Brett: So what's this for, then?
Interviewer: This interview?
Brett: For N... Not for N.B.C?
Interviewer: This is for the Westwood One Radio Network, and Brett, you're from Suede. Thank you for being here... (nervous laugh)
Brett: That's fine.
Interviewer: That way our lawyers know you've agreed to do it! (laughs)
Brett: No, no, there's a piece of paper out there I've got to... so this is a branch of, um...
Interviewer: Westwood One
Brett: a branch of N.B.C, yeah?
Interviewer: For N.B.C.
Brett: Right
Interviewer: and er part of buying the radio network was that they would um continue to a) use the logo, the N and the peacock, and also use the bureaus overseas.
Brett: Right
Interviewer: So whilst we're owned by Westwood One, we still use the same facilities
Brett: Cos we were wandering on the street looking for somewhere else, and saw N.B.C. and didn't think it as anything to do with it
Interviewer: Yeah
Brett: so it was.. I don't know
Interviewer: Well, here we are, um, as I say, thanks for coming in
Brett: Fine
Interviewer: Well we've spent about a year trying to get hold of you; you're elusive. Suede have had a brilliant year since the album came out (their debut one!)
Brett: Yeah
Interviewer: Looking back on it overall, how do you feel yourself, are you, are you kind of surprised that things went so well for you
Brett: Um, errrrrrr, no! Not really. Er, they were going... it was kind of... What's the word, when you... there's dots on a, you've got a curve, on a graph and you extend... extrapolate! It's like that. It started off the way it started off, um, it was always heading towards going like that. It's kind of quite relatively easy I think in music to get to, um, to get popular quite quick, and to get success quite quick. I think it's maintaining it that's the trick. And that's the real skill and that's the real test. And that's what we kind of working on now, really.
Interviewer: Where... What point... What point do you think it was at, at where it turned from the nude Records, kind of indie band scene to you becoming the darlings of New Musical Express and Melody Maker and suddenly having chart records here in the UK?
Brett: Um,
Interviewer: At what point did you think you saw it change from one to the other?
Brett: I think it kind of, we kind of, it was kind of the release of our third single, Animal Nitrate, around that point. Um, we had... we went from being pretty much just a fan base, er, kind of band. Like lots of bands who get in the N.M.E. and stuff, they've got a big fan base who go out and buy the record and gets to high in the charts, and next week it's straight out. We went from that to actually, um, making a record that kind of like got into the public's consciousness kind of thing. And stayed 2 weeks at number 7, and then gradually went out, rather than stuff like that. And we had a lot of exposure around the time and we started to become kind of like household names slightly in England.
Interviewer: What are the influences of the group? I mean you've got a sound of your own; I don't think that there are any other bands that are in this kind of genre at the moment.
Brett: Um, what kind of genre is that?! Our genre?
Interviewer: Well, I mean, I'd hate to describe it cos I'd probably get it wrong, and might insult you, ha! I mean, it's kinda hard and rock and a bit of garage and a bit of grunge and a bit of pop all thrown into one, really. I hope that's a reasonable...
Brett: No, I think I think our strength is we're quite universal about our tastes. People like to pin us down, like sort of journalists and anyone like that like to pin anyone down, put them in boxes and categorize them and file them off under non-dangerous, cos that's what you do when you do things like that. But I think our strength is we've got extremely effective tastes, um, from Prince to, to to Kate Bush to the Beatles, to blah blah blah... you know, I'm a big fan of a lot of British bands, British rock music throughout the ages, The Jam and The Smiths and things like that, but that's not... I think we've got just as much, just as much influence by a band... than influence... just as much by bands from America as from England.
Interviewer: You know the whole indie route in this country in the UK., the independent record label will seem to be the way to go. I suppose it came out of the whole Punk thing
Brett: yeah
Interviewer: back in the seventies. Is there really an independent scene out, cos those labels seem to been bought up the big... the big five...
Brett: It's a... It's a... I think it's a bit of a farce, quite honestly, it doesn't really mean what it used to mean and it's just a kind of... they're hiding in the remnants of something that used to exist. Um, I think indie now means, doesn't actually mean 'independent' at all; it means amateurish. Quite honestly. I'm not a huge fan of indie music, as it were. I don't like it when people call us an indie band. I find it quite insulting. To me it means bands that can't play their instruments very well and can't write songs very well, and don't make very good records. There are some brilliant bands that have sprung out of that scene, but like out of any scene there's always going to be, always gonna be bands that cut their way through. The Smiths were probably the best example of a brilliant, truly brilliant band who happened to come out of an indie scene. Um, we happened to be signed to an independent label in England, but it's got nothing to do with any loyalty to some kind of scene, it's because we work well with and trust that we work with in this country, out of our record company.
Interviewer: I was mentioning earlier, at the beginning of this interview, that, er, it's been a long while since we tried to track you guys down. Now you've been inundated with requests for interviews, to do promotion, to do television and radio, magazines, shots, you name it. And you've turned some down and agreed to do others. How have you greeted that kind of publicity, being in the limelight. Have you hated it? Have you liked...
Brett: No... people.. There's a sort of 'big thing' these days about honesty in music and stuff like that. I guess it's a reaction against the 1980's when everything was kind of stage managed and pop stars were kind of like puppets and marionettes. And their stylist decided how they should look and stuff like that. Um, of course, when you go that far it all becomes a completely sickeningly vacuous affair, but there's a great deal to be said for the public face, you can do a lot with it. You can... you can influence people in a positive way with it. And being a public figure, being a spokesman, you can... use your power in quite a bit. And you can use it in political issues and things like that, and social issues which if you don't have any sense of how to... use the media and stuff, It's pretty pointless doing it.
Interviewer: When your solo album, er it's not 'your' solo album... but when the band's debut album appeared on the scene, you know, a hail of publicity, you were on the B.P.I. music awards, a rather irreverent performance in front of a lot of bow-ties... I don't think they quite got it, did they?
Brett: That was the idea, really.
Interviewer: But suede have sort of been the darlings of, of the scene... the downside of that is that in this country, in the UK, they build you up and then come along a little bit latter and knock you down.
Brett: They do if you are purely created by them, but if you've got a strength and existence beyond the music press, then what can they do? The have built up and knocked down scenes, things like shoe gazing and stuff... but really it was quite weightless music, really. And it was really the music press's own invention. I think when it comes to scenes they do that. When it comes to an individual band is built up, I think it's difficult for them to knock it down. They can try, but I think it would be quite difficult. As long as you're making good records, what can a piece of writing do?
Interviewer: Since you were formed, the band, Suede, how's the touring and life outside changed? Because you've now got a record, an album with songs on you've built, and I don't think you sing all the songs from your repertoire now, do you?
Brett: No, we don't play, we don't play lots of the songs from the album, we play lots of B-sides and things as well. It depends how you can breathe life into it. You know, how it's changed is that we don't just stand there and play the songs kind of note for note... there's a looseness, a bit of... in lots of the songs the songs kind of turn into something else. And that's the way, I think, the key to success when you're playing live is to reinterpret the songs. There's no point in standing up there and playing a version of your record. You've got to breathe new life into it. Especially if your playing night after night. Um, it's really... playing live always has to be about going forward. As soon as you start going through the motions, then you really might as well not bother.
Interviewer: Do you think you've changed, since the beginning?
Brett: Yeah.
Interviewer: The kind of style of presentation
Brett: Yeah.
Interviewer:...the renditions of a song?
Brett: I do, yeah. I think that's a good thing. Um, I think the song writing style has changed; the arrangements and stuff have got lot lusher and things. I know our ambitions have got a lot higher, our musical ambitions, not our career ambitions. In terms of like...
Interviewer: What about your fan base? Sorry, I interrupted you. Go on..
Brett: no….
Interviewer: In terms of your songs and career base...
Brett: Yeah... I think we've just got a lot more ambitious about things. We've a lot of things that earlier on in our career we would probably have been scared to do. Because they didn't fit in with some kind of ideology we had about ourselves. But now I think we've become a lot more universal about things, and a lot more willing to embrace music, rather than cultural ideas. When you're in a band in Britain, I think, in the kind of sector of music we've come from, you're very snobbish about music; you have very kind of high fluted ideas about what's good and what isn't and you almost think 'that's not good because it doesn't fit into my idea of what's good'. But, I think, the privilege that success affords you is that you see things in a much more generous way. I've actually learnt to love lots of music that before I would of decided that I hated. Things like Jazz and stuff like that, I now listen to that and thinks it's brilliant. And before I would of only been able to listen to the Sex Pistols or something. You know what I mean?
Interviewer: Yeah
Brett: You just kind of... you can just expand. I think that's incredibly important.
Interviewer: Your fan base has changed and increased, obviously. When you first started the people that came to your gigs probably came to every show, knew the lyrics to all the songs, knew you inside and out. Now your fan base is people that have bought your records, has increased across the world, and maybe not necessarily understood, or understand you for literally what you're saying. How do you feel about that?
Brett: I don't mind at all. I think it's a symptom of success, that you get people who are involved on the prehifery of things when you get successful, and it doesn't bother me at all. Of course, it's incredibly important to have a hard-core of followers that understand intrinsically and listen on every note. A lot of the stuff we do is actually just for them. But it's important to make music for people who aren't obsessed by music, because it's important to write a good tune. I don't just want to appeal to a small minority who are obsessed by us; I find that quite depressing if that's the only people we appeal to. That's not the idea of the band at all. My favorite bands have always been bands that have got into the public consciousness, that haven't just been cult bands. I don't want to just be a cult band; I don't see there's any point in it.
Interviewer: In your biography... I've always been intrigued by biographies, because I wonder who writes them, and wonder if the band have anything to say at the time. None the less, I'll quote from it, and see what you have to say about it. In one of the paragraphs, it talks about the debut LP. and how it had been hailed as eagerly as 'Never Mind the Bollocks' with the Sex Pistols, which to me in a way was a ground breaking record. I'm not saying that your's wasn't, but er, that's quite something to be put in the same category as such an effective record as the Sex Pistol's was. Er, how do you feel about that? Did you have anything to say about that in the biography (laughs)?!
Brett: It was something that was in the biog... I don't really read them... but I think it was in there because it was mentioned by some journalist in the Daily Mail, I think it was Tony Parsons who said that. And it was anticipated in the same way, I guess. I think that's a pretty big complement. I think 'Never Mind the Bollocks' was a brilliant record. It was the first record I ever bought. So it's quite special to me. Um, every self respecting degenerate teenager should listen to it.
Interviewer: With John Lydon, the lead vocalist in the Sex Pistols was degenerate maybe, I don't know... um, he certainly knows how to talk to the media.
Brett: Yeah, he's brilliant.
Interviewer: Have you learnt any lessons from him on how to behave and how to carry it off?
Brett: I guess so yeah. I guess so. Not deliberately. Not kind of, not kind of explicitly. I don't think anyone would say that I'm a kind of version of him. I think he's a brilliant... he's a brilliant 'player of the game'. I love that. I've got a hell of a lot of respect for him. I think he's really cool.
Interviewer: Someone said to me they thought the music of Suede was 'teenage angst'. Do you agree?
Brett: Um, some of it is, yes. There's a lot... There's a high proportion of it which deals with all of those romantic issues that slug away at your mind when you're going through puberty. Yeah. But some of it isn't. Some of it's more relaxed. Some of it's simple pop music, which is important to do as well. Some of it is torch-bearing and some of it is... I dunno.... bum-bearing(!)
Interviewer: Bum-bearing!(laughs) Is it autobiographic? Are the songs, like Animal Nitrate...
Brett: To a certain extent, yeah. I mean people ask me that because, you know, a lot of people ask me that cos they want to say 'Ah, you're writing about homosexual... Are you homosexual?' You know what I mean? I say it's got nothing to do with it, it's none of your business. But, um, they're autobiographical in the way that, in that they're parts of my life, whether it's my life or my close friends life. I feel the things that are going on. And lots of the songs aren't pages ripped out of my personal diary, they're to do with my friends and things that I see happening. But they're just as autobiographical. I can't write songs that I'm not completely involved in, that are complete pure theory. That are things like essays that are about some sort of person who lives in Venice; I don't feel it. I have to feel the soul... I have to feel the subject matter. So they have to be autobiographical in that part. But I've got quite a lot of scope when I think about things. I don't think about myself as necessarily myself. I do put myself in different situations.
Interviewer: This travelling, I mean, since you released this debut album, you've travelled a lot and seen a lot of the world. And met a lot of people from different cultures and languages, for example. Has that changed your perspective on writing, because, I think it's true to say the original songs you wrote were from where you grew up and the vision you saw from that point of view.
Brett: Definitely. It's definitely changed it. Um, I'm not sure how yet, but I know part of my mind has been changed. I don't know how, but I've been writing some song recently and I haven't noticed a huge... all the songs I've written aren't suddenly going to become accapela, or you know, with a samba beat or anything like that. But, um, I think so definately. There's a definite sense of universal spirit. I don't know how to describe it... that sounds really pretentious, um, the songs we wrote early on were a product of our lives, um, a document of my life, and whether that's good or bad we're not holding... We happened to be born in England and so those are the sort of songs we write, I don't hold England up as a huge model to be copied in any way at all. I think in lots of cases it shouldn't be. I think it's quite a sad place, in this day and age. But, um, I happened to have live in England so the songs come out like that. I don't think they're going to come out the same any more cos I'm kind of, my life's gone to a different level now. Which I'm kind of pleased about. I don't want to kind of harp back to the past all the time; I'm not interested in some kind of romantic... faded romantic notion about a previous world. It doesn't interest me.
Interviewer: Has success and notoriety changed you? Is that an issue? Can you tell in your own mind?
Brett: Yeah. Definately.
Interviewer: Yep..
Brett: Um, a strange mixture of confidence and the opposite. A strange mixture of insecurity and confidence. Sometimes. in certain situations, I feel like I can handle absolutely anything and feel ridiculously capable of anything and sometimes I walk down the street and get a rush of insecurity and want to hide your face. It depends on the scene. A lot of times when I'm shopping or something like that and you think that someone's looking at you in a strange way and you think they know something about you or something. I plays tricks with your mind and stuff. So yeah, it had changed me personally quite a lot.
Interviewer: What was the experience like to hear yourself on the radio, to here Suede on the radio for the first time? To actually feel like you were getting somewhere in your career?
Brett: Um, brilliant. An incredible feeling. The first time I ever heard us on the radio, apart from when demos got played and little things, the first proper radio play was on Radio One with Drowners and it was a really thrilling moment to it. It was great Radio's an incredibly important thing and I don't know if it's importance has been diminished in England now, I know it's incredibly important in America, but when I was growing up, that was the way you got to hear about music. Um, those were the songs that stuck in your head. You just had the radio on all the time. Um, and songs that work on the radio, I've got a hell of a lot of respect for. Pop songs that work on the radio that get into your head. I think they're brilliant...
Interviewer: Such as?
Brett: Er, at the moment? Er, there's a song by Lina Theagby I really like called 'Gotta Get It Right', it's called. Or 'Gotta give it up'. One of those two. Erm, lots of things like that. And, in the olden days, things like The Specials, and stuff that I used to listen to as a kid. The songs that kind of like nip into your head and just stay there. You can't get rid of them.
Interviewer: When you wrote Animal Nitrate, that song's got a real hook to it. Not, I wouldn't say, an anthem, but there's a certain sort of hook or melody about it that's made it a successful song, obviously. Did you feel that when you wrote it, or when you got together with the band to record it, that it was going in that direction? That it was something different and perhaps special over and above the rest of the songs on the album?
Brett: Um, no. I don't think it is the best song on the album; I don't think it is the best pop song on the album. It happened to be released at a stage, the third single in England, so we'd prepared the ground for it to be a success. But I think it could of been done the other way around. I think the Drowners is probably the best pop song on the album. So, it's a good song, but it's not my favourite.
Interviewer: Since the album came out, you've toured the UK, Japan and the United States...
Brett: Europe.
Interviewer: Yes, and Europe, sorry. You've been through Europe as well. What's the experience been like on the road. And particularly countries which perhaps haven't had so much time with you... where they haven't heard of you so much. Maybe places like Japan and the United States.
Brett: Oh Japan... I think we're probably more successful in Japan than we are here. Japan's one of those countries which have completely taken to us. Every time we played in Japan it was an insane event. The kind of situation you're talking about is more in middle America, in places like New Mexico or somewhere like that, where they're kind of starved of music, and the only thing that gets through is really mainstream. Um, the kind of situation, it's kind of humbling sometimes when you're taken from the situation of being popular to a situation where people don't here of you. It can be dispiriting, but at the same time it's important to be strong. We've got where we are by being strong. We've spent two and a half years of no-one being interested in England and playing crappy little pubs and stuff. So it's importance to have the resilience to get through those things.
Interviewer: What was the importance of the album sleve, the photograph of the kiss on the front sleve. Was that just to...
Brett: We chose it because, not for any clever reasons about androginy, or stuff like that, because I didn't actually think about that at the time, it actually comes from a... the original picture, is a picture of those two girls kissing in a wheelchair; they're both naked, so the original picture is quite obvious that they're girls, so the idea of it being ambiguous really didn't really apply. We couldn't use the picture, the full picture, as the photographer who took it didn't want us to. Um, so she allowed us to use part of it, so we used that bit, obviously! Um, the point of it was really because it was beautiful. A beautiful image; a timeless image, something that was quite potent, something that was quite simple, something that could be expressed to something. 'Oh what is it? Two girls kissing' It's like, instead of havig to describe it... 'Well it's like triangle with a box on top of it and behind it is some sort of blue sunset'. You know, it's simple.
Interviewer: And confronting.
Brett: Confronting, yeah. But, not in a, I don't think, in an agressive way. People... lots of people have been shocked by it, and it doesn't really connect with my mind why they should be shocked by it. There was a kind of, sort of, minor furore in the tabloids and kind of big right-wing societies were being phoned up by various papers and being asked about it, and it's kind of 'What?! It's just two girls kissing'. So what?
Interviewer: Are you still writing and producing music in the same way as you were with the debut album, because I know your sights are set on the second album, I don't know how far away, we'll talk about that in a minute, is the process by wich you're writing and workig with the members of Suede the same as it used to be?
Brett: Um, no, I think it's changed. When we firsted used to write, we used to do a lot of stuff in rehersal rooms, as a band, because, that was the only place we could. We didn't have any money, we couldn't go to the studio to record, we had to spend all our money rehersing. And all the.. our only platform, our only arena was playing gigs. So everything we did, it had to be geared to playing live. The beauty of success is that you can expand yourself a bit and spend more time in studios. So we do work diffently now, um, it's much more of a subtle process than before, as I said everything was loud and stuff, and now we've got the ability to write things with a bit more depth, and I like it.
Interviewer: Ed Buller produced this album and often groups move along and decided to do it themselves, as their career increases, sometimes to ill effect, really. You know?
Brett: Ummm.
Interviewer: Sometimes it just doesn't work out.
Brett: Oh yeah, yeah.
Interviewer: What about you guys?
Brett: Um, I don't think we've got any desire to produce it ourselves; I don't think we could to be quite honest! Um, he's a confidente, you know? We work well with him, so there's no reason to change what's going on at the moment.
Interviewer: Take it into your own hands.
Brett: Yeah, the way he works with us is much more than a producer, he actually kind of like... when me and Bernard are writing he works kind of like a silent third member of the writing team; he doesn't actually contribute any of the writing, but he suggests kind of what instruments and instrumentation and, in itself, suggests things about the structure and stuff like that. So he's very much involved with it; he's not just some geezer sitting at a desk, he does work quite a lot. He played a bit of piano on the album as well. Like keyboards and things.
Interviewer: Now you come from southern England. I think it's called 'Heyward's Heath'...
Brett: Heyward's Heath!
Interviewer: Heyward's Heath.
Brett: 'Ayward's 'Eath!
Interviewer: Hayward's Heath. What's in a name, we ask. It's not an area that's known, like Liverpool or London or Birmingham, for its musical heretage, is it?
Brett: It certainly isn't, no!
Interviewer: Ha ha!
Brett: Hah.
Interviewer: But it's certainly somewhere that produced you. So what was life like, growing up there. I mean, obviously you were inspired enough to write music to get out of it.
Brett: Inspired by its... by its crushing bordem, I think, more than anything. I mean, those sort of places in these vast uncharted places of Great Britain. Heh heh... there's lots of sort of dissatisfied teenages roaming around the streets with their bottles of cider. And I was one of them. And in those kind of places, the only thing to do to escape the boredom of the pub culture is to escape, you know, in your record collection. And that's what I did; I just got obsessed with music and started playing stuff. There's not really much there to inspire you actually in itself, there's no beauty there.
Interviewer: Well you were one of the lucky few to actually geet out of, not just Hayward's Heath, but that mind-numbing boredom....
Brett: Hmmm
Interviewer: that exists for a lot of teenagers in Britain, and I suppose all over the world with unemployment... you know, there's not much out there, even if you go to college, there's no jobs. Um, what would your sort of advice to the people be who are in that sort of situation today? I mean, obviously we can't have a million suedes out on the road...
Brett: no
Interviewer:...because there just isn't enough of the market for them...
Brett: I don't know, cause it's very easy to say from the position where you've managed to get out of it. It's easy to start spouting off, you know, this is what you've got to do ans this is what you've got to do, and it's very easy to sound very patronizing saying that, cos I've been unemployed, I spent a year of my life on the dole, and it was the worst year of my life. And I was completely depressed and everything, I was completely poverty stricken, but I just didn't let myself fall into the rut you get when you're unemployed which is there's nothing to do, so you get up in the morning, have some breakfast, and there's nothing to do so you just go back to bed and sleep all day and you go through this horrific kind of depressing scene. I refused to do that and I just made sure I was always busy and tried to do positive things and along with writing songs, and a lot of the most valuable songs came out of that period, I used to do things like community work and things like that. I don't know, you've just got to be postive....
Interviewer: (Coughs) Excuse me!
Brett:...when you're in a rut. And it's difficult, I mean in this country is in a real slump at the moment. A lot of my friends are in the same position, the same position now, and I just try and tell them you've got to just be positive, cause that's the only way to get out of it.
Interviewer: Looking to the future, you've got a new single coming out in January, what's it called?
Brett: It's still untitled. Um, it's one we just wrote recentlely. There was going to be a song called Still Life out, er, but we were just allowed to go to the studio and write, and we wrote this one. So... it's quite a long number.
Interviewer: This is kind of a bridge piece between the debut album and the second one, is it?
Brett: That's right, it's going to be an interum between the two; it's not going to appear on either album, it's going to be just a single kind of fly into the... stratosphere.
Interviewer: A collector's piece in a way... for fans...
Brett: Maybe, maybe. We're kind of quite strong believers in the power of the single; it's difficult, without having some sort of nostalgic notion about you know 'yer old Sex Pistols records' and stuff like that, there's something very powerful about a single that people tend to forget about these days, in the CD world and stuff. Um, it's a kind of cultural armour I guess, something rammed down someone's throats.
Interviewer: Quite a lot of musicians who I've talked to, that have come off tours, find it very difficult to go home and settle down as thet've had someone ferrying them around in cars... More or less the hotel culture of always having Room Service...
Brett: And you become like a mental patient
Interviewer: Yeah, and suddenly you've got to make your own cup of tea...
Brett: I know!
Interviewer:...and you've got to get up and make your bed and stuff.
Brett: I can't wipe my arse anymore without our manager there!
Interviewer: So you're off the road at the moment and busy wiping your arse, are you?
Brett: Yeah, I'm practising! Heh!
Interviewer: I hope you wash your hands...
Brett: I'm not very good at it!
Interviewer: He he!
Brett: I find it very strange. On the road you turn into such an... animal. It's weird coming back, and all of a sudden being in relatively normal surroudings. On the road I just go completely insane, I actually go mad. Because, the only refute... Because when you come off stage you've got a choce... You can try and remain sober or you can just lose yourself in oblivion cause that's the only means to relax. Either that or I guess I'm going to have to learn Yoga or something like that. And then you wake up, after having about an hour's sleep and get on a plane and feel utterly insane and it's just a mad process. And... you turn into a monster.
Interviewer: Well, you don't look too much like a monster at the moment, but maybe that's because you've been off the road for a while...
Brett: You should have seen me a few weeks ago!
Interviewer: I know that you were in the States in September cause we missed you then, which is why, er... fortunately and gratefully thanks for coming in today. What touring plans have you got now, for the rest of the year?
Brett: Um, very little actual touring plans. We're going to France for a few dates because there's a single coming out there. We're going to, um, be playing a couple of dates in England for our fan club, and for various other purposes, but not any... no big tours. We actually want to concentrate on writing the next album at the moment, so we're not going to be able to start any new big tour till next year now.
Interviewer: And the album's in April, the spring of next year?
Brett: April, May… yeah.
Interviewer: And then out on the road again.
Brett: Yeah. And it all starts again!
Interviewer: All over again. Being insane again! Climbing the wall. In the meantime, lots of toilet paper; get used to the toilet.
Brett: I will do.
Interviewer: Heh heh heh! Wiping your arse!
Brett: Yeah.
Interviewer: Brett, thanks for the interview.
Brett: Thanks a lot. Cheers.
Transcription made by Joe from Old Mans Webpage.