October 15, 2024 • 44 mins
As Charli XCX's Brat remix album reimagines what a remix album can be in 2024, we discuss that release and trace the remix record back to its unexpected origins. Charli's record certainly is a different approach to what Green Day have done recently with their Dookie Demastered stunt, which we also get into.
Then we get into the serious business of an age old question: Do you need to know the lyrics to a song – and their meaning – to be able to truly love it? As Stu puts Greg's appalling memory to the test, we're ultimately searching for a big fat NO on this one, otherwise Greg may never work again.
Our Beat The Algorithm recommendations too. And Stu puts Greg on the spot for his favourite music venues in this week's Top 3. (This also ends badly for Greg.)
You can watch clips of the podcast online now, just give us a follow on Instagram @midnightchatspod.
Further reading/listening/viewing
Listen to our new Beat the Algorithm Spotify playlist
Credits:
Editing by Stuart Stubbs
Mixing and mastering by Flo Lines
Artwork by Kate Prior
See omnystudio.com/listener for privacy information.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Good evening, I'm Greg Cochran, Good evening, I'm Stuart Stubbs.
We are a couple of journalists who've been working in
independent music since the days of MySpace. One night a week,
we become your guides through the week in music, because,
let's face it, the algorithms have stopped working for most
of us, so we're here to share the best new
underground music and the news that you might have missed,
(00:22):
as well as discussing the week's biggest headlines and bringing
you interviews with some of our favorite alternative artists.
Speaker 2 (00:29):
The show is called Midnight Chats. What's coming up on
the podcast Tonight? Stuart Welcome, by the way, everyone.
Speaker 1 (00:36):
Welcome, Yeah, Episode one hundred and fifty three of the
podcast Tonight. We are going to talk chiefly about three things.
At the end, we're going to have all of the
usual great stuff that we do that beat the algorithm recommendation.
I'm going to give you a top three, but before that,
we want to talk about the remix albums as a whole.
Inspired by the Charlie XCX Brat remix record that came
(00:58):
out on Friday. It's a big thing thatyone's talking about.
It got us thinking about remix records, and that remix record.
Of course, we want to talk about how Green Day
have approached rereleasing some music, which is the absolute opposite
to what Charlie XX has just done. And we are
gonna once and for all put to bed this debate
(01:20):
of do you need to know or understand the meaning
behind the lyrics in order to enjoy music and truly
love songs.
Speaker 2 (01:29):
First up, though, Stu, get your WhatsApp groups fired up,
charge your thirteen different phones, laptops, get your money in
a high interest account. Because Glastonbury tickets are going on sale.
It's been announced Sunday, the seventeenth of November. The tickets,
the general sale tickets for this year's, well not for
next year's Glastonbury Festival twenty twenty five, go on sale.
(01:51):
They are priced three hundred and seventy three pounds fifty
plus five pound booking fee, which is thirteen pound fifty
up on this year twenty twenty one. And demand is
going to be absolutely crazy, isn't it, Because it always is.
Plus the fact that there is no Glastonbury the year after,
so there's no Glastonbury in twenty twenty six. It'll be
back in twenty twenty seven, so I would expect that
(02:14):
the demand will be crazy.
Speaker 1 (02:15):
It will be crazy. I absolutely welcome fellow years of
Glastonbury just because the stress then of not going or
going is taken out of your hands. There isn't one
like you know, roll On twenty twenty six when there
is in a Glastonbury. You're not going to be jealous
if you miss it. You're not going to be broke
if you go. You're just going to experience not going
to Glasterbury with absolutely everybody else. And it's going to
(02:38):
be fine.
Speaker 2 (02:39):
And we can we can take advantage and have the
Midnight Chats Festival in June twenty twenty six.
Speaker 1 (02:45):
Who would headline that? Who would we have to headline that?
Do you think?
Speaker 2 (02:48):
Well? Me and you yes? And in fact your agent.
We've been talking to your agent about money about that.
Speaker 1 (02:54):
So it would be a podcast festival, no music with
me and new headlining. Oh okay, we'll come back to
this on another podcast. I think one question before we
move on, Who's going to headline Glass to Me next year?
Taylor Swift?
Speaker 2 (03:10):
Fantastic? Next up? Green Day? What I've Green Day been
doing to I've given that neither of us are, particularly
in the world of Green Day. I feel that they
get extra mentions on this podcast because of the stuff
that they do. Yeah, they go out with the City
of Las Vegas the other week, but this is they've
done this thing that you discovered that I do think
is absolutely brilliant.
Speaker 1 (03:27):
Yeah, this is a They have re released their album Dookie,
which is that seminal record. Actually it's nineteen ninety four.
It's the one with basket Case on and around the
time of Dookie, my brother got really into Dookie and
then I got it.
Speaker 2 (03:42):
I was into Doki to that record as well.
Speaker 1 (03:44):
So even though we're not Green Day fans now, necessarily
this is my era of Green Day. I loved this
record when I started playing guitar. These are the songs
I was trying to learn. They have re released this record,
but in the opposite of a deluxe package where everything's
been remastered, they're calling it Dooky d mastered and yeah.
Speaker 2 (04:07):
So let's just so basically, the trend is that everybody
who's released music in the past that when it was
like made, obviously in the sound quality and everything we
could do now is infinitely better, Right, So there's a
very kind of like easy win that people do. They
create like these deluxe editions, they put it in like
four K, five K, six K sound and then they say, WHOA,
(04:30):
check out this like completely remastered version of like the
old stuff. Yeah, and Green Day have basically taken hand
ten it is on its head right.
Speaker 1 (04:38):
They've done the complete opposite and to the credit really
because I personally don't care about any of that stuff,
those remaster I remember when they remastered all the Beatles
albums and they put me in from mono into stereo
and I got a couple of copies of that, and
I don't like it. I don't like that it's been
mixed differently and or sounds crisper, like just leave it,
leave it is. I'm personally not a fan of it.
(05:00):
They've gone Green Day with Dookie have done a completely
different thing. They've de mastered it and they have created
household objects that you will know from around the time
of Dookie in ninety four, and they've hidden tracks in them. So,
for example, you have have a Blast Is on a
(05:23):
floppy disc. You've got long View Is played on a
door bell, like a real life doorbell that you could
stick to your house. And people would press it and
it would play the song Longview by Green Day. You've
(05:43):
got an electric toothbrush that plays pulling teeth very clever.
I see what they've done there. You've got X ray records.
You've got an answering machine, like there's these different yeah,
summer toys. Some are just household objects and what fans
had to do this is now closed unfortunate. So if
you're only just hearing about this, I'm afraid you've missed
(06:04):
the boat on this. You had to found out to
enter a draw with the chance to enter the chance
to buy one of these. They were very, very limited run.
Some of them were like literally one, you know they'd
made one of them. Some of them they made fifty.
But you could buy these things. There's a website where
put a link in the description of this episode so
(06:25):
you can hear all of these songs, because there's a
special site for this where you can see all of
the objects and you can also hear how they all sound.
The best one for me was Teddy Ruckspin. Did you
ever watch Teddy Teddy Ruckspin as a kid?
Speaker 2 (06:37):
I did, Yeah, you basically said, and there's like a
Teddy ruckspin soft toy where you press the tummy and
it makes a noise, right, and.
Speaker 1 (06:44):
He and he would talk. I think he used to
put tapes in the back and he would talk. His
mouth would mechanically move up and down. He'd blink like
a possessed doll and he would but he would read
the Teddy Rockspin stories. And they've put Chump in one
Teddy Rock spin.
Speaker 2 (07:05):
Well, would you look at that?
Speaker 3 (07:07):
It's time for me to sing Chump, my favorite track
on Dookie.
Speaker 2 (07:20):
So I don't know who like that.
Speaker 1 (07:21):
If you're listening and you've got the Teddy Rock Spin,
props to you.
Speaker 2 (07:25):
Is so good, Welcome to Paradise on the game Boy cartridge.
That's my favorite. That sounds ment so good.
Speaker 1 (07:32):
The complete opposite to what Charlie XX has just done
with her remix record for Brats.
Speaker 2 (07:41):
Oh so this is like the very very heavily anticipated
remix record of Brat. This is Brat and it's completely
different but also still Brat obviously. And we've been talking
about this for weeks, haven't we, Because the hype around
it's been loads like who's going to appear on this record?
When is it going to come out? And all those
kind of things. It has emerged. Now it's out there
(08:02):
in the world, full of a very star studied list
of collaborators on there. You've got Ariana Grande through to
Julian Casablancas, the Japanese House to Bonnie. There came out
on Friday and Stu one of the critics, saying.
Speaker 1 (08:17):
Well, the critics, I think, probably very predictably, have all
gone for it in a big way. I would count
myself as one of those critics. I think the scores
have actually been quite on. They've been good. They've not
been as high as Bratt. Not quiet, because I don't
think it is quite as good as Bratt. I think
Bratt was is its own thing, and it's very you know, complete,
(08:39):
It's as good as it can be. I don't think
these songs are going to better any of those songs,
but people have gone you know, it's getting four star reviews,
I think is probably the average, you know, some fives
out there. Nothing's going below that, though. I think that
was always going to happen. Though, I think it would
have had to have been a real turkey for people
(08:59):
to have come out and said, ah, she's jumped the shark,
because Bratt is still the thing. We've spoken about Bratt
a lot on this podcast, and it's something we are
aware of and we fully appreciate that some people might
be feeling bratted out. I think I'm getting there. Yeah,
I think they're bratted out. Are you a little bit
bratted out? I feel a bit bratted out, to be honest.
(09:21):
I mean, but she's delivered again, hasn't she. You're into
it totally? I mean, this is I think.
Speaker 2 (09:28):
But the reason that I'm into it is because it
doesn't feel like a sort of slap dash remix record
that it very easily could have because obviously they're looking
to Charlie and you know her team. God that makes
it sound awful, isn't it will be looking to like
extend the life of Bratt? Right, how do we keep
(09:49):
people interested? How do we keep this moment going? Like
the obvious answer is to do a remix record. It's
twenty twenty four, Everyone does a remix record. But I
actually think it's way more imaginative that than that, because
it it feels to me like most of the versions
of these songs are overhauled. Basically they're completely different.
Speaker 1 (10:07):
I mean, I didn't realize this until it came out
and I read about it, and she's re recorded all
of her parts on it. Her vocals have been rerecorded
on it, So in that sense, it's not a remix record.
It almost sounds like a collection of songs where some
of them feature a Charlie X example exactly.
Speaker 2 (10:25):
It's like a reinterpretation of what Bratt was rather than
a remix I don't. I think it's sort of like
exposed the box of what a remix record we might
typically understand to be a remix record. And yeah, I
absolutely love it. What's jumping out to you? My favorite
is Everything is Romantic, which is the track that Caroline
Politech appears on. I love that because of the exchange
(10:46):
between Charlie and Caroline as if it's like a long
distance phone call. That I really like the new ideas
they brought into that. The big names on it, Julian
Casa Blancas Bonivair, what do you think of their contributions.
Speaker 1 (10:57):
I like both of those ones. I think that Julian
casap song sounds like a Calypso version of Owner of
a Lonely Heart to the extent that I think there's
either going to be a lawsuit coming down the pipeline,
or they must have cleared that it's okay that for
that melody to be that sort. Surely, surely that must
(11:17):
be the case. The Bony Bear tracks to me sounds
like an early Street song that could have been.
Speaker 2 (11:23):
On original par material.
Speaker 1 (11:24):
There's a there's a little passage where where you know,
she's talking at the beginning, and it.
Speaker 2 (11:28):
Just well, apparently she went to Mike Skinner and asked
about getting him involved, but it didn't happen for whatever reason.
Speaker 1 (11:33):
Interesting, Well, what I think is quite you know that
what's genius about this is that Skinner one obviously didn't
happen for whatever reason. But the whole thing is a
ginormous flex of the of who she can get to
do these things, Like you say, everyone from Aria and
Grande to Robin Shy Girl. I think she's chosen the
(11:54):
people that are on it extremely well. Like everything that's
happened around BRAT, it's just been so perfectly planned. Everyone
on its call. Basically even she's gone for the coolest
pop stars, but she's also you know, there's Billie Eilishes
on it. But she's got you know, just some She's
got John Hopkins on it, who is very much, you know,
like an ambient electronic musician who's picking up that crowd
(12:17):
of people. So all of that's been very clever. I
really like the area on the Grande one talking of her,
which is Sympathy is a Knife. Are you generally a
fan of a remix album?
Speaker 2 (12:30):
No?
Speaker 1 (12:31):
I mean no, mean either. Because I thought when we
decided we were going to talk about this, I thought, oh,
we can go away and we can pick some of
our favorite remix albums, and then I realized I don't
like any of them until now. The Brack record I
really like. But I think it's because it doesn't feel
like a remix record so much. It feels like, as
(12:52):
you said, something else exactly. I think she set the
bar extraordinarily high. If we're calling this a remix record,
then I think the bar is exceptionally high of what
she's just done.
Speaker 2 (13:03):
Yeah. I can't name many like remix albums to you
that I really really love.
Speaker 1 (13:08):
I went down a bit of a black hole looking
at where did this start? Remix albums?
Speaker 2 (13:14):
A black hole or a rabbit hole? A rabbit hole,
you went down a black rabbit hole.
Speaker 1 (13:22):
So what are we doing here?
Speaker 2 (13:24):
Who are you, Gran, is that you.
Speaker 1 (13:29):
I went down a rabbit hole, Greg, all right, this
is what it's done to me. I went down a
rabbit hole working to find out about about remix albums
and when they started. The first ever remix album was
in nineteen seventy one, and it was by someone who
you would not think could be the person responsible for
inventing the remix album. And it's Harry Nielsen, really Harry
(13:52):
Everybody's Talking Nielsen. And the record is called Aerial Pandemonium
Ballet and it was not a remix album in the
way that we now know them to be. It was
him taking it had a huge hit with Everybody's Talking,
and his two first two albums were out of print,
and he felt they sounded quite dated and not very
(14:14):
good anymore, you know, like he needed to change them
a bit. So he re recorded some of the parts,
some of the vocal takes, slowed some tracks down and
that so that has become known as maybe the first
remix record, but it was years ago. Yeah, but it
was very much a like an a studio engineer's approach
to actually remixing the record right, rather than turning it
(14:37):
into a complete different dance track. Then it really takes
off in the late seventies early eighties. People tend to
think that the first two remix records as we know
them are by Soft Cell and the Human League ones
NonStop ecstatic music, and the other is Love and Dancing.
And then obviously reggae has got a big history of
(14:58):
taking whole albums and making them into like our records
and things like that. But I've never loved them. And
the one, the one that annoyed me the most because
I am a Beatles fan, was that Beatles one called Love.
Do you remember that?
Speaker 2 (15:14):
Yeah? That wasn't that long ago, right.
Speaker 1 (15:16):
There was two thousand and six, I think, and it
was it was the soundtrack to that, Sir, the Salay
show that's still playing in Vegas, you know, still raking
in the money. But it was it was that, and
it was just this. George Martin did it, so it
was a proper in house job. They didn't farm it out.
The highest highest grossing one of the most popular remix
(15:38):
album ever is the Michael Jackson one for Blood on
the dance.
Speaker 2 (15:42):
Film Okay Yeah.
Speaker 1 (15:44):
Until this week maybe though, because Charlie xx is surging
towards the top spot, particularly here in the UK with
this with the remix of Brat, But Stu, she's been
held off as we record this, Charlie XX isn't the
number one album in the UK. She's we're at the
halfway point. Paul Heaton is of the Beautiful Sales fame,
(16:09):
having released his debut solo album. He's recorded other stuff
obviously and had great success, but this is his first
fully solo album and in fact he's number one and
chasing and Charlie's trying to chase him down, which is
quite interesting. So by the end of the week we'll
know whether she's actually finally scored that top spot with
a Brat album.
Speaker 2 (16:28):
But Stu, I have an update for you. Yes. Last
week on the podcast, we talked about James Blunt because
he made this enormous commitment of saying if the re
released version of his debut album made it to number one,
then he would change his name by Deep Bowle, he
would officially change his name to something else. So you know,
(16:50):
we could be on course for James Blunt to soon
become known as Nigel from Glasgow or Blunt he look
Blunt Face, or whatever those suggestions that came in were.
Speaker 1 (17:00):
But he's number four at the moment. I'm surprised. I'm surprised.
I didn't see Heaton coming up on the outside. I
did not see that.
Speaker 2 (17:09):
A lot of Vinyl fans, a lot of Vinyl, a
lot of physical product fans.
Speaker 1 (17:13):
Well important the thing, isn't it Because two weeks ago
the number one album was the new Shed seven album.
And Shed seven are a band who scored their first
number one album earlier this year and they've they've had
they're having this late career purple Patch, yeah, where they
they scored their second number one album two weeks ago,
(17:36):
And I'm guessing it comes down to that, right, comes
down to like the physical the physical sales of records
count more than the stream. So Charlie hasn't released the
new Brat record on physical format yet, I don't think anyway,
So it's going to be on streams if she gets
number one on dozen and Eaton has probably been campaigning
(17:57):
for six months with pre orders and lots of physical
CDs records, so he doesn't have to actually get that
into as many years as Charlie does for him for
him to win.
Speaker 2 (18:07):
Now, listen to you.
Speaker 1 (18:07):
After the break, we are going to settle one of
the all time great music debates. He ready, I'm ready,
welcome back to episode one hundred and fifty three of
Midnight Chats. Now. Ever since green Chatten from Fontane's DC
came on the podcast, which is about four episodes ago,
(18:30):
now something like that. He said something to me in
that interview that I don't actually think I put in
the finished episode. We have to cut down just a
few little bits and pieces on. One of those things
was he was telling me that he doesn't care how
people interpret the songs. Once he's written the lyric in
(18:50):
the song and it goes out into the world, it's
up to the fans to decipher it and put their
own meaning on it. And this is something that artists
have said to me in views many times before. I
imagine they've said it to you as well. Right, that's it.
It's a common thing that artists say, and it always
gets me thinking. So I put I started talking to
(19:13):
you about it, den't I. And we were like we
should try and get to the bottom of this a
little bit on the on the podcast one week and
here we are, and the question is that we're that
we're trying to answer, is do you need to know
what the lyrics are to a song to enjoy it,
and do you need to know what those lyrics mean?
What are the meaning behind those words? And everyone's got
(19:36):
a different opinion on this, and some people are like
minkes no difference to me. I don't care what the
lyrics are. I don't care what they mean. I'm listening
to the be I'm listening to the pace of it.
I'm listening to like the chord changes, the whole mood
of it, and the lyrics are just like another instrument
within the mix. And then some people really really want
(19:56):
to decode it and they need to know what does
this lyric mean? What does this Why have they chosen
this word? And the nerd out on that there's no
right or wrong on this.
Speaker 2 (20:04):
Oh there is?
Speaker 1 (20:05):
You think there is?
Speaker 2 (20:06):
Your put your case is? My case is that I'm
one of those people who don't know the lyrics to
any songs, even my very favorite songs. I don't know
the lyrics to. The lyrics aren't the first thing that
I listen to when I hear a song, if that
(20:27):
makes sense. And I don't really plug into the meaning
of a song, or don't worry about getting inside the
mind or the intention of whoever's written the song. I
just interpret in my own way if I do listen
to the lyrics.
Speaker 1 (20:43):
So, when you're at a gig one of your favorite
bands and that song that you love and everyone's singing along,
are you doing are.
Speaker 2 (20:53):
You singing the wrong words?
Speaker 1 (20:55):
But are you just sort of are you just singing like?
Are you like a toddler learning to speaking of this?
Speaker 4 (21:00):
Is that about that?
Speaker 3 (21:01):
Yeah?
Speaker 1 (21:01):
Are you doing that?
Speaker 3 (21:03):
No?
Speaker 2 (21:03):
I'll sing the bits that I do know why I
generally seem to do okay. So first off, I should
say I don't know. If people listen to this podcast
right now, they might be thinking, first off, Greg, your
career as a music journalist definitely over mate. Secondly, they
might be thinking, what what planet are you on? Thirdly,
and a very small amount of people might be thinking, actually,
I'm with you man. Like I never listened to the
(21:24):
lyrics either, I think a lot of people are with you.
I really too. I am pleased to hear that.
Speaker 1 (21:29):
Yeah, I don't think you're alone. We'd love to know
if you. If you do have an opinion this, then
we would like you to please do get in touch.
You can email us at info at loud on quiet
dot Com, I should probably say that, like as somebody
who has been music and I'm doing this in very
commers critic for the best part of two decades. I
do listen to lyrics, obviously, I do, particularly when I'm
(21:49):
writing about something or please carry on employing Greig if
you're listening he does.
Speaker 2 (21:55):
That is all I am.
Speaker 1 (21:56):
This is all just for the podcast.
Speaker 2 (21:58):
But we're talking about casual music. We're talking about you know,
when I've got my music fan head on, I I
just listened to like snatches of lyrics, and I remember
lines of songs. I just don't really get into the
whole lyrics of a song. What is Okay, name me
one of your fetal what's one of your favorite songs?
Speaker 1 (22:17):
Just name me one of what.
Speaker 2 (22:18):
Is Once in a Lifetime by Talking Heads is probably
my favorite song.
Speaker 1 (22:21):
Okay, Now, just in case you saw this coming down
down the road, give name another one of your favorite songs.
Speaker 2 (22:29):
No, no, you, you can't do that to me because
I didn't actually look up that. I knew you were
going to do this to me, and I didn't look
up the lyrics. So feel free to test me on
this because I can still get it wrong.
Speaker 1 (22:41):
So you haven't. Is this all right? I'm gonna I'm
gonna trust you here. Let me just get these up talking. Yeah,
it's great ship. By the way, that I'm with you,
Thank you very much.
Speaker 2 (22:51):
Once we should give.
Speaker 1 (22:52):
List type you have as somebody who I'm going to
I'm going to hest I'm gonna I'm going to guess you.
First of all, you don't even know what these words up,
So the next question is probably void. But I was
going to say, do you know what this song is about? Greg?
Speaker 2 (23:05):
No, I mean I know what I think this song
is about, Okay, which is about can I sort of
making the most of life and doing things once? Oh dear,
that's a sort of like daytime TV of what the
talking heads were doing there.
Speaker 1 (23:27):
By the way, that's the sentence that's going to get
you no more work as a journalist. By the way, Okay,
do you want to what can you remember? What the
first lie? What's the first line of the song your
favorite song of all time? Just the first line?
Speaker 2 (23:42):
Do you find yourself? Yes?
Speaker 1 (23:47):
Do you find yourself?
Speaker 2 (23:49):
You find the wheel of a large automobile.
Speaker 1 (23:52):
Mate, that's line three, sort of I'm going to you
it was up there. Okay, the opening line is, and
you may find yourself living in a shotgun. Shack a
bell now, no, no, no, nothing, Okay, just do me,
just just we won't go through the whole song, but
just do me.
Speaker 2 (24:11):
Let's go to the chorus.
Speaker 1 (24:12):
Do me the chorus, do me the letting the days
go I'll give you a line. You just give me
the next line, letting the days go by. You're at
the show. You're at the show, David Byrns singing your
favorite song of all time, and he's singing.
Speaker 2 (24:31):
I can I jump to the third line, which is
once in a lifetime. See, that's so you asked me
to imagine what it would be like if I was
at the show. I'd be waiting till the third line
of the chorus before I just sing the name of
your song.
Speaker 1 (24:46):
You only know the name of the song and where it. Yeah,
but I think that's fine, right that, like, thanks to you.
I think it's fine. I don't think you're alone. Into
a counseling session for you. Yeah, I don't think you're alone.
I think there are lots of people like that. You know,
you just need to look at see for me, I
think I'm somewhere in between and I think it's a
(25:07):
case by case basis. I personally do want to know
the lyrics to the song. Okay, I definitely want to
know them, and I'll be listening to music, and especially
if I'm listening to like hip hop, I'm really fixating
on the words for obvious reasons, right, that's the lion's
share of that music for me at least, And I'll
maybe google a line be like, what's he saying there?
(25:30):
I want to know what that is? And then maybe
I'll start to be like, I want to know what
that means. But I definitely want to know the words,
and then whether or not I want to know the
meaning of behind it is a case by case basis.
I would say, wow, I tried to.
Speaker 2 (25:43):
I try.
Speaker 1 (25:43):
For example, when I was at university, I got heavily
into the Smiths. Obviously it's so basic. I got heavily
into Smiths and I got a book that explained all
the lyrics, and I stopped reading it as soon as
I started reading it because I was like, I don't
want to know, don't. I don't want that, and I
think some people do want that, And an extreme.
Speaker 2 (26:03):
I think some people do want that. That is that
would so quickly find its way to the bottom of
my reading a biout anything like that.
Speaker 1 (26:11):
Yeah, I think that takes I think that takes all
the fun out of it. I think it takes out
any you're not you're not having any ownership of the
song at all. There and I've got something. So I
posed this question to Ollie Judge from Squid, who is
the drummer in Squid and singer and the singer. How
do artists feel about it when they when they they
(26:33):
don't they misinterpreted their songs. This is a voice note
that he sent me this morning.
Speaker 4 (26:38):
Pahg, it's Olli from Squid here. Yeah, I kind of.
I really don't mind people misinterpreting songs. I think it's
really it's a really fun thing for people to have,
I don't know too, to attach more of their kind
(26:59):
of personal experiences onto one song or kind of make
the song feel like it's there's a little bit more.
I guess my only worry is kind of songs being
co opted for the wrong reasons, or the lyrics spun
into something that could be offensive. But I don't think
I'm in much danger of that, to be honest. But yeah,
(27:23):
I think it's funny that kind of in twenty twenty four,
it's there's kind of a hunger for fans to know
kind of everything about an artist or everything about the
song and have the definitive theory behind a song or
an album or something. There's definitely less mystery, which you know,
(27:45):
I guess is I guess is the Internet's fault. Kind
of sounding like an old man yelling at a cloud
right now, I'm here for the different interpretations. Like an
example I thought of when you asked me this question
was my friend Harry told me that he thought that
the song Videotape by Radiohead is kind of based off
(28:07):
of this Japanese film called Afterlife, where when people die
they have to film their happiest memory in like a
kind of limbo. And I haven't heard that theory anywhere
apart from my friend Harry telling me about it. And
I think it's a really special thing to have your
(28:27):
own personal kind of interpretation of a song. It kind
of makes it more special. I think, Yeah, I think
that's about it, really Jewors.
Speaker 2 (28:40):
Oh, that was nice to hear from Ollie. Thanks for
doing that, Oi, Thanks makes me feel a bit better.
The first bit where he's saying, don't mind if people
kind of apply their own meaning to his lyrics. I
would say, stay on your toes Olie. Donald Trump might
still want to use one of those Squid tracks at
the rallies. You never know, never know.
Speaker 1 (28:59):
One of the reasons I want to ask Golly particularly
about this because he's written a song on the last
Squid record, last year's Oh Monolith, where it's from the
it's the song is about being reincarnated as a bedside cabinet.
So that's obviously a very that's a very very particular
song about a particular thing. But obviously that's going to
(29:21):
be interpreted in a million different ways. But it does
fascinate me when artists. When Graham said it to me
the first time, which got me thinking about this again,
it fascinates me because I just think that's fine. I
think most artists feel that way, but I think there
are some artists who say that, but then they do
get upset when it gets picked up by the press
or people start writing reviews saying, oh, this song's about this,
(29:42):
and then it's snowballs and that's what the song becomes about,
and it's misinterpreted. And I think there are artists, who
do you kind of have to have it one way
or the other way, don't you. Let's take a song
before we move on that is very very well known
to everybody listening. I think we should take don't Look
back in Anger, and I think we should just look
at the lyrics. No, you and not. This isn't a
(30:03):
test for you. This is a test for both of us. Okay,
we let's have a quick look at the the lyrics
now and see if us understanding the lyrics makes a
song that people love internationally. They love that song. They
get so much from it.
Speaker 2 (30:19):
They sing it.
Speaker 1 (30:20):
Everybody knows the words arm in arm, everyone's singing don't
look back in anger. If we take a little look
at the lyrics, let me just get them here, don't
look back in anger, lyrics. Here we are. This is
a song we know very well. Right, Let's just try
(30:41):
and get into the head of because this is a
man Dol Gallagher, considered a songwriter of his generation. I
love Nol Gallagher's songs. I love Oasis songs. I loved
this song when it came out and I've sung it
many many times. Shall we just try and work out
what's going on? Because I think this might be an
example of I'm sometimes knowing the lyrics is not a
(31:02):
great idea. Don't look too closely sometimes, you know, slip
inside the eye of your mind. Don't you know you
might find a better place to play. I mean, what
you're thinking so far inside the eye of your mind?
Like to go inside your head, don't you mind you
might find once you start thinking, you find a better
(31:23):
place to play.
Speaker 2 (31:25):
Yeah. Yeah, it's something like your imagination might be better
than the real world.
Speaker 1 (31:29):
Okay, right, it's working so far. We're with you not
You said that you've never been, but all the things
that you've seen slowly fade away. See at this point,
I'm I'm starting to get lost losing you. I am
a little bit you. You said that you've never been.
I mean that's the end of that sentence. Yeah, you've
(31:51):
never been where Now you said you've never been, But
all the things that you've seen, right, they slowly fade away.
But you're willing to go with him?
Speaker 3 (32:00):
Right?
Speaker 1 (32:00):
You go into the pre chorus, So I start a
revolution from my bed. What do you think that's about?
Because I've always read that to be a reference John
lest John Lennon reference to his city, his beddings, his
sittings that you do with Yoko for to stop the
Vietnam War. Yeah, it's got to be that. It's got
to be that, isn't it.
Speaker 2 (32:20):
Yeah?
Speaker 1 (32:21):
Yeah, because you said the brains I had went to
my head. That's a great line. Then you think, yeah,
you said that. I mean that's just a good bit
of poetry, I think.
Speaker 2 (32:31):
Okay, just yeah, standalone poetry, just nice words in a
good order.
Speaker 1 (32:36):
Step outside summertimes in Bloom, fine, it's sunny out. Yeah,
stand up beside the fireplace. Okay, so you've stepped we're
not we're not outside.
Speaker 2 (32:46):
Yeah. Well the fire might not be on in the fireplace,
might just be stood by the fireplace, but it's not
being used even though it's summertime.
Speaker 1 (32:53):
So we didn't step outside then, because sometimes in Bloom
we've stayed inside. Then stand up beside the firepace. So
I'm stood by the firepace. But take the look from
off your face. Oh yeah, all right, take that look
from off your face. Okay, you ain't ever going to
burn my heart out. You know, it does get to
a point, doesn't it when you look at these lyrics,
(33:15):
and I don't think it stands up to much scrutiny.
Speaker 2 (33:19):
No, and who's Sally? Because she's about to enter, but
nobody introduces her. She just turns up exactly, Sally just
pops up. There's lots of there's us, there's wheeze that
he's who's he talking to? What is our point here?
That none of this really matters?
Speaker 1 (33:37):
I think that is the point? Yeah, I for one,
it doesn't really matter, does it, Because like that Oasis
track I think speaks to you right, you probably wouldn't
even know any of those words, but even you can
even know the words and not necessarily know what the
hell is going on there. And that's part of the
beauty of it, isn't it. That song is not just
(33:58):
about those lyrics. You put those lyrics in a boring
you know, in a cord structure that doesn't really work,
then it's just nonsense. It's about the whole thing.
Speaker 2 (34:08):
I feel normalized by us discussing this stew Yeah.
Speaker 1 (34:12):
Good, So there you go. That's put that issue finally
to bed. It should never be spoken about again. Let's
move on. We're going to have a few adverts. Everybody
loves those, and then we will be back with some
recommendations and a top three.
Speaker 2 (34:29):
Welcome back everybody to Midnight Chats. I feel like this
is the episode of Midnight Chats where I've thoroughly exposed
myself as a music journalist and critic. So I hope
you've been enjoying that, Stu. Is that time of the week.
It's that time of the podcast where we have a
top three.
Speaker 1 (34:47):
Yeah, I've actually got two for you to choose from.
You can choose to answer one of these two. One
is your top three music venues in the world. Ooh,
and the other is the three shortest musicians. You've it?
What you're you gonna go for?
Speaker 2 (35:05):
Top three music venues in the world. I presumed I've
had to visited them. Yeah, yes, I don't know. Like
I might say Coachella, I have been to Coachella, but
I might say Burning Man. No, I wouldn't say that.
Speaker 1 (35:26):
I'm after the venue. I'm after the room.
Speaker 2 (35:29):
Okay, okay, okay. So my top three favorite venues of
all time? Number one doesn't even exist anymore. It's called
the London Astoria. It was a venue that was in London.
I think it's probably like a pret monge now, but
basically as about a two thousand of capacity room in
central London, right by Tottenham Court Road station. You know,
(35:51):
it just had I just love that venue because I
saw so many memorable gigs of like when I first
started going to shows and it had a massive stage.
Basically the stage was as wide is the room and
so like whenever it felt like you were seeing an
artist on a really big stage, but in an intimate room.
So I always loved the story and just have great
memories of going there.
Speaker 1 (36:08):
I saw Amy Winehouse at the Astoria.
Speaker 2 (36:10):
Did you how was that?
Speaker 1 (36:13):
It's incredible?
Speaker 2 (36:14):
Yeah, it was amazing.
Speaker 1 (36:15):
It's yes, it is a real yeah student and the
sound people, the sound engineers would have to be they
were in this cage at the back of the room,
which was always a bit weird. Number two the Horn Reborn,
which is a bar music pub in Saint Albans in
Hertfordshire that holds about eighty people. Because almost lots of
(36:39):
very formative gigs were going there and it's just like
a tiny backroom. You walk in, there's the bar that
it's kind of like a circular bar in the middle.
Down one side you've got a pool table. If you
go around the other side of the bar, you go
into this back room that's just like a large cupboard
basically where bands would play and just just literally one
(36:59):
of the best grassroots venues that I've had the pleasure
of going in many times. Used to sneak in there
with with my fake ID to go and see gigs
when I was a teenager. Number three, okay worthy farm
to see for those who don't know, it's home to
(37:23):
a festival called Glastonbury. And I just think, hang on,
this is a podcast, so you can't see this, but
Ste's literally just handed me my P forty five. This
has not been my finest of weeks, is it right?
(37:46):
So to recap your favorite music venues in the world.
Are the Historia that was knocked down ten years ago
so it doesn't exist. The second one was saying.
Speaker 2 (37:59):
Again sorry, the horn ribborn, the horn reborn, solid, aburn,
solid solid. He gets for eighty people in it.
Speaker 1 (38:08):
And the third one is a farm, a working farm
for three hundred and sixty two days of the year
until it becomes Glastonbury Festival. Yeah as a venue, right,
let's let's do beat the algorithm. Now, beat the.
Speaker 2 (38:30):
Beat the algorm. Yes, let's do. I feel like I'm
on much firmer ground. Just recommending some music. Let's do that. Yeah,
this is Beat the Algorithm this week I want to
recommend a track called Chewing Gum. It's by Amel and
the Sniffers. Lots of you listening to this podcast will
know Ammelin Sniffers. But the Australian punk rockers have a
(38:50):
new album, their third album coming on the twenty fifth
of October. It's called Cartoon Darkness. I love this tracks
called Chewing Gum.
Speaker 1 (39:01):
I was laughing the water. That's probably.
Speaker 3 (39:14):
Enough to lasting down.
Speaker 2 (39:18):
This is.
Speaker 4 (39:26):
The lads.
Speaker 2 (39:28):
Lay what I love about Amlin Sniffers obviously one of
the great live bands that we have around us, contemporary
live brands that we have around us right now. If
you ever get the chance, I can see them. They
are absolutely incredible. But we had Amy Taylor, who's the
(39:49):
singer of Amila Sniffers, on the podcast m a couple
of years ago. Now it was episode one hundred and
thirteen and it was July twenty twenty one, if you
want to rewind and find that and a me Taylor
was that you got to speak to Amy Taylor's too.
But for me as a as a fan listening to
that podcast, one of my favorites because she is top
(40:09):
top value, like, so much fun to listen to, so
much charisma. I love this story that Amy was telling.
She recently read this book that was transcripts of interviews
that Dolly Parton had done, and she's a big Dolly
Parton fan, and this is her talking about that. Yeah.
Speaker 4 (40:24):
I'm a really big fan of Dolly.
Speaker 3 (40:25):
I think she's great. But it was pretty funny. In
this book she talks about how she grew up poor
or whatever, and her siblings used to in winter share
a bed and now it all pissed the bed to
keep warm.
Speaker 1 (40:36):
Jesus Christ. That's extreme, isn't it. That's mad? Did she
because she did? She come from a really big family.
Speaker 3 (40:49):
I think she had eleven siblings.
Speaker 1 (40:51):
Yeah, Jesus Christ. Have you have you got any siblings yourself?
Speaker 2 (40:55):
Yeah?
Speaker 3 (40:55):
I've got an older sister, Okay. But I grew up
like so, I grew up on a property in northern
New South Wales in Australia or whatever, and we when
I grew up, we lived in a shed and me
and my sister, my mom and my dad all she
had one bedroom, right, and we just like had like
the we're just separated the rooms quote unquote with like
a curtain, like like an old blanket pinder the wall. Okay,
(41:17):
so there's like a couple of parallels. I guess where
it's like. I can be like, yes, Dolly, I didn't.
I've kissed the bed, but not the key wall.
Speaker 1 (41:24):
No, me too. We've all been there, haven't been there?
Speaker 3 (41:28):
Yeah?
Speaker 2 (41:30):
And I bet you weren't expecting that story, Amy Taylor
on Midnight Chats. Please do go back and listen to
absolutely Amazing. And when you're doing that, check out Chewing Gum,
which is one of the singles off that forthcoming new
album from them out towards the end of this month. Stu,
what are you recommending before we go tonight?
Speaker 1 (41:46):
My my track is a remix song. It's an old
one and this is a remix of m I A's
XR two. It's probably it's I've always considered this one
of my favorite remixes of all time, the remixes by
Kicks like a Mule and Silver Link. And I heard
this on a Kitsune compilation which used to be a
thing back in the mid two thousands. This was on
(42:10):
number five of that volume five of the Kitsune Mixes
and Kitsune are a French label. They've also got a
clothing line now, which I think is what they mainly do.
Actually now they make some very nice clothes that are
very expensive. And this remix of XR two I have
always always loved and it absolutely bangs.
Speaker 4 (42:43):
This is very don axite to the Porlsick pianes. There
we is our pint tiny two and vandaber Tyler and
Night to comput good timing all the time. This is
ever doing a XI.
Speaker 2 (42:50):
To the Porlsi pies.
Speaker 1 (42:51):
There is are Pin tiny two vanniber Tier Night took
a put good timing.
Speaker 4 (42:55):
All the time. Britne Massa, we were like r labynth
work dance bag is type tel foods been paid well.
Speaker 1 (43:01):
Our genesis said, Searching Genes and sad Un Chain.
Speaker 4 (43:04):
We've all in there out of.
Speaker 1 (43:05):
Lady of DJs and it's quite a little way. If
you keep it secret light it may we will put
that track. We will put that Amal and the Smith
Sniffers track. Maybe maybe we put a couple of Charlie tracks.
Also on this week's Beat the Algorithm playlist. It's on Spotify.
There's a link to it in the description of this podcast,
but you can also just find it on Spotify by
(43:25):
search and Beat the Algorithm. It's where we put all
of our Beat the Algorithm recommendations. It's getting quite long now,
it's over an hour long. I mean we've only been
doing this a few weeks, but there's already enough on
there to keep you going if you haven't checked it
out yet, so please do that. Apologies to anyone not
using Spotify, but we just can't. We can't build it
across all of them. We can't afford all of the
(43:47):
all of the subscription fees for all of them. There's
too many.
Speaker 2 (43:50):
Thanks for tuning in tonight, everybody. I've had a great
time embarrassing myself talking about lyrics to songs. Stu, It's
been lovely to see you. We've got some exciting plans
across the podcast up in the next few weeks. I'm
about to go and get on the train to Amsterdam.
I'll be talking about that. Oh I'll be letting you know.
Well that's all about this time next week. But until then,
goodnight to.
Speaker 1 (44:10):
You, goodnight to you, Greg, and goodnight to you, dear listener,
wherever you are. Midnight Chats is a joint production between
Loud and Quiet and Atomized Studios for iHeartRadio. It's hosted
by Stuart Stubbs and Greg Cochrane, mixed and mastered by
(44:30):
Flow Lines, and edited by Stuart Stubbs. Find us on
Instagram and TikTok to watch clips from our recordings at
much much more.
Speaker 2 (44:37):
We are Midnight Chats Pod.
Speaker 1 (44:39):
For more information, visit Loud and Quiet dot com
Good evening, I'm Greg Cochran, Good evening, I'm Stuart Stubbs.
We are a couple of journalists who've been working in
independent music since the days of MySpace. One night a week,
we become your guides through the week in music, because,
let's face it, the algorithms have stopped working for most
of us, so we're here to share the best new
underground music and the news that you might have missed,
(00:22):
as well as discussing the week's biggest headlines and bringing
you interviews with some of our favorite alternative artists.
Speaker 2 (00:29):
The show is called Midnight Chats. What's coming up on
the podcast Tonight? Stuart Welcome, by the way, everyone.
Speaker 1 (00:36):
Welcome, Yeah, Episode one hundred and fifty three of the
podcast Tonight. We are going to talk chiefly about three things.
At the end, we're going to have all of the
usual great stuff that we do that beat the algorithm recommendation.
I'm going to give you a top three, but before that,
we want to talk about the remix albums as a whole.
Inspired by the Charlie XCX Brat remix record that came
(00:58):
out on Friday. It's a big thing thatyone's talking about.
It got us thinking about remix records, and that remix record.
Of course, we want to talk about how Green Day
have approached rereleasing some music, which is the absolute opposite
to what Charlie XX has just done. And we are
gonna once and for all put to bed this debate
(01:20):
of do you need to know or understand the meaning
behind the lyrics in order to enjoy music and truly
love songs.
Speaker 2 (01:29):
First up, though, Stu, get your WhatsApp groups fired up,
charge your thirteen different phones, laptops, get your money in
a high interest account. Because Glastonbury tickets are going on sale.
It's been announced Sunday, the seventeenth of November. The tickets,
the general sale tickets for this year's, well not for
next year's Glastonbury Festival twenty twenty five, go on sale.
(01:51):
They are priced three hundred and seventy three pounds fifty
plus five pound booking fee, which is thirteen pound fifty
up on this year twenty twenty one. And demand is
going to be absolutely crazy, isn't it, Because it always is.
Plus the fact that there is no Glastonbury the year after,
so there's no Glastonbury in twenty twenty six. It'll be
back in twenty twenty seven, so I would expect that
(02:14):
the demand will be crazy.
Speaker 1 (02:15):
It will be crazy. I absolutely welcome fellow years of
Glastonbury just because the stress then of not going or
going is taken out of your hands. There isn't one
like you know, roll On twenty twenty six when there
is in a Glastonbury. You're not going to be jealous
if you miss it. You're not going to be broke
if you go. You're just going to experience not going
to Glasterbury with absolutely everybody else. And it's going to
(02:38):
be fine.
Speaker 2 (02:39):
And we can we can take advantage and have the
Midnight Chats Festival in June twenty twenty six.
Speaker 1 (02:45):
Who would headline that? Who would we have to headline that?
Do you think?
Speaker 2 (02:48):
Well? Me and you yes? And in fact your agent.
We've been talking to your agent about money about that.
Speaker 1 (02:54):
So it would be a podcast festival, no music with
me and new headlining. Oh okay, we'll come back to
this on another podcast. I think one question before we
move on, Who's going to headline Glass to Me next year?
Taylor Swift?
Speaker 2 (03:10):
Fantastic? Next up? Green Day? What I've Green Day been
doing to I've given that neither of us are, particularly
in the world of Green Day. I feel that they
get extra mentions on this podcast because of the stuff
that they do. Yeah, they go out with the City
of Las Vegas the other week, but this is they've
done this thing that you discovered that I do think
is absolutely brilliant.
Speaker 1 (03:27):
Yeah, this is a They have re released their album Dookie,
which is that seminal record. Actually it's nineteen ninety four.
It's the one with basket Case on and around the
time of Dookie, my brother got really into Dookie and
then I got it.
Speaker 2 (03:42):
I was into Doki to that record as well.
Speaker 1 (03:44):
So even though we're not Green Day fans now, necessarily
this is my era of Green Day. I loved this
record when I started playing guitar. These are the songs
I was trying to learn. They have re released this record,
but in the opposite of a deluxe package where everything's
been remastered, they're calling it Dooky d mastered and yeah.
Speaker 2 (04:07):
So let's just so basically, the trend is that everybody
who's released music in the past that when it was
like made, obviously in the sound quality and everything we
could do now is infinitely better, Right, So there's a
very kind of like easy win that people do. They
create like these deluxe editions, they put it in like
four K, five K, six K sound and then they say, WHOA,
(04:30):
check out this like completely remastered version of like the
old stuff. Yeah, and Green Day have basically taken hand
ten it is on its head right.
Speaker 1 (04:38):
They've done the complete opposite and to the credit really
because I personally don't care about any of that stuff,
those remaster I remember when they remastered all the Beatles
albums and they put me in from mono into stereo
and I got a couple of copies of that, and
I don't like it. I don't like that it's been
mixed differently and or sounds crisper, like just leave it,
leave it is. I'm personally not a fan of it.
(05:00):
They've gone Green Day with Dookie have done a completely
different thing. They've de mastered it and they have created
household objects that you will know from around the time
of Dookie in ninety four, and they've hidden tracks in them. So,
for example, you have have a Blast Is on a
(05:23):
floppy disc. You've got long View Is played on a
door bell, like a real life doorbell that you could
stick to your house. And people would press it and
it would play the song Longview by Green Day. You've
(05:43):
got an electric toothbrush that plays pulling teeth very clever.
I see what they've done there. You've got X ray records.
You've got an answering machine, like there's these different yeah,
summer toys. Some are just household objects and what fans
had to do this is now closed unfortunate. So if
you're only just hearing about this, I'm afraid you've missed
(06:04):
the boat on this. You had to found out to
enter a draw with the chance to enter the chance
to buy one of these. They were very, very limited run.
Some of them were like literally one, you know they'd
made one of them. Some of them they made fifty.
But you could buy these things. There's a website where
put a link in the description of this episode so
(06:25):
you can hear all of these songs, because there's a
special site for this where you can see all of
the objects and you can also hear how they all sound.
The best one for me was Teddy Ruckspin. Did you
ever watch Teddy Teddy Ruckspin as a kid?
Speaker 2 (06:37):
I did, Yeah, you basically said, and there's like a
Teddy ruckspin soft toy where you press the tummy and
it makes a noise, right, and.
Speaker 1 (06:44):
He and he would talk. I think he used to
put tapes in the back and he would talk. His
mouth would mechanically move up and down. He'd blink like
a possessed doll and he would but he would read
the Teddy Rockspin stories. And they've put Chump in one
Teddy Rock spin.
Speaker 2 (07:05):
Well, would you look at that?
Speaker 3 (07:07):
It's time for me to sing Chump, my favorite track
on Dookie.
Speaker 2 (07:20):
So I don't know who like that.
Speaker 1 (07:21):
If you're listening and you've got the Teddy Rock Spin,
props to you.
Speaker 2 (07:25):
Is so good, Welcome to Paradise on the game Boy cartridge.
That's my favorite. That sounds ment so good.
Speaker 1 (07:32):
The complete opposite to what Charlie XX has just done
with her remix record for Brats.
Speaker 2 (07:41):
Oh so this is like the very very heavily anticipated
remix record of Brat. This is Brat and it's completely
different but also still Brat obviously. And we've been talking
about this for weeks, haven't we, Because the hype around
it's been loads like who's going to appear on this record?
When is it going to come out? And all those
kind of things. It has emerged. Now it's out there
(08:02):
in the world, full of a very star studied list
of collaborators on there. You've got Ariana Grande through to
Julian Casablancas, the Japanese House to Bonnie. There came out
on Friday and Stu one of the critics, saying.
Speaker 1 (08:17):
Well, the critics, I think, probably very predictably, have all
gone for it in a big way. I would count
myself as one of those critics. I think the scores
have actually been quite on. They've been good. They've not
been as high as Bratt. Not quiet, because I don't
think it is quite as good as Bratt. I think
Bratt was is its own thing, and it's very you know, complete,
(08:39):
It's as good as it can be. I don't think
these songs are going to better any of those songs,
but people have gone you know, it's getting four star reviews,
I think is probably the average, you know, some fives
out there. Nothing's going below that, though. I think that
was always going to happen. Though, I think it would
have had to have been a real turkey for people
(08:59):
to have come out and said, ah, she's jumped the shark,
because Bratt is still the thing. We've spoken about Bratt
a lot on this podcast, and it's something we are
aware of and we fully appreciate that some people might
be feeling bratted out. I think I'm getting there. Yeah,
I think they're bratted out. Are you a little bit
bratted out? I feel a bit bratted out, to be honest.
(09:21):
I mean, but she's delivered again, hasn't she. You're into
it totally? I mean, this is I think.
Speaker 2 (09:28):
But the reason that I'm into it is because it
doesn't feel like a sort of slap dash remix record
that it very easily could have because obviously they're looking
to Charlie and you know her team. God that makes
it sound awful, isn't it will be looking to like
extend the life of Bratt? Right, how do we keep
(09:49):
people interested? How do we keep this moment going? Like
the obvious answer is to do a remix record. It's
twenty twenty four, Everyone does a remix record. But I
actually think it's way more imaginative that than that, because
it it feels to me like most of the versions
of these songs are overhauled. Basically they're completely different.
Speaker 1 (10:07):
I mean, I didn't realize this until it came out
and I read about it, and she's re recorded all
of her parts on it. Her vocals have been rerecorded
on it, So in that sense, it's not a remix record.
It almost sounds like a collection of songs where some
of them feature a Charlie X example exactly.
Speaker 2 (10:25):
It's like a reinterpretation of what Bratt was rather than
a remix I don't. I think it's sort of like
exposed the box of what a remix record we might
typically understand to be a remix record. And yeah, I
absolutely love it. What's jumping out to you? My favorite
is Everything is Romantic, which is the track that Caroline
Politech appears on. I love that because of the exchange
(10:46):
between Charlie and Caroline as if it's like a long
distance phone call. That I really like the new ideas
they brought into that. The big names on it, Julian
Casa Blancas Bonivair, what do you think of their contributions.
Speaker 1 (10:57):
I like both of those ones. I think that Julian
casap song sounds like a Calypso version of Owner of
a Lonely Heart to the extent that I think there's
either going to be a lawsuit coming down the pipeline,
or they must have cleared that it's okay that for
that melody to be that sort. Surely, surely that must
(11:17):
be the case. The Bony Bear tracks to me sounds
like an early Street song that could have been.
Speaker 2 (11:23):
On original par material.
Speaker 1 (11:24):
There's a there's a little passage where where you know,
she's talking at the beginning, and it.
Speaker 2 (11:28):
Just well, apparently she went to Mike Skinner and asked
about getting him involved, but it didn't happen for whatever reason.
Speaker 1 (11:33):
Interesting, Well, what I think is quite you know that
what's genius about this is that Skinner one obviously didn't
happen for whatever reason. But the whole thing is a
ginormous flex of the of who she can get to
do these things, Like you say, everyone from Aria and
Grande to Robin Shy Girl. I think she's chosen the
(11:54):
people that are on it extremely well. Like everything that's
happened around BRAT, it's just been so perfectly planned. Everyone
on its call. Basically even she's gone for the coolest
pop stars, but she's also you know, there's Billie Eilishes
on it. But she's got you know, just some She's
got John Hopkins on it, who is very much, you know,
like an ambient electronic musician who's picking up that crowd
(12:17):
of people. So all of that's been very clever. I
really like the area on the Grande one talking of her,
which is Sympathy is a Knife. Are you generally a
fan of a remix album?
Speaker 2 (12:30):
No?
Speaker 1 (12:31):
I mean no, mean either. Because I thought when we
decided we were going to talk about this, I thought, oh,
we can go away and we can pick some of
our favorite remix albums, and then I realized I don't
like any of them until now. The Brack record I
really like. But I think it's because it doesn't feel
like a remix record so much. It feels like, as
(12:52):
you said, something else exactly. I think she set the
bar extraordinarily high. If we're calling this a remix record,
then I think the bar is exceptionally high of what
she's just done.
Speaker 2 (13:03):
Yeah. I can't name many like remix albums to you
that I really really love.
Speaker 1 (13:08):
I went down a bit of a black hole looking
at where did this start? Remix albums?
Speaker 2 (13:14):
A black hole or a rabbit hole? A rabbit hole,
you went down a black rabbit hole.
Speaker 1 (13:22):
So what are we doing here?
Speaker 2 (13:24):
Who are you, Gran, is that you.
Speaker 1 (13:29):
I went down a rabbit hole, Greg, all right, this
is what it's done to me. I went down a
rabbit hole working to find out about about remix albums
and when they started. The first ever remix album was
in nineteen seventy one, and it was by someone who
you would not think could be the person responsible for
inventing the remix album. And it's Harry Nielsen, really Harry
(13:52):
Everybody's Talking Nielsen. And the record is called Aerial Pandemonium
Ballet and it was not a remix album in the
way that we now know them to be. It was
him taking it had a huge hit with Everybody's Talking,
and his two first two albums were out of print,
and he felt they sounded quite dated and not very
(14:14):
good anymore, you know, like he needed to change them
a bit. So he re recorded some of the parts,
some of the vocal takes, slowed some tracks down and
that so that has become known as maybe the first
remix record, but it was years ago. Yeah, but it
was very much a like an a studio engineer's approach
to actually remixing the record right, rather than turning it
(14:37):
into a complete different dance track. Then it really takes
off in the late seventies early eighties. People tend to
think that the first two remix records as we know
them are by Soft Cell and the Human League ones
NonStop ecstatic music, and the other is Love and Dancing.
And then obviously reggae has got a big history of
(14:58):
taking whole albums and making them into like our records
and things like that. But I've never loved them. And
the one, the one that annoyed me the most because
I am a Beatles fan, was that Beatles one called Love.
Do you remember that?
Speaker 2 (15:14):
Yeah? That wasn't that long ago, right.
Speaker 1 (15:16):
There was two thousand and six, I think, and it
was it was the soundtrack to that, Sir, the Salay
show that's still playing in Vegas, you know, still raking
in the money. But it was it was that, and
it was just this. George Martin did it, so it
was a proper in house job. They didn't farm it out.
The highest highest grossing one of the most popular remix
(15:38):
album ever is the Michael Jackson one for Blood on
the dance.
Speaker 2 (15:42):
Film Okay Yeah.
Speaker 1 (15:44):
Until this week maybe though, because Charlie xx is surging
towards the top spot, particularly here in the UK with
this with the remix of Brat, But Stu, she's been
held off as we record this, Charlie XX isn't the
number one album in the UK. She's we're at the
halfway point. Paul Heaton is of the Beautiful Sales fame,
(16:09):
having released his debut solo album. He's recorded other stuff
obviously and had great success, but this is his first
fully solo album and in fact he's number one and
chasing and Charlie's trying to chase him down, which is
quite interesting. So by the end of the week we'll
know whether she's actually finally scored that top spot with
a Brat album.
Speaker 2 (16:28):
But Stu, I have an update for you. Yes. Last
week on the podcast, we talked about James Blunt because
he made this enormous commitment of saying if the re
released version of his debut album made it to number one,
then he would change his name by Deep Bowle, he
would officially change his name to something else. So you know,
(16:50):
we could be on course for James Blunt to soon
become known as Nigel from Glasgow or Blunt he look
Blunt Face, or whatever those suggestions that came in were.
Speaker 1 (17:00):
But he's number four at the moment. I'm surprised. I'm surprised.
I didn't see Heaton coming up on the outside. I
did not see that.
Speaker 2 (17:09):
A lot of Vinyl fans, a lot of Vinyl, a
lot of physical product fans.
Speaker 1 (17:13):
Well important the thing, isn't it Because two weeks ago
the number one album was the new Shed seven album.
And Shed seven are a band who scored their first
number one album earlier this year and they've they've had
they're having this late career purple Patch, yeah, where they
they scored their second number one album two weeks ago,
(17:36):
And I'm guessing it comes down to that, right, comes
down to like the physical the physical sales of records
count more than the stream. So Charlie hasn't released the
new Brat record on physical format yet, I don't think anyway,
So it's going to be on streams if she gets
number one on dozen and Eaton has probably been campaigning
(17:57):
for six months with pre orders and lots of physical
CDs records, so he doesn't have to actually get that
into as many years as Charlie does for him for
him to win.
Speaker 2 (18:07):
Now, listen to you.
Speaker 1 (18:07):
After the break, we are going to settle one of
the all time great music debates. He ready, I'm ready,
welcome back to episode one hundred and fifty three of
Midnight Chats. Now. Ever since green Chatten from Fontane's DC
came on the podcast, which is about four episodes ago,
(18:30):
now something like that. He said something to me in
that interview that I don't actually think I put in
the finished episode. We have to cut down just a
few little bits and pieces on. One of those things
was he was telling me that he doesn't care how
people interpret the songs. Once he's written the lyric in
(18:50):
the song and it goes out into the world, it's
up to the fans to decipher it and put their
own meaning on it. And this is something that artists
have said to me in views many times before. I
imagine they've said it to you as well. Right, that's it.
It's a common thing that artists say, and it always
gets me thinking. So I put I started talking to
(19:13):
you about it, den't I. And we were like we
should try and get to the bottom of this a
little bit on the on the podcast one week and
here we are, and the question is that we're that
we're trying to answer, is do you need to know
what the lyrics are to a song to enjoy it,
and do you need to know what those lyrics mean?
What are the meaning behind those words? And everyone's got
(19:36):
a different opinion on this, and some people are like
minkes no difference to me. I don't care what the
lyrics are. I don't care what they mean. I'm listening
to the be I'm listening to the pace of it.
I'm listening to like the chord changes, the whole mood
of it, and the lyrics are just like another instrument
within the mix. And then some people really really want
(19:56):
to decode it and they need to know what does
this lyric mean? What does this Why have they chosen
this word? And the nerd out on that there's no
right or wrong on this.
Speaker 2 (20:04):
Oh there is?
Speaker 1 (20:05):
You think there is?
Speaker 2 (20:06):
Your put your case is? My case is that I'm
one of those people who don't know the lyrics to
any songs, even my very favorite songs. I don't know
the lyrics to. The lyrics aren't the first thing that
I listen to when I hear a song, if that
(20:27):
makes sense. And I don't really plug into the meaning
of a song, or don't worry about getting inside the
mind or the intention of whoever's written the song. I
just interpret in my own way if I do listen
to the lyrics.
Speaker 1 (20:43):
So, when you're at a gig one of your favorite
bands and that song that you love and everyone's singing along,
are you doing are.
Speaker 2 (20:53):
You singing the wrong words?
Speaker 1 (20:55):
But are you just sort of are you just singing like?
Are you like a toddler learning to speaking of this?
Speaker 4 (21:00):
Is that about that?
Speaker 3 (21:01):
Yeah?
Speaker 1 (21:01):
Are you doing that?
Speaker 3 (21:03):
No?
Speaker 2 (21:03):
I'll sing the bits that I do know why I
generally seem to do okay. So first off, I should
say I don't know. If people listen to this podcast
right now, they might be thinking, first off, Greg, your
career as a music journalist definitely over mate. Secondly, they
might be thinking, what what planet are you on? Thirdly,
and a very small amount of people might be thinking, actually,
I'm with you man. Like I never listened to the
(21:24):
lyrics either, I think a lot of people are with you.
I really too. I am pleased to hear that.
Speaker 1 (21:29):
Yeah, I don't think you're alone. We'd love to know
if you. If you do have an opinion this, then
we would like you to please do get in touch.
You can email us at info at loud on quiet
dot Com, I should probably say that, like as somebody
who has been music and I'm doing this in very
commers critic for the best part of two decades. I
do listen to lyrics, obviously, I do, particularly when I'm
(21:49):
writing about something or please carry on employing Greig if
you're listening he does.
Speaker 2 (21:55):
That is all I am.
Speaker 1 (21:56):
This is all just for the podcast.
Speaker 2 (21:58):
But we're talking about casual music. We're talking about you know,
when I've got my music fan head on, I I
just listened to like snatches of lyrics, and I remember
lines of songs. I just don't really get into the
whole lyrics of a song. What is Okay, name me
one of your fetal what's one of your favorite songs?
Speaker 1 (22:17):
Just name me one of what.
Speaker 2 (22:18):
Is Once in a Lifetime by Talking Heads is probably
my favorite song.
Speaker 1 (22:21):
Okay, Now, just in case you saw this coming down
down the road, give name another one of your favorite songs.
Speaker 2 (22:29):
No, no, you, you can't do that to me because
I didn't actually look up that. I knew you were
going to do this to me, and I didn't look
up the lyrics. So feel free to test me on
this because I can still get it wrong.
Speaker 1 (22:41):
So you haven't. Is this all right? I'm gonna I'm
gonna trust you here. Let me just get these up talking. Yeah,
it's great ship. By the way, that I'm with you,
Thank you very much.
Speaker 2 (22:51):
Once we should give.
Speaker 1 (22:52):
List type you have as somebody who I'm going to
I'm going to hest I'm gonna I'm going to guess you.
First of all, you don't even know what these words up,
So the next question is probably void. But I was
going to say, do you know what this song is about? Greg?
Speaker 2 (23:05):
No, I mean I know what I think this song
is about, Okay, which is about can I sort of
making the most of life and doing things once? Oh dear,
that's a sort of like daytime TV of what the
talking heads were doing there.
Speaker 1 (23:27):
By the way, that's the sentence that's going to get
you no more work as a journalist. By the way, Okay,
do you want to what can you remember? What the
first lie? What's the first line of the song your
favorite song of all time? Just the first line?
Speaker 2 (23:42):
Do you find yourself? Yes?
Speaker 1 (23:47):
Do you find yourself?
Speaker 2 (23:49):
You find the wheel of a large automobile.
Speaker 1 (23:52):
Mate, that's line three, sort of I'm going to you
it was up there. Okay, the opening line is, and
you may find yourself living in a shotgun. Shack a
bell now, no, no, no, nothing, Okay, just do me,
just just we won't go through the whole song, but
just do me.
Speaker 2 (24:11):
Let's go to the chorus.
Speaker 1 (24:12):
Do me the chorus, do me the letting the days
go I'll give you a line. You just give me
the next line, letting the days go by. You're at
the show. You're at the show, David Byrns singing your
favorite song of all time, and he's singing.
Speaker 2 (24:31):
I can I jump to the third line, which is
once in a lifetime. See, that's so you asked me
to imagine what it would be like if I was
at the show. I'd be waiting till the third line
of the chorus before I just sing the name of
your song.
Speaker 1 (24:46):
You only know the name of the song and where it. Yeah,
but I think that's fine, right that, like, thanks to you.
I think it's fine. I don't think you're alone. Into
a counseling session for you. Yeah, I don't think you're alone.
I think there are lots of people like that. You know,
you just need to look at see for me, I
think I'm somewhere in between and I think it's a
(25:07):
case by case basis. I personally do want to know
the lyrics to the song. Okay, I definitely want to
know them, and I'll be listening to music, and especially
if I'm listening to like hip hop, I'm really fixating
on the words for obvious reasons, right, that's the lion's
share of that music for me at least, And I'll
maybe google a line be like, what's he saying there?
(25:30):
I want to know what that is? And then maybe
I'll start to be like, I want to know what
that means. But I definitely want to know the words,
and then whether or not I want to know the
meaning of behind it is a case by case basis.
I would say, wow, I tried to.
Speaker 2 (25:43):
I try.
Speaker 1 (25:43):
For example, when I was at university, I got heavily
into the Smiths. Obviously it's so basic. I got heavily
into Smiths and I got a book that explained all
the lyrics, and I stopped reading it as soon as
I started reading it because I was like, I don't
want to know, don't. I don't want that, and I
think some people do want that, And an extreme.
Speaker 2 (26:03):
I think some people do want that. That is that
would so quickly find its way to the bottom of
my reading a biout anything like that.
Speaker 1 (26:11):
Yeah, I think that takes I think that takes all
the fun out of it. I think it takes out
any you're not you're not having any ownership of the
song at all. There and I've got something. So I
posed this question to Ollie Judge from Squid, who is
the drummer in Squid and singer and the singer. How
do artists feel about it when they when they they
(26:33):
don't they misinterpreted their songs. This is a voice note
that he sent me this morning.
Speaker 4 (26:38):
Pahg, it's Olli from Squid here. Yeah, I kind of.
I really don't mind people misinterpreting songs. I think it's
really it's a really fun thing for people to have,
I don't know too, to attach more of their kind
(26:59):
of personal experiences onto one song or kind of make
the song feel like it's there's a little bit more.
I guess my only worry is kind of songs being
co opted for the wrong reasons, or the lyrics spun
into something that could be offensive. But I don't think
I'm in much danger of that, to be honest. But yeah,
(27:23):
I think it's funny that kind of in twenty twenty four,
it's there's kind of a hunger for fans to know
kind of everything about an artist or everything about the
song and have the definitive theory behind a song or
an album or something. There's definitely less mystery, which you know,
(27:45):
I guess is I guess is the Internet's fault. Kind
of sounding like an old man yelling at a cloud
right now, I'm here for the different interpretations. Like an
example I thought of when you asked me this question
was my friend Harry told me that he thought that
the song Videotape by Radiohead is kind of based off
(28:07):
of this Japanese film called Afterlife, where when people die
they have to film their happiest memory in like a
kind of limbo. And I haven't heard that theory anywhere
apart from my friend Harry telling me about it. And
I think it's a really special thing to have your
(28:27):
own personal kind of interpretation of a song. It kind
of makes it more special. I think, Yeah, I think
that's about it, really Jewors.
Speaker 2 (28:40):
Oh, that was nice to hear from Ollie. Thanks for
doing that, Oi, Thanks makes me feel a bit better.
The first bit where he's saying, don't mind if people
kind of apply their own meaning to his lyrics. I
would say, stay on your toes Olie. Donald Trump might
still want to use one of those Squid tracks at
the rallies. You never know, never know.
Speaker 1 (28:59):
One of the reasons I want to ask Golly particularly
about this because he's written a song on the last
Squid record, last year's Oh Monolith, where it's from the
it's the song is about being reincarnated as a bedside cabinet.
So that's obviously a very that's a very very particular
song about a particular thing. But obviously that's going to
(29:21):
be interpreted in a million different ways. But it does
fascinate me when artists. When Graham said it to me
the first time, which got me thinking about this again,
it fascinates me because I just think that's fine. I
think most artists feel that way, but I think there
are some artists who say that, but then they do
get upset when it gets picked up by the press
or people start writing reviews saying, oh, this song's about this,
(29:42):
and then it's snowballs and that's what the song becomes about,
and it's misinterpreted. And I think there are artists, who
do you kind of have to have it one way
or the other way, don't you. Let's take a song
before we move on that is very very well known
to everybody listening. I think we should take don't Look
back in Anger, and I think we should just look
at the lyrics. No, you and not. This isn't a
(30:03):
test for you. This is a test for both of us. Okay,
we let's have a quick look at the the lyrics
now and see if us understanding the lyrics makes a
song that people love internationally. They love that song. They
get so much from it.
Speaker 2 (30:19):
They sing it.
Speaker 1 (30:20):
Everybody knows the words arm in arm, everyone's singing don't
look back in anger. If we take a little look
at the lyrics, let me just get them here, don't
look back in anger, lyrics. Here we are. This is
a song we know very well. Right, Let's just try
(30:41):
and get into the head of because this is a
man Dol Gallagher, considered a songwriter of his generation. I
love Nol Gallagher's songs. I love Oasis songs. I loved
this song when it came out and I've sung it
many many times. Shall we just try and work out
what's going on? Because I think this might be an
example of I'm sometimes knowing the lyrics is not a
(31:02):
great idea. Don't look too closely sometimes, you know, slip
inside the eye of your mind. Don't you know you
might find a better place to play. I mean, what
you're thinking so far inside the eye of your mind?
Like to go inside your head, don't you mind you
might find once you start thinking, you find a better
(31:23):
place to play.
Speaker 2 (31:25):
Yeah. Yeah, it's something like your imagination might be better
than the real world.
Speaker 1 (31:29):
Okay, right, it's working so far. We're with you not
You said that you've never been, but all the things
that you've seen slowly fade away. See at this point,
I'm I'm starting to get lost losing you. I am
a little bit you. You said that you've never been.
I mean that's the end of that sentence. Yeah, you've
(31:51):
never been where Now you said you've never been, But
all the things that you've seen, right, they slowly fade away.
But you're willing to go with him?
Speaker 3 (32:00):
Right?
Speaker 1 (32:00):
You go into the pre chorus, So I start a
revolution from my bed. What do you think that's about?
Because I've always read that to be a reference John
lest John Lennon reference to his city, his beddings, his
sittings that you do with Yoko for to stop the
Vietnam War. Yeah, it's got to be that. It's got
to be that, isn't it.
Speaker 2 (32:20):
Yeah?
Speaker 1 (32:21):
Yeah, because you said the brains I had went to
my head. That's a great line. Then you think, yeah,
you said that. I mean that's just a good bit
of poetry, I think.
Speaker 2 (32:31):
Okay, just yeah, standalone poetry, just nice words in a
good order.
Speaker 1 (32:36):
Step outside summertimes in Bloom, fine, it's sunny out. Yeah,
stand up beside the fireplace. Okay, so you've stepped we're
not we're not outside.
Speaker 2 (32:46):
Yeah. Well the fire might not be on in the fireplace,
might just be stood by the fireplace, but it's not
being used even though it's summertime.
Speaker 1 (32:53):
So we didn't step outside then, because sometimes in Bloom
we've stayed inside. Then stand up beside the firepace. So
I'm stood by the firepace. But take the look from
off your face. Oh yeah, all right, take that look
from off your face. Okay, you ain't ever going to
burn my heart out. You know, it does get to
a point, doesn't it when you look at these lyrics,
(33:15):
and I don't think it stands up to much scrutiny.
Speaker 2 (33:19):
No, and who's Sally? Because she's about to enter, but
nobody introduces her. She just turns up exactly, Sally just
pops up. There's lots of there's us, there's wheeze that
he's who's he talking to? What is our point here?
That none of this really matters?
Speaker 1 (33:37):
I think that is the point? Yeah, I for one,
it doesn't really matter, does it, Because like that Oasis
track I think speaks to you right, you probably wouldn't
even know any of those words, but even you can
even know the words and not necessarily know what the
hell is going on there. And that's part of the
beauty of it, isn't it. That song is not just
(33:58):
about those lyrics. You put those lyrics in a boring
you know, in a cord structure that doesn't really work,
then it's just nonsense. It's about the whole thing.
Speaker 2 (34:08):
I feel normalized by us discussing this stew Yeah.
Speaker 1 (34:12):
Good, So there you go. That's put that issue finally
to bed. It should never be spoken about again. Let's
move on. We're going to have a few adverts. Everybody
loves those, and then we will be back with some
recommendations and a top three.
Speaker 2 (34:29):
Welcome back everybody to Midnight Chats. I feel like this
is the episode of Midnight Chats where I've thoroughly exposed
myself as a music journalist and critic. So I hope
you've been enjoying that, Stu. Is that time of the week.
It's that time of the podcast where we have a
top three.
Speaker 1 (34:47):
Yeah, I've actually got two for you to choose from.
You can choose to answer one of these two. One
is your top three music venues in the world. Ooh,
and the other is the three shortest musicians. You've it?
What you're you gonna go for?
Speaker 2 (35:05):
Top three music venues in the world. I presumed I've
had to visited them. Yeah, yes, I don't know. Like
I might say Coachella, I have been to Coachella, but
I might say Burning Man. No, I wouldn't say that.
Speaker 1 (35:26):
I'm after the venue. I'm after the room.
Speaker 2 (35:29):
Okay, okay, okay. So my top three favorite venues of
all time? Number one doesn't even exist anymore. It's called
the London Astoria. It was a venue that was in London.
I think it's probably like a pret monge now, but
basically as about a two thousand of capacity room in
central London, right by Tottenham Court Road station. You know,
(35:51):
it just had I just love that venue because I
saw so many memorable gigs of like when I first
started going to shows and it had a massive stage.
Basically the stage was as wide is the room and
so like whenever it felt like you were seeing an
artist on a really big stage, but in an intimate room.
So I always loved the story and just have great
memories of going there.
Speaker 1 (36:08):
I saw Amy Winehouse at the Astoria.
Speaker 2 (36:10):
Did you how was that?
Speaker 1 (36:13):
It's incredible?
Speaker 2 (36:14):
Yeah, it was amazing.
Speaker 1 (36:15):
It's yes, it is a real yeah student and the
sound people, the sound engineers would have to be they
were in this cage at the back of the room,
which was always a bit weird. Number two the Horn Reborn,
which is a bar music pub in Saint Albans in
Hertfordshire that holds about eighty people. Because almost lots of
(36:39):
very formative gigs were going there and it's just like
a tiny backroom. You walk in, there's the bar that
it's kind of like a circular bar in the middle.
Down one side you've got a pool table. If you
go around the other side of the bar, you go
into this back room that's just like a large cupboard
basically where bands would play and just just literally one
(36:59):
of the best grassroots venues that I've had the pleasure
of going in many times. Used to sneak in there
with with my fake ID to go and see gigs
when I was a teenager. Number three, okay worthy farm
to see for those who don't know, it's home to
(37:23):
a festival called Glastonbury. And I just think, hang on,
this is a podcast, so you can't see this, but
Ste's literally just handed me my P forty five. This
has not been my finest of weeks, is it right?
(37:46):
So to recap your favorite music venues in the world.
Are the Historia that was knocked down ten years ago
so it doesn't exist. The second one was saying.
Speaker 2 (37:59):
Again sorry, the horn ribborn, the horn reborn, solid, aburn,
solid solid. He gets for eighty people in it.
Speaker 1 (38:08):
And the third one is a farm, a working farm
for three hundred and sixty two days of the year
until it becomes Glastonbury Festival. Yeah as a venue, right,
let's let's do beat the algorithm. Now, beat the.
Speaker 2 (38:30):
Beat the algorm. Yes, let's do. I feel like I'm
on much firmer ground. Just recommending some music. Let's do that. Yeah,
this is Beat the Algorithm this week I want to
recommend a track called Chewing Gum. It's by Amel and
the Sniffers. Lots of you listening to this podcast will
know Ammelin Sniffers. But the Australian punk rockers have a
(38:50):
new album, their third album coming on the twenty fifth
of October. It's called Cartoon Darkness. I love this tracks
called Chewing Gum.
Speaker 1 (39:01):
I was laughing the water. That's probably.
Speaker 3 (39:14):
Enough to lasting down.
Speaker 2 (39:18):
This is.
Speaker 4 (39:26):
The lads.
Speaker 2 (39:28):
Lay what I love about Amlin Sniffers obviously one of
the great live bands that we have around us, contemporary
live brands that we have around us right now. If
you ever get the chance, I can see them. They
are absolutely incredible. But we had Amy Taylor, who's the
(39:49):
singer of Amila Sniffers, on the podcast m a couple
of years ago. Now it was episode one hundred and
thirteen and it was July twenty twenty one, if you
want to rewind and find that and a me Taylor
was that you got to speak to Amy Taylor's too.
But for me as a as a fan listening to
that podcast, one of my favorites because she is top
(40:09):
top value, like, so much fun to listen to, so
much charisma. I love this story that Amy was telling.
She recently read this book that was transcripts of interviews
that Dolly Parton had done, and she's a big Dolly
Parton fan, and this is her talking about that. Yeah.
Speaker 4 (40:24):
I'm a really big fan of Dolly.
Speaker 3 (40:25):
I think she's great. But it was pretty funny. In
this book she talks about how she grew up poor
or whatever, and her siblings used to in winter share
a bed and now it all pissed the bed to
keep warm.
Speaker 1 (40:36):
Jesus Christ. That's extreme, isn't it. That's mad? Did she
because she did? She come from a really big family.
Speaker 3 (40:49):
I think she had eleven siblings.
Speaker 1 (40:51):
Yeah, Jesus Christ. Have you have you got any siblings yourself?
Speaker 2 (40:55):
Yeah?
Speaker 3 (40:55):
I've got an older sister, Okay. But I grew up
like so, I grew up on a property in northern
New South Wales in Australia or whatever, and we when
I grew up, we lived in a shed and me
and my sister, my mom and my dad all she
had one bedroom, right, and we just like had like
the we're just separated the rooms quote unquote with like
a curtain, like like an old blanket pinder the wall. Okay,
(41:17):
so there's like a couple of parallels. I guess where
it's like. I can be like, yes, Dolly, I didn't.
I've kissed the bed, but not the key wall.
Speaker 1 (41:24):
No, me too. We've all been there, haven't been there?
Speaker 3 (41:28):
Yeah?
Speaker 2 (41:30):
And I bet you weren't expecting that story, Amy Taylor
on Midnight Chats. Please do go back and listen to
absolutely Amazing. And when you're doing that, check out Chewing Gum,
which is one of the singles off that forthcoming new
album from them out towards the end of this month. Stu,
what are you recommending before we go tonight?
Speaker 1 (41:46):
My my track is a remix song. It's an old
one and this is a remix of m I A's
XR two. It's probably it's I've always considered this one
of my favorite remixes of all time, the remixes by
Kicks like a Mule and Silver Link. And I heard
this on a Kitsune compilation which used to be a
thing back in the mid two thousands. This was on
(42:10):
number five of that volume five of the Kitsune Mixes
and Kitsune are a French label. They've also got a
clothing line now, which I think is what they mainly do.
Actually now they make some very nice clothes that are
very expensive. And this remix of XR two I have
always always loved and it absolutely bangs.
Speaker 4 (42:43):
This is very don axite to the Porlsick pianes. There
we is our pint tiny two and vandaber Tyler and
Night to comput good timing all the time. This is
ever doing a XI.
Speaker 2 (42:50):
To the Porlsi pies.
Speaker 1 (42:51):
There is are Pin tiny two vanniber Tier Night took
a put good timing.
Speaker 4 (42:55):
All the time. Britne Massa, we were like r labynth
work dance bag is type tel foods been paid well.
Speaker 1 (43:01):
Our genesis said, Searching Genes and sad Un Chain.
Speaker 4 (43:04):
We've all in there out of.
Speaker 1 (43:05):
Lady of DJs and it's quite a little way. If
you keep it secret light it may we will put
that track. We will put that Amal and the Smith
Sniffers track. Maybe maybe we put a couple of Charlie tracks.
Also on this week's Beat the Algorithm playlist. It's on Spotify.
There's a link to it in the description of this podcast,
but you can also just find it on Spotify by
(43:25):
search and Beat the Algorithm. It's where we put all
of our Beat the Algorithm recommendations. It's getting quite long now,
it's over an hour long. I mean we've only been
doing this a few weeks, but there's already enough on
there to keep you going if you haven't checked it
out yet, so please do that. Apologies to anyone not
using Spotify, but we just can't. We can't build it
across all of them. We can't afford all of the
(43:47):
all of the subscription fees for all of them. There's
too many.
Speaker 2 (43:50):
Thanks for tuning in tonight, everybody. I've had a great
time embarrassing myself talking about lyrics to songs. Stu, It's
been lovely to see you. We've got some exciting plans
across the podcast up in the next few weeks. I'm
about to go and get on the train to Amsterdam.
I'll be talking about that. Oh I'll be letting you know.
Well that's all about this time next week. But until then,
goodnight to.
Speaker 1 (44:10):
You, goodnight to you, Greg, and goodnight to you, dear listener,
wherever you are. Midnight Chats is a joint production between
Loud and Quiet and Atomized Studios for iHeartRadio. It's hosted
by Stuart Stubbs and Greg Cochrane, mixed and mastered by
(44:30):
Flow Lines, and edited by Stuart Stubbs. Find us on
Instagram and TikTok to watch clips from our recordings at
much much more.
Speaker 2 (44:37):
We are Midnight Chats Pod.
Speaker 1 (44:39):
For more information, visit Loud and Quiet dot com
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