1 00:00:01,000 --> 00:00:03,560 Speaker 1: Oh my god, what a voice. What a great song too. 2 00:00:03,600 --> 00:00:06,000 That is Skyscraper. That is Daniel Shamrock all the way 3 00:00:06,000 --> 00:00:08,359 from the UK, and I believe we have him on Skype. 4 00:00:08,480 --> 00:00:09,359 Speaker 2: Daniel, is that you? 5 00:00:10,560 --> 00:00:11,759 Speaker 3: I'm here? Yeah, can you hear me? 6 00:00:11,800 --> 00:00:12,119 Speaker 4: Okay? 7 00:00:12,279 --> 00:00:15,359 Speaker 1: Absolutely, absolutely, Welcome to the program. I love that song. 8 00:00:15,640 --> 00:00:17,359 Speaker 3: Oh cheers, Matt, thanks for having me. 9 00:00:17,600 --> 00:00:20,879 Speaker 2: Absolutely absolutely. By the way, where in the UK are you? Exactly? 10 00:00:21,760 --> 00:00:25,640 Speaker 4: So, I'm down in the southwest of England in the UK, 11 00:00:25,800 --> 00:00:28,120 which is well, I'm actually in a place called Plymouth 12 00:00:28,160 --> 00:00:30,079 at the moment, which is I think you've got a 13 00:00:30,079 --> 00:00:31,559 place called Plymouth where you are? 14 00:00:32,079 --> 00:00:34,520 Speaker 1: We we do, we have we have all kinds of uh, 15 00:00:35,200 --> 00:00:37,240 especially in this part of the country. Of course, we 16 00:00:37,280 --> 00:00:40,759 have all kinds of cities with duplicate names. I'm in Manchester, 17 00:00:40,880 --> 00:00:41,679 for example, and of. 18 00:00:41,600 --> 00:00:45,159 Speaker 4: Course exactly I was. I was on Google Maps having 19 00:00:45,240 --> 00:00:47,560 like earlier. It's like it's mad there's like Portsmouth, which 20 00:00:47,600 --> 00:00:51,560 we've got Portsmouth, yea, Manchester, yeah, Plymouth, Yeah, you know 21 00:00:52,079 --> 00:00:54,200 New England obviously, yeah. 22 00:00:54,200 --> 00:00:58,079 Speaker 2: Absolutely absolutely. Uh well, so welcome to the show. Tell 23 00:00:58,119 --> 00:00:59,880 me about the Tell me about these. 24 00:00:59,759 --> 00:01:04,159 Speaker 1: Home demo songs, because my understanding is from what I read. 25 00:01:04,239 --> 00:01:06,439 So these are these have all been recorded before, but 26 00:01:06,480 --> 00:01:08,480 these are new versions of them, kind of stripped down 27 00:01:08,519 --> 00:01:09,120 and acoustic. 28 00:01:10,120 --> 00:01:12,319 Speaker 4: These are no these are just literally just home home 29 00:01:12,400 --> 00:01:16,439 demos oh okay, bedroom recordings. So so that that that 30 00:01:16,560 --> 00:01:19,159 song there, Skyscraper, I recorded that with a friend of 31 00:01:19,200 --> 00:01:21,439 mine just in his bedroom. 32 00:01:21,159 --> 00:01:23,120 Speaker 3: Set up a few years ago, oh. 33 00:01:23,000 --> 00:01:26,120 Speaker 4: Okay, and I forgot all about it and he found 34 00:01:26,159 --> 00:01:28,400 it on his laptop one night when we were drunk. 35 00:01:28,640 --> 00:01:30,359 He was like, oh, I found this song. I was like, 36 00:01:30,439 --> 00:01:32,640 this actually sounds pretty cool. So I sent it to 37 00:01:32,680 --> 00:01:34,439 my label and they were like, they were like, they 38 00:01:34,439 --> 00:01:36,120 loved it, and they just wanted to put it straight out. 39 00:01:36,200 --> 00:01:38,159 So we've we've been putting out as like a series 40 00:01:38,239 --> 00:01:42,640 of just demo recordings. Oh but earlier this year, I 41 00:01:42,680 --> 00:01:47,920 recorded a record with Grammy winning producer Cooled Guy Massey, 42 00:01:48,079 --> 00:01:50,799 which was a which is a really good experience. He's 43 00:01:50,920 --> 00:01:53,280 recorded like he was at Abbey Road for ten years. 44 00:01:53,359 --> 00:01:56,560 He's worked with like on Beatles records, and he worked 45 00:01:56,560 --> 00:02:00,120 with Oasis and some really big you know, some big artists. 46 00:02:00,480 --> 00:02:02,239 Speaker 3: Yeah, so that was that was amazing. 47 00:02:03,400 --> 00:02:05,439 Speaker 4: But yeah, we've just been kind of going with the 48 00:02:05,519 --> 00:02:09,080 kind of homemade home demos the last few releases, and 49 00:02:09,319 --> 00:02:11,039 it seems to be going down really well. People really 50 00:02:11,120 --> 00:02:11,319 like it. 51 00:02:11,360 --> 00:02:13,120 Speaker 2: I think now they sound incredible. 52 00:02:13,360 --> 00:02:16,800 Speaker 1: I'm actually kind of stunned when you say that you 53 00:02:16,879 --> 00:02:19,000 had recorded that song and then you kind of forgot 54 00:02:19,000 --> 00:02:20,520 about it, because it's so good. 55 00:02:20,639 --> 00:02:23,400 Speaker 2: It's like, how do you forget about it? But that's amazing. 56 00:02:24,159 --> 00:02:26,080 Speaker 4: Yeah, I write, I write lots of songs, so I 57 00:02:26,159 --> 00:02:28,960 just kind of, yeah, I've kind of always written lots 58 00:02:29,000 --> 00:02:30,960 of songs and then yeah, I've just kind of forgotten 59 00:02:30,960 --> 00:02:33,120 about those ones. But yeah, I'd send it to Scott, 60 00:02:33,159 --> 00:02:34,599 who I worked with at the label, and he was like, 61 00:02:34,599 --> 00:02:35,960 we got to put this out. This is great. 62 00:02:36,159 --> 00:02:36,479 Speaker 2: Yeah. 63 00:02:36,599 --> 00:02:38,439 Speaker 4: Yeah, so yeah, I'm glad. I'm glad. 64 00:02:38,439 --> 00:02:41,240 Speaker 3: We I'm glad we found it that drunken night. 65 00:02:42,599 --> 00:02:46,319 Speaker 2: Yeah, no doubt, no doubt. Yeah, it's It's something we 66 00:02:46,360 --> 00:02:47,360 talk about a lot on the show. 67 00:02:47,400 --> 00:02:49,479 Speaker 1: It's remarkable to live in a time where there's so 68 00:02:49,479 --> 00:02:52,400 many different ways that you can record, and yeah, you 69 00:02:52,439 --> 00:02:54,520 can do something like like you said, just you know, 70 00:02:54,599 --> 00:02:57,319 recording something in somebody's bedroom and have it, you know, 71 00:02:57,479 --> 00:03:00,280 just come out so great, and then and then able 72 00:03:00,280 --> 00:03:02,439 to put it out and it just sounds you know, 73 00:03:02,800 --> 00:03:05,159 when you have something that sounds like it could have 74 00:03:05,240 --> 00:03:07,240 been recorded that way or it could have been recorded 75 00:03:07,280 --> 00:03:10,879 in a million dollar studio, you don't know the difference exactly. 76 00:03:10,960 --> 00:03:13,199 Speaker 3: I mean that there's subtle, subtle differences that you hear. 77 00:03:13,280 --> 00:03:16,840 Speaker 4: I mean the acoustic the record I recorded earlier this year, 78 00:03:16,879 --> 00:03:18,599 and that was in a big studio in London, and 79 00:03:19,120 --> 00:03:20,759 you know, we put some live strings on it and 80 00:03:21,159 --> 00:03:23,639 it had so few it's quite an acoustic record, but 81 00:03:23,680 --> 00:03:25,199 it's got a few touches to it, so you can 82 00:03:25,240 --> 00:03:29,159 sort of subtly hear the differences. Whereas but yeah, there's 83 00:03:29,159 --> 00:03:30,919 not a huge difference in a way, you know, like 84 00:03:31,199 --> 00:03:34,159 and what I'm doing just with these home demos because 85 00:03:34,159 --> 00:03:36,199 it's just me and a guitar and a voice. You know, 86 00:03:36,199 --> 00:03:38,919 there's there's not that much production involved. Really, it's just 87 00:03:39,039 --> 00:03:41,319 if you get the vocals sounding nice, to get the 88 00:03:41,360 --> 00:03:43,919 guitar sounding level, you know, you're away. 89 00:03:43,800 --> 00:03:48,479 Speaker 2: You know absolutely. Are there more of these coming or 90 00:03:48,520 --> 00:03:49,199 have you released? 91 00:03:49,879 --> 00:03:52,960 Speaker 4: Yeah? Yeah, we literally just released a new another home 92 00:03:53,000 --> 00:03:56,159 demo yesterday. I'm releasing like one one track a month. 93 00:03:56,360 --> 00:03:58,400 Oh okay, I can find you can you can find 94 00:03:58,400 --> 00:04:01,039 these all in my Spotify if you go to Daniel 95 00:04:01,039 --> 00:04:05,199 Shamrock on Spotify, you'll you'll hear you'll find all of these. 96 00:04:05,280 --> 00:04:08,759 I released a song yesterday called sol on Fire, and 97 00:04:08,800 --> 00:04:11,039 then we're going to be releasing yeah, every every every 98 00:04:11,039 --> 00:04:12,400 month going into next year. 99 00:04:12,479 --> 00:04:14,199 Speaker 3: So yeah, keep an eye out if you want to 100 00:04:14,240 --> 00:04:15,000 hear some more music. 101 00:04:15,479 --> 00:04:18,879 Speaker 1: I'm glad you mentioned that Soul on Fire. Well, I 102 00:04:18,920 --> 00:04:20,399 do have it in front of me here. We'll actually 103 00:04:20,439 --> 00:04:22,399 play that when we and the segment. 104 00:04:22,399 --> 00:04:23,040 Speaker 4: What's that wicked? 105 00:04:23,680 --> 00:04:24,439 Speaker 3: Thank you very much? 106 00:04:24,639 --> 00:04:26,720 Speaker 1: Absolutely no, no, glad to do it. Yeah, no, I 107 00:04:26,759 --> 00:04:28,399 was going to play I was going to play something 108 00:04:28,399 --> 00:04:31,360 of yours at the end, and that's that's perfect since 109 00:04:31,360 --> 00:04:33,879 it just came out. How many how many more of 110 00:04:33,879 --> 00:04:35,439 these do you have? You say, so you're releasing one 111 00:04:35,480 --> 00:04:37,040 a month. How many more do you have or do 112 00:04:37,079 --> 00:04:40,399 you even know yet? Are you still finding? Are you 113 00:04:40,439 --> 00:04:41,319 still finding things? 114 00:04:42,439 --> 00:04:44,399 Speaker 4: I've got a few more from this from this session 115 00:04:44,399 --> 00:04:46,879 that we did a few years ago. Yeah, I'm going 116 00:04:46,959 --> 00:04:48,560 to be releasing a few more of these, and then 117 00:04:48,720 --> 00:04:51,399 I'm going back into the studio early next year and 118 00:04:51,639 --> 00:04:54,319 I'll record some some I've allad the new stuff that 119 00:04:54,360 --> 00:04:56,800 I want to want to record, so I'll be releasing 120 00:04:56,839 --> 00:04:59,279 lots of new music, so yeah, there's plenty, plenty more 121 00:04:59,319 --> 00:05:00,120 where that came from. 122 00:05:00,319 --> 00:05:06,519 Speaker 1: Excellent, excellent. I'm curious about influences, especially in terms of 123 00:05:06,839 --> 00:05:09,680 not only your songwriting, but you're singing. I love your 124 00:05:09,759 --> 00:05:13,240 voice and you've you've got one of those voices. 125 00:05:12,879 --> 00:05:13,079 Speaker 4: You know. 126 00:05:13,199 --> 00:05:14,920 Speaker 1: You You kind of remind me a little bit of 127 00:05:14,920 --> 00:05:17,000 some different people, but I can't quite pin it down. 128 00:05:17,000 --> 00:05:19,399 I can't think of anyone who sounded exactly likely. 129 00:05:19,560 --> 00:05:21,560 Speaker 3: But I was gonna say, who do I remind you of? 130 00:05:21,560 --> 00:05:22,639 Because I find that interesting? 131 00:05:22,920 --> 00:05:23,319 Speaker 2: Yeah? 132 00:05:23,360 --> 00:05:29,079 Speaker 1: Well, actually, oh what the hell? The guy from I 133 00:05:29,079 --> 00:05:31,959 can't I can't remember his name, but the singer from 134 00:05:31,959 --> 00:05:34,360 the band America. Are you familiar with that band? 135 00:05:34,519 --> 00:05:36,480 Speaker 3: Okay, yeah, yeah, I know I know them. 136 00:05:36,560 --> 00:05:38,120 Speaker 2: Yeah yeah, yeah, yeah, yeah you kind of you kind 137 00:05:38,120 --> 00:05:38,759 of remind me of him. 138 00:05:38,920 --> 00:05:42,079 Speaker 1: I cannot remember his name, Unfortunately, it's in the it's 139 00:05:42,079 --> 00:05:44,240 in the back of my brain. But yeah, I was 140 00:05:44,279 --> 00:05:47,199 thinking about that. Yeah, yeah, but like who who's a 141 00:05:47,199 --> 00:05:48,279 big influence on you? 142 00:05:50,040 --> 00:05:52,319 Speaker 4: So? I grew up over here in the UK with 143 00:05:52,360 --> 00:05:54,279 the like britpop in the nineties, so it was all 144 00:05:54,360 --> 00:05:56,839 kind of Oasis and Blur and yeah, those kind of 145 00:05:56,839 --> 00:06:00,399 English britpop bands, but also so that was a big influence. 146 00:06:00,959 --> 00:06:04,720 Oasis were a big influence on me, but also kind 147 00:06:04,759 --> 00:06:08,399 of Sixties bands like Beatles and you know, the Stones 148 00:06:08,439 --> 00:06:10,839 and the Kinks and all those kind of bands, and 149 00:06:10,879 --> 00:06:13,240 then lots of singer songwriters, you know, massively into like 150 00:06:13,319 --> 00:06:16,800 Neil Young, Bob Dylan, you know, all those kind of guys, 151 00:06:17,600 --> 00:06:20,120 just people that sit you know, you can do something 152 00:06:20,120 --> 00:06:22,600 with a guitar, just guitar and a vocal and a song. 153 00:06:22,639 --> 00:06:26,439 You know. I've always loved that kind of simplistic approach, 154 00:06:26,680 --> 00:06:29,720 you know. Yeah, So yeah, all that kind of stuff, 155 00:06:29,759 --> 00:06:32,199 really loads of stuff. Tom Petty, I love, I love 156 00:06:32,279 --> 00:06:34,600 Tom Petty. I was listening to I was watching the 157 00:06:35,319 --> 00:06:39,720 Tom Petty documentary a few nights ago, the one about 158 00:06:39,720 --> 00:06:41,319 what you know you're a Tom Petty fan. 159 00:06:41,879 --> 00:06:44,319 Speaker 2: I am. I'm a casual fan. I don't you know. 160 00:06:44,839 --> 00:06:47,399 I never had all the albums. But you have to understand. 161 00:06:47,399 --> 00:06:49,319 Speaker 1: You have to understand in America, if you turn on 162 00:06:49,399 --> 00:06:52,759 any classic rock station and you listen for an hour, 163 00:06:52,839 --> 00:06:54,360 you're going to hear a Tom Petty song. 164 00:06:54,439 --> 00:06:56,560 Speaker 4: So you can hear Tom Petty song. Yeah, yeah, So 165 00:06:57,120 --> 00:06:59,680 I'm a big Tom petty fan. I love some of 166 00:06:59,720 --> 00:07:03,720 his like more sort of solo acoustic y stuff as well. Yeah, 167 00:07:04,680 --> 00:07:07,759 so yeah, loads of stuff, loads of stuff. But yeah, 168 00:07:07,800 --> 00:07:10,279 big big Beatles fan. That's one of my kind of 169 00:07:10,319 --> 00:07:14,000 major loves musically, is you know all the Lena McCartney 170 00:07:14,160 --> 00:07:17,399 stuff and yeah, yeah, I love all of that. Yeah. 171 00:07:17,480 --> 00:07:20,079 Speaker 1: Now, based on what you've told me, I assume that 172 00:07:20,199 --> 00:07:22,680 you started writing songs at a really young age. 173 00:07:22,720 --> 00:07:23,399 Speaker 2: Am I correct? 174 00:07:25,240 --> 00:07:27,519 Speaker 4: Yeah, So basically I picked up the guitar when I 175 00:07:27,560 --> 00:07:30,959 picked up my dad's guitar when I was probably ten 176 00:07:31,120 --> 00:07:35,000 or something, ten or eleven, Yeah, and just as soon 177 00:07:35,040 --> 00:07:38,000 as I could play like three chords, I just started 178 00:07:38,000 --> 00:07:40,439 trying to write songs. And it was this really weird thing, 179 00:07:40,639 --> 00:07:42,439 like I don't know where that came from. You know, 180 00:07:42,600 --> 00:07:46,759 I've had no musical training or you know, no formal 181 00:07:46,759 --> 00:07:49,160 classes or anything like that, but I just kind of 182 00:07:49,439 --> 00:07:52,240 just felt compelled to kind of try and carve a 183 00:07:52,279 --> 00:07:55,480 song out out of something, you know, and that's just 184 00:07:55,519 --> 00:07:57,839 always stayed with me. So yeah, I just love I 185 00:07:57,879 --> 00:07:59,839 love writing songs. That's just what I do. 186 00:08:00,639 --> 00:08:02,879 Speaker 1: Yeah, it's interesting what you say about how you don't 187 00:08:02,879 --> 00:08:04,399 even know where it came from, because you didn't have 188 00:08:04,399 --> 00:08:06,720 any musical training, and I've I've kind of realized over 189 00:08:06,720 --> 00:08:08,839 the years. I think I think music is one of 190 00:08:08,879 --> 00:08:10,920 the few things well, actually, well, let me broaden it 191 00:08:10,920 --> 00:08:13,199 out a little bit. I think creating art, yeah, more 192 00:08:13,240 --> 00:08:15,160 broadly is one of those few things that can be 193 00:08:15,759 --> 00:08:19,519 just just really sort of intuitive for some people, because 194 00:08:19,600 --> 00:08:22,680 you know, anything else that you try to do, you 195 00:08:22,720 --> 00:08:24,879 have to kind of you know, there's some sort of 196 00:08:24,879 --> 00:08:27,079 training involved. If you want to be a nuclear physicist, 197 00:08:27,160 --> 00:08:29,920 for example, you know, that's not something you can intuitively 198 00:08:29,959 --> 00:08:33,720 figure out. But when it comes to when it comes 199 00:08:33,720 --> 00:08:36,440 to music, people people are some people are able to 200 00:08:36,559 --> 00:08:38,480 just kind of intuitively figured out figure out how to 201 00:08:38,519 --> 00:08:40,919 play guitar, figure out how to sing. Most of the 202 00:08:41,000 --> 00:08:43,279 vocalists I talked to you never had any formal training. 203 00:08:43,639 --> 00:08:44,919 They just they just can do it. 204 00:08:45,799 --> 00:08:48,200 Speaker 4: Definitely. I mean obviously you can. You can learn tricks, 205 00:08:48,200 --> 00:08:50,360 and you can learn ways of doing things. I mean, 206 00:08:50,600 --> 00:08:52,759 like I'm not I always say like I'm not a 207 00:08:52,799 --> 00:08:56,559 great musician. You know, I'm a I'm a good steady 208 00:08:56,600 --> 00:08:57,440 rhythm guitarist. 209 00:08:57,559 --> 00:08:58,120 Speaker 3: You know I can. 210 00:08:58,360 --> 00:09:00,559 Speaker 4: But for me, I sit down on with a guitar 211 00:09:00,679 --> 00:09:03,000 and that that's just a tool so I can find 212 00:09:03,039 --> 00:09:04,759 a melody and come up with the song. You know, 213 00:09:04,840 --> 00:09:07,840 That's what it's all about for me. Yeah, but yeah, 214 00:09:07,879 --> 00:09:09,480 I mean if you listen to my songs when I 215 00:09:09,519 --> 00:09:12,759 was like fifteen, you know, compared to now, there's been 216 00:09:13,080 --> 00:09:13,720 a progression. 217 00:09:13,759 --> 00:09:15,919 Speaker 3: I'd like to think there's been a big progression, you know. 218 00:09:16,639 --> 00:09:19,840 Speaker 4: Oh yeah, in the way I write lyrics, you know, 219 00:09:20,000 --> 00:09:21,879 just with a bit more life experience, you know that 220 00:09:21,960 --> 00:09:24,240 kind of stuff, and you do hone your craft as 221 00:09:24,240 --> 00:09:27,120 you get older, of course, but yeah, some of those, 222 00:09:27,120 --> 00:09:29,679 some of those songs I wrote when I was like thirteen, 223 00:09:29,879 --> 00:09:32,399 you know, I wouldn't really want anyone to play from 224 00:09:32,480 --> 00:09:33,960 the radio, you know what I mean? 225 00:09:34,399 --> 00:09:35,000 Speaker 2: Right right? 226 00:09:35,240 --> 00:09:38,519 Speaker 1: Well, so I am curious did any of that really 227 00:09:38,519 --> 00:09:41,440 early material survive. I can't remember who it was, but 228 00:09:41,480 --> 00:09:43,399 I had one guest on the show who had written 229 00:09:43,399 --> 00:09:45,000 a song when he was like twelve years old, and 230 00:09:45,039 --> 00:09:48,759 I asked him do you still play that today? And 231 00:09:48,799 --> 00:09:50,679 not expecting him to say yes, and he was like, yeah, 232 00:09:50,679 --> 00:09:51,320 actually I do. 233 00:09:51,440 --> 00:09:55,240 Speaker 4: I was like, wow, listen, no, any songs I wrote 234 00:09:55,240 --> 00:09:58,639 from that age have been hidden away, hidden in a 235 00:09:58,759 --> 00:10:01,000 safe and locked away. He has been thrown away. 236 00:10:02,159 --> 00:10:03,879 Speaker 2: Do you remember the first song you ever wrote. 237 00:10:05,519 --> 00:10:07,519 Speaker 4: You'll laugh about this. I can't believe I'm actually saying 238 00:10:07,559 --> 00:10:10,000 this out loud, but yeah, So one of the first 239 00:10:10,000 --> 00:10:11,720 songs I ever wrote was a song called the Guy 240 00:10:11,799 --> 00:10:16,080 Upstairs as an Alien, and I can still yeah, I'm 241 00:10:16,120 --> 00:10:17,320 not going to sing it for you now, but I 242 00:10:17,360 --> 00:10:19,759 can still sort of remember the melody of that. 243 00:10:20,000 --> 00:10:21,440 Speaker 3: Yeah, you know that, you know. 244 00:10:21,600 --> 00:10:23,519 Speaker 4: But I was just I was just kind of learning 245 00:10:23,799 --> 00:10:27,080 how to put words and you know, make things rhyme, 246 00:10:27,159 --> 00:10:31,399 and just just learning the basics, you know. But yeah, yeah, yeah, 247 00:10:31,440 --> 00:10:33,240 it's just been It's always been something that I've just 248 00:10:33,279 --> 00:10:37,399 been curious about and loved, you know. Yeah, and that 249 00:10:37,480 --> 00:10:39,759 never goes away, you know, and I think I'll be 250 00:10:40,039 --> 00:10:43,559 tinkering around on the guitar, you know, into my old age. 251 00:10:43,559 --> 00:10:43,720 You know. 252 00:10:43,759 --> 00:10:45,240 Speaker 3: It's just something I absolutely love. 253 00:10:45,519 --> 00:10:48,080 Speaker 1: Yeah, Is that what comes first for you when you write? 254 00:10:48,279 --> 00:10:50,960 Is a melody on the guitar? Or do lyrics ever 255 00:10:51,000 --> 00:10:51,519 come first? 256 00:10:52,360 --> 00:10:55,399 Speaker 4: It comes in different ways, so yeah, sometimes sometimes it 257 00:10:55,440 --> 00:10:57,320 all comes out in one go, like it all just 258 00:10:57,360 --> 00:10:59,720 kind of falls out, and those are generally the best songs, 259 00:10:59,799 --> 00:11:02,840 Like it just falls out effortlessly and it's like the 260 00:11:04,440 --> 00:11:07,200 chords the melody, all the changes and the breaks. It 261 00:11:07,240 --> 00:11:08,919 will just kind of just comes out and we'll go 262 00:11:08,960 --> 00:11:10,440 and you've got to quickly grab a paper and pen 263 00:11:10,480 --> 00:11:13,679 and just get it down. But then sometimes you've got 264 00:11:13,679 --> 00:11:15,679 to really work at work at a song and chip 265 00:11:15,720 --> 00:11:17,600 away at it and you know what's what you know 266 00:11:17,639 --> 00:11:19,679 what what what word rhymes with that? Or you know 267 00:11:19,720 --> 00:11:21,639 what am I going to do on this after this chorus? 268 00:11:21,759 --> 00:11:26,279 Or you know. So it works in different ways, but generally, 269 00:11:26,360 --> 00:11:28,960 normally I'll kind of play a few chords and then 270 00:11:29,080 --> 00:11:30,879 and then the melody will come in and it will 271 00:11:30,879 --> 00:11:32,519 just kind of take on a life of its own. 272 00:11:32,799 --> 00:11:35,759 But but yeah, I just love just grabbing something out 273 00:11:35,759 --> 00:11:37,440 of the air. You start with nothing and then suddenly 274 00:11:37,440 --> 00:11:39,600 you've got this this song, you know, out of out 275 00:11:39,679 --> 00:11:43,519 thin air almost and it's like a magical, magical experience, right, 276 00:11:43,519 --> 00:11:44,559 I love it? Right? 277 00:11:44,679 --> 00:11:46,000 Speaker 2: Yeah? Absolutely? 278 00:11:46,080 --> 00:11:49,120 Speaker 1: Now, So tell me about what happens when you play live? 279 00:11:49,279 --> 00:11:51,960 Do you Is it always just you solo? Or do 280 00:11:52,000 --> 00:11:53,039 other musicians join you? 281 00:11:53,120 --> 00:11:54,559 Speaker 2: Or how does that? Or maybe you have a band 282 00:11:54,600 --> 00:11:55,039 I don't. 283 00:11:54,879 --> 00:11:59,039 Speaker 4: Know for like, for the for the last few years, 284 00:11:59,039 --> 00:12:01,159 I was playing in an indie band called the Loft Club. 285 00:12:01,679 --> 00:12:04,360 Oh okay, And we were actually signed to we were 286 00:12:04,399 --> 00:12:09,320 signed to an American label actually in LA and so yeah, 287 00:12:09,320 --> 00:12:10,759 that was kind of my thing. It was my songs, 288 00:12:10,759 --> 00:12:12,440 but with a band, it was kind of kind of 289 00:12:12,519 --> 00:12:18,200 like a slightly old country indie kind of vibe. And 290 00:12:18,559 --> 00:12:20,399 that was all going really well, and then we had 291 00:12:20,440 --> 00:12:23,480 a coronavirus lockdown down and that kind of kind of 292 00:12:23,480 --> 00:12:26,159 blew everything out of the water a bit. But now 293 00:12:26,200 --> 00:12:27,879 I'm just kind of just doing me and a guitar, 294 00:12:28,279 --> 00:12:31,559 just me going out and playing, playing solo. I'm going 295 00:12:31,639 --> 00:12:33,559 to be doing some shows and going into next year 296 00:12:33,600 --> 00:12:35,960 and maybe with a band as well, just to kind 297 00:12:36,000 --> 00:12:38,039 of pad it out a bit. But it's it's very 298 00:12:38,080 --> 00:12:39,919 stripped down, just mostly just me and a. 299 00:12:39,919 --> 00:12:44,279 Speaker 1: Guitar, okay, okay, which is nice in a sense, right 300 00:12:44,360 --> 00:12:46,039 because I mean, you know, being in a band is 301 00:12:46,039 --> 00:12:47,399 great and all, but at least when it's just you 302 00:12:47,480 --> 00:12:51,480 and a guitar, you know, it's certainly simplifive things. You've 303 00:12:51,519 --> 00:12:53,720 got more there's more places you can play, and you 304 00:12:53,720 --> 00:12:56,039 don't have to work around anyone else's schedule, and. 305 00:12:56,240 --> 00:12:59,039 Speaker 4: So that's exactly yeah, yeah, there's less people to fall 306 00:12:59,080 --> 00:12:59,279 out with. 307 00:13:00,159 --> 00:13:03,080 Speaker 3: You started and start an argument with yourself, you know exactly. 308 00:13:04,000 --> 00:13:05,519 Speaker 1: I've played in a lot of bands, but I never 309 00:13:05,519 --> 00:13:07,440 did a solo acoustic thing. So I've always been a 310 00:13:07,440 --> 00:13:09,720 little bit you know, I've always wondered what that must 311 00:13:09,759 --> 00:13:11,399 be like and the you know, the freedom that comes 312 00:13:11,440 --> 00:13:11,679 with that. 313 00:13:12,759 --> 00:13:14,480 Speaker 2: What did you say the name of what did you say? 314 00:13:14,480 --> 00:13:15,120 The name of the band? 315 00:13:15,200 --> 00:13:18,720 Speaker 4: Was the Last que the Loft as in like up 316 00:13:18,759 --> 00:13:22,480 in the Lost the Loft t Yeah, the Loft Club. 317 00:13:22,720 --> 00:13:25,440 Speaker 2: Yeah yeah, Now that is anything that you did with 318 00:13:25,480 --> 00:13:27,240 that band? Is that available online? 319 00:13:28,039 --> 00:13:30,000 Speaker 4: Yeah, that's all on That's all on Spotify, So you 320 00:13:30,039 --> 00:13:31,399 can go and go and hear that as well. We 321 00:13:31,759 --> 00:13:37,440 did a collaboration with Lisa Lobe if you know Lisa Lobe. Yeah, yeah, yeah, yeah, 322 00:13:37,440 --> 00:13:39,159 we did a song. We did a song with her 323 00:13:39,200 --> 00:13:43,120 actually called which is a song minaeled Flicker and she 324 00:13:43,240 --> 00:13:45,679 put a verse on on one of the songs and 325 00:13:45,720 --> 00:13:47,399 that actually got onto the Billboard chart. 326 00:13:47,600 --> 00:13:50,039 Speaker 3: So that was a kind of a song that kind 327 00:13:50,039 --> 00:13:51,559 of did something in America. 328 00:13:51,879 --> 00:13:54,639 Speaker 4: Yeah, so you can you can go and he hear 329 00:13:54,720 --> 00:13:56,399 that on Spotify. 330 00:13:56,919 --> 00:13:58,360 Speaker 2: Oh, that's that's very cool. 331 00:13:59,159 --> 00:14:01,320 Speaker 1: Do you have any plans to get back to being 332 00:14:01,360 --> 00:14:03,080 in a band or I mean it sounds like the 333 00:14:03,120 --> 00:14:04,960 solo acoustic things working out pretty well. 334 00:14:05,039 --> 00:14:07,440 Speaker 4: Yeah, I'm really enjoying doing what I'm doing at the moment, 335 00:14:07,480 --> 00:14:09,399 to be honest. It's you know, I've got a really 336 00:14:09,440 --> 00:14:11,399 good label that I work with here in the UK, 337 00:14:11,559 --> 00:14:13,840 and and we just we. 338 00:14:13,960 --> 00:14:15,120 Speaker 3: Just work really well together. 339 00:14:15,200 --> 00:14:18,399 Speaker 4: And you know, I get a song, I can record, record, 340 00:14:18,720 --> 00:14:20,399 they put the record out and suddenly it's out on 341 00:14:20,399 --> 00:14:23,000 Spotfy and it's just it's just a nice, nice, nice 342 00:14:23,039 --> 00:14:26,120 setup and it seemed to work really well. So yeah, 343 00:14:26,240 --> 00:14:28,159 I'm kind of happy doing doing things as they are 344 00:14:28,200 --> 00:14:30,600 at the moment. I'll probably put a little band together 345 00:14:30,679 --> 00:14:33,720 to go and to do some of these songs next year, 346 00:14:33,759 --> 00:14:36,600 as I said. But but yeah, yeah, I'm happy as 347 00:14:36,639 --> 00:14:37,200 I am, I think. 348 00:14:37,960 --> 00:14:40,840 Speaker 2: And then now, so you're working with Guy Massey. Has 349 00:14:40,879 --> 00:14:42,759 that already begun or is that coming up? 350 00:14:43,240 --> 00:14:45,799 Speaker 4: Yeah? So that's that's the record. That's the record I 351 00:14:45,840 --> 00:14:49,279 did earlier this year, earlier this year, so it's called 352 00:14:49,759 --> 00:14:53,399 so that's that's when we recorded in London. So that's 353 00:14:53,480 --> 00:14:59,000 that was called Major Companion and it's a six track EP. Yeah, 354 00:14:59,000 --> 00:15:01,639 And I was talking about him earlier. So Guy's kind 355 00:15:01,679 --> 00:15:04,320 of he's won two Grammy Awards. He's like, yeah, he' 356 00:15:04,799 --> 00:15:07,759 remastered all the Beatles records and yeah, he's just worked 357 00:15:07,799 --> 00:15:11,440 with like everybody. So that was like a really cool 358 00:15:11,600 --> 00:15:13,399 experience for me to go and to go and see 359 00:15:13,440 --> 00:15:15,559 how he works, you know, and be in his in 360 00:15:15,600 --> 00:15:19,240 his world. So that was yeah, that was super cool. Yeah, 361 00:15:19,240 --> 00:15:20,960 and we put we put some strings on a couple 362 00:15:20,960 --> 00:15:23,799 of the couple of the tracks and we recorded in 363 00:15:23,159 --> 00:15:28,200 a studio called conk In in London, which is belongs 364 00:15:28,200 --> 00:15:31,679 to the Kinks. It's the Kinks recording studio. So that 365 00:15:31,759 --> 00:15:33,120 was that was a really cool experience. 366 00:15:33,159 --> 00:15:34,960 Speaker 2: Oh wow, Oh that's extremely cool. 367 00:15:35,759 --> 00:15:36,200 Speaker 4: Yeah. 368 00:15:36,360 --> 00:15:39,919 Speaker 1: Is that intimidating at all working with somebody like Guy Massey? 369 00:15:40,000 --> 00:15:41,480 I mean that's you know, he's a heavy show. 370 00:15:42,320 --> 00:15:42,559 Speaker 3: Yeah. 371 00:15:42,639 --> 00:15:44,919 Speaker 4: I really thought it was going to be and then 372 00:15:45,120 --> 00:15:47,799 I met him and he just got completely just put 373 00:15:47,879 --> 00:15:50,879 put me at ease, Like within seconds, he was just like, yeah, 374 00:15:50,960 --> 00:15:53,159 come in, have a couple of you know, sit down 375 00:15:53,159 --> 00:15:55,720 and chatting him. He's called his you know, gold Records 376 00:15:55,720 --> 00:15:58,039 on the Wall or whatever, you know, and I was like, whoa. 377 00:15:59,080 --> 00:16:03,080 But he's just really to a really lovely guy and 378 00:16:03,120 --> 00:16:05,960 an amazing producer, like really cool guy to work with. 379 00:16:06,240 --> 00:16:08,240 You know, we had a lot to talk about. You know, 380 00:16:08,240 --> 00:16:10,000 we're into the same kind a lot of the records 381 00:16:10,000 --> 00:16:12,240 that I loved growing up listening to in my teams. 382 00:16:12,279 --> 00:16:15,720 Like he was involved in the in the recording, so 383 00:16:15,759 --> 00:16:18,879 it was like, yeah, it was like it was quite 384 00:16:18,919 --> 00:16:21,639 a big deal for me. But yeah, really great guy 385 00:16:22,360 --> 00:16:23,679 and a great producer. 386 00:16:24,000 --> 00:16:26,200 Speaker 1: By the way, you mentioned this is a little off subject, 387 00:16:26,200 --> 00:16:28,399 but I'm just curious because you mentioned Oesis earlier. 388 00:16:29,200 --> 00:16:30,480 Speaker 2: What what how. 389 00:16:30,399 --> 00:16:32,799 Speaker 1: Are things looking over there? Did they already they haven't 390 00:16:32,799 --> 00:16:34,720 played those shows yet, right, I know, I know take 391 00:16:35,080 --> 00:16:37,080 on sale, but no. 392 00:16:37,240 --> 00:16:39,200 Speaker 4: So so so with my band The Love Club, we 393 00:16:39,240 --> 00:16:42,720 actually managed to support Nol Gallagher. Oh my god, ago, 394 00:16:42,960 --> 00:16:46,200 which was which is this amazing experience at this at 395 00:16:46,200 --> 00:16:48,720 this old castle they do these big outdoor gigs at 396 00:16:48,720 --> 00:16:52,519 the place called Powderham Castle and and that was that 397 00:16:52,639 --> 00:16:54,360 was like he's like one of my heroes. So that 398 00:16:54,559 --> 00:16:58,120 was like an amazing and amazing thing to get anywhere 399 00:16:58,120 --> 00:16:59,440 near Oh yeah, being on the. 400 00:16:59,440 --> 00:17:02,960 Speaker 3: Stage with him. So that was a real highlight for me. 401 00:17:03,039 --> 00:17:05,079 Speaker 4: But yeah, so when when I heard they're getting back together, 402 00:17:05,160 --> 00:17:06,599 it was like, you know, me and all my friends 403 00:17:06,640 --> 00:17:09,480 who are big Oasis fans were like, you know, very excited, 404 00:17:09,880 --> 00:17:11,960 but there was this big clamor for tickets, and you know, 405 00:17:11,960 --> 00:17:15,759 tickets were going for like stupid money, you know. Yeah, 406 00:17:15,799 --> 00:17:19,279 three four hundred pounds of tickets and sometimes five hundred 407 00:17:19,279 --> 00:17:23,039 pounds a ticket, you know. Yeah, so it's it's a 408 00:17:23,079 --> 00:17:25,759 big deal. Yeah, a big deal over here for sure. 409 00:17:25,839 --> 00:17:26,680 Speaker 2: Yeah. Absolutely. 410 00:17:26,759 --> 00:17:29,240 Speaker 1: Oasis is one of my favorite bands from the nineties 411 00:17:29,319 --> 00:17:33,759 and my my favorite oh yeah, Acquiess is my favorite 412 00:17:34,359 --> 00:17:37,799 Oasis song, which originally was a B side, but but 413 00:17:37,839 --> 00:17:39,920 then they performed it on Saturday Night Live. 414 00:17:40,400 --> 00:17:44,039 Speaker 2: I was like, how cool was that performing a B side? 415 00:17:44,759 --> 00:17:46,680 Speaker 4: Totally And that's why I love no Gallagher because some 416 00:17:46,759 --> 00:17:49,039 of his best songs were B sides, you know. Yeah, 417 00:17:49,240 --> 00:17:51,640 and that song, that song Skyscraper that I wrote, it's 418 00:17:51,720 --> 00:17:53,599 kind of people have said to me, it sounds a 419 00:17:53,640 --> 00:17:55,799 bit like a like an Oasis B side or something. 420 00:17:55,839 --> 00:17:59,799 It's got that kind of vibe to it. I think, yeah, 421 00:18:00,039 --> 00:18:03,079 but yeah, yeah. Some of my favorite favorite records of 422 00:18:03,359 --> 00:18:05,680 theirs are the kind of hidden the hidden gems that 423 00:18:05,759 --> 00:18:07,559 you know you find on a B side somewhere. 424 00:18:08,160 --> 00:18:09,200 Speaker 2: Yeah. 425 00:18:09,559 --> 00:18:12,160 Speaker 1: I feel like it's kind of a British thing where 426 00:18:12,400 --> 00:18:16,759 artists will put, well, we'll put on a B side 427 00:18:16,799 --> 00:18:19,839 something that is not available anywhere else, because a lot 428 00:18:19,880 --> 00:18:21,519 of them, like when I was growing up, I noticed it, 429 00:18:21,640 --> 00:18:24,079 a lot of American artists, the B side is just 430 00:18:24,519 --> 00:18:26,799 another song on the album, you know what I mean. 431 00:18:27,599 --> 00:18:30,519 But but a lot of British artists seem to really 432 00:18:30,559 --> 00:18:33,960 insist on making the B side something completely separate that 433 00:18:34,039 --> 00:18:36,440 you can't get anywhere else, which I always thought was 434 00:18:36,440 --> 00:18:37,680 really cool. 435 00:18:38,000 --> 00:18:40,599 Speaker 4: Definitely, I think it started with with the Beatles because 436 00:18:40,640 --> 00:18:43,240 they were really wanted to make sure that the fan 437 00:18:43,559 --> 00:18:45,759 sort I saw an interview with Paul McCartney talking about this, 438 00:18:45,839 --> 00:18:47,559 and he was like he wanted to make sure that 439 00:18:47,640 --> 00:18:50,000 the fans were getting the most for their money. So 440 00:18:50,039 --> 00:18:52,200 when they when they'd buy the when they'd buy the 441 00:18:52,279 --> 00:18:56,000 you know, the seven inch single or whatever, you know, 442 00:18:56,079 --> 00:18:57,960 they try and make sure that there was a lot 443 00:18:57,960 --> 00:18:59,519 of good material on there. So they try and make 444 00:18:59,559 --> 00:19:01,279 sure that the side was as good as the A side, 445 00:19:01,319 --> 00:19:03,039 just like you know, like the double A sides and 446 00:19:03,039 --> 00:19:05,920 all of that stuff. And so I think it was 447 00:19:06,000 --> 00:19:08,640 just what Oasis we're doing was trying to continue that 448 00:19:08,720 --> 00:19:11,559 tradition of trying to give people good quality music. You 449 00:19:11,599 --> 00:19:13,799 know that paying money for a for a single, you know, 450 00:19:13,839 --> 00:19:15,480 and they want to make sure that they get two 451 00:19:15,480 --> 00:19:17,799 good songs. It's not just one one good song and 452 00:19:17,839 --> 00:19:19,599 a and a filler on the b side, you know. 453 00:19:19,880 --> 00:19:21,920 Speaker 2: Yeah, yeah, I always respected that. 454 00:19:22,079 --> 00:19:24,119 Speaker 1: And uh, you know, Noel is one of those guys 455 00:19:24,160 --> 00:19:26,279 too who's always writing, so you know. 456 00:19:26,480 --> 00:19:27,759 Speaker 2: Yeah, it makes sense. 457 00:19:27,799 --> 00:19:32,039 Speaker 1: He's he's got plenty of music. Oh yeah, absolutely. 458 00:19:31,480 --> 00:19:33,359 Speaker 3: Yeah, he's not he's not sure of a song or 459 00:19:33,359 --> 00:19:34,039 too for sure. 460 00:19:36,039 --> 00:19:38,480 Speaker 2: So what so, so what do you have? What do 461 00:19:38,480 --> 00:19:39,480 you have coming up? Daniel? 462 00:19:39,559 --> 00:19:42,839 Speaker 1: So you've got you're you're continuing to release Uh are 463 00:19:42,920 --> 00:19:44,400 these homedown? 464 00:19:44,400 --> 00:19:47,079 Speaker 4: I was once a month, that's it. So yeah, song 465 00:19:47,119 --> 00:19:50,640 came out yesterday's song on Fire and then there'll be 466 00:19:50,680 --> 00:19:53,680 some We'll be releasing the song every month going into 467 00:19:53,680 --> 00:19:56,079 the new year. I'll be going back into the studio 468 00:19:56,880 --> 00:19:59,079 early next year to record some new stuff and then 469 00:19:59,160 --> 00:20:01,000 and then going out and doing some shows and hopefully 470 00:20:01,079 --> 00:20:02,279 some festivals next summer. 471 00:20:02,759 --> 00:20:06,799 Speaker 2: Outstanding outstanding, Yeah, yeah, yeah. Any any plans to get 472 00:20:06,839 --> 00:20:08,079 to America in the future. 473 00:20:09,240 --> 00:20:11,720 Speaker 4: Well, yeah, we were really close to having an American 474 00:20:11,720 --> 00:20:14,880 tour with the band. It was all being lined up 475 00:20:14,920 --> 00:20:17,240 and then and then because we did the now Gallagher 476 00:20:17,279 --> 00:20:20,319 support and then the album came out, and then everything 477 00:20:20,400 --> 00:20:23,079 was going great. And then we got some American radio 478 00:20:23,160 --> 00:20:24,960 and that was all going great. And then and then 479 00:20:24,960 --> 00:20:26,400 they were going to bring us over for a tour 480 00:20:26,440 --> 00:20:29,920 because it was obviously an American label. Yeah, and then 481 00:20:30,400 --> 00:20:33,240 and then obviously coronavirus hit, so we couldn't go anywhere. 482 00:20:33,319 --> 00:20:34,720 You know. It was like no one could do anything, 483 00:20:34,759 --> 00:20:37,160 and it just really like not the stuffing out of 484 00:20:37,200 --> 00:20:39,359 the whole the whole thing. But yeah, I'd love to 485 00:20:39,359 --> 00:20:41,119 I'd love to come over. I'd love to come over 486 00:20:41,160 --> 00:20:43,640 at some point. So yeah, in the future, i'd love 487 00:20:43,640 --> 00:20:45,839 to come. And I've been to America a few times 488 00:20:45,839 --> 00:20:49,480 and I absolutely love it. You know, spent some time 489 00:20:49,519 --> 00:20:53,319 in Seattle and Miami and a few other places, so yeah, 490 00:20:53,359 --> 00:20:54,400 I love it. Nice. 491 00:20:54,519 --> 00:20:55,200 Speaker 2: Nice. Yeah. 492 00:20:55,200 --> 00:20:59,079 Speaker 1: Seattle's obviously a very in terms of American music, a 493 00:20:59,200 --> 00:21:01,960 very influencedential place, especially in the nineties. 494 00:21:02,000 --> 00:21:03,599 Speaker 2: You know all those all those bands. 495 00:21:03,839 --> 00:21:07,599 Speaker 4: Yeah yeah, yeah, yeah, yeah, Nirvana and yeah, Jimmy Hendrix. 496 00:21:07,680 --> 00:21:09,720 Speaker 3: Is that's the whole thing from Seattle, isn't it. 497 00:21:10,039 --> 00:21:12,279 Speaker 1: Oh yes, yes, there you go. I forgot about that. 498 00:21:12,319 --> 00:21:15,160 I forgot that I forgot that he came from there. Yeah, 499 00:21:15,200 --> 00:21:18,599 that's right, absolutely, Uh, Daniel, Where should people go online 500 00:21:18,599 --> 00:21:20,640 to keep track of everything that you're doing so they 501 00:21:20,680 --> 00:21:23,200 can keep up, especially with these new and by the way, 502 00:21:23,240 --> 00:21:25,319 we would love to be sort of one of your 503 00:21:25,400 --> 00:21:29,279 American radio partners in these promoting these singers as they 504 00:21:29,319 --> 00:21:30,920 come out. If you know, if you send them to us, 505 00:21:30,920 --> 00:21:32,680 well we'll play them, we'll premiere them here. 506 00:21:32,720 --> 00:21:33,160 Speaker 4: Brilliant. 507 00:21:33,400 --> 00:21:35,400 Speaker 3: I really appreciate that. Yeah, well there'll be one a month. 508 00:21:35,880 --> 00:21:36,279 Speaker 2: Excellent. 509 00:21:36,359 --> 00:21:39,599 Speaker 4: Yeah, yeah, sure, yeah, you won't be sure of a 510 00:21:39,599 --> 00:21:41,799 few songs, but yeah, so you can, you can, you can. 511 00:21:42,000 --> 00:21:43,720 If you want to hear anything, going to my Spotify 512 00:21:43,799 --> 00:21:46,039 is probably the best thing. So just to go Daniel 513 00:21:46,039 --> 00:21:49,920 Shamrock and you'll find me there. And then if you 514 00:21:49,960 --> 00:21:53,440 want to come chat to me on on socials, I'm 515 00:21:53,480 --> 00:21:57,599 on Instagram, you know all those kind of platforms. Just 516 00:21:57,640 --> 00:21:59,960 if you just go to act Daniel Shamrock, you can. 517 00:22:00,000 --> 00:22:02,039 I'm in there, come and chat to me there and 518 00:22:02,039 --> 00:22:02,759 see what I'm up to. 519 00:22:03,160 --> 00:22:06,279 Speaker 1: Outstanding, outstanding. All right, So we're gonna we're going to 520 00:22:06,440 --> 00:22:09,079 close out the conversation with this this track, Soul on Fire. 521 00:22:09,160 --> 00:22:10,119 Speaker 2: This just came out yesterday. 522 00:22:10,119 --> 00:22:12,359 Speaker 3: You said it just came out yesterday. 523 00:22:12,440 --> 00:22:15,759 Speaker 2: Yes, brand new, outstanding. Has this been on American radio 524 00:22:15,799 --> 00:22:16,079 at all? 525 00:22:16,559 --> 00:22:18,079 Speaker 4: But you know, I think this is a I think 526 00:22:18,079 --> 00:22:20,880 this is the premiere on American radio. So you're the first. 527 00:22:21,079 --> 00:22:22,759 Speaker 2: Awesome. We love it. We love to do that.