920 --> 00:46:49,960
Speaker 2: It was a big deal. Nothing like this had ever

969
00:46:50,000 --> 00:46:50,680
Speaker 2: been done before.

970
00:46:51,160 --> 00:46:53,799
Speaker 3: I remember being at Eagle One nightclub the night they played,

971
00:46:53,840 --> 00:46:56,720
Speaker 3: my first time in Northbridge and just looking at people's faces,

972
00:46:56,760 --> 00:46:59,480
Speaker 3: just with their mouths opened and watching this incredible thing.

973
00:46:59,800 --> 00:47:03,040
Speaker 3: And he's MTV's Matt Goodman talking about how big Thriller

974
00:47:03,120 --> 00:47:03,800
Speaker 3: was at the time.

975
00:47:03,719 --> 00:47:08,880
Speaker 6: What a piece of work, Thriller A long time coming.

976
00:47:09,000 --> 00:47:13,800
Speaker 6: Michael Jackson's thriller, the piece written by John Landis, the director,

977
00:47:13,960 --> 00:47:16,800
Speaker 6: and also by Michael Jackson. On John Landis, she probably

978
00:47:16,840 --> 00:47:19,680
Speaker 6: remembers the guy who directed things like Animal House, who

979
00:47:19,719 --> 00:47:23,640
Speaker 6: was also responsible for an American Werewolf in London. Landis,

980
00:47:23,680 --> 00:47:27,439
Speaker 6: Michael and George Fawlsey Junior produced the short music film.

981
00:47:27,440 --> 00:47:29,640
Speaker 6: It's being shown in selected movie theaters. It was shown

982
00:47:29,719 --> 00:47:32,160
Speaker 6: last week so that it'll be eligible for this year's

983
00:47:32,200 --> 00:47:36,360
Speaker 6: Academy Awards. Hey, we might have an Academy Award winner

984
00:47:36,400 --> 00:47:40,640
Speaker 6: on our show. The makeup effects which were substantial. I've

985
00:47:40,640 --> 00:47:43,520
Speaker 6: been watching those effects just over and over. The makeup

986
00:47:43,560 --> 00:47:45,600
Speaker 6: effects created by Rick Baker. He was the guy who

987
00:47:45,600 --> 00:47:48,839
Speaker 6: won an Oscar for an American Werewolf. Choreography designed by

988
00:47:48,840 --> 00:47:52,160
Speaker 6: Michael Jackson and Michael Peters, the Tony Award winning choreographer

989
00:47:52,480 --> 00:47:54,879
Speaker 6: of dream Girls. Michael Peters is also the guy who

990
00:47:54,880 --> 00:47:58,200
Speaker 6: did the dance sequences for Beat It. Michael Jackson's Beat It.

991
00:47:58,320 --> 00:48:04,360
Speaker 6: The only place on TV. Thee thriller is here on MTV,

992
00:48:04,600 --> 00:48:07,319
Speaker 6: and we are proud of it. It is more than

993
00:48:07,400 --> 00:48:10,200
Speaker 6: just a video with the short film and quite a

994
00:48:10,200 --> 00:48:13,839
Speaker 6: piece of art. Michael Jackson and John Landers, We're real

995
00:48:13,880 --> 00:48:14,279
Speaker 6: happy to.

996
00:48:14,280 --> 00:48:14,719
Speaker 3: Have it here.

997
00:48:15,200 --> 00:48:18,920
Speaker 2: Well, I loved American Werewolf in London, and the Landis

998
00:48:18,920 --> 00:48:22,360
Speaker 2: connection was clear, wasn't it? Scrimp and Bell His facing

999
00:48:22,400 --> 00:48:27,440
Speaker 2: American Werewolf deteriorated throughout the movie. It was very similar.

1000
00:48:28,320 --> 00:48:31,720
Speaker 2: Thriller remains the best selling album of all time, having

1001
00:48:31,760 --> 00:48:35,520
Speaker 2: sold an estimated seventy million copies worldwide, won a record

1002
00:48:35,560 --> 00:48:38,400
Speaker 2: breaking eight Grammy Awards the nineteen eighty four Grammy Awards,

1003
00:48:38,520 --> 00:48:42,439
Speaker 2: including Album of the Year, Best Pop Vocal Performance, Beat

1004
00:48:42,480 --> 00:48:44,840
Speaker 2: It won two Grammys for Record of the Year and

1005
00:48:44,920 --> 00:48:48,920
Speaker 2: Best Rock Vocal Performance, and Billy Jean won two Grammys

1006
00:48:48,960 --> 00:48:51,399
Speaker 2: for Best R and B Vocal Performance. He touched all

1007
00:48:51,440 --> 00:48:57,279
Speaker 2: the categories. Take that best Rhythm and Blues Song was

1008
00:48:57,320 --> 00:49:01,680
Speaker 2: the other one. Thriller is frequently included in lists of

1009
00:49:01,719 --> 00:49:06,279
Speaker 2: the greatest albums of all time. In two thousand and eight,

1010
00:49:06,280 --> 00:49:08,200
Speaker 2: it was inducted into the Grammy Hall of Fame, and

1011
00:49:08,239 --> 00:49:10,520
Speaker 2: the Library of Congress in the US added it to

1012
00:49:10,560 --> 00:49:17,160
Speaker 2: the National Recording Registry of Culturally, historically or Aesthetically Significant Recordings.

1013
00:49:17,480 --> 00:49:21,400
Speaker 2: And this is my call again talking about how talking

1014
00:49:21,440 --> 00:49:23,800
Speaker 2: about the continued success of Thriller.

1015
00:49:24,200 --> 00:49:27,520
Speaker 37: Don't till I get a platinum album. It's all I've

1016
00:49:27,520 --> 00:49:30,439
Speaker 37: been taken lightly on my VF. I'm always honored and

1017
00:49:31,160 --> 00:49:35,040
Speaker 37: it's great thanks. You know, I'm very happy that the

1018
00:49:35,080 --> 00:49:38,640
Speaker 37: public enjoy what I do and I'll continue to put

1019
00:49:38,680 --> 00:49:39,680
Speaker 37: my heart into my work.

1020
00:49:39,960 --> 00:49:41,839
Speaker 3: Really did go to the stratosphere, didn't it, Because Off

1021
00:49:41,840 --> 00:49:43,480
Speaker 3: the Wall was a big album for here, it.

1022
00:49:43,880 --> 00:49:46,040
Speaker 2: Was next level. But as you know, as we just

1023
00:49:46,120 --> 00:49:48,799
Speaker 2: touched on then, it was so much bigger than just

1024
00:49:49,280 --> 00:49:52,200
Speaker 2: has my new album. It was a moment and those

1025
00:49:52,239 --> 00:49:56,480
Speaker 2: of us that do remember watching that thriller, it was

1026
00:49:56,520 --> 00:49:58,680
Speaker 2: a bit like when Live Aid was on.

1027
00:49:58,880 --> 00:50:00,880
Speaker 3: Yeah, you know, it was the same time. Was in

1028
00:50:00,880 --> 00:50:03,200
Speaker 3: the world, point in time when there was no doubt

1029
00:50:03,200 --> 00:50:05,120
Speaker 3: who was the biggest star in music on the planet?

1030
00:50:05,160 --> 00:50:05,440
Speaker 4: Was it?

1031
00:50:05,480 --> 00:50:06,080
Speaker 2: Absolutely?

1032
00:50:07,200 --> 00:50:07,399
Speaker 6: Yeah?

1033
00:50:07,920 --> 00:50:10,359
Speaker 3: And the freaking thing that Quincy said earlier, that bit

1034
00:50:10,400 --> 00:50:13,160
Speaker 3: we heard where he said p yt in Human Nature

1035
00:50:13,200 --> 00:50:16,640
Speaker 3: and beat It were not originally on the album replaced.

1036
00:50:17,080 --> 00:50:18,520
Speaker 2: I imagine beat It not being on the.

1037
00:50:18,560 --> 00:50:21,880
Speaker 3: Album incredible, Well, let's get beaten. The story behind the

1038
00:50:21,880 --> 00:50:23,600
Speaker 3: album Michael Jackson's thriller.

1039
00:50:34,239 --> 00:50:37,360
Speaker 1: Cleary releases The Story behind the album.

1040
00:50:37,760 --> 00:50:41,960
Speaker 2: Rumors is Fleetwood Mac's eleventh studio album, released in February

1041
00:50:41,960 --> 00:50:44,960
Speaker 2: of nineteen seventy seven. It became the band's first number

1042
00:50:44,960 --> 00:50:47,840
Speaker 2: one album on the UK Album's Chart. It topped the

1043
00:50:47,920 --> 00:50:50,920
Speaker 2: US Billboard two hundred and here in Australia received multi

1044
00:50:50,960 --> 00:50:54,720
Speaker 2: platinum certifications, as it did in many other countries. Recorded

1045
00:50:54,800 --> 00:50:58,920
Speaker 2: largely in California, the recording sessions took place as the

1046
00:50:58,960 --> 00:51:03,040
Speaker 2: band members were dealing with a lot so much breakups,

1047
00:51:03,960 --> 00:51:06,960
Speaker 2: lots of breakups and struggles with drugs.

1048
00:51:07,200 --> 00:51:10,399
Speaker 3: Yeah, lots of jealousy going on, a.

1049
00:51:10,360 --> 00:51:11,160
Speaker 2: Lot of jealousy.

1050
00:51:11,520 --> 00:51:15,800
Speaker 3: Yeah, obviously helped the songwriting, isn't it clearly?

1051
00:51:16,080 --> 00:51:16,279
Speaker 38: Yeah?

1052
00:51:16,520 --> 00:51:18,880
Speaker 17: But at what costs?

1053
00:51:18,960 --> 00:51:22,280
Speaker 3: Yeah, lots of challenges. Mick fleet with the very tall

1054
00:51:22,320 --> 00:51:24,600
Speaker 3: figure there talking to the drummer of course from the band,

1055
00:51:24,600 --> 00:51:26,360
Speaker 3: talking about those challenges in the recording.

1056
00:51:26,640 --> 00:51:29,520
Speaker 20: By the time we got to Scala to start rumors,

1057
00:51:29,800 --> 00:51:33,640
Speaker 20: the roller coaster was in motion. The two challenges really,

1058
00:51:33,880 --> 00:51:38,560
Speaker 20: one was a musical challenge and make another Fleetwood Mac album,

1059
00:51:39,160 --> 00:51:45,359
Speaker 20: and two was knowing that what was going on personally,

1060
00:51:45,960 --> 00:51:50,200
Speaker 20: which was everyone splitting up because Steven lindsay they were

1061
00:51:50,400 --> 00:51:53,560
Speaker 20: very much a couple of basically many ways married although

1062
00:51:53,800 --> 00:52:00,480
Speaker 20: they were never married. And John and Chris, who were married, what.

1063
00:52:00,480 --> 00:52:03,480
Speaker 3: A mess and what a place to start.

1064
00:52:04,960 --> 00:52:05,200
Speaker 8: Listen.

1065
00:52:05,320 --> 00:52:08,600
Speaker 2: I mean it didn't Linday only ever agreed to be

1066
00:52:08,640 --> 00:52:10,680
Speaker 2: in Plletwood Mac as long as they took Stevie as well.

1067
00:52:10,719 --> 00:52:13,080
Speaker 2: It was the and then once they got there, it

1068
00:52:13,120 --> 00:52:16,360
Speaker 2: was like, oh, she's really good. I mean we like

1069
00:52:16,440 --> 00:52:18,760
Speaker 2: you too, but wow, she's awesome.

1070
00:52:18,800 --> 00:52:20,400
Speaker 3: I think she blew them away because they were a

1071
00:52:20,480 --> 00:52:22,080
Speaker 3: very different band. There were blues band before that, and

1072
00:52:22,120 --> 00:52:23,520
Speaker 3: then all of a sudden these two came in and

1073
00:52:23,520 --> 00:52:26,360
Speaker 3: made them more commercial. But there were so many problems

1074
00:52:26,360 --> 00:52:29,160
Speaker 3: and issues during the recording between Stevie and Lindsay.

1075
00:52:29,280 --> 00:52:31,640
Speaker 5: We really wondered whether or not we would get through

1076
00:52:31,719 --> 00:52:37,200
Speaker 5: Rumors again, you know, in this in this studio, in

1077
00:52:37,239 --> 00:52:40,600
Speaker 5: that room, and there in that tiny little room there

1078
00:52:40,680 --> 00:52:43,440
Speaker 5: was you know, five people that were totally breaking up.

1079
00:52:43,800 --> 00:52:46,759
Speaker 19: Whatever was going on in the band, specifically between the

1080
00:52:46,760 --> 00:52:51,560
Speaker 19: two couples very much informed the material, and I think

1081
00:52:51,640 --> 00:52:54,239
Speaker 19: that was a very great appeal of the album. If

1082
00:52:54,239 --> 00:52:59,120
Speaker 19: you look at the success that Rumors enjoyed, I think

1083
00:52:59,440 --> 00:53:04,000
Speaker 19: that it goes a little bit beyond the music itself.

1084
00:53:04,800 --> 00:53:07,520
Speaker 19: I think a resonance kicks in that has to do

1085
00:53:07,600 --> 00:53:10,120
Speaker 19: with the interaction of the people. The whole being greater

1086
00:53:10,160 --> 00:53:13,440
Speaker 19: than some of the parts. And I think a tangible

1087
00:53:13,480 --> 00:53:15,680
Speaker 19: element of that is the fact that you had these

1088
00:53:15,719 --> 00:53:18,279
Speaker 19: dialogues shooting back and forth between members of the band

1089
00:53:18,560 --> 00:53:21,719
Speaker 19: about things that were happening to all of us while

1090
00:53:21,760 --> 00:53:23,160
Speaker 19: we were recording these songs.

1091
00:53:24,760 --> 00:53:26,640
Speaker 2: And in some of you know, you say videos, you

1092
00:53:26,640 --> 00:53:30,560
Speaker 2: can see them. You can see them singing at each

1093
00:53:30,560 --> 00:53:33,120
Speaker 2: other like some kind of sing battle.

1094
00:53:33,280 --> 00:53:35,359
Speaker 3: I know, yeah, when you say them on stage around

1095
00:53:35,400 --> 00:53:37,680
Speaker 3: that time, even since then, Yeah, and they could see

1096
00:53:37,719 --> 00:53:40,440
Speaker 3: them going each other. But it's quite scary.

1097
00:53:40,560 --> 00:53:43,319
Speaker 2: The thing is that I don't think either of them,

1098
00:53:43,360 --> 00:53:46,480
Speaker 2: Lindsay or Stevie, could deny that they were each other's

1099
00:53:46,600 --> 00:53:47,839
Speaker 2: musical soulmates.

1100
00:53:48,080 --> 00:53:54,440
Speaker 19: Whatever Stevie's music was, somehow I was this soulmate that

1101
00:53:54,640 --> 00:53:57,719
Speaker 19: just knew exactly what to do with it, and that

1102
00:53:57,760 --> 00:54:03,480
Speaker 19: never went away. It just became a little bittersweet in

1103
00:54:03,600 --> 00:54:06,960
Speaker 19: terms of wanting to do it. There were times when

1104
00:54:07,040 --> 00:54:09,000
Speaker 19: I had the urge not to want to help her,

1105
00:54:10,160 --> 00:54:14,520
Speaker 19: and that's a weird thing to admit, but these were.

1106
00:54:14,360 --> 00:54:17,760
Speaker 3: The challenging things, a bit more bitter than sweet, I think.

1107
00:54:17,600 --> 00:54:20,200
Speaker 2: To be honest, I know how you could make that better,

1108
00:54:20,200 --> 00:54:21,160
Speaker 2: but I'm going to hold it back.

1109
00:54:21,239 --> 00:54:22,600
Speaker 3: Yeah, we've got to hold a name. I'm not going

1110
00:54:22,600 --> 00:54:24,200
Speaker 3: to help her out and assist with your songs.

1111
00:54:24,440 --> 00:54:30,400
Speaker 2: Rumors contains a mix of electric and acoustic instrumentation, accented rhythms,

1112
00:54:30,440 --> 00:54:34,840
Speaker 2: guitars and keyboards, and of course it's the lyrics concerned

1113
00:54:34,880 --> 00:54:37,279
Speaker 2: personal and often troubled relationship.

1114
00:54:37,360 --> 00:54:40,200
Speaker 3: Yes, yeah, very sad recently when we lost Christine McVay,

1115
00:54:40,200 --> 00:54:44,440
Speaker 3: wonderful songwriter, a beautiful voice, and talking about John her

1116
00:54:44,480 --> 00:54:47,320
Speaker 3: former husband at that stage, suggesting rumors and on songwriting.

1117
00:54:47,400 --> 00:54:47,919
Speaker 35: We were all.

1118
00:54:47,840 --> 00:54:52,239
Speaker 39: Writing songs about each other basically, although we were unaware

1119
00:54:52,280 --> 00:54:57,840
Speaker 39: of it at the time. All the songs were about

1120
00:54:57,880 --> 00:55:01,799
Speaker 39: our own private relationships and troubled relationships.

1121
00:55:02,520 --> 00:55:05,360
Speaker 2: And I think it was John.

1122
00:55:05,400 --> 00:55:09,160
Speaker 38: That suggested the name Rumors because we were writing sort

1123
00:55:09,200 --> 00:55:13,000
Speaker 38: of journals and diaries about one another in which we

1124
00:55:13,040 --> 00:55:15,520
Speaker 38: hadn't realized that we heard all the songs all strung together.

1125
00:55:15,920 --> 00:55:19,080
Speaker 3: Wow, that's a big count on. Even after Lindsay was

1126
00:55:19,160 --> 00:55:21,040
Speaker 3: later kicked out of the band, he worked, he worked

1127
00:55:21,040 --> 00:55:23,239
Speaker 3: and recorded an album with Christine, So the two of

1128
00:55:23,280 --> 00:55:25,840
Speaker 3: them worked really well together at Christy McVay and Lindsay

1129
00:55:25,840 --> 00:55:26,919
Speaker 3: buckingh Christina and.

1130
00:55:26,800 --> 00:55:33,200
Speaker 19: I somehow had a common foundation. Even though she was

1131
00:55:33,239 --> 00:55:37,680
Speaker 19: trained and I was not, and even though her background

1132
00:55:37,719 --> 00:55:42,360
Speaker 19: was in the blues, we had a very similar musical sense,

1133
00:55:42,400 --> 00:55:46,120
Speaker 19: of very similar melodic sense in many ways, so that

1134
00:55:46,160 --> 00:55:50,680
Speaker 19: we could jam on guitar and piano and it would

1135
00:55:50,680 --> 00:55:53,560
Speaker 19: just spark off. She would play around me and I

1136
00:55:53,560 --> 00:55:54,760
Speaker 19: would play around her.

1137
00:55:55,640 --> 00:55:57,319
Speaker 3: What an album, as we.

1138
00:55:57,280 --> 00:56:00,359
Speaker 2: Say, written such personal lyrics, everyone writing about it each other.

1139
00:56:00,400 --> 00:56:04,080
Speaker 2: But one track on it, the Chain, which is number

1140
00:56:04,080 --> 00:56:08,040
Speaker 2: one on side to lists the lot as writers written

1141
00:56:08,080 --> 00:56:12,959
Speaker 2: by Buckingham Fleetwood, C mcvee, John mcvee and Nicks Team

1142
00:56:12,960 --> 00:56:13,320
Speaker 2: Effort