Speaker 1: Oh that is so catchy. And I love the guitar
work in that. The track is Nebeka Nezzer, and that
is Paul Nasol. I will ask him though, if I'm
pronouncing his name correctly.
Speaker 2: I Paul, Are you there?
Speaker 3: Yeah, man, I'm there. I know you're not.
Speaker 2: No, okay, how do you say your name?
Speaker 3: It's Nazole?
Speaker 1: Oh, Nazole? Okay, because you are you're you're a lot
of different things. Oh I can imagine. Yeah, because you're
of I was reading about you. So you're you're from Liverpool, right,
but you're of Italian descent, so that the name is
Italian I assume.
Speaker 3: Right, that's right. Yeah, it's like a scouse.
Speaker 2: Gotcha, gotcha. I love that song a lot.
Speaker 1: And is that you? Obviously that's your singing. Is that
also you on guitar?
Speaker 3: Yeah?
Speaker 4: I do some of the guitar. But there's also a
guy called Robert Johnson on the guitar.
Speaker 3: There as well. Okay, he's a great player.
Speaker 4: Actually he's actually Ginger Baker's nephew. Would you believed, Yeah, yeah,
crea tribute. It sounds a little bit Clopton actually doesn't
it as well? Oh that's oh, that's wild.
Speaker 1: Yeah. Oh cool, very very very nice. Yeah, being are
you do you currently still live in Liverpool?
Speaker 4: Yeah at the minute, Yeah, I'm sort of brunching out
a little bit, but uh yeah, looking to uh, it's
got a little bit further field.
Speaker 3: But you didn't have a pool of most of my life.
Speaker 1: I'm curious about and I you won't be the first
person I've asked this question of, but like, is there
is there a certain pressure that comes with being a
musician from a place that is so well known for uh,
you know, you know, in terms of of kind of
being it's I feel like Liverpool is almost kind of
like this this musical center of the universe within that
part of the world. What's that like being there in
that music scene?
Speaker 3: It's great. Yeah, you know, it's very insense as well.
Speaker 4: It can be a little bit of a bubble all
of its own, you know, which I imagine a lot
of those places are like Nashville and stuff, you know,
I mentioned they're all a little bit like that. Yeah,
but yeah, there's a lot of great things to be
said for it.
Speaker 3: Man.
Speaker 4: You know, a lot of a lot of musicians, you know,
everyone seems to play guitar. There used to be an
old saying back in the nineties used to save you
from Liverpool. You either play football, you play guitar, or
you were you know, you're up to no good.
Speaker 2: Right, the young fool, you know.
Speaker 3: But it's changing a lot.
Speaker 4: You know, the city has changed a lot over the
last twenty years. It's a it used to be quite
a poor city. Now it's kind of it's growing a lot.
Speaker 3: You know.
Speaker 1: Oh, that's good, explanding, that's good.
Speaker 2: Did you start playing guitar and singing at a young age?
Speaker 3: Not really, No.
Speaker 4: I was also interested in the arts in all different ways,
you know, like writing and acting and poetry, and I
got into guitar probably about seventeen something like that.
Speaker 3: I played a bit of keyboards, a lover.
Speaker 4: The bass, but it was really a little bit later
on that it's sours of took over, you know.
Speaker 1: Yeah, yeah, yeah, that's unusual. But I assume you know,
once you started playing, you probably picked it up quickly.
Speaker 3: Yeah, that's it. I was kind of possessed by it,
you know. And yeah, very fest.
Speaker 2: You had played. Did you start out on keyboard?
Speaker 4: Yeah, a little bit of keyboards, I think I and
you know, I say play keyboard, I think I could
play van Halen Jump, yeah, Moonlight sonata, yeah, and like
you know, one or two other bits.
Speaker 3: Now.
Speaker 1: The reason I was the reason I was curious is
I've heard so many music professors and instructors say over
the years that no matter what you intend to play
for an instrument, you should learn some just some basic
keyboard first, because and I can see that. Yeah, and
I didn't do that. I didn't do that. I wish
I had, But I've just heard so many people say
that because it, you know, it teaches you how to
in your mind sort of put chords together, and and
what you learn from the keyboard will help you with
any other instrument that you play.
Speaker 3: I can imagine that.
Speaker 4: It's also like visually you can kind of see what's
happened in red, you know, the space between the notes
and things like that, you.
Speaker 2: Know exactly exactly, so.
Speaker 4: You know, I'm writing on the I'm sorts of writing
bits on piano at the minute. And it's also very different,
you know, you know, guitar can sort of be a
very mechanical sort you know, like you kind of hunched
around this thing. It's comfortable to play, of course, but
you know you are kind of like you know, hunch
around it and it's a little bit more physical, where
piano you kind of can sit down and it's all
there in frontier.
Speaker 3: You know.
Speaker 4: It's like when I've I've sometimes have some problems with
me jointing my fingers and so piano I can still
play just fine, you know, but guitar can be a
little bit more taxing, sure, because I've played far too
much guitar, you know.
Speaker 1: Now, So tell us about the single nebukid Nezzar, and
I imagine it's probably doing pretty well over there, right.
It's such a great track.
Speaker 3: Yeah, I think in Liverpool.
Speaker 4: You know, in Liverpool a lot of people know the
words to it actually and stuff.
Speaker 3: You know.
Speaker 4: It's actually it's got a very you know, it's got
a flavor that seems very Liverpool to me, and I
guess that. You know, mostly when I play locally, it's
it's acoustic and and the song works really nicely acoustically
stripped back.
Speaker 3: You know, it sounds a.
Speaker 4: Little bit more Beatles when you when we recorded it,
but yeah, when when I play it, you know, locally,
and it's more stripped back, it's got more of like
a folky sort of feel. You know, and yeah it did.
You know, you can always tell a good song, you know.
This seems to resonate with people. You can see it
very quickly, you know, especially with the musicians, so to
see their eyes light up, you know. And it's funny
actually because it was one of those songs that I
wrote very quickly. It all just came out in one go.
And you know, I used to be able to do
a lot more when I was younger. Right now is
a little bit more ponderous, you know, but but yeah,
there's something to be said for it. I think those
songs that come out very quickly, you sort of channel them,
you know.
Speaker 1: Well also too, if if people are learning the words,
you know, if you're playing it at shows and people
know the words, then you know it's really resonating, you know.
Speaker 3: Definitely.
Speaker 4: Yeah, yeah, that's one hundred percent, because you know, you
get you get songs which are like very pleasant to
listen to, you know, but but when it's got that
catchy thing, there's there's something he said, and that's kind
of you know, that's a view I kind of have
on on art as well.
Speaker 3: In poetry and in stuff. I think I read it.
Speaker 4: It was a guy in like the twenties or something,
was like critiquing the modernist poets, you know, T. S.
Eliot and people like that, and he was saying that,
you know, the flowery language and the mastery of language
that these guys had was amazing, and he didn't want
to critique that, but he said, there's something beautiful about
sorts of the folk poetry of rhyme, which is that
like children could recite this stuff around the fire, you know,
and yeah, and it stuck in the mind and it
furnished their minds with beautiful words, you know, and and
there was something really nice about that. And I think
songs can have that's just's room for everything, but there's
something to be said for that type of stuff, you know.
And that's I always try and put a bit of
focus on rhyme. And I always think if you can
say what you're trying to say and make it rhyme,
then maybe you're onto someting, you know.
Speaker 1: Right, right, absolutely, So, can you tell us more about
the single Nebuchadnezzar? Where where does it come from? And
what are the themes are exploring in the song?
Speaker 4: Yeah, so it's sort of about, like, you know, first
of all, I guess it's like it felt like to
me like it was coming to grips with a lot
of stuff, a lot of like troubles and confusion. That
was like a central theme to it, you know. And
never connessed himself, the old King of Babylon. He was
tormented by dreams, you know, and he's this sort of
conflicting figure who God punishes but also seems to love
because he lets him be redeemed, you know. And that
was what sort of I like the idea, And it's
just a great way, doesn't it from that way straight away?
Speaker 3: You know? And yeah, so it was like sort of
going through it in my own life. It was a
very confusing time. I was I had a kid on
the way.
Speaker 4: I was also going through a new relationship with a
musician which.
Speaker 3: Was total chaos.
Speaker 4: And so yeah, it was like, I guess, the confusing
time in my life, and it all came came about
from that. And also it was when I was quite
like getting back into music. Really it was when I
was what saydy that I got back to and I
used to run a music venue for a long time,
really taken me away from performing. Yeah, it was a great,
famous old place actually it was a recording studio that
it turned into a bar so where cold Play recorded
two albums actually, amongst amongst many others. Yeah, it was
great pastory studios. It was called it Got It Got Bulldoze. Unfortunately,
I would have been quite happy to to try and
buy the venue and life different paths, but instead, when
it closed, I thought, well, maybe I'll try music again instead,
And so for me, NEB also represents like the start
of an adventure, you know, and I think that it
kind of sounds like that a little bit, you know.
I like the trumpet and we added some trumpet in
a Yes, the trump always makes you think it's like.
Speaker 3: A herald, you know, It's like it does.
Speaker 2: Yeah, you're right.
Speaker 4: The King is coming to town and the world trumpet
plays with veagle, you know that's right.
Speaker 2: Yeah, that's true. I hadn't even thought of that, but
you're right.
Speaker 1: Uh yeah, the production, the product, the production is fantastic.
Uh now who did you who did you work with
on that?
Speaker 2: As far as uh production? And is that the same?
Is it the same for the entire album?
Speaker 3: Yeah?
Speaker 4: Mostly it's It was a mixed by Goat and recorded
by a guy called Russell Cottier Soundhouse Recording Studio, which
is an amazing old recording studio, a little hidden gem
actually in Liverpool, not many people seem to know about.
And it was in my hometown, which was just was
really what drew me to. I thought like it was nice,
something nice about that being close to home, and.
Speaker 3: Yeah, Russell done a great job. But actually there was.
Speaker 4: Some of the parts we recorded at another studio as well,
like a home studio, and I think that was the
fiddle parts and some of the harmony parts were recorded
externally from a previous attempt at recording the single. But
like you know, that's the thing. It was like budgets
and stuff defeated. That was a bit limister done what
I could do. So when we got the chance to,
I got picked up with a manager, fuel the Fire,
and they produced the album for me in there.
Speaker 2: Oh wow.
Speaker 3: So having a bit of a budget and stuff together
and a.
Speaker 4: Bigger a bigger crew of musicians to draw from and stuff,
we had another going and put it together and.
Speaker 3: I'm pretty happy with it.
Speaker 4: I'd like to record an acoustic version of it with
a flute or something, but oh yeah, it means still
have happened yet and now.
Speaker 1: This is is this your first this album? Is this
your first release as a solo artist?
Speaker 3: Yeah?
Speaker 4: Yeah, there was a couple of like basic singles put
out in from home studios, but this is the first
proper release really.
Speaker 3: Yeah.
Speaker 1: Okay, Now, now were you playing in bands before? I
know you mentioned you kind of took a break too
from playing because you're running running a venue, But prior
to that, were you playing in bands or maybe during that?
Speaker 3: Yeah?
Speaker 4: Yeah, for a long time, from like say seventeen to
twenty five, I was always mostly as a lead guitarist,
never as a singer.
Speaker 3: Oh really, I done a lot of rights. Yeah, I've
done a lot of writing.
Speaker 4: For chords and things like that, but I've got a
couple of other projects coming out. Actually, so did a
lot of collaborations and league guitar in bands.
Speaker 3: With tons of people in Liverpool.
Speaker 4: But yeah, never really put it forward as you know,
as an artist in my own right. So this was
the first time to really try and do that, you know,
because in Liverpool had sort of been that kind of character.
I was kind of someone who like brought things together,
you know, sort of hosting open mics and putting on
events and sure, and so a lot of my stuff
that I'd done was really all about collaboration and community,
and so it was nice to finally do something that
was kind of like, well, this is more about me
being an artist now, you know.
Speaker 1: Was that always kind of the goal even when you
were playing in bands consistently. Was it always kind of
in the back of your mind that you would eventually
do a solo album.
Speaker 3: No?
Speaker 4: Never, really, I don't think I really had the belief
or the confidence, you know. And then I think as
I was getting older in the venue, didn't warhouse.
Speaker 3: I thought, you know, you better do something, you know, right,
And also, you know.
Speaker 4: It was also that kind of thing of you know, like,
ultimately you've got to take your destiny in your own hands,
haven't you. So I'd played with a lot of bands
that I thought was great, but for one reason or another,
they wouldn't work out, and you know, you would dependent
on four or five other people being on the same page.
So just by necessity, it was like, what if I
want to have a real go with this, I'm gonna
have to do it for myself, you know.
Speaker 1: Yeah, that's the hardest thing I think about being in
a band is you know, I've I've been in a
lot of bands, and it's it's hard when you because
you've got people with varying degrees of commitment and and yeah,
you know, and in terms of what their vision is
for for what you're doing, and and it's, uh, that
can be really challenging. Plus you got to deal with
everyone's schedules and whatnot. So there's so many things, you know, Yeah,
there's so many musicians we've had.
Speaker 3: You know, people people have kids and you know, everything
and it can change.
Speaker 1: Things, you know exactly, and also people.
Speaker 3: People see it. You know. For me, it's very important,
you know.
Speaker 4: It's the kind of stuff I just think about all
the time, you know, not just just music, but also
like writing little poems and things. You know, it's just
sort of how I live, you know. And it also
sorts of occurred to me in the end that it's
unrealistic to expect anyone else to have that same.
Speaker 3: Right, right, maybe you know.
Speaker 1: Now you did mention, so you're going to be doing
going forward. You are going to be doing some more
collaborating though, So I like, what what's kind of the
is the solo is the solo stuff that you're doing,
is that kind of the main priority, and the other
things are ancillary or or.
Speaker 3: How do I think I'll do them.
Speaker 4: I'll do them as a you know, under my own name,
as a collaboration maybe with with some of the artists
I'm looking and I'm actually planning at the minute to
go to a sort of farm on the Southwest and
do something kind of routine, you know, with a maybe
live take a little bit of it.
Speaker 3: Because there's two dimensions to me.
Speaker 4: I supposed to grew up as a bit of a
rock but as I've got older and I've supposed to
become a bit folky. Yeah, I guess we had to
talk with the two. But I feel like with the album,
I was able to get a lot of the rock
stuff helped me system. And now I'd like to do
something maybe a little bit more routine and you know,
and also, you know, like a lot of the stuff
on the album, it's a little bit I don't know,
like the subject matters and stuff, and often a little
bit self indulgent, you know, it's offing about offing about me.
I'd like to do something maybe a little bit more
about the world, you know. Notice, but if it's a
crazy time in the world, you know.
Speaker 3: I've noticed especially where you are, man, you know.
Speaker 2: You're you're not getting dude, You're not kidding.
Speaker 4: And also you know, like also like the rise of
AI and stuff like that, and you know, I don't
even want to I don't even want to put you know,
value dridgones and everything. I just kind of want to
maybe step back and just observe and just sort of
write what I'm seeing, you know, and not you know,
try and get pretty earth and but you know, just
sort of say what I see.
Speaker 3: You know, is that.
Speaker 1: Something that you're concerned about AI in terms of because
that's something we talked about a lot on the show.
Speaker 4: I'm glad you brought it up. Man, I've had some
radical thoughts on it lately. That's piss a few people off,
you know, But I kind of think, you know, you know,
the two ways I could criticize it is like the
technological sides, you know, and what that means for the
industry and that. But really, you know, you know, I
know a lot of successful bands now are playing to
backend tracks, and and you know a lot of people
using plugins instead of real instruments, and and a lot
of people you know, like like there's drum machines out there,
there's I mean, where the line is, I'm not sure anymore.
So that was one side of thoughts about the Technologically,
I was like, maybe actually this is just something that's
always happened. And then the other side of it was
kind of about authenticity. But I really I thought, you know,
like looking at the stage of the you know, like
I always say, Sabrina Carpenter might as well be AI.
Speaker 3: You know, it's like, I don't know what.
Speaker 4: And also even the politicians are all fake, you know,
and and everything seems kind of a little bit in
authentic in the world.
Speaker 3: And so that doesn't really scare me.
Speaker 4: I feel like artists who have got something to say
are still going to stand out, you know, So I
don't know, maybe they eye isn't really something to be feared.
I personally don't fee all too threatened by it.
Speaker 3: You know.
Speaker 4: Also, the industry has been in the industry has been
in a bit of a bad way for a long time,
hasn't it in regards to making any money and stuff
in the way Spotify, you know, I see that with
Spotify a lot, you know, like when I was there
trying to promote the album I'd sort of fall prey
to these things on social media, and you'd see these
guys and they'd be talking about, you know, how to
promote your music. And people were getting very good at
like gaming the system almost, you know, so they could
get on these playlists and and and these guys had
like millions of plays. But when I've listened to the music,
I was like, it's so mediocre. I don't know, that's
just my taste. But from my point of view, I
was like, you know, this music must have millions of plays,
But what does that even mean. I don't think anyone's
going to care about this in ten years time, so
what are we even doing here anymore? And so really
with the I I think I'm thinking, what does it
really change? Like what, there's a load of fake music? Well,
there's already a load of fake music made by humans,
you know.
Speaker 3: Right, maybe this is going to shake the tree.
Speaker 4: A little bit, you know, and maybe maybe it's going
to be okay, but really, you know, it's not. It's
you know, I think there's more a fear from AI
for how than how it's going to affect music, you know.
Speaker 2: Right, Oh yeah, A true good.
Speaker 3: Points like what do you think you like it or
do you hate it?
Speaker 1: Well, I'll tell you I I I like what you
said about how you know, AI is already in some degrees,
it's already been there, especially with you know, you have
bands who use backing tracks and plugins and all that.
So it's not as though it's not as though technology
has not been helping artists to kind of I don't
want to say cheat because I don't make any value
judgment about it, but.
Speaker 3: Yeah, yeah, but but.
Speaker 1: But but to kind of enhance the live experience, shall
we say? But that's but but of course, a lot
of that's been forever, Like you know, bands using backing
tracks for backing vocals for example during live shows. I mean,
that's that's been happening for decades. So so there's nothing
new to a lot of it. But it is staggering
to me. Something that I find kind of fun, even
though I feel a little bit guilty about it, is
like going on YouTube and find these AI generated versions
of songs, you know, new versions like uh you know,
like like there's this one uh channel on YouTube where
they make AI generated versions of of hard rock and
metal versions of songs from like the Backstreet Boys, the
New kids on the block, and and the thing is,
I listen to these and they're really good, Like they're
actually really well done and fun to listen to, and
it's like, you know, but knowing that somebody made that. Now, granted,
some of these probably they're made with prompts, but then
they're they're tweaked in certain ways.
Speaker 2: I don't think they're I don't think it's they're.
Speaker 1: That simple, but but it is, you know, it is, Uh,
it's scary because because then it gets you to the question,
if you if you think about it this far, is
there a use for for actual musicians at a certain point.
Speaker 2: If you can, if you can just make.
Speaker 1: AI create whatever you want, whatever it is that you,
as an individual listener want to hear, If that's within reach,
why do you even need other people to make music
for you to listen to?
Speaker 4: Yeah, I think there's definitely, you know, that's where there's
some of these. I think they had the points of
real tension that we should we can talk about, you know.
But also that in itself is nothing new, you know,
like there was tons of industries that would dramatically changed
by technological progress, you know, and often no one really
cared how often people really valued the convenience over anything else,
you know, Like my granddad worked on Liverpool Docks, and
prior to Liverpool's decline in like the seventies eighties, the
Liverpool Docks employed thousands upon thousands of people. And not
only was there there was political things that happened in
the Satchey years that really really celestered the decline, but
besides that, you know, machinery was changed into a way
that a job that maybe needed twenty guys to do
could now be done with one guy with a machine, right,
and there was.
Speaker 3: An inevitability to it, you know.
Speaker 4: And even really some of the processes of globalization, you know,
like England has no manufacturing anymore, and that was because
it was cheaper to do it somewhere else, you know,
and I guess that's happened everywhere. And you know that's
also these processes that have happened. Like part of me
kind of sees all of this is like, well, look,
you know, we all went along with all of this.
You know, for generations, we've all gone along with all
of this. This is this is the bed we've made,
Like we're going to hark and lie in it, you know,
and adapts to it a little bit. Maybe you know,
it's not going away, is the truth. You know, it's
not going away. And they are positives, you know, I've
seen recently, can't what it was coreed, but something popped
up on social media and this guy had Tuesday eyes
to make a graphic novel. And the guy's ideas were great,
and I was thinking, you know, like this is my thing.
You know, Like the music industry is also like very
nepotistic these days, you know, it's very Sometimes it seems
hemetically sealed, you know, it seems like it's an inside
this club, you know. And and and the art can
be like that in lots of ways. And also social
class becomes a big barrier. You know, all the all
the successful musicians, I know, almost always they come from
a wealthy background, you know.
Speaker 3: And so there's.
Speaker 4: A thing like that which is like, you know, this
guy making his graphic novel, he would not have had
the money or the backing to ever make this thing.
But in terms of the ideas and the scenes and
stuff he's playing with, it's very interesting, you know to me.
And I thought, well, you know what this tool has
enabled this person who has something exceptional in the idea,
and this thing would never have been made. And you know,
like so often you see what the industry, whether it's
Hollywood or anything else, is chaining out. You know, there's
for me, there's a there's been a bit of a
decline in quality in the mainstream, you know, and partly
I think that's because of this, these these problems.
Speaker 3: You know.
Speaker 4: It's like, you know, in England, we used to produce
great bands from working class communities like Oasis. You know,
I might have been a fan of Oasis, but I
like it, you know, and I like what they've done.
But you know, I don't know if a band like
Oasis could could exist in this climates anymore.
Speaker 3: You know.
Speaker 1: Yeah.
Speaker 2: Interesting.
Speaker 4: I'm not saying AI the answer to that, but I'm
just saying, look, there's a lot of problems that we're
not solving here. And actually there's some benefits to AI.
There's an element of it which is very democratizing. You know,
he's to learn about that. You know, the idea that
like home studios. Making home studios made music a lot
more accessible to lots and lots of people, which everyone
champion does a great thing. It was very bad for
professional recording studios, you know, like, what do we want
to do here? You know, it's the same for musicians,
and in a lot of ways from the artist's point
of view.
Speaker 3: You know, so often if an artist.
Speaker 4: Wants his vision requires a violin, he has to pay
a violin. It's not and yeah, that's great for this
sort of ecosystem with musicians and stuff. But if he's
not able to do that, he can't make the art.
And maybe the art important, you know, maybe the art
is more important than someone getting paid.
Speaker 3: You know, I don't know, I don't know.
Speaker 4: I'm not saying it is making the you know, going
to be wedded to that idea, And I'm just saying
I feel like there's a bigger conversation here than than
what you often seeing from from local musicians.
Speaker 1: Yeah, because ultimately, you know, one thing that you can't
do is you can't hold back technology.
Speaker 3: So you can't. It's a lose. It's a losing.
Speaker 4: It's like the old Western I always think it's like
the old Western films. You know, you get this old
cowboy and it's super romantic and the railroads coming through
the town, you know, and he's like holding onto the
old ways.
Speaker 3: And we love it.
Speaker 4: It's romantic. It's like we want him to you know.
Ultimately it's the cowboys are over, you know, right right,
or like you know, like medieval nights. I used to
think that was the most romantic thing in the world.
Was like a guy having a soord fight, you know,
and then someone invites invents a gun, and it's like, well,
you know, a different game now.
Speaker 1: Yeah, but yeah you can't, yeah, you can't hold it back,
and it's uh uh.
Speaker 2: So all you can do.
Speaker 1: And you know, the music industry I think already learned
this lesson once, maybe not well enough, you know, because
I remember when you know, I'm old enough to remember,
or when when Napster first sappened, and you know, and
everybody in the music industry was freaking out, Oh you
can just fileshare, you can all this music is free.
Speaker 2: Now, you know, what, what what are we going to do?
Speaker 1: You know, because at the time I was working for
I was a manager for a retail chain here and
here in the States called Strawberries, which later became absorbed
into another larger music retail chain. But that was but
that there was panic, I mean, there was absolute panic
in the industry and the company that I worked for.
It was like, well, why are people going to come
in and buy CDs now?
Speaker 3: You know, yeah, yeah, exactly exactly, you know so.
Speaker 1: But but you can't. You can't stop it, you can't
hold it back. All you can do is adapt and
try to figure it out. And I think, I think,
but I think we're at another inflection point with that.
You know, we can't hold it back, so we got
to just figure it out, you.
Speaker 3: Know, And yeah, you got to decide what what it means.
Speaker 4: You know, yeah, I guess, like, you know, I kind
of I respect, I'm not going to say pass. And
I see a lot of people who are sort of
trying to draw a line in the sun and saying
we're gonna we're gonna keep this. You know, we're gonna,
you know, people who mess around with AI, We're gonna
kind of gate keeping them.
Speaker 3: We're gonna say, you know, no, that's not cool.
Speaker 4: You know, we're gonna we're gonna ostracize it in some
way or you know, close ranks. And I'm like, yeah, cool,
you know, like make your stand. But you might just
be that old cowboy, you know, right, you're gonna get railroaded,
you know, And really like, like I said, I really think,
like I really think if you if you can try
and get back to the art form more because you know,
so much music now is just commodity. You know, so
much pop music, you know, the Sabrina Carpenter stuff is
just commodity. Like there's not I mean, it's interesting in
a way. Popular culture is always interested in as a
way of understanding society, you know, and where it's at.
But as far as I can see it where it's at,
it's not a great place already. And a lot of
the art is just commodity. And it's really difficult because
you know, at least in like the sixties and stuff,
you know, some of the popular stuff that was breaking
through was was really artistically viable, you know, like Dylan,
Bob Dylan, I mean he's writing lyrics in those early
years that are up there with like T s Elliot
and all these poets.
Speaker 3: You know.
Speaker 4: It's like, yeah, you know, And that's what I think
is like a I will be able to replace Sabrina Carpenter,
but I'm not sure he could replace Bob Dunna.
Speaker 2: Yeah, that's a good point for the.
Speaker 3: Next Bob doing.
Speaker 4: The next Bob done you know, whatever the future version
of of a great artist is, I'm not sure it'll
be able to do that. I think it will always
be playing catch up too, you know, those sorts of humans,
you know.
Speaker 1: Yeah, because without everything that came before it, it has
nothing to draw from, so it needs.
Speaker 4: Exactly Yeah, so maybe it'll drive innovation and it'll ye
And also, you know, I find it, you know, even locally,
like you know, I'm not trying to to break into
some pop thing or to be a mainstream thing at all.
Speaker 3: You know, I don't really think it's viable for me, but.
Speaker 4: I certainly have found there's still a lot of people
who are who are looking for something, you know, the
maybe is trying to be a little bit more artsy
or something, you know, and there's still a place for.
Speaker 3: It, you know. Yeah, And you know it's maybe it'll
carry on like that.
Speaker 4: You know, maybe it'll be something that forced people to
really think about what does matter in a work of art.
And if you really don't like the idea that a
computer is making it, well, what do you like about
the fact that it's a human making it? And you know,
maybe we have to start actually making some distinctions, you know,
I think.
Speaker 3: That's gonna happen. But you know, it's an interesting thing
to think about.
Speaker 1: It is it is, it's it's a very interesting time
to be alive. That's that's for sure. Well, Paul, this
has been wonderful. I love the album. I do want
so I'm going to count for absolutely. So I'm going
to kind of put you on the spot here because
in a moment after we let you go, I'm going
to play another track from the album to close out
the segment. But obviously we did play the single Nebukodnezzer
to open. But what song would you like us to
play at the end of our conversation.
Speaker 3: There's there's two.
Speaker 4: You know, I have some conflicted feelings on the album.
There's a lot of things that didn't quite it's a
difficult times, to be totally honest with you. A lot
of health problems while I was trying to make it
and stuff. Yeah, and just a lot of complex things,
you know. But but you know, there's a few bets
that came out. I think there's one song called why
Go Home, and there's this song there called linger On,
And I think those ones that are interesting to me,
maybe not the the catches or anything. But I think
they they're the ones that came out that I really like, you.
Speaker 3: Know, you know what I have The album just has
too many styles.
Speaker 4: On it, you know, I seem to be something, honest, Yeah,
my health was getting so bad I started this is
so dramatically, so typical of an artist. I'm a lot better.
Know by the time, I thought that, you know, I
might make this album and just die, you know. Yeah,
well no, because I'm still alive, you know, but yeah,
being a dramatic artist, you know. But yeah, you know,
like I was, I was just kind of like, well,
you know what, I'm just going to record all my
favorite songs that I never recorded over the last ten years,
and I'm just gonna put them all on there. And
maybe that should have been three EP's or something. Stylistically,
it's a bit all over the place, but yeah, I
Go Homes a nice country track, and linger On's kind
of like a weird little pop pop sort of folky thing.
Speaker 3: I don't know, I'll have time.
Speaker 2: I'm actually I'll play both of them. I'll play both
of them.
Speaker 1: At the end of.
Speaker 3: I wasn't hanging for that. I just couldn't decide.
Speaker 1: Yeah, yeah, that's that's okay. No, I'll play both of them.
We'll have time.
Speaker 2: I would love to awesome, Paul.
Speaker 1: Where's the best place for people to go online to
keep up with everything that you are doing.
Speaker 4: So right now? Just YouTube? Man or Spotify? I guess
you know, I have a Facebook. I don't really engagement
with social media right now. I'm kind of like I
had some problems with Instagram and it closed down the accounts,
which was quite oh really a lot of followers on there? Yeah, yeah,
I had a lot of followers on there. But I also,
as you can tell me thoughts on a I am
sort of in a place where I'm sort of trying
to figure out what it all means.
Speaker 3: Man. Yeah, I'm just trying to figure out what where
to go next.
Speaker 4: And I think i'd like to maybe start building on YouTube,
you know, especially when I do this new thing. I
was saying, I'm going to go to the Southwest and
do a channel Paul McCartney's RAMI hangout on a farm
and make music on YouTube.
Speaker 3: Yeah. I think I pall on YouTube and film a
lot of stuff.
Speaker 4: So you could subscribe on YouTube or That'll probably be
the one for now, and then at some point they'll
be there'll be more socials when I'm here with the
next project.
Speaker 1: Yeah, out outstanding, outstanding. All right, well, Paul Nazoli, No
that's not right, is it?
Speaker 3: Ill man?
Speaker 2: How do I say it?
Speaker 3: Nas?
Speaker 2: Nas nas?
Speaker 1: Okay, thank you, and I'm sorry for butchering your name.
I'm in America.
Speaker 3: I don't worry. We don't mostly in Liverpool. I understand
it used to be.
Speaker 2: Well, Paul, thank you so much for joining us. This
has been wonderful. We will definitely have to do that
on Absolutely, we'll have to do this again in the future.
Speaker 1: And yeah, we're gonna we're gonna play both of those
tracks from the self titled album.
Speaker 2: Very very very cool.
Speaker 1: I listened to the whole thing and I love it
so great great, absolutely, so we'll hit those tracks. We'll
let you go for now, Paul, thank you so much,
and we'll talk again soon.
Speaker 2: I'm sure.
Speaker 3: All right, thanks a lot.
Speaker 1: You got it YouTube, bye bye, all right, wonderful. So
we're gonna play We're gonna go ahead and play both
of these. By the way, if you are listening live,
stick around if you are listening on Saturday, because in
the third hour, gen X is gonna be joining us
from the band generations and really looking forward to talking
with her.
Speaker 2: But yeah, we'll play.
Speaker 1: Uh, we'll play both of these. Let's do this one first.
This is called Why Go Home.