THE ADAM BUXTON PODCAST - EP.22B - JONNY GREENWOOD (BONUSJONNYBITS)

Episode Date: June 19, 2016

One for Jonnyfans! A few extra bits from Adam's talk with composer and Radiohead man Jonny Greenwood, conducted as they walked around Lyon before the band played a show that night. Related pics and video at adam-buxton.co.uk Music and jingles by Adam Buxton Hosted on Acast. See acast.com/privacy for more information.

I added one more podcast to the giant podcast bin Now you have plucked that podcast out and started listening I took my microphone and found some human folk Then I recorded all the noises while we spoke My name is Adam Buxton, I'm a man I want you to enjoy this, that's the plan I am on a walk with my dog Rosie, who she's up ahead, and the weather's not very nice. It's the middle of June! What the hell is going on? Is there any way I can apply for some kind of refund?

It's entirely inclement. Windy, drizzly, cold. I'm wearing a coat and a hoodie it's the middle of June anyway this is podcast 22B it's a bonus podcast for super fans of Johnny Greenwood and I was

inspired to put it together it's only a, it's kind of shorter than a regular edition of the podcast would be but I put it together. It's only kind of shorter than a regular edition of the podcast would be. But I put it together because listening back to last week's one, I suddenly was struck by how much of me there was in it. Which is fine if you're a fan of the podcast and you know where I'm coming from. But I was suddenly aware that maybe Radiohead fans or Johnny Greenwood fans who weren't familiar with the whole thing and were tuning in just to hear Johnny speaking would have felt a bit frustrated that there was quite so much of me chatting and not so much of Johnny. And of course, I did say in my intro last week, well, this is a conversation, it's not so much, it's by no means an interview in the traditional sense of the word.

Nevertheless, I thought, okay, well, maybe I can find a few more little nuggets of conversation that didn't make the cut last time, and they might be of interest to Mega Johnny fans. So here's a few more little outtakes of chat featuring more of Johnny and less of me. For you guys, a new edition of the podcast featuring a new conversation with a different person will be available, I hope, in the next few days. But until then, here's a little bit more complimentary Johnny for you. It's a good phrase, isn't it? And speaking of complimentary Johnny, here's Johnny being complimentary. Well, it is my podcast. The jingles are great now, all the new ones. Thanks. Really good. Properly, like, properly interesting and developed. It's great. Oh, podcast the jingles are great now all the new ones thanks really good properly like properly

interesting and develop it's great oh thank you very much look at ramble chat the first half's good and then the last half's good too that's good isn't it that makes a whole good piece of music Let's have a ramble chat, we'll focus first on this, then concentrate on that. Come on, let's chew the fat and have a ramble chat. Put on your conversation coat and find your talking hat. La la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la la Say some things. Okay, this is as manly and unsibilant as my voice gets. I hope that's reaching your machine okay. One, two, three, one, two, three, one, two, three. Reminding me of old promo trips out to Europe to meet, you know, slightly bemused Swedish journalists. Why is the, why are you so sad?

Do you hate life that's not far from lots of the interviews yes do you really why do you think the world is so shit see now that's a good question okay all right sorry I'm just i'm just establishing that this is going to record it sounds distorty i remember going back to my old violin teacher and playing her our first the first radiohead singles and i played a street spirit and she was in her 80s by this point and i wanted to hear what we'd done and she said said, yeah, it's very good, but it's very sad, and don't forget life can be really happy and joyful, and you should put some of that into your music. And, you know, she's right.

She was always right. It's interesting, isn't it? Music should reflect both sides of things, really. But you've done that, though, haven't you? You do do that. Yeah. Calypso numbers. Yeah. I don't know.

Come on Adam, fucking hell, you're so slow. I'm just leaving you little messages for later. You what? I'm leaving you little messages for later. All right, OK. The weird thing on stage is sometimes everything sounds out of tune, even when it isn't, and you sound like you're playing a semitone below everyone else.

And you have to kind of walk to a different part of the stage and then the pitch changes. Oh. That's very weird. That can really throw you. And what about the whole world of monitoring nowadays? Do you guys get a fairly clear sense of how you sound on stage? Yeah, it's really good at the moment because it's kind of quiet and clear

and you don't need to use earplugs like you do in some of the little venues when it's just so painful, your ears hurt. So I used to wear huge ear defenders, which was crazy. They were so kind of going, obsessing about losing my hearing. Yeah. But it's fine. Do you have tinnitus? No, I'm good. I'm lucky.

How about the others? I think some of them, yeah. But I know lots of people who aren't in bounds who just have tinnitus anyway. Mm-hmm yeah it's one of the factors of getting older isn't it? How do you like getting older? It's brilliant, it's fantastic. How many times do you go to the toilet in the night? Just the one? Yeah sure. Is it? Yeah. Mate. Is that coming? You wait. Comes to us all apparently.

We've had some lunch. What time do you do your soundcheck? Soundcheck at four. And how long does that usually take? Surprisingly long. We'll kind of be practicingising songs for future concerts, seeing if songs still sound good. So maybe an hour and a half.

Oh, really? Yeah. God, so it's a mini gig almost. It's a mini, yeah. Quite knackering. No, it's good, it's fun, it's really fun. So knackering, no, it isn't. Still only adding up to three and a half hours of work a day.

It's all right, isn't it? Yeah, I guess. And then show time is when? Nine-ish. Okay. Have you got support? Holly Herndon. And then when we get to America, we're having Dawn of Midi, who are great.

Have you known about Dawn of Midi? No. That's an interesting band. You'd like that, I think. What kind of stuff? Okay, well, they come on stage. I don't know how to... The best way to describe it is if you heard it from next door, you'd think someone is playing some good electronica.

Uh-huh. But if you were deaf and you watched them come in and set up, you'd think it was going to be a jazz trio, because they make all the sounds using a grand piano, an upright bass and a drum kit. Yeah. But it literally sounds like electronic music. He deadens the strings inside the piano and just uses it like a percussion instrument. Right. And he gets all these very satisfying kind of phasing rhythms.

So there's no solos, there's no jazz playing in that way. But it's just like electronic music done with very old instruments. Good one. That's my take on it. It's great. It's really interesting. Where did you come across them? At a music festival in America. Yeah, look for that. Really good.

Well, I'll be able to watch them when you fly me over. I don't mind business class. That's absolutely fine. Oh, I wish you were coming. That'd be great. I'm going to try and wangle to do lights for Dawn of Midi. That's what I kind of, I often go to the support band and say, do you mind if I do your lights? Yeah. Partly as a reason to get to watch them every night and partly because it's really

fun. One of my happiest tours was doing lights for Teenage Fan Club and just seeing them every night and just catching the, it's great. It's a great job. What does the lighting technician think? Well, usually it's passed on to one of the lighting crew to do and some of them look at it as being a chore and some of them enjoy it I suppose. But I guess I'm throwing my celebrity weight around by insisting because I love the band so much. Yeah, you see. But we'll see, we'll see if I do.

OK, good. Yeah, the only trouble is I'm quite badly colourblind. Are you? Yeah. I didn't tell the Teenage Fan Club until the end of the tour about that. I can't differentiate between red, green and brown and pink and purple. It's all one kind of colour. Right, OK. So we don't want you on bomb disposal.

That was my dad's job. Was it really? Yeah. So, yeah, I'd be bad at that. Properly bad. Was it you that got Paul Tom Sanderson in to do the Daydreaming video? How did that happen? We keep cheekily asking him for favours and he's up for it.

Did he shoot that himself then? Because he didn't use his regular cinematours, and he's up for it. Yeah. Did he shoot that himself then? Because he didn't use his regular cinematographer, did he? No. I think he had his normal crew with him, but, yeah. And where was that? That was out in LA, was it? And Utah as well. It was crazy. They genuinely were filming for ten hours a day,

every day for three days, just to get enough. It was insane, I think, the stories I heard about how they made it happen. Yeah. Getting emails from Tom that were a bit complaining, and I thought, he's making much of this. I bet he's having a great time and occasionally opening a few doors.

How hard can it be? Yeah. And I thought he was milking it, and then I got an email from Paul explaining what it was really like, and I think it was genuinely insane. Right. Crawling around in snow for days on end.

But, you know, he's a singer. Sure. Exactly. What does he expect? That's come to the gig. If you want to be the front man, if you want to get all the limelight. Definitely. All right, we're out now in the...

This is where all the people attending the show will come tonight. Right. This is the merch stand who signs off on all the merch designs. You guys do, presumably, right? Yeah, we do it with Stanley Donwood, of course.

There's all of our artwork with Tom and the two of them are often off together working on things and even when we're recording they get together for days and hours

and then just getting all the stuff together, yeah. Because I remember when you were doing In Rainbows, he was, and you were recording stuff in Covent Garden at the hospital. Yeah, that's right. Stanley was off in a corner,

literally working away on some of those pieces that ended up, well, he was manipulating them on the computer. Yeah. So he's actually there as part of the creative unit. Yeah. Vibing off what you're doing. Yeah, I think it's good. I said vibing off.

I know, that's why I'm hesitating. Yeah. Feeling a bit bilious suddenly. Is it gone now? You farted it out. It's better. There we go. If you didn't say chill...

..then I'd be vomit leaking through my fingers. Tell me a little bit about the film that you did with Paul Thomas Anderson, with you playing with all these Indian musicians. Oh, yeah, OK. Again, another favour from Paul and Nigel. I agreed to come to India to record this guy, Shravan So and all these Indian musicians. Nigel Godrich, you mean? Nigel Godrich, yes, radio producer.

And they were both up for a real adventure, which it turned out to be, recording in this medieval Indian fort and taking a studio out with us and keeping it all going. I'm just interested in this guy, Chopin Sir, because there's a horrible side to world music that turns my stomach a bit.

And then there's him, and he seems to be the other end to me in that he had a visit when he was at college from some Indian musicians, and he just dropped out and end to me in that he had a visit when he was at college from some Indian musicians and he just dropped out and went to live in India and studied music there for 20 years and got married and and became obsessed and so it wasn't that kind of world music tourism that you sometimes encounter just felt really genuine but he still of, had his Western background and had been in a band before. He's an interesting kind of pollination of things.

And also all the music is genuinely sort of spiritual. He's singing all these songs about God, which is a very unusual thing to be part of. Yeah, what does he think when he sees you, rock star man, coming along? Was he a little suspicious at first? Or did he welcome you with open arms? He was very welcoming to everything and everyone.

He was happy, I think. You know, he grew up listening to records as well and being into bands, so it wasn't that unusual. But he just feels like he's become Indian, really. Spending time with him. We just set up and played with Indians for three weeks, and Paul came out and filmed us doing it. I can't believe all the three things came together.

We were allowed to go there, and then Nigel came and recorded it, and we made that record. It's very... Yeah, it's really lucky. What was the name of the Finnish thing? It's called Janoon. With a J? Yeah. And it's all sort of devotional Sufi music,

Sufism being the kind of mystic branch of Islam. It's the Sufis that do the circular dance, isn't it? That's right, the willing dervishes in Turkey and elsewhere. Yeah, that's right. That's Sufism. It's very strange. It's very mystic is how he describes it. And they give concerts in all these tombs of the saints,

in Sufi saints. Yeah, and being English and see the upbringing, I just found it all very bizarre and a bit sort of, you know, to see all this sort of genuine spiritual belief being put into music and song, it's like, not something I've ever come across. And do you get sort of trance-like when you're playing that kind of music? It was more like being in James Brown's band for me, in that I played lots of bass,

and the music was very repetitive in the best possible way. But it's strange, because Indian music doesn't have any chords in it, so I had to forget that instantly. You know, you never hear two notes together. There's no harmony. There's only ever the root note and the melody on top. So when I suggested that chords should be major or minor, it just doesn't mean anything.

Is that film out now then? Yeah, I think it's on your iTunes and that kind of stuff. But it's good. It's a really good record of what it was like to just turn up in Jodhpur and make a recording happen. Very beautiful part of the world. Very beautiful. Yeah, just stunning.

I mean, I say that because I've seen pictures of it. I haven't been there. I'd like to go there. I've got a childish anxiety about going to India and getting ill. You know what I mean? That's so crap, isn't it? You'll be fine. Well, I went with my family the year before. We were there for a couple of months and it was fine. And, yeah, we went to the same place as tourists

and it was very peculiar that nine months later going behind these kind of roped-off sections to set up and play with these guys. Right. It's amazing. Indian music is fantastic. It's very... There's the enthusiasm with which they play. It's very infectious.

Uh-huh. We recorded them playing and then said, right, we've got that song, it's fine, to the brass band. You can go, you can go outside now. And they all went outside and played it. Just kept going, kept playing. We have it, we're just playing it to each other for the hell of it. Yeah.

It was great. That's what you guys do as well, right? Us? Yeah, you come off stage, start strumming Creep. Yeah, have a sing-song, definitely. Arm in arm. Give each other a big hug. Swing on the sofa.

When you go off for your encores, because you're doing like two or three encores. Right. Are you having, do you snog each other? Fist fight, usually. People do have fist fights. I was watching a programme about bust-ups and break-ups with Mark Radcliffe on BBC4 the other day. Okay. And that's what the police used to do, apparently.

They had a few fisticuffs in between encores. Oh, really? Yeah, because Sting and Stuart Copeland were very physical with each other. Okay. Sometimes they would do mock fights that would turn into real fights. And Sting got his rib broken during one of these by Stuart Copeland. You guys don't do that?

No. Not anymore. Worst ever gets is one of us gets a bit quiet for an afternoon. Right. That shows him, doesn't it? Yeah. Solves every problem.

That'll teach him. It's weird, the encore thing, though, isn't it? Such a weird tradition. Well, it is, you see. I mean, usually we're saying, are we going to do these songs or should we do something different? So there is something spontaneous,

a little bit about it. It's more about just having a break, I suppose, and having a sort of, some structure to the set, I think. But you haven't got long enough to go to the lava or anything, or do you? No, that's true as well. But that's because we're thinking we're playing a lot. We shouldn't keep people waiting.

We've got to get out and just carry on so it's over sooner. So you are genuinely, it's not all mapped out beforehand. No. What you're going to do. There's usually like options of choices or we just make last minute changes. And you think, OK, it seems like the kind of night where this would go down well. Yeah. Right. It seems like a creek night. Yeah. Yeah, exactly. Whatever we're feeling, really. You don't wear your arm brace anymore. No, that's true. What was that? Is that because that's all sorted now? What did you have? I don't know what it was. It wasn't carpal tunnel, but it was something...

It was compounded by advanced hypochondria, I think. Yeah. Which is always a dangerous... Deadly stuff. Yeah, I had the arm brace and the ear defenders. You have a big jock strap as well. Huge leather codpiece. Yeah.

Everything covered, everything protected. All the important stuff. Better protect your jewels. Sure. No, I'm all right now. I'm a bit anxious, though, now I've walked around in front of the venue and thought, it all looks big, doesn't it? Have I put the fear into you?

It'll be fine. You'll have my smiley face bouncing around in front. Do you ever see people in the crowd and think, and it puts you off? Properly off-putting, yeah. Is it really? Yeah. Because the absurdity of what you're doing suddenly strikes you. Yeah.

But it's fine. They've got lots to see, haven't they? Yeah. And listen to. Other than Stupid Corner of Where I Am. Blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah, blah. All right, this is a great question.

OK. Johnny Greenwood. Adam. What's your favourite song to play live? OK, I like no surprises at the moment, very much. I like having the glockenspiel to play. Yeah, I get pleasure from that. And the numbers I'm enjoying as well, which is one of the new songs. There's one track, Glass Eyes.

Glass Eyes, right. It sounds very Vangelis, Blade Runner, when you do it live. Oh, yeah, well, can't get the strings on stage, you see, so we have to resort, like he did, to strings on a keyboard. So you don't make any attempt to synthesise strings or play backing tracks? No. We have a slightly self-defeating rule of never using either click tracks or samples or playing along to pre-recorded stuff, so we can't do any of that stuff. You know, it's good.

So was that a conversation you had when you were doing the album, though? Like, how are we going to play this live? No, we didn't think about it, no. Right. Plus I know that whenever you see a band live and they've got live strings, album though like how are we going to play this live no we didn't even think about it no right plus i know that whenever you see a band live and they've got live strings never really works never sounds great all the microphones are attached to the violins and it's all a bit scratchy and you know you need a kind of quiet room to record them how did it end up being an album with so many string parts were you coming up with tunes when you were doing

film music with Paul Thomas Anderson that you then brought into the Radiohead room? No but I kind of learned lots of techniques and I learned what does and doesn't tend to work, what's disappointing and what's kind of surprisingly good about various sort of textures and and things you can do with strings and i also for the first time managed to get hold of a song before anything was on it because usually it's songs have either finished or over finished and then the question is can we add strings to any of this and there's usually no room it's gilding the lily by that point. Usually, yeah, it doesn't help. But this time I managed to get hold of the song Burn the Witch when it was just, you know, drum machine and a voice and nothing had been added yet. And I kept saying, let's leave it, leave it, we'll come up

with something for the strings to do. And while we were doing that, we recorded strings on other things and a lot of it came out really good, I think. Yeah, it's great, and it makes it sound, again, very different from all the other records. Yeah, well, strings are just amazing. They're wonderful. It's such a complicated thing, having that many people all capable of playing such varied sounds, and all so talented.

I still get a bit, not even a bit, I get very in awe and tongue-tied around classical musicians generally. I think there's something very cool about what they do. It's like we saw that guy just on top of the hill with a violin on his back in a big hard case and he's clearly a professional and that's something very cool

about dedicating so much of your time to learning those instruments. Mastering your sphere. Yeah, it's weird because we... I did a few tours with them playing some of the film music around Europe, the LCO, and every town we got into, they'd be saying to each other, have you done your practice yet today?

And they'd go, no, no, I haven't done it yet, I've got to go now. Well, I'm going to do mine after dinner. OK, so it's almost monastic. They have to go and do their two, three hours or whatever of daily, you know, and it's all dedicated to being able to make these great sounds. How can you not, you know, be keen to hear that stuff and get the most of that, you know, because that's what they're dedicating all their time to. Do you play any strings yourself?

dedicating all their time to. Do you play any strings yourself? I, well, yeah, started as a viola player, so I can sort of play violins and make noises on cellos that satisfy me, but not, it's very hard, very hard to play a tune. And then you play your guitar, you hold your guitar up and play that with a bow. Yeah. On stage.

Yeah, you see, it's what I'm literally... It's like, it's quite a large proportion of in Jack of all trades, master of none, in that I can bow very accurately, but I'm very happy the guitar's got frets and is reliably in tune, and I'm not kind of... So... So my right hand is looking very convincing,

but my left hand's not great. OK. Do you play any classical stuff when you were at school? You never had free lessons? No, I never did, no. I mean, I just... I really can't tell if I was just not properly brought up in that way, if my parents could have done a better job,

or if there was no point. Do you know what I mean? Right. Do you ever feel that when you're with your children as well, just not knowing how far you should push them? Yeah. Because you think, you feel like, well, if they were into it, then they would latch on and they would respond.

They wouldn't be so resistant. Well, I started having the dangerous thought that you should either totally restrict access to any of these instruments to these children, so they're very keen, or you should completely force them and make them practice all the time. But instead, I've just done the wishy-washy kind of half encouraging, half don't want to put pressure on. I know, that's the same as me. Join the wishy-washy club. Yeah, right.

We're all wishing and watching. Kind of are. It's a drag. But then the risk of being that person that forced them to do something and then totally put them off and then you're responsible for having denied them all this enjoyment. Yeah.

That feels bad too. Yeah. But then a less wishy-washy person would say, oh, get a grip. Just do it. Either they'll like it or they won't. And that's going to be the same whatever you do. Yeah.

I don't know. Shall we head back? Yeah, sure. 1.45. We have 45 minutes. Okay. What do you want to do? What do you need to do?

I'm fine. I'm just happy wandering around, bollocking on. Yeah, me too. I mean, that's good for me. Let's do that. OK, we are now wandering through, I guess this is the old town in Lyon, and it's very pretty indeed.

Again, I'm reminded of Barcelona narrow streets with very old facades on the buildings. Lovely, muted, pastel-y colours, all juxtaposed with sandstone frontages. I'm describing the hell out of this street, don't you think? It's very Cliff Mitchellmore. It's good. Oh, look, you want to go into that bookshop? I'm a bit of a fan of the old French comic books, I have to say.

Really? Which is your go-to French comic book? Is it pretentious? It's a bit pretentious. I quite like reading Tintin and stuff in the old French. It's a good way to sort of... I thought he was Belgian. Maybe they have it in Belgium. I'll ask. All right, let's have a look. There he is.

Bonjour. Wow, this is wearing a beautiful bookshop. Loads of shelves full of hardback comic books. Do you know Gaston Legaffe? Is that a comic? Yeah, it's very funny. It's about an inventor. He creates wonderful things, including a gastophone,

which is a musical instrument that looks fantastic. I don't know anything about comics, really. It's a world that totally passed me by. Here you go. So were you always into... It about comics really. Yeah, that's a world that took it's passing by you go So when you always very funny, okay, and they look so cool as well They got the drain pipes and the huge shoes. I always wanted to dress like that Will you do a little bit? I always thought French exchange kids look great when they came over in the 80s with their big white trainers and drain pipes I'm gonna just look for the gas to find to show you this instrument.

How on earth did you find out about gas stoves? I think on the French Exchange. Oh, OK. So you had a good French Exchange. What's the good luck out, lucked in? What's the good one? I lucked in, big time. No, you lucked out. Lucked out is good. Is that the good one? Yeah, yeah, lucked out is good. I can never decide.

It's like when someone describes something as, it's all downhill from here. Isn't that better than being uphill? I can never... Were you ever into the kind of Marvel universe, those kinds of comics? No, I don't understand the superhero thing as a thing to... You didn't fantasise about having superpowers? That's sort of too silly.

Oh, come on. Isn'tpowers? It's sort of too silly. Oh, come on. Isn't it? It's too silly. Don't all children fantasize about having superpowers? No. It's the costumes. Just imagine them putting the costumes on at the start of the day. Or doing...

Yeah, but you wear your rock and roll costumes, though, don't you? What about that? That's true. We've got to stop wearing suits and ties, come on. Surely our jeans and T-shirt days are behind us all. Have you ever, be honest with me, as a band, had a conversation about what people are wearing? No.

On stage, what you're allowed to wear? No. You never have? No. No-one's ever said, are you wearing that? I'm sure it goes on in terms of, that looks really good on you. Jonathan Ross would like it in here. Yeah, I keep getting periodically addicted to certain series.

I think Preacher was really good. I think you'd enjoy that. Preacher? Yeah. It's about a sort of Scottish vampire who's very potty-mouthed and a a preacher called Jesse, who he comes across. And it's funny. Yeah. It's lots of good dialogue and wordplay, and you like it. What else is good? Saga. That's good. But I'd start with that, cos that's new,

that's still being written and still coming out. Saga, what's that about then? It's a sort of set in space. Don't know that I put you off it. I love space, I love space. Still good. I do love space. But then everything's in space for you, in a way.

In a way. It's fine. But it's a different planet. I'm making it sound very nerdy, whereas in fact it's just very wittily written. How did you get into that? We have a press agent in America called Steve Martin. Is he? Yeah.

He's obsessed, and I made him take me one day to a comic store. And I said, OK, here's $200, get me what you think of the classics. And he got me a collection of things. And the superior things I didn't really connect with, but some of them are really good. That's a lovely idea, being able to just hand over some money to someone who's a real expert in a certain field and say, OK, set me off on the right path, or at least what you consider to be the right path. Well, because you see someone getting huge pleasure

at something that you don't understand and you feel shut out and think, I want to kind of share in this. You're kind of jealous of the fun they're having yes exactly and that's so so why not i'd like to do that with classical music what would you recommend to people where would you start with some sort of accessible classical music i suppose you could accessible classical music? I suppose you could... I think all the violin concertos are a really good way in. Kind of more accessible than symphonies, really, can be.

The two Bach violin concertos are very good. Bach violin concertos? Sure. Beethoven, classic, of course. You'll... Yeah. Right. Yeah. Beethoven, classic of course. You didn't, you're... Da-da-da-da. Da-da-da-da. Yeah.

Da-da-da-da-da-da-da-da-da-da. Right. Yeah? I know that one. Right. Yeah, his big hit. He did Four Elise as well, didn't he? He did Four Elise.

Yeah, can you whistle that? Da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da-da Yeah. Beautiful. I can't quite believe I'm crossing a bridge in Lyon with Adam Buxton, haven't you? Tunelessly. Tunelessly? I mean, tunefully, murder. Much love classics. That's beautiful. Thanks. What was the first stuff you started listening to in that genre?

Were you listening to pop music before you listened to classical music or the other way around? No, I was very earnestly playing classical recording music in recorder groups as a 12, 13, 14, 15, 16 year old. I didn't put the instrument down like most children do when they're seven. I just carried on. And yeah, and I played in little local

orchestras and groups. It was great. It was really, I owe them all so much, all these kind of teachers who put these groups together. And yeah, I loved it. Johnny Greenwood there. Thank you so much to Johnny once again. I hope you Mega Johnny fans enjoyed that little extra bonus slice of Johnny.

Rosie, come on, let's head back. Here she comes. The hairy bullet. Let's get a fly past. Yeah. Spectacular stuff. This is what the hardcore podcats stay tuned to the very end of the podcast for. This kind of amazing bonus content. And it's a special place for us.

You know, isn't it, podcats? Because who else would listen to this stuff? Only a maniac. Most people tune out after the first ten minutes. You're coming on the walk with me and with Rosie and you're staying to the bitter end. We're just taking it easy. We're just chilling, yeah? We are just chilling.

We're just vibing. Yep. All right? Exactly. All right, calm down. Listen, I'm going to have the last word no i would you it's my podcast i'll get off my back why don't you just go and do your thing oh you can't get the last word, can you? I'm not... My friend, the bird, he's my critic. He wants me to shut up and finish the podcast.

Oh, he's gone now. This is an advert for Squarespace. Every time I visit your website, I see success. This is an advert for Squarespace. I love browsing your videos and pics and I don't want to stop. And I'd like to access your members area and spend in your shop. These are the kinds of comments people will say about your website if you build it with Squarespace. Just visit squarespace.com slash buxton for a free trial. And when you're ready to launch, because you will want to launch,

use the offer code buxton to save 10% off your first purchase of a website or domain. So put the smile of success on your face with Squarespace. Yes. Yes, I got the last word. I don't like to be upstaged by birds. All right.

Thanks for listening. Hope you enjoyed it. Like, subscribe, rate, review, donate, handjob, hug. for listening hope you enjoyed it like subscribe rate review donate hand job hug uh be nice to other people take care love you bye Thank you.