October 29, 2025 • 14 mins
Garbage are playing at the Auckland Town Hall on Wednesday December 3, their drummer Butch Vig called up for a chat about the setlist, his favourite New Zealand beverage and shared some stories about some of the legends he's worked with over the years - including Nirvana.
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Speaker 1 (00:03):
Welcome to Radio Hodokes Off the Record podcast with Jeremy
Wells and Minice to it good.
Speaker 2 (00:09):
I but let's get straight onto it right.
Speaker 3 (00:11):
How's it going, gents?
Speaker 2 (00:12):
Ah, so good.
Speaker 3 (00:14):
I can see Jerry Jeremy's handsome face, but I can't.
It's just a photo that.
Speaker 1 (00:20):
Doesn't look like that this morning, butch, I can tell
you that.
Speaker 2 (00:23):
Garbage applying in Auckland on Wednesday, the third of December
of the Auckland Town Hall and Garbage founded drummer and
producer the legendary Butcher Bak joins us now. But where
in the world are we talking to you today?
Speaker 3 (00:36):
Well, good day, gentlemen. I'm in Salt Lake City in
the heartland of the United States. We have four shows
to go in the US run and then we're home
for a few days. Then we go to Mexico. The
shows have been fantastic, but Sureley and I have been
battling the Lurgi for about three weeks. So the shows
(00:57):
have still been great, But it's hard to you get
a sinus infection or a head cold, hard to get
rid of on tour man.
Speaker 1 (01:04):
Yeah, well this was gonna be. One of my questions
was how do you because you're playing so many gigs
even before you get over here. Then there's international travel.
What do you do in between to make sure that
you can, you know, keep tucking on.
Speaker 3 (01:17):
Sleep, sleep, sleep, sleep, and more sleep. I have to
say the shows have been incredible on this run. Part
of that, I think is because Shirley's talking about this
on stage every night, that this is probably one of the,
if not the last, sort of headline tour we're going
to do. So I think fans are coming out because
(01:38):
they want to see us do our own show. We're
not quitting touring, but I don't you know, we're doing
a forty show run and it's just it's quite a slog.
We've been out since September first, and it's not the shows,
it's just the travel just completely wears you down. So
every night feels like in some of the cities like
it might be the last time we play there. So
(01:59):
that the fans have just been fantastic, and as I said,
Shirley's been on fire every night. The shows have been excellent.
Speaker 2 (02:05):
But you have been incredibly successful in your music career.
You don't have to be touring if you don't want
to be touring. I imagine what keeps you playing and
what do you prefer doing. Do you prefer spending time
in the studio nowadays or you still get that kick
from being on stage.
Speaker 3 (02:23):
I do get a kick from being on stage. You
get this adrenaline rush that you don't really get in
the studio. I mean that being said, I prefer being
in the studio. I've always been a studio rat. Every
day I walk in to record, whether it's with a
garbage or if I'm producing someone else, something new happens
(02:44):
or some detours happen, and it's always unpredictable and I
just love it. But playing live is something I've been
doing in band since I was fifteen or sixteen years old,
and I still love that too. Like I said, there's
this connection with the audience that you can't get anywhere else.
You can't get it on a zoom call or on
(03:05):
a TV broadcaster in the recording studio, but it happens
when you're on stage in front of an audience, and
it's still very very addictive.
Speaker 1 (03:12):
Yeah, I suppose it is that part of it. So obviously,
like you said, the travel wheezy down, But does the
gig itself actually throw you back up a bit.
Speaker 3 (03:20):
Every night, sometimes a half hour before we go on,
we're all like, oh my god, how are we going
to play a show? We're all dead tired. And then
you walk out right, you know, right before you go on,
and you hear the roar of the crowd and the
adrenaline just goes goes through the roof, and we're on
stage for an hour and forty five minutes and it's
just it's fantastic.
Speaker 1 (03:38):
I ask your question, You've probably been asked a million times,
and the answer is often with bands a little lisse.
Then you think it's going to be what Garbage? Why
did you name the band Garbage?
Speaker 3 (03:51):
Well? I used to tell this story, you know, when
we started the band. We looked in the Book of
Rock names and there were only two names left, Hoody
and the Blowfish and Garbage, and you chose Garbage.
Speaker 2 (04:08):
But we need to be finished playing. You're obviously on
a high. Are you a drinker? Hew? Do you wind down?
Speaker 3 (04:17):
Ah?
Speaker 2 (04:17):
Yeah?
Speaker 3 (04:18):
I mean, you know, I like to drink wine, particularly
so many on blocs. That's been sort of my go
to jam after shows. But it's hard, man. The adrenaline
stays with you for two or three hours, and at
least on this run, we pretty much get on on
the tour bus around midnight and we drive to the
(04:38):
next city, and I'm usually sitting up, sometimes watching a
movie or listening to music until two or three in
the morning until I can fall asleep. So and it's
it's that way for a lot of people. Surely is
the same way. She's all wound up and can't sleep,
so we're we're very sleep deprived. That's what happens when
you go on tour.
Speaker 1 (04:58):
Plenty of good wine over here, but I think you're
gonna appreciate it. Do you get travel around much when
you're on the road or is it basically just off
to the next gig. Do you get to say much
of the places you're in.
Speaker 3 (05:10):
On a day off? We do, you know, we're we're
all foodies in this band, so we try to find
great restaurants to go to, whether it's for lunch or dinner.
I walked around today and went to a museum, stopped
in there for like an hour and looked around in
Salt Lake. It's a beautiful city. But some days I
have plans to do that, right, and then you wake
up in a hotel room and just you just lay there.
(05:32):
I turn on CNN and I just veg you out
for a couple hours until we have to get up
and go to sound check.
Speaker 2 (05:37):
Butch, obviously, you produced one of the greatest albums of
all time. There's no doubt about that. Never Mind. When
was the last time you sit down and put it
on and listen to it? And it's entirety.
Speaker 3 (05:49):
I don't really put the album on unless I'm listening
to a new test pressing of a mass Dream or
some of the box sets that Nirvana have released over
the years. I'm involved with that in the in the
the sound and the final selection of the songs as
the producer. But I hear it all the time on
the radio and clubs, people walking down the street. It's,
(06:11):
you know, never Mind Us everywhere. It's one of those
records that just has infiltrated the universe in a good
way and everywhere I go. I was in line getting
a coffee this morning, there was some girl with a
never Mind t shirt on standing in front of me,
and I wanted to say, do you know that I
produced that record? But I didn't.
Speaker 2 (06:30):
I did, but I was not.
Speaker 3 (06:32):
I was not awake enough to actually get into a conversation.
Speaker 2 (06:36):
Is it any of that you have heard in the
sipermarket or anywhere that annoys you? Is there anything that
would you change now?
Speaker 3 (06:45):
Well? No, I mean that the one thing that is
sort of annoying if we go to a club, you know,
like if we sometimes after a show or whatever, we'll
go to a bar, right and if the manager whatever
recognizes me, sometimes they put Nevermind on because they think
I want to hear it and I don't really want to.
Or they'll put Garbage on too, and so it's like
(07:08):
and then I feel self conscious, you know, because Okay,
they know I'm here, they're playing the record. But at
this point, I mean, it's all good that the record
changed my life. And I wouldn't have been able to
start Garbage if I hadn't had this success with Nevermind,
So it's all it's all good karma.
Speaker 1 (07:24):
I was writing a thing that apparently some of the
people in the band were saying that it was maybe
recorded or produced too well, like too slick?
Speaker 3 (07:32):
Was that a thing that was bullshit? They had to
say that after they sold twenty million records. When we
finished the record, they were over the moon. They couldn't
believe how fantastic it sound. If you listen to it,
It's not overproduced at all. It's bass, drums, a couple
double track guitars, Kurt's vocals double tracked. It's raw. It's
(07:55):
very very raw recorded basically live. It sounds city. But
as a part unk band, if you sell twenty million records,
you can't say, oh man, I'm so happy we've had
this success. You have to disown it. And that's what
they did. They had to disown never mind.
Speaker 2 (08:08):
At the time, did you know you were making one
of the greatest albums of all time at the time.
Speaker 3 (08:14):
No, I mean I knew that the band was really
tight and focused. I knew I was capturing great performances
and the songs were just super hooky. But at the
time we thought, maybe this will be as big as
a Pixies record, you know, sell five hundred thousand copies,
because we're all huge Pixies fans, and I think it's
so like, in two weeks it sold five hundred thousand copies,
(08:36):
so it kind of it just completely blew away all
of our expectations.
Speaker 2 (08:40):
It's thirty four years old, and it's quite remarkable to
think that, you know, in two thousand and one. George
Martin Sergeant Peppers would have been thirty four years old
in two thousand and one, and never Mind's thirty four
years old. Does that weird you out?
Speaker 3 (08:57):
It's weird because it doesn't feel that long to go
to me. Time sort of gets weirdly compressed to me.
In the studio and touring, everything kind of runs together.
It's all about making music, whether it's recording my own
stuff for producing someone else. So it's very bizarre. I
don't seem to have a realistic aspect of how time
(09:21):
has passed, so everything seems closer to me than than
as distant as it actually is. It's very strange. I'm
not sure why that is.
Speaker 1 (09:30):
That's sort of all happening at the same time. How
did the LuFe change after that album come out?
Speaker 3 (09:39):
Well, I went back to Madison, and the first thing
that happened is I started getting calls from all the
labels and in r people who wanted me to produce
a band. You know. They thought that I had some
magic button or some magic potion I could inject into
a band and they would be as big as Nirvana,
And of course there was only one Nirvana, but It
was great because it opened up a lot of do
(10:00):
worse for me. And I just mentioned this before. At
the point I did Nevermind in Siamese Dream and Sonic Youth,
I had done so many rock records and punk rock records.
I was getting burned out in that I was tired
of guitar, bass and drums. And that's why I started
Garbage And I would not have been able to start
Garbage if I hadn't had that success with never Mind.
Speaker 2 (10:21):
That's interesting because I've met Chilly before. She's Scottish, everyone
else is American. How did that happen?
Speaker 3 (10:26):
Yeah, very strange. You know, we started Garbage. The idea
of Garbage just do conceive in me working on music
and sort of using the approach that I did on
these remixes that I did with Beck and Nine Inch
Nails and you two, where we incorporate a lot of
different rhythms and electronica and beats and chopped up guitars
(10:49):
and things. That was sort of the template for our sound.
But we didn't have a singer. And then Shirley saw
Angelfish on MTV's one hundred and twenty Minutes on Sunday Night,
and he happened to tape the show on his VHS,
you know, his DVR, and brought it in the next
day and said, I think this singer could be good.
(11:09):
We should see if she'd be interested in doing a
track with us. And we listened to the song, which
is called Suffocate Me, and what I loved about it
is that she sang it really low and understated, unlike
a lot of the alternative singers at the time who
were really emo, really screaming, singing hard, really pushing their vocals.
Surely did the opposite, and that's why we called her.
Speaker 2 (11:31):
You would with so many people, Butcher of the year's
amazing legends of music in the studio, tell me, who
is anyone who's really stood out?
Speaker 3 (11:41):
Oh man, I'm so lucky. I've worked with incredibly talented
artists and musicians. I mean, Kurt was obviously an incredibly
talented songwriter, you know, very conflicted, you know, had these
terrible mood swings, but he had so much talent. He
was just like he was a natural melodicist, much like
(12:03):
someone like Paul McCartney. I really hit it off with
Billy Corgan. As difficult as Billy could be, you know,
we both respected each other a lot, and we pushed
each other hard. I pushed him really hard, and he
pushed me right back. And we set the bar really
high when we went into record Siame's Dream, and that
was probably one of the hardest records I ever made,
(12:23):
But I'm really I think it turned out fantastic.
Speaker 2 (12:26):
How do you decide the SAT list?
Speaker 3 (12:29):
Good question. Usually we let Shirley kind of pick what
she wants to sing. I mean, we all have input
into it. But on the recent tour, in fact, there
are recent tours, we're trying to play songs in the set.
You know, a lot of our singles that have been
on the radio, like Cherry Lips and Only Happy When
It Rains. She's also trying to pick songs that lyrically
(12:52):
are saying something right now that the world is pretty
crazy at the moment. It's very crazy here in the
United States and it is every actually, So she tries
to pick songs lyrically that I think make people think,
like a song like Cherry Lips or a song like
Bleed like Me. The trick is to keep breathing that
(13:15):
have something to say that can resonate with people sort
of on a personal level. If that makes any sense.
Speaker 2 (13:21):
Well, we're looking forward to seeing when you come to
New Zealand. You're playing at the Auckland Town Hall, which
is a cool venue. Some people say it's got some
of the best acoustics of any music hall in the world.
People like a lot of classical musicians liking it to
the music variant and vi inn it's that square, kind
of rectangular box vibe. So really looking forward to you
guys coming down here. Thanks so much, but it's been
(13:43):
a great pleasure.
Speaker 3 (13:44):
Yeah, I'm looking forward to haven't been in New Zealand
since pre COVID and I'm coming down there with my
wife who's never been to New Zealand, and we're getting
there a couple of days early so we can just
sort of travel around. We're going to go to some
wineries and things. And my favorite wine in the entire
world is the Kiwi Wine Grey Wacky Saviny and Blanc.
Speaker 2 (14:06):
Is that right?
Speaker 3 (14:07):
Kevin jadd Is is the waymaker. Years ago, he was
at Claudy b which is like the first sort of
Savii and Blanc I discovered, and I invited Kevin and
his crew or they're coming to the show. So I'm
hoping we'll be hoisting a glass of grey Wacky before
we take the stage.
Speaker 2 (14:23):
Oh you're a good man, Butch, and thanks so much
for your time this morning and best of luck with everything,
good luck with the rest of the tur and look
forward to seeing you in New Zealand.
Speaker 3 (14:30):
Cool. Thanks guys Radio hod aches Off the Record podcast.
Speaker 1 (14:36):
Why not subscribe so they download automatically and don't forget
to rate us five stars?
Speaker 3 (14:41):
Thanks mate. Find out more about this podcast and the
people who make it at hodache dot co dot mz
it
Welcome to Radio Hodokes Off the Record podcast with Jeremy
Wells and Minice to it good.
Speaker 2 (00:09):
I but let's get straight onto it right.
Speaker 3 (00:11):
How's it going, gents?
Speaker 2 (00:12):
Ah, so good.
Speaker 3 (00:14):
I can see Jerry Jeremy's handsome face, but I can't.
It's just a photo that.
Speaker 1 (00:20):
Doesn't look like that this morning, butch, I can tell
you that.
Speaker 2 (00:23):
Garbage applying in Auckland on Wednesday, the third of December
of the Auckland Town Hall and Garbage founded drummer and
producer the legendary Butcher Bak joins us now. But where
in the world are we talking to you today?
Speaker 3 (00:36):
Well, good day, gentlemen. I'm in Salt Lake City in
the heartland of the United States. We have four shows
to go in the US run and then we're home
for a few days. Then we go to Mexico. The
shows have been fantastic, but Sureley and I have been
battling the Lurgi for about three weeks. So the shows
(00:57):
have still been great, But it's hard to you get
a sinus infection or a head cold, hard to get
rid of on tour man.
Speaker 1 (01:04):
Yeah, well this was gonna be. One of my questions
was how do you because you're playing so many gigs
even before you get over here. Then there's international travel.
What do you do in between to make sure that
you can, you know, keep tucking on.
Speaker 3 (01:17):
Sleep, sleep, sleep, sleep, and more sleep. I have to
say the shows have been incredible on this run. Part
of that, I think is because Shirley's talking about this
on stage every night, that this is probably one of the,
if not the last, sort of headline tour we're going
to do. So I think fans are coming out because
(01:38):
they want to see us do our own show. We're
not quitting touring, but I don't you know, we're doing
a forty show run and it's just it's quite a slog.
We've been out since September first, and it's not the shows,
it's just the travel just completely wears you down. So
every night feels like in some of the cities like
it might be the last time we play there. So
(01:59):
that the fans have just been fantastic, and as I said,
Shirley's been on fire every night. The shows have been excellent.
Speaker 2 (02:05):
But you have been incredibly successful in your music career.
You don't have to be touring if you don't want
to be touring. I imagine what keeps you playing and
what do you prefer doing. Do you prefer spending time
in the studio nowadays or you still get that kick
from being on stage.
Speaker 3 (02:23):
I do get a kick from being on stage. You
get this adrenaline rush that you don't really get in
the studio. I mean that being said, I prefer being
in the studio. I've always been a studio rat. Every
day I walk in to record, whether it's with a
garbage or if I'm producing someone else, something new happens
(02:44):
or some detours happen, and it's always unpredictable and I
just love it. But playing live is something I've been
doing in band since I was fifteen or sixteen years old,
and I still love that too. Like I said, there's
this connection with the audience that you can't get anywhere else.
You can't get it on a zoom call or on
(03:05):
a TV broadcaster in the recording studio, but it happens
when you're on stage in front of an audience, and
it's still very very addictive.
Speaker 1 (03:12):
Yeah, I suppose it is that part of it. So obviously,
like you said, the travel wheezy down, But does the
gig itself actually throw you back up a bit.
Speaker 3 (03:20):
Every night, sometimes a half hour before we go on,
we're all like, oh my god, how are we going
to play a show? We're all dead tired. And then
you walk out right, you know, right before you go on,
and you hear the roar of the crowd and the
adrenaline just goes goes through the roof, and we're on
stage for an hour and forty five minutes and it's
just it's fantastic.
Speaker 1 (03:38):
I ask your question, You've probably been asked a million times,
and the answer is often with bands a little lisse.
Then you think it's going to be what Garbage? Why
did you name the band Garbage?
Speaker 3 (03:51):
Well? I used to tell this story, you know, when
we started the band. We looked in the Book of
Rock names and there were only two names left, Hoody
and the Blowfish and Garbage, and you chose Garbage.
Speaker 2 (04:08):
But we need to be finished playing. You're obviously on
a high. Are you a drinker? Hew? Do you wind down?
Speaker 3 (04:17):
Ah?
Speaker 2 (04:17):
Yeah?
Speaker 3 (04:18):
I mean, you know, I like to drink wine, particularly
so many on blocs. That's been sort of my go
to jam after shows. But it's hard, man. The adrenaline
stays with you for two or three hours, and at
least on this run, we pretty much get on on
the tour bus around midnight and we drive to the
(04:38):
next city, and I'm usually sitting up, sometimes watching a
movie or listening to music until two or three in
the morning until I can fall asleep. So and it's
it's that way for a lot of people. Surely is
the same way. She's all wound up and can't sleep,
so we're we're very sleep deprived. That's what happens when
you go on tour.
Speaker 1 (04:58):
Plenty of good wine over here, but I think you're
gonna appreciate it. Do you get travel around much when
you're on the road or is it basically just off
to the next gig. Do you get to say much
of the places you're in.
Speaker 3 (05:10):
On a day off? We do, you know, we're we're
all foodies in this band, so we try to find
great restaurants to go to, whether it's for lunch or dinner.
I walked around today and went to a museum, stopped
in there for like an hour and looked around in
Salt Lake. It's a beautiful city. But some days I
have plans to do that, right, and then you wake
up in a hotel room and just you just lay there.
(05:32):
I turn on CNN and I just veg you out
for a couple hours until we have to get up
and go to sound check.
Speaker 2 (05:37):
Butch, obviously, you produced one of the greatest albums of
all time. There's no doubt about that. Never Mind. When
was the last time you sit down and put it
on and listen to it? And it's entirety.
Speaker 3 (05:49):
I don't really put the album on unless I'm listening
to a new test pressing of a mass Dream or
some of the box sets that Nirvana have released over
the years. I'm involved with that in the in the
the sound and the final selection of the songs as
the producer. But I hear it all the time on
the radio and clubs, people walking down the street. It's,
(06:11):
you know, never Mind Us everywhere. It's one of those
records that just has infiltrated the universe in a good
way and everywhere I go. I was in line getting
a coffee this morning, there was some girl with a
never Mind t shirt on standing in front of me,
and I wanted to say, do you know that I
produced that record? But I didn't.
Speaker 2 (06:30):
I did, but I was not.
Speaker 3 (06:32):
I was not awake enough to actually get into a conversation.
Speaker 2 (06:36):
Is it any of that you have heard in the
sipermarket or anywhere that annoys you? Is there anything that
would you change now?
Speaker 3 (06:45):
Well? No, I mean that the one thing that is
sort of annoying if we go to a club, you know,
like if we sometimes after a show or whatever, we'll
go to a bar, right and if the manager whatever
recognizes me, sometimes they put Nevermind on because they think
I want to hear it and I don't really want to.
Or they'll put Garbage on too, and so it's like
(07:08):
and then I feel self conscious, you know, because Okay,
they know I'm here, they're playing the record. But at
this point, I mean, it's all good that the record
changed my life. And I wouldn't have been able to
start Garbage if I hadn't had this success with Nevermind,
So it's all it's all good karma.
Speaker 1 (07:24):
I was writing a thing that apparently some of the
people in the band were saying that it was maybe
recorded or produced too well, like too slick?
Speaker 3 (07:32):
Was that a thing that was bullshit? They had to
say that after they sold twenty million records. When we
finished the record, they were over the moon. They couldn't
believe how fantastic it sound. If you listen to it,
It's not overproduced at all. It's bass, drums, a couple
double track guitars, Kurt's vocals double tracked. It's raw. It's
(07:55):
very very raw recorded basically live. It sounds city. But
as a part unk band, if you sell twenty million records,
you can't say, oh man, I'm so happy we've had
this success. You have to disown it. And that's what
they did. They had to disown never mind.
Speaker 2 (08:08):
At the time, did you know you were making one
of the greatest albums of all time at the time.
Speaker 3 (08:14):
No, I mean I knew that the band was really
tight and focused. I knew I was capturing great performances
and the songs were just super hooky. But at the
time we thought, maybe this will be as big as
a Pixies record, you know, sell five hundred thousand copies,
because we're all huge Pixies fans, and I think it's
so like, in two weeks it sold five hundred thousand copies,
(08:36):
so it kind of it just completely blew away all
of our expectations.
Speaker 2 (08:40):
It's thirty four years old, and it's quite remarkable to
think that, you know, in two thousand and one. George
Martin Sergeant Peppers would have been thirty four years old
in two thousand and one, and never Mind's thirty four
years old. Does that weird you out?
Speaker 3 (08:57):
It's weird because it doesn't feel that long to go
to me. Time sort of gets weirdly compressed to me.
In the studio and touring, everything kind of runs together.
It's all about making music, whether it's recording my own
stuff for producing someone else. So it's very bizarre. I
don't seem to have a realistic aspect of how time
(09:21):
has passed, so everything seems closer to me than than
as distant as it actually is. It's very strange. I'm
not sure why that is.
Speaker 1 (09:30):
That's sort of all happening at the same time. How
did the LuFe change after that album come out?
Speaker 3 (09:39):
Well, I went back to Madison, and the first thing
that happened is I started getting calls from all the
labels and in r people who wanted me to produce
a band. You know. They thought that I had some
magic button or some magic potion I could inject into
a band and they would be as big as Nirvana,
And of course there was only one Nirvana, but It
was great because it opened up a lot of do
(10:00):
worse for me. And I just mentioned this before. At
the point I did Nevermind in Siamese Dream and Sonic Youth,
I had done so many rock records and punk rock records.
I was getting burned out in that I was tired
of guitar, bass and drums. And that's why I started
Garbage And I would not have been able to start
Garbage if I hadn't had that success with never Mind.
Speaker 2 (10:21):
That's interesting because I've met Chilly before. She's Scottish, everyone
else is American. How did that happen?
Speaker 3 (10:26):
Yeah, very strange. You know, we started Garbage. The idea
of Garbage just do conceive in me working on music
and sort of using the approach that I did on
these remixes that I did with Beck and Nine Inch
Nails and you two, where we incorporate a lot of
different rhythms and electronica and beats and chopped up guitars
(10:49):
and things. That was sort of the template for our sound.
But we didn't have a singer. And then Shirley saw
Angelfish on MTV's one hundred and twenty Minutes on Sunday Night,
and he happened to tape the show on his VHS,
you know, his DVR, and brought it in the next
day and said, I think this singer could be good.
(11:09):
We should see if she'd be interested in doing a
track with us. And we listened to the song, which
is called Suffocate Me, and what I loved about it
is that she sang it really low and understated, unlike
a lot of the alternative singers at the time who
were really emo, really screaming, singing hard, really pushing their vocals.
Surely did the opposite, and that's why we called her.
Speaker 2 (11:31):
You would with so many people, Butcher of the year's
amazing legends of music in the studio, tell me, who
is anyone who's really stood out?
Speaker 3 (11:41):
Oh man, I'm so lucky. I've worked with incredibly talented
artists and musicians. I mean, Kurt was obviously an incredibly
talented songwriter, you know, very conflicted, you know, had these
terrible mood swings, but he had so much talent. He
was just like he was a natural melodicist, much like
(12:03):
someone like Paul McCartney. I really hit it off with
Billy Corgan. As difficult as Billy could be, you know,
we both respected each other a lot, and we pushed
each other hard. I pushed him really hard, and he
pushed me right back. And we set the bar really
high when we went into record Siame's Dream, and that
was probably one of the hardest records I ever made,
(12:23):
But I'm really I think it turned out fantastic.
Speaker 2 (12:26):
How do you decide the SAT list?
Speaker 3 (12:29):
Good question. Usually we let Shirley kind of pick what
she wants to sing. I mean, we all have input
into it. But on the recent tour, in fact, there
are recent tours, we're trying to play songs in the set.
You know, a lot of our singles that have been
on the radio, like Cherry Lips and Only Happy When
It Rains. She's also trying to pick songs that lyrically
(12:52):
are saying something right now that the world is pretty
crazy at the moment. It's very crazy here in the
United States and it is every actually, So she tries
to pick songs lyrically that I think make people think,
like a song like Cherry Lips or a song like
Bleed like Me. The trick is to keep breathing that
(13:15):
have something to say that can resonate with people sort
of on a personal level. If that makes any sense.
Speaker 2 (13:21):
Well, we're looking forward to seeing when you come to
New Zealand. You're playing at the Auckland Town Hall, which
is a cool venue. Some people say it's got some
of the best acoustics of any music hall in the world.
People like a lot of classical musicians liking it to
the music variant and vi inn it's that square, kind
of rectangular box vibe. So really looking forward to you
guys coming down here. Thanks so much, but it's been
(13:43):
a great pleasure.
Speaker 3 (13:44):
Yeah, I'm looking forward to haven't been in New Zealand
since pre COVID and I'm coming down there with my
wife who's never been to New Zealand, and we're getting
there a couple of days early so we can just
sort of travel around. We're going to go to some
wineries and things. And my favorite wine in the entire
world is the Kiwi Wine Grey Wacky Saviny and Blanc.
Speaker 2 (14:06):
Is that right?
Speaker 3 (14:07):
Kevin jadd Is is the waymaker. Years ago, he was
at Claudy b which is like the first sort of
Savii and Blanc I discovered, and I invited Kevin and
his crew or they're coming to the show. So I'm
hoping we'll be hoisting a glass of grey Wacky before
we take the stage.
Speaker 2 (14:23):
Oh you're a good man, Butch, and thanks so much
for your time this morning and best of luck with everything,
good luck with the rest of the tur and look
forward to seeing you in New Zealand.
Speaker 3 (14:30):
Cool. Thanks guys Radio hod aches Off the Record podcast.
Speaker 1 (14:36):
Why not subscribe so they download automatically and don't forget
to rate us five stars?
Speaker 3 (14:41):
Thanks mate. Find out more about this podcast and the
people who make it at hodache dot co dot mz
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