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Professional Misconduct With JIMI HOCKING From THE SCREAMING JETS · HEAVY Music Interviews

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So it's Jimmy Hocking here from the Screaming Jets, and I'm here talking to
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Chris Peters today and we're going to talk about the upcoming too, of course,
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but our new album, which is out this week, the sixth October,
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I'm pretty sure called Professional Misconduct beauderful. Jimmy, thanks for joining us
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today, mate, Yeah, having me on book. As you say,
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The Screaming Jets will drop your new album, Professional Misconduct on October sixth,
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which is this Friday. So how you feel about it? I'm excited.
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I mean, obviously it's been a strange couple of weeks in the ranks of
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the band and so we've had a lot to deal with. But really this
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has been an album in the works for a couple of years, you know.
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I think the genesis of this record started in the Lockdown days when we
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were experimenting with some remote recording when we did the re release of the All
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for One thirtieth anniversary record and a EP the bit of PERLP and Scottie Kingman,
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our other guitar player, the Great Scotty Kingdom. He had started the
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ball rolling. He was trying to get poorly to get motivated with some writing,
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So Scotty came up with a bunch of guitar riffs and he sent to
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Poorly to get things underway, and that's kind of the starting point. We
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started bouncing around these kind of like cut and paste riff ideas and banging them
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into some kind of arrangement shape and that was really the genesis of what became
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his Professional Misconduct album. So three years later, so it's been quiet.
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So the fact that we actually study in such a weird way and have come
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up I think is a record is actually rewarding. Tell us a bit more
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from a musical point of view, Brian, and what are you're going for
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with it? Because it's not as it's not as balls out rocket as what
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you have put out, but it's all the better for it. But tell
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us who you're going for. Well, it's an interesting thing, you know.
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I think that after you know, the band's been around as long as
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we have, we're just trying to pick songs we think are the most worthy
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and sometimes it just so happens that they might all be heavy rock songs,
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and sometimes it's not always the way. But I got to say, when
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we came to selecting matull I think we recorded about eighteen songs or parts thereof
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as we approached the deadline for this record, and really the the tracks that
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get legs are the ones that are across the line first. In some respects,
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there's something we thought, you know, we've got a good idea here
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or there, but I don't think we were ready to just like say that's
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finished, let's just release that. You know, there's things we wanted to
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work on a little bit more, and that's just the kind of process of
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songwriting and creating a record now. So it might disappoint you to learn that
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the answer is, like I've had this clear durom, we're going for this
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certain kind of sound, of this certain kind of idea. We're kind of
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warning any of those things what we're doing literally seeing what material was going to
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work, and what things we would finish that would make sense to make a
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record, and what was kind of cohesive. And then the name professional misconduct,
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Mate, like that pretty much sums up the screen and jets the whole
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career in two words, It does, doesn't it? Yeah, Dave come
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up with that, and you know we when it comes to names, you
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know, we I think that almost none of the tracks on the album have
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the same name as they did when we first started those songs. So we've
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ever spitballing ideas throughout the process of song names and album names. And I
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not that I can remember every name that came up we come up with,
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but I'm pretty sure most of the album names that we were coming up with
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on the fly, especially from Gliso, we're not thinking that we want to
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talk about in public, so you know, it just turns out that way
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by the end, you know, we come up with a good idea.
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Probably it's always like the last week while so we go, oh, that's
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a good name, We'll do that. You know, have you recently published
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a review on the album? So for some a little bit different, mate,
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I'm going to read through what we said about each song and you can
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tell us if we're on the right path or not, and then just tell
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us a bit more about the song as you do it. Is that all
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right? Sure? Yeah? Have you read the review? I don't think
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I have. Well, stars, start off at the intro and tell us
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what you think of that. So before One major thing I've always admired about
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ossie rock bands is very few of them allow themselves to get stuck in a
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recurring time warp. By that, I mean that I can name on one
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hand a number of our bands that have forgone the refreshing creativity of writing and
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recording new music a favor of recycling familiar favorites and troubling the same merry go
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round of life that they first started on decades ago. Not that there's all
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that much wrong with that scenario if you're happy doing it, But I,
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for one still love the exhilaration of finding new favorite songs from old favorite bands
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and still feeling as though I'm part of their for trajectory rather than really been
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glory days in a time capsule. Maybe that's just me, but bear with
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me. I do have a point here, which brings me to The Scream
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and Jets, one of the few bands in the world that could have stopped
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writing after their debut album and floated through the rest of the career on the
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back of one song The Jets, although to their credit, they still play
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that particular song with an energetic passionate every show. Thirty years later, I've
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continued pumping out new material, much of the adulation of their ever growing legion
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of fans, but age inevitably catches up with the best of us, and
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despite touring harder than ever before, the Sprema Jets have allowed eight long years.
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I just lost it it I've allowed I've allowed eight long years to pass
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between drinks, and the rest of us are thirsty. The boys are about
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to rectify that blood on their character when they drop album number eight Professional also
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number ten Professional mis Conduct Ocsober Sick. Will it be worth the wait?
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Let's find out? How's that for the intro mate? Right? It sounds
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good. I like that, and you're kind of right, you know.
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But even as you're saying that, it's amazing to think it's eight years since
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we did I guess that's the Chrome album was the last rule original release that
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we had done. But you know, I've just been do some teaching as
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well, and one of my students has left here another adult student and in
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the life of a young person, which, of course the Scrimamajets were when
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the first All for one hit the scene as a cracking record. You know,
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time is of a different value. You know you're in a high speed
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mode your whole life. When you're young, you got so much to prove,
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You've got so many ideas. You have so much to do, and
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as we get older, you know what happens, is it the time is
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a different commodity, you know, easier five seven years in between projects because
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you're just did with block and you're just busy with kids and family and all
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those different things and trying to you know, kick the game together, and
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god knows what. There's just so many things going on that you're just not
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in the same you know, flow chart as you were thirty years ago.
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So it's not by design that we don't have creative output. You know,
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we're probably doing all upteen different projects and other things as they present themselves.
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But this is the this is the work. This is how it works as
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an adult, you know. You know, when you're seventeen to twenty,
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a million things happen in your life in three years. But when you are
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like fifty to fifty three or whatever it is, it's like three tax returns.
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It's not even like a big deal. Those it leads things or nothing
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to lose. Kicks off with a typically ring harmonious intro before guitar is Scotty
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Kingman and Jimmy Hocking get to work and lay down the grooves. Ron Man
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Dave Gleason joins the chorus, asking what have I done? What can I
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do? To which there is no straight answer. Eight years mister Gleason fucking
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knows what you have done, but I bet you enjoyed it. But now
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the screen of Jets, the season professionals, the road Warriors, whom Moonlight
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is a rock band, and all the years of service to rock and roll
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are openly on display from the outset, with the boys slipping straight into a
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pocket and shutting out everything by their music. Well plays. Guitar Run spices
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things up a bit before ripping into solo territory that quickly flashes from his shop
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and blends quietly back into structure before resurfacing towards the tracks end and carrying it
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home with a restrained elegance. Yeah. I like, that's actually one of
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my favorite songs, I might say on the album. I like, you
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know, we all brought what we do to the table when it comes to
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these tracks. You know, the original versions of these that were being kind
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of arranged by Scotty and Paul before we kind of got in the studio.
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You know, they were very straight. You know, the guitar riffs were
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kind of like one rift of the verse and another rift of the chorus,
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and that's kind of what happened, and all kind of just like rift along
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and then Scotty come up with that little breakdown section at one point in this.
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But then I added like the guitar melodies over the top of everything.
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That's kind of been my role in the band for a long time now.
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And so you know, like Steve and Scotty will say to me, Steve
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Chief James a producer, They'll say, we want a melody at the front
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of this song. We want something, you know, a little bit memorable
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to lead us into it. So I'll sit around for a couple of hours
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with Vintage, you know, and I'll go through a whole bunch of ideas
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before I'm happy to show what I've got, which been that little timple thing
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which happens at the start of the tune. And so these are like the
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spices that I'll add, and I'll add our pedgios to the chorus and stuff,
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and I'll kind of like harmonically flesh out the basic rifts that Scotty and
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Paul came out with. That's kind of what I've done in this band for
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a long time, like I said, and lyrically, I mean, paula
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come up with those lyrics. You know, Scotty come up with a lot
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of the original riffs, But Paul is really the guy we look to for
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lyrical structure, you know. He's just he's always been a tenacious rider.
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He's relentless, He's up all night, riding all the bloody time. Well,
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of course he has been. And that's kind of like the source of
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probably the jets s eathofs in some ways lyrically when it comes to that stuff.
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So come Down starts with Dave accusing us of taking his cake and eating
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it, but he soon gets off his high horse and his head back in
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the game, with his trusty bandmates rush to provide it's not a comfort.
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This track rocks in all the right places, chugging along at a steady pace
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until another guitar ripbuilds momentum before sawing into the darkness that meticulously plays junctures.
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If this song isn't in the set list next time I catch a Jets,
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then well then I probably won't hear it. But I would bet the neighbor's
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cat that it would be. Yeah, It's also this would be one of
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the oldest songs in the in the in the kind of set that we picked
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for this album. I think we might have started this one really early.
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In fact, it may even date back to before the Lockdown, and you
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know, like it might be something that we might have demoed some time ago
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before this session started. So I recall, you know, and I'm speaking
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just from my own perspectives here, I really I really wanted to hear a
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little bit more in those choruses, and and before we even had a lyric,
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I was coming up with those ideas which are done the little little RPGs
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once again for the choruses, and they kind of led to I think the
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vocal melody that ended up happening. So, you know, it's it's a
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it's a great thing that the Screaming Jets is still a collective when it comes
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to creating new art, because we kind of need what each other do,
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you know. We you know that we'll have a start and a genesis and
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maybe even a title or a lyrical idea, but all of us coming to
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the table and bringing our skill set to it is really what makes it happen,
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you know, Cam mcglinchy has been a great asset, you know,
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in the last five years because he's he's a songwriter as well, so he
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understands very well about creating good rhythmic structure to what we're doing. So you
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know, we're still a great gang of musicians to work together. So no
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reason is it stripped back raw sounding and pleasant rock number that allows the Jets
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breathing space. A good friend of mine once told me, it's not what
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you put into a song that makes it special, it's what you leave out.
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So now I had no idea what he was talking about, but the
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penny seems to have finally dropped. It would be a whale over the top
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of things in a songwriter. There's how some people would actually expect it.
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But the fact every note is crisp and clear without competing with or against each
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other, definitely stands out here. Yeah, I think that you're right.
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There's a lot to percent about what you don't play, and I'm just trying
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to figure out what I'll what I'll divulge to you because sometimes i'm the great
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overplayer in He'll wander about stuff and we'll rain. It'll be let's just let's
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just not play all through that, you know, let's just hear. But
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what happens is, you know, when it comes to the recording process,
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often we over record and then we let our ears and of course Steve James,
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our producer, once again, is such an ashset to this band kind
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of edits what's necessary, you know, in and out, and we have
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a saying, you know, when it comes to recordings, guitar licks and
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Scott and ol both of this, we'll record a bunch of stuff if we're
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going to be doing the solo, and maybe some stuff in the intro and
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out, and we'll say, you know, we'll say, I don't expect
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this all to get used, but I figure it's better to be looking at
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it than looking for it. So if it comes to mixing the record and
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we're thinking it'd be great if we had some little just a little guitar moment
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here or something, if it's not on tape already, if it doesn't exist,
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we can't do anything. But if we over if we put in all
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sorts of stuff and you know that we know it's probably not going to all
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get used, we can decide to use it if we want to be like,
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yeah, hang on, I just want to hear one lick, you
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know, like can I think in no reason, there's just one little guitar
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lock at the very end, you know, which I do with like a
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little flickering. It's almost like a country kind of thing. And I probably
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did that a couple of times in the song recording, but we only decide
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to use it once at the end, and that's that's how we'll go about,
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you know, making things work. Yeah, cool reason. Literally single
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second chance meander's out of the box with a rhythmic, shuffling tempo that is
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instantly addictive. Earlier reviews have labeled said The Chance is one of the finest
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ballads of the jets thirty five year career, and this stage, I find
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it hard to disagree. Not that I'm a fan of the ballad, as
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we well know, but I'm not even close to throwing something at the stereo,
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which has to be a good sign. A beautifully soulful guitar solo and
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no, I'm not even going to try and guess which are the two alternating
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lead guitarist who is playing at any set juncture elivates things to an even come
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a path and for a brief moment there, I could almost swear I heard
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Dave prying into his pillow, but I'm not sure the way Jenny One's hat
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on that one. Well, you know, I'm I have mixed feelings about
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the ballad too, because I don't know that I want too many of them
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bringing jets, But I really like I like it when we go with something
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my liking and it says a song for the man in the street, you're
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not necessarily a hard rock fan. I think that's that's it to our you
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know, to expanding our brand in some respects. But that's actually me playing
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the stylo. So I'm glad you like it. But I've got to say,
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I gotta say that song was really long when we first finished it.
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It was like, I mean, six minutes long, and we had all
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this stuff we were doing, and we really had to do a lot of
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rethinking to make it a more palatable time length, and one of those things
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was that we lost a couple of verses. We had a lot of lyrics
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in the tune. There were good lyrics, but they were just a lot
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of it, and the guitar solo was quite long, so we actually I
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took a long time to adjustb that guitar solo because we had to decide which
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parts of what I'd already recorded. It's kind of happened in post production we
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were going to keep and kind of edited down about thirty seconds or something.
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So that was an uncomfortable moment for me because I'm like, well, I
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don't know this leads to that part, YadA, YadA, YadA. So
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it's good to hear that when people hear it with fresh years, without knowing
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the machinations of what we've had to do to create an outcome that doesn't sound
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kind of jumpy or something like that, you know, because now I'm used
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to it. Now I can now I can hear the version we've we've finished
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with, but in my head up until a few weeks ago, I still
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had like three or four edits of that song that I couldn't quite separate.
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Wow. Shade is a straight up rock banger, bounce in your Life with
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the renewed vigor. Although more of a blues driven rock track, it still
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gets reduces flowing enough to almost throw my back out, which nearly has to
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be pressing the backward skip button. If there's one noticeable fact so far and
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professional misconduct, it would be the more balanced nature of music inhering on each
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song go On is a care free, almost reckless sense of craziness that filtered
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through almost every song, and in its place is a and trust me,
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I can't believe I'm saying this more mature approach that only soothing, touch and
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contentment can bring scream and Jets no long have anything left to prove to themselves,
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to their fans, to anyone. When this notion comes a cathartic realization.
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With no expectation comes no pressure, and with that in churn comes absolute
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freedom. Well, you know, it's interesting observation about you know, your
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progress as a musician in your life, and you know, it's not a
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conversation that every band is going to be able to have because you know,
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the amount of bands, as you staid on the outset, who have been
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around for the Jets, for example, started thirty three years ago, that
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are still creating new records. Is that many of these days, you know,
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like because you know, like it used to be, the band would
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have a three or four year career that was kind of normal in the world
18:41
of rock and roll, and then you had single artists who might break away
18:45
from their band. The James rains, you start off in a band and
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then end up going solo, that that kind of person, and then they
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write off their own off their own volition, and kind of write and record
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that way, whereas as a band it's it's kind of hard to do that.
18:59
But I would expect and maybe this is just me, but I would
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expect to progress as a musician and as a player. I'm not personally satisfied
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with being the same player. I was thirty during the man thirty years and
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you know, I've always been into music and relationship as a real So I
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would want to. I would want to want to. I would want to
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get better, you know, like I don't. I don't think standing still
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is the way to do this, you know. I think that your journey,
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and we hate that word in the in the scrimmage, your journey is
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something that should be an evolution of who you are. And so if we
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weren't getting better at certain aspects of music, of certain ideas, creativity,
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and in certain ways of understanding what's necessary for the track and how to play,
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I'd be pissed off. I don't I would be satisf with that.
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I think that if you're not getting better. I mean, if you're a
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sports person, you know it's expected that you would evolve into you know,
20:07
from one kind of player to another. I suppose, right. I don't
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know why that wouldn't be the same for somebody who's spending their life committed to
20:15
an instrument or to the to their art. I think progress is essential.
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Lying with her as an instant country feel to it, a solocoustic guitar generally
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plucking away over a dreary landscape of broken hearts and dreams. If you close
20:30
your eyes, you can almost feel the warm to the campfire as you imagine
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Dave sitting on a log, guitar in hand, hoober hat, delicately balancing
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on an unseen weathered face as it goes of a thousand fallen brothers dance through
20:41
the flames. Fuck me, this song must be good. Where the fuck
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did I just pull that from? I like your immagery and we could have
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used those when we're coming up with lyrics. Steve Balbi and Dave wrote that
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song to Like a couple of years ago. I'm pretty sure. I think
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Dave was just hanging out, probably having beers with Steve, and you know,
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Dave loves that kind of I don't want to say country, but like
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there's that kind of old country scene, like the bad boys of the old
21:15
fashioned country, you know, Whale and Jenny's and Johnny Cash, Young Johnny
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Cash. There were people that Dave was really influenced by as a lyricist and
21:22
a songwriter, and so he likes those those mental pictures that you know,
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like the tagline line with her thinking about you. It's it seems to mean
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a thing wouldn't be, so it could mean a number of things and no
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line work. And I like putting stripped back song on a record this because
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it just it's a little bit of an ear break and really serves to create
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an album fe rather than like a song by song feel to me. I
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mean, I still love that old Pink Floyd record. You know, call
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me an old hippie, but you know, like they they're still like a
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bit of a journey, you know, like throughout the record, and it's
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a bit of a lost art in a new way that records are downloaded and
22:10
stuff, I guess these days. But you know, Scottie picked up that
22:12
nol string guitar. It was kind of a piece of ship around the studio.
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I'm a major played in tune and he and Dave sat there and recorded
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it, and then I'm a keen mandolin player once again, I'm a super
22:26
nerd. But I then added the little mandolin parts just like I did back
22:30
on the Gorilla album, and we did like Impossible and tracks like that.
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So it's kind of it's been the other instrument that's kind of pushed in the
22:38
corner. But I often add mandalinto two screaming jets songs, you know,
22:42
here and there. But it's a beautiful song and it's very haunting. I
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agree. It's got this really kind of you know, desert image kind of
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vibe in a sense, you know, but it's it's a love song,
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but it might not be a love song in the way that you that you
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think it should be. Oh, very cool, Okay, shadows fires up,
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but then an impromptu sounding drum roll that soon's find solace. As empty
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pockets of music once more dominate the sonic landscape of Less is More. While
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certainly having moments of pent up rock aggression sporadically forcing their way to the forefront,
23:15
professional misconduct is much more than just another rock album. I'm sure there
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will be some who cry foul that the Jets have let their music do practically
23:22
all the talking so far. But let's face it, those people probably wouldn't
23:25
even be happy with a free mccappy meal. Well, you're right, you
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know, because there comes a point to where, you know, I mentioned
23:37
being progressive, you know, within yourself, but I mean, you know,
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I hit a Bob Dylan in you a little while ago, and he
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said he could never write those songs that he wrote when he was twenty four,
23:45
He could never write them again because he's not that person. He just
23:48
it's not in him anymore. And in a way, that's true for us.
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You know, we were fluting people were when we were you know,
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running around like it's mid twenty Now we're middle up likes now, but still
24:03
love me and we still love you know, we still love what we did
24:07
in those days. But you know, like I know, Scotty came up
24:11
with that riff. It's a beautiful riff going down the guitar neck. I
24:17
instantly liked this song as soon as we heard the really basic structures of it.
24:22
But I think it was a song that we didn't have lyrics for right
24:25
until the end, Like literally it was a bunch of guitar riffs until the
24:30
last week. It almost didn't make it. I think this song onto the
24:34
record and quite literally the last part of our recording process, which happened at
24:38
Sing Sing Studios in Melbourne. Partly we started at home. I did a
24:44
bunch of guitar parts at home as well, and then we ended up in
24:47
a studio called Red Engine Studios in Brisbane. And you know, I remember
24:52
being up there for the final vocal sessions and I'd done some final solos and
24:57
stuff like that, and I down and literally got lunch down the road and
25:02
hung out, you know, looking at girls from the coffee shop. And
25:07
when I came back, they they've got these lyrics and stuff together. Paul
25:11
he had gone to his mountain of lyrics city trawls around and he DUTs put
25:17
together what'll be the final vocal for this song. And I was like,
25:22
thank God, I love this. I love I love sound of it,
25:26
you know, I love the of the chorus in the middle section. And
25:30
Scotty played a great stylo on this wreck on this track, and so the
25:33
fact that it made it was actually really music to my ears. I was
25:37
really happy with that crash out of times. Swagger's up next, a cool
25:42
guitar riff giving that strut kind of vibe that is swept away by a solid
25:45
tempo from fresh Drummercam mcclinsey Thinky, who was settled into the band as though
25:51
he's been there from the start. The man is a weapon live, but
25:52
shows off his chops and grooves with greater restraint on this his first album and
25:56
hopefully not his last. Midway through the song, totally unexpected guitar driven breakdown,
26:00
fix things up another gear and now the Jets are just showing off,
26:04
And why shouldn't they when they can put out high quality music like this.
26:08
Yeah, there's a great stuff trying to come up with that middle section,
26:11
I'm pretty sure, although I need to listen to it again to refresh my
26:15
memory. But yeah, it's almost got like a even though it's kind of
26:19
Upea's got like a funk basis in a way, and funk is not my
26:23
favorite thing to bring to a rock record, I got to say. But
26:26
that's just me. But you know, Cam has been a great asset in
26:30
this band. He's been in the band of five now, and because he
26:33
is also I said before he's a songwriter, so he's got a really good
26:40
handle on what's necessary the track, you know, whereas I'll be shredding to
26:45
everything, you know, I don't care, just committed to play, you
26:48
know. But he he has he had a great sense of restraint for for
26:53
where the fields need to be. So, you know, it was it
26:56
was a pleasure to hear this song, this one come together too. Another
27:00
song, give Me What I Want reverberates to life. It's the second last
27:03
song and immediately brings some feels with an almost text persons type vibe and underlying
27:07
focal point. Dave's voice has copped a bit of a workout over the course
27:11
of the album, but it doesn't sound like he's raised even a drop of
27:15
sweat. But then why should it. He doesn't after that on stage.
27:18
This is another blues bassed, guitar infused slab of awesomeness that does exactly what
27:22
it has to without trying to dazzle us with speed or battle us with bullshit.
27:30
Yeah, I'm baintely baffling people with bullshit was kind of part of the
27:33
jets, But I agree, you know, there's and I guess you know,
27:41
within the within the within the ranks of the band. We actually bring
27:45
a lot of different influences to the table, and I'm often saying, you
27:48
know, I think that if everybody thinks the same way exactly, you know,
27:55
if everybody just likes this kind of rock music, it doesn't make for
27:57
good original art, certainly not in our camp, you know. So you've
28:02
got me. I love old blues, you know, like I've got a
28:04
blues thing going on the side as well, So I love that kind of
28:07
bluesy thing. And you know, Paulie, Dear Paulie, we're a part
28:12
of bass player. He's his background was originally like, you know, British
28:21
mod rock kind of vibe like when he started, you know. And then
28:26
there's Dave, who loves, like I said, this old country and kind
28:29
of roots thing as well. But we don't want to play that necessarily.
28:32
We want to play it in a rock rock sensitivity. But those influences become
28:38
clear. You can't escape them, you know, they kind of you know,
28:41
I wear the bluesing on my sleeve a little bit because it's you know,
28:45
so many of the players I grew up listening to, even the rock
28:48
players, you know, you know, even the Gary Moores of the world.
28:52
You know that I love you know, they're guys, but they've still
28:57
got foot in a blueos. So it travels with you, you know.
29:02
And so he slits a rock song, You're right, it does these elements
29:06
you know that you know, like like you said, Text, you know
29:10
Text could have sung that song, but you know, and Dave's performances on
29:12
this record are so great. You know. He he's never stopped singing.
29:17
He's always been in good voice. He's not somebody who walked away from singing
29:22
for years and then came back to it and had to get back to being
29:23
match bit. It's always something he's done. So we always get great vocals.
29:29
You've got great Tony's voice. I'm a little bit jealous of the tone
29:32
that you can just have naturally. I got to say a speed quack has
29:37
given the task of taking us home, and it sounds like this particular Duck
29:40
might have taken him with stash just to touch too often. There's a rollicking
29:42
fun ride to the finish line that doesn't even bother pausing to look back.
29:47
Duck is a perfect embodiment of where the screaming jets are right right now,
29:49
head down, bump up tail defiantly in the air. And if you want
29:52
to get down and dirty and quack with them, then jump on board.
29:56
But if not, their feathers won't be ruffled in the slightest. Well,
30:00
I can tell you this. Here's something from the inside of the inside of
30:03
knowledge that Poorly, one of his favorite animals is a duck, not for
30:08
all the right reasons, but but he one of his gloves, and he'd
30:15
say that it is a bit like him. So on the lefs of the
30:18
deck's smooth and just cruising along on the of the water. Right underneath duck,
30:25
the legs are going that shit crazy and everything's happened. You're trying to
30:29
keep the duck afloat. So there's all this manic stuff happening that nobody sees
30:34
to make the duck appeal like he's just gliding along. And for PAULI that
30:40
was a description of him and his life. So I didn't actually think that
30:45
the title speed Quack was going to make the album, yes, but nonetheless
30:52
that's what it is, and it's in a way to know and love Paul.
31:00
He used to realize that speed Quack in a sense was a great Swan
31:04
song. For him, because that was him. He was chaos below the
31:07
surface. But to see him out just in the world, you know he
31:11
was. He was a smooth guy that women just loved, you know.
31:15
And yet you know, to drive with him and to pick him up,
31:18
where as I would do to go to the airport and stuff where we'll be
31:22
on tour. He was just like this manic character. So that's kind of
31:29
where that title comes from. Now, before I read the close of it,
31:33
mate, I'll just let you know that I actually wrote I've got this
31:34
album, probably admit uguers. So I wrote it before Pauly passed. But
31:38
the way I've finished this is it's quite cool. What do you think of
31:42
this? So I did. I didn't change the review at all afterwards.
31:47
I kept it all exactly as I wrote before before it all happened. So
31:51
an answer to my earlier question, I was a weight worth it? That
31:53
would be an emphatic yes, maybe even a fuck yes. Welcome back kids.
31:57
PS. You may have noticed I didn't reference Paul was Seeing on Base
32:00
throughout the entire review, and there is good reason for that. It's Paul
32:04
fucking was seen Base, playing god and lyrical mastermind. What's left to say,
32:10
fucking oath Man. Well, you know what, Paul, what happens
32:17
from this point is anybody's guest, because PAULI has been this this driving force,
32:24
even with all the chaos, even with even with you know, all
32:29
of this sort of the shambolic chaos, that that we can be behind the
32:32
scenes somehow because of what we all bring to it and what Paul is,
32:38
Pauli's amount, like the body of work that he still has behind the scenes,
32:44
Like we could probably do another album, you know, next month and
32:49
still have eight unfinished songs that Paul you know, has put into into into
32:54
orbit kind of thing. So you know that may happen. I kind of
32:58
hope it does in respects, but you know, what we do without that
33:04
great guys is tricky now because he's been such a driving force behind the creativity
33:09
of the band. We could all play and go and do that stuff.
33:13
But even when even when we did Chrome, you know, just like I
33:15
alluded to earlier before about the fact that Scotty got the project kind of going
33:22
by getting guitar riffs to Paul, you know, with Crime, Dave and
33:27
I did that. We we started writing some songs together with Dave's lyrics and
33:30
my and some guitar parts I'd come up with, and some of which did
33:34
make the Crime record. But all through that early stages, Lisa and we
33:38
were saying, maybe the fact that we're starting to write songs will make Poorly
33:42
pull his finger out and write the next record. We really wanted him to
33:45
do it. It was kind of like we were wedging him. We were
33:49
kind of like goading him by, right, where do it? And all
33:54
the while hoping that the world would happen and it kind of you know,
33:59
so we've got a lot to think about and we've got we've got a lot
34:02
to process about the loss of Pauli. But holy ship, the God is
34:07
a fucking genius, I'll tell you that. And you guys had a tour
34:13
originally planned for the album before Paula's passing. But yeah, I believe you're
34:16
going to continue and still complete that tour. Is that right? We are?
34:21
You know, look, we our first reaction after Paula's passing was like,
34:27
you know, we won't do anything? What what can we do?
34:30
You know, like it was just it was too it was it hit us
34:34
too heavily straight away. But you know, we've had some pre regular Zoom
34:38
meetings all together because we're all in different places. And I think now that
34:43
the feeling is we want people to hear this record. We worked hard at
34:47
it. It's largely Paul's creative energy on the records, certainly lyrically, and
34:54
we want it. We want people to hear his good works, you know.
34:57
So it'll be strange going out and doing it with somebody stepping in.
35:00
And I think Darro is going to do some playing with us, Steve Balby
35:04
might do some playing with us, and they're just Paula's mates basically coming in
35:07
to cover for him. They've been discussion a permanent but you know, at
35:14
TOWRN in time because they just can't have a discussion. And we want people
35:21
to appreciate what we think is a good record. We want to celebrate Paulie's
35:27
creative works. So we've decided we already had this stuff booked. We canceled
35:30
a couple of things at the front, and we're going to do a thing
35:32
at the Grand Final. Then here in Victoria stuff we just went up to
35:36
doing that. But we will start the dates that are in the diary as
35:40
of like next week or the week after. So so yes, we are
35:44
going to get out there. It's going to be a little bit weird for
35:46
us, but we've had such an incredible outpouring of love online and in person,
35:53
people literally coming up to me in the shoot the shopping center saying came
35:58
out, I'm so sorry for your lice, and you know, people have
36:00
been really real about it. It's actually been really encouraging to hear and see
36:05
the human side of people that's brought out in our presence. So so it
36:09
kind of made us feel like, yeah, we should go and play this
36:12
record and continue on for at least for the time being. All Right,
36:16
Mabell, we've literally only got sixty seconds left. Said, thanks very much
36:20
for your time, Jim. I know it couldn't have been easy for him,
36:22
and you made them all the best for tomorrow. You dat have a
36:24
hug for us, brow and we'll patch you next time you come back to
36:27
Grezy. Thank you sometime and you're sup poor. Thanks for that, Ma,
36:31
that's awesome. No ways, lads, you need to take care,
36:34
brah. We'll do that. Take care. Yeah, that is Christmas.
37:08
Look, conversations, he hunts, nothing says, no one whard the word
37:17
out of Bunt just rest ins exacts, red tax due hold in the bast
37:24
don't try to think I got a burn of tag? What have? What
37:35
could happen? Get me? Walking out? Got nothing to lose time sound
37:45
in South a torpedo stillbot mouth my way in, your way out now wins
37:57
no risk to go the song jets bos what can we walk? Ju bow?
38:30
Can we wa? Who was get in for you? What? Because
39:00
what you say? He said? I want don't over you? I so
39:29
lost so I don't know over you