Latest / Four Finger Discount (Simpsons Podcast) / "Songs In The Key Of Springfield" Review (with Bluey composer, Joff Bush)

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"Songs In The Key Of Springfield" Review (with Bluey composer, Joff Bush) · Four Finger Discount (Simpsons Podcast)

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Australia's number one pop culture convention, Supernova is returning once again in twenty twenty
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three, starting with Gold Coast at the Gold Coast Convention and Exhibition Center on
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April fifteenth and sixteenth, as well as at the Melbourne Showgrounds on April twenty
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second and twenty third. Guests include the likes of Boba Fett himself, Tamara
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Morrison, Stephen Armel, legendary Disney Voice actor Jim Cummings and so much more.
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So it gets your tickets today at supernova dot com dot au four finger
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discount. Dude, welcome to four figure discount, where today we are taking
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your break from the standard episode review and aar instead focusing on the music of
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The Simpsons and its legacy on pop culture. I am Dando, I am
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Guy, and we are joined by someone quite fluent in the world of music.
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We're very, very fortunate to have this gentleman with us. Daniel,
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would you care to do the introduction to this fine fellow man. It's a
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man who composes the music for arguably the biggest animated show in the world today.
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He's music puts smiles on faces and it's rich number one all around the
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World. He is the composer of Blueish. Jeff Blush, Jeff, thanks
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for your time. How you doing amazing? What a great intro. Thank
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you for having me. It's great to meetcha. Now we're just discussing off
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air about, you know, the preparation for the upcoming second album of blue
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which everyone is highly anticipating. It's very very exciting times in the bluey and
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the bluey landscape in the blue World. How nervous are you because the first
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one. How's the nerves change if any If you are nervous at all,
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But how's the pressure change between releasing that first one which caught everyone off guarded
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how great it was, and this new one, which everyone wants to be
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great. I feel like there's going to be a segment there just waiting to
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criticize it and compare it to that first album. Oh yeah, I mean
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it's going to be. It's the first one was everything about We had everything
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to because it's like an instrumental album. I know the show was popular,
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but it wasn't quite as popular as it is now. And it's you know,
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there's one song at the end, but the birth of the album is
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kind of it's like instrumental music and it's from the TV show and I'm sorry,
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my dogs just having it. Oh no, it's not anyway, she's
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just having a mode. She's like, I get to the point. Job.
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So yeah, that one, the first album, was very we had
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everything to prove. Really, it's like, no, I think we can
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make something great. We won't just take the music from the show and put
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it out. We'll just we'll rerecord it and get string sections and horn sections
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to this wild thing. And now that, now that that one amazingly did
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beyond our expectations, So this one's really don't stuff it up. It is
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a message. So it's a different mindset and we really had to when we
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were recording it. Really had to just try and get out of that.
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But I think, like you said, second album syndrome, So hopefully,
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I think I'm really proud of it. But I hope it's um. I
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still hope it's got that. You can hear the sense of fun that we
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still had making it. But you know, we'll see i'd you like it.
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I don't know. I'm really bad at promo. I will just be
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like, if you want to, I don't know. Well, Jeff,
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I've got to say, and this is going to be that wonderful thing.
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That's more of a statement than a question. But I mean, I'm a
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middle age comudgeon with no children, and I thought, well, okay,
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I'll listen to Jeff's album just once to soon if you get up to speed
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about the Whole Things book, it's been on rotation for the last couple of
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days. It is utterly, utterly enchanting. Thank you so much. I'm
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a big Wes Anderson going. I get the feeling that if Wes Anderson made
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a kid kids movie, this would be the soundtrack to that. That's pretty
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that's pretty good. I love I love that as two and the and the
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soundtracks too. So that's that's a that's a massive compliment. Um, And
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you know it's I mean, it's also just not not just me. I
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have an amazing team of people are right with and a lot of people bred
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it on that album. But yeah, it's it's really yeah, it's you
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know, it's a special show too, So I get to have a lot
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of fun with that and explore different genres and things like that in't it So?
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But yeah, I hope it's I'm stoked you like that? Really stoked.
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Well, I've got two small kids, and I just wanted to thank
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you for this album because a it's one of my favorite albums, one of
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my favorite vinyls that I actually own. I wasn't it whenever I want some
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cheering up boards and escape from the stresses of life, just myself personally.
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But it's also helped create many memories with my kids that I don't think would
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have been made had this music not existed. So thank you for creating amazing
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that's so sweet. You know. We did the first half of it of
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the album, the first side, and I'm so glad you got the vinyl
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because we mix it all on like a lot of it's recorded on old seventies
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gear, and it's very like we almost only think of the vinyl version when
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we do it, and then we go, oh, we better release it
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on the platform that most people listen to it as well, and so we
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do all these other mixing later. But um, the so I hopefully it
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has that feel like it's a classic album or something. Was what we're going
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for. Well, we're talking about oh yeah, the first half of it
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was we intensely made some of those songs a bit longer, than they probably
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needed to be. So it feels like it's um so it's you can play
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the games associated with it. The first half was games and the second half
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was like stories quote unquote, but the first half had some of those UM
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keep You Uppy, yeah exactly, I think like which personally is one of
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my favorite pieces of music that I think I've ever heard in my life.
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I love keep that one. That one was such I love that one because
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it's reminds me of you know. It was one of the early episodes we
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did before it was released or anything, and we just wanted it to feel
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like this big anthem. In the episode, the kids are playing a game
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we Keep You Uppy, where they try and keep a balloon in the air,
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and eventually the neighbors sort of join. But I wanted to make it
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feel like the entire world was playing keep You Uppy with them, big anthemic
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thing and what I the one. That's why it's special for me because I
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had learned so much in that process. Because I'd written this track and I
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got into the recording session and I didn't have much time to organize all the
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proper parts for the horn players. I thought it's easy enough they'll just be
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able to work it out. And they weren't picking it up right away,
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so we just went, oh, it's not it's not catchy enough, and
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so the melody here now is actually just something we rewrote on the spot.
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It was just like, okay, here we go, like, I'll play
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something back until the band actually got it, like immediately, and if it's
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sticks in their short term memory, it's more likely to stick in there along
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everyone else's long term memory. So we didn't use any music for that session,
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and a lot of it was just came out of just having fun and
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getting everyone to play along, which is very unusual. It sort of leads
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into something I wanted to ask you job. I mean, I guess this
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may sound a bit high volutin or kind of wanky, but I mean,
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I guess the guiding principles of some kind of mission statement behind making the musical
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blue. Of course, it's got to relate to specific scenes or the themes
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of a specific episode, But I mean the feeling I got just listening to
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the whole album, you know, the things that sort of kept sparking for
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me were like a sense of awakening, like awakening of possibilities, of life,
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sense of discovery, and a sense of joy more than anything else.
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Even in the more sort of low key music, it just felt like these
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were the I don't know, this was what it was sort of sparking in
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me when I was listening to it. I'm wondering if there's any sort of
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if there are words written on the ones like remember to be joyful or something
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like that. Yeah, I mean we have, we do have a sort
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of like, yeah, there is a bit of that. I mean a
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lot of it's just keeping a great vibe in the studio really and and but
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the show is so much about imagine of play and even when we're I'm working
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with the creator Joe Brahm, or any of the other team, or or
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the other composers I work with as well, and we I was talking to
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Joe just yesterday about this and how we would be we would all just be
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jamming on the piano and trying things and keeping that sense of play and fun
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while creating it as much as possible as well. And I hope, like
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I hope that sort of shines through. If if anything, I hope that
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sense of it chants through. And a lot of that's because when we're you
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know, we're talking about sounding wanky here, but like high for lutin,
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we've got the what's called musical dramaturgy, how music tells the story. A
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lot of the approach we have in creating these blue scores is taking the perspective
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of the kids and so how they view the game, like it in their
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head. So when we were talking about Keep You Uppy, there is in
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their head like objectively, they're having a fun game, and but in their
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head it's like the whole world is playing Keep You Uppy with them, even
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though it's only two other characters. So we take that perspective and so hopefully
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that's maybe what how it sort of shines through is that joy that wandered and
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excitement about the world that through a kid's eyes. Hopefully the music can help
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encapsulate that and bring us into their perspective. A bit that was high falutin.
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Sorry no, no, it was great. No, But is that
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a tough mindset for a grown man like yourself to sort of to recapture?
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I mean, not me, I'm not not with my brain. Yeah,
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with Keep You Uppy, I think I think keep Up is a good representation
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of just the power of Bluey because it takes games that you know, we've
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played that entire lives, keeping the balloon, for touching the floor, right.
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But it's almost like Bluey has claimed it now and that game will forever.
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It's being unknown as keep you uppy. Yeah, is it that true
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good got on New Joe brother creator and writer With that, you know,
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I should just claim every Yeah, Duck Duck Goose is now, it's now
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Bluie's you know, we could just play every every game. It's a blue
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And it's all I say now is for real life? I do they really?
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And that was shown shown Bluey at at Kinder and Dacre before I actually
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watched it myself for real life and I was like, what are you talking
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about? And then I watched blue and I was like, oh, now
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I say it. I see where you got that from. Yeah, yeah,
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yeah, I've heard a lot of that too, you know, particularly
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in the US, where you know, kids have been saying donny and things
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like that, which is great. It's finally we're getting we're getting we're getting
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our we We're getting what's the word I'm thinking about, Yeah, that slang,
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that slang we're we I mean, we get so much influenced blay American
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shows. It's good we're getting back but M Yeah, and and of course
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Simpsons. M. That's one one show I'm very happy to be influenced by.
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Yeah, so you were very similar agent in your copy years older than
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me, What are your earliest memories of the Simpsons? Like, your favorite
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memories of the Simpsons go for me, it's like, you know, six
11:11
pm, week night, Channel ten, watching that every night, that kind
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of thing. So I feel like we're gonna be very similar. What are
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your favorite memories as the kids? Actually that exactly that? And then of
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course like quoting everything at school, and and then to the point where I
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think a lot of people our age or around you know, give a take
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ten years, I guess is are we get this sense of us like a
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secret language? It is? It's and I sometimes say quote Simpsons and I
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don't even I forget that it's from an episode completely because such part of the
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lexicon. Yeah, it's funny how he said he quote it in the schoolyard.
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It's crazy to think that now with Blue, right, kids like quoting
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in the kinder yard like primar school is like how blue is like kinder like
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primary school. Now Bluey is not maybe it's would you say, God,
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do you think it's on the level of what the Simpsons were, Like,
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it's getting close, like it's it's not quite bart Mania, but it's it's
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it's out there. It really is. I mean, you know, when
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you're getting think pieces or praise pieces in the New York Times or whatever,
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or I mean there are a podcast I'll listen to the talk about TV,
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you know, and these are podcasts from around the world'll be you know,
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dropping the name blue just left and right and sort of saying wow. Yeah,
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I know. I initially put it on to sort of, you know,
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appease the kids, and now I can't stop watching. So it's amazing.
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Yeah. It really has just infiltrated on so many levels. I wouldn't
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I wouldn't be surprised. Yeah, I mean, particularly very recently past,
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even this past few months. For some reason, it's just really taken off
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in the US. Yeah, the Macy State Parade and things. Yeah.
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Yeah, yeah, I'm just I don't know why. It's just something that's
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a maybe it's well, it's great. I love it. I mean i'd
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i'd watch it if I didn't watch it. Um, two hundred times a
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day anyway. But it's like sometimes I forget how great it is because you
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know, we're we deliver an episode a week, so we get really stuck
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in that yeah zone immediately. So it's yeah, sometimes really hard to go
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back think bango, how do we do that? Or even like when I'm
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working with people, I'm like who wrote that bit of music there? Or
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who played that? And yeah? So so it's wild now that we're like
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I'm you know, we're between Blue projects and doing this album thing and talking
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about it a lot, I have know, I'm going, what do we
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even do there? There was obviously a five hour discussion or something about why
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we should have this music here, and I can't you know, it's it's
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you know, but maybe that's good. It's like digging it up and then
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also coming out of that bubble and seeing how loved it is. It has
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been amazing. But I think I think you're right, like it's the language
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of Blue's seeping through. But probably for younger kids, I think, um
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more than think the Simpsons. You know, it was particularly like high school.
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Yeah, it was something we could keep quoting for, you know,
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in high school and stuff like that as well. How the process changed with
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the second album, because have you had more time to work on this one?
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In the first one? How long did you work on the first one?
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And with this second one here we have you have you how much pressure
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are you under now with this second one? Yeah? Well, um,
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it was probably a bit tighter for the second one actually, the time wise,
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because we'd finished work on a bunch of episodes, a batch of episodes
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this might be season some more from season three or something. I can't remember
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anyway, but there was like, oh, we've got now, we've got
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to finish this by this date whatever it sometime in November or whatever. And
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we go, well, we'll blocked that out and we're going to do nothing
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but that album. And then we actually did way too much music, like
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we were to fit on an album, so we were the first one was
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almost like oh, we've could actually fill this amount of time and and make
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it all great, and this one is like, oh, we've actually got
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too many tracks. We had to cut back and then you know, edit
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a lot and it's actually pretty wild hour, but it goes from every it's
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it's you know, there's a lot of there's dance music and then there's like
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episodes like Rain all this chilled music stuff, and yeah, it's a bit
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all over the place. It's but it's good. I've got an internal story
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for it. But I promise it's good, everyone, I promise it's good.
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Is it a similar format of the first one with all the sort of
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yeah, the dance songs at the start? Yea one hundred percent similar format
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where you got the games and the side A and the stories on side B
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essentially sort of like that. But yeah, um yeah, but I'm really
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happy with it. Um. But there's also there's also a few tracks I'm
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going to hell for. There's like, um, it's like there's this there's
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a track called the Lollipop. It's like lollipop song that was um in a
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little episode. I think it was Bingo's favorite song and it was purposely written
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in the episode to be an annoying song. So but and then everyone was
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like, oh, my kid really wants to everyone's requesting it, and so
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I've produced into this hopefully slightly less annoying song. But um yeah, I
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mean, and we kept it short on purpose. I really like it anyway,
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non ironically, but it's definitely like its origins was to be an annoying
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song, so I might get some hate mail from parents, but we'll see.
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How do you know when you've nailed that, when you've nailed up like
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an annoying song, yeah, you just know, you just know. Well,
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I know the second one, Dance Mod's got the regular release, plus
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it's got the record store day one. So I've got the first one here,
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which is the store day You've got one amazing. Yeah. I managed
16:56
to get it from JB High five all places. They just randomly had it,
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and I was like, thank you very really they're printed exactly right,
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and it was just the shop of JB. I sort of looked at it
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and I went, something's not right here. Pocked it up as well,
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so I play the blue vinyl. I keep that one as a collectors edition.
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So I'm hoping to get the next one because the next record store day
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one looks amazing. It like plays yeah. In fact, actually, five
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monuts before I came on, I just got the the demo, the um,
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the the tester one sent to me from this level and oh it's amazing.
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I like, get up a show you order tick. It looks amazing.
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It's um it's a limited run. Again, I'm trying to convince them
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to print more. But um yeah, and um, you know, if
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you intend to buy the vinyl, i'd probably it's really worth getting that collector's
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one. Um, I think because it's it's just a cool it's one that
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looks really cool. Um it as it spins the characters dance, it's like
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when you see it on the on the it's like a thing. Yeah yeah,
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yeah, a little hologram trick of the eye. Yeah. Yeah,
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it's amazing. Yeah. I think, honestly, I think that the Bluey
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releases are like the hottest thing on record store Danny, which is just incredible.
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Yeah right, yeah, I mean that was amazing. Last last time,
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it was like, you know, um, so I'm pretty sure people
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will probably want this record state it's all day version A sure five hundreds enough
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And I was like, yeah, of course that's why they wanted That's why,
18:22
that's why that's Yeah. Yeah, you can't do more than that because
18:26
if you know, they if they sit on the shelf, then we're stuff.
18:30
But yeah, I mean it was really great that I did so well.
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So um but yeah, yeah, I've actually got some misprint ones.
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Wow. Sent to me, which say Albion and what goes on? Yeah,
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thinking, oh maybe I could, I'd be in good collectors one.
18:49
But yeah, I don't know. Um, I might have to like do
18:53
something with it. I don't know anyway you're gonna ask something what we're gonna
18:57
ask? No, No, I just point. It was a lovely bit
19:00
of synchronously. You're talking about characters moving because you couldn't see this job,
19:04
and people listening to this podcast and not seeing anything. We're seeing that your
19:10
greyhound got up from one side of the cat and very gracefully walked to the
19:12
other side and then just laid down out a nap. It was just beautiful,
19:17
beautiful Diamond having said that, I'd like to steer this sort of in
19:21
a Simpsons s direction for a moment, and you know, we're talking about
19:23
music, but we're a talking about songs, but primarily I mean, yeah,
19:27
I think they can talk about music and the symptons without talking about Danny
19:30
Elfman's theme tune. Now, it was a musically savvy gentleman like yourself.
19:34
I mean, the first time you heard that, I'm I'm I'm wondering how
19:37
you felt about it, because I'm I'm not musically minded at all. But
19:42
I hear it and go, this is perfect for the perfect Sympton, It's
19:47
perfect for Springfield. It sets up, yes, the manic nature of the
19:51
town and the manic nature of the people in it. And then I start,
19:53
you know, trying to wrap my head around how do you create something
19:56
like that? I mean it's like, yeah, did someone yeah, who's
20:00
musically minded like you go, let's break this down. Did Danny often do
20:04
this? Yeah? I mean I love it. You know, we've found
20:07
at Danny Alfman and also alf Klassen who does the general scoring, but not
20:12
on the film movie. I don't know how why, and he he doesn't
20:15
do the show anymore either. It's been that which was a tragedy. But
20:19
anyway, that was a tragedy. I think, like um, particularly on
20:23
those early seasons, what what they did and what what what alf Class and
20:29
the team made on'to amazing and just like and it was one of the few
20:33
shows that had a sorry. I don't know if you can hear that,
20:36
there's a we're actually getting some curtains installed in the next room and the door
20:41
is not as soundproof as I thought. I don't know if you could hear
20:42
that um is that coming through? Oh good, okay, good, Sorry,
20:49
I didn't really didn't realize it was so loud. Oh here we go.
20:52
I think we've got a gat um so oh we were Oh yeah,
20:56
we're talking about alf classes so um. Yeah. It was one of the
21:00
few shows that still had like a thirty piece live orchestra recording every week.
21:03
And yeah, it was a real shame when they dropped that. Um and
21:07
but yeah, back to the theme, I should say, like one of
21:11
the things I love about it, it's it's reminds me of don'ty often do
21:15
the Burbs? I think he did? Are we all frandically googling Jerry Goldsmith?
21:19
That's Gremlins, right, yeah, total recall a whole bunch of other
21:23
good stuff. Yes, no, The Burbs was Jerry Goldsmith. Ignore that
21:27
it's not any other So anyway, there's there's something about which which maybe it
21:33
wasn't the verbs. It's a different soundtrack. We reviewed Peewee's Big Adventure,
21:37
did you Oh, maybe that's what I was thinking of. Sorry, yes,
21:41
yeah, that's where I sort of, yeah, feel there is similarity.
21:45
So it's like you know, a circus gone gone a bit mad.
21:48
Yeah, yeah, which is very yeah. Yeah, yeah, Well the
21:52
thing of that, he's got that suburbian um sort of sound. If I
21:57
get really nerdy, it's called like, uh like a Lidian scale, Lidian
22:04
dominant scale. You're going to have to cut that out because that's the nerdiest
22:07
thing ever. But basically, um, if you're on a piano and you
22:11
play F F F F and you play any of the white notes, it'll
22:15
have sound like American suburban music from the from the eighties, like when the
22:22
bite going through. So I'll give you a gample. Actually he'll see if
22:23
we can actually hear the kids. Yeah, and while we do that,
22:26
I'm just gonna throw another name into the mix that maybe we'll Beetlejuice maybe oh
22:32
yes, of course, yeah yeah yeah. So I mean like we've got
22:34
this, so I'm just playing an F and this is the scale the mode,
22:41
which is like sort of thing. So if you gets playing, you
22:52
know, you get that Simpsons turn out tonality just like and so it's based
22:56
on that, like this whole idea of this sort of the music from that
23:00
we so associate with, like suburbia and you know, um, the nuclear
23:07
family, particularly in the eighties. And then so when you've got that.
23:11
What what Danny often has done has taken that into a sort of into that
23:15
sort of almost circusy sort of way with his very Uh you can even hear
23:19
the scale in the Simpsons, so we've got the oh yeah, you've got
23:26
so you know the bit at the end of the theme where you get the
23:30
nana, which is like the yeah, that's a big part of the scale.
23:34
It's really part of it that you know, that's the thing that's different
23:41
to a normal major scale, and that's he's really like hammers home those notes
23:45
that are really unique to that sound that are a little bit off too.
23:48
So, um, that's a very that's like the nerdiest like take on it.
23:52
But I love the theme. I think it's fantastic. Um. And
23:56
actually did a workshop with Alf Klaussen like in Twitter thirteen, and oh my
24:02
god, everyone asked him it's like, how did you write the Simpsons theme?
24:04
He must get it all the time, yea, the full guy.
24:07
So, um, Well, I won't ask you how you're at the Blue
24:10
Things. I'm pretty sure I've already read about how you know, Joe came
24:12
to you with the idea we're playing the statue game and yeah, yeah,
24:17
but was it a long process? Well, because you like you said that
24:19
that was the vibe that Danny was going forward the Simpson Well, what was
24:22
the vibe you wanted to capture with the blue theme? I think we did.
24:26
You know, we were talking a lot. It was really hard to
24:29
remember because it was such a no one would have thought it would be well
24:33
known, like unlike the Simpsons, which you know, they commissioned a proper
24:38
orchestra and everything to do a theme and you know what it like, you
24:41
know, they had they recorded everything. It was that's a big budget theme
24:47
and Bluie wasn't When we first did it. It was you know, the
24:51
first season was oh it's a new kids show from Australia. See you know,
24:55
start like we go his you know, oh, oh it's not the
24:59
Wiggles, we don't care, Yeah, his unlimited capital. It wasn't like
25:03
that. And and you know the Simpsons obviously had all those it was tested
25:08
already, so it was going to be sort of popular and they so they
25:11
had a budget from the start to get a big orchestra to playoffs theme and
25:15
commissioned Danny Elfman and all that sort of things. So but yeah, this
25:22
one. It's really hard to remember what we actually did, but I remember
25:25
we did about maybe I think it was I think this was the eighth version
25:30
of the blue theme, and it was probably the one of the first ones
25:34
after we had sort of come up with the idea, well after Joe Brum
25:40
said it's about musical statues and imaginative play, and so you know, it's
25:45
a pretty I mean, props to them for going with it, because if
25:48
you think about it objectively, it's a pretty weird theme compared to most TV
25:53
show themes, and prettily props to Joe Brum for proving a going with it
26:00
because it was really like, there's these five four bars in the middle.
26:03
It features the melodica. There's no actual drums in it. You know,
26:07
there's there's a lot of things that are not and they're doing they're playing,
26:11
they're dancing. There's no drums. You know, it's just like this if
26:14
you put it upon on paper, if I gave it, wrote it out
26:17
on paper, and so it's going to have these things and everyone will just
26:18
go, what are you doing? No, yeah, but um it seemed
26:22
to yes, but you know, they approved it, and once we work,
26:27
once it played, it back and yeah, I can get does it
26:33
really? Yeah, some of their patrons say that they're walking down the aisle
26:37
or once they've said their vows, they're walking out to the bluey thing,
26:40
or actually they're walking out to keep you uppy. Yeah, oh really,
26:44
Yeah, that's amazing. I've got to see this. I did not know
26:48
that. Is that that you serious? Yeah, we'll keep you up.
26:52
He's just one of those things that just like you said, it just it
26:53
captures just united, it's it's it's optimistic. Yeah, it really is.
27:00
No idea that's made my day. Thanks telling me that. Yeah. But
27:04
with the Simpsons music, Yeah, what stands out to you? Because when
27:07
people think of Simpsons music, I think it's the songs, but there's also
27:11
the score as well. And there's a great video on YouTube some fan has
27:14
put together all the difference or of like transition sound boy of the episodes and
27:18
you listen to it and you think it's not five seconds of music, but
27:19
it's so ingrained in your mind as a kid for watching those episodes. Yes,
27:22
it's just this is like my childhood, this music. But like my
27:26
favorite songs from the Simpsons, my favorite songs, I've got a lot of
27:33
favorite songs, you know, songs in the key of Springfield. That whole
27:37
album is amazing actually, Like I remember thou influential that was to me as
27:45
a kid, and I hadn't really listened to it for a long time,
27:47
and I just played it on the way like out to you guys, goes,
27:51
oh, better catch up. Make sure I'm not you know, talking
27:53
out my asks too much, and I was like playing her back, how's
27:56
it going? Wow? This is Um, there's a lot of dialogue on
28:00
this album. Yeah, I forgot how much of dialogue it was, which
28:04
I think was a bit of a mistake. But the I you know,
28:08
my first thing I think of is like the Planet of the Apes musical.
28:12
Um, I don't know why. That just makes me laugh every time.
28:17
See as a kid, I don't think I appreciate it as much as I
28:18
do. One. Yeah, you know what my favorite bit is that that
28:23
can you play the piano anymore? Of course get before and he plays that
28:26
like run on a piano and it's just the cheesiest like broad wastive and whatever
28:36
that that like Scalers plays and I just I don't know, it's just absolutely
28:41
nailed it. All those musical ones are the Betty Ford musical one. Um,
28:47
those they're all amazing and I know, you know alf class and probably
28:51
didn't do the lyrics for them, but um, the way he treats them
28:55
the lyrics is amazing also, you know them. There's one which I think
29:00
I think would have been the really one of the hardest ones that for after
29:06
due would have been UM, Bagged Me a Homer, because I think the
29:08
lyrics for that are actually like the kind of terrible like in a way that
29:14
they It's just like it's like it's the first minute of a song is like
29:18
exposition to lead up to I Bagged Me a Homer, And it's just like
29:22
it's like he could have just made it really simple. But it's like,
29:25
but sometimes scriptwriters aren't always the best lyric writers. But that's the one one
29:29
where I'm going, oh, man, that would have been a tough one
29:30
to like write music for that keep people engaged. I reckon. I think
29:36
that one was actually written, maybe it was just performed by but the actress
29:38
what's her name or really I'm like poo pooing them. Christmas Vacation she played
29:45
a wife and Chrismas Vacation she and the National and Poot film. She she
29:49
was the voice actress for Werline Lumpkins. I'm pretty sure I know she performed
29:52
them. I don't know if she wrote them. She may write I don't
29:56
make green, I don't make great Mac. That was the only episode that
29:59
Matt Grenny ever wrote one as well. Really, well, that's the only
30:02
song where I'm like, oh, but somehow the music fits in and it
30:07
makes it work because because when I hear the song, I'm like, get
30:11
to the bag, me a home. It goes for ages. Um,
30:15
I shouldn't been complaining about Well, you were talking earlier about how you thought
30:22
there might have been too many, too much dialogue on songs in The Kid
30:23
Springfield and and the follow up was actually the most critique of solos of the
30:27
great I didn't mean to do that, you got. The thing is,
30:30
though, this was at a time what ninety seven when that came out.
30:33
The follow up was ninety nine. Yeah, that was a time when the
30:37
episodes weren't easily accessible, so owning, yes, owning the episodes was a
30:41
big deal. So I think with the Blue One, do you think,
30:42
like maybe if the Blue One had been released in the nineties, when we're
30:45
in a time where you couldn't just go on ABC Kids and watching episodes whenever
30:48
you wanted to a YouTube, do you think you might have been inclined to
30:51
try and incorporate more dialogue as a result of that too, sort of say
30:53
you can take home your favorite episodes or your favorite music. Yeah, that's
31:00
such a good point. And I don't even thought of that, because of
31:03
course now you can just look up your favorite bits and whatever you need.
31:07
Um. And you know, we we we've been really careful with the album
31:10
not to put too much dialogue for that reason, because it's like, oh,
31:14
we had people like to us saying, you know that I can't remember
31:17
one track maybe in the first one or something which had a lot of dialogue,
31:19
not much when I actually think about it, but they oh, my
31:23
kid just wants to watch this episode now, and I think the feather of
31:27
the talking about a feather or something, or the weekend something maybe yeah,
31:33
something, there's something where it might be that, but I can't remember which
31:37
one it was. I was like, oh, whenever we play this,
31:38
they just think I want to the kid just wants to go watch the episode,
31:42
And I thought, oh, well, that's actually feedback. But and
31:47
and I can so appreciate now that you say that, how how the album
31:51
would have been so good? Yeah, like why it was so good back
31:55
then because you're like, it's just it's just got all the thing. It's
31:57
it's got all the best because we've just been seeing them so so many times,
32:00
and when you listen to it, you just visualize it in your heads,
32:04
these moments where because you know, you could do occasion the occasion,
32:07
they'd released those sets where it was like four episodes they'd hand picked that were
32:09
crime related or movie related or something like that in a release them that way.
32:13
But not until the early two thousands they start releasing the episodes in season
32:16
mode, so it was impossible to the episodes up to that point. But
32:20
yeah, we live in a world of streaming now where everything's yeah, yeah,
32:22
yeah, that's a really good point. But it's such an amazing album.
32:27
And you know, even when I'm I'm critiquing them, um, but
32:31
they're every track is amazing, Like even the ones that I'm like, oh,
32:35
they could have done this or something, when you don't notice every every
32:39
track is just I love every track actually, And yeah, I was a
32:44
big fan of the of like the alternate. The alternate takes them the theme.
32:47
So you had like the yeah so Springfield, the who shot Mister Burns
32:52
one and two end credits usually yes they shot mister Burns. Yeah too.
32:58
Yes, you have the Afro Cuban version, and you have like the part
33:00
one. I think it was like there almost like a just a crime related
33:04
It feels like a I don't know, just just like a crime TV show
33:07
related version of the theme. You had the Hill Street Blues theme, the
33:09
Australia episode part as Australia at the Australian Oh yeah, yeah, yeah yeah,
33:14
sweat outro, just all those kinds of outros, the end credits.
33:16
That's what I think. Well, I appreciate the most and I think just
33:19
as I get older, I appreciate the music side of the album as opposed
33:22
to the dialogue side, like you yeah, of course, yeah yeah,
33:23
And there was in the musics. It's such it's what did in the show
33:31
is actually really really really hard to do. In that um, you gave
33:37
it a lot of heart but also didn't distract from the comedy, but kept
33:42
it light because I mean a lot of people when they're trying to write comedy
33:45
they'll be like building up the drama to hit the punchline and things like that,
33:50
which is another approach and that's really fun. Or they go, oh,
33:52
we're going to treat it really seriously, and so you get this sort
33:57
of parody sort of idea. But I think what if did with all these
34:00
transitions, particularly, it kept it light but in a place where you have
34:05
sort of permission to laugh, but you're still in the story. And I
34:08
would particularly think like the Treehouse of Horror episodes, like the music for that,
34:13
that's some of the most that's some of the trickiest stuff I think to
34:17
do. And he sort of took this really sort of shlocky approach almost but
34:22
um, but it didn't feel derivative or like and it let's the episode brief
34:28
so much as well and make it feel so classy. Particularly these live players,
34:32
feels like you're watching some well, you know, you're watching a classic
34:36
movie or something. Sometimes you know you've got these a live orchestra playing these
34:40
little these beautiful transitions and some of those amazing players. But yeah, I
34:46
mean went to his workshop at Everything. I was studying in New York at
34:52
the time, and he came in to give us a little class on symptoms
34:58
music, and it was it was amazing. It was like most people,
35:02
like lecturers come in there, like in their hoodie and they're like, hey,
35:06
you know what we do? We do this, and they're trying to
35:07
be cool. He's like in a full on suit at a podium and he's
35:12
talking like it's like like it's like it's they had this amazing formality to it.
35:16
He's just going and of course the click track sounds like this, and
35:21
he will play and then he goes from there. What we do is we
35:24
get the performer to play along to the click track and it sounds like this,
35:30
and it was like, what is this? This is amazing. It
35:32
was like um, Young Person's Guide to the Orchestra or something is so it
35:37
was just like, um, and he had seemed to have a really great
35:39
attitude to the fact that he had you know, he he gets asked about
35:46
the theme all the time. Um, and it was it was It was
35:50
absolutely charming. It was just so it was it was very refreshing. And
35:52
I still don't know what he's really like or if that's if I don't know
35:59
if it was like he was half joking about it, or if that's what
36:01
he's like, or he's a real formal guy or dot or it was just
36:05
but it was perfect and I really appreciate it. But yeah, it was
36:10
great. It's a shame it's not on the I'm not anymore. But job.
36:14
Did you have like an interest in film and TV sort of soundtrack composition
36:19
when you first started getting interested in music? As I mean, it strikes
36:22
me as being a much more sort of I mean, music's collaborative by its
36:25
nature, well, but putting something together for a film or a TV show
36:30
seems even more collaborative. I mean, is it something that you was it
36:36
difficult to get into that grouve. My piano teacher was a TV composer called
36:42
Ken McClain who sort of he gave me the bug. So I just thought
36:45
it was like the coolest job ever because I'd come in and I wasn't I
36:50
was never a prodigy kid. I was never like good at music. I
36:53
was always dislike And I'm not trying to be false humble here, I just
36:58
not. I'm just a great nap joy musician. Yeah. I just loved
37:02
it and practiced in my lunch break at school and and all that sort of
37:07
stuff, and and you know, can my teacher when I was like thirteen,
37:13
was doing music for some I can't remember what it was, but anyway,
37:17
I just thought it was the coolest job ever. And he taught me
37:21
about jazz and improvising and things like that and composition and I got really into
37:25
that and and that opened, what, you know, my mind to the
37:29
possibilities of like, oh, you could you could be someone who actually makes
37:34
music for films. That'd be amazing. And I always love TV, particularly
37:39
and I mean who doesn't, but like like obsessed with TV and TV shows
37:45
and and a lot of my friends while I was studying I started studying piano
37:52
UM at the Conservatory, and a lot of my friends were actually from the
37:54
film school and we'd be hanging I'd go hang out with them rather than the
37:59
musicians and UM. And then from there was you know, we would be
38:02
a little team of people including Daily you see, executive producer of Blue.
38:07
We would be all together making these terrible little films UM that were great,
38:13
but they were terrible. Let's be honest. You know what, what what
38:15
eighteen year olds could piece together? And I think I was probably just one
38:20
of the few people who, you know, I did a paper run and
38:23
I'd saved up all my boddy to buy like a little like box that let
38:28
me record to film and you know these sorts of things like that. Was
38:30
probably one of the few people who had the rudimentary versions of that gear and
38:36
was also lilling to um do these things for free with people. M So
38:42
this was you know, and this was mid two thousand and ze, so
38:44
it wasn't like it wasn't like all this stuff was super readily available as it
38:47
was so as it is now. But um yeah, I mean I think
38:52
I've always been really interested in it, and I've always loved how music can
38:58
tell stories in the different ways you can do it, and there's there's so
39:01
many ways to be right when you're writing music and for film, and um
39:07
yeah, there's just so many possibilities and so many different ways of doing it.
39:10
So I'll find that really all fascinating. Do you think the bluey style
39:15
is going to be your style going forward or you're looking forward to the chance
39:17
of potentially something different where you can just sink your teeth into something that's the
39:22
opposite of bluey. Yeah, that's a good question, because I mean,
39:25
I think there's certainly you know, after doing Blue, mostly just doing Blue
39:31
and there's a few other things I've done it, but mostly just doing Bluey
39:36
for the past five years. Is that the style that sort of developed for
39:42
Blue has become so much part of what my musical style is. Yea.
39:47
So maybe I've been typecasts. Maybe this is all I can do now,
39:50
but I do, I do, I've been I'd love to do like like
39:55
a historical drama or something particularly. I think that'd be really fun. And
40:00
but I mean, the good thing about Blue is that, I mean there's
40:04
certain things. We can't really push anything that's too ambiguous with the music in
40:09
a way because you don't want you want a sense of clarity with the intention
40:14
of a lot of the music that's in there. And you can't go too
40:19
scary, of course, because you know, you can't make anything into a
40:22
nightmare. But and we you know, we have to do it all that
40:28
low notes pretty going to be like we don't you know that scene there,
40:30
even though it's scary, we can't actually make it scary. You know.
40:34
There's some some things like that. Those are the only really the two things
40:38
that are really holding me back, because we get to explore all sorts of
40:42
different types of telling a story with music and Bluie, which usually with other
40:45
shows you just pick one theme and one stylistic idea or concept with music and
40:52
storytelling and you stick to it. But yeah, I mean that's the fun
40:58
of Bluies. We get to do like something else, maybe even more that
41:02
plays a character's perspectives a lot, or maybe we do something that's really like
41:06
philosophical, like like Bike, which is just like the music doesn't necessarily play
41:12
the character's perspectives so much, and or yeah, all these different episodes that
41:16
we can explore different approaches to writing music. Well, I know you are
41:22
Joe when you're writing the music. You're coming up with the music. You
41:23
watched the episode and you think, how how are the kids feeling and thinking
41:25
at this point in time. Have you ever written a piece of music though,
41:29
and gone, I really like what I've written here? Can you write
41:30
an episode around this? Oh? No, not so much. There's definitely
41:37
a few that wouldn't mean cool, But there's definitely a few things where I
41:42
will send a piece of classical music, particularly or something to Joe in that
41:49
is this is something that you know, I feel like this will work really
41:53
well on this episode that you're in the middle of writing, or there's a
41:58
script four but no one started animation or anything like that. And I'll give
42:02
you know then there because um, this this tune is blah blah blah,
42:07
and it represents this and or whatever, and I feel like we can bring
42:10
that out there. Um. And then sometimes he'll just ignore that and then
42:15
and then bring it back. He'll go, Who'll write a whole new script
42:20
based with that in mind? You know? But no, nothing that I've
42:22
actually written that's original that I'll send to Himan. Um, he'll write an
42:28
episode around Yeah, why isn't in on that? Do do you feel like
42:35
subconsciously the music of the Simpsons? It's probably the show we've all watched.
42:38
From the show we watched them the most more than any Do you think it's
42:42
subconsciously influenced your style in any way, because I know there's a lot of
42:45
Simpsons references in Bluey from a writing perspective, but from a music perspective,
42:49
yeah, I don't think so. Um, in terms of like how the
42:53
cues work and that approach. There's maybe one or two episodes that we took
43:00
a bit of the musical dramaturgy approach of The Simpsons with these sort of like
43:05
in like um, particularly those transition things that take you into the mood and
43:09
then you just have the dialogue let it speak it for itself. Bluie is
43:13
often the music is pretty wall to wall. There's a lot of music in
43:16
it, so we don't usually take that in terms of that approach, but
43:21
I think in terms of that sound particularly, you know, I think Simpsons
43:27
was used a twenty or thirty piece orchestra, so it's not a full orchestra
43:30
and it's all live players. And when you're writing for a smaller ensemble,
43:36
because a normal orcaus is like eighty pieces, when you're writing for a normal
43:38
on a smaller ensemble like that, you get a more human, smaller sound.
43:44
You hear certain instruments actually feature from the actual player rather than a big
43:49
ensemble sound. And I think that sort of sound. I love that sound.
43:53
I like it more than an orchestra sound most cases too, like a
43:58
big orchestra sound, and I think that sound probably influenced a lot like that
44:04
the textures that the humanity are of the players shining through. UM. Yeah,
44:09
there's definitely something that we do a lot in Blueys. You know,
44:14
we feature the musicians, we get to have him. It seems to me
44:16
though, right now is the perfect time for a Simpsons Bluey crossover. Right,
44:22
it's just gone on, even if it's just a couch gag of some
44:25
kind. Right, yeah, yeah, How excited would how excited would it
44:29
be for you to write a Bluey esque version of the Simpsons theme for a
44:31
couch gag? It would be amazing. I wonder if they'd ever yeah,
44:36
wait that I don't think that. I don't think they call me, but
44:38
I think that would be an amazing thing. If you want to take the
44:40
Internet by a storm and to own the Internet for the day, a Bluey
44:45
Simpsons cross our couch gag, that's where it's at. Well, I've got
44:47
news for you, Nada. Every character in the intro is all blue blue
44:52
eyes or what if you want to call it would be perfect. It's just
44:55
now's the time to do it. Yeah, Who's who's in charge of this?
45:00
Who make our pals over at the Simpsons today? I'll make it?
45:04
Yes, please, yes, let's make it make it happen. M Yeah,
45:08
I'm one hundred per son. I'm bored. If anyone if I think
45:14
they'll probably just use like, I don't know who does the music, Yeah,
45:19
I don't. I saw that. Um weird All just had a recent
45:22
one, right yeah, yeah, he did it himself. He did himself.
45:27
I mean. One of the things I loved about that I'm getting back
45:31
to the Blue album, right, was You've mentioned in a previous interview that
45:36
you wanted this to be the first album that a kid owned not streamed,
45:38
And I love that because it's one of those things. I love that the
45:42
fact that one of the first albums I've owned was the Simpsons album Amazing Yeah,
45:46
and this this one here is the first vinyl that my son's ever owned,
45:51
my son Elliott, and he loves just putting it on. It's like
45:53
like you said, it's like an event putting the record on and putting the
45:57
little needle down, stuff like that. And he loves the blue I'm always
46:00
asked us to put it on, but he doesn't want me to play it
46:01
on the on my phone. It's got to be the vinyl. Yeah,
46:05
I mean, I'm I'm so happy to hear that. That makes that makes
46:08
my day, Like there's something it does make you listen to things differently when
46:15
it's on vinyl, and it's anything that you have to put any ounce of
46:17
effort in makes you really appreciate things a bit more. I think, um
46:22
so yeah, I mean, I love the vinyl thing. I know,
46:25
not everyone can have a vinyl player, or it's not practical and all those
46:30
sorts of things, but I do love the idea that people get to um
46:36
uh, you know, you don't actually have this thing they can hold and
46:39
it's and it's like this is my yeah, the idea of it being someone's
46:44
first album. I don't know when the Simpsons album came in in my in
46:47
my canon of first albums, but I know it was because my first album
46:53
was He's seventeen m Stein. I think my first album I ever bought,
47:00
my first single ever bought was U backfreece Back I Quit playing Games in my
47:06
heart, that one amazing first single. I don't even know when the when
47:12
the Simpsons album arrived. I remember I had a few. Yeah, no,
47:16
I would have been was I eleven or twelve then, so yeah,
47:22
I probably wouldn't be in the first album for sure, but it was some
47:27
of there. I remember, really, there was a few. I had
47:30
it with a bunch of other soundtracks. They're like the Red and Stimpy album
47:36
and things like that. Yeah, so well, we just recently reviewed them
47:38
on our South Park podcast chef Aid Chef When the chef Aid album came out
47:44
that was huge in Australia. This one here, Yeah, I haven't you
47:46
know what, I've never heard of that one? Chef Aid really Yeah?
47:50
Well was it really made it one in Australia? Yeah, you're kidding.
47:57
Okay, we better ticket. But are you a scores kind of guy?
48:00
Like do you do when you buy vinyl? You buying albums or are you
48:04
buying music soundtracks and music scores? Look, what's your sort of preference?
48:07
Um, A bit of a bit of everything. I like for particularly for
48:12
vinyl, you know, I try. I try to find things that are
48:14
a bit things that I might not have get anywhere else, or like it's
48:20
hard to find on streaming, or just things based on their cover if it's
48:22
secondhand, you know, like oh what's this? This is a um yeah,
48:28
you know, a Bulgarian choir or something like that. And I was
48:30
like, and then I get to hear something really novel for me. Obviously,
48:35
I do have a few soundtracks as well. Um, I don't I
48:37
really enjoy. When I listen to music at home, it's always on vinyl
48:43
because I don't listen to much music at home because I'm in the studio all
48:46
day. Sometimes I was like, I just want to hear someone talk or
48:51
like, you know what I mean, or it's just I just need to
48:53
get away from that headspace or so you put on various bluey podcasts. I'm
48:58
sure exactly, yeah, if I If I'm yeah, I mean like because
49:01
I'm in the studio all day, and this particularly if I'm mixing music.
49:06
Sometimes if I'm listening to music, I really love. It feels like work
49:10
and I love it. But if you're doing it for sixteen hours or something.
49:14
If I've been in the studio of sixteen hours recording or listening or mixing
49:16
and stuff, the last thing I want to do is hear something I love
49:20
and then like compare myself to it all, like hear the tweaks or anything
49:23
like that. So I usually try and listen to things that are a bit
49:25
more novel to me, or something that I'm excited at because it is different,
49:31
or something I wouldn't have thought of like that. Yeah, this may
49:37
be a bit of a big ask given that job. But I mean,
49:38
yeah, people who are fans of Bluey music, people who are fans or
49:43
Simpson music, are the three pieces of music, maybe three soundtracks or three
49:45
songs or three albums that you would recommend to them as like, well,
49:49
if you do the human human algorithm, if you like this, you may
49:52
also like this. Yeah, that's a real I should have thought of that.
50:01
I really can't. I've been asked this similar things before and I've never
50:07
ever had a good answer. Um, And it changes so much to so
50:10
much that I get really into a particular day even I'll be like, oh,
50:15
this is the greatest thing ever. What's interesting you say that with the
50:17
Blue music actually, because sometimes I put it on, I'm like, it's
50:21
making me feel so happy. Maybe I'm just in the right kind of frame
50:23
of mind, right, But like songs like getting going Back to Keep You
50:27
Up and fruit Bat? I love that. Did you write fruit Bat?
50:29
Because you're got to credit it on the album with fruit Bat? Yeah?
50:31
Fruit Back? Well, I that was originally I worked on an episode that
50:37
episode with a composer called Pluto Jones, and that that song, I have
50:40
to say, is mostly his okay stuff. I think what I added with
50:45
some melodica parts to it, like okay, and so technically I'm down as
50:51
like a co writer, but adding those little things and all that stuff,
50:54
but like the main hook and stuff is just like it's it's his from his
51:00
brain. And that's one of my favorite ones as well. And yeah,
51:05
he always comes up with such a great little's great hooks. Yeah. And
51:09
usually when I'm working with someone, I'll play a little piano thing in and
51:13
they'll send it. You go, I'll do something like this or this is
51:15
a vibe, or maybe i'll write something. Sometimes people take that news it
51:20
or they don't. But for this one, it's very much just like completely
51:24
ignored what I said through and the own thing is thank goodness he did because
51:29
it was so it was so good and um yeah and the and yeah,
51:34
that one's as great. I love the bass sound in there too that I
51:38
got. Yeah, well I described that as to me that and I've tricked
51:43
my sister into this, right. I listened to it and I was like,
51:45
you could tell somebody that this is a hidden track on a Sergeant Pepper
51:49
album, right yeah, right has the Sergeant Pepper's Lonely Hearts Club Band kind
51:52
of vibe to it like that ear of the Beatles, and I told him.
51:55
I told my sister, I said, oh, they've just discovered a
51:58
Beatle song that they didn't find. I didn't tell her how she didn't pay
52:01
much attention. I really cool, play it. I played it and she
52:05
started tearing up, thinking it was an actual Beatles track. That's how good.
52:08
That's how good fruit Bat is. In my opinion, I'm gonna I'm
52:12
going to pass that through through to Pluto, like, um, he's going
52:15
to be Oh yeah, I know. One of the things we talked about
52:20
for that episode when we were doing that episode, and this was also before
52:22
Blue He came out, so no one had any idea about any of this,
52:27
but we was it was a dream sequence, and I didn't want it
52:30
to be any dreamy at all. I wanted it to be like a night
52:35
out, like at a dive bar. And so it was very much like
52:38
we talked about White Stripes. We talked about like these sorts of bands that
52:43
you might see like in a dive bar at like two AM or something like,
52:49
and that's that's what And they're having just a really fun time and it's
52:53
sort of messy and bar like a bar a rock band from a bar and
52:58
tsam kind of song. Isn't everyone's just arm in arm Yeah, And then
53:04
got to hate Jude vibe to it. Yeah it does actually yeah yeah,
53:07
and it's it's very um yeah. So so that's I mean, that was
53:12
the influence for that track particularly, And then I would have to ask I
53:15
have to ask Pluto more about like where the rest of that vibe from?
53:22
Yeah, how we came up with that sort of thing, But it was
53:24
definitely it was I think it was the first episode we worked on together.
53:28
Well okay, and I was like, well, why don't you have a
53:30
crack at this dream sequence? They nailed it? Yeah, you know really,
53:37
you know, there wasn't. We go through a lot of drafts and
53:39
blue we were very particular and even the first draft was really close, like
53:44
it was pretty amazing, so um on that one. So yeah, point
53:50
my point was sort of straight away from my love with the song. But
53:52
my point was going to be that, you know, we're two small kids.
53:55
They go through phases, you know, one week it's the Muppets,
53:58
then it's Poor Patrol, then it's or whatever. They love listening to the
54:00
songs on repeat, and I get sick of the songs by the end of
54:04
the week. But it's not so much the mumps, because a lot of
54:06
the mumps and the mupp It's Kid, yes, but Bluey Blue you just
54:10
never seem to get sick of the songs like a rotation. It's just just
54:15
beautiful music. Oh, thank you so much. Yeah, I mean,
54:17
it's just I mean, we do put a lot of time, a lot
54:21
of love into the soundtrack stuff. People say it's unnecessary amount of of work
54:27
that goes into it, but then you put out a number one album,
54:29
so you kind of see see it was fine. But you know, I
54:34
mean, I think originally we were probably you know people, everyone was expecting
54:37
us just to take what was on the TV show and just put it in
54:40
there, which is what I thought it was going to be. Yeah,
54:43
yeah, and so we but I think, yeah, hopefully that I think
54:46
the repeatability of it is because because we you know, there's live players and
54:53
we spent ages on each track. It's like we're not quite like I think
54:58
it wasn't metallic. I had that someone them, you know, reading auras
55:00
and stuff. We didn't get it there. But like there's definitely some things
55:06
where we're going. It needs another trumpet um and us that you can't get
55:10
from watching the show. That like you said, you took the music that
55:13
you had that were in the episodes and you extend them and made them you
55:15
know, unique to the album. So if you want to hear the music,
55:17
you have to buy the album where the Simpsons albums were. If you
55:21
watch the Simpsons, you probably heard all these all this music before. It's
55:22
just music that's the show is that's that's you know, being as appeared on
55:28
the show. But this is the full version. Yeah. And a part
55:30
of that is because when we're doing in the thick of writing music for the
55:34
show, we don't have time to be like, let's do everything we wanted
55:38
to do with it. It's almost like we're trying to correct all the things
55:42
we wish we had time to do on the show as well. Um where
55:46
particularly for the first season because it was such a tight turnaround and it was
55:52
you know, didn't have the same budget and we didn't have as much scope
55:55
for live players and you know, believe lots of faith evers and to get
56:00
it there too. When we finally got the album's thing, it's like,
56:02
no, this is I love this show. It's beautiful show. I really
56:06
want this to be where we really want to do everything we can't want it
56:09
to do. It's in the show. It works fine because there's often dialogue
56:14
over certain scenes and so the bits that are underneath everything. Yeah, it's
56:20
it's fine, Like there's there's space there. You don't want it to um
56:25
yeah, and you're you're like like it says you know it needs to fit
56:30
in with the whole picture of what's going on there. But um, yeah,
56:34
no, I'm so. I'm so stoked, so stokes. You don't
56:37
get sick of it. That's that's actually huge because you know, um,
56:42
it's one of the things I often worry about with parents having to um if
56:45
Blue is playing two hundred times a day, I always worry they got it.
56:52
You've got a room full of kids and you want their attention. That's
56:53
not listening. Put the Blue theme on. Within two seconds they all just
56:57
got It's like just cat debates the room. But guys, guys, anything
57:01
else you want to ask Jeff before we send him on his way to go
57:05
work on some more bluey music. I think we better get back to att
57:08
actually taking so much your time job. I loved it. That was great.
57:14
I'm I've got like this whole I'm like this is we were like this
57:17
afternoon, Clarrett, We're talking about one more final Simpsons question then all right.
57:24
Yeah. One of the best things that being a kid in nineties were
57:27
Simpsons marathons Channel ten Super Simptons weekends under they had Fox Tells a Kid,
57:31
But Saturday Sunday mornings we were just filled with the Simpsons. Right when the
57:36
Olympics are round. My parents watched the Olympics. I watched Simpsons marathons around
57:38
Fox eight. You've been given control of a Simpsons marathon. It's nineteen nineteen
57:43
eight. You chat and control Channel ten. You get to pick five Simpsons
57:47
episodes to put at your perfect Joff Bush Simpsons marathon together. Which episodes are
57:52
going in there? Oh, that is a tough question. The first one
57:55
has got to be um. I actually can't remember the names of the time
58:00
the Bleeding Bleeding Gums round Springfield, which is one of my favorite parts of
58:05
the songs in the care Springfield just so much joy, isn't it. So
58:07
it's because you know, as outrageous as it is, at least as talking
58:10
to a cloud, she's living a moment that we all wish we could with
58:15
people we've lost in the past. It's like almost so uplifting in her version
58:19
of jazz Man. It's just fantastic. Yeah, yeah, yeah, yeah,
58:22
it's um and even Yeah, and not just because it's the music themed
58:25
episode. I don't think it's it's just so sweet anyway. Yeah, the
58:31
monorail episode, Monorail, my dress of the monorail round Springfield. Yeah yeah,
58:37
stone Cutters, that's just going off my favorite tracks. Yeah. Um,
58:45
I finally got two left? Or what treuse of horror would snake its
58:49
way in there if you had to put one? Oh um, okay,
58:52
a treehouse of the definitely need a treehouse of horror? Um, you going
58:55
the shinning? I'm which one is the one with the h Maybe this is
59:05
not a treehouse of horror? What's the one that's like the X Files?
59:07
He's just an X Files As a sci fi fan growing up, that was
59:12
like my favorite. That one blew me away when it first came out.
59:15
Yeah, one more, okay and then ah no, no, no,
59:22
I have to choose one. You've got you've got half Out, you've got
59:25
Whacky, you've got the stone Cutters, You've got sci fi with the Springfield
59:29
Files. Yeah, yeah, yeah, this is a tough, tough question.
59:32
I'm trying to think of what a putting can I borrow a feeling?
59:37
You know? You want Tony Tray. I'm going to go, oh hey,
59:44
I think I'm just going to have to go the one with all the
59:46
Broadway hits in it? What's it called again? Um? Broadway hits?
59:50
Oh? I mean the when Marge does the street kind name desire? Yeah?
59:53
No, um, the one where they go to hang on? Which
59:57
one's one? The one we've planted the apes? And that is that the
59:59
same one that well, that's that's why Trum McClure is dating. Yes,
1:00:02
yes, yeah, the Selma dating one saying film at that one? Yes,
1:00:06
okay. A fish called Salma, You're amazing, fish called Salma?
1:00:10
Yes, yes, I'm going to have to go that one, just because
1:00:14
I quoted that for about like I'd see it, I'd play it on the
1:00:17
piano, all of those. But yeah, I'm sorry, I'm so bad
1:00:22
with these names. There you go. So Jop's Springfield Simpsons Marathon is round
1:00:28
Springfield. We've got the Springfield Files, got a fish called Salma? What
1:00:31
else would be trying it the marg best of the Monorail and the stone Cutters
1:00:36
episode. I'm going to lock that in and then I'm going to message you
1:00:38
in like a day ago. What was I thinking. I'm so sorry,
1:00:44
but thank you once again, Joff. It's been absolute pleasure to have you
1:00:45
on the show. Thank you so much, lovely to lovely to meet you
1:00:49
and chat and and thanks all the great questions and yeah, I hope the
1:00:52
hope think something useful there there will be and I'm all the best with them.
1:00:57
With the release of Dance Motel shure it's going to go just as good,
1:00:59
if not better than fingers Cross. I'm swearing, I'm sweanning. Thank
1:01:04
you so much. Take thanks, Bake. What a lovely gentleman, mister
1:01:14
Joff Bushes. Hey, mister Davis, Oh my gosh, a creative giant
1:01:17
and a very very nice gentleman. We will so so pleased to have a
1:01:23
bit of time with him this afternoon. Yes, and al Jeane, Matt
1:01:27
Salmon, whoever we're out there listening, Simpson's Universe, Simpson's HQ, Bluie,
1:01:30
Simpson's Crossover. We want it to happen. Joff wants it to happen.
1:01:32
I'm sure the creator Joe wants it to happen as well. Everyone wants
1:01:36
the Simpsons Blue crossover. Let's do it, the Blueye Simpsons couch gag.
1:01:39
I want it to happen, so let's make it happen. Indeed, get
1:01:43
cracking on that one. Yes, that's right, goes, don't forget.
1:01:45
Also make sure your preorder your copy of dance Mode is the second release of
1:01:50
the Bluey music. You also get the Record Store Day version as well that
1:01:52
Joff was talking about. I'm gonna be trying to get my hands on that
1:01:55
one. I put my hands on the first Record Store Dave release of Bluey,
1:01:58
but maybe not be as lucky with this one. And we'll see,
1:02:00
We'll see what happens. But also please don't forget to our rate and review
1:02:04
us on Apple Podcasts, Spotify, whereview do you find this your podcast?
1:02:07
And also follow us on social media at four finger Pod on Twitter and at
1:02:10
four finger discount on Instagram. Thank you so much for listening to our conversation
1:02:15
here with Jeff Bush from Blue It's been an absolutely delighted to have you guys
1:02:17
all on board with us today. But mister Davis, any final words for
1:02:20
those incredible listeners out there for real life