Clips taken from Implement Yeah interview CD:

Mat's greeting	Click to listen to Real Audio Clip
Mat's excerpt (1)	Click to listen to Real Audio Clip
Dialogue with Brett	Click to listen to Real Audio Clip
Mat's excerpt (2)	Click to listen to Real Audio Clip

Interview on Head Music, from Suede.net

It's interesting in that it's the first Anderson / Codling / Oakes co-write. How does that work, who does what exactly?
Richard: We all did little bits and bobs. The verse is very Neil and the chorus is very me and the singing's very Brett.
Simon: The gap at the end is all mine.
Richard: It's a shame having credits on a record because everybody works on it and does their own bit and stuff.
Mat: Right where's my credit then?
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Richard:Mat played the...
Simon: Fool.
Richard: ...sleigh bells on it which are very low in the mix.
Mat: I didn't play most of the bass on it so I should get a negative credit.
Richard: Coconut shells you played didn't you, but they're mixed very low, it sounds like Adam and the Ants.
Mat: It should have that thing at the end, "No thanks to Mat Osman."
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Can you tell us a little about some of your other favourite tracks?
Richard: The roots of it and where the song came from was very much a cross-over period from doing stuff like Coming Up to doing stuff like Head Music. Again, when we came to record it we did something different with it. It wasn't all full on, stomping, Filmstar or whatever.

I think musically it's got the same sort of slink as something like She but the good thing about the chorus is it's so singalong but it's not one that opens out, it's not like Electricity where there's a change of key and everything. The Can't Get Enough chorus is much more of a contained animal within a...

Mat: Cage.
Richard: ...within a container. It's a slug in a container.
Mat: The rhythm track on the third verse is the five of us jumping up and down on a bridge and loads of pairs of scissors.
Simon: The scissors are all the way through aren't they?
Mat: No the scissors are only on the third verse.
Simon: Are you sure about that?
Mat: Yeah, I fucking hate those scissors.
Simon: I love the scissors.
Mat: All the way through it's like everyone, "ooh I like that scissors sound."
Richard: A little hint for an edit if it's released as a single, snip out the third verse.
Mat: The third verse is just stamping and scissors.
Simon: I like the scissors.
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Aside from a trumpet player and string section, did you use any other outside musicians on this album?
Mat: Pretty much all the other instruments one of us or Steve could play.
Simon: Yeah, Steve played quite a lot, like the scissors for example.
Mat: Exactly, no one plays the scissors quite like Steve Osborne.
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Mat: We all did a bit of shouting.
Simon: My debut was "shout". I shouted "shout" on Savoir Faire. And a lot of stomping as well.
Mat: I played some guitar on She's In Fashion, I don't know whether we ever used it in the end.
Richard: I think it's on there.
Simon: I'm sure we did.
Mat: Neil played a bit of bass on Electricity.
Simon: Brett played guitar.
Mat: Brett played a lot of guitar.
Richard: I played just a ride cymbal on its own on Elephant Man but it wasn't used in the end.
Simon: It was much tighter that mine.
Mat: It's a bad sign when you're playing one cymbal and it's still not good enough.
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Mat: Richard puts his finger in his ear when he's recording, like a folk singer. I've never seen anyone do it before.
Richard: I have to have it turned up really loud to get the vibe and then I have to put my fingers in my ear because I can't hear myself.
Mat: You really should have filmed that.
Simon: That would have been good, yeah.
Mat: A real hey nonny nonny bit.
Richard: You know, it's embarrassing and I don't know if I'll be doing it live.
Mat: Oh yes you will!
Simon: Oh baby!
Richard: We're gonna take it right down now.
Simon: You're great when you do your backing vocals, you do it really rock.
Mat: You can't stick your finger in your ear if you're playing the guitar as well.
Richard: I'll have to get someone else to do it.
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Mat, you've been quoted as saying that Down is your favourite track on the album, why is that?
Mat: I think it might be the best produced thing on the album. It's the one thing that sounded fifty times better after Steve got his hands on it.
Richard: Every part on it and everything about it is really subtle but the effect it has is far from subtle, you know.
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Mat: And it's also Steve Osborne's favourite track because in his own words "I've never done a track with the word loonies on it before." He's really happy about that. Strange things turn producers on they really do.
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The title track is one of the most singalong things you've ever done. Do you think it might become a terrace anthem?
Mat: I don't know if that's the sort of thing that football fans usually chant, to be honest.
Simon: "Give me head!"
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There are several songs that might surprise people, perhaps most obviously Elephant Man. Would you agree?
Mat: That was a really simple one, Neil did most of that on his own.
Richard: It's an important one to have on the record as well, about the perception of the band. I think when the idea for having Elephant Man on the album came up it was like yeah, you know it broke a little bit of ground for us and made everything a bit freer about how we work in the future.
Mat: I just thought it was really nice because we've done four albums now and there's almost this unwritten rule that you have to get a bit more mature in your songwriting and the things you write about and I thought it was quite nice to come up with the least mature song we've ever done.
Richard: We're not a mature band.
Mat: It's quite funny as well, I know the subject matter's not particularly funny but it always makes me laugh.
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Crack in the Union Jack has caught a lot of people off guard by its brevity, any comments on that?
Mat: It's just meant to be a very small very simple, cold little nasty song. A good one to finish on.
Richard: A poke in the eye for anyone who's enjoyed the album.
Click to listen to Real Audio Clip