July 2, 2024 • 35 mins
Today on the Daily Bespoke Podcast, Matt and Jerry are joined by Iva Davies, the lead singer of Icehouse and Aussie music legend. They discuss his composition of the soundtrack for the 2003 film "Master and Commander," the fan he has set up at gigs just to give his mullet some volume, and his upcoming trip to NZ! Available now wherever you get your podcasts...
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Speaker 1 (00:15):
Live Game.
Speaker 2 (00:20):
Business.
Speaker 1 (00:31):
It's the third of July twenty twenty four. Welcome all
you bespokey dokies to the Daily Bespoke Podcast. And today
we've got a big gift. We've got Iver Davies from
Bloody Ice House. I A Davis, not Iver dv Okay,
it's not Iver Davis, No, it's IV Davis. I have
the idea what I was short for either of a
(00:52):
big dick.
Speaker 3 (00:55):
That's heart good sounds like this of course electric blue
tune and then wounds like this.
Speaker 1 (01:08):
Bring it's the RNA.
Speaker 4 (01:10):
Just one that is a good tune. Now one what
about this one across the water?
Speaker 1 (01:17):
Have you got that one that goes we can get together?
Speaker 5 (01:21):
Oh?
Speaker 4 (01:21):
What's that called?
Speaker 6 (01:23):
Gotta be please the mother by like you tune?
Speaker 1 (01:31):
So you gotta beyond? What are we gonna talk about?
Because first question surely has to be used to running
a mullett with her. But he's not fan in front
of you, now he's not.
Speaker 3 (01:40):
Last time I saw you nineteen eighty nine, found as
there in Hamilton, you were rolling a mullett with a
fan with a billowy chiffon shirt hanging up with that.
Speaker 1 (01:49):
You used to running out at your consorts.
Speaker 4 (01:51):
Do you know my favorite I O song is that
nothing too serious one? But I don't have the hook
already loaded in, but you know the song goes nothing
to Yeah. I don't know why I love that tune
so much. That always plays at stadiums as well. Anyway,
shall we call them or what's the buz?
Speaker 1 (02:03):
Well, hang on a minute, We've got to address the
elephant in the room. The elephant in the room is
that we promised and people that listen to Jimmy Barnes
podcast will know that we promised to go live with
Ivor Davy worth a little diorama of our Davis Davis Davis.
Remember it's Davis with the little di roma of ice
(02:23):
house made out of our downstairs, right. Yeah, but we
would have done that, and so people that say the
well sell outs are not doing it. We would have
done that, except for the fact it's a phone call,
so we can't. It's not a zoom call.
Speaker 4 (02:33):
Okay, it's good.
Speaker 5 (02:34):
Okay.
Speaker 4 (02:34):
If I always hard out at ten, apparently I's got
places to be, people to see, so I can just
all him up. Now, I shouldn't read real.
Speaker 3 (02:42):
Name, Ivor Davis. Okay, that makes sense. It's not Ivor
at all. It's ivor Ivor. It's a Russian name, dangerously
long number.
Speaker 4 (02:54):
I've got this right.
Speaker 1 (02:55):
He does the sound trick for Master and Commander, Great movies.
Know that I did not know that. Hello, Hell was
that ivy?
Speaker 5 (03:05):
Hi Iver?
Speaker 1 (03:05):
It's Matt and Jerry here from RADIOHKI. How are you good?
Thank you, we're already live and recording.
Speaker 7 (03:11):
Ever, okay, no worries.
Speaker 1 (03:13):
Thanks, thanks for joining us today, pleasure and doing our
deep amount of research for this interview. I realized that
you composed the soundtrack for Master and Commander.
Speaker 7 (03:25):
Wow, okay, yes, I mean we know.
Speaker 3 (03:30):
A lot about you, obviously, we know a lot about
your a lot about your songs. Grew up with your songs,
love Ice House, and have a huge appreciation for your
song writing ability.
Speaker 1 (03:40):
But I didn't bloody know you did Master and Commander.
Speaker 7 (03:45):
Yeah, and it was a big thing. It was right
in the top of the A list Hollywood. The full
bells and whistles, you know, most famous orchestra recording studio
in the world. It's incredible, it's great fun and.
Speaker 1 (04:02):
It's a fantastic movie.
Speaker 3 (04:04):
The soundtrack sensational.
Speaker 7 (04:07):
Well, it was, I mean, Peter, were was the director,
and you know, you'll know loads of his iconic films
and absolute joy to work with because he just knows
exactly what he wants. And you know, that was probably
one of the most heavily researched movies in terms of
(04:28):
being absolutely accurate to the period of the Napoleonic Wars,
which was said that in that period, and you know,
it was kind of epic every on every level.
Speaker 3 (04:39):
Really, so iver when you go about writing the soundtrack
for something like Master and Commander, you obviously get the film.
Speaker 1 (04:47):
You watch the film, absolutely you do.
Speaker 7 (04:49):
And in fact, the the the editor of that, Peter
we Uses, is an Australian fellow who went on to
one win an Academy Award, and he work very closely
with the composition team, my technicians, and he also is
a kind of he is a music editor as well,
(05:11):
So while he was actually editing the movie and putting
it all together, he's putting together kind of temporary bits
of music which give us a guideline to what he's thinking,
what Peter Weir is thinking. It's a very collaborative process, really.
Speaker 1 (05:28):
I mean, I just watched interestingly a documentary on the
making this movie the other day, and you know they
built the ships exactly like they were. The details of
they built the two ships. They had the one out
on the water, they had they had Russell Crowe making
people introduced to each other by the rankings as they
were actors from the start. So you're coming on into
a situation like that. So are you bringing that idea
(05:51):
to the music that the music has to be right
for the time as well?
Speaker 7 (05:55):
If you know what I'm saying, Well, we're part of
a music team. Was Richard Tonie and you'll probably know
him as being world class concert violinist and director of
the Australian Chamber Orchestra. Now his wealth of music of
knowledge is in period music and so he knew exactly
(06:16):
what it was. The two main characters, of course, the
Russell Crowe's characters, being the captain and the ship's doctor,
are very different people and that's part of the fun
of the movie is the relationship between these two because
they only get together really when they play music together,
and that's the kind of connection. And so there are
a lot of scenes in the movie where they had
(06:36):
to turn up in the captain's cabin, the doctor with
his cello and the Captain Russell Crowe with his violin.
Richard Tonietti was Russell Crowe's violin coach. I had to
learn how to play some of these pieces, believe it
or not, and the music for the period had to
be just exactly right. And that, of course is a
(07:00):
great asset in Richard Tanya's knowledge of all that period is.
Speaker 1 (07:03):
That great line with the chief goes as they get
scratching and scratching a way and nothing you can dance to.
He's from the other room when he's hearing them play.
Speaker 3 (07:11):
A lot of people probably won't know that about you either,
that you were classically trained, you were involved in orchestras
and then I think was it in your early twenties
maybe is it twenty one when you when you dropped
out of the New South Wales Conservative conservatorium of music
to start writing pop music. Well, looking now, obviously you
(07:35):
must listen to a lot of classical music now and
probably all genres of music. What do you what do
you currently listen to?
Speaker 7 (07:42):
You're right, actually, you know music has worked for me,
so it's it's it's not the sort of thing where
I put on music sort of relaxed. I had a
girlfriend back in the early days, and she liked to
go to sleep with the radio on, and this was
absolute nightmare for me because of course I'd be sitting
(08:04):
there analyzing the songs and making notes for tomorrow's work
and so you know. So, but you know, as of
last night, for example, I was listening to Yo Hunsterbuskin Bark,
I was probably my favorite composer. And if I'm going
to put something on, I'll put on something from probably
the classical repertipe, because it's a fair distance away from
(08:27):
what I've been doing for the last forty years. Let's
face it, I don't you know, I don't put on
popular rock music because that's my work. But yes, by
going back to those early days, a very interesting relationship
because I was paying the rent partly with cleaning jobs,
(08:47):
but also very early on, once I dropped out of
the full time orchestra that I was principal Obo's I
believe it. I was actually principal burst of working orchestra.
And once I dropped out of that, I actually got
a job writing out music to all the songs that
were in the Australian charts. Because in those days you
(09:09):
had to produce a piece of sheet music to pass
on to APRA, which is the kind of copyright body
in Australia to register your songs. And as part of
that job, one of the publishing companies rang me up
and said, we'd like you to write the Cold Chisel Songbook.
And so I actually have in my possession a songbook
which I wrote the piano arrangements to which are probably
(09:33):
the a list of all the Cold Chisel hits that
you've ever listened to. And this of course brings us
around to the conversation that we're having about coming over
next year and playing. But I'll be able to remind
Jimmy and Don Wrger and whatever that I wrote their
songbook when I was around about well.
Speaker 1 (09:54):
We had Jimmy Barnes on the show the other day
who was talking very highly of you, and you know
because we brought you up, because I mean I had
a spiritual experience when I first saw you play in
nineteen eighty nine in New Zealand, and I was just
talking to one of the bosses that here, one of
the wider bosses in NZBA, and we said we're talking
to you, and he goes Founder's Theater nineteen eighty nine.
(10:15):
It was my first concert. It blew my freaking mind.
But you know it's interesting that, you know, because you know,
from the New Zealand perspective there's all these legendary Australian
bands that had the whole career. But you know, whenever
you talk to anyone of you is aways go Jimmy
Barnes Thus and he's like, I have a Davey's that.
So it's quite a small close community as well, isn't it.
Speaker 7 (10:35):
Well, we when we were starting out, we were signed
to a management company. It was only a trio of
three managers and they were kind of maverick group of managers.
They'd broken away from the very big network of managers
in Australia and they could do that because they had
the two biggest bands in Australia by miles and they
(10:57):
were The Angels and Cole Chisel, and those two bands
are at their absolute peak and we were brand new
and so we were the little brothers. So we did
lots and lots of supports spots for both those bands,
but especially Cold Chisel, and so you know, we were
the newbies, so they were kind of big brothers to us.
(11:20):
And that's where the kind of weird special relationship comes from.
And people have said to me, oh, it must be
weird going on and supporting Colds, and I went, well, no,
we were doing that forty five years.
Speaker 1 (11:31):
Ago, So well, I bet there was opening times for
you guys coming out being involved in that. You know
those guys, I mean legendary stories indeed.
Speaker 7 (11:40):
Indeed, Yeah, yeah, so I look, you know, I'm a
huge fan, so you know I'll be side of stage
every night watching what the hell Ian Moss plays that
particular night, because he never plays the same thing twice.
So yeah, it'll be great fun.
Speaker 3 (11:57):
I'm going to take you back to that nineteen eighty
nine I Cell tour and that you that you had
three in New Zealand. I'm going to ask you a
question about the clothes that you're wearing at the time,
the haircut that you had, plus the fan that you
had situated just in front of you that was blowing
You're very very loose fitting what looked like possibly some
kind of chiffon shirt back.
Speaker 1 (12:18):
And was that a decision of yours.
Speaker 3 (12:20):
To have the fan that was blowing your hair back
or was that was that a management idea or is
that a wider band idea.
Speaker 7 (12:29):
That is a purely practical stage and I still do that.
Have that fan there, Yeah, and it's the only way
that I'm kind of I've got any control over regulating
the temperature that's going on because we play in some
massively varied environments and if you're playing in a small
(12:50):
theater or even tighter than that, a small pub, it's
probably going to get incredibly hot. But then on the
other hand, if you're playing outside in a big open
air environment, then you know it's possibly going to get
very cold. And it's actually quite difficult to get that right.
(13:10):
But I have a relationship with my guitar tech who
is side stage, and I look at him and he
pointed the fan and turn it on.
Speaker 1 (13:22):
It just so happened to look so good with because
you know, you say, you say you're a classic change mission,
but you arrived as a fully formed rock star that
you know growing up in dun Eden where I did.
When you when you played, it was like it was
like nothing I'd ever seen before. It was it was
so rock and roll and so so glamorous, and yeah,
to burst the bubble.
Speaker 7 (13:41):
It's all about.
Speaker 1 (13:45):
So the fan will be on tour with you again.
With this this Greenstone Tour at Summer Concert to Tour
twenty twenty five. It's it's you, It's it's Cold Chisel,
it's bit Hunger and it's ever clear. It's going to
be a great three shows.
Speaker 7 (13:58):
Yeah, no, look and looking incredibly because every time, I mean,
New Zealand is such a great sort of joy to after.
I mean you take it for granted there because you
live there, but you know it's a beautiful place. And
we love coming to New Zealand and have done right
from the very beginning. And if you go tralling YouTube,
you'll find us in nineteen eighty playing at the Sweetwaters
(14:21):
Festival and oh wow, that was you know, that was
a real highlight for us because I don't think we've
ever been anywhere, so to arrive in New Zealand play
on a massive bill like that, and you'll find it
on that same bill we were supporting Golgers.
Speaker 1 (14:34):
Oh wow, there we go. The circle of life. There's
the circle of life, isn't it. Iver Davies, thank you
so much for joining us on the Mat and Jerry Podcast.
It's been a great pleasure to talk to you. To
look forward to seeing you when you come over to
New Zealand. Yeah, me too, I see you then right, cheers,
thank you, Thanks mate, he's got a heart out. We've
told a ten heart out.
Speaker 3 (14:56):
You look at that heart out and we are eighteen
seconds away.
Speaker 4 (14:59):
From Shall we just take a quick break and then
come back with our debrief?
Speaker 1 (15:03):
Actually got so much a depri I'm actually quite angry
with some of the stuff you said you. I don't
want to actually have a go at me full disclosure,
false drama created before their break. I don't have anything
to ever got that. I wish that we could have
talked for longer. I wish we could I mean, did
we ever get rid of because no one came on
(15:24):
and said hard out? We were just told it hard out.
Speaker 4 (15:26):
You don't know we were going to get This is
the thing that you guys don't get exposed to as
we to text and emails, get out throughout interviews.
Speaker 1 (15:33):
Can you hurry get out and don't get out get
exposed to it. I was just sitting on the phone
with the throat cutting these guys.
Speaker 4 (15:42):
Two miss calls from Ruda at home.
Speaker 3 (15:44):
I hate these guys. Get I'm sick of talking about
what fascinated what's fascinating to me. I just looked into
I saw it into the brain of Ivor Davies there
and a whole lot of realizations came to me. One
was that that, unfortunately because we didn't have enough time,
we can get into. But one of those things was
when you are a musician, and I've spoken to guys
(16:07):
in the New Zealand Sophie Orchestra about this, when you're
a really, really big time musician who's grown up with
music all their lives and studied music and stuff, music,
you don't, it becomes a different thing. So you actually
kind of hate it, yeah, because it's constantly you can't
listen to anything it's shop talk without just going into
the rhythm of it, the tempo of it, the way
(16:30):
that it's been resolved, and then you can't you can't
help but think, oh, if only they had have done this.
And so he that was interestingly saying that he couldn't
listen to music with his girlfriend because he just can't.
He can't just have it wash over him.
Speaker 1 (16:41):
He's right in it, Mash, would it kill you to
whip up? We can we can get together? Oh, I
can find blust at as we talk.
Speaker 3 (16:47):
About it in the background and It also made me
realize there's classically trained all of ice House's hurts. They
have a beautiful resolve on the particularly on the choruses.
Speaker 1 (16:58):
Well you gotta me crazy baby to love a girl
like me. The keys up there going higher, I did crazy.
Speaker 6 (17:20):
That's an amazing change wherever the way it left us
walking upstairs that song. Yeah, so that's going down the
stairs and then it goes back up the stairs.
Speaker 1 (17:37):
That's why it's so pleasing. Let you gotta we can
get together and up up your as mechigan.
Speaker 4 (17:46):
I don't know if I do.
Speaker 1 (17:47):
We can get together, can you?
Speaker 4 (17:49):
You might have to fire that off your computers.
Speaker 1 (17:50):
Okay, yeah, we just played one sometimes.
Speaker 4 (17:53):
Yeah, it just went on recording. I don't have excess.
Speaker 1 (17:57):
Yeah, Mane and I never got under it.
Speaker 3 (17:58):
Because he plays the bloody Bear big pipes, he plays
the obo, he plays the English horn, he plays a clarinet,
he plays keyboards. That guy I have a Davies I'm
calling musical genius. Oh he's undoubtedly j Yeah, I mean,
listen to this tune. Listen to this junior. This is
(18:20):
a freaking tune. It sounds like mesh pumping away.
Speaker 1 (18:25):
That's not fast. Yeah, he goes, fine, Oh, this is
a churn. This is a freaking chune. This is early
on in their career.
Speaker 3 (18:34):
This is a dancing little number, is not there. He's
coming out the back after disco. I know he's been
listening to their D Bowie D Bowie and Roxy music.
Speaker 2 (18:48):
Ah yeah, pick up sticks is a good line. It's
(19:19):
such a good song.
Speaker 5 (19:20):
You gotta wait for the chorus.
Speaker 1 (19:22):
Now you know what he means when he goes, you
know that line. The song goes, you can pick up
my sticks, you can back up my shoe. You know
he's talking about He's talking about pick up sticks and
I'm foxing a shoe.
Speaker 5 (19:34):
Here he go, he goes the chorus. It's a lot
of bari there.
Speaker 4 (19:50):
I think it was over David. I saw an interview
with him be having done once and he was talking
about his songwriting. And I could be completely wrong here,
but he said that what he does the song is
he'll start with the chorus and then turn that chorus
into the first verse. Ah yeah, so just goes. You
just make sure that this first verse is the catches
fucking thing that he can possibly come up with, and
then he'll go and actually write a chorus and don't borrow.
Speaker 1 (20:11):
Write a period. Yeah, don't borrows. Get to the chorus exactly.
Speaker 4 (20:14):
So he writes a whole bunch of choruses and then
shoves that at the beginning of the song because every
apparently every part of the song, according to other Davies,
should be of course, it should be worthy of a chorus.
Speaker 1 (20:23):
Catchy, that's a really good point. Can fire off, just randomly,
fire off? I see how song? How it starts?
Speaker 4 (20:28):
Okay, shy thing, I can start one?
Speaker 1 (20:31):
Oh you can't start?
Speaker 4 (20:31):
Well, you should start one?
Speaker 1 (20:33):
Fire one and and and and just a random one. Okay, okay, okay,
here we go. I've still got the other one playing
running situation. Okay, there we go.
Speaker 4 (20:52):
I mean this might completely debang my theory.
Speaker 1 (20:53):
Don't wake me tonight before I go. I'm about to
take one more request on this video. It's over Davy
pretending to be a you're on the radio host in
the video. Oh that's great, good morning. Do you mind
if I work you tonight that you request? Use mate?
Speaker 7 (21:09):
Well, you play crazy for me? Right?
Speaker 1 (21:26):
Sad?
Speaker 6 (21:26):
What song?
Speaker 1 (21:27):
Moody? I've got a pocus.
Speaker 2 (21:34):
Hello.
Speaker 1 (21:36):
Okay, So chick chorus, And he's now drawing into the
ny for what's this woman? Who's rung? I'm on the
radio for the rainbow.
Speaker 4 (21:53):
I'm in a different song. If this is the chorus.
Speaker 1 (21:55):
Guys, here you guys.
Speaker 5 (21:57):
Roving with the woman the one?
Speaker 7 (21:59):
Here we are.
Speaker 8 (22:02):
Where you gotta be crazy?
Speaker 1 (22:05):
How he's gonna take say that you've gotta here, You've
gotta be your man.
Speaker 3 (22:15):
Crazy?
Speaker 1 (22:19):
Don't we use it as we run this as a man?
Jerry sting that way?
Speaker 4 (22:26):
If I can find that, you can get that us
jerm Okay, what one is it going to be?
Speaker 3 (22:30):
Called?
Speaker 1 (22:32):
Crazy? Icehound? There we go you ready go? Here we go,
here we get ready ready, ready, here we go, here
we got.
Speaker 6 (22:38):
Well, it's gotta be mad and jailry oh read hold
key hold on weekday morning some.
Speaker 1 (22:48):
Six until night. Listen, Jerry, you should have played it
to either fun.
Speaker 2 (22:55):
It should have played an ivy mesh, yeah, applied to Eiva.
Speaker 1 (22:59):
That's not my get it back on the line.
Speaker 4 (23:01):
I also noticed you guys didn't ask him about you
guys didn't end up doing the thing with you downstairs
and the bush hanging out the top of your pants.
Speaker 1 (23:08):
And I personally hadn't trimmed my pub so I could
belong the fan with the hairback. I felt disrespectful, did
you Yeah?
Speaker 4 (23:16):
I mean there's classic you guys, isn't it. As you've
got your come in cock of a hope, confidence through
the roof and then you actually have to talk to
the person.
Speaker 1 (23:23):
He's so much greater in New Zealander than I thought
he was. And I thought he was. I thought he's
going to be a great New Zealander. I mean, the
guy is just squeezing out the theme to Master and Commander,
one of my favorite movies of all time. I freaking
love that movie and it's so gutting because the Pirates
of the Caribbean. Russell Crow spitting to this day because
that those movies should have gone forever. My dad reads
all the books because it's hundreds of books, but it's
(23:44):
amazing to Pirates of the Caribbean came out just before
Master and Commander, so the movie company decided to advertise
Master and Commander like it was Pirates of the Caribbean
with the stupid Johnny Depp running around pretending to be
bloody Captain Jack Sparrow and the bloody Keith Richards. And
(24:04):
then the movie came out and it was actually a
really high quality movie that should have won Oscars, but
it kind of tanked at the box office because people
like people were like where the Fox Pilot through here Aban,
But it has had such a huge renaissance in that movie.
It's so loved over time, and it's because it's a
movie about male relationships, and there's not a lot of
movies about that. I mean, because there's no females in
(24:26):
that movie at all, except for at one point where
they're picking up some supplies and they see a woman
in a boat. Apart from that, it's just completely about
male relationships. So a lot of men lean into that movie.
But fucking great movie. Great movie is there? Do you
know who that's based on? Joseph Banks and Captain? Those
(24:46):
two characters. Yeah, would it have killed them? Would it
have killed us to talk to Iver Davies about the
Needen line? Should it could have? Would?
Speaker 4 (24:54):
Do you know what I'm realizing about these Aussie acts
that kind of were making a lot of money from
the pub scene and that kind of seventy to eighties
nineties is every single one of them are just great people.
Because yeah, I assume it required some level of self
awareness and just being okay with who you are doing
all those kinds of gigs for so long, you know,
(25:15):
they're just seems like there's a massive scene going on
in the music of music of kind of New Zealand
and Australia where it's just you know, you just go
around pubs and playing all the time.
Speaker 3 (25:23):
I think as well, they made a bit more money
than the New Zealand ones. True, but they like he
would have done pretty well over Davies over time.
Speaker 5 (25:29):
Yeah.
Speaker 1 (25:29):
Oh well yeah, especially when you went men are colors.
Speaker 4 (25:32):
They're just always so nice, these people that just went around, Yeah.
Speaker 1 (25:34):
They are exactly. I think you're right. I think there's
a humbling of you because you have to go and
play mining towns. Yeah, and you have to you have
to have your like an excess, you know, cultures or
all these bands, the Angels, all those os rock bands,
they had to have their fricking chops. You you had to.
(25:55):
You had to have your chops at a band and
as a band like you didn't anywhere else in the
world because you you would night out, night and night
out going to these small towns in one hundred and
fifty fifteen hundred people, one thousand people. Yeah, and if
you didn't have your chops. You were in trouble and
that's why you had to chop wood at the back.
Speaker 3 (26:13):
Yeah, but I think that as well they got better.
They got better because they're playing with each other, they're
probably listening to each other.
Speaker 1 (26:17):
Well, that's a problem for New Zealand bands because they Auckland.
Play about two shows in Auckland. Then you go down
to Hamilton. No one turns up to that show. Then
you're down at the Mount. A couple of people turn
up to that show, a.
Speaker 4 (26:30):
Couple of parents with that. Yes, a couple of months
and days.
Speaker 3 (26:33):
Try and play a show and get on the glass
barbecue through and you got to try and do a
couple of shows coming down off the glass barbecue.
Speaker 1 (26:40):
Play Wellington and actually some people turn up in Wellington.
Then there's a long way you have to go. You
try and play Nelson, no one turns out. You're going
to get on the cock straight fery. There is a problem.
Then you're down in christ Church, people turn up the
egg Sailing. You go to Dneden and this is the
problem that tours have. Then they have to get all
the way back and there's no gigs to play on
the way back. But the circular nature of Australia means
(27:00):
you just can go on the road and you can
actually you can actually do a tour because you can
do ten shows and different places of Sydney. You can
playing manly mate, playing alright.
Speaker 4 (27:09):
House came down here and we were just seing them
up back up through a groymouth like they wouldn't come
out of life. Yeah that's the only way, isn't it.
Speaker 1 (27:15):
Really? What Daja Voodo asually happened was they tour on
the road, but I'd fly between places. I'd meet the
band in different places and they'd drive in the band
be increasingly angry at me. Just skip the coast because
I'm not. I'm not going on the fucking fairy mate.
Oh yeah, I got to get I've got to get
back to I've got a pitic here on Auckland.
Speaker 4 (27:30):
Who did we have that got over to that? I
was rock pub scene with the crowded house about it?
Speaker 1 (27:35):
Yeah, I know there were a few the dudes.
Speaker 4 (27:38):
My dudes got over there.
Speaker 1 (27:39):
My six, My six did he smash did a bit
of time over there.
Speaker 5 (27:43):
My six.
Speaker 1 (27:44):
Are you familiar with my six? My six are a gros.
Speaker 3 (27:47):
Push pushment over They did one, they did a tour
and then Mike realized Mikey realized that he didn't even
want to do that.
Speaker 4 (27:55):
I can imagine there was quite a lot of that
going on as people thought that there was just going
to be fascinating, amazing kind of expert sperience and people
they're just gonna be woman everywhere and all that kind
of thing.
Speaker 1 (28:02):
But I think there was that, but I think they did.
They were quite big, push push, quite big in Australia.
There so this is this is a New Zealand band
that made it in Australia. Computer Games, My Sex. I
know this song?
Speaker 4 (28:14):
Yeah, okay, my bad.
Speaker 1 (28:18):
They accused Blue are roopping the song off? Oh yeah, yeah,
(28:45):
there it is. I mean, is that the one they
say they ripped off?
Speaker 6 (28:50):
No?
Speaker 1 (28:50):
I think it's another one they reckon, Blue rapped off.
But this is a fucking great song. I still love
the song so much when I was a kid. This
is my Sex. This is a huge hit in Australia.
You know the song Jeremy not so far. I'm amazed
that we're artists and using like a right songs. That's good.
Speaker 4 (29:11):
Oh live the bongo back there there we go.
Speaker 1 (29:16):
It's a very sad song so Australia. So the New
Zealand means that went over there about it. They became
very Australian. I used to listen to the song over
and over again. It's hard to believe. Every day. Okay,
I'm thinking about my own life. Things should be.
Speaker 4 (29:43):
I see why you listen to this?
Speaker 1 (29:46):
Yeah, if you.
Speaker 4 (29:50):
Resolves nicely all the time, the shadows.
Speaker 2 (29:56):
Here we go. So this is my sis.
Speaker 6 (30:00):
It's just.
Speaker 1 (30:03):
Dragon made it really huge over there.
Speaker 3 (30:04):
Ah.
Speaker 4 (30:05):
Yes, Dragon's another one.
Speaker 1 (30:07):
Noise Works, but that was just really our boy in
front of it, an Australian man.
Speaker 4 (30:11):
I saw Dragon at the Vicagle Town Hall not that
long ago, part of their fiftieth anniversary tour. I think
it was in Mark Williams. Do you know Mark Williams?
Yeah he was, He now saying he's now the lead
singer for Dragon.
Speaker 1 (30:22):
So Mark Williams was noise Works, isn't he?
Speaker 6 (30:24):
No?
Speaker 4 (30:24):
So that's John Stevens, John Stevens, So make Williams is
another one, but he came out. Do you know the
song Mercy Mercy? It's an absolute tune that I have
to play in this episode. All right, be absolutely gutted.
Speaker 1 (30:35):
Okay, can we get over Dave's back on the line
and ask him some of those questions.
Speaker 4 (30:39):
I mean, no, I think he's gone.
Speaker 1 (30:40):
Now he's gone again.
Speaker 4 (30:41):
We got the heart out for Mercy, Mark.
Speaker 1 (30:43):
Isn't it funny? Like being hard out means that you're
really going to go for it, But a hard out
means you're really not going to go for it, doesn't it.
That's weird, isn't it? It is weird? Okay, what do
you got Mercy?
Speaker 7 (30:53):
You no?
Speaker 4 (30:53):
Just right now, just trying to skip over a copper
kettle ad with Jason Hoyt voicing it, so we don't
want that. Yeah, he's caught the end of that prega.
Oh yeah, this is Mark Williams shoon, no Mercy. It's
an absolute tune. But now he's singing for dragon.
Speaker 1 (31:16):
Oh that that's the Young Tears for Fears Baseline.
Speaker 5 (31:21):
Shure Mercy lemsy, Oh that you got you got again?
Speaker 1 (31:29):
Shure, no Mercy.
Speaker 9 (31:33):
It's about sex ustrangulation, isn't it. It feels a little
bit like that. It's about a Peter funny Walker situation.
This song just grows and grows for four and a
half minutes. By the end of it, Oh, this is
two Cutters forty five and.
Speaker 1 (31:46):
Now sure mercy sure, mercy me, sure.
Speaker 3 (32:00):
Do you jerymmy sr Miles away suck the life out
of me with that song that you were playing before.
Speaker 1 (32:06):
I switched off at that point.
Speaker 4 (32:07):
Okay, we'll let Mark Williams is Jersey up again. Here, mate,
you're there, he goes anyway, he's singing for Dragon.
Speaker 5 (32:28):
Now.
Speaker 1 (32:29):
Who was that bloody key we check that went over there?
Fucking she used to make love to Bloody that actor? Nah, mate,
She the guy that had his cock out at the
start of the Quiet Earth, Bruno Lawrence Lord, Bruno Lawrence's
girlfriend Joe Cotton. No, I think he was cheating on
her with his wife Jenny. And she sang that song
(32:50):
Lawrence broke Fraser. She Oh fuck. She was a big
and Neil Finn would write her songs for her. She
was big like fat, No she was. She was beautiful
and then she was a big hat over there. I
feel like her name started with Jenny, not Jenny Morris.
Was it Jenny Morris? Jenny Morris. There was definitely a
(33:10):
song called Jenny Morris. And did she have a song
about change in the weather. Yeah, that was a breaking
the weather and body Bardy in Soul last.
Speaker 4 (33:24):
Lasted, Buddy and soul think about.
Speaker 1 (33:27):
Crank it h crank it hoty. So this is another
key with that did the odd circuit? Here you go,
here we go. Crank and hotty?
Speaker 5 (33:38):
Is it?
Speaker 1 (33:38):
And suboncious? I won't speaking out a term when I
said that she made love to Bruno Lawrence.
Speaker 2 (33:47):
About fine, she's real hot.
Speaker 4 (33:51):
It's a bit pots and pansy for me, buddy, and
so it's good.
Speaker 1 (34:06):
It's very Australian. That's very Australia.
Speaker 4 (34:09):
What happened? Did Monte Verdeo even make it over?
Speaker 1 (34:14):
What's the shoot? I again?
Speaker 3 (34:16):
He did go over to Sydney for a while, Mary Grinley.
That's kind of where he learn part of his trade
is playing in the cross for a while. And then
they came back with shoop ship did he What did
you like this.
Speaker 1 (34:25):
Song from Gimmy Morris? This was written by Neil Phone.
This was another hats It's quite great of ours, isn't it?
Speaker 3 (34:36):
Ye?
Speaker 4 (34:43):
All right?
Speaker 1 (34:44):
Religion okay, he goes into the religion category. Yeah, what
a great great man. I mean, it was only about
one eighth of their podcast, but that's right, that's all right, Okay,
going back to the hunt day calendar.
Speaker 8 (34:57):
Now, okay, see you later, alright, okay, all right then
all right, okay then oh yay, Hello, I'm Matt Heath.
Speaker 1 (35:10):
You have been listening to the Matt and Jerry Daily
Bespoke podcast. Right now you can listen to our Radio
Highlights podcast, which you will absolutely get barred up about anyway.
Sit to download, like, subscribe, write, review, all those great things.
It really helps myself and Jerry and to a lesser extent,
mess and ruder. If you want to discuss anything raised
in this pod, check out the Conclave, a Matt and
(35:31):
Jerry Facebook discussion group. And while I'm plugging stuff, my book,
A Lifeless Punishing Thirteen Ways to Love the Life You've
Got is out now get it wherever you get your books,
or just google the bastard. Anyway you seem busy, I'll
let you go. Bless Blessed, blessed, give them a taste
of key we from me,
Live Game.
Speaker 2 (00:20):
Business.
Speaker 1 (00:31):
It's the third of July twenty twenty four. Welcome all
you bespokey dokies to the Daily Bespoke Podcast. And today
we've got a big gift. We've got Iver Davies from
Bloody Ice House. I A Davis, not Iver dv Okay,
it's not Iver Davis, No, it's IV Davis. I have
the idea what I was short for either of a
(00:52):
big dick.
Speaker 3 (00:55):
That's heart good sounds like this of course electric blue
tune and then wounds like this.
Speaker 1 (01:08):
Bring it's the RNA.
Speaker 4 (01:10):
Just one that is a good tune. Now one what
about this one across the water?
Speaker 1 (01:17):
Have you got that one that goes we can get together?
Speaker 5 (01:21):
Oh?
Speaker 4 (01:21):
What's that called?
Speaker 6 (01:23):
Gotta be please the mother by like you tune?
Speaker 1 (01:31):
So you gotta beyond? What are we gonna talk about?
Because first question surely has to be used to running
a mullett with her. But he's not fan in front
of you, now he's not.
Speaker 3 (01:40):
Last time I saw you nineteen eighty nine, found as
there in Hamilton, you were rolling a mullett with a
fan with a billowy chiffon shirt hanging up with that.
Speaker 1 (01:49):
You used to running out at your consorts.
Speaker 4 (01:51):
Do you know my favorite I O song is that
nothing too serious one? But I don't have the hook
already loaded in, but you know the song goes nothing
to Yeah. I don't know why I love that tune
so much. That always plays at stadiums as well. Anyway,
shall we call them or what's the buz?
Speaker 1 (02:03):
Well, hang on a minute, We've got to address the
elephant in the room. The elephant in the room is
that we promised and people that listen to Jimmy Barnes
podcast will know that we promised to go live with
Ivor Davy worth a little diorama of our Davis Davis Davis.
Remember it's Davis with the little di roma of ice
(02:23):
house made out of our downstairs, right. Yeah, but we
would have done that, and so people that say the
well sell outs are not doing it. We would have
done that, except for the fact it's a phone call,
so we can't. It's not a zoom call.
Speaker 4 (02:33):
Okay, it's good.
Speaker 5 (02:34):
Okay.
Speaker 4 (02:34):
If I always hard out at ten, apparently I's got
places to be, people to see, so I can just
all him up. Now, I shouldn't read real.
Speaker 3 (02:42):
Name, Ivor Davis. Okay, that makes sense. It's not Ivor
at all. It's ivor Ivor. It's a Russian name, dangerously
long number.
Speaker 4 (02:54):
I've got this right.
Speaker 1 (02:55):
He does the sound trick for Master and Commander, Great movies.
Know that I did not know that. Hello, Hell was
that ivy?
Speaker 5 (03:05):
Hi Iver?
Speaker 1 (03:05):
It's Matt and Jerry here from RADIOHKI. How are you good?
Thank you, we're already live and recording.
Speaker 7 (03:11):
Ever, okay, no worries.
Speaker 1 (03:13):
Thanks, thanks for joining us today, pleasure and doing our
deep amount of research for this interview. I realized that
you composed the soundtrack for Master and Commander.
Speaker 7 (03:25):
Wow, okay, yes, I mean we know.
Speaker 3 (03:30):
A lot about you, obviously, we know a lot about
your a lot about your songs. Grew up with your songs,
love Ice House, and have a huge appreciation for your
song writing ability.
Speaker 1 (03:40):
But I didn't bloody know you did Master and Commander.
Speaker 7 (03:45):
Yeah, and it was a big thing. It was right
in the top of the A list Hollywood. The full
bells and whistles, you know, most famous orchestra recording studio
in the world. It's incredible, it's great fun and.
Speaker 1 (04:02):
It's a fantastic movie.
Speaker 3 (04:04):
The soundtrack sensational.
Speaker 7 (04:07):
Well, it was, I mean, Peter, were was the director,
and you know, you'll know loads of his iconic films
and absolute joy to work with because he just knows
exactly what he wants. And you know, that was probably
one of the most heavily researched movies in terms of
(04:28):
being absolutely accurate to the period of the Napoleonic Wars,
which was said that in that period, and you know,
it was kind of epic every on every level.
Speaker 3 (04:39):
Really, so iver when you go about writing the soundtrack
for something like Master and Commander, you obviously get the film.
Speaker 1 (04:47):
You watch the film, absolutely you do.
Speaker 7 (04:49):
And in fact, the the the editor of that, Peter
we Uses, is an Australian fellow who went on to
one win an Academy Award, and he work very closely
with the composition team, my technicians, and he also is
a kind of he is a music editor as well,
(05:11):
So while he was actually editing the movie and putting
it all together, he's putting together kind of temporary bits
of music which give us a guideline to what he's thinking,
what Peter Weir is thinking. It's a very collaborative process, really.
Speaker 1 (05:28):
I mean, I just watched interestingly a documentary on the
making this movie the other day, and you know they
built the ships exactly like they were. The details of
they built the two ships. They had the one out
on the water, they had they had Russell Crowe making
people introduced to each other by the rankings as they
were actors from the start. So you're coming on into
a situation like that. So are you bringing that idea
(05:51):
to the music that the music has to be right
for the time as well?
Speaker 7 (05:55):
If you know what I'm saying, Well, we're part of
a music team. Was Richard Tonie and you'll probably know
him as being world class concert violinist and director of
the Australian Chamber Orchestra. Now his wealth of music of
knowledge is in period music and so he knew exactly
(06:16):
what it was. The two main characters, of course, the
Russell Crowe's characters, being the captain and the ship's doctor,
are very different people and that's part of the fun
of the movie is the relationship between these two because
they only get together really when they play music together,
and that's the kind of connection. And so there are
a lot of scenes in the movie where they had
(06:36):
to turn up in the captain's cabin, the doctor with
his cello and the Captain Russell Crowe with his violin.
Richard Tonietti was Russell Crowe's violin coach. I had to
learn how to play some of these pieces, believe it
or not, and the music for the period had to
be just exactly right. And that, of course is a
(07:00):
great asset in Richard Tanya's knowledge of all that period is.
Speaker 1 (07:03):
That great line with the chief goes as they get
scratching and scratching a way and nothing you can dance to.
He's from the other room when he's hearing them play.
Speaker 3 (07:11):
A lot of people probably won't know that about you either,
that you were classically trained, you were involved in orchestras
and then I think was it in your early twenties
maybe is it twenty one when you when you dropped
out of the New South Wales Conservative conservatorium of music
to start writing pop music. Well, looking now, obviously you
(07:35):
must listen to a lot of classical music now and
probably all genres of music. What do you what do
you currently listen to?
Speaker 7 (07:42):
You're right, actually, you know music has worked for me,
so it's it's it's not the sort of thing where
I put on music sort of relaxed. I had a
girlfriend back in the early days, and she liked to
go to sleep with the radio on, and this was
absolute nightmare for me because of course I'd be sitting
(08:04):
there analyzing the songs and making notes for tomorrow's work
and so you know. So, but you know, as of
last night, for example, I was listening to Yo Hunsterbuskin Bark,
I was probably my favorite composer. And if I'm going
to put something on, I'll put on something from probably
the classical repertipe, because it's a fair distance away from
(08:27):
what I've been doing for the last forty years. Let's
face it, I don't you know, I don't put on
popular rock music because that's my work. But yes, by
going back to those early days, a very interesting relationship
because I was paying the rent partly with cleaning jobs,
(08:47):
but also very early on, once I dropped out of
the full time orchestra that I was principal Obo's I
believe it. I was actually principal burst of working orchestra.
And once I dropped out of that, I actually got
a job writing out music to all the songs that
were in the Australian charts. Because in those days you
(09:09):
had to produce a piece of sheet music to pass
on to APRA, which is the kind of copyright body
in Australia to register your songs. And as part of
that job, one of the publishing companies rang me up
and said, we'd like you to write the Cold Chisel Songbook.
And so I actually have in my possession a songbook
which I wrote the piano arrangements to which are probably
(09:33):
the a list of all the Cold Chisel hits that
you've ever listened to. And this of course brings us
around to the conversation that we're having about coming over
next year and playing. But I'll be able to remind
Jimmy and Don Wrger and whatever that I wrote their
songbook when I was around about well.
Speaker 1 (09:54):
We had Jimmy Barnes on the show the other day
who was talking very highly of you, and you know
because we brought you up, because I mean I had
a spiritual experience when I first saw you play in
nineteen eighty nine in New Zealand, and I was just
talking to one of the bosses that here, one of
the wider bosses in NZBA, and we said we're talking
to you, and he goes Founder's Theater nineteen eighty nine.
(10:15):
It was my first concert. It blew my freaking mind.
But you know it's interesting that, you know, because you know,
from the New Zealand perspective there's all these legendary Australian
bands that had the whole career. But you know, whenever
you talk to anyone of you is aways go Jimmy
Barnes Thus and he's like, I have a Davey's that.
So it's quite a small close community as well, isn't it.
Speaker 7 (10:35):
Well, we when we were starting out, we were signed
to a management company. It was only a trio of
three managers and they were kind of maverick group of managers.
They'd broken away from the very big network of managers
in Australia and they could do that because they had
the two biggest bands in Australia by miles and they
(10:57):
were The Angels and Cole Chisel, and those two bands
are at their absolute peak and we were brand new
and so we were the little brothers. So we did
lots and lots of supports spots for both those bands,
but especially Cold Chisel, and so you know, we were
the newbies, so they were kind of big brothers to us.
(11:20):
And that's where the kind of weird special relationship comes from.
And people have said to me, oh, it must be
weird going on and supporting Colds, and I went, well, no,
we were doing that forty five years.
Speaker 1 (11:31):
Ago, So well, I bet there was opening times for
you guys coming out being involved in that. You know
those guys, I mean legendary stories indeed.
Speaker 7 (11:40):
Indeed, Yeah, yeah, so I look, you know, I'm a
huge fan, so you know I'll be side of stage
every night watching what the hell Ian Moss plays that
particular night, because he never plays the same thing twice.
So yeah, it'll be great fun.
Speaker 3 (11:57):
I'm going to take you back to that nineteen eighty
nine I Cell tour and that you that you had
three in New Zealand. I'm going to ask you a
question about the clothes that you're wearing at the time,
the haircut that you had, plus the fan that you
had situated just in front of you that was blowing
You're very very loose fitting what looked like possibly some
kind of chiffon shirt back.
Speaker 1 (12:18):
And was that a decision of yours.
Speaker 3 (12:20):
To have the fan that was blowing your hair back
or was that was that a management idea or is
that a wider band idea.
Speaker 7 (12:29):
That is a purely practical stage and I still do that.
Have that fan there, Yeah, and it's the only way
that I'm kind of I've got any control over regulating
the temperature that's going on because we play in some
massively varied environments and if you're playing in a small
(12:50):
theater or even tighter than that, a small pub, it's
probably going to get incredibly hot. But then on the
other hand, if you're playing outside in a big open
air environment, then you know it's possibly going to get
very cold. And it's actually quite difficult to get that right.
(13:10):
But I have a relationship with my guitar tech who
is side stage, and I look at him and he
pointed the fan and turn it on.
Speaker 1 (13:22):
It just so happened to look so good with because
you know, you say, you say you're a classic change mission,
but you arrived as a fully formed rock star that
you know growing up in dun Eden where I did.
When you when you played, it was like it was
like nothing I'd ever seen before. It was it was
so rock and roll and so so glamorous, and yeah,
to burst the bubble.
Speaker 7 (13:41):
It's all about.
Speaker 1 (13:45):
So the fan will be on tour with you again.
With this this Greenstone Tour at Summer Concert to Tour
twenty twenty five. It's it's you, It's it's Cold Chisel,
it's bit Hunger and it's ever clear. It's going to
be a great three shows.
Speaker 7 (13:58):
Yeah, no, look and looking incredibly because every time, I mean,
New Zealand is such a great sort of joy to after.
I mean you take it for granted there because you
live there, but you know it's a beautiful place. And
we love coming to New Zealand and have done right
from the very beginning. And if you go tralling YouTube,
you'll find us in nineteen eighty playing at the Sweetwaters
(14:21):
Festival and oh wow, that was you know, that was
a real highlight for us because I don't think we've
ever been anywhere, so to arrive in New Zealand play
on a massive bill like that, and you'll find it
on that same bill we were supporting Golgers.
Speaker 1 (14:34):
Oh wow, there we go. The circle of life. There's
the circle of life, isn't it. Iver Davies, thank you
so much for joining us on the Mat and Jerry Podcast.
It's been a great pleasure to talk to you. To
look forward to seeing you when you come over to
New Zealand. Yeah, me too, I see you then right, cheers,
thank you, Thanks mate, he's got a heart out. We've
told a ten heart out.
Speaker 3 (14:56):
You look at that heart out and we are eighteen
seconds away.
Speaker 4 (14:59):
From Shall we just take a quick break and then
come back with our debrief?
Speaker 1 (15:03):
Actually got so much a depri I'm actually quite angry
with some of the stuff you said you. I don't
want to actually have a go at me full disclosure,
false drama created before their break. I don't have anything
to ever got that. I wish that we could have
talked for longer. I wish we could I mean, did
we ever get rid of because no one came on
(15:24):
and said hard out? We were just told it hard out.
Speaker 4 (15:26):
You don't know we were going to get This is
the thing that you guys don't get exposed to as
we to text and emails, get out throughout interviews.
Speaker 1 (15:33):
Can you hurry get out and don't get out get
exposed to it. I was just sitting on the phone
with the throat cutting these guys.
Speaker 4 (15:42):
Two miss calls from Ruda at home.
Speaker 3 (15:44):
I hate these guys. Get I'm sick of talking about
what fascinated what's fascinating to me. I just looked into
I saw it into the brain of Ivor Davies there
and a whole lot of realizations came to me. One
was that that, unfortunately because we didn't have enough time,
we can get into. But one of those things was
when you are a musician, and I've spoken to guys
(16:07):
in the New Zealand Sophie Orchestra about this, when you're
a really, really big time musician who's grown up with
music all their lives and studied music and stuff, music,
you don't, it becomes a different thing. So you actually
kind of hate it, yeah, because it's constantly you can't
listen to anything it's shop talk without just going into
the rhythm of it, the tempo of it, the way
(16:30):
that it's been resolved, and then you can't you can't
help but think, oh, if only they had have done this.
And so he that was interestingly saying that he couldn't
listen to music with his girlfriend because he just can't.
He can't just have it wash over him.
Speaker 1 (16:41):
He's right in it, Mash, would it kill you to
whip up? We can we can get together? Oh, I
can find blust at as we talk.
Speaker 3 (16:47):
About it in the background and It also made me
realize there's classically trained all of ice House's hurts. They
have a beautiful resolve on the particularly on the choruses.
Speaker 1 (16:58):
Well you gotta me crazy baby to love a girl
like me. The keys up there going higher, I did crazy.
Speaker 6 (17:20):
That's an amazing change wherever the way it left us
walking upstairs that song. Yeah, so that's going down the
stairs and then it goes back up the stairs.
Speaker 1 (17:37):
That's why it's so pleasing. Let you gotta we can
get together and up up your as mechigan.
Speaker 4 (17:46):
I don't know if I do.
Speaker 1 (17:47):
We can get together, can you?
Speaker 4 (17:49):
You might have to fire that off your computers.
Speaker 1 (17:50):
Okay, yeah, we just played one sometimes.
Speaker 4 (17:53):
Yeah, it just went on recording. I don't have excess.
Speaker 1 (17:57):
Yeah, Mane and I never got under it.
Speaker 3 (17:58):
Because he plays the bloody Bear big pipes, he plays
the obo, he plays the English horn, he plays a clarinet,
he plays keyboards. That guy I have a Davies I'm
calling musical genius. Oh he's undoubtedly j Yeah, I mean,
listen to this tune. Listen to this junior. This is
(18:20):
a freaking tune. It sounds like mesh pumping away.
Speaker 1 (18:25):
That's not fast. Yeah, he goes, fine, Oh, this is
a churn. This is a freaking chune. This is early
on in their career.
Speaker 3 (18:34):
This is a dancing little number, is not there. He's
coming out the back after disco. I know he's been
listening to their D Bowie D Bowie and Roxy music.
Speaker 2 (18:48):
Ah yeah, pick up sticks is a good line. It's
(19:19):
such a good song.
Speaker 5 (19:20):
You gotta wait for the chorus.
Speaker 1 (19:22):
Now you know what he means when he goes, you
know that line. The song goes, you can pick up
my sticks, you can back up my shoe. You know
he's talking about He's talking about pick up sticks and
I'm foxing a shoe.
Speaker 5 (19:34):
Here he go, he goes the chorus. It's a lot
of bari there.
Speaker 4 (19:50):
I think it was over David. I saw an interview
with him be having done once and he was talking
about his songwriting. And I could be completely wrong here,
but he said that what he does the song is
he'll start with the chorus and then turn that chorus
into the first verse. Ah yeah, so just goes. You
just make sure that this first verse is the catches
fucking thing that he can possibly come up with, and
then he'll go and actually write a chorus and don't borrow.
Speaker 1 (20:11):
Write a period. Yeah, don't borrows. Get to the chorus exactly.
Speaker 4 (20:14):
So he writes a whole bunch of choruses and then
shoves that at the beginning of the song because every
apparently every part of the song, according to other Davies,
should be of course, it should be worthy of a chorus.
Speaker 1 (20:23):
Catchy, that's a really good point. Can fire off, just randomly,
fire off? I see how song? How it starts?
Speaker 4 (20:28):
Okay, shy thing, I can start one?
Speaker 1 (20:31):
Oh you can't start?
Speaker 4 (20:31):
Well, you should start one?
Speaker 1 (20:33):
Fire one and and and and just a random one. Okay, okay, okay,
here we go. I've still got the other one playing
running situation. Okay, there we go.
Speaker 4 (20:52):
I mean this might completely debang my theory.
Speaker 1 (20:53):
Don't wake me tonight before I go. I'm about to
take one more request on this video. It's over Davy
pretending to be a you're on the radio host in
the video. Oh that's great, good morning. Do you mind
if I work you tonight that you request? Use mate?
Speaker 7 (21:09):
Well, you play crazy for me? Right?
Speaker 1 (21:26):
Sad?
Speaker 6 (21:26):
What song?
Speaker 1 (21:27):
Moody? I've got a pocus.
Speaker 2 (21:34):
Hello.
Speaker 1 (21:36):
Okay, So chick chorus, And he's now drawing into the
ny for what's this woman? Who's rung? I'm on the
radio for the rainbow.
Speaker 4 (21:53):
I'm in a different song. If this is the chorus.
Speaker 1 (21:55):
Guys, here you guys.
Speaker 5 (21:57):
Roving with the woman the one?
Speaker 7 (21:59):
Here we are.
Speaker 8 (22:02):
Where you gotta be crazy?
Speaker 1 (22:05):
How he's gonna take say that you've gotta here, You've
gotta be your man.
Speaker 3 (22:15):
Crazy?
Speaker 1 (22:19):
Don't we use it as we run this as a man?
Jerry sting that way?
Speaker 4 (22:26):
If I can find that, you can get that us
jerm Okay, what one is it going to be?
Speaker 3 (22:30):
Called?
Speaker 1 (22:32):
Crazy? Icehound? There we go you ready go? Here we go,
here we get ready ready, ready, here we go, here
we got.
Speaker 6 (22:38):
Well, it's gotta be mad and jailry oh read hold
key hold on weekday morning some.
Speaker 1 (22:48):
Six until night. Listen, Jerry, you should have played it
to either fun.
Speaker 2 (22:55):
It should have played an ivy mesh, yeah, applied to Eiva.
Speaker 1 (22:59):
That's not my get it back on the line.
Speaker 4 (23:01):
I also noticed you guys didn't ask him about you
guys didn't end up doing the thing with you downstairs
and the bush hanging out the top of your pants.
Speaker 1 (23:08):
And I personally hadn't trimmed my pub so I could
belong the fan with the hairback. I felt disrespectful, did
you Yeah?
Speaker 4 (23:16):
I mean there's classic you guys, isn't it. As you've
got your come in cock of a hope, confidence through
the roof and then you actually have to talk to
the person.
Speaker 1 (23:23):
He's so much greater in New Zealander than I thought
he was. And I thought he was. I thought he's
going to be a great New Zealander. I mean, the
guy is just squeezing out the theme to Master and Commander,
one of my favorite movies of all time. I freaking
love that movie and it's so gutting because the Pirates
of the Caribbean. Russell Crow spitting to this day because
that those movies should have gone forever. My dad reads
all the books because it's hundreds of books, but it's
(23:44):
amazing to Pirates of the Caribbean came out just before
Master and Commander, so the movie company decided to advertise
Master and Commander like it was Pirates of the Caribbean
with the stupid Johnny Depp running around pretending to be
bloody Captain Jack Sparrow and the bloody Keith Richards. And
(24:04):
then the movie came out and it was actually a
really high quality movie that should have won Oscars, but
it kind of tanked at the box office because people
like people were like where the Fox Pilot through here Aban,
But it has had such a huge renaissance in that movie.
It's so loved over time, and it's because it's a
movie about male relationships, and there's not a lot of
movies about that. I mean, because there's no females in
(24:26):
that movie at all, except for at one point where
they're picking up some supplies and they see a woman
in a boat. Apart from that, it's just completely about
male relationships. So a lot of men lean into that movie.
But fucking great movie. Great movie is there? Do you
know who that's based on? Joseph Banks and Captain? Those
(24:46):
two characters. Yeah, would it have killed them? Would it
have killed us to talk to Iver Davies about the
Needen line? Should it could have? Would?
Speaker 4 (24:54):
Do you know what I'm realizing about these Aussie acts
that kind of were making a lot of money from
the pub scene and that kind of seventy to eighties
nineties is every single one of them are just great people.
Because yeah, I assume it required some level of self
awareness and just being okay with who you are doing
all those kinds of gigs for so long, you know,
(25:15):
they're just seems like there's a massive scene going on
in the music of music of kind of New Zealand
and Australia where it's just you know, you just go
around pubs and playing all the time.
Speaker 3 (25:23):
I think as well, they made a bit more money
than the New Zealand ones. True, but they like he
would have done pretty well over Davies over time.
Speaker 5 (25:29):
Yeah.
Speaker 1 (25:29):
Oh well yeah, especially when you went men are colors.
Speaker 4 (25:32):
They're just always so nice, these people that just went around, Yeah.
Speaker 1 (25:34):
They are exactly. I think you're right. I think there's
a humbling of you because you have to go and
play mining towns. Yeah, and you have to you have
to have your like an excess, you know, cultures or
all these bands, the Angels, all those os rock bands,
they had to have their fricking chops. You you had to.
(25:55):
You had to have your chops at a band and
as a band like you didn't anywhere else in the
world because you you would night out, night and night
out going to these small towns in one hundred and
fifty fifteen hundred people, one thousand people. Yeah, and if
you didn't have your chops. You were in trouble and
that's why you had to chop wood at the back.
Speaker 3 (26:13):
Yeah, but I think that as well they got better.
They got better because they're playing with each other, they're
probably listening to each other.
Speaker 1 (26:17):
Well, that's a problem for New Zealand bands because they Auckland.
Play about two shows in Auckland. Then you go down
to Hamilton. No one turns up to that show. Then
you're down at the Mount. A couple of people turn
up to that show, a.
Speaker 4 (26:30):
Couple of parents with that. Yes, a couple of months
and days.
Speaker 3 (26:33):
Try and play a show and get on the glass
barbecue through and you got to try and do a
couple of shows coming down off the glass barbecue.
Speaker 1 (26:40):
Play Wellington and actually some people turn up in Wellington.
Then there's a long way you have to go. You
try and play Nelson, no one turns out. You're going
to get on the cock straight fery. There is a problem.
Then you're down in christ Church, people turn up the
egg Sailing. You go to Dneden and this is the
problem that tours have. Then they have to get all
the way back and there's no gigs to play on
the way back. But the circular nature of Australia means
(27:00):
you just can go on the road and you can
actually you can actually do a tour because you can
do ten shows and different places of Sydney. You can
playing manly mate, playing alright.
Speaker 4 (27:09):
House came down here and we were just seing them
up back up through a groymouth like they wouldn't come
out of life. Yeah that's the only way, isn't it.
Speaker 1 (27:15):
Really? What Daja Voodo asually happened was they tour on
the road, but I'd fly between places. I'd meet the
band in different places and they'd drive in the band
be increasingly angry at me. Just skip the coast because
I'm not. I'm not going on the fucking fairy mate.
Oh yeah, I got to get I've got to get
back to I've got a pitic here on Auckland.
Speaker 4 (27:30):
Who did we have that got over to that? I
was rock pub scene with the crowded house about it?
Speaker 1 (27:35):
Yeah, I know there were a few the dudes.
Speaker 4 (27:38):
My dudes got over there.
Speaker 1 (27:39):
My six, My six did he smash did a bit
of time over there.
Speaker 5 (27:43):
My six.
Speaker 1 (27:44):
Are you familiar with my six? My six are a gros.
Speaker 3 (27:47):
Push pushment over They did one, they did a tour
and then Mike realized Mikey realized that he didn't even
want to do that.
Speaker 4 (27:55):
I can imagine there was quite a lot of that
going on as people thought that there was just going
to be fascinating, amazing kind of expert sperience and people
they're just gonna be woman everywhere and all that kind
of thing.
Speaker 1 (28:02):
But I think there was that, but I think they did.
They were quite big, push push, quite big in Australia.
There so this is this is a New Zealand band
that made it in Australia. Computer Games, My Sex. I
know this song?
Speaker 4 (28:14):
Yeah, okay, my bad.
Speaker 1 (28:18):
They accused Blue are roopping the song off? Oh yeah, yeah,
(28:45):
there it is. I mean, is that the one they
say they ripped off?
Speaker 6 (28:50):
No?
Speaker 1 (28:50):
I think it's another one they reckon, Blue rapped off.
But this is a fucking great song. I still love
the song so much when I was a kid. This
is my Sex. This is a huge hit in Australia.
You know the song Jeremy not so far. I'm amazed
that we're artists and using like a right songs. That's good.
Speaker 4 (29:11):
Oh live the bongo back there there we go.
Speaker 1 (29:16):
It's a very sad song so Australia. So the New
Zealand means that went over there about it. They became
very Australian. I used to listen to the song over
and over again. It's hard to believe. Every day. Okay,
I'm thinking about my own life. Things should be.
Speaker 4 (29:43):
I see why you listen to this?
Speaker 1 (29:46):
Yeah, if you.
Speaker 4 (29:50):
Resolves nicely all the time, the shadows.
Speaker 2 (29:56):
Here we go. So this is my sis.
Speaker 6 (30:00):
It's just.
Speaker 1 (30:03):
Dragon made it really huge over there.
Speaker 3 (30:04):
Ah.
Speaker 4 (30:05):
Yes, Dragon's another one.
Speaker 1 (30:07):
Noise Works, but that was just really our boy in
front of it, an Australian man.
Speaker 4 (30:11):
I saw Dragon at the Vicagle Town Hall not that
long ago, part of their fiftieth anniversary tour. I think
it was in Mark Williams. Do you know Mark Williams?
Yeah he was, He now saying he's now the lead
singer for Dragon.
Speaker 1 (30:22):
So Mark Williams was noise Works, isn't he?
Speaker 6 (30:24):
No?
Speaker 4 (30:24):
So that's John Stevens, John Stevens, So make Williams is
another one, but he came out. Do you know the
song Mercy Mercy? It's an absolute tune that I have
to play in this episode. All right, be absolutely gutted.
Speaker 1 (30:35):
Okay, can we get over Dave's back on the line
and ask him some of those questions.
Speaker 4 (30:39):
I mean, no, I think he's gone.
Speaker 1 (30:40):
Now he's gone again.
Speaker 4 (30:41):
We got the heart out for Mercy, Mark.
Speaker 1 (30:43):
Isn't it funny? Like being hard out means that you're
really going to go for it, But a hard out
means you're really not going to go for it, doesn't it.
That's weird, isn't it? It is weird? Okay, what do
you got Mercy?
Speaker 7 (30:53):
You no?
Speaker 4 (30:53):
Just right now, just trying to skip over a copper
kettle ad with Jason Hoyt voicing it, so we don't
want that. Yeah, he's caught the end of that prega.
Oh yeah, this is Mark Williams shoon, no Mercy. It's
an absolute tune. But now he's singing for dragon.
Speaker 1 (31:16):
Oh that that's the Young Tears for Fears Baseline.
Speaker 5 (31:21):
Shure Mercy lemsy, Oh that you got you got again?
Speaker 1 (31:29):
Shure, no Mercy.
Speaker 9 (31:33):
It's about sex ustrangulation, isn't it. It feels a little
bit like that. It's about a Peter funny Walker situation.
This song just grows and grows for four and a
half minutes. By the end of it, Oh, this is
two Cutters forty five and.
Speaker 1 (31:46):
Now sure mercy sure, mercy me, sure.
Speaker 3 (32:00):
Do you jerymmy sr Miles away suck the life out
of me with that song that you were playing before.
Speaker 1 (32:06):
I switched off at that point.
Speaker 4 (32:07):
Okay, we'll let Mark Williams is Jersey up again. Here, mate,
you're there, he goes anyway, he's singing for Dragon.
Speaker 5 (32:28):
Now.
Speaker 1 (32:29):
Who was that bloody key we check that went over there?
Fucking she used to make love to Bloody that actor? Nah, mate,
She the guy that had his cock out at the
start of the Quiet Earth, Bruno Lawrence Lord, Bruno Lawrence's
girlfriend Joe Cotton. No, I think he was cheating on
her with his wife Jenny. And she sang that song
(32:50):
Lawrence broke Fraser. She Oh fuck. She was a big
and Neil Finn would write her songs for her. She
was big like fat, No she was. She was beautiful
and then she was a big hat over there. I
feel like her name started with Jenny, not Jenny Morris.
Was it Jenny Morris? Jenny Morris. There was definitely a
(33:10):
song called Jenny Morris. And did she have a song
about change in the weather. Yeah, that was a breaking
the weather and body Bardy in Soul last.
Speaker 4 (33:24):
Lasted, Buddy and soul think about.
Speaker 1 (33:27):
Crank it h crank it hoty. So this is another
key with that did the odd circuit? Here you go,
here we go. Crank and hotty?
Speaker 5 (33:38):
Is it?
Speaker 1 (33:38):
And suboncious? I won't speaking out a term when I
said that she made love to Bruno Lawrence.
Speaker 2 (33:47):
About fine, she's real hot.
Speaker 4 (33:51):
It's a bit pots and pansy for me, buddy, and
so it's good.
Speaker 1 (34:06):
It's very Australian. That's very Australia.
Speaker 4 (34:09):
What happened? Did Monte Verdeo even make it over?
Speaker 1 (34:14):
What's the shoot? I again?
Speaker 3 (34:16):
He did go over to Sydney for a while, Mary Grinley.
That's kind of where he learn part of his trade
is playing in the cross for a while. And then
they came back with shoop ship did he What did
you like this.
Speaker 1 (34:25):
Song from Gimmy Morris? This was written by Neil Phone.
This was another hats It's quite great of ours, isn't it?
Speaker 3 (34:36):
Ye?
Speaker 4 (34:43):
All right?
Speaker 1 (34:44):
Religion okay, he goes into the religion category. Yeah, what
a great great man. I mean, it was only about
one eighth of their podcast, but that's right, that's all right, Okay,
going back to the hunt day calendar.
Speaker 8 (34:57):
Now, okay, see you later, alright, okay, all right then
all right, okay then oh yay, Hello, I'm Matt Heath.
Speaker 1 (35:10):
You have been listening to the Matt and Jerry Daily
Bespoke podcast. Right now you can listen to our Radio
Highlights podcast, which you will absolutely get barred up about anyway.
Sit to download, like, subscribe, write, review, all those great things.
It really helps myself and Jerry and to a lesser extent,
mess and ruder. If you want to discuss anything raised
in this pod, check out the Conclave, a Matt and
(35:31):
Jerry Facebook discussion group. And while I'm plugging stuff, my book,
A Lifeless Punishing Thirteen Ways to Love the Life You've
Got is out now get it wherever you get your books,
or just google the bastard. Anyway you seem busy, I'll
let you go. Bless Blessed, blessed, give them a taste
of key we from me,
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