SPEAKER_00 0:00

If you're old enough to remember when phones had cords and the only thing that went viral was the cold, then you're in the right place. Welcome to the Big Sticks Toe with Kaylee Harris and Guy Rollinson. Because who better to discuss types to stack an act than two people who still think mature is a type of beast?

SPEAKER_01 0:26

Well, welcome everybody to this special edition of the Big 6-0 podcast. I'm Kayleigh Harris, and joining me in the studio today is former deputy school captain from Eppingwest Primary School, an all-round great guy, Guy Rollison. Hello.

SPEAKER_04 0:40

Don't say anymore. You had me at Great Guy. How are you?

SPEAKER_01 0:45

I'm really good, thank you. Like this is, and I said it's a special edition this week. I'm going to take you back to the 70s today. So cast your mind back to 1976. I was 12, and countdown was a big part of our lives every Sunday night. Watching, I used to love watching the young girls there holding the tinsel above their heads and waving it around and screaming to the likes of John Paul Young, Daryl Braithwaite, Marty Grohn, and our next guest who burst onto the music scene with this great song. A very, very warm welcome to Mark Holden. Good morning to you.

SPEAKER_03 1:39

Good morning. I was just listening to that vocal and thinking how strong and high it was. And that was there was no um, you know, there was no AI or or you know pitching or any of that sort of thing. The vocal was the vocal. I'm I'm just listening back to it then and going, wow, that was a pretty good vocal in 1975 or six when I sang it.

SPEAKER_01 2:02

You betcha it was. What do you remember about those days, Mark? Take us back to 1976. Now I know uh a bit of history before that. You were you started to study law at 17.

SPEAKER_03 2:13

Yes. And then all of a sudden you I dropped, I I did uh I did showcase in 1974, which was the equivalent of Australian Idol. It was on Channel 9, and it was uh, you know, it was a talent show, but it it included comedians and opera singers and and violin players, and I I went on as a and it was Hector Crawford. Hector Crawford had an orchestra and he created the show so that he could um have an orchestra, really. And and uh any anyway, I I I was on that show in 1974, and uh it was beautiful to to to play with his uh his orchestra and because I it was original songs. I was singing my original songs that I'd been writing, you know, uh when I was since 17, 18, 19. And um uh then um uh I I got uh through there a guy in Sydney uh saw me on on television called John Brommel. He was a publisher and lived in Sydney, and and um he saw me on Showcase and said, Hey, why don't you come up to Sydney? And he organized, I stayed in a he had a he had a like an under he lived in Manley and he and he and he had an underground area under his house that I kind of camped in, you know. And uh and he organized a showcase for me at uh at the Kirk Gallery, it was called, and uh EMI uh signed signed me off the back of that. So I moved to Sydney in my last year of my law degree, and I moved and went to UNSW for a for a year, and gradually over the course of that year I dropped out of each subject. So I I I managed to pass one subject in my final year, but I didn't didn't get missed the other three, so it kind of fell to the wayside. But um, then then I got uh Joseph's Technicolor Dreamcoat, and um that was incredible. That was at the Seymour Center, and that I think that was 75. And um and then um my first album that was the the album made from those songs that I all wrote myself though that that came out on EMI and that completely stiffed. And uh at in 1975-ish, um, I got a call out of the blue um f from from from EMI from a guy called Colin Peterson. And now Colin Peterson was smiley. Some of you listeners might be old enough to remember who Smiley was. Yeah, I'm barely old enough to remember. Smiley was a was a young blonde-headed kid in a as an actor in a film, uh famous film back in those days, and his and that was that was Colin Peterson, and then he became the drummer of the Bee Gees, and so he was the original drummer of the Bee Gees. By the time he was at EMI in 1975, he was no longer in the Bee Gees, so they'd moved on, but he bought the song Never Gonna Fall in Love Again to me. And and he really um changed my life because it wasn't a song I had written, and I was probably gonna be dropped by EMI because the album was a complete failure. And they put quite a bit of money into me, as a matter of fact, in terms of you know promoting it and and doing all they did a you know as good a job as they possibly could, but it just didn't work. And um so he he brought this song to me and out of the blue, and turns out that because he was in the BGs and he was a drummer, he knew how to make records. And and uh he made this fantastic record of never gonna fall in love again on me, and he got a really great vocal out of me, as we as a as I just relived with you a minute ago, and uh it came out and it actually became a hit, and it became a hit um because of the record. Probably the only time in my life that me as an artist got a song to sell just on the song, because once countdown, once I got on countdown, it was all about countdown. You know, it was all about TV, and it was it wasn't, it was, you know, the the radio followed the TV. Um, you know, uh the the the the songs I want to make you my lady and last romance and reach out for the one who loves you became hits because of countdown. Countdown was so huge and everywhere, you know. I mean, you you could see it in Weepy, you could see it in Brunei Island, you could see it in, you know, in Perth. That was the only station that was like that at the time. And um, so you know, uh Colin, I got to I reached out to Colin about uh two years ago and I said to him, I got his phone number from somebody and he was still alive. And uh I said to him, how come we only ever did one song together? How come how come you never I never called you? I've this is the first time I've called you in 50 years, and how come you didn't call me? Yeah. After we had a hit together, and he said I got fired.

SPEAKER_04 7:20

Can we go back just a few years from this and talk about young Mark? I mean, you're an Adelaide boy. Um what sort of kid was young Mark Holden growing up?

SPEAKER_03 7:32

Uh skinny. Um, definitely skinny. Um always always had music around me from my mother and my father. Um my brother, my brother was a musician before me. And you know, he picked up the guitar as a young teen. And uh and I, you know, I've always been the younger brother. I'm I'm uh I like to say I'm very happy to be William to my to my brother, I'm very happy to be Harry to my brother's I am. I'm very happy to be Harry to my brother's William because he's he be he became he became a singer in a band with the Brewster Jones brothers uh that was called the Moonshine Jug and String Band. They went on to become the Angels, but you know, I was when I was a young kid, still in my school uniform, I would go and see my brother in the pubs around Adelaide playing with the Brewster Jones brothers uh in a jug band, and you know, they were just so fabulous, you know. And and and I just fell in love with it, you know. I just fell in love with it.

SPEAKER_01 8:36

In an earlier podcast, we spoke to Marty Rohn uh and he talks about the countdown years, which is the same time that you were in that whole scene, and he talked about how the audience members, all the kids would wait outside for hours to get into the ABC studio. So he said by the by the time they got in, they were very smelly.

SPEAKER_03 8:56

I don't remember that part of it, but but but I do remember that it was uh it was the first experience of uh for for most of us um of that kind of fandom. And and and because it was uh such a big show, and it was shown on on Sunday evening, but then it was repeated on the following Saturday. Yeah, so you got two hits, you got two shots of the entire country. Yeah, and and like Idle uh in you know 2003 when we started that, um it was at a time when families sat around the television and watched Countdown on a Sunday evening. You know, the whole family would, and and everywhere.

SPEAKER_01 9:38

Yeah, well, every every young teenage girl wanted to be the one that got the carnation from you, Mark, on that when we all watched that and just we wanted to be the one I kind of created the the character of the carnation kid.

SPEAKER_03 9:51

Yeah, uh by quite by accident at the start. Um in in the when Never Gonna Fall in Love became a hit, uh Paul Drain from Countdown had decided that they that they would make a video of the song so that they could show it in the top ten. And and so he flew to Sydney and um and we went out to a place in um Hunters Hill, a beautiful old house in Hunters Hill, and that's in the that's in the Never Gonna Fall in Love Again video. And I had cricket creams, braces, a grandpa shirt, and and my father's old Scotch college blazer. And that's and that's and I thought I'd put that all together because it was an old house. You know, it was like a 19th century house, beautiful old house. So I put all that kind of oldy stuff, like 1920s stuff on because I physically had it. I had cricket green, I had a grandpa shirt, I had some American braces actually, stars and striped braces that uh Billy Connolly gave me. And um and and my grand my father's Scotch College jacket. And and and it sort of created a character quite by accident. And then after that I bought Hardy Amy suits, and and um there was a really groovy um uh shop in Sydney, and I'm just trying to, I just my my old man brain has deserted me. But uh your your listeners and your viewers will know it. That was that was a famous sort of hip fashion shop in in Sydney in those days, and they they made the collars, the the round connect collars for me, and and uh so it it you know went down a a kind of a rabbit hole on the look because of countdown.

SPEAKER_04 11:38

I mean, perception is reality, isn't it, right? I mean, every girl in their teens wanted to know Mark Holden. How much how much of your personality was actually in in that that character that you sort of developed, or was it a character?

SPEAKER_03 11:54

It was definitely a character. It was definitely a character. It was it was the Carnation Kid was a TV creation. Um you know, I do I on the other hand, you know, I went to a school where I wore a suit every day. So I was used to wearing suits. Um I'm you know, I've been a lawyer for 14 years, I wore a suit every day. You know, so it's it's that that that kind of thing is it, you know, I've I heightened it for television, but you know, it's kind of it's I'm used to wearing suits and ties and and you know dressing in that way. So in a way it is me, but it's it's it's it's a heightened me, and and it was a it was a heightened me.

SPEAKER_07 12:36

Yeah.

SPEAKER_03 12:37

And but but when I went to America in 1980, that all disappeared, that whole character disappeared. He only lived for about five or six years, that character.

SPEAKER_01 12:47

Well, we're gonna play you a little bit of this. Hold on.

SPEAKER_06 12:50

Make him make him a lot of things.

SPEAKER_01 12:59

So that was your whole, that was that whole persona.

SPEAKER_03 13:02

Yes, that was that that was the carnations and everything.

SPEAKER_01 13:04

Everything about that. But let's go to when you went to the US. Now, from you went from 1979 to 1983, and you continued writing and performing. Why did you go to the US?

SPEAKER_03 13:16

I I went I went at the last few seconds of 1979, uh, like at Christmas or something or other. So I had I had a uh you know, a few minutes of the 70s, and as I arrived there, it was really the 80s, and and and America went from being uh the 60s and 70s and uh to Ronald Reagan era, and and the whole country did a 180-degree turn in um in that moment. Actually, I was there for 16 years. I I went in 1979, as I said, the very end, and was signed to a label in in uh Los Angeles called the Scotty Brothers. And we put out a couple of songs and they didn't work, and and in the end in 1982, I was uh on my ass in Los Angeles without a deal, and um uh trying to you know made it just had to make a decision of whether I was going to uh stay in America and do something I didn't know what, uh, or uh come home and do something I didn't know what because the carnation kit had disappeared and I no longer had a deal. And uh I I I ran into a a woman who in who was in her 60s at a at a film and she used to drive around in a uh red um Mercedes sports car, and she was a psychiatrist. She was her name is Lelia, and we would meet for coffee, and and she got me interested in Carl Jung. I ended up reading every Carl Jung book, basically learned how to analyse myself, and I did dream therapy on myself. I wrote down my dreams every day for a year. I didn't drink, didn't smoke, uh, went kind of um pure for a year, and just did a deep dive into my spirit and did what Carl Jung said, which was to have two empty chairs and and sit in one chair and ask the empty chair a question, then physically stand up and sit in the other chair and answer the question. And after a year of of writing down my dreams, at that time this whole song appeared in my head called Lady Soul, the whole chorus, the melody, the lyrics, everything. I uh bought an eight-track THAC recording machine, figured out how to do it, and I got a little drum machine, got a little Korg synthesizer, and created a simple chord and beat and sang the song and wrote the parts that weren't written in the dream. And by a miracle, another act of synchronicity, at that time I just happened to meet these two guys, Rick Rick Chadakoff, and he he pitched it at Berry Gordy, the owner of Motown. Pete Benetta and Rick Chadakoff. They pitched it at Barry Gordy, and Barry Gordy played it to Smokey Robinson, who was the AR guy at at uh Motown at that time. He decided to uh to cut it with the Temptations, and they ended up in the end that they ended up cutting three of my tracks, three of my songs. But that first one, the one that came from a dream, they recorded that and they put it out as a single and it went to number four. It was the universe in the most beautiful way telling me to become a songwriter and and to hang in and to believe in, you know, believe in my ability because the songs that I'd written before on my first album, none of them had been hits. The songs that I had hits were not songs that I wrote. So this was the first song that I had written, and I wrote it all entirely on my own, and it became a hit and went on the Motown Greatest Hit. So that changed my life as well. Like, like uh you know, Colin Peterson changed my life with Never Gonna Fall in Love Again. That meeting Lelia, this this uh old old woman who was a very cool psychiatrist person, and she she turned me on to um you know, this Carl Jung and dreaming and getting in touch with my dreams, and then being able to get the gift of this song that that that uh you know is now on the Motown Greatest Hits. It's a kind of a miracle in a way.

SPEAKER_04 17:30

So you've transitioned from singer to songwriter, um, and you say you pay attention to your dreams because they've probably guided your creativity as well. They ever solved problems for you outside of songwriting as well?

SPEAKER_03 17:44

Well, I think it's that was a problem that uh solved outside of songwriting. That was that was that was a pivotal moment of my life where I was trying to decide which direction to take my life on lots of different levels, you know, physically, which country I was I gonna be in? Um, you know, what was I gonna do? Um, you know, just the the the core things of a person's you know life. What are you gonna do for a living? You know, what are you who are you?

SPEAKER_01 18:14

You know let's fast forward to to Uponu. You came back to Australia from the US in 1996. Is that correct? Yep, okay, and you finished your law degree, finally. Yes, yes, but music was beckoning, and you co-wrote this song. It's such an anthem to us, Aussies, and I remember seeing it performed at the closing ceremony of the Olympics in 2000, and I was so proud of the song because I thought, this is the best Olympic song ever. It is just great. Tell us about the song and meeting Vanessa.

SPEAKER_03 19:01

Oh, that that that's another miracle. I mean, it's another miracle, really. Um when I came when I came back, I didn't know exactly what I was going to do. I was in my 40s, I had a wife and baby. I thought, well, I'll, you know, get my law degree. And so I started, I went by I went back, had to start again. While I was going to Monash and doing my studying again, um, I was uh I did Hey Hey at Saturday, and and uh Hey Hey, a guy called Jack Strom was doing Red Faces, and um, you know, Jack was the floor manager on Ernie Sigley's show in in in the early 70s, and Ernie was the guy who f who I first auditioned for in Adelaide in 1971-72 and did his tonight show, and then he brought me to Melbourne. So, you know, I knew Jack from right back then, and we were at Hey Hey, and I sort of was just coming back to go, hey, I'm back, you know, did the Hey and Hey Hey was another kind of one of those shows that everybody watched. That was at a time when still people were all watching television together. And I said, Jack, you know, look, let's find some talent to work with. And I figured he might know somebody, you know, he'd being at Channel 9 all those years, he might have a uh, you know, know of some people. And we went looking at the people that he knew, and and um uh we didn't really find anyone that was really ticking all the boxes, and uh then we were at his house and the his fax machine repair man said there's this girl singing in a Russian restaurant in on Dan and Long Road, you should go and see her. And so we did, and it was Vanessa Ramorosi, and she was 16, just 16. And you know, I'd just been working with um, you know, great black singers in America, and and I knew what a great, I know what a great voice is. And here was this 16-year-old girl that was just singing like crazy good. And she inspired me, and so I wrote some songs for her, and uh before I realized what a great writer she is, um, I I just decided to write some songs for her. And um and one of those songs was absolutely everybody, and and I I was at a with my brother in in Adelaide at uh at a at a music store, and I asked the guy at the music store, do you know anybody in town who makes tracks? And he made a suggestion for a guy called James Ingram, and I hooked up with James Ingram, I said, Hey, you know, look, I'd love to write something with you or you know, use your tracks. Do you have any tracks? He said, Well, he didn't really have any tracks. So I said, Look, I'll tell you what, I found a s I found a song that I liked, and I said, Make me a track like this, but change these chords. And he did he did that. So I had a track that I liked, and I sat with that track at my at my writing station and my beautiful little daughter who was three years old, and I sat her on. My lap and I sang absolutely everybody through her on that over that track and created the melody and the lyrics that that that is absolutely everybody. So it was sung for Vanessa, but it was sung through my beautiful daughter, who I adore, and so it was filled with love and um and positivity and and and joy and um and and Vanessa just absolutely captured it. She she did the demo and uh the demo became the record, and that vocal that she did on the demo is the record. And you know, she was 17 by the time she did she did that. And uh then I discovered what a great writer she is, and we were ended up writing Shine Together, which you know, which is an incredible song with her lyric in it, and and that became a hit as well, and and became a hit in Europe as well. Both both those songs were hits in Europe, which was you know thrilling.

SPEAKER_04 22:59

And there's just so much talent. Um let me touch briefly on Australian Idol. Uh there's so much talent out there. Um is there anything that you learnt from Australian Idol as well? And I won't go into the whole touchdown sort of thing, um, but was uh encouraging young performers. Um what were you looking for? Was it is it resilience on that program rather than talent that will get them through?

SPEAKER_03 23:25

What what sort of well I think no that I I I didn't preach that really, but I should have, because that's the reality, what you just said. You know, you look at somebody like Delta Goodrum, her resilience and her work ethic is so extraordinary. And and she you know, she maximizes her talent by uh maximizing her effort and and doing it through cancer and you know, I mean, you know, she's she talk about resilience, you know, she's resilient.

SPEAKER_01 23:57

Yeah, speaking speaking of resilience and and speaking of Delta's journey with cancer, you've had your own journey with cancer.

SPEAKER_03 24:04

I have, and uh I'm um 15 years past it now. But uh it happened uh um just as I was going to the to the bar. I had felt a lump on my neck, and um and the the they said it was just a cyst and it would go away, and so unfortunately I left it there for a while and um and it didn't go away. And so eventually they discovered that it was thyroid cancer, and by the time they got to it, it had got out into my neck and into my nodes, and so they had to cut into my, you know, into my neck, and and um and he did a brilliant. I mean, you know, it's just amazing that people can do there's people who can do what they can do, you know, with a knife. And uh, but but he he managed to cut out the the little bits that they were uh encapsulated, which is a miracle, but they were spread out through my neck. So he was going around and cutting these little bits out, and he had to cut around my um vocal cords, and so I didn't have a uh much of a voice, if any, for from about 2010 on. Well, as a barrister, it didn't really matter because I could speak, but I couldn't sing, and I I just I joined I created a choir at the bar because barristers are kind of cave dwellers, you know, they don't work in an office, you're not allowed to work in an office, you have to have, you know, you have to have they call them chambers, you know, they're like caves, and uh so they're isolated. So I I put a choir together so that we could all get together as barristers once every couple of weeks on a at a lunchtime in a church, and I stood down the inn with all the terrible singing barristers. But most people would have slowed down at that point and made I just made sound is the point. I started to make sound at that point, you know, and it didn't matter because I was standing with a group of men who who were not great singers either. And and um, and so it just you know, just over the course of 10-15 years I've just figured out a new way to sing.

SPEAKER_04 26:05

What kept that dream alive though? Do you move back to the bar that uh become a barrister? What what kept that dream alive?

SPEAKER_03 26:12

I got fired by Idle and it was such a shock. You know, I wasn't expecting it. And and it was such a gut punch, it threw me off my kilter for a year. And at the end of the year, again, I just thought, well, you know, I'm gonna have a sliding doors moment here. I was standing at a line in um in Elstonwick at the Otta Store getting an iPhone for my daughter, you know, in the days we had to line up to get a phone there weren't that hard to get, and you know, it was weird anyway. We lined up for a couple of hours to get an iPhone, and I was standing in a line next to a guy called William Lye, who was with his son, who was exactly the same age as my daughter, and he was doing the same thing. He was lining up to buy a phone for his son. And so we had an hour in the line together, and he's a barrister, he's now a KC, and he explained to me what a barrister is and how you couldn't incorporate, and you you know, you you you know, you don't work for anybody, or you you only work, you work for the court and you work for your client, but that's it. And it appealed to me, you know. I just thought that sounds like you know, because it fighting for people was something, you know, as a as a manager of Vanessa and and uh Joel Turner, who I was the beatbox kid on idol that I had a number one record with. When you're in that position, you're you're fighting for your client as a manager, and I like fighting for somebody else, and so fighting for somebody else as a barrister made sense to me, and um, and it was something that I could do. So he and he just he really guided me through it. He was fan just such a fantastic has become a great friend, and and he was a mentor, even though he's you know 20 years younger than me.

SPEAKER_01 27:54

Yeah. Well, we are so glad that your voice did come back, and my goodness, it certainly has come back. And on this week or uh earlier this month, you released a new single called Every Little Thing, the first from a new album called Now and Then and Shirley McLean. What's with that title? Where what's Shirley McLean? What's the link there?

SPEAKER_03 28:13

Well, the the the now, I'll just walk you through the title. The now is the new songs like uh the 72-year-old man's voice, the new songs like uh every little thing, and the the then is the eighties because I just put out a 70s album a couple of weeks ago. I put out all my hits on on to Apple and Spotify and all those places, and uh because they would they hadn't been put on streamers, so I've done that. But the 80s, my I I did record all the way through the 80s, but I was recording demos as songs for song demos, and they weren't records. So I've I've put four of the tracks from the 80s along with eight new songs, and one of the new songs is called Shirley McLean, and it's a song that I went to my daughter's wedding last year in Los Angeles in May of last year, and I go through Hawaii because in the old days you had to go through Hawaii to to get to America, and and I just love Hawaii, I love being there, I love Waikiki. I don't need to I've been to other islands and everything, but I'm happy just to be at Waikiki. I like the Mai Thai bar at the Royal Hawaiian.

SPEAKER_01 29:26

Don't we all?

SPEAKER_03 29:28

I like I like the warm water, you know. You can flop out into the warm water and there's waves that I I love waves. I just love that place. I went through uh the airport and you get in early, which is great. The Qantas flight gets you in at six o'clock in the morning, so there's no one in there's hardly anyone in the airport, so you get through easily, whereas Los Angeles, you know, you can be hours at that airport. So uh I was really relieved to get into Waikiki. I'm a marijuana user, and I found in the old days you would, you know, in in Waikiki that you go to the particular place and all the old men would be there selling weed. Now, of course, it's legal, but you have to get a prescription, and I wasn't going to be there long enough to get a prescription. So my wife spotted someone and said, okay, and and I got a little bud, but there's nowhere to smoke it because you can't smoke anywhere. You can't smoke anything, you can legally smoke, but you can't smoke anywhere. You can't smoke on the beach, you can't smoke in the hotel, you can't smoke in your hotel room. So I said to the people at the Royal Hawaiian, where do the people who work here go and have a smoke? And so we found I found the place where they were standing around having their cigarettes, and I was having a smoke and talking to this guy, and he said that he was uh he worked with Shirley McLean as her kind of tour manager, and he would he would collect her from the airport, take her to the hotel, then she would do speaking gigs, and he would take her to speaking gigs, then bring her back to the hotel, then take her to the airport. And he did this over a number of years and got to know her. And Shirley McLean told him that the reason that he suffers the blues is because he's a descendant of Genghis Khan and he's still paying his old man's dues.

SPEAKER_01 31:12

Wow.

SPEAKER_03 31:14

And and and and as he said that, as he said that line, this song appeared in my head. And and I had the and I had the foresight to just quickly sing it onto my phone. And um, I sang it under my phone. And when I got to Los Angeles, I went to visit a bunch of my old friends as part of this very, very happy time, you know, with my daughter getting married to a young man that we really, really love. And uh a very, very happy time. And and I went to visit uh some of my old mates from my days in Los Angeles who are now in their mid-70s, and they're all um, you know, uh pretty miserable dudes at the moment. They they've they you know they've shut down their recording studios, uh, they don't drink or smoke. Uh you know, they're they've got heart problems. Yeah, you know, you know, they're they're lovely, they're lovely, lovely guys, but uh, but they're not they're not uh engaged in music uh anymore at a at a personal level. And and I said to this one guy who's Richard Feldman, who I, you know, is a great guy, and we did some great work together over the years, and uh he he did Shakespeare's Sister, amongst other things, and um uh and I said I showed him the song. I said, let's write a song together. I showed him the piece of the song I had, and that gave me a reason to go back to his house, you know, two or three times while we're while I was at in LA for my daughter's wedding, and really just be with him in a you know, and and we made the song together, and we wrote the song together, and then uh when I came home, he he got it, he's still got his guitars, and he created the track, and the track is fantastic, he's made a great track. And when I got to Melbourne, I sang the vocal and sent it back to him, and um, and that's the story of Shirley McLean. And uh, I've tried to get it to Shirley McLean because I'd love her to hear the song. I've tried two or three two or three ways, and so far I haven't managed to get it to Shirley McLean.

SPEAKER_01 33:20

Well, it's the album in its entirety is out in August, but the the song that you've released recently, Every Little Thing, is just a beautiful song. Um, it's gorgeous. And we're gonna we're gonna say goodbye to you by playing that song out of the interview. But before we do, where can people listen to every little thing? If is there a website or a YouTube people can go to?

SPEAKER_03 33:42

Uh every little thing is on um all the the streamers, you know, Spotify, Apple, all of them. Um the whatever that one that Amazon have, Amazon have a streaming service as well. There's that it it's it's it's available to be streamed, but also it's on YouTube. And if you if you just uh go to YouTube and look out Mark Hold and every little thing, you'll find it. You'll find it there. It's beautiful. And that that that the the the video was uh we we recorded in a s in a studio in in Collingwood, and um that video was actually a video of the actual recording. We were we we we got in at 10 o'clock in the morning. Um Greg Gary Pinto said a prayer about because I told him the story of the song, and he said a prayer. We went in, we played the song through two or three times. The the the camera person was filming them, and and after the third one, we said, that's it. We we're we're done. And and so we got in there at 10. By 11, everyone was home. Uh it's it's the it's the it's the most beautiful recording session I think I've almost ever had. So um it was a it was a beautiful moment of where it where where all the musicians came together and and just delivered.

SPEAKER_01 34:55

Mark Holden, thank you so much for your time.

SPEAKER_03 34:59

Thanks, guys.

SPEAKER_02 35:36

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SPEAKER_04 36:00

Uh, and before we go, let's give credit where credit is due. Caitly Harris and I came up with all the genius content for this week's episode. Our producer, Nick Abood, well, he keeps the lights on and makes sure we don't accidentally upload a cat video instead of a podcast. So thanks for keeping us on track, Nick. Nick. Nick