Transcript by Adella
The first transcript is just a plain transcript. The second transcript is were commentary has been added. Either scroll down or click here to skip to that version.
Hey Mac! Watching the PG video repeatedly was much more fun
than studying, so I made you a transcript of what he said. It's
of the entire thing including the technical aspects of the song
he was talking about. There was only one bit I couldn't understand
so I indicated it on the transcript. I also left out the "um"s,
"er"s, and "ah"s for easier reading. :)
Adella
[comments in brackets are mine]
Hi there. This is the Real World and you are now with the Full
Moon Club. The fact that you're here means that you've found me
and you're a fully-fledged member of the Full Moon Club,which
in our definition would make you a lunatic.
You will get your official lunatic number very soon and the idea
of this club is that we will be issuing little bits of the album
every full moon. So all you have to do is look up in the sky and
see where the moon is and you'll know when the next downloads
are due. So I hope you enjoy them; I'll talk a little bit about
each track and you will hear it before anyone else in the world.
Thanks.
[next segment]
One of the luxuries about making a record very slowly is that
I've been able to travel around a place and get little influences
from the places I'm in. In fact, this one began in Senegal and
I had a very different sort of groove on it, an African groove.
In fact, I think there's probably two or three musical sections
that aren't in the song any longer. But then the song began to
change shape. It's ended up one of the sort of songs about death
and dying, of which there seem to be a few. Nice cheerful subjects.
But I guess it's more about people. So, this one's called...well,
it was called "Manwa" and that was a working title and
I don't know why. I think it was probably sort of the Latin-y
rhythm. But "Don't Leave" is probably what I'd call
it now, and that seems to be what I'm saying in the end. So I
hope you enjoy it.
[song plays a bit -- views of celing fan and funky lighting around
real world studios]
I've always loved surf guitar. It's one of the most evocative
guitar sounds for me.
[more song -- can't understand lyrics too well]
There's a drum loop here which Chris Hughes was programming on
a thing called "superglider" but using a technique called
"granulation" which takes a solid loop and cuts them
off into lots of little bits. But you get a very nice quality,
so I think he did great work. I'm very happy about this, really.
[more song -- it's so pretty]
Being a failed drummer, I'm a big rhythm and drum fanatic as probably
a lot of you know, and I think there are about four people working
on this track. Steve Gad (?) did some brush work, Manu Katche
did some kit work. Dominic from Reef, whom we know very well because
they're always rehearsing here; he's a great drummer and he did
some tone work. And then I [couldn't get this bit] what I was
hearing and so I ended up doing some tone work myself. But it
was a lot of fun doing all that stuff.
And I hope you will enjoy some of the other bits, and we'll be
back with the Full Moon Club. When you see the moon getting fat,
think of us. Thank you.
Comments from Solsbury Committee are in blue
Hi there.
Hi!
This is the Real World and you are now with the Full Moon Club.
[Insert "Werewolves of London" howl here.]
The fact that you're here means that you've found me and you're a fully-fledged member of the Full Moon Club,which in our definition would make you a lunatic.
And that would make you the Big Kahuna Lunatic, right?
You will get your official lunatic number very soon
My assigned lunatic number is 666. Should I be worried?
and the idea of this club is that we will be issuing little bits of the album every full moon. So all you have to do is look up in the sky and see where the moon is and you'll know when the next downloads are due.
We'd prefer it if you just checked the Hill instead. You can see the Hill even on a rainy night.
So I hope you enjoy them; I'll talk a little bit about each track and you will hear it before anyone else in the world.
Even before you? Cool!
Thanks.
No problem.
[next segment]
One of the luxuries about making a record very slowly
"Besides being able to piss everyone off..."
is that I've been able to travel around a place and get little influences from the places I'm in.
Thank goodness. We know that before you took 10 years between albums, you never had outside influences nor ever left the country.
In fact, this one began in Senegal and I had a very different sort of groove on it, an African groove.
Well, there were African grooves on So and Us, but we're not gonna nitpick...
In fact, I think there's probably two or three musical sections that aren't in the song any longer.
Then why tell us about them, other than to drive evreryone else crazy wondering what these sections were?
But then the song began to change shape. It's ended up one of the sort of songs about death and dying, of which there seem to be a few. Nice cheerful subjects.
Hey, the Characteristic #3 & #4 Snobs can rejoice!
But I guess it's more about people.
Good. We need more songs about people.
So, this one's called...well, it was called "Manwa" and that was a working title and I don't know why.
Don't look at me. I don't know either.
I think it was probably sort of the Latin-y rhythm. But "Don't Leave" is probably what I'd call it now,
"Probably?" You've got four lunar cycles left to make up your mind.
and that seems to be what I'm saying in the end. So I hope
you enjoy it.
[song plays a bit -- views of celing fan and funky lighting around
real world studios]
I've always loved surf guitar.
Paging Dick Dale! Will Dick Dale please come to the front office...
It's one of the most evocative guitar sounds for me.
[more song -- can't understand lyrics too well]
There's a drum loop here which Chris Hughes was programming on
a thing called "superglider"
Sounds like a ride at PG's planned theme park.
but using a technique called "granulation" which takes a solid loop and cuts them off into lots of little bits.
That's gotta hurt.
But you get a very nice quality, so I think he did great work. I'm very happy about this, really.
That's reassuring:)
[more song -- it's so pretty]
Being a failed drummer,
Hey, I'd rather take you as a failed drummer over Phil Collins anyday...
I'm a big rhythm and drum fanatic as probably a lot of you
know, and I think there are about four people working on this
track. Steve Gad did some brush work, Manu Katche did some kit
work. Dominic from Reef, whom we know very well because they're
always rehearsing here; he's a great drummer and he did some tone
work. And then I [couldn't get this bit] what I was hearing and
so I ended up doing some tone work myself. But it was a lot of
fun doing all that stuff.
And I hope you will enjoy some of the other bits, and we'll be
back with the Full Moon Club. When you see the moon getting fat,
"Fat?" That's politically incorrect. The moon states that it prefers the term "gravitationally challenged."
think of us.
Why live in the past? Shouldn't we think of Up instead?
Thank you.
You're welcome!