we’ve grown musically... I mean, listen to some of the rubbish we did early on, it was stupid
MARTY: Yeah.
DEREK: you know. Now, I mean a song like “Sex Farm”, we’re taking a sophisticated view of the idea of sex, you
know, and music
MARTY: ...and put it on a farm?
DEREK: Yeah.
IAN: What?
ARTIST: Well this is the piece.
IAN: This is the piece?
ARTIST: Yes.
The door that used to open has now closed without a crack
Woman, you're like the Empire, and I still want you back
like, maybe in a haberdasher, or maybe like a...uh a chapeau shop, or something...you know
'DAVID: Can you play...excuse me, Viv, can you play a bassline, uh, like Nigel used to do on “Big Bottom”, can you
IAN: Yes, I mean it’s, it’s, a it’s a kind of totemestic thing you know, but to be quite frank with you, it’s come in
useful in a couple of situations. Certainly in the topsy, turvy world of heavy rock, having a good solid piece of
wood in your hand is quite often...useful.
MARTY: Mhmh.
IAN: What?
ARTIST: Well this is the piece.
IAN: This is the piece?
ARTIST: Yes.
Big bottom, big bottom
Talk about mud flaps, my girl's got 'em
Big bottom, drive me out of my mind
How could I leave this behind?
IAN: Okay. Thank you darling.
BOBBI: You’re welcome.....yeah.
NIGEL: Well, I play them and I cherish them.
Just crank that music to the point of pain
Why waste good music on a brain?
Cause Frank calls
the shots for all of those guys.
A lot of things make me harder 🤘
You’ll hear about them this Friday.
HARDER – my new single 🎸
Pre-save now.
dereksmalls.ffm.to/harder
We raise our voices in the night
Crying to heaven
And will our voices be heard
all the way up. You’re on ten on your guitar...where can you go from there? Where?
MARTY: I don’t know...
NIGEL: Nowhere. Exactly. What we do is if we need that extra.. push over the cliff...you know what we do?
MARTY: Put it up to eleven.
NIGEL: Eleven. Exactly. One louder.
DAVID: Well it’s a sexual thing, really isn’t it? Aside from the identifying the boys do with us there’s also a re-reaction
to the female.....of the female to our music. How did you put it?
SMITTY: You wanted seven, uh, suites.
IAN: Seven. Seven suites.
SMITTY: Yes w-we-he mistakenly put you on the seventh floor with one suite.
DAVID: It’s a rather lurid cover, I mean...ah, it’s, it’s like naked women, and, uh....
We raise our voices in the night
Crying to heaven
And will our voices be heard
The bigger the cushion
The sweeter the pushin'
That's what I said
<Lindberg Air Force Base, Seattle, Washington>
JEANINE: Lieutenant Hookstrat....
HOOKSTRATTEN: Ahh...Hookstratten..and you are Spinal Tarp?
JEANINE: I’m Jeanine Pettibone, and -.
DAVID: I think you’re rationalizing this whole thing like into something you did on on purpose. I think
we’re stuck with a very, very stupid and a very, and a very dismal looking album, this is depressing.
DAVID: Well the point is it’s much worse than ‘Smell the Glove’
DAVID: So d’you just come here to hang around backstage like a real rock and roller? Is that what you’re doing?
NIGEL: I’m really a messenger...
DAVID: A messenger...
NIGEL: Yeah, I bumped into Ian, and....
DAVID: Ian...Ian?...oh, the other dead man, yeah.
No bells in Hell
No snow below
Silent Night, Violent Night
NIGEL: It’s not gonna affect my performance, don’t worry about it, alright, just hate it, it’s really...
IAN: It won’t happen again.
NIGEL: It does disturb me.
IAN: It’s disgusting.
NIGEL: But I’ll rise above it. I’m a professional, right?
IAN: Alright.
all the way up. You’re on ten on your guitar...where can you go from there? Where?
MARTY: I don’t know...
NIGEL: Nowhere. Exactly. What we do is if we need that extra.. push over the cliff...you know what we do?
MARTY: Put it up to eleven.
NIGEL: Eleven. Exactly. One louder.
You were younger than a virgin, and older than the sea
You were angel, you were devil, and I was all of me
Gimme some money, gimme some money
Gimme some money, gimme some money
Gimme some money, gimme some money
Gimme some money, gimme some money
Gimme some money, gimme some money
JEANINE: I’ve given you a little bib.
