1 00:00:00,204 --> 00:00:05,841 Nick is never the same place twice and you don't know what the hell, where is he? 2 00:00:05,841 --> 00:00:07,182 What's happened? 3 00:00:07,263 --> 00:00:08,645 what, what, what? 4 00:00:08,645 --> 00:00:10,087 There's no rhyme or reason. 5 00:00:10,087 --> 00:00:13,130 It's gonna be different every night. 6 00:00:19,918 --> 00:00:23,149 Hello and welcome to the Keyboard Chronicles, a podcast for keyboard players. 7 00:00:23,149 --> 00:00:27,244 I'm your host David Holloway and I'm super pumped to be here with you. 8 00:00:27,244 --> 00:00:30,807 Welcome to part two of our interview with Larry Mullins. 9 00:00:30,807 --> 00:00:37,232 If you've listened to part one, there's a reason why you're back and that's because Larry has some absolutely fascinating stories. 10 00:00:37,232 --> 00:00:45,888 In this second part, we dig again deeper into his work with Nick Cave, some of the most innovative and diverse desert island dish you'll get. 11 00:00:45,888 --> 00:00:48,113 and a massive amount in between. 12 00:00:48,113 --> 00:00:51,650 So you do enjoy part two and I'll see you at the end of the show. 13 00:01:03,354 --> 00:01:04,095 Great to speak to you. 14 00:01:04,095 --> 00:01:04,845 Thank you, Larry. 15 00:01:04,845 --> 00:01:08,868 so just going back to the chronology a little bit. 16 00:01:08,868 --> 00:01:12,291 it was not long after you, please correct me if I'm wrong. 17 00:01:12,291 --> 00:01:15,884 When you were playing with Iggy and Sonja, you then went on to meet Lou Adler and stuff. 18 00:01:15,884 --> 00:01:22,638 Tell us about that phase and where perhaps keyboard started to creep into things in your career a bit. 19 00:01:23,239 --> 00:01:32,086 Well, one of the big regrets of my lifetime is that I never took piano lessons as a child. 20 00:01:32,226 --> 00:01:33,231 No one ever 21 00:01:33,231 --> 00:01:35,271 pointed me in that direction. 22 00:01:35,671 --> 00:01:40,731 You know, my instructor had me so focused on percussion and God bless him. 23 00:01:40,731 --> 00:01:53,731 I very good at playing xylophone and marimba and vibraphone and sight reading and learning how to play even modern classical music. 24 00:01:53,731 --> 00:01:59,551 So I understood a 12-tone scale and the keyboard. 25 00:01:59,551 --> 00:02:02,351 But I grew up with 26 00:02:03,544 --> 00:02:07,407 I can play with four mallets on vibraphone and all that kind of stuff. 27 00:02:07,407 --> 00:02:12,707 I have that technique, but I never learned the ten finger piano. 28 00:02:12,707 --> 00:02:13,832 I never did that. 29 00:02:13,832 --> 00:02:16,974 And God, I wish I had. 30 00:02:18,276 --> 00:02:26,883 But I do understand, I studied music theory and I understand designing chords and scales. 31 00:02:26,883 --> 00:02:29,339 of course I'd studied all my scales and all that stuff. 32 00:02:29,339 --> 00:02:31,907 I understand harmony and 33 00:02:31,907 --> 00:02:37,690 but I just didn't have that technique, that muscle memory technique. 34 00:02:37,690 --> 00:02:43,794 And I never needed it in my career, really. 35 00:02:43,794 --> 00:02:56,481 Once I started playing with Michael and Swans, I suddenly opened that door back again with, you know, I owned a vibraphone and I got a xylophone and a marimba. 36 00:02:56,481 --> 00:03:00,643 And so we started using all that stuff in Swans. 37 00:03:01,783 --> 00:03:11,269 And Michael didn't really understand any of that theory in terms of how to build harmony, harmonic structures and weird chords and stuff like that. 38 00:03:11,269 --> 00:03:13,090 And he understood that I did. 39 00:03:13,090 --> 00:03:20,334 And so we started really combining like what he imagined, but what I knew how to do. 40 00:03:20,334 --> 00:03:22,755 And I can translate. 41 00:03:22,836 --> 00:03:25,698 You mean this and you're talking about things like that. 42 00:03:25,698 --> 00:03:28,237 And let's get into Steve Wright kind of stuff. 43 00:03:28,237 --> 00:03:30,689 And he kind of opened the door for that stuff. 44 00:03:31,490 --> 00:03:36,363 then we eventually got into, we made this other band called Angels of Light. 45 00:03:36,363 --> 00:03:41,919 And then I used keyboards, like full on, like organs and stuff like that. 46 00:03:42,000 --> 00:03:46,583 And then the whole can of worms was open at that point for me. 47 00:03:47,024 --> 00:03:53,303 Nick knew, I knew all the Bad Seats guys for the last 35 years. 48 00:03:53,303 --> 00:03:55,171 I toured with them. 49 00:03:55,471 --> 00:03:57,081 a lot with Iggy. 50 00:03:57,081 --> 00:03:58,911 We did lots of shows together. 51 00:03:58,911 --> 00:04:03,211 don't know how, probably 30 or 40 shows we played together. 52 00:04:03,211 --> 00:04:11,971 And from the first time we played together, I met all the guys in that band and became very close friends with everybody, particularly Thomas, the drummer. 53 00:04:11,971 --> 00:04:12,991 And so I knew them. 54 00:04:12,991 --> 00:04:14,651 I've known them all this time. 55 00:04:14,651 --> 00:04:23,931 At one point, Thomas was having some health problems and they all wanted me to come in and fill in for him. 56 00:04:24,091 --> 00:04:25,187 And he had said, 57 00:04:25,187 --> 00:04:30,230 you gotta get me to do, he wanted me to do it, to fill in for him at that time. 58 00:04:30,230 --> 00:04:39,194 And so they were all asking and I couldn't do it because I'd come back to working with Iggy and I was playing in the Stooges. 59 00:04:39,935 --> 00:04:53,652 And so we were kind of, the whole Stooges thing was also kind of a, it was also a sort of relationship healing thing for me and Iggy because we had had sort of an unpleasant split 60 00:04:53,652 --> 00:04:55,043 up, breakup. 61 00:04:55,297 --> 00:05:07,820 And so him asking me to come back in with the Stooges was 50 % sort of relationship healing, friendship healing, and 50 % just get the job done and playing. 62 00:05:07,820 --> 00:05:09,931 But it was also a lot about us. 63 00:05:10,031 --> 00:05:11,241 It was on stage. 64 00:05:11,241 --> 00:05:19,394 We were literally apologizing to each other and fixing our relationship. 65 00:05:19,394 --> 00:05:20,534 It was awesome. 66 00:05:20,534 --> 00:05:25,263 And so I had to tell the Bad Seeds, no, can't, under no circumstances can I. 67 00:05:25,263 --> 00:05:28,084 interrupt what's happening right now. 68 00:05:28,704 --> 00:05:42,287 but, you know, Steve McKay passed away, the saxophone player, and that pretty much that was the last straw with the Stooges, like we knew it couldn't continue as a group without 69 00:05:42,287 --> 00:05:42,607 him. 70 00:05:42,607 --> 00:05:46,948 And so Iggy closed the, he shut the whole thing down. 71 00:05:47,268 --> 00:05:53,830 So that was more or less the end of our working relationship and a natural end. 72 00:05:53,998 --> 00:05:55,338 and it was all fine. 73 00:05:55,338 --> 00:06:01,760 But right after that, Nick had come to me asking if I could come in and play. 74 00:06:01,760 --> 00:06:05,341 But at that time, Thomas had come back and was physically all right. 75 00:06:05,341 --> 00:06:06,581 He was playing drums. 76 00:06:06,581 --> 00:06:12,843 But Nick wanted me in the band as a character or something, just as a friend or something like that. 77 00:06:12,843 --> 00:06:19,845 He wanted somebody in and he knew that I could play keyboards and vibraphone and stuff and sing. 78 00:06:19,885 --> 00:06:23,608 And he was looking for that specific. 79 00:06:23,608 --> 00:06:24,899 And so he asked me to do it. 80 00:06:24,899 --> 00:06:28,131 And so I came in and I'm still doing it now. 81 00:06:28,131 --> 00:06:28,958 been nine years. 82 00:06:28,958 --> 00:06:30,603 I've been nine years with him. 83 00:06:30,603 --> 00:06:31,718 Which is amazing. 84 00:06:31,718 --> 00:06:34,165 And I'm really fascinated. 85 00:06:34,165 --> 00:06:40,710 So for the sake of our listeners, I can't imagine there are many listeners out there that aren't aware of Nick Cave and the Bad Seeds. 86 00:06:40,710 --> 00:06:50,206 But for those that are our Australian listeners, they particularly understand how iconic Nick is to the music history here and so on. 87 00:06:50,206 --> 00:06:53,052 But I'm fascinated as a first question. 88 00:06:53,052 --> 00:06:59,456 Larry, I don't believe you could get two more different bandleaders than Iggy Pop and Nick Cave. 89 00:06:59,456 --> 00:07:04,688 What different approaches do they take as bandleaders that you have learned from? 90 00:07:04,969 --> 00:07:14,454 Well, Iggy is a bit more like he is like he he doesn't involve himself so like he never comes to sound checks or things like that. 91 00:07:14,454 --> 00:07:19,417 He keeps himself secluded a lot, which I think is a good thing. 92 00:07:19,417 --> 00:07:20,628 And he knows it's a good thing. 93 00:07:20,628 --> 00:07:21,734 It helps him. 94 00:07:21,734 --> 00:07:25,677 focus and incubate his whole being. 95 00:07:25,778 --> 00:07:40,271 So when he comes out of his chamber, he is ready to go, ready to explode, and he is really super focused, and he's just a, he's a bolt of lightning, you know? 96 00:07:40,312 --> 00:07:43,839 And he tends to keep it that way. 97 00:07:43,839 --> 00:07:47,098 I mean, there were times, there were some times where we... 98 00:07:47,580 --> 00:07:52,454 where we worked and chiseled on things a bit together as a unit of the band with him. 99 00:07:52,454 --> 00:08:04,564 But for the most part, I always felt like he really, really strictly limited his time and his involvement in spending too much time working on things. 100 00:08:04,564 --> 00:08:16,844 He really, really cherishes spontaneity and the moment, and he tries to preserve his energy just for this kind of stuff. 101 00:08:16,946 --> 00:08:22,546 Whereas Nick is a great, he's a bit more of a musician, believe it or not. 102 00:08:22,546 --> 00:08:27,406 He's a really good musician and he plays piano and stuff like that. 103 00:08:27,406 --> 00:08:33,846 He's gotten much, much, much better over the years and he's worked really hard at playing piano. 104 00:08:34,486 --> 00:08:44,526 But he has a great harmonic sense and he can sing falsetto and he has a wide vocal range. 105 00:08:44,526 --> 00:08:45,898 I think he's a 106 00:08:46,224 --> 00:08:50,256 way much more complex musician than people imagine. 107 00:08:50,257 --> 00:08:53,319 And he's really smart musically. 108 00:08:53,840 --> 00:08:57,882 I think he has really great intuition about arranging. 109 00:08:58,963 --> 00:09:02,285 But when he's on stage, it's different story. 110 00:09:02,285 --> 00:09:14,298 He is in that same vortex that I was talking about with Iggy, because the moment he comes out on stage, is, if anything, a 111 00:09:14,298 --> 00:09:16,569 He's actually a bit more out of control. 112 00:09:16,569 --> 00:09:22,123 He's a bit more wild, feral entity. 113 00:09:22,123 --> 00:09:36,932 Because Iggy is, over the years, Iggy had, the thing that I'd learned from him was that he had kind of mastered this adrenaline zone over the years that he actually, as wild as he 114 00:09:36,932 --> 00:09:40,113 always was on stage and carnal. 115 00:09:41,488 --> 00:09:53,363 He had a choreography in his shows, a basic choreography that he had internalized and memorized. 116 00:09:53,483 --> 00:09:57,845 So like from song to song, we would do the same set every night. 117 00:09:57,845 --> 00:10:02,226 And from song to song, he knew he needed to be from there to there. 118 00:10:02,226 --> 00:10:09,069 He would always be in roughly the same positions on stage, the same locations maybe. 119 00:10:09,089 --> 00:10:11,394 And possibly even making 120 00:10:11,394 --> 00:10:26,827 similar moves as wild as it all seemed, but he had a pattern that he, a choreographed pattern that he had somehow memorized in his adrenaline, adrenalinized state. 121 00:10:26,827 --> 00:10:29,729 was incredible that he was able to do this. 122 00:10:29,950 --> 00:10:31,911 Whereas Nick doesn't do that. 123 00:10:31,911 --> 00:10:37,616 Nick is never the same place twice and you don't know what the hell, where is he? 124 00:10:37,616 --> 00:10:38,466 What's happened? 125 00:10:38,466 --> 00:10:40,400 Like what, what, what's 126 00:10:40,400 --> 00:10:43,353 He's never, there's no rhyme or reason. 127 00:10:43,353 --> 00:10:46,095 It's going to be different every night. 128 00:10:46,095 --> 00:10:51,479 He'll come in the wrong place in a different way on every song, every night. 129 00:10:51,479 --> 00:10:55,543 And it's just, you better be seriously paying attention. 130 00:10:55,543 --> 00:11:01,267 Like at first I thought, he's, you know, I'd seen him play 50 times. 131 00:11:01,267 --> 00:11:02,698 I'd seen the show 50 times. 132 00:11:02,698 --> 00:11:08,433 I know what he does, but I didn't realize it was like that at first. 133 00:11:08,433 --> 00:11:09,994 I just figured, he's, 134 00:11:10,310 --> 00:11:12,592 I get it, I know what this is gonna be. 135 00:11:12,592 --> 00:11:13,843 And boy, I was wrong. 136 00:11:13,843 --> 00:11:16,174 It's like, it's never the same. 137 00:11:16,174 --> 00:11:22,589 So you have to watch him like a hawk all the time, all the time. 138 00:11:22,589 --> 00:11:27,042 You can never take your eyes off of him in a show. 139 00:11:27,042 --> 00:11:33,806 And I realized that as a keyboard, I was the organist, the keyboard player for many years. 140 00:11:33,987 --> 00:11:39,010 And then at a certain point, Thomas's health situation came back. 141 00:11:39,876 --> 00:11:45,190 And Thomas made the big decision that he didn't want a tour anymore. 142 00:11:45,591 --> 00:11:56,849 And so, and then, you know, we had a big meeting about this and the day that this went down, Nick came to me and said, you have to move to drums now. 143 00:11:56,849 --> 00:12:00,902 And I'm like, God, okay. 144 00:12:01,303 --> 00:12:05,345 And I didn't really realize what a responsible, what a, 145 00:12:06,258 --> 00:12:16,798 flip-flop of responsibility this was going to be because as a keyboard player, well, I was best friends with Thomas and so I could, and I'm a drummer, so my timing was super locked 146 00:12:16,798 --> 00:12:19,438 in and good and natural with Thomas. 147 00:12:19,458 --> 00:12:22,348 But I didn't really have to pay so much. 148 00:12:22,348 --> 00:12:25,738 I didn't feel like I was carrying much responsibility. 149 00:12:25,738 --> 00:12:32,838 I could just play organ, you know, wild and just keep an eye on Nick and have fun with it and go crazy, you know. 150 00:12:32,838 --> 00:12:36,124 But playing drums, it can't be like that. 151 00:12:36,124 --> 00:12:44,001 playing drums, it's like, I'm running, I'm running the show and I feel the weight of everybody. 152 00:12:44,001 --> 00:12:46,783 Like we've got 10 musicians on stage. 153 00:12:46,783 --> 00:12:50,446 We're 10 people on stage and the shows are big now. 154 00:12:50,446 --> 00:13:00,113 And it's like, if we've got a 25,000 seat arena with 10 musicians on stage and Nick is all over the place. 155 00:13:00,594 --> 00:13:03,455 I have to steer the boat. 156 00:13:03,455 --> 00:13:05,698 I have to steer the ship and 157 00:13:05,822 --> 00:13:09,303 And boy, feel that. 158 00:13:09,784 --> 00:13:11,024 I feel that. 159 00:13:11,024 --> 00:13:14,506 And I assume this current tour, Larry, you're on drums still? 160 00:13:14,622 --> 00:13:15,466 I'm on drums. 161 00:13:15,466 --> 00:13:15,916 Yeah. 162 00:13:15,916 --> 00:13:18,648 So you've got, think Carly's playing keyboards, is it? 163 00:13:18,648 --> 00:13:19,478 Yeah. 164 00:13:19,478 --> 00:13:22,009 Carly Caradis. 165 00:13:22,009 --> 00:13:28,652 So let's go back to those, if you don't mind, just to those Nick Cave tours where you were playing organ and so on. 166 00:13:28,652 --> 00:13:33,674 Again, for those that are aware of Nick's work, it is incredibly diverse and it's 167 00:13:34,246 --> 00:13:37,547 can be dramatic, cinematic, dark. 168 00:13:38,347 --> 00:13:43,928 What different approach did you need to take as a keyboard player when you joined him? 169 00:13:44,569 --> 00:13:53,131 Well, I mean, as you probably know, technically with the Bad Seeds, technically the music is not complicated. 170 00:13:53,911 --> 00:13:57,352 There are never any key changes in the songs. 171 00:13:57,392 --> 00:14:01,573 The chords are relatively simple. 172 00:14:01,733 --> 00:14:04,054 It's not overly complex. 173 00:14:04,464 --> 00:14:06,065 voicings and things like that. 174 00:14:06,065 --> 00:14:11,057 It's like fairly straight up simple songwriting. 175 00:14:11,858 --> 00:14:21,114 It's more about the lyrics and his character and of course on stage it's going to be his performance as a character. 176 00:14:21,114 --> 00:14:25,846 People can't take their eyes off of him and that's what it is. 177 00:14:25,906 --> 00:14:31,306 So the music is like structurally fairly basic and traditional. 178 00:14:31,306 --> 00:14:32,950 So it's not complicated. 179 00:14:33,170 --> 00:14:36,590 And that was good because like I said, I never took piano lessons. 180 00:14:37,070 --> 00:14:49,149 So, it was not, it was still a challenge for me to even expand my poor little pea brain of knowledge to start using my 10 fingers and things like that. 181 00:14:49,149 --> 00:14:55,710 But, sometimes even playing two keyboards at once, like the Mellotron here and the organ with my right hand. 182 00:14:55,710 --> 00:15:03,036 But, but a lot of it was, I realized it's not about 183 00:15:03,036 --> 00:15:17,870 technique or it's not about talent, it's about dynamics and watching him, keeping your eye on him and playing, responding to what he's doing because he's never gonna do it the same 184 00:15:17,870 --> 00:15:19,150 way twice. 185 00:15:19,331 --> 00:15:28,033 Well, he was really wild and crazy at that section last night, but tonight he's really strangely quiet and he's bringing everything down. 186 00:15:28,033 --> 00:15:32,414 it's like, so you have to have command of your 187 00:15:33,206 --> 00:15:42,989 of what you're, you know, the thing you have to have, have to be comfortable and not, you just keep your eye on him and ride his naturally conducted dynamics. 188 00:15:43,029 --> 00:15:44,700 And it will be different every night. 189 00:15:44,700 --> 00:15:47,250 And you have to get fluid with that. 190 00:15:47,511 --> 00:15:52,552 And maybe, maybe skip that whole section and don't, and go from there to there, you know, or something. 191 00:15:52,612 --> 00:15:58,934 But yeah, you have to be really liquid and kind of fluid with him and connect. 192 00:16:00,018 --> 00:16:05,258 And just briefly Larry, what was your keyboard rig when you were on the Keys duties with him? 193 00:16:05,258 --> 00:16:07,418 I know the Mellotron and the Organ. 194 00:16:08,098 --> 00:16:20,128 Yeah, I mean, it's funny, like when he first called me to talk about joining the band, you know, we talked a bit about, you know, about the planning and stuff like that. 195 00:16:20,128 --> 00:16:23,488 And then the next, the last question was like, yeah, and one other thing. 196 00:16:23,488 --> 00:16:25,198 Do you have a Mellotron? 197 00:16:25,198 --> 00:16:27,478 I'm like, whoa, you know, whoa. 198 00:16:27,478 --> 00:16:28,730 And I'm like, I... 199 00:16:28,730 --> 00:16:37,894 I don't, I said I don't own one, but oddly enough, I had been really close friends with Marcus, who owns Melitron in Stockholm. 200 00:16:37,934 --> 00:16:44,257 Marcus has been a really great friend of mine, I guess at that time for 10 years or something, I'd known him. 201 00:16:45,357 --> 00:16:47,878 And he was always, we'd always been talking. 202 00:16:49,859 --> 00:16:56,082 One day I want to buy a Melitron, I'll get one one day, but we used to always hang out and stuff and go to. 203 00:16:56,134 --> 00:16:57,725 go to dinner and stuff and hang out. 204 00:16:57,725 --> 00:16:58,696 were good friends. 205 00:16:58,696 --> 00:17:02,849 And so I said, I don't own one to Nick. 206 00:17:02,849 --> 00:17:10,255 said, but as soon as I hang up the phone, I'm going to call Marcus and tell him that I want that I have to have one now. 207 00:17:10,255 --> 00:17:13,068 So I did, I called Marcus and ordered one. 208 00:17:13,068 --> 00:17:15,509 made me a custom, a custom one. 209 00:17:16,451 --> 00:17:17,992 yeah. 210 00:17:17,992 --> 00:17:23,215 So, and now I have two from Marcus, both custom. 211 00:17:23,516 --> 00:17:25,078 Yeah. 212 00:17:25,078 --> 00:17:25,906 I've gotten. 213 00:17:25,906 --> 00:17:33,070 pretty far down the rabbit hole with Mellotrons now and Marcus. 214 00:17:33,550 --> 00:17:50,279 But yeah, I had a Mellotron and I got a Korg BX3, like an organ, which is something that the Bad Seeds have used BX3 a lot, or CX3 in the records, McHarvey told me. 215 00:17:50,279 --> 00:17:55,882 So that's really, it has a really particular growly 216 00:17:56,530 --> 00:18:03,480 tone wheel sound, those corgs, the first models, the ones from the late 70s, early 80s. 217 00:18:03,480 --> 00:18:15,430 So had one of those and then I had, and I, and you know, with the record that the Batsies had come out with at that time, that Skeleton Tree record and the, and even the Push the 218 00:18:15,430 --> 00:18:24,046 Sky Away record, you know, with a lot of Warren's sort of synth stuff, I, I had had some omni chords, I had 219 00:18:24,046 --> 00:18:26,618 several of these OM27 Omnicords. 220 00:18:26,618 --> 00:18:30,992 And I'm old friends with Daniel L'Enroi. 221 00:18:30,992 --> 00:18:34,995 I've known Daniel since the mid-80s, actually. 222 00:18:34,995 --> 00:18:42,062 And so I met Daniel and the guys working with him at that time, all of his engineers, Malcolm Byrne. 223 00:18:42,062 --> 00:18:52,250 And the first time I saw Daniel play in the mid-80s, he had this guy Malcolm Byrne with him, who was one of his engineers. 224 00:18:53,398 --> 00:18:56,900 and those guys were all into this Omnicord thing. 225 00:18:57,081 --> 00:19:13,209 And they had it all happening and they were running Omnicords through a crazy series of effects to give it this sort of otherworldly galactic harp thing. 226 00:19:13,209 --> 00:19:15,661 And I got way into that even then. 227 00:19:15,661 --> 00:19:18,022 And so I owned several Omnicords. 228 00:19:18,022 --> 00:19:21,694 And so I decided, I set that whole thing up. 229 00:19:22,178 --> 00:19:32,326 I got the Mellotron I got was the big one that had enough cabinet space on the top to put the Omni Chord there. 230 00:19:32,347 --> 00:19:43,436 And I was running it through, I first did, the stack was like a compressor and then through a ring modulator and then into two different analog delays where I could really 231 00:19:43,436 --> 00:19:47,058 expand this thing into this never-ending galactic. 232 00:19:47,079 --> 00:19:51,122 And you know, and I have a technique where I can play the chords 233 00:19:51,952 --> 00:20:02,346 with my pinky or my left two, you know, these two fingers and reach over and play the harp, you know, the glissando harp thing with my thumb. 234 00:20:02,366 --> 00:20:12,290 I can do that with one hand and play the, the Mellotron, the chords on the Mellotron, my right hand and, sort of simultaneously. 235 00:20:12,330 --> 00:20:19,053 It's a really weird technique, but it's a technique that doesn't require any piano technique. 236 00:20:19,053 --> 00:20:21,360 I could do all that without having 237 00:20:21,360 --> 00:20:27,793 piano lessons, you know, and that got me through a lot of those, the newer songs and stuff like that. 238 00:20:27,793 --> 00:20:33,576 I did all that and Nick loved it, you know, so everyone was just like, what the hell are you doing? 239 00:20:33,576 --> 00:20:34,717 What is that shit? 240 00:20:34,717 --> 00:20:43,061 know, and pardon my French, yeah, I, and that's, that's what I'm using on this camisonia record. 241 00:20:43,061 --> 00:20:45,122 That's what all that stuff. 242 00:20:45,520 --> 00:20:45,870 Yeah. 243 00:20:45,870 --> 00:20:49,661 So, mean, you hear the deep, super low bass stuff. 244 00:20:49,661 --> 00:20:51,932 That's the Moog obviously. 245 00:20:52,112 --> 00:20:57,331 And the more synthesizer-y kind of chord stuff, that's that Casio running through. 246 00:20:57,331 --> 00:21:01,674 I'm manipulating that Casio through a million things too. 247 00:21:01,775 --> 00:21:06,216 all that strange, weird sounding stuff, that's the Omni chord. 248 00:21:07,376 --> 00:21:14,828 I sent the record to Adrian Utley and Adrian from Portishead. 249 00:21:14,962 --> 00:21:18,402 And he's a friend of mine. 250 00:21:18,402 --> 00:21:20,202 We've made a few records together. 251 00:21:20,202 --> 00:21:23,182 Adrian is this incredible guitar player. 252 00:21:23,182 --> 00:21:25,242 mean, I guess you know. 253 00:21:25,242 --> 00:21:28,362 And he's an incredible musician. 254 00:21:28,462 --> 00:21:33,342 And I sent it to him, just curious what he would say. 255 00:21:34,462 --> 00:21:39,662 And his first question was like, what the F are you using? 256 00:21:39,662 --> 00:21:41,802 What am I listening to? 257 00:21:41,802 --> 00:21:44,502 It's like, what is this? 258 00:21:44,812 --> 00:21:47,314 And so he didn't know what I was playing. 259 00:21:47,314 --> 00:21:53,588 And I'm like, it's it's the Omni chord, highly manipulated Omni chord. 260 00:21:55,511 --> 00:21:57,752 it sounds timeless, Larry. 261 00:21:57,752 --> 00:21:59,473 It's absolutely amazing. 262 00:21:59,954 --> 00:22:05,038 And I can see how it would work in both the context of your solo work, but also the stuff with Nick. 263 00:22:05,038 --> 00:22:10,662 And you've alluded to, mean, you've mentioned, you mentioned Daniel little while, you've mentioned Porter's Head. 264 00:22:10,758 --> 00:22:15,652 What for the sake of our listeners and viewers, we will be linking to Larry's bio. 265 00:22:15,652 --> 00:22:16,803 It's impossible. 266 00:22:16,803 --> 00:22:26,879 would take us eight or nine hours to cover everything, but I just wanted to do a bit of a scattershot chat with you on a couple of amazing other parts of your career, if that's 267 00:22:26,879 --> 00:22:27,321 okay. 268 00:22:27,321 --> 00:22:32,214 So just tell us about your philosophy around the importance of. 269 00:22:32,400 --> 00:22:36,472 doing things yourself and making it a way to have a viable career. 270 00:22:36,472 --> 00:22:46,318 You know, it's funny that you say that because I just met up with Nigel House here in London two days ago, the guy who started Rough Trade Records. 271 00:22:46,318 --> 00:22:59,015 And we sat down and we, cause I dropped off some records for him and we were talking a bit over some coffee and he, I think he asked me the same question because he was, he read 272 00:22:59,015 --> 00:23:01,774 like on the back of the record there, says that he was like, 273 00:23:01,774 --> 00:23:08,438 I don't think he realized everyone that I'd worked with, but it mentions the residents there. 274 00:23:08,959 --> 00:23:11,020 And he's a big residents fan. 275 00:23:11,020 --> 00:23:17,415 so we got to talking and he knew Michael Girard from back in the day and stuff like that. 276 00:23:17,415 --> 00:23:30,993 like, it's like when I first started working with the cryptic corporation, with the residents and like the, it's like I spent many years working with those guys and work. 277 00:23:31,590 --> 00:23:37,042 They were, they were like some of the hardest working people in the music business I've ever encountered in my life. 278 00:23:37,042 --> 00:23:47,947 mean, that of course, you, if you know anything about them, you know that they started their own record company very early on and they still run it today. 279 00:23:47,947 --> 00:24:01,422 It's like, you know, they've been going for over 50 years, completely independent, you know, and they have chiseled out, you know, a hard earned career and they've 280 00:24:01,458 --> 00:24:06,958 They've created genres, you know, throughout their career. 281 00:24:07,098 --> 00:24:16,368 But between working with them for years and seeing how they tour and conduct merchandise and business and stuff like that. 282 00:24:16,368 --> 00:24:20,608 And then working with Michael from Swans, who also has done the same thing. 283 00:24:20,608 --> 00:24:27,958 He's run Young God Records since he started, I guess in 1980, 81, 82, more or less. 284 00:24:27,958 --> 00:24:31,082 I mean, he was doing things before, even in late seventies, but 285 00:24:31,810 --> 00:24:35,863 he's still pushing young God records today successfully. 286 00:24:36,814 --> 00:24:41,457 you know, today he's more successful now than he's ever been in his life. 287 00:24:41,457 --> 00:24:46,040 And he just turned 70 and he's still going strong. 288 00:24:46,040 --> 00:24:56,988 And, I also have worked for many, many years with a, with a producer in Paris named Bertrand Berguelot, who has his own record has from the beginning. 289 00:24:56,988 --> 00:24:59,870 He started his own record company called trickle. 290 00:25:00,662 --> 00:25:05,765 And he produced my first record, which was released on Trick-A-Tel. 291 00:25:05,965 --> 00:25:09,587 And he's also still going strong today. 292 00:25:09,587 --> 00:25:13,469 He started Trick-A-Tel, I guess, in the early nineties. 293 00:25:13,569 --> 00:25:19,012 So he's looking at 35 years running that label on his own. 294 00:25:19,012 --> 00:25:24,895 He's completely independent in Paris for 35 years, still going. 295 00:25:25,136 --> 00:25:29,328 And it's like, you work with these people and it's just... 296 00:25:29,724 --> 00:25:33,415 I mean, those people inspired me to start my own label. 297 00:25:33,415 --> 00:25:41,987 In fact, my label partner, Guido Ranzio, I met him through the residence, Euro Ralph. 298 00:25:41,987 --> 00:25:43,858 He owned Euro Ralph. 299 00:25:43,858 --> 00:25:56,628 So he was financing and producing, executive producing all of the residence projects from the late 80s, all through the 90s and the end 2000. 300 00:25:56,628 --> 00:25:58,832 So I've known him all that time. 301 00:25:59,066 --> 00:26:11,560 So when he offered to start a record label with me under the umbrella of Euro Ralph, because they had a successful structure with that label. 302 00:26:11,560 --> 00:26:14,571 So he had all of the conduit. 303 00:26:15,270 --> 00:26:18,933 He could just plug in another label title. 304 00:26:18,933 --> 00:26:23,504 You know, they had a staff, had warehouse, they had distribution. 305 00:26:24,006 --> 00:26:27,757 contracts, he could just plug in another label and have a second label. 306 00:26:27,757 --> 00:26:37,734 And he knew that I was a big record collector and really into records and had great contacts with other people around the world. 307 00:26:37,734 --> 00:26:42,776 And he was like, we can make a label, a no brainer. 308 00:26:42,776 --> 00:26:45,838 We could make another label and immediately have something going. 309 00:26:45,838 --> 00:26:51,301 And so he's released this Camisonia record with me. 310 00:26:51,301 --> 00:26:53,222 So yeah, that's 311 00:26:54,243 --> 00:27:01,487 From all those, mean, that's where I've learned like it is possible to, I've helped other people start their own labels. 312 00:27:01,568 --> 00:27:05,190 You know, it's not impossible to do it. 313 00:27:05,190 --> 00:27:08,112 know, it's just a bit of business. 314 00:27:08,232 --> 00:27:11,304 need to learn, there's a little bit of business to learn about it. 315 00:27:11,304 --> 00:27:13,306 But of course these days it's easier and easier. 316 00:27:13,306 --> 00:27:23,012 There's almost no reason to sign away like half of your ownership or percentage to somebody else if you just 317 00:27:23,128 --> 00:27:24,919 figure out how to do it yourself. 318 00:27:24,919 --> 00:27:33,881 It's a matter of you have to take on a little bit more responsibility and work harder at it, but at least you'll own everything. 319 00:27:34,021 --> 00:27:34,921 That's right. 320 00:27:34,921 --> 00:27:42,424 can sell it all to somebody later if you want, but for the time being you can do it yourself. 321 00:27:42,424 --> 00:27:43,404 Exactly. 322 00:27:43,404 --> 00:27:44,974 No, it's great perspective. 323 00:27:44,974 --> 00:27:50,846 And I do want to ask you one question, and again apologies if you've had to tell this story a few times, but I know 324 00:27:50,864 --> 00:28:00,961 Back when you first formed Hit Thing, you re-released some albums, including an amazing 1950s album from Georges Montalba, Hi-Fi Fantasy and Pipe Organ and Percussion. 325 00:28:00,961 --> 00:28:11,137 I just love you to tell the story and it's sort of tragic in some ways about the people behind that album and essentially getting the history of it from someone as they were 326 00:28:11,137 --> 00:28:11,808 dying. 327 00:28:11,808 --> 00:28:14,509 I would just love to hear that story if that's possible. 328 00:28:14,730 --> 00:28:15,706 Yeah. 329 00:28:15,706 --> 00:28:22,568 I mean, with that label, first thing, what we really wanted to do was we were mostly just going to do reissues and things like that. 330 00:28:22,568 --> 00:28:29,090 And I had pillaged a friend of mine who had about 7,000 records in his living room. 331 00:28:29,090 --> 00:28:38,252 I had gone through his entire record collection one Christmas when I was watching his cats and Larry Seven in New York City. 332 00:28:38,252 --> 00:28:43,814 And I had sort of chiseled it down to a few records that I'd 333 00:28:43,814 --> 00:28:57,388 definitely obscure ones that I definitely wanted to do and and he and I were both into pipe organ records organ records and So I knew I wanted that to be kind of an aspect of 334 00:28:57,388 --> 00:29:07,751 our label was going to be organ records and I had found these George Montalba Montalba records and And he came back. 335 00:29:07,751 --> 00:29:08,901 He's like, so what'd you pick? 336 00:29:08,901 --> 00:29:09,821 What would you get? 337 00:29:09,821 --> 00:29:13,136 I'm like, well the main thing I want to put out are these two records 338 00:29:13,136 --> 00:29:16,397 He's like, whoa, you know, you know who that is, right? 339 00:29:16,397 --> 00:29:18,888 I'm like, it's George Montalbaugh, right? 340 00:29:18,888 --> 00:29:21,019 He's like, no, that's just a pseudonym. 341 00:29:21,019 --> 00:29:27,642 Everybody knows that that that's actually Anton LaVey from the Church of Satan that made those records. 342 00:29:27,642 --> 00:29:29,392 I'm like, what? 343 00:29:29,753 --> 00:29:31,143 No, no way. 344 00:29:31,143 --> 00:29:32,924 That's not possible. 345 00:29:32,924 --> 00:29:36,856 I mean, I knew some things about LaVey and the Church of Satan. 346 00:29:36,856 --> 00:29:43,298 used to live in San Francisco and I'm like, there is no way that that is Anton LaVey. 347 00:29:43,474 --> 00:29:56,734 And when you listen to those records, I don't know if you know those records, but if you listen to those records, the level of playing is like triple A, you know, a gene, you 348 00:29:56,734 --> 00:30:03,674 know, an absolute master organist, you know, I'm like, that's not Anton Leveille, who said that? 349 00:30:03,674 --> 00:30:05,554 And then he's like, well, he did. 350 00:30:05,554 --> 00:30:07,574 He said it was him. 351 00:30:07,574 --> 00:30:08,924 like, well, that's a lie. 352 00:30:08,924 --> 00:30:10,114 You know, he's lying. 353 00:30:10,114 --> 00:30:12,746 Anyway, you do, you start to do, I, 354 00:30:13,432 --> 00:30:16,143 So I, you know, I smelled a rat from the beginning. 355 00:30:16,143 --> 00:30:25,865 So I started doing massive amounts of research digging into this and, and I spent a year researching that project. 356 00:30:26,006 --> 00:30:32,227 And I eventually got connected with his daughter, Zena, and met her in Berlin. 357 00:30:32,227 --> 00:30:36,449 And she agreed to do the, booklet with me 50 50. 358 00:30:36,449 --> 00:30:42,040 We would, she would sort of tell her side from the being the child of the church of Satan. 359 00:30:42,702 --> 00:30:54,232 raised in the Church of Satan, but she got a chance to sort of tell her whole side of it and I also but I actually ended up really eventually finding the person who it really was 360 00:30:54,232 --> 00:31:04,551 and I spoke to him on the phone Robert Hunter rest his soul but I found him in the last month of his life and Boy, he was boy. 361 00:31:04,551 --> 00:31:11,086 Did he have some stories his his life was fascinating, but I had I had found 362 00:31:11,180 --> 00:31:15,372 everything about his life prior to finding him. 363 00:31:15,673 --> 00:31:18,494 Finding him was the last piece of the puzzle. 364 00:31:18,494 --> 00:31:27,258 And I found him in a retirement home and he had just been diagnosed with inoperable cancer and was dying. 365 00:31:27,759 --> 00:31:31,041 But it was fascinating. 366 00:31:31,181 --> 00:31:32,862 I met his family. 367 00:31:32,862 --> 00:31:38,905 I went to his wake after he died with his family and it was a very emotional project. 368 00:31:38,905 --> 00:31:40,804 I still have dreams now that we've 369 00:31:40,804 --> 00:31:46,776 resurrected the label of doing like a box set of all of his organ records. 370 00:31:47,556 --> 00:31:49,697 And I've talked to his family about doing it. 371 00:31:49,697 --> 00:31:58,009 just not, we're not back up to speed yet to take on the financial cost of something like that. 372 00:31:58,009 --> 00:32:04,251 But maybe we will do it one day, but he's his life is a massive inspiration. 373 00:32:04,251 --> 00:32:07,422 It's what an adventure he had. 374 00:32:08,390 --> 00:32:16,847 through his life, all kind of in the background, but yeah, somehow I got entangled in the church of Satan. 375 00:32:16,847 --> 00:32:21,761 Thank you for retelling that because it is an amazing story. 376 00:32:21,761 --> 00:32:24,583 I'm going to jump totally somewhere different. 377 00:32:25,164 --> 00:32:34,312 Your alter ego, Toby Dammit, Mark Mothersbaugh from Virmdevo, I love his quote, the asses are masses who need to wear dammit glasses. 378 00:32:34,312 --> 00:32:36,653 Tell us about the origin of that. 379 00:32:37,360 --> 00:32:43,555 Yeah, well, it was actually Bertrand Bergeloff, the French producer that deemed me to be Toby Dammit. 380 00:32:43,555 --> 00:32:53,356 Cause when, when Bertrand started his label, Trick-A-Tale, he didn't have any money or he didn't have any artists on his label yet. 381 00:32:53,356 --> 00:33:04,653 It was just sort of a dream, you know, he was trying, but he really had a fantasy of kind of having this Motown kind of label that would have all these different French singers 382 00:33:04,653 --> 00:33:06,726 and, but have like a master. 383 00:33:06,726 --> 00:33:11,208 Tricotel band that just backed all these different singers. 384 00:33:11,208 --> 00:33:23,093 So you'd have one of these sort of Motown Revue kind of things where he wanted to be able to do these shows with a Kraken soul band and just have these different singers come on 385 00:33:23,093 --> 00:33:25,654 and do one song or two songs and leave. 386 00:33:26,174 --> 00:33:28,375 And that was sort of the dream he had. 387 00:33:28,375 --> 00:33:34,597 But he didn't have the people, but he started, he's really a film buff. 388 00:33:34,597 --> 00:33:36,078 He's really into all... 389 00:33:36,472 --> 00:33:38,794 obscure old cinema and stuff like that. 390 00:33:38,794 --> 00:33:48,973 And he started registering and trademarking a lot of like weird old actor, like weird movie character names. 391 00:33:48,973 --> 00:33:55,158 And one of the names he had registered was Toby Dammit, you know, from the Fellini film. 392 00:33:55,158 --> 00:34:00,492 And he had loads of other weird names, but he was, he and I were old friends already at that point. 393 00:34:00,492 --> 00:34:03,215 And we were out to dinner one night and he was like, look, I've got an idea. 394 00:34:03,215 --> 00:34:05,010 I want to produce a record for you. 395 00:34:05,010 --> 00:34:07,450 And you have to be Toby, damn it. 396 00:34:07,450 --> 00:34:10,370 And I'm like, and it's just going to be percussion. 397 00:34:10,370 --> 00:34:17,390 Like weird, we'll make it like a psychedelic, bizarre percussion record with effects. 398 00:34:17,390 --> 00:34:20,530 But it'll just be all symphonic and electronic percussion. 399 00:34:20,530 --> 00:34:22,890 And that's what we did in Paris. 400 00:34:22,890 --> 00:34:25,030 But so I became Toby, damn it. 401 00:34:25,030 --> 00:34:27,890 And, it just kind of stuck. 402 00:34:28,410 --> 00:34:31,670 I'm still trying to get away from it now. 403 00:34:32,050 --> 00:34:34,802 In France, I'm really. 404 00:34:34,802 --> 00:34:40,202 I'm on a lot of records in France and that they call I'm listed as Toby Dammit. 405 00:34:40,202 --> 00:34:42,972 And so what's the Mark Mothersbo relationship there to that? 406 00:34:42,972 --> 00:34:44,762 He just loves your work or? 407 00:34:44,762 --> 00:34:46,342 Yeah, I knew Mark. 408 00:34:46,342 --> 00:34:50,122 I knew Mark from years ago also. 409 00:34:50,122 --> 00:34:50,932 I had met him. 410 00:34:50,932 --> 00:34:54,422 Actually, I met him the first time when I was living in Los Angeles. 411 00:34:54,422 --> 00:34:59,602 I was working at a job working with Dave Catching from Eagles of Death Metal. 412 00:34:59,602 --> 00:35:04,974 We worked at an Italian restaurant delivering food for an Italian restaurant. 413 00:35:04,974 --> 00:35:06,534 in Laurel Canyon. 414 00:35:06,595 --> 00:35:13,305 And one night I was delivering some pasta to the guy that it was Mark Mothersbaugh. 415 00:35:13,305 --> 00:35:17,299 He opened the door like, wow, I mean, it's hard not to recognize. 416 00:35:17,299 --> 00:35:18,410 And I'm like, wow. 417 00:35:18,410 --> 00:35:21,647 And, you know, so anyway, we became kind of friends. 418 00:35:21,647 --> 00:35:24,312 I probably delivered food to him a few times I knew him. 419 00:35:24,312 --> 00:35:26,903 And, and then I saw him around town a few places. 420 00:35:26,903 --> 00:35:34,338 And then, boy, when I started working with the residents, he freaked out because he was a massive residence. 421 00:35:34,338 --> 00:35:40,633 He was also old friends with Iggy, but he would come to residence shows and stuff, you know, I would get him into all this stuff here. 422 00:35:40,633 --> 00:35:43,205 So we became really close friends. 423 00:35:43,306 --> 00:35:50,291 And yeah, when we put out that Toby Dammit record, I asked him if he would make a little blurb about it. 424 00:35:50,291 --> 00:35:53,554 That's what he came up with, like that. 425 00:35:53,554 --> 00:35:57,577 He's really funny, of course, know, and witty and he's great. 426 00:35:57,577 --> 00:35:58,678 I love him. 427 00:35:59,824 --> 00:36:01,375 He's fascinating. 428 00:36:01,375 --> 00:36:01,945 I love it. 429 00:36:01,945 --> 00:36:02,495 Thank you. 430 00:36:02,495 --> 00:36:09,988 And look, just being aware of Tom, we're going to move on to the dreaded Desert Island Discs question in a second, Larry, but just for the sake of our listeners and viewers, 431 00:36:09,988 --> 00:36:11,898 there's so much we haven't covered. 432 00:36:11,898 --> 00:36:14,516 And I'll mention this probably in the outro as well. 433 00:36:14,516 --> 00:36:22,222 I we haven't talked about your work with Luther Hawkins recording, you know, the Carney Suchre album, the Applejack work, Jesse Evans. 434 00:36:22,798 --> 00:36:24,860 Maybe just briefly talk about Jessie Evans. 435 00:36:24,860 --> 00:36:28,283 mean, that was 251 shows in 25 countries. 436 00:36:28,283 --> 00:36:30,655 That's not an insignificant part of anyone's career. 437 00:36:30,655 --> 00:36:32,926 Just maybe talk a little bit about that. 438 00:36:33,207 --> 00:36:44,937 Yeah, I mean, she, you she's from California and she'd moved to Berlin and I was already living there and I met her at a barbecue and we, you know, we got involved. 439 00:36:44,937 --> 00:36:47,108 We had a relationship for seven years. 440 00:36:47,214 --> 00:36:53,308 And we, but one of the first questions she'd asked me was like, what do you really miss about living in the United States? 441 00:36:53,308 --> 00:36:58,761 And I thought for a minute and I'm like, Mexican food. 442 00:36:59,521 --> 00:37:01,643 And she, and she agreed. 443 00:37:01,643 --> 00:37:10,628 And we were like, we had both been through a winter in Berlin and we had both been like, we were talking like, never going to do that again. 444 00:37:10,628 --> 00:37:13,414 Never going to stay in Berlin for another winter. 445 00:37:13,414 --> 00:37:14,478 And 446 00:37:14,478 --> 00:37:21,203 And she was like, well, why don't we go to Mexico next winter and we can make a record or something. 447 00:37:21,203 --> 00:37:23,265 And I'm like, wow, great idea. 448 00:37:23,265 --> 00:37:25,626 So that's exactly what we did. 449 00:37:26,007 --> 00:37:38,817 We tracked the basics on her first record in Berlin, but then we immediately went to Mexico and we stayed in Mexico for three months, finishing up that first record. 450 00:37:38,817 --> 00:37:40,324 then, and she was 451 00:37:40,324 --> 00:37:48,897 Well, we really went there because her previous band, which was called The Vanishing, was really popular in Mexico. 452 00:37:49,319 --> 00:37:57,203 And they're kind of, they're like a goth, like a real hard edged goth synth band, really great band and several records. 453 00:37:57,523 --> 00:38:03,586 and she had a big following in Mexico. 454 00:38:04,268 --> 00:38:11,044 And so we went down there and she started booking shows in Mexico and she got a massive reaction. 455 00:38:11,044 --> 00:38:20,692 Like we, we started touring around Mexico with no agent or any, no record or anything like that. 456 00:38:20,692 --> 00:38:22,824 And every show is sold out. 457 00:38:22,824 --> 00:38:24,725 And I don't, can't remember how many we did. 458 00:38:24,725 --> 00:38:25,956 We did a lot. 459 00:38:25,996 --> 00:38:32,912 And she was also selling a ton of merch and we were scrambling. 460 00:38:32,912 --> 00:38:37,653 day and night trying to organize merch for shows that were coming up every week or whatever. 461 00:38:37,653 --> 00:38:39,576 mean, she was doing the business. 462 00:38:39,576 --> 00:38:45,369 so we, I think we toured Mexico really like four times. 463 00:38:45,369 --> 00:38:46,655 played all over the place. 464 00:38:46,655 --> 00:38:48,650 We had a blast. 465 00:38:48,731 --> 00:38:56,325 And we mixed that record with Pepe Monct from the Nortek Collective, which is one of the biggest electronic band. 466 00:38:56,325 --> 00:38:58,856 They're like the craft work of Mexico. 467 00:38:59,016 --> 00:39:01,877 And we mixed that record with him in Tijuana. 468 00:39:03,556 --> 00:39:05,407 And then we made a second record. 469 00:39:05,407 --> 00:39:11,050 But man, she is very, very hardworking woman. 470 00:39:11,331 --> 00:39:13,912 she's an amazing performer on stage. 471 00:39:13,912 --> 00:39:15,734 She's a great dancer. 472 00:39:15,734 --> 00:39:23,398 And when I say that, I do not underestimate she is a tremendous dancer. 473 00:39:23,418 --> 00:39:29,946 And that's why we were doing 50 shows a year in France. 474 00:39:29,946 --> 00:39:32,148 You know, she became very popular in France. 475 00:39:32,148 --> 00:39:37,672 played all over Russia, Turkey, Spain, Mexico. 476 00:39:37,672 --> 00:39:40,173 We hardly played in the United States at all. 477 00:39:40,173 --> 00:39:43,556 We didn't play in Germany, but we toured in England. 478 00:39:43,556 --> 00:39:47,499 We worked really, really hard. 479 00:39:47,499 --> 00:39:50,220 We worked, I think we wore ourselves out. 480 00:39:50,220 --> 00:39:52,662 We just worked ourselves to death. 481 00:39:52,662 --> 00:39:57,245 But yeah, the records, we made two records and we're really proud of them. 482 00:39:57,245 --> 00:39:58,398 Very, very good records. 483 00:39:58,398 --> 00:40:00,689 No, and we'll definitely link to those as well. 484 00:40:00,689 --> 00:40:04,681 So, and again, just, I mean, that just is one tiny component of your career. 485 00:40:04,681 --> 00:40:09,022 So we will finish off Larry with the dreaded desert islands this question. 486 00:40:09,022 --> 00:40:13,534 So if you had to name five albums that are the all time influences for you, what would they be? 487 00:40:13,534 --> 00:40:18,787 That is the dreaded question of all time. 488 00:40:18,787 --> 00:40:19,677 My God, man. 489 00:40:19,677 --> 00:40:27,728 I mean, you warned me about that a little bit and I have to be honest, I didn't really put too much 490 00:40:27,728 --> 00:40:29,398 thought of this. 491 00:40:29,398 --> 00:40:39,161 mean, I just decided to quickly just start throwing some stuff down and they may not necessarily be my favorite albums of all time, but they are definitely things that I've 492 00:40:39,161 --> 00:40:40,741 listened to a lot. 493 00:40:40,742 --> 00:40:43,942 So I'm just going to start really out of left field here. 494 00:40:43,942 --> 00:40:51,105 And I would say number one, William Bosinski, The Disintegration Loops. 495 00:40:51,105 --> 00:40:54,125 There are four volumes of these. 496 00:40:54,505 --> 00:40:55,626 Do you know that stuff? 497 00:40:55,626 --> 00:40:57,026 No, I don't. 498 00:40:57,330 --> 00:40:59,690 Okay, William Basinski. 499 00:41:00,170 --> 00:41:08,210 He's been around for a long time, but he did a series of sort of electronic records. 500 00:41:08,210 --> 00:41:12,070 They're called the Disintegration Loops, one through four. 501 00:41:12,070 --> 00:41:17,470 They've been released as a collection, but he did them from 2002 to 2004. 502 00:41:17,470 --> 00:41:25,002 They're like sound, they're very long sound loop pieces, and they're incredible. 503 00:41:25,146 --> 00:41:27,428 So I'm going to sell all four of those. 504 00:41:27,428 --> 00:41:31,752 Then, you probably know Harold Budd. 505 00:41:31,752 --> 00:41:32,692 Yes. 506 00:41:33,173 --> 00:41:33,573 Okay. 507 00:41:33,573 --> 00:41:37,756 So of course there's a long career there of beautiful records. 508 00:41:37,797 --> 00:41:40,759 have maybe all of his records. 509 00:41:40,920 --> 00:41:50,948 So it's kind of hard to go down to one, but maybe the first one that I bought that I just, when I discovered him was a record called Lovely Thunder. 510 00:41:51,749 --> 00:41:53,729 It's from 1986. 511 00:41:54,266 --> 00:41:56,607 And I still love that record. 512 00:41:57,447 --> 00:42:13,914 Again, like with his stuff, he started before, I think just before he met Daniel Lanoy, but once he connected with Lanoy, Lanoy and Brian Eno, they kind of converted him into, 513 00:42:13,914 --> 00:42:24,080 they kind of took what he was doing on piano and brought him into that world, that thing, that's the same world that I try to get into with. 514 00:42:24,080 --> 00:42:25,490 the Omnicord. 515 00:42:25,591 --> 00:42:33,295 So Harold Budd is a huge, huge influence on the center of my brain these days. 516 00:42:33,295 --> 00:42:37,377 So I would say that lovely Thunder record. 517 00:42:37,538 --> 00:42:44,661 Then I would say, let's say a John Carpenter record. 518 00:42:45,922 --> 00:42:50,995 And of course, you know, there's also a there's a long list of great John Carpenter. 519 00:42:50,995 --> 00:42:52,562 Of course, you know, he scored 520 00:42:52,562 --> 00:42:58,872 almost all of his films, not all of them, but one of the greats is Escape from New York. 521 00:42:58,872 --> 00:42:59,962 Yeah. 522 00:42:59,962 --> 00:43:06,242 And you might hear some influence of that soundtrack in this Camisonia record. 523 00:43:06,242 --> 00:43:11,562 I was listening to a lot of John Carpenter when I tried to make this record. 524 00:43:11,562 --> 00:43:17,842 And there's definitely something, I've met John and had a great time hanging out with him. 525 00:43:17,842 --> 00:43:20,752 he's a big 526 00:43:20,752 --> 00:43:23,783 fantastic, loud guy from Kentucky. 527 00:43:23,783 --> 00:43:27,698 I'm from Tennessee, so we connected. 528 00:43:27,698 --> 00:43:32,325 I know his son, Cody, who also makes records, Cody Carpenter. 529 00:43:32,325 --> 00:43:35,506 He's an awesome keyboard player. 530 00:43:35,626 --> 00:43:43,428 for your keyboard fans out there, if you don't know about what Cody, Cody is doing like a bit more like prog. 531 00:43:43,428 --> 00:43:46,949 He's actually making like prog synthesizer records. 532 00:43:47,009 --> 00:43:50,194 Cody has an amazing group of musicians. 533 00:43:50,194 --> 00:43:59,394 working with him, killer drummer and bass player and that, and, they, have a band that they back John as his dad. 534 00:43:59,394 --> 00:44:00,824 They back him as a band. 535 00:44:00,824 --> 00:44:01,944 Have you seen that? 536 00:44:01,944 --> 00:44:02,704 No, I haven't. 537 00:44:02,704 --> 00:44:03,334 No, that's amazing. 538 00:44:03,334 --> 00:44:04,814 I'll be checking that out. 539 00:44:04,814 --> 00:44:06,333 That's fantastic. 540 00:44:06,333 --> 00:44:18,174 So John Carpenter, he is recently in the last five years or six or seven years, John's been releasing records called John Carpenter lost tapes. 541 00:44:18,174 --> 00:44:18,864 Wow. 542 00:44:18,864 --> 00:44:19,922 think there's William. 543 00:44:19,922 --> 00:44:23,822 maybe three or four volumes that's done. 544 00:44:23,822 --> 00:44:25,522 There are lost themes. 545 00:44:25,522 --> 00:44:27,842 It's called lost themes. 546 00:44:28,042 --> 00:44:39,802 And there are these heavy iconic John Carpenter themes, which he's a master at, with a four-piece band behind him, like a rock band behind him. 547 00:44:40,102 --> 00:44:41,482 It's like killer. 548 00:44:41,482 --> 00:44:43,262 Yeah, I'll be checking that out. 549 00:44:43,502 --> 00:44:47,792 It's John and his son on keyboards and a drummer and a bass player. 550 00:44:47,792 --> 00:44:48,986 And it's like, 551 00:44:48,986 --> 00:44:50,347 Wow, it's so good. 552 00:44:50,347 --> 00:44:52,007 And they tour. 553 00:44:52,107 --> 00:44:52,708 They tour. 554 00:44:52,708 --> 00:44:53,658 I've seen the show. 555 00:44:53,658 --> 00:44:55,749 It's just killer. 556 00:44:55,749 --> 00:44:58,029 know, got a big screen behind them. 557 00:44:58,310 --> 00:45:05,173 They don't sync with stuff from his films, but it's all stuff from John Carpenter movies. 558 00:45:05,173 --> 00:45:10,715 And it's all the movies, The Fog and, know, The State of New York, The Albegrates. 559 00:45:10,995 --> 00:45:14,996 And they do pieces of music from those films. 560 00:45:15,617 --> 00:45:18,893 It's just, it's, I loved it. 561 00:45:18,893 --> 00:45:19,833 I love John. 562 00:45:19,833 --> 00:45:23,715 So let's say escape from New York, John Carpenter. 563 00:45:23,955 --> 00:45:25,335 There's three. 564 00:45:28,297 --> 00:45:30,377 I'll throw in another wild one here. 565 00:45:30,377 --> 00:45:35,769 There's a Japanese female jazz singer named Maki Asakawa. 566 00:45:35,769 --> 00:45:36,980 you know her? 567 00:45:36,980 --> 00:45:39,000 No, I don't, but I'll look her up. 568 00:45:39,661 --> 00:45:41,101 So also a long career. 569 00:45:41,101 --> 00:45:43,322 She's no longer alive. 570 00:45:44,123 --> 00:45:45,823 She's a jazz singer. 571 00:45:45,963 --> 00:45:48,144 She's called, she's often 572 00:45:48,610 --> 00:45:52,761 referenced or called like the Billie Holiday of Japan. 573 00:45:53,761 --> 00:45:55,322 Her first record is from 1970. 574 00:45:55,322 --> 00:45:57,342 It's fantastic. 575 00:45:57,342 --> 00:46:01,363 And all her records are just called Maki Asakawa. 576 00:46:02,444 --> 00:46:03,794 And it's a long career. 577 00:46:03,794 --> 00:46:07,865 They're all called that, but they're just called one, two, three, four, five, six, seven. 578 00:46:07,865 --> 00:46:10,946 But it's always, it's Maki Asakawa. 579 00:46:11,226 --> 00:46:17,802 And she was like really a fantastic jazz singer, but ultra decadent like 580 00:46:17,802 --> 00:46:26,014 Ultra dark, really like super goth dark, really. 581 00:46:26,614 --> 00:46:39,158 She's really a dark, you know, always with sunglasses and in the shadows and kind of a Dracula type character. 582 00:46:39,838 --> 00:46:41,178 And the records are great. 583 00:46:41,178 --> 00:46:46,980 She has these incredible me always some records are just with piano and her singing and they are just. 584 00:46:47,824 --> 00:46:54,074 ultra dark, smoky, know, in the corner, shades down jazz. 585 00:46:54,074 --> 00:46:56,074 And she was just awesome. 586 00:46:56,074 --> 00:46:57,234 I love her. 587 00:46:57,234 --> 00:47:00,824 And that first record is a masterpiece. 588 00:47:00,824 --> 00:47:01,334 I'll see. 589 00:47:01,334 --> 00:47:03,064 Maki Asakawa. 590 00:47:03,244 --> 00:47:06,564 If you like those kinds of moods. 591 00:47:06,564 --> 00:47:17,124 And I'm going to say another great electronic composer who died recently was a Russian guy, Edward... 592 00:47:17,939 --> 00:47:18,580 Artemyev. 593 00:47:18,580 --> 00:47:21,520 can't, I'm sure I'm not saying his last name right. 594 00:47:21,520 --> 00:47:22,900 Edward Artemyev. 595 00:47:22,900 --> 00:47:23,900 Do you know that guy? 596 00:47:23,900 --> 00:47:25,210 No, I apologize. 597 00:47:25,210 --> 00:47:28,680 I don't either, but again, we'll make sure I look him up and link to the right person. 598 00:47:28,680 --> 00:47:29,340 Yeah. 599 00:47:29,340 --> 00:47:34,990 Like he scored, the stalker. 600 00:47:34,990 --> 00:47:35,880 Do you know the film? 601 00:47:35,880 --> 00:47:36,280 The Stalker? 602 00:47:36,280 --> 00:47:36,880 Yeah, I do. 603 00:47:36,880 --> 00:47:37,860 Yeah. 604 00:47:37,860 --> 00:47:39,170 He did that. 605 00:47:39,170 --> 00:47:39,770 He did. 606 00:47:39,770 --> 00:47:43,140 He did all of Tarkovsky's films. 607 00:47:43,720 --> 00:47:47,002 Although Tarkovsky just used a lot of classical music. 608 00:47:47,002 --> 00:47:48,192 for the most part. 609 00:47:48,192 --> 00:47:55,494 He's like way into classical music and he used like massive, you know, like great classic pieces. 610 00:47:56,135 --> 00:48:05,657 But he also used this guy, Artemyev, Edward Artemyev to do a lot of sort of synthesizer, the weird synthesizer stuff in those films. 611 00:48:05,657 --> 00:48:13,319 But he also worked for some other film composers and he made solo records too that are only, you can only find them in Russia. 612 00:48:13,319 --> 00:48:16,010 But there's a great record that he made called 613 00:48:16,100 --> 00:48:19,043 The English title is called Warmth of the Earth. 614 00:48:19,043 --> 00:48:20,383 It's great. 615 00:48:21,184 --> 00:48:22,966 It's all analog synthesizer. 616 00:48:22,966 --> 00:48:30,642 I mean, all that's, he was an analog synthesizer guy and you see pictures of his studio and it's like an analog synthesizer paradise. 617 00:48:30,642 --> 00:48:32,363 You he had really cool stuff. 618 00:48:32,363 --> 00:48:36,937 A lot of Russian, weird Russian patch based synthesizers. 619 00:48:37,000 --> 00:48:39,559 The guy was really, really, really great. 620 00:48:39,559 --> 00:48:43,622 And he's not really well known outside of Russia. 621 00:48:43,823 --> 00:48:45,784 People know about Stalker. 622 00:48:45,836 --> 00:48:52,738 And they know about, well, they know him from the people that know Tchaikovsky's films. 623 00:48:52,738 --> 00:48:54,279 They know. 624 00:48:54,279 --> 00:49:02,721 But, and some of that stuff has come out on vinyl now in the West, but you can find those records online now. 625 00:49:02,721 --> 00:49:05,002 All those Russian records, can find them. 626 00:49:05,002 --> 00:49:06,002 Great. 627 00:49:06,056 --> 00:49:07,623 They are amazing. 628 00:49:07,623 --> 00:49:09,133 They are amazing picks, Larry. 629 00:49:09,133 --> 00:49:10,694 I love the diversity of it. 630 00:49:10,694 --> 00:49:12,004 And I think 631 00:49:12,194 --> 00:49:15,536 It's probably a testament to the diversity of your own career. 632 00:49:15,536 --> 00:49:18,449 I mean, I cannot thank you enough for spending the time. 633 00:49:18,449 --> 00:49:28,746 I know you've mentioned you wish you'd taken piano lessons, but I'd argue your unique style and just the huge breadth of what you've achieved is probably because you have a 634 00:49:28,746 --> 00:49:30,267 unique approach to music. 635 00:49:30,267 --> 00:49:36,922 And maybe the piano lessons might've beaten that out of you too early and we wouldn't be sitting here talking today. 636 00:49:36,922 --> 00:49:40,064 So hugely appreciate your talent and your time. 637 00:49:40,784 --> 00:49:41,454 Well, thank you. 638 00:49:41,454 --> 00:49:43,646 Thank you for inviting me there. 639 00:49:43,646 --> 00:49:48,888 And thanks for working with the time zone scenario. 640 00:49:49,669 --> 00:49:50,749 Yeah, I don't know. 641 00:49:50,749 --> 00:49:52,950 Maybe my jet lag helps me. 642 00:49:53,351 --> 00:49:56,652 I might as well be in Australia right now, really. 643 00:50:08,988 --> 00:50:10,569 And there we have it. 644 00:50:10,589 --> 00:50:14,852 I hope you enjoyed those two parts as much as I did chatting with Larry. 645 00:50:14,852 --> 00:50:18,144 I mean, it's a real stereotype on this show. 646 00:50:18,144 --> 00:50:25,018 We say we barely scratched the surface, but I spoke with Larry briefly after the show and sort of nearly outright apologized. 647 00:50:25,018 --> 00:50:26,380 Not that he was fazed at all. 648 00:50:26,380 --> 00:50:31,033 He was incredibly generous with his time, but there was so much we didn't cover. 649 00:50:31,033 --> 00:50:38,228 He's worked with Rufus Wainwright, his actual solo albums with Thomas that he mentioned. 650 00:50:38,228 --> 00:50:40,430 the drummer from the Bad Seeds. 651 00:50:40,430 --> 00:50:45,634 We didn't even do things like train wrecks and the quick fight in because there was just not time. 652 00:50:45,855 --> 00:50:47,997 So that's a testament to his amazing career. 653 00:50:47,997 --> 00:50:50,499 But I hope you do enjoy it. 654 00:50:50,660 --> 00:50:52,722 And yeah, we certainly had a ball. 655 00:50:52,722 --> 00:50:53,902 I had a ball. 656 00:50:54,443 --> 00:50:56,135 So thank you again for joining us. 657 00:50:56,135 --> 00:50:58,627 Quick shout out to our Silver and Gold supporters, Mr. 658 00:50:58,627 --> 00:51:02,130 Dewey Evans, who's about to join us on a live stream in the next few weeks. 659 00:51:02,130 --> 00:51:04,186 Thank you, Dewey, for your ongoing support. 660 00:51:04,186 --> 00:51:06,207 Tammy Katcher from Tammy's Musical Stew. 661 00:51:06,207 --> 00:51:10,540 Again, thank you Tammy, has been a very long-term supporter of the show. 662 00:51:10,540 --> 00:51:19,105 Mike from Midnight Mastering, if you need high quality mixing and mastering of your tracks, Mike is the guy, midnightmastering.com. 663 00:51:19,105 --> 00:51:25,448 And last but definitely not least, Dave and the team at the musicplayer.com forums and the keyboard corner in particular. 664 00:51:25,448 --> 00:51:29,130 Proud member of more than 20 years, lots of interesting discussion. 665 00:51:29,130 --> 00:51:32,676 Just as an example, in the last couple of weeks has been some deep. 666 00:51:32,676 --> 00:51:36,939 discussions and threads on the new Moog release. 667 00:51:36,939 --> 00:51:39,380 I've had a mental blank on what it's called. 668 00:51:39,561 --> 00:51:45,485 The latest Arturia releases and lots, lots in between. 669 00:51:45,485 --> 00:51:48,407 So yeah, do jump in there if you're interested. 670 00:51:48,407 --> 00:51:50,129 Again, thank you for listening. 671 00:51:50,129 --> 00:51:51,990 We'll be back in a couple of weeks. 672 00:51:51,990 --> 00:51:56,013 Do keep in touch if you'd like to via all our social media channels. 673 00:51:56,013 --> 00:51:58,455 Just look for the Keyboard Chronicles and you'll find us. 674 00:51:58,455 --> 00:52:00,716 And in the meantime, keep on playing.