We talk to leading producer and engineer Nick Brine about his rapid rise to working with major bands like Oasis, Stereophonics and The Darkness.
We also talk about guitars, amps, pedals and recording techniques.
Nick started his career at Rockfield Studios (Yes – the one where Bohemian Rhapsody was recorded!) and now has his own studio and label, whilst still working out of Rockfield.
Simon
Hi and welcome to the podcast, and today we have one of the UK’s leading producers and sound engineers who’s worked with many greats such as the Stereophonics, The Darkness and Oasis. Welcome Nick Brine.
Nick
Nice to meet you.
Simon
Just mentioning Oasis, I understand that’s the fundament of your your current project – Live Forever The Rise of Oasis.
Nick
Yeah. The new musical. Yes, I got asked to be involved in that. It’s just the latest thing I’m involved in is kind of musical supervisor. I’ve overseen all the production of the show and trying to get it to as close to the original sounds and production as we can for the various scenes and throughout the show.
Simon
How did you go about that? Just give the guys the same kit that you used with Oasis?
Nick
Yeah, we were going into Rockfield to record some stuff and we can actually set the band up in exactly the same positions. All of the microphones are still there so I can set it up exactly as I did. At least for What’s The Story anyway.
Obviously Be Here Now we did lots of different studios but for the tracks from that album which are in the show. And kind of strip it right back to getting the sounds in the same room using the same kind of amplifiers as well and same guitars, same effects pedals.
So it’s just honing in on kind of how they got those sounds and trying to make it as kind of really sticking as close to the recordings as we can when they take that out live then.
Simon
Was there any one thing that you struggled to recreate?
Nick
Not really. I mean the rooms at Rockfield are quite iconic. I mean you’ll struggle to recreate somwe sounds in a theatre because we have a lot of big rooms so a lot of the sound was the room mics and we’re recording things in the corridor and stuff like that.
So you won’t get that ambience, but no it’s pretty much just dialing in the tones for them and helping them work on the selecting the effects pedals.
Luckily I’ve got lots of notes dating back to the record so I can kind of pull up the notes and kind of see what amplifier we used on which overdrive, what settings we used, what pedals, what guitar, that kind of thing.
So there’s a lot of notes knocking about that I could call on to kind of present to the guys.
Simon
So, your involvement with the musical, was that by virtue of the fact that you had actually previously recorded Oasis? So you were obviously, I assume, the go-to person for that reason?
Nick
Yeah because it focuses on like the first three years of the band. I didn’t work on Definitely Maybe, but I met them at that time.
I was working with the Stone Roses in Rockfield at the time so I met the band and knew them at that time hearing the early demos and the early recordings. But I was involved in What’s The Story and Be Here Now as the engineer on those albums so that’s when the kind of the show goes up to, up to the end of that kind of period.
So they said I was the obvious choice. There was only kind of two people who were always in the room for every day of those sessions and that was me and Owen Morris and they didn’t think they’d get Owen Morris to agree to do it so they asked me to oversee it. And yeah, I mean there was other people kind of around but in a technical form. It was only me and Owen who were on kind of every day of those sessions for both those albums.
Simon
Wow, that’s amazing and the musical is that starting soon?
Nick
Yeah, so we have a launch night in the Cavern Club November the 7th and the tour kicks off in January.
Simon
Right, and you would be involved in the tour?
Nick
Yeah, yeah, so I go to the production rehearsals and then go to the first few nights just to kind of fine tune it and oversee it and just get a feel for how it’s coming across and what we can change as we go through. Taking that forward to bigger shows then later in the year next year.
Simon
Oh, okay, that’s great. Well, I’ll certainly look out for that one.
So you’re a man with many projects on the go. I’ve been doing a bit of research and seeing about flip-flop records and Leaders, well, Leaders Vale and Leaders Farm. So it would be good to know a bit about those.
Nick
Right, well, Leaders Farm was a studio that I had in Norfolk with Dan Hawkins from The Darkness so we designed and built that studio, which we no longer have but that was how the kind of leaders brand started. That was a really successful studio working with lots of great bands. So we kept that kind of brand going when I relocated back to Wales we built Leaders Vale. And now we’ve recently actually moved from there to a bigger premises.
So we’ve got much bigger studio now because the kind of label was taking, off so that’s going to be our label studio so that’s kind of Flip-Flops headquarters that’s our offices, our label studio for recording all our label bands. Because Flip-Flop Records seems to be doing quite well.
We’ve had some success with young bands. It always existed to kind of help young bands kind of get deals and get management and get them further up the ladder. But the band started wanting to stick with us for a bit longer, and kind of started having charts success with their physical releases and things like that.
So concentrating a little bit more on the label now and ended up meeting a few people and assembling a really good team so it made it possible to kind of do it a bit more seriously really.
Simon
So who have you got on Flip-Flop?
Nick
So we’re currently in the middle of an album with Dodgy, 90s band Dodgy. Great band, great songwriters, great people.
Then we have the355S who kind of great indie band, been supporting lots of bigger bands like Ocean Colour Scene and things like that. Do a lot of festivals, a lot of their own shows. We’ve got Kitten Pyramid who always out and about, really busy and the interesting band. We’ve got the Rogues, young band from Newport, just done a sold out show in London at Banquit Records. So that was really good at their venue.
We’ve got Sahaji, known as the Japanese Oasis. Two brothers, I seem to have a thing for working with brothers.
Simon
Are they getting on okay together?
Nick
Yeah, they do actually. They never used to. But then they kind of patch things up and they’re really good and he’s kind of a bit, you know, he’s worshiped kind of Liam since he was a young kid. So he’s kind of got lots of Liam’s mannerisms and traits and it’s very kind of interesting working with him. He loves the band.
But yeah, they’re working on their album at the moment. Yeah, the Bartels, another great indie band. So yeah, we’ve got a good mix of bands on there. It’s mainly, it’s all guitar bands.
Simon
Okay – that’s a fantastic segway into my next question actually, because I was going to ask you, and I’m sure that everybody who listens, you know, that the typical customers that we have are primarily guitarists.
So, you know, what’s the secret in terms of getting the great guitar sound, you know, where do you go? How do you start?
Nick
I mean, I’m still very much amps, amps and microphones and the room you put the amplifier in. I do take a DI feed straight in and sometimes we amp afterwards, but I’m still kind of calling on like a classic Fender Twin. I’ve got an AC30, I use an old Marshall JTM. So I’m still amps and the guitars and we have a good selection of guitars at the studio so that some of the younger bands who maybe haven’t got access to that kind of thing.
So yeah, I like to crank it up. And when you’ve got those great rooms at Rockfield, it makes sense to kind of put a mic up the room. We’ve got great preamps. So yeah, I’m still very much using amps, mic and other. Sure. The odd artist I work with and if I’m kind of working on parts for a band, I might kind of use the Kemper straight in.
I’m still using a physical piece of hardware as opposed to just going in and using a plug in. I like the Kemper. I’ll use to do a lot of stuff on the Kemper. And yeah, I do a lot of stuff with the band Thunder and Luke Morley started using the Kemper for all the recordings now. And it was him that kind of opened because he’s obviously known for his guitar tones and his kind of classic kind of sounds. And it was him that kind of opened my eyes to using the Kemper and still kind of getting those big guitar sounds.
Simon
Right- I ask this with a certain amount of self interest, but you know, for the person who’s sitting in their spare room with a with a small amp and a guitar and an SM57, are there any particular things to watch out for – any tricks and tips that you could tell us?
Nick
If you’re in a really small room and you can’t crank it, then sometimes you are better off going straight into your desk /kind of whatever you’re using. And but yeah, a 57. It’s all you need. I’m still using 57. Let’s buy something else. Let’s see what we can use. We always come back to the 57. I mean, I’m usually using it with a condenser or something as well with a U87.
But another another if you after something different, a little bit more bite, maybe in the mids, then maybe if you can afford one get like a Sennheiser 421 instead of the 57. And with the rock stuff, I still like doing the two 57s together and flipping making sure the phase line flipping the phase. Yeah, so the two 57s, but it’s difficult if you can’t really crank it for using kind of amps and lists, but there are good amps out there now that you can use it.
You sound great quiet as well, you know, and being using the guys at Boss sent me the Katana down. Yeah, really liking that one of the small spaces at home and stuff like that, using that to get really good guitar sounds out low, you know, at low level.
Simon
Sure. Also, when you’re recording guitar – the typical guitar type of effects, the chorus, phase, flange, would you typically use a guitar pedal for that or use outboards, you know, put it on after the event?
Nick
Yes, a bit of both really, if we’re not 100% sold on where it’s going to go. I’ll record it without and then sometimes I’ll then reamp it from the DI feed that I’ve taken and run it through effects pedals and then record that back in other times.
If we know it’s the sound we want, I’d like to use the pedals. And then I’d like to use the pedals and fortunately most of the bands I work with do. It’s great to see bands coming in with pedal boards again for years. We didn’t really see any pedals in the studio and now again the bands are coming in and they’ve got fantastic pedal boards again and they’ve built the boards themselves and they’re all really well put together. So a great selection of pedals is really nice to see. They’ve happened again the last couple of years that the guitarists are really thinking about their sound and putting the pedals collection together because for years I think guitars became lazy and thought well they can do it in the studio, they’ve got all the plugins, they’ve got everything. We don’t need anything. I’ll just turn up with my guitar and amp but sometimes not even with an amp. I’ve definitely seen the bands again really kind of working on their sound and coming back to pedals.
Yeah. That’s good news. Yeah, it is good news. Yeah, I mean I’ve got my collection which I’ll take to sessions or which are in the studio. Kind of like my tube screamers. Kind of collection of tube screamers actually. Jim Dunlop, Wah. The Cloudburst reverb is really good. Yeah, I love the MXR pedals like I’ve got the compressor and the booster just to give the amp a little bit of bite. What else is in my board? It’s, what else? We’ve got the Boss Overdrive. Yeah, lots in there and I’ve got lots of Electro Harmonix stuff as well like the old ones. Right, yes. If you’ve got those pedals, I mean you always think you can recreate that with the plugin but when you actually plug the pedal in and actually work on that sound, it’s the musicality of it. It’s just like that. But if I can use the pedals then I will.
Simon
It’s funny actually because I was fortunate enough to get one of the old Sovtec Muffs recently that I’ve just been playing around with, and there’s some, a certain sense of immediacy that you don’t get. Yeah. I think it’s just great actually. I’m looking to my left because it’s just sitting next to me but yeah.
Nick
Yeah and the way that the band responds when there’s a pedal in front of it, what you can then, the things you can get out of the amp which you just don’t get by doing it the other way around on the computer afterwards. Yeah. Yeah, so I mean yeah, experimenting and guitarists are into it again now, you know, they want to get the pedals out, they want to crank the amps up so it’s great.
Simon
Brilliant, I’ve got to ask you Nick about, you know, you’ve done some obviously terrific and world class work. The journey getting there, you know, what was the first thing that got you into, well, I guess, a) music and then b) production and engineering. How did it all start for you?
Nick
Well, my mum was really into music so it was always music on in the house, it was always kind of classic singer songwriters and the Beatles, things like that growing up. So Bob Dylan. So I had kind of introductory to music that way. And I was in the choir, I could sing when I was a youngster so I was in the choir, learned a lot from the school choir.
And then my older brother was kind of in, I was listening to kind of the stuff like classic stuff and then my brother was into rock music and it was through hearing the music coming from his bedroom. And I was kind of getting into that really, and he had older mates who were all rockers. And so I was being introduced to all this great rock music. And then stealing his records. And then, yeah, I start when I went to comprehension school, my best friend was heavily into rock music as well and we just that that was, as a way we went to every single gig – you can imagine our parents must have been pulling their hair out.
One weekend it was my parents turn the next week it was his. We were going up to the NEC, we were going down to London or Cardiff or Newport Centre, wherever we could go, just went to see every band. So that was, I’ve kind of got heavily into music that way.
And then started playing in bands and had my first guitar. And I can still remember going into the shop and buying this Satellite strat copy came with a strap and a cable and a little lamp. And I could, yeah, but very quickly I could play and started, I went for about three lessons and then I started showing the teacher kind of songs instead of the other way around.
So, yeah, I could just play and started in bands. And from there, obviously I knew about Rockfield I grew up in London, which is where Rockfield is. You see, right? So you kind of you’d walk around the town you’d be, you know, you growing up you’d see Robert Plant, you’d see Adam the Ants walking around or you’d see whoever it was in the studio at that time – growing up you’d see him walking around town.
It was kind of, I knew it was there but I hadn’t really ever thought about going to work there. But then I got into recording through my band and started buying four tracks lots of Tascams were my favorite. So yeah, Tascams over the Fostex and I had every kind of Tascam four track going by driving my band that’s recording rehearsals trying to mix it afterwards getting into experimenting with it. So getting into that. And from there, so that was my love of recording our band started going into small demo studios and I was starting thinking this is this is cool and I kind of really wanted to get involved in making the records was everyone else in the band just wanted to turn that kind of play and then have a few beers and play into the name.
But I was more about how can we make how can we change our sound sculpt our sound. And then it was purely by accident walking down the street one day and saw an old friend of mine a guitar player great guitar player from from on the. And he’d got a scholarship. The Guitar Institute in London. And he said so and he’d been working at Rockfield for a couple of years and he said I’m going to be leaving to do the scholarship. I think you’d absolutely love doing what I’ve been doing. And I think you’d be a good fit for them. You’re a musician you’re into recording and we played a few times together and stuff so. And he said I’ll sort you an interview.
I think I just finished one exam so I was walking through the town and I was in the middle of my GCSEs. And I thought well I’ll go along and know what to expect went along got interviewed. I didn’t actually get interviewed because I didn’t say anything at the interview. As Kingsley’s mad as a box of frogs who owns Rockfield. So he got me in and he just talked to me for like 45 minutes about the music business how terrible it was don’t get involved in it go home university become an architect.
I think he must have been having a hard time from American producers at the time because he was particularly harsh on American producers. He was okay. And they knew my family – my dad owned a taxi firm in Montmouth and he used to drive Robert Plant around quite a bit and he used to pick up the bands take them to the station or pick them up from the airport or take them home from the pubs.
So they knew my dad always buzzing out of Rockfield at all hours and picking up Robert a lot of time. So they knew my family and he just said if you do decide you want to do it, give us a call and at the time I got home I decided that I wanted to give it a go.
I just thought at that time I thought well I’ll finish my exams it’s the summer I’ll give it a go over the summer see how it goes and if I don’t like it. Yeah. I’m going to go to my place in the sixth form because I planned on going to sixth form and then university so and that that was it.
I finished my exams on the Friday started at Rockfield 10am on the Monday. They basically handed me a set of keys I walked in the room I didn’t have a clue what I was going to be doing what my job was what what was expected of me.
It was Andy Wallace was the producer and standing in front of me who just done never mind. And so I recognized him and was like since the guy’s just never mind is Andy Wallace and the band was Sepultura.
And it was Chaos AD their album, which they’re kind of big album and yeah that was me at 16 straight into the deep end with Andy was brilliant. And I was like months with with him there and he’s absolutely brilliant with me explaining how to be a great assistant how to be a good tape up showed me how to run the machines.
Yeah. He showed me how he got the Never Mind drum sound and everything. Yeah and that was everyone just said you know I had no idea they were like where’s Brino gone, we haven’t seen him all summer. I just disappeared because of course we were working days and yeah. That was me I was on 29 pounds a week. I didn’t I didn’t have to stay the night, but I did. I just stayed there as long as I could and then I’d ride a few miles home on my bike to get home and then come back the next morning and just was there the whole time.
Simon
Wow. That is an amazing start because I must admit when I was researching this, I saw you know “Nick started his career at Rockfield Studios” and I thought well that can’t be right there must have been something that happened before that but clearly not!
Nick
No well there was not really any courses or university courses you could do, online courses didn’t exist so, your way into the industry was like an apprenticeship or just starting out at the bottom and I was just lucky that my local studio happened to be Rockfield and, I guess I was living in the right place at the right time and I think I came along at the right time because Rockford kind of been struggling for a few years because the music scene or how it was in the late 80s early 90s and then the Stone Roses came back there and kind of turn the fortunes around for Rockford again kind of put it back on the map.
That being the start of that whole 90s movement and I just had to come in right there. The Stone Roses was then one of the first bands. I got put on two of their session and then Rockfield just became the birthplace of Brit pop and it was number one album after number one album.
Years and years of all that genre and I was starting out at the beginning of that movement really in in the one place where it was all happening.
Simon
So the movement or the transition from tape op, to assistant engineer to producer that all happened at Rockfield?
Nick
Yeah, it did. I was going into other studios with my band as well and I kind of started running the sessions I got to know the studio owners who were the engineers in the smaller studio. And I started running the sessions then. But what really helped me was the Stone Roses session was 14 months and it was right at the beginning of my career.
And they weren’t really doing a lot for those 14 months. So I had basically the engineer Simon Dawson said to me well the best way to learn the studio is to get in the studio record it. Record yourself and just learn, learn, learn. So he did a lot of time with me and then he taught me and let me bring my band into the studio when the stone roses weren’t there. So we’d come in and we’d be on the Stone Roses kit.
My band were massive Stone Roses fans and they sat behind Renni’s kit and I’m on John Squire’s guitars and amps and his Mani’s bass is all set up. And he got to go in and just use their setup because they weren’t there. They’d go home a lot of the time. There’d be weeks on end where they didn’t do anything. So I’d go into the studio and that was 14 months of that and I kind of fast track that was I had this student this fantastic studio and to go into it and pretty much any time and kind of learn how to produce an engineer with Simon Dawson mentor and me through that as well being there to help me through it.
And then in 12 months I was kind of away and engineering and and then started producing bands pretty early on as well because a lot of bands wanted to go to Rockfield but couldn’t afford these big producers who were making these records with bands like Oasis and so on. So they asked for me because I was the guy on the sessions sometimes just as assistant or taking sometimes in house engineer. So they’d asked for me to do their records and then I was producing all of a sudden.
Simon
Terrific. And now that led on – You’ve got Leaders, Leaders Vale or Leaders Farm is your current?
Nick
Well, it was – I mean I’ve had various studios over the years and built various studios for people as well. I built a studio for Guigsy from Oasis, and built a studio with Dan from The Darkness. I’ve got studios for other artists as well. Sea Sick Steve put one together. And colleges and schools and things but yeah, so we did Rockfield and then I’ve always stayed at Rockfield and I still work out of there.
90% of my productions are still done at Rockfield tracking wise and then I might do overdubs and mixing either at what was Leaders Vale but it’s now flip flop the new studio. We’ve got two studios here in Spain because I’m living in Spain – is a very hot in here it’s like 33 degrees today still in the middle of October. It’s boiling. I haven’t got the aircon actually should have it on but it’s roasting in here. But yeah, we’ve got two studios over here which is doing well.
This farm was the first kind of big studio that I built a full residential eight bedroom residential studios a bit like Rockfield. Well, that became successful really quickly we had Seasick Steve, Artic Monkeys, Katie Tunstall, all these great artists and propelled us kind of up the ladder pretty quickly in terms of UK resident.
That became so busy that I was still driving back to Wales to work at Rockfield because I can get in my own studio in Norfolk. But yeah, but always I left I kind of left Rockford to go freelance for Be Here Now because I was more I said well you’re going to have to come and do Be Here Now with us and that’s going to be six seven months or whatever so I had to leave being an employee of Rockfield at that time.
So since the age of 19 I’ve been freelance actually but I’ve still gone back there and they still call me in on sessions and still kind of like very much in house producer engineer there as well for them.
Simon
I guess it must be quite a jump to go from sort of well engineer producer but to actually designing a studio. I mean, always it was just based on your experience of what works and what doesn’t in different studios.
Nick
Yeah, I mean Dan Hawkins is, you know, he made great records with The Darkness and has loads of experience working in lots of different studios as well so we just kind of sat down.
He bought this amazing space that was just perfect to build a residential studio converted barns and spaces the way it was laid out. And so what we sat down and took all the best bits of our favorite studios and thought how can we take that and put it into the space that we’ve got here just from experience of years and years of working in studios what we liked what we didn’t like the workflow everything like that how we wanted separate rooms for amplifiers and what kind of ambience we wanted to put it obviously heavily heavily focused on guitar sounds obviously working.
Yeah, and it just worked and it had that magic and people would come there and say oh it reminds me a little bit of Rockfield and this reminds me of the Manor who’s great iconic kind of residential studios and it just worked and people people loved it.
Simon
You mentioned it’s all primarily guitar focused I was going to ask are you a collector of guitars and bits of kit?
Nick
Unfortunately, yes.
Simon
Most people say yes!
Nick
Yeah, I don’t know I think I’m up to probably 27 guitars I think over 100 pedals. Okay, about 40 amplifiers I think. And then they’re housed in like we’ve got the Flip Flop studio is a load there there’s some behind me here in my house. This is where I predominantly do my editing and mixing in my home studio. And then there’s some we’ve got another studio of the road, there’s some of the amps there, some of the guitars there, some down at Rockfield because they kind of spread about the place. Some are in storage. So some aren’t mine they belong to people who work for me.
Okay, thats’ the official line to my wife but yeah I do I collect. I find it hard to part with a guitar even if I never really use it has a memory or I think I just can’t I find it hard to really part with them. And if I see something that I think is a good deal or I think I’m doing it working on a particular record that a certain pedal would work on. And one comes up. And yeah you have to you have to stop scrolling don’t you because you buy things that really shouldn’t. Yeah and outboard is well old outboard gear and microphones or tools of the trades you always think we’re buying tools something you’re going to use something that improves you as an engineer and producer. But yeah guitars are definitely on pedals or weakness.
Simon
I’ll ask you an impossible question any favourites in terms of guitars and pedals.
Nick
Yeah, I’ve got a 90s Les Paul Studio, which I just love that at that period when Les Pauls were just perfect for me in the 90s and that just plug it in and it’s just great and just love it and it’s got a lot of memories like tiny way but. And then I’ve got a 72 SG. Which is fantastic again just the way it plays it just that one is the nicest guitar to play I think that I’ve got. Got a really nice Martin acoustic which I use for writing because I just find that as soon as I pick that up it something happens and I’m able to write maybe some of the others doesn’t quite come as as quickly but with that Martin it’s just got something that connected in some way.
Yeah, those are kind of my I’ve got an old Tele as well which has been mashed up and so with a different neck and it’s different pickups now it’s been battered around for anyone who plays it wants to buy it from me. Yeah, once they plug it in there about all sorts of offers from it. But yeah, I don’t want to sell it.
You may not know this but I’ve got a guitar that Noel gave me years ago. No, it’s one of the guitars that he used to write a lot of those iconic Oasis songs on and I did the MTV unplugged show and Knebworth and things like that.
Yeah, it’s kind of an iconic guitar and gave me that years ago so that’s kind of like my party piece I suppose. Well, you can’t get it out now because it’s with too much money so you have to kind of keep it under lock and key. That’s a Takamine acoustic. So, yeah, that’s the most iconic piece of fantastic equipment I’ve got.
Simon
That’s amazing. And wow, that is amazing. So what does the future hold then Nick? I mean, you’ve got obviously lots going on all the time. But is there anything on the horizon that you’re able to tell us about?
Nick
Well, obviously things have gone a bit mental since the Oasis reunion and my phone didn’t stop. Obviously journalists and radio stations and press and everything for weeks and weeks it was incredible actually and the people I was speaking to whether it was in Argentina or Australia or Japan, they all had the same thing.
They’d never seen anything like it and the websites crashing the spikes in the radio state programs. They’d never seen anything like it. So I’m busy now. Obviously lots of bands have come my way. What it has done is I think it’s inspired a whole new generation of young people to pick up guitars again. I’ve got young nieces and nephews and they’re really, really into Oasis and discovering other music from the 90s is like my 60s now.
So I’ve been discovering all these young kids discovering these bands and I’ve seen a massive increase in young bands, guitar bands wanting to put the studios, wanting to kind of work with us. So I’m going to be busy with lots of things, but also the label I think we’re going to really push now because we’ve got a really good collection of bands on the label. So I think I’ll focus next year on the label. So I’m going to be putting a lot of work into the label and coming on to the label as well as the bands that are already there, bands like Dodgy and there’s a few more kind of established artists working on a record with Max Rafferty who’s in the Kooks. Fantastic record actually, amazing record. Hopefully put that out on Flip Flop next year. So that’s in the pipeline.
I’ve got a book coming out next year which is all the stories from the last 31 years now. Look out for that. Yeah, but I mean, because there’s lots of stuff I’ve done outside of Rockfield as well, like, you know, to work with like Bruce Springsteen and stuff in New York and there’s lots of major artists in the book, everyone from Michael Jackson as I say to Springsteen and there are loads of cool bands like Teenage Fan Club and the Beta Band and obviously shenanigans with the The Darkness and Oasis and some of the great pop bands and the Arctic Monkeys sessions and things like that.
So yeah, there’s lots of great, great things. It’s kind of a fly on the wall of what it’s like to be in the studio with those guys as well as some technical aspects to it, how we made those records, what studios we went to, why we went to those studios, crazy things that happened while we were there.
Yeah, so the book could be concentrated on the book next year, obviously the Oasis reunion and the musical as well, you know, pushing that, hoping that, I mean, obviously the reunion is coming along at the right time for the musical. Yeah. It’s great. You know, it wasn’t intended that way, but no, that kind of happened afterwards, the reunion. So yeah, it’s great. So hopefully that’ll help propel that and make that popular next year. And I’ll be really busy with that as well.
Simon
Sure. Sure. Well, Nick, that has been more than fascinating. Thank you. Thank you so much for taking the time. I can only wish you and the cast good luck for 7th at the Cavern. And well, thank you so much.
