December 4, 2024 • 15 mins
In this episode of Behind The Vinyl, we kick things off with Gowan, who shares a daring tale from the making of the "Moonlight Desires" video—something you definitely wouldn't get away with today! We then turn the spotlight on Amanda Marshall, who recently made a triumphant return to the music scene. She stops by to discuss her hit "Dark Horse," showcasing her powerful storytelling and performance skills. Finally, we pay tribute to the late Myles Goodwyn of April Wine. Myles takes us through the creation of "Tonight Is A Wonderful Time," revealing the key instrument that gives the song its unique sound.See omnystudio.com/listener for privacy information.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Careful now clock clocklocker boy so cool to be playing
vun on took to wreck it off the tire table.
Speaker 2 (00:07):
Are you ready for this?
Speaker 3 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu Jetbreaks.
Speaker 4 (00:16):
This is the podcast. It turns you into that person
at the party who has all sorts of cool little
factoids about music. Welcome to Behind the Vinyl, where the
artists tell you everything about how their song came to
be in the story behind it. In this episode, we
once again turned things over to the late great Miles
Goodwin of April Wine for his take on how tonight
is a wonderful time sounds so good.
Speaker 5 (00:35):
Thanks to a key instrument you can't have too much cowbols.
Will Ferrell told us on Saturday Night Live. So the
Cowboy is wonderful.
Speaker 1 (00:42):
I still really like.
Speaker 5 (00:42):
The cowboyl acts something about it that's rock solid somehow.
Speaker 4 (00:46):
More with Miles in a few minutes, We're kicking off
this episode with Gowan and Moonlight Desires. Listen for him
to tell you how we managed to do something while
shooting the video back then that you would be arrested
for if you tried it today.
Speaker 6 (00:58):
Yeah, for me to hear the opening of this song. Yeah,
impossible not to picture me myself on top of a
Mayan pyramid, you know, in Totiacan, Mexico, the sun coming
up and a helicopter suddenly emerging and coming up over
(01:20):
the horizon as I stood on the pyramid of the moon,
moonlight desires, and John Anderson was standing on the pyramid
of the sun, and he was dressed as a Mayan god,
and just the transition from night into day. Although the
song is actually more to do with the transition from
day and to night, it was I'd have to say
(01:44):
it was a little bit like walking into Ringo's house
to make strange animal a beatle home.
Speaker 7 (01:50):
To be on top of a pyramid at that time
of day, after having.
Speaker 6 (01:53):
Paid off the the guards at the sight to allow
us to do this, or to let to look the
other way for a few hours, pretty astowning.
Speaker 7 (02:04):
And then.
Speaker 6 (02:08):
I have to say, John Anderson, though the beauty of
him in the studio singing this harmony part is again
one of those ridiculously fortunate things that occurrences in my life.
Because he I was such a gigantic Yes fan. I
used to sing along with close to the edge and
tales from topographic oceans, just in my room like trying
(02:29):
to harmonize with him, and then to hear to see
him in the studio, completely different experience.
Speaker 7 (02:34):
This time it was in Los Angeles.
Speaker 6 (02:38):
In pretty legendary studio there, and and to see him
come up with that harmony and come up with the
with the whole approach to the song, it really it
really just.
Speaker 7 (02:50):
It just opened the song up. It brought it to
a completely other level. And yeah, it's it's a it's
great when you actually.
Speaker 6 (03:00):
Meet one of your idols and it goes spectacularly well.
I think we've all had the experience.
Speaker 7 (03:05):
Where it can go the other way. Coming up with
that and adding that to the song just great again.
Speaker 6 (03:12):
Same producer David Tickle worked on this record and did
a beautiful job. And he had been working with John
Anderson on the Legend soundtrack and had played him Strange Animal,
and then when he heard the bedtrack that we had
done for this.
Speaker 7 (03:27):
Song, he really liked it. And yeah, that's.
Speaker 6 (03:35):
There's all of the angels singing right there. That's what
happens right that spot. Oh yeah, I've been dancing around
on top of top of pyramid. They've the director Rob Quartley,
who made so many great videos in the in the
nineteen eighties and this was kind of the central video
(03:58):
master in Canada that time. And just also I love
the extravagance of making this video, you know, to use
the Mayan Pyramids. And although we were actually threatened by
the Mexican authorities that if we filmed on the Mian
Pyramids any further, we were going to be we were going.
Speaker 7 (04:15):
To find out what Mexican jail was all about. It's funny.
Speaker 6 (04:19):
It's funny because it played there with sticks just a
few years back, and I told that story to a
bunch of various security people that were around us, and
they laughed and said, no, you were allowed to do that.
You know, everyone's out there with with an iPhone camera
now videoing them. I love the fact that that so
(04:41):
many people that you know, still not just relate to
this song, but have discovered it in years since and
it's become, you know, an important song or a pivotal
song in their lives. And that's the longevity of it
is is really is really an astounding thing. And again
it's a piece of my life that it's like the
(05:05):
blood in my veins.
Speaker 4 (05:06):
Moonlight Desires from Gallon and please don't climb the chiechen
needs of Pyramids when you go to Mexico.
Speaker 1 (05:12):
I'm Stu Jeffries.
Speaker 4 (05:13):
You're a host of Behind the Vinyl, the podcast Still
to Come, Miles Goodwin of April Wine and how to
Play a Good cow Bell. But before that, Amanda Marshall
was back on the music scene last year with a
new album and supporting tour. If you managed to catch
her in concert, you know she's a powerhouse and a
great performer. Before her tour started, Amanda managed to pop
by or Behind the Vinyl studios and tell us about
her song dark Horse.
Speaker 8 (05:41):
We may not have time for the rest of the track,
so I'll talk about this all day.
Speaker 2 (05:46):
So dark Horse this piano intro.
Speaker 8 (05:54):
First of all, we didn't have an intro for the song.
There was no intro, and there was no There was
not that symbol swell, There wasn't anything to get us
into the song. We were just playing the song over
and over and over and over again, absent any kind
of intro, and it was getting really frustrating. I remember
Dave was like, I don't know how we're going to
get into this song. And then one day I walked
(06:14):
in and he was noodling.
Speaker 2 (06:15):
He was playing. He was playing the part.
Speaker 8 (06:17):
I think he was trying to get a keyboard sound
or something.
Speaker 2 (06:20):
And I was like, that's why do you want? That's great?
Why don't we do that? It's fantastic. That should be
the thing right there. Why don't we make that the intro?
And I remember he was like, yeah, exactly, that's exactly
what I was thinking. I was like, hut up, you
are not. Yeah.
Speaker 8 (06:38):
So on, once we cleared that hurdle, the rest of
the song was pretty much already written. Dean McTaggart came
over to my little furnished apartment that I was living
in in bur Rank. I'd never been on my own
for that length of time before. I remember the first
time I walked in, I had a panic attack.
Speaker 2 (06:55):
But Dean McTaggart.
Speaker 8 (06:56):
Came over to my apartment and he said, again sort
of like Birmingham. I've got this idea set in in
in Texas, and I don't know the word Abilene keeps
kind of rolling around in my head, and the stories
about these two kids who are trying to like make
it work and trying to like, you know, kind of
(07:18):
run away together and it was a love story, and
immediately I was like, I can sing this song.
Speaker 2 (07:25):
I had just moved out of my parents' house not
long before.
Speaker 8 (07:28):
You know, they weren't crazy about my boyfriend, and there
was conflict. I was trying to sort of individuate from them,
and I was trying to like get my.
Speaker 2 (07:36):
Music career off the ground.
Speaker 8 (07:38):
And it's a time in your life when you're trying
to figure out like what you're doing. You're trying to
be a person, you're trying to be an adult. And
so I immediately was like, I can tell this story.
Speaker 2 (07:50):
This is my thing.
Speaker 8 (07:52):
And Dean had written most of the first verse, and
I said, leave.
Speaker 2 (07:57):
It with me. I want to write. I'm going to
write some more stuff.
Speaker 8 (08:00):
And I think I wrote a couple more verses, and
the one that we picked was the second, something so sacred,
something worth this kind of fight because love knows no
patience and you can't please everyone all the time, which
(08:25):
sounds just like me. I mean, that's a very kind of,
you know, shrug it off kind of thing to say. Yeah,
And I just remember sort of sitting in the apartment
trading lyrics back and forth with Dean.
Speaker 2 (08:37):
That melody.
Speaker 8 (08:39):
I can't remember if he came up with the melody
or if he maybe collaborated with Dave Tyson on the melody,
but I do remember feeling very strongly about that little
end bit where there's sort of that run at the
end that I kind of threw in at the end,
and I was like, I really like that, I really
want to keep it.
Speaker 2 (08:57):
A lot of the time, when you're making.
Speaker 8 (08:58):
Your first record, too, when you're working as a collaborative
process with other people, you know, you're kind of you're
kind of subject to their instruction and their guidance. And
I was really lucky I had a lot of really
great mentors. But I was also lucky that I also
had a lot of really strong opinions, and I had
a lot of really, you know, pretty decent ideas. I
(09:19):
had decent taste, and that goes a long way. And
this song, I think was the product of just everybody
being kind of in the right mindset at the right time.
Speaker 2 (09:29):
We all knew that it should have that four on
the floor don't don't don't, don't, don't don't.
Speaker 8 (09:34):
D which I love. It was very reminiscent of a
lot of Don Henley stuff, a lot of like eagle stuff.
Speaker 2 (09:40):
I love that, and it gave the.
Speaker 8 (09:43):
Song a heartbeat, which really was fitting because you know,
the song was a it was a love story and
that's what it needed. Those background vocals were really really important.
And I remember singing that that under that under harmony,
the harmony underneath the lead, and the first time I
heard it, I was like, this is perfect. It was
(10:04):
so kind of flat and kind of grounding for the
chorus melody. Yeah, and then you know, and then it
kind of blew up. I remember talking to Elton John
about it on the phone. I remember when he called
me and he was like, you know, this song is
the heart of your record, and they've got to release
(10:25):
it as a single because you know, it is the
heart of your album. And to have somebody say that
about something that you had written was you know, to
have somebody like that say something about that that you
had written when you were like twenty twenty one was
kind of overwhelming, you know, it was amazing. Yeah, this
is another song that you know, when people sing.
Speaker 2 (10:47):
Stuff that you've.
Speaker 8 (10:49):
Really put yourself into, when they sing it back to
you in a live setting, that's the most gratifying thing.
And this song needs something to people, so you know,
you couldn't really ask for more than that.
Speaker 4 (11:00):
That was dark hors from Amanda Marshall. She is energetic,
a great storyteller. We have more from Amanda in upcoming
Behind the Vinyl episodes. We lost a talented man late
twenty twenty three that shook the music world, the news
and Miles Goodwin of April Wine passing was a shacker
for sure, and we are grateful for the amazing legacy
of great music he left behind, like this hit Tonight
is a wonderful time. Here's Miles with the genesis of
(11:22):
that song.
Speaker 5 (11:33):
This song is an example of taking three chords and
having a whole composition that sounds like it's going places
when it not really is not musically anyway, If anybody
can play three chords, they can play this song.
Speaker 1 (11:51):
And it's nice when that happens. And it's one of
the things you learn as a songwriter.
Speaker 5 (11:58):
That you can change have the cake, but it's the
icing that changes that the ear can You's always some
little twist on those cords.
Speaker 1 (12:05):
Here is exactly the same as Verse. It's identical.
Speaker 5 (12:10):
I just changed the melody, added a celeste, which is
a keyboard, and then I bring it down to really
rock feel.
Speaker 1 (12:22):
Same chordz. Nothing's changed rest same.
Speaker 5 (12:26):
Chords and again, and of course it is cow bell,
and you can't have too much carabells, Will Ferrell told
us on Saturday Night.
Speaker 1 (12:32):
So the Cowboy is wonderful.
Speaker 5 (12:33):
I still really like the cow bell actually something about
it that's rock solid somehow. And of course when you're
recording cow bell, a lot of things determine if it works,
and one is having the right cow bell, because they
can sound pretty horrific if you have the wrong one,
especially if it's a cow.
Speaker 1 (12:53):
Attached to it.
Speaker 5 (12:56):
But anyway, no, and then you've got to play him.
There's no sampling, man, you gotta be on your mark.
You gotta be a you know, in the moment here,
and you gotta have it mike right. And you got
all these things to make it sound good and not
like some kind of annoying noise in the background.
Speaker 1 (13:13):
So it's cool.
Speaker 5 (13:15):
But yeah, and and the funny thing is about the
song is one of our most popular songs.
Speaker 1 (13:19):
I mean, I still do this song.
Speaker 5 (13:20):
We still do this song or I'll do it to
my solo show and the whole place erupts. They know
all the words, They sing along. They're just having a
great old time. So I have I have fondness.
Speaker 6 (13:34):
For this and.
Speaker 5 (13:38):
Little modulation otherwise the same progression. Now I this album's
you know, the this song still stands the testaton people
just really like it. I do a song where they
circle with Bruth gusser Own, Matt Anderson and Matt Minglewood
and other people.
Speaker 1 (13:55):
We all sit.
Speaker 5 (13:55):
Around and and we sing, and we sell stories and
we sing our songs. And typically at the Halifax Casino
at the in the Schooner room. Wonderful venue has been
going on for years. It's a pleasure to work with
these gentlemen. And when we do this song, it becomes
the closer for the show because everybody starts singing and dancing,
and so uh.
Speaker 1 (14:14):
Song works work then it works now.
Speaker 5 (14:17):
It's amazing how people can identify with a song for
a long.
Speaker 1 (14:21):
Time, still hold it, you know, dear, So it's cool
and it's so juvenile.
Speaker 4 (14:33):
Miles Goodwin of April Wine closes this episode. Behind the
vinyl of the podcast, we appreciate your listening and are
giving virtual high fives if you checked out some of
our previous episodes and checking out the new one.
Speaker 7 (14:42):
Still to come.
Speaker 4 (14:43):
Feel free to subscribe to our channel, leave a comment
with kind.
Speaker 1 (14:46):
Words or both. I'm Stuve Jeffries.
Speaker 4 (14:48):
We'll chat again soon.
Speaker 3 (14:50):
This has been Behind the Viney Older podcast hosted by
Stuve Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
Careful now clock clocklocker boy so cool to be playing
vun on took to wreck it off the tire table.
Speaker 2 (00:07):
Are you ready for this?
Speaker 3 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu Jetbreaks.
Speaker 4 (00:16):
This is the podcast. It turns you into that person
at the party who has all sorts of cool little
factoids about music. Welcome to Behind the Vinyl, where the
artists tell you everything about how their song came to
be in the story behind it. In this episode, we
once again turned things over to the late great Miles
Goodwin of April Wine for his take on how tonight
is a wonderful time sounds so good.
Speaker 5 (00:35):
Thanks to a key instrument you can't have too much cowbols.
Will Ferrell told us on Saturday Night Live. So the
Cowboy is wonderful.
Speaker 1 (00:42):
I still really like.
Speaker 5 (00:42):
The cowboyl acts something about it that's rock solid somehow.
Speaker 4 (00:46):
More with Miles in a few minutes, We're kicking off
this episode with Gowan and Moonlight Desires. Listen for him
to tell you how we managed to do something while
shooting the video back then that you would be arrested
for if you tried it today.
Speaker 6 (00:58):
Yeah, for me to hear the opening of this song. Yeah,
impossible not to picture me myself on top of a
Mayan pyramid, you know, in Totiacan, Mexico, the sun coming
up and a helicopter suddenly emerging and coming up over
(01:20):
the horizon as I stood on the pyramid of the moon,
moonlight desires, and John Anderson was standing on the pyramid
of the sun, and he was dressed as a Mayan god,
and just the transition from night into day. Although the
song is actually more to do with the transition from
day and to night, it was I'd have to say
(01:44):
it was a little bit like walking into Ringo's house
to make strange animal a beatle home.
Speaker 7 (01:50):
To be on top of a pyramid at that time
of day, after having.
Speaker 6 (01:53):
Paid off the the guards at the sight to allow
us to do this, or to let to look the
other way for a few hours, pretty astowning.
Speaker 7 (02:04):
And then.
Speaker 6 (02:08):
I have to say, John Anderson, though the beauty of
him in the studio singing this harmony part is again
one of those ridiculously fortunate things that occurrences in my life.
Because he I was such a gigantic Yes fan. I
used to sing along with close to the edge and
tales from topographic oceans, just in my room like trying
(02:29):
to harmonize with him, and then to hear to see
him in the studio, completely different experience.
Speaker 7 (02:34):
This time it was in Los Angeles.
Speaker 6 (02:38):
In pretty legendary studio there, and and to see him
come up with that harmony and come up with the
with the whole approach to the song, it really it
really just.
Speaker 7 (02:50):
It just opened the song up. It brought it to
a completely other level. And yeah, it's it's a it's
great when you actually.
Speaker 6 (03:00):
Meet one of your idols and it goes spectacularly well.
I think we've all had the experience.
Speaker 7 (03:05):
Where it can go the other way. Coming up with
that and adding that to the song just great again.
Speaker 6 (03:12):
Same producer David Tickle worked on this record and did
a beautiful job. And he had been working with John
Anderson on the Legend soundtrack and had played him Strange Animal,
and then when he heard the bedtrack that we had
done for this.
Speaker 7 (03:27):
Song, he really liked it. And yeah, that's.
Speaker 6 (03:35):
There's all of the angels singing right there. That's what
happens right that spot. Oh yeah, I've been dancing around
on top of top of pyramid. They've the director Rob Quartley,
who made so many great videos in the in the
nineteen eighties and this was kind of the central video
(03:58):
master in Canada that time. And just also I love
the extravagance of making this video, you know, to use
the Mayan Pyramids. And although we were actually threatened by
the Mexican authorities that if we filmed on the Mian
Pyramids any further, we were going to be we were going.
Speaker 7 (04:15):
To find out what Mexican jail was all about. It's funny.
Speaker 6 (04:19):
It's funny because it played there with sticks just a
few years back, and I told that story to a
bunch of various security people that were around us, and
they laughed and said, no, you were allowed to do that.
You know, everyone's out there with with an iPhone camera
now videoing them. I love the fact that that so
(04:41):
many people that you know, still not just relate to
this song, but have discovered it in years since and
it's become, you know, an important song or a pivotal
song in their lives. And that's the longevity of it
is is really is really an astounding thing. And again
it's a piece of my life that it's like the
(05:05):
blood in my veins.
Speaker 4 (05:06):
Moonlight Desires from Gallon and please don't climb the chiechen
needs of Pyramids when you go to Mexico.
Speaker 1 (05:12):
I'm Stu Jeffries.
Speaker 4 (05:13):
You're a host of Behind the Vinyl, the podcast Still
to Come, Miles Goodwin of April Wine and how to
Play a Good cow Bell. But before that, Amanda Marshall
was back on the music scene last year with a
new album and supporting tour. If you managed to catch
her in concert, you know she's a powerhouse and a
great performer. Before her tour started, Amanda managed to pop
by or Behind the Vinyl studios and tell us about
her song dark Horse.
Speaker 8 (05:41):
We may not have time for the rest of the track,
so I'll talk about this all day.
Speaker 2 (05:46):
So dark Horse this piano intro.
Speaker 8 (05:54):
First of all, we didn't have an intro for the song.
There was no intro, and there was no There was
not that symbol swell, There wasn't anything to get us
into the song. We were just playing the song over
and over and over and over again, absent any kind
of intro, and it was getting really frustrating. I remember
Dave was like, I don't know how we're going to
get into this song. And then one day I walked
(06:14):
in and he was noodling.
Speaker 2 (06:15):
He was playing. He was playing the part.
Speaker 8 (06:17):
I think he was trying to get a keyboard sound
or something.
Speaker 2 (06:20):
And I was like, that's why do you want? That's great?
Why don't we do that? It's fantastic. That should be
the thing right there. Why don't we make that the intro?
And I remember he was like, yeah, exactly, that's exactly
what I was thinking. I was like, hut up, you
are not. Yeah.
Speaker 8 (06:38):
So on, once we cleared that hurdle, the rest of
the song was pretty much already written. Dean McTaggart came
over to my little furnished apartment that I was living
in in bur Rank. I'd never been on my own
for that length of time before. I remember the first
time I walked in, I had a panic attack.
Speaker 2 (06:55):
But Dean McTaggart.
Speaker 8 (06:56):
Came over to my apartment and he said, again sort
of like Birmingham. I've got this idea set in in
in Texas, and I don't know the word Abilene keeps
kind of rolling around in my head, and the stories
about these two kids who are trying to like make
it work and trying to like, you know, kind of
(07:18):
run away together and it was a love story, and
immediately I was like, I can sing this song.
Speaker 2 (07:25):
I had just moved out of my parents' house not
long before.
Speaker 8 (07:28):
You know, they weren't crazy about my boyfriend, and there
was conflict. I was trying to sort of individuate from them,
and I was trying to like get my.
Speaker 2 (07:36):
Music career off the ground.
Speaker 8 (07:38):
And it's a time in your life when you're trying
to figure out like what you're doing. You're trying to
be a person, you're trying to be an adult. And
so I immediately was like, I can tell this story.
Speaker 2 (07:50):
This is my thing.
Speaker 8 (07:52):
And Dean had written most of the first verse, and
I said, leave.
Speaker 2 (07:57):
It with me. I want to write. I'm going to
write some more stuff.
Speaker 8 (08:00):
And I think I wrote a couple more verses, and
the one that we picked was the second, something so sacred,
something worth this kind of fight because love knows no
patience and you can't please everyone all the time, which
(08:25):
sounds just like me. I mean, that's a very kind of,
you know, shrug it off kind of thing to say. Yeah,
And I just remember sort of sitting in the apartment
trading lyrics back and forth with Dean.
Speaker 2 (08:37):
That melody.
Speaker 8 (08:39):
I can't remember if he came up with the melody
or if he maybe collaborated with Dave Tyson on the melody,
but I do remember feeling very strongly about that little
end bit where there's sort of that run at the
end that I kind of threw in at the end,
and I was like, I really like that, I really
want to keep it.
Speaker 2 (08:57):
A lot of the time, when you're making.
Speaker 8 (08:58):
Your first record, too, when you're working as a collaborative
process with other people, you know, you're kind of you're
kind of subject to their instruction and their guidance. And
I was really lucky I had a lot of really
great mentors. But I was also lucky that I also
had a lot of really strong opinions, and I had
a lot of really, you know, pretty decent ideas. I
(09:19):
had decent taste, and that goes a long way. And
this song, I think was the product of just everybody
being kind of in the right mindset at the right time.
Speaker 2 (09:29):
We all knew that it should have that four on
the floor don't don't don't, don't, don't don't.
Speaker 8 (09:34):
D which I love. It was very reminiscent of a
lot of Don Henley stuff, a lot of like eagle stuff.
Speaker 2 (09:40):
I love that, and it gave the.
Speaker 8 (09:43):
Song a heartbeat, which really was fitting because you know,
the song was a it was a love story and
that's what it needed. Those background vocals were really really important.
And I remember singing that that under that under harmony,
the harmony underneath the lead, and the first time I
heard it, I was like, this is perfect. It was
(10:04):
so kind of flat and kind of grounding for the
chorus melody. Yeah, and then you know, and then it
kind of blew up. I remember talking to Elton John
about it on the phone. I remember when he called
me and he was like, you know, this song is
the heart of your record, and they've got to release
(10:25):
it as a single because you know, it is the
heart of your album. And to have somebody say that
about something that you had written was you know, to
have somebody like that say something about that that you
had written when you were like twenty twenty one was
kind of overwhelming, you know, it was amazing. Yeah, this
is another song that you know, when people sing.
Speaker 2 (10:47):
Stuff that you've.
Speaker 8 (10:49):
Really put yourself into, when they sing it back to
you in a live setting, that's the most gratifying thing.
And this song needs something to people, so you know,
you couldn't really ask for more than that.
Speaker 4 (11:00):
That was dark hors from Amanda Marshall. She is energetic,
a great storyteller. We have more from Amanda in upcoming
Behind the Vinyl episodes. We lost a talented man late
twenty twenty three that shook the music world, the news
and Miles Goodwin of April Wine passing was a shacker
for sure, and we are grateful for the amazing legacy
of great music he left behind, like this hit Tonight
is a wonderful time. Here's Miles with the genesis of
(11:22):
that song.
Speaker 5 (11:33):
This song is an example of taking three chords and
having a whole composition that sounds like it's going places
when it not really is not musically anyway, If anybody
can play three chords, they can play this song.
Speaker 1 (11:51):
And it's nice when that happens. And it's one of
the things you learn as a songwriter.
Speaker 5 (11:58):
That you can change have the cake, but it's the
icing that changes that the ear can You's always some
little twist on those cords.
Speaker 1 (12:05):
Here is exactly the same as Verse. It's identical.
Speaker 5 (12:10):
I just changed the melody, added a celeste, which is
a keyboard, and then I bring it down to really
rock feel.
Speaker 1 (12:22):
Same chordz. Nothing's changed rest same.
Speaker 5 (12:26):
Chords and again, and of course it is cow bell,
and you can't have too much carabells, Will Ferrell told
us on Saturday Night.
Speaker 1 (12:32):
So the Cowboy is wonderful.
Speaker 5 (12:33):
I still really like the cow bell actually something about
it that's rock solid somehow. And of course when you're
recording cow bell, a lot of things determine if it works,
and one is having the right cow bell, because they
can sound pretty horrific if you have the wrong one,
especially if it's a cow.
Speaker 1 (12:53):
Attached to it.
Speaker 5 (12:56):
But anyway, no, and then you've got to play him.
There's no sampling, man, you gotta be on your mark.
You gotta be a you know, in the moment here,
and you gotta have it mike right. And you got
all these things to make it sound good and not
like some kind of annoying noise in the background.
Speaker 1 (13:13):
So it's cool.
Speaker 5 (13:15):
But yeah, and and the funny thing is about the
song is one of our most popular songs.
Speaker 1 (13:19):
I mean, I still do this song.
Speaker 5 (13:20):
We still do this song or I'll do it to
my solo show and the whole place erupts. They know
all the words, They sing along. They're just having a
great old time. So I have I have fondness.
Speaker 6 (13:34):
For this and.
Speaker 5 (13:38):
Little modulation otherwise the same progression. Now I this album's
you know, the this song still stands the testaton people
just really like it. I do a song where they
circle with Bruth gusser Own, Matt Anderson and Matt Minglewood
and other people.
Speaker 1 (13:55):
We all sit.
Speaker 5 (13:55):
Around and and we sing, and we sell stories and
we sing our songs. And typically at the Halifax Casino
at the in the Schooner room. Wonderful venue has been
going on for years. It's a pleasure to work with
these gentlemen. And when we do this song, it becomes
the closer for the show because everybody starts singing and dancing,
and so uh.
Speaker 1 (14:14):
Song works work then it works now.
Speaker 5 (14:17):
It's amazing how people can identify with a song for
a long.
Speaker 1 (14:21):
Time, still hold it, you know, dear, So it's cool
and it's so juvenile.
Speaker 4 (14:33):
Miles Goodwin of April Wine closes this episode. Behind the
vinyl of the podcast, we appreciate your listening and are
giving virtual high fives if you checked out some of
our previous episodes and checking out the new one.
Speaker 7 (14:42):
Still to come.
Speaker 4 (14:43):
Feel free to subscribe to our channel, leave a comment
with kind.
Speaker 1 (14:46):
Words or both. I'm Stuve Jeffries.
Speaker 4 (14:48):
We'll chat again soon.
Speaker 3 (14:50):
This has been Behind the Viney Older podcast hosted by
Stuve Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
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