Wolf Alice

On this week's episode all four members of London-based rock band Wolf Alice sit down with co-host Steve Baltin for a lively conversation about the band's new album, their favorite music, touring with bands like Queens of the Stone Age and much more.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:06):
Hey, it's Steve Waulton. Welcome to this week's in Service.

Speaker 2 (00:08):
Up.

Speaker 1 (00:09):
This week, I sit down with English rock band wolf Oul,
so all four members talk about their wonderful new album,
The Clearing, as well as touring bands they've been on
the road with things they've.

Speaker 3 (00:22):
Learned so much more. This is a really fun, funny
conversation with a very very cool band.

Speaker 1 (00:28):
So I hope you enjoyed this one as much as
I did.

Speaker 3 (00:30):
Thanks all right, cool, Thanks you guys so much for
being here today. I mean, you know, it's such a
great album and it's so different. Was there one song

(00:51):
for you that kind of jump started where you felt like, Okay,
this is going to take us in a different direction
and we're enjoying we know wherever the hell we go.

Speaker 4 (01:02):
Yeah there was, I think.

Speaker 5 (01:04):
Yeah there was, Well, there was one in the writing process, right,
I would say Passenger Seat actually informed how we were
going to structure the writing sessions. I know, we broke
that song down onto four guitars between the four of us,
and we had a big piece of paper with all
the chords on and we kind of followed that template
as a writing kind of method. So that was really important.

(01:28):
And then yeah, in the studio, I guess safe from
the World, right. We did a song called Safe from
the World in the first week with Greg Kursten, and
we'd done different versions of it, and we loved that song,
and it never really reached the heights of what I
think we had hoped for it until that first week
with Greg and we heard it back and you know,

(01:48):
kind of speaking for everyone, we were just I think
we're just so stoked there was turning out the way
it was, the way it sounded, the drum sounds, the
vocal sounds, the space in it, but still feeling really
that there was an energy to it and that I
think that's bodes so well for what we ended up
doing for the rest of the clearing process.

Speaker 3 (02:04):
It's funny you mentioned that when I fucking love that song,
and it's interesting because there's a moment. So right before
you guys, I was back on Zoom and I was
interviewing Belinda Carlisle from the Go Gos and new album
is are Covers and one of the songs she does
a Superstar from the Carpenters, and we were discussing the
fact that Karen Carpenter is you know, she was saying
that Karen Carpenter and Maria Klis the two best female

(02:25):
singers she knows, you know, and it's funny, there is
a moment that's safe in there where it's safe in
there where it feels like it sounds like Karen Carpenter
to me, and I was like, that is the highest compliment,
by the way.

Speaker 6 (02:36):
I think it was a huge confidence to us because
for a wolf Allis record, it's got hardly anything in it.
You know, it's got like a dry drum sound, a
dry bass sounded, one dry guitar sound, some vocals and
you know, some strings whatever. But for us that's super minimal.
So it was a big confidence moment for us to
be like, oh, that works, and we can pull off
this kind of concept that you know, let's leave some

(02:59):
space and let's you know, work on the constituents things
and get that right, rather than being like, let's record
fifteen guitar takes and loads of synths and loads of
other stuff and just be like, if the song's right,
the rendering's right, you know, it'll work. And that happened
really early on with Greg and it was a big
kind of confidence boost for us.

Speaker 3 (03:16):
I think it's so interesting. You say that though, But
the other thing I find for talking with the hardest
all the time is just naturally, as you get older,
you get more confident, and you also start to realize
the more minimal things are sometimes the more profound they are,
you know. So for you guys, do you think it's coming.
I mean, I've interviewed Greg before as well. He's amazing.
Do you feel like it was sort of a convergence

(03:37):
of many different things working with Greg, also this being
the fourth record, and just feeling like, you know, we're
older now, you know, like you're not like Blinda and
I were talking about, you're not chasing things in the
same way.

Speaker 4 (03:49):
Yeah.

Speaker 2 (03:51):
Yeah, I really remember Saint Vincent saying this thing about
how oh I can't quite remember the quote directly, but
she was talking about how she's often chasing like want
make something new that's never been hurt before. I want
to experiments, and then start to feel like I want
to make a song that you can imagine being played
at someone's funeral or someone's wedding or something, you know,

(04:11):
like got's goot a kind of classical songy song vibe
or something, And I feel like, yeah, this that's something
that I feel excited by it rather than like maybe
before and you're just chasing the unimaginable or something like that.

Speaker 4 (04:26):
I don't know.

Speaker 6 (04:26):
Yeah, definitely, And I think it's like sometimes early on
in you could. I think as a musician, mind pulse
sometimes has been to prove, try to prove myself, if
you know what I mean. But I feel like I
don't really have I'm not chasing that anymore, if you
know what I mean. So then I'm thinking what's the
right thing to do? Do you know what I mean? Yeah,
And that's sometimes doing nothing.

Speaker 3 (04:47):
You know, that's funny. I was talking with Nancy Wilson
from Hard about that, and she was like, when you know,
She's like, I'm seventy years old. Now, when you do that,
you know you're no longer trying to shred, You're no
longer trying to show off. You don need to approve
to anybody. And to be honest, it's funny because I'm
pretty open to most kinds of music. Fucking hate rog rock,
fucking hate jam rock, which is people who are just

(05:07):
sitting there all day, look at me, fucking noodle and
how fucking great, And it's just masturbatory as far as
I'm concerned, it.

Speaker 7 (05:13):
Is music for them rather than the people watching it.
It's probably quite fun to play.

Speaker 3 (05:19):
But it's fucking hell to listen to me, So you
know there is like a minimalist thinker. Sorry, I also,
but I was always the sunfiltered askal like, I've always
been like this, because if you're not passionate about music,
then why are you talking about it?

Speaker 8 (05:36):
Yeah, it's true, I'm passionate about it.

Speaker 3 (05:40):
So you brought up a good point though, and now
I have to ask for each of you your wedding
song and your funeral song.

Speaker 7 (05:48):
I've had my wedding song and it was can't helpfully
in Love with You, Elvis, and I did it in Vegas,
so mine's already happened.

Speaker 8 (05:54):
So I've actually got a quick answer for that one.
But I am yet to die. You told me I did,
didn't you.

Speaker 7 (06:09):
That is actually my friend Sam. He said that it's
a drum and bass group and I just wanted to
see him. Well, hopefully my mum could be at my
funeral to see how she reacts when they started playing
drum and bass and I'm lowered.

Speaker 8 (06:19):
I think I would really like That's life, Frank.

Speaker 6 (06:25):
There's a John John Jacob Niles.

Speaker 3 (06:28):
No, actually they don't.

Speaker 6 (06:29):
He's a very I think you probably will if he's
like a really really old folks singer. He did go
Away from my window that loads of people covered and
stuff like. He's got this crazy operatic voice. But he's
got a song called Go Find My True Love, which
is really really gorgeous and it's kind of about dying.
So maybe that what's your wedding song? Wedding dress by

(06:49):
a Pentangle because it has wedding in the name, unless
you think I could think of.

Speaker 5 (06:55):
I am also married, and we didn't have a We
got married on a car ferry, so there wasn't any
so there wasn't like a thing. We didn't have like
a speak a speaker system. But Max's my friend MAXI
was there and his wife Meredith, they're like they're married.
And Meredith's auntie was the one that married us, and
she she played like an old folk song on the

(07:16):
acoustic guitar and I never even asked what it was,
but that was the wedding song. And I can't think
of anything sincere to say about my funeral song yet,
but I'm gonna start thinking about it now.

Speaker 2 (07:26):
Yeah, I can't answer. I like my palms, the pressure
of getting it right and that you.

Speaker 4 (07:32):
Don't want to think about it.

Speaker 3 (07:33):
There is no wrong answer.

Speaker 2 (07:35):
Well, it's right for me, you know, I don't want
to say.

Speaker 3 (07:39):
I mean, there is no right or wrong? What about
you see? That's not fair because I know mine. But
I'm a music geek, so I've known in fact, this
is the most amazing story of all time because to
me it's tom Way to take It with Me, which
should be both my wedding and funeral song because it's
a perfect song. But what the most amazing story is.

(07:59):
I'm not dead yet, thank God, so I haven't had
it there. But I did a book a few years
ago called Anthems We Love, and it was like twenty
nine different artists talking about like long term songs and
how they became anthems and how they evolved over time.
Long story short, it was like, I mean, I got
Brian Wilson, you God only knows, Neil Diamond, Sweet Caroline,
you know, Hollow Notes, Sarah Smile, the last living temptation

(08:22):
to record My Girl. The point of this is though
I did a pitch Tom Waits, because I was like
I reached out to his people and I said, will
he do it? And they're like, fuck, no, he does nothing.
And I'm like, just ask. I wrote this really personal
note and I got a note back and he and Kathleen,
his wife, wrote an essay about the song. They were

(08:42):
so moved by the pitch. They were like, Okay, we
think you're crazy. And when you put it with all
these other songs, but they're like it was they were
like they were so curious. They went back and listened
to the song.

Speaker 8 (08:53):
Wow, it's amazing.

Speaker 3 (08:55):
I know, you can't really get better in your career
than getting Tom Waits to do your book.

Speaker 8 (08:59):
Yeah. Yeah, going as the peak. Where is he He's
like outside of La.

Speaker 3 (09:03):
Right, Yeah, he's up in the Bay Area.

Speaker 8 (09:05):
Yeah. I do love Tom.

Speaker 7 (09:07):
Sawfish Trombones is an album that I really loved when
I was seeing I.

Speaker 3 (09:12):
Mean, it's just my favorite songwriter. And there's you know again,
there's no like right or wrong answer, but it's just
that song personally hits me in a way. Yeah.

Speaker 8 (09:20):
Yeah.

Speaker 3 (09:21):
But you know, it's really interesting because when I'm doing
that book, I'm talking with all these different artists and
they're talking about the fact that songs are so from
a songwriting perspective, you have no clue what you're doing.
As they put it, you know, you put your antenna
up and the songs come in. So where there's songs
on this record, they're really surprised you, especially because it's
a different sound where you go back and you hear
it and you're like, well, we have no idea where

(09:43):
that came from, but it's great.

Speaker 4 (09:46):
Hmm. I think so, yes.

Speaker 2 (09:50):
But I also think this album for me personally, I
kind of I actually like tried harder than I had before,
in the sense that, like I think in the past,
I've often really waited around for that moment where this
song just arrives and you're like, oh, yeah, it was
a good one, Thank you song God for giving me that.

(10:14):
And this one I was kind of like, oh is
it I don't know. I guess I if I finished it,
I would then go away and then come back in
a week or so and like try and make it better.

Speaker 4 (10:25):
And I don't know.

Speaker 2 (10:26):
I didn't like just write a load of songs and
wait for one of them to be really good.

Speaker 4 (10:31):
I just like tried to.

Speaker 2 (10:33):
Make them all better and good. I don't know, So
I didn't have much many of those moments where I
was like, oh, wow, I really like that one. I
don't know because I've been working on them and then
for a long time, and then we all worked on
them together for a long time, and yeah, I just
didn't It wasn't kind of that vibe this summer.

Speaker 3 (10:52):
But had it been in the past.

Speaker 4 (10:54):
Yeah, I remember in the past having those kind of
moments of certain songs being like, oh, that's finished, he.

Speaker 8 (11:01):
Said about last Yeah, last one on Earth.

Speaker 2 (11:03):
I was like, oh, I didn't know where that came from.
And yeah, I feel like I kind of knew where
things were coming from this time round.

Speaker 3 (11:11):
That's really interesting. So where do you think they were
coming from?

Speaker 2 (11:16):
I think it was like taking stock. I think like
I spent a lot of time. I don't know how
to explain this. Then I'm not very good at explaining
anything ever.

Speaker 3 (11:25):
But but wait before you go on, don't feel bad
because I interviewed a few years ago Mike Stoller from
Lieber and Stoller. The guy's ninety years old and he
co wrote Jailhouse Rock and stand By Me stand by
Me to Meet Besides God Only Knows is probably the
greatest song of all time, right, And he's ninety years old,
and he's like, no one knows where the hell songs
come from. Yeah, so don't feel bad not being able

(11:46):
to explain. Okay, that is ninety And he's like, I
have no idea.

Speaker 4 (11:51):
Yeah, I think I think. I just like.

Speaker 2 (11:56):
I feel like I always like. I listened to what
I I think. I always thought like, I'm gonna find
out what I really like in life soon, and I
kept thinking that, and then I think this time I
was like, ah, I must just already know what I
like now because I'm old enough, do you know what
I mean? I was waiting for to be like, I'm
going to find something what I really like when I'm older,

(12:21):
when I'm a grown up. And I was like, I
am a grown up and I still like these same things,
so that is what I like. And I listened to
that and took it forward me instead of being like, right,
let's go out into the and explore the musical world
and find about what. I was like, Okay, I like
this stuff and I want to make that. I don't
know if that makes sense.

Speaker 3 (12:39):
It does, but that's interesting. I mean, first of all,
when are you a grown up? Well, that's a fascinating question.

Speaker 4 (12:47):
In life you know, well, yeah, I don't know.

Speaker 3 (12:51):
For all of you guys, like do you feel like
you're grown ups? Because some days I still don't even
feel like I'm one.

Speaker 4 (12:56):
Oh yeah, that's what I mean.

Speaker 2 (12:58):
I kind of like was like, I don't know life
to happen.

Speaker 8 (13:03):
It's crazy.

Speaker 6 (13:03):
You have those moments you're making plans and then you go,
this is this is it, We're here, this is you know,
this is this is now?

Speaker 8 (13:14):
Now?

Speaker 6 (13:15):
How soon is now?

Speaker 8 (13:17):
Now?

Speaker 4 (13:21):
Wait? What is how soon is now? Against all? That's
good line, They're going to be.

Speaker 6 (13:29):
Well done, Steve.

Speaker 3 (13:32):
Yeah, that's funny though, because like, yeah, what I talk
about with people too a lot is what happens is right,
when you're a kid, there's certain music you love and
like this is just a natural order of things. When
you're a kid, you love certain songs, right, and your
parents are juicy stuff, and you're like this is great.
Then you get older and as a teenager you have
to rebel. There's just no choice because it's the only

(13:55):
way that you can find your own identity. But then
you start to get old and you feel like, okay,
now you're comfortable with who you are. Now I'm a
grown up. This is who I am, and you start
to go back to stuff you loved when you were
a kid because it really formed you. So for all
of you guys, did you find that? And then when
were there songs that you go back to that you influences? Record?
Like again I mentioned I doing the Blond Carlisle record.

(14:18):
It's a whole album of covers for when she was
a kid, because you know stuff that like you know
when you're older. She joins the Go Gos, they joined
the Rock Hall of Fame. They're doing all this punk
new wave stuff, and now she's gone back and doing
all these seventies California songs.

Speaker 9 (14:32):
M M.

Speaker 8 (14:33):
Interesting for me.

Speaker 5 (14:35):
The one that I know my my family listened to
a lot when I was growing up, and I then
not rebelled because I kind of we're all pretty accepting
of all music, but I definitely didn't listen to it
in my teens. Was Putty a bit of a snub
about and now love is steely Dan like it was
always being played when I was younger, And then I
thought of myself as like a punk when I was
growing up, I was like, I'm not listening to that.

(14:56):
I'm going to listen to the antithesis of Steely Dan.
And now I've fucking love Steely.

Speaker 3 (15:01):
Dare Steely D And that's why people can't play for
music save their fucking lives.

Speaker 5 (15:06):
Yeah, and I loved that because that was because I
can't and I can relate to that more than Steely.

Speaker 7 (15:12):
Narrative was such a gateway and to play music if
you're not classically trained is it's the whole bunch of
it's like anyone democratization of it, like that's a punk thing,
and I do think that. Then you then join a
band and do it for long enough to fuck how
do you become Steely Dan? Yeah, because they're so good?

Speaker 8 (15:26):
Yeah, what they do? You're right?

Speaker 5 (15:28):
Maybe just like all that stuff, I maybe had like
a snobbery or arrogant about what I wanted to listen to,
And now I'm just like, what, No, I can't listen
to Fugazi twenty four hours a day.

Speaker 6 (15:37):
I need Steely Dan, like yeah, shred, Yeah, sorry, yes.

Speaker 4 (15:45):
Really, no, that's good. It's a really good question.

Speaker 3 (15:48):
Yeah.

Speaker 4 (15:50):
Yeah.

Speaker 2 (15:51):
I can't of remember in New Year's Eve once, like
I think it was during COVID or something I put
on Chicago and so made everyone who was with me
at the time, watched me sing along to all the songs.

Speaker 4 (16:06):
I was really drunk.

Speaker 2 (16:09):
In Chicago, and I was like, God, that was one
of the best nights I've ever had.

Speaker 4 (16:15):
I wish I was a singer or something. I was like,
oh I am, and I was.

Speaker 2 (16:19):
Like, I was like, ah, ship, I really like singing.
I've been I need to find a way to like
sing in my own records. That gives me that, not
that I haven't enjoyed singing in our previous albums, but
like that kind of pleasure that I got from singing
along to Chicago Ago, that kind of performative style in

(16:42):
on my own music regards, That's why I enjoyed it.
What year was this news, I was like to it
was after Blue Weekends.

Speaker 7 (16:50):
So this is that anecdote is basically the that's the
best anecdote for this album.

Speaker 8 (16:55):
I'm only find.

Speaker 3 (16:57):
Subconsciously that influences. And like I said, there's a song
in here where you sound like fucking Karen Carboner, like
might be the best singer ever. So it's like, yeah,
you're living out your seventies stream and.

Speaker 6 (17:10):
Yes, so much performance.

Speaker 5 (17:11):
Like when I try and describe when people ask me
like what it sounds like the word performance and it's
not a genre or a style, but I feel like
we were thinking about performance so much. You know, obviously
vocally and Ellie's vocals on this record are just unreal,
but I know for the three of us as well,
we were trying to think about if you heard the record,
could you see us playing it? Can you see that

(17:32):
drama playing that drum beat with the guitarist of the bassist.
So performance was such a like key word this this record.

Speaker 1 (17:40):
Wait.

Speaker 3 (17:41):
I love the fact though that you're like, wait, I've
never heard this.

Speaker 8 (17:44):
You know why?

Speaker 7 (17:44):
I also, selfishly I was like where was I because
I feel like, yeah, I was kind of just trying
to tease out exactly why.

Speaker 5 (17:53):
Want to be Yeah, yeah, same same, yeah, yeah, quite intense.

Speaker 4 (17:59):
Say it was. It was not nice for anyone else
except me.

Speaker 3 (18:06):
So what was the favorite Chicago song to sing while drunk?

Speaker 4 (18:09):
Oh, don't ask me.

Speaker 10 (18:11):
That whole places the funeral song.

Speaker 3 (18:21):
I can't pick a wedding song. I can't pick a
drunk song. I can't pick it. You know.

Speaker 2 (18:25):
Yeah, Well it's you can live the life you're living.

Speaker 4 (18:33):
You can love.

Speaker 2 (18:35):
The life you live, you.

Speaker 8 (18:37):
Can I feel all the things that make this kind
of okay all the worlds are wrong.

Speaker 3 (18:51):
That is so interesting though, because again, like you was saying,
I mean, I feel like music is subconscious. So when
you go back and hear this record, now, do you
hear those influences and funny, like I talk about with
people all the time too, like you can go back
and even in your early records you might hear like,
oh shit, there's some deacing blues that I didn't even
know was in there.

Speaker 5 (19:22):
I'm trying to think of like specific things when I
think about maybe this doesn't re answered the question I
think about Like the record, I hear like a lot
of personality of everyone that played on that, which I
think sometimes becomes bigger than the influences, like your style
of playing that I've heard Draft play, you know, in
dressing rooms backstage, like the more folky elements of the fingerpicking.

(19:44):
We've never really put that to the four as we
have with this, and that became influential to me when
I was trying to think of things to righte so
it became almost like self referential. But yeah, we definitely,
I think again the credit to Greg Kurstling that we
had influences and We're try not to make a pistiche record,
We're trying not to make a retro record, but we
wanted something that had appreciations sonically to like certain influences,

(20:07):
and he helped us get there, but created a modern
record and created a record that I think sounds the
most Wolf Addice out of four albums.

Speaker 3 (20:16):
Interesting because again, as I said, this does feel a
little different, So you feel like this is the most
so is this direct? Look, this is a way I
talk about other people. Right, As an artist, you're never
one hundred percent satisfied your camp, because if you are,
then why do you keep going? However, what happens is
you have moments on there that you feel like are
building blocks, you know, those moments that you love and
so are there those building blocks on this record that

(20:38):
you feel like, this is where we want to take
Wolf Alice.

Speaker 1 (20:41):
Good question.

Speaker 4 (20:44):
I don't know.

Speaker 2 (20:44):
I feel like there's building blocks on our previous albums
that got us to hear. But now I'm like and
then and I kind of feel.

Speaker 4 (20:52):
Like, yeah, I feel like this was always a scratch that.

Speaker 2 (20:56):
Was going to be no shit, that was going to
be stre but now that we've done this album, I'm like,
I don't know if I want to do this again,
even though I'm like, I loved doing this, I really
loved doing this sound and this album so much. But yeah,
I'm not like, oh, now we're going to do it.

Speaker 4 (21:16):
I don't know now.

Speaker 2 (21:16):
I'm like, maybe we'll do something completely different now because
we've done that.

Speaker 3 (21:20):
I think my guess is there would still be some
elements of what you did on this record that would
be on the next one. So it's interesting when you
go back and look at the previous record. Did you
know at the time those were building blocks or do
you now see them as building blocks?

Speaker 2 (21:33):
Yeah? I love that kind of stuff. I don't think
I'm new at the time, but now I can hear them.

Speaker 6 (21:37):
Yeah, definitely. I think we're talking about, you know, songs
like the Last Man on Earth from the last record,
or Delicious, things that maybe had that kind of slightly
more space or whatever and was very much, you know,
songwriter focused first. I think gave us a lot of
confidence to go, oh, this works. You know, this feels,
this feels good, and maybe you're hiding behind those walls

(21:59):
of distorted guitar and things like that, feel like maybe
don't need to do that you know. Yeah, you know,
sometimes that's maybe a maybe sometimes that's a confidence thing.
I mean, you use the tools that are available to you, right,
and that's what we had in the earlier days. But yeah,
I think it seems like the biggest challenge is, you know,
how do you write a song that connects with people,

(22:23):
you know in a concise way. It's so difficult, you know,
And like you were saying about jam bands, it's it's
easier to write a long jam any do you know
what I mean, mess around and you know it's cool.
You know, people do it and it's great. But I
think the real challenge is how do you write those
songs that connect no matter how you dress them up
or how you produce them or whatever those are. You know,

(22:45):
that's the magic.

Speaker 3 (22:47):
By writing the most vulnerable songs you can, by writing
the most open songs you can. So when you go
back and look at it, like I found it so
fascinating when I was doing this book right that I
was telling you about. There's like songs like har Lil
Siah Smile or you know, christmis Is Nash our House,
which are literally written for one person, but everybody loves them.
Why because when you hear Sarah Smile when you hear

(23:09):
our House, you want that feeling. You want that love,
that that intimacy, that coziness in your own life.

Speaker 6 (23:17):
I'm getting the feel was just thinking about it. We
listened to our House when we're making making the record.
But you're right, it's you know, and it's but it's
so universal as well, isn't It's something everyone can access,
that emotion that.

Speaker 3 (23:31):
They're exactly you want. But even though for.

Speaker 6 (23:35):
It was yeah, yeah, yeah, yeah.

Speaker 3 (23:38):
And Sarah Smile was written for a girl named Sarah
that Dale Hall was living with at the time. You know,
but again, why is it universal? Because you want that feeling?
That's why to me, like maybe one of the best
songs ever written is John Lennon in My Life and
because again it's one of the songs that feels so
simple that everybody's like, I could write that song, and
then he realized, well, you think you could be the

(23:59):
only person who ever can wrote it? Was John Lennon.

Speaker 4 (24:02):
Yeah, it's true.

Speaker 8 (24:07):
All the time you think you can.

Speaker 6 (24:09):
But yeah, how you get that magic is but.

Speaker 3 (24:14):
Moments for you when you you know it's funny. I mean,
I talk with people about to sell the time too.
You hear you know, like your songs will like you
literally get messages from people like the song saved my life,
this song changed my life, whatever it is, and it's
like maybe you don't even hear it, but someone else does.
So if there have been those songs for you guys
where like you get those messages from people and you're
just like astonished, and it makes you hear your own

(24:36):
stuff differently, because one of the things that we've talked
about so much, once you release the song, it's not
yours anymore. The second you've done a song and put
it out in the world, you don't know it anymore.

Speaker 2 (24:48):
Yeah, yeah, so yeah, I think about that a lot.
It's really interesting because yeah, yeah, it's.

Speaker 6 (24:57):
Always really humbling. I think when people do come up
do you and say that this song means something or
help them in a really tough time or whatever, because
I think being in a band you kind of can
be in a little bit of a bubble sometimes, you know,
especially when you're out you know, doing the circuit, touring
circuit in a small group and have that window into
somebody else's life, you know, for them to share that

(25:18):
it's you know, it makes you realize how those songs
that you you hold really dearly have helped you in
your life, and you think, God, if I could, if
I've been able to do that for somebody else, then
I'm doing a worthwhile thing, if you know what I mean.

Speaker 3 (25:35):
Yeah, absolutely, And I mean I think you know that's
some like as an artist, there's no bigger compliment. If
you write a song that reaches one person, you know,
that's way more. I mean people talk about like you know,
success or Grammys or commercial shit, and it's like that's
all great. But I mean, you know, I've talked to
some artists who are huge, who are like when you
get the message of like, you know, this song changed

(25:58):
my life or whatever for you guys, you kind of
started to mumble under your breath, but in the answer,
what have been those songs? And I'm sure you've had those,
you know, messages from people again where it's like just
the song means something to them. Maybe it didn't save
their life, but it's like they listened to it a
lot during a divorce or a breakup, or like just
it makes them happy.

Speaker 8 (26:17):
As in our own songs.

Speaker 7 (26:19):
Yeah, yeah, I've seen that a lot with no hard
feelings of blue Weekend. But I think because that is
you have that feeling of being able to put yourself
in that situation.

Speaker 2 (26:29):
Yeah, I think, like it's really it's Yeah. I often
think about like when I was younger, I was like
always really apprehensive to write songs about love and also
about breaking breakup because there was some kind of like
I've just felt like some kind of like shame about it.

Speaker 4 (26:46):
And I think.

Speaker 2 (26:48):
I remember going through a breakup and googling songs to
listen to when sad about breakup, And then as I
was doing that, I was like, why would I stop
myself from writing breakup songs or love songs when I'm
actively seeking them out myself to provide myself with some comfort.
So I was like, ugh, because I think sometimes I

(27:09):
don't know, there was a period maybe where I don't know,
like you're thinking about what's called to write about or
what's important to write about. Maybe like you're like, haven't
injected any politics maybe into my music, even though like
the world is so crazy or what. But actually, when
you really just pour out your heart, you don't know
what someone's going to take away.

Speaker 4 (27:29):
You can't second guess what people are going to take away.
From your work.

Speaker 2 (27:32):
So you shouldn't second guess what it is that they want,
and you should just do what you need to do sometimes,
and if it's a breakup song, that one, it's not
any no less important or anything than anything else.

Speaker 4 (27:45):
Yeah, it's really it's nice when.

Speaker 2 (27:47):
People connect to the songs that you maybe felt were
like not, why am I talking about this again?

Speaker 9 (27:52):
Or whatever?

Speaker 2 (27:53):
Yeah?

Speaker 3 (27:55):
All right now the obvious question, I was obvious question. Ever,
But when you're googling breakup songs? What came up?

Speaker 1 (28:03):
Yeah?

Speaker 4 (28:03):
I can't remember. I remember, Oh no, damn is it
eda James song about tears or something? Something?

Speaker 8 (28:15):
I've got a good way of doing this game.

Speaker 4 (28:16):
I remember that James song came out.

Speaker 6 (28:22):
I was losing game? Was it knocking around?

Speaker 2 (28:24):
I love as a losing game? Is the one that
then I referenced in the Hard Feelings? Yeah, great breakup
song to know. I mean, yeah, that's an easy way
of doing it.

Speaker 7 (28:34):
I haven't got my phone in me. I was trying
to be a diligent professional. What do you want from
a breakup in terms of emotion? I do you like?
Because you know what I mean?

Speaker 9 (28:43):
Like?

Speaker 8 (28:43):
Are you trying to be uplifted? Or are you trying
to wallow in.

Speaker 7 (28:45):
The say that that's the thing I'm fascinating me.

Speaker 5 (28:49):
For the first verse, chorus, second, and then.

Speaker 8 (28:52):
At the end he changed, I'm a take on the
world the ice cream.

Speaker 6 (28:58):
Apparently, Well, the number one good that's come up is
Kenny Clarkson since you've been gone.

Speaker 2 (29:02):
Oh no way, Oh my god, that's too great, amazing,
that's Gloria Gainer.

Speaker 8 (29:09):
I Will Survive.

Speaker 4 (29:10):
So these are all like uplifting.

Speaker 6 (29:12):
Someone I used to know, boys to men, end of
the road. Maybe say's more about what google things.

Speaker 3 (29:18):
I want to hear them see. None of these to
me are a good breakup song. They're good songs. I
love I Will Survive, one of the greatest songs ever,
But it's not a good breakups.

Speaker 8 (29:27):
If you've got a good breakup song, I feel like
you've got one loaded.

Speaker 2 (29:31):
No.

Speaker 3 (29:31):
Actually, like you say, it depends on what you're.

Speaker 8 (29:35):
Thinking, that's what I mean. Like, it depends on that
you know.

Speaker 3 (29:38):
I mean, like there's a really nasty one like Dylan
Don't thinks twice it's all right, But then there's like
a Tom Petty the best of Everything, where you're like,
I wish you the best of everything in the world. No,
it's Dylan. If you see your sale I was like
the best written song of all time.

Speaker 4 (29:51):
I don't know that song a Bob Dylan.

Speaker 3 (29:53):
If you see your Sailor from Blood on the Tracks.

Speaker 4 (29:55):
Listen to that?

Speaker 8 (29:57):
Yeah, well, Arian do think you that's a banger?

Speaker 6 (30:01):
That is actually a banger.

Speaker 4 (30:03):
Oh wow, that's a good one.

Speaker 8 (30:04):
Oh my god, that's I think.

Speaker 4 (30:07):
I think I want to wallow for a bit. I
want to wallow.

Speaker 2 (30:09):
I don't want someone to be telling me it's all right,
because it's like when you when you feel so crap,
you don't want it will be funny.

Speaker 6 (30:16):
I don't's got to be stages, right, You've got to
wallow for a bit, and then you've got question for
a bit.

Speaker 2 (30:23):
Yeah.

Speaker 7 (30:23):
I always think that's the human condition, though, isn't. It's
like what people rarely do is people want to make
the situational right for themselves when you tell them that
you're feeling bad, so they're like, but this and this
and this. But sometimes you actually need the person to
be like, you're right, mate, this is fucking crapy. I mean,
like I don't always please don't give me the positive

(30:43):
affirmation of the day.

Speaker 8 (30:45):
Just be my friend and let me be sad next to.

Speaker 11 (30:47):
You, Oh the streets, Mike Skinner, Dry your eyes mate,
Yeah a grand o.

Speaker 8 (30:59):
Yeah, the greatest concept album ever written.

Speaker 6 (31:01):
Just thinking about that makes me feel like, Wow, we
love breakup songs.

Speaker 8 (31:08):
Jacked up, we.

Speaker 3 (31:09):
Are once, you know, for all the Dixie checks, they
literally gave me their entire divorced playlist. Yeah, I mean
people like you say, people like to be sad. There's
a reason, you know, there's an Alm John song, sad
song so much people want to you know, sometimes you

(31:31):
just want to feel sorry for yourself.

Speaker 7 (31:33):
I think it's one of those spaces, those emotional spaces
that takes me back to the transformative power of teenagehood
when you are sad for no fucking reason, you know,
when you're just like whoe is me? And you're like,
what's wrong? You're fine, but it's that because everything's just crazy.
And sometimes when you like and you used I used
to kind of like engage in the saddest when I

(31:54):
used to listen to like, I don't know, like a
Blink one ay two song that meant nothing to me
because I've never had a girlfriend.

Speaker 8 (32:00):
But do you know what I mean?

Speaker 7 (32:01):
But I like wistfully looking out of the window. I'm like,
what is this twelve year old boy? But sometimes when
you've got those breakup songs, they kind of capture that
and there's nothing more powerful than those teenage emotion feelings.

Speaker 9 (32:10):
To me.

Speaker 8 (32:10):
I'm still chasing them off.

Speaker 3 (32:12):
Time's inially, all right. So taking you back to music,
if you guys are going to cover one breakup song
you cancer, what is it?

Speaker 8 (32:25):
Survive is a great shout for a festival, like.

Speaker 3 (32:28):
Yeah, wow, I don't know, because it's one of the
songs that everybody else.

Speaker 8 (32:35):
I love them songs. I'd love to cover Drier Eyes mate.

Speaker 4 (32:41):
There.

Speaker 9 (32:45):
I know it's hard to take, but her mind has
been made not bad, beautiful.

Speaker 7 (32:56):
That's a way to deflect that. We don't have an answer.
Start embarrassing yourself from a punker.

Speaker 3 (33:15):
It's all right, I mean you know again, there's no
right or wrong answer, so there's no embarrassing yourself, thank god.
It's like I said, unless you sing yummy or a
fish song.

Speaker 8 (33:25):
A fish song that what the bandfish?

Speaker 4 (33:31):
Oh, you don't know how what that might mean to
someone else.

Speaker 8 (33:34):
You don't know what yummy did to people.

Speaker 3 (33:36):
Man again, so all personal taste music should be subjective.
I mean, I'm not saying this is good or bad.

Speaker 8 (33:43):
But you are saying this is really bad. I'm not
saying it's good or bad, but I hate it.

Speaker 3 (33:53):
But someone else, you know, there are many other people
who hate Tom Wait's voice. Yeah, you know, I mean
each their own exactly.

Speaker 8 (34:02):
One man's yummy is another man's Tom Waits.

Speaker 7 (34:05):
No, Okay, I like how you give it the ambiguity,
but then you come back to the fact.

Speaker 3 (34:10):
That's just too far. They literally can't be in the
same sentence.

Speaker 7 (34:16):
I'm sorry, I apologize, I take it. We can edit this,
hopefully someone in there.

Speaker 3 (34:24):
I don't mean, I just I just hate that particular song.
So I mean to pick on him because I actually
feel like this is the way I look at it, right,
I'm sure you guys understand this. There's no worse feeling
in the world than fame. So I wish Justin Bieber
nothing but the best in the world, because I would
never want to go through what that guy went through.

Speaker 6 (34:41):
I think people give him, people seem to give him
a hard time.

Speaker 4 (34:45):
He's got some brillant that one.

Speaker 3 (34:49):
But I do think again, you know, like there's fame,
as you know, it's the worst thing in the world's.

Speaker 6 (34:55):
Fame where sometimes people just think they can say whatever
about person. I mean, come on, you.

Speaker 7 (35:00):
Know it's bond because that guy was a child when
you were saying that as well, like, that's not the
people who put people at kids in those positions. I
don't know whether that's a responsible thing, and he is
despite it, managed to write some amazing music, which is testament.

Speaker 3 (35:14):
So it's interesting. Then taking back to you guys before
we wrap up. For you guys, I mean, do you
feel like being in a band it allows you to
sort of feel a little more protected from the idea
of fame because you know, again when you're playing, you know,
even like you say, when you're playing in Glastonbury right,
there's fifty forty thousand people there. You know, people do
feel like they can say whatever. You know, the response

(35:36):
is whatever. Do you feel like there's sort of a
camaraderie in it where it allows you to, you know,
feel protected from it. But then also because you guys
are all like, you know, getting older, it just phases
you less.

Speaker 7 (35:49):
I think that's really important, the camaraderie and the kind
of being able to share this experience. It's like one
of the great my proudest things is that it was
still the four of us and the fact that we
have been able to go through whatever you go through.
I mean largely you know, you have a singer, and
also Elie's at the front, so half the time is
probably more directed that way.

Speaker 8 (36:10):
But to be able to just.

Speaker 7 (36:11):
Share everything and to have that gang mentality into beating
it together and it's for the great good.

Speaker 8 (36:16):
I love that aspect of being in the band. It's
really important to me.

Speaker 6 (36:19):
Yeah, yeah, yeah. I think one of the strengths that
we have is we're really good when things are going well,
but I think we're better when things are going badly,
which I think is Serf does really well. We're really
good at banding together when things are rubbish.

Speaker 2 (36:37):
Yeah, And like the things that make you cry and
you're on your own can often make you laugh when
you're in the band, you know, like you can laugh
at the things that you could maybe not handle alone.

Speaker 4 (36:49):
Which is nice.

Speaker 2 (36:51):
So you've been the band.

Speaker 4 (36:52):
Knowing you're bad.

Speaker 5 (36:56):
Thank you for ruin sentimentality of what I was trying
to say. I changed my unt completely and I'm going solo.

Speaker 3 (37:06):
No, in all seriousness, I mean, do you guys look
at Are there bands that I'm sure you've got to
be around a lot of bands. Are there people that
you look at that you really admire? Like I always
joke as someone who's interviewed so many dysfunctional bands, you know,
Like I mean, and there are some of the most
fucked up people you love for meet When you look
at a band like zz top right, who I always
like them musically, you know, but more than anything. I

(37:29):
was like, that was three guys who never broke up
in forty something years till one of them died. Like
to me, they should be handling peace in the Middle East.

Speaker 2 (37:40):
Yeah, I mean, it's like yeah, because it's you don't
have the blueprint from it for it for you from
your family, and you don't have the blueprint for it
for your your friends. It's the whole or your you know,
if you were doing a different job. It's like it's
a unique relationship, isn't it. You spend so much time together,
you work together, you spend leisurely time together. Yes, it's

(38:01):
really weird too. This is weird, but so yeah, it's
got to take. It's hard to navigate and so far
so are the.

Speaker 3 (38:13):
People that you've heard from or seen or been around
that you like just you know, again, when you're around anybody,
you pick up stuff from them, good and bad. You
learn stuff that you want to deal and stuff like
just by watching people that you don't want to deal.
So there people that you feel like you've really learned
a lot from in terms of navigating.

Speaker 6 (38:30):
I think we went on we went on tour with
the Queens of the Stone Age. That's quite a big moment,
wasn't it as a band that means so much does
musically and you know, growing up how them kind of
their crew and team, it was like a big family,
it felt like, and that was that kind of felt important.
You know they I guess they you know, have had

(38:51):
their crazy moments or whatever, but that felt.

Speaker 7 (38:54):
Like, Yeah, it was interesting insight into the wider thing
because you spend so much of the time on tour
and creating that atmosphere, because the crew you're with everyone,
you know what I mean, you're spending every waking minute
and to make sure that it's like to create that
atmosphere to make.

Speaker 8 (39:07):
Everything a lot better.

Speaker 3 (39:09):
Yeah, I mean, so for you guys, then, what were
some of the things that you really picked up from
it that you enjoyed you did that, or any other
one where you've like just that you've now It's funny
like again with the idea of stuff being subconscious, that
when you start this tour that you take, you know,
you realize like, okay, that's stuff we didn't even notice,
but now we know we're doing this, or we watched

(39:30):
this person do this.

Speaker 7 (39:31):
Well they had a flight case just for cassamine goes tequila.
So I think that was a good idea.

Speaker 8 (39:39):
I think it was.

Speaker 3 (39:42):
That would lead you a lot of drunken karaoke parties exactly.

Speaker 8 (39:45):
Maybe someone might sing Chicago.

Speaker 5 (39:50):
I mean we went really, really really early on. We
went on tour the band called the Manic Street Preachers,
and we were like, I don't even think we had
a I don't even know what we were doing at
that time. And they were playing arena. It was in
the UK and in Wales and stuff like that, and
we were playing arenas and I just remember they were
so kind and I didn't expect we'd see them or

(40:12):
any you know what I mean, Like, you don't know
what these We're played in pubs before that, do you
know what I mean? So I played in pubs with bands.
I didn't talk to us, do you know what I mean,
but they would like shook our hands. I made sure
we were okay, and on the last gig they bought
us like a Bottley campaign. It was just like wow, yeah,
and that's really stayed with me how humble they were,
and they were literally setting out like arenas and I

(40:34):
really loved them for that. And I'm not saying we
wouldn't have been kind to bands if we hadn't done that,
but it just was a great example of like a band,
a massive band speaking to a very small band with respect.
And I will always be respectful for them for that.

Speaker 3 (40:48):
Yeah, that's very cool because again it does show you
how like, like I always said, the nicest person in
the music industry is Stevie Wonder, Like he's the nicest
person in the world. And it's like if Stevie Wonder,
as big as he is, can be that nice, there
literally is no excuse for anybody else.

Speaker 8 (41:05):
Yeah.

Speaker 5 (41:05):
Well, I guess with Harry Styles as well. When we
did some shows of him, he again amazing crew for
like a family, you know, I'm sure he's a very
busy person. He gave us his time and his crew
were incredible to us. There was no like get out
the way, this is Harry Show, none of that, total
respect to them.

Speaker 7 (41:22):
He also managed to cultivate an atmosphere where because he's
quite a fanatical character, like people are really obsessed with him,
but he'd managed to make it that people who came
to the show still were curious about the opener and
were like encouraging, which I think is quite hard to
do and I don't know.

Speaker 8 (41:35):
How he's done that. I know how we would do
that because we're not Harry Styles. But that was amazing.

Speaker 3 (41:41):
That's such a compliment to you guys though, that you
could play with Harry Styles, who, by the way, is
an amazing performer.

Speaker 8 (41:47):
Yah, some of the.

Speaker 3 (41:47):
Best like pop shows I've ever seen, you know. And
it's funny because even just watching his show as someone
who's older and he is such a music snob as
you can tell, I was like, well he's playing Dylan
before and Van Morrison after. I was like, shit, that
did he knows his music?

Speaker 5 (42:01):
Yeah?

Speaker 3 (42:02):
So but again, that you could play for Harry Styles
and manstry futures, you know, I mean, that says a
lot to your diversity.

Speaker 2 (42:10):
Yeah, it's cool. It's fun for us as well. You know,
you learn so much from being a sport band, and
it's also fun. You get to it's fun to be
on like multiple totally different.

Speaker 8 (42:27):
I want to do another. Yeah, what what would it be?
They are so interesting?

Speaker 3 (42:32):
Yeah, you learn, So it would be the dream under deal.

Speaker 8 (42:36):
It's a question we were talking about the other day.

Speaker 7 (42:40):
I mean my dream was I grew up listening to
the songs for the Deaf and rated R and like
I have a Queen's of the Stone ash te and
that happened. So that was like my dream complete there.
But now I don't really know what it is, what
that looks like.

Speaker 4 (42:52):
Yeah, I don't know.

Speaker 8 (42:55):
I feel like you've got something.

Speaker 5 (42:56):
No, I'm just thinking. The reason why I loved the
Harry Style was one was because I was actually quite
nervous for us to do that for various reasons, and
it just opened. It was just so fun but different.
I'm trying to think of what would be different for us,
Like I wouldn't want to go with something that's like
makes sense almost it kind of didn't make sense. And

(43:19):
it was just such an experience. And again credit to
his audience who were just so open minded and you know,
I'm also quite snobby about music, and maybe I didn't
know if that was how it was going to be.
I thought maybe it'd be like, we're just here for
Harry Styles. Not like that at all, just an amazing audience,
totally open minded.

Speaker 3 (43:35):
I mean, I think because he is such a music
fan that does infuse his I mean, I love and
I've known Ben Harper for years and Ben Harper was like,
I would do it again in a second. He's like,
those were some of those fun shows I've ever done.

Speaker 5 (43:48):
He actually he came with Harry Styles to see us
pet the Wilson Ben Harper remember meeting I remember meeting
him backstage with Harry Ran thing.

Speaker 3 (43:56):
Yeah, but I mean that's the guy who's like never
had a pop hit, never had like ray of success,
you know. I mean, it's one of these huge, great
artists that all artists love. But I mean, no one,
like you know, the people who listen to radio aren't
going to know him. And he was telling me those
were like the most fun shows he did.

Speaker 8 (44:13):
Credits him.

Speaker 3 (44:16):
Yeah, So who is it for you guys? There's someone
or you know.

Speaker 6 (44:19):
I can't think of someone.

Speaker 4 (44:21):
I don't think of someone either.

Speaker 5 (44:23):
I'll just go on to her sounds okay to be honest.

Speaker 4 (44:29):
Are you good question? Quite fun to I don't know the.

Speaker 6 (44:34):
Kind of thing non English language speaking something fun maybe
like a Rosalier or something like that. Or I don't know,
something that's in a new audience or some audience somewhere different,
tapping into something. Yeah, M.

Speaker 5 (44:48):
At like one a M.

Speaker 8 (44:50):
I'll get the answer.

Speaker 2 (44:52):
Ship.

Speaker 8 (44:52):
I should have said that. Yes.

Speaker 3 (45:08):
I mean again, there's no right or wrong. It's just
whatever comes to mind. There's like a good answer for
some reason for you guys. I keep thinking of Dell really, but.

Speaker 8 (45:17):
It's so interesting.

Speaker 3 (45:18):
I mean that kind of is yeah, because what we
were saying, Harry styles, I like that makes sense.

Speaker 6 (45:23):
I feel like this we accept.

Speaker 4 (45:27):
I feel like I am going on with it now.

Speaker 8 (45:29):
I'm excited.

Speaker 6 (45:30):
You are the agent.

Speaker 7 (45:31):
But we've got a lot of references to Tottenham on
this new album, and she's from Tottenham and.

Speaker 8 (45:37):
Also Greg made the album, so maybe that's the link.

Speaker 3 (45:40):
There you go, so for you guys all, before we
wrap up on the album, the podcast is called in
service Up because I talked with the artists about giving
back and giving back is you know, a broad term
for musicians, because whether you are you know, doing something
philanthropically or you are just you know, making music that,

(46:00):
as we talked about, people can say saved their lives
or gave them a respite or whatever it is. Like
I remember talking with Blondie about the fact they never
made a political song in their life, but to them
that's a statement because it allows people to have an
escape when they come to the show. Not like that
makes perfect sense. So for you guys, what is giving
back mean? And like, in what ways do you like

(46:21):
to do it and how does it influence your work?

Speaker 2 (46:27):
That's pretty hard, I think, like being vulnerable in your
music and sometimes pretty embarrassing, like showing people with your
ideas and stuff and putting yourself out there, and it

(46:49):
doesn't it doesn't always feel comfortable, and someone takes something
like what we were saying before, if someone takes something
from that, I know that I've been to shows or listen.

Speaker 4 (47:00):
To music and it's really helped me.

Speaker 2 (47:03):
And so I'm really appreciative that those artists did it
when it might not have been something that came naturally
to them to.

Speaker 4 (47:13):
Do it.

Speaker 3 (47:14):
I don't know where I found that, Tew. You make
the biggest connection with people. Like, actually, you found that
the more vulnerable you get musically, the more people respond
to it because it's like they just feel again going
back to what we talked about, certain songs, they feel
like they see themselves in there.

Speaker 5 (47:29):
Yeah, we've spoken about this before about how something really
personal becomes universal, and I think that's what you were
what you were saying earlier about. And that is strange,
isn't it. It speaks to more people. The more insular,
not insular, but the more personal is does actually transcend that.
And if you try and write something universal, it's actually
quite vapid, probably and vague and is vanilla and no

(47:52):
one really well.

Speaker 7 (47:52):
It's easier to tell a story through one person's experience
to talk about like you know, when politically people talk
about statistics, when you tell the story of someone that reads,
which is also.

Speaker 8 (48:01):
Interesting and also maybe a credit.

Speaker 5 (48:03):
Like you always just think this experience is only happening
to you, and actually it's happening to everyone.

Speaker 2 (48:08):
Yeah, sometimes it's Actually.

Speaker 3 (48:13):
I've literally talked to people who've written songs about their
grandparents and like people love that song.

Speaker 5 (48:17):
Oh yeah, I mean where we have that as well? Yeah, No, totally,
it's an interesting thing.

Speaker 3 (48:23):
But it's funny because, like Ellie was saying earlier, you
don't put politics in there. It's so fucking hard to
write a good political song.

Speaker 8 (48:29):
Wow, I can't imagine.

Speaker 3 (48:32):
I mean just I don't know. I don't write songs
are for people. I've talked it. They say it's one
of the most difficult things.

Speaker 8 (48:36):
In the world to do it.

Speaker 2 (48:38):
I actually listened to Semat's new song You're You're Country,
and it's like, you know, it's really interesting because it's
really good, but it's like quite like she's talking about
a period of time in Irish history is not that
long ago, and it's quite like, I don't know, like

(49:00):
often you like you do a personal song and then
you take away some politics from it, but this is
very like, you know, it's like got information in it,
if you know what I mean. And I haven't heard
that in a while done well, especially in like pop music.
So that's very really cool song.

Speaker 3 (49:16):
Yeah. So for you guys, last question, what do you
take from the sound when you hear it? What do
you want other people to take from it?

Speaker 9 (49:23):
More?

Speaker 3 (49:24):
What do you take around it that when you hear it,
When you hear it as a complete work because the
other thing I talk about people all the time, Right,
you're making a record, you have no idea what the
hell it's about. It's only when you go back and
let's do it that you kind of pick up on it.

Speaker 8 (49:44):
Hard. Yeah.

Speaker 6 (49:45):
Yeah, I feel like I haven't listened to it in
a world to be a questions. Yeah.

Speaker 5 (49:51):
I guess for me, it's less about a message. But
I know how hard we work to make it sound
the way sounds and to make these set of songs.
I know how hard.

Speaker 8 (50:04):
It was tough.

Speaker 5 (50:06):
You know, there was times that it was tough to
make sure we kept on the path that we did,
and so I'm immensely proud of that, And that can
only really come from somebody that's been involved in making it,
do you know.

Speaker 3 (50:16):
What I mean?

Speaker 5 (50:16):
Like it might not mean anything to the listener, but
I'll always be so proud of that because there's so
many different times it could have gone off in different tangents,
and I don't think it would have been as good
a record if we had, so I'm really proud. I
get immense pride from listening to it that we stuck
to our guns as a group and saw it through
to the end. And I think created my favorite wolf

(50:36):
Less record.

Speaker 4 (50:39):
Yeah, dry your eyes?

Speaker 3 (50:44):
Cool? What do you guys want to have there?

Speaker 5 (50:45):
And I ask you about and I hadn't really enjoyed that.

Speaker 8 (50:52):
Talk from us. Yeah that was really great.

Speaker 3 (50:54):
Yeah, so if I brust on occasion because honestly, like
I said, I haven't done it in person interviewing a
long time, and I was thinking about the fact I
just may need more of a filter.

Speaker 5 (51:09):
Jesus, you have everything so filmed. It was quite liberating
to not have that.

Speaker 6 (51:14):
Good interviews should just feel like conversations.

Speaker 3 (51:17):
Yeah, I understand that. Yeah, but I mean it's like,
for example, you know, I don't want to pick up
or just to be because everybody picks on the guy.
I just have to be that particular song. Yeah, and
I just you know, as I said, but it's like,
you know, some music he just like does not connect
with you at all.

Speaker 6 (51:37):
I feel like you're clear, you know not.

Speaker 3 (51:39):
Now by the way that this is done, what else
your funeral wedding song? Now the pressure is not off.
I mean, now the pressure is off. This is not
on record anymore. There has to be a good answer.

Speaker 5 (51:53):
I can definitely see that still recording.

Speaker 2 (51:58):
It's not because I'm like, I know there's no wrong
or right answer, but there's the right answer for me.
And I'm not good at remembering things quick on the
on the spot, so I literally don't know. I would
just say anything and it would be not true.

Speaker 4 (52:14):
So I don't know. I don't know.

Speaker 3 (52:19):
That's fair.

Speaker 2 (52:22):
You know, it will come to me at the wrong time,
like you're.

Speaker 3 (52:25):
Saying, you'll come to thee.

Speaker 2 (52:26):
Like, maybe it depends who I'm getting married to.

Speaker 3 (52:30):
Yea, if someone doesn't approve of your song, do you
really need to marry them someone you should be married too.

Speaker 2 (52:40):
I feel like I have all the thing to make
me know I'm going to be like, please.

Speaker 4 (52:46):
It's fine.

Speaker 3 (52:48):
I mean, music is fucking important. Though music is.

Speaker 7 (52:50):
Really important, but I definitely my partner I do not
agree on everything.

Speaker 3 (52:57):
What's funny because my ex wife I'm still good friends
with hed seely Dan with a passion. She was actually
telling me she's like, no woman would ever listen to
Seely Dan.

Speaker 7 (53:06):
I thought we were finished recording and yeah, people already
get that back up against the Water by Stevie Dan, didn't.

Speaker 3 (53:12):
I mean, I love Steely Dan, one of the greatest
bands ever, So yeah.

Speaker 7 (53:17):
Why do people dislike them, So I got kind of
that like soft rocky thing right that people.

Speaker 3 (53:22):
I think for some people it's just surreal brol you know,
it's like it feels like again, you know, maybe for
the same reason that I hate broad.

Speaker 8 (53:28):
Rock, right.

Speaker 1 (53:30):
Yeah.

Speaker 6 (53:30):
I think it is that I heard the record. I
don't know how it was like presented in the time.

Speaker 3 (53:34):
I don't know if it was like, well, you know
the ended tour in the seventies that was so was
it that they didn't know they were not a live
band and then they became that's interesting, Yeah, just a
studio band. Yeah, I mean that's what they wanted to be.

Speaker 9 (53:51):
You know.

Speaker 3 (53:51):
It's funny. I remember Don Helen Don Henley telling me, like,
you know, the Eagles took so much ship for their
live shots sounding the same as the record, and it
was laughing. He's like, do you know how fucking hard
that is to do?

Speaker 7 (54:03):
That's like the hardest thing to do. Possibly, that's like crazy. Yeah, yeah,
I mean, well we did it now.

Speaker 3 (54:11):
So people are just weird about stuff, you know, But
there's no again, there's no right or wrong. I mean,
you know, there has to be a limit to you know,
who belong in the same sense, but otherwise now there's
just you know, whatever you like is fine.

Speaker 8 (54:26):
I agree.

Speaker 3 (54:27):
But it's funny though, because you were talking earlier about
the you know, like when you're younger, there's certain things
you love and you know you won't listen to other stuff.
And I was just interviewing Nikki six not long ago
from Molly Crue about did they do a song with
Dolly Parton, and he was saying, you know, and I
was saying, when I was a kid, I was a
metal kid, and so I would have like hated the
idea of Motley Crow and Dolly Parton. I've since interviewed

(54:49):
Dolly ball multiple times she's used and it's funny, like
I was not a country fan, and now like there
isn't a rock star in the world who doesn't say
Johnny Cash is the coolest fucking person who ever lived.

Speaker 8 (55:01):
I need to hear this story part and then.

Speaker 3 (55:02):
What it's a remaker Home Sweet Home, but it's all
for charity, so it's for a good cause. It's for
Covenant House. Yeah, but again, like we're saying, it's like,
you know, if you're a kid, you hear that stuff,
you're like, eh, and then you realize like, oh no,
that's really cool country.

Speaker 7 (55:19):
I think has that part. I've never understood that when
I was teenager, but now I'm like.

Speaker 3 (55:24):
Hell yeah yeah. Like I said, you won't find anybody
in the world. He doesn't say Johnny Cash is a
cooler than any rock staring over there.

Speaker 8 (55:32):
That's very cool man cool.

Speaker 3 (55:35):
Well, well, thank you so much