WEBVTT - Chris Blackwell

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<v Speaker 1>Welcome, Welcome, welcome back to the Bob West That's podcast.

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<v Speaker 1>My guest today is truly a llegend. This Blackwellholm Island

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<v Speaker 1>Records has a new autobiography, The Islander. Chris. Great to

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<v Speaker 1>have you on the podcast. So, first and foremost, where

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<v Speaker 1>exactly are you right now? I'm in Jamaica, Yes, but

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<v Speaker 1>you own multiple properties in Jamaica, correct, No, just a couple,

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<v Speaker 1>two or three different properties. The main one is Golden Eye,

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<v Speaker 1>which Ian Fleming owned originally. And what is the status

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<v Speaker 1>of Golden Eyed today and how is it different from

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<v Speaker 1>when Ian owned it? Well, when Ian owned it too

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<v Speaker 1>was just one house. And when he uh pass my

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<v Speaker 1>mother looked after the house for a bit, waiting for

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<v Speaker 1>his son to come of age and take the ownership.

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<v Speaker 1>But sadly his father his son committed suicide and so

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<v Speaker 1>the the house just came on the market and my

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<v Speaker 1>mother asked me if I would go out and try

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<v Speaker 1>and buy it. And I was a little short of

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<v Speaker 1>the cash at the moment at the time, but the

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<v Speaker 1>person I knew had some cash it was about early

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<v Speaker 1>because I just paid him some fat royalties. So I

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<v Speaker 1>told him that he should go and see it because

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<v Speaker 1>it's a great property and he should have a look

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<v Speaker 1>and see if he liked it. And he went, but

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<v Speaker 1>he said it wasn't his kind of thing. He was

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<v Speaker 1>more street as it were, so he passed on it,

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<v Speaker 1>and so I eventually voted. Now you also got involved

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<v Speaker 1>in real estate in Miami South? How did that come

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<v Speaker 1>to pass? That came to pass because I flew down

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<v Speaker 1>to Miami to watch a new singer that had come

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<v Speaker 1>from Detroit and she was going to do a I

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<v Speaker 1>have I have a sort of video done of her,

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<v Speaker 1>and so I went down and I flew into Miami

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<v Speaker 1>and then I went and stayed at the Fronto Lu Hotel.

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<v Speaker 1>But I don't really like big hotel that. I didn't

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<v Speaker 1>like it at all. So I said, I want to

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<v Speaker 1>get out of here, and I rented a car and

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<v Speaker 1>drove south. And when I drove south, but by bit

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<v Speaker 1>it became more and more funky and more and more

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<v Speaker 1>broken up and everything, and I couldn't believe it. Here's

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<v Speaker 1>this incredible beach, incredible location, and everything was derelict, and

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<v Speaker 1>I just couldn't believe it. So I wandered around and

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<v Speaker 1>and saw a couple of different places that I thought

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<v Speaker 1>i'd love to buy that, and so that's basically what

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<v Speaker 1>I did. I bought a place called the Marlin. And

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<v Speaker 1>then in um in Miami at that time was somebody

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<v Speaker 1>called Barbara Julniki who was very super talented designer, creative lady,

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<v Speaker 1>and she was in Miami and I asked her if

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<v Speaker 1>if she could help me and design a little um

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<v Speaker 1>you know, a little sort of hotel, and and she did,

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<v Speaker 1>and it was adorable. It really looked just fantastic, and

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<v Speaker 1>very quickly it started to get people coming to it

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<v Speaker 1>a lot. And then I put a studio in it,

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<v Speaker 1>and and off we were really great. So what drove

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<v Speaker 1>people to the hotel? Did you saved all your friends?

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<v Speaker 1>Did you put the word out or just people drove

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<v Speaker 1>by into how great it was. I think I think

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<v Speaker 1>it's sort of a bit of both. You know, I

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<v Speaker 1>spoke about a lot about it, tell people about it,

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<v Speaker 1>because it was so extraordinary that, you know, you couldn't

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<v Speaker 1>get a cab to take take take you out there.

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<v Speaker 1>It's very very difficult. It was at a time. It

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<v Speaker 1>was a time soon after remember when Castro sent a

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<v Speaker 1>whole lot of um cumans to to Florida or something,

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<v Speaker 1>and there was a country. Remember what happened, but I

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<v Speaker 1>know it was a kind of chaos and so no,

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<v Speaker 1>but nobody really wanted to go to South Beach, Absolutely

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<v Speaker 1>not at that time. So you know, this has become

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<v Speaker 1>a thing of having studios in a hotel. Is that

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<v Speaker 1>actually marketing? Or does that really work? Having a studio

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<v Speaker 1>in a hotel? Do you know? It works? It works

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<v Speaker 1>because you know you've got you can you know in

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<v Speaker 1>the studio, you can get stressed out in the studio

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<v Speaker 1>and you really want to sort of take a break

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<v Speaker 1>and just go and have a nap for a bit,

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<v Speaker 1>and so in that regard it really works. Now you

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<v Speaker 1>ultimately own multiple properties in South Beach. I ended up

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<v Speaker 1>earning about eight, eight or nine of them, eight or nine,

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<v Speaker 1>but ultimately you sold them all. That was a motivation

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<v Speaker 1>to sell them because they had a law in Miami

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<v Speaker 1>at that time that if there was if there was

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<v Speaker 1>any stores coming off the eastern coast of Africa, that

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<v Speaker 1>one should already start and canceled bookings and cancel all

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<v Speaker 1>kinds of things because that could turn into a huge

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<v Speaker 1>which hurricane and cause chaos. So uh, that just didn't

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<v Speaker 1>make any sense to me. I mean, you know, hurricanes

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<v Speaker 1>don't come every week, they don't even come every month.

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<v Speaker 1>They come now and again. But what would happen is

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<v Speaker 1>that we would still have to do that. We'd have

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<v Speaker 1>to let all the staff go, we'd have to cancel

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<v Speaker 1>the bookings, we have to close the hotel. And I

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<v Speaker 1>thought that just makes no sense at us. So I left.

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<v Speaker 1>And did you get out at the right time financially? Um?

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<v Speaker 1>I say, okay, okay. It wasn't that I was trying

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<v Speaker 1>to make a bag of money on it. I was

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<v Speaker 1>just wanting to get out of it at that time.

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<v Speaker 1>And it was somebody else who was very interested in

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<v Speaker 1>the latest hotel I did. They were called the Tides,

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<v Speaker 1>and that was the one which really attracted a buyer.

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<v Speaker 1>And and that's what that's what happened. So he bought

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<v Speaker 1>the Tides and or they on the hotels. And when

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<v Speaker 1>you own those hotels and presently your own golden eye,

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<v Speaker 1>how hands on or you were you mostly in the

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<v Speaker 1>design construction phase or when it comes to actually running

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<v Speaker 1>the hotel, where you just pass that off to someone else.

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<v Speaker 1>The design, design construction phase really is where I spent

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<v Speaker 1>a lot of time because it was great in Jamaica.

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<v Speaker 1>It was great land that was sort of had not

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<v Speaker 1>been used, and it was a great It was a

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<v Speaker 1>great opportunity to build something on that land because it

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<v Speaker 1>was right on the water and it had a kind

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<v Speaker 1>of lagoon in the middle of it, and everything was

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<v Speaker 1>really beautiful. So at this point in time, is most

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<v Speaker 1>of your money tied up in Golden Eye or you

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<v Speaker 1>pretty diversified, because certainly in your book you talk about financially, uh,

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<v Speaker 1>periods of great success and then other periods were scratching part. Yes, definitely.

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<v Speaker 1>Throughout my life has been up and down all the time.

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<v Speaker 1>Just similarly, you know, it has been nothing slow and

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<v Speaker 1>steady and solid. It's been up and downe And so

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<v Speaker 1>at this late date, how are you doing financially? Um,

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<v Speaker 1>not too bad considering you know what's going on in

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<v Speaker 1>the world right now. Not too bad. People really like

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<v Speaker 1>five really like a girl and I and I didn't

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<v Speaker 1>mention Fireflyer. Is that place really close to a Golden

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<v Speaker 1>I called five Flyer where nol Coward lived. And that's

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<v Speaker 1>a beautiful property, which is um, you know, adjacent to

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<v Speaker 1>where we are, and it's about a thousand on feet

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<v Speaker 1>up and it's that's really beautiful. But most of the

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<v Speaker 1>time right now, I'm spending it tonight. So I grew

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<v Speaker 1>up on the East Coast, and I remember in the

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<v Speaker 1>sixties Jamaica was a place that people went on a

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<v Speaker 1>holiday and they bought property there, and it was all

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<v Speaker 1>beach and vacation orient And then of course in the seventies,

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<v Speaker 1>uh to a great degree, as a result of your work,

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<v Speaker 1>a completely different picture of Jamaica comes across. What is

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<v Speaker 1>Jamaica like today? There's Kingston, but there's a beach. Give

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<v Speaker 1>us a feel for the country. Well, I think Jamaica

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<v Speaker 1>is grace at the moment. I think Jamaica has good

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<v Speaker 1>management now. Really in general, I think it's doing really,

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<v Speaker 1>really quite well. And it's it doesn't sort of markets

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<v Speaker 1>a huge amount, but it's a it's definitely markets. The

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<v Speaker 1>the hotels are available, and there are a lot of

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<v Speaker 1>hotels in Jamaica in different locations. There's so many different

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<v Speaker 1>parts of Jamaica which are uniquely different. You feel like

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<v Speaker 1>you're in a another island. Um because you know, some

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<v Speaker 1>some of the some of the land in Jamaica goes

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<v Speaker 1>up to seven thousand feet and some m hm. So

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<v Speaker 1>it's it's very very you know. And then you go

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<v Speaker 1>into the mountains, you can stop by where the people

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<v Speaker 1>are growing coffee, you know, and get buy some coffee

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<v Speaker 1>from them, and you know, it's it's a it's a

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<v Speaker 1>great great countries. It's full of life. Okay, to what

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<v Speaker 1>degree do the city and the locals interact with the

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<v Speaker 1>beaches and the tourist areas, um, well, some I mean

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<v Speaker 1>some people, some people love to go to the beach,

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<v Speaker 1>go to swim, and some of them, some of them

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<v Speaker 1>really don't really care too much about it. They prefer

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<v Speaker 1>to go in the hills, or in the or in

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<v Speaker 1>the pastures or you know the country part in internal.

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<v Speaker 1>So Jamaica just has so much variety literally that you know,

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<v Speaker 1>you can you can spend a day driving across Jamaica

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<v Speaker 1>and you see so many different different things different firstly,

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<v Speaker 1>you know, different people, different different sort of towns and cities. Everything.

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<v Speaker 1>It's it's it's very different, and it's very it's very

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<v Speaker 1>I didn't know. It's kind of fun. You know, the

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<v Speaker 1>people have fun. The people. The people have a strong

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<v Speaker 1>kind of character, but strong personality, and there's you feel

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<v Speaker 1>that energy from the people. I certainly do, and I

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<v Speaker 1>think I think most people do who come and visit. Okay,

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<v Speaker 1>certainly a couple of decades ago, Jamaica had a reputation

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<v Speaker 1>as being dangerous. Is it dangerous today or only dangerous

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<v Speaker 1>in certain areas? Well that in that period, which was

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<v Speaker 1>the seventies the late seventies, there was a lot of

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<v Speaker 1>political problems, you know, and so anti American or pro

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<v Speaker 1>American or pro Castrow, you know, there was a lot

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<v Speaker 1>of that going on at that time, and that's split

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<v Speaker 1>the country a little bit, and so that was not

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<v Speaker 1>a good time. And there was there was a lot

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<v Speaker 1>of problems then. But it's not like that now. It's

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<v Speaker 1>not like that now. It's much more settled. Okay, So

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<v Speaker 1>you're growing up in Jamaica. Are you living the life

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<v Speaker 1>of a coddled rich kid? Are you integrating with the locals?

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<v Speaker 1>What was your life like? Well, I grew up, I

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<v Speaker 1>was you know, I was born in London and I

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<v Speaker 1>arrived in Jamaica when I was about six months old

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<v Speaker 1>and then came by sea, and I grew up in

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<v Speaker 1>great luxury. Really the house that I grew up in

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<v Speaker 1>was you know, a big house and lots of stuff

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<v Speaker 1>and it was, you know, very luxurious in a way.

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<v Speaker 1>But the problem was that I was sick all the time.

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<v Speaker 1>I had very bad asthma, and so really I didn't

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<v Speaker 1>spend any time with other children, or didn't go to

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<v Speaker 1>any parties, or didn't go to anything much. Pretty much

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<v Speaker 1>was just stayed in in in one place. So at

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<v Speaker 1>what age did you end up going to school in

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<v Speaker 1>the UK and what's that experience like. Well, I was

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<v Speaker 1>sent to education in England mainly because my father's mother,

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<v Speaker 1>I was a Catholic, and she insisted that my father

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<v Speaker 1>have me educated as a Catholic. So I went to

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<v Speaker 1>a Catholic school which was miserable. It was in London,

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<v Speaker 1>just outside London, between London and with Windsor near a river,

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<v Speaker 1>so the weather was just about the worst weather for

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<v Speaker 1>somebody who had asked me the last thing you need

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<v Speaker 1>to have is a damn wet ah, you know environment.

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<v Speaker 1>And I was very sick there. And also I didn't

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<v Speaker 1>get on with them there and they didn't get on

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<v Speaker 1>with me. Didn't work at all. Well, I was only

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<v Speaker 1>there really for one one and a half terms. I

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<v Speaker 1>got fired because I asked if my dog go to

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<v Speaker 1>heaven and they said, of course, do come here to

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<v Speaker 1>have and they took me just to leave school and

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<v Speaker 1>you went back to Jamaica. Did you go back to school?

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<v Speaker 1>We're done with school. I went back to Jamaica and

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<v Speaker 1>I was at school for one term at the school

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<v Speaker 1>in Jamaica. Then I was sent back to England and

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<v Speaker 1>on this occasion it was two Broadstairs in Kent, which

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<v Speaker 1>is a much more healthy environment right on the sea,

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<v Speaker 1>and that was much better. I enjoyed that. I enjoyed

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<v Speaker 1>that that period very much, of course, at Peter's Court

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<v Speaker 1>and in broad Stairs, Kent. And then from that I

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<v Speaker 1>was able to get into posh school called Harrow, and

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<v Speaker 1>again got into that school only because my family, um

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<v Speaker 1>Blackwell family started acrossing Blackwell, which was a big sort

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<v Speaker 1>of food firm back in my day, and and there

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<v Speaker 1>are offices were very close to Harrow, so the you

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<v Speaker 1>know that that family were embedded in in Harrow school

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<v Speaker 1>as it were. So I went to Harrow and I

0:16:14.640 --> 0:16:19.360
<v Speaker 1>didn't really do too well there. Um, I didn't really

0:16:20.920 --> 0:16:25.080
<v Speaker 1>and I didn't really do too there at all. In fact,

0:16:25.120 --> 0:16:29.160
<v Speaker 1>I was sort of not exactly fired, but it was

0:16:29.360 --> 0:16:33.960
<v Speaker 1>suggested that I might be happier elsewhere. Okay, so you're

0:16:33.960 --> 0:16:36.720
<v Speaker 1>going to school, what kind of kid you are? Are you?

0:16:37.120 --> 0:16:41.120
<v Speaker 1>Are you a ring leader, you're a loner? Your sports person?

0:16:41.880 --> 0:16:48.800
<v Speaker 1>What we like? Uh? Probably none of those that are

0:16:48.800 --> 0:16:53.280
<v Speaker 1>not not? Not Really, I wasn't. I wasn't a big troublemaker.

0:16:53.320 --> 0:16:58.640
<v Speaker 1>I didn't think I was. I got into trouble there

0:16:58.680 --> 0:17:02.000
<v Speaker 1>because I used to go down and by liquor and

0:17:02.080 --> 0:17:05.399
<v Speaker 1>cigarettes and self to the other kids, which I never

0:17:05.960 --> 0:17:11.399
<v Speaker 1>touched liquor was cigarettes personally, but I used to do that,

0:17:11.520 --> 0:17:16.520
<v Speaker 1>and I I got caught on that, and it was

0:17:16.560 --> 0:17:20.200
<v Speaker 1>suggested that I might be happier elsewhere if I moved

0:17:20.200 --> 0:17:23.920
<v Speaker 1>from there. So, unless they were, I was sixteen, I think.

0:17:24.640 --> 0:17:27.399
<v Speaker 1>And did you have any more schooling after that? Y?

0:17:28.040 --> 0:17:33.640
<v Speaker 1>M hm. And you come from a prestigious, wealthy family.

0:17:33.800 --> 0:17:36.439
<v Speaker 1>What do they think about their son who is not

0:17:36.560 --> 0:17:40.680
<v Speaker 1>really achieving in school and doesn't seem to be going anywhere. Well,

0:17:40.840 --> 0:17:44.879
<v Speaker 1>my mother was always hoping. She was very good. She

0:17:45.000 --> 0:17:48.199
<v Speaker 1>was always hoping that then you know, improve of it,

0:17:48.359 --> 0:17:52.080
<v Speaker 1>and she was really helpful. My father wasn't so on

0:17:52.200 --> 0:17:55.280
<v Speaker 1>top of it, as it were. He was somewhat of

0:17:55.280 --> 0:17:58.600
<v Speaker 1>a wild man, and he was he was great, but

0:17:59.600 --> 0:18:02.479
<v Speaker 1>he was and term he wasn't sort of chasing me

0:18:02.560 --> 0:18:05.560
<v Speaker 1>up or giving me a hard time or anything. So

0:18:05.760 --> 0:18:11.000
<v Speaker 1>my mom was the one who was sort of in charge.

0:18:11.600 --> 0:18:14.160
<v Speaker 1>So you come back to Jamaica, you're not going to school,

0:18:15.400 --> 0:18:18.679
<v Speaker 1>what do you do? Trying to find something to do

0:18:20.200 --> 0:18:23.040
<v Speaker 1>different things. One of the things was I was trying

0:18:23.080 --> 0:18:29.800
<v Speaker 1>to bring in some scooters. I bought some scooters in

0:18:29.840 --> 0:18:34.760
<v Speaker 1>England to sell in Jamaica. And I did that for

0:18:34.800 --> 0:18:39.080
<v Speaker 1>a little bit, and then I did some I got

0:18:39.080 --> 0:18:42.159
<v Speaker 1>a job working in real estate, so I worked in

0:18:42.240 --> 0:18:47.600
<v Speaker 1>real estate for a little bit. M hm. And what

0:18:47.680 --> 0:18:50.960
<v Speaker 1>else did I do? Just just the kind of things

0:18:51.040 --> 0:18:54.480
<v Speaker 1>you'd expect. It's like an opportunity to do for something

0:18:54.520 --> 0:18:56.760
<v Speaker 1>and you kind of like it. You just kind of

0:18:56.840 --> 0:18:59.639
<v Speaker 1>join it and get involved in it, I guess. And

0:19:00.119 --> 0:19:04.920
<v Speaker 1>m h. That's that's really what what I was, what

0:19:04.960 --> 0:19:07.520
<v Speaker 1>I was doing, and the thing which really pulled me in,

0:19:08.040 --> 0:19:15.560
<v Speaker 1>of course, it was music because at Harrow. When I

0:19:15.600 --> 0:19:19.119
<v Speaker 1>was at Harrow, I made friends with somebody who really

0:19:19.160 --> 0:19:23.520
<v Speaker 1>had a great music collection. He had the music right

0:19:23.600 --> 0:19:28.960
<v Speaker 1>from the sort of earliest period, New Orleans and music.

0:19:29.040 --> 0:19:32.840
<v Speaker 1>And for a long time I was addicted to two

0:19:33.520 --> 0:19:38.200
<v Speaker 1>music from New Orleans and and and jazz for sure.

0:19:39.359 --> 0:19:42.360
<v Speaker 1>I just love I just love that. And so when

0:19:42.359 --> 0:19:45.479
<v Speaker 1>I was in Jamaica this time, later on, I started

0:19:45.560 --> 0:19:50.199
<v Speaker 1>to go to see shows and things. And then, you know,

0:19:51.520 --> 0:19:56.159
<v Speaker 1>one day, as said to I think I'd probably had

0:19:56.160 --> 0:19:59.280
<v Speaker 1>a couple of drinks, it said to the band after

0:19:59.320 --> 0:20:01.360
<v Speaker 1>they had finished playing. I said, oh, well, I think

0:20:01.359 --> 0:20:03.879
<v Speaker 1>you guys were great. I'd love to record you guys,

0:20:04.880 --> 0:20:07.520
<v Speaker 1>you know, And I didn't know how to record anybody.

0:20:07.520 --> 0:20:10.000
<v Speaker 1>I didn't know anything about it. I just liked their

0:20:10.119 --> 0:20:14.280
<v Speaker 1>music at all. So a couple of days later, you know,

0:20:14.520 --> 0:20:18.320
<v Speaker 1>a couple of them passed by and said, well, anything

0:20:18.400 --> 0:20:22.399
<v Speaker 1>happening about this recording? And I said, oh, I'm sorry, yeah,

0:20:22.440 --> 0:20:25.560
<v Speaker 1>well not definitely, definitely going to do it. Do it tomorrow.

0:20:26.440 --> 0:20:28.120
<v Speaker 1>So that's what I did, and I rented the car

0:20:28.359 --> 0:20:34.200
<v Speaker 1>the next day, van Volkswagen Van. And at that time

0:20:35.200 --> 0:20:39.600
<v Speaker 1>I was teaching water skiing. That was my job that

0:20:39.680 --> 0:20:43.560
<v Speaker 1>I'd made god for myself as a water ski instructor

0:20:43.680 --> 0:20:47.240
<v Speaker 1>at the Halfmoon Hotel, and which is where the band

0:20:47.320 --> 0:20:51.800
<v Speaker 1>was playing. So when I drove into town, I went

0:20:51.880 --> 0:20:56.320
<v Speaker 1>to the studio. I knew the person who owned the studio,

0:20:57.359 --> 0:21:01.959
<v Speaker 1>and we went in and then the band played the

0:21:02.000 --> 0:21:04.879
<v Speaker 1>first tune and then they all looked up at me,

0:21:04.920 --> 0:21:06.560
<v Speaker 1>and I didn't know what to look. I didn't know

0:21:06.600 --> 0:21:09.520
<v Speaker 1>what to do. I was and I just had no

0:21:09.600 --> 0:21:11.560
<v Speaker 1>idea what to do. I couldn't believe that I was

0:21:11.600 --> 0:21:17.600
<v Speaker 1>actually just sitting there and hearing this music they made.

0:21:17.960 --> 0:21:24.520
<v Speaker 1>And so the leader of the band was blind, and

0:21:24.600 --> 0:21:28.040
<v Speaker 1>he asked me, he said that would you like us

0:21:28.080 --> 0:21:33.560
<v Speaker 1>to do it again? And then said yeah, okay, and

0:21:34.840 --> 0:21:37.560
<v Speaker 1>he started playing again. And then when he started playing again,

0:21:37.600 --> 0:21:40.080
<v Speaker 1>I knew that that's what I wanted to do the

0:21:40.119 --> 0:21:52.119
<v Speaker 1>rest of man, Okay, this entrepreneurial spirit, where did it

0:21:52.240 --> 0:21:57.840
<v Speaker 1>come from? I don't know. I really didn't know. I

0:21:57.840 --> 0:22:03.399
<v Speaker 1>don't know. Particularly I my mother's family. They were in

0:22:03.560 --> 0:22:09.360
<v Speaker 1>the you know, bananas and coconuts, the steets and and

0:22:09.359 --> 0:22:12.280
<v Speaker 1>and the wrong business too. In fact, I was supposed

0:22:12.320 --> 0:22:20.440
<v Speaker 1>to inherit the wrong business. Um, but my two uncles

0:22:20.720 --> 0:22:26.520
<v Speaker 1>quarreled and tell apart, and and so the rom got

0:22:26.560 --> 0:22:33.119
<v Speaker 1>sold to someone else, and um, I found myself with

0:22:33.920 --> 0:22:37.560
<v Speaker 1>you know, that was not going to be in the

0:22:37.640 --> 0:22:41.879
<v Speaker 1>roun business. So that I remember when it happened, I

0:22:42.040 --> 0:22:45.600
<v Speaker 1>was kind of I wasn't hugely upset because I was

0:22:45.640 --> 0:22:50.639
<v Speaker 1>already embedded in music. You know, and hanging around with

0:22:50.760 --> 0:22:55.960
<v Speaker 1>musicians and and you know, and working with people and

0:22:56.000 --> 0:22:58.399
<v Speaker 1>coming trying to come up with ideas and putting together

0:22:58.520 --> 0:23:02.560
<v Speaker 1>bands and things like that. Did you ever inherit any

0:23:02.600 --> 0:23:05.200
<v Speaker 1>money from either side of your family? But by time

0:23:05.240 --> 0:23:07.919
<v Speaker 1>it came, by time they died, was it all gone?

0:23:10.119 --> 0:23:18.560
<v Speaker 1>H By the time they died, it was, yes, it

0:23:18.600 --> 0:23:25.440
<v Speaker 1>was pretty much gone. Pretty much gone. Um, pretty much gone.

0:23:25.640 --> 0:23:30.199
<v Speaker 1>My my my mother was was was fine, you know,

0:23:30.480 --> 0:23:36.080
<v Speaker 1>she had a nice home Jamaica, and and it was

0:23:36.240 --> 0:23:39.560
<v Speaker 1>but but the Linda family which was the name of

0:23:39.560 --> 0:23:42.240
<v Speaker 1>the family, which were the run people, it sort of

0:23:42.280 --> 0:23:49.320
<v Speaker 1>collapsed and in that and that at that time. And

0:23:49.400 --> 0:23:53.360
<v Speaker 1>so did I say, I was just from from from

0:23:53.400 --> 0:23:59.439
<v Speaker 1>then on? I mean I was just in vote in music,

0:24:00.000 --> 0:24:03.959
<v Speaker 1>you know, I was an addict. So how much did

0:24:04.000 --> 0:24:06.760
<v Speaker 1>it cost to make that record? And how successful was it?

0:24:06.800 --> 0:24:10.040
<v Speaker 1>And how did you sell it? The first record? Yeah,

0:24:11.080 --> 0:24:16.400
<v Speaker 1>the one with the blind pianists? Well, uh, how much

0:24:16.400 --> 0:24:24.840
<v Speaker 1>does it costs? Oh, less than a thousand dollars lessen yeah,

0:24:24.960 --> 0:24:29.360
<v Speaker 1>lessen five? Everything. It wasn't It wasn't most The main

0:24:29.520 --> 0:24:33.440
<v Speaker 1>expense was flying up to New York too to get

0:24:33.480 --> 0:24:38.080
<v Speaker 1>the album made and get it mastered, made, and then

0:24:38.119 --> 0:24:42.840
<v Speaker 1>broke back to Jamaica. And then I get got the

0:24:42.920 --> 0:24:47.520
<v Speaker 1>manufactured in Jamaica and the pressing plant and so the

0:24:47.560 --> 0:24:51.359
<v Speaker 1>records at the hotel and did you make your money back?

0:24:51.520 --> 0:25:00.240
<v Speaker 1>Was it profitable or no? Not not profitable. That's I

0:25:00.320 --> 0:25:03.160
<v Speaker 1>knew that's what I wanted to do. You know, there

0:25:03.200 --> 0:25:05.200
<v Speaker 1>was no doubt that that's what I wanted to do

0:25:05.920 --> 0:25:10.000
<v Speaker 1>in my life. It was for sure. What was the

0:25:10.000 --> 0:25:14.040
<v Speaker 1>next step? Then, Well, the next step was that I'd

0:25:14.040 --> 0:25:18.359
<v Speaker 1>go and go too shows. When there were shows that

0:25:18.440 --> 0:25:25.240
<v Speaker 1>would have happen in cinemas. Cinemas would would you know,

0:25:25.400 --> 0:25:29.080
<v Speaker 1>run a kind of a show where somebody would come

0:25:29.080 --> 0:25:32.919
<v Speaker 1>out and lead the show, and and they would have

0:25:33.040 --> 0:25:36.919
<v Speaker 1>booked three or four different bands or different individual singers

0:25:37.040 --> 0:25:42.359
<v Speaker 1>or whatever for the show. And so I went to

0:25:42.400 --> 0:25:47.280
<v Speaker 1>one of those and there was this guy saying and

0:25:47.320 --> 0:25:49.120
<v Speaker 1>I thought, my god, this guy has got a really

0:25:49.119 --> 0:25:51.760
<v Speaker 1>good voice. His voice is very much like Brook Benton.

0:25:51.840 --> 0:25:54.800
<v Speaker 1>At that time, Brook Benton was one of my very

0:25:54.960 --> 0:25:59.119
<v Speaker 1>favorite artists. And I listened to it and I really

0:25:59.160 --> 0:26:02.919
<v Speaker 1>liked it. And and when the show was over, I

0:26:02.920 --> 0:26:05.440
<v Speaker 1>went backstage and I went to see him and they said, oh,

0:26:05.480 --> 0:26:09.240
<v Speaker 1>I'd like, I'd like to record you know, I think

0:26:09.240 --> 0:26:13.320
<v Speaker 1>you sound really good. You sound like And there was

0:26:13.359 --> 0:26:17.919
<v Speaker 1>another singer around just who came up and said, well

0:26:17.760 --> 0:26:21.000
<v Speaker 1>what about me? And then another person came around and

0:26:21.000 --> 0:26:27.359
<v Speaker 1>said what about and and so I ended up recording

0:26:27.400 --> 0:26:35.160
<v Speaker 1>those three guys. And the first guy was a guy

0:26:35.200 --> 0:26:38.639
<v Speaker 1>called Laura Ankin, and I put I put his art

0:26:38.800 --> 0:26:42.960
<v Speaker 1>was called Boogie in My Bones, and it went to

0:26:43.080 --> 0:26:47.720
<v Speaker 1>number one in Jamaica. And then I put out the

0:26:47.720 --> 0:26:53.040
<v Speaker 1>other guy's record and it went to number one a

0:26:53.080 --> 0:26:57.120
<v Speaker 1>couple of weeks after that, and then released the other

0:26:57.160 --> 0:27:01.840
<v Speaker 1>record and that went to number one. And the reason

0:27:02.840 --> 0:27:05.240
<v Speaker 1>these records all went to number one is not because

0:27:05.280 --> 0:27:10.200
<v Speaker 1>they were masterpieces or anything. It was more because Jamaicans

0:27:10.240 --> 0:27:18.239
<v Speaker 1>were hearing Jamaican's singing um rather than singing Calypso's or um.

0:27:18.760 --> 0:27:23.320
<v Speaker 1>You know, cultural music. They were they were they were

0:27:24.680 --> 0:27:30.639
<v Speaker 1>they were sort of hearing music as if it might

0:27:30.720 --> 0:27:33.840
<v Speaker 1>have been coming from America a bit something like that.

0:27:34.880 --> 0:27:41.280
<v Speaker 1>So that's really how it started and continued to grow.

0:27:42.040 --> 0:27:48.200
<v Speaker 1>I mean, all the records I put out really did well.

0:27:48.560 --> 0:27:51.520
<v Speaker 1>I mean it was amazing. Uh And as I say,

0:27:51.600 --> 0:27:54.480
<v Speaker 1>but it's just because of the reason I just gave

0:27:54.520 --> 0:28:01.040
<v Speaker 1>you because it was, um, Jamaican's listen to Jamaican's there.

0:28:02.359 --> 0:28:06.800
<v Speaker 1>And then when things started to expand was that when

0:28:07.840 --> 0:28:12.600
<v Speaker 1>England started to want the records from Jamaican. So I

0:28:12.680 --> 0:28:15.760
<v Speaker 1>used to shipp them to a guy who had the

0:28:15.840 --> 0:28:20.920
<v Speaker 1>jazz label in England who he released them for me

0:28:21.520 --> 0:28:26.680
<v Speaker 1>and they sold in England. So then as we were

0:28:26.720 --> 0:28:33.320
<v Speaker 1>now in nineteen sixty one, um in nineteen six two

0:28:33.400 --> 0:28:38.000
<v Speaker 1>is when Jamaica became independent, and in view of my complexion,

0:28:38.040 --> 0:28:40.120
<v Speaker 1>I thought, well, maybe that was the time to go

0:28:40.160 --> 0:28:46.040
<v Speaker 1>to so so UM, I went to England and I

0:28:46.200 --> 0:28:50.520
<v Speaker 1>spoke to all the other DJs and sound system guys

0:28:50.600 --> 0:28:53.560
<v Speaker 1>and producers and everybody and said, you know, I'm going

0:28:53.600 --> 0:28:57.360
<v Speaker 1>to England. I'm going to you know, make these This

0:28:57.560 --> 0:29:02.760
<v Speaker 1>music happened in England, and um, all the people kind

0:29:02.800 --> 0:29:05.840
<v Speaker 1>of supported me in Jamaica, which was which was great.

0:29:05.920 --> 0:29:09.840
<v Speaker 1>Unless they supported me, I mean, they'd send their recordings

0:29:09.880 --> 0:29:13.440
<v Speaker 1>for me and I put them out and I had

0:29:13.440 --> 0:29:19.520
<v Speaker 1>the right. The best time in England was just driving

0:29:19.560 --> 0:29:23.280
<v Speaker 1>around the periphery of London in the areas where that

0:29:23.440 --> 0:29:28.040
<v Speaker 1>Jamaicans lived and visiting different little record shops here and

0:29:28.120 --> 0:29:31.760
<v Speaker 1>there and I was loving every minute of it. I

0:29:31.800 --> 0:29:35.040
<v Speaker 1>had just a little Mini Cooper and I was whipping around,

0:29:35.200 --> 0:29:38.440
<v Speaker 1>you know, and it was just that it was just

0:29:38.640 --> 0:29:42.440
<v Speaker 1>fantastic because it was something that I loved doing, and

0:29:42.480 --> 0:29:46.960
<v Speaker 1>here it was. It was coming alive and people were,

0:29:47.600 --> 0:29:52.680
<v Speaker 1>you know, buying them. The worst damn thing happened was

0:29:52.760 --> 0:29:57.239
<v Speaker 1>when one large stock called Broadmeats it was called at

0:29:57.240 --> 0:30:04.040
<v Speaker 1>that time. They had a berry and somebody some few

0:30:04.080 --> 0:30:07.720
<v Speaker 1>guys that come in and robbed the the there's the

0:30:07.840 --> 0:30:11.720
<v Speaker 1>store and it'd taken all the records out of the

0:30:11.800 --> 0:30:19.840
<v Speaker 1>store except Island. I mean, that was that was That

0:30:19.960 --> 0:30:24.080
<v Speaker 1>was a low. I learned the level I thought making accompany.

0:30:24.960 --> 0:30:29.760
<v Speaker 1>They would buy all the other records, but don't buy

0:30:29.760 --> 0:30:32.920
<v Speaker 1>one of mine. They stayed in there, but that that

0:30:33.680 --> 0:30:36.680
<v Speaker 1>I'll never forget that one. I couldn't believe it. And

0:30:37.000 --> 0:30:41.680
<v Speaker 1>it is this company Island self supporting, or you're living

0:30:41.680 --> 0:30:44.200
<v Speaker 1>on money from your parents, or you just scratching by,

0:30:44.360 --> 0:30:46.640
<v Speaker 1>you've got enough money in your pocket to go spend

0:30:46.640 --> 0:30:52.680
<v Speaker 1>a little. Now, I was just on my own, on

0:30:52.800 --> 0:30:56.360
<v Speaker 1>my own. I didn't take I wask anny money from

0:30:56.400 --> 0:31:03.840
<v Speaker 1>my parents. But but my mom did, did you know,

0:31:04.000 --> 0:31:10.320
<v Speaker 1>pay for me too to have an apartment. So I had,

0:31:10.480 --> 0:31:13.880
<v Speaker 1>I had a base in England, but other than that,

0:31:13.920 --> 0:31:17.959
<v Speaker 1>I didn't. Okay, So how did you find really small?

0:31:19.120 --> 0:31:23.400
<v Speaker 1>As I was saying, lots of different people were producing records.

0:31:24.600 --> 0:31:27.440
<v Speaker 1>There was Cox, you know, there was Duke re Reed.

0:31:28.560 --> 0:31:35.000
<v Speaker 1>They were about ten different people who were making records

0:31:35.560 --> 0:31:40.200
<v Speaker 1>in Jamaica. About about five of them were Chinese and

0:31:40.320 --> 0:31:45.280
<v Speaker 1>five of them were Jamaica and another couple. One was

0:31:45.280 --> 0:31:48.240
<v Speaker 1>an Australian guy and the other was me, And that

0:31:48.320 --> 0:31:51.560
<v Speaker 1>was pretty much who released the records in the market

0:31:51.600 --> 0:31:56.760
<v Speaker 1>in Jamaica. So when I had gone to England, they

0:31:56.760 --> 0:32:02.040
<v Speaker 1>would send me records in England to release. Yeah, And

0:32:02.080 --> 0:32:04.360
<v Speaker 1>one of the records that was sent to me was

0:32:04.440 --> 0:32:08.400
<v Speaker 1>called wheel Meat and it was a song by Roy

0:32:08.400 --> 0:32:16.520
<v Speaker 1>and Milly. It was done by Coxon and it started

0:32:16.520 --> 0:32:20.080
<v Speaker 1>out with the guy singing the first verse and then

0:32:20.120 --> 0:32:23.560
<v Speaker 1>the guy saying the second verse, and then the girl

0:32:24.480 --> 0:32:28.840
<v Speaker 1>saying the third verse, and that was Milly. And it

0:32:29.000 --> 0:32:33.800
<v Speaker 1>was a very high pitch voice, but it was it

0:32:34.000 --> 0:32:39.040
<v Speaker 1>was it was great. I mean, you you either loved

0:32:39.080 --> 0:32:40.960
<v Speaker 1>it or you hated it because it was a sort

0:32:41.000 --> 0:32:43.840
<v Speaker 1>of high pitch voice. But you know, there was something

0:32:43.880 --> 0:32:50.880
<v Speaker 1>about it, which was really fun. And so I thought, well,

0:32:50.880 --> 0:32:53.280
<v Speaker 1>I've got to try and find it, got to try

0:32:53.280 --> 0:32:57.200
<v Speaker 1>and find a record form, you know, another record, and

0:32:59.560 --> 0:33:04.440
<v Speaker 1>h I found what I used to do when I

0:33:04.560 --> 0:33:07.920
<v Speaker 1>was flashing a bit back to Jamaica now, But when

0:33:07.960 --> 0:33:11.080
<v Speaker 1>I was in Jamaica and would go to New York.

0:33:11.200 --> 0:33:12.800
<v Speaker 1>I go to New York and I'd go to this

0:33:13.320 --> 0:33:16.160
<v Speaker 1>there are a lot of record stores on the sixth

0:33:16.560 --> 0:33:21.360
<v Speaker 1>Avenue in New York, and I'd go and buy forty

0:33:21.440 --> 0:33:26.840
<v Speaker 1>five and I'd bring them back and I would sell

0:33:26.880 --> 0:33:31.640
<v Speaker 1>them to the sound system because the sound system guys,

0:33:32.120 --> 0:33:37.200
<v Speaker 1>that was the music business in Jamaica. That was the

0:33:37.280 --> 0:33:41.400
<v Speaker 1>whole life of it. You know. It was really exciting

0:33:41.520 --> 0:33:47.760
<v Speaker 1>because these guys created these huge speakers, massive speakers, and

0:33:47.840 --> 0:33:51.440
<v Speaker 1>you could hear the music from to three miles away,

0:33:51.520 --> 0:33:55.160
<v Speaker 1>you know, blasting it was and it was incredible. It

0:33:55.240 --> 0:33:58.680
<v Speaker 1>was really a trip and that I'd go to all

0:33:58.800 --> 0:34:02.680
<v Speaker 1>those events, you know, and I was pretty much the

0:34:02.720 --> 0:34:06.120
<v Speaker 1>only person with my complexion there, but everybody by then

0:34:06.160 --> 0:34:08.600
<v Speaker 1>it's kind of got used to me and forgured that,

0:34:08.800 --> 0:34:15.879
<v Speaker 1>you know, you know, I was okay as well. And

0:34:15.960 --> 0:34:23.120
<v Speaker 1>so coxin Um the record that he sent me will meet,

0:34:24.320 --> 0:34:27.360
<v Speaker 1>and I decided to bring it to England because she

0:34:27.480 --> 0:34:31.399
<v Speaker 1>had such a unique voice. I wrote to her mother

0:34:32.080 --> 0:34:36.360
<v Speaker 1>and asked if she would send her to England and

0:34:35.719 --> 0:34:43.280
<v Speaker 1>and and she did and what when she came to England,

0:34:44.520 --> 0:34:48.960
<v Speaker 1>I had already brought also a guitarist Jamaican guitarists called

0:34:49.080 --> 0:34:53.400
<v Speaker 1>Ernest Wrangling to England try and get Ronnie Scott's club.

0:34:54.320 --> 0:34:59.560
<v Speaker 1>Um and he was, you know, really excellent musician, still

0:34:59.719 --> 0:35:05.400
<v Speaker 1>is he still around? And with Milly, I was really

0:35:05.400 --> 0:35:09.840
<v Speaker 1>looking for a song. So I met with with the

0:35:10.120 --> 0:35:12.839
<v Speaker 1>Ernest Rangelan and with Milly and a couple of other

0:35:12.880 --> 0:35:17.040
<v Speaker 1>people and played through some of the songs that I

0:35:17.200 --> 0:35:20.320
<v Speaker 1>used to buy, records that I used to buy to

0:35:20.480 --> 0:35:23.800
<v Speaker 1>sell to the sound system guys when I was in Jamaica.

0:35:24.200 --> 0:35:28.640
<v Speaker 1>So some of those records I kept, you know, I

0:35:28.760 --> 0:35:31.880
<v Speaker 1>just had on on tape just because I liked them.

0:35:32.960 --> 0:35:36.920
<v Speaker 1>I wasn't manufacturing any of them, but I just liked them.

0:35:36.960 --> 0:35:41.400
<v Speaker 1>So when I was having this meeting with Ernest Rangeland

0:35:41.480 --> 0:35:44.920
<v Speaker 1>and Milly in the room and somebody else, we were

0:35:44.960 --> 0:35:47.880
<v Speaker 1>going through these tapes and one of them came up

0:35:48.680 --> 0:35:52.040
<v Speaker 1>and it was called My Boy Lollipop. And I thought, wow,

0:35:52.560 --> 0:35:57.719
<v Speaker 1>the sounds great. The sounds just right for Milly, and

0:35:59.400 --> 0:36:02.759
<v Speaker 1>Ernest rang and said, he ever, does that sounds good?

0:36:02.880 --> 0:36:11.120
<v Speaker 1>So we decided that we were recorded. UM. My plan

0:36:11.280 --> 0:36:16.040
<v Speaker 1>was initially to produce the record um, and I didn't

0:36:16.080 --> 0:36:22.160
<v Speaker 1>produce it in the studio because in those days you

0:36:22.200 --> 0:36:25.560
<v Speaker 1>couldn't go in the studio unless all the musicians could

0:36:25.560 --> 0:36:29.680
<v Speaker 1>read music. So back in the day, you know, I

0:36:30.000 --> 0:36:35.640
<v Speaker 1>couldn't read music. Ernest wrangling. Fortunately the guitarists could read music,

0:36:36.120 --> 0:36:42.120
<v Speaker 1>so he he sort of gave the the directions to

0:36:42.320 --> 0:36:48.799
<v Speaker 1>the English musicians who are playing. So when I recorded

0:36:48.800 --> 0:36:51.000
<v Speaker 1>it that the first sort of rough recording, I thought, what,

0:36:51.160 --> 0:36:53.920
<v Speaker 1>this sounds great, and so the only thing is that

0:36:55.680 --> 0:36:58.040
<v Speaker 1>I think it's a bit long. They said, well, what

0:36:58.080 --> 0:37:00.640
<v Speaker 1>do you mean a bit long? It's only you know,

0:37:00.880 --> 0:37:03.440
<v Speaker 1>two minutes and fifty seconds or something. I said, now

0:37:03.480 --> 0:37:09.879
<v Speaker 1>that's too long. So people said, well, um, why it's

0:37:09.960 --> 0:37:12.560
<v Speaker 1>too nice. I just I just think it's too long.

0:37:12.640 --> 0:37:17.200
<v Speaker 1>I really like it to be much shorter. So we

0:37:17.440 --> 0:37:21.279
<v Speaker 1>recorded it much shorter and it was one minutes and

0:37:21.400 --> 0:37:27.480
<v Speaker 1>fifty eight seconds. And it's definitely the smartest thing that

0:37:27.560 --> 0:37:33.080
<v Speaker 1>I've done so far, because you know, Milly's voice is

0:37:33.120 --> 0:37:37.600
<v Speaker 1>a high pitched voice, and high pitched voices tremendous if

0:37:37.640 --> 0:37:40.200
<v Speaker 1>it's not going on for too long. But if it's

0:37:40.200 --> 0:37:43.239
<v Speaker 1>going on for too long, you don't really want to

0:37:43.239 --> 0:37:46.120
<v Speaker 1>hear it again. If it's if it's very short, you

0:37:46.160 --> 0:37:48.719
<v Speaker 1>want to hear it every now and again all the time.

0:37:49.680 --> 0:37:52.799
<v Speaker 1>And really that's what happened the record. I knew the

0:37:52.880 --> 0:37:56.600
<v Speaker 1>record when it was finished. I knew that it was

0:37:56.680 --> 0:37:59.360
<v Speaker 1>going to be a huge hit, and they also knew

0:38:00.360 --> 0:38:04.040
<v Speaker 1>that it couldn't go on Island Records because Island Records

0:38:04.080 --> 0:38:07.279
<v Speaker 1>was a tiny little company. And I had learned a

0:38:07.280 --> 0:38:09.200
<v Speaker 1>lot when I used to go up to New York

0:38:09.840 --> 0:38:13.480
<v Speaker 1>to all the independent labels, and you know, one one

0:38:13.560 --> 0:38:16.160
<v Speaker 1>year you come and they had had a huge year.

0:38:16.520 --> 0:38:19.160
<v Speaker 1>In the next year you come and then the record

0:38:19.200 --> 0:38:21.760
<v Speaker 1>would come out and they were out of business. Because

0:38:22.520 --> 0:38:25.400
<v Speaker 1>you know, the people who would buy the records and

0:38:25.440 --> 0:38:30.239
<v Speaker 1>the record stores would only really buy the they'd buy

0:38:30.480 --> 0:38:33.359
<v Speaker 1>if it was a hit, you know. So if if

0:38:33.400 --> 0:38:36.760
<v Speaker 1>something came out and it didn't really it didn't really

0:38:37.080 --> 0:38:39.879
<v Speaker 1>it wasn't really an immediate hits as far as they

0:38:39.880 --> 0:38:43.799
<v Speaker 1>were concerned, they wouldn't really do anything much for it,

0:38:44.160 --> 0:38:49.320
<v Speaker 1>and and then the company would find themselves out of business.

0:38:49.360 --> 0:38:55.040
<v Speaker 1>So I licensed I licensed it Phillips. Phillips at that

0:38:55.120 --> 0:38:59.880
<v Speaker 1>time owned what is now PolyGram, what is now Universal whatever.

0:39:01.360 --> 0:39:03.680
<v Speaker 1>So you first and foremost, let's talk about the record.

0:39:04.040 --> 0:39:09.400
<v Speaker 1>The record had an incredible zinc. Yes. Was it something

0:39:09.480 --> 0:39:12.080
<v Speaker 1>that just was magic in the studio or was it

0:39:12.160 --> 0:39:14.440
<v Speaker 1>cup multiple times? How did you get that? I mean

0:39:14.440 --> 0:39:18.520
<v Speaker 1>the record just jumped out of the radio. It was

0:39:18.840 --> 0:39:21.000
<v Speaker 1>done two times. We did one take and then we

0:39:21.040 --> 0:39:24.040
<v Speaker 1>did another take and that and that was it. It

0:39:24.200 --> 0:39:30.160
<v Speaker 1>just it just I guess some luck. We all need

0:39:30.200 --> 0:39:35.080
<v Speaker 1>some luck. It just clicked, you know, the band clicked,

0:39:35.440 --> 0:39:39.480
<v Speaker 1>which was like a miracle because you know, uh, the

0:39:40.800 --> 0:39:43.440
<v Speaker 1>you know, they didn't know they never played anything like

0:39:43.560 --> 0:39:50.640
<v Speaker 1>that before music before, so but it just happened and

0:39:50.640 --> 0:39:59.439
<v Speaker 1>and uh m hm, it was it. Well, it's something

0:39:59.560 --> 0:40:02.400
<v Speaker 1>I can't they ever forget because you know, when I

0:40:02.480 --> 0:40:04.480
<v Speaker 1>just took it out and played it, it was it

0:40:04.560 --> 0:40:08.640
<v Speaker 1>was something that if you played it, people would say,

0:40:08.680 --> 0:40:10.680
<v Speaker 1>I've got to take that with me. I mean they

0:40:10.680 --> 0:40:13.560
<v Speaker 1>had to take that with me. It was that which

0:40:13.600 --> 0:40:19.040
<v Speaker 1>was that kind of level. But it's sold seven thousand records.

0:40:19.280 --> 0:40:24.000
<v Speaker 1>It was number two to the Beatles. Can you imagine? Well,

0:40:24.040 --> 0:40:26.279
<v Speaker 1>I just remember the record. My mother had to buy it.

0:40:26.320 --> 0:40:28.960
<v Speaker 1>We had it in the house just because it was

0:40:29.040 --> 0:40:33.480
<v Speaker 1>so amazing. But you said you knew it as soon

0:40:33.520 --> 0:40:38.080
<v Speaker 1>as you heard it. There are certain transcending songs I

0:40:38.080 --> 0:40:41.719
<v Speaker 1>have to ask in your career generally speaking, did you

0:40:41.800 --> 0:40:45.239
<v Speaker 1>know that level of hit or was that rare and

0:40:45.320 --> 0:40:48.799
<v Speaker 1>you didn't really know? Well, I know that level of

0:40:48.840 --> 0:40:52.960
<v Speaker 1>what I think is great, which made me right and

0:40:53.000 --> 0:40:56.800
<v Speaker 1>maybe wrong, you know, so I don't. I don't. I

0:40:59.000 --> 0:41:03.280
<v Speaker 1>wouldn't say that if it's if it's something that I feel, Wow,

0:41:03.719 --> 0:41:08.000
<v Speaker 1>this is just you know, well, that's what happens. And

0:41:08.239 --> 0:41:11.120
<v Speaker 1>if when you're recording, if you if you were recording

0:41:11.120 --> 0:41:14.680
<v Speaker 1>and it is something that just has worked. You know,

0:41:14.840 --> 0:41:18.720
<v Speaker 1>the rhythm sections working, the vocal is working, the balance

0:41:18.840 --> 0:41:22.400
<v Speaker 1>is working, everything is working. It's fantastic when that happens.

0:41:22.920 --> 0:41:27.840
<v Speaker 1>You know, it's just it's just if you're Flori. You

0:41:27.960 --> 0:41:30.319
<v Speaker 1>know what are a couple other records you got that

0:41:30.400 --> 0:41:38.000
<v Speaker 1>same feeling from, Oh Gosh, Keep on Running. Keep on

0:41:38.080 --> 0:41:42.400
<v Speaker 1>Running was the first record that I did with the

0:41:44.360 --> 0:41:51.640
<v Speaker 1>Spencer Davis Group, which was Steve Winwood and and that

0:41:51.640 --> 0:41:58.080
<v Speaker 1>that record. The song was written by a Jamaican guy,

0:41:58.719 --> 0:42:03.040
<v Speaker 1>The same Jamaican I was telling you about a little earlier.

0:42:03.160 --> 0:42:06.480
<v Speaker 1>Was the first guy I heard singing like Bendon. I

0:42:06.600 --> 0:42:10.319
<v Speaker 1>brought him over to England to help me deliver the

0:42:10.960 --> 0:42:15.680
<v Speaker 1>records to the record store. And and he wrote that song.

0:42:15.920 --> 0:42:18.759
<v Speaker 1>And see Win would sing that song and that southing

0:42:19.640 --> 0:42:22.560
<v Speaker 1>and any others you can remember that had that magical feeling.

0:42:23.719 --> 0:42:27.120
<v Speaker 1>Definitely definitely them been song. But I can't remember right now.

0:42:28.480 --> 0:42:30.560
<v Speaker 1>Let's go reverse. Are there a couple you got that

0:42:30.640 --> 0:42:38.000
<v Speaker 1>feeling and they stiffed? Uh? I don't remember that. Maybe

0:42:38.080 --> 0:42:40.400
<v Speaker 1>that may well be possible because I don't want to

0:42:40.440 --> 0:42:53.439
<v Speaker 1>remember it. Okay, So let's set the stage. Needless to say,

0:42:53.480 --> 0:42:57.359
<v Speaker 1>the Beatles break in UK and uh sixty two. They

0:42:57.360 --> 0:43:01.319
<v Speaker 1>don't break in America until sixty four. You're a guy

0:43:01.360 --> 0:43:06.440
<v Speaker 1>who's tied into the Jamaican sound. Uh, Millie Small's record

0:43:06.560 --> 0:43:09.040
<v Speaker 1>is sort of a SKA record. What was it like

0:43:09.239 --> 0:43:16.160
<v Speaker 1>in England? Right there? Well, when the Beatles exploded, that

0:43:16.360 --> 0:43:21.840
<v Speaker 1>was it? I mean, I mean the Beatles weren't really

0:43:22.000 --> 0:43:25.120
<v Speaker 1>pretty incredible? What what what they produced? What they did

0:43:25.880 --> 0:43:30.960
<v Speaker 1>really incredible and and that that was what that drove

0:43:31.560 --> 0:43:36.480
<v Speaker 1>the whole British music industry, whereas before, you know, it

0:43:36.520 --> 0:43:42.160
<v Speaker 1>was all about America. Really, um, England didn't really have

0:43:42.360 --> 0:43:47.200
<v Speaker 1>too much happening that I can remember, which sort of

0:43:47.200 --> 0:43:53.320
<v Speaker 1>reached people, you know, playing music, listening to music, not

0:43:53.320 --> 0:43:55.799
<v Speaker 1>not like America because that you know, all that that

0:43:55.920 --> 0:44:00.440
<v Speaker 1>blues music came from American, out from America, and you know,

0:44:00.480 --> 0:44:06.120
<v Speaker 1>whether it's Chicago, New Orleans or in Atlanta whatever, m

0:44:06.320 --> 0:44:14.160
<v Speaker 1>hm um. The the music was coming out of America

0:44:14.640 --> 0:44:19.759
<v Speaker 1>until the Beatles, the blast and then you know, and

0:44:19.800 --> 0:44:24.280
<v Speaker 1>then sort of ruled ruled everything for a good few years.

0:44:24.880 --> 0:44:27.000
<v Speaker 1>And so do you remember when you first heard the

0:44:27.000 --> 0:44:33.040
<v Speaker 1>Beatles were exposed to the Beatles? Yes, and I remember

0:44:33.440 --> 0:44:40.440
<v Speaker 1>liking it, definitely like it. Absolutely. There wasn't anything I

0:44:40.440 --> 0:44:44.720
<v Speaker 1>didn't like about them. But I wasn't a Beatles fan.

0:44:45.920 --> 0:44:49.920
<v Speaker 1>I was more Rolling Stones fan. Okay, so you were

0:44:50.000 --> 0:44:53.480
<v Speaker 1>more of a blues based fair. So you tour the

0:44:53.520 --> 0:44:57.520
<v Speaker 1>world with Millie Small. You have this ultimate success, but

0:44:57.600 --> 0:44:59.759
<v Speaker 1>you also have an insight that this is really not

0:45:00.120 --> 0:45:04.799
<v Speaker 1>you want to proceed you mean with Millie Oh, I

0:45:04.840 --> 0:45:07.279
<v Speaker 1>mean in business you were basically sort of like the

0:45:07.320 --> 0:45:09.880
<v Speaker 1>movie The Idol maker a little bit more. You created

0:45:09.920 --> 0:45:12.680
<v Speaker 1>this thing. It was incredible. There's a lot of effort.

0:45:12.719 --> 0:45:15.000
<v Speaker 1>It was singles based on what it's all said and done.

0:45:15.040 --> 0:45:16.840
<v Speaker 1>According to your book this year, this is not a

0:45:16.880 --> 0:45:21.480
<v Speaker 1>direction I want to go in a different direction. Well, yes,

0:45:21.600 --> 0:45:26.480
<v Speaker 1>because because uh, you know, the Beatles had driven something

0:45:27.160 --> 0:45:28.480
<v Speaker 1>and there were a lot of There are a lot

0:45:28.520 --> 0:45:32.040
<v Speaker 1>of bands which evolved, a lot of them whether they

0:45:32.080 --> 0:45:36.360
<v Speaker 1>come from Liverpool or London or over and and a

0:45:36.400 --> 0:45:44.000
<v Speaker 1>lot of them. Um also went to Um. I'm trying

0:45:44.000 --> 0:45:47.960
<v Speaker 1>to remember that the city in Germany where did they comberg? Yeah,

0:45:48.360 --> 0:45:51.359
<v Speaker 1>so I went. I went to Hamburg and I saw

0:45:51.400 --> 0:45:54.640
<v Speaker 1>a band there and I love that band. Um. I

0:45:54.719 --> 0:46:00.239
<v Speaker 1>brought them back there. They evolved into to the form

0:46:00.760 --> 0:46:04.120
<v Speaker 1>names and trying to remember them now that that that

0:46:04.280 --> 0:46:07.759
<v Speaker 1>their name got changed, and then every time the name

0:46:07.800 --> 0:46:10.759
<v Speaker 1>got changed, the name was worth Remember we were trying.

0:46:12.960 --> 0:46:15.799
<v Speaker 1>I remember being really frustrated with it. We couldn't get

0:46:16.200 --> 0:46:19.960
<v Speaker 1>get get it, get it right. Okay, So you make

0:46:20.080 --> 0:46:24.520
<v Speaker 1>the record and nothing happened. It's a little bit, it's

0:46:24.520 --> 0:46:29.360
<v Speaker 1>a little bit what what was what was really happening?

0:46:29.440 --> 0:46:35.480
<v Speaker 1>After Milly was initially the Spencer Davis Group, which evolved

0:46:35.480 --> 0:46:39.400
<v Speaker 1>into Traffic, Okay, a little bit slower. All of a sudden,

0:46:39.440 --> 0:46:43.480
<v Speaker 1>the Beatles are gigantic in America. It's the British invasion,

0:46:43.640 --> 0:46:48.160
<v Speaker 1>all these bands from Liverpool, etcetera. Are you trying to

0:46:48.200 --> 0:46:50.719
<v Speaker 1>find some of those bands? Are you saying I'm going

0:46:50.760 --> 0:46:53.799
<v Speaker 1>in the other direction? How do you view that you're

0:46:53.840 --> 0:46:59.440
<v Speaker 1>going to compete? Well, in that early stage, I was

0:46:59.480 --> 0:47:02.759
<v Speaker 1>still they pretty much focused on the Jamaican music coming

0:47:02.800 --> 0:47:07.440
<v Speaker 1>from Jamaica, so that was my main main thing. So

0:47:08.239 --> 0:47:12.239
<v Speaker 1>I was doing some other recordings, but the Jamaican one

0:47:12.360 --> 0:47:17.600
<v Speaker 1>was the one which was sort of steady, which you know,

0:47:18.360 --> 0:47:21.719
<v Speaker 1>everybody in the company pretty much knew what they were

0:47:21.719 --> 0:47:25.000
<v Speaker 1>doing and what we were after and how we were

0:47:25.040 --> 0:47:32.239
<v Speaker 1>trying to reach different markets, etcetera. But the I'm trying

0:47:32.280 --> 0:47:36.000
<v Speaker 1>I'm trying to think, I mean the Spencer Davis group,

0:47:36.040 --> 0:47:41.720
<v Speaker 1>which which evolved into Traffic. That that was a major

0:47:42.280 --> 0:47:48.239
<v Speaker 1>thing for me because when would you know, as you know,

0:47:48.360 --> 0:47:54.920
<v Speaker 1>it's a brilliant, brilliant, brilliant musician, and you know, when

0:47:55.160 --> 0:47:59.000
<v Speaker 1>when I had first seen him play, I couldn't I

0:47:59.040 --> 0:48:04.560
<v Speaker 1>couldn't believe that he was, you know, playing keyboards and

0:48:05.400 --> 0:48:08.359
<v Speaker 1>singing at the same time and then you know he's

0:48:08.360 --> 0:48:13.040
<v Speaker 1>playing guitar and then you know it was It was incredible.

0:48:13.120 --> 0:48:18.560
<v Speaker 1>So Traffic Traffic was sort of absolutely the main strong

0:48:18.680 --> 0:48:23.640
<v Speaker 1>band in that period in time. And then once that

0:48:23.920 --> 0:48:28.560
<v Speaker 1>was happening, then people start to come come towards you

0:48:28.600 --> 0:48:31.279
<v Speaker 1>a bit, you know, and they would maybe try to

0:48:31.360 --> 0:48:35.279
<v Speaker 1>get on that label because Steve when was on that

0:48:35.400 --> 0:48:38.840
<v Speaker 1>Lebel you know what I mean. So I think that

0:48:38.840 --> 0:48:44.200
<v Speaker 1>that that helped attract different talents to come and want

0:48:44.200 --> 0:48:47.319
<v Speaker 1>to work and work with that. So how did you

0:48:47.360 --> 0:48:51.759
<v Speaker 1>discover the Spencer David's group and was no one else interested?

0:48:51.840 --> 0:48:54.080
<v Speaker 1>How did you prevent someone else signing them out from

0:48:54.160 --> 0:48:57.920
<v Speaker 1>underneath you? Somebody rang me and tell me, you know,

0:48:58.239 --> 0:49:01.200
<v Speaker 1>you should come up to birming and the band's in Birmium.

0:49:01.360 --> 0:49:04.120
<v Speaker 1>I said, well, well, as it happens, I have to

0:49:04.160 --> 0:49:07.400
<v Speaker 1>come up next Sunday because I have to go with

0:49:07.440 --> 0:49:11.640
<v Speaker 1>Milly because she's doing a TV show. So I said,

0:49:11.680 --> 0:49:16.080
<v Speaker 1>I'll come up and then after the TV show meet

0:49:16.120 --> 0:49:20.240
<v Speaker 1>you downstairs and then we'll go and drive around and listen.

0:49:21.160 --> 0:49:25.919
<v Speaker 1>So that's that's what happened. I went there, I met

0:49:25.960 --> 0:49:29.640
<v Speaker 1>the guy, the guys whose name I should absolutely be

0:49:29.680 --> 0:49:31.759
<v Speaker 1>able to tell you, but I can't remember his name.

0:49:32.760 --> 0:49:37.880
<v Speaker 1>And he he took me to see one band. I

0:49:37.920 --> 0:49:40.520
<v Speaker 1>didn't really like the band too much because they had

0:49:40.520 --> 0:49:42.560
<v Speaker 1>a kind of uniform one and I hated kind of

0:49:42.719 --> 0:49:45.920
<v Speaker 1>uniform kind of things. So I would I'd like. I

0:49:46.000 --> 0:49:48.200
<v Speaker 1>like the funkyness, you know. That's why I like the

0:49:48.280 --> 0:49:52.319
<v Speaker 1>zones of Little More, you know, funking and everything. So

0:49:53.080 --> 0:49:59.720
<v Speaker 1>anyhow I went. I went to that first and really

0:49:59.760 --> 0:50:02.000
<v Speaker 1>like and then the guy said, well, I'll take you

0:50:02.080 --> 0:50:03.680
<v Speaker 1>to another place. I don't know if you like it

0:50:03.760 --> 0:50:05.719
<v Speaker 1>or not, but there's that. It's a band. It's just

0:50:05.960 --> 0:50:11.319
<v Speaker 1>like three three four band, but you can come and

0:50:11.360 --> 0:50:14.120
<v Speaker 1>see them, so is it okay? So I drove around

0:50:14.120 --> 0:50:17.040
<v Speaker 1>with him, and Milly was with me and the car

0:50:17.120 --> 0:50:22.440
<v Speaker 1>too because we just come from the TV show. And

0:50:22.440 --> 0:50:27.360
<v Speaker 1>we went there, started walking up some stairs and you

0:50:27.360 --> 0:50:31.560
<v Speaker 1>could hear somebody's singing with a great voice. I was

0:50:31.600 --> 0:50:33.959
<v Speaker 1>walking up the next row of stairs, and I could

0:50:33.960 --> 0:50:38.359
<v Speaker 1>hear the singing more more clearly in the music. More

0:50:38.400 --> 0:50:42.480
<v Speaker 1>clearly in the music was something really great, and the

0:50:42.600 --> 0:50:48.080
<v Speaker 1>singing was sounding really great. It sounded like I've always

0:50:48.160 --> 0:50:51.759
<v Speaker 1>used the example like Ray Charles on Helium, because you

0:50:51.840 --> 0:50:56.120
<v Speaker 1>know it was like Gray Charles sort of way of singing,

0:50:56.600 --> 0:51:01.520
<v Speaker 1>but the picture of his voice was different. And then

0:51:01.560 --> 0:51:05.440
<v Speaker 1>finally when I got upstairs into the room, there was

0:51:05.480 --> 0:51:08.640
<v Speaker 1>this kid who was sixteen I think he was. He

0:51:08.719 --> 0:51:12.800
<v Speaker 1>might have been seventeen. I think he was sixteen singing

0:51:14.960 --> 0:51:20.560
<v Speaker 1>by I mean whaling, really singing, playing the keyboards, playing organ,

0:51:20.800 --> 0:51:26.360
<v Speaker 1>playing piano, playing guitar, everything, And I couldn't I just

0:51:26.360 --> 0:51:31.600
<v Speaker 1>couldn't believe it. Now, in those days, those days, now

0:51:31.640 --> 0:51:36.560
<v Speaker 1>we're talking about ninety three or maybe sixty four. Those days,

0:51:38.120 --> 0:51:43.320
<v Speaker 1>the the record companies in England were E. M. I, Decker, Phillips,

0:51:43.480 --> 0:51:47.000
<v Speaker 1>and a pie Em. I was the biggest, Decker was

0:51:47.040 --> 0:51:51.480
<v Speaker 1>the second biggest, Phillips the third, pie the fourth, and

0:51:51.719 --> 0:51:56.360
<v Speaker 1>that was pretty much it. And but none of the

0:51:56.480 --> 0:52:00.480
<v Speaker 1>heads of the companies would go out go out to

0:52:00.600 --> 0:52:05.359
<v Speaker 1>listen to bands. I mean they wouldn't. People wouldn't leave

0:52:05.400 --> 0:52:09.719
<v Speaker 1>their office to go and see a band. None of

0:52:09.760 --> 0:52:13.640
<v Speaker 1>those people, I mean, any of those people could have

0:52:14.280 --> 0:52:18.160
<v Speaker 1>signs to Swinsondavor School Win one if they had gone

0:52:18.200 --> 0:52:23.040
<v Speaker 1>out and no, nobody, nobody could have denied signing him

0:52:23.080 --> 0:52:32.120
<v Speaker 1>if they hadn't, you know, had they not seen him so, um,

0:52:32.200 --> 0:52:35.200
<v Speaker 1>what happened was that I said to the guys, I'd

0:52:35.200 --> 0:52:37.719
<v Speaker 1>love to record you guys. They say, I'd love to

0:52:37.760 --> 0:52:42.640
<v Speaker 1>record you guys, dinog and they said, well when I

0:52:42.719 --> 0:52:47.440
<v Speaker 1>couldn't record, I said, I don't know, four or five days.

0:52:47.600 --> 0:52:52.640
<v Speaker 1>That's incredible because again, and those days you couldn't get

0:52:53.080 --> 0:52:56.960
<v Speaker 1>studio organized. You know, it wasn't you know, there was

0:52:57.000 --> 0:53:01.360
<v Speaker 1>nobody out there finding or follow growing up or catching

0:53:01.480 --> 0:53:06.719
<v Speaker 1>or promoting or pushing you know, somebody like like the

0:53:06.760 --> 0:53:10.680
<v Speaker 1>Spencer Davis group that by Steve Winwood that time. It

0:53:10.760 --> 0:53:16.280
<v Speaker 1>was just incredible. So that's what happened. So a few

0:53:16.600 --> 0:53:21.520
<v Speaker 1>weeks later I went to the studio and um, I

0:53:21.600 --> 0:53:25.560
<v Speaker 1>did this one song with that written by that same thing.

0:53:25.600 --> 0:53:29.040
<v Speaker 1>I told you the first guy when I was in

0:53:29.120 --> 0:53:32.600
<v Speaker 1>the and the shows in Jamaica back in the day,

0:53:32.800 --> 0:53:37.080
<v Speaker 1>his name was Wilfrid Edwards called him Jackie Edwards. Wilfrid

0:53:37.200 --> 0:53:44.520
<v Speaker 1>was just and so their first set was keep on

0:53:44.600 --> 0:53:47.800
<v Speaker 1>Running and it was written by Will for whatever the

0:53:47.880 --> 0:53:50.960
<v Speaker 1>Jackie Wilfrid. Now, when you would make a deal with

0:53:51.040 --> 0:53:55.200
<v Speaker 1>the band, you know, certainly evolved people would make these deals.

0:53:55.239 --> 0:53:58.480
<v Speaker 1>In California, we have the seven year rule. But not

0:53:58.600 --> 0:54:01.640
<v Speaker 1>in other countries. Would you sign them for a single?

0:54:02.200 --> 0:54:04.399
<v Speaker 1>Would you tie them up at a low royalty rate?

0:54:04.440 --> 0:54:07.360
<v Speaker 1>What was the business side like you signed them for?

0:54:07.960 --> 0:54:12.080
<v Speaker 1>I didn't know, like two or three albums something like that.

0:54:12.960 --> 0:54:17.520
<v Speaker 1>I can't remember now because that all changed as as

0:54:17.560 --> 0:54:21.839
<v Speaker 1>everything got big up and got got wider and got more,

0:54:23.560 --> 0:54:28.600
<v Speaker 1>you know, more most powerful. In general, it's it changed

0:54:28.640 --> 0:54:33.680
<v Speaker 1>a bit, It all changed, keep on running, certainly legendary track,

0:54:33.840 --> 0:54:36.720
<v Speaker 1>but when it comes to traffic. The two iconic songs

0:54:36.719 --> 0:54:40.160
<v Speaker 1>are I'm a Man and give Me Some Loving? I mean,

0:54:40.200 --> 0:54:42.759
<v Speaker 1>give Me Some Loving. Sounds as fresh today as it

0:54:42.840 --> 0:54:45.160
<v Speaker 1>did yesterday. Can you tell us a story on that?

0:54:46.440 --> 0:54:50.279
<v Speaker 1>I can't remember who wrote the song, but I do

0:54:50.400 --> 0:54:55.120
<v Speaker 1>remember recording it, and I do remember thinking it's huge.

0:54:55.320 --> 0:54:59.279
<v Speaker 1>And which one was that? Give Me something? Give Me

0:54:59.360 --> 0:55:01.879
<v Speaker 1>some Loving? And I'm a Man. Yeah, I'm a man.

0:55:02.440 --> 0:55:04.799
<v Speaker 1>Who wrote I'm a Man? I have to look it up.

0:55:04.840 --> 0:55:11.400
<v Speaker 1>I can't remember. I'm a Man was written by uh

0:55:11.560 --> 0:55:15.479
<v Speaker 1>Winwood and Jimmy Miller. Okay, which which wind with Steve

0:55:15.520 --> 0:55:20.080
<v Speaker 1>Winwood or muf WinWin Yeah, Steve Winwood, Steve Winwood. Oh

0:55:20.120 --> 0:55:23.360
<v Speaker 1>that's right, Well, Jimmy Miller was somebody I found in

0:55:23.920 --> 0:55:28.080
<v Speaker 1>in New York and he was he was a producer

0:55:28.080 --> 0:55:31.840
<v Speaker 1>in New York, and I brought him over to England

0:55:32.160 --> 0:55:37.240
<v Speaker 1>and and he he did great work in England, firstly

0:55:37.360 --> 0:55:41.799
<v Speaker 1>with Traffic and then with the Running Stones. Okay, so

0:55:41.880 --> 0:55:45.440
<v Speaker 1>what was his magic? You know? Also he died way

0:55:45.480 --> 0:55:49.600
<v Speaker 1>before his time, but the records, forget the ones with Traffic,

0:55:49.640 --> 0:55:52.720
<v Speaker 1>the ones he cut in that middle period with Stones

0:55:52.760 --> 0:55:55.280
<v Speaker 1>were just iconic. What did he bring to the studio?

0:55:56.840 --> 0:56:01.280
<v Speaker 1>He was very talented. It was very talented. He had

0:56:01.920 --> 0:56:05.440
<v Speaker 1>one problem, you know, which is one of those problems

0:56:05.480 --> 0:56:10.440
<v Speaker 1>which damaged so many people in music and things. But

0:56:11.280 --> 0:56:14.400
<v Speaker 1>he had a great taste in music and a great

0:56:14.600 --> 0:56:20.360
<v Speaker 1>energy and an ability to sort of just be a

0:56:20.520 --> 0:56:23.640
<v Speaker 1>leader as it were. You know, he'd be really like

0:56:23.840 --> 0:56:28.520
<v Speaker 1>sort of leading the leading the song as if he's

0:56:29.000 --> 0:56:31.359
<v Speaker 1>as if as if he was a conductor kind of thing.

0:56:31.960 --> 0:56:36.880
<v Speaker 1>And okay, you know that Steve is bigger than the

0:56:36.920 --> 0:56:41.000
<v Speaker 1>rest of the group. How does it evolve in the Traffic?

0:56:42.400 --> 0:56:48.440
<v Speaker 1>Because he Steve wanted to I didn't want to really

0:56:48.480 --> 0:56:56.720
<v Speaker 1>continue working exactly with the uh Spencer David's group. Um,

0:56:56.760 --> 0:56:59.160
<v Speaker 1>and I think he was more into well, I don't

0:56:59.200 --> 0:57:02.160
<v Speaker 1>think I know he was more interested in working with

0:57:02.960 --> 0:57:07.440
<v Speaker 1>Dave Mason, Jim Capoldi and Chris Wood, who are pals

0:57:07.440 --> 0:57:10.799
<v Speaker 1>of his, who you know, he just really got on

0:57:10.920 --> 0:57:15.759
<v Speaker 1>well with, whereas before, remember he was much younger than

0:57:16.120 --> 0:57:18.800
<v Speaker 1>and the others. He was very young, so he was

0:57:18.840 --> 0:57:23.240
<v Speaker 1>sort of he was wanting to sort of make a jump.

0:57:23.360 --> 0:57:28.600
<v Speaker 1>I think it was sort of jumping up to a

0:57:28.600 --> 0:57:33.520
<v Speaker 1>another level. I would say, Okay, So ultimately Traffic makes

0:57:33.600 --> 0:57:36.960
<v Speaker 1>two albums, there's turmoil, Dave Mason is in the group,

0:57:37.120 --> 0:57:40.880
<v Speaker 1>not in the group. First record as iconic songs, generally

0:57:40.920 --> 0:57:43.600
<v Speaker 1>they're covered, they're not really hits for Traffic at that time.

0:57:44.000 --> 0:57:47.720
<v Speaker 1>Second album unbelievable. Then the band says it's going to

0:57:47.840 --> 0:57:52.200
<v Speaker 1>break up. So do you remember whin Would ultimately going

0:57:52.240 --> 0:57:56.320
<v Speaker 1>to play with Blind Faith and your part in that, Yes, yes,

0:57:56.400 --> 0:57:59.400
<v Speaker 1>I remember that. I'll tell you what I tell you.

0:57:59.480 --> 0:58:05.600
<v Speaker 1>My reading of what happened is Chris Would, who everybody

0:58:05.640 --> 0:58:11.760
<v Speaker 1>loved he was at sax Player, but he really was

0:58:11.960 --> 0:58:17.120
<v Speaker 1>kind of I could get very out of it, and

0:58:17.160 --> 0:58:23.360
<v Speaker 1>I think probably what really happened one day it was

0:58:23.480 --> 0:58:27.240
<v Speaker 1>just too much and he didn't never turned out for

0:58:27.360 --> 0:58:32.080
<v Speaker 1>the show in New York Bill Graham put it on.

0:58:32.120 --> 0:58:35.800
<v Speaker 1>I can't remember the place I should remember when would

0:58:36.640 --> 0:58:39.680
<v Speaker 1>barely even played himself on it. He was so angry

0:58:40.320 --> 0:58:45.920
<v Speaker 1>and it seemed that, you know, there their relationship or

0:58:47.160 --> 0:58:53.640
<v Speaker 1>music relationship I think, drifted away a lot. And also

0:58:54.280 --> 0:58:57.360
<v Speaker 1>I didn't know what else it might have been. That's

0:58:57.400 --> 0:58:59.600
<v Speaker 1>the only thing I can think of, because Jim Capoli

0:58:59.720 --> 0:59:03.600
<v Speaker 1>was very important in Traffic because he wrote, he wrote ms,

0:59:03.720 --> 0:59:10.160
<v Speaker 1>the lyrics and and it was just Woody, you know, Chris,

0:59:10.320 --> 0:59:13.440
<v Speaker 1>Chris wood was it was was a bit was a

0:59:13.440 --> 0:59:18.480
<v Speaker 1>bit faking, you know. So you had windward side, you know,

0:59:18.840 --> 0:59:20.840
<v Speaker 1>you have to give permission for him to be in

0:59:20.920 --> 0:59:24.240
<v Speaker 1>Blind Faith? What did you think then? And did you

0:59:24.280 --> 0:59:27.800
<v Speaker 1>get a piece? How did you get compensated? Well? Blind

0:59:27.800 --> 0:59:32.080
<v Speaker 1>Faith was a joint venture with Stigwood. That's that's that's

0:59:32.160 --> 0:59:37.840
<v Speaker 1>that's how that happened. Um, because the it was Eric

0:59:37.920 --> 0:59:45.560
<v Speaker 1>and Ginger. Yeah, not to be difficult, Okay. So you

0:59:45.600 --> 0:59:48.600
<v Speaker 1>have this huge success with Traffic islands on the map.

0:59:48.720 --> 0:59:53.800
<v Speaker 1>What comes over the transom next? Well, Free, I would say,

0:59:53.880 --> 0:59:56.560
<v Speaker 1>is one of them. You know the band folk called Free?

0:59:56.640 --> 0:59:59.439
<v Speaker 1>Of course I do. And I know Paul Rodgers who

0:59:59.440 --> 1:00:03.360
<v Speaker 1>can still saying like he used to. So you hear Paul.

1:00:03.560 --> 1:00:08.040
<v Speaker 1>You know, how did you find Paul Rogers? Somebody told

1:00:08.040 --> 1:00:10.680
<v Speaker 1>me one day he said, you know there's a band.

1:00:10.960 --> 1:00:15.520
<v Speaker 1>There's a band playing at the at the Wardo and so,

1:00:16.720 --> 1:00:21.000
<v Speaker 1>and he said that they're really young band. He said,

1:00:21.000 --> 1:00:23.080
<v Speaker 1>but you should go see them. They're really good. So

1:00:23.120 --> 1:00:25.480
<v Speaker 1>I went to see them, and I couldn't believe it.

1:00:25.520 --> 1:00:28.560
<v Speaker 1>They were. They were very young. Was one of them

1:00:28.600 --> 1:00:31.000
<v Speaker 1>was tour and the rest of them were about, you know,

1:00:31.080 --> 1:00:36.040
<v Speaker 1>we're tiny, and they were very strong. The band was

1:00:36.240 --> 1:00:41.080
<v Speaker 1>very strong. And I went backstage after they finished and

1:00:41.120 --> 1:00:42.880
<v Speaker 1>I said, listen to you. Guys are really great. I

1:00:42.960 --> 1:00:46.280
<v Speaker 1>really think you're great. I'd love you to come and

1:00:46.320 --> 1:00:51.040
<v Speaker 1>come to my office tomorrow and let's meet and see

1:00:51.080 --> 1:00:54.760
<v Speaker 1>if we can work out something. So they said okay.

1:00:55.040 --> 1:00:58.560
<v Speaker 1>So the next morning I went there early and there

1:00:58.600 --> 1:01:01.320
<v Speaker 1>was a guy who was working with me, a brilliant,

1:01:01.360 --> 1:01:06.480
<v Speaker 1>brilliant guy called Guy Stevens. Was a real music fanatic,

1:01:07.600 --> 1:01:13.120
<v Speaker 1>American black music particular, but really talented really in many

1:01:13.160 --> 1:01:17.680
<v Speaker 1>ways as a writer, as a designer, everything, and he

1:01:17.840 --> 1:01:20.720
<v Speaker 1>was like a sort of my number number two guys

1:01:20.760 --> 1:01:25.280
<v Speaker 1>who you know, would help me. And I saw him

1:01:25.280 --> 1:01:28.800
<v Speaker 1>in the morning. And what I forgot, I told you

1:01:28.880 --> 1:01:31.560
<v Speaker 1>was that when I saw them the night before, I said,

1:01:31.680 --> 1:01:33.440
<v Speaker 1>I said, I said to them, and I said, the

1:01:33.440 --> 1:01:35.520
<v Speaker 1>only thing that I don't really like is that I

1:01:35.560 --> 1:01:39.600
<v Speaker 1>don't really not too keen on the name free. So

1:01:40.200 --> 1:01:42.800
<v Speaker 1>and then I left that night. But the next next

1:01:42.880 --> 1:01:46.600
<v Speaker 1>morning I met guys Stevens and I said, listen, I'm

1:01:46.640 --> 1:01:50.680
<v Speaker 1>meeting these kids. They're incredible. I heard them played last night.

1:01:50.680 --> 1:01:53.840
<v Speaker 1>They were really incredible. I said, but I don't really

1:01:53.880 --> 1:01:56.160
<v Speaker 1>like the name free. Because you put free, people are

1:01:56.160 --> 1:01:58.600
<v Speaker 1>going to think it's a free freaking show, and so

1:01:58.800 --> 1:02:02.720
<v Speaker 1>they're coming and I don't really like that name. So

1:02:02.800 --> 1:02:05.200
<v Speaker 1>he said, well, I've got a name. I got a

1:02:05.520 --> 1:02:07.680
<v Speaker 1>going the name for you. So it's okay. Well that's great.

1:02:08.360 --> 1:02:10.800
<v Speaker 1>So then the band come in a little later, four

1:02:10.840 --> 1:02:17.160
<v Speaker 1>of them, led by Andy Fraser, who's just fifteen. He's

1:02:17.200 --> 1:02:20.680
<v Speaker 1>the leader of the band. And they come in. We

1:02:20.760 --> 1:02:27.840
<v Speaker 1>sit down and chatting a bit, and and then we

1:02:27.840 --> 1:02:32.840
<v Speaker 1>we guy Guy Stevens comes in the office to say hello,

1:02:32.920 --> 1:02:34.680
<v Speaker 1>and I say, this is a guy Sevens says hello,

1:02:35.360 --> 1:02:41.400
<v Speaker 1>said and I just wanted him to come up with

1:02:41.880 --> 1:02:46.440
<v Speaker 1>to to recommend another name because I don't. I'm not

1:02:46.480 --> 1:02:49.360
<v Speaker 1>really keen on the name free because people will think

1:02:49.440 --> 1:02:51.520
<v Speaker 1>it's a free show or something and want to come in.

1:02:52.680 --> 1:02:57.600
<v Speaker 1>And so they laughed at such a guy, stevemens So

1:02:57.720 --> 1:03:02.120
<v Speaker 1>then so the guys Semens was there and and Andy

1:03:02.200 --> 1:03:08.080
<v Speaker 1>Phrases looks at guys sevens and says, so, what name

1:03:08.960 --> 1:03:13.560
<v Speaker 1>is that you have planned for us? And guys Stephen

1:03:13.640 --> 1:03:19.640
<v Speaker 1>said the heavy metal kids. So Andy Fraser looks back

1:03:20.080 --> 1:03:24.640
<v Speaker 1>at me and he says, if you want to sign us,

1:03:25.120 --> 1:03:30.880
<v Speaker 1>our name is free. Little fucker. You know, he was

1:03:30.920 --> 1:03:34.880
<v Speaker 1>in control from that moment, and he was just brilliant.

1:03:35.000 --> 1:03:39.000
<v Speaker 1>He was the leader of the band, and they were fantastic,

1:03:39.720 --> 1:03:46.680
<v Speaker 1>really fantastic. Really sadly, you know, there's a couple of

1:03:46.680 --> 1:03:59.080
<v Speaker 1>them gone, really sadly. Paul Rockers teams to this day

1:04:00.040 --> 1:04:03.440
<v Speaker 1>that Paul Kossoff is the best guitars he ever worked with.

1:04:04.080 --> 1:04:07.600
<v Speaker 1>And he certainly we worked with Brian May and Jimmy

1:04:07.720 --> 1:04:12.760
<v Speaker 1>Page and of course uh Kasoff ultimately died on a

1:04:12.920 --> 1:04:16.320
<v Speaker 1>plane ride to do gigs in the UK from the US.

1:04:16.320 --> 1:04:18.320
<v Speaker 1>How good was Paul kas Off? What do you think

1:04:18.320 --> 1:04:26.120
<v Speaker 1>of fantastic? He was absolutely fantastic, But he had an addiction,

1:04:27.000 --> 1:04:31.040
<v Speaker 1>you know, and I mean, and he was in shocking shape.

1:04:33.600 --> 1:04:38.600
<v Speaker 1>I had. I had a situation with him once. Once

1:04:38.640 --> 1:04:41.680
<v Speaker 1>I was doing a record with Jim Capaldi and muscle

1:04:41.760 --> 1:04:45.600
<v Speaker 1>shows and somehow I had asked Kossof to come down

1:04:45.640 --> 1:04:52.720
<v Speaker 1>and and so Kossoff was in the studio, Jim Coppolis

1:04:52.760 --> 1:04:56.040
<v Speaker 1>in the studio, and then you know, we were wrapping up.

1:04:56.080 --> 1:04:58.400
<v Speaker 1>It was the end of the time, and I was

1:04:58.880 --> 1:05:04.120
<v Speaker 1>I was going back to Los Angeles and Paul Kassof

1:05:04.320 --> 1:05:05.840
<v Speaker 1>was going to come back with me to the Los

1:05:05.840 --> 1:05:07.960
<v Speaker 1>Angeles and Jim copor Who's going to go to England?

1:05:08.920 --> 1:05:13.560
<v Speaker 1>So muscle shows, you know, as I don't know if

1:05:13.560 --> 1:05:15.680
<v Speaker 1>it's still is I'm sure it is. You know, you

1:05:15.680 --> 1:05:18.480
<v Speaker 1>couldn't get a drink, you couldn't get anything. Then there's nothing.

1:05:18.520 --> 1:05:21.400
<v Speaker 1>I mean. I I asked the guy who ran and

1:05:21.600 --> 1:05:25.560
<v Speaker 1>Jimmy Johnson who ran muscle shows, and said, what do

1:05:25.600 --> 1:05:28.920
<v Speaker 1>you what do you do here? And he said, and

1:05:29.000 --> 1:05:31.800
<v Speaker 1>what do you do in this time? And he said wow.

1:05:33.000 --> 1:05:35.160
<v Speaker 1>Now and again we go to the airport and watch

1:05:35.280 --> 1:05:42.320
<v Speaker 1>him rent the corp and and he was great. But

1:05:42.360 --> 1:05:47.080
<v Speaker 1>when when we when we left to go to drive

1:05:47.160 --> 1:05:52.360
<v Speaker 1>to the airport to fly to l A. We stopped

1:05:52.360 --> 1:05:58.760
<v Speaker 1>in this little cafe and coss off and ordered this

1:05:59.040 --> 1:06:02.920
<v Speaker 1>food food at the food mashed potatoes and beef and

1:06:02.960 --> 1:06:06.680
<v Speaker 1>stuff like that. And then he kind of collapsed in

1:06:06.720 --> 1:06:10.240
<v Speaker 1>the middle of it and his face fell down and

1:06:11.000 --> 1:06:17.960
<v Speaker 1>splashed of the food. And there was a huge it

1:06:18.120 --> 1:06:22.800
<v Speaker 1>was a huge guy just walked up, finished his dinner

1:06:22.840 --> 1:06:25.200
<v Speaker 1>and walked up. He was walking by a huge guy.

1:06:25.560 --> 1:06:32.240
<v Speaker 1>I mean, it's scared than a guy. And and and

1:06:32.520 --> 1:06:36.840
<v Speaker 1>he looked at Paul Kass often he said. He didn't

1:06:36.880 --> 1:06:39.960
<v Speaker 1>even say anything. He was just laughed and course off

1:06:40.160 --> 1:06:45.280
<v Speaker 1>terms of why don't you just fuck off? I could

1:06:45.400 --> 1:06:48.040
<v Speaker 1>believe it. I could believe it. I thought I thought

1:06:48.160 --> 1:06:49.960
<v Speaker 1>we were gonna be dead and buried right then and

1:06:50.040 --> 1:06:56.440
<v Speaker 1>there m h. And then we went on too and

1:06:56.800 --> 1:06:59.480
<v Speaker 1>stayed in the light for a bit. Okay, you know

1:06:59.560 --> 1:07:02.360
<v Speaker 1>there's any the anthology on A and M called More

1:07:02.520 --> 1:07:07.200
<v Speaker 1>Gold just unreal, I mean, an unheralded band. There's so

1:07:07.280 --> 1:07:10.560
<v Speaker 1>much stuff on there that was not successful commercially. But

1:07:10.680 --> 1:07:15.040
<v Speaker 1>the third album, Fire and Water has all right now,

1:07:15.600 --> 1:07:17.400
<v Speaker 1>you know, I kind of kit from the fall of

1:07:17.480 --> 1:07:21.240
<v Speaker 1>Summer in fall of nineteen seventy with an incredible riff

1:07:21.360 --> 1:07:25.880
<v Speaker 1>that becomes their one big successful track in American worldwide?

1:07:27.200 --> 1:07:29.040
<v Speaker 1>Did you know that was going to be that big?

1:07:29.920 --> 1:07:34.040
<v Speaker 1>But I'll tell you that youruth. I projuced it record,

1:07:35.240 --> 1:07:38.720
<v Speaker 1>but I honestly didn't feel it was anything like as

1:07:38.760 --> 1:07:41.360
<v Speaker 1>good as it could have been. I don't know why,

1:07:42.880 --> 1:07:47.640
<v Speaker 1>because because it's been very successful, very very successful. Mhm.

1:07:48.200 --> 1:07:53.560
<v Speaker 1>But I I thought I thought it could have been better.

1:07:54.440 --> 1:07:58.640
<v Speaker 1>What what? What what I'd done? Because I I recorded

1:07:58.640 --> 1:08:02.520
<v Speaker 1>it and the thing which I don't know, I just

1:08:02.960 --> 1:08:05.600
<v Speaker 1>I just I just thought it could have been better.

1:08:06.360 --> 1:08:11.280
<v Speaker 1>I didn't know why. Okay, sometimes you're producing, sometimes you're not.

1:08:11.400 --> 1:08:14.840
<v Speaker 1>How do you decide to produce an act? Well, if

1:08:14.880 --> 1:08:20.479
<v Speaker 1>I feel I can contribute, if not, And okay, let's

1:08:20.560 --> 1:08:22.880
<v Speaker 1>use a couple of your production examples like We've all

1:08:23.040 --> 1:08:27.080
<v Speaker 1>right now and the first B fifty two albums for album,

1:08:27.160 --> 1:08:34.200
<v Speaker 1>what do you think you could contribute? There? Nothing? Nothing,

1:08:34.240 --> 1:08:37.720
<v Speaker 1>because they had it all down. They were fantastic. They

1:08:37.760 --> 1:08:42.960
<v Speaker 1>all arrived in Nassa, Bahamas, and the Nasso, Bahamas they

1:08:42.960 --> 1:08:46.360
<v Speaker 1>would charge the government would charge fortune for bringing in

1:08:46.479 --> 1:08:50.479
<v Speaker 1>equipment and you know, usually you had to sort of

1:08:51.280 --> 1:08:56.720
<v Speaker 1>pay to the government fifty six dollars to you, you know,

1:08:56.840 --> 1:09:00.519
<v Speaker 1>which they'd hold onto until all the instruments was shipped

1:09:00.520 --> 1:09:06.280
<v Speaker 1>back out of massal. In their case, it was it

1:09:06.360 --> 1:09:11.320
<v Speaker 1>was like four hundred dollars that they came. It was

1:09:11.360 --> 1:09:14.439
<v Speaker 1>all it was all toy to toy instruments. It was

1:09:14.520 --> 1:09:16.960
<v Speaker 1>unbelievable and it really was. And they went in the

1:09:17.080 --> 1:09:21.040
<v Speaker 1>studio and it was all toy instruments. And I don't know,

1:09:21.040 --> 1:09:25.680
<v Speaker 1>I loved I enjoyed so much that I wish I

1:09:25.680 --> 1:09:29.200
<v Speaker 1>could tell you that, you know, I didn't had contributed

1:09:29.240 --> 1:09:33.760
<v Speaker 1>the tool to any production. I didn't. They did themselves completely.

1:09:33.800 --> 1:09:37.000
<v Speaker 1>But I enjoyed so much. I liked them so much.

1:09:37.240 --> 1:09:41.120
<v Speaker 1>But they were they were they were they were just

1:09:41.520 --> 1:09:45.320
<v Speaker 1>they were special, they really were. So you end up

1:09:45.439 --> 1:09:50.200
<v Speaker 1>making deals with companies and ended up turning into Crystalis

1:09:50.439 --> 1:09:53.559
<v Speaker 1>and e g. You know, when Jeff wrote, how does

1:09:53.680 --> 1:09:56.599
<v Speaker 1>Jeff Rode told? How do roxy music? How do they

1:09:56.640 --> 1:10:01.759
<v Speaker 1>come to you? Gestel came to me with the band

1:10:01.920 --> 1:10:04.719
<v Speaker 1>I had, which was I think it was called Spooky

1:10:04.760 --> 1:10:09.519
<v Speaker 1>Tooth at that time. And when whenever a band would

1:10:09.520 --> 1:10:12.519
<v Speaker 1>go touring and come back to the office, you know, asson,

1:10:13.040 --> 1:10:18.800
<v Speaker 1>did you see anything here, anything, etcetera. Etcetera. And one

1:10:18.800 --> 1:10:22.040
<v Speaker 1>of the guys you should remember his name because he

1:10:22.120 --> 1:10:25.200
<v Speaker 1>was the needs of the band. Um you probably have

1:10:25.280 --> 1:10:30.040
<v Speaker 1>it right there. Um. Uh he was, he was the leader.

1:10:30.120 --> 1:10:34.480
<v Speaker 1>Then well you know in the band, but I wouldn't Gary,

1:10:35.040 --> 1:10:38.800
<v Speaker 1>he he was the one. Uh. And I said, or

1:10:38.840 --> 1:10:42.559
<v Speaker 1>did you see anybody? And Gary said, and he sort

1:10:42.560 --> 1:10:45.400
<v Speaker 1>of kind of giggled and laughed shyly. He said, well,

1:10:45.439 --> 1:10:48.720
<v Speaker 1>there was this act I saw who I thought was

1:10:49.000 --> 1:10:53.160
<v Speaker 1>really kind of funny, stood on one leg playing the flute,

1:10:53.360 --> 1:10:55.400
<v Speaker 1>and I said, I love it, I love it. I

1:10:55.479 --> 1:11:01.120
<v Speaker 1>must find so I went off to it and I rang,

1:11:01.960 --> 1:11:07.800
<v Speaker 1>and I found out who who was sort of identified

1:11:07.840 --> 1:11:11.719
<v Speaker 1>with him, and that was Terry Ellis and Chris Wright,

1:11:12.240 --> 1:11:16.960
<v Speaker 1>both of whom were still in college. And so it

1:11:17.040 --> 1:11:21.280
<v Speaker 1>was Terry Ellis I spoke to and I said, I

1:11:21.400 --> 1:11:26.479
<v Speaker 1>love to sign these guys, and so he did. And

1:11:26.520 --> 1:11:30.040
<v Speaker 1>then the deal I made with him was because it

1:11:30.160 --> 1:11:33.519
<v Speaker 1>wasn't really my kind of music. I just love the

1:11:33.600 --> 1:11:37.559
<v Speaker 1>idea of it. The record did very well, the first record,

1:11:38.080 --> 1:11:42.439
<v Speaker 1>and then thereafter I passed him on Christmas? And what

1:11:42.479 --> 1:11:46.720
<v Speaker 1>about the guys with the e G. Roxy Music? Were

1:11:46.840 --> 1:11:54.080
<v Speaker 1>Roxy music? Roxy music? Rocky music? Really great did very

1:11:54.080 --> 1:11:57.680
<v Speaker 1>well in England, very well in England. I think at

1:11:58.120 --> 1:12:03.080
<v Speaker 1>that at the time that rocky music was all important,

1:12:03.240 --> 1:12:07.400
<v Speaker 1>was the time that I was starting getting involved with

1:12:07.880 --> 1:12:13.840
<v Speaker 1>Bob Money. Okay, so Catch Stephens, how did you get

1:12:13.840 --> 1:12:20.040
<v Speaker 1>involved with Catch Stephens? Because somebody was chasing me up

1:12:20.080 --> 1:12:25.720
<v Speaker 1>all the time that I should see him and meet

1:12:25.760 --> 1:12:33.240
<v Speaker 1>with him, and I was not really that interested because

1:12:34.600 --> 1:12:37.160
<v Speaker 1>I had seen him on to do a show on television,

1:12:37.160 --> 1:12:40.280
<v Speaker 1>which I thought was weird because his first I don't

1:12:40.280 --> 1:12:42.479
<v Speaker 1>know if you know, his first record was I Love

1:12:42.560 --> 1:12:45.040
<v Speaker 1>my Dog More Than I Love You or my Cat

1:12:45.080 --> 1:12:48.599
<v Speaker 1>bother nine one or the other kind of which I

1:12:48.640 --> 1:12:54.760
<v Speaker 1>had seen him on television, or a dressed in clothes

1:12:54.840 --> 1:12:59.080
<v Speaker 1>which would be like from from you know, the him

1:12:59.080 --> 1:13:05.200
<v Speaker 1>alayask and of things kind of clothes and he was

1:13:05.200 --> 1:13:09.280
<v Speaker 1>singing something which that that's right. The song he was

1:13:09.320 --> 1:13:12.080
<v Speaker 1>singing was I'm going to get me a gun, That's right,

1:13:12.160 --> 1:13:14.640
<v Speaker 1>I remember, that was it. I thought, it makes no

1:13:14.760 --> 1:13:16.720
<v Speaker 1>sense that he's singing a song calling and he get

1:13:16.760 --> 1:13:19.400
<v Speaker 1>me a gun and he's dressed and his clothes. That

1:13:19.479 --> 1:13:22.760
<v Speaker 1>didn't make any sense. So it wasn't that I was

1:13:23.120 --> 1:13:28.320
<v Speaker 1>also chasing after him. It's just that the TV said

1:13:28.400 --> 1:13:30.400
<v Speaker 1>it come on, and I saw that, and I didn't,

1:13:30.520 --> 1:13:35.120
<v Speaker 1>you know, I just I didn't think. I didn't think

1:13:35.200 --> 1:13:39.840
<v Speaker 1>much about it. But later somebody rang me and continued

1:13:39.880 --> 1:13:42.599
<v Speaker 1>to ring me and continued to ring me, and eventually

1:13:42.640 --> 1:13:45.439
<v Speaker 1>I said, okay, well, then send him to come come by.

1:13:46.640 --> 1:13:53.000
<v Speaker 1>And eventually he came by, and he came with his guitar,

1:13:54.400 --> 1:13:57.840
<v Speaker 1>took off his guitar and started to play a song

1:13:58.280 --> 1:14:01.559
<v Speaker 1>and it was good. He played it on the song

1:14:01.840 --> 1:14:07.160
<v Speaker 1>and it was good, and then he played father and Son.

1:14:08.160 --> 1:14:12.200
<v Speaker 1>And when he played that song, I stopped him then

1:14:12.240 --> 1:14:19.000
<v Speaker 1>and then said, that's fantastic, and definitely I wanted to

1:14:19.040 --> 1:14:22.360
<v Speaker 1>talk to you about things, doing something when you come

1:14:22.600 --> 1:14:24.759
<v Speaker 1>come on island instead. Well, I can't come on island

1:14:24.760 --> 1:14:29.559
<v Speaker 1>because I'm on Ami. I'm on Decca. I said, yeah,

1:14:29.600 --> 1:14:32.759
<v Speaker 1>but Decca, your last records have been sold on Becca

1:14:34.040 --> 1:14:41.080
<v Speaker 1>and you know, and you should try Ireland. So he said, well,

1:14:41.120 --> 1:14:44.559
<v Speaker 1>how can I get off Decca? And I said, well,

1:14:46.040 --> 1:14:49.320
<v Speaker 1>what did your last record do? The last record had

1:14:49.360 --> 1:14:55.040
<v Speaker 1>been sold, So I said to him, who is your

1:14:55.040 --> 1:14:59.760
<v Speaker 1>a m R. Man? He said that they grow I said, oh,

1:15:00.000 --> 1:15:03.599
<v Speaker 1>the crow, the clothes I know the crow he's he's

1:15:03.640 --> 1:15:08.320
<v Speaker 1>actually the person who passed on the Beatles and he said, yeah,

1:15:08.479 --> 1:15:12.120
<v Speaker 1>that's And I said, well, why don't you call him

1:15:12.160 --> 1:15:14.800
<v Speaker 1>and say, you've got this record that you want to do,

1:15:15.120 --> 1:15:20.320
<v Speaker 1>which you're passionate about. You're going to need that, You're

1:15:20.360 --> 1:15:23.640
<v Speaker 1>gonna need it's going to be need to be a

1:15:23.680 --> 1:15:25.640
<v Speaker 1>good budget because I want to do it with the

1:15:25.680 --> 1:15:32.479
<v Speaker 1>London London Philharmonic Orchestra and Chorus. And I said, I

1:15:32.560 --> 1:15:36.080
<v Speaker 1>think it might give you a release. So he loved.

1:15:37.720 --> 1:15:42.479
<v Speaker 1>So that was that, and in fact that's what he did.

1:15:42.520 --> 1:15:45.959
<v Speaker 1>He went off and said, I want to do this recording.

1:15:45.960 --> 1:15:47.720
<v Speaker 1>This is this is it. This is the only thing

1:15:47.800 --> 1:15:49.120
<v Speaker 1>I want to do. I really want to do this,

1:15:49.240 --> 1:15:57.000
<v Speaker 1>and h Philharmonic Orchestra and Chorus and he passed. And

1:15:57.000 --> 1:15:59.760
<v Speaker 1>then I started, so what did you think when he

1:15:59.800 --> 1:16:02.120
<v Speaker 1>said he was going to stop making records having had

1:16:02.120 --> 1:16:10.400
<v Speaker 1>his religious conversion. That was the day that that um

1:16:10.920 --> 1:16:15.640
<v Speaker 1>Money died. Can you imagine, Well it was coming to

1:16:15.720 --> 1:16:21.559
<v Speaker 1>that because he was knock up. He wasn't a happy

1:16:22.080 --> 1:16:28.120
<v Speaker 1>guy um during that latter part and then he was.

1:16:28.280 --> 1:16:33.000
<v Speaker 1>He wasn't he just wasn't happy. He's he's an incredible person.

1:16:33.560 --> 1:16:37.519
<v Speaker 1>Wonderful person, but he was not. He was not a

1:16:37.560 --> 1:16:43.479
<v Speaker 1>happy guy in that period. And I think from what

1:16:43.560 --> 1:16:47.640
<v Speaker 1>I had what Anderson he he went out swimming in

1:16:48.080 --> 1:16:53.400
<v Speaker 1>in the in the sea and them in Los Angeles,

1:16:54.200 --> 1:16:58.280
<v Speaker 1>and then and she became very rough and he got

1:16:59.360 --> 1:17:08.200
<v Speaker 1>very scared and promise, ah, promises, God, you would you know,

1:17:09.800 --> 1:17:14.920
<v Speaker 1>changed to his religion. If you say that's that's pretty

1:17:15.000 --> 1:17:18.280
<v Speaker 1>much I might not have got it exactly right. Pretty

1:17:18.360 --> 1:17:25.400
<v Speaker 1>much what always told me. Let's talk about distribution in America.

1:17:25.600 --> 1:17:28.160
<v Speaker 1>Some of these albums came out on Warner, some came

1:17:28.200 --> 1:17:31.360
<v Speaker 1>out on A and M. How did you decide and

1:17:31.400 --> 1:17:33.800
<v Speaker 1>why didn't you? Or was it a matter of making

1:17:33.840 --> 1:17:37.240
<v Speaker 1>an exclusive and shifting labels? What was going on there?

1:17:38.240 --> 1:17:42.800
<v Speaker 1>I didn't really sort of have a label in in

1:17:43.160 --> 1:17:48.599
<v Speaker 1>America at a time. At the time I did have one,

1:17:49.080 --> 1:17:51.880
<v Speaker 1>but before that I didn't have one, and so I

1:17:51.920 --> 1:17:56.080
<v Speaker 1>wanted to put the record with whoever I thought would

1:17:56.120 --> 1:18:01.800
<v Speaker 1>do a good job. So, for example, Cat Seamans went

1:18:01.840 --> 1:18:08.760
<v Speaker 1>to them and warners, do you decide Bob Marley is

1:18:08.760 --> 1:18:11.280
<v Speaker 1>going to be the next big thing? Or you say, well,

1:18:11.320 --> 1:18:13.960
<v Speaker 1>this is another guy I can work with. It happened

1:18:13.960 --> 1:18:21.360
<v Speaker 1>by chance again where somebody rang me and said could

1:18:21.360 --> 1:18:24.320
<v Speaker 1>you do me a favor? I said, what is it? Said?

1:18:25.200 --> 1:18:29.240
<v Speaker 1>Could you could you meet with Bob Marley and the

1:18:29.240 --> 1:18:33.880
<v Speaker 1>Whalers because they're sound stranded in England and they don't

1:18:33.880 --> 1:18:37.679
<v Speaker 1>have their airfare back to Jamaica because the manager they

1:18:37.720 --> 1:18:42.559
<v Speaker 1>had had given them there yeah budget to get back

1:18:42.600 --> 1:18:48.679
<v Speaker 1>to Jamaica. So I said, okay. I said okay because

1:18:49.520 --> 1:18:53.439
<v Speaker 1>three days before Jimmy Cliff, who I've been working with

1:18:53.520 --> 1:18:57.120
<v Speaker 1>for ages, and it was all important because you know,

1:18:57.240 --> 1:19:01.559
<v Speaker 1>I got into to go and do the film harder

1:19:01.600 --> 1:19:05.559
<v Speaker 1>they come, because I felt that could bring the you know,

1:19:05.840 --> 1:19:11.559
<v Speaker 1>the Jamaican music scene, m hope open to the world

1:19:11.800 --> 1:19:17.000
<v Speaker 1>more so. And he did that and he acted in that,

1:19:17.080 --> 1:19:19.400
<v Speaker 1>and he did really really good in that, but he

1:19:19.400 --> 1:19:23.720
<v Speaker 1>didn't make any money on it because the film, you know,

1:19:23.800 --> 1:19:29.559
<v Speaker 1>the film came out some time later. So when he

1:19:29.640 --> 1:19:34.200
<v Speaker 1>had been sort of I had told him previously that

1:19:34.479 --> 1:19:41.000
<v Speaker 1>you know that that I've got to re read tell

1:19:41.080 --> 1:19:44.639
<v Speaker 1>you this because what what had happened with Jimmy Cliff

1:19:44.760 --> 1:19:48.960
<v Speaker 1>was that E M I wanted to sign him and

1:19:49.000 --> 1:19:52.280
<v Speaker 1>then at the same time as when Perry Hinson wanted

1:19:52.320 --> 1:19:55.800
<v Speaker 1>to make the film and I suggested that he should

1:19:55.840 --> 1:19:59.680
<v Speaker 1>really do the film. Don't sign am I, because do

1:19:59.840 --> 1:20:03.559
<v Speaker 1>the film and you'll still make money with with me.

1:20:04.479 --> 1:20:07.160
<v Speaker 1>So he did the film. But the film came on

1:20:07.280 --> 1:20:09.000
<v Speaker 1>and off and on and off and on and off,

1:20:09.000 --> 1:20:11.679
<v Speaker 1>and it took a very long time and he didn't

1:20:11.720 --> 1:20:14.679
<v Speaker 1>make any money. When when the year old came by,

1:20:14.840 --> 1:20:17.800
<v Speaker 1>and he hadn't made any money, and he was absolutely

1:20:17.840 --> 1:20:21.200
<v Speaker 1>within his right to say, well, now I'm going to

1:20:21.320 --> 1:20:23.679
<v Speaker 1>go to e m I because you told me I wouldn't.

1:20:23.680 --> 1:20:29.600
<v Speaker 1>I didn't. And so when he did say that, I

1:20:29.720 --> 1:20:33.080
<v Speaker 1>was I was upset. But he was within his rights

1:20:33.120 --> 1:20:37.080
<v Speaker 1>completely and that was that, and I was very upset.

1:20:37.640 --> 1:20:40.080
<v Speaker 1>And then the next day is when I get this

1:20:40.160 --> 1:20:43.920
<v Speaker 1>call from the person asking if I would meet with

1:20:44.560 --> 1:20:49.280
<v Speaker 1>Bob Marley and and funny way that and he's a

1:20:49.360 --> 1:20:53.559
<v Speaker 1>toash because they all stranded in London, and I said yes,

1:20:56.400 --> 1:20:58.680
<v Speaker 1>and so they came by. He came to see me,

1:20:59.760 --> 1:21:03.840
<v Speaker 1>and they walked in like kings. You know, they didn't

1:21:03.840 --> 1:21:07.240
<v Speaker 1>look like they were busted or anything. They were strong,

1:21:07.960 --> 1:21:13.120
<v Speaker 1>definitely strong. And I chatted to them for a bit

1:21:13.200 --> 1:21:18.360
<v Speaker 1>and I asked them what their plans are and one

1:21:18.400 --> 1:21:20.880
<v Speaker 1>of them said that I think. Bunny said that way

1:21:21.000 --> 1:21:25.639
<v Speaker 1>wanted to get on American black radio, and I said,

1:21:25.680 --> 1:21:27.120
<v Speaker 1>I didn't think you have a hope of getting on

1:21:27.240 --> 1:21:31.040
<v Speaker 1>American black radio. So and it just came out of

1:21:31.080 --> 1:21:34.479
<v Speaker 1>my mouth way too fast, and it should have done.

1:21:34.520 --> 1:21:39.960
<v Speaker 1>I guess they were very upset that said that, you know,

1:21:40.800 --> 1:21:45.479
<v Speaker 1>Pizza and Bunny, and then Bob piped up and said, Bob, what,

1:21:46.479 --> 1:21:50.200
<v Speaker 1>but what do you think? And then said, I think

1:21:50.320 --> 1:21:54.719
<v Speaker 1>I think I think you should we'll have a black

1:21:54.840 --> 1:21:57.760
<v Speaker 1>rock act, position yourself as a kind of black rock

1:21:57.840 --> 1:22:06.040
<v Speaker 1>act rather than keep doing just to making music. So

1:22:08.160 --> 1:22:13.040
<v Speaker 1>there was a mix there. Bob saw it and agreed it,

1:22:13.160 --> 1:22:18.040
<v Speaker 1>and the other two didn't agree, and the other two

1:22:18.240 --> 1:22:23.160
<v Speaker 1>sort of then split and Bob stayed on, but they

1:22:23.200 --> 1:22:25.960
<v Speaker 1>all they all stayed on as friends and everything. But

1:22:27.640 --> 1:22:30.920
<v Speaker 1>that's that's really how that happens. Okay, catch a Fire

1:22:31.000 --> 1:22:34.720
<v Speaker 1>is the first album. What do you do to make

1:22:34.760 --> 1:22:40.640
<v Speaker 1>it sound more rock rock radio friendly? I got a

1:22:40.720 --> 1:22:46.599
<v Speaker 1>guitarists from from Corwayne Perkins from muscle shows. I've been

1:22:46.600 --> 1:22:52.320
<v Speaker 1>working with him in muscle shows, brilliant and I just

1:22:52.560 --> 1:22:56.080
<v Speaker 1>wanted they wanted that. I wanted that kind of feel.

1:22:57.120 --> 1:23:01.960
<v Speaker 1>And there was another keyboard player. Uh who also was

1:23:03.479 --> 1:23:07.080
<v Speaker 1>you know a musician not not not not just reggae

1:23:07.160 --> 1:23:11.920
<v Speaker 1>musician and he he was on it. So Bob Marley

1:23:12.040 --> 1:23:16.720
<v Speaker 1>makes multiple albums, all too great reviews. But it's a

1:23:16.960 --> 1:23:24.240
<v Speaker 1>very very slow build. What was it like from the inside? Uh,

1:23:25.000 --> 1:23:28.559
<v Speaker 1>solid is all I can say. You know. I wasn't.

1:23:28.640 --> 1:23:32.360
<v Speaker 1>I wasn't. It wasn't in a rush. I just felt

1:23:32.439 --> 1:23:37.559
<v Speaker 1>it was something that could could really grow because it

1:23:37.640 --> 1:23:41.000
<v Speaker 1>was growing, you know, it was just it didn't it

1:23:41.080 --> 1:23:47.840
<v Speaker 1>didn't explode, It just grew. It's still growing. And to

1:23:48.000 --> 1:23:52.640
<v Speaker 1>what degreed you believe the live album from the Lyceum

1:23:52.720 --> 1:23:55.080
<v Speaker 1>put him over the top, which is my perspective, but

1:23:55.400 --> 1:24:01.439
<v Speaker 1>you're inside the building, so to speak. Yes, well that

1:24:01.600 --> 1:24:04.760
<v Speaker 1>was a key thing again one of those things that

1:24:04.840 --> 1:24:08.880
<v Speaker 1>happened by chance, because he was doing a gig about

1:24:08.920 --> 1:24:15.680
<v Speaker 1>a month before that show in l A at the Roxy.

1:24:15.920 --> 1:24:21.599
<v Speaker 1>And when I was watching it and it was it

1:24:21.680 --> 1:24:24.559
<v Speaker 1>was it was quite something because I was it was

1:24:24.640 --> 1:24:26.720
<v Speaker 1>so important, you know, I called it for what I

1:24:26.800 --> 1:24:29.760
<v Speaker 1>knew to be there and everything, how important it was.

1:24:30.720 --> 1:24:33.240
<v Speaker 1>And then and then when Bob and then came out

1:24:34.120 --> 1:24:37.400
<v Speaker 1>to play, they didn't play, you know, he didn't he

1:24:38.479 --> 1:24:41.120
<v Speaker 1>had his back to the audience was like rehearsing, and

1:24:41.200 --> 1:24:44.559
<v Speaker 1>that fo sake, it started when he's going to get

1:24:44.600 --> 1:24:48.000
<v Speaker 1>started and everything. And eventually when he did turn around

1:24:48.040 --> 1:24:52.920
<v Speaker 1>and start, the audience sort of stood up and things

1:24:53.120 --> 1:24:58.640
<v Speaker 1>like that. It's it's that it was very scary to

1:24:58.720 --> 1:25:01.760
<v Speaker 1>me because it was such an important thing, and I

1:25:01.800 --> 1:25:04.880
<v Speaker 1>was really worried that it wasn't going to work. But

1:25:06.040 --> 1:25:09.000
<v Speaker 1>they'd say when it when it turned around and started,

1:25:09.200 --> 1:25:15.480
<v Speaker 1>it worked. And we're talking about the Lyceum now, the Lyceum.

1:25:17.439 --> 1:25:22.920
<v Speaker 1>I called London that that same evening because that same evening,

1:25:22.960 --> 1:25:30.880
<v Speaker 1>in the in the back of the theater, theater, back

1:25:30.960 --> 1:25:35.519
<v Speaker 1>back of the club, in one corner, a lot of

1:25:35.560 --> 1:25:39.920
<v Speaker 1>girls were all singing, no woman, no crying, and I thought, wow,

1:25:41.000 --> 1:25:44.320
<v Speaker 1>we must record that, must record them when they play

1:25:44.360 --> 1:25:48.240
<v Speaker 1>in London. So I contacted the Stones and booked the

1:25:48.439 --> 1:25:55.599
<v Speaker 1>Rolling Stones, and Rolling Stones said the mobile studio, and

1:25:55.880 --> 1:26:00.360
<v Speaker 1>that's what happened. We wrote. Okay, you know, hard to

1:26:00.400 --> 1:26:04.360
<v Speaker 1>discern the truth, but I remember when Bob got cancer,

1:26:05.280 --> 1:26:09.479
<v Speaker 1>the word was that he amputated his foot. He would

1:26:09.520 --> 1:26:12.679
<v Speaker 1>have survived, but he wouldn't let them. What's the true story.

1:26:14.520 --> 1:26:17.880
<v Speaker 1>That's the true story. There's no way he would he

1:26:17.920 --> 1:26:23.719
<v Speaker 1>would have his toe amputated. Why because he loved sucking

1:26:24.840 --> 1:26:29.639
<v Speaker 1>as much as he loved music. And how did he

1:26:29.680 --> 1:26:42.839
<v Speaker 1>handle the inevitable end. He he handled it very obviously.

1:26:42.840 --> 1:26:46.000
<v Speaker 1>It was all it was all very sad because he was,

1:26:46.439 --> 1:26:48.320
<v Speaker 1>you know, there was nothing good shape. I went to

1:26:48.360 --> 1:26:50.519
<v Speaker 1>see him a couple of times when he was in Germany.

1:26:52.280 --> 1:26:56.519
<v Speaker 1>H he was, it was something good shape, you know.

1:26:59.640 --> 1:27:02.040
<v Speaker 1>Did he he ever expressed regret that he didn't have

1:27:02.160 --> 1:27:18.240
<v Speaker 1>his toe ampudated? No? No, m okay. So, uh, how

1:27:18.280 --> 1:27:20.599
<v Speaker 1>did you decide to build a studio a campus point?

1:27:21.840 --> 1:27:24.200
<v Speaker 1>I knew I didn't want to be recording in Jamaica,

1:27:26.080 --> 1:27:27.960
<v Speaker 1>there was I don't know, I don't know. I don't

1:27:27.960 --> 1:27:33.120
<v Speaker 1>know why I started the studio then in Nassa. I

1:27:33.200 --> 1:27:37.280
<v Speaker 1>mean I know a reason why, and that was because

1:27:38.040 --> 1:27:41.000
<v Speaker 1>you know, when you when you there's studios in a

1:27:41.160 --> 1:27:44.280
<v Speaker 1>city that tend to be a lot of people come

1:27:44.280 --> 1:27:46.559
<v Speaker 1>and hang around, and you get too many people hanging

1:27:46.600 --> 1:27:51.880
<v Speaker 1>around and that can be really a nightmare. In Nassa,

1:27:52.520 --> 1:27:56.840
<v Speaker 1>there was nobody, so there was nobody to kind of

1:27:56.840 --> 1:27:58.960
<v Speaker 1>interfere and come in and come out. And I got

1:27:58.960 --> 1:28:00.640
<v Speaker 1>this tune and I got that, and I like this

1:28:00.720 --> 1:28:03.439
<v Speaker 1>more and that and stuff like that. I wanted. I

1:28:03.520 --> 1:28:11.040
<v Speaker 1>wanted somewhere which was just away from anywhere, and and

1:28:11.160 --> 1:28:15.479
<v Speaker 1>it worked. It worked. We had some great recordings there.

1:28:16.040 --> 1:28:19.920
<v Speaker 1>How did Fly and Robbie get involved. I brought them in.

1:28:21.400 --> 1:28:25.160
<v Speaker 1>I brought them in, absolutely. I brought them in to

1:28:25.240 --> 1:28:29.360
<v Speaker 1>work with Grace because I wanted to you know, Grace

1:28:29.479 --> 1:28:36.519
<v Speaker 1>Jones's first record so quite well, second record, so half

1:28:36.560 --> 1:28:39.400
<v Speaker 1>of that, third record, so half of that. So I

1:28:39.400 --> 1:28:46.040
<v Speaker 1>thought we should should I should change producers and and

1:28:46.160 --> 1:28:51.639
<v Speaker 1>decided to make myself a producer. So that's that's that's

1:28:51.680 --> 1:28:55.519
<v Speaker 1>what I did. Really, I I wanted to bring the

1:28:55.600 --> 1:29:03.639
<v Speaker 1>Jamaican Jamaican rhythm section and Jamaican that musicians and bring

1:29:03.640 --> 1:29:11.880
<v Speaker 1>in from Europe a musician who played an instrument called

1:29:11.960 --> 1:29:15.559
<v Speaker 1>profits At the time, it was a new instrument and

1:29:15.680 --> 1:29:20.519
<v Speaker 1>he had relieved made one record which had been a

1:29:20.600 --> 1:29:24.680
<v Speaker 1>huge hit throughout Europe. So I got hold of him,

1:29:24.840 --> 1:29:27.400
<v Speaker 1>got him to come and they also I got the

1:29:27.439 --> 1:29:32.840
<v Speaker 1>guitarists who played on Merry and Faithful record, which is

1:29:33.280 --> 1:29:36.360
<v Speaker 1>a beautiful record if you don't know it, about the

1:29:36.360 --> 1:29:42.080
<v Speaker 1>Broken English record. Yes, the phenomenal record. So I brought

1:29:42.200 --> 1:29:46.759
<v Speaker 1>him down and it was it was a risk because

1:29:48.400 --> 1:29:52.000
<v Speaker 1>you know Jamaican musicians that they can be tough, you know.

1:29:52.520 --> 1:29:54.639
<v Speaker 1>And so they arrived at the studio and he has

1:29:55.760 --> 1:30:00.880
<v Speaker 1>Wally Badaroux who is from West Africa, very effeat um

1:30:01.200 --> 1:30:06.519
<v Speaker 1>pitch black guy, very very classy, and then there was

1:30:06.600 --> 1:30:12.679
<v Speaker 1>Barry Reynolds and you know, looked at first it could

1:30:12.680 --> 1:30:15.040
<v Speaker 1>be a little bit of a problem because they weren't

1:30:15.080 --> 1:30:21.160
<v Speaker 1>kind of getting on at first. And then and then

1:30:22.120 --> 1:30:25.760
<v Speaker 1>I I turned up and I think I managed to

1:30:25.800 --> 1:30:31.559
<v Speaker 1>pull them together. And what I did was take this

1:30:32.960 --> 1:30:41.599
<v Speaker 1>large picture which Jean Paul Good, Grace's boyfriend, baby father,

1:30:42.080 --> 1:30:46.360
<v Speaker 1>et cetera, had made this record, I'm sorry, made this

1:30:46.680 --> 1:30:51.639
<v Speaker 1>art and it was it was a group of great

1:30:51.680 --> 1:30:55.600
<v Speaker 1>photograph of Grace dressed like a sort of g I

1:30:57.080 --> 1:31:00.240
<v Speaker 1>sitting down like a sort of gr really tough thing,

1:31:00.439 --> 1:31:04.200
<v Speaker 1>and I had didn't blow it up very big and

1:31:04.600 --> 1:31:07.840
<v Speaker 1>in the studio and I told I told the band,

1:31:07.920 --> 1:31:10.760
<v Speaker 1>I said, the record we're going to be doing, it's

1:31:10.800 --> 1:31:16.400
<v Speaker 1>got to look like this picture. So um so everybody thought,

1:31:16.439 --> 1:31:20.040
<v Speaker 1>I guess it was a bit bit nuts, but that's

1:31:20.080 --> 1:31:25.080
<v Speaker 1>what we did. And in the first day it looked

1:31:25.120 --> 1:31:27.320
<v Speaker 1>as if it wasn't gonna work, because, you know, they

1:31:28.280 --> 1:31:32.679
<v Speaker 1>Wally Bad and the Jamaicans were really hitting it off.

1:31:33.479 --> 1:31:37.439
<v Speaker 1>And then the second day, after Wally Barou had played

1:31:37.520 --> 1:31:43.400
<v Speaker 1>something they couldn't believe, you know, how talented he was.

1:31:44.479 --> 1:31:50.720
<v Speaker 1>They hadn't experienced profit equipment before, so they were they

1:31:50.760 --> 1:31:56.320
<v Speaker 1>were certainly behind it. And and from then on it

1:31:56.360 --> 1:31:59.680
<v Speaker 1>was just it was it could not have been, that

1:32:00.080 --> 1:32:03.320
<v Speaker 1>could not have been better. We recorded, We just kept recording,

1:32:03.439 --> 1:32:08.360
<v Speaker 1>recording three albums pretty much. Okay, what about Robert Palmer?

1:32:08.479 --> 1:32:13.880
<v Speaker 1>Ultimately did his cocaine use kill him? I think it

1:32:14.320 --> 1:32:22.559
<v Speaker 1>damaged him, Yes, yes, yes, and it's really sad he Honestly,

1:32:23.840 --> 1:32:28.000
<v Speaker 1>he's one of the best of all. I learned a

1:32:28.160 --> 1:32:32.519
<v Speaker 1>huge amount from him. I learned anything that I had

1:32:32.760 --> 1:32:38.720
<v Speaker 1>known and learned was from him about African music. So

1:32:38.800 --> 1:32:43.439
<v Speaker 1>it was really through him that I signed Kizzania day first,

1:32:43.520 --> 1:32:48.559
<v Speaker 1>and then Sealef Guitar and angel Ki Show and all

1:32:49.000 --> 1:32:54.680
<v Speaker 1>the different I got totally into the African world. But

1:32:54.840 --> 1:32:58.680
<v Speaker 1>he he knew the music real he was so he

1:32:58.840 --> 1:33:02.639
<v Speaker 1>was so smart, so smart that he had a rotten

1:33:04.000 --> 1:33:10.320
<v Speaker 1>manager guy who was a rotten guy. H it goes,

1:33:10.479 --> 1:33:14.599
<v Speaker 1>this goes on there, probably because the person still around,

1:33:14.920 --> 1:33:18.760
<v Speaker 1>but it was a terrible terrible guy. Terrible terrible guy,

1:33:19.680 --> 1:33:24.000
<v Speaker 1>and you know, encouraged Robert to do what he should

1:33:24.000 --> 1:33:29.120
<v Speaker 1>not be doing and didn't do anything about really keep

1:33:29.200 --> 1:33:33.439
<v Speaker 1>him under control or getting him under control any any

1:33:34.920 --> 1:33:38.080
<v Speaker 1>I'm sure it could have been done if the person

1:33:38.160 --> 1:33:43.320
<v Speaker 1>that really cared enough for they didn't care. And it

1:33:43.360 --> 1:33:45.920
<v Speaker 1>was very sad. I mean, I love Robert prom he

1:33:46.000 --> 1:33:48.080
<v Speaker 1>was like, I don't know, he felt like a brother

1:33:48.160 --> 1:33:52.360
<v Speaker 1>to me. I learned. I learned a lot from him,

1:33:52.400 --> 1:33:54.840
<v Speaker 1>I really did. And how do you feel when he

1:33:54.880 --> 1:33:58.679
<v Speaker 1>had left the label? I was upset, he was upset.

1:34:00.400 --> 1:34:03.160
<v Speaker 1>He didn't he didn't he didn't want to his manage

1:34:03.200 --> 1:34:07.880
<v Speaker 1>and moved in there. Okay, so you have this great

1:34:07.920 --> 1:34:11.040
<v Speaker 1>success with you two, which is on distributed on Warner,

1:34:11.960 --> 1:34:14.720
<v Speaker 1>and then you don't have enough money to pay them

1:34:14.760 --> 1:34:18.640
<v Speaker 1>the royalties ultimately given percentage of the company. Go a

1:34:18.640 --> 1:34:25.000
<v Speaker 1>little deeper into what happened there. Well, one evening I

1:34:25.040 --> 1:34:32.200
<v Speaker 1>went back to my apartment in New York and I've

1:34:32.320 --> 1:34:36.520
<v Speaker 1>stitch on the radio and I heard the most incredible

1:34:38.040 --> 1:34:45.280
<v Speaker 1>drumming by by a drama musician. It was. It was

1:34:45.320 --> 1:34:51.600
<v Speaker 1>a song, but the drum pattern was just incredible and

1:34:51.800 --> 1:34:54.200
<v Speaker 1>I just couldn't leave it. I've never heard anything so good.

1:34:55.240 --> 1:34:59.760
<v Speaker 1>So I tracked down where it came from, and I've

1:35:00.000 --> 1:35:04.639
<v Speaker 1>on that it came from Washington, d C. So I thought, well,

1:35:04.680 --> 1:35:07.120
<v Speaker 1>I'd go down and check it out. So I went

1:35:07.160 --> 1:35:11.040
<v Speaker 1>down and I checked checked it out. And there was

1:35:11.080 --> 1:35:13.400
<v Speaker 1>a whole scene coming out of Washington, d C. At

1:35:13.439 --> 1:35:20.559
<v Speaker 1>that time. But it was very tough. I mean it was,

1:35:20.640 --> 1:35:29.640
<v Speaker 1>you know, it was very dangerous at that time. And

1:35:29.680 --> 1:35:32.920
<v Speaker 1>I I heard this one band, I thought they were great,

1:35:32.960 --> 1:35:35.519
<v Speaker 1>and then I saw another band. I thought they were great,

1:35:37.000 --> 1:35:41.040
<v Speaker 1>and I thought, you know something, maybe what what we

1:35:41.080 --> 1:35:43.519
<v Speaker 1>should do is what we did when the hard did

1:35:43.520 --> 1:35:48.760
<v Speaker 1>they come to do a film which can project what

1:35:49.200 --> 1:35:54.000
<v Speaker 1>story is all about. And so that's what I did.

1:35:55.280 --> 1:35:58.000
<v Speaker 1>I decided to do and I decided to do it

1:35:58.040 --> 1:36:01.840
<v Speaker 1>with a with a partner, a man, a good friend

1:36:01.840 --> 1:36:06.520
<v Speaker 1>of mine called Jeremy Thomas, was a really excellent filmmaker,

1:36:07.760 --> 1:36:10.880
<v Speaker 1>and he said he'd helped on it, but he was

1:36:11.600 --> 1:36:17.280
<v Speaker 1>waiting for a film that he had been prepared for,

1:36:17.560 --> 1:36:21.439
<v Speaker 1>which was called The Last Emperor, and he was waiting

1:36:21.800 --> 1:36:25.320
<v Speaker 1>until they could start shooting on that. So he said,

1:36:25.320 --> 1:36:28.599
<v Speaker 1>I might have to leave sometimes. So anyhow we got

1:36:28.640 --> 1:36:34.559
<v Speaker 1>started and then boom, the last temper suddenly got the

1:36:34.600 --> 1:36:38.439
<v Speaker 1>girl ahead to get financed and get done, and he left.

1:36:39.240 --> 1:36:45.960
<v Speaker 1>And I know nothing about making movies, and so you know,

1:36:46.200 --> 1:36:50.759
<v Speaker 1>I put some more money in when things weren't doing

1:36:50.760 --> 1:36:56.920
<v Speaker 1>too good they are et cetera. And ultimately it's you know,

1:36:57.880 --> 1:37:02.320
<v Speaker 1>the film wasn't really much good and so the music

1:37:02.360 --> 1:37:06.519
<v Speaker 1>didn't get any attention, didn't happen, and that was that,

1:37:06.880 --> 1:37:15.160
<v Speaker 1>and that's what that's what ultimately caused me to so

1:37:15.160 --> 1:37:19.599
<v Speaker 1>so iland and do that to the arrangement I did

1:37:19.640 --> 1:37:24.439
<v Speaker 1>with them, you too, first, you know, So I mean

1:37:24.479 --> 1:37:29.559
<v Speaker 1>nobody got hurt. Okay, in retrospect, nobody got hurt. What

1:37:29.720 --> 1:37:31.880
<v Speaker 1>happens when you tell Paul McGinnis, I don't have the

1:37:31.880 --> 1:37:35.880
<v Speaker 1>money to pay you. All I knowed there was no

1:37:37.360 --> 1:37:41.400
<v Speaker 1>there was no bad vibes. It was you know, it

1:37:41.520 --> 1:37:45.160
<v Speaker 1>was something which was wrong and could be fixed. And

1:37:45.200 --> 1:37:48.200
<v Speaker 1>so it got fixed. You know. I gave them a

1:37:48.200 --> 1:37:52.760
<v Speaker 1>piece of the company and everything. Okay, So that was

1:37:52.800 --> 1:37:54.840
<v Speaker 1>part of the deal. You said, listen, I can't afford

1:37:54.920 --> 1:37:57.400
<v Speaker 1>to pay you, and I'll give you part of the company.

1:37:57.720 --> 1:38:00.439
<v Speaker 1>It wasn't like you were negotiating back and forth. He said,

1:38:00.479 --> 1:38:06.240
<v Speaker 1>I'd I'd like a piece of the company. No, So

1:38:06.280 --> 1:38:09.680
<v Speaker 1>how did you ultimately decide to sell? I think I

1:38:09.720 --> 1:38:13.920
<v Speaker 1>think because I really screwed that whole thing up. You know,

1:38:14.080 --> 1:38:17.320
<v Speaker 1>the It was a bit of bad luck. But I've

1:38:17.360 --> 1:38:19.080
<v Speaker 1>had a lot of good luck, but it was a

1:38:19.080 --> 1:38:24.400
<v Speaker 1>bit of bad luck. Thing of the the last temper

1:38:26.240 --> 1:38:31.120
<v Speaker 1>suddenly being available where it was some time before it was,

1:38:32.400 --> 1:38:34.879
<v Speaker 1>they needs to raise all the finance to get it started.

1:38:35.720 --> 1:38:41.120
<v Speaker 1>And because if Jeremy had been around, um, I'm sure

1:38:41.560 --> 1:38:44.040
<v Speaker 1>one could have done something from that film and the

1:38:44.160 --> 1:38:48.920
<v Speaker 1>music from the d C at the period in that

1:38:49.040 --> 1:38:52.080
<v Speaker 1>period that had some wicked music, really really great music,

1:38:53.080 --> 1:38:57.080
<v Speaker 1>could have done something. So ultimately you go to work

1:38:57.160 --> 1:39:00.400
<v Speaker 1>for PolyGram the purchaser for ten years, then you go

1:39:00.439 --> 1:39:05.160
<v Speaker 1>in depending and then you're done. Do you feel that

1:39:05.200 --> 1:39:07.719
<v Speaker 1>the whole time you were involved in the music business

1:39:07.800 --> 1:39:11.639
<v Speaker 1>was a moment in time or you could replicate it today?

1:39:11.760 --> 1:39:16.320
<v Speaker 1>Do you miss it? I think I miss it because

1:39:16.400 --> 1:39:24.719
<v Speaker 1>of other things that I've really gotten into. Um, because

1:39:26.800 --> 1:39:30.920
<v Speaker 1>if it was going to stay active in the music business,

1:39:31.200 --> 1:39:33.960
<v Speaker 1>you've got to stay active in the music business. I mean,

1:39:34.000 --> 1:39:38.240
<v Speaker 1>you can't how fast it and you've got to stay

1:39:38.280 --> 1:39:41.680
<v Speaker 1>with it and follow up with it and everything. Otherwise

1:39:42.479 --> 1:39:46.040
<v Speaker 1>you let people down and I don't want to do that.

1:39:46.960 --> 1:39:52.719
<v Speaker 1>So no, that was that was That was pretty much.

1:39:55.360 --> 1:39:58.160
<v Speaker 1>You know, I mean, I'm doing what I'm doing now,

1:39:58.200 --> 1:40:04.240
<v Speaker 1>which I love doing. You know, they and the property

1:40:04.320 --> 1:40:08.519
<v Speaker 1>we have in Jamaica. You know, it's it's it's great.

1:40:08.840 --> 1:40:14.880
<v Speaker 1>It's really great. Means a lot of people, Yeah, learned

1:40:14.920 --> 1:40:19.200
<v Speaker 1>a lot. It's great. I love it. And to what

1:40:19.320 --> 1:40:21.760
<v Speaker 1>degreed do you still keep up on music and listen

1:40:21.760 --> 1:40:26.120
<v Speaker 1>to music. I don't sort of chase it all the time,

1:40:27.360 --> 1:40:30.400
<v Speaker 1>but if somebody, if someone is says sends something to

1:40:30.439 --> 1:40:33.080
<v Speaker 1>me or something, I'm immediately going to listen to it.

1:40:34.040 --> 1:40:37.240
<v Speaker 1>Um whether I'll feel it or not feel it, you

1:40:37.280 --> 1:40:41.960
<v Speaker 1>know what I mean. There wasn't an incredible record made

1:40:41.960 --> 1:40:46.000
<v Speaker 1>in Jamaica last year, which is really one of the

1:40:46.000 --> 1:40:49.880
<v Speaker 1>best records I've ever heard come out of Jamaica. I

1:40:49.920 --> 1:40:52.320
<v Speaker 1>had nothing to do with it, but it was really

1:40:52.360 --> 1:40:57.240
<v Speaker 1>really great. This course sets it up and if you

1:40:57.400 --> 1:40:59.640
<v Speaker 1>had been involved, would it have been much more commercially

1:40:59.640 --> 1:41:04.200
<v Speaker 1>success us all, Well, yes, I think so. But but

1:41:04.479 --> 1:41:06.240
<v Speaker 1>I would have had to have been involved in it

1:41:06.280 --> 1:41:08.840
<v Speaker 1>from the beginning of it rather than by the end

1:41:08.840 --> 1:41:10.960
<v Speaker 1>of it, because by the end of it, when it's

1:41:11.000 --> 1:41:13.720
<v Speaker 1>ready to be released and come out, it has all

1:41:13.800 --> 1:41:16.600
<v Speaker 1>the people around it and everybody's in place, and the

1:41:16.720 --> 1:41:21.920
<v Speaker 1>managers here and and the publishers there and they do

1:41:21.920 --> 1:41:24.960
<v Speaker 1>you know what I mean? Yeah, Okay, So if you

1:41:25.040 --> 1:41:28.720
<v Speaker 1>look back on your career and it's astounding, one of

1:41:28.760 --> 1:41:32.360
<v Speaker 1>the most legendary, if not the most legendary independent record

1:41:32.439 --> 1:41:35.400
<v Speaker 1>label at the time when music drove the culture. Is

1:41:35.439 --> 1:41:38.840
<v Speaker 1>it swy generous you were just one guy doing it?

1:41:39.000 --> 1:41:42.040
<v Speaker 1>Or can we take lessons from that? Can you give

1:41:42.040 --> 1:41:45.519
<v Speaker 1>any lessons to the younger generation? Well, I think that's it.

1:41:45.640 --> 1:41:48.559
<v Speaker 1>You know, if you find something that you really love doing,

1:41:49.520 --> 1:41:54.360
<v Speaker 1>I mean, that's the luckiest thing in the world, and

1:41:54.360 --> 1:41:57.200
<v Speaker 1>and one works on it and you have your ups

1:41:57.200 --> 1:42:01.320
<v Speaker 1>and downs and things like that, but um, you know,

1:42:01.560 --> 1:42:06.640
<v Speaker 1>it's it's it's it's so special you know when you

1:42:06.800 --> 1:42:14.360
<v Speaker 1>when when you're you see somebody performing and you know

1:42:14.439 --> 1:42:17.000
<v Speaker 1>where they've started and how they've come from and how

1:42:17.040 --> 1:42:21.760
<v Speaker 1>they've evolved. I Mean, the person I'm so proud of

1:42:21.880 --> 1:42:24.840
<v Speaker 1>is Angelie Kisa I don't know if you know, No,

1:42:25.200 --> 1:42:31.200
<v Speaker 1>sure you do, right. Well, she's fantastic. You know, I

1:42:32.560 --> 1:42:37.600
<v Speaker 1>signed on with her very early. I I didn't I

1:42:37.720 --> 1:42:39.840
<v Speaker 1>didn't tell her what to do directly what to do,

1:42:39.960 --> 1:42:43.040
<v Speaker 1>but you know, I was very supported to all the

1:42:43.080 --> 1:42:47.479
<v Speaker 1>way through and just slowly, in short ashes, just developed herself.

1:42:48.040 --> 1:42:51.040
<v Speaker 1>And I feel proud of that. And I love that,

1:42:51.520 --> 1:42:57.840
<v Speaker 1>you know, and and and I love music. I just do. Okay, Chris,

1:42:57.880 --> 1:42:59.720
<v Speaker 1>I want to thank you so much for taking the

1:42:59.760 --> 1:43:03.599
<v Speaker 1>time I'm telling your story, giving us this insight from

1:43:03.600 --> 1:43:07.960
<v Speaker 1>Golden Eyed. Thanks so much. Thank you. Until next time.

1:43:08.280 --> 1:43:31.720
<v Speaker 1>This is Bob left sets H