The Adam and Joe Archive - Adam Buxton - BBC London

on 94.9 FM.

This is London.

This is London Live.

Hello, I'm Adam Buxton, and I'm here on London Live 94.9, I think it is.

I'm here this Sunday and also next Sunday.

For the next couple of hours, I'm going to be playing some fantastic music.

And I have a number of very exciting guests joining me today.

Tracey McLeod is going to be coming in.

She was, of course, the presenter of The Late Show for a long time and a very excellent broadcaster in her own right.

She's going to be coming in very soon and chatting to me.

Also, I'm joined by Nigel Godrich.

who is one of the world's best record producers, I suppose, certainly one of the most successful.

He's producing Travis at the moment, and of course he's well known for producing Radiohead, he produced OK Computer and helped produce The Bends, and of course Kid A, and later on we'll be talking to Fran and Doug from Travis as well about how the new album's going and

Ah, this and that.

Sorry, I'm a bit out of breath.

I've been running around.

So right now, to get my breath back, and by way of waking you up with some exciting music, here's The Fall.

I feel as if I have to talk a bit like John Peel when I'm talking about The Fall.

So here's one from The Mighty Fall, their fantastic new album, The Unutterable, and this one is called Two Labyrinths.

to turn to the easy gate.

Exit for two years to be perfect.

The Muggins dressing as Soldats Nelson and Timur Tolstoy and Chechechya

Makes sense at two years To be perfect

Longer, September Back to the lips, back to the DBL The Cambodia, Cambodia

Yeah, good stuff, that.

That's The Fall and Two Lebruns.

Hello, my name's Adam Buxton here on London Live 94.9.

I'm going to be here today for the next sort of hour and 50 minutes.

Also, next Sunday at this time, I'll be here as well.

So let's see, we've got Tracy McLeod coming in very soon.

I'm going to be asking her lots of exciting questions about her experiences hosting The Late Show.

I don't know if you ever watched The Late Show, but at the beginning of the 90s, maybe even the end of the 80s, it was the

the cultural review show to watch.

It's now sort of turned into The Review.

The Late Review, it was for a while, and now it's just The Review.

The one with Mark Lawson and Tom Paulin, they all sit around and Tom Paulin says, it is absolutely awful, I don't... it was the worst film I've ever seen in my life.

That's my low-quality Tom Paulin impression, but you know the one.

Anyway, Tracey McLeod was there ages ago, and of course there's a classic clip with her introducing the Stone Roses there in the studio, and they were going to play live.

And there was some screw-up.

I don't know what happened and the PA cuts out and Ian Brown just starts saying amateurs amateurs

It's a great clip.

You've probably seen it on lots of top ten shows and it's a staple of TV disaster shows.

So we'll be asking Tracey about her memories of that moment as well as many other things when she joins me later on.

And of course Nigel Godrich is coming in.

And Fran and Dougie from Travis.

But right now I'm going to play a bit more mellow music.

Actually not right now because I want people to phone in with more film lines.

Last week I was talking to my guests about

great lines from films that aren't necessarily like classic lines, like, uh, here's looking at you, kid, or something like that, but just, um, lines that mean something to you, maybe from even very low quality films.

A lot of my lines were from fairly bad films.

I'm thinking about Merry Christmas, Mr. Lawrence, for example, a bit where, um, Bowie looks up and sees a Japanese soldier peering over at him and says, what a funny face, beautiful eyes, though.

Um, and of course there's, uh, there's a bit in Blade Runner where Rutger Hauer is, uh, saying, did you get your precious photos?

And sort of goes a bit northern at the end of it.

Did you get your precious photos?

And, uh, I thought of another one from Silver Bullet.

That's a film that not many people, um, talk about a great deal.

It's certainly not on the, uh, top of many people's classic films of all time list, but it's on mine.

And, uh, there's a good line there with this, there's this crazy sort of preacher guy, scary preacher man.

and he confronts this young girl at one stage, and she's all frightened, and he goes, Why, Jane, you're trembling.

He doesn't say trembling, he goes, trembling.

Anyway.

So phone in if you've got any favourite lines from films, just random lines, you know what I mean.

0207 224 2000.

7224 2000 is the number to call with your favourite weird lines from films that aren't necessarily repeated that much.

Right now, we're going to play some more music though.

This is getting things a bit more mellow now.

This is one from Booker T and the MGs appropriately called Sunday Sermon.

My mic's open.

That's Booker T and the MGs and Sunday Sermon.

I'm joined by Tracey McLeod now.

Hello, Tracey.

Hello.

How are you?

Very well.

Sorry, I just said, open your mic like that.

That's OK.

This is kind of freewheeling, crazy show where anything goes.

We sort of deconstruct the whole radio process and talk about what we're actually doing sitting here in the studio, just chatting and stuff.

Maybe it's just me being bossy.

Hey, look, the phone's going off.

Is that yours?

No.

Oh man, maybe it's mine.

You know what?

It is.

Shall I answer it for you?

That's so lame, isn't it?

I was actually even thinking about this last night and thinking if it goes off, I always forget to... I don't get fined that often.

Do you want me to hold while you answer?

Let me just take it.

Hang on.

Hello?

It's Dougie Payne from Travis.

How are you, you lame brain?

I'm very good.

Listen, this is not desperately professional, you know, taking phone calls on air.

And I'm trying to do my best to be like a good BBC presenter.

So you should get in your car and come to the studio.

OK, well, listen, get Franny out of bed, get in the car, and we'll see you later, all right?

It's at Bush House.

There'll be a crowd outside now.

OK.

So I'll see you later, all right?

Cheers, Doug.

Bye.

OK, sorry about that, folks.

I'm going to turn it off now.

Those crazy pop stars, they phone at all times, don't they?

That's embarrassing.

Quite a cool person though.

I guess so, yeah.

Dougie Payne, bassist from Travis.

He's coming in later on with Fran Healy, lead singer of Travis.

And they'll be Boring Us Stupid with Tales of Life in one of Britain's most successful bands.

So are they friends of yours then?

Yeah, I suppose so.

I'm making a film about them.

And I've become friends with them.

Have you seen Almost Famous?

The movie?

No, I haven't.

Everyone tells me it's a very good movie.

It's quite good.

It's not that good.

It's directed by Cameron Crowe, who did singles and a few other fairly low-rent films, in my opinion.

But anyway, Almost Famous is about this music journalist, i.e.

Cameron Crowe, because Cameron Crowe was a journalist for Rolling Stone when he was younger.

And he goes on the road with this band, this fictional band.

And sort of becomes friends with them really, but there's this character in the film who is supposed to be who's that?

He's like a legendary music journalist that oh, yeah, isn't there a Lester Bangs?

Exactly and so the Lester Bangs character says to the Russell not the Russell Crowe the Cameron Crowe character that

He says, never become friends with a band, man.

That's when it all goes out the window.

Once you become friends with them, your whole objectivity goes.

So I'm a bit worried, really, that my film is just going to be more a home movie than anything.

But you're not a music journalist, so you're all right.

You don't have to be objective.

Yeah, that's quite true.

No, it's going to be a thoroughly subjective portrait of life on the road.

Have you had any little fantasies yet about maybe they might ask you to become, you know, the extra member, go on the road with them forever, you could learn an instrument, become, you know, a star, a pop star?

Yeah, I've had quite a few fantasies like that.

Unfortunately, I've got no musical ability whatsoever.

Like, every now and again I will try and sort of sing if they're around.

you know, in the hope that they'll discover me.

Nice tune, man.

What's that you're whistling?

Yeah, exactly.

You know, your voice is very unusual, but it's good.

It's got lots of soul.

Unfortunately, they're one of these bands that are very technically proficient, so that's not likely to happen.

It's not like, you know, Fran is a very competent singer, so he's not really interested in my wail, however soulful it is.

I've got a bit of a theory about them, which you can test out when they're in the studio.

You know, um, Why Does It Always Rain On Me?

Yeah.

I'm pretty sure you could sing Slade's So Here It Is, Merry Christmas over the chorus of that.

Right, as like a London's Burning type thing.

Exactly, yeah.

But maybe we could try it when they come in.

Okay, excellent, that would be good.

In fact, I heard yesterday Graham Linehan was on London Live and he was playing Oasis, or at least Noel Gallagher's version of that Slade song.

Yeah, yeah, I heard that.

Yeah, it's quite good, isn't it?

Yes.

Sort of very mellow.

Are you not really an Oasis fan?

Not really.

What sort of music are you listening to at the moment, Tracey?

Mainly... kind of non... it sounds awful to say it, but kind of non-Western music.

Yeah.

Kind of Cuban and that sort of thing.

But to be honest, when I was doing the show, I did the show at GLR for a few years, I had bought and was sent so many CDs that I never really saw the need to buy any new ones after that, so I just listened to the ones I've already got.

Yeah.

So, I mean, what kind of stuff were you listening to, though, when you used to do The Late Show, for example?

Were you very much an indie queen, then?

No, I wasn't an indie queen.

I suppose more singer-songwriters, I suppose, would be there.

You know, singer-songwriters and jingly-jangly pop bands.

Yeah.

You know, guitar bands.

Right.

But not really indie.

Uh-huh.

Too much.

Well, I'm gonna roast you about your days on The Late Show, among other things, very soon, after we go to travel with Warren.

2020 Travel.

BBC London Live 94.9 Hello again, let's have a look at how we're faring out to the west at the moment.

The 316, the Dorchester Grove, at the moment is closed, heading London bound.

It's all down to some roadworks in place at the Hogarth flyover in Chiswick and that's likely to be the case for the rest of today.

Over to in Victoria Embankment, still closed southbound.

They're doing some work there today involving a crane and that's why it's closed off southbound right now between Temple Place and Horse Guards Avenue.

On the Tube, still problems on the Bakerloo line.

You'll find that Lambeth North station is closed to all southbound services.

There are eastbound delays on the District line.

This is all down to a bit of work taking place around Earls Court.

Also delays for you on the East London line and Mornington Crescent station is closed to all southbound trains on the Northern line because of safety checks.

Turning our attention to the mainline trains and Silverlink say, well buses running instead today between Euston and Kilburn High Road, alternatively you could take the Bakerloo line and change at Queen's Park, but also on Silverlink it's a replacement bus service between Gospel Oak and Barking, and South West Trains report a bus service instead today between Surbiton and Guildford.

That's it for now, but don't forget you can always check out the BBC's jam cams.

They're there on the London live website I'm Warren Lee with 2020 travel and the next update at 1040 94.9 London live destination in tracks of the year remember this And this

There's still time to enter your top 5 tracks of this year for our two special Destination In annual poll winner shows.

Join me on Christmas Day and New Year's Day at 10 to find out which tracks have made it and which free listeners will be winning my favourite 11 albums of the year.

Email DestinationIn.LondonLive at bbc.co.uk Poll winners?

It'll be livelier than smash here, so maybe sound better too.

It's your choice.

That's Destination In's Tracks of the Year with me, Ross Allen.

Christmas Day, New Year's Day.

So, hi, this is Adam Buxton, by the way, on 94.9.

I'm here with my guest, Tracey McLeod.

Hello, Tracey.

Hello.

I just got an email from Tony Wood.

Don't forget you can email us as well here at London Live.

And what is the address?

I will find out for you.

But anyway, this is from Tony Wood, and as far as film lines go, he was... This is more a formless ramble, though, Tony.

Come on, let's be honest.

You got it in very fast, though, so, you know, thanks for that.

But Tony's talking about Woody Allen in Manhattan, the bit where he's trying to explain to Mariel Hemingway.

It is Mariel in that film, isn't it?

Or is it Margo?

Mariel, I think.

Yeah, I think so.

Yeah, the younger one, yeah.

Right.

So he's trying to explain why their relationship should end.

And basically the key word is crazy in this bit.

And so basically Tony is saying that that's like a key phrase with his friends now, like, you know, crazy, basically just saying crazy the whole time and moving your hands around in this amazing kind of Woody Allen way.

That's such a bad impression.

And your John Peel was very impressive.

That's two really good impressions and it's not even 10.30.

And it's not even 10.30.

We'll come up with some more for you later on.

So Tony, thanks for that film line.

If you want to email in or phone in any more, anyone out there, just to remind you, we're talking about film lines that aren't necessarily the famous ones that everyone always goes on about in films, but are ones that mean a lot to you just because they sound stupid.

It doesn't matter what film they're from.

They certainly don't have to be classics.

It can be from like Snowboard Academy or Filofax or whatever.

But the address is sunday.londonlive at bbc.co.uk.

sunday.londonlive, one word, at bbc.co.uk.

So, Tracey.

Yes?

How did you get into presenting The Late Show?

I got into presenting the Late Show because someone asked me to do it.

I mean, I have never kind of particularly put myself forward as a presenter.

I've always found it something slightly embarrassing, which is why I'm looking at my knees as I'm speaking now.

But, you know, I had a background in journalism and

working behind the scenes in television, and I then got sort of put on screen on this, you may remember, Network 7, which was one of the first youth programs.

Were you on Network 7?

Yeah, I was one of the team of young presenters.

The young butts.

and what a line-up it was.

Remind us of your co-presenters back then?

Well, probably the best known was Magenta Divine.

We also, who else, there was Jaswinder Bansal, Sebastian Scott, Charlie Parsons, who went on to start The Big Breakfast and now no longer works in television because he made so much money doing that.

Is that true?

Yeah, sold the company and... Wow.

Yeah, who else was on that program?

Trevor Ward, who's I think probably the only one of us who you regularly still see on television.

He presents a sort of porn review on Channel 5 and recently retrained as a chef.

He must be very proud.

He's done well for himself.

He's working the Hard Rock in the Hard Rock Cafe in Manchester or somewhere.

I read an article that he wrote about it last week.

I think he probably thought, quite rightly, that, you know, it's quite hard to get on television.

There's a lot of young people coming up.

He'd find himself a niche and retrain.

He could possibly be a tele-chef.

But it's not as easy as that.

Well, he found the wrong niche.

That's slightly oversubscribed, that one.

It is, yeah.

What was it like being on Network 7?

Because that looked, that was live, was it not?

It was live, two hours every Sunday morning.

OK, we should explain for people who don't necessarily remember Network 7.

It seems extraordinary that anyone wouldn't.

But they might well just be under 35.

Yeah, I guess so.

There you go.

I just think of it as being like yesterday.

Hey, it's a great, exciting new youth show.

So when are we talking?

It was about 87?

About 87, yeah.

And it was when Janet Street Porter was sort of grooving up the airwaves on TV and she basically was responsible for creating that show.

She did, she was responsible for that along with a couple of other people and she kind of was amazingly good on the visual side of it particularly.

We all had to, we were in Canary Wharf but before it was Canary Wharf it was actually an old banana warehouse, the original Canary Wharf and we worked in there in a kind of hollow shell of a building

which is full of old caravans, which had been kind of done up.

It was called Raktak, John.

It's called Raktak.

And... See, I've done my own impression.

Got one in.

That was good.

It was good, actually.

Don't... OK, steady.

Steady.

And so we were all in these caravans.

Actually, it was a terribly miserable working environment, because you were 300 miles from the nearest coffee bar.

Of course, now it's all Starbucks-ed up down there and lovely, but in those days... It was sometimes quite a miserable watching environment as well.

You're telling me, those two hours every Sunday morning, and I can remember the depression of if you didn't happen to be working on that week's programme, if you occasionally got a week off, you'd sit at home and watch your colleagues doing the programme, and then the commercial break would come on, and there'd just be the equivalent of a test card put up during the commercial break, because they hadn't sold a single ad, you know, it would just be a sort of wobbly sign saying Network 7 returns in a few moments.

Was it on Channel 4?

It was on Channel 4, yeah.

There you go.

I always thought it was a BBC thing for some reason.

I guess because Janet was at the BBC soon after.

She went after that, yeah.

On the back of the Triumphs that was Network 7.

But I'll tell you one thing it did have.

It was the first of those programmes to introduce the kind of captions with information while people were talking.

And that was quite revolutionary.

I think that came, Janet got that from the rock and roll years.

But the idea that you could be interviewing someone and that more information would be given.

Because young people, you know,

They love information.

They're used to the kind of, you know, multi-source information.

They can't get enough of it.

Exactly.

You know, they're watching someone being interviewed about credit card fraud and they want to see some facts about credit card fraud at the same time.

Yes.

Because, you know, it's not enough just to see someone interviewed about it.

You want to know famous people who've been accused of credit card fraud.

And then you want another little window in the top of the screen with a picture of a credit card to remind you what they look like, that kind of thing.

And unfortunately some of the captions used to be rather either subversive or unfortunately at times, I can remember interviewing some militant vegan about animal rights and a caption coming up at the same time saying Tracy's favourite meat is chicken and things like that.

And one of the producers also had quite bad dyslexia and it was all done so hand to mouth.

He was in charge of 200 captions to be fed into the, you know, port-a-prompt.

the program started and no one had a chance to check them.

And this kind of miasma of illiteracy went up over the two hours.

Luckily no one was watching so no one noticed.

Luckily everyone who was watching was illiterate themselves.

I'll be talking, that's not very nice is it?

But you were watching mate.

I know I was, I'm talking about myself.

Formative TV experience for you.

I know it really was honestly.

Me and, yeah me and my mate sat there just open mouthed sometimes watching

people in, you know, in real pain.

Some of the presenters weren't... We were, we were in real pain and people, you know, I'm glad that you appreciate that, because people, we were rather criticised for being smug and, you know, fancying ourselves and... No, I... It was horrible.

I think you could have accused Sebastian Scott of being smug, but that's only because he was competent and, um, you know, he was like... And he had nice clothes.

He was overconfident, I suppose, and you just thought you're too sexy to be so good.

Well, I did anyway.

And then... Didn't you think that when I came on at all?

Well, I'm going to come to that later, though.

I was deeply, deeply in love with you for a long time.

Really?

Yeah, especially when you started presenting The Late Show.

I just thought, I'm in heaven now.

All these highbrow issues that I don't know anything about, and a few bands that I really want to hear.

And I love you, Tracey.

Anyway.

This is turning into a very good morning for me.

Okay, good.

Well, listen, I'm going to talk to Tracey McLeod now, just off air, and you can listen to some... This is Lee Perry.

I guess this is by way of getting towards meeting Nigel Godrich.

I'm going to play a few tracks that are famous because of their producers, I suppose.

This is Mikey Dredd, produced by Lee Perry, and it's called Dredd at the Mantrolls.

Clean ship, onward, forward, don't step back.

Indictive feelings ain't appealing The truth is obvious, tell me Are you a con man?

Or are you a dreadlocks?

One step forward, two step backward Down inna Babylon And word for word, don't step backward Step out of Babylon

Onward, forward, don't step backward Step out of Babylon Onward, forward, don't step backward Step out of Babylon One step forward, two step backward God in Babylon One step forward, two step backward

So there you go, I thought it was gonna be Mikey Dredd, Dredd the Man Trolls, but I think I put the wrong CD.

But that's from the Lee Perry Arcology box set anyway.

It's all good stuff.

Oh, it still sounded good.

Yeah, you know, can't complain.

So Tracy, I was just talking to you there about the whole idea of not watching bad films and making a conscious decision that you're going to cast out from your life this bogus concept of saying, oh, it's so bad, it's good, that kind of early 90s irony thing.

When did you make that?

I've changed the subject quite dramatically from saying that you love me in the last bit that we were talking about.

Did that sound aggressive?

And now we're talking about

Films I'm getting I'm getting highbrow.

I was hoping to go back to that the yeah I don't you were saying that you like to watch bad films like reanimator and I was saying that I had a policy of not Watching any film that I think is going to be bad in any way.

It's particularly applies to films I don't mind so bad.

It's good television all kind of you know rubbish television, but with films I just have seemed to have a very low tolerance now to watching sure it's two hours out of your life and

Yeah.

You don't want to waste it.

No, and you forget them immediately.

Even good films.

I mean, I was, I had to do a radio program this week where I was interviewing film critics about their film picks of the year.

And I realized how many films, I've probably seen about 20, maybe 20 films this year.

About 10 of them I'd completely forgotten anything about.

Yeah.

I'd even forgotten that I'd seen them.

And those were the ones which I'd gone to having carefully poured over time out and all the reviews and, you know, having really decided that these were going to be the best films of the year.

I'll tell you, have you seen Memento?

Now, a lot of people tell me it's really good.

Well, a lot of people did say it was really good.

It's this film about a man who's got some profound amnesia and can only remember things for five minutes and the whole plot runs backwards.

So it starts with a murder and unfolds backwards.

And all the film critics said it was one of the great films of the year.

I went to see it.

It was completely not

dull that wouldn't be the way of putting but it was like torture it was like a puzzle you know and I thought well really only film critics would like this film yeah because they see sort of 10 or 15 bad underachieving pappy films every week and suddenly they're saying something which is really really like homework it's real a real puzzle and narratively it's you know approaching something from a completely different point of view

And I could see why a film critic would like it, but it was exactly the wrong thing for someone who approaches going to the cinema as a bit of a treat and a chance to kick back and either be entertained or transported.

You had to be present in your own mind, puzzling in every scene.

Did you like Lost Highway then, for example?

I didn't see that.

It didn't pass my... If everyone likes it and says it's brilliant, then you can go and see it.

if you suspect it may not be.

Well there's some things that you just have to see because it's getting boring being at a party or whatever and everyone's banging on about it.

Yeah, yeah, yeah.

Like being John Malkovich or Happiness or Magnolia or one of those.

And you get out and you slightly think, am I stupid or am I being left behind or something or was that just a bit boring?

I slightly thought that about being John Malkovich, you know.

The idea was so overwhelmingly engaging, like that this guy would be able to go into this other person's head.

You thought, wow, that's got to be amazing, you know.

But it's this one line high concept that overwhelms the whole film and really there's nothing in there that is as good as that.

I thought as well, I agreed, it didn't kind of develop the ideas and take them through to a kind of

The last third seemed to be a bit of a falling off from the brilliance of the concept.

I'll tell you, it's not a patch on American Movie, which was my movie of the year.

I saw that.

Did you see that one?

Yeah.

That is a smash.

And that's got, that's like just a cornucopia of quotable lines.

It's amazing.

Every single line is just genius.

If you haven't seen American Movie, then I strongly recommend it.

It's about these two guys,

Well, it's about this guy who's making a low-budget horror film called, well, he calls it Coven.

It's called Coven, and he insists on calling it Coven throughout the whole film.

But he's this really enthusiastic young guy.

Obviously, you know, the implication is kind of that he's a bit of a rubbish filmmaker, really.

but he's just got this amazing overwhelming enthusiasm and he's got this mate called Mike and Mike Shank is his friend and Mike is like a terrible acid casualty and so he's barely aware of what's going on really and there's one stage where Mike launches into this big speech about vodka he calls it he says vodka

I used to drink vodka and one day Mike came around and I never had anyone to drink vodka with and Mike came around and we shared a fifth of vodka and I was really happy because I finally found someone to drink vodka with me so Mike would come around and it just goes on.

There's so many priceless bits in this film.

I think it's worth pointing out that this is by way of a documentary rather than piece of fiction this film.

Oh yes, sorry, yeah.

I didn't, you know, I didn't really like that shot.

I found it very uncomfortable.

Why?

Because you thought it was exploitative?

really felt that the guys were you know as you say rubbish filmmakers and that the whole kind of anyone who's ever made a TV program or a film where you've worked with people you know that you enter into a relationship with them whereby you pretend to be their friend and you become their whole world and you could see that this had happened between these two slightly disadvantaged filmmakers

They were a little simple, and the people who'd made the movie about them, and you could see that these guys were, I don't know, sitting in the audience with a lot of people laughing at them, I just thought was a very uncomfortable experience.

And I know it's led to them becoming kind of cult figures and all that, but it was, I thought, uncomfortable.

I couldn't disagree with you more, but you're not allowed to answer back because we have to go to Warren for the travel.

2020 travel.

It's just before the news at 11.

94.9 London Live, Angie Greaves.

This is Angie Greaves and this Sunday I'll be coming live from London's Oxo Tower overlooking the River Thames.

We'll be celebrating Christmas through the ages with guests Maxwell Hutchinson who'll be looking at the history and architecture of the tower and Mark Haynes describing Christmas eccentrics on the river.

As well as food from the tower, Rachel Cochran from All About Soap will be recommending Christmas TV.

Hi, this is Adam Buxton here on London Live 94.9.

My guests today are Tracey McLeod.

Hello, Tracey.

Hello.

Tracey is a broadcaster, I suppose you could say.

Do you like that term?

I like broadcaster.

I like journalist.

I like anything that pays.

OK, so there you go, broadcaster, journalist.

I'm also joined now by Nigel Godrich.

Hello, Nigel.

Hi.

Nigel is, well, I hope I won't embarrass you too much by saying one of, well, there's no question that you're one of the most successful producers working today in pop music.

And in my opinion, one of the very best.

Oh, stop.

Thank you very much.

Of course, you're very well known for your work with Radiohead.

You produced, you helped produce The Benz.

Is that right?

Yeah, well actually that's... I met them whilst I was working on that album, but I was actually engineering, but what happened was we forged our link spiritually, as it were, sort of just doing recording in general and I ended up co-producing for B-Sides, which was a big step in my career because it opened up a lot of doors and also opened up the doors with them.

And that led on to you then producing the whole of OK Computer.

Yeah.

And of course Kid A recently.

We're going to hear one of the B-sides that came from the OK Computer sessions.

Oh, how exciting.

Which one?

This is one of my absolute favourites actually.

It doesn't have any vocals on it.

It's called Meeting in the Aisle.

Meeting in the Aisle, yeah.

So let's listen to that one now.

That's Radiohead and Meeting in the Isle, which is on the B-side of Karma Police, I think, on either CD 1 or 2, I can't remember which.

So I'm joined by Nigel Godrich now, who produced that, as well as the whole of OK Computer and Kid A. Some other rubbish.

A load of other rubbish.

How did you start producing?

Well, originally I was a musician, I was a guitar player in bands.

What kind of bands?

Oh my God.

Good question.

Were they rubbish?

Jazz odysseys.

Here's our new direction.

Nigel Godrich on guitar.

Well, pretty bad.

I mean, I was very into it.

When you're a guitar player and you're a teenager, you like Hendrix and Led Zeppelin and stuff like that.

So you get into your bit, your rocker phase.

And then I think actually what happened to me was that I realized that everybody I knew was also a guitar player and better than me.

Right.

So I was always, I've always been interested in technical things and art versus technology.

Yeah.

That's my special interest.

I decided that I'd like to make records and so I just wrote about 120 letters to recording studios all over England and eventually got a reply and got a job.

And once you got a job, you're in really.

It's just about, you know, being good or not being a complete idiot and pissing everybody off.

So that's it really.

And what was the first time that you worked on an album and produced the whole thing in its entirety?

I actually did a record before Radiohead with this band Silver Sun and I got the gig off the back of the fact that I was going to do Radiohead.

Everybody knew that I was going to do Radiohead so it was like suddenly I was trustworthy.

It was a total bizarre way that it worked.

But that was really good fun actually because it was much less kind of pressured in a way.

You know, they were sort of, it was their first album, we had a lot of fun.

And it's always a laugh.

I mean, the whole thing is just a riot, really.

With Radiohead, I can imagine it's a laugh a minute.

Oh, it is.

No, it is.

It's like working on the set of Monty Python, I should think, very similar to.

I mean, they're very... With Tom York being which?

John Cleese?

Yeah.

With his funny walks and... No, he's more of a Michael Palin, I would have thought.

Really?

Oh, God, yeah.

I would not have thought that at all.

My image of him is just this kind of small... You know, small... He's gonna love me if he watches.

just a very very happy jolly type of person who are you being ironic now no no he really is i mean he's like he you know he's very silly but he occasionally he you know he gets very serious i don't know yeah

but i don't you know obviously the public image is always different to the react and you know it's just bound to be.

So when he's doing like a um... a take in the studio for example does he just sort of zone out and go into one and then sort of... Yeah i mean he's very very i mean if you if you if he's on his own he performs all the you know when he plays he performs if you leave him on his own in a room and you accidentally walk in he'll be there singing his heart out to nothing you know it's amazing but that's just sort of tears rolling down his cheeks.

I mean you know nothing

He's you know, he's intense in that way, but that's brilliant because it sort of means that it doesn't he's not fazed by Things yeah, whatever.

He'll generally just do his best whatever he's doing But so generally you have fun though.

Oh, yeah, it's amazing.

It's a great experience I mean, it's the most valid thing but I do in my life I think you know, it's like when I'm dead and gone this stuff will still be around I hope you know and that's about as

and i think that's it's something meaningful which is really important to me i mean i was going to do something artistic soviet does ever frustrate you know that that uh... you have been part of all these albums uh... i mean off the top of my head uh... you produce the last payment album terror twilight you produce mutations by back you produce uh... the man who by travis uh... left of the middle by natalie brulia i didn't actually purchase you know now it's mixed most of it but because of right

But there you go, you've been involved with some amazingly successful albums.

Yeah.

At least a few of which are going to endure for years and years and years.

I should have a large semi-detached in Belsus Barber.

There you go.

But, you know, does it frustrate you that, like, your name is not the first thing that would come into people's minds when they hear those albums and yet you are a very important part of them?

It has done at certain points.

I mean, it's something that you, I think, you know, it's like your own journey.

You have to kind of get over those things, you know.

It's like it's

it's really really upset me a few times especially when you see the press I mean journalists or just you know they'll they'll subscribe to a myth you know they want to believe that these people are superhuman and they do all this thing you know that and nobody really under nobody knows how records are made people the question I'm asked the most often is well what do you do then you know nobody even understands

So it's sometimes to certain people it's hard to even justify my job, you know, but um I and I'm the only one who knows really what happened in all of these things, you know And believe me never ever give me like a radiohead unofficial biography or you know, those books I just I end up Hitting my head on the floor because it's so frustrating reading what people think You know, but then the other side of it is like, you know buying I would in no way I wouldn't want to be that, you know, I'd hate to be

in a band of that kind of with that kind of profile I mean it's really really affects your day-to-day living and absolutely I'm so lucky because I'm anonymous you know and I can turn it on and turn it off and you know I I realized the value of that I think that that's probably a better way to be you know so yeah I do get frustrated but you know at the end of the day I'm like no you know if I wanted to be an artist like you know like a pop artist with a with a face on every magazine

Then I should have done that, you know.

Well, you still could.

Well, the old face is looking a bit battered these days.

Oh, I don't know if I agree.

He's very young looking.

Absolutely.

Thank you, I'd just like to let you know, he's very young looking, yeah.

People shouldn't listen to records thinking this is great production.

No, that's not the point.

It's the fact that you're doing your job well.

Well, it means that people don't even know it, exactly.

You're quite right.

although sometimes I must say that every now and again maybe it's wrong but I do just think you hear the song and you think that's amazing and then you just think why is it so amazing and then you do sort of luxuriate in the production sometimes.

But you're a special case.

The word is anorak.

But you're special.

I think you've got a broader knowledge of music than I do.

Just talking to you about it

you know you know a lot you know you're into music and there are people out there who will they'll take they'll look at the credits or whatever yeah because they're that kind of person you know I do come from the Nick Hornby school of music listening but do you Tracy I mean you listen to a lot of music

The only Hornby-esque aspect is that my records are in alphabetical order within three or four broad categories.

I wouldn't know who'd produced most of the records I liked.

But, I mean, for example, my introduction to music was always Bowie, and then everything came from Bowie, and from Bowie I got into Eno.

I think we're going to play a bit of Eno later on in the programme.

But, you know, that was the first time I was aware of, like, the effect that a producer has, and then I started realising that, you know, I liked Eno's solo albums, and then I started seeking out the stuff that he'd produced, because I thought, well, if Eno likes it, then it's going to be good for me.

Do you have to like all the bands that you produce?

Could you produce someone that you like?

Oh, definitely, yeah.

No, no way, no.

No, it's torture, that's horrible.

But individual tracks you're not always going to like, for example?

No, absolutely not.

What was the one that really stuck in your craw when you were doing Radiohead?

Okay, computer was electioneering this one.

I don't really like optimistic very much.

Yeah Optimistics are one of the best ones.

Yeah, I know we had did we have this discussion?

I don't know.

I was having it with somebody else I don't know.

I think it's probably more like I've got an awful lot of baggage with that song because we It took so long and it was very difficult and there was sort of you know disagreement about what it should be and at the end of the day, you know

but the somebody just stuck on a tape of them playing it live two years ago and it sounded much better you know that's the kind of thing it's more like I don't I love the song I'm talking about actually just the way that the track turned out but what about do you have lots of wrangles about um is it called uh you know when you when you decide what order the tracks go in on the album yeah sequencing there you go do you have lots of arguments about that because when you met you mentioned electioneering that's a really weird one if people are familiar with uh ok computer they'll know that

suddenly off it comes in a halfway through and it's it's after the yes steven hawking one isn't it yes yes they're going to do this thing going out yeah well i mean that i was thinking about this

I think the problem is that the album needed something energetic there and that's what we had.

I don't know, it's still good, it's just that compared to everything else I always think that it's better to leave something off which isn't 100%.

It would be a better record without it, but maybe it wouldn't, maybe it just wouldn't flow as well.

Were there tears about that?

oh yeah you know yeah shouting and screaming oh listen i'm uh this is adam buxton i'm on 94.9 uh london live i'm here with tracy mcleod nigel godrich and we're going to be joined a bit later on by fran healy and dougie pain from travis if he can find his way if he can find his way here yeah uh we'll talk to all my guests a bit more after the news

Who can guess the secret of the sea?

You can guess the secret of my love for you.

Then we both could know the secret of the sea.

Tell me, could you ever tell the secret of the sea?

These high-rowing waves along the shore The footprints of the lovers that come here The love that the tide's washed away forevermore Who can guess the secret of the sea?

Who can guess the secret of the sea?

Then we both could know The secret of the sea Claim to know the secret of a kiss and a hug The secret of the grass and of the trees You can tell the secret of a war friend's hand And we all

Now, the latest on the roads with the cameras from Scotland Yard and Southwark Bridge.

That's closed off at the moment at Upper Thames Street, and Crone is working away for the time being.

Just looking on the cameras and news in of some problems down to Surrey.

Let's just move down to the A24.

If you're making your way down to Dorking on the main road, which is the A24 near Box Hill, the road has been closed at a place called West Hamble.

This is following a nasty crash just by the Burford Bridge roundabout.

Back into towns, on the tubes on the Bakerloo line, Lambeth North station is closed to all southbound services at the moment.

There are delays on the eastbound District line and East London line.

London Live.

On 94.9 FM.

London calling, calling, calling.

From the BBC.

London Live.

This is London Live.

It's 11 o'clock.

I'm Nick Thatcher.

The Tory leader, William Hague, has increased his attack on the government over crime by suggesting a direct link between the murder of Peckham schoolboy Damilola Taylor and falling police numbers.

He's also written in today's Sunday Telegraph that he stands by his view that the Macpherson report into the murder of South London teenager Stephen Lawrence has led to a collapse in police morale.

And the Shadow Home Secretary, Anne Widdicombe, says the problems over numbers and morale continue to get worse.

What William has never said, and what I have never said, is that the recruitment problem started with Macpherson.

But what we have said is that as a result of Macpherson, it's been made harder still.

Police no longer feel as comfortable stopping and searching.

That has changed since Macpherson.

The figures fairly scream it at you.

And you can't get round the fact that that can be having a big impact on street crime.

The manager of a British boxer who's critically ill after collapsing in the ring has said the next 48 hours will be crucial to his recovery.

Frank Maloney has urged people to pray for Paul Ingle, who's 28.

Ingle was defending his IBF featherweight title in Sheffield when he was brought down in the final round by a South African opponent.

He's undergone surgery to remove a blood clot on his brain.

The fight was organised by the boxing promoter Frank Warren.

At the end I did actually jump up and run to the corner and shout out, stop, you know, that's enough.

But hopefully, you know, it'll work out for Paul.

I mean, that's really at the moment the most important thing.

I mean, rather than try and point fingers at anybody, I don't think we are in a position to point fingers at anybody.

Because you've got to remember, there's a referee in there as well, and the referee, you know, is just as close to the guys as anybody else.

At least 10 people have been killed and dozens injured by tornadoes in the American state of Alabama.

More than a hundred homes were damaged, trees were uprooted and power supplies cut off.

This driver was caught up in one of the tornadoes.

I looked out my passenger side one day and told my son, I said, there it is, we're in it.

And stuff was going all around my truck and it started picking my truck up and was pushing me all over the road.

And I told my son, I said, just hold on.

I said, we're in the middle of it and got out of the tornado, you know.

And I would look back in my rear view mirror and I could see it coming across the trailer park.

Ken Livingstone's revealed that his favourite film is City Hall.

London's mayor will introduce the movie at the Curzon Cinema in Soho this afternoon as part of his efforts to promote the capital's film industry.

The filmmaker Ken Loach told BBC London Live this morning he hopes Ken Livingstone will also fight to save the capital's small independent cinemas.

What I would like to see him do is to really promote independent cinemas like

like the Curzon Soho, which is good, good cinema, and programmed imaginatively, but particularly like the Ritzy in Brixton, the Rio in Dawson, that's a real community cinemas and that benefit the people who live there.

Now we need support for cinemas like that.

London's weather, grey and overcast this afternoon, but still feeling cold, a high of just four Celsius.

BBC London Live News, it's three minutes past eleven.

on 94.9 FM, London live.

Hi, I'm Adam Buxton, and I'm here on London Live 94.9 with Nigel Godrich, record producer to The Stars, and Tracey McLeod, cultural pundit extraordinaire.

Is that fair, do you think, Tracey?

No, I think it's very unfair, because I'm not a cultural pundit, and I would be slightly at a loss if you asked me for any punditry on cultural matters at this point in time.

All right, then, I'm sorry.

What's your ideal way of being described, do you think?

Well I always, oh god, I don't know.

That's not a very fair question either.

No, human being.

Tracey, I'm here with Nigel Godrich and Tracey McLeod, human being.

So right now we're talking about, we're talking about producers before, talking about Eno, so we'll play a track by Brian Eno and this one is called I'll Come Running.

I'll find a place somewhere in the corner I'm gonna waste the rest of my days just watching

Just waiting for seasons to change someday For hope, my dreams will pull you through that garden gate I want to be the wandering sailor With silhouettes by the light of the moon I sit playing solitaire by the sea

Just waiting, seasons change, ah-ha You'll see, one day these streets will put you through my door And I'll come running to tie your shoe I'll come running to tie your shoe I'll come running to tie your shoe

I'll come running to tie your shoes

Ready to die

That's a track from Another Green World by Brian Eno, and that's called I'll Come Running.

Have you got that album, Nigel?

I have.

That's a good one.

That's one of the ones that I like.

It's got Another Green World, the arena theme tune on it.

There you go, exactly.

Which I play very badly, if you ask me.

It's not very hard, is it?

No, but I'm not a keyboard player.

But, you know, it's one of the ones that I really like.

Yeah, I love that album, it's great.

Do you like Eno, Tracey?

Kind of.

I don't know, I'm not really that familiar with this.

There's no pleasing you today, is there?

I'm not deliberately being perverse, but you keep throwing these questions at me and I don't quite know what to say to them.

So I was saying that I guess the phrase cultural pundit popped into my head because I always associate Tracey with The Late Show, I hope you'll forgive me for that.

Not at all.

I did it for years.

Yeah, well it was fantastic.

It was a great show and I always tuned in.

There was nothing really like it at the time and I suppose for me it was the first time that I'd sort of seen pop culture dealt with in a sort of serious and thorough way.

But we're talking about Arena, you know, and Ina having done the theme for that.

And Arena was kind of the first program that mixed up popular culture and treated it seriously.

And I suppose the Late Show went on to the next stage, which was to take popular culture and treat it seriously and put it in a magazine context where it was next to culture culture, high culture.

uh... so in a typical program you might have seen a program, a little item about the Walkman or whatever and uh... next to someone like Tortellier playing in the studio so it was crazy, it was crazy, it was zany and uh... it was great at the beginning, certainly in the first couple of years it was definitely uh... you know if I hadn't been working on it I would definitely have been glued to it.

Towards the end I think it became probably uh... slightly formulaic and also uh...

a victim of having to please a number of lobbies because it became the main sort of flagship arts program on the BBC.

Every lobby had to be represented and we kind of veered off into having programs about

you know, once a month we had Welsh, you know, a Welsh version or a Scottish version and we would have to... I got involved in doing a thing once a month which was kind of a book review using members of the public and these kind of things which just didn't...

We've got to be interactive, we've got to reach out.

We mustn't be too high-handed, you know.

And the program kind of lost a lot of the confidence that it started off with.

And obviously a lot of the filmmakers who started off in 1989 when the program started, they included people like Mary Harron, who has subsequently directed I Shot Andy Warhol and American Psycho.

Anna and Tucker was there, who directed Hillary and Jackie.

Michael Jackson was in charge of it, who's now in charge of Channel 4.

So it had a number of very strong personalities and strong talents on it at the beginning, which made it so good.

Sarah Dunant as well, she was a great presenter.

Dunant.

Dunant?

Yes.

Oh man, I can't do anything right.

That's OK.

You know, a classic moment, of course, that pops up on interminable Top Ten shows now.

Oh, you're going to say Stone Roses, aren't you?

Of course, the Stone Roses moment.

Do you want me to tell you what really happened?

It was a bit of a conflicted point at the time, but we were convinced that someone had... Nigel, you know what happens?

You go in and you do a sound check in the afternoon as a band, and then they played live during the show.

what had happened was they'd done a soundtrack and it was fine and somehow between that and transmission all the volumes had been put up on the equipment so that when they actually came to play live they reached a certain... what was it, made of stone?

I can't remember which track it was.

I should know, I've seen it enough times on those re-run programs.

the sound just tripped, you know, the system tripped, it got too loud and cut out, so all that was left was the drummer.

And I was waiting in the wings to come on and do the next piece, whatever it was about, the worthy photographer it was about, and I thought, well, I better do something, I better run on in front of the camera and explain what's happened and say, you know,

and the producer was going, don't do anything, don't do anything, just leave it, leave it, we'll fix it.

No one will notice.

So I ran on, which explains the rather spindly, strange, kind of disjointed run, because I've got someone shouting in my ears, don't say anything, don't do anything, and I said, you know,

Sorry, we seem to have a little technical hitch, at which point Ian Brown, who's standing behind, started heckling, bloody amateurs, amateurs, BBC amateurs, like that.

And I turned round and this terrible Joyce Grenfell voice said, it's alright lads, we'll sort it out in a minute.

It was awful it was awful and the worst thing about it when I look at it back was Now is when I look at the jacket I was wearing the size of the shoulder pads on the jacket And where did that come from and that's all I can think you looked great And it was a it was a great moment well handled, and you know you got Ian Brown behind you shouting amateurs What are you gonna?

Do I thought you handled it very well I?

Thank you.

Have you met him subsequently?

I haven't met him.

I did get asked by the Big Issue to review the second album, the second coming, Stone Rosa's album.

Sweet Revenge, that would have been, yeah, right.

I didn't need really to.

That album was its own Sweet Revenge, wasn't it?

I didn't need to do anything too much there.

Sorry, that wasn't anything... No, no, no, I think that's a very kind thought.

OK, well listen, we've got a competition right now before we carry on chatting about this and that.

And I've got a couple of nice things to give away.

One of them is a big double CD called Music to Watch Girls by Volume 3.

Now I'd like that, that would make a great Christmas present.

It really is.

It's actually, you know, sometimes you get like a lot of tracks on there which are just obviously the ones they can afford to license and they're mainly pants, I think is the phrase the kids use these days.

But this is good.

It's got Beach Boys on it and Perry Como, Dinah Washington.

Actually, no, it's really good.

I saw the TV ad for that very compilation.

There you go.

The voiceover said, the man said, Dinah Washington.

And I've always called her Dinah Washington, but I thought... It's got an H at the end.

He called her Dina in the TV voice-over.

If you look out for that, he goes on MusicTourism, Perry Como, Dina Washington.

TV's a blasted wasteland with no rules whatsoever.

Bring back the late show.

Absolutely.

There you go.

Standards.

Let's have some standards.

Amateurs.

We've also got a, this is on vinyl, and it's called King Funk, and it's a compilation, a four-sided compilation of great funk moments from the King label.

uh... including stuff by bill doggett hank ballard uh... jay heinz in the fellows and they'll be excited that they've made on to the compilation but take my word for it's all good stuff uh... and if you wanna win all this we've got three sets of these goodies to give away all you have to do is phone in and tell us who was the most famous person on the king label who was the king's label king labels most famous recording artist

might be a bit of a tough one but good for all you anorex out there phone in on 0207 224 2000 0207 224 2000 and right now we're going to play a track from King Funk this one is by Bill Doggett and it's called Honky Tonk

That's Bill Doggett and Honky Tonk.

We've got Colin in Lewisham who's on the line, maybe with the answer to our question.

Hey Colin, how are you?

Not too bad, not too bad.

My life on air.

You are live on air, so no bad language and don't say anything subversive.

I'll try.

Because this is the BBC.

OK.

So let's see.

The question was, who was the most famous recording artist on the King label?

Do you know the answer?

James Brown.

James Brown, the godfather of soul.

Congratulations.

OK, well done.

We've got these fantastic albums winging their way towards you as we speak.

So thanks very much indeed for phoning in, Colin.

Thank you very much.

Sorry to put you on the spot, but have you got any favourite film lines?

That really is on the spot.

What was the last good film you saw though Colin?

The last good film that I really enjoyed was American Beauty.

Oh yeah, there you go, that was a smash.

Did you see that one, Tracey?

I did, I enjoyed that.

Yeah, OK.

I enjoyed it more than American Movie.

Well, I haven't seen that one.

Colin, you know, you've got to check it out.

Tracey's no idea what she's talking about.

Really?

I've read reviews and all, I can't say I was overly infused with it, but I may do on your recommendation.

Absolutely, honestly, I'd be surprised if you got nothing out of it.

I loved you as well when you were on TV, it was great.

This is turning into a really great programme, thank you very much.

It's a love fest.

Hey Colin, thanks very much for phoning in.

Thank you.

OK, cheers.

So let's see, we've got also Paul in Crouch End was also a winner and Michael in Ballum.

Paul in Crouch End and Michael in Ballum, thanks very much indeed for phoning in.

You also won our competition and those albums will be

winging their way to you shortly.

Um, this is Adam Buxton on, uh, London Live 94.9.

I'm here with my guests, Tracy McLeod and Nigel Godrich.

Um, I think Fran and Dougie from Travis are in the building.

Somewhere lost.

Somewhere, yeah.

Wandering around the mazes.

Like Driftwood.

If you will.

Exactly.

Yeah.

Do you like Travis Tracy?

Yeah, I love Travis.

He's really great.

Yeah, great strong tunes lovely performance I saw them on them.

I saw the play live on later with Jules Holland.

I was in the studio for that first time

I can't remember, Paul McCartney was on the same program and they looked so made up because they did, what's that song called, Turn, is it called?

Yeah.

And they played, they did a run through of it and then they had to stop and Paul McCartney was there with his rock and roll outfit that he made that rock and roll record with.

Yeah.

And they all started playing it, you know, Paul McCartney and the band just picked it up and started playing it and you could see that Fran and the guys were just looking at each other going, this is fantastic.

Paul McCartney's playing one of my tunes.

I know, that was one of the moments when they suddenly thought, whoa, we have so made it.

That's a reference point, isn't it?

Yeah.

They all went around and had a bit of a sing song around the piano later as well, which apparently was just amazing, you know.

In fact, I think the BBC did like a radio documentary about them, which ended up being called Meeting Beatles Is Easy, because of that little cringy radio head reference there.

Jesus.

We're going to go to the travel right now and talk more to my guests in just a moment.

BBC London Live 94.9

Hello again, let's have a look at how we're faring now out on the M25.

Still a bit misty and murky around the top end of the M25 motorway around the north and north-western stretches.

Certainly clockwise is extra busy around about junctions 24 and 25, and anti-clockwise into the Chorleywood roadworks.

Again, if you're making your way, in fact, either way between junctions 17 and 18, every now and again into the restrictions, the brake lights are coming on.

Into town, Victoria Embankment.

That's closed off southbound between Temple Place and Horse Guards Avenue at the moment, and the Southwark Bridge.

That's closed today at Upper Thames Street, another crane working away.

On the Tubes, lots of problems at the moment.

On the Bakerloo Line, Lambeth North station is closed to all southbound services.

Also, you find Mornington Crescent station is closed to all southbound trains.

That's on the Northern Line because of the ongoing safety checks.

Also delays on the Central Line, the East London Line, the Metropolitan Line, the Eastbound District Line and the Anticlockwise Circle Line.

On the mainline trains, it's a tube journey instead of Chiltern today between Marylebone and Amersham and finally Connick, Southeastern report a replacement bus service between Denmark Hill and Ravensbourne.

That's it for now but don't forget you can always check out the BBC's jam cams and you can catch that on the London Live website.

I'm Warren Lee with 2020 Travel and the next update at 11.40.

The less I see a yellow line or a parking meter, I go daft.

You know what I mean?

I've got a bit of concrete under my feet.

Oh, I'm exactly the same.

I mean, I like the see-saw, but the country, I'm very... I don't quite know what you're meant to do in the country.

No.

Robert Elms.

A very different London.

You can't sum up the city of London in a sentence, so we don't even try.

So unless you know otherwise, unless you are the sausage and onion man of Stonebridge Park, we've probably resolved that.

I mean, we could all have designed the Dome to make more money.

I mean, one big room with dinosaurs in it and the other one with spitfires in it.

Two generations happy, huge money spinner. 94.99.

It's what London sounds like.

I wonder where that came from?

I don't know, but I suppose it sort of livened up the interview a bit.

Robert Elms, nine till midday, weekdays.

94.9, London live.

Hello, hey, I'm a hustle and bustle here in the studio because Fran and Dougie from Travis have just walked in.

So I'm going to let them get settled and play you a bit of music right now from... I can't speak properly at all.

I'm so excited.

say hello boys hello nice to see you very good thank you yeah this is adam buxton on london live right now we've got a track from neil young quickly followed by a track from the kingsbury manx album which is one of the best albums of this year very short track so here's neil young and what did you do to my life i think this one's called

It's hard enough losing without the confusion of knowing I tried But you've made your mind up that I'll be alone now, there's nothing to hide I don't care if all of the mountains turn to dust in the air

It isn't fair that I should wake up at dawn and not find you there I don't care if all of the mountains turn to dust in the air It isn't fair that I should wake up at dawn and not find you there

That I should wake up at dawn and not find you there Hear this float away

I can't concentrate on weather or sunny days I can't concentrate

Perfect and glistening.

Nobody's listening.

Perfect and glistening.

Nobody's listening.

Ooh, ooh, ooh.

That's a track called Hawaiian 60 Seconds, I think, from an album just called The Kingsbury Manx, which is really good.

Check it out.

Adam, can I say something?

We were driving in there and you just sound fantastic on the radio.

You're like whispering Adam Buxton.

That's fantastic.

Incompetent Adam Buxton, mate.

Whispering Bob Harris, but ludicrous Adam Buxton.

I'm here, I'm joined by Fran Healey and Dougie Payne from Travis.

Hello, thanks very much for coming in.

It's a pleasure, lads.

And of course I'm still with Tracey McLeod and Nigel Godrich.

We're just standing a little bit further back now.

Nigel, you've got to come and join in.

Lean into the mic.

Tracey, did you know that was me when you drove past on your bike?

On the outside rack?

Yes, I did.

She just said, voila!

You looked at it and I was like, can I go in?

When did you drive, when did you cycle past?

There's a recording studio near my house called Rack, which is owned by Mickey Mouse.

Mickey Mouse?

Mickey Most.

Don't tell him that, that's bad.

Freudian slip.

Mickey Most.

And I was cycling past it in the summer and I saw this, just a young chap standing outside and I smiled, as you do when you see a nice, friendly looking chap.

And then as I went past him I went, ooh, is that bloke out of Travis?

Because he's going me a little way.

It looked kind of like you were like that.

I smiled and waved.

Did you?

I think so.

You look a bit nervous.

You've had a dye job.

What?

Fran, you've had a spectacular dye job on your head.

Right.

What prompted that?

I don't know.

I just wanted to... I was going to get it cut because it was looking terrible.

I get my hair cut when it needs cut.

I don't sort of...

vainly go in every two weeks and get it you know yes that's what he's saying honestly i don't and then it just grows i cut it and then it grows really long and i cut it but this time i thought well we're off we're not in the public eye so to speak so

I dyed it a colour.

Thank goodness, you've left us alone for a while.

Yes.

You've let us get our breath back before a new assault.

When are we likely to be assaulted by the Travis machine?

We're going to assault you about April, May, something like that.

April for the first single.

So you're in the studio now recording the follow-up to the hugely successful The Man Who.

That's right.

And how's it going?

I don't know.

Ask Nigel.

Yeah, Nigel's the one they ask about that.

Nigel's keeping very quiet about it.

It's going great, thank you.

Says Nigel diplomatically.

Keen not to upset the record company or anyone else.

Or us.

But how far, actually, more likely the band.

How far are you through the whole thing?

Good 9 songs.

Yeah, 65%, 70 maybe even, of the way.

I mean, it can all go wrong, you know, that's the thing, you don't really know until you've finished.

You'll look back and say, you know what, we thought we nearly finished, but actually we had to do everything again.

Until you're sitting in the cutting room and putting it all together.

That's usually when you start getting the fear, I usually find.

No, the last time is when I sort of went, wow, this is a finished record now, and I never felt that before.

Do you get anxious about it?

Are you anxious about the whole process?

Yeah, absolutely.

And what's the anxiety that you're going to... The unknown, because you're writing a song, it's like making something that doesn't exist before it's there, so you have no idea what's...

what's there.

But why would that be anxious making?

Is it because you're worried about the public reception it's going to get?

No, it's the same anxiety as you get walking into a dark place or a place you don't know, you know what I mean?

But then you get good things out of it.

It's the same thing that makes it... Existential anxiety.

Your eyes become used to the darkness.

And then you let go of the balloon and it's got the law on it.

It's another phrenology.

Fran finds it impossible to say a sentence without saying, it's a bit like, and then he'll go into some amazingly oblique analogy.

That's just because I don't know many big words.

You know lots of big words, you're highly articulate.

Listen to it.

I do not.

That's two very short words.

Listen, you've got your guitar with you today, very tantalisingly.

Dougie's guitar.

And it's Dougie's guitar.

Do you think you might play something for us?

I don't know.

I mean, obviously, we're very lucky to have you here and you're not doing any radio appearances, so I don't want to force you to do anything you don't want to do, but it'd be great if you could play something later.

Do it.

Yeah, well, we brought the guitar, so it's like... No, we're just gonna sit and look at it.

make you look at it.

Go on, will you play something now, please, will you, please?

Not right now because I've got to, like, think of, remember... No, now.

Remember Cards.

No, play something now.

Okay, what's that one called?

That was me hitting you.

Okay, that's not quite as good as the stuff on the last album.

What's the new one sounding like though?

I know that's a difficult question when you're right in the middle of it, but... We had the people who do all the artwork come round the other day, Blue Source, and we got their books of photographs and what we're thinking, what images you want to use.

originally it was photographic, but there were all these... We didn't like that.

It was all very, sort of like, the face kind of magazine, you know, it's all very, you know... You just got it in for the face, because they printed badges saying, I love Travis.

I love that.

We wore those badges.

I know.

With great pride.

With pride.

No, it's all very arty and sort of an over-thought and very self-conscious kind of a work, and then he pulled out this other stuff,

And by an artist called Andrew Wyeth.

He's an American artist who is famous for a group of paintings, of about 215 paintings, called the Helga Pictures.

And he's an amazing painter.

I'd studied him before I went to art school.

I hadn't seen it since then, so we saw this and then the music with it just made, you know, it sort of makes sense, and it's... Yeah, they're very sort of atmospheric, moody paintings, aren't they?

Yeah, yeah, and it's sort of a... so maybe it's... It's sounding great.

It's sounding atmospheric and moody!

Sounds like ABC.

It sounds like late period ABC.

You're doing the backing vocals again.

He was saying earlier before you came in that he was trying out his singing when you were around, hoping that he might be interested.

That's right.

Adam did a rap.

He did a rap for us.

I wrote a rap, I never actually got to perform it.

I was saying, my point was that if they wanted to reach a wider audience and just get a bit with the times, they should put more raps on their songs.

That's all I was saying.

I just thought maybe guitar pop was a tiny bit yesterday.

And you're the very man to do it.

Yeah, exactly, because I'm very black in a lot of ways, and I come from the streets, and I'm a very good rapper.

And you know, so that's what I'm going to be doing on the next album.

You're good at touching your groin.

What, as in a sort of rap style?

Yeah.

Well, that's what you're saying.

I've got the moves.

Yeah, you've got the moves.

Sure, I know what you're saying.

I did actually get to go on stage with Travis in Berlin and play the tambourine.

That's right.

And I was absolutely rotten.

I couldn't even handle that.

It was rubbish.

They were playing Coming Around and as a special treat I was allowed to go on stage and join them for Coming Around.

It was a special treat, it was fantastic.

I expected it to be amazing and I just thought, you know, I'm going to be the king and I'll be discovered.

All those other tambourine greats.

well Mick Jagger I was thinking but you know I got out there and it was indescribably mortifying.

It was in Germany as well.

Plus I just thought you know it's like the audience was just thinking and you are who I mean mainly everyone was just looking at Fran anyway but I just I felt so uninvited it was really.

And we played it very fast just to throw you as well.

That's right.

Is it harder than it looks then the tambourine?

I'm telling you, it really is harder than it looks.

But look, we've got photographs from that, and you look pretty damn good.

You look cool.

You look like you know what you're doing.

You look deadly.

Thank you very much.

You've got the tongue and the cheeks that are, like, you know, like, in concentration.

Uh-huh.

It's good.

So listen, if you, um... That's my little, I don't know what you're talking about laugh.

We've got some travel coming up very soon.

Right about now, I think.

Oh, okay.

Oh, alright then.

So how do you feel about playing something now, Fran?

Are you psyched up about it?

I don't feel good about it at all, no.

Why not?

No, because I have no idea what to play and if I do start playing it, I will forget lyrics and I need to have some time.

Do you get in a situation, presumably your mates when you go round to their houses and stuff say, oh Fran, play a song, you know, it gets to a certain stage of the evening.

Yes, this comes from the other night, doesn't it, Adam?

How do you, does your heart just sink when people do that?

Certainly sometimes.

When we were in LA there, Neil Hannan from the Divine Comedy was there as well and we had gone up to someone's room and Neil's there entertaining everyone and he's a fantastic entertainer.

He's so, he's got this magnetism, he's got a fantastic voice and his songs, I hadn't really listened to a lot of his work.

And I sat there and I was completely blown away.

And then he gave me the guitar.

I couldn't do that.

I was so mortified.

I did in the end.

And then when I started singing and it's like Jeremy, our keyboard player, is going... And he's beside me and I was like...

And I was shaking and I couldn't do it.

I think it's harder to be put on the spot like that really.

Especially when there's someone of that calibre that you're totally suddenly you're going... I know he finds it very easy to do that.

Neil does.

Yeah.

I imagine Tom Yorke very much enjoys doing spontaneous renditions of popular radio head favourites at parties.

I don't actually remember him ever doing that once.

Why does that surprise me?

But presumably people don't really suggest it very often.

Hey, Tom, sing us a song.

No, back in the old days people used to go up to me and go, oh mate, oh yeah, you know, trying to explain their suicidal thoughts to him, but these days nobody will touch him with a barge pole.

I see him coming.

Step away, that's Tom Muir.

Move away from the Tom.

Move away from the Mighty Heed.

Mighty Heed.

I love it.

That's the thing though, but people come up to you in droves though, you're too approachable, Fran.

What?

You're very approachable though, compared to Tom.

Well, yeah, I think, yeah.

But that's nice though, isn't it?

You don't mind that too much, do you?

No, not at all.

Is that why you've changed your appearance?

In the mysterious way?

No, because before I... The strange thing is, before I got the haircut...

I didn't look at all like when people just wouldn't recognise us.

Before you had the other haircut?

No, no, the one just before this.

The fin.

With it all growing in and it all looking very messy.

Your plan for a disguise was sadly mistaken.

Then I got my hair cut and coloured and people started recognising me again.

I think it's just the shortness of the hair.

Yeah.

So listen, here's a question, a special Travis question.

I've got a couple of signed photos here and, extremely excitingly, a signed copy of the Why Does It Always Rain On Me single, signed by the whole band.

So if you're a big Travis fan, then you should know the answer to this question.

What colour has Fran dyed his hair?

and you would be able to find that out if you checked on Travis's progress in the recording studio via their webcam.

What's your site called?

www.travisonline.com There you go.

So what colour has Fran dyed his hair if you want to win those exciting Travis goodies?

We're going to check out the travel now and afterwards we might hear some music from Fran and Doug.

2020 Travel

BBC London Live 94.9.

Hello again.

Getting pretty busy out on the M25, particularly on the north-western stretches around where the roadworks are between Junction 17 and 18 between Maple Cross and Shorleywood.

Looking at the clockwise traffic at the moment on camera and even before you get towards Junction 17.

Traffic is grinding to a halt in all three lanes.

And again, a very similar picture if you're coming in the other direction on the anti-clockwise carriageway on the approach to junction 18.

Surprisingly, haven't seen too much traffic yet to clog around junction 30 and 31, normally for a Sunday morning and particularly coming up to Christmas.

We've seen an awful lot of traffic round about this time of day heading towards the shops at Thurrock, but things today seem to be doing a little easier.

Back into the centre of town and Victoria Embankment.

They've closed it off southbound at the moment between Temple Place and Horse Guards Avenue and out to the west on the A316 Dorchester Grove that's closed at the moment eastbound for works at the Hogarth Flyover in Chiswick.

One or two problems out to the west in the Thames Valley as well.

The extensive flooding continues particularly around Maidenhead, Cookham and Burnham.

On the Tubes, on the Bakerloo line, Lambeth North station remains closed to all southbound trains.

On the District line at the moment there are eastbound delays and Mornington Crescent station is closed to all southbound trains on the Northern line.

Also an update on the other delays that we've been suffering recently.

There are also delays on the Central Line, the East London Line, the Metropolitan Line and the Anti-Clockwise Circle Line.

I'm Warren Lee with London Live Travel, the next update in 20 minutes.

94.9.

London Live.

For four consecutive nights from Boxing Day between 8 and 10, we're going to be giving you our slant on London's musical history and celebrating four decades of the city that's constantly swung.

Go Crowley.

The bands, the clubs, the people, the scenes, the influences that have come from outside the capital.

From the 60s through to the 90s, we'll be charting its development with the best and most exciting music along the way, plus anecdotes and memories from people who were there.

Your chance to hear the full richness and diversity of London's musical heritage.

Gary Crowley.

Starts Boxing Day.

8 till 10.

Make it a day.

94.9.

London.

Live.

Hello, it's Adam Buxton here on London Live 94.9.

Why are you laughing?

You're so professional.

I'm trying to do my best.

I'm still fairly incompetent and there's moments when my brain empties and I can't think of what to say and I start just talking without thinking about it.

You start insulting people.

Who have I insulted so far?

Everyone.

Everyone in the room.

I didn't mean to.

I used to think sometimes when I was interviewing people that it was a bit like stopping in the street and you ask someone directions.

Yeah.

And they'd start telling you, well, you go down to the end of the road, turn left, turn right.

And you're so busy making the right kind of face to show that you're being receptive to what they're saying that you're not actually listening.

And as soon as you wind the window up again, you've forgotten what they said.

And I used to get that with interviewing people sometimes.

You'd be really listening to them.

And then suddenly, you know, just this huge hole would open up in your head.

And not only could you not think of another question, you couldn't think of anything to say at all.

And if the person who you're interviewing has done a lot of interviews, they can tell that you're not listening?

Probably, yeah.

That's the thing, yeah, as soon as people start talking it's like sometimes you're at a party or whatever and the music's so loud that all you do is you spend the entire evening just leaning on someone's shoulder going...

Yeah, right, yeah.

And you don't know what they're saying because all it sounds like is like... And if they were to ask you, what did I just say?

Someone's done that to me before and I had no idea and they had actually said nothing.

They knew because they knew I wasn't listening.

There you go.

I met Adam at a party a few weeks ago, that was the first time I met him, and he was dressed as the Green Cross Code man from the ads.

I brought him in a photograph that I took of the occasion, where he's dressed in the Green Cross Code uniform, and he's standing posed with two attractive women dressed as Catwoman.

I looked quite grotesque, I can tell you.

That is a good outfit though.

Thank you very much.

I was quite pleased with the Green Cross Codeman.

I don't really like fancy dress parties on the whole though, do you know what I mean?

It's like you get all excited about getting the gear on and then you're just uncomfortable for the rest of the evening or you hire a costume and basically you have to wander around with some old BBC actor's sweaty armpits on you.

How many costumes have you ever hired?

Um, I've hired two.

Actually, the last time I hired one, though, I hired it, and then I got it on, and it was so stinky and itchy that I thought, skip it, I'm just gonna make my own, and so I made a pixie costume.

Yeah, thank you very much for that attractive thought.

That's strong.

Hey, listen, we've got a winner for all our Travis goodies.

Wow.

No, really?

It's Tony in Dagenham.

He gets the, uh... Well done, Tony.

Well done, Tony.

Tony Bonin.

We've got, oh, two winners.

Oh, and...

Three winners in total, right.

So it's Clare in Camden.

Congratulations, Clare.

Well done, Clare.

Alison in East Shea.

Good one.

So Clare and Alison get the signed photos.

Well done.

And Tony in Dagenham gets the promo.

And you have to say the answer to the question.

Oh yeah, the answer to the question, what colour is Fran's hair, is... Orange.

Blonde.

It's blonde.

He's gone.

It looks like Eminem.

And the last time I got it dyed blonde, which was five years ago, it looked like Gaza's hair.

So I've never been able to claim it as my own.

But it's not golden, it's very white.

Put it this way, I thought Muriel Grey had walked in.

I looked completely bald when I got it done, because I'm kind of a Peely Wally looking myself.

And I look like a... A witch look?

Peely Wally.

What does that mean?

Very pale indeed.

Listen, are you okay to play a song now?

Yeah.

Okay.

What's this one called?

Right, I'm going to play The Connection.

And if I get it wrong, I said this before, then I apologise.

Don't worry.

If there's any... No, if there's any people who are going, like, you... I mean, that's the wrong line, so... Oh, this one's very generous.

Here's Fran Healey with The Connection.

I stuck around for a while watching cows

Passed me by and I tried not to think for a while But then I had to smile Cause there's only one direction Is there only right from wrong?

Got to make the Got to make the right connection All alone

I never said I would cry, but I lied Now all I do is cry just to get by, just to fight Find out why, cause there's only one direction Is there only right from wrong?

Got to make the right connection all alone

I stuck around for a while, watched the grass getting high and I tried not to think for a while but then I realized that there's only one direction, there's only

Got to make the right connection on my own

Good job, thanks a lot man.

Are you in pain now?

Yes.

I just wanted to thank you for making me feel alive.

No, it's good, it's good.

I think it's always good to feel like that, you know, when you get put in the spot.

I suppose it's before the camera goes on or before you

do something that's kind of nerve-wracking and you go, ah, but then it makes you feel like more alive, I suppose.

Doug, do you get nervous and stuff?

When you got up at Glastonbury and did your song on your own, that must have been fairly terrifying.

That was, Tee in the Park was very, very scary indeed, but mostly because my entire family was in the wings.

And we were all kind of going, oh God!

I hope he doesn't make a fool of himself.

It was good and terrifying, but I think it is important to feel like that.

Do you ever just become immobilised with fear sometimes?

No, I think you can get on there, and then once you've started, generally it's fine.

But the kind of two minutes before we go on is always a good nerve-wracking moment.

We stand in a little huddle, in a little circle, and Andy leads a little...

deep breathing exercise.

Yeah, you do your little Madonna prayer sessions, don't you?

Yeah, it's very, it's all very Madonna.

Because I, um, I was, uh, um, it was extremely Madonna.

I was, I'm very lucky to see you guys in the States when you were supporting Oasis, and I remember watching you from the wings doing your little Madonna prayer session before you went on, and turned around to find Noel stood behind me, and Noel just looked at me and said, what are they doing?

What is that all about?

They couldn't get that at all.

They were like, you know, I mean, we go on and we hate each other, you know, we like to look cooler than the other guy and you're all like in it together.

Weird.

That was pretty funny.

But, um, no, I think it's good if you don't get nervous before you go on, you should do something else.

I reckon it's important to get nervous.

Absolutely.

Did you get nervous doing lots of live TV on Network 7?

You looked fairly scared.

Not you personally, but some of the presenters.

You always look cool as a kid.

I think potentially there's a good television presenter in me waiting to get out if I was ever allowed to do a programme that wasn't live.

A weird thing used to happen to me when I did The Late Show, which was on at 11.15 after Newsnight, and most often it was live, and quite often I was alone in the studio.

It was just three or four filmed items.

So before, when I was waiting to have my makeup put on, I'd feel this urge to fall asleep.

and you know you'd think it was the last thing that you wanted to do before you're about to go out and do live television by yourself would be fall asleep but apparently it's something to do with the endorphins is that you're you know you produce adrenaline because you're excited and nervous and then you counterproduce endorphins to calm yourself down and the endorphins is what makes you actually start to fall asleep so i'd be in the makeup room and my eyes would be closing and the makeup lady would say well what's on the program tonight

I can't remember.

People always used to say, I'd love to watch the late show, but it's on too late.

You know, I can't.

I used to watch it all the time.

How can it be on too late?

You know, I was up for it.

But now that I don't do it anymore, you know, quite often afternoons, now I'm ready for my beddy as well.

So yeah, that's not good enough, I think.

That's what my mum always says.

I'd like to watch your program, but it is on very late.

And then thanks a lot more.

You know, glad to hear you made the effort.

Ever heard of video recorders?

Yeah, exactly.

What's your version of nerves though, Nigel?

When do you get most nervous?

Is it when you're sitting there with record company people and you have to unveil what you've been working on?

No, not at all, no.

It's much more like to do with forging relationships with people that you know you're going to have to spend an awful lot of time with and be

very intimate with and, you know, wear each other's underwear metaphorically.

It's a real gamble.

I mean, you don't really know what people... I mean, it is all about, you know, the dynamic between personalities.

I mean, if that doesn't work, then forget it.

You've got to feel really comfortable with each other.

You're somewhere in the middle, like Luke Warmwater.

Exactly.

I'm the friends fire and Dougie's ice.

So, you know, that can really... I mean, it used to make me really scared.

I used to not be able to sleep the night before I was going to do something.

But now it is.

Have you ever had a relationship, professional relationship, end because you didn't get on with the people you were producing?

Just one, and it wasn't really that we didn't get on, it's just that they were completely...

Took over that list of people he's worked with again.

Was it Natalie Imbruglia?

No, no.

No, no, no.

That was alright.

We actually, we dropped by.

We won't mention any names because we can't.

Because we'd be sued.

Go on then.

No, I don't know.

But we were there when that was going on.

It was a band of people.

and then it was going to... And it was a very bad atmosphere.

And your little face behind your desk.

No, it was just like sometimes, you know, the thing is, it's like there's one of me and there might be five or, you know, Divine Comedy, there's seven of them, you know, and I have to sort of keep everybody occupied and busy.

He's very good, you know.

How about, um, how about Beck, though?

He's quite an inscrutable character.

Was he easy to get on with?

No, no, he was completely fine.

I mean, the thing about Beck is he's got this amazing, he's got a, it's very kind of American equivalent of service, you know, when you go to a restaurant.

He's got a band who are just incredibly

professional and amazing the best players you've ever seen and they'll just uh they'll do what they're told basically he's a dictator yeah so the two of us were like two dictators yeah because he's sometimes when when you see him interviewed he can barely string a sentence together no he's not he's he's he's like so laid back he's almost horizontal do you know what i mean that's because the studio is different yeah i mean you know if you've ever been interviewed about

I don't know.

I mean, I'm sure that people ask him ridiculously stupid questions and he can't be bothered, you know.

He's very, very articulate.

You know, funnily enough, I have interviewed him and I absolutely asked him the stupidest questions in the whole world.

So he probably was like, well... I know, yeah, he was exactly.

Just bored.

He just goes... You bored him.

I really did bore him.

I absolutely bored him.

You bore me.

He's incredibly articulate, you know.

I had to turn up, I had to do an interview.

I was kind of a cameraman interview person.

I just really wanted the chance to meet him.

But I had to read out someone else's questions and stuff, you know.

And the first question was, does MTV really make you want to smoke crack?

Because there's a backtrack called MTV makes you want to smoke crack.

And you could see, he had sunglasses on, but I could see through the sunglasses to his eyes, glazing over.

And he just went, um, well, um, I don't think I have a response to that.

I'm like, good shot to the end, yes!

Did he not watch the telly or something during it?

You what?

Did he not have the telly on?

No, no, he was very professional and very attentive.

I thought you said he had the TV on.

No, I don't think so, I don't think so, but he seemed, you know, he was on a smoking clack.

Very possibly.

No, he was not relishing the,

the chance to chat to me about um about i think that's the downside to being a musician is you have to do all the other things as well people don't really understand i mean and i'm not even one but i get to watch them do it all the time and i get to see them all have to cope with it in different ways and that's the thing that generally destroys people is after you make the records you have to go and promote it and that's like a real full-time job you know where you leave your home and your family for months

and really hard work.

So I'm not surprised.

You can forgive them for not really being very responsive sometimes.

It's not ridiculous questions.

I think now having, for us anyway, we went on the road for quite a long time there and I realised why bands split up and why bands go mental and why people turn to drugs and why people do all those kind of things because it does really do stop something.

But I have to say as well, you lot for example and other bands that I know who've known each other for years and sort of

Because it's so much pressure, you have to be so close and so tight in order to get through all of that.

It's like, you all came from the same place, you'd moved down to London together, you did all that together.

Just like Radiohead went to school together.

So they don't have those... If you met in the back of the NME, then you're never gonna make it.

But are there times, though, when that sort of goes away and it just becomes about the band, and as soon as you have an opportunity to get away from each other, you take it and you think, I can't bear to see you for a while.

It's not, it's like a natural thing, you know, although we come off the road and in within two days.

Kind of like on the phone.

Hello, what you up to?

Yeah.

You don't all live together in a big house like the Beatles then?

We did.

But we don't anymore.

Well, we did when we moved to London five years ago.

Well, we know where you're going to live, Fran, because it was splashed all over Heat magazine a few weeks ago.

Yeah.

That was good of them.

And in fact, after that, maybe related, maybe not, someone went into the property and ripped out all your fireplaces.

Yeah.

Yes.

That's a bit lame.

We want to go down to Heath's offices and see what the fireplaces look like.

Yeah, exactly.

It won't be so hot when they've done that.

They'll call their computers, that'll do me, I'll need that, and I'll take this apple, and I'll take that, and I'll take that.

And I'll take these incredibly lame articles about Posh and Bex, and put them in the bin.

Okay, well, that's all we've got time for, I'm afraid.

But thank you so much for coming in.

I could... Is that it?

Yeah, I'm afraid so.

I thought there was another half hour to go.

No, it's coming up to 12 o'clock, which means that our time here is over.

But I just want to thank my guests very, very much indeed for joining me today.

Tracey McLeod, thank you very much.

Nigel Godrich, thanks a lot, Nigel.

Thank you.

Dougie Payne.

Thank you for inviting us, Adam.

And Fran Healey.

We love you.

Thank you very much indeed.

And I'll be back here at 10 o'clock on Christmas Eve.

Ooh.

I'm going to play some.

You're going to be doing Christmas Eve?

Yeah, yeah.

I'm feeling quite Christmas-y this year.

I really am, for the first time in ages.

You'll be wearing a little furry collar.

Okay.

Yes.

So from me and everyone here, goodbye, take care, thanks very much for listening.

Bye.

Adam Buxton - BBC London - 17th December 2000