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A Thirst For Music With MIKE SCOTT From THE WATERBOYS · HEAVY Music Interviews

0:00
Speaker 1: Thanks for joining heavy.
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Speaker 2: Today we are speaking with Mike Start from the water Boys.
0:05
Speaker 1: Thanks for joining us.
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Speaker 3: You're very welcome. Chris, thanks for having me on my pleasure.
0:10
Speaker 2: So the water Boy has returned to this side of
0:12
Speaker 2: the world after more than a decade for a run
0:14
Speaker 2: of shows, starting in Perth on May the eleventh and
0:18
Speaker 2: hitting Sydney, Melbourne, Brisbane and Wellington before finishing in Auckland
0:21
Speaker 2: on May the twentieth. So I suppose the obvious question
0:24
Speaker 2: made it's been more than ten years, like why have
0:26
Speaker 2: you neglected us for so long?
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Speaker 3: Didn't means neglect you? Well, well, you know, it's just
0:35
Speaker 3: it's expensive to get across the world these days, and
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Speaker 3: after the pandemic, in fact, touring is more expensive than
0:41
Speaker 3: it was before. So it's just taken us a while
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Speaker 3: to get it together and managed to make ends meet
0:47
Speaker 3: fair cool.
0:48
Speaker 1: Ten years is a long time made, especially in music.
0:50
Speaker 2: So what's changed with the water Boys since last time
0:53
Speaker 2: you're Ardia?
0:55
Speaker 3: The lineup has changed. There are several new members of
0:58
Speaker 3: the band with a new rhythm section, brother Paul who
1:02
Speaker 3: was our keyboard player in twenty fifteen he's still with us,
1:05
Speaker 3: and James Halliwell, who was our keyboard player in twenty thirteen,
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Speaker 3: I think that was the tour before. Then he's with
1:12
Speaker 3: us again, so it's a band of two keyboard players
1:16
Speaker 3: as well. It's just wonderful. It gives me so many
1:18
Speaker 3: options musically.
1:21
Speaker 2: You've been found as one of the best live bands
1:24
Speaker 2: on the planet, mate, So what is it going to
1:26
Speaker 2: about the water Bolls?
1:27
Speaker 1: It makes you life size so special?
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Speaker 3: Well, they're always different. We don't repeat the show. We
1:34
Speaker 3: improvise on stage and I like being able to take
1:39
Speaker 3: a left turn in the music anytime that it occurs
1:42
Speaker 3: to me. I like to do what the music tells me.
1:44
Speaker 3: And I get instructions in the moment when we're on stage,
1:47
Speaker 3: so you know, get a little sort of advanced notice
1:49
Speaker 3: in my mind of what the next phrase or the
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Speaker 3: next musical action is going to be. And I like
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Speaker 3: to go with those and obey them basically. And it's
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Speaker 3: wonderful to have a band that and deal with that,
2:01
Speaker 3: and that likes to improvise themselves. All the band members
2:04
Speaker 3: are able to make up their own parts and to
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Speaker 3: head off into something that's never done before. And I
2:11
Speaker 3: like that. And I think that unpredictable, unpredictable quality and
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Speaker 3: the sense of excitement that you get when something unforeseen happens,
2:19
Speaker 3: and it's magic. I think that that helps bring people
2:22
Speaker 3: back to see us again and again. And also we
2:25
Speaker 3: play with a particular intensity. I know that, I know
2:28
Speaker 3: that we do. We play with our lives.
2:32
Speaker 1: That's awesome.
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Speaker 2: So everyone's always looking at you, guys up on stage,
2:36
Speaker 2: and obviously you're the focal point, and they're looking at
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Speaker 2: you to end and saying them but flipping around for
2:42
Speaker 2: us and what sorts of things gonn crowd do to
2:45
Speaker 2: make you walk off stage and go like that was
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Speaker 2: a really good show.
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Speaker 3: It's a combination of participation and listening. I know that
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Speaker 3: when it's a stand up venue and it's rowdy, it's
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Speaker 3: not such a listening experience. And of course those stand
3:00
Speaker 3: up up shows can be the best, best of all really,
3:04
Speaker 3: but but it is wonderful too when we play theater
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Speaker 3: and the audience really will listen and come with us
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Speaker 3: on the journey very very closely. That's magic too. So
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Speaker 3: either of those the wild, roady audience that gets high
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Speaker 3: with us or the silent audience that comes on every
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Speaker 3: twist and turn of the journey, and both both okay
3:24
Speaker 3: with us.
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Speaker 2: I'm suppose to get different things from both of them.
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Speaker 2: When you like the rowdy ones, you'd sort of feed
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Speaker 2: off it, but the quieter ones you'd feel more connected
3:32
Speaker 2: with them, I guess because there isn't that noise going on.
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Speaker 3: Yeah, it's a connection in a different kind of way. Yeah.
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Speaker 2: There.
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Speaker 1: Now it's sort of touched on this before.
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Speaker 2: But amongst other things, you feature two keyboard players live
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Speaker 2: on stage, which isn't all that common. Mate, like bands
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Speaker 2: like Tadeo and Kansas and some ares of dream there
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Speaker 2: to just bring to mind, but it's not all that common. Like,
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Speaker 2: what's what's the additional keyboard bringing to the sound?
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Speaker 3: Well, it means that are our guys play. One guy
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Speaker 3: plays piano mostly and the other guy plays Hammond organ
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Speaker 3: mostly although they both play, they flip around sometimes and
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Speaker 3: the organ players sometimes plays synthesizer and so on. Uh.
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Speaker 3: And what it gives us is is it gives us dexterity.
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Speaker 3: Each can concentrate on a different aspect of the sound.
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Speaker 3: When we had one keyboard player, which which was the
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Speaker 3: reality for many years in the Warboys, the one keyboard
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Speaker 3: player would often have to play piano and organ at
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Speaker 3: the same time. So if one key one hand and
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Speaker 3: one keyboard one hand and the other. And I used
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Speaker 3: to think it's not really getting the opportunity to play
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Speaker 3: either of them with his full capacity, and I don't
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Speaker 3: It's something I don't like to see when I go
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Speaker 3: and see a band. I don't like seeing a keyboard
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Speaker 3: player trying to cover two bases. I like to see
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Speaker 3: two keyboard players. And some of my favorite acts, like
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Speaker 3: the band or or the East Street Band, Bruce Springsteen's lineup,
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Speaker 3: they would have the two keyboard players, you know, he
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Speaker 3: would he would have a Roy Bitten on piano, know
5:00
Speaker 3: and Danny Feder each you in Oregon or in the
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Speaker 3: band they were Richard Manuel and piano and Garth Hudson
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Speaker 3: and Oregon and and it makes a broader sound, and
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Speaker 3: it makes it makes a fuller expression of the music.
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Speaker 3: And I just got fed up not having that.
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Speaker 2: Yeah, if you've got visual dynamic too, like looking at
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Speaker 2: the stage and stand both of them up there too,
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Speaker 2: Like it's like, say, it's not something you see every day,
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Speaker 2: so immediately people are people like, oh wow, what what's this?
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Speaker 3: Yeah? Yeah, I agree.
5:28
Speaker 2: As well as you have many hits from over the years,
5:30
Speaker 2: you'll also be showcasing songs off your latest album like
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Speaker 2: that and Dennis Popper, Like even just the name of
5:37
Speaker 2: that album made like it's captivating and there's something special
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Speaker 2: about it.
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Speaker 1: But how was the reception? Like, it's not your typical
5:43
Speaker 1: album release.
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Speaker 3: It's it's gone great. Everybody's interested in it because it's
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Speaker 3: such an unusual concept. It's it's Dennis Hopper's life story
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Speaker 3: told in a series of songs. And as far as
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Speaker 3: I know, it's the only album ever made that's someone's
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Speaker 3: life story. And all there's been fictional like told me
6:00
Speaker 3: by the Who, but this is about a real person.
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Speaker 3: People really got it and really got the concept of it,
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Speaker 3: and it's been very popular record for us.
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Speaker 2: And what decided to focus on Dennis Hopper firstly and seconitely,
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Speaker 2: how difficult was it to bring that vision to life.
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Speaker 3: Well, he was a fascinating man, and he had a
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Speaker 3: fascinating life, and he was you know he was he
6:26
Speaker 3: was in Rebel with a Cause with James Dean when
6:28
Speaker 3: he was a young man. That was his first movie
6:31
Speaker 3: and what a way to start right at the big
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Speaker 3: bang of popular culture. And then in the next twenty
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Speaker 3: years or twenty five years, he was present at so
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Speaker 3: many moments, so many cultural touchstone moments. He was an
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Speaker 3: early champion of Andy Warhol. For example, before anyone had
6:45
Speaker 3: heard of Andy, he was there at the Hollywood Riots
6:48
Speaker 3: on the Sunset Strip. He was in hate Ashbury sixty seven.
6:51
Speaker 3: He was a Monterey Pope. He was the civil rights demonstrations,
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Speaker 3: and then then Easy Rider, which he directed has starred in,
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Speaker 3: was this huge cultural moment for the for America and
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Speaker 3: the West and probably for you guys as well. And
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Speaker 3: so his life was very I found it very easy
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Speaker 3: to write about him, partly because he was fascinating as
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Speaker 3: a man and partly because the events of his life
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Speaker 3: were so colorful. It was a very easy project to
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Speaker 3: work on. That's really thanks to Dennis.
7:24
Speaker 2: And there's two songs in particular on the album that
7:26
Speaker 2: I want to ask you the story about him. Like
7:29
Speaker 2: the first one is Bridge Shower the Mud Palace. I
7:32
Speaker 2: just love the name of that.
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Speaker 3: Break out at the Mud Palace.
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Speaker 1: Yeah, what's that? What's that one about?
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Speaker 3: Well, Dennis bought a property in Taois, New Mexico. It
7:43
Speaker 3: was a famous house and he renamed the Mud Palace.
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Speaker 3: It was one of these Adobe buildings that they have
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Speaker 3: in New Mexico. You know that kind of pink stone there. Yeah. See,
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Speaker 3: he re christened ouse the Mud Palace, and he he
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Speaker 3: hunkered down to edit his follow up to Easy Rider,
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Speaker 3: which was a film called The Last Movie, and he
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Speaker 3: kind of got bogged down in the editing and he
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Speaker 3: did a kind of bad job on the edit, and
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Speaker 3: nobody could understand the film, and it pissed away all
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Speaker 3: the good will that Easy Rider had built up, basically
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Speaker 3: and tanked his career for a long time. And so
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Speaker 3: there was also a documentary done of his life at
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Speaker 3: the Mud Palace, and it's sort of gonezo documentary, and
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Speaker 3: Dennis is pontificating about the state of the universe and
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Speaker 3: good and evil and all these things, and he's out
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Speaker 3: of it. He's out of his head. He's I don't
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Speaker 3: know whether he's stoned on marijuana or where he was
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Speaker 3: taking asset or whether he was drunk or whatever. He
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Speaker 3: did well out of it, so freak out at the
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Speaker 3: Mud Palace. It's my encapsulation of that period in Dennis's
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Speaker 3: life with quotes that I did a voice over on
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Speaker 3: the track as in character as Dennis, and I didn't
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Speaker 3: use his exact quotes because there might have been copyright issues,
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Speaker 3: but a paraphrase. And so I'm saying basically the same
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Speaker 3: things that Dennis was saying at the time.
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Speaker 2: And yes, wow, the other song is I'll be trying
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Speaker 2: to get this visual out of my head over eye
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Speaker 2: because the second song is Frank Letz fuck.
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Speaker 3: I guess that was going to be the second one. Yeah, well,
9:21
Speaker 3: you know his great comeback movie. Yeah. I said. His
9:24
Speaker 3: career tanked after Easy Rider when he blew it with
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Speaker 3: the next film, and for about ten years he was
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Speaker 3: just unbankable, as they say in Hollywood. Nobody was interested
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Speaker 3: in him and the only films he made were either
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Speaker 3: arthouse films or films that were made abroad. He did
9:39
Speaker 3: a win Wend This movie, did a movie in Australia,
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Speaker 3: mad Dog Morgan, but he couldn't get arrested in Hollywood.
9:45
Speaker 3: And the film that brought him back to prominence was
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Speaker 3: Blue Velvet by David Lynch. And this was when Dennis
9:51
Speaker 3: had straightened up, he'd taken control of his life again,
9:55
Speaker 3: and he acted in Blue Velvet and he played a
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Speaker 3: homicidal maniac killer called Frank Booth. And Frank had this
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Speaker 3: affliction of saying the F word every sentence, and so
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Speaker 3: what I did for that track was did an instrumental
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Speaker 3: that was sort of belligerent like Frank's personality, and then
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Speaker 3: I did a voice over in characteristic Frank Booth as
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Speaker 3: me being Dennis being Frank Booth, saying the F word
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Speaker 3: all the time. Very good fun and I could never
10:28
Speaker 3: work in it when my daughter was in the house.
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Speaker 2: You've immersed yourself in this project massively, Mane. It must
10:33
Speaker 2: have been a lot of fun to do.
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Speaker 3: It really was.
10:36
Speaker 1: Yeah, that's amazing.
10:38
Speaker 2: So going back in charm a bit bright, like you
10:41
Speaker 2: formed the water Boys in London back in nineteen eighty three,
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Speaker 2: So what was a musical climate like at the time
10:46
Speaker 2: they gave birth to the Bend and where did you
10:48
Speaker 2: fit in those early days?
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Speaker 3: Well, that was the post punk era, you know, me
10:53
Speaker 3: and all my contemporaries had come through the punk Wars
10:57
Speaker 3: because in nineteen nineteen seventy seven I was crazy about
10:59
Speaker 3: punk rock and the clash and the sex pistols and everything,
11:02
Speaker 3: and then in seventy nine I had my own new
11:05
Speaker 3: wave band in Edinburgh and came up through that period
11:11
Speaker 3: when it's like punk broke down the edifice of rock
11:15
Speaker 3: music and started building again from the wreckage, and it
11:19
Speaker 3: was a wonderful thing, and it opened the doors for
11:21
Speaker 3: a lot of people who were untrained musicians, who couldn't
11:23
Speaker 3: really play, but who had brilliant ideas kind of the
11:27
Speaker 3: Velvet Underground Stoogie's template. And by the time the Warboys
11:34
Speaker 3: started playing was eighty four, was seven years after punk.
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Speaker 3: Post punk had grown a lot, and you know, we
11:42
Speaker 3: had big successful post new wave bands like Blondie, The Police,
11:46
Speaker 3: the Cure, and so I was part of that generation.
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Speaker 3: But I always played an acoustic guitar. You know, I
11:57
Speaker 3: had an electric too, but I always kept playing acoustic,
12:00
Speaker 3: and we had piano in our sound. It was very
12:02
Speaker 3: unusual for nineteen eighty three eighty four because everybody's moving
12:05
Speaker 3: into synthesize. It was also the ear of synth pop
12:09
Speaker 3: bands like Tears for Fear or Erasure that would have
12:12
Speaker 3: just two blokes and one of them would be had
12:13
Speaker 3: to synthesize a soft cell perhaps was the first of those,
12:16
Speaker 3: but Suicide actually in New York they were the first.
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Speaker 3: So it was the ear of synths and drum machines,
12:22
Speaker 3: and we were not doing that. We played normal traditional
12:27
Speaker 3: instruments like guitar, piano, saxophone. Saxophone was our main lead
12:32
Speaker 3: instrument and we used to play all together in the studio.
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Speaker 3: We didn't do it by construction. We didn't go Trevor
12:39
Speaker 3: Horne Frankie goes to Hollywood massive construction route, so we
12:44
Speaker 3: didn't really fit in. I always used to say that
12:47
Speaker 3: the eighties were so bad that I had to invent
12:49
Speaker 3: my own why not?
12:53
Speaker 1: Why not?
12:55
Speaker 2: Do you remember the first time you heard one of
12:57
Speaker 2: your songs on radio and where you were and watch?
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Speaker 3: So I do remember. It was with my little post
13:02
Speaker 3: punk band which was which was called Another Pretty Face
13:05
Speaker 3: in Edinburgh and John Peel, who was the great countercultural
13:10
Speaker 3: alternative DJ in the UK. He played our first record,
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Speaker 3: All the Boys Love Carrie on his show and I
13:17
Speaker 3: heard it and that was incredibly exciting. Nineteen seventy nine.
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Speaker 1: Feel boys come at you over the while. It's like
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Speaker 1: it was it intimidating or was it we nervous? Or
13:29
Speaker 1: we are like, yeah, I got I want to listen
13:31
Speaker 1: to myself.
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Speaker 3: It was exciting, but I didn't quite like the sound
13:36
Speaker 3: of my voice and I probably changed it on subsequent
13:39
Speaker 3: records as I learned how to how to express myself
13:42
Speaker 3: better with a microphone.
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Speaker 1: Yeah, very cool.
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Speaker 2: I really is incorporated a plethora of stalls for your music,
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Speaker 2: ranging from pop, rock, rock and roll, fake music, rhythm
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Speaker 2: and soul, celtic soul.
13:54
Speaker 1: Like would you say that.
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Speaker 2: Those were all experimental stages or were you a more
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Speaker 2: searching the musical identity?
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Speaker 3: In a way, they're just different, different kinds of music
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Speaker 3: that I like to play. See, I grew up in
14:06
Speaker 3: the sixties and I heard rock and roll, pop, soul
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Speaker 3: music and never considered genres. It was just all music
14:14
Speaker 3: to me. So as an artist, I like to play
14:17
Speaker 3: different kinds of music, and to be honest, when we're
14:20
Speaker 3: making it, I don't think, oh this is folk music
14:22
Speaker 3: or oh this is rhythm and blues, and I don't
14:24
Speaker 3: think about it. It's just it's just the latest song
14:28
Speaker 3: that we're doing, and what's going to work for the song.
14:31
Speaker 3: Later I look at it and I think, wow, this album,
14:33
Speaker 3: look at this kind of music and that kind of music.
14:35
Speaker 3: Oh that's that's funny, isn't it. But I don't don't.
14:38
Speaker 3: I don't build a house at that place, so don't
14:41
Speaker 3: stay there.
14:42
Speaker 2: Yeah, with so many stars on when it comes to
14:46
Speaker 2: doing a settle stuff, if you got to make it
14:49
Speaker 2: cohesive and flow with so much chopping and changing, or
14:53
Speaker 2: do you have to think about the order of songs.
14:54
Speaker 3: So I do think about the order of songs, and
15:00
Speaker 3: I suppose long time Waterboys fans imagine that. I think
15:04
Speaker 3: about the lyrics, and I think, well, after that lyric,
15:06
Speaker 3: wishing of this lyric, you know it's deep and meaningful,
15:08
Speaker 3: but actually it's not. The two things that I think
15:11
Speaker 3: about are tempo and key. Key changes between songs on
15:17
Speaker 3: stage are crucial because if I play a song, if
15:20
Speaker 3: we play four songs in the key of G in
15:23
Speaker 3: a row, it begins to sound samey for the audience.
15:26
Speaker 3: But if we're changing key, or if we're changing from
15:29
Speaker 3: major to minor and back to major, it keeps the
15:31
Speaker 3: music more vibrant, I believe. And then tempo and rhythm
15:37
Speaker 3: are super important too. I don't want to do too
15:39
Speaker 3: many songs in the same rhythm in a row unless
15:41
Speaker 3: it's building towards a particular kind of climax. I like
15:44
Speaker 3: to keep it shifting. And there's a delicate dance between
15:49
Speaker 3: up tempo and down tempo and choosing when to go
15:52
Speaker 3: down tempo and how long to push up tempo and
15:55
Speaker 3: so on. So all of that's working very musical structural
15:59
Speaker 3: decision and that's how I come to the settlist.
16:03
Speaker 2: Yeah, next release Athletic Rain the Lost Fishermen recordings that
16:07
Speaker 2: they had on to a low of seven eight, but
16:09
Speaker 2: it did the three disc release mate, so you must
16:11
Speaker 2: have lost a lot of songs that come.
16:14
Speaker 3: Out with I did. I did.
16:18
Speaker 1: Tell us about the album well, when we made.
16:21
Speaker 3: Our Fisherman's Blues record. It came out in nineteen eighty
16:24
Speaker 3: eight and we spent two and a half years recording it. Now,
16:27
Speaker 3: I don't mean we were in the studio every day
16:29
Speaker 3: for two and a half years, but on and off
16:30
Speaker 3: we worked in it for two and a half years,
16:32
Speaker 3: and we recorded a huge amount of music because we
16:35
Speaker 3: used to play live in the studio, including vocals, and
16:39
Speaker 3: that meant we could record quite a large amount of
16:41
Speaker 3: music in a single day, and over a period of
16:44
Speaker 3: two and a half years, that built up to a
16:46
Speaker 3: huge amount amount of songs. It was a very difficult
16:49
Speaker 3: album to choose the running order for. And also I
16:53
Speaker 3: had lost perspective because just there was so much music
16:56
Speaker 3: and I've been working on it for so long, and
16:58
Speaker 3: one of the things that used to happen was that
17:00
Speaker 3: sometimes we would be playing and recording so fast that
17:03
Speaker 3: the engineers wouldn't have time to write down what the
17:06
Speaker 3: song titles were. They wouldn't know, and by the time
17:10
Speaker 3: that they they asked me, I was onto the next thing.
17:13
Speaker 3: And so a large number of multi tracks had no
17:17
Speaker 3: song titles on them. They just would say jam or
17:20
Speaker 3: instrumental or sound check or nothing. Yeah. And over the years,
17:26
Speaker 3: I've done some archival releases of the the other music
17:30
Speaker 3: recorded during that album that wasn't on the original album,
17:33
Speaker 3: and I thought I had discovered all of it. But
17:36
Speaker 3: the guy at the record company who owns the catalog,
17:39
Speaker 3: who owns the copyright, he said to me, you know,
17:41
Speaker 3: there's several dozen reels here with no song titles on them.
17:45
Speaker 3: Have you listened to those? And I said, no, there's
17:47
Speaker 3: probably nothing on them. And he said, well, you know,
17:49
Speaker 3: I think we should be complete about this. We should
17:51
Speaker 3: we should transfer into digital and you should take a listen.
17:54
Speaker 3: So we did, and I did, and I discovered all
17:57
Speaker 3: these performances in the studio that I'd completely forgotten about it,
18:01
Speaker 3: including things that don't even remember playing. And yet there
18:05
Speaker 3: I am on tape. The evidence is before me, and
18:07
Speaker 3: some of it was just beautiful music. It's just wonderful
18:10
Speaker 3: stuff played with no no guile or preconception, just us
18:15
Speaker 3: playing for the pleasure of it. And there was enough
18:18
Speaker 3: for a triple album. It's it's unbelievable, seems unbelievable eaving
18:21
Speaker 3: to be sitting here. It's a three vinyl three CD
18:23
Speaker 3: set and it's just as good as the original record
18:27
Speaker 3: I had.
18:27
Speaker 2: How did you feel when you when you heard that?
18:30
Speaker 2: Then just play and listen to them for the first time.
18:32
Speaker 2: I not actually remembering that they were there, like a experience.
18:38
Speaker 3: It really was. Yeah, I think, my god, we played this.
18:41
Speaker 3: I might remember the song. I might remember writing the song,
18:44
Speaker 3: or I might remember covering the song and playing in
18:47
Speaker 3: a few concerts, but I wouldn't remember that we've done
18:49
Speaker 3: it in the studio on and some of them were.
18:52
Speaker 3: There was a particular song that was called I Can't
18:54
Speaker 3: Feel at Home in this World Anymore. It's an old
18:56
Speaker 3: gospel song, one of several old gospel songs that we
18:58
Speaker 3: rearranged and used to play in a kind of uptempo
19:02
Speaker 3: cowpunk rhythm, and I had a rehearsal room copy of
19:06
Speaker 3: us playing it. That was really great. But it was
19:09
Speaker 3: so low fi you could never release it because it
19:11
Speaker 3: was just a cassette microphone in a rehearsal room. And
19:14
Speaker 3: I used to think, I wish, why didn't we ever
19:16
Speaker 3: record that in the studio. Well we did, it's just
19:19
Speaker 3: that forgotten about it, and it was on one of
19:21
Speaker 3: these reels, and when I heard it, that wow, amazing, I.
19:25
Speaker 2: Did did you touch on my matter? Like if they're
19:27
Speaker 2: by going on the album? Pretty much like if they
19:29
Speaker 2: undermo did you touch them up a bay?
19:32
Speaker 3: Some of them exactly as they were just a just
19:34
Speaker 3: a mix, and some of them weren't even mixed because
19:37
Speaker 3: they were recorded direct into stereo. But then there were
19:40
Speaker 3: others where that particular one cant fill Owen's World Anymore
19:44
Speaker 3: was about six or seven minutes long, and I edited
19:46
Speaker 3: it to a tight three minutes. And then there were
19:50
Speaker 3: a couple that were instrumental. There was a song that
19:53
Speaker 3: I'd written about my friendship with our fiddle player Steve,
19:59
Speaker 3: and when recorded it in the studio. Another one I'd
20:02
Speaker 3: forgotten about, but I hadn't sung it because it was
20:05
Speaker 3: because it was about one of my band at the time.
20:08
Speaker 3: It was just too weird to sing a song about
20:10
Speaker 3: and when he was standing, you know, a couple of
20:13
Speaker 3: yards away from me playing his fiddle, it was just
20:15
Speaker 3: too weird and I thought I'll add the vocal later. Well,
20:19
Speaker 3: I did add the vocal, but it was thirty seven
20:21
Speaker 3: years later I finally sang it for this release.
20:25
Speaker 1: Did you fer mentioned on that one for a while?
20:27
Speaker 3: Yeah? Indeed.
20:30
Speaker 1: All right, Michael, thanks very much your time. Brah's being
20:32
Speaker 1: the pleasure.
20:33
Speaker 2: Speakery in the water Boys out here from May the eleventh,
20:37
Speaker 2: and that album is out in July, so better luck.
20:42
Speaker 1: With everything, bro, try and make it lie. Thank you. Chris.
20:45
Speaker 3: Thanks Chris, nice hanging out with you so long.