Lunch with Tim Farriss, Brett Lee & Chris Thomas
Kicking off the series with a bang, Shane hosts lunch with INXS founding member Tim Farriss, legendary producer Chris Thomas (The Beatles, Pink Floyd and Elton John) and one of the greatest fast bowlers of our generation, Brett Lee.
SHANE: This program is brought to you by the Gin Society www.ginsociety.com on the show today, my three guests across sport, music and business, Brett Lee, the world’s fastest bowler, is actually my younger brother as well, Bollywood star and musician, bass player in the band 16+. Secondly, Chris Thomas record producer to the Stars, Beatles, Pink Floyd, Roxy Music, Elton John, The Pretenders in Excess, Pete Townsend, The Sex Pistols to name a few. And thirdly, Tim Farris, the oldest brother in the band INXS of the great rock n roll bands of our generation. So join myself, Bret, Tim and Chris on Lunch With Lee.
SHANE: All right, boys, We’ll kick off. Firstly, welcome, Brett, Tim, Chris, this is the inaugural lunch with Lee podcast. My three guests to my many left, my brother Brett Lee make My second brother, older brother of Grant, Bollywood star number one hits in India, And Timmy Farris, the oldest Ferris brother from the the great rock band INXS and Chris Thomas, a few of your highlights here. The Beatles, Pink Floyd, Roxy Music Elton John, Pretenders, Pete Townsend, Sex Pistols, and INXS Yes. Thanks for coming. My whole idea about this podcast was getting some good mates together over lunch, sitting around and talking about sport, music and business, my three passions in life. I read a book 10000 Hours to become an expert and apart from cricket. Lunch was the other thing I’d done to ask now. So here we are. Well, we all relaunched over the course of the afternoon and having a few drinks and just sharing stories over sharing a meal. So I firstly welcome Chris, How long you in town for?
CHRIS: I’ve got about another two weeks, I’ve been here quite a long time now. First came out to Melbourne about was it 28 December, So it’s going to be about eleven weeks altogether. SHANE: And you also you come after the cricket. CHRIS: I come out for cricket. Not that there’s been any. Yeah. And also I think primarily because I absolutely love Australia. I sort of toyed with the idea of coming out here sort of permanently. But then it seems as though when I was working, it was like, you know, it might have been a bit difficult to get around. But yeah, I just love Australia to death And I mean, I just hope I was come out here.
SHANE: Yeah. Timmy you were president of Manly cricket club
TIM: for a few years there. Yeah. There was a lot of fun and a little more than I bargained for, I’m sure. But it was great. It was really, really interesting to see that the roots level and that was back before T20 cricket, I guess, which for me is somewhat changed this time, remarkably. And for mine personally, I you know, I just can’t get into the BBL. So when that’s all there is to watch. I sit around waiting for the NRL session to start I can’t help it, but that’s that’s just the way it is for me.
SHANE: Oh, I’m super excited, to have you three guests on as my first three guests for the show. Because Brett and I grew up man playing the piano at home. So I remember the youth for a being at my farm in Kangaroo Valley. And I want to apologize for crashing into a fence post. I’ll never forget. If you haven’t, then that was just when you were called up to play. You just not the bloody thing on your first on.
I’m on a motorbike and Timmy like you go for it 2- And I just jumped off this thing, just hammered into the fabric called dickory there and then borrowing more about the motorbike, but now isn’t worried about the motorbike. We should see what I do.
SHANE: But it was 1987. I remember getting a C D play for Christmas for the first time, and the first album I got was Kick. Chris produced and Chris produced. Yeah. So we’ve come full circle here, which is which is quite a sort of. Yeah. Great album too. Thanks mate. Thanks Chris. As great work, and Timmy now how you going these days mate with the finger injury. That had been tough mate.
TIM: Yeah, it’s been probably the second biggest tragedy of my professional career. It was it was a horrific event. You know, I was here. I was grappling with an anchor on the front of a rather large boat, I must say. And just my wife, Beth, was on the fly bridge, you know, with the boat idling. And I was trying to get the shinin the winch stopped working, started working, stopped working. I couldn’t budget with my hands, you know, like it was it was all chain. And all of a sudden the thing started and just drag my hand in and it was stuck in there. And I don’t know how, but somehow I had this strength that came from nowhere. And just with one arm reached out, grabbed the chain and pulled the boat about ten feet into a thirty five, not suddenly and freed my hand. And it was my finger lying on the deck of the boat. And Beth was couldn’t see what was going on. So she says, Tim, what’s happening? And I went, Oh, nothing, I’ve just lost my finger. This is this a little bit of bone sticking out of this knuckle here. And that was that. So
SHANE: which finger was it? Your ring
TIM: was my ring finger. Yeah. So it’s now reconstructed around a metal rod doesn’t bend. And it feels like, you know, when you put your tongue on a nine volt battery. Yeah, it’s permanently like that. And I actually came off. Yeah, yeah. Yeah. The finger was right. Seven. Yeah. Yeah. Sixteen hours of surgery.
SHANE: I’ve had a few minor try to cut that that finger off that ring. A very different reasons.
TIM: Well that’s that’s Kirks domain. Oh so you know I don’t want to be second slide you know, but it is an option.
SHANE: And Chris I don’t know if you want to talk about a bit of a music not myself, but you told me a story once about the first time being in the studio with it with the Beatles.
CHRIS: You’re right. You know, maybe just telling me that story was sort of how I got involved with it. Okay. Well, I was actually on kind of six month trial with George Martin. He very kindly answered. I wrote a letter to him saying how much I wanted to be a producer. And somehow it came about that he’d already started his own independent company called AIR Associated Independent Recordings, which went on to become Airline London and build the studio. So anyway, so that was the setup. So I wasn’t employed by EMI and also I wasn’t an engineer. I was a musician. I was going to be a producer from that side of it. And I started going down there from other guys as well. There are people at Ron Richards who produced the Hollies. So I went down a lot of Hollies sessions. So I I saw fabulous stuff. Then I went down when they started working on the White Album, which they started about the end of May 68. And this went on for months and months. And originally, I went down to every single session. I mean, you couldn’t keep me away from there. But bit by bit, it kind of slowed down and it got to I went away on holiday and ran about end of August. Something like that came back beginning in September. And there was a note on my desk from George saying, I hope you had a nice holiday. I’m off on mine now. Make yourself available to the Beatles. You know, Neil, know you’re coming down. Road. So I thought, well, it’s the same deal. You know, sit in the corner of the control room. I used to have to wear a suit and a tie and say nothing. You know, bootleggers gooseflesh, you know, just sort of sit there. And so there I was. And obviously, George had, you know, this record had been going on and on and on and on forever. Normally, he would have thought it would be over by, say the end of July. And he’d booked up his holiday with his family for months and months before they even started the album. So that’s that’s why he went away. But first one through the door that day was Paul. Now, they were really having a lot of they were having a hard time because they were having to manage themselves because EPSTEIN had died the year before, so that he’d probably been in a business meeting or something and happened. Let’s just say that maybe he wasn’t in the best mood. I mean, I don’t know I can say that now reflecting on it. But at the time, I didn’t know what was going on. The atom just walked in and he saw me sitting there on my own in the corner and he said, what are you doing here? And I said, surely. I said, didn’t George say something about, you know, permission for me to carry on coming down? I said, oh, if you want to produce this, you can produce this of, you know, good will just tell you fuck off. Walk down the stairs at the studio, which left me totally and utterly catatonic. I didn’t say I couldn’t speak. And they all they they all arrived one by one. And they went down into the studio and they started working. So I kind of plant myself next to Ken Scott, who is engineering. And they just couldn’t they just communicate it with Ken the whole time. It’s just what I like you, Ken. I like I wasn’t there, you know. So this was just getting more and more or more horrible. They had a break after about five hours where they had there was just have a little kind of meeting about what, you know, this kind of another business meeting about 7:00 in the evening and recharge the batteries. And after actually it was during that I was downstairs in the street and I heard John say something about. He’s not really doing his bit is. And I thought he was talking about me. So I went back upstairs and I thought, oh, my God. I mean, I you know, if they told me, you know, that’s it. Don’t come back. When George comes back from holiday five months into a six month trial, as late as the end of my life Gone Absolutely. I’m gone. So they were playing and all of a sudden somebody made a mistake, So the beginning of the second verse. So I interrupted them and I said, try it from the top. I said, went wrong at the beginning of the second verse. Now, George would never have interrupted them if they’re doing a take, if something went wrong. But I didn’t. I just thought, I don’t care who they are. I’ve got. I’ve got. You’re in trouble anyway. Yeah, I did go out in flames, so. Yes. They all dropped their instruments and they all came up the stairs to listen to the mistake. I’m going on. No, no, no. What happens if I’ve kind of membranes phased and I’ve made up anyway? They heard the mistake. They went back downstairs again, started playing. And a bit later on. Similar thing happened to the press, the button. And I said, try it from the top. So they tried it for the top. And so last one out in the morning was Paul and I just said, what about tomorrow? And I said, come down if you want. Walked out of my plane and it was like I just won. Yeah, just gold winning. Winning gold at the World Cup. I couldn’t believe it. And from there on, I did. I started doing I mean, I. I never said that I produced them. I mean, you know. But they started using me on bits and pieces on playing a lot of things. Yeah. As I was on every single session then right at the end of the White Album and in the course of that time. Towards the end, for instance, maybe. Martin went in. I remember one night into number three with John Lennon. So do some stuff limit its own number nine and I worked with George Harrison in number two, I think on Savoy Truffle. Now, people have constructed the idea. They think I will. So they weren’t talking to each other. They weren’t getting on because I work in a different studio. It wasn’t there was just so much work to do.
SHANE: I said to me, as we said before, Chris produced Kick album. Here comes a man whose voice that will order some some lunch as well. What we’re doing this. But tell me, what what what makes a good producer in music? In your opinion?
TIM: Someone is honest. And you know, it has a lot of experience, which Chris had, and he’d produced a lot of incredible music. In fact, I remember one time we were recording listen like thieves, and this is the first album we did with Chris. And he we were all sitting in the control room at Rhinoceros and Chris says What’s your favourite albums, guys? You know? When it came to me, I said, oh, for your pleasure, boy. Roxy Music. And Chris goes, I produced that. Get the fuck out. So I went home and got out the album. And not only it is the producer. His name is really big on the record. And I was like, that’s it. And I got him. Yes. And that was the album with Aino. And Chris has always had some funny stories about, you know, which that, you know, that was it for me. I just thought, wow, this is incredible. You know, in every home, a heartache or whatever it is, that was really my kind of thing. So, you know, Chris just had me it, you know, G’day and then, you know, Chris saw us live a lot. And and he tried to create recreate what we did live in the studio system and which then led to us trying to create what we did in the studio live, which is an odd thing to go to, which, you know, which you did, which we ended up doing here. Yeah. And so, you know, I think it’s just having that sensibility about understanding the individuals. Chris was very adamant that we all contribute some wise and that our parts were really together so that we all had distinct parts. And that made a lot of sense to me. You know, it’s not none of this noodling stuff so much as well, If you did, you noodle the noodle, the noodles until you had an actual part. That was that. Then you repeated that. So everything was solid, you know, and and and being a musician as well, Chris would be sitting there. We always had a guitar and in the control room. And and we’d all Chris included would be, you know, just coming up, a little melody things for little ideas here. And there was little things are all contribute to the overall flavor.
SHANE: One of the interesting things now, I’ve got three kids off to get asked a lot by the other school parents. What makes her a good young cricketer or a good young sport and a good young musician? And also kind of is the musician, although I played a guitar or held a guitar and sticks out. But for my kids, it’s three rules. Education is a non-negotiable. I want to play a team sport at some stage. I think you learn a lot from playing in a team sport, how to be part of a team enjoying other success. And I wanted to do an art because I don’t want my kids Just be jocks at sport, you know, or blokey or you. Yeah, especially the girls. Especially the girls. Yeah. But but also don’t be too arty as well. So understand different people across different genres. And this is sort of what this whole lot would lay podcasts about. And Brett, based on that, what do you think makes a good a good sportsman?
BRETT: Well, I think it comes down to how much you actually want it. Yeah. Well, to me, you know, you have to have some form of natural ability, whether it’s sport, music or business. But to me, it was always like that. That will to go harder than that anybody else. So, for example, you know, mum and dad asked me when I was 9 asked all three of us self, Shane and Grant what we wanted to be when we grow up. And I said, well, I want to ball 160 k’s and wear the baggy green cap at 9. And whatever I did, you know.
Moving forward was trying to achieve that goal and trying to achieve that dream. So I was probably the least talented cricketer in the family. I mean that. Wow. Shane always looked up to shane, is it? Yeah. Penny older brother, that being probably the leader of the family in terms of the brothers and Grant, I think had more talent and probation I put together really well, but I I think the reason why I got to go to play Test Cricket because I wasn’t the most talented, but I had to I had to work harder and hunger. Yeah, I had so much hunger. So I had people tell me that I wouldn’t be a fast bowler. Broke my back at the age of 16 and my doctor, who was an Indian doctor, a local Indian doctor, said, ah, you know, try something else because you won’t be able you know, achieve your dream of being a fast ball.
He was worried he’d get to 160. And I said,
BRETT: well, actually, might you know, I will play for Australia one day because that’s what a program I’m trained to do. And when I do, I’ll get you a ticket, which I did as a 19 nine on Boxing Day test against India. So it was a good story. He was pumped. So what I try and tell my kids, having having three kids. Preston, 13, and Helena 4 and my son, Rafi’s eight months old, healthy as he gets out of it. Certainly with Preston is just whatever you commit to doing, do it a hundred percent. Don’t be afraid of failing because failing is good. As you know, as long as you learn from what you’ve said, you’ve missed out on, know what you filed with or filed from. Have fun. It’s going to be fun, enjoyable, but also play to win. You see so many kids and parents now, so just give you your best shot and that’s fine. But I think that if you do something, you know, you want to win, you’ve got to be a good loser, you know, appreciate when you do lose, but you’ve also got to get out there to play to win. So you have fun and play to win and make sure you training harder than most other kids.
SHANE: Timmy what was the dynamics like with the brothers in your family.
TIM: It was good. I mean, we’re all really different. Yeah, probably. John and I are more similar than, say, Andrew and John or Andrew and I. But being the oldest, you know, I always got my way. is that right? Right. So you think that that’s them Actually, that’s right. Yeah. But no, it was in many ways it was really good because we had this sort of natural communication anyway. And we were kind of I think somehow it was infectious with the rest of the guy. I mean, look, Kurt was grew up with us as well. I mean, we all went to 2 high school, so we really grew up together anyway. So. And we remain really close, not just my brothers, but I mean Kirk and Gary as well. So you know that I don’t know any different, so I can’t really. I mean, I’ve never been in a band without my brothers, to be honest. Yeah, except maybe the very first band when we’re in high school with Kirk. So it’s difficult to say. But for me, I think it was a good thing. You know, we each had our own role. Yeah. I mean, apart from instrument wise, you know, we each had our own role in the band. And I think that that was an important dynamic for the band, not just as brothers.
SHANE: So I’ve read a few articles from the guys INXS. And Gloria mentioned that you were the sort of on and outs of leader of the whole of the group that I did.
TIM: Yeah. Yeah. Yeah, yeah, yeah. I’ve another responsibility. Yeah. I’ve never really felt that. I’ve never really thought about myself being that it’s just been the way it is, you know. I mean, I guess because I started the band in a sense, you know, in fact it was the last to join, which was kind of weird being Kirk. But and he also the thing about Kirk, which is very interesting, is he started to learn sax. Like when the band was already two or three years old. Yeah, it is actually really annoying because, you know, I was living with him in the band. Yeah, I know. Yeah. Listen, it wasn’t violin. It was that her name.
SHANE: Who named the band?
TIM: Gary Morris, the manager of Minato, you know, came out with the idea and we liked it. But at that we were called the Ferris Brothers, which are actually now in retrospect I think was a good name. But but INXS a great name, too. It’s it’s very good. Yeah, it’s hard to say in Japanese and it doesn’t work so well in Spanish. But, you know, the minor drawbacks really.
SHANE: And Chris, given all this, is it all sister?
CHRIS: I got a younger sister.
SHANE: A younger sister. So were you the oldest in your family as well?
CHRIS: Yeah. Yeah, yeah, yeah.
SHANE: As well as the dynamics in the family. Well, what is your sister, do? She she’s a musician as well.
CHRIS: No, she’s not. She’s not. But she did end up doing a short stint in the music business, working on, you know, for record company. Yeah. But she. No, she wasn’t particularly musical. She didn’t really want to do anything immoral or something.
SHANE: Yeah. No. Awesome food. Yeah. Awesome food. And back on.
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SHANE: So boys, one of the things I’ve discovered that three people are fishing different ways. Yes, Tim I remember you just have a marlin guitar A new one. Yeah. Which is awesome. Kramer made it for me and Brett. Brett’s a mad fisherman. Brett’s just caught his largest kingfish a metre 38. He’s really that. Yeah. Wow. But Chris, you have a an extra in your backyard in Hampshire. You go all trout off of Gosse.
CHRIS: I’ve got to see the bottom of my garden. Yeah. I’ve got. Yeah. Go trout fishing. I’m just to the brook at the bottom of my garden feeds into the river test, which is really, really well known for a search like a chalk stream. So it’s very well known for trout fishing that’s actually going back to the mixture of music. And fishing was quite interesting when we were working, when I was working with INXS because there was one point where I believe Tim had a little tinny. And you bought, didn’t you? You caught a shark that was bigger than the boat?
TIM: Yes. Yes. Actually, it wasn’t a tinny. It was a fiberglass. It was fiberglass boat. And yes, it’s a long story, though, but I was fishing competition out of Port Stephens the interclub. And we I was onto a tiger shark that ended up being 360 kilos and it was bigger than the boat. And when we got it, it took me hours. The seas were really rough. Everyone else on the boat besides me was sick. So that’s probably why we got the shark in the first place. I actually got burned earlier. And, you know, it was so it was like a four hour fight in really rough seas. And then when the thing came up and hit, it nearly capsized the boat and we ran out of fuel. And and we had to try and find a way out of sight of land. You know, something like 40 miles out, we had to get back. We were running out of fuel. We knew we weren’t gonna make it anywhere near shore will port. So we found another boat. And this is back in the day. I confess I killed that shark and I’m not very happy about it, but I did. That was that really changed my whole feeling towards killing fish altogether, actually. But I. In order to get that fish back to port, to weigh, to enter it into the competition, I had to get it back to port and we weren’t gonna get ourselves back a little line with this thing that was bigger than the boat. So we found another boat that would help us. But the seas were so rough. He wouldn’t let us get within 50 metres of the other boat. So they were like, well, how are you gonna get the shark over there? And one of you will have to swim with a rope around your waist. And I’m like, well, you guys are still berling and you got bites, you know? And they go, yep, with there’s still time for us to get a fish for the competition. So and we’re gonna keep bailing and you’re gonna have to swim through our belly trial and then oop shark up and I’m like, yeah, right. And then we all saw a fin in the air sure enough.
And so I was like at that stage I was staying there in my undies with a rope around my waist. Thinking Nah fuck this, you know I’m not going to this Sunday. One of the guys one of the guys on my boat pushed me in the not just swam like anything over this big boat. It was heaving out of out of the ocean. The transom came belting down and hit me on the shoulder. I knocked my head on it. I was dazed and confused to know where I was, but I knew I was in shark infested waters in the early trial. Some big hand, came down and pulled me out and onto the boat. And we got it. We got it back somehow and I ended up winning the tournament.
CHRIS: Then you had the presence of mind of having this entire escapade film. Yes. That suddenly came into the studio on a Monday morning and showed it to your set to me, and also to your singer. Yeah. And your singer It wasn’t very happy about. No, it wasn’t. No, not at all. Michael was was very, very dark about it.
SHANE: Brett what’s fishing meant to you? I know you love it.
BRETT: Well, fishing means everything to me. Both my Uncle Bill and Uncle Les, who Uncle Les was a bit like a second dad to me and still is a dad’s younger brother. So dad is one of three as well. And I remember going back to the age of about 10 or 11 I used to go fishing with him on the weekend and just got the fishing boat. Fell in love with it and ever see a sign that didn’t always. And it is almost what you can’t explain is what where did that come from? And you know, you know, and I actually enjoy fishing alone. It’s nice s from time away to think about other things and not worry about, you know, media or that type of stuff or cricket. But yeah, I’ve had some best moments out there fishing and I’ve had the pleasure of fish with a lot of different people from different walks of life, too. But we had a moment a few years ago, myself and Dominic Thornly former New South Wales cricketer and were out about 40 mile. Off the coast, we caught a southern bluefin tuna. Nice. I feel like you tell me we had to somehow get it back in. It was two meters 10. Well, Dom hooked it up and we had to get down to Watson’s Bay and have a crane. Yeah, he got the gang fresh off the boat, so they craned it off. We did a bit of a side deal with one of the guys, the Japanese restaurant. We said, look, mate, if you cut the whole thing out, we’ll give you half the fish.
Oh, come out with. It’s worth about a $20000 fish. And we got got at home and I rang all my mates text all my mates, said, listen, fresh tuna at my house come around.
SHANE: So you came and got a big bag of bread and ran his blood everywhere. I was gonna call forensic murder. There’s that. There’s that much claret toabout ability to raise sharks.
BRETT: No, fishing is a steal is a very important part of my life.
SHANE: But the question I got for all of you. Was there a distinct moment in your careers where you sort of paused, looked around and made it got to where I thought I’d be? Timmy was there a moment when you’re standing on stage Was it at Wembley or where was it or was it a smaller gig for you?
TIM: Probably a smaller gig Yeah. Well, you know, Wembley was just fun. Basically, it was it wasn’t the biggest show we’d play, but it being in England and in London and being able to sell it out weeks before the show. It just felt like a great achievement. And before we even played. So when we went out there, I mean, Johnny started drumming two guns in the guns and Sky was gonna be the first song. I don’t know why. It was just a really weird song to choose. That whole setlist was really strange, but it concentrated on the X album a lot, which looking back, there were so great songs on that record and the ones that we played live at Wembley, the versions were just fantastic. You know, it just made me realize what a great record that was for us. You know, the version of the stairs is probably that live versions. Yeah. It’s just we re-created the the studio version live and it being live. It just had that magic. So John Johnny goes out and starts drumming and we’re all in the dressing room still and I say, fuck he has started. I was smoking a joint. So it’s like hell, you know. So we’re all running out there and that’s how casually, you know.
So for me, you know, I didn’t really. I never got to retrospective or why I was in this great sort of thing until I mean, I suppose getting the the platinum album in New York at the Rockefeller Centre for Kick, I think it was. And there was like Andy Warhol there and all these people, you know, stars and whatnot, that that was kind of like I just wanted to get out of there, to be honest, it wasn’t really in my bag. But so I think, you know, like selling out the pubs in Australia meant more to me. Funny, you know, or before were even in excess when we were opening for the Angels at the Narromine ANTLA and we were the Ferris brothers and we got to an Oncor, you know. That never happens. That that was for me, a really great achievement. And that led to Gary Morris discovering us and Chris Murphy. And but which is good or a bad thing happening would really get it. And the rest of our career. So in a sense, you know, looking back at that, you know, those those were the times for me that are the really important ones.
SHANE: Chris, a moment.
CHRIS: I dont think so. I tell you why. First of all, I was very aware in the music business you’re as good as your last record. Yeah, sure. So you just gotta keep climbing. Keep going. It’s just a constant thing. But obviously, I was I mean, there’s a thing where you are aware that it is kind of building and building. But I was very lucky, too. It was so many sort of well-known artists and established artists. I was very careful about that. So it might be that go into my head. And so I always just consider the fact that it’s just the job. I mean, the great thing was I was doing the job that I wanted to do so much in the world. You know, more than anything else in the world. And so it was just that thing of like, it’s my job. So I tried to keep a little bit separate from it in that way, although I do having Timmy here reminded me of one thing, and that was when I need you tonight. Got to number one. I think this state that was a big moment and he phoned me up, which is fantastic. Is it a crazy set? The records got number one. It was like it, you know. And within a couple of minutes, it’s like, oh, okay, okay. Well, exactly.
SHANE: It’s like, isn’t it? It’s not that. But it must have been interesting for you to like working with the Sex Pistols because. Well, I mean, that was. I can understand why, but. But I mean, from a from your point of view, what intrigued you about working with them?
CHRIS: Well, I’ve known Malcolm for about a year or so. So that’s how I got roped into that also. I knew Chris Spedding, who was really he was I was actually as this kind of busman’s holiday, I was playing keyboards on the Jon Kayl band. Right. Jon Karl from Velvet Underground. And Chris was the guitarist. And Chris was the the only real musician in England who actually championing them, you know, because everybody else is saying they can’t plan it well.
SHANE: Well, they were putting shit on every other musician. That’s so.
CHRIS: So there was a kind of you know, I was sort of in and around that stuff. And and the scene in London was very, very small in those days. A lot of people sort of knew each other. So I got dragged in. I got asked to do something. When they first tried to do anarchy, it didn’t work out. And they came over to my place, to my house, minus John, Malcolm decided not to invite John. And that was just the beginning of Malcolm’s manipulation and winding up of John, which was, you know, the dumbest sort of thing that was going on at the time. But they brought me some demos. And the most important thing is, for instance. So a demo of Pretty Vacant. I was like, wow, you know, what a great riff. You know? That’s it. Yeah. So I’m sold. And one of the things I thought about as well coming from West because I was brought up in West London. Was that. I thought, well, this is like the WHO is like 10 years down the line. You know, the singer, guitarist, bass player in drama. So I thought maybe this could be a next generation kind of real great London West London rock band like the Who became. And so that was that’s why I didn’t actually like the publicity side of everything of ours that really didn’t have because I thought it might actually be counterproductive. Right. You know, in fact, at one point it certainly was because we were getting dumped off labels. You couldn’t get a bloody record out. So that was very frustrating. For the main thing was that I I did think that I could do something with with the material if I didn’t like the stuff. I wouldn’t have done it.
SHANE: Brett, was there a moment for you? Knew he looked around, you were out in the ground. You you’re bowling. You’re at the top of your mark
BRETT: was probably two moments. The first was 17 playing for Campbelltown Career Club. Shane was the captain of the site the second innings where I got the new ball. So Shane always got downwind. Brand new ball. And Al’s first change on the ball. The other. The older brother in this day said, oh, you know, I’m pretty quick on the net here. You can take the choice of any brand new ball. In that moment, I thought I’ve actually gone past my older brother because he was always quicker than me growing up. And then I got that chance to ball downwind. And even though you played, I remember it, but it ran right in my. It’s bloody hard every day. But I think probably that the main part was it was 2005 in a bold boulder, 160 k’s in the World Cup, 2003 but 161 KS in 2005. And I just felt on top my game. I felt really, really fit. And so to win a World Cup was fantastic. But yet to achieve that goal passed the 160 barrier. Again, that to me was like a huge moment. And that’s where I felt like, you know, all that training, all that hard work, all that dedication, you know, the moments after school in the hours and the nets, the the setbacks, the broken back twice the, the six ankle operations, the the two of operations to ball 161 ks. It was like this
This feels pretty good that one of these you most proud of is that the fact that all those setbacks you kept coming back and you never gave up. Mark My most proudest thing about sport and sort of cricket in particular was to bowl 150ks for 20 years. Yeah. So it’s not so much you know, it wasn’t you doing longer than that.
SHANE: You it in the backyard. Well you’re about seven or eight and you have a ball game. Is it your brother’s cup that are never on purpose?
BRETT: Of course. No. But that that was you know, people talk about wickets, they tell it World Cups and that’s all great. But to me, it was the actual longevity of bowling. So it’s such a hard thing. It’s the hardest part of the game. And, you know, you’re in cricket to bowl consistently over 450k. So it was the last big bash season. I did it for 19 years and I had to get past that 150 barrier. And that was the goal I set because a journo I came up with it and sort of went back and looked at every single year and said, you know, that your one year away for twenty years of cricket bowling because no, I wasn’t aware that.
And then about 148 k’s in the previous game and that was it. And we had two games to go. So I had to go bloody kill myself doing it. But I ticked off. I thought so that to me that was really good because getting me on top game, you had to be the fittest. And yeah, it’s it’s not about wicket to me. It’s about World Cups. That was like I had to put myself into that position of being the fittest and stay on top to top my game. And it was me against me.
TIM: Playing an action series must have been pretty special.
BRETT: Yeah, that was really good. That was 2001. Looking for new or a yeah. That out that old saying if I knew what I what I know now. Back in 2001, because I got caught up in the whole Barmy Army 2001 and they kept sort of one me the ball quicker and a ball try to bowl faster which you generally bowl slower and then you bowl short that’s how you bowl wider You get pumped. And 2001 was a good series for me, but it was one where I could have totally changed it around. Doesn’t fall was a lot better because I learnt from 2001 that planning in the Poms that was it’s the Barmy Army are brilliant. Yeah, I think so too. And I got I remember that time in Melbourne Boxing Day test in Melbourne and this little guy was in charge of the Barmy Army and he kept sledging me by 13 and I thought, you little prick. Right. And he kept giving me the whole day and I hadn’t got a wicket and I was walking back. So we had a feed at the casino. He walked back past Southbank where we’re staying. And now we’re all in the pub and they’re going off. And these guys have been drinking all day for the last three days. And I get bed at a reasonable hour. And I’ve looked I’ve seen this Barmy Army says little guy and I walk straight to him and he’s though I was gonna punch him out. And I said, What are you drinking? You asked for some sort of beer, It might thank you so much. Now we have some fun on or off the field, but love what you guys do for the game. Well, then the next day, the Barmy Army were all I guess they were at the window and they found that to me. So what am I? It cost me a Beer? Yes. Oh, five bucks would be one of the Barmy Army.
CHRIS: Fantastic. That reminds me. Actually, I was there the last day of the 2005 at the Oval and something. And of course, I mean, everybody is giving everybody, you know. It’s really sort of pumped up and it looks like we’re going to actually sort of like win the Ashes. But the most fantastic thing was once it sort of seemed inevitable that we that we got home every time. For instance, McGrath went down to field at third man or Fine Leg, the whole place stood up and applauded. Yeah. Yeah. You know, the atmosphere was mean. I’m just I’m getting like, yeah. So why this story now? I I still I was so moved by the fact that like there was just so much respect for everybody. It was just something really quite sensational.
SHANE: very, very logical the media supporters across all sports. Yeah. Yeah, I agree. So what one thing we were always in tune to which homes? One of the things you often do in sports, you compare man to man. Now I sort of run a little little exercise here with two music experts at the table. You mentioned before that you’re any good, your last album. So according to that six that were pretty shitty, but I thought I’d just match up man for man. Yeah, INXS verses six and out. Right. So of starting with the two older brothers Tim and I up at the top, Tim plays guitar better. Let’s touch up. Let’s not award the conclusion that that award don’t exist just yet. So some it’s we’re still in the game here. Right. You then you’ve got six now gonna get this guy. He’s got the right scheme. And then you got the next older brother, Brett and Andrew. Right. So you guys and the two sort of, you know, real influential brothers in the family. So we’re not quite out the game yet. Then you got Robbo, Gabe Robertson, our drummer. And John, I sold him his drum kit. That’s right. So his drum kit, Rob used to cut his sleeves off like John did and also wear one glove. So, you know, he thought he was John Farris So I think. Now, this is where things got a bit pear shaped down with Sam Cooke. And we also play gun to the skull as well. All right. Kirk Pengilly vs. Brad McNamara. Well, back in game over. And then to finish off of that, Michael, this is Richard Checkley. So what’s going to give us why it’s sort of a little like a draw at one point? I think it might just have been edged out end. It was.
SHANE: Look, boys, I think we’ll we’ll. Voices have been served. Now we’ll have a couple of drinks, but. And we’ll wrap it up. I want to say thank you to three of you. I called you. You all said straight away. Yep. Shane, love to come along. You didn’t even balk at it. You all had big impacts on my life one through one way of another. And you’re all top blokes as well. And I really appreciate. And, um, so that’s the first set of Lunch with Lee Yeah. Oh, very good, boys. Anyway, enjoy the meal and we’ll see you next time unless we leave. Thank you. Thank you, boys. That’s it for lunch with Lee this week. A big thank you, guys. Out to our guests, Chris Thomas. Tim Ferris and Brett Lee. I’d also like to thank the buena of Vista Hotel for their fantastic lunch today. The Buena Vista Hotel, seventy-six middle head. Right, Mosman. Thank you. Hilton Headly for your hard work behind the scenes and a big thank you to our sponsors. The Gin Society and Sparton Sports. Make sure you hit subscribe on Apple podcasts or Spotify or wherever you get your podcast from and do us a favour and hit
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