April 6, 2026 • 17 mins
Featured Artist: Crowded House
Featured Vinyl: Woodface
Alexis’ Hot Pick
Weather With You
Sam’s Hot Pick
It’s Only Natural
Blake's Hot Pick
Four Seasons In One Day
Special Guest: Blake Williams
Aus Music Alert! Support this artists by purchasing this record: https://www.neilfinn.com/woodface
Thanks for listening, catch you on the next episode.
Psst! We are always on the lookout for an artist's vinyl to listen to, have you got one in mind that we should check out? Get in contact with us via Instagram @throughthecreativedoor
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CREDITS
Created and Hosted by Alexis Naylor
Co-Host: Sam Timmerman
Music by Alexis Naylor & Ruby Miguel
Voiceover: Ruby Miguel
Edited and Produced by Ruby Miguel
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:09):
Welcome to B Side, the mini series.
From through the Creative Door, join Alexis and Sam as they dive into the timeless world of vinyl.
For Alexis, vinyl was more than music.
It was a Sunday ritual she shared with her dad, listening, talking, and soaking in the stories behind each album and the artwork on every sleeve.
(00:30):
Though her dad is no longer with us, she continues this tradition with her friend Sam Timmerman.
Join them as they share their passion for vinyl and the stories is Records hold.
Oh my goodness.
We are back again for another episode of On Through The Creative Door.
(00:52):
Sam and I have the absolute pleasure of having a Blake Williams on the line.
Hello?
Hello.
Oh, hello everybody.
How are we?
Better in seeing you?
Oh, from both sides of the country as well.
Do we insert crowd noise right here?
Is that how this Yeah, please.
I usually have one ready to go for those tuning in.
This wonderful human in front of us, Blake Williams.
(01:15):
He was part of season one, episode 24.
And oh my goodness.
What's been happening in your world since we chatted last?
We, he's had a baby since then.
That was a big developer.
Very true.
A lot.
Congratulations.
Yeah.
Yeah.
Little Quinny.
So he's almost 20 months old, 19 months approximately.
Something around there.
(01:35):
And so that, that was a big change in our life and that changed the way that we worked and we slept and all of that good stuff.
And then from a work perspective, like, to be honest, I think it's only got busier from when we, when we had a conversation, that's when we were really starting our company, Williams Creative, which as Sam knows, Sam does a million gigs with us throughout the year.
It's a creative company.
(01:56):
It's, it's all based in music, but it's making performances and it's doing a whole bunch of different things.
That has gone busier, busier.
So having a baby and starting a company, I do not recommend at the same time you have to do one or the other.
Not both at the same time.
But listen, it's all good.
The thoughts going on and we're really happy.
But yeah, it's a busy schedule, but I wouldn't like it any other way.
(02:16):
That's what we like to hear.
Love it.
But without further ado, you have an offering for us all.
I do.
You asked for.
An album, and it's hard to know where to go with this because you think, okay, should I go a local Perth album, maybe a friend's album, something like that.
Australian International Greatest Hits.
(02:38):
I don't know.
I didn't know where to go, but I went to what I think is my favorite Australian album by one of my favorite Australian bands, which is Crowded House.
And I'll call them an Australian band because yes, Neil Finn is royalty from New Zealand, but this was formed in Sydney.
So this is an Australian band, so Crowded House, wood face, third album from Crowded House.
And I think for me it stands out because could you imagine releasing the songs on this album in 2026 as that level of songwriting?
(03:09):
I think you would blow people's mind.
Oh yeah.
We've come to expect it of someone like Neil Finn to just write incredible melody after incredible melody.
But this album for me stands up even still, early nineties.
This film was released 91, 92, I think July 91.
Yeah, July 91.
Sounds about right.
Winter of 91.
(03:30):
And these days, all these years later, these songs are still incredible.
And I think for me, like looking at how this album came about.
It's like a frozen moment in time.
Really?
This is when Crowded house for existing, and Neil Finn was doing all of his stuff, but this is when Tim Finn, his brother, jumped in and that's where these songs came from.
(03:51):
They were only together for this one album.
Then after that, Tim left.
'cause it was never meant to be a crowded house album.
It was gonna be a a Fin Brothers album.
So it's a encapsulated and crystallized in a moment in time where these two brothers got together, wrote incredible tunes, and Australian Radio has been very happy ever since.
(04:12):
No, I feel like this is a great segue.
You've encapsulated this album so poetically for us.
But I'm curious, and our listeners are curious if you have to, which I feel like this is just blasphemy to even ask, but if you've had to pick a top pick, what would track?
Look at this two sides.
(04:32):
First side, you've got five singles really, that came from the first side of the album.
So chocolate cake, which is very Tim Fin.
It's only natural all at your feet, weather with you, and four Seasons in one day.
There's seven songs on the first side.
Five of them are singles.
Four of them became mega hits around this Australia, but also the the album, this album's tour with an international tour.
(04:57):
It was absolutely huge.
I would say this songwriting in four seasons in one day.
It's pretty special because it also feels like four songs in one song and just the, like the other worldliness of it, the introspective melodies that, that Neil Finn writes combined with Tim Fin's.
(05:17):
I don't know.
Theatrics are what makes this album what it is, but for me, four seasons in one day is, is pretty special.
It's an incredible song.
Yeah, man.
Am I alone in feeling a little bit Simon and Garfunkel as well when I'm listening to that?
I think that's where a lot of these harmonies come from, right?
Yeah.
And they have this Everly Brothers vibe where, mm. And it's something that I really do think only families can do.
(05:43):
There's that similarity.
Voice similarity, and I don't know what creates it, but it absolutely exists.
And when you have siblings sing together, there's just another sort of level of magic, whether it's the phrasing or the way that these voices intertwine, but the harmonies that they come up with.
What I also like about the way they place these harmonies from a musical's perspective is it's not where you standard would go.
(06:10):
It's not just like you're singing a third or a fifth.
Yeah.
It's like you are continually singing these counter melodies that are, it's, and this is the thing with Created house, it's difficult sometimes to know what the melody is because the counter melody is also really good.
And it'll be very difficult to hear the song as strong without both vocal lines.
(06:33):
Absolutely.
I think Ice will melt.
Water will boil first lines from, it's only natural.
You.
I can't hear that song without hearing both melody lines.
Yeah.
Yeah.
It's a really cool thing, and I would love to see, I don't know if a documentary exists on the making of wood face.
I don't know.
I've never seen any footage of it, but imagine being in the studio and just watching them come up with this.
(06:55):
That would be to go back to winter of 91 and what's that?
How cool would that be?
It'd be incredible.
I love to ask.
I'd love to ask them, which one is the Melody Singer?
And see them fight it out.
Yeah, that's right.
'cause I would say that both would say that they were the Melody singer.
Oh yeah.
Oh yeah.
Great Sibling relationship right there.
That's right.
Who's the Star, of course, star?
(07:17):
Yes.
Yeah, yeah, yeah.
And then side two of this album.
Great songs.
But it's amazing.
I wonder when they stacked this album and they worked out what the order was going to be, if they said, let's just put all the goods, let's put all the things we think are gonna be.
Top 20 hits in the first 20 minutes of the album.
'cause that's what they did.
Mm-hmm.
(07:37):
And even now, Neil Finn did a gig 86 months ago in Kings Park end of last year.
And heavily this album was featured in the set list from that show.
So all these years later it, they're still about crowd favorites.
They're still live favorites book ending.
The shows really starting and finishing with big Crowded house songs from this album.
(07:58):
Now you've got the glorious physical item in hand.
I do.
There some sneaky bits and pieces.
I always find it fascinating on vinyls if there's any little snippets of writing or extra bits and pieces that you know, unless of course you had the physical copy that you might miss online.
This one doesn't.
(08:18):
This one I got from this, it's not really a very interesting story, but.
When I was thinking about getting into vinyl, I thought, ah, do I really wanna take this leap?
And I'm assuming you guys have got quite the collection of vinyl around and so do many of my friends.
And I thought, do I really want to look into this new world of collecting vinyl because they're expensive and.
(08:41):
You've got them.
It's a full physical process.
You put it on, you come back 20 minutes, you change the side.
And I love that that tactileness with having an album, with having a vinyl record.
But yes, I was wary if I was gonna get into it because once you start, then you can't stop.
And people that have got record collections are like, I'll sell this house, but I'm selling it with the vinyl collection 'cause I am moving it again.
(09:03):
There's no way that I'm packing this all up and doing it.
But I found this one at a, at a record fair in Belmont.
Which had a whole bunch of classics.
And isn't that funny how I'm very sure I've bought this album four times.
I bought you on cd.
I bought it on iTunes, I bought it on tape and here we have it on vinyl.
(09:24):
Shout out iTunes in the middle of that though.
There we go.
I know, I know.
And I don't even know my iTunes password anymore.
So whether it's even in the account, I've got absolutely no clue.
But it's funny, I'm, it's probably the same for you guys.
You've bought the same album multiple times because that's just where it goes.
But take that as a lesson.
Go to your local record fairs as well.
(09:44):
Yeah, definitely.
Alexis, do you have one that you connect with and subscribe to more than anything else?
I had to go with?
Yeah, like a crown favorite one that I've just absolutely always adored and it's weather with you.
It gives me this very nostalgic, quintessential Australian band sound that just even for my own early roots of being in high school bands and things, I just add that beautiful rounded sound is just, yeah, super nostalgic.
(10:19):
Also, it's just a banger of a song.
And I really love songs with the storytelling where you are going, okay, I'm gonna think of a place, or I'm gonna think of a time and I'm gonna write around that.
You don't have to be in it exactly.
But yeah, we can create that story and that picture for a particular moment in time.
And like you said, Blake, when you have siblings and family that are writing together and you have.
(10:44):
This for this song, a fictitious address, but it's a place in New Zealand, something that they know it's nostalgic.
I think everything about what they've written in this song, it really takes you there.
I feel part of it, I feel like I'm part of the, the wallpaper, I'm part of the furniture without fully knowing the full story, if that makes sense.
(11:05):
And yeah, just you can get lost in that nostalgia.
I absolutely love it.
Oh, brilliant.
Absolutely.
It's an interesting point too, that you raised about how it, it has a particular band sound because isn't it funny how.
You can, you could, I think you could tell that this is an Australian song without knowing who it was created by.
(11:27):
It doesn't sound like New York.
It doesn't sound like la.
It doesn't sound like England.
It just sounds like Australia and I dunno what that is, specifically
instrument combination.
I don't know.
We write melodies in a certain way, possibly, but I dunno if that's it.
I don't know.
(11:47):
It just has, and I think that, yeah, this was like a benchmark and a, a roadmap for a lot of bands coming in after in, in the nineties and thousands to go, how do we write really musical pop songs?
Because that's what they are.
And they've got weird odd time bars here and there, and Neil Finn Chuck's in a two Paul bar when you least expected, and the whole band forgets about it and the song falls over.
(12:09):
Happens constantly because he has these little nuggets in these songwriting ideas, which are.
Just really Neil Fin esque, but it's a whole way of writing which people try and emulate and do their own thing with.
But it definitely has an Australian feel to it, and it's, I know sometimes that's the magic of it.
You don't try and analyze it too much.
(12:29):
You just go, that's why it's beautiful.
Then I'll just leave it there.
Mm-hmm.
What about you, Sam?
There's something on there that stands out for you.
Oh, speaking of nostalgia, I first heard these few singles as probably about a first memory is gonna be.
Too early to remember, but about a three or 4-year-old in country Western Australia on my dad's old tower analog speakers with the full silver amp rack and the record player on the top and only natural was the first one that I, out of these Crowded house tunes that I remember hearing.
(13:05):
So I had to just go straight for that.
I've always known the lyrics.
I've never really thought too hard about their meaning until.
Listening back to it again in this context, and it still just stays with me in exactly the same way.
And I loved thinking about the emotional content, not necessarily trying to connect it with my own life, but just going, yeah, that works.
(13:33):
Mm. And I straight go straight back, and I sit back into the music and I go, yep.
I'm sitting on very aggressively floral.
Nineties carpets with a hidden ceiling listening to this song.
How good.
And it's, I think the lyric content of this sort of stuff, it's so layered, right?
(13:56):
You can listen to a song like Fall at Your Feet and Go, the lyrics are lovely and it works and it satisfies and it's, you don't need to think about it anymore.
That if you wanted to, you could sit down and actually really sit and analyze these lyrics and find so much more in them.
But it's.
Like a multi-leveled lasagna that you don't need to go all the way into, but that's it.
(14:17):
But you can if you choose to.
Mm. And I don't know how you write songs like that.
I'm not a Neil Finn.
No one is.
That's it.
The beauty I find in all of this is that you can deep dive lyrics, you can deep dive music, but the way that they lend themselves to each other, the, just the pure songwriting, the way that musically you can feel what the lyrics are trying to convey.
(14:41):
Through the vocal.
There's not, it's not over composed, it's not over instrumentalized, it's not over orchestrated.
It's pure and simple songwriting in its best form that we really know of.
Absolutely.
One thing that Sam and I see time and time again while doing things episodes is that they are, when you start to deep dive.
(15:05):
So much so with with older records and vinyls, that there's so much sliding moments of particular people working or featuring and colabs and just Yeah, exactly.
That it's like it worked because the right people were in the right place at the right time, or one of the records that we talked about a little while ago, they were writing things in.
(15:29):
Drew Barry Moore's house and suddenly kind of the record came together and she got a mention on their vinyl, and I don't know, there's just, that's it.
Or something like, it's Stevie Wonder hotter than July one of the tunes.
Michael Jackson's a backing vocalist.
Yeah, yeah, yeah.
Because he was, they're working in the same studio, right?
Yeah.
Yeah, yeah, yeah.
You see that?
I mean, that's the beauty of the recording Music life.
(15:54):
Being out there and doing stuff and meeting people and having new experiences and just doing this all the time, you're going to have those sliding door moments.
It's a, it's just a part of it, but I think that's what's so special about writing music.
It is only a moment in time never to be repeated, and you try and bring that magic back and sometimes it's gonna happen, but sometimes it's not.
(16:18):
And nor should it, right?
Because that's, you can't plan these things.
Part of the magic.
It's part of the magic.
It's part of the magic.
That's right.
Oh my goodness.
Blake Williams, thank you so much for joining us for thorough the Creative Door for B Side.
Thank you so much for having me.
Appreciate it.
Good fun outta the house Wood face.
(16:39):
Check it out.
Thanks for tuning in for another episode of Through The Creative Door.
If you enjoy our episodes and find value in them, consider supporting us by making a donation.
Just visit buy me a coffee.com/through the creative door, or via the link in our Instagram buy where you can choose an amount and even write us a little message.
(17:06):
Every little bit helps, and we truly appreciate all of your support.
But if you can't donate, no worries.
You can still help us out by sharing our podcast with your friends and family, and leaving a review on your favorite platform.
Thanks so much for being part of our community, and we'll catch you on the next episode.
Bye.
Welcome to B Side, the mini series.
From through the Creative Door, join Alexis and Sam as they dive into the timeless world of vinyl.
For Alexis, vinyl was more than music.
It was a Sunday ritual she shared with her dad, listening, talking, and soaking in the stories behind each album and the artwork on every sleeve.
(00:30):
Though her dad is no longer with us, she continues this tradition with her friend Sam Timmerman.
Join them as they share their passion for vinyl and the stories is Records hold.
Oh my goodness.
We are back again for another episode of On Through The Creative Door.
(00:52):
Sam and I have the absolute pleasure of having a Blake Williams on the line.
Hello?
Hello.
Oh, hello everybody.
How are we?
Better in seeing you?
Oh, from both sides of the country as well.
Do we insert crowd noise right here?
Is that how this Yeah, please.
I usually have one ready to go for those tuning in.
This wonderful human in front of us, Blake Williams.
(01:15):
He was part of season one, episode 24.
And oh my goodness.
What's been happening in your world since we chatted last?
We, he's had a baby since then.
That was a big developer.
Very true.
A lot.
Congratulations.
Yeah.
Yeah.
Little Quinny.
So he's almost 20 months old, 19 months approximately.
Something around there.
(01:35):
And so that, that was a big change in our life and that changed the way that we worked and we slept and all of that good stuff.
And then from a work perspective, like, to be honest, I think it's only got busier from when we, when we had a conversation, that's when we were really starting our company, Williams Creative, which as Sam knows, Sam does a million gigs with us throughout the year.
It's a creative company.
(01:56):
It's, it's all based in music, but it's making performances and it's doing a whole bunch of different things.
That has gone busier, busier.
So having a baby and starting a company, I do not recommend at the same time you have to do one or the other.
Not both at the same time.
But listen, it's all good.
The thoughts going on and we're really happy.
But yeah, it's a busy schedule, but I wouldn't like it any other way.
(02:16):
That's what we like to hear.
Love it.
But without further ado, you have an offering for us all.
I do.
You asked for.
An album, and it's hard to know where to go with this because you think, okay, should I go a local Perth album, maybe a friend's album, something like that.
Australian International Greatest Hits.
(02:38):
I don't know.
I didn't know where to go, but I went to what I think is my favorite Australian album by one of my favorite Australian bands, which is Crowded House.
And I'll call them an Australian band because yes, Neil Finn is royalty from New Zealand, but this was formed in Sydney.
So this is an Australian band, so Crowded House, wood face, third album from Crowded House.
And I think for me it stands out because could you imagine releasing the songs on this album in 2026 as that level of songwriting?
(03:09):
I think you would blow people's mind.
Oh yeah.
We've come to expect it of someone like Neil Finn to just write incredible melody after incredible melody.
But this album for me stands up even still, early nineties.
This film was released 91, 92, I think July 91.
Yeah, July 91.
Sounds about right.
Winter of 91.
(03:30):
And these days, all these years later, these songs are still incredible.
And I think for me, like looking at how this album came about.
It's like a frozen moment in time.
Really?
This is when Crowded house for existing, and Neil Finn was doing all of his stuff, but this is when Tim Finn, his brother, jumped in and that's where these songs came from.
(03:51):
They were only together for this one album.
Then after that, Tim left.
'cause it was never meant to be a crowded house album.
It was gonna be a a Fin Brothers album.
So it's a encapsulated and crystallized in a moment in time where these two brothers got together, wrote incredible tunes, and Australian Radio has been very happy ever since.
(04:12):
No, I feel like this is a great segue.
You've encapsulated this album so poetically for us.
But I'm curious, and our listeners are curious if you have to, which I feel like this is just blasphemy to even ask, but if you've had to pick a top pick, what would track?
Look at this two sides.
(04:32):
First side, you've got five singles really, that came from the first side of the album.
So chocolate cake, which is very Tim Fin.
It's only natural all at your feet, weather with you, and four Seasons in one day.
There's seven songs on the first side.
Five of them are singles.
Four of them became mega hits around this Australia, but also the the album, this album's tour with an international tour.
(04:57):
It was absolutely huge.
I would say this songwriting in four seasons in one day.
It's pretty special because it also feels like four songs in one song and just the, like the other worldliness of it, the introspective melodies that, that Neil Finn writes combined with Tim Fin's.
(05:17):
I don't know.
Theatrics are what makes this album what it is, but for me, four seasons in one day is, is pretty special.
It's an incredible song.
Yeah, man.
Am I alone in feeling a little bit Simon and Garfunkel as well when I'm listening to that?
I think that's where a lot of these harmonies come from, right?
Yeah.
And they have this Everly Brothers vibe where, mm. And it's something that I really do think only families can do.
(05:43):
There's that similarity.
Voice similarity, and I don't know what creates it, but it absolutely exists.
And when you have siblings sing together, there's just another sort of level of magic, whether it's the phrasing or the way that these voices intertwine, but the harmonies that they come up with.
What I also like about the way they place these harmonies from a musical's perspective is it's not where you standard would go.
(06:10):
It's not just like you're singing a third or a fifth.
Yeah.
It's like you are continually singing these counter melodies that are, it's, and this is the thing with Created house, it's difficult sometimes to know what the melody is because the counter melody is also really good.
And it'll be very difficult to hear the song as strong without both vocal lines.
(06:33):
Absolutely.
I think Ice will melt.
Water will boil first lines from, it's only natural.
You.
I can't hear that song without hearing both melody lines.
Yeah.
Yeah.
It's a really cool thing, and I would love to see, I don't know if a documentary exists on the making of wood face.
I don't know.
I've never seen any footage of it, but imagine being in the studio and just watching them come up with this.
(06:55):
That would be to go back to winter of 91 and what's that?
How cool would that be?
It'd be incredible.
I love to ask.
I'd love to ask them, which one is the Melody Singer?
And see them fight it out.
Yeah, that's right.
'cause I would say that both would say that they were the Melody singer.
Oh yeah.
Oh yeah.
Great Sibling relationship right there.
That's right.
Who's the Star, of course, star?
(07:17):
Yes.
Yeah, yeah, yeah.
And then side two of this album.
Great songs.
But it's amazing.
I wonder when they stacked this album and they worked out what the order was going to be, if they said, let's just put all the goods, let's put all the things we think are gonna be.
Top 20 hits in the first 20 minutes of the album.
'cause that's what they did.
Mm-hmm.
(07:37):
And even now, Neil Finn did a gig 86 months ago in Kings Park end of last year.
And heavily this album was featured in the set list from that show.
So all these years later it, they're still about crowd favorites.
They're still live favorites book ending.
The shows really starting and finishing with big Crowded house songs from this album.
(07:58):
Now you've got the glorious physical item in hand.
I do.
There some sneaky bits and pieces.
I always find it fascinating on vinyls if there's any little snippets of writing or extra bits and pieces that you know, unless of course you had the physical copy that you might miss online.
This one doesn't.
(08:18):
This one I got from this, it's not really a very interesting story, but.
When I was thinking about getting into vinyl, I thought, ah, do I really wanna take this leap?
And I'm assuming you guys have got quite the collection of vinyl around and so do many of my friends.
And I thought, do I really want to look into this new world of collecting vinyl because they're expensive and.
(08:41):
You've got them.
It's a full physical process.
You put it on, you come back 20 minutes, you change the side.
And I love that that tactileness with having an album, with having a vinyl record.
But yes, I was wary if I was gonna get into it because once you start, then you can't stop.
And people that have got record collections are like, I'll sell this house, but I'm selling it with the vinyl collection 'cause I am moving it again.
(09:03):
There's no way that I'm packing this all up and doing it.
But I found this one at a, at a record fair in Belmont.
Which had a whole bunch of classics.
And isn't that funny how I'm very sure I've bought this album four times.
I bought you on cd.
I bought it on iTunes, I bought it on tape and here we have it on vinyl.
(09:24):
Shout out iTunes in the middle of that though.
There we go.
I know, I know.
And I don't even know my iTunes password anymore.
So whether it's even in the account, I've got absolutely no clue.
But it's funny, I'm, it's probably the same for you guys.
You've bought the same album multiple times because that's just where it goes.
But take that as a lesson.
Go to your local record fairs as well.
(09:44):
Yeah, definitely.
Alexis, do you have one that you connect with and subscribe to more than anything else?
I had to go with?
Yeah, like a crown favorite one that I've just absolutely always adored and it's weather with you.
It gives me this very nostalgic, quintessential Australian band sound that just even for my own early roots of being in high school bands and things, I just add that beautiful rounded sound is just, yeah, super nostalgic.
(10:19):
Also, it's just a banger of a song.
And I really love songs with the storytelling where you are going, okay, I'm gonna think of a place, or I'm gonna think of a time and I'm gonna write around that.
You don't have to be in it exactly.
But yeah, we can create that story and that picture for a particular moment in time.
And like you said, Blake, when you have siblings and family that are writing together and you have.
(10:44):
This for this song, a fictitious address, but it's a place in New Zealand, something that they know it's nostalgic.
I think everything about what they've written in this song, it really takes you there.
I feel part of it, I feel like I'm part of the, the wallpaper, I'm part of the furniture without fully knowing the full story, if that makes sense.
(11:05):
And yeah, just you can get lost in that nostalgia.
I absolutely love it.
Oh, brilliant.
Absolutely.
It's an interesting point too, that you raised about how it, it has a particular band sound because isn't it funny how.
You can, you could, I think you could tell that this is an Australian song without knowing who it was created by.
(11:27):
It doesn't sound like New York.
It doesn't sound like la.
It doesn't sound like England.
It just sounds like Australia and I dunno what that is, specifically
instrument combination.
I don't know.
We write melodies in a certain way, possibly, but I dunno if that's it.
I don't know.
(11:47):
It just has, and I think that, yeah, this was like a benchmark and a, a roadmap for a lot of bands coming in after in, in the nineties and thousands to go, how do we write really musical pop songs?
Because that's what they are.
And they've got weird odd time bars here and there, and Neil Finn Chuck's in a two Paul bar when you least expected, and the whole band forgets about it and the song falls over.
(12:09):
Happens constantly because he has these little nuggets in these songwriting ideas, which are.
Just really Neil Fin esque, but it's a whole way of writing which people try and emulate and do their own thing with.
But it definitely has an Australian feel to it, and it's, I know sometimes that's the magic of it.
You don't try and analyze it too much.
(12:29):
You just go, that's why it's beautiful.
Then I'll just leave it there.
Mm-hmm.
What about you, Sam?
There's something on there that stands out for you.
Oh, speaking of nostalgia, I first heard these few singles as probably about a first memory is gonna be.
Too early to remember, but about a three or 4-year-old in country Western Australia on my dad's old tower analog speakers with the full silver amp rack and the record player on the top and only natural was the first one that I, out of these Crowded house tunes that I remember hearing.
(13:05):
So I had to just go straight for that.
I've always known the lyrics.
I've never really thought too hard about their meaning until.
Listening back to it again in this context, and it still just stays with me in exactly the same way.
And I loved thinking about the emotional content, not necessarily trying to connect it with my own life, but just going, yeah, that works.
(13:33):
Mm. And I straight go straight back, and I sit back into the music and I go, yep.
I'm sitting on very aggressively floral.
Nineties carpets with a hidden ceiling listening to this song.
How good.
And it's, I think the lyric content of this sort of stuff, it's so layered, right?
(13:56):
You can listen to a song like Fall at Your Feet and Go, the lyrics are lovely and it works and it satisfies and it's, you don't need to think about it anymore.
That if you wanted to, you could sit down and actually really sit and analyze these lyrics and find so much more in them.
But it's.
Like a multi-leveled lasagna that you don't need to go all the way into, but that's it.
(14:17):
But you can if you choose to.
Mm. And I don't know how you write songs like that.
I'm not a Neil Finn.
No one is.
That's it.
The beauty I find in all of this is that you can deep dive lyrics, you can deep dive music, but the way that they lend themselves to each other, the, just the pure songwriting, the way that musically you can feel what the lyrics are trying to convey.
(14:41):
Through the vocal.
There's not, it's not over composed, it's not over instrumentalized, it's not over orchestrated.
It's pure and simple songwriting in its best form that we really know of.
Absolutely.
One thing that Sam and I see time and time again while doing things episodes is that they are, when you start to deep dive.
(15:05):
So much so with with older records and vinyls, that there's so much sliding moments of particular people working or featuring and colabs and just Yeah, exactly.
That it's like it worked because the right people were in the right place at the right time, or one of the records that we talked about a little while ago, they were writing things in.
(15:29):
Drew Barry Moore's house and suddenly kind of the record came together and she got a mention on their vinyl, and I don't know, there's just, that's it.
Or something like, it's Stevie Wonder hotter than July one of the tunes.
Michael Jackson's a backing vocalist.
Yeah, yeah, yeah.
Because he was, they're working in the same studio, right?
Yeah.
Yeah, yeah, yeah.
You see that?
I mean, that's the beauty of the recording Music life.
(15:54):
Being out there and doing stuff and meeting people and having new experiences and just doing this all the time, you're going to have those sliding door moments.
It's a, it's just a part of it, but I think that's what's so special about writing music.
It is only a moment in time never to be repeated, and you try and bring that magic back and sometimes it's gonna happen, but sometimes it's not.
(16:18):
And nor should it, right?
Because that's, you can't plan these things.
Part of the magic.
It's part of the magic.
It's part of the magic.
That's right.
Oh my goodness.
Blake Williams, thank you so much for joining us for thorough the Creative Door for B Side.
Thank you so much for having me.
Appreciate it.
Good fun outta the house Wood face.
(16:39):
Check it out.
Thanks for tuning in for another episode of Through The Creative Door.
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(17:06):
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