1 00:00:06,000 --> 00:00:24,000 Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing You. 2 00:00:27,600 --> 00:00:32,080 Speaker 1: Driftwood was written by my guest today, singer and guitarist 3 00:00:32,520 --> 00:00:36,800 Speaker 1: Justin Hayward. Listen to how he weaves together the orchestration 4 00:00:36,920 --> 00:00:41,520 Speaker 1: and the lyrics, chords spiraling up as the singer emerges 5 00:00:41,560 --> 00:00:44,879 Speaker 1: from a love affair, begging not to be left behind 6 00:00:45,360 --> 00:00:55,400 Speaker 1: Driftwood on the shore. Hayward is the pen and the 7 00:00:55,520 --> 00:00:59,000 Speaker 1: voice behind many of the moody blues hits, and his 8 00:00:59,080 --> 00:01:02,920 Speaker 1: influence on music has been as enduring as his influence 9 00:01:03,160 --> 00:01:07,080 Speaker 1: on me. And Hayward is still creating great music, just 10 00:01:07,240 --> 00:01:12,039 Speaker 1: a more modest kind, trying, as he says, to age gracefully. 11 00:01:12,120 --> 00:01:15,800 Speaker 1: I like quiet. I've kind of had enough of loud. 12 00:01:16,319 --> 00:01:19,120 Speaker 1: I do a solo show that's just acoustic, which I 13 00:01:19,200 --> 00:01:23,000 Speaker 1: really love, and I can hear every nuance. So I'm 14 00:01:23,040 --> 00:01:24,880 Speaker 1: trying to do it with a bit more dignity, and 15 00:01:24,920 --> 00:01:29,480 Speaker 1: that means quieter, I think. So here, But back when 16 00:01:29,480 --> 00:01:34,920 Speaker 1: you were beginning loud, you know, I was very lucky. 17 00:01:34,959 --> 00:01:37,679 Speaker 1: I mean, I come from a sort of middle class background, 18 00:01:37,760 --> 00:01:41,039 Speaker 1: and I had parents that were very understanding and encouraged 19 00:01:41,040 --> 00:01:44,039 Speaker 1: me all the way. And as long as I got 20 00:01:44,080 --> 00:01:47,720 Speaker 1: They were both teachers, so they got me through the exams, 21 00:01:47,760 --> 00:01:51,320 Speaker 1: so I had the qualifications that I needed from I 22 00:01:51,360 --> 00:01:54,040 Speaker 1: was lucky enough to go to a grammar school and 23 00:01:54,400 --> 00:01:57,120 Speaker 1: um then um, they said, well you can do what 24 00:01:57,200 --> 00:01:59,240 Speaker 1: you want as long as you get your five O levels. 25 00:01:59,760 --> 00:02:02,560 Speaker 1: So I did that, and then I went to work 26 00:02:02,600 --> 00:02:05,240 Speaker 1: for in an office for a while. For a couple 27 00:02:05,240 --> 00:02:08,440 Speaker 1: of months, while I was answering ads in the Melody Maker, 28 00:02:08,520 --> 00:02:12,079 Speaker 1: which was a newspaper that all musicians took that had 29 00:02:12,120 --> 00:02:16,680 Speaker 1: two or three pages of of situations, kind of vacant, 30 00:02:16,720 --> 00:02:19,280 Speaker 1: and I was firing off answers to ads all over 31 00:02:19,320 --> 00:02:21,960 Speaker 1: the place, and I had a reply from one and 32 00:02:22,000 --> 00:02:25,480 Speaker 1: it was it was said named singer once guitar player. 33 00:02:26,120 --> 00:02:28,680 Speaker 1: And I pitched up at this place in East London 34 00:02:29,400 --> 00:02:33,480 Speaker 1: and a guy called Marty Wilde opened the door, who 35 00:02:33,520 --> 00:02:35,040 Speaker 1: was one of my heroes. It was a rock and 36 00:02:35,160 --> 00:02:38,160 Speaker 1: roll singer from the late fifties early sixties, so lower 37 00:02:38,160 --> 00:02:40,680 Speaker 1: he was in a band, so he he had He 38 00:02:40,720 --> 00:02:43,680 Speaker 1: was a singer that like like an Elvis, like an 39 00:02:43,680 --> 00:02:47,160 Speaker 1: English Elvis, you know, because we act, yes a solo person, 40 00:02:47,400 --> 00:02:49,480 Speaker 1: we had lots of English elvis is because we didn't 41 00:02:49,480 --> 00:02:51,280 Speaker 1: have Elvis, you know. So we had with Cliff in 42 00:02:51,320 --> 00:02:53,679 Speaker 1: the Shadows, who are always my favorite, and we have 43 00:02:53,840 --> 00:02:57,000 Speaker 1: Marty and people like Vince Eager and Billy Fury. They 44 00:02:57,080 --> 00:03:01,200 Speaker 1: hold names like that, and Tommy Steele, of course, and 45 00:03:01,720 --> 00:03:03,919 Speaker 1: I thought wow. And he was six ft five Marty 46 00:03:03,960 --> 00:03:06,079 Speaker 1: and I'm six ft two, and it was so wow, 47 00:03:06,200 --> 00:03:09,679 Speaker 1: it's Marty wild. I had no idea, but I got 48 00:03:09,680 --> 00:03:13,480 Speaker 1: the job at seventeen playing for Marty and it put 49 00:03:13,520 --> 00:03:20,000 Speaker 1: me in London in ninety four, and um, that was 50 00:03:20,080 --> 00:03:22,400 Speaker 1: of course, I was to find out that was exactly 51 00:03:22,440 --> 00:03:25,400 Speaker 1: the place where you needed to be in Swindon, not 52 00:03:25,520 --> 00:03:31,080 Speaker 1: in Swindon. No, I never looked back, you know. I 53 00:03:31,240 --> 00:03:35,360 Speaker 1: was in London when that big whole swinging sixties, when 54 00:03:35,400 --> 00:03:38,960 Speaker 1: the Beatles arrived and suddenly it was all unfolding before me. 55 00:03:39,080 --> 00:03:42,120 Speaker 1: You were there, I was there, yes, in it. So 56 00:03:42,200 --> 00:03:44,040 Speaker 1: when you perform, how long are you with Marty and 57 00:03:44,040 --> 00:03:45,920 Speaker 1: you're doing you're just playing guitar from Marty. Yes, I 58 00:03:45,920 --> 00:03:49,160 Speaker 1: was playing guitar from Marty and watching him and learning 59 00:03:49,160 --> 00:03:52,080 Speaker 1: from him and trying to edge myself in to do 60 00:03:52,160 --> 00:03:54,920 Speaker 1: a song in his sets, which he very gracioshly help 61 00:03:55,000 --> 00:03:58,560 Speaker 1: me do wrote, And it's not something I wrote. I 62 00:03:58,560 --> 00:04:01,040 Speaker 1: think it was a cover version. Are you doing any 63 00:04:01,080 --> 00:04:06,000 Speaker 1: songwriting them? The most important thing Marty told me was 64 00:04:06,080 --> 00:04:09,840 Speaker 1: that he was a songwriter and he'd been. Um he 65 00:04:09,960 --> 00:04:11,720 Speaker 1: was writing under a different name because he had a 66 00:04:11,800 --> 00:04:18,320 Speaker 1: lotusy deal. But I he told me then that to 67 00:04:18,480 --> 00:04:21,360 Speaker 1: survive in the business, you must have your own identity, 68 00:04:21,400 --> 00:04:24,880 Speaker 1: in your own style that people recognize, and it must 69 00:04:24,880 --> 00:04:28,600 Speaker 1: be unique to you. And that doesn't work, I get it, 70 00:04:28,680 --> 00:04:31,960 Speaker 1: you know, go back and do something else. So um 71 00:04:32,360 --> 00:04:35,840 Speaker 1: living obscurity, Yes, yes, yes, I was quite compared to 72 00:04:35,880 --> 00:04:38,440 Speaker 1: do that. You were you? Really? I think I still am. 73 00:04:38,720 --> 00:04:41,640 Speaker 1: People know them some of the music, but I'm a 74 00:04:41,680 --> 00:04:44,480 Speaker 1: bit obscure. So I started writing songs when I was 75 00:04:44,520 --> 00:04:46,599 Speaker 1: with Marty. And you're known as much as a great 76 00:04:46,640 --> 00:04:50,200 Speaker 1: songwriter as you are as a guitarist and vocalist and performer, 77 00:04:50,960 --> 00:04:55,440 Speaker 1: and windows songwriting become well using Marty in a cruel 78 00:04:55,480 --> 00:04:58,520 Speaker 1: way is Marty is still my hero, and I still 79 00:04:58,560 --> 00:05:00,480 Speaker 1: know him and I love him very much actually for 80 00:05:00,560 --> 00:05:03,440 Speaker 1: what he gave to me. But from that moment on, 81 00:05:03,520 --> 00:05:06,240 Speaker 1: I was always looking for a stepping stone and how 82 00:05:06,279 --> 00:05:10,120 Speaker 1: to push this forward. And so as soon as I 83 00:05:10,320 --> 00:05:13,800 Speaker 1: got the job with the Moody Blues in sixty six. 84 00:05:13,800 --> 00:05:16,159 Speaker 1: In the summer of sixty six, I was looking to 85 00:05:16,240 --> 00:05:19,360 Speaker 1: do my songs with a that was the vehicle. I thought, 86 00:05:19,360 --> 00:05:25,719 Speaker 1: here's another vehicle that I can use. Since two years 87 00:05:25,760 --> 00:05:27,560 Speaker 1: before that, Yeah, I made a couple of records. They 88 00:05:27,600 --> 00:05:31,039 Speaker 1: were lousy, but I've done a lot of demos and 89 00:05:31,080 --> 00:05:36,200 Speaker 1: things like that, and a lot of demos that we 90 00:05:36,320 --> 00:05:39,760 Speaker 1: did then with the Moodies in a couple of my 91 00:05:39,800 --> 00:05:42,120 Speaker 1: songs right early on, one could Fly Me High and 92 00:05:42,160 --> 00:05:46,640 Speaker 1: another one called Cities and me and Mike the got 93 00:05:46,680 --> 00:05:48,720 Speaker 1: the guy who brought me to this rhythm and blues 94 00:05:48,720 --> 00:05:52,120 Speaker 1: bland that was the Moody Blues. We're trying to get 95 00:05:52,120 --> 00:05:55,000 Speaker 1: our songs done, but we would do to forty five 96 00:05:55,040 --> 00:05:57,719 Speaker 1: minutes sets, one with rhythm and blues stuff and it 97 00:05:57,800 --> 00:06:01,359 Speaker 1: just wasn't very good at it, and then another set 98 00:06:01,400 --> 00:06:04,479 Speaker 1: with all our own material, and the rhythm blue set 99 00:06:04,520 --> 00:06:06,400 Speaker 1: would go down quite well because people knew it, but 100 00:06:06,480 --> 00:06:14,039 Speaker 1: the original material be like it was very memorable. No, well, 101 00:06:14,080 --> 00:06:17,360 Speaker 1: I thought it was good, but it needs a following 102 00:06:17,400 --> 00:06:21,080 Speaker 1: with the band had formed and you were brought in. Yes, 103 00:06:21,320 --> 00:06:25,000 Speaker 1: that's right that the band had been going and someone left, 104 00:06:25,040 --> 00:06:28,320 Speaker 1: and then two guys left. I sent some songs again 105 00:06:28,360 --> 00:06:30,840 Speaker 1: to Eric Byrden because I knew somebody in his office. 106 00:06:31,680 --> 00:06:35,280 Speaker 1: And Eric must have thought these are quite interesting and 107 00:06:35,320 --> 00:06:37,200 Speaker 1: gave them to Mike because he'd met Mike at a 108 00:06:37,240 --> 00:06:41,800 Speaker 1: club and Mike I said, we're looking for somebody, and well, 109 00:06:42,360 --> 00:06:44,400 Speaker 1: Eric must have said, well, here's all this stuff I 110 00:06:44,440 --> 00:06:47,520 Speaker 1: received from this guy, with all these songs and some pictures. 111 00:06:48,120 --> 00:06:49,839 Speaker 1: And the next thing I know, I had a call 112 00:06:49,920 --> 00:06:54,120 Speaker 1: out of the blue from Mike Pinder. How does that evolved? Once? 113 00:06:54,120 --> 00:06:56,960 Speaker 1: You do? They have hit records by then? Yes, they 114 00:06:57,000 --> 00:07:00,560 Speaker 1: had one Go Now, which was a song was a 115 00:07:00,600 --> 00:07:05,160 Speaker 1: cover of Bessie Banks record. And who becomes the decider? 116 00:07:05,279 --> 00:07:09,960 Speaker 1: What goes on? Days of future past? Well, in that time, 117 00:07:10,000 --> 00:07:14,440 Speaker 1: we're just grabbing at straws. Anything. We might not continue. 118 00:07:14,560 --> 00:07:17,360 Speaker 1: But you've just got to pay the rent, that's all. 119 00:07:17,440 --> 00:07:19,520 Speaker 1: I just got to pay the petrol to get in 120 00:07:19,560 --> 00:07:21,400 Speaker 1: the car. You know, I don't know whether I'm going 121 00:07:21,400 --> 00:07:23,000 Speaker 1: to be in this group for two months. I don't 122 00:07:23,000 --> 00:07:25,120 Speaker 1: know where there's a stepping stone. I don't know whether 123 00:07:25,160 --> 00:07:28,200 Speaker 1: it has any future. I'm not sure whether I like them, 124 00:07:28,200 --> 00:07:29,800 Speaker 1: and I don't think they like me. I'm from a 125 00:07:29,960 --> 00:07:34,400 Speaker 1: very different background, you know. I mean, all of these 126 00:07:34,440 --> 00:07:37,160 Speaker 1: things to go through your mind. I mean I'm at nineteen, Yes, 127 00:07:37,280 --> 00:07:39,280 Speaker 1: all of these things in your mind. Of course. Yeah, 128 00:07:39,360 --> 00:07:42,200 Speaker 1: you're just a kid, and you just wonder if there's 129 00:07:42,200 --> 00:07:45,240 Speaker 1: a door out of here that's maybe opens to something 130 00:07:45,800 --> 00:07:49,760 Speaker 1: better or something like that. But we made fly Me High, 131 00:07:49,920 --> 00:07:53,040 Speaker 1: which was a song of mine, and in sixty six 132 00:07:53,280 --> 00:07:58,920 Speaker 1: and BBC took that up. Then we had a debt 133 00:07:59,520 --> 00:08:02,800 Speaker 1: to death Care, the recording company. They bought us some equipment, 134 00:08:03,880 --> 00:08:06,760 Speaker 1: so they had a call on us on our time, 135 00:08:07,640 --> 00:08:11,120 Speaker 1: and they came to us with an idea of making 136 00:08:11,160 --> 00:08:16,560 Speaker 1: a demonstration stereo record that would demonstrate their stereo systems. 137 00:08:16,560 --> 00:08:20,880 Speaker 1: They had consumer division that made stereo systems and they 138 00:08:20,880 --> 00:08:23,400 Speaker 1: wanted to sell them. They had the biggest, the second 139 00:08:23,480 --> 00:08:27,240 Speaker 1: largest classical catalog in the world apart from Deutsche Grammophone, 140 00:08:27,520 --> 00:08:29,200 Speaker 1: which was why in the end they were bought by 141 00:08:29,200 --> 00:08:33,679 Speaker 1: Deutsche Gramophone, so they now Deutscha Gramophone, Phillips Phonogram Universal 142 00:08:33,960 --> 00:08:37,200 Speaker 1: now has all of the great master works, classical masker 143 00:08:37,240 --> 00:08:42,760 Speaker 1: books and um So they wanted to demonstrate that rock 144 00:08:42,800 --> 00:08:46,160 Speaker 1: and roll could be interesting in stereo as well as 145 00:08:46,400 --> 00:08:49,240 Speaker 1: classical music because it was confined to classical music at 146 00:08:49,280 --> 00:08:53,480 Speaker 1: the time. And then UM, so they asked us to 147 00:08:53,640 --> 00:08:57,120 Speaker 1: make considered to think as they're kind of house band, 148 00:08:57,559 --> 00:09:03,000 Speaker 1: to make UM a rock version of Divorce Jack. So 149 00:09:03,200 --> 00:09:05,400 Speaker 1: we kind of said that, what what does that? What 150 00:09:05,520 --> 00:09:07,480 Speaker 1: does that mean? It's like, well, you get some time 151 00:09:07,480 --> 00:09:10,120 Speaker 1: in the studio because they had these beautiful recording studios 152 00:09:10,120 --> 00:09:15,040 Speaker 1: with great engineer. So it's like, okay, okay, anything you 153 00:09:15,080 --> 00:09:18,200 Speaker 1: know to try and get in the studio. Anything. And 154 00:09:20,000 --> 00:09:21,959 Speaker 1: there's a bit of a car crash. A lot. Five 155 00:09:22,000 --> 00:09:24,440 Speaker 1: different people have five different versions of what happened. This 156 00:09:24,480 --> 00:09:28,120 Speaker 1: is what I believe happened. Peter Knight, the Orchestral and 157 00:09:28,160 --> 00:09:30,240 Speaker 1: You came to see us at the one hundred Club 158 00:09:30,760 --> 00:09:33,559 Speaker 1: and he saw us doing our second set where people 159 00:09:33,600 --> 00:09:40,200 Speaker 1: were like that, and he said to us afterwards, maybe 160 00:09:40,559 --> 00:09:43,280 Speaker 1: you're not going to get Divorce checked together. Maybe we 161 00:09:43,360 --> 00:09:46,200 Speaker 1: do it the other way around. We record your songs 162 00:09:47,000 --> 00:09:50,400 Speaker 1: and I take the themes from those songs and do 163 00:09:50,480 --> 00:09:53,920 Speaker 1: an orchestral romantic treatment of them, and then we've got 164 00:09:53,960 --> 00:09:57,280 Speaker 1: this juxtaposition with classical and it's like, okay, that sounds 165 00:09:57,280 --> 00:09:59,960 Speaker 1: a great idea, because then we we just we get 166 00:10:00,000 --> 00:10:03,160 Speaker 1: in the studio and do our own songs, which we did. 167 00:10:03,400 --> 00:10:06,880 Speaker 1: We went in the studio, we had we gave ourselves. 168 00:10:06,960 --> 00:10:09,720 Speaker 1: It was very sort of diplomatic things. You get two songs, 169 00:10:09,720 --> 00:10:13,800 Speaker 1: you get two songs, then knock something up. And we'd 170 00:10:13,840 --> 00:10:17,200 Speaker 1: already recorded Nights in White Satin six months before have 171 00:10:17,200 --> 00:10:21,040 Speaker 1: been released. No, no, it had been released by the 172 00:10:21,520 --> 00:10:24,920 Speaker 1: It was recorded for the BBC. That's a rather strange 173 00:10:24,920 --> 00:10:28,640 Speaker 1: story because we recorded it for the BBC for a 174 00:10:28,679 --> 00:10:32,160 Speaker 1: program called Easy Beat, and we were listening to it 175 00:10:32,200 --> 00:10:36,920 Speaker 1: on the in our van going up the motorway, and 176 00:10:38,840 --> 00:10:42,080 Speaker 1: me and some of the others were a bit stoned. 177 00:10:42,200 --> 00:10:44,520 Speaker 1: So we're listening to it and and we were thinking. 178 00:10:44,920 --> 00:10:46,880 Speaker 1: We pulled over onto another row and we thought, there's 179 00:10:46,880 --> 00:10:49,760 Speaker 1: something spooky about that, you know, it's kind of spooky 180 00:10:49,840 --> 00:10:53,040 Speaker 1: that song, something weird about it. It's kind of empty. 181 00:10:53,160 --> 00:10:56,120 Speaker 1: And so when we got to the gig, we phoned 182 00:10:56,200 --> 00:10:58,600 Speaker 1: up the BBC and we got the engineer and we 183 00:10:58,679 --> 00:11:01,760 Speaker 1: said we'd go vinced ourselves, we'd never do it any better. 184 00:11:01,840 --> 00:11:04,559 Speaker 1: We'd convinced ourselves you must do this. Then it's a 185 00:11:04,559 --> 00:11:06,920 Speaker 1: moment in time. It's a magic and I can never 186 00:11:06,960 --> 00:11:10,360 Speaker 1: do it again. And we got to the game and 187 00:11:10,360 --> 00:11:12,200 Speaker 1: we found them up and we said, you know, we 188 00:11:12,280 --> 00:11:15,360 Speaker 1: did that session this morning with that song Nights on it. 189 00:11:15,400 --> 00:11:18,360 Speaker 1: And they said yeah, and they said could we We 190 00:11:18,400 --> 00:11:21,839 Speaker 1: said could we have a copy, and they said, oh no, 191 00:11:21,960 --> 00:11:24,200 Speaker 1: we we used the tape. We re record over the 192 00:11:24,240 --> 00:11:26,240 Speaker 1: tape because this tape, you know, that's what it's for, 193 00:11:26,720 --> 00:11:28,880 Speaker 1: so you can rerecord over it. I was like, oh 194 00:11:28,920 --> 00:11:32,960 Speaker 1: my god, oh my god, We'll never be able to 195 00:11:32,960 --> 00:11:36,960 Speaker 1: do it again. What happened, Well, or six months later, 196 00:11:37,040 --> 00:11:40,520 Speaker 1: we did record it for Decca and in a better studio. 197 00:11:40,559 --> 00:11:43,280 Speaker 1: I hope in a better studio. I was never sure 198 00:11:43,320 --> 00:11:46,760 Speaker 1: it was better until about five years ago and some 199 00:11:46,880 --> 00:11:50,120 Speaker 1: old radio guy came up to me and said, you 200 00:11:50,160 --> 00:11:54,080 Speaker 1: remember that tape that you did. He said, well, actually 201 00:11:54,120 --> 00:11:57,800 Speaker 1: they did a transcription for overseas broadcast for they used 202 00:11:57,800 --> 00:12:02,040 Speaker 1: to do military broadcast overseas. And he said, and I've 203 00:12:02,040 --> 00:12:05,520 Speaker 1: got a copy of it. You got the original back? 204 00:12:05,679 --> 00:12:08,240 Speaker 1: Got the original back? And which was better? Were you right? 205 00:12:08,280 --> 00:12:10,800 Speaker 1: The original was better? I think it probably was a 206 00:12:10,920 --> 00:12:13,720 Speaker 1: thing simpler, Dick Cavitt told me on this show. The 207 00:12:13,760 --> 00:12:16,720 Speaker 1: talk show host Dick Cavitt said that when he finished 208 00:12:16,760 --> 00:12:20,360 Speaker 1: his seminal show you know five years on ABC, that 209 00:12:20,520 --> 00:12:24,160 Speaker 1: his great run he had with that original show, he 210 00:12:24,200 --> 00:12:26,600 Speaker 1: said them was over. They said that all the shows 211 00:12:26,600 --> 00:12:29,440 Speaker 1: were on these boxes in a room with these tapes, 212 00:12:29,840 --> 00:12:31,920 Speaker 1: and they said, do you want them? We're changing formats. 213 00:12:31,960 --> 00:12:33,840 Speaker 1: We're not going to be able to reuse these tapes 214 00:12:34,640 --> 00:12:38,000 Speaker 1: some of the shows they had recorded over. Uh. And 215 00:12:38,040 --> 00:12:40,400 Speaker 1: then then but when the show ended, if I remember 216 00:12:40,480 --> 00:12:42,640 Speaker 1: him correctly, he said, we're just gonna throw this stuff 217 00:12:42,640 --> 00:12:44,320 Speaker 1: in the garbage. We're just gonna burn it and we're 218 00:12:44,320 --> 00:12:46,079 Speaker 1: going to just throw it in a in a disposal. 219 00:12:46,640 --> 00:12:48,280 Speaker 1: We just have no use for we we don't know 220 00:12:48,320 --> 00:12:50,400 Speaker 1: what to do. There was no aftermarket. Then they said 221 00:12:50,400 --> 00:12:52,600 Speaker 1: do you want this stuff, you can have it, and 222 00:12:52,640 --> 00:12:54,440 Speaker 1: he boxed up every single one of them, had him 223 00:12:54,440 --> 00:12:56,960 Speaker 1: all released on DVD years later, and he held onto 224 00:12:56,960 --> 00:13:01,600 Speaker 1: everything and that's his legacy now on the internet and beyond. Now. 225 00:13:01,880 --> 00:13:06,360 Speaker 1: So then, did this show really that's great? So the 226 00:13:07,120 --> 00:13:08,840 Speaker 1: but when you get back to the Divorceaque and the 227 00:13:09,000 --> 00:13:11,320 Speaker 1: decade in the studio and the and the classical thing, 228 00:13:11,520 --> 00:13:14,840 Speaker 1: did you guys ever do the divorce Jaque New World 229 00:13:14,840 --> 00:13:18,160 Speaker 1: Symphony lift. Did you ever make a no? No? And 230 00:13:18,760 --> 00:13:20,840 Speaker 1: we just did our own songs. We were selfish, you know. 231 00:13:21,080 --> 00:13:24,679 Speaker 1: We saw it as a way full away in and 232 00:13:24,880 --> 00:13:26,800 Speaker 1: it was released. So no one's got a tape of 233 00:13:26,840 --> 00:13:29,400 Speaker 1: that land around. We can listen to the Divorce Act sessions. 234 00:13:29,480 --> 00:13:33,719 Speaker 1: Absolutely not no no. When did you realize that? When 235 00:13:33,720 --> 00:13:35,240 Speaker 1: do you sit there and say I think I'm gonna 236 00:13:35,240 --> 00:13:38,560 Speaker 1: stick around with these guys in this works? Well after 237 00:13:38,720 --> 00:13:41,720 Speaker 1: Nights came out, Yeah after Well After Night Nights was 238 00:13:41,760 --> 00:13:45,320 Speaker 1: a hit immediately in France. Then it was resisted over 239 00:13:45,400 --> 00:13:49,200 Speaker 1: here because it's just not an AM record, so they 240 00:13:49,200 --> 00:13:52,559 Speaker 1: really they could make a two minute ten second version 241 00:13:52,600 --> 00:13:55,480 Speaker 1: of Tuesday Afternoon, which they released and actually it was 242 00:13:55,520 --> 00:13:58,120 Speaker 1: a hit here in the in the US a song 243 00:13:58,160 --> 00:14:01,520 Speaker 1: called Tuesday Afternoon from the same album, and only about 244 00:14:01,520 --> 00:14:04,280 Speaker 1: six months later did they release Nights, and then it 245 00:14:04,360 --> 00:14:07,920 Speaker 1: just stuck around for ages, so then we had to 246 00:14:08,320 --> 00:14:14,360 Speaker 1: Then Decker was run by wonderful, elderly gentleman. It was 247 00:14:14,440 --> 00:14:18,040 Speaker 1: owned by a man called Sir Edward Lewis, who was 248 00:14:18,360 --> 00:14:21,200 Speaker 1: charming but would say things like you'd be talking to 249 00:14:21,320 --> 00:14:23,200 Speaker 1: him about something and he and he said to me 250 00:14:23,440 --> 00:14:26,320 Speaker 1: one day he novited me to lunch, and I was 251 00:14:26,360 --> 00:14:28,960 Speaker 1: trying to persuade him to keep the studios open. And 252 00:14:29,000 --> 00:14:33,240 Speaker 1: then halfway through my spield, he said, like to drive fast? 253 00:14:33,320 --> 00:14:36,360 Speaker 1: Do you? He came to us after days of future 254 00:14:36,360 --> 00:14:38,440 Speaker 1: passed and said, listen, I don't know what you boys 255 00:14:38,440 --> 00:14:42,120 Speaker 1: are doing. People seem to like it. So here's the studio. 256 00:14:42,840 --> 00:14:48,520 Speaker 1: All of the staff are yours, lousy royalty, fantastic studio. Best. Yes, 257 00:14:49,000 --> 00:14:51,880 Speaker 1: And so that's where we stayed for the next seven years, 258 00:14:51,880 --> 00:14:55,640 Speaker 1: and we made several great albums. It was the song 259 00:14:55,680 --> 00:14:59,640 Speaker 1: called Question in that finally got to the top of 260 00:14:59,680 --> 00:15:02,440 Speaker 1: the chart arts, and it happened all at once, and 261 00:15:02,560 --> 00:15:06,680 Speaker 1: that's when I suddenly thought, maybe maybe this is it, 262 00:15:06,800 --> 00:15:08,560 Speaker 1: you know, maybe I'm meant to be with this group 263 00:15:10,120 --> 00:15:12,960 Speaker 1: for four years into it? Yeah, four years into it, Yes, 264 00:15:13,880 --> 00:15:19,800 Speaker 1: maybe that's it. Was everybody getting along. Question really is 265 00:15:21,760 --> 00:15:25,960 Speaker 1: everybody wants the best for everybody, the best for the project, 266 00:15:26,240 --> 00:15:28,920 Speaker 1: the best for the group, and the best for themselves. 267 00:15:29,040 --> 00:15:33,080 Speaker 1: And that's sometimes difficult to reconcile with a group of men. 268 00:15:33,360 --> 00:15:37,960 Speaker 1: There's always egos that are involved, and a dynamic where 269 00:15:38,000 --> 00:15:41,280 Speaker 1: some people rise up and some people diminish, some people 270 00:15:43,520 --> 00:15:45,720 Speaker 1: retreat right out. Of the door, who was calling the 271 00:15:45,720 --> 00:15:48,520 Speaker 1: shots and the band, who was in charge? A manager? 272 00:15:48,600 --> 00:15:53,360 Speaker 1: You fired Epstein, right, he was your manager first, Yes, fired? Yea. 273 00:15:53,760 --> 00:15:55,920 Speaker 1: It was now. He was in love with the Beatles 274 00:15:56,120 --> 00:15:59,680 Speaker 1: and that with them, that was that was where he belonged. 275 00:15:59,720 --> 00:16:03,720 Speaker 1: And he was a lovely, elegant, beautiful man. Nothing to 276 00:16:03,760 --> 00:16:07,520 Speaker 1: do with us at all, you know. And we didn't 277 00:16:07,520 --> 00:16:10,960 Speaker 1: really have a manager, and that was going back to 278 00:16:11,000 --> 00:16:12,360 Speaker 1: you one of your points. We didn't have an A 279 00:16:12,440 --> 00:16:14,680 Speaker 1: and R guy, so we didn't have anybody to please. 280 00:16:15,040 --> 00:16:17,200 Speaker 1: We didn't have to make hit records. We just had 281 00:16:17,240 --> 00:16:20,280 Speaker 1: these elderly gentlemen saying, you do what you don't want, 282 00:16:20,640 --> 00:16:22,480 Speaker 1: I'll get on with it. People seem to like it. 283 00:16:22,960 --> 00:16:26,960 Speaker 1: People are buying stories. Stereo and FM was just starting, 284 00:16:27,320 --> 00:16:30,200 Speaker 1: you know, in America. Your stuff is perfect for that. 285 00:16:30,360 --> 00:16:32,560 Speaker 1: Who would have thought it no kind of thing. And 286 00:16:33,040 --> 00:16:35,040 Speaker 1: we had no A and R guy standing over, no 287 00:16:35,120 --> 00:16:39,280 Speaker 1: pressure to make singles to have success, just albums. And 288 00:16:39,360 --> 00:16:43,440 Speaker 1: those albums weren't prog rock. They were just nice, romantic 289 00:16:43,640 --> 00:16:46,640 Speaker 1: songs that were from the heart. Most of the time 290 00:16:46,760 --> 00:16:50,840 Speaker 1: they failed, but there were some things that really are 291 00:16:50,960 --> 00:16:53,920 Speaker 1: kind of magic in there, and not everything was like that. 292 00:16:54,440 --> 00:16:58,760 Speaker 1: So that brings us to like when the whole business 293 00:16:58,880 --> 00:17:01,840 Speaker 1: is starting to change, change in that way, as far 294 00:17:01,880 --> 00:17:05,520 Speaker 1: as you're concerned, it's starting. People are starting to realize 295 00:17:05,520 --> 00:17:09,560 Speaker 1: there's big money, and I'm moving on our guy eventually. 296 00:17:10,040 --> 00:17:14,000 Speaker 1: Um no, no, we never, no. No. The closest I 297 00:17:14,080 --> 00:17:17,240 Speaker 1: got was to work with one of my heroes, which 298 00:17:17,320 --> 00:17:19,840 Speaker 1: was Tony Visconti in the eighties. And if I could 299 00:17:19,920 --> 00:17:22,520 Speaker 1: have one decade of music only to listen to, it 300 00:17:22,520 --> 00:17:27,040 Speaker 1: would be the eighties with artists, Tears for Fears to 301 00:17:27,119 --> 00:17:30,280 Speaker 1: all of that wonderful stuff that was made in the eighties. 302 00:17:30,440 --> 00:17:32,359 Speaker 1: And he was the producer. No, I don't think he 303 00:17:32,400 --> 00:17:38,240 Speaker 1: did them. He did, um David Bowie and he was 304 00:17:38,240 --> 00:17:43,160 Speaker 1: an American living in London, very attractive, and I met 305 00:17:43,240 --> 00:17:45,399 Speaker 1: him on a project that I was asked to do 306 00:17:45,480 --> 00:17:48,000 Speaker 1: for the BBC, and I thought, this is the guy 307 00:17:48,480 --> 00:17:51,760 Speaker 1: and that I could actually have what I want, but 308 00:17:52,040 --> 00:17:56,040 Speaker 1: I personally wanted. This doesn't sound as if I'm aiming 309 00:17:56,200 --> 00:17:59,680 Speaker 1: very high and I'm not discounting everything that went before it, 310 00:17:59,720 --> 00:18:04,000 Speaker 1: which is which is wonderful, which is wonderful. But then 311 00:18:04,080 --> 00:18:07,080 Speaker 1: we made Wildest Dreams together, which for me was the 312 00:18:07,240 --> 00:18:11,400 Speaker 1: perfect pop record, and that's what I really wanted. Why 313 00:18:11,400 --> 00:18:15,639 Speaker 1: Why was it the perfect one compared that the mix 314 00:18:15,880 --> 00:18:19,080 Speaker 1: was right and there was some lovely programming in it. 315 00:18:19,680 --> 00:18:22,879 Speaker 1: Tony had such a wonderful ear and made such beautiful 316 00:18:23,119 --> 00:18:26,919 Speaker 1: sounds and still one of my greatest friends. And that 317 00:18:27,920 --> 00:18:30,960 Speaker 1: everything came together right then. So when you guys, would 318 00:18:31,080 --> 00:18:33,920 Speaker 1: you would all record together? Describe what recording the early 319 00:18:33,960 --> 00:18:36,760 Speaker 1: albums like Days of Future. It was all five of 320 00:18:36,800 --> 00:18:39,400 Speaker 1: you in the room together, yes, but it was Days 321 00:18:39,400 --> 00:18:43,080 Speaker 1: of Future pass with songs that we'd rehearsed beforehand, and 322 00:18:43,119 --> 00:18:45,200 Speaker 1: we were ready, and I think we did. We did 323 00:18:45,200 --> 00:18:48,919 Speaker 1: our songs in three days. We already had nights. The 324 00:18:48,960 --> 00:18:51,600 Speaker 1: other thing, I chose the afternoon because it was the story. 325 00:18:51,760 --> 00:18:53,560 Speaker 1: We decided to do the story of the day in 326 00:18:53,600 --> 00:18:56,320 Speaker 1: the life of one guy, and I'll have the afternoon. 327 00:18:57,520 --> 00:19:02,600 Speaker 1: Already got nights, you know, so and Tuesday afternoon Nice 328 00:19:02,720 --> 00:19:04,720 Speaker 1: and Mike had this lovely song that he asked me 329 00:19:04,760 --> 00:19:07,280 Speaker 1: to single, Dawn is a Feeling. So that was the 330 00:19:07,320 --> 00:19:11,200 Speaker 1: top and tail in the middle of it, and we 331 00:19:11,200 --> 00:19:14,840 Speaker 1: we did our stuff in maybe three days, and it 332 00:19:14,960 --> 00:19:18,720 Speaker 1: introduced us to Tony Clark, are record producer and a 333 00:19:18,760 --> 00:19:21,399 Speaker 1: great engineer called Derek varneldso was a real kind of 334 00:19:21,880 --> 00:19:25,159 Speaker 1: nerdy kind of bar. The producer was Tony Clark. And 335 00:19:25,200 --> 00:19:26,800 Speaker 1: what did he do for you? Was he have any 336 00:19:26,920 --> 00:19:29,600 Speaker 1: value to you? Yes? He was one of those record 337 00:19:29,600 --> 00:19:33,159 Speaker 1: producers that you must know how this goes as a 338 00:19:33,280 --> 00:19:35,760 Speaker 1: as a as the actor that you are. But Tony 339 00:19:36,119 --> 00:19:38,720 Speaker 1: wouldn't talk about the music about you should do that 340 00:19:38,840 --> 00:19:41,879 Speaker 1: cord and you should play that instead of do you know? 341 00:19:42,320 --> 00:19:46,480 Speaker 1: He would say, well, I see the sky darkening and 342 00:19:46,640 --> 00:19:50,680 Speaker 1: then in the corner there's a pin of light and 343 00:19:50,680 --> 00:19:53,480 Speaker 1: and and the image raine through onto this side of 344 00:19:53,520 --> 00:19:57,760 Speaker 1: your face and you you turn and yes, And I'd 345 00:19:57,800 --> 00:20:01,159 Speaker 1: go downstairs and they say, was he stoned out of 346 00:20:01,200 --> 00:20:06,040 Speaker 1: his mind? No? I was. I go downstairs and they 347 00:20:06,040 --> 00:20:08,520 Speaker 1: said what's he want needs to do? Then? Just and 348 00:20:08,560 --> 00:20:12,000 Speaker 1: I said, well, I'll play E, A and G. Remember, 349 00:20:15,840 --> 00:20:17,919 Speaker 1: but I loved that whole thing, and I would have 350 00:20:17,960 --> 00:20:21,200 Speaker 1: that in my mind. Pretty useless is when it goes 351 00:20:21,320 --> 00:20:23,640 Speaker 1: to the chords. But he was that kind of producer 352 00:20:23,680 --> 00:20:26,639 Speaker 1: And was three days you burned off that album? You did? Yeah, 353 00:20:26,640 --> 00:20:28,960 Speaker 1: are part of that album? And then the orchestral part. 354 00:20:29,720 --> 00:20:32,960 Speaker 1: The orchestra never plays with us on our songs on 355 00:20:33,040 --> 00:20:35,280 Speaker 1: days of future past. The sounds that you hear on 356 00:20:35,440 --> 00:20:37,960 Speaker 1: nights and Tuesday afternoon and dawn is a feeling and 357 00:20:38,000 --> 00:20:41,640 Speaker 1: another morning. The orchestral that things that sound like orchestral 358 00:20:41,760 --> 00:20:45,040 Speaker 1: are that instrument called the meloitron. They have that. Orchestra 359 00:20:45,119 --> 00:20:49,320 Speaker 1: it has that orchestral sound. And so the orchestra did 360 00:20:49,359 --> 00:20:52,400 Speaker 1: the links between us. The orchestra was recorded on a Saturday. 361 00:20:52,440 --> 00:20:56,440 Speaker 1: On the Saturday, our stuff was done like Tuesday, Wednesday, 362 00:20:56,440 --> 00:20:59,600 Speaker 1: Thursday as the orchestra recorded in a three hour session 363 00:20:59,600 --> 00:21:01,520 Speaker 1: on the side today, I was the only one that 364 00:21:01,600 --> 00:21:03,280 Speaker 1: was there from the group because I had nothing else 365 00:21:03,320 --> 00:21:06,080 Speaker 1: to do, and they let me sit in the studio. 366 00:21:06,160 --> 00:21:08,240 Speaker 1: You couldn't go in the control room in those days. 367 00:21:08,400 --> 00:21:11,280 Speaker 1: You weren't invited. You have to be invited into the 368 00:21:11,320 --> 00:21:14,280 Speaker 1: control room, which really happened. They would play it back 369 00:21:14,320 --> 00:21:18,080 Speaker 1: to you on the studio floor and I watched them. 370 00:21:18,240 --> 00:21:21,520 Speaker 1: The orchestra, this bunch of gypsy is like Eastern European 371 00:21:21,560 --> 00:21:27,240 Speaker 1: string players. They were fabulous, fabulous, and they rehearsed it 372 00:21:27,320 --> 00:21:30,480 Speaker 1: once through live. They took a tea break for half 373 00:21:30,520 --> 00:21:32,960 Speaker 1: an hour, then they recorded it live in one take. 374 00:21:34,000 --> 00:21:36,560 Speaker 1: Bang that's it with Peter Knights sitting at the piano, 375 00:21:36,680 --> 00:21:41,640 Speaker 1: conducting with one hand and just strings. No, the whole orchestra. 376 00:21:41,840 --> 00:21:45,120 Speaker 1: The whole orchestras. The gyps is were the important part 377 00:21:45,240 --> 00:21:47,280 Speaker 1: because they were the string section that was going to 378 00:21:47,320 --> 00:21:50,239 Speaker 1: create this mood. The rest of it was filling in 379 00:21:50,320 --> 00:21:52,840 Speaker 1: the background and stuff like that. It's it's it's a 380 00:21:52,880 --> 00:21:55,159 Speaker 1: trip tike, it's the it's the moody blues. It's an 381 00:21:55,240 --> 00:21:57,760 Speaker 1: orchestra and the melotrin at its own it's the sixth 382 00:21:57,840 --> 00:22:00,159 Speaker 1: member of the orchestra, of the band. Sort of how 383 00:22:00,200 --> 00:22:02,680 Speaker 1: does that? Where do you find that? Tell people what 384 00:22:02,840 --> 00:22:06,959 Speaker 1: it is? Who designed it, who developed it, who played it? Okay, 385 00:22:07,480 --> 00:22:09,960 Speaker 1: Mike Pinda played it. He worked for that company for 386 00:22:10,040 --> 00:22:13,680 Speaker 1: a while, Melotronics. It was designed as a sound effects 387 00:22:13,760 --> 00:22:17,120 Speaker 1: instrument to be used where in radio shows and things 388 00:22:17,200 --> 00:22:19,920 Speaker 1: like that. Had Spike Jones kind of sounds on it, 389 00:22:20,720 --> 00:22:27,160 Speaker 1: so like playing and trains rushing through tunnels and cockerells 390 00:22:27,359 --> 00:22:32,440 Speaker 1: and spaceships, yes, whish and things like that. Had four manuals, 391 00:22:32,800 --> 00:22:35,680 Speaker 1: but a small part of it was orchestral sounds. Was 392 00:22:35,840 --> 00:22:41,480 Speaker 1: the an eight minute tape loop of things like strings, brass, flutes, 393 00:22:41,960 --> 00:22:44,520 Speaker 1: and organ and a corral kind of thing. It was 394 00:22:44,600 --> 00:22:50,119 Speaker 1: just one small section, and Mike remembered this instrument because 395 00:22:50,480 --> 00:22:54,280 Speaker 1: we couldn't get our songs to work. Mine and his 396 00:22:54,680 --> 00:22:58,879 Speaker 1: didn't really work with piano and or vox continental so 397 00:22:59,000 --> 00:23:01,560 Speaker 1: we said, I remember this instrument called the melotron had 398 00:23:01,600 --> 00:23:05,199 Speaker 1: these orchestral sounds. So he knew there was one up 399 00:23:05,240 --> 00:23:07,960 Speaker 1: in Birmingham at a social club. So actually he and 400 00:23:08,040 --> 00:23:09,760 Speaker 1: I and the road he went up there and we 401 00:23:10,160 --> 00:23:12,480 Speaker 1: it was stuck up in the corner. They'd forgotten about it. 402 00:23:13,320 --> 00:23:15,800 Speaker 1: We paid them twenty five pounds for it and we 403 00:23:15,920 --> 00:23:18,440 Speaker 1: brought it back to London and Mike got rid of 404 00:23:18,600 --> 00:23:23,879 Speaker 1: all of the Spike Jones type sounds and replace them 405 00:23:23,920 --> 00:23:28,720 Speaker 1: with the orchestral sounds. So there was like four small 406 00:23:28,880 --> 00:23:32,600 Speaker 1: manuals on it, keyboards like that, a couple of octaves each, 407 00:23:33,240 --> 00:23:36,680 Speaker 1: so you had eight seconds to hold this note down 408 00:23:36,880 --> 00:23:39,560 Speaker 1: and then the tape would stop and it would spring back. 409 00:23:39,880 --> 00:23:42,480 Speaker 1: Was on the spring loaded, so you had to roll 410 00:23:42,720 --> 00:23:47,800 Speaker 1: your hands over this instrument to cover it all the time. Dirt. 411 00:23:49,440 --> 00:23:52,119 Speaker 1: The other guys weren't really interested when I played them 412 00:23:52,240 --> 00:23:54,879 Speaker 1: nights until Mike went on the melotrons and nights of 413 00:23:54,960 --> 00:24:00,720 Speaker 1: my sentiment dirt. Oh that's interesting. Moody lose a singer 414 00:24:00,800 --> 00:24:05,879 Speaker 1: and songwriter Justin Hayward. In his song Tuesday Afternoon, you 415 00:24:06,000 --> 00:24:09,400 Speaker 1: can hear him playing around with the motifs that eventually 416 00:24:09,480 --> 00:24:17,440 Speaker 1: would come to characterize the band the trees. I've got 417 00:24:17,520 --> 00:24:26,680 Speaker 1: to find out those gentle voices explain it all with 418 00:24:26,880 --> 00:24:37,240 Speaker 1: the side that's the melotron. You can hear Hayward's signature 419 00:24:37,359 --> 00:24:41,320 Speaker 1: genre mixing too, from folky ballad to a hockey talk 420 00:24:41,520 --> 00:24:48,800 Speaker 1: happy trails bassline. All this influenced another musical hero of mine, 421 00:24:49,320 --> 00:24:53,040 Speaker 1: John Anderson, the front man for Yes, but that band 422 00:24:53,119 --> 00:24:56,000 Speaker 1: almost never got off the ground because of the pragmatic 423 00:24:56,160 --> 00:24:59,920 Speaker 1: parents of legendary drummer Bill Bruford. He left the bond 424 00:25:00,000 --> 00:25:02,040 Speaker 1: after months. His parents said he had to be a lawyer. 425 00:25:02,600 --> 00:25:06,280 Speaker 1: Wait a minute, were just started. So Bill went to 426 00:25:06,400 --> 00:25:10,840 Speaker 1: Leeds University and two months later we played there and 427 00:25:10,960 --> 00:25:14,080 Speaker 1: he stood in the audience thinking this is really a 428 00:25:14,160 --> 00:25:17,040 Speaker 1: great band. What am I doing here at university? And 429 00:25:17,119 --> 00:25:19,440 Speaker 1: within two weeks he was back in the band. My 430 00:25:19,640 --> 00:25:23,840 Speaker 1: interview with Yes frontman John Anderson is in our archives 431 00:25:24,240 --> 00:25:28,040 Speaker 1: at Here's the Thing dot org coming up. Justin Hayward 432 00:25:28,119 --> 00:25:30,960 Speaker 1: inspires me to sing a few bars of his anti 433 00:25:31,080 --> 00:25:44,520 Speaker 1: war song You and Me. I'm Alec Baldwin and you 434 00:25:44,600 --> 00:25:48,480 Speaker 1: were listening to Here's the Thing. My guest, Justin Hayward 435 00:25:48,600 --> 00:25:52,159 Speaker 1: sings and plays guitar on this track. I'm just a singer, 436 00:25:52,480 --> 00:25:54,920 Speaker 1: but the title is a joke. You can hear the 437 00:25:55,040 --> 00:25:58,800 Speaker 1: bomb bast in his guitar solo, unusually showy for the 438 00:25:58,880 --> 00:26:02,639 Speaker 1: Moody Blues, matched by lyrics about the power of musicians 439 00:26:02,920 --> 00:26:24,760 Speaker 1: to change the world anyway exactly when we left Justin Hayward, 440 00:26:24,800 --> 00:26:27,760 Speaker 1: it was ninety seven and The Moody Blues had just 441 00:26:27,920 --> 00:26:32,160 Speaker 1: released their classic album Days of Future Past. The album 442 00:26:32,240 --> 00:26:39,040 Speaker 1: as a hit. No, it's not even even modestly kind 443 00:26:39,200 --> 00:26:41,760 Speaker 1: of it. It was no, not really when you were 444 00:26:41,840 --> 00:26:45,360 Speaker 1: pleased with Were you pleased with it? I wouldn't say 445 00:26:45,440 --> 00:26:49,200 Speaker 1: pleased I was. I listened to it back and I thought, 446 00:26:49,280 --> 00:26:52,680 Speaker 1: this is so beautiful. Nobody's going to buy this. There's 447 00:26:52,720 --> 00:26:55,800 Speaker 1: nothing commercial on it at all. It's something for sort 448 00:26:55,840 --> 00:27:00,480 Speaker 1: of classical boards and people who like romantic things. There's 449 00:27:00,520 --> 00:27:05,000 Speaker 1: not nothing there. It's not like I'm baby told me yesterday, 450 00:27:05,080 --> 00:27:11,240 Speaker 1: I've got I can't get nothing like that in front 451 00:27:11,240 --> 00:27:14,640 Speaker 1: of a bunch of girls. Yeah, nothing, so very nice 452 00:27:15,080 --> 00:27:18,159 Speaker 1: and very very beautiful. What was it? What happens that 453 00:27:18,280 --> 00:27:21,040 Speaker 1: it keeps going forward? But did start this thing where 454 00:27:21,119 --> 00:27:24,639 Speaker 1: people started becoming interested in stereo, and you had the 455 00:27:24,760 --> 00:27:28,320 Speaker 1: birth of FM in America with London Records and suddenly 456 00:27:28,520 --> 00:27:32,640 Speaker 1: FM radio instead of having records. I'm ashamed to say 457 00:27:32,800 --> 00:27:35,399 Speaker 1: actually that I was always a bit disappointed in George 458 00:27:35,520 --> 00:27:37,720 Speaker 1: who was working down the road with at Abbey Road 459 00:27:37,800 --> 00:27:41,760 Speaker 1: with Beatles. Would his idea of stereo was the drums 460 00:27:41,800 --> 00:27:44,240 Speaker 1: on the left and the vocals on the right, you know, 461 00:27:44,320 --> 00:27:48,840 Speaker 1: George Martin. Yes, And whereas our stuff was a beautiful 462 00:27:48,920 --> 00:27:53,240 Speaker 1: stereo picture, beautifully recorded, and of course for FM radio 463 00:27:53,920 --> 00:27:56,800 Speaker 1: it's like, wow, this is what we need. This is 464 00:27:56,920 --> 00:28:00,760 Speaker 1: kind of more cinematic thing. Yes, it's itch and deep 465 00:28:00,880 --> 00:28:04,840 Speaker 1: and wide and everything is in an interesting place. And 466 00:28:05,920 --> 00:28:08,320 Speaker 1: it was just lucky that it that had happened like that. 467 00:28:08,480 --> 00:28:11,960 Speaker 1: So it started to take off slowly. Decca recognized this 468 00:28:12,119 --> 00:28:14,879 Speaker 1: stereo thing is rock and roll is gonna work. So 469 00:28:15,560 --> 00:28:19,399 Speaker 1: then they it's like back in the studio, boys, and 470 00:28:20,119 --> 00:28:24,000 Speaker 1: we need another album. And so within three months we 471 00:28:24,119 --> 00:28:26,239 Speaker 1: were back in the studio. We know, we know, as 472 00:28:26,320 --> 00:28:28,520 Speaker 1: time goes on, and when do you or any members 473 00:28:28,560 --> 00:28:32,119 Speaker 1: of the band started to get itchy, they want to 474 00:28:32,160 --> 00:28:33,960 Speaker 1: maybe do something else, They want to go on their own, 475 00:28:34,040 --> 00:28:36,480 Speaker 1: as is inevitably. And then were there were any judgment 476 00:28:36,520 --> 00:28:38,760 Speaker 1: of the people in the band because the band begin 477 00:28:38,880 --> 00:28:42,480 Speaker 1: to outlive its usefulness to you or to other members, 478 00:28:42,960 --> 00:28:45,160 Speaker 1: or do they stay solid for a long time, all 479 00:28:45,240 --> 00:28:48,600 Speaker 1: of those things that you've just said, because it's about people. 480 00:28:48,960 --> 00:28:51,840 Speaker 1: It's not so much about the music and the band. 481 00:28:51,920 --> 00:28:56,120 Speaker 1: It's about people and people's lives change. You know, I 482 00:28:56,240 --> 00:28:59,160 Speaker 1: didn't have anything at the beginning. I just heard a 483 00:28:59,320 --> 00:29:04,560 Speaker 1: girlfriend done a car, nothing to lose. You know, it's 484 00:29:04,600 --> 00:29:07,920 Speaker 1: people with money that worry about money. It's millionaires that 485 00:29:08,040 --> 00:29:11,840 Speaker 1: worry about money, isn't it. It's not guys with nothing. 486 00:29:12,640 --> 00:29:16,040 Speaker 1: A couple of famous bands, very famous bands. People would 487 00:29:16,040 --> 00:29:17,560 Speaker 1: say to me who were in the bands, there were 488 00:29:17,600 --> 00:29:19,440 Speaker 1: there were two things they thought was the beginning of 489 00:29:19,480 --> 00:29:22,120 Speaker 1: the dissolution of the band. One was they made a 490 00:29:22,160 --> 00:29:23,680 Speaker 1: lot of money, and some of these guys would rather 491 00:29:23,720 --> 00:29:26,600 Speaker 1: stay home and play music for themselves or with their friends. 492 00:29:27,120 --> 00:29:29,200 Speaker 1: It wasn't they were like, hey man, I've had enough music. 493 00:29:29,960 --> 00:29:33,440 Speaker 1: I've had enough of going to work, and the next 494 00:29:33,440 --> 00:29:36,480 Speaker 1: thing you know, they're in their castle outside of town, 495 00:29:37,160 --> 00:29:39,680 Speaker 1: on their estate, and they were in their own studio 496 00:29:39,800 --> 00:29:42,880 Speaker 1: going boom boom. They're just smoking a joint and relaxing 497 00:29:42,920 --> 00:29:45,280 Speaker 1: and having a glass of wine. And also the drugs 498 00:29:45,320 --> 00:29:47,200 Speaker 1: were a big part of the dissolution of some bands 499 00:29:47,280 --> 00:29:50,520 Speaker 1: because people just made them less disciplined. Did you see 500 00:29:50,600 --> 00:29:55,640 Speaker 1: that around you? Absolutely, You've described it perfectly, and not 501 00:29:55,760 --> 00:29:59,000 Speaker 1: particularly me myself. May I have a kind of I 502 00:29:59,120 --> 00:30:01,560 Speaker 1: feel a kind of jew people say to me now 503 00:30:01,840 --> 00:30:04,520 Speaker 1: I still It was like you still going, yeah, well, 504 00:30:04,640 --> 00:30:06,440 Speaker 1: you enjoy it, don't you. I said, no, I don't 505 00:30:06,560 --> 00:30:09,440 Speaker 1: enjoy it. As an overused word, you know, why should 506 00:30:09,480 --> 00:30:13,320 Speaker 1: I enjoy everything all the time? And I'm enjoying this now, 507 00:30:13,880 --> 00:30:16,640 Speaker 1: my god, it's ethic Baldwin, didn't they You know? Yeah, 508 00:30:16,920 --> 00:30:19,400 Speaker 1: But I don't have to enjoy it. I do feel 509 00:30:19,440 --> 00:30:21,480 Speaker 1: a kind of duty to do it because I can, 510 00:30:21,920 --> 00:30:24,560 Speaker 1: and it's something it's all kind of all I've got, really, 511 00:30:25,080 --> 00:30:27,520 Speaker 1: so I have to do that. And I always felt 512 00:30:27,600 --> 00:30:31,880 Speaker 1: that there was a time, yes seventy four, when I 513 00:30:31,960 --> 00:30:34,760 Speaker 1: could see things slipped. One of the guys just didn't 514 00:30:34,800 --> 00:30:38,880 Speaker 1: want to do it anymore, and we just made no plans. 515 00:30:39,320 --> 00:30:42,640 Speaker 1: Nothing was said that couldn't be unsaid. Fortunately it was 516 00:30:42,760 --> 00:30:45,400 Speaker 1: said a few years later, within four years it was 517 00:30:45,480 --> 00:30:49,080 Speaker 1: said that couldn't be unsaid. But we just drifted apart 518 00:30:49,120 --> 00:30:52,200 Speaker 1: for a while. And you were married at the time, 519 00:30:52,240 --> 00:30:54,600 Speaker 1: by seventy four in did you when? When did you have? 520 00:30:54,640 --> 00:30:57,040 Speaker 1: You have one child? And you had your child when 521 00:30:57,880 --> 00:31:01,680 Speaker 1: seventy two, so by seven for your your husband and 522 00:31:01,720 --> 00:31:04,560 Speaker 1: a father got responsibility, and did I started to affect 523 00:31:04,720 --> 00:31:06,120 Speaker 1: the work as well. You're sitting there going I don't 524 00:31:06,120 --> 00:31:09,960 Speaker 1: necessarily want to go on the road. No, not really, No, No, 525 00:31:10,120 --> 00:31:13,360 Speaker 1: I don't think that did um Now I was. I 526 00:31:13,440 --> 00:31:16,680 Speaker 1: was also selfish. I just wanted if you are this 527 00:31:16,880 --> 00:31:19,720 Speaker 1: is all very curious, and I don't want to stop 528 00:31:19,800 --> 00:31:23,080 Speaker 1: you in mid flow, but I I'm going to say this, 529 00:31:24,920 --> 00:31:31,520 Speaker 1: it's a curious. I've been I'm contemplating my own ghost 530 00:31:32,560 --> 00:31:38,520 Speaker 1: for most of my life, and because there's always that, 531 00:31:38,840 --> 00:31:42,920 Speaker 1: I always have to look. I'm being reminded here we 532 00:31:43,000 --> 00:31:46,920 Speaker 1: are now talking about the Justin that was from seventeen 533 00:31:47,000 --> 00:31:51,600 Speaker 1: years old to thirty years old. So this ghost is 534 00:31:51,680 --> 00:31:55,760 Speaker 1: always with me and I use him all the time. 535 00:31:55,880 --> 00:31:58,280 Speaker 1: I see pictures of him all the time. I discussed 536 00:31:58,360 --> 00:32:01,400 Speaker 1: him all the time. I use his experience. I draw 537 00:32:01,480 --> 00:32:04,840 Speaker 1: on his experiences and the love and the emotions that 538 00:32:04,960 --> 00:32:07,400 Speaker 1: he had all of the time. But it is a 539 00:32:07,560 --> 00:32:11,479 Speaker 1: curious thing. I don't mean to stop you in your tracks, 540 00:32:12,480 --> 00:32:17,200 Speaker 1: but it is a true thing. And um it's the 541 00:32:17,360 --> 00:32:21,000 Speaker 1: same for most people of my age in the in 542 00:32:21,200 --> 00:32:25,120 Speaker 1: this business, because the most valuable commodity in this business, 543 00:32:25,160 --> 00:32:31,240 Speaker 1: as you know, is youth. And um. So although it's 544 00:32:31,360 --> 00:32:34,320 Speaker 1: always interesting to talk and people of course want to 545 00:32:34,400 --> 00:32:38,360 Speaker 1: know about these old things, it's still that I have 546 00:32:38,680 --> 00:32:46,800 Speaker 1: to contemplate this ghost of justin every day. Does it 547 00:32:46,880 --> 00:32:50,120 Speaker 1: trouble you? Does it eri? Does it irritate you? I don't. 548 00:32:52,160 --> 00:32:53,560 Speaker 1: You don't have to say if you don't want to. 549 00:32:53,600 --> 00:32:57,280 Speaker 1: But people have much more of an identification with music 550 00:32:58,000 --> 00:33:00,760 Speaker 1: and songs and sound, and they with movies. If they 551 00:33:00,800 --> 00:33:03,240 Speaker 1: lay there and they die, you say to them, what's 552 00:33:03,280 --> 00:33:05,520 Speaker 1: the thing you remember most, and they'll hit They're going, 553 00:33:05,920 --> 00:33:15,640 Speaker 1: there's a leaveless tree and age. That's what they remember. Songs, music, songs. 554 00:33:15,920 --> 00:33:18,720 Speaker 1: You can never forget that, that there's that ghost that 555 00:33:18,840 --> 00:33:21,800 Speaker 1: you are, But that guy made music that lives forever. 556 00:33:22,040 --> 00:33:25,480 Speaker 1: People are cooling. Yeah, so, and really, really what you're saying, 557 00:33:25,640 --> 00:33:28,320 Speaker 1: and you've you've just set me right back here, because 558 00:33:28,600 --> 00:33:32,280 Speaker 1: who cares about your bloody ghosts? Mate? You know, it's 559 00:33:32,360 --> 00:33:36,320 Speaker 1: the music. And I absolutely agree with you, because I 560 00:33:36,440 --> 00:33:39,560 Speaker 1: can listen to body or the evil Is or a 561 00:33:39,600 --> 00:33:43,800 Speaker 1: knacking coal and it doesn't matter. I'm not thinking about them, 562 00:33:44,680 --> 00:33:46,960 Speaker 1: you know, as people. I'm just thinking about actually me 563 00:33:47,560 --> 00:33:49,680 Speaker 1: and what it means to me in my heart and 564 00:33:50,080 --> 00:33:53,200 Speaker 1: how it makes me feel. And and that's it. Yes, 565 00:33:53,560 --> 00:33:59,000 Speaker 1: So disregard that that stuff. I would send you a 566 00:33:59,040 --> 00:34:01,400 Speaker 1: bill for this therapy session. Now when you guys, you 567 00:34:01,480 --> 00:34:05,000 Speaker 1: guys eventually stopped performing, eventually stopped for about four years. Yeah, 568 00:34:05,120 --> 00:34:08,200 Speaker 1: who caused who? And says let's try. Well it was. 569 00:34:08,520 --> 00:34:11,360 Speaker 1: It was a wonderful time for me because I became 570 00:34:11,640 --> 00:34:14,759 Speaker 1: a father and I discovered I actually started having a 571 00:34:14,880 --> 00:34:17,439 Speaker 1: life outside of the group. I hadn't had a life 572 00:34:17,640 --> 00:34:20,440 Speaker 1: outside of the group. I've just been this guy. I 573 00:34:20,440 --> 00:34:24,120 Speaker 1: had just been that ghost and that people wanted to photograph, 574 00:34:24,360 --> 00:34:28,120 Speaker 1: you know, and a kind of pretty boy from the 575 00:34:28,480 --> 00:34:32,279 Speaker 1: sixties or whatever, and you made nice music and I 576 00:34:32,520 --> 00:34:35,480 Speaker 1: was that character. But suddenly I had a life and 577 00:34:35,600 --> 00:34:38,120 Speaker 1: I became me. It's like, whoa what would be me? 578 00:34:38,480 --> 00:34:42,800 Speaker 1: And I was and um and that was great. And 579 00:34:42,840 --> 00:34:45,240 Speaker 1: I was lucky enough to have a big hit solo 580 00:34:45,400 --> 00:34:47,799 Speaker 1: hit with a song called Forever Autumn, which was from 581 00:34:49,200 --> 00:34:51,160 Speaker 1: the H. G. Wells story a musical version of the 582 00:34:51,280 --> 00:34:53,600 Speaker 1: hdu L story at the War of the World, and 583 00:34:54,080 --> 00:34:55,920 Speaker 1: that kind of put me on top of the pops 584 00:34:56,200 --> 00:34:59,600 Speaker 1: every night, and suddenly people were saying, oh, you're you're 585 00:34:59,680 --> 00:35:02,320 Speaker 1: just and I would you know, you got that blonde 586 00:35:02,360 --> 00:35:05,480 Speaker 1: air that cos you know, like and that was that 587 00:35:05,640 --> 00:35:08,960 Speaker 1: was real fun. What happened when we came back together 588 00:35:09,320 --> 00:35:13,120 Speaker 1: was that a guy called Jerry Winetrobe made the phone call. 589 00:35:13,239 --> 00:35:16,319 Speaker 1: We met Jerry Wintrobe in the early seventies when music 590 00:35:16,440 --> 00:35:20,040 Speaker 1: started becoming into stadiums, and he walked into our dressing 591 00:35:20,120 --> 00:35:22,600 Speaker 1: room once in about ninety two and said, you don't 592 00:35:22,640 --> 00:35:25,600 Speaker 1: need these promoters. Why didn't you promote yourselves? Look at 593 00:35:25,640 --> 00:35:28,040 Speaker 1: all those people were You're getting five thousand bucks, there's 594 00:35:28,320 --> 00:35:31,000 Speaker 1: you know, there's eight thousand people here. What are you doing? 595 00:35:31,960 --> 00:35:34,160 Speaker 1: And so we were like, oh, yeah, well all right, 596 00:35:35,440 --> 00:35:37,279 Speaker 1: and he said, if we lose money on one gig, 597 00:35:37,360 --> 00:35:39,080 Speaker 1: we lose it, but we can make it on these 598 00:35:39,120 --> 00:35:41,000 Speaker 1: other things, that we had a new way of touring, 599 00:35:42,239 --> 00:35:45,279 Speaker 1: And of course he was desperately disappointed when we um 600 00:35:46,280 --> 00:35:50,920 Speaker 1: Um decided to drift apart, so he was always calling, 601 00:35:51,200 --> 00:35:52,800 Speaker 1: did you stay in touch with the band when the 602 00:35:52,840 --> 00:35:55,840 Speaker 1: band drifted apart? Not really? You didn't you you you'd 603 00:35:55,920 --> 00:35:59,560 Speaker 1: you'd exhausted that not not really. It's just you don't 604 00:35:59,640 --> 00:36:03,760 Speaker 1: have to be friends. There's just you're in a group together, 605 00:36:03,840 --> 00:36:07,160 Speaker 1: you've had success together. You often can't choose that we 606 00:36:07,280 --> 00:36:10,200 Speaker 1: your friends, but they probably were. I'm probably the group 607 00:36:10,320 --> 00:36:12,759 Speaker 1: member from hell because I'm the guy always just I 608 00:36:12,800 --> 00:36:14,680 Speaker 1: don't want to do it my way. I'm not going 609 00:36:14,719 --> 00:36:17,360 Speaker 1: to tell you how what it is, but I'm going 610 00:36:17,440 --> 00:36:20,080 Speaker 1: to do it. Yeah that's all right, but do this 611 00:36:20,960 --> 00:36:23,640 Speaker 1: better if you do it this way. See, I look 612 00:36:23,680 --> 00:36:26,239 Speaker 1: at other bands where they're in each other's lives so much. 613 00:36:26,280 --> 00:36:28,480 Speaker 1: They spent so much time together than when they drift apart. 614 00:36:28,600 --> 00:36:31,160 Speaker 1: They've kind of had enough. Yeah you were best friends 615 00:36:31,200 --> 00:36:34,400 Speaker 1: with any of them? Not really, But I wasn't certainly 616 00:36:34,520 --> 00:36:38,200 Speaker 1: wasn't enemies. There's no we were no we we we 617 00:36:38,360 --> 00:36:44,080 Speaker 1: were we We had this common bond that's unbreakable. We 618 00:36:44,400 --> 00:36:47,800 Speaker 1: had the same cathartic experience every night, and that's a 619 00:36:48,239 --> 00:36:52,360 Speaker 1: very powerful thing to have to share between between people. 620 00:36:53,280 --> 00:36:56,280 Speaker 1: Let's talk about that for a second. When you would perform, 621 00:36:57,000 --> 00:36:59,200 Speaker 1: I'm sure when you perform live, it's very similar to 622 00:36:59,320 --> 00:37:02,560 Speaker 1: the theatrical experience versus the film and television experience, where 623 00:37:03,040 --> 00:37:04,640 Speaker 1: you're doing take off to take off to take in 624 00:37:04,680 --> 00:37:07,080 Speaker 1: films and you're trying to kind of buff those edges 625 00:37:07,120 --> 00:37:09,680 Speaker 1: and make it just so. When you do it live, 626 00:37:11,200 --> 00:37:13,120 Speaker 1: get one shot at it, and I want to make 627 00:37:13,160 --> 00:37:16,200 Speaker 1: it right in the middle of the note. And then 628 00:37:16,280 --> 00:37:18,200 Speaker 1: if you get right in the middle of the note, 629 00:37:19,400 --> 00:37:22,680 Speaker 1: it creates a kind of magic that sprinkles down and 630 00:37:22,840 --> 00:37:28,520 Speaker 1: the audience brings something to it that's affecting and life enhancing, 631 00:37:28,640 --> 00:37:33,000 Speaker 1: and that's absolutely wonderful. But when it's gone, what was 632 00:37:33,040 --> 00:37:35,480 Speaker 1: your preparation? Do you have to warm ups and baby 633 00:37:35,560 --> 00:37:37,640 Speaker 1: your voice and no smoking and no this and no 634 00:37:37,800 --> 00:37:41,680 Speaker 1: alcohol and no, no, no you didn't No, I'm afraid not. No. 635 00:37:42,120 --> 00:37:44,800 Speaker 1: I've always I'm such a lazy person. I've always considered 636 00:37:44,880 --> 00:37:47,040 Speaker 1: my voice should look after me. I don't have to 637 00:37:47,080 --> 00:37:52,160 Speaker 1: look after my voice. So you come back after four 638 00:37:52,239 --> 00:37:54,560 Speaker 1: years wine trap gets you to come to have you've 639 00:37:54,600 --> 00:37:57,560 Speaker 1: been performing since then? Off and on. Yes, I did 640 00:37:58,000 --> 00:38:01,520 Speaker 1: a couple of solo albums and um, then I had 641 00:38:01,600 --> 00:38:04,360 Speaker 1: this War of the Worlds, which was suddenly but you 642 00:38:04,440 --> 00:38:07,200 Speaker 1: know another I actually played a character. I played a 643 00:38:07,320 --> 00:38:12,439 Speaker 1: journalist in this concept album, which I went on later 644 00:38:12,560 --> 00:38:16,440 Speaker 1: to do on stage actually quite recently. Until I got 645 00:38:16,600 --> 00:38:18,520 Speaker 1: I just felt I was too old to have a 646 00:38:18,600 --> 00:38:21,200 Speaker 1: gooirlfriend in it, so I said, maybe I'm not the 647 00:38:21,280 --> 00:38:23,480 Speaker 1: right guy for this. But it was a lovely song 648 00:38:23,560 --> 00:38:26,480 Speaker 1: called Forever Autumn, a big hit all around the world. 649 00:38:26,480 --> 00:38:28,040 Speaker 1: I don't go anywhere in the world and play it. 650 00:38:28,640 --> 00:38:30,719 Speaker 1: So oh, I love that, you know kind of thing. 651 00:38:31,200 --> 00:38:32,480 Speaker 1: There was a solo album for you. It was a 652 00:38:32,560 --> 00:38:35,160 Speaker 1: solo thing. And what is and I say the same 653 00:38:35,200 --> 00:38:38,120 Speaker 1: thing to all these legacy bands that come back together octave. 654 00:38:39,200 --> 00:38:41,520 Speaker 1: I mean, I just love when guys pull this out 655 00:38:41,600 --> 00:38:44,560 Speaker 1: of there. You know what seventy eight. You guys have 656 00:38:44,640 --> 00:38:47,960 Speaker 1: been recording now for fifteen years or you've been together 657 00:38:48,480 --> 00:38:50,200 Speaker 1: and your albums, this is like, this is just like 658 00:38:50,280 --> 00:38:53,880 Speaker 1: your eighth album or something that exactly where you had 659 00:38:53,920 --> 00:38:56,040 Speaker 1: stepping in a slide zone and there that was in 660 00:38:56,160 --> 00:38:59,759 Speaker 1: seventy eight. Did you like that album? There? Was some 661 00:39:00,360 --> 00:39:02,120 Speaker 1: lovely songs on it. It was a lovely song called 662 00:39:02,200 --> 00:39:05,520 Speaker 1: drift Would. That's why okay, that's why you bring it up. 663 00:39:06,000 --> 00:39:09,000 Speaker 1: That's a beautiful song. I love that. Thank you, Thank 664 00:39:09,040 --> 00:39:12,320 Speaker 1: you meant a lot to me. It's a difficult album 665 00:39:12,440 --> 00:39:17,600 Speaker 1: because things the chemistry between us wasn't particularly good. I 666 00:39:17,719 --> 00:39:21,360 Speaker 1: knew Mike didn't want to do it anymore. Tony Clark 667 00:39:21,560 --> 00:39:24,439 Speaker 1: had a lot of personal problems. The producer he'd come 668 00:39:24,560 --> 00:39:30,120 Speaker 1: to and blessing his marriage was at an end, and 669 00:39:30,480 --> 00:39:33,160 Speaker 1: it was it was he only made a few appearances 670 00:39:33,239 --> 00:39:36,479 Speaker 1: and Driftwood Would he couldn't listen to it. He would 671 00:39:36,680 --> 00:39:40,160 Speaker 1: come into the studio and I'd put that on just 672 00:39:40,320 --> 00:39:43,560 Speaker 1: to do something at lower dub and the tears well up, 673 00:39:43,640 --> 00:39:46,800 Speaker 1: poor Chap and he and he'd have to leave, you know. 674 00:39:47,800 --> 00:39:52,200 Speaker 1: And also during the album there were things said they 675 00:39:52,280 --> 00:39:55,840 Speaker 1: couldn't be on said and so one. So then we 676 00:39:55,960 --> 00:40:01,399 Speaker 1: lost from the group Tony and Mike and then Wine 677 00:40:01,440 --> 00:40:04,880 Speaker 1: Troube Who's particularly what you gotta go on? And it 678 00:40:05,000 --> 00:40:10,200 Speaker 1: was like, okay, you know, really replaced Mike with who um. 679 00:40:10,520 --> 00:40:13,640 Speaker 1: We replaced Mike with a series of people, but a 680 00:40:13,719 --> 00:40:19,840 Speaker 1: lovely player called Patrick Mraz and fantastical. It was. It was. 681 00:40:20,239 --> 00:40:23,040 Speaker 1: It wasn't replaced. Nobody could replace Mike, but it was 682 00:40:24,560 --> 00:40:26,600 Speaker 1: paid pick up musician for that. Yeah, it was a 683 00:40:26,640 --> 00:40:30,480 Speaker 1: great musician. Yeah. They contributed a lot to the records 684 00:40:30,480 --> 00:40:33,200 Speaker 1: after that. Patrick Morass who also played who did he 685 00:40:33,280 --> 00:40:36,279 Speaker 1: play with? Did he replaced Wakeman? And yes, exactly, Yeah, 686 00:40:36,320 --> 00:40:38,919 Speaker 1: that's right Morass, because we had we had a John 687 00:40:39,000 --> 00:40:42,080 Speaker 1: Anderson came in here. You try to keep up with music, 688 00:40:42,160 --> 00:40:44,279 Speaker 1: You listen to all kinds of music as advanced to do. 689 00:40:44,560 --> 00:40:47,279 Speaker 1: Curiously enough, I've probably gone back to my childhood where 690 00:40:48,200 --> 00:40:51,080 Speaker 1: I just hear a song and I buy it. You know, 691 00:40:51,200 --> 00:40:54,239 Speaker 1: I'm back to buying singles that turned me on. You know, 692 00:40:54,400 --> 00:40:56,919 Speaker 1: I'm a bit hung up on a young boy called 693 00:40:57,000 --> 00:40:59,880 Speaker 1: Trevor Hall at the moment who's kind of hippie player, 694 00:41:00,920 --> 00:41:03,279 Speaker 1: and I'd love to be I'd love to be him. 695 00:41:04,640 --> 00:41:07,920 Speaker 1: He loves you. Not really, There's there's always a kid 696 00:41:08,000 --> 00:41:10,239 Speaker 1: walking down the street Alec He's got a song that's 697 00:41:10,239 --> 00:41:13,600 Speaker 1: gonna turn me on. That's the way I think about music. 698 00:41:14,120 --> 00:41:18,160 Speaker 1: And I can still go back to any old piece 699 00:41:18,239 --> 00:41:21,120 Speaker 1: of music that I love. I still return every couple 700 00:41:21,160 --> 00:41:25,080 Speaker 1: of weeks to Danny Williams singing moon River. It's opposed 701 00:41:25,120 --> 00:41:30,640 Speaker 1: to Andy Williams. Danny Williams was an English singer. Listen 702 00:41:30,719 --> 00:41:33,880 Speaker 1: to that version of moon River. I met him. He 703 00:41:34,000 --> 00:41:36,360 Speaker 1: was with the same stable as Marty Wilde when I 704 00:41:36,480 --> 00:41:39,640 Speaker 1: was a boy, and he was just I'm doing with you, 705 00:41:39,800 --> 00:41:42,520 Speaker 1: as if you hear scribbling on the mic, I'm doing 706 00:41:42,600 --> 00:41:44,960 Speaker 1: with you what I did with Joe Jackson. Joe Jackson 707 00:41:45,040 --> 00:41:46,600 Speaker 1: did the show and at the end he just riffs 708 00:41:46,640 --> 00:41:48,840 Speaker 1: on the music he's listening to. I'm sitting there and 709 00:41:49,080 --> 00:41:52,160 Speaker 1: literally just had this urge this instant and like, holy 710 00:41:52,200 --> 00:41:54,080 Speaker 1: sh it, I gotta write down every world that comes 711 00:41:54,080 --> 00:41:56,239 Speaker 1: out of Joe Jackson's mouth as to what music is 712 00:41:56,280 --> 00:41:59,759 Speaker 1: he digging right now? You know? So, um yeah, we're 713 00:41:59,760 --> 00:42:02,440 Speaker 1: not have much time left. We'll just take one tableau 714 00:42:03,120 --> 00:42:06,279 Speaker 1: where I'm sixteen or seventeen years old, probably sixteen. I'm 715 00:42:06,280 --> 00:42:08,239 Speaker 1: hanging out with a crowd of guys in my kind 716 00:42:08,239 --> 00:42:11,360 Speaker 1: of working class neighborhood, and these really tough bastards I 717 00:42:11,440 --> 00:42:13,120 Speaker 1: grew up with would all sit there and be like 718 00:42:13,400 --> 00:42:16,200 Speaker 1: someone would put on a moody blues song and everybody 719 00:42:16,280 --> 00:42:20,879 Speaker 1: be like shut up, like these violent, awful people we're 720 00:42:20,920 --> 00:42:22,720 Speaker 1: gonna go beat the shift out of people and steal 721 00:42:22,800 --> 00:42:24,680 Speaker 1: their beer in a parking lot. Will would be like, 722 00:42:24,960 --> 00:42:27,560 Speaker 1: shut up, and they had to listen to that song. 723 00:42:27,880 --> 00:42:30,040 Speaker 1: That was the beautiful music that we kind of cleared 724 00:42:30,080 --> 00:42:33,560 Speaker 1: our head with. Was your music. You were the palate 725 00:42:33,640 --> 00:42:37,080 Speaker 1: cleanser from more the nastiness we had as our quote 726 00:42:37,080 --> 00:42:40,319 Speaker 1: Titian diet there. So endless leaves were pretty nice too. 727 00:42:40,480 --> 00:42:43,680 Speaker 1: You could constant plate those while you were being quiet. 728 00:42:43,960 --> 00:42:46,000 Speaker 1: That was nice. Thank you for coming doing this with me, 729 00:42:46,239 --> 00:42:52,920 Speaker 1: great pleasure. Thank you. Cool. That was the brilliant singer 730 00:42:53,080 --> 00:42:57,000 Speaker 1: and songwriter Justin Hayward. His music was both timeless and 731 00:42:57,320 --> 00:43:00,479 Speaker 1: of his era. The leafless Tree and a your line 732 00:43:00,520 --> 00:43:03,320 Speaker 1: you heard us sing is a reference to the napalm 733 00:43:03,440 --> 00:43:25,319 Speaker 1: defoliated trees of Vietnam. It's been forty six years since 734 00:43:25,360 --> 00:43:29,000 Speaker 1: he wrote those words. Next month, Heyward, along with the 735 00:43:29,080 --> 00:43:32,080 Speaker 1: Moody Blues, will be inducted into the Rock and Roll 736 00:43:32,200 --> 00:43:36,680 Speaker 1: Hall of Fame. I'm Alec Baldwin and you're listening to 737 00:43:36,880 --> 00:43:37,560 Speaker 1: here's the thing