he phoned me up that night and played it down the phone to me, and he had the complete vision of how it was going to sound, an old Motown record, a bit of REM, a bit of Ennio Morricone, which we don't always have. Fortunately, we're better players now and it's a bit easier to nail it". JS: Tell me about "Everything Must Go". NW: "We recorded it in this little recluse in Normandy, which is like being in Wales. It's in this big chateau, it's the old Abbey Road desk, it's all wood. "The Beatles" and "Dark Side Of The Moon" were recorded on it. It actually does sound very warm. It's such a relief when you can't speak the language because no-one can speak to you. You just say a few words: Coke or Mars bar, and that's it. Mike Hedges was really nice as a producer. We did seventeen tracks and we're going to pick twelve for the album". JS: Can we go back a bit and talk about some of the misconceptions. You and Richey both wrote the lyrics, how did that work? "We used to sit down and write lyrics together. It's very rare for any band. Sometimes I would just have a title and he would write the song, sometimes we would write them together. For example, "Little Baby Nothing" was my title, but Richey wrote all the verses, I wrote the end. "Roses In The Hospital", I wrote virtually all of that.