1 00:00:00,640 --> 00:00:02,840 Speaker 1: Taking a Walk. I'll just go a fund. I came 2 00:00:02,840 --> 00:00:05,640 Speaker 1: along to wherever i'd been one day that was on 3 00:00:05,720 --> 00:00:08,840 Speaker 1: the Answera machine Allo Way and then Swim Go. Yeah, 4 00:00:09,160 --> 00:00:10,760 Speaker 1: I had your fun to going on the tour and 5 00:00:10,840 --> 00:00:12,680 Speaker 1: I was like, well you get the chills with a 6 00:00:12,720 --> 00:00:15,040 Speaker 1: Beatles or your on swim Ischiny, And so I went 7 00:00:15,360 --> 00:00:16,919 Speaker 1: and that was great, it was good fun. 8 00:00:17,000 --> 00:00:20,400 Speaker 2: Well, welcome to our top five Taking a Walk podcast countdown. 9 00:00:20,480 --> 00:00:23,160 Speaker 2: A little holiday gift for you, the top five most 10 00:00:23,200 --> 00:00:26,360 Speaker 2: down loaded episodes of Taking a Walk for twenty twenty four. 11 00:00:26,720 --> 00:00:30,280 Speaker 2: I'm Buzznight, your host, and it's my pleasure to welcome 12 00:00:30,360 --> 00:00:33,200 Speaker 2: back for the countdown from the Taking a Walk Music 13 00:00:33,320 --> 00:00:36,280 Speaker 2: History Desk. Hello, Harry Jacobs. 14 00:00:36,159 --> 00:00:37,839 Speaker 3: Happy to be here, Buzz Happy to be part of 15 00:00:37,840 --> 00:00:38,840 Speaker 3: the countdown this week. 16 00:00:39,000 --> 00:00:42,880 Speaker 2: All right, so let's just recap. Number five was Carlos Santana. 17 00:00:43,040 --> 00:00:47,519 Speaker 2: Number four was John Oates. Number three was Russell Kunkle. 18 00:00:48,280 --> 00:00:52,199 Speaker 2: For number two, we're gonna head across the pond to 19 00:00:52,320 --> 00:00:57,520 Speaker 2: someone who has had a pretty remarkable career, I would say, 20 00:00:57,680 --> 00:01:02,840 Speaker 2: as an understatement, certainly for work with a major British 21 00:01:02,960 --> 00:01:07,440 Speaker 2: rock band, but also a great influence and connection with 22 00:01:07,560 --> 00:01:10,959 Speaker 2: the great David Bowie with this person. It's Ian Hunter, 23 00:01:11,360 --> 00:01:14,360 Speaker 2: who is most known for his work with Mata Hoopel, 24 00:01:14,440 --> 00:01:17,320 Speaker 2: but also for his solo work as the number two 25 00:01:17,360 --> 00:01:19,199 Speaker 2: most downloaded of twenty twenty four. 26 00:01:19,760 --> 00:01:22,000 Speaker 3: Yeah, arguably one of you know, another one of these 27 00:01:22,080 --> 00:01:26,000 Speaker 3: musicians that's just really talented, not just on one instrument, 28 00:01:26,080 --> 00:01:29,400 Speaker 3: but two guitar player and a keyboard player. And as 29 00:01:29,440 --> 00:01:33,520 Speaker 3: far as classic rock goes with, you know, with Matta Hoopel, 30 00:01:33,640 --> 00:01:36,240 Speaker 3: you know all the young dudes. I mean, it doesn't 31 00:01:36,240 --> 00:01:38,720 Speaker 3: get much more famous than that one. 32 00:01:39,080 --> 00:01:44,080 Speaker 2: Yeah, and we played the heck out of Matta hoopl 33 00:01:44,160 --> 00:01:48,960 Speaker 2: and Ian Hunter, both in my time in school in Ohio, 34 00:01:49,280 --> 00:01:52,240 Speaker 2: but also in my time working in Ohio. There was 35 00:01:52,280 --> 00:01:55,800 Speaker 2: a big Ohio I think, I don't know love for 36 00:01:55,920 --> 00:01:59,480 Speaker 2: Ian and Mott. I'm not sure where that exactly came from, 37 00:02:00,040 --> 00:02:02,880 Speaker 2: but we also know in later years Ian would do 38 00:02:02,960 --> 00:02:06,600 Speaker 2: that tune Cleveland Rocks, so he may attribute to his 39 00:02:06,720 --> 00:02:11,720 Speaker 2: love of Ohio and Cleveland specifically. He tells a really 40 00:02:11,760 --> 00:02:16,840 Speaker 2: funny story about when Ringo rang him up to have 41 00:02:16,960 --> 00:02:20,120 Speaker 2: him be part of the all star band that Ringo 42 00:02:20,160 --> 00:02:24,639 Speaker 2: puts together every year. So he told a very gracious 43 00:02:24,919 --> 00:02:28,120 Speaker 2: and wonderful story about that. But I found him to 44 00:02:28,160 --> 00:02:31,520 Speaker 2: be kind of in this position. I'm not sure where 45 00:02:31,600 --> 00:02:34,760 Speaker 2: he's gonna, you know, creatively go in the future, if 46 00:02:34,800 --> 00:02:37,000 Speaker 2: he'll be doing that much more, even if he'll be 47 00:02:37,120 --> 00:02:40,799 Speaker 2: touring that much more, But he still has a real spark. 48 00:02:40,880 --> 00:02:44,040 Speaker 2: I think he's in his early to mid eighties. And 49 00:02:44,639 --> 00:02:48,519 Speaker 2: it was wonderful to have Ian Hunter, which is our 50 00:02:48,720 --> 00:02:52,960 Speaker 2: number two most downloaded podcast of twenty twenty four on 51 00:02:53,120 --> 00:02:58,600 Speaker 2: Taking a Walk. Ian Hunter, Welcome to a virtual edition. 52 00:02:58,600 --> 00:03:01,280 Speaker 2: We're going to take a walk down memory lane here 53 00:03:01,400 --> 00:03:04,200 Speaker 2: on the Taking a Walk podcast and we're going to 54 00:03:04,240 --> 00:03:07,280 Speaker 2: talk about Defiance Part two and many other things. But 55 00:03:07,400 --> 00:03:08,399 Speaker 2: thank you for being. 56 00:03:08,240 --> 00:03:11,880 Speaker 1: On, sir. Oh yeah, very welcome. I said, prose, did 57 00:03:11,919 --> 00:03:12,200 Speaker 1: you know. 58 00:03:12,160 --> 00:03:13,880 Speaker 2: You're never alone with a schizophrenic? 59 00:03:15,560 --> 00:03:18,800 Speaker 1: That was Ronson's style. He found out a toilet wool. 60 00:03:19,480 --> 00:03:20,000 Speaker 2: Is that right? 61 00:03:20,720 --> 00:03:22,959 Speaker 1: I had to give him half a truck to get 62 00:03:22,960 --> 00:03:26,480 Speaker 1: that title. Yeah. I gave it to Alfa just Another Night, 63 00:03:27,240 --> 00:03:28,080 Speaker 1: which was a song on. 64 00:03:28,919 --> 00:03:31,280 Speaker 2: My album Another Great One. Yeah. 65 00:03:31,800 --> 00:03:34,120 Speaker 1: Yeah, he was he was going to make another record. 66 00:03:34,200 --> 00:03:36,040 Speaker 1: He said, no, no, I'm people in this and I'm like, no, 67 00:03:36,120 --> 00:03:38,840 Speaker 1: I've got out. I've got a hot so in the 68 00:03:38,920 --> 00:03:40,119 Speaker 1: end we came to an agreement. 69 00:03:41,080 --> 00:03:44,720 Speaker 2: It's wonderful. What inspired you to pursue a career in music, 70 00:03:44,800 --> 00:03:47,320 Speaker 2: and tell me about the earliest influences. 71 00:03:47,360 --> 00:03:51,640 Speaker 1: Ian Oh I was. I was right right at the beginning, 72 00:03:51,680 --> 00:03:56,160 Speaker 1: and I found stallming all fifty four Elvis and all 73 00:03:56,320 --> 00:04:00,839 Speaker 1: albums what fifteen? And then I have a Jon Lewis. 74 00:04:02,400 --> 00:04:05,400 Speaker 1: It was crazy, you know. We were living in the 75 00:04:05,440 --> 00:04:07,560 Speaker 1: country that I had just come off rashing books that 76 00:04:08,360 --> 00:04:12,000 Speaker 1: Second World War, and it was pretty you know, boring, 77 00:04:12,040 --> 00:04:15,360 Speaker 1: and people were looking for excitement and all of a sudden, 78 00:04:15,400 --> 00:04:18,599 Speaker 1: you know, little Richard Chuck Berry and all this stuff 79 00:04:18,640 --> 00:04:22,479 Speaker 1: coming out of the States, and we were like, well 80 00:04:22,520 --> 00:04:26,839 Speaker 1: this is something, you know. And I was a fan, 81 00:04:27,040 --> 00:04:30,200 Speaker 1: you know, it was jukeboxes and stuff like that. I 82 00:04:30,240 --> 00:04:32,560 Speaker 1: never thought I'd have it be in bands or anything 83 00:04:32,640 --> 00:04:35,280 Speaker 1: like that. I just I was just a huge fan 84 00:04:35,839 --> 00:04:36,920 Speaker 1: a rock and all music. 85 00:04:37,680 --> 00:04:39,760 Speaker 2: When did you know, though, that this was going to 86 00:04:39,839 --> 00:04:41,320 Speaker 2: be a career. 87 00:04:42,600 --> 00:04:45,200 Speaker 1: I really didn't. I mean I sort of go in 88 00:04:45,279 --> 00:04:50,400 Speaker 1: semi pro bands around Northamplton. I was a bass player 89 00:04:50,720 --> 00:04:54,880 Speaker 1: and somehow got wound up in London. It's very difficult 90 00:04:55,200 --> 00:04:58,000 Speaker 1: to get into London in those days. Because everything was 91 00:04:58,040 --> 00:05:01,080 Speaker 1: twice as expensive, you know, and if you're coming from 92 00:05:01,120 --> 00:05:04,599 Speaker 1: a factory in the sticks, you know, an orange course. 93 00:05:04,720 --> 00:05:07,839 Speaker 1: So Sheilanan started Sixperence. It's very hard to get into London, 94 00:05:08,400 --> 00:05:10,279 Speaker 1: so it took a long time. Now why I'd up 95 00:05:10,279 --> 00:05:14,280 Speaker 1: with a guy called thirty fingers late. It was kind 96 00:05:14,320 --> 00:05:19,920 Speaker 1: of the English equivalent of Jerry Lee. And with fed 97 00:05:19,960 --> 00:05:23,800 Speaker 1: I went, you know, with the German clubs, and I 98 00:05:23,839 --> 00:05:26,080 Speaker 1: started to think more like a musician than a found 99 00:05:26,200 --> 00:05:28,159 Speaker 1: you know. I thought maybe I could make a living 100 00:05:28,160 --> 00:05:32,600 Speaker 1: out of us, and that's how it sort of came 101 00:05:32,640 --> 00:05:34,920 Speaker 1: into being, you know, over a few years. 102 00:05:35,760 --> 00:05:38,680 Speaker 2: I can you share a bit about your songwriting process. 103 00:05:38,720 --> 00:05:42,440 Speaker 2: How do you typically approach the crafting of a brand 104 00:05:42,480 --> 00:05:42,920 Speaker 2: new song? 105 00:05:43,880 --> 00:05:47,719 Speaker 1: I think every right took a well, it's hard to say. 106 00:05:47,839 --> 00:05:51,000 Speaker 1: Sometimes it's it's it's kind of like a comedian. Somebody 107 00:05:51,000 --> 00:05:53,839 Speaker 1: says something and you pick up on it where nobody 108 00:05:53,880 --> 00:05:56,440 Speaker 1: else does. Sometimes it comes and out of it you 109 00:05:56,480 --> 00:06:00,479 Speaker 1: wake up with it in the morning. You know, I 110 00:06:00,520 --> 00:06:05,760 Speaker 1: can't really explain it to you. It's uh, that's why 111 00:06:05,760 --> 00:06:08,479 Speaker 1: a lot of people don't write songs, and some do. 112 00:06:08,560 --> 00:06:10,880 Speaker 1: It's kind of like comedians, you know, they get the jokes. 113 00:06:11,520 --> 00:06:12,400 Speaker 1: Other people don't. 114 00:06:13,560 --> 00:06:15,760 Speaker 2: It is being in a certain zone though, to have 115 00:06:15,880 --> 00:06:17,840 Speaker 2: that creative process, Is that right? 116 00:06:18,400 --> 00:06:19,880 Speaker 1: I don't know, because it kind of grew on me. 117 00:06:19,960 --> 00:06:22,600 Speaker 1: You know. When I joined Mark, I wasn't even the songwriter. 118 00:06:22,880 --> 00:06:27,080 Speaker 1: They they add Mickey Elson Pete Watts, and they were 119 00:06:27,080 --> 00:06:30,800 Speaker 1: the songwriters, but Pete was more concerned with models of 120 00:06:30,920 --> 00:06:34,479 Speaker 1: the time. So I mean the way we used to 121 00:06:34,480 --> 00:06:36,880 Speaker 1: reheard this, they would get there about three in the afternoon. 122 00:06:36,960 --> 00:06:38,480 Speaker 1: I was there ten in the morning because I was 123 00:06:38,520 --> 00:06:42,960 Speaker 1: trying to all these instruments and stuff. And as I 124 00:06:43,040 --> 00:06:46,640 Speaker 1: tried these instruments, songs started coming, you know. And I 125 00:06:46,720 --> 00:06:48,920 Speaker 1: tried a man in front of the band and some 126 00:06:48,920 --> 00:06:51,360 Speaker 1: sometimes they fed yeah and sometimes they said no. And 127 00:06:51,480 --> 00:06:57,120 Speaker 1: slowly I sort of became this Meg Raelson and I 128 00:06:57,360 --> 00:06:59,000 Speaker 1: became the song wise in that band. 129 00:07:00,160 --> 00:07:02,479 Speaker 2: You know, throughout your entire career you've been part of 130 00:07:03,760 --> 00:07:08,440 Speaker 2: different bands and collaborations. Tell me how difficult the times 131 00:07:08,480 --> 00:07:12,400 Speaker 2: it can be to navigate the dynamics of working with 132 00:07:12,480 --> 00:07:13,920 Speaker 2: all different types of musicians. 133 00:07:14,560 --> 00:07:19,080 Speaker 1: It's just with me, it had to be exciting. It 134 00:07:19,160 --> 00:07:22,400 Speaker 1: had to be People are like, well, I had to 135 00:07:22,400 --> 00:07:25,640 Speaker 1: be crazy, and I was crazy. I did like them. 136 00:07:26,520 --> 00:07:29,320 Speaker 1: They liked me because I was like, I wasn't the 137 00:07:29,400 --> 00:07:32,880 Speaker 1: here of a mausia, you know. Uh, but we got 138 00:07:32,880 --> 00:07:36,320 Speaker 1: it okay, And then every bad ever since, it's always 139 00:07:36,320 --> 00:07:38,720 Speaker 1: been this has got to be fun, This has got 140 00:07:38,800 --> 00:07:41,240 Speaker 1: to be calaraderie. This hasn't got to be I'm not. 141 00:07:41,640 --> 00:07:43,680 Speaker 1: I can't take sitting on the bots listen to it 142 00:07:43,800 --> 00:07:48,960 Speaker 1: being we just did. It's just the excitement, the illiginal 143 00:07:49,040 --> 00:07:51,960 Speaker 1: excitement I felt with Jerry Lee and those people. I 144 00:07:51,960 --> 00:07:55,320 Speaker 1: guess that's what I was looking for, you know. And 145 00:07:55,360 --> 00:07:58,800 Speaker 1: in Mark they they wound up creating that kind of 146 00:07:59,040 --> 00:08:01,200 Speaker 1: excitement too, you know, on the places that would go 147 00:08:01,280 --> 00:08:04,400 Speaker 1: crazy without riots and stuff. And they were good gliods, 148 00:08:04,480 --> 00:08:05,120 Speaker 1: not bad ones. 149 00:08:06,080 --> 00:08:10,880 Speaker 2: Do you ever remember one of those shows that sticks 150 00:08:10,880 --> 00:08:13,680 Speaker 2: in your head because well, yeah, either because of the 151 00:08:13,680 --> 00:08:17,080 Speaker 2: fan reaction or something, but that that something went awry. 152 00:08:18,280 --> 00:08:21,000 Speaker 1: Brother, The mat fans weren't kind of like mot fans, 153 00:08:21,040 --> 00:08:23,520 Speaker 1: and that was it. It was like a tide that 154 00:08:23,600 --> 00:08:25,600 Speaker 1: followed you all over, you know, and when they would 155 00:08:25,600 --> 00:08:30,239 Speaker 1: go anywhere you went. And I can remember gigs there 156 00:08:30,280 --> 00:08:33,160 Speaker 1: where they were all on stage and they were all singing. 157 00:08:34,080 --> 00:08:35,800 Speaker 1: And then we tried to make a live valuable and 158 00:08:35,840 --> 00:08:37,960 Speaker 1: that was a disaster because everybody go on the stage 159 00:08:38,000 --> 00:08:41,839 Speaker 1: and the cables went. But they were kind of I 160 00:08:41,880 --> 00:08:46,880 Speaker 1: remember Newcastle, Yeah, they had Newcastle. They brought dogs out, 161 00:08:47,040 --> 00:08:50,839 Speaker 1: which was not a kind of thing to do because 162 00:08:50,840 --> 00:08:53,199 Speaker 1: they thought it was a nasty riot, you know what 163 00:08:53,200 --> 00:08:56,040 Speaker 1: I mean. And it wasn't it. It was a happy riot. 164 00:08:56,760 --> 00:09:00,640 Speaker 1: It's just fun. And that was what we were kind 165 00:09:00,640 --> 00:09:02,880 Speaker 1: of aiming at at that time, just having a great time. 166 00:09:03,840 --> 00:09:05,840 Speaker 1: It wasn't much money involved, it was just having a 167 00:09:05,840 --> 00:09:07,600 Speaker 1: great time. You know. 168 00:09:07,640 --> 00:09:10,400 Speaker 2: One of the things I've always loved about you and 169 00:09:10,440 --> 00:09:15,959 Speaker 2: your music you incorporate, you know, different elements of different styles, 170 00:09:16,040 --> 00:09:20,240 Speaker 2: some rock, maybe there's folks somewhere in their glam rock. 171 00:09:21,880 --> 00:09:26,040 Speaker 2: How do you balance diverse influences well being true to 172 00:09:26,640 --> 00:09:28,520 Speaker 2: you know, what your unique sound is. 173 00:09:29,600 --> 00:09:32,080 Speaker 1: Well, what happened was I somehow I haven't wound up 174 00:09:32,120 --> 00:09:35,160 Speaker 1: as a singer, which I wasn't. You know, I was 175 00:09:35,160 --> 00:09:39,160 Speaker 1: a bise time. Maybe I'll just sing harmonism stuff that's 176 00:09:39,640 --> 00:09:44,319 Speaker 1: in move, you know. Guy Stevens was like, we're looking 177 00:09:44,320 --> 00:09:45,839 Speaker 1: for me to get off the piano and get in 178 00:09:45,920 --> 00:09:49,599 Speaker 1: the middle of the stage and sing. And around that 179 00:09:49,720 --> 00:09:54,080 Speaker 1: same time, like everybody else there. Bob, Bob Dylan affected 180 00:09:54,120 --> 00:09:57,120 Speaker 1: me a lot, you know, And so I started doing 181 00:09:57,120 --> 00:10:00,800 Speaker 1: that feist sort of singing, which is what non singer 182 00:10:00,880 --> 00:10:06,280 Speaker 1: to do. Jack is an amazing face, and Dylan is 183 00:10:06,280 --> 00:10:08,839 Speaker 1: a past master. And I just kind of copyed Dylan 184 00:10:08,880 --> 00:10:12,240 Speaker 1: for a couple of years until until he got silly, 185 00:10:12,280 --> 00:10:14,320 Speaker 1: you know. So I started after, you know, you developed 186 00:10:14,320 --> 00:10:15,280 Speaker 1: your own thing out of that. 187 00:10:17,320 --> 00:10:20,360 Speaker 2: I love Bob got silly. What happened? 188 00:10:22,480 --> 00:10:26,160 Speaker 1: No, No, And it was just well, I had Bob Dylan. 189 00:10:27,360 --> 00:10:29,760 Speaker 1: I'm English guy. I don't know what he's talking about, 190 00:10:31,200 --> 00:10:34,240 Speaker 1: but it's right, It's absolutely right, and how he's doing 191 00:10:34,280 --> 00:10:38,559 Speaker 1: it is right. And Suddy Bonner was another one. Uh yeah, Sudy. 192 00:10:38,559 --> 00:10:41,240 Speaker 1: And sure he was another one. He couldn't save him 193 00:10:41,280 --> 00:10:43,480 Speaker 1: that great, but he came a cloth. He had big 194 00:10:43,559 --> 00:10:45,760 Speaker 1: number one. You know, I got you bathed stuff like that. 195 00:10:47,320 --> 00:10:49,040 Speaker 1: I thought, that's the that's the word I'm going to 196 00:10:49,120 --> 00:10:51,360 Speaker 1: have to go, you know, because I'm not for watchers, 197 00:10:51,400 --> 00:10:51,640 Speaker 1: you know. 198 00:10:52,640 --> 00:10:56,480 Speaker 2: I mean, your lyrics touched on the themes of rebellion 199 00:10:56,600 --> 00:11:00,880 Speaker 2: and society and personal experiences. So him back to Bob 200 00:11:00,960 --> 00:11:05,600 Speaker 2: Dylan for a second. He obviously had some impact as 201 00:11:05,640 --> 00:11:07,760 Speaker 2: he wrote about rebellion as well. 202 00:11:07,840 --> 00:11:10,559 Speaker 1: Right, it wasn't so much that it was it was 203 00:11:10,600 --> 00:11:14,280 Speaker 1: the way he was singing. I was English, so therefore 204 00:11:14,320 --> 00:11:15,920 Speaker 1: I didn't really understand a lot of what he was 205 00:11:15,960 --> 00:11:20,600 Speaker 1: talking about. You know, probably just still don't. But it 206 00:11:20,720 --> 00:11:24,000 Speaker 1: was just right. It was just so right, you know, 207 00:11:25,360 --> 00:11:31,840 Speaker 1: And you know I copped off him eventually, you know, 208 00:11:31,960 --> 00:11:34,319 Speaker 1: you developed and jimil and thing. I guess mo singers, 209 00:11:34,360 --> 00:11:36,520 Speaker 1: you know, they start off with some they get it influenced. 210 00:11:36,520 --> 00:11:40,320 Speaker 1: Everybody gets influenced initially, you know, and then you sort 211 00:11:40,400 --> 00:11:43,640 Speaker 1: of wade through it and come at yourself eventually. 212 00:11:44,800 --> 00:11:48,199 Speaker 2: Did you ever have the opportunity to run into Bob 213 00:11:48,240 --> 00:11:50,560 Speaker 2: and tell him about the impact that he made on you? 214 00:11:51,600 --> 00:11:54,160 Speaker 1: Yeah, I've met him a couple of times. Oh, I mean, oh, 215 00:11:54,280 --> 00:11:58,040 Speaker 1: you know what I mean. But he's great, He's really nice. 216 00:11:58,120 --> 00:11:59,240 Speaker 1: I mean, what are you gonna do? 217 00:12:00,440 --> 00:12:02,359 Speaker 2: Did you get the cold fish handshake? 218 00:12:05,400 --> 00:12:08,360 Speaker 1: It's a bit a while, but he does stand in 219 00:12:08,360 --> 00:12:14,760 Speaker 1: the street in the village one night, you know, one 220 00:12:14,800 --> 00:12:16,880 Speaker 1: for on the road and one for on the pavement. 221 00:12:18,040 --> 00:12:20,120 Speaker 1: He knew we were leb in start. I remember at 222 00:12:20,160 --> 00:12:22,800 Speaker 1: the time said on Bob's new album, he's trying to 223 00:12:22,800 --> 00:12:25,280 Speaker 1: sound like Martin the Hoopel. So it was all fun, 224 00:12:25,760 --> 00:12:28,040 Speaker 1: you know, it's all you know, just for fun. 225 00:12:28,880 --> 00:12:30,960 Speaker 2: Can you tell me about the first time that you 226 00:12:31,320 --> 00:12:32,920 Speaker 2: met David Bowie. 227 00:12:33,280 --> 00:12:37,680 Speaker 1: Yeah. It was Guilford Civic Hall, a gig just outside London, 228 00:12:38,880 --> 00:12:42,120 Speaker 1: and what had happened was we split up. We've been 229 00:12:42,160 --> 00:12:46,400 Speaker 1: in gas Tank since Switzerland for Evan Records and we 230 00:12:46,440 --> 00:12:48,600 Speaker 1: didn't like them. There were two reckae so we decided 231 00:12:48,720 --> 00:12:51,400 Speaker 1: this is enough. We haven't had a hit record. We've 232 00:12:51,400 --> 00:12:55,240 Speaker 1: been guying a couple of years. And so Pete watched 233 00:12:55,280 --> 00:12:57,360 Speaker 1: the bass player rang up David to a gig because 234 00:12:57,400 --> 00:13:01,240 Speaker 1: David was at that time forming his band, and David so, 235 00:13:01,320 --> 00:13:03,520 Speaker 1: well you were in more, you know, and people of no, 236 00:13:03,800 --> 00:13:06,480 Speaker 1: we've split it, and then David so you can't do that, 237 00:13:06,559 --> 00:13:08,600 Speaker 1: you know. It turned out that David liked the Barton 238 00:13:08,640 --> 00:13:12,240 Speaker 1: of Lot and so we came to see It's at Guildford. 239 00:13:12,240 --> 00:13:15,520 Speaker 1: That was the first night I met him, and I 240 00:13:15,520 --> 00:13:18,599 Speaker 1: wound up in a limo with him afterwards, and Angie 241 00:13:19,080 --> 00:13:22,320 Speaker 1: and Andy whistled to me in the back of the 242 00:13:22,400 --> 00:13:27,720 Speaker 1: limo how he's it took him four hours to get ready. 243 00:13:28,559 --> 00:13:31,920 Speaker 1: That's great. And then from then on now we're still 244 00:13:31,920 --> 00:13:34,520 Speaker 1: on the Island Records and we're just doing a tour 245 00:13:35,559 --> 00:13:39,120 Speaker 1: and flowers in the dressing room every night, and these 246 00:13:39,160 --> 00:13:41,840 Speaker 1: people from Ireland, you know, Johnny Glow, Alec Rosley then 247 00:13:41,840 --> 00:13:44,319 Speaker 1: would going what were the need flowers for every night? 248 00:13:44,360 --> 00:13:47,679 Speaker 1: You know? But what was happening was the beginning of uh, 249 00:13:48,240 --> 00:13:53,320 Speaker 1: you know, our time with Columbia and the Fleece and David. 250 00:13:53,000 --> 00:13:57,040 Speaker 2: You know, did he offer you Suffragette City? Is that correct? 251 00:13:57,840 --> 00:14:01,280 Speaker 1: Yeah? You know, we'd had a couple of out and 252 00:14:02,040 --> 00:14:04,280 Speaker 1: they've been on the BBC and they haven't been hits. Well, 253 00:14:04,280 --> 00:14:06,880 Speaker 1: when you have a couple of singles that they missed, 254 00:14:06,880 --> 00:14:08,760 Speaker 1: from then on in, you're not going to be on 255 00:14:08,800 --> 00:14:13,160 Speaker 1: the BBC unless it's something extremely special. And we were 256 00:14:13,160 --> 00:14:15,800 Speaker 1: writing good stuff, but we knew the Bee wouldn't play it, 257 00:14:15,800 --> 00:14:18,400 Speaker 1: and that sitting was good, but we knew they wouldn't 258 00:14:18,440 --> 00:14:21,640 Speaker 1: play it. It wasn't good enough. So then he sits 259 00:14:21,680 --> 00:14:24,760 Speaker 1: down in an office and waiting the street and plays 260 00:14:24,800 --> 00:14:26,680 Speaker 1: all the young dudes to It was all acoustic guitar, 261 00:14:28,120 --> 00:14:30,120 Speaker 1: and that was a whole different kettle of fish, you know. 262 00:14:30,240 --> 00:14:33,720 Speaker 1: That was we can do this and this can beat 263 00:14:33,760 --> 00:14:35,400 Speaker 1: here you know, I. 264 00:14:35,320 --> 00:14:37,280 Speaker 2: Have chills just thinking about that moment. 265 00:14:38,200 --> 00:14:42,560 Speaker 1: Yeah, I remember sitting there thinking, one, I can sing it, 266 00:14:43,200 --> 00:14:46,880 Speaker 1: you know, because sub bluesy stuff I'm not good at 267 00:14:47,520 --> 00:14:49,120 Speaker 1: the first thing was I knew I could sing it, 268 00:14:49,120 --> 00:14:52,240 Speaker 1: and the second plane was isn't it? And you know 269 00:14:52,440 --> 00:14:55,640 Speaker 1: it's kind of being behind it hit before it's even recorded. 270 00:14:56,480 --> 00:14:57,920 Speaker 1: It's just a song and so strong. 271 00:14:58,680 --> 00:15:01,560 Speaker 2: And what's amazing about it, Ian is how it has 272 00:15:01,840 --> 00:15:03,120 Speaker 2: stood the test of time. 273 00:15:04,080 --> 00:15:07,760 Speaker 1: Yeah, I was still talking about really and Mark did 274 00:15:07,760 --> 00:15:11,080 Speaker 1: a great nobody. You know, we improved it. We didn't 275 00:15:11,080 --> 00:15:13,240 Speaker 1: just sit and do it, you know, we improved upon that. 276 00:15:13,360 --> 00:15:15,240 Speaker 1: And he was there and he was helping out and 277 00:15:15,640 --> 00:15:18,200 Speaker 1: to do what David did. You know, he taught us 278 00:15:18,200 --> 00:15:20,360 Speaker 1: a lot, you know, because we didn't really know much 279 00:15:20,360 --> 00:15:25,640 Speaker 1: about the studio with Guystein, our previous producers. David knew 280 00:15:25,640 --> 00:15:29,360 Speaker 1: how to work the room, you know, you know, they're 281 00:15:30,480 --> 00:15:32,040 Speaker 1: the buttons. 282 00:15:32,360 --> 00:15:35,920 Speaker 2: What do you think of how he constantly reinvented himself 283 00:15:35,960 --> 00:15:40,400 Speaker 2: and has that inspired your reinvention as you have reinvented 284 00:15:40,400 --> 00:15:41,160 Speaker 2: through your career. 285 00:15:42,240 --> 00:15:47,760 Speaker 1: No, no, I think David was a performance artist who 286 00:15:47,760 --> 00:15:50,480 Speaker 1: played the part of a rock and wall singer and 287 00:15:50,520 --> 00:15:53,680 Speaker 1: did it extremely well and I funk whatever you want 288 00:15:53,760 --> 00:15:56,560 Speaker 1: to talk about. The stages, he went through a lot. 289 00:15:56,800 --> 00:16:00,360 Speaker 1: He was a performance artist. That's that's why aim ful 290 00:16:00,560 --> 00:16:05,520 Speaker 1: lens again, stuff like that. So he was you know, 291 00:16:06,920 --> 00:16:09,560 Speaker 1: he had that role for that while you know, no, no, yep, 292 00:16:09,760 --> 00:16:13,440 Speaker 1: the Ziggy Wolf, and then he went out to other things. 293 00:16:14,000 --> 00:16:18,960 Speaker 1: I think the Flores was Mullingham and the Elvis. You know, 294 00:16:19,120 --> 00:16:23,400 Speaker 1: Defries's idol was Colonel Tom Parker, but Flores was telling 295 00:16:23,440 --> 00:16:27,840 Speaker 1: you it was Johnson was a Davids manager, and I 296 00:16:27,880 --> 00:16:30,520 Speaker 1: think that's what that's what Defriice wanted, and he wanted 297 00:16:30,560 --> 00:16:32,200 Speaker 1: David to be eldest. Part two. 298 00:16:33,080 --> 00:16:36,760 Speaker 2: You know, we're living in a divided society obviously, yet 299 00:16:37,120 --> 00:16:41,560 Speaker 2: I'm constantly amazed at how music is this one thing 300 00:16:41,640 --> 00:16:46,280 Speaker 2: people can generally agree upon. Do you agree with that 301 00:16:46,320 --> 00:16:48,840 Speaker 2: fact in the world today that that's really the one 302 00:16:48,880 --> 00:16:50,120 Speaker 2: thing people can agree on? 303 00:16:51,240 --> 00:16:57,440 Speaker 1: Football? There's a com football. I see football, you know 304 00:16:57,480 --> 00:17:00,640 Speaker 1: what I mean? Two teams yep, so was gonna win, 305 00:17:00,720 --> 00:17:04,280 Speaker 1: someone's gonna lose, and sixty thousand people who don't really 306 00:17:04,320 --> 00:17:10,439 Speaker 1: know that much about it, right screaming. Yeah. 307 00:17:10,680 --> 00:17:14,520 Speaker 2: But as we move to talk about Defiance Part two, 308 00:17:16,160 --> 00:17:18,240 Speaker 2: what's your take on the rest of the world. 309 00:17:19,000 --> 00:17:20,600 Speaker 1: We're in a bit of a mess. You know, I 310 00:17:20,720 --> 00:17:23,640 Speaker 1: try to avoid it on part one. I can't call 311 00:17:23,760 --> 00:17:28,240 Speaker 1: up with me on part two, however, you know, we're 312 00:17:28,240 --> 00:17:32,160 Speaker 1: living in a hysterical country, so hopefully it won't turn 313 00:17:32,240 --> 00:17:36,359 Speaker 1: out as bad as everybody predicts. I just have an 314 00:17:36,400 --> 00:17:41,119 Speaker 1: opinion like everybody else. I try to not be the 315 00:17:41,760 --> 00:17:44,600 Speaker 1: didactic and all that kind of stuff, but sometimes it leaks. 316 00:17:46,560 --> 00:17:49,240 Speaker 1: And this abbs a bit dense, you know, it's a 317 00:17:49,240 --> 00:17:52,480 Speaker 1: bit denseerth in the first one, and I think the 318 00:17:52,560 --> 00:17:55,760 Speaker 1: next one will be a bit a little lighter. This 319 00:17:55,840 --> 00:17:57,440 Speaker 1: one's pretty political. 320 00:17:58,320 --> 00:17:59,960 Speaker 2: Can you talk about some of the folks that you 321 00:18:00,160 --> 00:18:04,720 Speaker 2: collaborated with in both Defiance Part one and Part two? 322 00:18:05,440 --> 00:18:07,440 Speaker 1: Yeah? Sure, who Well. 323 00:18:07,320 --> 00:18:09,280 Speaker 2: How about Jeff Beck for starters? 324 00:18:09,840 --> 00:18:13,520 Speaker 1: Well, you know that was Johnny Depp. John was working 325 00:18:13,560 --> 00:18:17,000 Speaker 1: with Jeff and I know john'sto a little while now 326 00:18:17,280 --> 00:18:21,600 Speaker 1: and he likes what I do. So he said, you know, 327 00:18:21,640 --> 00:18:24,560 Speaker 1: I'm over with Jeff. Do you wanted to do something 328 00:18:24,600 --> 00:18:30,359 Speaker 1: with Jeff? And so he sent him two tracks and 329 00:18:30,440 --> 00:18:33,119 Speaker 1: Jeff plighted on both of them. You know, he played 330 00:18:33,160 --> 00:18:38,040 Speaker 1: on the third ri along Part two and it was 331 00:18:38,119 --> 00:18:40,240 Speaker 1: Jeff I mean, it was like for me, he was 332 00:18:40,240 --> 00:18:42,159 Speaker 1: at the sixties. God, you know, we came through in 333 00:18:42,160 --> 00:18:45,080 Speaker 1: the seventies, so we looked up to those guys, you know, 334 00:18:45,160 --> 00:18:48,239 Speaker 1: like the Beatles and the Stones and who. You know. 335 00:18:49,160 --> 00:18:51,159 Speaker 1: Sorry to have Jet back on your album for me 336 00:18:51,280 --> 00:18:56,119 Speaker 1: is a personal win no matter what. Plus he played great, 337 00:18:56,200 --> 00:18:59,159 Speaker 1: and plus sometimes he would do things and then he 338 00:18:59,200 --> 00:19:01,679 Speaker 1: would not let him go because he didn't think his 339 00:19:01,800 --> 00:19:06,520 Speaker 1: performance was good En. Unfortunately, on both tracks he was fired. 340 00:19:06,560 --> 00:19:09,520 Speaker 1: He passed them, you know, he okayed them, and his 341 00:19:09,640 --> 00:19:12,600 Speaker 1: lawyer said the third rial, which is on part two, 342 00:19:12,840 --> 00:19:13,880 Speaker 1: is the last thing he ever did. 343 00:19:14,400 --> 00:19:15,080 Speaker 2: That's amazing. 344 00:19:15,520 --> 00:19:16,679 Speaker 1: That why his manager? 345 00:19:16,840 --> 00:19:19,960 Speaker 2: Yeah, how about Robin Xander, Well. 346 00:19:19,800 --> 00:19:22,440 Speaker 1: I've known them for a long time on and off 347 00:19:22,520 --> 00:19:25,399 Speaker 1: Big here and there, you know Rake and Lobbin, so 348 00:19:26,600 --> 00:19:28,760 Speaker 1: the great guys and their proper rock and roll. You know, 349 00:19:31,000 --> 00:19:34,080 Speaker 1: it's a privilege, but a lot of these baby was 350 00:19:34,160 --> 00:19:37,800 Speaker 1: all privilege. You know what Stone Temple, those guys and 351 00:19:37,840 --> 00:19:41,119 Speaker 1: such gentlemen, you know, and intelligence, and you've got to 352 00:19:41,160 --> 00:19:43,120 Speaker 1: sound the right kind of material to the right kind 353 00:19:43,119 --> 00:19:44,920 Speaker 1: of people. Is it in the area, you know what 354 00:19:44,960 --> 00:19:48,840 Speaker 1: I mean? Like Mike Campbell, it was perfect for him 355 00:19:48,840 --> 00:19:53,000 Speaker 1: and Ringo on bed of Roses on the first you 356 00:19:53,040 --> 00:19:56,240 Speaker 1: Know You Do? That track was one seventeen and I'm 357 00:19:56,240 --> 00:19:58,000 Speaker 1: sitting there with Andy York I said, neces sending the 358 00:19:58,119 --> 00:20:00,800 Speaker 1: ring Goo for fun, you know, and Ringo was like, 359 00:20:00,840 --> 00:20:02,520 Speaker 1: if I liked the song, I'll do it. If if 360 00:20:02,680 --> 00:20:05,120 Speaker 1: I like the song, I WoT I mean. Four days 361 00:20:05,200 --> 00:20:06,840 Speaker 1: later we got it back and it was done, you know, 362 00:20:06,960 --> 00:20:09,440 Speaker 1: and Mike Campbell and takes it and makes it even badly, 363 00:20:09,560 --> 00:20:12,920 Speaker 1: you know, as he does with other Soon it's still great. 364 00:20:13,160 --> 00:20:14,800 Speaker 1: It's still it's still a great phone. 365 00:20:15,880 --> 00:20:18,440 Speaker 2: And you you were part of Ringo Star's All Star 366 00:20:18,520 --> 00:20:20,000 Speaker 2: Band at one point, right. 367 00:20:20,240 --> 00:20:21,440 Speaker 1: Yeah, we went out, we did a tour. 368 00:20:22,320 --> 00:20:24,840 Speaker 2: Who was part of that group at that time. 369 00:20:25,080 --> 00:20:28,000 Speaker 1: The Color of the Nions, Sheila Shila A was on 370 00:20:28,040 --> 00:20:31,080 Speaker 1: the drums. Sheila started to make him do a drum 371 00:20:31,119 --> 00:20:33,760 Speaker 1: solo that was fun. 372 00:20:35,040 --> 00:20:39,000 Speaker 2: Well, but I want to ask the question differently about that, 373 00:20:39,600 --> 00:20:44,159 Speaker 2: So tell me about your connection with Ringo Starr and 374 00:20:44,240 --> 00:20:46,640 Speaker 2: ultimately playing with him in the All Star band. 375 00:20:47,160 --> 00:20:51,480 Speaker 1: I just got a phone. I came along from wherever 376 00:20:51,520 --> 00:20:53,440 Speaker 1: I'd been one day and it was on the answer 377 00:20:53,520 --> 00:20:57,119 Speaker 1: machine all the way to this ring Go you know, 378 00:20:57,400 --> 00:20:59,000 Speaker 1: I had your Fox are going on the tour and 379 00:20:59,080 --> 00:21:01,600 Speaker 1: I was like, whoa you get the chills one the 380 00:21:01,600 --> 00:21:04,520 Speaker 1: Beatles or of your answering missoine and so I went 381 00:21:04,800 --> 00:21:07,840 Speaker 1: and it was great. It was good fun. Greg Lake. 382 00:21:08,200 --> 00:21:10,639 Speaker 1: I became fans of Greg Lake on that tour. He 383 00:21:10,760 --> 00:21:14,280 Speaker 1: was my my mate. You know, he's a lovely blood, 384 00:21:14,440 --> 00:21:18,920 Speaker 1: Greg Blake, Greg Player, you know, King Crimson and then 385 00:21:18,920 --> 00:21:21,000 Speaker 1: the LP, the LP. I want to his key on 386 00:21:21,119 --> 00:21:23,160 Speaker 1: the Pink. Crimson was amazing. We are opened for them 387 00:21:23,160 --> 00:21:25,440 Speaker 1: early on and Martin, they were they were frightening. 388 00:21:26,880 --> 00:21:31,360 Speaker 2: Tell me about the period of time when Queen had 389 00:21:31,400 --> 00:21:35,639 Speaker 2: first come to the States and Queen and Mott toward 390 00:21:35,960 --> 00:21:38,400 Speaker 2: what are your memories of that early period. 391 00:21:39,040 --> 00:21:41,159 Speaker 1: Well, there was a great fun because I became it 392 00:21:41,240 --> 00:21:44,919 Speaker 1: became one big band, you know, and Fred being Fred 393 00:21:45,000 --> 00:21:48,640 Speaker 1: was hilarious. You walk up and down back state going 394 00:21:48,640 --> 00:21:50,320 Speaker 1: why don't these city basketlets get it? 395 00:21:50,880 --> 00:21:51,040 Speaker 2: Yeah? 396 00:21:51,200 --> 00:21:53,040 Speaker 1: Fred, it's going to take a couple of times on 397 00:21:53,080 --> 00:21:55,679 Speaker 1: this is a big country, you know, it had it'd 398 00:21:55,680 --> 00:21:59,040 Speaker 1: take them that long. But they were characters, all of them. 399 00:21:59,080 --> 00:22:03,200 Speaker 1: You know. I really like those guys. And I still 400 00:22:03,200 --> 00:22:06,880 Speaker 1: talked of Bridon Rodger. You know, but but we got 401 00:22:06,880 --> 00:22:10,919 Speaker 1: our different continents. But I still talk to him and 402 00:22:10,960 --> 00:22:14,879 Speaker 1: they're still ruddling. It's normal, chaps, So I love it. 403 00:22:14,880 --> 00:22:16,640 Speaker 1: It was like a nine piece band on the road 404 00:22:16,680 --> 00:22:18,520 Speaker 1: when they when they were opening for us, you know, 405 00:22:19,000 --> 00:22:21,600 Speaker 1: and then we got a Washington, Washington. Yeah, we were 406 00:22:21,600 --> 00:22:27,000 Speaker 1: staying in that Nixon hotel. What was the White I 407 00:22:27,000 --> 00:22:29,760 Speaker 1: don't know, Oh, water Gate, Yeah, we were starting at 408 00:22:29,760 --> 00:22:34,560 Speaker 1: the Watergate. I was Brian came down with something bad. 409 00:22:34,600 --> 00:22:36,920 Speaker 1: They had to get him on and playing quick, and 410 00:22:36,960 --> 00:22:38,880 Speaker 1: so that was the end of it. But we've done 411 00:22:38,880 --> 00:22:40,879 Speaker 1: a British tour and then we were halfway through the 412 00:22:40,920 --> 00:22:44,399 Speaker 1: American tour and that's when they had to go. And 413 00:22:44,440 --> 00:22:46,960 Speaker 1: I don't think about Candles or somebody like that came 414 00:22:47,000 --> 00:22:49,680 Speaker 1: in and depth for but they went through the roof 415 00:22:49,760 --> 00:22:53,200 Speaker 1: really quick. You know. Tread was so that lage or 416 00:22:53,240 --> 00:22:56,239 Speaker 1: something fun. But I have to say they were they 417 00:22:56,240 --> 00:22:59,400 Speaker 1: were watching us every night because I don't think they'd 418 00:22:59,480 --> 00:23:03,040 Speaker 1: quite got the stage thing together. They got their music together, 419 00:23:03,800 --> 00:23:07,080 Speaker 1: but well they'll tell you themselves. They were watching something 420 00:23:07,080 --> 00:23:07,320 Speaker 1: to night. 421 00:23:08,600 --> 00:23:11,840 Speaker 2: Are you considering going out on an acoustic tour? 422 00:23:12,440 --> 00:23:16,280 Speaker 1: Oh, Mike, you know, no, no, when you're my age. 423 00:23:16,280 --> 00:23:18,040 Speaker 1: You know, things come up. You have to be careful 424 00:23:18,080 --> 00:23:21,080 Speaker 1: what you're doing. It's in the works, you know, to 425 00:23:21,119 --> 00:23:26,199 Speaker 1: cancel off once because of sickness in the family. And 426 00:23:26,280 --> 00:23:28,800 Speaker 1: I do have tonightists, which a lot of people have 427 00:23:29,000 --> 00:23:32,400 Speaker 1: on car used to it, but there's no real cure 428 00:23:32,560 --> 00:23:38,160 Speaker 1: for it. And if I commit and then can't do it, 429 00:23:38,200 --> 00:23:40,720 Speaker 1: and a lot of travelers get very upset with you, you know, 430 00:23:40,800 --> 00:23:44,240 Speaker 1: because they it's expensive nowadays, you get out of playing. 431 00:23:45,080 --> 00:23:48,240 Speaker 1: If I'm playing New York, they'll come from England. I 432 00:23:48,359 --> 00:23:50,000 Speaker 1: want them to put them through that, you know, that's 433 00:23:50,040 --> 00:23:52,480 Speaker 1: a hotel at the affairs and then the gig itself. 434 00:23:53,480 --> 00:23:55,600 Speaker 1: I want to make sure that I'm absolutely fit before 435 00:23:55,640 --> 00:23:58,119 Speaker 1: I go for it. Yeah, and it would be acoustic, 436 00:23:58,160 --> 00:23:59,960 Speaker 1: you know, Q and a eco acoustic. 437 00:24:00,680 --> 00:24:03,200 Speaker 2: And there'd be one other mandatory aspect. I'm sure it 438 00:24:03,200 --> 00:24:04,439 Speaker 2: would have to be fun for you. 439 00:24:05,160 --> 00:24:09,000 Speaker 1: Oh, it would be fun. I got that figured. This 440 00:24:09,200 --> 00:24:11,679 Speaker 1: wasn't going to be a serious play of it inside 441 00:24:11,680 --> 00:24:13,520 Speaker 1: from nineteen forty eight. There's not going to be like 442 00:24:13,560 --> 00:24:15,679 Speaker 1: that at all. I do I have fun, you know. 443 00:24:16,560 --> 00:24:19,760 Speaker 2: Do you have any advice that you'd give to aspiring 444 00:24:19,840 --> 00:24:23,400 Speaker 2: musicians looking to carve their own path out in the industry. 445 00:24:24,480 --> 00:24:26,760 Speaker 1: Well, Dylan said to me, you know what I like 446 00:24:26,800 --> 00:24:29,040 Speaker 1: about you, and I've said what he said, you hang 447 00:24:29,080 --> 00:24:32,359 Speaker 1: in and all the easy years later, that would be 448 00:24:32,400 --> 00:24:37,800 Speaker 1: my vote. You hang in. It's another business where success 449 00:24:37,800 --> 00:24:40,840 Speaker 1: comes quickly or easily, I guess, like a lot of 450 00:24:40,840 --> 00:24:43,280 Speaker 1: other figures, you know, and there's a lot of ups, 451 00:24:43,359 --> 00:24:44,919 Speaker 1: there's a lot of that downs, and you just have 452 00:24:45,040 --> 00:24:49,680 Speaker 1: to keep going. And that's what's inside you to that extent, 453 00:24:49,840 --> 00:24:51,480 Speaker 1: you know, you just have to hang in. And so 454 00:24:52,320 --> 00:24:53,200 Speaker 1: the phone all Inn. 455 00:24:54,160 --> 00:24:58,359 Speaker 2: Used to approach the days where you yearn to learn 456 00:24:58,440 --> 00:24:59,840 Speaker 2: something brand new. 457 00:25:00,600 --> 00:25:04,679 Speaker 1: Oh yeah, that's my whole thing. Yeah, I mean I'm 458 00:25:04,720 --> 00:25:09,119 Speaker 1: already on the next once it started. Stummach. That's it. 459 00:25:09,320 --> 00:25:09,560 Speaker 1: You know. 460 00:25:10,480 --> 00:25:14,040 Speaker 2: Is there anything you'd like to learn that you haven't learned? 461 00:25:14,920 --> 00:25:18,560 Speaker 1: Oh yeah, sure, I'm out of factories. I'm not a genius. 462 00:25:19,000 --> 00:25:21,360 Speaker 1: The stuff I don't know of is enormous. But then again, 463 00:25:21,400 --> 00:25:22,399 Speaker 1: yet I'll join the club. 464 00:25:23,480 --> 00:25:26,760 Speaker 2: Are there some people that you'd like to collaborate with 465 00:25:26,840 --> 00:25:28,800 Speaker 2: that you have not collaborated with? 466 00:25:29,560 --> 00:25:33,320 Speaker 1: You know, loads of people my heroes like Chuck Berry 467 00:25:33,359 --> 00:25:37,000 Speaker 1: and Little Richard and Jerry Lee. I wouldn't want to 468 00:25:37,000 --> 00:25:41,240 Speaker 1: work with Jerry Day. It was difficult. I remember Hi 469 00:25:41,240 --> 00:25:43,359 Speaker 1: playing the Ritz in New York and his bound didn't 470 00:25:43,359 --> 00:25:45,119 Speaker 1: even go to the dressing room. They got off the 471 00:25:45,160 --> 00:25:50,159 Speaker 1: front of the stage and mingled with the audience. I 472 00:25:50,160 --> 00:25:51,640 Speaker 1: wouldn't have wanted to be loud. 473 00:25:52,760 --> 00:25:56,560 Speaker 2: And how about any new music you've discovered by maybe 474 00:25:56,640 --> 00:26:00,440 Speaker 2: artists we haven't heard of, that you'd like to bring 475 00:26:00,480 --> 00:26:01,040 Speaker 2: to our attention. 476 00:26:01,960 --> 00:26:04,960 Speaker 1: Ah, I'll do that, buzz, I'll episod, I'll just write, 477 00:26:05,359 --> 00:26:07,920 Speaker 1: you know, stuff that comes in and what I hand. Oh, listen, 478 00:26:08,640 --> 00:26:11,400 Speaker 1: I'll been doing this for fifteen years or something done. 479 00:26:12,200 --> 00:26:14,320 Speaker 1: If you're in an nice queen factory for fifty years, 480 00:26:14,320 --> 00:26:17,399 Speaker 1: you up an nice queen or anymore way on. I 481 00:26:17,480 --> 00:26:21,480 Speaker 1: do it because I like writing songs and you know 482 00:26:21,560 --> 00:26:23,359 Speaker 1: the ex song and hopefully is going to be different. 483 00:26:23,400 --> 00:26:26,000 Speaker 1: Well that's my father. 484 00:26:27,000 --> 00:26:32,800 Speaker 2: Congratulations Ian on Defiance Part two. And it's so great 485 00:26:32,840 --> 00:26:35,199 Speaker 2: to have taken a walk down memory lane with you, 486 00:26:35,320 --> 00:26:38,119 Speaker 2: and thank you for all the great music that you 487 00:26:38,200 --> 00:26:39,400 Speaker 2: continue to give us. Sir. 488 00:26:40,119 --> 00:26:41,679 Speaker 1: Oh, ye're very welcome, buzzing. 489 00:26:42,040 --> 00:26:43,920 Speaker 2: And thanks for being on taking a walk. 490 00:26:43,960 --> 00:26:47,199 Speaker 1: Thanks for having me, Thanks for having me, Thanks for 491 00:26:47,280 --> 00:26:50,159 Speaker 1: listening to this episode of the Taking a Walk podcast. 492 00:26:50,640 --> 00:26:53,840 Speaker 3: Share this and other episodes with your friends and follow 493 00:26:53,920 --> 00:26:55,879 Speaker 3: us so you never miss an episode. 494 00:26:56,480 --> 00:26:59,080 Speaker 1: Taking a Walk is available on the iHeartRadio 495 00:26:59,080 --> 00:27:03,960 Speaker 3: App, podcasts, and wherever you get your podcasts.