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  • please give a warm to you.

  • Welcome to Neal Murray.

  • And that's how informally we're going to start since you just walked on here like that.

  • Fine.

  • Now, you you can just wing it.

  • Let me tell you about this man that sits beside me on the stage.

  • It's an honor just to be doing an interview with him.

  • Um, and he'll come across is an incredibly humbled fellow.

  • Ah, that classic, iconic, iconic Australian bloke.

  • Perhaps I could even add the Blackwood in there for you.

  • Neal.

  • What do I think?

  • It's still hands?

  • No, I'm in D Block.

  • Um, and as you see, he, uh, he will appear humble and mother, um ah.

  • He'll keep everything down to us from very grounded for all of us.

  • Which is a beautiful thing about this man.

  • But if your someone of my age I turned 45 yesterday, that's recorded now on camera.

  • Um, thank you so much.

  • Ah, I've grown up with his music in my vocabulary.

  • Ah, long cyber Grumpy band and midnight oil eyes Neal Murray, in my vocabulary as folk rider and the traditions fraught What reflects this country to me and ah, he's certainly not shy of being a great Australian social commentator as well.

  • And we've been talking about that this morning, um, alongside law that he's a songwriter and, uh, a writer.

  • He's a generous collaborator.

  • And you'd like to call that co writing.

  • And Well, today, Neil and I got a sort of unpack kind of quite a few things.

  • We're gonna start from the beginning.

  • We're gonna talk about few things that you know that we'll expect expected to talk about, which is perhaps early compositions and island home and some of those other things.

  • And then we'll talk about when you're But you're going on where you are now and about collaboration, et cetera, et cetera.

  • So just one more time Because so many of you I know just walked in the house.

  • Please make Neil Mark Murray welcome, please.

  • Here to see you.

  • So this is an effort songwriting workshop where we talk about all those processes and we're gonna break them down today.

  • So first we just start with how you got into the business.

  • The business.

  • Terrible word.

  • But you know, when did you start?

  • Did you do have any background in education?

  • Who taught you had self taught.

  • What happened?

  • Where are you?

  • Who are you?

  • Neal Murray.

  • Ah, All right.

  • My first song and 1975.

  • I think it was over in a fear of the hat.

  • Some girl brought the poetry out in the This was pretty bad.

  • I couldn't.

  • I kind of remember the song.

  • You I didn't actually get anything on record until 1993.

  • Um, and off the songs that I've put on record the oldest one all right, was in 1979.

  • But there's a bunch of stuff I wrote before them, which wasn't that great.

  • But at school, I like to write partnering s eyes composition.

  • I liked I know spiritually good at art.

  • So I had that creative kind of spark our supplies.

  • Ah, early on that even, um, I was brought up in the country Western Victoria rise on a soldier settlement bloc farm, small farm that my grandparent's ran.

  • And I can remember a time before television on Duh, because we never got TV at the little better.

  • I don't think it's about known in CT three or something, but when we got the black and white TV, that cow inside of beautifully with the Beatles and I love my group.

  • My sister's All the Sisters were under Elvis and stuff, but the Beatles are migrant and even Grade two in Promise Girl made some other kids would be singing battle songs for morning Talk show and tell, and my grandfather was a clean Emma's a singer.

  • Encourage me to sing.

  • All the relatives since have told me I I don't have a voice anyway like my grandfather.

  • So that's kind of them, Yeah, but I remember going to people's houses, relatives and that having sing songs around the piano, Accordions and things and tinpot Baines that dances and stuff.

  • So I got a bit of that import.

  • And then when the TV came in the Beatles and all that 60 stuff, and in the 19 seventies I really started to hear the singer songwriters than your young Bob Dylan's that Joni Mitchell's but also people not in the mainstream.

  • I was very influenced by John Martin and lighter on Gerry Rafferty and of a songwriters, So it's better time when when I, uh, actually started on drums, I got a little drunk.

  • It was 10 years old Bash Dwyane that used to play along the souls in the writing on then I was about 13 afford, and I got hold of my sisters know a long string like a long string acoustic.

  • And, um, in about a fortnight I learned to play the basic chords and are starting to play the songs of the time sheet music, buying sheet music for various popular songs.

  • And in that process, discovering how songs kind of went together to the point where boy in my life chains are was attempting to run souls.

  • And were you doing this at school that same time with school?

  • One of the things we have actually could choose music into it.

  • You know, there's no reason I wasn't in any choir music group of school.

  • It was nothing like that.

  • We're only took country high school.

  • No, I didn't have it.

  • I just had to kind of do it myself.

  • And and from there from that place where self taught and, you know, a bit of a multi instrumentalist, we might call, you know, uh, you know, Jack up a bit of grabbing everything you can get.

  • Then you start songwriting.

  • You sit with 75 a little bit before then.

  • Where's the transition?

  • How's that?

  • So you've learned your learning Lots of repertoire.

  • You're playing lots of other people's songs.

  • Yeah, but someone got toe at school.

  • I got I student ship too.

  • Trained as a secondary art and craft takes United two years and volunteers in Melbourne to do that, cause which ostensibly we're gonna be turned out as a trying teacher to teach your signature and craft.

  • Um, I was meeting other people of Look that we're into music who are also doing here.

  • Um, I didn't neither.

  • There was any music courses like you've gotten an ISA nice, Nice dies and dumb.

  • And I was getting little bands going for me.

  • Little bands and we're playing a mixture of covers and a few originals that I had going in anyway.

  • Even when I got posted at first year teaching up to a place called Robin Vile numeral juror, I got a band going in that 10 straight away and two little gigs.

  • So I fancy myself as a bit of a hot guitar apply.

  • But band that I already here after a few years but still play guitar but there was so many good guitar players around, and it was in that prices.

  • I I started to realize what my strength Woz and that was initially writing songs.

  • So I want Yeah, this is good bye then it's the 19 eighties.

  • Well, yeah, $7 that Robin Bell and I went on a trip that year to the Northern Territory and visited Panya and then a friend.

  • They said there's a job going Ah, driving store truck and out stations on dumb.

  • I said, Well, I'm coming up.

  • So in January 1990 I moved up there and, of course, I had made a tear and stuff with me and I wasn't in the place of weight.

  • And I had a visitor a little flattened.

  • It was, uh, this Ah, very cool looking cat.

  • Logical fella.

  • You want to look at Margareta And, uh So you here look, And he picked it up and he made the sweetest sounds coming out of it and his name of Semi Butcher.

  • And we were jamming that afternoon and his brothers got involved.

  • Another young fellows.

  • We got some equipment, secondhand stuff and started having ah concerts in a pony a couple of nights week.

  • So here wasn't this place.

  • I didn't think I'd get a band down there with that.

  • Something is a band going and, ah, we should start applying what we could apply a lot of early rock and roll stuff.

  • Chuck Berry, Little Richard bagels and Styron's covers.

  • I say day singing and ah, I've had four months later I always had on the flat of it was a Sunday remembers sleepy Sunday afternoon, and I had this year.

  • Rocky didn't didgeridoo.

  • I got from a previous trip to the Topping in the light seventies and learned a little bit of didgeridoo.

  • And, um, they don't use didgeridoo and companion Central strike.

  • It's not a traditional instrument.

  • The So I thought I couldn't bothering a tiger that I hadn't played it for a while.

  • So get award and started blowing it on the on the veranda.

  • I saw him a little Zahra me flat left on this block of four, the risk of trash to run.

  • So I'm in.

  • It'll flatten as I started a blot affair, the core of our this skinny black walking down the dusty ride.

  • But I'm blonde and he starts walking quicker and he walks in a couple of steps.

  • He's up on my veranda, his company's hands and he's singing him.

  • Linger.

  • When I'm a shit, what about done?

  • You know, he said, Don't stop, Keep gown.

  • That's boiling Bowling, I said, I don't know much.

  • That's that's all I know should give it.

  • I'll show you.

  • He grabbed it and started blowing up beautifully.

  • Strong, robust patent.

  • I was trying to play.

  • He wasn't from likely was Dr looking for salaries from the top end Betting my Wally's he stopped all is like blowing out when he played with it.

  • Wow, that's great.

  • But he was ignoring me.

  • He'd noticed inside my room I had a good time.

  • Long, almost waiting.

  • Said, Oh, you got a guitar?

  • They said you.

  • He said, I'm a single man.

  • What's it?

  • Are you Is that what time you haven't been?

  • Uh, we'll be there in the afternoon.

  • I'll see you.

  • These And that afternoon a learned that he was, uh hey, coming from alcohol in the top.

  • Pained.

  • I need to rob companion because he was sweet on Sammy's sister.

  • So he was gonna be Sami's brother, Mole and, uh, no.

  • Why?

  • He wasn't gonna be in the bane and He had a bunch of song books under his arm and he was angel Rock and roll her.

  • So we had a front man.

  • That was his name was George.

  • And, uh, let's have a war of being good.

  • Gown says that for those of you who are not even born, perhaps even in the 40th century and there are some of you in here, um, the real grumpy benj, uh, started in the middle identities around that time That rot.

  • No thing.

  • We started really flying on a 90 but it took us.

  • It wasn't until number 90 three that we toured the Sydney, but we applied round communities and in Antillean Kimberly's part of it.

  • And and through the 1st 3 years, it's always interesting to know what's happening.

  • Those first coco riding estaba bands establishing itself.

  • You were doing covers at the start, and then it starts a collaborative riding starts.

  • We'll have had some American songs that that styles, but I didn't really suit the band on, and, uh, because I took a wall economy, it was easy.

  • Once we had the late singer, um to then have a focus, and I thought about it writing songs for him For a while, I was still seeing a lot of stuff and he was helping, um that are in the back of a model.

  • I've got account with some songs that he really wants to sing.

  • And so what lies beyond it?

  • Mile in time?

  • Yeah.

  • No.

  • 95.

  • We released their first album, Big No, no blankets.

  • And we did country to the usual wisdom of not doing a tour up the East cars.

  • We we did a tour at through the desert or answer w I they got to down to Lone Child.

  • We got the top and I managed to go out, too.

  • Ah, Grr!

  • Cooling.

  • Um, he's passed away, and I guess I'm a bit reluctant decides nothing too much.

  • Yeah, to his island home, which is going to alcohol.

  • And And it's been about five days with him in these brothers and family on a remote part of the bush.

  • And we just live like kings off the land and sea are getting fish cry fusion, hunting turtles and stuff.

  • And it was one of my boyhood, uh, dreams to be how to do that with the original people live off the land like that.

  • You're just in a god and magnificent and just I just No way to get her to get everything in.

  • Not a big effect on me, I think.

  • But at the same time, I have been living in Central Stripe for six years of sign length of time is the lead singer.

  • And I knew what it was like to miss your country because I'm from with with Victoria Freshwater Country.

  • And I understood that feeling anyway.

  • I had to fly back down south, uh, to do some promotion work for the bane.

  • And I was on a bus traveling from Melbourne to Sidney.

  • What?

  • I'm gonna be two weeks after being alcohol, But it's the middle of winter.

  • You know what I'm doing here?

  • Three o'clock in the morning, I'm feeling very restless to stare at the moonlit landscape.

  • There's frosty kind of planes going by southwest slopes of New South Wales, and it was just suffering this exceptional longing to be back in about a tropical sea.

  • It was also the feeling of homesickness and morning to really be where I belonged as well mixed in it.

  • But just it just popped in my head my home, my island home.

  • My island home is awaiting for me.

  • And as soon as I got that, it was like, really insistent.

  • I just had to hang on to it.

  • I had no notebook.

  • The guitar was in the luggage hold below, so just hang on to it.

  • But I felt that it was really strong, really insisting itself, not just felt.

  • I gotta write this song for our lead singer.

  • I gotta run it for him so he really so you'll sing it.

  • You know, I really want to sing it.

  • I got to Sydney and I demoed it a little four.

  • Track of the time I had it on cassette and about it.

  • Three weeks or a month later, I got back to Alice Springs and also the late singer coming in evolution of this.

  • He put his head in the window of the The unit was dropping in.

  • I pushed the Cassidy and CASS it platter song applied through, and he said, That's it.

  • That's number one that's talking about Marla, right?

  • So when you sing it there, that's right.

  • Let's have a song came about and then the Versace for this song.

  • So you had the hook and you write, you've written these verses.

  • Did you collaborate to, you know, open the versus up or if there were suggestions of, you know, um, just ideas where, you know, there might be some subtle Rico riding on this to know it was a pretty cotton draw.

  • That that time I knew him really well, a news story.

  • I think the whole thing written you presented too soon about that.

  • He said, that's it.

  • Right?

  • So there was no, no, uh, I wrote that song entirely for him to see.

  • Yeah.

  • Yeah.

  • He's also minute mentioned in this that in many ways you have taken on.

  • You said you were going back down south to do some promotional, some for the Ben.

  • So you know, you're the writer and the roadie and the right, you know the promoter.

  • Oh, you're doing the lot.

  • And well, initially, I wasa way about that time we did get a guy who waiting up Billy and manage it for a long time.

  • But yeah, if I hadn't got help, I would have had to, you know, I don't know what I would've done because I was getting really hard to do anything in the 19 eighties.

  • I'm from a from Ben Boca, a tiny little town in the far south Coast and bigger, closer to bigger.

  • And, um so we sort of Shavitz that's real snowy mountain country and it's beautiful, beautiful country.

  • But ah, I'm interested that in the 19 nineties you're in central deserts and up north and your white fella, like working with black fellas and original Mob, and I'm thinking that that's still knew.

  • Then that's still this is a new new territory.

  • What's what's that history of that for you?

  • You know, it was something that was just always in me.

  • Ah, growing up in the lane, I had intuitively, I had a deep love of the lane.

  • Decisions in somehow that just become a cooling, that it was picking up Stiles in the paddock and and my father and grandfather occasionally charmy a stone and saying, This is black Palestine, grindstone exit or something, and they sort of said, You know that people just leave you before.

  • What's it true?

  • Where those people go?

  • Oh, they were going.

  • I'm taking where they're going.

  • So just kind of sitting prices.

  • A trying of wondering that I just But somehow I was just driven.

  • I want to find these people and I got the audit.

  • They're all up north, which is a bit of a near a time.

  • For example, Archie Roach was only three cause an error away from me when he was a little child that I would never know because I was young myself, probably leaving.

  • Born.

  • He's a little bit all of the money, but he was talking.

  • Why?

  • So, yeah, it was only years later, I I learned about the history, my own area, and it got to me people from traveling hand, community and stuff.

  • So at the time, I was just hell bent on getting to the Northern Territory, were saying to me that people had they still had their language and culture and stuff.

  • And so I was driven to kind of go there and I was heading that way.

  • Might be making some trips since 1979.

  • I went up to very merely and stay with David.

  • Blaine asked you for a while who was who taught Rolf Harris didgeridoo and also taught Steven Kuney came musicians.

  • He should know Stephen Cooney's nine.

  • He's a maverick musician.

  • He went and moved Toe Island many years ago, and there was single handedly advanced the status of acoustic guitar and traditional Irish music.

  • But he is the army watch fell rather admit who comply a traditional place on didgeridoo with the most dancing form.

  • And so he really winning too much deeper than I did.

  • That's it.

  • That was it.

  • It was the night calling it somehow ensure I felt there was something to be learned from indigenous people.

  • I couldn't go past the premise that these people have lived on this land longer than any other.

  • They gotta know something.

  • They must know this place better.

  • I wanted to share in that.

  • Want to learn from that?

  • I thought it was an important thing that I had to do.

  • I had to go out and be with these people.

  • Had to learn from.

  • I just I just felt that that was the key to a great a sense of belonging into ah Riel inside into this country Day afternoon.

  • Big name, no blankets.

  • It comes, humbug!

  • Go!

  • Bush!

  • Bush!

  • And then Hamburg can't talk about Hamburg.

  • That's right.

  • Go Bushmen!

  • And too much Hamburg.

  • This album is.

  • Ah, Now the band's working.

  • It's fairly established.

  • Now you're touring, um, and you've got ah, sounds all the chats.

  • I've seen you on countdown by now as a kid.

  • Um, the room prevent, um and there's some mainstream.

  • You know, it's really interesting this country in this band and this cross overs with rock musicians and mineral oil.

  • And you doing those kinds thes coast.

  • Now you're doing that circuit a little bit more in the big cities.

  • That's a big change for the big band on tour.

  • How How is that life on tour and then did the song writing side to change as well?

  • Ah, yeah.

  • Well, from it, I'm Heidi Forearm Woods.

  • We started to do visit the city's We did Brisbane Pressure applied a Newman in order for there's people ran would know.

  • Yeah, yeah, you know, maybe maybe said the dancing was right, you know?

  • And, uh, yes.

  • So we started to do that the circuit and play.

  • And it was hard on that.

  • The guards families, you know, we were away for three months and often at the time and was really hot as Tom.

  • We don't know what we've made.

  • It to a short from your flu and stuff nearly dies.

  • We're drawing a lot, um, evil, like the son or anything became as much as possible.

  • A tron?

  • Uh, Cairo.

  • I mean, playing with Sami.

  • He always comes riffs and stuff.

  • Sorry.

  • Ah, lot of souls of based and have some riffs that he got in.

  • I did more chi rolling with JIA with the late singer.

  • Uh, for example, Remember rotting warrior within that song in the touring that Why of hell.

  • I just had this, uh, we're quite influenced by the police there for a while.

  • And, uh, I had this, uh, a pigeon peeking thing on the electric that form the basis for where I had the idea of fire and all this chant chorus.

  • And so he right versus in his own language Good match, you know?

  • Suggested well, the word for fire and go Much is a good thing, which was difficult to change.

  • I felt so the literature were which the other guys in the band spoke this language, the desert language from opinion word for firing literature's worry.

  • So I suggested we use that as a chorus chan, you see?

  • Hey, that'd be right.

  • So that was have it.

  • That's one car, right?

  • So, um, you have more and more.

  • I was, uh, just taking to try and get the guards to to be involved.

  • Sorry, but it was pretty apparent that I was still generating a lot of Saudis.

  • I mean, that's what happens in a band.

  • Everyone has their skills.

  • We had a dynamic front man who could you could in live performance could really ignore the crowd.

  • We had a terrific natural.

  • Tom was a musician with semi Bush.

  • Or you could play Anything was effortless.

  • And he's plying.

  • And I didn't have to second guess chords and things.

  • He was just one of those cats, you know, that could apply.

  • You know, the talk of applying a tire, and I just casually don't chain out while they're still going.

  • You know, that kind of this.

  • And, you know, and then I had this thing about to get a song.

  • Go on, get it together.

  • So as much as possible, we were collaborating.

  • You, um if I think of island homes a good example with the lyric has come first in the in the plane with the melody was there to think I was in the bus all about Sorry.

  • On a bus on the plane.

  • I try that again a few times traveling on a bus.

  • Didn't get some?

  • No.

  • I got lyrics for common cause to clear my first solo single.

  • Okay, getting on a bus and going from Sydney to know?

  • No.

  • You'll get some good ones out of this.

  • You got a bit of driving today.

  • Some tunes come like that in a second.

  • Some, as you know.

  • You know some songs.

  • Comte IQ's.

  • Um, what's your 1st 1 that you'd like to start with today?

  • That you know, we could talk Unpack one of your tunes where you can talk about You know, it's lyrical, where it originated with its lyrics or where it originated with its, you know, its harmony, riding or whether you know which came first the chicken or the egg without Well, okay now just threw him in the deep end really quick.

  • Well, I guess I'll pick one that's sort of came from not far around this area.

  • It's called Mile Creek.

  • For those of you don't know on the idea and thirties, there was a massacre of more Creek uh, it's conflicting reports about how many original people were murdered.

  • It's lice, dozens and dozens.

  • But in 2000 they had a reconciliation of ain't over the the other didn't everything about Mark Rick was the first time they ever had hung any white fellows for the crime of measuring original people.

  • At the time, I the guys that they home, we're kind of, you know, station hands and ex convicts and safe for the actual ringleaders.

  • Squatters got away, of course.

  • And in the frontier wars and stuff, it was a significant.

  • That was the first time that, um, your opinions were behind anywhere I many I happened to because the whole so much of the indigenous struggle and the truth is being a large singing my writing.

  • I just I just couldn't couldn't ignore these these bottle truths that are part of Australia and their own heritage in law.

  • From Toms, I was struck by a documentary I saw about this reconciliation event was only I'd be so you won't know it.

  • And there was I middle aged indigenous woman in the middle eyes, non indigenous woman.

  • Both of them respectively, descended from my the survivors of the Mexico and also one of the perpetrators.

  • But they kind together.

  • It's event in the hugged HR and called each other sisters.

  • And I thought that's just I was struck by that, that healing spirit, Chief.

  • It's just so inspirational.

  • I could do something because I was emotionally moved by it.

  • A lot of my songs come from from real emotion.

  • I just felt I had to try and capture that in song and help spread that spirit.

  • So if it if something new's may and if if I can capture that somehow musically and it moves May, then it's a good bet it's gonna move other people.

  • So apply a bit of it if you like.

  • Yeah, Omar descended off.

  • The murder is Wait a minute.

  • Mile Creek sisters, they became just goes to show what you can do.

  • You think it is what's being done.

  • Turn darkness into light.

  • You gotta let go of all hatred.

  • You know what's good for you?

  • You gotta own up to the truth.

  • Doesn't matter.

  • Have approved thing.

  • Just beautiful Lando.

  • Want no bad thing.

  • Break open all the science.

  • Fill it up with Jonah.

  • Pull your hangs, Jonah, Pull your Jonah, boil your head spread out on the way from my cream The joy from so from the place is still to go where they kill in terms of left haunting sadness lingers poisoning our town Smoke each place for Petey Consecrate the ground way.

  • Jonah Jonah, Poet.

  • Join a boil it smooth Mine Creek.

  • My joy from Sub Jonah Booth.

  • No, for my cream.

  • No, no, thank you.

  • It's one of those in my office.

  • Um, maybe small water.

  • Thank you.

  • We can unpack a little bit about lyrical riding.

  • And, um that comes from a particular stories.

  • You do the research underneath it, if the information right.

  • And try and think for the metaphors.

  • We talked a little last night about lyrical riling and how you go about it.

  • And sometimes you can take on a person personal voice for that.

  • Can you talk about your lyrical writing and links to your early poetry writing?

  • And there are some writing students.

  • Perhaps he could die as well.

  • Yeah, well, we can tweak and talk to that one new like an impact that one of you which way didn't do that?

  • You set us an example.

  • Well, I think it's lyrics have to work with you Malady song logistically with the same energy and probably the first thing I got in that song was the feeling for the chorus Join up all your hands you know, join up with hands Spread this feeling across the lane That was the thing that was driving And once you've got the chorus you can pretty much trek how the verse can laid into it And, uh, uh, I just had the urge that the main thing is I had the urge and the desire was strong to honor that that thing are soaring That documentary and I had, you know, it was gonna be a ballot e thing.

  • I could feel it had to be a motive that had to really speak to people's conscience And, um, just follow that feeling, um so I think it's it's important not to over complicate your lyrics.

  • I mean, poetry's very different.

  • You've just gotta speaking voice or you brute reading on the page.

  • Once you're bringing melody and rhythm, you got this other force, the musical force that can then bring so much more emotion to the lyric.

  • And, um, I mean songs of mine up of the language of everyday speech.

  • You know, pretty much, um, So you often in this you're so second person used telling, telling this story it's historical.

  • It's from that perspective.

  • My also current because I'm talking about now, you reconciliations todo Is that a feeling This spirit of healing and reconciliation and all morning to spread that, Yes, the I'm assault to spread that feeling if I was forgiveness, You know, the whole that, that the idea of, you know, the lyric that the line is your leg of all hatred.

  • If you know what's good for you, you gotta own up to the truth.

  • No matter how it proves which is, you know, accepting that we've got these dark things in our past, but they can be overcome.

  • That can be healed.

  • That's the message in the song.

  • Universal on Really?

  • Well, actually, for the certainly frost Now, um, island home comes from a different voice.

  • Ah, it's the first person in that way.

  • My island home.

  • That call of that and and I'm watching is Aziz.

  • Listen to Warren p all the way through.

  • Also, the voice of you know, it's my land mined my place my people.

  • This is where I'm guys my direction Very much thumb, That inner voice, you know, the personal experience looking out.

  • But your songs have I've noticed that they've changed a lot since I was first listen to, say 98 98 99 8 80 round About that time into 2000 your sons have actually become I feel, Ah, a little bit more overt.

  • Yeah.

  • Do Does this happen as we get older and braver?

  • Uh, they're pretty clear, Very clear.

  • That's less of the metaphor.

  • You know, you you call it one of these pretty clearly Lyrically, I find very Dulic direct.

  • Yeah, I guess I'm concerned about being accurate with mating.

  • I don't know what it was a £0 or someone said that para fries at the fundamental quest of rotting is, you know, accuracy of meaning or something.

  • So I guess I'm having had ah written part and I rode as much Never I did have a lot of influence from hanging around power.

  • It's in the white seventies, remember?

  • And you just be hailed down if you're you read some close eye that drivel You know Simon's song So our boys tried to mike the lyrics matter, but by the same token, you can get too clever for your own good.

  • So it's a fine balancing act.

  • Two come up with a lyric that that works with the melody and a fresh Y, even though that's why when you write lyrics on the pages I often raid, really.

  • But now, because the music's divorce from But when you hear it sung that has so much more power.

  • So it's kind of a balancing act.

  • Two.

  • Get the right balance when you co write with others.

  • We talked a little bit last time about that, too, and the the change that happens in a raita, Um, we're gonna switch into a tonic bit of business about co writing what that is for collaboration, because that's also been a big part of what you do you do and have done in your career.

  • Collaborative riding or co running.

  • Do you want to talk to some some of that.

  • So the three organic approaches that happened, the ones that don't get him in the one of the situation it was often trying to karaoke with the fellas or use a musical idea that I've got.

  • Or it got that while the report with the singer was such that I could have a guitar of nude spontaneous erupt with a lyric which was right, you know when those things happen.

  • But there's more formal corroding that you do it.

  • For example, if you got in Nashville where everyone reckons you should guy once in your loft and you have Cairo Ning appointments toe survive meeting people and you made in a room and and ah, it's 50 50.

  • Whatever happens in that room, I was so jet lagged when I first got over there in the skies, I said I got no ideas and the car got an idea.

  • So I started writing this song in front of me, and I just sat there, nodded and said, Yeah, that sounds good.

  • You know, you and it's 50 50 you know, that's how it is.

  • I think the important thing with Cairo ring, you have to agree beforehand with the other party.

  • What your terms are and 50 fifty's a good way to go because you're agreeing to meet, to co write with so otherwise sometimes evade input from someone of our someone for a long, uh, specifically a language lot of member asking Sami Butcher back for one of our insults, and he gave me a lie more.

  • You know, I've heard of him.

  • You know, the copyright thing usually is, you know, so much.

  • 50% for music, 50% lyrics I've given him, like, half the lyric get 2025% or something, because it is important.

  • But, you know, you have to kind of establish your terms before an otherwise again, it can get awkward afterwards, but, uh, some running lends itself to Cairo, especially when you're stumped.

  • You got 1/2 an idea, and if you've got someone you can take it to and then I don't see a way to solve it's all play in solving the problem and, um, off often that I'm pretty good.

  • If someone's got 1/2 days and already or can you just come out with wise to Prince finish, it'll suggest So it is a good activities to, um, to do it.

  • And, you know, there are well known corroding partnerships, the Linda McCartney's finest.

  • I mean, there's a great example in AA book, I read about McCartney.

  • I think the book school.

  • Well, I was years from now.

  • I forget nobody's talking about how we first wrote Hi, Jude, and this is the thing he had with with John Lennon was that some of the lot of the songs the Beatles songs will probably written primarily by one of the other, But they'd use each other as a sounding board, you know.

  • So when the days are gone, when they weren't facing each other, that a yard apart in the hotel room with the tires, but one that would bring this still want to bring the song the other party and get their feedback and and pull apparently just finished flying through Hi Jude to Joan and John was standing brought behind his shoulders.

  • He'd finished playing this song, and he often flesh as you do your flesh out the song.

  • Maybe with a few lines that just just in there is filler and to me, perhaps improve them And he had one line in the song was the movement movement you need is on your shoulder and he turned you down, said.

  • I don't about that that long.

  • There's a bit of a model, Lauren and John said Straightaway, said you leave that line in the song, That's a this damn law in the song, and that's important to get that food back.

  • And ever since McCartney's written that, he said letters and e mails from people saying him much that law imaged from the movie, The movement you need is on your shoulder.

  • I mean all this.

  • It's about the way with always with you, any time you know.

  • So that's the kind of Cairo 10% partnership.

  • Then you got the Bernie Taupin Elton John one, which is very Clapton dried.

  • Bernie would warrant lyrics, he'd say.

  • Now the lyrics and out would come up with music and melody to go with it.

  • Son, it's all kinds of ways of corroding.

  • I mean, if you fan the other thing that I think is good If you ah Angel Song Writing especially applies Liz Mo with you goes musicians around its to perform a song writing group inmate at least once a month, and because I've been involved in some of these and you have to bring a new song to the group.

  • Ah, when you night and you get to apply to the group and I'll give you constructive feedback and just the sheer, you know, task of Oh, my God, it's tomorrow that someone you haven't met neither.

  • Quick, do something.

  • It just makes you right.

  • And you've got a If you're trying to write, you're more likely to write well.

  • And with those moments of inspiration come, you'll more likely know what to do with it when they come.

  • I just want to go from next his little paws.

  • Before we go into breaking out a few more tunes that I'm We're open to questions.

  • And there's a mic set up right in the middle here.

  • So if you have anyone has any questions throughout and you want to interrupt us, please do so we'd rather that than here.

  • Syria.

  • Barry.

  • Oh, very hero is yes.

  • Yeah.

  • You tell you?

  • Yes.

  • Place just for the people who don't know I was lucky enough to do tour two or three tours.

  • Do we do together?

  • I'm not sure it was a while ago, but that Mark Creek song with the band behind you I You could feel the emotion coming off the audience it was or someone to sing.

  • I still remember my back in parts of our little company built on the Vikings with you, But I just wanted to, um, say about co writing.

  • How do you deal with disputes with Did you ever had Tommy in Warren P Band in particular way?

  • You want it to go one way and other people want to go another, You know, just that's all wanted.

  • Get you told them?

  • Ah, we haven't really had any, uh, disputes.

  • And that Why?

  • I mean, there was only one if there was any imported, all I kind of welcome.

  • I remember I had black fellow white fella virtually written.

  • I wasn't sure about no shot of the semi, and he said straightaway said We got to do that moral living together now.

  • Black.

  • What?

  • We've got to get a loan.

  • We should do that.

  • So, Chiron, a mixing Take the lead.

  • Singer will see.

  • Think of it.

  • Well, we started singing.

  • It was only just before we recorded.

  • He just suddenly announced to me, said we got a Cy young fella, all right?

  • And our worries put that in.

  • So I welcome that import, you know?

  • Yeah.

  • So, uh, tell a fellow was in the second dose of that song Um, yeah.

  • Um, really.

  • I've heard about people having disputes.

  • Donnelly usually happen when a song is successful, then the disputes coming.

  • I mean, look at, uh, then it works on him.

  • Yeah, Dan Under.

  • I mean, that was That was terrible.

  • What happened?

  • Gregg Hammond.

  • I feel that he's I'm Tommy.

  • Death was in some way related to that dispute.

  • Everybody, some flutes are low, and it was just saying so I pity him.

  • Money.

  • Anyone?

  • Yeah, any time.

  • And we'll just keep going.

  • Um, Melody 12 knights.

  • Yeah.

  • How do you go about that?

  • Heady.

  • And And do you ever get stuck?

  • We go obvious that before.

  • That sounds very familiar.

  • Oh, that's the film.

  • Yeah.

  • Soon.

  • As soon as you get that feeling China started.

  • Why?

  • I mean, I don't like to repeat myself, and I don't want to repeat things.

  • You know, there's often beats of a song someone's on.

  • It Sounds like such and such benefits only fleeting at me.

  • I mean, you know, a popular song stayed on themselves.

  • Anyone, Um I just feel sorry for George Harrison, and but he had the money to pay off anyway.

  • Thief Shan tells he's so fine and most wait, Lord, you know, But generally these any of us disputes when a song is behind successful.

  • But, um, Melody familiar is just Ah, hell, I don't look at it analytically.

  • I'm an intuitive writer.

  • I'm not really trying.

  • In musical theory, I can read a chord chart, that's about it.

  • But, um, it's about hearing things in your head and hearing the fright of emotion behind it.

  • But always when you're you're hearing the melody, you're aware of the whole history and universe off song and popular song and the Why the word Train exists in the song in the language of song.

  • What trying you know you've got the weight of always blues songs behind it.

  • So I'm very careful about how it used the word train if I use it in a way that honors that traditional resonates in a good way, not not a jingoistic way.

  • All these things you kind of intuitively you come to kinda grips with.

  • Do you think you have, um, an Australian voice in your the language of your lyric and melody?

  • Do you think that's reflected in the way you write intuitively in you?

  • And you seem to be thoughtful about and careful about choice and, you know, word choice, et cetera.

  • I've always found that an odd query, because this is we're living here in this trying time Australian.

  • So it's kind of self evident, I would have thought.

  • But but having said that, I have made it my business to try and write.

  • Ah, in an eloquent why or battle often times in this country and the things that matter to me.

  • You know why that hi Fleet elevates and extends people's appreciation of what our own stories in this land.

  • I've tried to move beyond the get on halting cars might pause cockatoos.

  • So the stuff I want to go to a more refined sense of articulation, about nuances of feeling that we might have for a land or or for a history or even in an urban situations.

  • I think it's really important Thio to write what you know and what you know is your own life and times.

  • I mean, if I had been living in New York and the 19 sixties, I would've end up anyway.

  • I mean, that was a real focus point then.

  • But, uh, that's not No, that's not where I've come from.

  • So, yeah, I write from my own perspective in this in this country, I guess a lot of people I could use I could use a whole range of examples of maybe, ah, country musicians in Australia that, um, campaigned in Nashville.

  • Maybe, and even their sound has changed on their words and their you know, those generalizations no longer speak of this place.

  • They're very global bit kind of concealed.

  • That's why I mean by Australian.

  • Oh, yeah.

  • Well, yeah, I'm aware of that.

  • Um, yeah, free people can do what they want, but somehow think that they got their own.

  • And the problem is more than anything going that wide.

  • There isn't a stri in.

  • Well, thank you guys trying country music, which you don't hear much anymore.

  • But there are experience around.

  • Paid a brandy from the Kimberly's is one.

  • I think it really right.

  • Well, in that idiom.

  • Ah, that slim, dusty inhabited comes extends from the camp for tradition of white fellas in black fellows in stock camps and the folk influences.

  • And I think it's it's, you know, Joyce McCain.

  • McCain Slims.

  • Worf is one of the best writers in that idiom is well enough food.

  • But, Jay, I'm aware that everyone starts.

  • I got a national would come back with a 20 in the voice.

  • A lot of trains.

  • Yeah, I guess people are saying the business side of it thinking, Well, it's a global marketplace on patrolling san More well, like what else is out there, but which is fine for some, but familiar.

  • I just because I'm strongly stated in an artistic kind of tradition, off really finding my own voice and assuring that And what that's what matters to me.

  • Liam.

  • I find it very difficult to write those kind of generic souls, but because it just I just get bored by.

  • Is there another one of your tunes that you could call up that links to that Australian ISS?

  • But, you know, that's, you know, one of those tunes we have maybe didn't have to labor too hard over but about this place, right?

  • Well, good tapes.

  • Yeah, that's right.

  • Um, could make some request myself.

  • I can see his list.

  • Well, you know, I'm just That's just remember what songs I've done.

  • Forget it.

  • You can call requests.

  • Yes, you can.

  • No one knew it.

  • Mr Yeah.

  • Yeah.

  • Look, if you do applying music in this country, you end up doing a lot of drawing.

  • And variably if you write songs, you end up writing a lot of road songs.

  • So I felt like cold at lots of Hi.

  • This is another road song I remember distinctly being at the back of Mullah.

  • Meanwhile, have to bid not.

  • And, um, the tank.

  • I was just off the e, but I felt confident I would make it the high because it's very flat country out there, even though I wasn't on the mind, right?

  • I'll still on a date, right?

  • Um, I got to the mine hard y, and you could see the glow of the lots of high in the distance, but because I flat it's a long way toe high.

  • And, um, I remember, just always keep a bit of a narc head up on the dash.

  • If I get a lyrical idea of something, I'll just write it.

  • I just had this thing about the lots of high, you know?

  • That's it.

  • That's it.

  • There are lots of high end with some time after they're actually write this song.

  • But I I knew it'd be kind of like a pretty smoky Conover.

  • I'm driving tonight.

  • China.

  • Just my heart is broken.

  • Just where the road Good 40.

  • My tank's on empty, but I don't smooth.

  • Whatever goes wrong goes wrong.

  • Me place be jeweler Back Rose.

  • Cheap tunes.

  • I did my best working YOLO rooms far away from loved ones.

  • Being cold shouldn't may too far.

  • I want set dreams.

  • Manage now, honey cough.

  • It's easy to get trapped in a traveling zoo.

  • You get the watch.

  • All I warned, you ever treat.

  • It's like when you know nothing, not even show.

  • You can say when his mistakes.

  • Just when you think you've got yourself in that clean, you can find out you're paying someone else shouldn't be more than have I done wrong.

  • Then bring it on the way.

  • Breeze blow open window dark country out.

  • Just you don't know some kind of judgment comes to us all.

  • Don't have to be assigned us to see.

  • The writing's on the wall went in the river in the land, selling at the farm coming up.

  • The Melman's help sews to the stealing old outwater, felling up the Is it any wonder Hello weather's gone Shouldn't be 20 Jeff think.

  • Well, Mike, I said to myself, Wait, don't let those life school, Murray.

  • And don't forget Tommy.

  • You can actually see the Lords for 50 Kai's And he should know that, right?

  • A lot with culture.

  • You must know that I made it.

  • He didn't know.

  • Now I got a good time.

  • One of the things you and I are Nickel three more.

  • One of the things we talked about, um ah, was a song writing tool that you might use.

  • And I can use this song as an example because I have quite a few versus So you got a little thing that you do or you think it's a good tool, which is you could write another verse.

  • Can you talk about that?

  • That idea was chatting last night with layer that, um, exercises.

  • You can do no kind of encourage lyric writing or getting getting your head around songs.

  • Pick up, pick a well known song.

  • And, um, Tron brought it another verse four.

  • You know, um, that's one exception was, you know, even ah well in our melody and just try running.

  • You know, different players fo

please give a warm to you.

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A2 初級

ニール・マレー - APRAソングライターズ・ワークショップ - サザンクロス大学 (Neil Murray - APRA Songwriters' Workshop - Southern Cross University)

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    林宜悉 に公開 2021 年 01 月 14 日
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