YouSaid · the spoken record

David Gray

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34

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2021-05-25

most recent

2021-05-25

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1

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1. “But then you feel the emotion that it's made of yourself. You're the person who wrote it. You put the emotion there. But it's not always visible because we were just, and that's true of all our lives. The wonders of seeing friends or, you know, giving a hug or ever, suddenly all those gestures that seemed kind of like strange social traditions that didn't really mean a lot. And then you start to sense your animal wariness overcoming your other instinct to be close to people. And then the two voices of hang on COVID and I should keep my distance. But then when you're allowed to do it again, it's actually vital. It's important, but you couldn't really see it for what it was. So I guess the last year has brought a lot of clarity to bear. That's for sure.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

2. “You know, once I had to sing a performance for my father when he was very, very ill, and in fact he died just a couple of days later. But we had a sort of party weekend for him. And when it came to singing the songs, this was during the heyday of White Leather, I couldn't get the words out of my mouth because the emotion that the song was made from, something I was normally not able to really see, I become immunized, to use the right expression, really, I couldn't get the emotions of the song out of my body. I was completely overwhelmed. And I realized that that's what the songs were made from. So when I see other people being affected, but I'm no longer, even though I'm the person who's singing the song, I'm just busy getting the right notes in the right order and making sure I do a performance that hits all the marks and the quality control. Like, you know.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

3. “Out, you know, because it's like, oh my god, I can't do this. It's a wonderful moment watching the FA Cup final. The FA Cup final is something that suffered enormously in the last 20 years in terms of importance. It used to be the only televised game and suddenly there's games on every day of the week. But it suddenly they got an audience back in, the crowds were back in, and not only that, the underdog won with a wonderful goal. And then there were these kind of Roy of the Rovers saves and this big VAR controversy right at the end. And the whole place was just absolutely brimming with emotion and the commentators, the pundits, everybody, the ref, everyone was caught up in it because that's the wonder of being alive. It's an unknowable thing. It's just more than you can hold. And it was a fantastic thing to watch because no one could, it couldn't be encapsulated. It was just too irresistible and too spontaneous. And I think that.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

4. “A quieter way over time. Because if I hadn't the things that I've discovered in music and art, what would my life be without those experiences? So, yeah, so we've had a chance to work out what matters, I suppose. I think, as I said earlier, the difficulty is coming out of this, the sort of accelerator predile is going to get pressed very hard and we're going to be encouraged to live and consume in a way that's perhaps the maximum. And that just feels a little bit alien, a little bit wrong. It's very difficult coming out of this. And I mean that from a psychological point of view as an individual, the multiple anxieties and behavioral things we've been sort of institutionalized in a weird way. It's actually quite a challenge to go back to normal. Just in the last couple of weeks, we've had a party that we were all looking forward to just been cancelled because basically it's almost just freaked.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

5. “Whatever floats your boat, and they sing that song that you've been waiting to hear, and you'd have tears flowing down your face to be able to do that now. And that's how much it means. It's like music is made of emotion and all this stuff, a bit like we're starting to understand how forests and ecosystems work. You have to look at them from the ground up, the sort of fungal interconnectivity is the only thing that makes sense to the whole thing. You can see how interconnected everything is and culture is a vital part of that. We are what allows so many other things to happen. I mean, it's something I would die for, music. It's made such a difference to me in my life. It's slight what I do compared to someone who's working in A&E or a policeman who has to try and deal with a braying crowd that are throwing things at them. And yet I feel it can make a difference to people's lives in a profound way.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

6. “Yeah, well, I'd like to think so. I think it's deepened people's appreciation of the stuff that they took for granted, and that's culture and nature and everything else. So I think it's all come into a different kind of focus. We've been given a rare privilege, and I don't mean to make light of all the people who've died and suffered and are still suffering because of the disease. But those of us who've had to pause our lives, we've been given a rare privilege, I feel, in this year to evaluate our lives in a way that is very, very difficult when you're in constant forward motion. So I think, well, I mean, you try and imagine going to that gig that means so much to you and listening to whoever it is you want to listen to, Gilliam Welsh, Bonivaire, Radiohead, you know.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

7. “Concerns me, I think, going forward. It's not as if the last 20 years haven't been tumultuous for the, you know, the music industry. They've been a complete and utter turning upside down. When you take sales out of any industry, it's going to struggle. And that's why there's so much onus on the live ticket suddenly. But it's been a mad period of change. So I think this has just brought what's been left of all that. what's left of the music system and how it actually functions for day-to-day musicians who are passionately going about trying to make a living and get their music out there. What it really means to them, this has really shown that without the live money, they're really in trouble and it doesn't work at all.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

8. “I mean, if they're going to reopen half of them, you'd be surprised. They're not places that make a lot of money. They love having a little venue. Bands love playing there. It's that little venue in town that when you're in your bedroom practicing, when you're 17, you're dreaming of your first gig there. And it's the gateway to all the other stuff. That's the stuff that's going to disappear. And Simon Cowell and Co. will always be able to cook up the next pop star. That's not a difficult science to master. It's like you just get some very attractive young people and you stick them on a stage with some brilliant songwriters writing some amazingly catchy songs and you throw a load of money at it and lo and behold you've got a success on your hands. It's the other stuff. It's the next talk talk or the next radio head or the next, where's that stuff going to grow? We don't have the opportunity for those things to, so that's what.”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

9. “There's nothing, it's not a sustainable model. It was that once the sales disappeared, you realized that, oh, this is how it's going to be now. It's maybe to support some of culture, some of the people that make so much money, be it television companies or record companies or whatever, out of showing culture and using culture, be that music, theatre or film or whatever, maybe could get their heads together and get some money together and help the government. Maybe it could be a partnership, a public-private partnership. I mean, that's what I would suggest, particularly for things. I don't know about the broader thing. Once you start to broaden this out with theatre and film and everything else, but with the music industry and small venues and rehearsal rooms and small studios and places that are really...”

   2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

10. “And then you're starting to make some money. That's how it works. Unless everyone pays twice as much to sit in the 50% of the seats, you've got to model that doesn't work. So there's been such a lack of detail and such an obvious lack of understanding, I think, that I can level that at the government. I'm not one of those that would just say government this, government, that, that they should sort everything out, small venues, this, that, the other. I mean, where's all this money coming from that they're having to pay all this stuff out to? So there are people I look at, as I say, the major labels, Apple, all the people who have a lot to gain, you know, Amazon, all the people who've made an awful lot of money and capital as well and sort of the cool of music launched the iPod and then the iPhone. And then we all realized, hang on, what happens after that?”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

11. “Even what I've said already, it would be very easy to listen to what I've just said in the last five minutes. And that's basically the approach. They love being on stage. They get to do all this. They get to make music, have fun, you know, they've got the girls, they get the action, they get, you know, they're all having a great time. Why are they moaning about not making enough money? You know, boo hoo. You know, I've got to work in a, you know, a supermarket. Whatever it is, you can make a comparison that makes the whole thing seem like an indulgence to be complaining about the way that things are. So I think one thing that pandemic has exposed is the total lack of understanding Oliver Downdan didn't seem to understand how the music business even worked. I mean, that was completely obvious. And it's still obvious because there's no detail at all about how, I mean, how do you make money? You don't make money from selling 50% of the seats. If you did a tour around the UK, you wouldn't make any money at all. You'd probably lose money. Your profit is getting over 65, maybe 70%.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

12. “There's been the parliamentary select committee and all that's been going on there and some very pertinent and obvious things have been said by various people. I thought it was shameful the way that the industry reacted and the nonsense that they spoke. But what's the surprise there? They'll remedy all this stuff. It'll just take them 25 years. In the meantime, they'll be all right. They'll have retired sort of thing.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

13. “Storks are every move so it's it's yes I think it's exposed some hard truths about the fact this is unsustainable and you know and I'm in a very lucky position I've been making music for a long time so I have residual income coming in it's enough to keep the wolf from the door but for most people that's just not true and artists starting out now the idea that they need to fund themselves with their merch and their touring that's a supplementary thing making recorded music hello have we gone back to the sort of Victorian area the sort of entrepreneurial kind of you know you're lucky if you get a tenor for turning up I mean it's just it should be more organized than this and you know just look at the profit margins on the sort of now slimmed down major labels and and all the tech partners who do so well out of the sort of the music mechanism it's it's individuals and artists who are definitely suffering and that has been exposed”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

14. “Which is wrong? I mean, you know, let's face it, it's a stitch up. And, you know, the majors and the big tech giants can hide behind words, but the facts are glaring and obvious. People who are writing hits are living on the poverty line because there's no money coming back. I mean, it's bad enough being the artist, let alone the songwriter. Where's the money from a stream for the songwriter? It's not treated as a performance, the record company saw to that. They saw that it was treated as a sale. So there's no acknowledgement really of the writing at all. You get a fragment of a fragment of a fragment of a tiny thing. So it's like a whale can't sustain on a sort of sardine a day. It's going to need a little bit more to go on. That's a sort of Alan Partridgism. Meaningless metaphor, which I embarked on. I am the whale.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

15. “Thing that goes hand in hand unless people can reimagine their life and reimagine the world that they live on. And this year has provided a first step in doing so.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

16. “Climate change. Let's just get the holidays back up and running. Let's get the shops open. What's left of them? Half of Soho hasn't reopened since the first lockdown, I noticed. So it's really depressing to be an emergent form coming back into what we were before. And I think everybody knew climate change or any sentient being was aware of it previously. But having had this year or so to dwell on how our privileged lives expecting to be able to go on holiday skiing this way or that, going off to the weekend to the south of France, all this stuff that just felt completely acceptable suddenly, I don't know if I want to put that back on again because that doesn't feel right either. So I think making a connection with the world that we live on in a really fundamental way is essential to people changing their thinking. I don't think that climate change is going to have much of a chance of being prevented or nature being saved, which is something.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

17. “month period we've seen the Trump administration sort of go down in flames and countless other very very powerful movements really gain a momentum that is unthinkable this lensing effect that staying still and really thinking about what matters to you has seemed to have had on from Sarah Everard to Black Lives Matter you name it we've seen these incredible things I can't really remember anything like it and also we're all standing still watching it so I think that there are there are parallels to be drawn without laboring the point too much of what they're actually doing up there where they're trying to make a vital connection and preserve something very important and I think one of the things that's most depressing about the pandemic is the fact that we all know that in order to survive economically coming out the other side of this we've just got to consume our asses off for the next 25 years to hell with”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

18. “Precisely. I think that to extend the metaphor of their fragile lives even further, the reason, I think, that I'm trying to get to the bottom of what they were doing out there, it wasn't just a medieval competition of who could live in the most dangerous and impossible place. It was who can make life most difficult for themselves, like some sort of because they were trying to preserve the learning and the books and Christianity itself because there was a backlash and people were burning books and burning Christians. So I think that it was a very real threat to the things that mattered and the ideas that mattered, the forward thinking ideas and the caring sharing ideas that they had with their God and this raw existence was trying to engulf everything again. Well, that's even more in tune with what's been happening over the last crazy 18.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

19. “And so this music that's very inward and searching and plays with the ideas of finding a deeper connection to it, the existence, and maybe turning your back on some of the other things. It became very pertinent. And that's why I think when I said I could finish this record during lockdown, everybody who got to hear it said it's important that it comes out straight away because this is the right moment for this record. People not only have more time to listen to chef inches and robins, but they've got more time to dwell on music perhaps in a way that's a bit more involved and as if to bear that out. I mean, the reviews I got showed an unusual degree of having listened to the music.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

20. “As I say, villagized, so sort of disconnected from shopping consumerism in the most obvious ways, communal living. And then we had to sort of live at close quarters with each other. And all we could do was venture out for a walk. And it was this, you know, God lent down and made the sun come out for two months while we were doing that. And then you had this incredible spring unfurled. And I think virtually everybody was touched by the simple pleasure of watching that happen and also having the time to watch it on a daily basis happen. When you see the cow parsley, if I go away on tour at the beginning of April and I come back at the beginning of May, Hamstead Heath is like a different place. It's been transformed completely from what I left, the taxi ride to the airport looks nothing like the taxi ride back. But we were all in the same place for months on end, watching and listening to the change.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

21. “Steep gradient on hand cut steps and the monks over the years had cut this stairway, and I use that line in the song, and there's something about that human hands knelt in the rain and the spray of the waves, and they cut out these steps to get up to the top. That image amongst with lots of other thoughts lit my mind. And then the song Skellig was born. So yes, I've been preoccupied with these ideas of escape and just how cluttered our thinking is. And it's hard to find the space to make this connection. And I think, you know, pertinently during lockdown, we were forced to look at existence. It's the line, what does a fish know about the water in which it swims? Became one that came straight into my mind.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

22. “That would be unforgettable. But to actually base yourself there and to eke out some impossible, frugal existence with no means of connecting with the mainland, they connecting with you, for the sake of God and your connection to him. That inspired me. I had a dizzying sense of awe. It was when my friend who'd visited and told me the story of the Skelligs because he was buzzing off this visit, described the handcut steps, like jumping off the boat because there's no dock and it's a very haphazard entry to the island. You leap from the boat onto the sort of dry land or rain and spray washed land. And then you've got to climb what is an incredibly...”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

23. “I think I'm always thinking about the theme of getting closer to what existence is, what raw elemental living really feels like. We're so distracted and so put upon by technology and other people and noise. It's hard to know what's real. We live in a world of mirrors. So to take all that away and live on a, I mean off the coast of Kerry, these islands are like the last stock before America. If you get close to them and see what they're actually like, they are vertiginous towers of black rock. It's like something from Lord of the Rings. The idea of living at the top 300 meters up amongst what would have been a cacophony of wind noise and seabird colony during the summer at least, spring and summer. The idea of being there battered by the weather and then the incredible calms, the storms, the stars, not for a day, not for a week.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

24. “where we could just concentrate on making music in this very intimate way. So that's the sort of history of how the idea was born.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

25. “round Ireland with a friend of ours who put it together Donal Scano and I said all right if we're going to do this tour it's a perfect opportunity seeing as I'm not on a record cycle You don't press the accelerator, it's about drifting into them and letting the words do the work. So it's this lack of force, which brings the listener even closer, perhaps, but also the musician too, as we were discovering. So then the tour that followed is perhaps the most triumphant, you know, creative tour that I've ever been on, because it was utterly unknown what we were doing. We were playing music no one had heard, and yet it was going down a storm. And I was, I had the ultimate instrument. I had this band of people who were singing in these six, seven part vocal arrangements. So when that tour happened, I realized that this was an album and I needed to write a few more songs and it needed to be done in the way the tour had been done. We needed to carry ourselves off somewhere, sever contact with the known world of sort of domesticity and business and legal affairs and sort of turn our phones off and be somewhere”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

26. “Based on that, I then wrote Dun Leary, which is almost like an answering song to Skelling. And suddenly it was this little thing. And I sense that this kind of no-tempo, lyric driven, contemplative music was perhaps playing to all my strengths and it allowed me the space to explore ideas perhaps more thoroughly than when there's more of a beat and you're in more of a hurry to sort of arrange the dynamics of the music to make an impact. So I guess that's how it started and as the songs began to arrive I saw that it was a body of work and the next step on to making an album was in 2013 when we wanted to do an experimental tour driven entirely by sort of social media without a promoter to see how we could sell tickets through Facebook and everything else.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

27. “It was a set of ideas, and occasionally when you're writing songs, one comes along that doesn't seem to fit with the others you're doing, but has an authority about it that says come over here, there's more stuff. This vantage point is favorable. You could travel through this portal and into more music, and you kind of hold that thought. And I've been sort of doing that intermittently since I wrote the song Skellig, the title track, which was probably about 2009, 2008. I then layered the vocals in a certain way and I thought, oh yeah, I've got other songs that I've already written that would actually suit this. And I delved into my sort of all the odds and sods I always have lying around. And I dragged a couple of things out and they came together. And then I started to have a sort of body of songs.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

28. “And then Italy, and it was at that point I just thought the cat's out the bag are sort of amateur version of looking out for the virus isn't going to do the trick. This thing is going to intersect with this tour. And I could just feel it. And we were well over a month even from the rehearsals starting at that point. So it was something I felt was going to be quite hard to unravel. And so it's proving. So I think for a while where I was in a sort of suspended state, but living family life in a way that I probably haven't done for many, many years.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

29. “I think that when lockdown happened the first time, that was probably the most extraordinary moment because none of us knew quite what we were going into. And I was just about to, I mean, days away from beginning what was a massive tour that we'd been teeing up for quite some time. So the White Ladder anniversary tour was about to unfold. And suddenly we were, it was, that was all packed away. And there was an air of uncertainty. So there was an air of novelty as well at the beginning. We didn't know if we were dealing with six months, 12 months, three months. I was of the mind that this was going to take a long time to sort out, not because I'm some sort of expert, but I'd been following the whole thing very, very carefully from the first stories. And once it came out of China, the pandemic began to brew and the cruise ship.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

30. “Yeah, it's for a start I've had to adjust to not traveling. Not playing music with other people. I find the latter probably easier in a weird way because when I'm writing music, I'll often be on my own. So I'm used to sort of compartmentalizing, touring and rehearsals and things. But the first part, the lack of movement and the sort of villagizing of everybody that sort of happened has been the more extraordinary and interesting part. So to have to spend time with my family in the way that I have sentenced to family life in the way that we were was quite amazing and a rare privilege, I think, for years I've been wondering how I was going to break the cycle of just doing one thing after another. And suddenly I had no choice but to stand still with everybody else and just exist in the way that we've all had to. So it's been like that.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

31. “And Babylon David spoke to Ros Irwin, and if you do enjoy this episode, you can stream the new record Skellig via the link in the podcast description. But now let's go to the episode.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

32. “We love to hate them, people who cheat this system, large scale cheats, social media cheats, but in this climate of fast news, short attention spans, and two hundred eighty characters, do we ever get the full picture on those who cheat the system? Cheat is a new podcast digging underneath the surface to tell the inside story behind some of the biggest scandals in contemporary history, from the coughing major who cheated his way to winning one million pounds to the boxer who beat his opponent by coding his knuckles in cement. These stories of cheats will introduce you to the controversial and contentious figures from the world of pop culture, business, sports, politics and love and fully investigate their rise and fall. We're going to play you a short clip from their series later in the show, but if you're keen to learn more, follow cheat or search for cheat in your favorite podcast platform. But now moving on to today's episode, we're joined by a claim singer songwriter David Gray, best known for his album White Ladder with chart topping tracks including this year's love.”

    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

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    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source

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    2021-05-25 · Intelligence Squared · Music in the Age of COVID-19, with David Gray and Rosamund Urwin · IDENTIFIED FROM THE TRANSCRIPT · source