||Chris: We went to a really good
Italo-disco night in Berlin. Thereweren’t many people
there, but the
people who were there were really
enjoying it, and they were playing all this stuff that
we’d never heard, all this quite obscure Italo-disco.
We felt quite inspired by this so we went back to our
tiny studio in Berlin and started to write a piece of
music inspired by what we’d been hearing.
was a lot slower to begin with, but it eventually ended up
as “Axis”. That was the title from the
you write a song in the program Logic, in order to save it
you have to come up with a name, so you end up with all
sorts of silly names. They normally get dumped when the
song comes along, but in this case the “save as” name
Neil: I don’t remember who thought of
Chris: I’ve got no idea. It makes it hard to
sometimes ?nd songs because they’ve started off as
something else, but now I’ve started
differently so that I always update to the latest song
title, because in the past we used to spend hours with
going through stuff trying to and /
something that used to be called something else. Sometimes
can change two or three times during its life.
Neil: Originally it was a song,
and it had not very
good lyrics. Just formulaic relationship lyrics.
Personally I didn’t think they were very inspiring. So we
to dump them. When we started working on it for
the album, Stuart decreed that we would work on the tracks
in alphabetical order, so we started with “Axis”. After we
dumped the singing, we decided it would be good to have
some speaking stuff, and as we’d already decided that the
album would be called Electric we decided that this
opening track itself would be called “Electric”. Hence the
it on... feel the power... electric
energy”. But then when it was finished we decided that
“Axis” was a better title.
Chris: We’ve never had a
song title that was also the name of the album, so by that
rule alone we couldn’t call it “Electric”. _
My inspiration for the spoken bits was sounding a bit like
Madonna saying “erotica... pomance...” All of the lyrics
have a sort of vague double entendre.
didn’t change it too much, but he Stuart Price’d it. He
made it harder. He has these old synths that he makes
interesting noises out of.
Neil: He did the sound
effect at the beginning.
Chris: We had an idea that
we wanted to have the sounds of electric power stations
Neil: Also, one
important thing about this album is that when we were
working on the album we knew we were working on a show
called Electric as well, and we assumed that the show
would begin with this track.
Chris: He’d already
done a bit of work on it before he was working on the
album. He toughened up the drum sounds and everything.
Back then he was going to play it in his DJ set but then
Angela — our manager, his wife — stopped him. Actually, we
were a bit
Neil: Stuart liking
this track so much was important, because sometimes when
something is written very quickly you don’t
appreciate it enough.
Chris: It’s a very rare
occasion of us writing a song after we’ve been out to
dinner and to a club, because we normally work daytime,
and this was a night-time writing experience. Perhaps
we’ll do more
Neil: The bell line at the
end, by the way, is the only surviving bit of the vocal
melody: “One way to love”
Neil: During most of the making of this record, this
was the last track that had been written, until
“Fluorescent” came along when the album was actually
?nished pretty much. We wrote “Bolshy” in Berlin last year
(2012) when we were working on the Alan Turing piece. We
went over to write what we thought was the ?nal long
section of the Alan Turing piece and the first
thing we did was suddenly write this instead. I can’t even
remember why we did.
Chris: No idea.
We just started writing it. It’s a bit of a mystery to me,
this song. I’ve no idea where “bolshy bolshy bolshy oh”
came from — I
just started singing it. The demo
particularly I don’t think sounded like anything we’d ever
done. It sounded like a different group.
’d read about this recording technique where you record
maybe half-a-dozen instruments all playing the same line
and then you just cut in between them so that you get this
mad effect — it’s one line but the sounds keep changing
all over the place. I thought, oh, I’ll have a go at that.
So the demo was just an experiment to see how that worked,
and then it developed into this. It’s
Neil: “Bolshy” of course
means “dif?cult” or “awkward” or “rude” but also is short
for “Bolshevik” so we decided to put Russian samples
it. We simply translated some of the lines of the song
using a computer translation program. The voice sounds
great in Russian.
Chris: We also started each show
of the Electric tour like that: “Good evening, Moscow,
welcome to Electric...”
‘Neil: By the way, some
people who are native Russian speakers have criticised the
translation in the song, but that isn’t our fault — that’s
the translation program. And it sounds good. It’s meant to
be audio excitement. The lyric has nothing personal in it
— it’s just making sense of the “bolshy” chorus. It’s a
pathetic man who’s in love with a very dif?cult woman. One
of my heterosexual lyrics. I really like the bit that
goes, “I don’t believe you don’t know you could own me.”
It’s a very “up” song but it still has a favour of the
anger. Because of course, as Johnny Rotten said, “anger is
Chris: Another bell line. Does every
track have a bell line?
Neil: There are loads.
Chris: It’s the album of bell lines.
funny, because in the Eighties we used to struggle, with
every producer we worked with really, to get a good bell
And a good bell sound we depned as being the
bell sound at the beginning of the single mix of “Open
Your Heart” by Madonna.
“How do you get that bell?” No
one could ever get it. It’s chunky. Now you can just get
Chris: It’s a very, very cool- sounding track
to me, “Bolshy”.
Neil: I always thought it even has
something very slightly jazzy about it. After the
instrumental it gets the
album going with a real
really good at using the technology to create really
interesting cut-up effects. Then, at the very last minute,
we added an
“ooh-woah-woh—oh” sing-along bit as the
?nal icing on the cake. We were having a meeting for the
Electric tour and so we used Andy Crookston and Pete
Gleadall for the
all-male terrace vocal effect.
Neil: At one point I went away somewhere leaving Chris and
Stuart in the studio and said, “Don’t work on ‘. .
.Bourgeois’ because I want to be there when we work on
And Stuart worked on it anyway.
had to — we were working in alphabetical order.
Neil: He refused to break the concept just because I’d
gone away somewhere.
Chris: That’s one of the
things about Stuart: he ignores instructions from
Neil: Edicts are ignored.
Chris: Neil said,
“I’m not working with the television on.” Totally ignored.
Not many people would actually ignore Neil like that.
Neil: Not many people, in my opinion, would have the
television on all day long, but that’s a separate
Chris: But it was great, watching Escape To
The Country everyday. We were all trying to work out how
much the house was going to be.
Neil: Oh, it was an
education into daytime television, which I’ve never known
anything about. I loved Escape To The Country. It’s a
great programme. What’s interesting about
television is the presenters ~ suddenly you -discover that
Nicki Chapman who was one of the judges of the original
Pop Idol is striding
round a house in Lincolnshire on
Escape To The Country.
Chris: Oh, she’s never off.
Neil: The next track we worked
on, in the alphabetical order days, was “Dream” — “Inside
a dream”. But after we’d ?nished what was an eight-track
I was making something to eat at
home and I had music playing from my computer and suddenly
this track came on, and I didn’t know what it was. I
thought, “Why don’t we
do stuff like this?” I thought
it was something from a Kompakt record compilation but
then I walked over to my computer and saw that it was
Chris demo that I had forgotten about. So I re-sent it to
Chris and Stuart saying, “Why isn’t this on the album?”
Chris: I did that demo in my house on a laptop and a
mini—keyboard one night. Sometimes when I’m a bit bored
and there’s absolutely nothing on television — and there
has to be literally nothing on television, even Newsnighfs
not on — I might go down to the basement and knock
something up if I feel like it.
Neil: Yes, one
morning I woke up and on my email there were three new
Chris: The trouble is that once you
start you can suddenly ?nd that it’s two o’clock in the
morning. The time goes so quick once you start messing
around with music.
Neil: The demo was titled
Chris: We had already decided we
were calling the album Electric, so I would have been
thinking “Oh yes, electric. .. ?uorescent light. . .” I
would just have been in that zone of words.
Then we went to Berlin very soon afterwards.
It was that very modern thing where Stuart was in LA and
we were in Berlin.
Neil: We took Chris’s demo to
Berlin and turned it into a song. Originally it had loads
more lyrics. I began by working with the “Fluorescence”
idea but then I said, “Do you mind if it’s ‘Fluorescent’?”
and based the words around that. This is another
heterosexual song. It’s about a model like Kate Moss, a
very glamorous person.
Chris: When I bumped into
Kate Moss at the Olympics closing ceremony I said, “What
are you doing here?” — not as in “Why are
but “What are you doing here?” — and she said, “Walking.”
Neil: The person singing the song is someone like
Bryan Ferry and he’s in a club, surrounded by beautiful
women, and there’s this particular woman dancing who’s a
bit dangerous, with a scandalous reputation, and he’s
thinking about her. He’s just thinking about where
she’s gone right, where she’s gone Wrong, what it would be
like to be her. Whether he’s going to chat her up. He’s
kind of weighing her up. I also wanted to get in the
phrase “the occasional oligarch” which I’ve had lying
around for ages. We did this all in one day in Berlin and
we were very excited and we were going to send it to
Stuart but then Chris said, “No, let’s just wait and see
what we think of it in the morning.” It’s amazing when you
play something in the morning because it was immediately
crystal clear that it had too many words. Sometimes I
shoehom in words that I’ve had for a while. So we edited
it down in a very Brian Higgins’ “What is the concept of
this song?” way, so that it became very clear what it was,
taking out all of the unnecessary scene-setting
Chris: Then we sent it to Stuart and he did some work
on it. It’s a great way of working, being in different
continents, because the time
difference works in your
favour. You send something over when you go to bed,
they’ve got all day to work on it, and then when they go
to bed they send it over to you and it’s the start of your
day again. So actually it’s a brilliant way of working.
Our demo was a bit more minimal glitch. Stuart made it
more like Visage. Then when he sent it back we worked on
the chorus — we didn’t have “brighter and brighter” at
that point. Because I came up with “higher and higher”,
and Neil went “you can’t have ‘higher and higher’ — we’ll
‘brighter and brighter’ .”
Neil: It ?ts in
with the concept.
Chris: It’s always “higher and
higher” with me. The old rave clichés always get trotted
out. “Can’t it be more like ‘higher and higher’,
‘Move your body’?” “No, it can’t.”
Neil: I love
this song. Fluorescence is a glamorous concept to me and I
always thought this song sounded glamorous.
Neil: The original version was written during
the writing sessions for Elysium in Berlin.
was originally a demo I’d written. It had an octave
bassline. What transformed this is when Neil sang a vocal
Neil: When we decided to do this dance
album, after Elysium was ?nished, Chris dug out all of the
dance tracks we’d done but hadn’t recorded, and made a
playlist. This was on it and was more impressive than I’d
remembered. We were working with Stuart in a studio in
West London, we got this one up and we decided it needed a
bit more singing on it. As I sometimes do when I haven’t
got any ideas whatsoever, I looked up the existing title —
which was “Inside a dream” — and Google very kindly led me
to a poem by William Blake, “The land of dreams”. So I
sang this tune with William Blake ’s words, and then we
did our Marvin Gaye thing — as in “What’s Going On” —
where you sing a countermelody to the main melody. And the
countermelody turned out to be much better than the
original melody, so we dumped the original melody.
Chris: Stuart just sets up the microphone in the studio
and puts agreat e?°ect on it. Everything Stuart
very quick and it comes across
as effortless. So he
just hands the microphone to Neil with a great effect on
it, which lends itself to these vocals.
you’re not embarrassed.
Chris: You’re not
embarrassed doing them, because it all sounds amazing.
Neil: I mean, you’ve got Neil Tennant pretending to be
Marvin Gaye — it’s potentially an embarrassing situation,
in the same way as Neil Tennant pretending to be Madonna
singing “Erotica”. But put an effect on your voice and it
Chris: I think there’s something
about going into the vocal booth to do the performance.
But when you’re just
sat in the room and Stuart’s
watching television and I ’m having a cup of tea and a Kit
Kat, there’s no “now we’re going to do the vocal...”
Neil: No, I’m saying, “Can we just turn the
television down before I do this?”
(Sumner) was the first person we saw just sitting in the
studio with the mic. He never used to go into
Neil: The words are about dreaming. Taking
yourself out of your mundane surroundings. Pretty typical
for my lyrics. Having a sexy dream. There ’s nothing much
to it. People are always asking me about the start. It’s
got backward vocals, but they are meaningless. They are
simply there. Stuart did it, and it sounds great and it
sounds exciting, and ?ie point of it is to sound exciting.
I think it is my voice, but I don’t even know what I ’m
Chris: I think one of the things about
this album is that it’s not really about classic pop
songs. The song structures aren’t generally
Neil: There was no discussion during the making of the
album of, “Right, this is a single. Take it seriously,
There was no discussion of that. I don’t
know what lesson we learn from that.
Neil: This has also got a great
Chris: One of the best.
think my favourite bit on the whole album is this bell
line and then the William Blake part. It was one of those
miraculous moments where suddenly this track was 70
"The last to die"
Neil: This was demoed during the writing sessions for
Chris: My sister and I often gift Apple
iTunes songs to each other. I think that’s the best thing
about iTunes — gifting stuff. And she didn’t actually gift
this to me, but she said that there was this Bruce
Springsteen song that we’d probably like. So we listened
and we could really hear it as a Pet Shop Boys
song, just because of the chords and the four-on-the-?oor,
and also factoring Stuart and the prospect of making it
sound like The Killers as well. And we liked the song.
Neil: We did a totally ?nished demo back then. We knew
it wasn’t going to go on Elysium — we just did it for
the fun of it really.
Chris: We particularly liked
the guitar riff.
Neil: Which, on our demo, became a
Chris: Actually, I listened to Bruce
Springsteen’s version again recently, and Neil’s changed
the Vocal melody quite considerably. In
a good Way.
Neil: I didn’t really listen to it very carefully
because we weren’t doing it very seriously.
hadn’t heard his version since that day and if you
listened to it you’d be quite surprised.
changed one of his lyrics as well. I made it “who’ll be
the last to die for our mistakes?”, instead of “. .. a
mistake?”. I wanted it to be more singer-pointing. At
ourselves. At we, the public. The line comes from Senator
Chris: Who sat behind us on a right
from Washington to Boston. And he refused to switch his
phone off during take-off. The air
stewardess had to
come to him several times.
Neil: His two security
people sat in economy. But he was on a commercial Delta
?ight. I think if I was Secretary of State I’d demand Air
Force Two for the weekend. Anyway, that’s who Bruce
Springsteen got the line from: Kerry, who was a Vietnam
vet, came back from Vietnam and was a witness before a
Senate subcommittee and he said, “How do you ask a man to
be the last man to die for a mistake?” The mistake
this case being the Vietnam war. And then Bruce
Springsteen quoted it in the wake of the Iraq war.
Chris: And so when we did interviews people said to us
“this is your most political album”.
French journalist, particularly. “. . .‘Love is a
bourgeois construct’ . . .”
Chris: “... ‘Bolshy’...
Neil: “. .. ‘I like the people’...
Bruce Springsteen... anti—war song...” I said, “That’s
convincing case you’ve made.” Actually he
didn’t say “political”, he said “left—wing”.
We started the demo in my basement. I remember that Angela
came round and we had a meeting there. She went, “This is
a real den.”
Neil: We were just making it sound
like us, which is always our basic idea for a cover
Chris: It was one of those Bruce
Springsteen songs with really nice chords. The kind of
thing we’re famous for as well. So it wasn’t
much of a
leap from his to ours, once you put the four-on-the-?oor,
the electronic pad, the synth riff, we were kind of there,
Neil: It’s still about the Iraq war when I
sing it. But there’s been a lot of mistakes. I like the
lyrics. I particularly like the last verse, though it’s
got a word that could be one of two things. “A downtown
window ?ushed with. . .” And then is it “. . .light” or “.
. .life” I think on the record I sing, “. . .rushed with
life” and live I sing “. . .?ushed with light”. It’s
dif?cult to tell what
Bruce Springsteen sings. The bit
I really like is this slightly surreal moment: “I see her
martyr’s silent eyes / petition the drivers as we pass
Chris: Bloody good, that, isn’t it?
Neil: It’s a great song to sing live it’s got a
singing-live kind of melody and it’s got a lot of fervour
and energy in it. We haven’t heard what he thinks of it,
but I thought he might be quite pleased to have a cover
version that takes your song really seriously but makes it
moreChris: Neil was about to go for a jog, and before he
went he shouted into a microphone, “Yes yes yes
no no no. . .” and so on.
Neil: That was based on an
artwork by Bruce Nauman, Clown Torture, where a clown
shouts, “No no no no no. . . !” And when I
from the jog Chris had written some music. I’d had an idea
in my phone for a song called “Shouting in the evening”
is a phrase I’d heard attributed to Michael
Gambon, the British actor. When someone said to him, “What
do you do for a living?” he said, “Shouting in the
evening.” Which I thought was quite funny. I think I read
it in a review of a play. And then the phrase “shouting in
the evening” made me think of the song “Dancing On The
Ceiling” by Lionel Richie, so I made it “oh what a feeling
/ shouting in the evening”. Though I should point out that
our melody is considerably different. Then Stuart made it
Chris: It’s quite ravey, isn’t it?
Neil: It turns into The Prodigy or something like that.
Chris: You went up north and left me and Stuart behind
to work in the studio.
Neil: It was for my sister’s
sixtieth birthday — I had to go up a couple of days
Chris: So I spend a couple of days with
Stuart. But I wasn’t doing much — I was just drinking tea,
watching television, having
were probably inspiring him.
Chris: I was.
Neil: This wasn’t a ?nished song when we
started working on the album. It was a demo by Chris
called “Thursday night special”. It always
really good, but it wasn’t a song as such.
I’m not sure why it was called that. It might have been
written on a Thursday night, but also me and my friends
used to say,
“Shall we have a Thursday Night Special?”
Which was going out on Thursday. Because of course in
London, Thursday was the new Friday. It probably still is.
I don’t think it’s moved to Wednesday yet.
Anyway, before we started working on it I had Chris’s demo
and I thought, “I’ve got to write a lyric about Thursday”.
I went out
jogging, in classic fashion, and thought,
‘“Thursday, then Friday... it’s soon going to be the
weekend!’ — God, it’s like a real pop lyric.” I’m always
impressed when I come up with something utterly banal
because I think it’s a very di??cult thing to
with. We sang that in the studio quite early on, and then
it was decided to have spokenbits.
had put in this great breakdown bit — not a new bit, but a
breakdown — and we thought it would be great to have a
rap. So we Googled Nicki Minaj and found an a cappella of
hers and it sounded absolutely fantastic on the track —
that was just to see what a rap would sound like. Around
then we stopped working with Stuart for a while and he was
doing some demos with Example, so Stuart got in touch and
said: “I’ve got Example in the studio — a rapper!” Example
was keen to do it, but he also wanted to sing. So on those
terms we agreed -— he sang a different chorus melody that
he came up with, and a rap.
Neil: It’s our most
unsually structured song since “What have I done to
deserve this?”, I think. Or maybe one of the Xenomania
ones. Before Example got involved I’d put in the spoken
verses which were written on the hoof in the studio. That
became “don’t say it’s
over, over” though originally it
was another lyric. That suddenly sounded very haunting and
we liked that, and also again, with Stuart’s good
vocal-speaking effect, it wasn’t embarrassing saying
things like “romantic... I need some meaning... expressed
with feeling...” I was very much not being me, saying
Chris: Then I did chorus B: “It’s Thursday
Neil: My chorus melody, the first one,
was “Thursday, then Friday...” Example came in and did, “I
never tried to make you walk into the deep end...” and
then we decided to link it all in because we were worried
that the whole thing didn’t sit together and that there
should be a chorus melody that re?ected Example’s sung
melody, so I tried to sing my lyrics using Example’s sung
melody, which ended up as, “It’s Thursday night, let’s get
it right, I want to know you’re going to stay for the
Chris: So this song has actually got
Neil: At that point we were going
to dump the original chorus, but there was a sense of
longing in it. Then, when I wasn’t in the studio, Chris
put on the classic list of days.
literally just gone through the door. Stuart liked that
idea. I did it and then of course instantly regretted it.
Neil: One of the reviews of the album mentioned “the
sheer joy of Chris Lowe reciting a list”.
Actually, one of the highlights of having done that was we
had dinner with Stuart, Angela and Brandon Flowers, and on
steps of the restaurant on the way out he sang to
me the spoken bit of “Paninaro”.
Neil: “You, you’re
Chris: To me! It was a bit weird.
Actually it was a great moment. I really enjoyed it. And
then someone else, the other day, went to me
. . Friday. . .”
Neil: People often say to me, “Who
did the speaking bit on that?” and I go Example and they
go, “No no i no no. . .”
Chris: Who said that the
Neil: Oh, I’ll tell you who it was! It
was the guy who plays the nasty butler in Downton Abbey.
He’s actually from Manchester. “No no no, ‘Thursday...
Friday...”’ It’s a very good hook. That also pulled
everything together. There were a ‘ lot of structural
discussions going on with this song, emails with suggested
structures, and then suddenly it ended up sounding great.
Chris: We also thought about what Kool & the Gang
might do at one point. That led to, “It’s Thursday night /
let’s get it right.” Like “Ladies Night”. Because once we
realised it was a party record, it was, “What would Kool
and the Gang do in this situation?”
Neil: In the
song what’s happening is that there’s a guy — it could be
the same guy as “Love is a bourgeois construct” — and his
girl?iend. Or is she his girlfriend? I think they’re
breaking up. But he doesn’t really want to break up. I’ve
noticed that in a lot of my songs women are always
ruthless and decisive and men are always pathetic. Anyway,
the ruthless woman has had enough and he’s having a last
ditch attempt at keeping her: “It’s Thursday night, let’s
get it right... come on, stay for the weekend, oh go on.”
He’s sort of
admitting they could break up: “It could
be now, it could be tomorrow, don’t say it’s over, over.”
So it’s a
“please don’t break up” song.
I hear that lyric completely differently. To me it’s: “The
party’s not going to ?nish... don’t say it’s over...
because it’s not going to end.” As Miley Cyrus said, “We
can’t stop, and we won’t stop.” It’s how you can get a
completely different meaning.
Neil: Example’s part
is a guilt thing: “Take that trip down memory lane...” He
is the guilty boyfiend, looking at it from Sunday morning.
He’s been out on Friday, all day Saturday, all night
Saturday and come back on Sunday morning.
He’s creeping in.
Neil: He’s trashed, doing that
Sunday morning creeping. There’s a great line he wrote: “I
want to stay but I must row that boat home.” So
it’s like a Richard Curtis ?lm where there are two
separate stories, two strands to the ?lm — the Neil
Tennant one and the Example one. They’re both in the same
?lm, and the turn’s called Thursday.
Neil: “Vocal”'was not only written from Elysium but in
my memory was almost the ?rst song written for Elysium.
Chris: In Berlin. I can’t quite remember. I think Neil
was playing something and I was playing some chords
simultaneously. I think there
was just a groove going
round and round and round, and I was putting those chords
Neil: I hadthe lyric, which was meant to be a
sort of joke about dance music to begin with.
Chris: When we ?nished it, we went out, and when we came
back we played it one a loop, thinking, “How great is this
song! We’ve got
a hit!” It was a bit of a mess at that
point, a bit all over the place, but that was quite
Neil: I had the lines that went, “I like the
singer / he’s lonely and strange / Every track has a vocal
/ and that makes a change.”
Chris: It had brass
lines and all sorts.
Neil: It was more song-y, the
Chris: Then we worked on this track with
Neil: For a while I wanted to call
the Elysium album Vocal. But we didn’t work on it that
much with Andrew and it never really...
There’s a mix,
but it was never really a ?nished mix.
Andrew’s forte wasn’t really the four-on-the-?oor stuff
that Stuart has an innate understanding of. We knew that
“Vocal” had to be an anthem.
Neil: Yeah. And the
stakes had been raised because this was a dance album. In
some ways one of the main reasons we were doing a dance
album is because we had “Axis” and we had “Vocal” — We
knew we had two really great dance tracks.
And then it was the last song to get ?nished for Electric,
because we were working alphabetically, and Stuart sent
over what he had
done and it was so house-y and ravey.
Neil: I was slightly shocked when I first heard it.
He’d stripped it right back. Because Chris’s brass line
part on the demo gave it a kind of moving quality that was
taken out, though now it’s moving in a different way.
Chris: Stuart gave it such euphoria.
dragged it into the twenty- first century.
Stuart made this probably the most euphoric piece of music
we’ve ever produced.
Neil: It’s a tribute to the
song and to his arrangement of it that on the first night
of the tour proper in Chile, at the dress rehearsal the
day before, Chris demanded that we didn’t do “Go West” as
the final encore, we did “Vocal”. I was a bit nervous
about this, partly because the structure of it is a little
bit random. But it went down really great. It just worked.
And that was two months before the album came out. It kind
of winds up the album by summing up what the whole thing
is about. The song became about something I didn’t
personally participate in, but I’ve heard enough about it
— the rave scene — but also my own memories. One of the
main inspirations was remembering being on a dance?oor in
Brazil during the Discovery tour — Chris and Literally
were there too —~ and it was just totally great, and a lot
of other memories like that, being on a dance?oor, the
sense of community. I like the story that emerges, too, of
the singer who is lonely and strange.
Originally it was a DJ.
Neil: No, it went, “I like
the DJ / I like the song,” but I decided I didn’t want to
pay homage to the DJ so I made it “the people”.
Chris: For a while it was “these people”.
Yes. I decided that sounded stupid. It’s funny how you can
struggle over the most simple
phrase for months. Years
even, in this instance. But it’s a great end to the album.
And the show.
Chris: It’s great that we started the
show with the ?rst track on the album and ended the show
with the last track on this album.
Neil: The most experimental track on the album. I
always think that on the vinyl Version “Shouting in the
evening” should be at the start
of side two. It was
written during the Elysium sessions.