Andrew Deevey | Matt Connarton Unleashed

0:00 Speaker 1: That is money can't buy me love. The artist is

0:02 Speaker 1: Andrew d V and we have him with us via WhatsApp.

0:05 Speaker 1: We're gonna speak with him in just a moment. Welcome everybody,

0:08 Speaker 1: if you are listening live on Saturday, we have entered

0:10 Speaker 1: our number three New Marrow trace of Matt Connorton Unleashed

0:14 Speaker 1: and we are live from the studios of w m

0:16 Speaker 1: n H ninety five point three FM and Glorious Manchester,

0:19 Speaker 1: New Hampshire. And of course you can stream the show

0:21 Speaker 1: from anywhere. Go to Matt connorton dot com, slash live

0:24 Speaker 1: for all of your live streaming options, social media links,

0:26 Speaker 1: contact infos, show archives, et cetera, et cetera. Jenny is

0:29 Speaker 1: here of course at the news table, and let's bring

0:33 Speaker 1: Andrew and I think we've got him via WhatsApp.

0:34 Speaker 2: Andrew, are you.

0:35 Speaker 3: There, Yes, I'm here, loud and Cleia.

0:38 Speaker 2: Hey, welcome to the show.

0:40 Speaker 1: Love that song very very catchy, which I'm sure people

0:43 Speaker 1: tell you all the time, but it's it's very easy

0:47 Speaker 1: to sing along to.

0:48 Speaker 2: I like it a lot.

0:49 Speaker 3: That's good, Thanks very much for liking it. It's it's good.

0:54 Speaker 1: So interestingly enough, so it's kind of it's it's a

0:56 Speaker 1: fun song, but it's kind of a serious uh sub

1:00 Speaker 1: jacked right, And I'm really curious to know more about

1:04 Speaker 1: it because obviously you're talking about you know, money, money

1:09 Speaker 1: only gets you know, not only can money not buy

1:11 Speaker 1: you love, but sometimes it can't buy you enough to

1:14 Speaker 1: live on, you know, and and and this is a

1:17 Speaker 1: problem in many places. You know, in the United States,

1:21 Speaker 1: of course, you know, we deal with inflation and things

1:22 Speaker 1: like that, and and where you are in the UK,

1:26 Speaker 1: obviously you experienced these things as well, and I'd be

1:28 Speaker 1: curious to know more. There's kind of the story behind

1:31 Speaker 1: the song money Can't Buy Me Love.

1:33 Speaker 3: It's just from from my personal experience, but I think

1:37 Speaker 3: a lot of other people experience it as well. No

1:39 Speaker 3: matter how hard you work, there's going to be so

1:43 Speaker 3: many outgoings that you feel like you're left with nothing. Right,

1:47 Speaker 3: And the origin the story comes from when it was

1:52 Speaker 3: in my early band days. I got my first royalty

1:54 Speaker 3: check through the post and as we're opening up the envelope,

1:59 Speaker 3: it was a check for hundred and twenty pounds and

2:02 Speaker 3: I looked out the window and there was a total

2:04 Speaker 3: truck going past. And then I remember that I left

2:06 Speaker 3: my car on a yellow line and because it was

2:10 Speaker 3: broken down, okay, and it got towed away. Oh so

2:14 Speaker 3: go to the car pound to retrieve it. And the

2:17 Speaker 3: cost of retrieving it was one hundred and twenty pounds.

2:19 Speaker 3: So that check, that rualty just disappeared in a matter

2:23 Speaker 3: of hours. So it's those kinds of experiences where suddenly

2:28 Speaker 3: you've got money and then then somebody else takes it away.

2:33 Speaker 1: You know what's interesting about that too is I think

2:36 Speaker 1: a lot of people I think this has changed over

2:38 Speaker 1: the years, but I know that there was a time,

2:40 Speaker 1: at least in America, and this is probably true other

2:42 Speaker 1: places as well, where people who don't know better will

2:45 Speaker 1: assume that if you're a musician and you're making money,

2:49 Speaker 1: you know that you're probably rich and you live in

2:50 Speaker 1: a mansion and you've got platinum records on the wall

2:53 Speaker 1: and all that kind of thing, And that's not how

2:55 Speaker 1: it works. If you're very, very successful and famous, you.

2:59 Speaker 2: Know, that might be how it works.

3:00 Speaker 1: But most musicians are working class people, certainly the people

3:05 Speaker 1: that we have on the show, and have the same

3:07 Speaker 1: struggles as everyone else, or if not even more so,

3:10 Speaker 1: because you know, being a full time musician certainly can

3:13 Speaker 1: be a very challenging financially economically, a very challenging lifestyle,

3:20 Speaker 1: you know, and in this era too, where we have

3:22 Speaker 1: streaming services like Spotify for example, who don't pay very much.

3:26 Speaker 1: You know, it can be very difficult. And your story

3:29 Speaker 1: is very illustrative of that. You know, you get that,

3:31 Speaker 1: you get that first royalty check and then it's gone. Immediately,

3:35 Speaker 1: it's gone because you had to go and retrieve your car.

3:38 Speaker 1: And are you surprised, like when you tell that story,

3:42 Speaker 1: do you find that people are surprised to hear that?

3:48 Speaker 3: No, because I think the things happen to them, not

3:50 Speaker 3: that specific example, but sure both other things like if

3:54 Speaker 3: they're eating, boiler breaks down. You know, something major happens,

3:57 Speaker 3: it's very costly to get a trade men in to

4:00 Speaker 3: fix it, and you know, all your hard end money

4:04 Speaker 3: is going for something that you didn't expect to happen.

4:08 Speaker 3: You know, the surprises that life throws at you as

4:11 Speaker 3: sometimes they're very hard to take, especially when there's expensive.

4:19 Speaker 3: Absolutely back to the thing about being a musician, it

4:24 Speaker 3: can be very expensive because when people see on stage,

4:27 Speaker 3: they think that's it. You're performing. It's great. Right behind

4:32 Speaker 3: the scenes of the cost of rehearsals, the cost of equipment,

4:37 Speaker 3: having to replace that, pressing records, all that kind of thing.

4:47 Speaker 1: Yeah, people have no idea what goes into it and

4:49 Speaker 1: how expensive it is. And you know, I know that

4:52 Speaker 1: in America, and I'm old enough to remember growing up

4:56 Speaker 1: and watching you know, MTV and seeing videos of bands

5:00 Speaker 1: and they're they look like they're living this lush, lavish

5:05 Speaker 1: lifestyle and they're they're all living in a mansion and

5:08 Speaker 1: and you know, hanging out with Playboy playmates and you know,

5:12 Speaker 1: all this stuff and driving these very expensive sports cars.

5:15 Speaker 1: And then over time that sort of shifted where it

5:18 Speaker 1: wasn't so much rock bands because it's sort of in

5:21 Speaker 1: the nineties, it became uncool all of a sudden to

5:24 Speaker 1: be projecting that that image, and then it that that

5:27 Speaker 1: kind of all shifted over to hip hop. But it's

5:29 Speaker 1: always fascinating to me how how different the reality is,

5:35 Speaker 1: or how different the perception is, and how distorted it

5:38 Speaker 1: is in contrast with the actual reality and the economics

5:43 Speaker 1: of the music business. I'm curious too. You mentioned so

5:46 Speaker 1: you used to how long have you been a solo artist?

5:48 Speaker 1: Because you mentioned you used to be in bands, I

5:50 Speaker 1: know that you're a veteran of the UK scene. You've

5:52 Speaker 1: been around a while, What's what's kind of been been

5:54 Speaker 1: your experiences? You used to be in bands and now

5:56 Speaker 1: you're strictly a solo artist.

6:00 Speaker 3: Yeah, I'm strictly a solo artist now. I think I

6:02 Speaker 3: started that around sort of twenty seventeen when I first

6:05 Speaker 3: started writing my own songs, and by twenty nineteen I'd

6:10 Speaker 3: released my first album, Northern Soul, which happened fairly quickly

6:14 Speaker 3: because what I did was that instead of going into

6:17 Speaker 3: the studio and recording twelve songs in one go, I

6:22 Speaker 3: did it in three stages. I did like four songs

6:24 Speaker 3: at a time, and I started around a few friends

6:27 Speaker 3: like drummers, bass players, keyboard players if they just wanted

6:30 Speaker 3: to come in and help out, And surprisingly they did

6:34 Speaker 3: and I didn't have to pay them either, which was

6:37 Speaker 3: great sweet.

6:38 Speaker 2: But on the.

6:39 Speaker 3: Album there's so many different people helping me out and

6:43 Speaker 3: I thought that was really really kind of them to

6:45 Speaker 3: do that. Jack Hater from Hefner was on steel guitar.

6:53 Speaker 3: The drummer from the Bitter Springs helped out in drums.

6:56 Speaker 3: There was another two other drummers that helped out as well,

7:00 Speaker 3: a couple of backing singers.

7:03 Speaker 1: A.

7:05 Speaker 3: Trumpet player. So there's quite a long list of musicians

7:08 Speaker 3: that were willing to help me out, which that was great.

7:11 Speaker 2: That is.

7:12 Speaker 1: Yeah, So in the grand scheme of things, is that

7:16 Speaker 1: is that more challenging in a sense when you're recording

7:20 Speaker 1: a solo album.

7:21 Speaker 2: Or whatever it is that you're doing solo When you're.

7:24 Speaker 1: Recording, does that become more challenging because you have to

7:26 Speaker 1: find the right musicians to fit what you're doing, versus

7:30 Speaker 1: just being in a band where it's static, you know,

7:33 Speaker 1: you've got the same people on each song, or maybe

7:36 Speaker 1: it's not. Maybe it's liberating, you know, because you're in

7:39 Speaker 1: total control and you get to choose. You know, you

7:41 Speaker 1: can accept or reject the contributions of whomever may be

7:45 Speaker 1: coming to play on your on your music. I don't know, Like,

7:48 Speaker 1: how's that experience been, going from playing in bands to

7:50 Speaker 1: being a solo artist in terms of that.

7:53 Speaker 3: Well, we're playing in a band. It was a set thing.

7:56 Speaker 3: Each person did their own instrument. Yeah, Like somebody else

8:01 Speaker 3: asked me this question about when you were in a band,

8:06 Speaker 3: what was the songwriting? Like, Well, with that, all I

8:09 Speaker 3: did was my young guitar parts, the parts by the

8:12 Speaker 3: bass player and the singer and the drummer. They did

8:15 Speaker 3: all their own things, so I didn't, you know, interfere

8:18 Speaker 3: with that. But being a solo artist, I've played bass, harmonica,

8:23 Speaker 3: I programmed drums, so it's you know, I now responsible

8:27 Speaker 3: for everything. So although it does take a little bit longer,

8:31 Speaker 3: I've got more control over it.

8:33 Speaker 1: Right, Is that what precipitated you becoming a solo artist?

8:37 Speaker 1: Did you want more control?

8:41 Speaker 3: Not so much. When I first started off, I did

8:43 Speaker 3: have a bass player and drummer with me, but then

8:47 Speaker 3: I just got fed up of it. Was it became

8:50 Speaker 3: like a revolving door syndrome where somebody did leave and

8:53 Speaker 3: then you have to get somebody else, and then somebody

8:56 Speaker 3: leave and then you have to get somebody else. It

8:58 Speaker 3: was it got bit to moralized, and so I just

9:01 Speaker 3: thought I'll do this on my own at least. You know,

9:05 Speaker 3: I was going to say, I can't split up, but

9:08 Speaker 3: I have done that a couple of times. I've had

9:09 Speaker 3: a break for a couple of months, and then I'm sort, well,

9:12 Speaker 3: I've got to get back to it.

9:13 Speaker 1: Right When you take a break, like, what causes that?

9:19 Speaker 1: Do you just need to get away from it for

9:20 Speaker 1: a while?

9:21 Speaker 2: Or or is it.

9:24 Speaker 1: I mean, is there something that sort of necessitates that

9:26 Speaker 1: taking a break from it.

9:29 Speaker 3: I think it's healthy to take a break because weren't

9:32 Speaker 3: going to do this as a solo artist, and I

9:36 Speaker 3: tend to live it twenty four hours a day, so

9:38 Speaker 3: just get a bit tiring. You know, you're always thinking

9:41 Speaker 3: of lines for songs at eleven o'clock at night, you're

9:44 Speaker 3: relaxing or concentrating on other things, and you know, it's

9:51 Speaker 3: good to have a break, recharge your batteries and come back.

9:54 Speaker 3: It's like with the songwriting, I'll write a couple of

9:57 Speaker 3: songs and then I can't do anything for a couple

10:01 Speaker 3: of months. Yeah, it looks like absolutely, yeah, I'm gonna

10:08 Speaker 3: break is good because it rechards your batteries and then

10:10 Speaker 3: you can get new material a little bit quicker. Like

10:13 Speaker 3: I've got a new song on the go at the moment,

10:15 Speaker 3: which is going quite well, and I haven't done anything

10:17 Speaker 3: for weeks. Yeah, so it's you know, it's always good

10:21 Speaker 3: to have a break, oh.

10:23 Speaker 1: Yeah, yeah, and then you can kind of reapproach it

10:26 Speaker 1: with a fresh perspective. I'm curious too about your live performances,

10:31 Speaker 1: because again, especially someone being someone who used to be

10:34 Speaker 1: in bands, And you know, I've played in a lot

10:37 Speaker 1: of bands. I've never done a solo thing, but I've

10:38 Speaker 1: played in a lot of bands, and I know that

10:40 Speaker 1: when you're on stage with a bunch of people, there's

10:42 Speaker 1: almost a kind of a safety and numbers thing. You know,

10:44 Speaker 1: you're all in it together. And I've I've never I've

10:46 Speaker 1: always been curious because I've never experienced kind of that

10:49 Speaker 1: rawness of being at least that's how I perceive it,

10:52 Speaker 1: of being a solo artist. I've never experienced that. But

10:54 Speaker 1: I'm curious what it's like for you in that regard.

10:59 Speaker 1: Did you feel more vulnerable on stage making that transition,

11:03 Speaker 1: even though you might have other musicians on stage with you,

11:06 Speaker 1: it's still you know, you then become really the totally

11:10 Speaker 1: the focus, And and what was that like for you?

11:14 Speaker 3: I did at first, because when I started solo, it

11:16 Speaker 3: was just me with a guitar acoustically, like a lot

11:20 Speaker 3: of other people do. But then when I added the

11:23 Speaker 3: drum machine and the harmonica, things got a little bit

11:26 Speaker 3: louder and there was more of it. So I sort

11:30 Speaker 3: of got lost in that and was able to focus

11:32 Speaker 3: more on doing all of that thing and having a

11:36 Speaker 3: louder sound. Sort of that set me apart from other

11:40 Speaker 3: acoustic musicians like I seem to have this problem at

11:45 Speaker 3: the moment where you get a lot of open mics

11:47 Speaker 3: where there's people with an acoustic instruments and a voice,

11:51 Speaker 3: but when I do them, I'm far too loud. So

11:55 Speaker 3: I don't think they like that kind of thing. But

11:58 Speaker 3: they won't have me on my bands because I'm not

12:00 Speaker 3: a band, but I'm as loud as a band.

12:04 Speaker 1: Oh that's interesting. So it sort of puts you in

12:06 Speaker 1: this weird position, right because you're you're you're you're you're,

12:09 Speaker 1: you're as loud as the bands, but they won't put

12:11 Speaker 1: you with the band because you're a solo artist. But

12:14 Speaker 1: you're too loud for the You know, you're too loud

12:16 Speaker 1: for someone who's just up there with a guitar and

12:18 Speaker 1: just sing it at the end. That's really interesting.

12:22 Speaker 2: Yeah.

12:22 Speaker 3: I did a gig in East London a while back

12:25 Speaker 3: and I was supporting this other band who were quite loud.

12:29 Speaker 3: I went went on and opened up for the gig

12:32 Speaker 3: and everyone really enjoyed it, and this this guy came

12:35 Speaker 3: up to me, came up at the end and shook

12:38 Speaker 3: me by the hand and said you were great this

12:40 Speaker 3: that was fantastic, and I was thinking, wow, what we've done.

12:43 Speaker 3: And you know, another thing like that happened at a festival.

12:48 Speaker 3: Some guy been there all day. I came on and played,

12:51 Speaker 3: and at the end he just came on, came on stage,

12:54 Speaker 3: and at the end he said, wow, have you fantastic.

12:57 Speaker 3: I've been here all day and all these other bands

12:59 Speaker 3: haven't been so great, and you've been fantastic. So you know,

13:04 Speaker 3: it's a bit refreshing for people.

13:05 Speaker 1: I think, Yeah, And to have that validation too, you know,

13:09 Speaker 1: that's so obviously you're you're onto something that was that

13:13 Speaker 1: challenging at all, you know, introducing drum programming into your

13:17 Speaker 1: live set, a drum machine. I mean, that must have

13:20 Speaker 1: taken some getting used to, right or maybe not. Maybe

13:23 Speaker 1: it seemed natural from the beginning. I don't know, but again,

13:25 Speaker 1: that's something I've never experienced, so almost I asked this

13:28 Speaker 1: question almost selfishly because I'm just very very curious about that,

13:31 Speaker 1: if that was a natural transition for you or did

13:34 Speaker 1: you have to kind of work at it?

13:37 Speaker 3: Not really, because I been in other bands where we've

13:41 Speaker 3: had a drum machine movement, like a semi electronic band.

13:45 Speaker 3: Oh that was the mid nineties. We were called Cloud

13:48 Speaker 3: Bass and I used to have like an older Tallery

13:53 Speaker 3: computer with MIDI files and a drum machine and we

13:58 Speaker 3: had that. We just had guitar bay some vocals and

14:01 Speaker 3: it was which call. It was quite quite regimented. So

14:06 Speaker 3: you really have to fit in with the time in

14:08 Speaker 3: is when you've got a live drummer and everybody's live.

14:12 Speaker 3: You know, you can be a bit more loose with this,

14:15 Speaker 3: really good at being your toes because all that the

14:19 Speaker 3: drum programs and the MIDI files don't wait right, You're

14:24 Speaker 3: going to be really good with your time in. So

14:27 Speaker 3: used to do that, but when it reintroduced the drum machine,

14:30 Speaker 3: I knew how to a new what to expect right,

14:34 Speaker 3: you know, to be good with the timing of playing.

14:38 Speaker 1: Now with your album, so Northern Soul, which that was

14:41 Speaker 1: twenty nineteen, correct, Was that that your first album as

14:44 Speaker 1: a solo artist technically?

14:49 Speaker 3: Oh, I don't know if you know my history, but

14:55 Speaker 3: I think it was twenty twelve. Oh, I had this

14:58 Speaker 3: crazy idea. I was really really into just acoustic guitar instrumentals,

15:04 Speaker 3: and I thought, I know, I'll just record it a

15:07 Speaker 3: couple of Beatles instrumentals and see how these sounds. And

15:10 Speaker 3: I was playing them in the car and the CD

15:12 Speaker 3: playing I thought, well, this is good driving music. This

15:14 Speaker 3: is maybe it's maybe it's a good idea to do

15:18 Speaker 3: it as an album, because I went into a studio

15:22 Speaker 3: and recorded I think it was fourteen Beatles songs and

15:26 Speaker 3: I released them put them out in c D, and

15:29 Speaker 3: it was an album called Well my Acoustic Guitar gently weeps.

15:34 Speaker 1: I love it and it's instrumental.

15:39 Speaker 3: It is it's it's fourteen Beatles Instrumentals and released that

15:43 Speaker 3: on CD and it did okay. It's sold in lots

15:47 Speaker 3: of countries and it seemed to do okay.

15:51 Speaker 1: I'm curious as a music industry guy, was it challenging

15:56 Speaker 1: at all?

15:57 Speaker 2: I assume did you have a.

15:58 Speaker 1: Label or a distributor that you worked with, because I'm

16:00 Speaker 1: curious about you know, if you're covering Beatle songs, that's

16:04 Speaker 1: not always necessarily easy to get all your ducks in

16:10 Speaker 1: a row, at least certainly not in the United States.

16:13 Speaker 1: To really make sure you've got everything nailed down legally

16:16 Speaker 1: so that you can do that without running in any trouble.

16:20 Speaker 2: I'm curious about that part of it.

16:23 Speaker 3: Okay, I did that. What you have to do is

16:25 Speaker 3: you have to apply for a license from I think

16:27 Speaker 3: it's the MCPS Mechanical Copyright Section Society or something, and okay,

16:35 Speaker 3: you send them a list of songs and they'll send

16:38 Speaker 3: you a bill for some like four hundred pounds. You

16:41 Speaker 3: pay the bill and then they send you a license

16:43 Speaker 3: and that allows you to press things physically in like

16:47 Speaker 3: a CD factory. Without that license, you can't go ahead.

16:52 Speaker 3: So once you paid for the license, you can get

16:54 Speaker 3: them pressed and then they get delivered and then you

16:56 Speaker 3: can send them off. And I did that again on

16:58 Speaker 3: my own label. Oh so they do things like bang camp.

17:04 Speaker 1: Okay, Oh that sounds relatively Uh, that's that's more straightforward

17:07 Speaker 1: than I would have expected. That's that's well, that's great, okay,

17:12 Speaker 1: all right.

17:13 Speaker 3: Yeah, I didn't have to ask any permission. I think

17:15 Speaker 3: you just just have to buy the license and that's

17:20 Speaker 3: the only legal requirement. That'll be limited limited to the

17:24 Speaker 3: number number that you can press as well.

17:26 Speaker 1: Oh they do okay, okay, yeah, no, that's still though.

17:30 Speaker 1: That's much simpler in streamline than I would have expected.

17:32 Speaker 1: That's that's fantastic. How was the response to it when

17:34 Speaker 1: you released it.

17:36 Speaker 3: It was good to got good reviews and it sold

17:39 Speaker 3: I think I remember it was USA, Canada, UK, and Japan.

17:44 Speaker 3: It seems to sell quite well.

17:45 Speaker 2: Outstanding. Oh, very good, very good.

17:48 Speaker 3: And you know, just just from an initial tryout of

17:51 Speaker 3: listening to it in the car.

17:52 Speaker 2: Yeah. Yeah, and this was I'm sorry, there's.

17:56 Speaker 3: A really starting about twenty twelve.

17:58 Speaker 2: Twenty twelve, okay, that's what I was wondering.

18:00 Speaker 3: Yeah, some copies available out there somewhere.

18:03 Speaker 2: Oh wow, okay, it's.

18:05 Speaker 3: Worth checking out if a beatles fine and you want

18:07 Speaker 3: to listen to something different.

18:09 Speaker 2: Yeah, that's cool. Yeah, I'm curious. So then uh okay.

18:12 Speaker 1: So then was Northern Saul the next thing that you

18:16 Speaker 1: released or was there something else between between?

18:21 Speaker 3: I think it might have been the Bitter Springs in

18:22 Speaker 3: between that I got asked by the Bitter Springs to

18:25 Speaker 3: initially play bass for them. That was quite funny story

18:31 Speaker 3: because I got a call from the the lead singer,

18:35 Speaker 3: Simon Rivers. He found me up and said do you

18:36 Speaker 3: play bass? So I just said yes, and that afternoon

18:40 Speaker 3: I went out and bought a bass. I played it

18:45 Speaker 3: much before, so I got one and within a couple

18:48 Speaker 3: of weeks we were playing gigs in the Spain.

18:51 Speaker 2: Oh I'll be damned, but you were already playing guitar.

18:53 Speaker 3: Right, Yeah, so it wasn't wasn't too difficult to learn.

18:56 Speaker 2: Yeah, I don't so.

18:58 Speaker 1: I'm a bass player myself, and I know that my

19:00 Speaker 1: fellow bass players hate when I say this, but yeah,

19:05 Speaker 1: if you can play guitar, you can play the bass.

19:07 Speaker 1: I mean, it's just it's just a fact. It's just

19:12 Speaker 1: a fact. So no, So that's great, and you really

19:15 Speaker 1: kind of sees that opportunity. Now, when Northern Soul came out,

19:18 Speaker 1: you got a fair amount of radio support for that

19:21 Speaker 1: over there, didn't you. Yeah.

19:23 Speaker 3: The the lead track off it, I think it was

19:28 Speaker 3: called I Get the Feeling got played on so many

19:30 Speaker 3: radio stations, got really good feedback from it because it,

19:35 Speaker 3: you know, it seems like quite a happy song musically.

19:38 Speaker 3: It sounds nice and bright on the radio.

19:40 Speaker 2: Yeah, that's cool.

19:43 Speaker 1: We might we might play that at the at the

19:45 Speaker 1: end of the segment, actually, because I think I think

19:49 Speaker 1: that would be appropriate. Oh yep, I found it. I

19:52 Speaker 1: found it online. Excellent, excellent. So then how is your

19:55 Speaker 1: approach change? Because I was twenty nineteen, so Obviously that

19:58 Speaker 1: was seven years ago as your approach changed in terms

20:03 Speaker 1: of how you were recording, writing and recording then versus

20:07 Speaker 1: how you're doing it now with like the new single

20:09 Speaker 1: money Can't Buy Me Love, for example.

20:14 Speaker 3: No, that was just it was a similar approach to

20:19 Speaker 3: when I recorded Northern Soul and book a studio and

20:23 Speaker 3: then get some friends to come and help me on

20:26 Speaker 3: things like bass and guitar and I do all the

20:28 Speaker 3: other bits that that was the initial recording process. But

20:33 Speaker 3: now I've got my own home studio where I can

20:37 Speaker 3: record at home. So I've now got the problem of

20:43 Speaker 3: what I've recorded at home, I need to take that

20:45 Speaker 3: to a studio to mix it so we can get

20:48 Speaker 3: a better sound that can at home. But I'm just

20:50 Speaker 3: trying to get my head around how to do that

20:52 Speaker 3: because I'm not very good at this recording technology out

20:56 Speaker 3: there that can help me.

20:57 Speaker 1: So sure, sure absolutely. We live in a time too

21:01 Speaker 1: where there's so many different ways to do it. There's

21:03 Speaker 1: so many different ways to record, and nah, yeah, I'm

21:08 Speaker 1: confident you'll you'll get it all figured out. Is money

21:11 Speaker 1: Can't Buy Me Love? Is that going to be on

21:13 Speaker 1: an upcoming EP or album or what's kind of the

21:15 Speaker 1: your forward trajectory there or is this just going to

21:18 Speaker 1: be a single.

21:20 Speaker 3: It's it's just going to be a single. At the moment,

21:22 Speaker 3: what I'm going to do. What I'm going to do

21:24 Speaker 3: is just release singles. At the moment, I was gonna say,

21:29 Speaker 3: I'm not in the mood to release an album. Yeah,

21:33 Speaker 3: but I just want to write a good song, record it,

21:37 Speaker 3: and then release it. And then I was thinking about

21:41 Speaker 3: this the other day. Once I've done like twelve singles,

21:44 Speaker 3: I can release it and call it the greatest hit.

21:48 Speaker 2: That's a good idea.

21:50 Speaker 1: Well, you know, and a lot of artists who now

21:52 Speaker 1: they kind of do, you know, because when I was

21:55 Speaker 1: growing up, it was, you know, every everybody released albums,

21:59 Speaker 1: or you might see an artist occasionally release an EP,

22:01 Speaker 1: mostly albums, you know, and then you'd have singles from

22:04 Speaker 1: that album. Usually first single goes to radio six to

22:07 Speaker 1: eight weeks before the album, and then if the album

22:09 Speaker 1: comes out it goes well, then you get a second single,

22:11 Speaker 1: maybe a third. But now a lot of artists are

22:14 Speaker 1: doing just literally the inverse of that. They release a

22:17 Speaker 1: series of singles that eventually coalesce into an official album.

22:22 Speaker 1: And nothing wrong with that, you know, in terms of

22:25 Speaker 1: I mean, algorithmically, I think it works well with Spotify

22:28 Speaker 1: and some of these streaming services.

22:29 Speaker 2: So yeah, not a bad approach.

22:33 Speaker 3: I was thinking about, you know, the singles the albums

22:37 Speaker 3: thing because with like things that Instagram and Spotify, albums

22:42 Speaker 3: still valid. People's attention spans are quite short now. You know,

22:47 Speaker 3: it'll probably only stretch to about thirty seconds to a

22:49 Speaker 3: minute on Instagram or song on Spotify, So you know,

22:56 Speaker 3: an album doesn't see it seem valid to me at

22:59 Speaker 3: the moment, right, I'd rather just like go at the

23:02 Speaker 3: flow and release something, promote that, hope it sells, and

23:07 Speaker 3: then move on to the next thing.

23:09 Speaker 2: Yep.

23:10 Speaker 3: But it is good because I'm building up like a

23:13 Speaker 3: set list for live gigs as well, get it, you know,

23:16 Speaker 3: to get get it longer and longer, right, so when

23:20 Speaker 3: I play live, that would be my album.

23:23 Speaker 2: Okay, there you go.

23:26 Speaker 3: That makes sense.

23:27 Speaker 2: That makes sense.

23:28 Speaker 3: Just that Instagram thing and people's people's attention to things

23:35 Speaker 3: seems to be quite small at the moment. They're always

23:37 Speaker 3: sticking through their phone listening to something for ten seconds

23:40 Speaker 3: and then they look at something else, and.

23:44 Speaker 1: Yeah, absolutely, absolutely, Well, Andrew, it's wonderful to have on.

23:49 Speaker 1: Like I said, we really like the song money Can't

23:52 Speaker 1: Buy Me Love, and we will certainly spend that again

23:57 Speaker 1: in the future. And you know the next single when

23:59 Speaker 1: whenever that is, I mean you know when you're your

24:01 Speaker 1: next single. Do you have an eta on when the

24:02 Speaker 1: next one might be out or I know you're focused

24:04 Speaker 1: on Money Can't Buy Me Love at the moment, So

24:06 Speaker 1: I don't know if you if you have any idea,

24:08 Speaker 1: because we'd love to play the next one too when

24:09 Speaker 1: it's ready, But I don't know if you if you

24:12 Speaker 1: have kind of an idea of when that might be.

24:16 Speaker 3: There will be something out. The Money Can't Buy Me

24:20 Speaker 3: Love singles done quite well, so that spared me on,

24:23 Speaker 3: So think about releasing something else. And I've got another

24:25 Speaker 3: song called Time Waster, which is ready to go, and

24:30 Speaker 3: I'm just thinking of a time, maybe July or September

24:34 Speaker 3: to release that, Okay, And it's a similar sort of

24:38 Speaker 3: format harmonica guitar, drum machine with a strong harmonica hook.

24:44 Speaker 3: But this song is about it's good, it's about fellow musicians.

24:50 Speaker 3: Although the musicians who came into the studio were great,

24:54 Speaker 3: the other musicians you said that you played bass, you

25:01 Speaker 3: must have been in bands before, and you know, have

25:03 Speaker 3: musicians act uh, headline slots of festivals, build a build

25:12 Speaker 3: building up, and there might before musicians just ring me

25:15 Speaker 3: up and say, oh I can't do the gig tomorrow.

25:19 Speaker 3: So that that really got me. I just thought, why

25:22 Speaker 3: are they like this? So I just thought they're old

25:25 Speaker 3: time wasters. So time Wasted is a song about musicians

25:28 Speaker 3: wasting your time.

25:30 Speaker 2: Oh that is that is perfect.

25:33 Speaker 1: And yeah, anyone who's ever anyone who's ever been a musician,

25:38 Speaker 1: and and you know we all know the pain of that.

25:44 Speaker 3: In a band.

25:45 Speaker 1: Yeah, yeah, absolutely absolutely, Andrew. So before we let you go,

25:50 Speaker 1: where's the best place for people to go to keep

25:52 Speaker 1: up with everything that you're doing?

25:53 Speaker 2: Where should they go? Online?

25:55 Speaker 3: It's my main website, which was andrewdv dot com. You'll

25:59 Speaker 3: find everything you need to know.

26:00 Speaker 2: That outstanding outstanding. No, that's easy, that's easy.

26:04 Speaker 1: So in a moment, we're gonna play, I'm gonna play.

26:07 Speaker 1: I get the feeling. I'm really curious to hear that

26:09 Speaker 1: and to share that with our listeners. But it's been

26:12 Speaker 1: wonderful to talk with you today and we'll definitely do

26:14 Speaker 1: this in the future. It sounds like you've got a

26:15 Speaker 1: lot of a lot of new music coming up in

26:18 Speaker 1: your future, so we'll absolutely have you back when the

26:20 Speaker 1: next single is ready, and we will keep in touch.

26:23 Speaker 1: But I really want to thank you for being with

26:25 Speaker 1: us today.

26:26 Speaker 3: Thanks very much. It's being a pleasure.

26:28 Speaker 2: All right.

26:28 Speaker 1: We will do it again in the future, my friend.

26:30 Speaker 1: I'm going to hit this track and we'll let you

26:32 Speaker 1: go for now, but we'll.

26:33 Speaker 2: Talk to you soon.

26:34 Speaker 3: Okay, thanks very much.

26:35 Speaker 2: You got it.

26:36 Speaker 3: Bye bye, hey, bye bye.

26:39 Speaker 2: All right.

26:39 Speaker 1: That is the great Andrew Devi and he's got the

26:42 Speaker 1: new single money Can't Buy Me Love. But right now

26:45 Speaker 1: we're gonna play This is a previous track that he

26:47 Speaker 1: mentioned he's had a lot of success with This came

26:50 Speaker 1: out on Northern Soul back in twenty nineteen, and let's

26:53 Speaker 1: give this a listen.

26:53 Speaker 2: This is called I Get the Feeling.