ifitbeyourwill S05E25 • SHOPFIRES

What happens when a musician rediscovers their creativity after a 15-year hiatus? Neil Hill's journey with his project SHOPFIRES answers this question with a soul-stirring blend of reverb-drenched melodies and DIY ethos.

Unlike many musicians, Neil grew up in a home devoid of musical influence. No parental record collections, no instruments lying around—just the chance encounters with music through television and radio that would eventually shape his artistic sensibilities. The turning point came through John Peel's legendary radio sessions, introducing him to post-punk and experimental sounds that resonated deeply with his emerging musical identity.

After early musical explorations followed by a lengthy break, Neil returned to creating music with a beautifully minimalist approach. Armed with nothing but "a cheap laptop and the same acoustic guitar from the 80s," he began crafting the intricate, layered soundscapes that define SHOPFIRES. What makes his music truly remarkable is how he creates rich, complex arrangements using just one inexpensive Hohner guitar purchased decades ago for £25.

The result is a sound both nostalgic and fresh—interweaving melodic lines that dance around each other, created through his distinctive technique of recording multiple guitar parts and drenching them in reverb and delay. His latest album "We Are Not There, But We Are Here" represents an evolution toward more mature, cohesive songwriting while maintaining the dreamy atmosphere fans have come to love.

Beyond SHOPFIRES, Neil maintains another project called NEUCLOUDS, his self-described "vacation band" where he challenges himself to write songs under two minutes. This parallel creative outlet showcases his versatility and commitment to exploring different facets of his musical expression.

Listen now to discover how limitations can spark creativity and how sometimes the most beautiful sounds come from the simplest tools. Share your thoughts with us about Neil's unique approach to making music and what inspires your own creative endeavors!

Chapters

• 0:21 New Song Introduction
• 0:37 Meeting Neil Hill of Shopfires
• 1:52 Early Music Influences
• 6:30 First Musical Experiences
• 9:51 Return to Music After 15 Years
• 14:20 Creating the Shopfires Sound
• 21:59 New Album "We Are Not There, But We Are Here"
• 25:38 Future Plans for Shopfires and New Clouds
• 29:56 Closing Song Preview

Transcript

SHOPFIRES: 0:21

Sparking Nights Kitchens swept aside. Sparkling nights A new song tied alive After 14 years alive.

colleyc: 0:37

Oh, here we are another episode of ifitbeyourwill Podcast coming at you. I am reaching across to the UK today and I have Shopfires, neil Hill from Shopfires and also from New Clouds. Neil is this multi-artist who has two bands or two projects that he works on. Shopfires is the one that we're going to talk about, mostly because he has a new record coming out called we Are Not there, but we Are here out on Janglepop come July 1st, which is an outstanding record. I got the fortune of listening to it. I'm still listening to it. So, neil, thanks so much for hopping on here and joining us for a little chat about you and what you do.

SHOPFIRES: 1:21

Absolutely Thank you. Thank you for the invite and what you do, absolutely, thank you.

colleyc: 1:25

Thank you for the invite. So you know, before we kind of jump into the nuts and bolts of your music and how you make it and distribute it, and play it and create it, where did music start to hum for you in your life? What were some moments in your past where you started to realize music had to be something that you were going to be doing, um, for your person?

SHOPFIRES: 1:52

um, well, strangely, music didn't really have much of an impact in my younger life. Um, I, uh I didn't really have music in the household, particularly, um, neither my parents were big listeners to music. I have an elder sister who didn't really listen to much music. There weren't records around or tapes or things in the house. I was always kind of envious of the people I knew and friends who had access to parents' record collections, either good nor bad record collections. I didn't have either of those, so it's a strange one that I'm not sure where it came from in my younger years.

colleyc: 2:37

When did you start listening to music that you could decide upon yourself and you didn't have to rely on family tastes or music or records, but you could actually go and turn the radio on or whatever? How did you start to expose yourself to to music?

SHOPFIRES: 2:51

yeah, I guess, like most kids growing up in uh in the uk, in the kind of 80s, late 70s, early 80s and uh stuff, you'd be listening, you'd be watching top of the pops, I guess, and you'd be exposed to stuff like that. And I'm guessing back in those days there was more variety of music on on those programs than well. Those programs don't exist anymore but, um, it seems less variety now. When you, when you look at a music program, um and I think I mean I have to put my finger, like most people will point the finger at is, um, I think the person responsible for my music taste is probably john peel, um, and you probably get that quite a lot yeah he was very prolific and the fact that he kind of had a great um vision of music and and who could you know?

colleyc: 3:42

spark his creativity as well in and his sense of wanting to collaborate with I mean, he collaborated with such amazing artists.

SHOPFIRES: 3:51

Yeah, I mean I used to be obsessed during. I mean, probably my first musical obsession would have been John Peel Sessions and stuff like that. Yeah, yeah, I kind of was a bit too young for punk and I never really kind of went back to punk. Punk didn't really do it for me. I know it was, you know, probably a necessary uh intervention in the in the musical universe.

SHOPFIRES: 4:11

But, um, I was more kind of taken by post-punk and the stuff that came after punk, which to me seemed uh, more interesting and it still followed the kind of the idea that you didn't necessarily need to know how to play, you could still just make a noise. Uh, and um, I found it a little bit more experimental, a bit more interesting, a bit more challenging. Uh, it could be equally as chaotic and noisy as it was melodic and interest uh, you know, melodic and interesting. And I I used to kind of take appeal sessions and listen to them back probably all the way through, uh, the early eighties, pretty much the whole of the eighties. I pretty probably had every John Peel session on tape somewhere in the house which I would go back to and listen to.

SHOPFIRES: 4:59

So so, yeah, I mean, yeah, I guess, I guess early eighties, post-punk, going into the stuff in the mid-80s, great, great, the band that, really, if I have to focus on one band at that particular time, the band that kind of and again I guess it must have been John Peel, where I heard them first would have been the Scottish Band Associates, william McKenzie and Alan Rankin. Great. And strangely, I kind of got into probably through their most weirdest phase, which would have been their Situation 2 records that they put out which would have been like Kitchen Person, message of Bleak Speech, q Quarters, white Car in Germany, all of that, and they all sounded completely different, all completely bonkers, and I thought, wow, you can do that and get played. It's great. And I thought, is that the way in Just to make a nonsense noise and have people listen to it? So I probably was into that kind of stuff first. The oddball kind of left field stuff.

colleyc: 6:03

Right, right. What was it about it? Was it just that experimental? You never kind of knew what to expect aesthetic to it? That appealed to you the most about what they were making?

SHOPFIRES: 6:16

I guess. So I mean, it's not to say I didn't listen to other stuff as well. It's just that I don't know. I just found something beguiling about the fact that these people were just making seemingly just random noises, and songs were kind of coming out of that noise. Obviously, if you dig deep into the noise and the chaos, there'd be a melody, there'd be a tune in there, probably. But I just like the idea of stuff seemingly appearing from nowhere. But it wasn't. It was there all along and that kind of appealed to me.

colleyc: 6:48

Yeah, that's cool I like that, yeah, very interesting. And then, when, when did when did you say, okay, I'm jumping in the pool, I want in um? I I had read something where you, you were cart carrying around old banged up Mac and a guitar and um recording where you could and um. Can you tell us about your early experiences, when you first started to pen your own material?

SHOPFIRES: 7:16

Um, I I've kind of I've quite a fragmented kind of musical history in a way, I guess. Um, I didn't really pick up the guitar probably till late teens, early 20s. I was in a couple of bands during sixth form, college, which were pretty useless. There was one moment where I thought, oh, this sounds half decent, when I was kind of left and got my first job and uh, got together with a few people where I worked and we just used to. We used to. That's quite amusing.

SHOPFIRES: 7:51

We used to practice in an old school music room, um, which was both kind of influential influential and distracting, because we had all these instruments around us and rather than stick to what we were playing, we'd just mess about with all the things that were in the room, which kind of added to the experiment, experiment nature of music. But at that point I was actually more into, I think I'd come out of my experimental kind of yearning and decided to go a little bit more melodic and get get some tunes going um, and so I started um playing guitar with the intent of creating almost proper songs, I guess. Um, all we had was just, uh, me on an acoustic guitar, a drummer, uh, we didn't even have a bass player, uh, at one point uh, the drummer's uh sister turned up playing the trumpet, which didn't seem a bit bit. I guess we said we sounded a little bit like, if I don't know if you're familiar with the band rumble fish, you came from birmingham. Yeah, totally yeah.

SHOPFIRES: 8:53

There was a label, I think, and therefore the ep, that um tugboat line where, well, perhaps not that song but the other tracks on that ep, where it was just like an acoustic guitar, drums and a trumpet. That's kind of what we sounded like a little bit at the time. But beyond that, that kind of didn't last very long. I ended up being on my own messing about. I had a four-track at home, I'd got a drum machine, I just made up, you know, little silly songs and uh, nothing really happened with that. It wasn't until um much later, really very late. I had kind of a break for almost like 10, 15 years without playing a single, playing a single note. Um, wow, wow. And then I started what, what, whoa, whoa.

colleyc: 9:50

What prompted all that? Like, I mean, I imagine life. Just, you know, life happens. Um, yeah, was that a conscious thing that you had decided like, okay, I just I'm kind of done with that for now, like, and I were you thinking that, okay, I'm done, or were you thinking I need a break?

SHOPFIRES: 10:06

um, probably the time I probably felt I was done. I felt like I I've missed the boat somewhere, that I probably should have done something better than I had been doing, concentrated a bit more, uh, been a bit more, um, committed. Um, I was none of those things at the time. Um, and it wasn't until kind of it was kind of around well, I was actually pre pre-covid pandemic, I guess I kind of set about, uh, I went out and bought a cheap laptop, as my old tagline on the bandcamp page used to say, uh, diy pop recorded directly into a cheap laptop, which is pretty much bang on really. That's how it was. Um, I bought cheap laptop, I bought a midi keyboard. I still had the same acoustic well, still have the same acoustic guitar that I had in the 80s. It's, it's the instrument, it's the guitar that's all over the record, all over the songs, it's guitar. I don't use any other guitar, it's just that one acoustic guitar. So that's still with me.

colleyc: 11:10

That's amazing. Can I ask what kind of guitar that is? It's a cheap nasty guitar.

SHOPFIRES: 11:16

It's a Hohner guitar. I think it was about £25 back in the 80s, wow, and I don't think it's gone up in value at all because pretty much it was a mass produced thing. Obviously people I mean there may well be fewer of them because it was mass produced and people probably look after them, so maybe it's worth a little more these days, but it's perfect for what I do and I didn't. That's amazing. Yeah, my own kind of doctrine for the old point was I wanted to make music for as cheap as possible with the least amount of instruments.

colleyc: 11:50

That was my aim, okay now, was that mindset established during COVID, when you, like you were, you were alluding to that. Covid brought you back into the mix like was that just? A sheer just because you had sheer time on your hands, or were you kind of longing still for an outlet um an artistic outlet?

SHOPFIRES: 12:10

yeah, kind of both of those things really. Um, it was kind of pre-covid where I started to to mess about and I didn't even play the guitar at that point. We're talking probably like 2016, 2017. I, great, I messed about with doing ambient classical loops, I concocted these strange fake TV themes and wrote whole synopses for fake TV programs, just to kind of do something creative and kind of get it out there, great, great, creative, and kind of get it out there.

SHOPFIRES: 12:51

Um, it wasn't until kind of late 2000s, probably 2018, 2019, um, where I thought now I've got this and I, when I got my head around what I was doing with the technology because I was only I was limited by my own ability to play and also my own technological ability to actually know what I was doing. So I thought, within those constraints, I thought what can I do with this? And I initially just was going to do instrumentals. I thought I'm not going to sing on any of these things, I'm just going to do instrumentals. I wasn't comfortable doing the singing, I didn't really particularly want to write lyrics. I thought, no, I'll just stick to instrumentals. And I didn't really particularly want to write lyrics. I thought, no, I'll just stick to instrumentals, but then late, kind of 20. 2023 coming up to 2023, I I had a an operation on my spine.

SHOPFIRES: 13:37

I had a spinal operation and, uh, I was laid off work for about six months, uh, in recovery, and and it was that point actually where I decided I think I should start singing now. So I'd had these backing tracks done, which I'd done, which were are going to be instrumentals, and I thought, well, let's just write some words and see what happens. And I'd got plenty of time on my hands, I was home, I was recovering from surgery, I'd got the house to myself pretty much, so I could sing as loud as I liked or as out of tune as I liked, and I just put together the track Summer Bruises, which was the first thing I put on Bandcamp.

colleyc: 14:20

Right, that was the first song that, as Sharp Fires that you were, that you put down on tape was Summer Bruises.

SHOPFIRES: 14:25

Well, technically, technically it was In A Place we Find Ourselves was actually probably the first song I did which I released both of those tracks at the same time. For some reason, I which I released both of those tracks at the same time for some reason, I don't know why, but I just thought I'd put them both out, but it was Summer Bruises that people seemed to catch on to, yeah such a good song.

colleyc: 14:46

I'm amazed that's your first foray into Shopfires, Because I mean it's a very complete song, very sophisticated, your vocals are great.

SHOPFIRES: 14:53

Yeah, that's what people said. They said it all. I mean, when I got the contacted from uh darren, who runs subjango, which is who puts the, the cds out, yeah, even in the review for that particular track said, seemingly comes from nowhere, fully formed in a way, totally, and I thought, well, yeah, I get, I get it, I get it, but um, it didn't feel that to me. I felt like I I think more by luck than judgment is how that track came together. I think I'm, I always consider myself more of a I guess an accidental music maker than a, than a musician. I, I kind of mess about a lot and stuff comes out and I'm lucky that a lot of the time it sounds, I guess, half decent in a way.

colleyc: 15:39

I mean, if we just go and look at your band camp page, you know like I mean since 2023, the end of 2023, that's when, uh, summer bruises are released, december 2023, yeah, you have so many songs now and EPs and singles that you've put out under shot fires. Plus, I noticed, too, that you also have New Clouds, which is another side project that you have again with tons of tunes. So my question here, neil, is how do you are these songs like, speckled from across even the period of time? You weren't kind of writing, or does all of this come within the last, you know, post-covid, um, the production level of all the songs that you have put out?

SHOPFIRES: 16:25

um, pretty much everything the shop fires and, and the new clouds, or noi clouds as some people pronounce it, um, noi clouds. Yeah, it all happened in 2020. They've all been, uh, done in 2024. There's nothing that's come from my past. That's all done in 2024.

colleyc: 16:42

Um, for me and like, how do you come? How do these come to you? Like, what's your process for putting a song down? Like, how do you know when this song is something I'd like to keep and keep working on, as opposed to a song that you're like, or do they all make it through? Um, like, I'm just thinking about time and the production level, the recording of all these things. I mean, this takes time. Um, what's your process for putting a song together? What do you? What do you do?

SHOPFIRES: 17:12

Uh it, it does take time. Uh and I, I seemingly have very little time. Uh, after snatch snatch time, uh and I, I seemingly have very little time, uh, I have to snatch time here and there. Obviously I work full time. I've got got children, family commitment, um, so I do snatch time here and there, like half an hour an hour here and there. I try to do something every day, uh, I can.

SHOPFIRES: 17:33

The shot fires and New Clowns are two separate, kind of obviously intentionally separate entities. Shot Fires is my home and New Clowns is my vacation band, if you like. So I kind of the Shot Fires tunes.

SHOPFIRES: 17:51

I probably have on my laptop probably over 100 songs that have probably not even been released or probably will never be released, I guess, or at least work in progress or snatches of ideas and things. I rarely go back to them, although I occasionally go back to them. I probably need to delete a few and create a bit more space on my laptop. So the Shot Fires thing is I have a kind of a process with shot fires, um, and it kind of developed by accident with me messing around with a couple of post-production things on the laptop or the door that I use, um, most of the shot fire songs are pretty much drenched in delay and reverb, so to create that kind of jingly, jangly kind of repetitive sound. My only thing about particularly the earlier shot fires, less so on the new songs there's a lot of stuff going on in each song. I kind of think there's probably four songs in each song. Sometimes a lot of the songs have like three or four melodies playing all at the same time.

colleyc: 19:02

I was going to mention that too, because they're not. They're not like one line. There's like the line over here in the right, the one in the left, and then the one that kind of like plays around between the two. Yeah, like there's multiple, and you were saying all those are through an acoustic guitar as well. Yeah, it's all played on. And then the one that kind of like plays around between the two. Yeah, like there's multiple, and you were saying all those are through an acoustic guitar as well.

SHOPFIRES: 19:19

Yeah, it's all played on the same guitar one guitar.

colleyc: 19:22

So cool, neil, that's amazing.

SHOPFIRES: 19:25

I mean I might add a couple of post effects. Sure, sure, but not much. I try not to mess back with it too much. My old kind of idea was to do it fairly quickly, fairly simply. Um, and I think subconsciously, maybe part of the reason why there is multiple melodies on those earlier tunes was maybe to to maybe. I wasn't so confident on the one melody so I thought I'll tell you I'll add another one. Oh okay, the second one sounds good, but maybe I think I'll add a third, just in case people not that keen on the first two and it's, it's. It can get a bit muddy, and I was conscious of that, of too much going on and people not actually hearing anything because it just became a big, massive noise.

SHOPFIRES: 20:09

But I think I've managed to balance it just enough. It works with all these melodies kind of interplaying with each other.

colleyc: 20:17

So yeah, I think it's really brilliant. Yeah, and it's not like you're, you know, it's no like eddie vetter, like lines and solo, but it's these beautiful little lines that that interplay with one another as and weave in and out of your lyrical play as well. It's it's such a beautiful sound that you created and you know like it's really really impressive it's, it's, it's repetition.

SHOPFIRES: 20:41

Basically is what it is it's repetition. Um right, I'm a big fan of repetition. There's a lot of repetition goes on in my songs. If people delve, have a deep listen, you'll see a lot of things. Just it's basically the same notes and the same tunes playing over and over again, but it's disguised or or kind of uh, blended in with lots of other stuff going on where you're probably not even aware that that bass line that's in the song is is the same bass line that runs through the whole of the song and it doesn't change once but you're probably not so you, you loop them sometimes like just you'll have a loop of of a sequence of yeah yeah, I mean mostly.

SHOPFIRES: 21:19

I mean to promise I'll probably say about 90 of the bass lines in all of the songs are just the same bass line all the way through, from start to finish. But because I, I and you're probably not even aware of it sometimes until you actually focus on it.

colleyc: 21:33

But that's what it is because I think some of the lines also get muddied with the baseline as well. Right, they interplay, so it. Yeah, you got to have a close listen Like. I listened to it with the headphones on and I was able to pick out things a little bit better because you know you can differentiate between your left and right, yeah, as opposed to if it's on a stereo and kind of an open area. It's just so. I wanted to ask you, though so this new record coming out we are not there, but we're here how did you go through the same process as you typically went through with the rest of the recordings that you've been doing? Like is it? Does it follow the formula or the style of previous shop fires, or did you try something different or try writing techniques that were different?

SHOPFIRES: 22:18

Yeah.

colleyc: 22:19

I mean, is there any differences that you consciously made in the record that's coming out in July?

SHOPFIRES: 22:26

Yes and no, in respect that I was consciously aware of doing it. I kind of wanted there to be less melody in it. Strangely, um, although obviously the, the singles are quite over kind of melody, um, strong, uh going on. But yeah, the other, the other tracks, I'll try to I don't know strip it back a little bit more. Uh, maybe focus on one melody, two melodies, rather than three or four, um, and just to see whether they, the song, still stood up without all that extra um kind of stuff going on in the background. I kind of guess the earlier songs I was kind of maybe lack confidence that the songs were good enough so I kind of disguised it with lots of stuff going on so people had something to to listen to, even if they weren't listening to the whole thing, whereas I guess the new um album is is more song based than I had kind of like an idea behind this one, whereas the other ones not I'm not saying the other ones were collections of songs. They did they do go together, but sure, sure, the new one I felt I had a bit of a more of a theme going on, so I kind of wanted to stay within that and not kind of over overplay it a little bit, I guess I don't know.

SHOPFIRES: 23:45

Yeah, a couple of tracks on there which may be not typically shot fire sounding, I think beware of oncoming traffic. I've kind of slowed it down a bit. There's no drums on it. I've kind of cut out a a bit. There's no drums on it. I've kind of cut out a lot of the extra melody lines. Uh, the final track, um, like on the ramparts, is a bit different. Uh, right, it's still shop fires, totally, totally.

colleyc: 24:11

But yeah, I, I it feels more mature in my you know, listening back to, and I mean mature in the sense that I feel like like you're you're mentioning it really feels like a whole, and again, not like your others didn't. I mean I really love like, let me just get the name right, holding on to let go. I mean, what a record. That is your first self titled shop fires too.

colleyc: 24:34

I mean just, I mean so so beautiful, but it it does sound like you've had a history with shop fires, right, and you've been working on this evolution of your sound, um, and it it really comes through in this, this latest record that's coming out in the summer yeah, I guess there is a more grown-up kind of feel to it um not yeah.

SHOPFIRES: 24:56

Yeah, I mean, that was kind of partly intentional, I think um on my part that I kind of felt like, not that I want to make a serious record as such, but, um, I felt like, yeah, mature is probably the right word. I think it is slightly more together than the previous um yeah, I think it's very thoughtful.

colleyc: 25:18

I mean as you are, I mean talking to you, you're you're a very thoughtful person. You're a great storyteller too. I'll throw that in there, that's. I'm glad you're writing songs again. Um, that you came back to. Um, so kind of to bring things to a wrap here, neil, thanks again for for hopping on and sharing some of your your day with me here. Um, thank you, what, what, what is the? What does 2025 look like for shopfires, where the record comes out july 1st, and are there any plans for any shows or follow-up records, or is there anything that you could share with us?

SHOPFIRES: 25:54

uh Shows would be pretty awkward. The way I make the records would be very difficult to replicate in a live format.

SHOPFIRES: 26:01

Particularly alone, right, I imagine. Well, yeah, it would be just me and a laptop, not the most entertaining night house. I would have thought I mean I'll never say never. I don't think you should always say that would never happen. I've been asked a few times to support other bands and I've kind of politely declined at the moment, so I can't see that happening anytime soon. The next thing on the horizon, I guess Shotfire's on a slight break. Regarding recording new stuff. There is more new clouds on the horizon. Um, there is talk of a compilation album coming out, probably later in the year, um of the tracks that have already been issued and probably a few new ones. To um make it slightly worthwhile because of the whole idea of new clouds was that it was going to be songs under two minutes. Um, the initial idea was uh, I, I, every two weeks, I would uh write a song under two minutes, which is my challenge to myself.

SHOPFIRES: 27:08

Um, I did for about the first 10, you know, first nine tracks and then I obviously then I had to switch to shot fires to to finish this album, so kind of carry on that way. So I love that idea, though that's cool. I'm going back to new clouds, um, shortly, and there will be new stuff coming out with. With those and like, say, potentially a, a compilation album coming out at some point, or cd coming out at some point and the engine towards the end of the year. Yeah, uh, guess, after that I'll probably pop back into Shotfires and see what happens there. I'm just happy to see what the feedback is on the new album. I've had quite a lot of nice comments so far, so I'm quite happy with the feedback I've been getting for the new one.

colleyc: 27:56

I'll reinforce that positive loving of this record. I'm so happy I got to listen to it fully before we talked too, because it's just such a great record. I'm really excited for the world to hear it and I wish you all the best with it, neil, and please don't take any more 15 year breaks. I'll accept two years, three years, but the prolificness of your songwriting has just been inspiring to me, that so many ideas can be stored up in one single mind and that it's in the ether. You know like you put it out there.

SHOPFIRES: 28:35

I love that. Yeah, I'm kind of hoping that 2024 wasn't just like my purple patch and that's it. It's done Right. There's more to come. Like I said, I've got plenty of stuff on my laptop, but I always like to start from fresh, so hopefully, totally. Yeah.

colleyc: 28:52

Well, I mean, looking at the pre-order page on band camp, it seems like there's a ton of people interested in this record. They're excited to get it. So I mean, many people have already bought it. It's only coming out in a month, well over a month still, so there seems to be a great energy behind this record.

colleyc: 29:06

So, um, I wish you all the best with that and, and If ever you want to hop back on and share some new music or you want to talk again, I would be just floored to have you back, Neil. This has been a lot of fun, Thank you.

SHOPFIRES: 29:19

Oh, that's great, Chris. Thank you very much. Thank you very much indeed. You know me. I don't take to country In Haley. We reluctantly agree how knowing you is so painful for me. You know me.

colleyc: 30:28

I don't take it lightly. And hey, I mean we reluctantly agree.

SHOPFIRES: 30:40

How loving you is so painful for me. Underneath the harsh light?

colleyc: 30:52

We always wonder why We'll see you next time. Try, you're not okay. You're not okay, you're not okay. You know me. You know me. You know me. I could murder you. I could murder you. I couldn't mind a game. I couldn't mind a game For all that you put me through. I couldn't mind a game, thank you.