Like A Muse: The Remix Journey of Paul Andrews (Madonna Remixes Culture)

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Listened to by thousands, climbing the podcast
charts in multiple countries, across the globe,

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on every continent. And now nominated for
a 50 over 50 podcast award. This is Like A

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Muse, the podcast about Madonna Remix's culture.
Featuring producers, remasters, and artists

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with the Queen as their muse. My name is Kerry
John Pointer. your producer and host. This

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episode, our featured muse, is recording artist
and remixer, Paul Andrews. The episode contains

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my conversation with Paul. He takes us behind
the remix of Ghost Town, his officially commissioned

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remix for Madonna, and how she inspired him
to write his own music and believe in his sound.

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We also delve into his other remixes of Madonna
and other artists like Adele, Seal, and someone

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named Kylie. You The interview is interspersed
between sections of a DJ continuous mix, heavy

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on his Madonna remixes, plus four of what
he considers his essential remixes, and of

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course my personal faves. This episode is sponsored
by the Vythen Music Visualizer App by MK Games

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Art and Visuals. The Vythen App is an important
part of the production process for the episode

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video visualizers on YouTube. Now you can create
your own unique visuals on the fly as you listen

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to my episodes. US listeners use the special
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A generous percentage of your subscription directly
supports my podcast. Make sure to use the

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link in the show notes or on the Like A Muse
page or the Club Carry NYC Sponsors page. The

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Vivid Music Visualizer App for iOS, Android
and Mac. introducing our muse, Paul Andrews.

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He has written songs for documentaries and
produced remixes for Dolly Parton, Gloria Estefan,

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Robert Basha, Wing Chung and Madonna. And of
course many underground remixes of various

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artists, some of which you will hear today
in this episode. Paul is now his own recording

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artist. and has written, arranged, performed,
and produced two full-length albums, Light

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and Dust in 2019 and From the Distance in 2022.
So Mr. Paul Andrews, welcome to Like a Muse.

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Thank you for having me. I'm so glad you're
here and I've had a really good time getting

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to know you in the pre-production for this interview.
I have a number of questions for you as you

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know, this is a Madonna podcast after all. And
this is a question I ask everyone. Can you

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share a story of your first Madonna related
memory? It can be anything, perhaps a song

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or an image or a video, anything, anything at
all. I encourage you to go way back. Okay.

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Well, I grew up in the 80s. So MTV, all
of that stuff. I remember seeing her videos,

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but it wasn't until Borderline came out. I remember
her spray painting the walls and I think a

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car or something. I'm like, oh, this is good
song. think Reggie Lucas wrote that. I'm like,

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oh. Yes, Reggie. That's when I started noticing
Madonna with that song. OK. But it wasn't

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until True Blue when I really got into her because
she wants to be an artist. She was growing,

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you know? Becoming more mature artists in her
lyrics and in the writing. It was Pat Leonard

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she was working with. A little Stephen Bray
still. Yeah, Stephen Bray. Like A Prayer

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2, those two. Oh gosh, from True Blue to Like
A Prayer, huge artistic jumps, most definitely.

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And I tell them that we're getting off of a
busy road. I'm always going to go back and

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think about that time. Her critics never wanted
to give her anything. Think about those songs

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that came out like that, Live To Tell and Like
A Prayer and... Yeah, they were like really

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good pop songs. Major pop songs and just good
songwriting. They should have had Grammy Awards.

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She got nothing. It wasn't until Ray of Light
that she got it. Almost 20 years later. That's

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good to hear about your memory, but can you
talk a little bit about how you might have

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been inspired by her? Again, the more of her,
where she was getting mature with her writing,

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I thought, you know what? She's actually doing
the writing. She's writing about interesting

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topics. She has a real knack for melody too,
which is one reason why I wanted to remix

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her stuff is because there's an actual melody
there. A lot of songs nowadays just repeat

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notes and stuff, but She had a way to write
where you wanted to sing along with her. For

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me, that's good writing. Let's dive into your
Madonna remixes. Your Ghost Town remix was

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an official commissioned remix approved by Madonna
herself. Can you take us behind the remix

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and tell us the story and how did this opportunity
affect you personally or professionally? There

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is a story around Ghost Town. I was heading
back from work and I got a call from my friend

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Michael who said, hey, one of Madonna's remix
A &R guys Orlando Puerta is really interested

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in having you remix Madonna's next single Ghost
Town. I was on the train and I was like what?

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He said is it okay to give him your number
and all the stuff and I said yes of course.

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So a few minutes later I did get a call from
Orlando. He had heard my Living for Love remix.

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and wanted me to do a spec remix. They would
see if they could use it or not. So I started

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thinking of ideas immediately for the mix.
The other thing about this, I only had two

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days to work on the mix because I was leaving
for vacation. Send it over to him and I wouldn't

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know anything about it after that. I started
to arrange the remix in my head on the train.

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I knew the tempo was one of those tricky tempos
where you could speed it up, you could slow

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it down. Didn't know what to do with it. Every
time I was coming up with ideas it was more

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of an expansion of what the original was to
make it more orchestral sounding. So I reached

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out to Orlando and I asked what is she looking
for? And he said, we want you to do what you

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think would be best for the song. And I said,
well, I'm hearing this sort of slower and

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not necessarily a dance mix. And he said, then
go for it. Like if that's what you're hearing.

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So I went with my gut and I did something slow
and somehow I came up with everything in the

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two days, not even during work. I still had
to go into work the next day. So everything

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happened after work. I mixed it down. Tom listened
to it. My husband, he got emotional. At the

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same points that I did and I knew that's like
a good sign, I hit the right tone for it. And

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I sent it off. I didn't hear anything from it.
until I was actually at volleyball practice

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I don't know how many weeks later could have
been a month Orlando called and he said that

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they want to use my mix Madonna approved mine
specifically that she loved it but it would

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be a title exclusive remix of course I was over
the moon I took that as a sign for me as

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an artist to start going with my gut Like there
was something behind the fact that Madonna

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appreciated my work and wanted it the way it
was that made me believe in myself a little

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bit more. That's when I decided I wanted to
be my own artist after that. It was basically

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because of Madonna's approval that I became
my own recording artist.

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And it goes

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You're

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On to each other

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Two souls in a ghost town Thank you for sharing
a little about. I've been inspired by her

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and where he began in terms of Madonna. We're
gonna talk a little bit about more Madonna

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in terms of your remixes, but also some other
artists as well. And I've been listening to

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your remixes as well as your original productions
as a recording artist. And I think I want to

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talk about your sound. I'm gonna ask you to
describe it. Let me try to describe it a little

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bit. And we'll see how well I do. And then I'd
love to hear you in some detail, your sound.

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And then we'll also talk about a little bit
your production style. So your style, your

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sound, I would call it try to describe it as
something about physically retro but it a vintage

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sound to it. The sound is definitely modern
in terms of its production style. A little

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bit of soul. not exactly retro, but vintage
in style. And when I think about, I'm thinking

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about your remixes, when people hear about a
song that's being remixed, they oftentimes,

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I think, think of it as a upbeat, high tempo
dance song. That's what they expect it's gonna

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be. And although I think your songs definitely
have a groove to them, for sure, and I could

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say you could move to them. It's not necessarily
a high energy dance. There's where I am with

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your sound. Let's keep talking about it little
bit. How would you describe it? You know what?

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I tend to be more traditional, I guess, with
arrangements. I like taking a song and reinventing

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it. I don't necessarily just want to add a
beat to it. a song or remix has sort of

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like a journey to it. Where you hear something
and then, oh, this is something a little different.

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And then it sort of takes you, oh, like I
didn't expect that. But I want... you to still

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move to it, you know? So I tend to be, I like
bigger arrangements. I like using sometimes

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like orchestra sounds and sometimes synths.
And I like that experience because I'm comfortable

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with it. I'm not going to do this club slamming
track because other people do it a lot better

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than I do. Yeah, I'm having fun doing it. And
part of the fun is how you get like the creative

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part of you out. It's just playing around
with. These remixes so being creative about

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it. I hear you saying you're trying to reinvent
the sound Take the listener on a bit of a journey

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musically I really understand what you're trying
to say and I part of reason why I wanted to

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have you and one of many reasons I wanted to
have you on this podcast and have the listeners

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hear from you because I Want them to be exposed
to how a remix can be reinvented? Let's talk

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about a Madonna remix of yours, and I have a
little bit of a story I've come across your

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stuff before over the years last few years,
but I was reminded of you friend of mine, were

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just playing around on YouTube and posing each
other to different remixes, but they weren't

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at the time. he have you heard of Paul Andrews?
I'm like, I can't remember. I'll be honest,

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I couldn't remember. he said, oh my favorite
Vogue remixes is by Paul Andrews. So we started

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listening to it. was like, oh, this is really
freaking good. And then we just started listening

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to all of your remixes. You've got know, on
YouTube and you've got some webpages where

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you've got them all listed. And then we just
started downloading, I started downloading

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like crazy, because you make that available.
And it's like, oh, the sound, he has a sound

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to himself. But that Vogue remix, you say you
don't have high energy, then I wouldn't call

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it high energy. But if there was one, this
is it.

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You know it, you know

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There's a couple other. There's a Whitney remix
of yours that think is a higher-end. Yeah,

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that one's just okay. Talk about this Vogue
remix. How did this come about? It seems to

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me there might be a story there. There is a
story. Okay. Actually, there's so many little

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things about it. My friends were Chef Petty
Bone and I would try to coax a few stories

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out from him, like, you know, oh, how is it
working in the studio with this person and

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that person? had so many stories, he's great
with those stories I get a message one day,

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hey, here's a link he sent me the vocals for
Vogue I'm like, my god how lucky are you? and

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then he said I know and he said, you know my
birthday's next week and I'm like, you want

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me to do a whole remix by next week? which sounds
more like a record label than a friend I'm

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like, let me see what I can do and then I started,
I mean flew the vocals in and first of all

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just hearing what the original was like how
all the parts work is like that's more like

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oh my god you know like nerding out to it I
wanted to approach Vogue with respect because

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it's such a classic song and it had it had
elements of elegance already to it with the

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strings and stuff like that and I thought oh
let me concentrate on that side of it I liked

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the idea of starting on something that everyone
was familiar with and then like hinting, oh,

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it's going to go somewhere else. And the further
along it get, the further away it got from

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the original mix. I mean, I remember when I
played it for my husband, that one part at

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the end, I call it beautiful.

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Oh yeah, right, right, right. Because I sort
of created a new chorus with the background

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vocals and I started tearing up with it and
I turned around and Tom was crying and I'm

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like, yes! I got it. That's awesome. What a
great feeling. What an awesome feeling that

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must have been. Yeah, I was so happy with
how it came out and Shep loved it. He said

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it was one of his best birthday gifts ever.
And then someone did a video for it. He edited

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old Hollywood stuff and B roll from the Vogue
video. Did a really good job. I was really

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happy with how it turned out. I didn't change
the tempo. I kept it. I think it's 114 or something.

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Because again, I wanted to respect the original.
In some way, it just really does. You're right.

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If you think about the sound that you created
with that remix, and once again, you reconstructed

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it, reinvented it as a term Madonna would use,
it does take you on a bit of a journey before

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you realize it. I really loved hearing your
story about you and your husband and how he

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hurt the first time and became emotional. More
of my conversation with Paul later in the episode.

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Let's listen to some of his remixes. This is
Mix 1, Reinvention. A mini continuous mix.

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It kicks off with Vogue. And includes more Madonna.
Paul's lucky star and living through love.

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Plus Adele, Fleetwood Mac, and Sylvia Dionne.

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you

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Right?

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Everywhere you turn is heartache It's everywhere
that you go

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Everything you can to escape the pain of life
that you know, life that you love When all

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else fails and you long to be something better
than you are today You can get away, it's

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It's what's so

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Use your own imagination, so use it, that's
what it's for

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Your finest inspiration Your dreamful

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Beauty's where you find it Not just where you
bump and grind it Soul is in the music, come,

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that's where I'll

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I'm fine,

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Beauty's where you find me Go, wait for flow!
Reddit Garble and Monroe Dietrich and DiMaggio

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Marlon Brando, Jimmy Dean on the cover of a
magazine Grace Kelly, Harlow Jean, picture

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of a beauty queen Jean Kelly, Fred Astaire,
Ginger Rogers, dance on air They had style,

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they had grace Rita Hayworth, Gabe Goodface,
Lauren Kaplan, Manitou Betty Davis, We Love

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You, ladies with an attitude Fellas that were
in the mood Don't just stand there, let's get

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to it Strike a pose, there's nothing to invoke

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You gotta just let your body go, make it

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To you you

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Don't you remember? Sure!

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Bringing it down

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Show She is half your age But I'm guessing
that's the reason that you stay

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You've been telling people

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Cause you shine on me wherever you are I just
think of you and I start to glow And I need

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your you

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So far

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Shine your heavenly body tonight

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I know you're gonna make everything alright


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Shine your heavenly body tonight Cause I
know you're gonna make everything alright

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And you me a lucky star

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Yeah

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Shine your heavenly body tonight

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Shine your heavenly body tonight

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And we'll make everything alright

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It's all around that you should play the way
you feel it But listen carefully to the

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Still, I still remember what you had And what
you lost And what you had And what you lost

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you

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Here I go again, I see the crystal vision I
keep my visions to myself So let me know what's

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to wrap around your dreams and Dreams you like
to sell Dreams of loneliness like a heartbeat

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Still as I remember

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And what you

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To love

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you

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Yes, you're free

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Watch me stomp

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Let's get caught up in better not dwelling on
this crazy mess I found freedom in the ugly

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truths I deserve the best and it's not you You're
broken my heart but you can't break it down

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Now falling apart, this was lost now I'm coming
Hit up my crown, put it back on my head I can't

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move you but I will never forget

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Please don't I'm gonna carry on

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Let's go!

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Woke me up one touch and I felt alive You locked
me back to life, back to life, thought I'd

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die But voices inside were so quiet

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Strong hands, thick skin, and an open heart
You saw through the pain, saw through the

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mass You'll never give up on me

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if you could talk about how you producing these
remixes and your original music. Talk a little

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bit about the secret sauce that you're into.
Well, every time I approach a new remix,

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sometimes something just hits me with it and
I go with it. Like I did Kylie Minogue's Slow.

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Remember that song? you

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Yeah, yeah, oh, sky Keep the feeling low to
the body, yeah, let's go

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And all of a sudden like a bossa nova thing
came out from there and so I did it like a

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live band sort of like the frozen I did for
Madonna and I'm like, wow, this really works

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and I was just having fun doing it I didn't
care if it did anything or not, but I mean

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I get positive feedback on it But again the
play aspect when you work is the most important

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part of it because that's where ideas come from
I mean you do learn from copying other people,

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you learn from reading tutorials online, but
you don't get to who you are unless you start

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00:37:18,270 --> 00:37:25,916
playing. I love the idea of playing with
melody and new harmony, with new rhythms,

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with textures, combining different sounds.
just, for me, that makes it interesting.

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I don't want to, like I mentioned before, I
don't want to have a song just to hear the

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beat. I want to have an experience where I
put it on the headphones. And then you can

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appreciate the experience. So my production,
I want it to be an experience. Trevor Horn

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is a huge influence for me. I can see that
actually. can, I can hear that. He, he provides

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an experience. And that's why people go to him
and like, hey, I need a classic album. And

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he delivers it. does that though translate
to some, I'm going to talk about some of your

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other remixes. You have a couple of Adele remixes,
I think that are fantastic. I think you're

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fan as well of her. Yeah, I am a fan. And
I suspect there'll be a lot of fans of her

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on this podcast as well, on this podcast and
listen to this podcast. So you interpreted

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those remixes and what went into the production
of those? Anything you can share? So picking

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a song by a vocalist, like if you're gonna
remix, automatically it's gonna make it sound

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better because their voice is just so good.
It doesn't matter what's in the background

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as much. But with that, actually set fire
to the rain.

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sit bored as I touch your face When it burns,
will I cry? Cause I heard it screaming out

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your name, your name

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I remember buying a sample pack and it had
that Princess Sam, your number one, Simmonds

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snare drum on it and I thought, hmm, I wonder
what the song would sound like in that same

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arrangement. So I started doing Sam, your number
one, but different chords. didn't copy the

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original. And it turned out I was really happy
with it. And then my friend Larry Flick at

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Sirius, He's like, oh my God, I love this.
And he started playing it on his channel. Then

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he started playing all these other remixes I
had. That was really nice to hear that. With

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the, what's the other one? Rumor has it? That
one, I just had a groove going and I did this

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thing with the bass. I'm like, oh, that sounds
like a low down by Boss Gags. And then I'm

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like, oh my God, can I work in that middle section
into the song? fit perfectly and oh my god

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I was so happy with that and it was something
different because all the other remixes were

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the dance remixes for it and I had my own thing
going. you've done this one a few of the remixes

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I noticed not just Adele but a few other ones
I'm trying to remember the names now but suddenly

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I realized that wait a minute I'm hearing something
that is reminiscent of a different song he's

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00:40:32,501 --> 00:40:38,578
recreated it here I'm trying to remember was
it a seal song? Yeah, see how I did paradise

250
00:40:38,578 --> 00:40:43,178
by charday? I'm hearing a little charday.

251
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We're never gonna survive unless we get a little
crazy No, never gonna survive unless we are

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a little

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I really love that. It's probably going to be
in the mix.

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You do that surprisingly well in a few other
places too. It's not a mashup. It's something

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00:41:22,234 --> 00:41:29,056
new. Yeah, it's not exactly a mashup. Harkens
back to another song like, alright. Because

256
00:41:29,056 --> 00:41:34,851
I do play all the parts, I don't take the original.
But you know what? This is good for people

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who want to get into remixing. Sometimes I
pick a song and I said, okay, I'm going to

258
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challenge myself and do it in this style. Do
it in And then you learn about that style

259
00:41:45,531 --> 00:41:50,925
by doing it. Yeah, like I learned, oh, okay,
there's space in this mix. That's the important

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part. Or, oh, this has the bass is moving
it along. And then I mean just by challenging

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00:41:57,863 --> 00:42:03,569
yourself you learn. So a lot of that was learning
production. Yeah, you did it really well there.

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And if you do release it, why not? Like putting
it out there like this is what I did. Right.

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And then you get feedback. Absolutely. I
want to also say that you bring a point that

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I find interesting. Sometimes I hear from people
like, these unofficial remixes or underground

265
00:42:18,573 --> 00:42:22,362
remixes are sometimes not so good. I'm like,
well actually, know, think about it. They're

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taking a huge leap and a huge risk by putting
their work out there on the internet to share

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with the public worldwide. That's a huge risk.
I respect that for one. And that's one of the

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part of the many reasons why I do this podcast
is a bit of an uplift people and remasters

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that I'm listening to. And there's a risk there.
I wonder what that's been like for you. You

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need some people that I'm familiar with, but
what's it been like for you to get feedback

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from the populace? What's it been like? Has
it been challenging? It's been great. I'm sure

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there's been some really great feedback, but
What's it been like for you? I have been very

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00:42:55,613 --> 00:43:02,799
fortunate that people involved with the original
productions of the songs have reached out

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to me. I don't know the word. It's not vindicated.
But I feel seen that I understand the musicality

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00:43:13,027 --> 00:43:18,722
there, or that they understand that I understand
it. Does that make sense? It sounds like you

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00:43:18,722 --> 00:43:25,462
feel a bit supported and encouraged. Yeah, like,
oh, this is... Like I did that remix, the Donna

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00:43:25,462 --> 00:43:31,042
Summer remix, and the songwriter who wrote it
with her contacted me and said, you know, this

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00:43:31,042 --> 00:43:36,442
is how we actually wrote it. It didn't end up
like this on the album, but she would have

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00:43:36,442 --> 00:43:41,382
loved this because this is how we wrote it.
And that made me... I didn't care if anyone

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else liked it. Cause that for me, made my day.
Sweet vindication. I like vindication. Definitely.

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But that has the connotation. I didn't want
it to sound like that. More of an understanding.

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00:43:53,407 --> 00:43:59,199
Yeah, understanding is good. Support understanding.
The only way you get better at something is

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by actually doing the work. Yeah. So you can't
shortcut. I mean, to Madonna's old stuff.

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Like her vocals early on. You know, I mean
they had soul to it. It was a little rough.

285
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It was her own thing. But we'll heard how
she developed, you know, and she didn't care.

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00:44:18,504 --> 00:44:24,078
She released everything. She went with it and,
you know, I look at her. So kind of lead

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00:44:24,078 --> 00:44:28,892
me to some of my final questions. Why did you
pick Madonna to remix of all people? First

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00:44:28,892 --> 00:44:36,797
of all, I found vocals. Yeah, right. No, but
again, it goes back to the songwriting where

289
00:44:36,797 --> 00:44:46,182
there's a melody that you want to sing along
to and like, okay, let me change it up a bit,

290
00:44:46,202 --> 00:44:51,882
but there's something familiar to it still.
I mean, they still play her music. That's how

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00:44:51,882 --> 00:45:01,262
great the melodies were, you know? So it's definitely
how strong her melodies, even her word choice,

292
00:45:01,402 --> 00:45:10,477
her coming up with these hooks, you know? She's
a master, absolute master at that. Just doesn't

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00:45:10,477 --> 00:45:15,529
get the credit for it, don't think. No, she
doesn't. Her songwriting is severely overlooked.

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Coming up, the final part of our conversation
about his original songwriting and his productions.

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00:45:21,370 --> 00:45:29,793
And he gives some blunt advice. This is Continuous
Mix 2 Cruising for Bruising. It includes Baja,

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00:45:29,793 --> 00:45:37,177
Robin, With a Taste of Journey, Someone named
Kylie, Frankie goes to Hollywood, Paul Andrews'

297
00:45:37,177 --> 00:45:55,514
original song, Dream State, and Adele. you
Come to me and cry I know, I know, I know

298
00:45:55,514 --> 00:46:10,514
it's not easy Your heart is aching But so is
mine, oh so is mine Can I tell you why? It's

299
00:46:10,514 --> 00:46:21,359
so long, so long, so long I've been thinking
Now I know I can live a lie can live a life

300
00:46:21,359 --> 00:46:40,367
that's true and last forever if we want it
there we'll be waiting a second chance baby

301
00:46:40,367 --> 00:46:50,205
but now meantime time to learn time to understand
where we belong Life is too strong, we are

302
00:46:50,205 --> 00:47:00,704
cruising, we're cruising from baby, the second
child Baby, but now we will die in time to

303
00:47:00,784 --> 00:47:12,793
learn time to understand Where we were born
Life is too strong, we are cruising, we're

304
00:47:12,793 --> 00:47:24,622
from Let you go Don't stop, don't stop Poisons
spread and now we're Wasted love, you don't

305
00:47:24,622 --> 00:47:43,182
say goodbye Don't say goodbye They say true
love lasts forever If we wanted, there would

306
00:47:43,182 --> 00:47:51,436
be waiting I'm like I'm a child, but where be
the power? We need time, time to learn, time

307
00:47:51,436 --> 00:48:02,316
to understand. I know it's stupid, but just
gotta see it for myself. I'm in the corner,

308
00:48:02,676 --> 00:48:04,616
watching you kiss her.

309
00:48:08,396 --> 00:48:21,546
I'm right over here. Can't you see me? Oh, oh
I'm giving it my all But I'm not the guy you're

310
00:48:21,546 --> 00:48:28,626
taking home Ooh, ooh, I keep dancing on my own

311
00:48:40,589 --> 00:48:59,990
I'm just gonna dance all night I'm all messed
up, I'm so out of line Stilettos and broken

312
00:48:59,990 --> 00:49:14,639
bottles I'm spending the found in I'm in the
corner watching you kiss her I'm right over

313
00:49:14,639 --> 00:49:19,154
here, why can't you see me?

314
00:49:22,318 --> 00:49:23,986
I'm giving it my all

315
00:49:30,670 --> 00:49:34,066
I keep dancing on my own

316
00:49:55,214 --> 00:49:56,708
Far away

317
00:50:10,636 --> 00:50:20,055
I put my best dress on, boy I was so right
Our eyes connected Now nothing's how it used

318
00:50:20,055 --> 00:50:29,605
to be Don't second guess it Tracking on this
feeling Full focus, close up, you and me Nobody's

319
00:50:29,605 --> 00:50:41,970
leaving Got me So electric Slow down

320
00:51:52,140 --> 00:52:00,623
do it, relax, don't do it, when you wanna come.
Relax, don't do it, when you wanna suck it

321
00:52:00,623 --> 00:52:05,250
to it. Relax, don't do it, when you wanna

322
00:52:14,478 --> 00:52:15,592
Don't do it

323
00:52:18,702 --> 00:52:27,410
Don't do it when you wanna come, Don't do
it when you wanna suck to it, relax

324
00:52:54,094 --> 00:52:54,514
You

325
00:53:59,438 --> 00:54:04,434
Don't do it when you wanna go to it relax
don't do

326
00:54:08,302 --> 00:54:12,801
Don't do it when you wanna suck it to it Relax,
don't

327
00:55:16,334 --> 00:55:20,353
Tell the songs, world the stories

328
00:56:00,743 --> 00:56:03,730
limitations

329
00:56:20,974 --> 00:56:21,842
I feel like

330
00:56:43,262 --> 00:56:47,021
Sounds of songs, world and story

331
00:57:52,622 --> 00:57:53,394
you

332
00:58:01,262 --> 00:58:02,162
You me

333
00:58:05,582 --> 00:58:10,930
But my knees will fall to you

334
00:58:18,702 --> 00:58:19,378
you

335
00:58:35,086 --> 00:58:45,998
I set fire to the rain Watch it pour as I
dash to face When it burn will I cry cause

336
00:58:45,998 --> 00:58:50,162
I heard it screaming out your name

337
00:59:01,966 --> 00:59:02,354
you

338
00:59:44,270 --> 00:59:48,338
I heard it scream in the gym name

339
01:00:13,388 --> 01:00:17,110
I must be waiting for her Even

340
01:00:52,622 --> 01:00:53,586
Something

341
01:01:09,998 --> 01:01:13,598
One more talk, a little more question about
remixes, then I want talk a little bit about

342
01:01:13,598 --> 01:01:18,117
your own original productions. I've noticed
that there hasn't been anything new recently

343
01:01:18,117 --> 01:01:28,598
in last... Are you still remixing? No, not really.
I do special projects where I... How do I answer

344
01:01:28,598 --> 01:01:37,138
this? Well, it is a lot of work to put in to
do a remix. It is. But the shelf life isn't

345
01:01:37,138 --> 01:01:43,091
like it used to be. Sure. And like after two
weeks, people just aren't interested in it

346
01:01:43,091 --> 01:01:47,532
as much. They'll move on, right? Yeah. I mean,
and that's our society now with TikTok and

347
01:01:47,532 --> 01:01:51,373
all that stuff where people want something quick
and then they're onto the next thing. Right.

348
01:01:51,493 --> 01:01:57,835
So that gets a little frustrating. Also,
I realized I was coming up with all these

349
01:01:57,835 --> 01:02:04,297
good ideas, but for someone else's work. So
like, can't I do it for my, my own work?

350
01:02:04,297 --> 01:02:11,614
And there's something, there's something. about
creating everything on your own that is just

351
01:02:11,614 --> 01:02:18,439
so satisfying. And I know this podcast is,
you know, a lot of people listening is because

352
01:02:18,439 --> 01:02:23,693
they want to get into remixing. And I bet
a lot of people here when they hit a certain

353
01:02:23,693 --> 01:02:28,826
point, they're going to be, know what? I need
to do my own thing. Absolutely. That doesn't

354
01:02:28,826 --> 01:02:35,751
mean they still can't remix, but they're going
to hit that point where that creativity just

355
01:02:35,751 --> 01:02:40,024
takes over like, you know what? I could do my
own thing here. my own thing here. And that's

356
01:02:40,024 --> 01:02:45,869
what I wanted. I wanted to do my own thing.
I had two albums. Yes. My COVID album. Yes.

357
01:02:45,869 --> 01:02:52,234
I had to do something during Yes. We all did.
Yeah, there's something really satisfying

358
01:02:52,234 --> 01:02:57,458
about that. And I'm still learning it, you know.
The only difference is that I'm putting it

359
01:02:57,458 --> 01:03:03,773
out there. You have to put it out. You can't
just keep stuff for yourself. You've moved

360
01:03:03,773 --> 01:03:09,129
on to doing your own original production of
the two albums now and I have been diving

361
01:03:09,129 --> 01:03:15,145
into them. We talked a little bit about your
sound and I think you continue that to a degree

362
01:03:15,145 --> 01:03:17,778
with your original productions. Would you say
that?

363
01:03:53,512 --> 01:04:01,424
Yeah, definitely. I want the experience. I
want it to be an experience. I mean, I have

364
01:04:01,444 --> 01:04:09,117
been since the last album heavily influenced
on other types of music. I don't know how

365
01:04:09,117 --> 01:04:19,610
it's going to come out for me. I've been writing,
I'm playing around, I don't have any definite

366
01:04:19,610 --> 01:04:30,821
I don't have a path and I'm okay with that
because maybe I should just really singles

367
01:04:30,861 --> 01:04:38,819
maybe I should do an EP my friend Larry told
me I should do an EP and I I want to keep

368
01:04:38,819 --> 01:04:46,067
on seeing what else I can do so who knows
if I'll sound like Suzy and the Banshees next.

369
01:04:46,067 --> 01:04:57,784
That's unlikely. love Suzy and the Banshees.
But that's whole different influence if you

370
01:04:57,784 --> 01:05:03,811
know what I mean. It's not like the Pet Shop
Boys influence they might have or ABC and stuff

371
01:05:03,811 --> 01:05:04,998
like that.

372
01:05:33,844 --> 01:05:41,676
ABC, alright. I love ABC. Yes. A final question.
You talked a lot about your sound. Artists

373
01:05:41,676 --> 01:05:46,628
that you enjoy, the vocalists that you enjoy,
and the remixes that you've created. We've

374
01:05:46,628 --> 01:05:50,799
talked a few about them in depth. Some of the
challenges you've had and how you've developed

375
01:05:50,879 --> 01:05:55,510
as a producer and a musician. Some of the friends
that you have in the industry have learned

376
01:05:55,510 --> 01:06:00,232
a lot about you. There's a lot of history here.
Is there any final thing that you'd like to

377
01:06:00,232 --> 01:06:05,376
say to the public? Whether they're listening
here or not. they're listening here or not.

378
01:06:05,376 --> 01:06:09,209
Something that you want to send, a message
you want to send, people you want to thank,

379
01:06:09,209 --> 01:06:13,272
I don't know. Just because someone else is
successful doesn't mean that you're not going

380
01:06:13,272 --> 01:06:17,605
to be successful or it takes it away from you.
And I feel like some people don't want to share

381
01:06:17,605 --> 01:06:23,499
like how they, like the secret sauce and what
you were talking about. And the whole thing

382
01:06:23,499 --> 01:06:28,973
is about, this is your representation of yourself.
It doesn't matter that you know how to use

383
01:06:28,973 --> 01:06:40,039
the quantize feature. Right? So I think it's
helpful. I use it all the time. But I feel

384
01:06:40,039 --> 01:06:47,185
like sometimes people don't share in a community
because they're thinking it's going to take

385
01:06:47,185 --> 01:06:53,159
away from their six months. Thank you for that.
I really appreciate that. This is continuous

386
01:06:53,159 --> 01:06:58,705
mix three frozen crazy driving rain in a ghost
town. Yes, that's the title. It has three remixes

387
01:06:58,705 --> 01:07:03,513
from Paul of Madonna. It starts with Frozen,
then some Seal with a little taste of Charday,

388
01:07:03,654 --> 01:07:08,832
Everything But The Girl, then this remix of
Rain, and Paul's official remix of Ghost Town.

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01:07:28,120 --> 01:07:36,692
You only see what your eyes want to see How
can life be what you want it to be? You're

390
01:07:36,692 --> 01:07:50,826
frozen when your heart's not open You're
so consumed with how much you get You waste

391
01:07:50,826 --> 01:07:58,994
your time with hate and regret You're broken
When your heart's not

392
01:08:17,932 --> 01:08:18,493
You

393
01:08:26,336 --> 01:08:30,002
yourself to me

394
01:08:53,069 --> 01:08:58,674
You should know I suffer the same if I lose
you

395
01:09:06,254 --> 01:09:15,761
There's a bird she needs to fly Inside of you
die, you're frozen

396
01:09:46,582 --> 01:09:49,714
to me

397
01:10:29,750 --> 01:10:32,200
If I could melt your

398
01:10:48,822 --> 01:10:51,728
yourself to me.

399
01:11:20,270 --> 01:11:33,458
after 70 years that's it goes there for is to
unlock the around and criticize and sleep

400
01:11:38,510 --> 01:11:48,677
Until on a breaking wall I see you my friend
And touch your face again Miracles will happen

401
01:11:48,677 --> 01:11:52,434
as we dream

402
01:12:01,076 --> 01:12:02,357
We get a little

403
01:12:23,470 --> 01:12:23,858
you

404
01:12:27,029 --> 01:12:28,434
You are

405
01:12:45,838 --> 01:12:47,922
You'll have my nights with me

406
01:13:41,421 --> 01:13:41,842
So

407
01:14:01,400 --> 01:14:02,710
Another boy

408
01:14:10,926 --> 01:14:13,362
It's coming to you

409
01:14:20,174 --> 01:14:32,580
I you too well, and all of my lonely secrets
to you I tell The highest of highs, the lowest

410
01:14:32,580 --> 01:14:35,602
of lows I'll come driving with

411
01:14:40,906 --> 01:14:57,714
I'll come down, I'll come down, I'll come come
down, I'll I'll I'll I'll I'll I'll down, I'll

412
01:15:49,560 --> 01:15:50,290
Feel it on

413
01:15:54,360 --> 01:16:04,367
life's coming down like rain Wash away my
sorrow Take away my pain Your life's coming

414
01:16:04,367 --> 01:16:18,010
down like rain You're so burning mine and
you take the time to tell me how you feel.

415
01:16:18,010 --> 01:16:27,415
you listen to my words and I know you heard,
I know it's real rain. It's what this thunder

416
01:16:27,415 --> 01:16:33,778
brings for the first time. I can hear my heart
sing.

417
01:16:38,368 --> 01:16:51,643
Stand out here on the mountain top, till I feel
your... Hearing all the window pane Your

418
01:16:51,643 --> 01:17:04,409
love's coming out like rain Wash away my sorrow
Take away my pain Your love's coming out like

419
01:17:04,469 --> 01:17:16,358
rain When you looked through my eyes And you
said goodbye Could you see my tears? Then

420
01:17:16,358 --> 01:17:23,930
I turned real away Did you hear me say I'd
wait for all the dark clouds bursting in a

421
01:17:23,930 --> 01:17:34,333
perfect sky You promised me when you said
goodbye That you'd return when the snow was

422
01:17:34,333 --> 01:17:43,826
done And now I wait for the light I'll wait
for the sun And I feel your rain Feel it

423
01:17:43,826 --> 01:17:45,106
on

424
01:17:49,248 --> 01:18:00,677
love's coming down like rain Wash away my sorrow
Take away my pain Your love's coming down like

425
01:18:00,677 --> 01:18:01,298
rain

426
01:18:06,136 --> 01:18:08,050
Here comes the sun

427
01:18:13,966 --> 01:18:17,344
Stay with me

428
01:18:24,734 --> 01:18:34,358
Maybe it was all too much, too much for a man
to take Everything's bound to break, sooner

429
01:18:34,358 --> 01:18:43,801
or later, sooner or later You're all that I
can trust, facing the darkest days Everyone

430
01:18:43,801 --> 01:18:54,941
ran away We're gonna stay here, we're gonna
stay here Ah, ah, I know you're scared tonight

431
01:18:54,941 --> 01:19:08,113
Ah, ah, I'll never leave your side When it
all falls, when it all falls down I'll be your

432
01:19:08,113 --> 01:19:14,673
fire when the lights go out When there's no
one, no one else around We'll be two souls

433
01:19:14,673 --> 01:19:18,408
in a ghost town When the world gets...

434
01:19:24,120 --> 01:19:35,826
Just When it all falls, when it all falls
down We'll be two souls in a ghost town

435
01:19:40,750 --> 01:19:51,215
Tell me how we got this far Every man for himself
Everything's gone to hell We gotta stay strong

436
01:19:51,315 --> 01:19:59,409
We're gonna hold on This world has turned to
dust All we've got left is love Might as

437
01:19:59,409 --> 01:20:04,832
well stop with us Singing a new song Something
to build on

438
01:20:15,438 --> 01:20:21,451
When it all falls, when it all falls down

439
01:20:28,258 --> 01:20:29,426
To the souls in a

440
01:20:35,980 --> 01:20:41,298
Let's just hold on

441
01:20:46,466 --> 01:20:48,420
Two souls in a ghost town

442
01:21:02,702 --> 01:21:17,236
This mad, mad world, even with no Shine like
gold in this mad, in this mad, mad world

443
01:21:23,734 --> 01:21:30,296
When it all falls down I'll be your fire when
the lights go out When there's no one going

444
01:21:30,296 --> 01:21:34,834
else around We'll be two souls in a ghost town


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01:22:02,444 --> 01:22:14,576
Two souls in a ghost town You've been listening
to Like Amuse, Madonna, Renas's culture, the

446
01:22:14,576 --> 01:22:26,039
podcast. I would like to thank my special guest,
featured muse, Mr. Paul Andrews. My name is

447
01:22:26,039 --> 01:22:28,240
Kerry John Pointer. Thanks for listening.