I've just published the May podcast. This is a very self-indulgent one since the interview is of, erm, me. This was brought forward from June 2008 because we've been having discussions on the old-style email list about the content and the amount of "off topic" postings and the like, and it seemed very timely to put my interview out this month. Apologies to Dave and Sue, and indeed for all those awaiting part two of their interview. That'll be next month - and I assure you it's worth the wait. Many thanks to Nick Lane for his help with the podcast and his encouragement. Paul.
Excellent Paul enjoyed the choice of tracks and an insight to your motivations behind what you provide for all us Looneys on the Bus. Particularly weird hearing my own voice in there to boot. I can see why many actors and musicians never listen or watch themselves once a piece of work is completed. Mr Lane is an excellent deputy interviewer, perhaps he can act as roving reporter for the Podcast
I thought your voice was very easy to listen to actually, and thanks very much for sending it in. I absolutely hated hearing my voice for the first couple of podcasts but I've got used to it now. In fact I have just spent 80 minutes playing podcast 9 over the hifi quite loud to see if there's anything I can do to tighten up the audio, which was quite masochistic really...
Funnily enough when I first moved from Horsham in Sussex back to Scotland my voice got me into a lot of fights with the kids in my school, all because I sounded posh and English. My sister on the other hand adopted the local accent within two weeks of moving to Linlithgow and fitted in straight away, much to Mothers chagrin. Now a days my accent is more of a Heinz variety :wink:
I had the same trouble moving from Preston Lancs to Peterborough aged 13, I lost count the amount of fights I had over the difference in accent!! Crazy times but a massive learning curve so early on in life...:11:
I and I Thoroughly enjoyed Number 9. Apart from the obvious excitement of finding out the truth behind the enigmatic mystery that is PD, the alphabetical conjunction of "I'll See You Again" and "If" made my day. Two great songs which in themselves display the range of Roy's talent for hitting the mark. Although, like you, I love the long rambling material, those two succeed for their very simplicity. Oh yes, and I shall be recommending Nick Lane as a replacement the next time Jonathan Bleedin' Woss's contwact is up for wenewal.
No9 was good Paul, it was great to get more of an insight into yourself and some history of how you ended up setting up Stormcock.net, and a great job of interviewing by Nick Lane..
Great interview, Paul and Nick! Enjoyed the selection of songs too. The whole thing kept me amused for nearly all of my long wait for my blood test this morning.
I listened to this latest podcast today with a couple of bottles of cider whilst making Sunday tea for the family. I really enjoyed it. The podcast was pretty good too! Nick's interview with Paul was far more interesting than I'd anticipated - I now have a much greater appreciation of the work Paul has done. Thanks Paul! Good stuff. I may even feel inspired to send a few spoken words!
Thanks, Friar! Spoken words would really be appreciated; I think they add a lot to the texture of the podcast but people are (understandably) reluctant to send such things in.
Hi Paul - enjoyed this a lot and will TRY to do some phone-in feedback. One question from your playing "White man" from "Les Cousins" . Does anyone know why, when the introductory ramble is the one which was edited down for "Flat Baroque", and goes on about how the song needed to be done live for the FB&B album to do it justice, the actual song on "Flat Baroque" is not the version Roy played at "Les Cousins"after his "You're on the record now...striking a match..." epic intro. And if it is a studio cut, why stick with the pretence of a live performance. Does it say anything about Roy's "integrity"? Does it matter in the least? (I promise that if I do phone the feedback line it won't be to obsess about this!) Cheers Alan
Regarding "White Man", you're right in saying that the version on the album is different from the one at Les Cousins. The liner notes for Les Cousins say that White Man was recorded twice due to a string break. I can't say what ended up happening... maybe the one that I played on the podcast, from the Les Cousins album, was the one that was rejected though some splicing recovered the intro and outro. In the back of my mind I have a collection of reading, or being told, that in fact the one on FB&B was re-recorded in the studio after deficiencies were found in the live tapes. But I can't find this recorded anywhere at the moment. Can anyone recall this?
Accents are weird things -but endlessly fascinating to me. When we moved to Inverness from Bolton my daughter was five and just starting school. We lived next door to a family who'd moved up from London and Belle spent all summer playing with their daughter. So when she was playing, she'd talk London, when she was talking to us, she'd speak Boltonian, and she would do her reading homework in broad Invernessian!
