Blur (Blur)

Episode Transcript
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Speaker 1 (00:00):
hello and welcome to mccartney and gold.
This is the podcast where we'vealready recorded a really
really funny introduction sogood and and lost it in in a
technical shenanigan fest thatwas lasted five minutes.
That was a fun moment.
I said some of the funnieststuff I've ever, most
perspicacious stuff I've eversaid on this podcast um, but

(00:20):
it's not to be, uh, recreated,unfortunately no, I think what I
think happened there was it wasfunny, interesting.

Speaker 2 (00:25):
It set the story really beautifully and also it
kind of touched on the soul ofwhat it is to be human and the
meaning of life all in fiveminutes.
But it's lost, so fuck it wegot this instead.

Speaker 1 (00:37):
No, we're going to go super prosaic instead and I'm
going to say things like thisevening we're talking about blur
by the artists blur, and we'regonna put this album through its
paces.
We're gonna put it through asporting style knockout format
and see which song is ourfavorite.
I'm just saying old, boringstuff because I can't make up

(00:58):
fun stuff anymore, because I'verun out of steam or here in my
pajamas everythingjamas,Everything's fine now Good.
So with me is Mr Guy Woo-hoo.

Speaker 2 (01:10):
Oh, he's stolen my work.
I suspect that was going to beBrett's one.

Speaker 1 (01:13):
Yeah, yeah, yeah, Brett do you want to just look
through the sub-song titlesquickly and think of something
else.

Speaker 2 (01:17):
Oh, I mean what?
I can't believe it.
It's the first time you've evergone to someone else first as
well.

Speaker 1 (01:24):
Right, tell me what, tim.
No, no, we've done enough.
We've done enough for it now.
No, no, I'm going to say helloto Guy again and he's going to
say hello, hello Guy, woo-hoo.
No, he's done it again.
All right, brett, you're justgoing to have to say hello,
hello, brett.
Is that the original bossanovademo that Damon did of the song

(01:44):
You're channeling that?

Speaker 2 (01:45):
So I was channeling.
Yeah, obviously I know, I knowI planted it all along.

Speaker 1 (01:49):
Right, Brett, could you tell us the runners and
riders for this evening'sepisode Blur are.

Speaker 2 (01:53):
Damon Orban on vocals , Graham Coxon on guitar, Alex
James on bass and Dave Rowntreeon drums.
Blur is the band's fifth studioalbum, released 1997.
Some of us remember it well.
It was produced by stephenstreet.
It got to number one in the ukchart, number 61 in the us
billboard and sold approximatelytwo million copies.
Then question your runners anda riders.

Speaker 1 (02:16):
Oh, thanks very much.
Thanks very much.
Sorry to cut across you there,but question when, when people
say in situations like that itsold two million copies, do they
mean mean?
Do you mean like in 10 minutes,like between when it was
released and now that year ever?

Speaker 2 (02:33):
That was a back of a fag packet.
Calculation I made todaylooking at Wikipedia.
That's what I mean when I saidit sold about 2 million.
I mean when I said it soldabout 200 million.
So it sold about 700 in the US,300 in the UK Sorry a million
in Europe, and then of which 300were in the UK.

Speaker 1 (02:50):
Up to now.

Speaker 2 (02:51):
Up to about now, according to Wikipedia, In the
14, 15 seconds.
There did been research on thatpart of it.

Speaker 4 (02:59):
Yeah, I just wanted to know what the time period was
when people say that, oh, themusic industry is nebulous as
hell.
It's so approximate,approximate, isn't it?

Speaker 2 (03:05):
you can google like really big selling albums and
the.
The figures will be between 30and 40 50 million copies and no
one really knows should we beincluding streaming in that now?

Speaker 1 (03:17):
should so, should you ?
Should you be saying somethingawfully tedious like and it sold
two million copies since it wasreleased, but also is receiving
2 000 streams, a second injapan?

Speaker 2 (03:29):
yeah, maybe I mean yeah, I'll chat gpt at one sec
oh, here we go, exciting ohexciting chat.

Speaker 1 (03:36):
Gpt.
We've all gone to space.
Yeah, nice okay, blurred.

Speaker 4 (03:40):
Self-titled 1997 album.
Blur has sold over 1.85 millioncopies worldwide, making it the
band's best-selling album.
Approximately 2 million, I didsay.

Speaker 2 (03:50):
In the United States.
My introduction army back inthe 5th generation Very pleased
In the United States.

Speaker 4 (03:54):
It has sold approximately 680,000 copies.

Speaker 2 (03:58):
Yep, 690, I think I said but yeah, that's about
right, I'll give clearance tothat I estimate, including
streaming and everything elseand some missing figures.

Speaker 4 (04:06):
two million is pretty much bang on, Pretty bang on.

Speaker 1 (04:08):
Well, there we go.
He was right all along.
None of that needed to happen.
There you go, thank.

Speaker 2 (04:13):
God, because, again, it's never been scrutinised, but
this time when I'm likeapproximately, because I did it,
usually I'll find it, and Ijust thought I can't find it, so
I just had it up.
The problem with researchingthis fricking episode is it's a
fucking self-titled album.
It's pissed me right off.
Yeah, just make up a fuckingname for the album.

Speaker 1 (04:34):
It's so lazy.
It's very much like when I usedto live in Reading, which is,
of course, spelt reading.
So whenever you want to Googleanything about the town you you
live in, you just get endlessthousands of articles about the
concept of reading and, like youknow, book recommendations.
It's like no, I just want toknow when the bus is arriving or
when to take the bins out, uh.

(04:55):
So yeah, I, I feel your pain.
I feel your pain, right, let'sget into this.
Let's get into this.
So.
So what's your relationshipwith this album?
Chaps brett.
What's your relationship withthis album?
Um, well, I love blur I.

Speaker 2 (05:04):
what's your relationship with this album?
Well, I love Blur.
I'm not going to make any bonesabout it.
I think they're a massivelyimportant band.
I loved them at the time.
I really enjoyed this when itcame out.
So I mean there's, it'sinteresting because I haven't
listened to it for years.
So let's see how I reflect onit after all of this time off,
Because I try not too much to goback and listen to stuff that I
listened to in my student days,because it's such an easy trap

(05:26):
to fall into and you don'tlisten to anything new.
But we'll do it.

Speaker 4 (05:30):
Mr Langley, it is my favourite Blur album.
Growing up I was a massiveOasis fan, back when it was kind
of the Versus shenanigans.
And then this album came outand it completely flipped the
other way around.
Oh, wow, and then this albumcame out and it completely
flipped the other way around.
Oh wow, ever since this album Iwas, uh, really enthralled by
them, especially coxson, I think, who, I think um, is the star

(05:52):
of this record.
But uh, yeah, it was a reallyamazing darker take on the whole
genre that I kind of found attimes a bit too light and a bit
too cheeky, chappy, and now itgot quite edgy and dark and I
really liked it and steve.

Speaker 2 (06:07):
What is your background with this album?

Speaker 1 (06:10):
well, I was very much a I mean not that it is or
should have been a binary thingbut I was very much a, an oasis
person and I, you know, I mean Imean, even though I feel like I
really love blur, I've alwaysreally liked them, being really
interested in them.
If I'm honest with myself aboutit, I mean I, I had every oasis

(06:30):
album, every oasis single on cdand knew every oasis b-side and
I've never really sat throughan entire blur album.
If I'm honest, you know, I knewall the singles and I and I
knew and liked them a lot, but I, I think I tried to sit through
the whole of park life once andjust got thoroughly irritated
by two or three of the tracks inbetween.
The big ones, um, and and so II am, probably to my annoyance

(06:56):
at myself, a bit of a fairweather fan with blur, right,
okay, I feel like I love themmore than the evidence of my
actual listening habits over theyears suggests.
That's interesting.

Speaker 2 (07:08):
I mean, park Live is an absolute cornerstone album in
my life.
I absolutely loved it.
It was such an important album.
It was just so representativeof that summer we both, you know
, we were 18, which is like oneof the golden summers you're
going to get.
So, yeah, I mean, it's huge forme, that album, I adore it.
But do you?
But we're doing Blur Blur.
I'm going to call it Blur Blurfrom now on rather than Blur

(07:30):
Self-Titled.
I'm just going to Blur BlurDoes that make sense?

Speaker 1 (07:33):
Yeah, yeah, no, no, but I think my thing was I've
never been able to do that thingwhere it's like yeah, I love
that album and just ignore thebits that I don't like.
It's like you know, people seemto be able to do that better
than me.
It's like yeah, I love thatalbum, and what they mean is
that they love six tracks offthat album and ignore the four
they don't like, and yeah,that's fair.

(07:55):
That's fair, I think no, no,it's, it's healthy.
My unhealthy response hasalways been if there's something
I don't like on it, it feelslike a dishonest thing to say.
If I say, yeah, I love thatalbum, but I thought you know,
if I don't love like every inchof it, then I feel it's
dishonest so that's a veryextreme reading of the phrase.

Speaker 2 (08:13):
I love that album.

Speaker 1 (08:14):
It's always it's always been that way for me.
I don't know why my brain worksthat way.
So so I love.

Speaker 2 (08:19):
I loved 80 percent of my life do you give a stat on
how much, oh, do you love AbbeyRoad?
Well, it's an 84% for me.
I love it.
I love 80% of the bones of it.
How did you know that?
That's pretty much what.

Speaker 1 (08:33):
Abbey.

Speaker 4 (08:34):
Road is.
For me, it's about 84%.
Well, I thought about MaxwellSilver.
I know the 60%.
Yeah, exactly.

Speaker 1 (08:38):
Yeah yeah into this, let's get into it.
So the qualifying round, theopening in the qual I'm not the

(09:06):
girl that I'm mad.
Without a minion in your lungswho sucks on a little cat, you
think the whole world comes backIn a stomach style, cause he's
a palisade.

Speaker 3 (09:27):
When I said your life is mine, he barely could smile,
cause this is a music.
Oh, they know it's only now.
He fights and he ground loveand keeps you behind.
I want to go up but I cannotfly.

(09:48):
I can't speak up or touch.
I need a little help.
Catch a long call.
The justice is done.
Tony Ponce, beer time Chimester.
Usa or somebody, or somebody.
See the price.
Usa For somebody For somebody.
Cedar Plains.

Speaker 2 (10:11):
So why is this a great opening round?
Because I think what you'redoing here with these two tracks
is you're covering the blurthat they're trying to be and
move towards with Chinese bombs.

Speaker 1 (10:23):
I love that you noticed this.

Speaker 2 (10:24):
It's the most extreme example and you've got the blur
that they were.

Speaker 1 (10:30):
Oh no, actually, I thought that both of these
represented the blur they weretrying to be actually.
I think both of these representthe lo-fi American-leaning blur
that they were trying to be,because it's not like Chinese
bombs versus.
You know, look inside flippingAmerica, is it Flip bracket?

Speaker 2 (10:52):
flipping America.
Well, I think MOR, I thinkMoving On really reminds me of
old blur.
It just reminds me a bit ofGreat Escape Era blur.
That's why I kind of call itthat yeah.

Speaker 1 (11:02):
Oh, ok, but again, that might be because of my
unfamiliarity with with some ofthe album tracks on those
earlier albums, because to me,to me blur, the thing that
annoyed me was that the overkinksy character study, cheeky
chap london thing that I thoughtwas going too far.
So, moving on, to me soundthese, both of these songs sound

(11:23):
like, okay, what this albumshould have been in my opinion,
which is okay.
We're listening to pavement,we're listening to lo-fi indie
american music.
That's what we're doing.
Both of these tracks feel likethey're true to that template
gotcha okay.

Speaker 2 (11:39):
So I mean, it was was quite good up to that halfway
point, wasn't it?
And then it went south.

Speaker 1 (11:43):
My uh yeah, basically , your interpretation was
completely wrong.

Speaker 2 (11:46):
Yeah, okay, totally wrong yeah, so I've got to take
back half that compliment now,yeah, guy, save us with some
sensible chaplains these arethese.

Speaker 4 (11:55):
Both songs are both wicked, basically I I hear that
moving on has a little bit ofthe old school blur to it, but
it still has the scuzziness andthe batshit crazy guitars.
They're more unhinged than theyever were before.
There's more pedals going on.
There's more sort of room noise.

(12:15):
It's just brilliant.

Speaker 2 (12:18):
That's a diplomatic answer, isn't it, Steve?

Speaker 1 (12:20):
He's done well, he's a diplomatic chap.

Speaker 4 (12:22):
That's why we have him on I'm going to sound like a
really boring old fart with abit of a broken record at the
same time.
On this record because I lovemaybe it's going to be really
hard splitting hairs on this,because I grew up on this record
obsessing over the guitar partsand the so this is kind of your
part life to what younger.
So this would have been yeah,don't brag, yeah, you know, uh,

(12:43):
a couple years, uh.
So this was I was.
What would I have been in?

Speaker 2 (12:46):
this album came out five or six, yeah fuck you I was
37 when this happened I wasn'tI wasn't fuck off.
I'm not that old right.

Speaker 4 (12:57):
So for me this was yeah, this was the album of like
, where you kind of go from popto rock, yeah, um, yeah and
that's perfect and and that isthat is literally emblematic of
what's happening on this albumin a very crude way.

Speaker 2 (13:10):
for Blur, they've gone from, as you're saying,
steve, like being cheeky, chappy, poppy, brit poppers, to
embracing a more rock sound.

Speaker 4 (13:18):
Yeah, and Chinese Bombs.
When that comes on, you're likewhat the hell is this?
It's amazing.

Speaker 1 (13:25):
It's punk mungus, isn't it?

Speaker 4 (13:25):
it's punk tastic yeah , if you, if you grow up.
I mean it's weird.
I I was slightly too young forgrunge when it first came out
and then I got the full force ofbrit pop as I was sort of
turning into my teens and then.
So I kind of I was aware ofteen spirit and that was kind of
seen as a separate entity.
But then a band like blur doinga song like or song two, and
Chinese Bums on this record.
It was when I heard them on theradio.

(13:47):
I used to think they wereAmerican bands.
It genuinely sounded like anAmerican rock thing.
It was just amazing when youconnect to the dots.

Speaker 1 (13:54):
These timelines are upsetting me.
How much younger than us areyou?
How many years?
What year were you born?

Speaker 4 (13:59):
1983.
I was born 1983?

Speaker 1 (14:02):
Yeah yeah, yeah.
Jesus I didn't know that.
I mean, I just thought youlooked youthful.
Oh, thanks very much.

Speaker 4 (14:09):
Well, no, it's not.

Speaker 1 (14:10):
Thanks very much because you don't look youthful.
You just are that youthful.
Yeah, I'm young.

Speaker 4 (14:14):
You just are.
I'm young and relevant, oh yeah.
That's why he's hip and cool.

Speaker 2 (14:20):
That's why he still lives in an actual city, rather
than us, who live in.

Speaker 1 (14:23):
What are you doing on this podcast with these two
dinosaurs?
I've got no hair.

Speaker 4 (14:27):
Charity begins at home.
Fuck you, that's okay.
Are we going to decide betweenthese two songs then?

Speaker 2 (14:35):
Yeah, fuck me.
We've gone ages, haven't we Notgot?

Speaker 1 (14:38):
I'm going to vote.
I'm going to vote early.
I'm going to vote Chinese bombsbecause I just it was.
It's such a an energetic,enervating shock of a thing.
I love it.
I love the tempo change.

Speaker 4 (14:48):
I love its punky energy okay, I'm gonna go moving
on.
Oh wow, because I just there'ssomething about the guitar solo
and the sort of weird, is it asynthesizer?
Is it a guitar?
Is it what, what is it?
It's just that sort of thatsection of that record is just
really powerful for me.

Speaker 2 (15:07):
Chinese Bombs I love, but moving on just feels a bit
more cohesive well, brett, thefirst explosion goes to Chinese
Bombs, because I'm voting for itas well love that right.

Speaker 1 (15:18):
Qualifier two is Death of a Party against.
You're so Great Should havestayed away.
Sad drunk Apolly.

Speaker 3 (15:47):
Sleeping really late.
Sad drunk Apolly Not feeling sogreat, wandering lost In a town
Full of browns.
Sad drunk Apolly In a town fullof browns.
Sad, drunk and bawly Dogsdigging up the ground.

(16:10):
And I feel the light In thenight and in the day, and I feel
the light when the sky has justmuddied and I feel the light

(16:34):
when the sun is out.

Speaker 2 (16:36):
Oh, I mean, you're so great.
Graham Coxon's solo His firstsolo songwriting credit, I think
, for Blur, and he's certainlyhis first solo vocal.
It's lovely.
I love it.
It's beautiful, it's so yeah,it's so tender, it's so like
he's.
Apparently he uh, he recordedthe vocals with the lights out

(16:57):
under a desk because he was sokind of feeling super shy and
kind of vulnerable about doingit.
That that's great and you canhear it.
I love it.

Speaker 1 (17:07):
I think, yeah, I think it's an interesting one.

Speaker 4 (17:08):
I sort of one of my great criticisms of this album
are you labeling your criticismsGreat, or is it just the
numeracy?

Speaker 1 (17:16):
No, the quality of the criticisms is is is high,
but obviously the criticismsremain negative in their content
.

Speaker 2 (17:25):
Thanks for is high, but obviously the criticisms
remain negative in their contentthanks for thanks for
clarifying that.

Speaker 1 (17:28):
Yes, top quality critics.
My, I have two particularissues with this album and one
of them is is it keeps bringingto mind um, uh, acting baby, and
and um, which we've talkedabout recently, and 1989, taylor
, swift, which we talked aboutrecently, because I love how
much those two albums massivelycommit to their new direction
and their new aesthetic.
And I find this albumproblematic because I feel like

(17:48):
it sort of 68% commits to itsnew aesthetic.
Again, you're really on thepercentages tonight.
I'm well into my percentagestonight and I don't I get
irritated, I'm irked by that.
And the other problem is that Ithink it may be that in that,
certainly in the top three, ifnot the worst um offender we've
ever had on the podcast for theage of the cd, uh, let's cram

(18:13):
everything into those 78 minutesand you end.
And one of the reasons that itdoesn't hit its its full uh
aesthetic of you know now withthis lo-fi pavent influenced
american band, is becausethey're going to fill it up with
with everything they did andthere's loads of b-sides
knocking about as well whichactually some of which would
have been more in keeping withthat aesthetic.

(18:34):
Um, so I find it, I find itproblematic.
And and that brings me back touh, you're so great, which is
why is there a need for it here?
I mean, just stick it on hissolo album, it's.
It comes back to the eleanorrigby thing.
It's like that's not thebeatles, that's mccartney with a
flipping string quartet.
It's like, well, it's not blur,because damon's not doing
anything.
I don't understand it whenpeople do this again.

(18:54):
It doesn't, it doesn't.
It doesn't fit my obsessiveness.
It's like well, am I, am Ilistening to blur if damon's
having a cup of tea?

Speaker 2 (19:03):
Well, I mean, yeah, that's never bothered me at all,
anything like that.
Or if Keith Richards sings asong, I like it.
I think I like it when you hearthe band flex in a different
way.
And if they want to put it outas a Blur track, I mean
technically it could be, Iwouldn't defend the position.

Speaker 1 (19:17):
It just it's the sort of thing that stresses my oddly
weird my mind.

Speaker 2 (19:25):
Statistically obsessed mind, as we're
discovering well for someone whocan't cope with numbers.
Uh, yes, I don't know tonight.

Speaker 1 (19:28):
That's amazing, I know you're learning a lot about
me after all these years.
There you go um and death of aparty.
Anyway, I'm not voting for.
You're so great.

Speaker 2 (19:34):
I think it's rather lovely, but I'm voting for death
of party because it's got vibesyeah, death of party's got real
vibes and it's, it's, it's it'sfar more representative of
where Blur are at this point.
Guy, what are you voting for?

Speaker 4 (19:46):
I love You're so Great.
I think it does fit into thisnew aesthetic.
It's got a really grungy lo-fisort of sound.
But I think if you're lookingat Cox and Perfected vocal-led
songs, coffee and TV sort ofperfects this on the next record
and Death of a Party is alwayssonically just it's on
headphones.
It's amazing, it's.

(20:07):
It's like um, it really remindsme of being for the benefit of
mr kite and for the beatles.
You know it has that sort of ohyeah.
Yeah, it's got that kind of wordbackground, whirly sort of yeah
yeah, woozy thing yeah, and ifyou haven't listened to what
headphones do, because it isreally something, so I'm going
for death of a, a Party.

Speaker 2 (20:23):
Okay, death of a Party.
Okay.
Well, that's just gone through.
Then I am going for just togive it a vote, because I love
it so much.
You're so great, it is so great, but it's going out.
What a shame.

Speaker 1 (20:33):
Can I make a point on it before I go?
I think this is a very me pointand I do appreciate this, but I
find the opening linechallenging in terms of what I
thought it was and what itactually is, because I thought
obviously this is anAmerican-leaning album, so he's
talking about some bloke incharacter.

Speaker 4 (20:53):
What's this going to be?

Speaker 1 (20:55):
Who's called Pauly P-A-L-U-I-E Right Like a
gangster, like Pauly.

Speaker 2 (21:00):
Like Barley.

Speaker 1 (21:01):
You know sad drunken Pauly, he's always sad and
drunken.
You know, sad drunken paulie,he's always sad and drunken.
You know, and I'm like oh,paulie, but it's not, it's sad
comma, drunk and paulie,p-o-o-r-l-y which could be more
british, could not be.

Speaker 3 (21:12):
Which is the most british?

Speaker 1 (21:14):
word ever yeah uh, and whilst it's more affecting,
um, because I'm like, oh, you'resad, drunken, poor and not
feeling very well, you know it,it's.
It's like the most british wordever on this you know,
supposedly very american album,so I totally misinterpreted what
that first line was.
And again, these thingsirritate me because I'm like

(21:34):
stop telling everyone this isyour big american album and then
doing really british thingsthat's the beauty of, isn't it?

Speaker 4 (21:40):
it's like it's a band adopting something and putting
themselves into it and ending upwith something that's kind of a
bit of both.

Speaker 1 (21:47):
Of course it is, guy, I'm just a killjoy stickler and
I accept it.
You're just a killjoy for ourlove.
I'm just a killjoy for yourlove.
That's exactly right.
So Death of a Party goesthrough because it's got big fat
vibes, which brings us toCountry Shad Ballad party goes

(22:10):
through because it's got big fatvibes, which brings us to, uh,
countryside ballad man versus.
Strange news from another stuff.
My friend, forgotten of you,VRP Tutor.

Speaker 3 (22:33):
I have my chances.
They say there's no game,there's strange news from
another star and I'm lost.

(22:56):
I'm lost.

Speaker 2 (22:59):
Well again, I mean, we've alluded to it, we're
talking about this album being abig American album or influence
.
But I just want to take it backto kind of set that narrative
in motion, because Blur come offthree incredible years 93, 94,
95, their release albums they doModern Life is Rubbish, which
to many people is the originalBritpop album.
Then they do Parklife, which isthe complete archetype of the

(23:22):
Britpop album.
It's the zenith of it.

Speaker 3 (23:27):
And then they do the Great Escape.

Speaker 2 (23:28):
And that is where it all goes tits up wrong.
So much happens in 95 for themas a band, which is odd because
I love so much of the stuff ofthat album.
Well, that's really interesting.
I mean, the Great Escape issuch an interesting album
because at the time it comes outthey're having this whole
massive kickoff with Oasis andeveryone thinks that that's
always been that kind of rivalry.

(23:49):
But it's not the start of startof a 95 blur uh win the Brit
award for press British band andthey dedicate it to Oasis.
They say you should be up heretoo, um.
And Noel Gallagher says he's gota great quote saying um, yeah,
I loved Girls and Boys.
It's a fucking great single.
And although I've never beeninto Blur album, I'll buy the

(24:12):
singles compilation when itcomes out.
You know he's saying basicallythat he does like Blur.
I mean, that's about as big acompliment as Noel Gallagher
will give you.
And then Damon Albarn's areally competitive guy
apparently.
And Oasis they've both gottheir album coming out and Oasis
announced they're releasingRoll With it, don't they?
And their last thing wassupposed to come out a week
earlier.
He decides to put the releasedate back so they coincide to

(24:36):
create this competition.
And then this whole narrativeblows up and it's one of the
most memorable moments ofBritpop, probably of 90s culture
actually in Britain.

Speaker 1 (24:45):
Oh, I loved it I loved it so much.

Speaker 2 (24:47):
There was a battle for number one and it was
literally can you believe this?
Now front page news.
Which one do you prefer, oasisor Glor, glor.

Speaker 1 (24:59):
What Oasis?
I mean Oasis.
It felt like something washappening.
It's the only time in my youthwhere I felt that we came
anywhere near.
Sorry Guy, you were too youngfor this, you were still in
nappies.

Speaker 4 (25:12):
It's the Barbie Oppenheimer, isn't it?
It's the Barbie Oppenheimer ofthe 90s.

Speaker 1 (25:16):
Yeah, yes, exactly, yes, sorry, you need your own
cultural touchstones, that'sright.
Thanks, Grandpa, because youwas so young, but it felt like
something was happening.
You know, I remember, and Iremember, you know that whole
thing of going to Camden andbumping into pop stars in pubs.
You know, it was like a thing.

Speaker 2 (25:31):
It was Country House versus Roll With it, and they
won the battle.
But they very much lost the warfor most people.
I mean Auburn says every timehe went everywhere that summer
people would start playing Oasis.
He went and walked down thestreet, played Oasis, going to a
shop, played Oasis.
And then it became kind ofclear.
It was such an interestingalbum the Great Escape because

(25:52):
you listened to it the firsttime and, oh, this is really
good.
Yeah, they want Country House.
It's great, it's a really goodalbum.

Speaker 1 (26:06):
And, and then the sixth or seventh time.
I'm like it's just so empty,it's so vapid, it was so forced
and it had that review thingthat had happened with Be here
Now, where Be here Now gotamazing reviews because everyone
was reacting against the badreviews they'd given the
previous Oasis album and werelike stung by the fact they'd
all given They'd bullsed it up.
They'd bullsed it up.
So everyone gave like be herenow amazing reviews.

(26:26):
And then went, oh shit, and thething is Blair were riding high
and it looked like they'd wonthe ball and you know it's like.
So everyone was like, oh yeah,great, it's amazing.

Speaker 2 (26:34):
And then everyone sort of it just sat around and
and just totally and and kind ofdamon auburn had had to take
himself off to iceland.
They didn't do an album forthat the next year.
I mean it was a real, not abreak, didn't have a breakdown,
but he really kind of had toreally reconsider.
I think graham cox and washating what's happening to the

(26:55):
band.
He was becoming more and morereliant on drink and to get
through and he was having fightswith alex james.
He's finding alex james'lifestyle particularly obnoxious
.
So there's big problems.
And it was only because theywent through all of that,
because you've got to remember,blur styled themselves as
reviving great British musicculture.

(27:16):
They were trying to pitthemselves as oppositional to
grunge, being somethingdifferent from grunge, which was
everywhere when they came outand it was a very brave thing to
to do and they pulled it offand you could say they kicked
off the whole cool britanniathing really with perhaps with
suede.
It's an extraordinary thing.
But at that point coxon isreally getting into american

(27:36):
music and they have to pivot.
And this is what happens theydecide to pivot on this album.
So that's really the the pointat which we come to this album.
That's why it's probably got abit of both.
They haven't fully kicked off.
Yeah, oh blur and fullyembraced yeah, we do.

Speaker 4 (27:55):
Great guy, they're always going to sound like blur.
That's the, that's the beauty.
They have an intrinsic melodicsensibility, especially with
arbonne, um, uh, that it'salways going to be present, and
even on their kind of more outthere stuff on 13, it still
sounds to me very much like Blur.
Yeah, and obviously this isalso produced by Stephen Street,
who produced the previous album, so there is a sonic coherence

(28:18):
to that.
But it's still.
It's my favourite Blur is whenit's all the wrong bits are in
there.
It's all the quirky chordchanges.
It's the sort of slightlythings that shouldn't go
together and that I've alwaysfelt.
That kind of comes from Coxon'sand Damon's juxtaposition of

(28:39):
styles and personalities, onebeing lamenting characters and
doing these pastiche songs andthe other trying to rip things
apart and destroy them.

Speaker 1 (28:49):
I think Coxon wins the battle more on this album
than he has previously, though,doesn't he?

Speaker 2 (28:53):
And that's as a result of the Great Escape being
such a nightmare for them andthat whole period being a
nightmare.

Speaker 4 (28:59):
Yeah, and it really shapes their next, definitely
the next two or three albums interms of how they sound
sonically, what their palette is.
I guess, yeah, I mean there's atension.

Speaker 2 (29:12):
There isn't there.
Up to that point probably,Coxon is kind of certainly on
Great Escape is certainly losingthe kind of direction of shape
and the direction of a certainlyon great escape is certainly
losing the kind of direction ofshaping, the direction of the
band um, and, and it's very muchprobably auburn and all the
auburn's desire to be the youknow, massively important band
and to win and to be to.
Obviously that's that's um,shown by the fact he he put the

(29:35):
single release back and broughtall of that upon them, this
whole tabloid mess they findthemselves in.

Speaker 1 (29:42):
Well, this is the first time that they actually
start jamming as a band, isn'tit it?

Speaker 2 (29:47):
is.

Speaker 1 (29:47):
Because they didn't do any jamming up until this
point.
It was very much a.
I have written a song.
I have brought in said song.

Speaker 3 (29:54):
I will now play you.

Speaker 1 (29:55):
I will play you said song, you will work out your
parts and we will make it a blursong, which is one way of doing
things that's great um, butthis was a let's turn up,
actually play the instruments weplay, make noises, fiddle about
a bit and see what comes out ofit, which definitely changes
the the vibe yeah, it totallychanged the vibe.

Speaker 2 (30:12):
I mean, guy and I were in a band.
Despite a many, many, manyyears difference in in age, we
were in a band, oh so manydifferences.
Oh, I mean, I don't know, heobviously had to carry all the
equipment because I was too oldand weak to do it, but he's a
good lad.
But we would generally usuallywe would jam them out, wouldn't
we Langers?
We wouldn't really sit down onan acoustic guitar and write

(30:34):
them and then go these are thechords, these are the lyrics.
We would kind of literally jamthem out in a room full on amps,
turn up to 11.
And it is a harder way to writea song, but the vibe gets so
much deeper and more interesting, I think if you can do it that
way.

Speaker 1 (30:46):
Yeah, yeah, absolutely Can I.
Before we move on, firstly, twothings.
One, we need to come back tothese songs because we've
strayed quite a long way,although I think we've been on.
I'd like to make an apology tothe listeners for the three
count them three different ways.
You're hearing Damon's namebeing pronounced I'm pronouncing

(31:06):
it Ol-Barn, brett ispronouncing it Ol-Burn and I
think Guy is pronouncing itOl-Bran.

Speaker 3 (31:13):
Ol-Bran, that's right .
Nice, he's regular.
That's right, he's a regularchap yes, anyway.

Speaker 1 (31:18):
So apologies for the absolute lack of consistency.
In the future, if there's anyquestion marks at all about how
an artist's surname ispronounced, I will call a
meeting prior to the recordingof the book?

Speaker 2 (31:30):
yeah, please do.
Can we just call him DanAbnormal from now on?

Speaker 1 (31:33):
Dan Abnormal, which is the anagram pseudonym.

Speaker 4 (31:35):
Pseudonym speaking of um mispronouncing a surname, um
strange news from another staris very much a david bowie,
slash bowie kind of affair.

Speaker 2 (31:44):
We bowie we have had this whole bowie bowie um debate
before.
I can't remember the conclusion.
Do you remember?
Do you remember my conclusion?

Speaker 1 (31:50):
okay, my conclusion was that he, because he was
named after the bowie knife andactually no one knows how that's
pronounced and actually historydictates that it's probably
pronounced Bowie Right.

Speaker 2 (32:03):
So he's probably not Bowie, or.

Speaker 1 (32:05):
Bowie?
He's probably David Bowie.

Speaker 2 (32:08):
So I call him David Bowie, I think.
If it's pronounced after theknife, you know you just go with
whoever's holding the knife,what their pronunciation is.
Whatever you want me to callyou, I'll call you that.

Speaker 1 (32:20):
It's all good, you've got the weapon, but but I think
you're raising a veryinteresting point here, because
obviously we're going to talkabout another song on this album
later on, which which davidbowie actually took or david
bowie's people actually tooklegal action over because it
sounded too much like a bowiesong.
But, hilariously, this is thesong he should have taken legal
action over because it'sridiculous.
It's a complete pious take.
How much strange news fromanother star is a bowie ripoff.

(32:44):
But the way music copyrightworks is is the other one that
doesn't sound like bowie at all,has too many melodic
similarities, so they sue himfor that one.
This one, which doesn't soundlike a specific bowie song but
is the worst bowie pastiche I'veever heard, doesn't get sued
for this it.
It's a fucking disgrace.
Stain Juice, stain Juice fromanother star.
It's absolutely shocking.

Speaker 2 (33:05):
It is very much.
It does remind me of, yeah,space Oddity.
It really does.

Speaker 1 (33:10):
As you can tell, I will be voting for Countryside
Ballad man.

Speaker 4 (33:15):
Guy, what are you voting for?
Well, I'm revisiting thisrecord.
Countryside Ballad man has thepotential to be a Maxwell
Silverhammer on this recordpotentially where it starts.
And it's like after two raucous, fucking amazing records and
you get this sort of like what'sthat called?
That twangy sort of mouth harpthing?

Speaker 1 (33:35):
Juice harp.

Speaker 4 (33:36):
Yeah, it's like something that's just okay.
Where are we going here?
Are we going too?
Are we going to Pasadishu?
They lost confidence andthey're going to swing it back
the other way.
But then by the end of it, thesecond half of the record has
got some of the best guitar workon the record on there.

Speaker 1 (33:49):
It's really it's just electric Coxon guitar work all
over this record of less thanvery interesting to that point.

Speaker 4 (33:57):
Like you listen to how many different ways Coxon
can make and it still soundslike a blur record.
He has that sound that soundslike sort of deep but kind of
clean, but kind of crunchy, butthen he hits a pedal and it just
goes weird, but we've all gotthese tools at our disposal.
But no one else can do it likehim and his little accents say,
sort of the blur, sort of stabshe has on the guitar, fucking

(34:20):
love it.
Um.
So yeah, out of the twocountryside ballad man, purely
just for the second half alone.

Speaker 2 (34:26):
Um, is is my pick yeah, I, I'm definitely going
for countryside ballad man.
I think you're right.
Strange news um from anotherstar is is he's good and it's a
really well worked song, but itis so derivative it's not it's
so derivative.
Um and countryside ballad man iskind of.
It's a really well-worked song,but it is so derivative, it's
not.
It's so derivative.
Um and countryside battleman iskind of it's got a really nice.
It's got a really nice vocal onit from, uh, from all barn, all

(34:46):
brand, all born.
Um, choose your pick.
I really like it.
Yeah, it's good.
What it is is interesting aboutcountryside battleman as well
as is and this is a thing thathappened perhaps in the 90s I
think late 90s is.
The album is stacked to startoff with singles and Country
Sound, and Balladman is the onlyone that breaks it up.
It's the filling in a singlessandwich at the start of this

(35:09):
album.

Speaker 1 (35:10):
Yeah, and I don't know.
Just on that, I think that Ihave got really into some of the
other tracks, but I do feellike it's one of those rare
albums where the singles are theright single choices.
That you know, because so oftenyou get an album and it's like
this is just some random music.
Exec has picked the singleshere.
This why are these the singles?

Speaker 2 (35:32):
but I do feel like these were the singles, the
singles of beetle bum, song tomor and On your Own, and that's
tracks 1 to 5, with CountrysideBallyman at track 3, and you
will notice that those are allthe songs I've put through to
the next round already because Iagree with those choices as
singles.

Speaker 1 (35:52):
So nice, nice, because that's the power.

Speaker 2 (35:55):
I have.
That's a taste of the futurefor you there listeners.

Speaker 4 (35:59):
Yeah, it's exciting.
We should also probably mentionthat there are some omissions
right from this record.

Speaker 1 (36:05):
Yes, Well, hang on.
Let me just say CountrysideBallad man goes through 3-0.

Speaker 2 (36:09):
Don't interrupt him, guys Writing it down.
This is smooth and slick as itgets, Just hold on listeners.

Speaker 1 (36:15):
Yes, I've written it with him, fuck.
So I've said it, I've said itand now we're going to guys
point, which is that thisincredibly overstuffed too
overstuffed album didn't work onthis draw and I had to remove
not one but two songs, andneither of you objected, and I

(36:35):
removed theme from retro andessex dogs.

Speaker 4 (36:37):
to be be fair, I was busy, I didn't have time, but,
yeah, carry on.
Well, we were also busy withdoing it.

Speaker 1 (36:42):
What would you have said, Guy Langley?

Speaker 2 (36:44):
Well, you know, I think I'm going to guess that he
likes Essex Dogs.

Speaker 4 (36:51):
I like the Sonics, I like theme from retro more.
Oh, wow, but surely it's like.

Speaker 1 (36:56):
I don't actively dislike either of them, but one
is a B-side and one is a hiddentrack.

Speaker 4 (37:02):
No, no, no, let's put them both on the album, because
CDs, let's just mention them.
But I think we can both agreethey probably wouldn't have gone
that far.
So I hear you no, exactly,efficiency For brevity.

Speaker 2 (37:14):
It was right.
It was the right decision.
I agree.
Do you know what the rightdecision I?
I do.
You know what theme we I meanconsidering?
This is the second time we'vestarted this podcast.
We did forget to mention that.
Yeah, the theme from retro andessex dogs are not in the
competition.
So if you're big fans of thosesongs, but yeah, theme from
retro is like the instrumental.
There was an instrumental whichis fine, but it's never been
that exciting to me the the blurinstrumentals and essex dogs is

(37:38):
.
It started off as a poem, Ithink yeah, but I've read it
over some music.

Speaker 3 (37:45):
Who?

Speaker 1 (37:45):
cares.

Speaker 2 (37:45):
Yeah, don't do that, yeah yeah, I'm not so enamored
with essex dogs.
I think actually it's thelyrics that put me off the most,
you know but again I think ifyou had put that as a hidden
track.

Speaker 1 (37:57):
It'd have been a good hidden track oh, I'm an uber
blur fan.
I've waited for those yeah likethat strange 10 minutes I
wasn't expecting.
Now I've got it I'm listeningto it late at night.
I'm 18.
This is the first time I'veheard a hidden track.
That would be fun, yeah, but asan actual album track on a far
too long album.

Speaker 4 (38:14):
You're wasting my time my favorite, my favorite
track off think tank is actuallythe hidden track.
That's done before track one.

Speaker 1 (38:23):
But I think context can be really important and I
think had it been a hidden trackand I had the option to find it
in a sort of young person-y CDlistening late at night way, I
probably would have enjoyed itfar more than having to sit
through it against my will inthe middle of an album that's
going on for too long.
so right, we've got to move onit's uh, our final qualifying

(38:45):
round, which is I'm just a kidfor your love.
I'm just a kid for your love.

(39:08):
I'm just a kid for your love.

Speaker 2 (39:56):
I'm just a kid.
For your love, I love you.
I mean, look inside America.
I've put see Miss America slashMagic America.
They, for a band that definethemselves as being uber British
, are fucking desperate to breakthe American market.

Speaker 1 (40:06):
But what I would take the other tack, which is that
the opening is the exact samenotes and opening as End of a
century, and it's it's soincredibly redolent of end of a
century that it then immediatelysuffers by not being end of a
century so badly.

(40:26):
Um, for the rest of it, andalso again, it sounds so much
like a track of park life.
The only thing that isn't parklife is that it's got the word
america in it, which makes iteven more they couldn't have put
two on park life with the wordamerica and it's already had
magic america, because it has.

Speaker 4 (40:42):
It has one of my favorite little bits in, with
all the harps and the littleguitar side.
Again, it's a coxswain thing,it's.
Yeah, it's trying its best tosort of rein it into something
worthy of being on the record,but it's not as good as I'm just
a killer for your love.
No, it's.

Speaker 1 (40:56):
I mean I'm just a killer for your love which is I
mean, I'm just a killer for yourlove.
Again it's.
It's like death for a party.
It has real vibes.
It sounds like a band doing aband thing and look inside
america sounds like he's broughtthe song in and gone.
Here's the song and it justisn't a good enough song and
it's too close to a song they'vealready done, even if the rest
of it isn't.
The opening is so close to endof a century it's just it.

Speaker 2 (41:18):
End of a Century.
It's a nice blur song, but I'mjust a girl, if you love it.
It's a much better song andit's got a much better role to
it.

Speaker 1 (41:24):
That gets us to the end of the qualifying rounds.
Honestly, I just feel sostrongly that if you'd taken off
25% of the tracks, it would beso much, so much stronger this
album.

Speaker 2 (41:36):
I really do.
It's 14 songs.
That attack for you as you'reinto your stats tonight.
It's 14 songs and it's 56.
It's 56 minutes long, butpeople 10 songs it would be
absolutely mega.

Speaker 4 (41:45):
This is a time where you didn't hear the album before
you physically bought it andyou want to again.
You're justifying the price andif you see a track, it's yeah,
completely it's value for money.

Speaker 1 (41:55):
I've given you value for money and taylor swift is
taking this and running with it,and I don't think these things
apply now.
I think we're making an old menargument in some ways, because
Taylor Swift will put out, youknow, 10 tracks of 1989, but
claim that the four on top arebonus tracks, and then you'll
get it again released a yearlater with, like another, so
many bonus tracks that it'stwice the length, and people
don't care in the way that wecare in this discussion, because

(42:17):
in the world of streaming,people aren't listening to them
as albums anyway.
They're listening to all thesongs whenever they want to
listen to them.
So it's a different world.

Speaker 2 (42:27):
now it is.
If your definition I'll leaveit at that before we get to the
quarterfinals if your definitionof a great album is just every
song's an absolute banger, thenthe obvious thing to do is to
make it as pithy and as shortand as edited and stripped back
as possible but I, but I, I likeso, but the thing is like there
are some albums I like wherethey've leaned into.

Speaker 1 (42:44):
I love be here now because it's an enormous, great
big cocaine fueled bath ofenormousness.
I love the wall because it goeson far, far too long, for
similar reasons, you know, uh.
Whereas, whereas this feelslike it's, it's neither now nor
summer, it neither one nor theother.
It's just too many Zongs.
Enough of this.
The qualifiers are over.
We're into the firstquarterfinal, which is Chinese

(43:06):
Bombs and, for the first time,beetle Bomb.
Hey, I'm a big round love, andcan't you be mine?

Speaker 3 (43:25):
I'm about to go off and it could not fly.
It's me I'm not touching andyou are the clown, can't you be
mine?
I'm not watching time.
It's been a while Now.
What you've done is even fun,and when she lets me slip away,

(43:46):
she turns me on and all myproblems gone.
Nothing is right.

Speaker 2 (44:03):
I just slip away Chinese bombs.
Well, this is verystraightforward, isn't it?
Is there anything we need tosay about Chinese bombs before
it does?

Speaker 1 (44:09):
bomb out.
I think you're making some bigassumptions there, sir.

Speaker 2 (44:13):
No, I'm definitely right.
I'm absolutely 100% right.
This beetle bomb is goingthrough.

Speaker 1 (44:20):
Let's see what Guy Langley says.

Speaker 2 (44:22):
I can tell you what Guy Langley says, and he's going
to say Beetlebum.
Shall I do it in Guy Langley'svoice?
I don't know, but I'm guaranteeyou'll vote for Beetlebum.
I'm going to say Chai BeetlebumChai.

Speaker 1 (44:32):
Chai.

Speaker 4 (44:34):
Chai bar chords.
When I was learning the guitar,that was the song I always
tried to learn, because it'sjust pure bar chords.
It's absolutely carnage to tryand learn.
Um, but beetle bum was as steveand I were saying previously to
recording.
Actually it was like that wasthe uh, that was the riff for a
long, long time.
Uh, that everyone learned,picked up a guitar, wanted to
learn the beetle bum riff andthat was everyone's party trick

(44:57):
and it's just iconic in terms ofit's a perfect blend actually
of Cox and Albran, arban, arbano, albino and everything else.
There's bits in it which we'lltalk about in the next round
that I absolutely adore, thatare really clever as well.

Speaker 1 (45:14):
So Beetlebum is my choice.
Well, I would vote forBeetlebum as well, to my
irritation, because that meansBrett was right, but I'm just.
I'm going to do it with nograce at all.
We're picking up some speed aswell.

Speaker 2 (45:25):
We should what?

Speaker 1 (45:26):
don't take my vote it's blindingly obvious what
you're voting for young man ifyou're voting for Charlie's Bums
now.
I'll be very cross with you.
Beetlebum assumed one of thosevotes, so the second
quarterfinal is Death of a Partywhich we've had come through
from the qualifier versus, forthe first time, MOR.

Speaker 3 (45:44):
It's so dramatic I need to unknown.

(46:08):
Under the pressure the middleof the road, fall into fashion,
fall out again.
We stick together Cause itnever ends.

(46:29):
Here comes the love Of the boyand girl.

Speaker 2 (46:34):
Here comes the heart, the only ones in the world.
Here comes everything.
Give me the work it out.
There it comes.
Yeah me well, work it out OK.
So MLR is a single Again.
I think that's still got echoesof old Blur for me.

(46:56):
Am I wrong?

Speaker 4 (46:57):
Yeah, it has.

Speaker 2 (46:58):
There's bits of stereotypes in there yeah, now,
this is the song that bowie umhad an issue with because or
legally, because there was thisexperiment.
I presume it's a song you'retalking about that bowie had it.
It is, yeah, there there was anexperiment, wasn't there that
that bowie and eno did with twosongs that had the same chord
progression?

Speaker 1 (47:18):
well, yes, it was, yeah, they.
They tried to use the samechord progression in a number of
different ways to see how manysongs they could get out of it.
And I noticed this when I waslistening to it.
I was like, isn't that Boys,boys Keep Swinging by David
Bowie?
And I could hear it, and it wasso you know.
So the argument goes that Blurwere trying to sort of in homage

(47:39):
, were trying to continue theexperiment.

Speaker 2 (47:41):
And they use the same chords.
So they use the same chords,use the same chords.

Speaker 1 (47:45):
But also, it's not just the same chords, it's the
same, because I mean a millionsongs use the same chords.
Nobody sues anybody over that.
It's the same chords and thesame melody line in certain
sections.
That's what is surely the issue.
I haven't checked that out.

Speaker 4 (48:03):
Yeah, it's normally a kind of it cut more than a
coincidence in terms of two orthree things combined to happen
at the same juncture in a song.
That, yeah, if they both happenin the chorus, then the chances
are it's not a coincidence Ithink mor is the weakest single
here.

Speaker 1 (48:20):
Yeah, I agree oh really interesting yeah
interesting.

Speaker 4 (48:24):
Yeah, I mean look it is.
It's between two of them,isn't't it?

Speaker 2 (48:27):
Yeah, I mean, we know two singles are massive and
it's between.
The other single just is onyour own.

Speaker 1 (48:36):
I'm going to go early and vote for Death of a Party
because I think it's got majorvibes and I find it hard to
relate to the MRR lyric becauseMiddle of the Road is it's about
a relationship isn't it, Isn'tit?

Speaker 4 (48:45):
I think so.
This is the album where hestarts writing primarily about
himself, as opposed to a TracyJacks or a quirky character.
I've got a feeling, especiallyin Beasts of the Bum and some of
the others as well, thatthere's a bit more of him
talking about himself.

Speaker 1 (49:01):
Well, the issue I would take with that is if
you're going to write aboutyourself and be personal, then
go down the no Distance Left toRun or Tender route and give us
the lyric.
Yeah, I think he's gettingthere.
Don't bury the lyric in a waythat I can't hear.

Speaker 4 (49:15):
I think this is the stepping stone album, though
that's where this album helpshim get to, but for me, I'm
going with MOR.

Speaker 1 (49:20):
Okay.
So that's one each, Brett,you've got the deciding vote.
Death of a Party to MOR oh,love it.
Oh, love it, okay, I like that.
That's the first single that'staken.
A dive, yeah, okay, which takesus to quarterfinal three, which
is Countryside Balladman versus, for the First Time, on your

(49:55):
Own, I'm a balladman, I feel thesame.

Speaker 3 (50:01):
I feel the same.
I feel the same.
I feel the same.
I'm a.
I'm a, so take me home, don'tleave me alone.
I'm not that good, but I'm notthat bad.

(50:22):
No, psycho kid, I'm a booty guy.
Gorilla, I dream to ride.
Oh, you should try it.
I read the road you go console.

Speaker 2 (50:45):
My joy of life is on the road Now, On your Own.
I do really like, as do I.
I think there's a great vocalrhythm on it.
So, yeah, I'm definitely votingfor it.
So shall we talk about it whenit goes in the semifinals, I
think, Because it's going to yes, so On your Own is on your own.

Speaker 1 (51:04):
What are you voting for?

Speaker 4 (51:05):
Guy, I would probably agree, although I do actually
think On your Own is the moststereotypically blur blur song
on here.
On your own, we'll go on yourown goes through.

Speaker 1 (51:14):
Is there anything else to say about country south
balaban?

Speaker 2 (51:18):
uh, do you know what?
No, there isn't.
Let's move on by that side.

Speaker 1 (51:23):
He's quite right.
It was a perfect, it was awell-placed sigh, right.
So so, and our finalquarterfinal is uh, I am just a
killer for your love versus, forthe first time, a little ditty
that you may have heard calledsong time.

Speaker 2 (52:25):
We'll see you next time.
Obviously, it's obvious, isn'tit?
So I'm just a killer for yourlove.
I mean, it is obviously rubbish.

Speaker 3 (52:30):
I mean, what do you?

Speaker 1 (52:30):
want to it's I'm Just a Killer for your Love, I mean.
Song 2 is rubbish.

Speaker 2 (52:33):
It is obviously Rubbish, rubbish.
I mean, what do you want to sayabout?
I'm Just a Killer for your Lovebefore it goes out, is there?

Speaker 1 (52:36):
anything.
You're making some bigassumptions this evening.
I'm not making any bigassumptions.

Speaker 2 (52:39):
This is just obvious.
Have you got a pair of ears?

Speaker 4 (52:41):
Yes, going through we all know it.
I know, I know, but the thingis I've heard so again.

Speaker 1 (52:53):
You're probably right , but don't do a wonderwall
syndrome.

Speaker 4 (52:55):
I've never heard.
I thought you were doing awonderwall syndrome.
I thought for a minute thereyou were gonna swing.
I've heard this song too much.

Speaker 1 (53:02):
I definitely wasn't going to say wonderwall singer,
I was going to say that that'sexactly what I was afraid to um,
because I've heard Song 2 150times and I've never heard I'm
Just a Killer for your Lovebefore.

Speaker 3 (53:14):
So it's completely fresh to me, so this is
genuinely hard for me.

Speaker 1 (53:18):
I've never heard that song, and I really, really like
it.
It's one of the songs that, forme, should be on this album,
and so this is genuinely adifficult decision.

Speaker 2 (53:37):
I am going to vote song two because I see the point
but I I it's harder for me tolisten to than than killer,
because killer's fresh and andit's really I you know what all
barns really good at crooning.
He doesn't get.
He's got a really good crew andon him he does this and some
other stuff.
You know tender, he's got areally nice crew on that he's
and he's croons really nicely onthis.
I love it.
It's a really nice vocalon onthat and his croon's really nice
on this.
I love it.
It's a really nice vocal.

Speaker 4 (53:51):
Yeah, nice falsetto, isn't it?
Yeah, and the bass is great too, the sort of weird envelope
filter, the sort of squelchybass, and it's just a.
It shouldn't work, but it kindof does.
Yeah, I really like it, okay,nonetheless.

Speaker 2 (54:05):
I For someone who's telling me off for making a lot
of assumptions.
You should, then let us vote.

Speaker 1 (54:11):
Brett, what are you voting for?
Song two?
Of course you are Guy.
What are you voting?

Speaker 2 (54:14):
for this is taking too long.
You should have just put RapJab quicker than that, Steve.
I should have just used it andgone through with it.

Speaker 1 (54:20):
That's fine Right, which takes us to the semifinals
which means we've got Beetlebumin the first semifinal.

Speaker 3 (55:09):
This is the only non-single to get this far,
which is Death of a Party.
He's on, he's on, he's on it.
The death of the party Came asno surprise.
Why did we bother?

Speaker 2 (55:30):
Should have stayed away, Wow, so well.
So what is Beetlebummer about?
It's a it's a heroin song.
Yeah, it's about.
It's a heroin song.
It's about when you, apparently, when you inhale the smoke from
which?

Speaker 1 (55:49):
I always, I always.
I was very familiar with thephrase chasing the dragon.
And what's the?
Phrase for that activity whichis which is uh either.
It is basically taking opium orone of its related uh
permutations, like morphine orheroin, and uh, putting it in a
bit of foil and putting alighter underneath and inhaling
the smoke, which is obviouslystill class a drug taking and

(56:11):
very dangerous.
But he's not injecting it witha needle.
So it's a bit at the beginnerend of heroin and I always
remember I was familiar with it.
A starter pack for heroinStarters, heroin, yeah, and I
always remember the phrasebecause it's very prominent in
the opening track, so young, ofSuede's debut album let's chase
the dragon, so I was always veryfamiliar with that phrase from

(56:34):
that.
But apparently it's also let'schase the beetle, which I've
never heard.

Speaker 2 (56:38):
Well, no, chasing the beetle is when you inhale the
smoke.
Now it's interesting youmentioned Suede because Well,
that's what chasing the dragonis.

Speaker 1 (56:44):
It's just that there's two phrases for the same
thing.

Speaker 2 (56:46):
Welcome to Heroin Chat and same thing, welcome to
heroin chat.
And this week we're discussingthe difference between chasing
the dragon chasing, as Iunderstood it, I believed that
chasing the dragon is actuallyproperly inhaling it as you
smoke the is smoke the um theheroin.
But chasing the beetle?
Chasing the beetle is justtaking the puff as it comes out
from someone else, from.

Speaker 1 (57:06):
It's the secondary heroin okay, maybe there are
different things, it's heroinlight.

Speaker 2 (57:11):
That's what it is heroin light it's heroin for the
conscious calorie counter.
Okay, got it, but you mentionedin this incredible digression
into the minutiae of heroin um,im imbibing.
The guy looks really bored.
Wrap it up.
Yeah, I'm, I'm struggling.
I know this must be extremelyboring.
I'm so sorry, but you didmention suede, and who's the

(57:32):
link between suede and blur?
Justine freshman, yes, she usedto be a member of suede, went
out of brett anderson of suedeand then, of course, went out
with with damon albin as well,and this is apparently, um,
something written about, abouttheir relationship and heroin
use and also the, thelong-forgotten feud.

Speaker 1 (57:53):
There was actually an enormous feud between Suede and
Blur long before the Oasis-Blurfeud.
It's just that neither of themwere big enough for it to make
headlines at the time, yeah big,I mean God.

Speaker 2 (58:06):
He likes to dust up, doesn't he old Albon?

Speaker 4 (58:08):
Yeah, that's really fascinating actually knowing
that, because it's one of thosesongs that I never really knew
what it was about in terms ofthe heroine thing.
I didn't realise that's wherethe Beatle thing came from.
I thought it was because, Idon't know, he would like the
Beatles and everyone thought hewas a bit of a bum.

Speaker 1 (58:21):
He did say Is it a play on words?

Speaker 4 (58:30):
fan and it was also about that.
Yeah, yeah, but that's, that'sthe beauty of the song.
It is enigmatically sort ofobscure and it's got a mystery
to it.
It's kind of got emotion inthere, but it's also got a bit
of a deeper meaning.
It's got those easter eggs.
If you want to dig for it as asuper fan, it's a very
well-rounded kind of concept.
I think.
Like I've alluded to before, theriff and the guitar work is is
iconic it's one of the iconicbrit pop guitar things, which is

(58:52):
again him just playing aroundwith a delay pedal and sliding
to the notes, um, but it worksreally really well.
My favorite part of it is thatlittle reoccurring little synth
line that comes in in verse two.
It sort of just pans aroundyour headphones.
Um, there's lots of reallyclever little sonics in the
record which again, uh, elevate,elevate their sort of singles
at this time where sonicallythey're just fascinating.

(59:13):
There's little hidden weirdsounds and radio sounds and the
outro is kind of like you know,um, I'm the walrus.
It's kind of got that cacophonyof yes repeating, repeating,
repeating.
Maybe not as out there,strangely enough, but um, yeah,
I love the record and it's justgot one of those when that
chorus kicks in, it's just got areally clever dynamic to it,

(59:35):
hasn't it?
When, you know, it sort ofopens up into a really
straightforward kind of soaringchorus where the verse is a
little bit tense and twisted um,so, uh, so yeah, it's a banger,
it's an absolutely iconicrecord of, uh, sort of the
latter britpop period, I think,can I just say.
Actually it's also a sex record.

Speaker 1 (59:50):
I think it's a banger , it's an absolutely iconic
record of uh, sort of the latterbrit pop period, I think.
Can I just say, actually it'salso a sex record.
I think it's a.
What makes it as an interestingheroin record is it?
It's, it's um, it's a sex andheroin, or more more
specifically, sex, heroin,heroin, uh record.
Um, because you know all ofthat, you know she your thumb,
she makes you cum, you getnothing done, stuff.

(01:00:10):
It's very much that thing oflazy, smacked out, warm,
glow-on-heroin sex.
That's such a specific thing towrite about.
But once you know it, you can'tunhear it because actually it's
so well done and I think that'sunique.

Speaker 2 (01:00:32):
It's got that lazy feel to it.
It totally takes you to thatfeeling.
He did say it's a song aboutfeeling kind of sleepy, feeling
kind of sexy.
It's complicated andbeautifully realised.

Speaker 4 (01:00:44):
I mean just yeah, it's perfect which is weird when
you go to like Wembley recentlyand you see 90,000 people sing
along the chorus of what is anarguably extremely dark,
menacing record.

Speaker 1 (01:00:56):
Well, again, lets me slip away.
I mean, that doesn't get moreheroin, a lyric, than that.
So yeah, I agree completely.
It's weird, isn't it?
But then that's off the rails.

Speaker 2 (01:01:06):
Yeah, I mean, even the producer didn't know what it
was about until Damon told himwhen they were coming back from
a club one night and he wasreally pissed off.
So you know it's well hidden,if you know, unless you're
looking for it.

Speaker 1 (01:01:19):
You wouldn't know unless you were on a middle-aged
man podcast where you'd have togo and look it up.

Speaker 3 (01:01:23):
Here's the truth.

Speaker 2 (01:01:24):
Exactly.
Let's be honest.

Speaker 1 (01:01:25):
Right, okay, so is Beetlebum going 3-0?
3-0, for me too alright goodstuff, which takes us to the
other semi-final, which is Onyour Own vs Song of.

Speaker 3 (01:01:36):
Tune and is this Video Live as Loaded?
Taurus Shot in shots Of when Ifeel Heavy metal and I feel that

(01:02:04):
I need when I'm lying and I'mlazy All of the time and I never
show why I need you.

Speaker 2 (01:02:21):
I really do like it.
I really like the rhythm of it.

Speaker 1 (01:02:25):
Do you like all the electronic-y bits?

Speaker 2 (01:02:27):
Yeah, I do.
And interestingly, Damon Auburnsaid it's the first Gorillaz
song.
He said it's the first.

Speaker 3 (01:02:31):
Gorillaz song.

Speaker 2 (01:02:32):
He said it's the first Gorillaz song Now what is
really interesting is that ifyou characterize this album,
perhaps unfairly, as Coxonleading the way and pushing or
pulling them to embrace lo-fialternative rock as opposed to a
kind of cool Britanniarevivalist idea of britain and

(01:02:52):
its cultural heritage, then thebiggest winner for that is damon
alban, because this gorillaswould never, ever have happened
without this album and what helearns here and how he learns to
make music on this album.
So, and gorillas is streamingwise, far more successful than
blur are.
They've got double the streams,their numbers are much bigger

(01:03:13):
and I know that's not importantand doesn't really indicate the
cultural heft or the meaning orthe the depth of how people feel
about music.
But it's interesting to knowthat they are, um, you know,
more listened to more regularly.
For me, blur are a very, veryimportant band.
I thought it in the 90s I Iknew really as soon as modern

(01:03:33):
life is rubbish came out andit's confirmed with parklife
they were going to be reallypivotal to defining the decade,
certainly for british music.
So that's what's interestingabout on your own.
Is is what it's interestingthat it was coxon's idea and
then you know, certainly in lotsof ways auburn's been the
biggest beneficiary of that yeah, yeah, yeah, no, I I agree.

Speaker 1 (01:03:54):
How do you feel about this?

Speaker 4 (01:03:55):
one guy yeah for me on your own has the, you know it
has the drum machine and whichkind of reminds me of, like,
girls and boys.
It reminds actually I saidearlier, it reminds me of sort
of earlier blur personally, uh,even though it may sort of hint
towards the gorillas as thefuture prospect, but I think
it's really cool.
I mean, I love the stutteryguitar effect is amazing.

(01:04:15):
The video is great as well andthey kind of use that to sync up
the footage which I rememberseeing at the time just thinking
it was incredibly cool.
It's a solid sort of stompy sortof blur song with a bit of swag
and a bit of attitude to it,but unfortunately it's up
against probably the mostfascinating pieces of sort of

(01:04:36):
end of brit pop music that wasever made, which was made as a
joke, um, because do you knowthe story behind song two?
Do you know this sort of thing?

Speaker 1 (01:04:44):
no, and we haven't talked about it at all yet.
So so let's, let's I.
I have a suspicion it may begoing through, so there's a bit
more to say in the final, but.

Speaker 4 (01:04:52):
I don't.
Yeah, starting off now on it, Ithink the basics as I
understand it is it was recorded.
There was an A&R meeting due tobe happening at the studio.
They thought it would be funnyto make a trashy spoof of grunge
and impress the A&R person withan absolute nightmare of a
piece of music that they wouldlove.

(01:05:12):
His reaction and watch his facesort of turn as he came down to
whether it was Iceland or NorthLondon to hear what they'd been
cooking up, bashed it together.
Damon's not even made it, he'sjust mumbling into a handheld
sort of microphone in thecontrol room whilst the band
sort of just jam it out, finishit, don't think anything of it.
The guy and our guy comes down.

(01:05:32):
They go, all right, this is our, this is we think this is the
first single.
As a joke, they play it to himand he goes yeah, that's fucking
awesome, yeah, that'sdefinitely it.
And their faces absolutelydropped because they just didn't
, they couldn't get their headaround it.
So they tried to re-record the,the vocals to redo it, to polish
it up, to kind of build on itand it just that very first sort
of version that you hear, thatsort of bare bones not even like

(01:05:55):
, couldn't give a fuck, reallyshit.
Guitar, the intro, all thatsort of stuff is the magic and
they weren't thinking aboutwriting a hit song.
And, like many bands have donebefore, the joke songs that they
do is a bit of levity or a bitof spoofness, a bit of humour in
the studio go on to become someof their biggest songs.
It has that attitude byaccident, it seems, but of not

(01:06:17):
giving a fuck, and it comesacross really, really, really
well and it happens to have avocal hook that advertisers,
brands, movies, whatever else,for better or for worse,
absolutely love.
It captures that.
You know it's what you want tobe, isn't it?
When you grow up and you get anelectric guitar and you get a
foot pedal and you can go fromclean to distorted, that's the

(01:06:37):
loud, quiet, loud thing.

Speaker 2 (01:06:41):
It's an extraordinary piece of music.
It's just amazing.

Speaker 1 (01:06:44):
I didn't know that story, but is it not true that
there was a bossanova demo of it?

Speaker 4 (01:06:50):
I do.
Yeah, I do believe it was.
It was started.
It's much slower and then Ithink was it, was it cox?
And I think it was cox and sortof.

Speaker 2 (01:06:57):
They just decided to really speed it up and he said,
let's, let's, let's speed it up,let's crunch up, let's make it
dirtier, but like it's one ofthose songs I might have got
that there's that's beenamalgamated from many, many bits
, bits.
No, that is true, it wasstarted off as a bossanova thing
that Auburn brought in, andthen Coxon said let's dirty it
up, let's crunch it up.
But you're absolutely right.

Speaker 1 (01:07:13):
Yeah, it's a great story.
That's a great story, yeah.

Speaker 4 (01:07:19):
It's an amazing piece of music.

Speaker 2 (01:07:20):
Well, he wanted Coxon said at the start of this when
he was talking be able to scarepeople.
When we just started out, whenthey were formed at goldsmith's
college they're art students allof them they met there and they
wanted you know he, coxsonwanted to be angular and cool
and like these bands and by thetime of great escape they'd
become fucking tabloid news.
They had like really like hehated the video to country house

(01:07:42):
.
It becomes super naff, theybecome like almost like
something out of loaded magazineand he must have been
absolutely literally hated it.
So the only real reasonurbanurn, I think, managed to
convince him to do this albumand stay in the band probably
was because, you know, he agreedto do something that would
scare people or thrill people ina way that they hadn't done
before.

(01:08:02):
So this is pure Coxon'sinfluence on his album, the way
this has gone from being a bossand overtune to one of the most
exciting, thrilling pieces ofrock music that's ever been put
on tape for two minutes and twoseconds.

Speaker 1 (01:08:18):
It's not long, is it?
No, that's for sure.
Yeah, all right.
So how are we voting?
Song two, guy.
Song two for me.
Song two, yeah, well, yeah,it's got to be song two, hasn't
it?
Yeah?
Song two, yeah, well, yeah,it's got to be song two, hasn't
it?
Alright, which takes us to thefinal, which is slightly,
inevitably, but fair enough thisis so inevitable, isn't it?

Speaker 2 (01:08:37):
could we ever see it is a little bit.

Speaker 1 (01:08:39):
I do get a bit depressed by inevitable finals,
but again it is fair enough.
It's Beetlebum versus song twowhat you done.

Speaker 3 (01:08:56):
She's a girl.
Now what you done.

Speaker 2 (01:09:27):
What you done.
I mean someone's probably thehardest final.

Speaker 4 (01:09:30):
I've been privy to.

Speaker 2 (01:09:32):
Yeah, well this is good because.
So what we'll do in that case?
Because we know this is one ofGuy's certainly, if not
favourite albums I'm sure it'sin your top 50, but it's
certainly one of your most,probably got one of your biggest
emotional connections here.
Because it's such a pivotalpoint, we will give you the
privilege of the final vote.

Speaker 1 (01:09:50):
Okay, so, steve, a pivotal point we will give you
the privilege of the final voteokay, okay.
So, steve, how are you voting?
I'm going beetle bum because Ithink it has a a certain je ne
sais quoi.
There's, there's somethingmysterious about beetle bum.
It's one of those songs whereit never quite rolls over and
lets me rub its belly because Ican't quite get inside it.

(01:10:12):
You know, it's like even afterfinding out what it's quote,
unquote it's about, which, ofcourse, is still nebulous and
still possibly him fucking withus.
You know, it's like.
There's just there's somethingoff kilter about it which I find
very attractive, and I stillfind that attractive, however

(01:10:32):
often I hear it.
Uh, and so for me it'sdefinitely the one that that has
an emotional reaction.
That's.
That's still very positive tothis day, whereas song two I I
find hard to have that you've,you've, it's worn for you.

Speaker 2 (01:10:48):
It's worn a bit thin, as you've heard it so much Song
2 or Song 2 Bloody Match it isbrilliant.

Speaker 1 (01:10:54):
Song 2 Song 2 often it is and that is fair.

Speaker 2 (01:10:58):
It is incredibly ubiquitous because it has been
covered by absolutely everyone.
Loads of people drop it intotheir set list now if they just
want to pick up the audience orjust drop in a cover of Song 2.
Loads of artists have coveredit.
It has, it has been really it'sit's hugely popular in that
sense.
It's been used in so manyadverts, like for super bowls,
for advertising anything.

(01:11:19):
The american uh, the us armywanted to use it to advertise
stealth bombers.
They were going to notadvertise that was.
They had a video to to launchthe new stealth bomb and they
wanted to use song two andblowur went.
Oh how much money.
It went, no sorry.
I mean they were offered a lotof money but they said we just
can't.
I think they did like a doubletake at the figure.
It went, no sorry.

Speaker 1 (01:11:39):
Still no Shit.

Speaker 4 (01:11:41):
But you had our attention.
It has been their biggest hit,right?

Speaker 2 (01:11:46):
That is their biggest hit in America.
They did nothing in America.
They did nothing in America.
They were ignored in America.
And then they did this and itwas fucking huge, huge.
Although the album only got to61 in the US Billboard as its
highest weekly one, it was stillin the top 200 for the yearly,
so this song really helped themsustain.

Speaker 1 (01:12:06):
Well, they used it on so many sports programs as the
linking song on all the Americanfootball and baseball stuff.

Speaker 2 (01:12:15):
Yeah, For years I know we've been stat-heavy on
this episode, so apologies forthat if you hate the stats, but
this is on a scale of five toone, their biggest streamer on
Spotify, to the next song, Ithink it's got a billion and the
next one's got 200 million.
So it's it's huge for this band, as in it's it's the biggest

(01:12:36):
song, it's the biggest impactI've had globally, without a
doubt, do you?

Speaker 1 (01:12:39):
want to hear my my other reason why I'm voting
voting against it, which is themost me reason ever gone.
I don't like it when peopleEnglish is a stress-based
language.
French is not a stress-basedlanguage, so you can stress
wherever you want in the word,but english, you know you're.
You're going to say photograph,stressing the photo, and if you
say photographer, it's going tomove to a different bit of the
word, the stress, where thestress is important.

(01:13:01):
Nobody pronounces jumbo jets.
You pronounce you, you, youfocus on the jet.
You go jumbo jet.
You don't call it a jumbo jetsby a jumbo jet.
Who?
Who is going around stressingthe o of jumbo?
Hello, how did you fly here?
I came on a jumbo jets, did you?
Well, I don't know what one ofthose is.

(01:13:21):
Can I make an?

Speaker 3 (01:13:23):
admission right, how, when did?

Speaker 2 (01:13:25):
97.
What are we now?
20, 25, 25 that, according tothat, according to my maths, is
28 years For 28 years.
We're about six days into theyear, for 28 years and five days
.
I've always thought that wasthat lyric was John Bocek, I
thought it was Ichimocek.
What?

Speaker 1 (01:13:44):
I've always well.

Speaker 2 (01:13:45):
I mean yeah, I mean it could have been that mad.

Speaker 1 (01:13:48):
I genuinely.
I was like I thought it waslike a cool Japanese company.
It was like I got my headchecked by Ichimocheck.
I was like, who are they?
They sound great.
Yeah, japanese therapy, thatwould be amazing, ichimocheck
checking your head out for you.

Speaker 2 (01:14:07):
So I've always wanted to hear Bocek, but I mean, the
lyrics are mad Like eye pins andeye needles.
This is all because he recordedit, and this is my vote is
coming down to this.
I love both songs.
Right, they're both incredible.
But Beetlebum invokes so muchatmosphere and it's incredible
the mood it sets.
But song two is just one ofthose golden moments where you
can try they try to re-record it.

(01:14:28):
You can try and capturesomething, but they caught
lightning in a bottle in thatmoment when they're trying to
piss off the anr man, which is alovely reason to do anything.
Um, yeah, and he.
They tried to re-record thevocal because there's so much
bleed on.
It wasn't a guy.
He recorded it on an sm57,which is a handheld microphone
which you use for performing.
It's not what you would usereally that much in the studio,
is it langers?

Speaker 4 (01:14:47):
no, it's a kind of workhorse microphone typically.
You know a lot of people use onpodcasts for recording for
speech.
But yeah, it's wouldn'tnecessarily have the fidelity
that you'd use for uh normally,but then that's there's no rules
.

Speaker 2 (01:14:58):
It's not an expensive mic, is it?
You can pick them up for about120 quid, you know.
So it's not expensive, butthat's.
They recorded it on that andthey tried to re-record it and
they never got the vibe.
It's all about the vibe, thatsong.
It's just so purely about thevibe.
There's loads of bleeders.
From a production perspective,it's about pretty much
everything you wouldn't do witha recording.
Would that be fair?
To say so are you voting forsong?

Speaker 4 (01:15:20):
two.

Speaker 2 (01:15:20):
So for that reason because it's so vibe heavy and
it's just so hard to reproduce,like I said, loads of people
have covered it, but probably noone's covered it that well it's
just so good.
And also because when I sawBlur at Glastonbury I did a
massive scissor kick to themoment where it went woo-hoo in
a very thick and busy crowd.
So I'm definitely voting it forthat reason.
So I'm giving Guy the decidingvote and sitting back and

(01:15:43):
enjoying his pain as thishappens live in front of me.

Speaker 4 (01:15:47):
Thank you very much in front of me.
Thank you very much.
Ah, okay, so it's actuallyquite easy for me.

Speaker 3 (01:15:56):
That's disappointing, I know, but I will try and
build the tension, please.

Speaker 4 (01:16:00):
Like I said before previously, one of these has an
iconic guitar riff that everyonelearned, but there was one that
was even better.
It was the one.
It was quite a good attempt, itwas quite a good attempt.
I know I lost confidencehalfway through to it.
I felt it going Annoyingly.
Brett has actually taken thewords right out of my mouth.

(01:16:20):
The reason why Song 2 is sogood besides the fact that it's
track two on their record, it'stwo minutes and two seconds long
and it's called song two um isthe absolute just stream of
consciousness, just them beingthemselves I do love that yeah
it's, it's, it's quite.
You know, there is a reason whysome bands make it and some

(01:16:42):
bands don't because there is acertain chemistry between
everybody in that room that canmake something that no one else
can make.
And when you you get a songlike Song 2, you're just
essentially dialing it back tothe pure minerals that are Blur,
the elements that constitutethat group, and that's why it is

(01:17:03):
amazing, because they're noteven trying and it's fucking
awesome.
It's probably their biggest andarguably to some maybe not
myself, but their best song, andit's not even really a.
Arguably to some, maybe notmyself, but their best song, um,
and it's not even really a song, it's a demo.
Uh, and that's you guys, you'vegot to say well done, chaps,
yeah, uh, if you've achievedthat with that, so um, for that
reason, I am gonna vote for songtwo and make it the worthy

(01:17:27):
winner what do you, what haveyou learned from that now as a
producer?

Speaker 2 (01:17:30):
like from when you listen to it and realise, oh it
happens all the time.

Speaker 4 (01:17:32):
You know what it's called demo-itis.
Everyone knows it, talks aboutit.
But you can do a song on theday.
You send it off to them.
You then go, great, let's dosome more work on it.
Blah, blah, blah, blah, blah.
And then you go, yeah, it notquite as good as the demo.
The demo you weren't reallyenunciating the words, or, but

(01:17:53):
there you know, there'ssomething about it just coming
to you in your head.
Or the first time you dosomething it has a raw power to
it that you can't recreate.
And it's that's the beauty ofrecording music.
You get to capture thosemoments, um.
It's very hard in other artforms to kind of redo the first
thing, um, or to capture thatfirst thing because you've
already ruined it by workingover it.
If it's a painting, you addextra layers and then you can't

(01:18:15):
go back, whereas music you'vealways got that document of that
time.
So again, yeah, maybe there isa connection for me there,
because I've experienced thatevery day, where you kind of go
back to the demo vocal so manytimes and there are so many
songs that have that.
Songs have when you, when youfirst record them sometimes, and
song two has that in buckets.

Speaker 2 (01:18:35):
yeah, it really does.
A worthy winner, woo-hoo,woo-hoo, woo-hoo.

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