1 00:00:00,160 --> 00:00:02,439 Speaker 1: That is money can't buy me love. The artist is 2 00:00:02,520 --> 00:00:05,679 Andrew d V and we have him with us via WhatsApp. 3 00:00:05,679 --> 00:00:08,199 We're gonna speak with him in just a moment. Welcome everybody, 4 00:00:08,240 --> 00:00:10,599 if you are listening live on Saturday, we have entered 5 00:00:10,640 --> 00:00:14,279 our number three New Marrow trace of Matt Connorton Unleashed 6 00:00:14,279 --> 00:00:16,679 and we are live from the studios of w m 7 00:00:16,839 --> 00:00:19,760 n H ninety five point three FM and Glorious Manchester, 8 00:00:19,879 --> 00:00:21,559 New Hampshire. And of course you can stream the show 9 00:00:21,600 --> 00:00:24,039 from anywhere. Go to Matt connorton dot com, slash live 10 00:00:24,280 --> 00:00:26,719 for all of your live streaming options, social media links, 11 00:00:26,719 --> 00:00:29,719 contact infos, show archives, et cetera, et cetera. Jenny is 12 00:00:29,760 --> 00:00:33,079 here of course at the news table, and let's bring 13 00:00:33,119 --> 00:00:34,920 Andrew and I think we've got him via WhatsApp. 14 00:00:34,960 --> 00:00:35,600 Speaker 2: Andrew, are you. 15 00:00:35,560 --> 00:00:38,840 Speaker 3: There, Yes, I'm here, loud and Cleia. 16 00:00:38,399 --> 00:00:39,640 Speaker 2: Hey, welcome to the show. 17 00:00:40,079 --> 00:00:43,159 Speaker 1: Love that song very very catchy, which I'm sure people 18 00:00:43,320 --> 00:00:47,320 tell you all the time, but it's it's very easy 19 00:00:47,320 --> 00:00:47,960 to sing along to. 20 00:00:48,079 --> 00:00:48,799 Speaker 2: I like it a lot. 21 00:00:49,920 --> 00:00:54,520 Speaker 3: That's good, Thanks very much for liking it. It's it's good. 22 00:00:54,320 --> 00:00:56,799 Speaker 1: So interestingly enough, so it's kind of it's it's a 23 00:00:56,799 --> 00:00:59,880 fun song, but it's kind of a serious uh sub 24 00:01:00,159 --> 00:01:04,040 jacked right, And I'm really curious to know more about 25 00:01:04,040 --> 00:01:09,000 it because obviously you're talking about you know, money, money 26 00:01:09,000 --> 00:01:11,200 only gets you know, not only can money not buy 27 00:01:11,200 --> 00:01:14,079 you love, but sometimes it can't buy you enough to 28 00:01:14,200 --> 00:01:17,480 live on, you know, and and and this is a 29 00:01:17,519 --> 00:01:21,120 problem in many places. You know, in the United States, 30 00:01:21,120 --> 00:01:22,920 of course, you know, we deal with inflation and things 31 00:01:22,959 --> 00:01:25,480 like that, and and where you are in the UK, 32 00:01:26,280 --> 00:01:28,879 obviously you experienced these things as well, and I'd be 33 00:01:28,879 --> 00:01:31,159 curious to know more. There's kind of the story behind 34 00:01:31,159 --> 00:01:32,519 the song money Can't Buy Me Love. 35 00:01:33,959 --> 00:01:37,079 Speaker 3: It's just from from my personal experience, but I think 36 00:01:37,159 --> 00:01:39,879 a lot of other people experience it as well. No 37 00:01:39,959 --> 00:01:43,200 matter how hard you work, there's going to be so 38 00:01:43,319 --> 00:01:47,040 many outgoings that you feel like you're left with nothing. Right, 39 00:01:47,079 --> 00:01:52,079 And the origin the story comes from when it was 40 00:01:52,120 --> 00:01:54,599 in my early band days. I got my first royalty 41 00:01:54,680 --> 00:01:58,480 check through the post and as we're opening up the envelope, 42 00:01:59,200 --> 00:02:02,599 it was a check for hundred and twenty pounds and 43 00:02:02,640 --> 00:02:04,319 I looked out the window and there was a total 44 00:02:04,319 --> 00:02:06,840 truck going past. And then I remember that I left 45 00:02:06,840 --> 00:02:10,439 my car on a yellow line and because it was 46 00:02:10,439 --> 00:02:14,639 broken down, okay, and it got towed away. Oh so 47 00:02:14,879 --> 00:02:17,159 go to the car pound to retrieve it. And the 48 00:02:17,199 --> 00:02:19,879 cost of retrieving it was one hundred and twenty pounds. 49 00:02:19,879 --> 00:02:23,719 So that check, that rualty just disappeared in a matter 50 00:02:23,719 --> 00:02:28,159 of hours. So it's those kinds of experiences where suddenly 51 00:02:28,199 --> 00:02:31,000 you've got money and then then somebody else takes it away. 52 00:02:33,120 --> 00:02:36,120 Speaker 1: You know what's interesting about that too is I think 53 00:02:36,560 --> 00:02:38,439 a lot of people I think this has changed over 54 00:02:38,479 --> 00:02:40,000 the years, but I know that there was a time, 55 00:02:40,000 --> 00:02:42,439 at least in America, and this is probably true other 56 00:02:42,479 --> 00:02:45,800 places as well, where people who don't know better will 57 00:02:45,840 --> 00:02:48,680 assume that if you're a musician and you're making money, 58 00:02:49,039 --> 00:02:50,680 you know that you're probably rich and you live in 59 00:02:50,719 --> 00:02:53,319 a mansion and you've got platinum records on the wall 60 00:02:53,400 --> 00:02:55,319 and all that kind of thing, And that's not how 61 00:02:55,360 --> 00:02:59,719 it works. If you're very, very successful and famous, you. 62 00:02:59,639 --> 00:03:00,919 Speaker 2: Know, that might be how it works. 63 00:03:00,960 --> 00:03:05,520 Speaker 1: But most musicians are working class people, certainly the people 64 00:03:05,520 --> 00:03:07,599 that we have on the show, and have the same 65 00:03:07,639 --> 00:03:10,439 struggles as everyone else, or if not even more so, 66 00:03:10,639 --> 00:03:13,479 because you know, being a full time musician certainly can 67 00:03:13,520 --> 00:03:19,240 be a very challenging financially economically, a very challenging lifestyle, 68 00:03:20,400 --> 00:03:22,759 you know, and in this era too, where we have 69 00:03:22,800 --> 00:03:25,879 streaming services like Spotify for example, who don't pay very much. 70 00:03:26,199 --> 00:03:28,879 You know, it can be very difficult. And your story 71 00:03:29,039 --> 00:03:31,520 is very illustrative of that. You know, you get that, 72 00:03:31,879 --> 00:03:35,199 you get that first royalty check and then it's gone. Immediately, 73 00:03:35,240 --> 00:03:38,360 it's gone because you had to go and retrieve your car. 74 00:03:38,560 --> 00:03:42,439 And are you surprised, like when you tell that story, 75 00:03:42,560 --> 00:03:45,080 do you find that people are surprised to hear that? 76 00:03:48,000 --> 00:03:50,520 Speaker 3: No, because I think the things happen to them, not 77 00:03:50,639 --> 00:03:53,960 that specific example, but sure both other things like if 78 00:03:54,039 --> 00:03:57,960 they're eating, boiler breaks down. You know, something major happens, 79 00:03:57,960 --> 00:04:00,560 it's very costly to get a trade men in to 80 00:04:00,639 --> 00:04:03,960 fix it, and you know, all your hard end money 81 00:04:04,039 --> 00:04:07,719 is going for something that you didn't expect to happen. 82 00:04:08,719 --> 00:04:11,360 You know, the surprises that life throws at you as 83 00:04:11,439 --> 00:04:16,560 sometimes they're very hard to take, especially when there's expensive. 84 00:04:19,480 --> 00:04:24,519 Absolutely back to the thing about being a musician, it 85 00:04:24,519 --> 00:04:27,480 can be very expensive because when people see on stage, 86 00:04:27,720 --> 00:04:32,839 they think that's it. You're performing. It's great. Right behind 87 00:04:32,879 --> 00:04:37,439 the scenes of the cost of rehearsals, the cost of equipment, 88 00:04:37,639 --> 00:04:45,360 having to replace that, pressing records, all that kind of thing. 89 00:04:47,079 --> 00:04:49,839 Speaker 1: Yeah, people have no idea what goes into it and 90 00:04:49,879 --> 00:04:52,079 how expensive it is. And you know, I know that 91 00:04:52,120 --> 00:04:56,040 in America, and I'm old enough to remember growing up 92 00:04:56,079 --> 00:05:00,680 and watching you know, MTV and seeing videos of bands 93 00:05:00,680 --> 00:05:05,000 and they're they look like they're living this lush, lavish 94 00:05:05,079 --> 00:05:08,480 lifestyle and they're they're all living in a mansion and 95 00:05:08,480 --> 00:05:12,480 and you know, hanging out with Playboy playmates and you know, 96 00:05:12,519 --> 00:05:15,800 all this stuff and driving these very expensive sports cars. 97 00:05:15,879 --> 00:05:18,480 And then over time that sort of shifted where it 98 00:05:18,560 --> 00:05:21,000 wasn't so much rock bands because it's sort of in 99 00:05:21,000 --> 00:05:24,399 the nineties, it became uncool all of a sudden to 100 00:05:24,480 --> 00:05:26,959 be projecting that that image, and then it that that 101 00:05:27,040 --> 00:05:29,560 kind of all shifted over to hip hop. But it's 102 00:05:29,600 --> 00:05:34,360 always fascinating to me how how different the reality is, 103 00:05:35,079 --> 00:05:38,000 or how different the perception is, and how distorted it 104 00:05:38,079 --> 00:05:43,199 is in contrast with the actual reality and the economics 105 00:05:43,240 --> 00:05:46,000 of the music business. I'm curious too. You mentioned so 106 00:05:46,279 --> 00:05:48,839 you used to how long have you been a solo artist? 107 00:05:48,879 --> 00:05:50,839 Because you mentioned you used to be in bands, I 108 00:05:50,879 --> 00:05:52,560 know that you're a veteran of the UK scene. You've 109 00:05:52,600 --> 00:05:54,560 been around a while, What's what's kind of been been 110 00:05:54,600 --> 00:05:56,360 your experiences? You used to be in bands and now 111 00:05:56,360 --> 00:05:58,120 you're strictly a solo artist. 112 00:06:00,079 --> 00:06:02,000 Speaker 3: Yeah, I'm strictly a solo artist now. I think I 113 00:06:02,040 --> 00:06:04,959 started that around sort of twenty seventeen when I first 114 00:06:05,000 --> 00:06:09,199 started writing my own songs, and by twenty nineteen I'd 115 00:06:10,160 --> 00:06:14,600 released my first album, Northern Soul, which happened fairly quickly 116 00:06:14,680 --> 00:06:17,839 because what I did was that instead of going into 117 00:06:17,920 --> 00:06:22,160 the studio and recording twelve songs in one go, I 118 00:06:22,199 --> 00:06:24,160 did it in three stages. I did like four songs 119 00:06:24,199 --> 00:06:27,600 at a time, and I started around a few friends 120 00:06:27,639 --> 00:06:30,639 like drummers, bass players, keyboard players if they just wanted 121 00:06:30,680 --> 00:06:33,480 to come in and help out, And surprisingly they did 122 00:06:34,279 --> 00:06:37,120 and I didn't have to pay them either, which was 123 00:06:37,160 --> 00:06:38,040 great sweet. 124 00:06:38,959 --> 00:06:39,920 Speaker 2: But on the. 125 00:06:39,959 --> 00:06:43,480 Speaker 3: Album there's so many different people helping me out and 126 00:06:43,519 --> 00:06:45,560 I thought that was really really kind of them to 127 00:06:45,639 --> 00:06:52,040 do that. Jack Hater from Hefner was on steel guitar. 128 00:06:53,199 --> 00:06:56,240 The drummer from the Bitter Springs helped out in drums. 129 00:06:56,399 --> 00:06:59,959 There was another two other drummers that helped out as well, 130 00:07:00,079 --> 00:07:02,920 a couple of backing singers. 131 00:07:03,040 --> 00:07:03,120 Speaker 1: A. 132 00:07:05,319 --> 00:07:08,279 Speaker 3: Trumpet player. So there's quite a long list of musicians 133 00:07:08,279 --> 00:07:11,120 that were willing to help me out, which that was great. 134 00:07:11,680 --> 00:07:12,079 Speaker 2: That is. 135 00:07:12,199 --> 00:07:15,480 Speaker 1: Yeah, So in the grand scheme of things, is that 136 00:07:16,439 --> 00:07:20,240 is that more challenging in a sense when you're recording 137 00:07:20,240 --> 00:07:21,399 a solo album. 138 00:07:21,519 --> 00:07:24,360 Speaker 2: Or whatever it is that you're doing solo When you're. 139 00:07:24,240 --> 00:07:26,639 Speaker 1: Recording, does that become more challenging because you have to 140 00:07:26,639 --> 00:07:30,560 find the right musicians to fit what you're doing, versus 141 00:07:30,639 --> 00:07:33,240 just being in a band where it's static, you know, 142 00:07:33,279 --> 00:07:36,120 you've got the same people on each song, or maybe 143 00:07:36,120 --> 00:07:39,120 it's not. Maybe it's liberating, you know, because you're in 144 00:07:39,160 --> 00:07:41,639 total control and you get to choose. You know, you 145 00:07:41,680 --> 00:07:45,600 can accept or reject the contributions of whomever may be 146 00:07:45,720 --> 00:07:47,959 coming to play on your on your music. I don't know, Like, 147 00:07:48,160 --> 00:07:50,720 how's that experience been, going from playing in bands to 148 00:07:50,800 --> 00:07:52,639 being a solo artist in terms of that. 149 00:07:53,600 --> 00:07:56,120 Speaker 3: Well, we're playing in a band. It was a set thing. 150 00:07:56,319 --> 00:08:01,360 Each person did their own instrument. Yeah, Like somebody else 151 00:08:01,399 --> 00:08:06,480 asked me this question about when you were in a band, 152 00:08:06,680 --> 00:08:09,480 what was the songwriting? Like, Well, with that, all I 153 00:08:09,519 --> 00:08:12,879 did was my young guitar parts, the parts by the 154 00:08:12,920 --> 00:08:15,120 bass player and the singer and the drummer. They did 155 00:08:15,279 --> 00:08:18,639 all their own things, so I didn't, you know, interfere 156 00:08:18,680 --> 00:08:22,600 with that. But being a solo artist, I've played bass, harmonica, 157 00:08:23,720 --> 00:08:27,319 I programmed drums, so it's you know, I now responsible 158 00:08:27,360 --> 00:08:30,800 for everything. So although it does take a little bit longer, 159 00:08:31,519 --> 00:08:33,279 I've got more control over it. 160 00:08:33,879 --> 00:08:37,360 Speaker 1: Right, Is that what precipitated you becoming a solo artist? 161 00:08:37,360 --> 00:08:38,360 Did you want more control? 162 00:08:41,159 --> 00:08:43,720 Speaker 3: Not so much. When I first started off, I did 163 00:08:43,759 --> 00:08:46,600 have a bass player and drummer with me, but then 164 00:08:47,440 --> 00:08:50,519 I just got fed up of it. Was it became 165 00:08:50,559 --> 00:08:53,399 like a revolving door syndrome where somebody did leave and 166 00:08:53,399 --> 00:08:55,840 then you have to get somebody else, and then somebody 167 00:08:56,240 --> 00:08:58,159 leave and then you have to get somebody else. It 168 00:08:58,240 --> 00:09:01,279 was it got bit to moralized, and so I just 169 00:09:01,279 --> 00:09:05,159 thought I'll do this on my own at least. You know, 170 00:09:05,799 --> 00:09:08,360 I was going to say, I can't split up, but 171 00:09:08,399 --> 00:09:09,879 I have done that a couple of times. I've had 172 00:09:09,879 --> 00:09:12,279 a break for a couple of months, and then I'm sort, well, 173 00:09:12,279 --> 00:09:13,399 I've got to get back to it. 174 00:09:13,600 --> 00:09:19,360 Speaker 1: Right When you take a break, like, what causes that? 175 00:09:19,440 --> 00:09:20,879 Do you just need to get away from it for 176 00:09:20,919 --> 00:09:21,360 a while? 177 00:09:21,759 --> 00:09:23,759 Speaker 2: Or or is it. 178 00:09:24,120 --> 00:09:26,360 Speaker 1: I mean, is there something that sort of necessitates that 179 00:09:26,440 --> 00:09:27,320 taking a break from it. 180 00:09:29,279 --> 00:09:32,200 Speaker 3: I think it's healthy to take a break because weren't 181 00:09:32,200 --> 00:09:35,879 going to do this as a solo artist, and I 182 00:09:36,000 --> 00:09:38,480 tend to live it twenty four hours a day, so 183 00:09:38,639 --> 00:09:40,960 just get a bit tiring. You know, you're always thinking 184 00:09:41,000 --> 00:09:44,960 of lines for songs at eleven o'clock at night, you're 185 00:09:44,960 --> 00:09:51,600 relaxing or concentrating on other things, and you know, it's 186 00:09:51,600 --> 00:09:54,120 good to have a break, recharge your batteries and come back. 187 00:09:54,799 --> 00:09:57,440 It's like with the songwriting, I'll write a couple of 188 00:09:57,480 --> 00:10:01,080 songs and then I can't do anything for a couple 189 00:10:01,080 --> 00:10:08,879 of months. Yeah, it looks like absolutely, yeah, I'm gonna 190 00:10:08,879 --> 00:10:10,840 break is good because it rechards your batteries and then 191 00:10:10,879 --> 00:10:13,639 you can get new material a little bit quicker. Like 192 00:10:13,679 --> 00:10:15,320 I've got a new song on the go at the moment, 193 00:10:15,360 --> 00:10:17,919 which is going quite well, and I haven't done anything 194 00:10:17,919 --> 00:10:21,759 for weeks. Yeah, so it's you know, it's always good 195 00:10:21,759 --> 00:10:23,440 to have a break, oh. 196 00:10:23,399 --> 00:10:25,759 Speaker 1: Yeah, yeah, and then you can kind of reapproach it 197 00:10:26,080 --> 00:10:31,559 with a fresh perspective. I'm curious too about your live performances, 198 00:10:31,639 --> 00:10:34,879 because again, especially someone being someone who used to be 199 00:10:34,960 --> 00:10:37,080 in bands, And you know, I've played in a lot 200 00:10:37,080 --> 00:10:38,600 of bands. I've never done a solo thing, but I've 201 00:10:38,600 --> 00:10:40,000 played in a lot of bands, and I know that 202 00:10:40,240 --> 00:10:42,039 when you're on stage with a bunch of people, there's 203 00:10:42,039 --> 00:10:44,519 almost a kind of a safety and numbers thing. You know, 204 00:10:44,559 --> 00:10:46,919 you're all in it together. And I've I've never I've 205 00:10:46,919 --> 00:10:49,360 always been curious because I've never experienced kind of that 206 00:10:49,519 --> 00:10:52,360 rawness of being at least that's how I perceive it, 207 00:10:52,360 --> 00:10:54,759 of being a solo artist. I've never experienced that. But 208 00:10:54,840 --> 00:10:58,960 I'm curious what it's like for you in that regard. 209 00:10:59,240 --> 00:11:03,399 Did you feel more vulnerable on stage making that transition, 210 00:11:03,759 --> 00:11:06,279 even though you might have other musicians on stage with you, 211 00:11:06,360 --> 00:11:10,120 it's still you know, you then become really the totally 212 00:11:10,159 --> 00:11:12,840 the focus, And and what was that like for you? 213 00:11:14,399 --> 00:11:16,399 Speaker 3: I did at first, because when I started solo, it 214 00:11:16,440 --> 00:11:20,519 was just me with a guitar acoustically, like a lot 215 00:11:20,559 --> 00:11:23,360 of other people do. But then when I added the 216 00:11:23,399 --> 00:11:26,000 drum machine and the harmonica, things got a little bit 217 00:11:26,039 --> 00:11:30,639 louder and there was more of it. So I sort 218 00:11:30,679 --> 00:11:32,840 of got lost in that and was able to focus 219 00:11:32,960 --> 00:11:36,759 more on doing all of that thing and having a 220 00:11:36,320 --> 00:11:40,600 louder sound. Sort of that set me apart from other 221 00:11:40,840 --> 00:11:45,600 acoustic musicians like I seem to have this problem at 222 00:11:45,600 --> 00:11:47,879 the moment where you get a lot of open mics 223 00:11:47,879 --> 00:11:51,480 where there's people with an acoustic instruments and a voice, 224 00:11:51,519 --> 00:11:55,240 but when I do them, I'm far too loud. So 225 00:11:55,440 --> 00:11:57,759 I don't think they like that kind of thing. But 226 00:11:58,240 --> 00:12:00,679 they won't have me on my bands because I'm not 227 00:12:00,720 --> 00:12:03,559 a band, but I'm as loud as a band. 228 00:12:04,159 --> 00:12:06,159 Speaker 1: Oh that's interesting. So it sort of puts you in 229 00:12:06,159 --> 00:12:09,600 this weird position, right because you're you're you're you're you're, 230 00:12:09,639 --> 00:12:11,519 you're as loud as the bands, but they won't put 231 00:12:11,559 --> 00:12:13,919 you with the band because you're a solo artist. But 232 00:12:14,440 --> 00:12:16,960 you're too loud for the You know, you're too loud 233 00:12:16,960 --> 00:12:18,399 for someone who's just up there with a guitar and 234 00:12:18,879 --> 00:12:20,600 just sing it at the end. That's really interesting. 235 00:12:22,120 --> 00:12:22,320 Speaker 2: Yeah. 236 00:12:22,639 --> 00:12:25,639 Speaker 3: I did a gig in East London a while back 237 00:12:25,679 --> 00:12:29,159 and I was supporting this other band who were quite loud. 238 00:12:29,879 --> 00:12:32,000 I went went on and opened up for the gig 239 00:12:32,080 --> 00:12:35,759 and everyone really enjoyed it, and this this guy came 240 00:12:35,840 --> 00:12:38,039 up to me, came up at the end and shook 241 00:12:38,080 --> 00:12:39,919 me by the hand and said you were great this 242 00:12:40,120 --> 00:12:42,639 that was fantastic, and I was thinking, wow, what we've done. 243 00:12:43,600 --> 00:12:48,559 And you know, another thing like that happened at a festival. 244 00:12:48,679 --> 00:12:51,879 Some guy been there all day. I came on and played, 245 00:12:51,919 --> 00:12:54,879 and at the end he just came on, came on stage, 246 00:12:54,879 --> 00:12:57,200 and at the end he said, wow, have you fantastic. 247 00:12:57,240 --> 00:12:59,440 I've been here all day and all these other bands 248 00:12:59,440 --> 00:13:04,279 haven't been so great, and you've been fantastic. So you know, 249 00:13:04,320 --> 00:13:05,600 it's a bit refreshing for people. 250 00:13:05,639 --> 00:13:09,480 Speaker 1: I think, Yeah, And to have that validation too, you know, 251 00:13:09,600 --> 00:13:13,799 that's so obviously you're you're onto something that was that 252 00:13:13,879 --> 00:13:17,559 challenging at all, you know, introducing drum programming into your 253 00:13:17,600 --> 00:13:20,840 live set, a drum machine. I mean, that must have 254 00:13:20,840 --> 00:13:23,320 taken some getting used to, right or maybe not. Maybe 255 00:13:23,320 --> 00:13:25,720 it seemed natural from the beginning. I don't know, but again, 256 00:13:25,720 --> 00:13:28,519 that's something I've never experienced, so almost I asked this 257 00:13:28,600 --> 00:13:31,639 question almost selfishly because I'm just very very curious about that, 258 00:13:31,879 --> 00:13:34,039 if that was a natural transition for you or did 259 00:13:34,039 --> 00:13:37,559 you have to kind of work at it? 260 00:13:37,679 --> 00:13:40,960 Speaker 3: Not really, because I been in other bands where we've 261 00:13:41,799 --> 00:13:45,559 had a drum machine movement, like a semi electronic band. 262 00:13:45,879 --> 00:13:48,799 Oh that was the mid nineties. We were called Cloud 263 00:13:48,840 --> 00:13:53,639 Bass and I used to have like an older Tallery 264 00:13:53,879 --> 00:13:58,480 computer with MIDI files and a drum machine and we 265 00:13:58,559 --> 00:14:01,679 had that. We just had guitar bay some vocals and 266 00:14:01,759 --> 00:14:06,879 it was which call. It was quite quite regimented. So 267 00:14:06,960 --> 00:14:08,799 you really have to fit in with the time in 268 00:14:08,919 --> 00:14:11,840 is when you've got a live drummer and everybody's live. 269 00:14:12,639 --> 00:14:14,759 You know, you can be a bit more loose with this, 270 00:14:15,399 --> 00:14:19,039 really good at being your toes because all that the 271 00:14:19,120 --> 00:14:24,039 drum programs and the MIDI files don't wait right, You're 272 00:14:24,080 --> 00:14:26,799 going to be really good with your time in. So 273 00:14:27,960 --> 00:14:30,480 used to do that, but when it reintroduced the drum machine, 274 00:14:30,519 --> 00:14:34,039 I knew how to a new what to expect right, 275 00:14:34,120 --> 00:14:36,480 you know, to be good with the timing of playing. 276 00:14:38,600 --> 00:14:41,519 Speaker 1: Now with your album, so Northern Soul, which that was 277 00:14:41,519 --> 00:14:44,559 twenty nineteen, correct, Was that that your first album as 278 00:14:44,600 --> 00:14:48,799 a solo artist technically? 279 00:14:49,639 --> 00:14:54,919 Speaker 3: Oh, I don't know if you know my history, but 280 00:14:55,080 --> 00:14:58,399 I think it was twenty twelve. Oh, I had this 281 00:14:58,480 --> 00:15:03,879 crazy idea. I was really really into just acoustic guitar instrumentals, 282 00:15:04,799 --> 00:15:07,799 and I thought, I know, I'll just record it a 283 00:15:07,840 --> 00:15:10,480 couple of Beatles instrumentals and see how these sounds. And 284 00:15:10,639 --> 00:15:12,279 I was playing them in the car and the CD 285 00:15:12,360 --> 00:15:14,519 playing I thought, well, this is good driving music. This 286 00:15:14,639 --> 00:15:18,159 is maybe it's maybe it's a good idea to do 287 00:15:18,200 --> 00:15:22,200 it as an album, because I went into a studio 288 00:15:22,200 --> 00:15:25,440 and recorded I think it was fourteen Beatles songs and 289 00:15:26,840 --> 00:15:29,399 I released them put them out in c D, and 290 00:15:29,440 --> 00:15:33,799 it was an album called Well my Acoustic Guitar gently weeps. 291 00:15:34,600 --> 00:15:38,759 Speaker 1: I love it and it's instrumental. 292 00:15:39,639 --> 00:15:43,519 Speaker 3: It is it's it's fourteen Beatles Instrumentals and released that 293 00:15:43,600 --> 00:15:46,960 on CD and it did okay. It's sold in lots 294 00:15:47,000 --> 00:15:50,279 of countries and it seemed to do okay. 295 00:15:51,559 --> 00:15:56,480 Speaker 1: I'm curious as a music industry guy, was it challenging 296 00:15:56,559 --> 00:15:57,000 at all? 297 00:15:57,600 --> 00:15:58,679 Speaker 2: I assume did you have a. 298 00:15:58,720 --> 00:16:00,799 Speaker 1: Label or a distributor that you worked with, because I'm 299 00:16:00,799 --> 00:16:03,960 curious about you know, if you're covering Beatle songs, that's 300 00:16:04,039 --> 00:16:10,000 not always necessarily easy to get all your ducks in 301 00:16:10,039 --> 00:16:12,159 a row, at least certainly not in the United States. 302 00:16:13,039 --> 00:16:16,320 To really make sure you've got everything nailed down legally 303 00:16:16,840 --> 00:16:19,480 so that you can do that without running in any trouble. 304 00:16:20,120 --> 00:16:21,879 Speaker 2: I'm curious about that part of it. 305 00:16:23,000 --> 00:16:25,759 Speaker 3: Okay, I did that. What you have to do is 306 00:16:25,799 --> 00:16:27,919 you have to apply for a license from I think 307 00:16:27,919 --> 00:16:34,919 it's the MCPS Mechanical Copyright Section Society or something, and okay, 308 00:16:35,559 --> 00:16:38,919 you send them a list of songs and they'll send 309 00:16:38,960 --> 00:16:41,039 you a bill for some like four hundred pounds. You 310 00:16:41,120 --> 00:16:43,159 pay the bill and then they send you a license 311 00:16:43,200 --> 00:16:47,279 and that allows you to press things physically in like 312 00:16:47,320 --> 00:16:51,679 a CD factory. Without that license, you can't go ahead. 313 00:16:52,559 --> 00:16:54,960 So once you paid for the license, you can get 314 00:16:54,960 --> 00:16:56,639 them pressed and then they get delivered and then you 315 00:16:56,679 --> 00:16:58,679 can send them off. And I did that again on 316 00:16:58,679 --> 00:17:02,960 my own label. Oh so they do things like bang camp. 317 00:17:04,079 --> 00:17:07,839 Speaker 1: Okay, Oh that sounds relatively Uh, that's that's more straightforward 318 00:17:07,880 --> 00:17:12,480 than I would have expected. That's that's well, that's great, okay, 319 00:17:12,720 --> 00:17:13,240 all right. 320 00:17:13,160 --> 00:17:15,759 Speaker 3: Yeah, I didn't have to ask any permission. I think 321 00:17:15,759 --> 00:17:20,039 you just just have to buy the license and that's 322 00:17:20,039 --> 00:17:23,920 the only legal requirement. That'll be limited limited to the 323 00:17:24,000 --> 00:17:26,200 number number that you can press as well. 324 00:17:26,359 --> 00:17:30,079 Speaker 1: Oh they do okay, okay, yeah, no, that's still though. 325 00:17:30,119 --> 00:17:32,319 That's much simpler in streamline than I would have expected. 326 00:17:32,359 --> 00:17:34,880 That's that's fantastic. How was the response to it when 327 00:17:34,880 --> 00:17:36,599 you released it. 328 00:17:36,599 --> 00:17:39,079 Speaker 3: It was good to got good reviews and it sold 329 00:17:39,759 --> 00:17:43,920 I think I remember it was USA, Canada, UK, and Japan. 330 00:17:44,119 --> 00:17:45,440 It seems to sell quite well. 331 00:17:45,799 --> 00:17:47,920 Speaker 2: Outstanding. Oh, very good, very good. 332 00:17:48,279 --> 00:17:50,880 Speaker 3: And you know, just just from an initial tryout of 333 00:17:51,039 --> 00:17:52,039 listening to it in the car. 334 00:17:52,359 --> 00:17:56,880 Speaker 2: Yeah. Yeah, and this was I'm sorry, there's. 335 00:17:56,880 --> 00:17:58,400 Speaker 3: A really starting about twenty twelve. 336 00:17:58,559 --> 00:18:00,720 Speaker 2: Twenty twelve, okay, that's what I was wondering. 337 00:18:00,799 --> 00:18:03,400 Speaker 3: Yeah, some copies available out there somewhere. 338 00:18:03,559 --> 00:18:05,640 Speaker 2: Oh wow, okay, it's. 339 00:18:05,279 --> 00:18:07,240 Speaker 3: Worth checking out if a beatles fine and you want 340 00:18:07,279 --> 00:18:08,759 to listen to something different. 341 00:18:09,279 --> 00:18:12,640 Speaker 2: Yeah, that's cool. Yeah, I'm curious. So then uh okay. 342 00:18:12,680 --> 00:18:16,000 Speaker 1: So then was Northern Saul the next thing that you 343 00:18:16,119 --> 00:18:19,119 released or was there something else between between? 344 00:18:21,279 --> 00:18:22,880 Speaker 3: I think it might have been the Bitter Springs in 345 00:18:22,920 --> 00:18:25,039 between that I got asked by the Bitter Springs to 346 00:18:25,440 --> 00:18:31,319 initially play bass for them. That was quite funny story 347 00:18:31,319 --> 00:18:35,160 because I got a call from the the lead singer, 348 00:18:35,160 --> 00:18:36,680 Simon Rivers. He found me up and said do you 349 00:18:36,680 --> 00:18:40,400 play bass? So I just said yes, and that afternoon 350 00:18:40,440 --> 00:18:45,240 I went out and bought a bass. I played it 351 00:18:45,359 --> 00:18:48,119 much before, so I got one and within a couple 352 00:18:48,119 --> 00:18:50,839 of weeks we were playing gigs in the Spain. 353 00:18:51,119 --> 00:18:53,720 Speaker 2: Oh I'll be damned, but you were already playing guitar. 354 00:18:53,559 --> 00:18:56,599 Speaker 3: Right, Yeah, so it wasn't wasn't too difficult to learn. 355 00:18:56,920 --> 00:18:58,440 Speaker 2: Yeah, I don't so. 356 00:18:58,559 --> 00:19:00,799 Speaker 1: I'm a bass player myself, and I know that my 357 00:19:00,880 --> 00:19:05,200 fellow bass players hate when I say this, but yeah, 358 00:19:05,200 --> 00:19:07,279 if you can play guitar, you can play the bass. 359 00:19:07,799 --> 00:19:12,759 I mean, it's just it's just a fact. It's just 360 00:19:12,799 --> 00:19:15,359 a fact. So no, So that's great, and you really 361 00:19:15,440 --> 00:19:18,599 kind of sees that opportunity. Now, when Northern Soul came out, 362 00:19:18,640 --> 00:19:21,000 you got a fair amount of radio support for that 363 00:19:21,039 --> 00:19:23,720 over there, didn't you. Yeah. 364 00:19:23,799 --> 00:19:28,000 Speaker 3: The the lead track off it, I think it was 365 00:19:28,000 --> 00:19:30,640 called I Get the Feeling got played on so many 366 00:19:30,759 --> 00:19:34,119 radio stations, got really good feedback from it because it, 367 00:19:35,119 --> 00:19:38,079 you know, it seems like quite a happy song musically. 368 00:19:38,680 --> 00:19:40,359 It sounds nice and bright on the radio. 369 00:19:40,680 --> 00:19:43,599 Speaker 2: Yeah, that's cool. 370 00:19:43,720 --> 00:19:45,559 Speaker 1: We might we might play that at the at the 371 00:19:45,640 --> 00:19:49,839 end of the segment, actually, because I think I think 372 00:19:49,880 --> 00:19:52,319 that would be appropriate. Oh yep, I found it. I 373 00:19:52,319 --> 00:19:55,839 found it online. Excellent, excellent. So then how is your 374 00:19:55,880 --> 00:19:58,319 approach change? Because I was twenty nineteen, so Obviously that 375 00:19:58,519 --> 00:20:03,440 was seven years ago as your approach changed in terms 376 00:20:03,440 --> 00:20:07,240 of how you were recording, writing and recording then versus 377 00:20:07,240 --> 00:20:09,559 how you're doing it now with like the new single 378 00:20:09,599 --> 00:20:11,759 money Can't Buy Me Love, for example. 379 00:20:14,319 --> 00:20:18,920 Speaker 3: No, that was just it was a similar approach to 380 00:20:19,480 --> 00:20:23,440 when I recorded Northern Soul and book a studio and 381 00:20:23,480 --> 00:20:26,400 then get some friends to come and help me on 382 00:20:26,640 --> 00:20:28,480 things like bass and guitar and I do all the 383 00:20:28,519 --> 00:20:33,240 other bits that that was the initial recording process. But 384 00:20:33,400 --> 00:20:37,200 now I've got my own home studio where I can 385 00:20:37,359 --> 00:20:42,640 record at home. So I've now got the problem of 386 00:20:43,319 --> 00:20:45,880 what I've recorded at home, I need to take that 387 00:20:45,920 --> 00:20:48,119 to a studio to mix it so we can get 388 00:20:48,440 --> 00:20:50,799 a better sound that can at home. But I'm just 389 00:20:50,880 --> 00:20:52,440 trying to get my head around how to do that 390 00:20:52,480 --> 00:20:56,960 because I'm not very good at this recording technology out 391 00:20:56,960 --> 00:20:57,799 there that can help me. 392 00:20:57,880 --> 00:21:01,920 Speaker 1: So sure, sure absolutely. We live in a time too 393 00:21:01,920 --> 00:21:03,599 where there's so many different ways to do it. There's 394 00:21:03,599 --> 00:21:08,160 so many different ways to record, and nah, yeah, I'm 395 00:21:08,200 --> 00:21:11,319 confident you'll you'll get it all figured out. Is money 396 00:21:11,319 --> 00:21:12,960 Can't Buy Me Love? Is that going to be on 397 00:21:13,079 --> 00:21:15,599 an upcoming EP or album or what's kind of the 398 00:21:15,960 --> 00:21:18,440 your forward trajectory there or is this just going to 399 00:21:18,480 --> 00:21:19,000 be a single. 400 00:21:20,200 --> 00:21:21,960 Speaker 3: It's it's just going to be a single. At the moment, 401 00:21:22,079 --> 00:21:23,799 what I'm going to do. What I'm going to do 402 00:21:24,039 --> 00:21:29,519 is just release singles. At the moment, I was gonna say, 403 00:21:29,519 --> 00:21:33,279 I'm not in the mood to release an album. Yeah, 404 00:21:33,319 --> 00:21:37,440 but I just want to write a good song, record it, 405 00:21:37,480 --> 00:21:41,039 and then release it. And then I was thinking about 406 00:21:41,079 --> 00:21:44,079 this the other day. Once I've done like twelve singles, 407 00:21:44,519 --> 00:21:46,759 I can release it and call it the greatest hit. 408 00:21:48,279 --> 00:21:49,799 Speaker 2: That's a good idea. 409 00:21:50,359 --> 00:21:52,559 Speaker 1: Well, you know, and a lot of artists who now 410 00:21:52,759 --> 00:21:55,000 they kind of do, you know, because when I was 411 00:21:55,039 --> 00:21:59,000 growing up, it was, you know, every everybody released albums, 412 00:21:59,119 --> 00:22:01,400 or you might see an artist occasionally release an EP, 413 00:22:01,599 --> 00:22:04,680 mostly albums, you know, and then you'd have singles from 414 00:22:04,680 --> 00:22:07,039 that album. Usually first single goes to radio six to 415 00:22:07,039 --> 00:22:09,640 eight weeks before the album, and then if the album 416 00:22:09,680 --> 00:22:11,720 comes out it goes well, then you get a second single, 417 00:22:11,759 --> 00:22:14,160 maybe a third. But now a lot of artists are 418 00:22:14,200 --> 00:22:17,079 doing just literally the inverse of that. They release a 419 00:22:17,119 --> 00:22:22,200 series of singles that eventually coalesce into an official album. 420 00:22:22,640 --> 00:22:25,079 And nothing wrong with that, you know, in terms of 421 00:22:25,119 --> 00:22:27,960 I mean, algorithmically, I think it works well with Spotify 422 00:22:28,000 --> 00:22:29,480 and some of these streaming services. 423 00:22:29,519 --> 00:22:31,240 Speaker 2: So yeah, not a bad approach. 424 00:22:33,000 --> 00:22:36,319 Speaker 3: I was thinking about, you know, the singles the albums 425 00:22:37,599 --> 00:22:42,839 thing because with like things that Instagram and Spotify, albums 426 00:22:42,839 --> 00:22:47,039 still valid. People's attention spans are quite short now. You know, 427 00:22:47,079 --> 00:22:49,839 it'll probably only stretch to about thirty seconds to a 428 00:22:49,880 --> 00:22:55,720 minute on Instagram or song on Spotify, So you know, 429 00:22:56,359 --> 00:22:59,119 an album doesn't see it seem valid to me at 430 00:22:59,119 --> 00:23:02,680 the moment, right, I'd rather just like go at the 431 00:23:02,680 --> 00:23:07,559 flow and release something, promote that, hope it sells, and 432 00:23:07,599 --> 00:23:08,839 then move on to the next thing. 433 00:23:09,480 --> 00:23:09,680 Speaker 2: Yep. 434 00:23:10,039 --> 00:23:13,920 Speaker 3: But it is good because I'm building up like a 435 00:23:13,960 --> 00:23:16,799 set list for live gigs as well, get it, you know, 436 00:23:16,880 --> 00:23:20,960 to get get it longer and longer, right, so when 437 00:23:20,960 --> 00:23:22,680 I play live, that would be my album. 438 00:23:23,039 --> 00:23:25,640 Speaker 2: Okay, there you go. 439 00:23:26,240 --> 00:23:26,920 Speaker 3: That makes sense. 440 00:23:27,359 --> 00:23:28,000 Speaker 2: That makes sense. 441 00:23:28,799 --> 00:23:34,720 Speaker 3: Just that Instagram thing and people's people's attention to things 442 00:23:35,720 --> 00:23:37,519 seems to be quite small at the moment. They're always 443 00:23:37,519 --> 00:23:40,559 sticking through their phone listening to something for ten seconds 444 00:23:40,599 --> 00:23:45,200 and then they look at something else, and. 445 00:23:44,759 --> 00:23:49,319 Speaker 1: Yeah, absolutely, absolutely, Well, Andrew, it's wonderful to have on. 446 00:23:49,920 --> 00:23:52,920 Like I said, we really like the song money Can't 447 00:23:52,920 --> 00:23:57,000 Buy Me Love, and we will certainly spend that again 448 00:23:57,039 --> 00:23:59,000 in the future. And you know the next single when 449 00:23:59,079 --> 00:24:00,960 whenever that is, I mean you know when you're your 450 00:24:01,000 --> 00:24:02,519 next single. Do you have an eta on when the 451 00:24:02,519 --> 00:24:04,640 next one might be out or I know you're focused 452 00:24:04,680 --> 00:24:06,400 on Money Can't Buy Me Love at the moment, So 453 00:24:06,440 --> 00:24:08,079 I don't know if you if you have any idea, 454 00:24:08,200 --> 00:24:09,920 because we'd love to play the next one too when 455 00:24:09,960 --> 00:24:12,400 it's ready, But I don't know if you if you 456 00:24:12,440 --> 00:24:14,279 have kind of an idea of when that might be. 457 00:24:16,839 --> 00:24:20,200 Speaker 3: There will be something out. The Money Can't Buy Me 458 00:24:20,240 --> 00:24:23,359 Love singles done quite well, so that spared me on, 459 00:24:23,400 --> 00:24:25,799 So think about releasing something else. And I've got another 460 00:24:25,839 --> 00:24:30,599 song called Time Waster, which is ready to go, and 461 00:24:30,640 --> 00:24:33,960 I'm just thinking of a time, maybe July or September 462 00:24:34,119 --> 00:24:38,039 to release that, Okay, And it's a similar sort of 463 00:24:38,119 --> 00:24:43,599 format harmonica guitar, drum machine with a strong harmonica hook. 464 00:24:44,440 --> 00:24:49,759 But this song is about it's good, it's about fellow musicians. 465 00:24:50,880 --> 00:24:54,519 Although the musicians who came into the studio were great, 466 00:24:54,839 --> 00:25:01,160 the other musicians you said that you played bass, you 467 00:25:01,240 --> 00:25:02,880 must have been in bands before, and you know, have 468 00:25:03,000 --> 00:25:12,039 musicians act uh, headline slots of festivals, build a build 469 00:25:12,079 --> 00:25:15,599 building up, and there might before musicians just ring me 470 00:25:15,680 --> 00:25:17,640 up and say, oh I can't do the gig tomorrow. 471 00:25:19,240 --> 00:25:22,039 So that that really got me. I just thought, why 472 00:25:22,039 --> 00:25:25,000 are they like this? So I just thought they're old 473 00:25:25,039 --> 00:25:28,799 time wasters. So time Wasted is a song about musicians 474 00:25:28,839 --> 00:25:30,160 wasting your time. 475 00:25:30,920 --> 00:25:33,400 Speaker 2: Oh that is that is perfect. 476 00:25:33,400 --> 00:25:38,400 Speaker 1: And yeah, anyone who's ever anyone who's ever been a musician, 477 00:25:38,519 --> 00:25:47,200 and and you know we all know the pain of that. 478 00:25:44,400 --> 00:25:44,920 Speaker 3: In a band. 479 00:25:45,240 --> 00:25:49,960 Speaker 1: Yeah, yeah, absolutely absolutely, Andrew. So before we let you go, 480 00:25:50,200 --> 00:25:51,960 where's the best place for people to go to keep 481 00:25:52,039 --> 00:25:53,000 up with everything that you're doing? 482 00:25:53,000 --> 00:25:54,200 Speaker 2: Where should they go? Online? 483 00:25:55,039 --> 00:25:59,119 Speaker 3: It's my main website, which was andrewdv dot com. You'll 484 00:25:59,160 --> 00:26:00,359 find everything you need to know. 485 00:26:00,400 --> 00:26:04,079 Speaker 2: That outstanding outstanding. No, that's easy, that's easy. 486 00:26:04,839 --> 00:26:07,319 Speaker 1: So in a moment, we're gonna play, I'm gonna play. 487 00:26:07,720 --> 00:26:09,519 I get the feeling. I'm really curious to hear that 488 00:26:09,599 --> 00:26:12,000 and to share that with our listeners. But it's been 489 00:26:12,039 --> 00:26:14,000 wonderful to talk with you today and we'll definitely do 490 00:26:14,039 --> 00:26:15,640 this in the future. It sounds like you've got a 491 00:26:15,640 --> 00:26:18,079 lot of a lot of new music coming up in 492 00:26:18,119 --> 00:26:20,720 your future, so we'll absolutely have you back when the 493 00:26:20,759 --> 00:26:23,839 next single is ready, and we will keep in touch. 494 00:26:23,880 --> 00:26:25,440 But I really want to thank you for being with 495 00:26:25,519 --> 00:26:26,000 us today. 496 00:26:26,720 --> 00:26:28,200 Speaker 3: Thanks very much. It's being a pleasure. 497 00:26:28,480 --> 00:26:28,839 Speaker 2: All right. 498 00:26:28,880 --> 00:26:30,480 Speaker 1: We will do it again in the future, my friend. 499 00:26:30,599 --> 00:26:32,440 I'm going to hit this track and we'll let you 500 00:26:32,480 --> 00:26:33,400 go for now, but we'll. 501 00:26:33,200 --> 00:26:33,839 Speaker 2: Talk to you soon. 502 00:26:34,640 --> 00:26:35,799 Speaker 3: Okay, thanks very much. 503 00:26:35,920 --> 00:26:36,400 Speaker 2: You got it. 504 00:26:36,440 --> 00:26:38,599 Speaker 3: Bye bye, hey, bye bye. 505 00:26:39,119 --> 00:26:39,480 Speaker 2: All right. 506 00:26:39,519 --> 00:26:42,359 Speaker 1: That is the great Andrew Devi and he's got the 507 00:26:42,400 --> 00:26:45,359 new single money Can't Buy Me Love. But right now 508 00:26:45,400 --> 00:26:47,359 we're gonna play This is a previous track that he 509 00:26:47,440 --> 00:26:50,000 mentioned he's had a lot of success with This came 510 00:26:50,039 --> 00:26:53,119 out on Northern Soul back in twenty nineteen, and let's 511 00:26:53,119 --> 00:26:53,799 give this a listen. 512 00:26:53,839 --> 00:26:55,160 Speaker 2: This is called I Get the Feeling.