"Songs In The Key Of Springfield" Review (with Bluey composer, Joff Bush)

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So it gets your tickets today at supernova dot com dot au four finger
discount. Dude, welcome to four figure discount, where today we are taking
your break from the standard episode review and aar instead focusing on the music of
The Simpsons and its legacy on pop culture. I am Dando, I am
Guy, and we are joined by someone quite fluent in the world of music.
We're very, very fortunate to have this gentleman with us. Daniel,
would you care to do the introduction to this fine fellow man. It's a
man who composes the music for arguably the biggest animated show in the world today.
He's music puts smiles on faces and it's rich number one all around the
World. He is the composer of Blueish. Jeff Blush, Jeff, thanks
for your time. How you doing amazing? What a great intro. Thank
you for having me. It's great to meetcha. Now we're just discussing off
air about, you know, the preparation for the upcoming second album of blue
which everyone is highly anticipating. It's very very exciting times in the bluey and
the bluey landscape in the blue World. How nervous are you because the first
one. How's the nerves change if any If you are nervous at all,
But how's the pressure change between releasing that first one which caught everyone off guarded
how great it was, and this new one, which everyone wants to be
great. I feel like there's going to be a segment there just waiting to
criticize it and compare it to that first album. Oh yeah, I mean
it's going to be. It's the first one was everything about We had everything
to because it's like an instrumental album. I know the show was popular,
but it wasn't quite as popular as it is now. And it's you know,
there's one song at the end, but the birth of the album is
kind of it's like instrumental music and it's from the TV show and I'm sorry,
my dogs just having it. Oh no, it's not anyway, she's
just having a mode. She's like, I get to the point. Job.
So yeah, that one, the first album, was very we had
everything to prove. Really, it's like, no, I think we can
make something great. We won't just take the music from the show and put
it out. We'll just we'll rerecord it and get string sections and horn sections
to this wild thing. And now that, now that that one amazingly did
beyond our expectations, So this one's really don't stuff it up. It is
a message. So it's a different mindset and we really had to when we
were recording it. Really had to just try and get out of that.
But I think, like you said, second album syndrome, So hopefully,
I think I'm really proud of it. But I hope it's um. I
still hope it's got that. You can hear the sense of fun that we
still had making it. But you know, we'll see i'd you like it.
I don't know. I'm really bad at promo. I will just be
like, if you want to, I don't know. Well, Jeff,
I've got to say, and this is going to be that wonderful thing.
That's more of a statement than a question. But I mean, I'm a
middle age comudgeon with no children, and I thought, well, okay,
I'll listen to Jeff's album just once to soon if you get up to speed
about the Whole Things book, it's been on rotation for the last couple of
days. It is utterly, utterly enchanting. Thank you so much. I'm
a big Wes Anderson going. I get the feeling that if Wes Anderson made
a kid kids movie, this would be the soundtrack to that. That's pretty
that's pretty good. I love I love that as two and the and the
soundtracks too. So that's that's a that's a massive compliment. Um, And
you know it's I mean, it's also just not not just me. I
have an amazing team of people are right with and a lot of people bred
it on that album. But yeah, it's it's really yeah, it's you
know, it's a special show too, So I get to have a lot
of fun with that and explore different genres and things like that in't it So?
But yeah, I hope it's I'm stoked you like that? Really stoked.
Well, I've got two small kids, and I just wanted to thank
you for this album because a it's one of my favorite albums, one of
my favorite vinyls that I actually own. I wasn't it whenever I want some
cheering up boards and escape from the stresses of life, just myself personally.
But it's also helped create many memories with my kids that I don't think would
have been made had this music not existed. So thank you for creating amazing
that's so sweet. You know. We did the first half of it of
the album, the first side, and I'm so glad you got the vinyl
because we mix it all on like a lot of it's recorded on old seventies
gear, and it's very like we almost only think of the vinyl version when
we do it, and then we go, oh, we better release it
on the platform that most people listen to it as well, and so we
do all these other mixing later. But um, the so I hopefully it
has that feel like it's a classic album or something. Was what we're going
for. Well, we're talking about oh yeah, the first half of it
was we intensely made some of those songs a bit longer, than they probably
needed to be. So it feels like it's um so it's you can play
the games associated with it. The first half was games and the second half
was like stories quote unquote, but the first half had some of those UM
keep You Uppy, yeah exactly, I think like which personally is one of
my favorite pieces of music that I think I've ever heard in my life.
I love keep that one. That one was such I love that one because
it's reminds me of you know. It was one of the early episodes we
did before it was released or anything, and we just wanted it to feel
like this big anthem. In the episode, the kids are playing a game
we Keep You Uppy, where they try and keep a balloon in the air,
and eventually the neighbors sort of join. But I wanted to make it
feel like the entire world was playing keep You Uppy with them, big anthemic
thing and what I the one. That's why it's special for me because I
had learned so much in that process. Because I'd written this track and I
got into the recording session and I didn't have much time to organize all the
proper parts for the horn players. I thought it's easy enough they'll just be
able to work it out. And they weren't picking it up right away,
so we just went, oh, it's not it's not catchy enough, and
so the melody here now is actually just something we rewrote on the spot.
It was just like, okay, here we go, like, I'll play
something back until the band actually got it, like immediately, and if it's
sticks in their short term memory, it's more likely to stick in there along
everyone else's long term memory. So we didn't use any music for that session,
and a lot of it was just came out of just having fun and
getting everyone to play along, which is very unusual. It sort of leads
into something I wanted to ask you job. I mean, I guess this
may sound a bit high volutin or kind of wanky, but I mean,
I guess the guiding principles of some kind of mission statement behind making the musical
blue. Of course, it's got to relate to specific scenes or the themes
of a specific episode, But I mean the feeling I got just listening to
the whole album, you know, the things that sort of kept sparking for
me were like a sense of awakening, like awakening of possibilities, of life,
sense of discovery, and a sense of joy more than anything else.
Even in the more sort of low key music, it just felt like these
were the I don't know, this was what it was sort of sparking in
me when I was listening to it. I'm wondering if there's any sort of
if there are words written on the ones like remember to be joyful or something
like that. Yeah, I mean we have, we do have a sort
of like, yeah, there is a bit of that. I mean a
lot of it's just keeping a great vibe in the studio really and and but
the show is so much about imagine of play and even when we're I'm working
with the creator Joe Brahm, or any of the other team, or or
the other composers I work with as well, and we I was talking to
Joe just yesterday about this and how we would be we would all just be
jamming on the piano and trying things and keeping that sense of play and fun
while creating it as much as possible as well. And I hope, like
I hope that sort of shines through. If if anything, I hope that
sense of it chants through. And a lot of that's because when we're you
know, we're talking about sounding wanky here, but like high for lutin,
we've got the what's called musical dramaturgy, how music tells the story. A
lot of the approach we have in creating these blue scores is taking the perspective
of the kids and so how they view the game, like it in their
head. So when we were talking about Keep You Uppy, there is in
their head like objectively, they're having a fun game, and but in their
head it's like the whole world is playing Keep You Uppy with them, even
though it's only two other characters. So we take that perspective and so hopefully
that's maybe what how it sort of shines through is that joy that wandered and
excitement about the world that through a kid's eyes. Hopefully the music can help
encapsulate that and bring us into their perspective. A bit that was high falutin.
Sorry no, no, it was great. No, But is that
a tough mindset for a grown man like yourself to sort of to recapture?
I mean, not me, I'm not not with my brain. Yeah,
with Keep You Uppy, I think I think keep Up is a good representation
of just the power of Bluey because it takes games that you know, we've
played that entire lives, keeping the balloon, for touching the floor, right.
But it's almost like Bluey has claimed it now and that game will forever.
It's being unknown as keep you uppy. Yeah, is it that true
good got on New Joe brother creator and writer With that, you know,
I should just claim every Yeah, Duck Duck Goose is now, it's now
Bluie's you know, we could just play every every game. It's a blue
And it's all I say now is for real life? I do they really?
And that was shown shown Bluey at at Kinder and Dacre before I actually
watched it myself for real life and I was like, what are you talking
about? And then I watched blue and I was like, oh, now
I say it. I see where you got that from. Yeah, yeah,
yeah, I've heard a lot of that too, you know, particularly
in the US, where you know, kids have been saying donny and things
like that, which is great. It's finally we're getting we're getting we're getting
our we We're getting what's the word I'm thinking about, Yeah, that slang,
that slang we're we I mean, we get so much influenced blay American
shows. It's good we're getting back but M Yeah, and and of course
Simpsons. M. That's one one show I'm very happy to be influenced by.
Yeah, so you were very similar agent in your copy years older than
me, What are your earliest memories of the Simpsons? Like, your favorite
memories of the Simpsons go for me, it's like, you know, six
pm, week night, Channel ten, watching that every night, that kind
of thing. So I feel like we're gonna be very similar. What are
your favorite memories as the kids? Actually that exactly that? And then of
course like quoting everything at school, and and then to the point where I
think a lot of people our age or around you know, give a take
ten years, I guess is are we get this sense of us like a
secret language? It is? It's and I sometimes say quote Simpsons and I
don't even I forget that it's from an episode completely because such part of the
lexicon. Yeah, it's funny how he said he quote it in the schoolyard.
It's crazy to think that now with Blue, right, kids like quoting
in the kinder yard like primar school is like how blue is like kinder like
primary school. Now Bluey is not maybe it's would you say, God,
do you think it's on the level of what the Simpsons were, Like,
it's getting close, like it's it's not quite bart Mania, but it's it's
it's out there. It really is. I mean, you know, when
you're getting think pieces or praise pieces in the New York Times or whatever,
or I mean there are a podcast I'll listen to the talk about TV,
you know, and these are podcasts from around the world'll be you know,
dropping the name blue just left and right and sort of saying wow. Yeah,
I know. I initially put it on to sort of, you know,
appease the kids, and now I can't stop watching. So it's amazing.
Yeah. It really has just infiltrated on so many levels. I wouldn't
I wouldn't be surprised. Yeah, I mean, particularly very recently past,
even this past few months. For some reason, it's just really taken off
in the US. Yeah, the Macy State Parade and things. Yeah.
Yeah, yeah, I'm just I don't know why. It's just something that's
a maybe it's well, it's great. I love it. I mean i'd
i'd watch it if I didn't watch it. Um, two hundred times a
day anyway. But it's like sometimes I forget how great it is because you
know, we're we deliver an episode a week, so we get really stuck
in that yeah zone immediately. So it's yeah, sometimes really hard to go
back think bango, how do we do that? Or even like when I'm
working with people, I'm like who wrote that bit of music there? Or
who played that? And yeah? So so it's wild now that we're like
I'm you know, we're between Blue projects and doing this album thing and talking
about it a lot, I have know, I'm going, what do we
even do there? There was obviously a five hour discussion or something about why
we should have this music here, and I can't you know, it's it's
you know, but maybe that's good. It's like digging it up and then
also coming out of that bubble and seeing how loved it is. It has
been amazing. But I think I think you're right, like it's the language
of Blue's seeping through. But probably for younger kids, I think, um
more than think the Simpsons. You know, it was particularly like high school.
Yeah, it was something we could keep quoting for, you know,
in high school and stuff like that as well. How the process changed with
the second album, because have you had more time to work on this one?
In the first one? How long did you work on the first one?
And with this second one here we have you have you how much pressure
are you under now with this second one? Yeah? Well, um,
it was probably a bit tighter for the second one actually, the time wise,
because we'd finished work on a bunch of episodes, a batch of episodes
this might be season some more from season three or something. I can't remember
anyway, but there was like, oh, we've got now, we've got
to finish this by this date whatever it sometime in November or whatever. And
we go, well, we'll blocked that out and we're going to do nothing
but that album. And then we actually did way too much music, like
we were to fit on an album, so we were the first one was
almost like oh, we've could actually fill this amount of time and and make
it all great, and this one is like, oh, we've actually got
too many tracks. We had to cut back and then you know, edit
a lot and it's actually pretty wild hour, but it goes from every it's
it's you know, there's a lot of there's dance music and then there's like
episodes like Rain all this chilled music stuff, and yeah, it's a bit
all over the place. It's but it's good. I've got an internal story
for it. But I promise it's good, everyone, I promise it's good.
Is it a similar format of the first one with all the sort of
yeah, the dance songs at the start? Yea one hundred percent similar format
where you got the games and the side A and the stories on side B
essentially sort of like that. But yeah, um yeah, but I'm really
happy with it. Um. But there's also there's also a few tracks I'm
going to hell for. There's like, um, it's like there's this there's
a track called the Lollipop. It's like lollipop song that was um in a
little episode. I think it was Bingo's favorite song and it was purposely written
in the episode to be an annoying song. So but and then everyone was
like, oh, my kid really wants to everyone's requesting it, and so
I've produced into this hopefully slightly less annoying song. But um yeah, I
mean, and we kept it short on purpose. I really like it anyway,
non ironically, but it's definitely like its origins was to be an annoying
song, so I might get some hate mail from parents, but we'll see.
How do you know when you've nailed that, when you've nailed up like
an annoying song, yeah, you just know, you just know. Well,
I know the second one, Dance Mod's got the regular release, plus
it's got the record store day one. So I've got the first one here,
which is the store day You've got one amazing. Yeah. I managed
to get it from JB High five all places. They just randomly had it,
and I was like, thank you very really they're printed exactly right,
and it was just the shop of JB. I sort of looked at it
and I went, something's not right here. Pocked it up as well,
so I play the blue vinyl. I keep that one as a collectors edition.
So I'm hoping to get the next one because the next record store day
one looks amazing. It like plays yeah. In fact, actually, five
monuts before I came on, I just got the the demo, the um,
the the tester one sent to me from this level and oh it's amazing.
I like, get up a show you order tick. It looks amazing.
It's um it's a limited run. Again, I'm trying to convince them
to print more. But um yeah, and um, you know, if
you intend to buy the vinyl, i'd probably it's really worth getting that collector's
one. Um, I think because it's it's just a cool it's one that
looks really cool. Um it as it spins the characters dance, it's like
when you see it on the on the it's like a thing. Yeah yeah,
yeah, a little hologram trick of the eye. Yeah. Yeah,
it's amazing. Yeah. I think, honestly, I think that the Bluey
releases are like the hottest thing on record store Danny, which is just incredible.
Yeah right, yeah, I mean that was amazing. Last last time,
it was like, you know, um, so I'm pretty sure people
will probably want this record state it's all day version A sure five hundreds enough
And I was like, yeah, of course that's why they wanted That's why,
that's why that's Yeah. Yeah, you can't do more than that because
if you know, they if they sit on the shelf, then we're stuff.
But yeah, I mean it was really great that I did so well.
So um but yeah, yeah, I've actually got some misprint ones.
Wow. Sent to me, which say Albion and what goes on? Yeah,
thinking, oh maybe I could, I'd be in good collectors one.
But yeah, I don't know. Um, I might have to like do
something with it. I don't know anyway you're gonna ask something what we're gonna
ask? No, No, I just point. It was a lovely bit
of synchronously. You're talking about characters moving because you couldn't see this job,
and people listening to this podcast and not seeing anything. We're seeing that your
greyhound got up from one side of the cat and very gracefully walked to the
other side and then just laid down out a nap. It was just beautiful,
beautiful Diamond having said that, I'd like to steer this sort of in
a Simpsons s direction for a moment, and you know, we're talking about
music, but we're a talking about songs, but primarily I mean, yeah,
I think they can talk about music and the symptons without talking about Danny
Elfman's theme tune. Now, it was a musically savvy gentleman like yourself.
I mean, the first time you heard that, I'm I'm I'm wondering how
you felt about it, because I'm I'm not musically minded at all. But
I hear it and go, this is perfect for the perfect Sympton, It's
perfect for Springfield. It sets up, yes, the manic nature of the
town and the manic nature of the people in it. And then I start,
you know, trying to wrap my head around how do you create something
like that? I mean it's like, yeah, did someone yeah, who's
musically minded like you go, let's break this down. Did Danny often do
this? Yeah? I mean I love it. You know, we've found
at Danny Alfman and also alf Klassen who does the general scoring, but not
on the film movie. I don't know how why, and he he doesn't
do the show anymore either. It's been that which was a tragedy. But
anyway, that was a tragedy. I think, like um, particularly on
those early seasons, what what they did and what what what alf Class and
the team made on'to amazing and just like and it was one of the few
shows that had a sorry. I don't know if you can hear that,
there's a we're actually getting some curtains installed in the next room and the door
is not as soundproof as I thought. I don't know if you could hear
that um is that coming through? Oh good, okay, good, Sorry,
I didn't really didn't realize it was so loud. Oh here we go.
I think we've got a gat um so oh we were Oh yeah,
we're talking about alf classes so um. Yeah. It was one of the
few shows that still had like a thirty piece live orchestra recording every week.
And yeah, it was a real shame when they dropped that. Um and
but yeah, back to the theme, I should say, like one of
the things I love about it, it's it's reminds me of don'ty often do
the Burbs? I think he did? Are we all frandically googling Jerry Goldsmith?
That's Gremlins, right, yeah, total recall a whole bunch of other
good stuff. Yes, no, The Burbs was Jerry Goldsmith. Ignore that
it's not any other So anyway, there's there's something about which which maybe it
wasn't the verbs. It's a different soundtrack. We reviewed Peewee's Big Adventure,
did you Oh, maybe that's what I was thinking of. Sorry, yes,
yeah, that's where I sort of, yeah, feel there is similarity.
So it's like you know, a circus gone gone a bit mad.
Yeah, yeah, which is very yeah. Yeah, yeah, Well the
thing of that, he's got that suburbian um sort of sound. If I
get really nerdy, it's called like, uh like a Lidian scale, Lidian
dominant scale. You're going to have to cut that out because that's the nerdiest
thing ever. But basically, um, if you're on a piano and you
play F F F F and you play any of the white notes, it'll
have sound like American suburban music from the from the eighties, like when the
bite going through. So I'll give you a gample. Actually he'll see if
we can actually hear the kids. Yeah, and while we do that,
I'm just gonna throw another name into the mix that maybe we'll Beetlejuice maybe oh
yes, of course, yeah yeah yeah. So I mean like we've got
this, so I'm just playing an F and this is the scale the mode,
which is like sort of thing. So if you gets playing, you
know, you get that Simpsons turn out tonality just like and so it's based
on that, like this whole idea of this sort of the music from that
we so associate with, like suburbia and you know, um, the nuclear
family, particularly in the eighties. And then so when you've got that.
What what Danny often has done has taken that into a sort of into that
sort of almost circusy sort of way with his very Uh you can even hear
the scale in the Simpsons, so we've got the oh yeah, you've got
so you know the bit at the end of the theme where you get the
nana, which is like the yeah, that's a big part of the scale.
It's really part of it that you know, that's the thing that's different
to a normal major scale, and that's he's really like hammers home those notes
that are really unique to that sound that are a little bit off too.
So, um, that's a very that's like the nerdiest like take on it.
But I love the theme. I think it's fantastic. Um. And
actually did a workshop with Alf Klaussen like in Twitter thirteen, and oh my
god, everyone asked him it's like, how did you write the Simpsons theme?
He must get it all the time, yea, the full guy.
So, um, Well, I won't ask you how you're at the Blue
Things. I'm pretty sure I've already read about how you know, Joe came
to you with the idea we're playing the statue game and yeah, yeah,
but was it a long process? Well, because you like you said that
that was the vibe that Danny was going forward the Simpson Well, what was
the vibe you wanted to capture with the blue theme? I think we did.
You know, we were talking a lot. It was really hard to
remember because it was such a no one would have thought it would be well
known, like unlike the Simpsons, which you know, they commissioned a proper
orchestra and everything to do a theme and you know what it like, you
know, they had they recorded everything. It was that's a big budget theme
and Bluie wasn't When we first did it. It was you know, the
first season was oh it's a new kids show from Australia. See you know,
start like we go his you know, oh, oh it's not the
Wiggles, we don't care, Yeah, his unlimited capital. It wasn't like
that. And and you know the Simpsons obviously had all those it was tested
already, so it was going to be sort of popular and they so they
had a budget from the start to get a big orchestra to playoffs theme and
commissioned Danny Elfman and all that sort of things. So but yeah, this
one. It's really hard to remember what we actually did, but I remember
we did about maybe I think it was I think this was the eighth version
of the blue theme, and it was probably the one of the first ones
after we had sort of come up with the idea, well after Joe Brum
said it's about musical statues and imaginative play, and so you know, it's
a pretty I mean, props to them for going with it, because if
you think about it objectively, it's a pretty weird theme compared to most TV
show themes, and prettily props to Joe Brum for proving a going with it
because it was really like, there's these five four bars in the middle.
It features the melodica. There's no actual drums in it. You know,
there's there's a lot of things that are not and they're doing they're playing,
they're dancing. There's no drums. You know, it's just like this if
you put it upon on paper, if I gave it, wrote it out
on paper, and so it's going to have these things and everyone will just
go, what are you doing? No, yeah, but um it seemed
to yes, but you know, they approved it, and once we work,
once it played, it back and yeah, I can get does it
really? Yeah, some of their patrons say that they're walking down the aisle
or once they've said their vows, they're walking out to the bluey thing,
or actually they're walking out to keep you uppy. Yeah, oh really,
Yeah, that's amazing. I've got to see this. I did not know
that. Is that that you serious? Yeah, we'll keep you up.
He's just one of those things that just like you said, it just it
captures just united, it's it's it's optimistic. Yeah, it really is.
No idea that's made my day. Thanks telling me that. Yeah. But
with the Simpsons music, Yeah, what stands out to you? Because when
people think of Simpsons music, I think it's the songs, but there's also
the score as well. And there's a great video on YouTube some fan has
put together all the difference or of like transition sound boy of the episodes and
you listen to it and you think it's not five seconds of music, but
it's so ingrained in your mind as a kid for watching those episodes. Yes,
it's just this is like my childhood, this music. But like my
favorite songs from the Simpsons, my favorite songs, I've got a lot of
favorite songs, you know, songs in the key of Springfield. That whole
album is amazing actually, Like I remember thou influential that was to me as
a kid, and I hadn't really listened to it for a long time,
and I just played it on the way like out to you guys, goes,
oh, better catch up. Make sure I'm not you know, talking
out my asks too much, and I was like playing her back, how's
it going? Wow? This is Um, there's a lot of dialogue on
this album. Yeah, I forgot how much of dialogue it was, which
I think was a bit of a mistake. But the I you know,
my first thing I think of is like the Planet of the Apes musical.
Um, I don't know why. That just makes me laugh every time.
See as a kid, I don't think I appreciate it as much as I
do. One. Yeah, you know what my favorite bit is that that
can you play the piano anymore? Of course get before and he plays that
like run on a piano and it's just the cheesiest like broad wastive and whatever
that that like Scalers plays and I just I don't know, it's just absolutely
nailed it. All those musical ones are the Betty Ford musical one. Um,
those they're all amazing and I know, you know alf class and probably
didn't do the lyrics for them, but um, the way he treats them
the lyrics is amazing also, you know them. There's one which I think
I think would have been the really one of the hardest ones that for after
due would have been UM, Bagged Me a Homer, because I think the
lyrics for that are actually like the kind of terrible like in a way that
they It's just like it's like it's the first minute of a song is like
exposition to lead up to I Bagged Me a Homer, And it's just like
it's like he could have just made it really simple. But it's like,
but sometimes scriptwriters aren't always the best lyric writers. But that's the one one
where I'm going, oh, man, that would have been a tough one
to like write music for that keep people engaged. I reckon. I think
that one was actually written, maybe it was just performed by but the actress
what's her name or really I'm like poo pooing them. Christmas Vacation she played
a wife and Chrismas Vacation she and the National and Poot film. She she
was the voice actress for Werline Lumpkins. I'm pretty sure I know she performed
them. I don't know if she wrote them. She may write I don't
make green, I don't make great Mac. That was the only episode that
Matt Grenny ever wrote one as well. Really, well, that's the only
song where I'm like, oh, but somehow the music fits in and it
makes it work because because when I hear the song, I'm like, get
to the bag, me a home. It goes for ages. Um,
I shouldn't been complaining about Well, you were talking earlier about how you thought
there might have been too many, too much dialogue on songs in The Kid
Springfield and and the follow up was actually the most critique of solos of the
great I didn't mean to do that, you got. The thing is,
though, this was at a time what ninety seven when that came out.
The follow up was ninety nine. Yeah, that was a time when the
episodes weren't easily accessible, so owning, yes, owning the episodes was a
big deal. So I think with the Blue One, do you think,
like maybe if the Blue One had been released in the nineties, when we're
in a time where you couldn't just go on ABC Kids and watching episodes whenever
you wanted to a YouTube, do you think you might have been inclined to
try and incorporate more dialogue as a result of that too, sort of say
you can take home your favorite episodes or your favorite music. Yeah, that's
such a good point. And I don't even thought of that, because of
course now you can just look up your favorite bits and whatever you need.
Um. And you know, we we we've been really careful with the album
not to put too much dialogue for that reason, because it's like, oh,
we had people like to us saying, you know that I can't remember
one track maybe in the first one or something which had a lot of dialogue,
not much when I actually think about it, but they oh, my
kid just wants to watch this episode now, and I think the feather of
the talking about a feather or something, or the weekend something maybe yeah,
something, there's something where it might be that, but I can't remember which
one it was. I was like, oh, whenever we play this,
they just think I want to the kid just wants to go watch the episode,
And I thought, oh, well, that's actually feedback. But and
and I can so appreciate now that you say that, how how the album
would have been so good? Yeah, like why it was so good back
then because you're like, it's just it's just got all the thing. It's
it's got all the best because we've just been seeing them so so many times,
and when you listen to it, you just visualize it in your heads,
these moments where because you know, you could do occasion the occasion,
they'd released those sets where it was like four episodes they'd hand picked that were
crime related or movie related or something like that in a release them that way.
But not until the early two thousands they start releasing the episodes in season
mode, so it was impossible to the episodes up to that point. But
yeah, we live in a world of streaming now where everything's yeah, yeah,
yeah, that's a really good point. But it's such an amazing album.
And you know, even when I'm I'm critiquing them, um, but
they're every track is amazing, Like even the ones that I'm like, oh,
they could have done this or something, when you don't notice every every
track is just I love every track actually, And yeah, I was a
big fan of the of like the alternate. The alternate takes them the theme.
So you had like the yeah so Springfield, the who shot Mister Burns
one and two end credits usually yes they shot mister Burns. Yeah too.
Yes, you have the Afro Cuban version, and you have like the part
one. I think it was like there almost like a just a crime related
It feels like a I don't know, just just like a crime TV show
related version of the theme. You had the Hill Street Blues theme, the
Australia episode part as Australia at the Australian Oh yeah, yeah, yeah yeah,
sweat outro, just all those kinds of outros, the end credits.
That's what I think. Well, I appreciate the most and I think just
as I get older, I appreciate the music side of the album as opposed
to the dialogue side, like you yeah, of course, yeah yeah,
And there was in the musics. It's such it's what did in the show
is actually really really really hard to do. In that um, you gave
it a lot of heart but also didn't distract from the comedy, but kept
it light because I mean a lot of people when they're trying to write comedy
they'll be like building up the drama to hit the punchline and things like that,
which is another approach and that's really fun. Or they go, oh,
we're going to treat it really seriously, and so you get this sort
of parody sort of idea. But I think what if did with all these
transitions, particularly, it kept it light but in a place where you have
sort of permission to laugh, but you're still in the story. And I
would particularly think like the Treehouse of Horror episodes, like the music for that,
that's some of the most that's some of the trickiest stuff I think to
do. And he sort of took this really sort of shlocky approach almost but
um, but it didn't feel derivative or like and it let's the episode brief
so much as well and make it feel so classy. Particularly these live players,
feels like you're watching some well, you know, you're watching a classic
movie or something. Sometimes you know you've got these a live orchestra playing these
little these beautiful transitions and some of those amazing players. But yeah, I
mean went to his workshop at Everything. I was studying in New York at
the time, and he came in to give us a little class on symptoms
music, and it was it was amazing. It was like most people,
like lecturers come in there, like in their hoodie and they're like, hey,
you know what we do? We do this, and they're trying to
be cool. He's like in a full on suit at a podium and he's
talking like it's like like it's like it's they had this amazing formality to it.
He's just going and of course the click track sounds like this, and
he will play and then he goes from there. What we do is we
get the performer to play along to the click track and it sounds like this,
and it was like, what is this? This is amazing. It
was like um, Young Person's Guide to the Orchestra or something is so it
was just like, um, and he had seemed to have a really great
attitude to the fact that he had you know, he he gets asked about
the theme all the time. Um, and it was it was It was
absolutely charming. It was just so it was it was very refreshing. And
I still don't know what he's really like or if that's if I don't know
if it was like he was half joking about it, or if that's what
he's like, or he's a real formal guy or dot or it was just
but it was perfect and I really appreciate it. But yeah, it was
great. It's a shame it's not on the I'm not anymore. But job.
Did you have like an interest in film and TV sort of soundtrack composition
when you first started getting interested in music? As I mean, it strikes
me as being a much more sort of I mean, music's collaborative by its
nature, well, but putting something together for a film or a TV show
seems even more collaborative. I mean, is it something that you was it
difficult to get into that grouve. My piano teacher was a TV composer called
Ken McClain who sort of he gave me the bug. So I just thought
it was like the coolest job ever because I'd come in and I wasn't I
was never a prodigy kid. I was never like good at music. I
was always dislike And I'm not trying to be false humble here, I just
not. I'm just a great nap joy musician. Yeah. I just loved
it and practiced in my lunch break at school and and all that sort of
stuff, and and you know, can my teacher when I was like thirteen,
was doing music for some I can't remember what it was, but anyway,
I just thought it was the coolest job ever. And he taught me
about jazz and improvising and things like that and composition and I got really into
that and and that opened, what, you know, my mind to the
possibilities of like, oh, you could you could be someone who actually makes
music for films. That'd be amazing. And I always love TV, particularly
and I mean who doesn't, but like like obsessed with TV and TV shows
and and a lot of my friends while I was studying I started studying piano
UM at the Conservatory, and a lot of my friends were actually from the
film school and we'd be hanging I'd go hang out with them rather than the
musicians and UM. And then from there was you know, we would be
a little team of people including Daily you see, executive producer of Blue.
We would be all together making these terrible little films UM that were great,
but they were terrible. Let's be honest. You know what, what what
eighteen year olds could piece together? And I think I was probably just one
of the few people who, you know, I did a paper run and
I'd saved up all my boddy to buy like a little like box that let
me record to film and you know these sorts of things like that. Was
probably one of the few people who had the rudimentary versions of that gear and
was also lilling to um do these things for free with people. M So
this was you know, and this was mid two thousand and ze, so
it wasn't like it wasn't like all this stuff was super readily available as it
was so as it is now. But um yeah, I mean I think
I've always been really interested in it, and I've always loved how music can
tell stories in the different ways you can do it, and there's there's so
many ways to be right when you're writing music and for film, and um
yeah, there's just so many possibilities and so many different ways of doing it.
So I'll find that really all fascinating. Do you think the bluey style
is going to be your style going forward or you're looking forward to the chance
of potentially something different where you can just sink your teeth into something that's the
opposite of bluey. Yeah, that's a good question, because I mean,
I think there's certainly you know, after doing Blue, mostly just doing Blue
and there's a few other things I've done it, but mostly just doing Bluey
for the past five years. Is that the style that sort of developed for
Blue has become so much part of what my musical style is. Yea.
So maybe I've been typecasts. Maybe this is all I can do now,
but I do, I do, I've been I'd love to do like like
a historical drama or something particularly. I think that'd be really fun. And
but I mean, the good thing about Blue is that, I mean there's
certain things. We can't really push anything that's too ambiguous with the music in
a way because you don't want you want a sense of clarity with the intention
of a lot of the music that's in there. And you can't go too
scary, of course, because you know, you can't make anything into a
nightmare. But and we you know, we have to do it all that
low notes pretty going to be like we don't you know that scene there,
even though it's scary, we can't actually make it scary. You know.
There's some some things like that. Those are the only really the two things
that are really holding me back, because we get to explore all sorts of
different types of telling a story with music and Bluie, which usually with other
shows you just pick one theme and one stylistic idea or concept with music and
storytelling and you stick to it. But yeah, I mean that's the fun
of Bluies. We get to do like something else, maybe even more that
plays a character's perspectives a lot, or maybe we do something that's really like
philosophical, like like Bike, which is just like the music doesn't necessarily play
the character's perspectives so much, and or yeah, all these different episodes that
we can explore different approaches to writing music. Well, I know you are
Joe when you're writing the music. You're coming up with the music. You
watched the episode and you think, how how are the kids feeling and thinking
at this point in time. Have you ever written a piece of music though,
and gone, I really like what I've written here? Can you write
an episode around this? Oh? No, not so much. There's definitely
a few that wouldn't mean cool, But there's definitely a few things where I
will send a piece of classical music, particularly or something to Joe in that
is this is something that you know, I feel like this will work really
well on this episode that you're in the middle of writing, or there's a
script four but no one started animation or anything like that. And I'll give
you know then there because um, this this tune is blah blah blah,
and it represents this and or whatever, and I feel like we can bring
that out there. Um. And then sometimes he'll just ignore that and then
and then bring it back. He'll go, Who'll write a whole new script
based with that in mind? You know? But no, nothing that I've
actually written that's original that I'll send to Himan. Um, he'll write an
episode around Yeah, why isn't in on that? Do do you feel like
subconsciously the music of the Simpsons? It's probably the show we've all watched.
From the show we watched them the most more than any Do you think it's
subconsciously influenced your style in any way, because I know there's a lot of
Simpsons references in Bluey from a writing perspective, but from a music perspective,
yeah, I don't think so. Um, in terms of like how the
cues work and that approach. There's maybe one or two episodes that we took
a bit of the musical dramaturgy approach of The Simpsons with these sort of like
in like um, particularly those transition things that take you into the mood and
then you just have the dialogue let it speak it for itself. Bluie is
often the music is pretty wall to wall. There's a lot of music in
it, so we don't usually take that in terms of that approach, but
I think in terms of that sound particularly, you know, I think Simpsons
was used a twenty or thirty piece orchestra, so it's not a full orchestra
and it's all live players. And when you're writing for a smaller ensemble,
because a normal orcaus is like eighty pieces, when you're writing for a normal
on a smaller ensemble like that, you get a more human, smaller sound.
You hear certain instruments actually feature from the actual player rather than a big
ensemble sound. And I think that sort of sound. I love that sound.
I like it more than an orchestra sound most cases too, like a
big orchestra sound, and I think that sound probably influenced a lot like that
the textures that the humanity are of the players shining through. UM. Yeah,
there's definitely something that we do a lot in Blueys. You know,
we feature the musicians, we get to have him. It seems to me
though, right now is the perfect time for a Simpsons Bluey crossover. Right,
it's just gone on, even if it's just a couch gag of some
kind. Right, yeah, yeah, How excited would how excited would it
be for you to write a Bluey esque version of the Simpsons theme for a
couch gag? It would be amazing. I wonder if they'd ever yeah,
wait that I don't think that. I don't think they call me, but
I think that would be an amazing thing. If you want to take the
Internet by a storm and to own the Internet for the day, a Bluey
Simpsons cross our couch gag, that's where it's at. Well, I've got
news for you, Nada. Every character in the intro is all blue blue
eyes or what if you want to call it would be perfect. It's just
now's the time to do it. Yeah, Who's who's in charge of this?
Who make our pals over at the Simpsons today? I'll make it?
Yes, please, yes, let's make it make it happen. M Yeah,
I'm one hundred per son. I'm bored. If anyone if I think
they'll probably just use like, I don't know who does the music, Yeah,
I don't. I saw that. Um weird All just had a recent
one, right yeah, yeah, he did it himself. He did himself.
I mean. One of the things I loved about that I'm getting back
to the Blue album, right, was You've mentioned in a previous interview that
you wanted this to be the first album that a kid owned not streamed,
And I love that because it's one of those things. I love that the
fact that one of the first albums I've owned was the Simpsons album Amazing Yeah,
and this this one here is the first vinyl that my son's ever owned,
my son Elliott, and he loves just putting it on. It's like
like you said, it's like an event putting the record on and putting the
little needle down, stuff like that. And he loves the blue I'm always
asked us to put it on, but he doesn't want me to play it
on the on my phone. It's got to be the vinyl. Yeah,
I mean, I'm I'm so happy to hear that. That makes that makes
my day, Like there's something it does make you listen to things differently when
it's on vinyl, and it's anything that you have to put any ounce of
effort in makes you really appreciate things a bit more. I think, um
so yeah, I mean, I love the vinyl thing. I know,
not everyone can have a vinyl player, or it's not practical and all those
sorts of things, but I do love the idea that people get to um
uh, you know, you don't actually have this thing they can hold and
it's and it's like this is my yeah, the idea of it being someone's
first album. I don't know when the Simpsons album came in in my in
my canon of first albums, but I know it was because my first album
was He's seventeen m Stein. I think my first album I ever bought,
my first single ever bought was U backfreece Back I Quit playing Games in my
heart, that one amazing first single. I don't even know when the when
the Simpsons album arrived. I remember I had a few. Yeah, no,
I would have been was I eleven or twelve then, so yeah,
I probably wouldn't be in the first album for sure, but it was some
of there. I remember, really, there was a few. I had
it with a bunch of other soundtracks. They're like the Red and Stimpy album
and things like that. Yeah, so well, we just recently reviewed them
on our South Park podcast chef Aid Chef When the chef Aid album came out
that was huge in Australia. This one here, Yeah, I haven't you
know what, I've never heard of that one? Chef Aid really Yeah?
Well was it really made it one in Australia? Yeah, you're kidding.
Okay, we better ticket. But are you a scores kind of guy?
Like do you do when you buy vinyl? You buying albums or are you
buying music soundtracks and music scores? Look, what's your sort of preference?
Um, A bit of a bit of everything. I like for particularly for
vinyl, you know, I try. I try to find things that are
a bit things that I might not have get anywhere else, or like it's
hard to find on streaming, or just things based on their cover if it's
secondhand, you know, like oh what's this? This is a um yeah,
you know, a Bulgarian choir or something like that. And I was
like, and then I get to hear something really novel for me. Obviously,
I do have a few soundtracks as well. Um, I don't I
really enjoy. When I listen to music at home, it's always on vinyl
because I don't listen to much music at home because I'm in the studio all
day. Sometimes I was like, I just want to hear someone talk or
like, you know what I mean, or it's just I just need to
get away from that headspace or so you put on various bluey podcasts. I'm
sure exactly, yeah, if I If I'm yeah, I mean like because
I'm in the studio all day, and this particularly if I'm mixing music.
Sometimes if I'm listening to music, I really love. It feels like work
and I love it. But if you're doing it for sixteen hours or something.
If I've been in the studio of sixteen hours recording or listening or mixing
and stuff, the last thing I want to do is hear something I love
and then like compare myself to it all, like hear the tweaks or anything
like that. So I usually try and listen to things that are a bit
more novel to me, or something that I'm excited at because it is different,
or something I wouldn't have thought of like that. Yeah, this may
be a bit of a big ask given that job. But I mean,
yeah, people who are fans of Bluey music, people who are fans or
Simpson music, are the three pieces of music, maybe three soundtracks or three
songs or three albums that you would recommend to them as like, well,
if you do the human human algorithm, if you like this, you may
also like this. Yeah, that's a real I should have thought of that.
I really can't. I've been asked this similar things before and I've never
ever had a good answer. Um, And it changes so much to so
much that I get really into a particular day even I'll be like, oh,
this is the greatest thing ever. What's interesting you say that with the
Blue music actually, because sometimes I put it on, I'm like, it's
making me feel so happy. Maybe I'm just in the right kind of frame
of mind, right, But like songs like getting going Back to Keep You
Up and fruit Bat? I love that. Did you write fruit Bat?
Because you're got to credit it on the album with fruit Bat? Yeah?
Fruit Back? Well, I that was originally I worked on an episode that
episode with a composer called Pluto Jones, and that that song, I have
to say, is mostly his okay stuff. I think what I added with
some melodica parts to it, like okay, and so technically I'm down as
like a co writer, but adding those little things and all that stuff,
but like the main hook and stuff is just like it's it's his from his
brain. And that's one of my favorite ones as well. And yeah,
he always comes up with such a great little's great hooks. Yeah. And
usually when I'm working with someone, I'll play a little piano thing in and
they'll send it. You go, I'll do something like this or this is
a vibe, or maybe i'll write something. Sometimes people take that news it
or they don't. But for this one, it's very much just like completely
ignored what I said through and the own thing is thank goodness he did because
it was so it was so good and um yeah and the and yeah,
that one's as great. I love the bass sound in there too that I
got. Yeah, well I described that as to me that and I've tricked
my sister into this, right. I listened to it and I was like,
you could tell somebody that this is a hidden track on a Sergeant Pepper
album, right yeah, right has the Sergeant Pepper's Lonely Hearts Club Band kind
of vibe to it like that ear of the Beatles, and I told him.
I told my sister, I said, oh, they've just discovered a
Beatle song that they didn't find. I didn't tell her how she didn't pay
much attention. I really cool, play it. I played it and she
started tearing up, thinking it was an actual Beatles track. That's how good.
That's how good fruit Bat is. In my opinion, I'm gonna I'm
going to pass that through through to Pluto, like, um, he's going
to be Oh yeah, I know. One of the things we talked about
for that episode when we were doing that episode, and this was also before
Blue He came out, so no one had any idea about any of this,
but we was it was a dream sequence, and I didn't want it
to be any dreamy at all. I wanted it to be like a night
out, like at a dive bar. And so it was very much like
we talked about White Stripes. We talked about like these sorts of bands that
you might see like in a dive bar at like two AM or something like,
and that's that's what And they're having just a really fun time and it's
sort of messy and bar like a bar a rock band from a bar and
tsam kind of song. Isn't everyone's just arm in arm Yeah, And then
got to hate Jude vibe to it. Yeah it does actually yeah yeah,
and it's it's very um yeah. So so that's I mean, that was
the influence for that track particularly, And then I would have to ask I
have to ask Pluto more about like where the rest of that vibe from?
Yeah, how we came up with that sort of thing, But it was
definitely it was I think it was the first episode we worked on together.
Well okay, and I was like, well, why don't you have a
crack at this dream sequence? They nailed it? Yeah, you know really,
you know, there wasn't. We go through a lot of drafts and
blue we were very particular and even the first draft was really close, like
it was pretty amazing, so um on that one. So yeah, point
my point was sort of straight away from my love with the song. But
my point was going to be that, you know, we're two small kids.
They go through phases, you know, one week it's the Muppets,
then it's Poor Patrol, then it's or whatever. They love listening to the
songs on repeat, and I get sick of the songs by the end of
the week. But it's not so much the mumps, because a lot of
the mumps and the mupp It's Kid, yes, but Bluey Blue you just
never seem to get sick of the songs like a rotation. It's just just
beautiful music. Oh, thank you so much. Yeah, I mean,
it's just I mean, we do put a lot of time, a lot
of love into the soundtrack stuff. People say it's unnecessary amount of of work
that goes into it, but then you put out a number one album,
so you kind of see see it was fine. But you know, I
mean, I think originally we were probably you know people, everyone was expecting
us just to take what was on the TV show and just put it in
there, which is what I thought it was going to be. Yeah,
yeah, and so we but I think, yeah, hopefully that I think
the repeatability of it is because because we you know, there's live players and
we spent ages on each track. It's like we're not quite like I think
it wasn't metallic. I had that someone them, you know, reading auras
and stuff. We didn't get it there. But like there's definitely some things
where we're going. It needs another trumpet um and us that you can't get
from watching the show. That like you said, you took the music that
you had that were in the episodes and you extend them and made them you
know, unique to the album. So if you want to hear the music,
you have to buy the album where the Simpsons albums were. If you
watch the Simpsons, you probably heard all these all this music before. It's
just music that's the show is that's that's you know, being as appeared on
the show. But this is the full version. Yeah. And a part
of that is because when we're doing in the thick of writing music for the
show, we don't have time to be like, let's do everything we wanted
to do with it. It's almost like we're trying to correct all the things
we wish we had time to do on the show as well. Um where
particularly for the first season because it was such a tight turnaround and it was
you know, didn't have the same budget and we didn't have as much scope
for live players and you know, believe lots of faith evers and to get
it there too. When we finally got the album's thing, it's like,
no, this is I love this show. It's beautiful show. I really
want this to be where we really want to do everything we can't want it
to do. It's in the show. It works fine because there's often dialogue
over certain scenes and so the bits that are underneath everything. Yeah, it's
it's fine, Like there's there's space there. You don't want it to um
yeah, and you're you're like like it says you know it needs to fit
in with the whole picture of what's going on there. But um, yeah,
no, I'm so. I'm so stoked, so stokes. You don't
get sick of it. That's that's actually huge because you know, um,
it's one of the things I often worry about with parents having to um if
Blue is playing two hundred times a day, I always worry they got it.
You've got a room full of kids and you want their attention. That's
not listening. Put the Blue theme on. Within two seconds they all just
got It's like just cat debates the room. But guys, guys, anything
else you want to ask Jeff before we send him on his way to go
work on some more bluey music. I think we better get back to att
actually taking so much your time job. I loved it. That was great.
I'm I've got like this whole I'm like this is we were like this
afternoon, Clarrett, We're talking about one more final Simpsons question then all right.
Yeah. One of the best things that being a kid in nineties were
Simpsons marathons Channel ten Super Simptons weekends under they had Fox Tells a Kid,
But Saturday Sunday mornings we were just filled with the Simpsons. Right when the
Olympics are round. My parents watched the Olympics. I watched Simpsons marathons around
Fox eight. You've been given control of a Simpsons marathon. It's nineteen nineteen
eight. You chat and control Channel ten. You get to pick five Simpsons
episodes to put at your perfect Joff Bush Simpsons marathon together. Which episodes are
going in there? Oh, that is a tough question. The first one
has got to be um. I actually can't remember the names of the time
the Bleeding Bleeding Gums round Springfield, which is one of my favorite parts of
the songs in the care Springfield just so much joy, isn't it. So
it's because you know, as outrageous as it is, at least as talking
to a cloud, she's living a moment that we all wish we could with
people we've lost in the past. It's like almost so uplifting in her version
of jazz Man. It's just fantastic. Yeah, yeah, yeah, yeah,
it's um and even Yeah, and not just because it's the music themed
episode. I don't think it's it's just so sweet anyway. Yeah, the
monorail episode, Monorail, my dress of the monorail round Springfield. Yeah yeah,
stone Cutters, that's just going off my favorite tracks. Yeah. Um,
I finally got two left? Or what treuse of horror would snake its
way in there if you had to put one? Oh um, okay,
a treehouse of the definitely need a treehouse of horror? Um, you going
the shinning? I'm which one is the one with the h Maybe this is
not a treehouse of horror? What's the one that's like the X Files?
He's just an X Files As a sci fi fan growing up, that was
like my favorite. That one blew me away when it first came out.
Yeah, one more, okay and then ah no, no, no,
I have to choose one. You've got you've got half Out, you've got
Whacky, you've got the stone Cutters, You've got sci fi with the Springfield
Files. Yeah, yeah, yeah, this is a tough, tough question.
I'm trying to think of what a putting can I borrow a feeling?
You know? You want Tony Tray. I'm going to go, oh hey,
I think I'm just going to have to go the one with all the
Broadway hits in it? What's it called again? Um? Broadway hits?
Oh? I mean the when Marge does the street kind name desire? Yeah?
No, um, the one where they go to hang on? Which
one's one? The one we've planted the apes? And that is that the
same one that well, that's that's why Trum McClure is dating. Yes,
yes, yeah, the Selma dating one saying film at that one? Yes,
okay. A fish called Salma, You're amazing, fish called Salma?
Yes, yes, I'm going to have to go that one, just because
I quoted that for about like I'd see it, I'd play it on the
piano, all of those. But yeah, I'm sorry, I'm so bad
with these names. There you go. So Jop's Springfield Simpsons Marathon is round
Springfield. We've got the Springfield Files, got a fish called Salma? What
else would be trying it the marg best of the Monorail and the stone Cutters
episode. I'm going to lock that in and then I'm going to message you
in like a day ago. What was I thinking. I'm so sorry,
but thank you once again, Joff. It's been absolute pleasure to have you
on the show. Thank you so much, lovely to lovely to meet you
and chat and and thanks all the great questions and yeah, I hope the
hope think something useful there there will be and I'm all the best with them.
With the release of Dance Motel shure it's going to go just as good,
if not better than fingers Cross. I'm swearing, I'm sweanning. Thank
you so much. Take thanks, Bake. What a lovely gentleman, mister
Joff Bushes. Hey, mister Davis, Oh my gosh, a creative giant
and a very very nice gentleman. We will so so pleased to have a
bit of time with him this afternoon. Yes, and al Jeane, Matt
Salmon, whoever we're out there listening, Simpson's Universe, Simpson's HQ, Bluie,
Simpson's Crossover. We want it to happen. Joff wants it to happen.
I'm sure the creator Joe wants it to happen as well. Everyone wants
the Simpsons Blue crossover. Let's do it, the Blueye Simpsons couch gag.
I want it to happen, so let's make it happen. Indeed, get
cracking on that one. Yes, that's right, goes, don't forget.
Also make sure your preorder your copy of dance Mode is the second release of
the Bluey music. You also get the Record Store Day version as well that
Joff was talking about. I'm gonna be trying to get my hands on that
one. I put my hands on the first Record Store Dave release of Bluey,
but maybe not be as lucky with this one. And we'll see,
We'll see what happens. But also please don't forget to our rate and review
us on Apple Podcasts, Spotify, whereview do you find this your podcast?
And also follow us on social media at four finger Pod on Twitter and at
four finger discount on Instagram. Thank you so much for listening to our conversation
here with Jeff Bush from Blue It's been an absolutely delighted to have you guys
all on board with us today. But mister Davis, any final words for
those incredible listeners out there for real life