1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,156 --> 00:00:23,876 Speaker 2: The British funk band Simonde released their self titled debut 3 00:00:24,076 --> 00:00:28,236 Speaker 2: in nineteen seventy two. The album's deep calypso and reggae grooves 4 00:00:28,276 --> 00:00:32,516 Speaker 2: are inspired by its members West Indian roots, and decades 5 00:00:32,556 --> 00:00:36,156 Speaker 2: after its release, samples taken from Simnde's albums would find 6 00:00:36,156 --> 00:00:38,956 Speaker 2: their way into songs that now define hip hop's Golden 7 00:00:38,956 --> 00:00:42,156 Speaker 2: era from artists like Day La Soul, Gang Star and 8 00:00:42,196 --> 00:00:45,076 Speaker 2: the Fujis. While the band had found a second life 9 00:00:45,076 --> 00:00:47,956 Speaker 2: through sampling during the late eighties and nineties, its primary 10 00:00:47,996 --> 00:00:52,356 Speaker 2: members bassist Steve Sippio and guitarist Patrick Patterson also found 11 00:00:52,396 --> 00:00:55,756 Speaker 2: second lives as lawyers, but the desire to make music 12 00:00:55,796 --> 00:00:58,916 Speaker 2: never left them, and last month Simonde released a new 13 00:00:58,956 --> 00:01:03,156 Speaker 2: album called Renaissance, a project their label describes as a 14 00:01:03,276 --> 00:01:06,156 Speaker 2: spiritual and sonic follow up to their nineteen seventy four 15 00:01:06,196 --> 00:01:10,076 Speaker 2: album Promised Heights. On today's EPISO, I talked to Steve 16 00:01:10,116 --> 00:01:13,316 Speaker 2: Cipio and Patrick Patterson about their early band days in 17 00:01:13,396 --> 00:01:16,676 Speaker 2: London and about the early calypso track that helped launch 18 00:01:16,716 --> 00:01:20,516 Speaker 2: Simonde's sound. They also reminisce about touring the US and 19 00:01:20,556 --> 00:01:22,916 Speaker 2: opening for Al Green in the seventies, and how they 20 00:01:22,916 --> 00:01:26,356 Speaker 2: came to collaborate with artists like Jazzy B and Celeste 21 00:01:26,516 --> 00:01:32,916 Speaker 2: on their new album This is Broken Record, Real musicians, 22 00:01:33,156 --> 00:01:42,836 Speaker 2: real conversations. Here's my conversation with Simandae. 23 00:01:43,156 --> 00:01:43,276 Speaker 1: So. 24 00:01:44,156 --> 00:01:46,676 Speaker 2: I remember hearing your guys' music for the first time 25 00:01:46,756 --> 00:01:50,676 Speaker 2: and just being completely blown away. I mean, I knew 26 00:01:51,636 --> 00:01:57,276 Speaker 2: James Brown, I knew Parliament Funkadelic. I even knew to 27 00:01:57,316 --> 00:02:01,316 Speaker 2: some degree, Fela Kuti, But just like the way you 28 00:02:01,436 --> 00:02:07,716 Speaker 2: guys had this original sound that was I mean, those 29 00:02:08,236 --> 00:02:11,036 Speaker 2: those three off felt similar to me, like, and you 30 00:02:11,076 --> 00:02:13,836 Speaker 2: guys too, like, but you could tell that Fela in 31 00:02:13,996 --> 00:02:18,236 Speaker 2: Parliament Funkadelic were doing like a version of James Brown, 32 00:02:18,316 --> 00:02:20,276 Speaker 2: like a very good version of James Brown. But you 33 00:02:20,316 --> 00:02:23,356 Speaker 2: guys just had this whole I don't know, it was funk, 34 00:02:23,436 --> 00:02:27,236 Speaker 2: but it also was these really complex melodies and it 35 00:02:27,316 --> 00:02:30,716 Speaker 2: was just guys. I don't know what was your guys' 36 00:02:30,956 --> 00:02:34,876 Speaker 2: musical upbringing, Like Stephen Patrick, what were you guys listening 37 00:02:34,876 --> 00:02:35,516 Speaker 2: to growing up? 38 00:02:37,476 --> 00:02:40,516 Speaker 1: Well, I left I left the Caribbean pretty late. I 39 00:02:40,556 --> 00:02:43,396 Speaker 1: was thirteen when I left the Caribbans, so I was 40 00:02:43,436 --> 00:02:48,236 Speaker 1: pretty much into Calypso's obviously as the indigenous misic of 41 00:02:48,276 --> 00:02:52,476 Speaker 1: the Caribbean, and at the time, you know very much 42 00:02:53,196 --> 00:02:57,676 Speaker 1: you had lots of Natkin Cole and Brooke Benton's and 43 00:02:57,756 --> 00:03:01,636 Speaker 1: those those those guys were really big in the Caribbean 44 00:03:01,956 --> 00:03:04,116 Speaker 1: at that time and the sixties, and I think that 45 00:03:04,236 --> 00:03:08,036 Speaker 1: might still be big in the Caribbean because you know, 46 00:03:08,156 --> 00:03:12,036 Speaker 1: that music just connected with the people, with the people there, 47 00:03:12,276 --> 00:03:13,996 Speaker 1: So that was the music I was listening to, the 48 00:03:14,036 --> 00:03:18,276 Speaker 1: indigenous Calypsos and so on, and on top of that 49 00:03:18,796 --> 00:03:21,796 Speaker 1: the stuff from America. A lot of that that of 50 00:03:21,876 --> 00:03:24,716 Speaker 1: that period, you know, to say, Napkin Code and those 51 00:03:24,836 --> 00:03:28,236 Speaker 1: guys there. So when I went to the State, when 52 00:03:28,276 --> 00:03:31,076 Speaker 1: I went to the UK at thirteen and sixty three, 53 00:03:31,236 --> 00:03:34,476 Speaker 1: I still had that very much with me, but then 54 00:03:34,996 --> 00:03:37,956 Speaker 1: gradually started listening to the other stuff that was happening 55 00:03:38,676 --> 00:03:43,156 Speaker 1: happening in the UK at the time, you know. So 56 00:03:43,396 --> 00:03:48,196 Speaker 1: there there was Solomon Burke, I think was mid sixties. 57 00:03:48,236 --> 00:03:52,756 Speaker 1: I really got into Solomon Burke, very much into into 58 00:03:52,876 --> 00:03:55,036 Speaker 1: what he was doing. So I was still very much 59 00:03:55,076 --> 00:03:58,396 Speaker 1: into the soul, you know, of that of that period. 60 00:03:58,796 --> 00:04:00,916 Speaker 1: But at the same time I also started listening to 61 00:04:00,956 --> 00:04:03,596 Speaker 1: a lot of jazz around the mid sixties, you know, 62 00:04:03,796 --> 00:04:08,156 Speaker 1: Miles Davis and Coltrane and and those guys, you know, 63 00:04:08,436 --> 00:04:13,436 Speaker 1: but on top of that also Jimmy Henjacks, you know, 64 00:04:13,556 --> 00:04:16,956 Speaker 1: So it was varied. I wasn't kind of stuck in 65 00:04:17,036 --> 00:04:19,956 Speaker 1: one particular groove and just listening to that, you know, 66 00:04:20,116 --> 00:04:25,116 Speaker 1: whatever struck me, whatever took my fancy. I didn't have 67 00:04:25,236 --> 00:04:31,036 Speaker 1: any any elitism, you know, real music is concerned. 68 00:04:31,796 --> 00:04:34,036 Speaker 2: What were some of the calypsos growing up that you 69 00:04:34,116 --> 00:04:36,996 Speaker 2: listened to? You remember any specific songs. 70 00:04:37,756 --> 00:04:42,716 Speaker 1: Well, one was very important for the image of the 71 00:04:42,756 --> 00:04:46,956 Speaker 1: band and the name of the band, and that was 72 00:04:46,996 --> 00:04:50,596 Speaker 1: a calypso that was called Dove and Pigeon. It was 73 00:04:50,636 --> 00:04:53,716 Speaker 1: a big hit in the Caribbean and I think around 74 00:04:53,836 --> 00:04:57,756 Speaker 1: nineteen sixty two. And it was about a competition. The 75 00:04:57,836 --> 00:05:01,436 Speaker 1: eclypso itself was about a competition between a dove and 76 00:05:01,476 --> 00:05:05,036 Speaker 1: a pigeon as to weis could eat the most pepper? 77 00:05:07,436 --> 00:05:11,076 Speaker 1: Who could eat the most pepper peppers? Yeah, peppers, hot pepper, 78 00:05:11,676 --> 00:05:14,996 Speaker 1: raw hot peppers. So they had this competition between them 79 00:05:15,156 --> 00:05:20,876 Speaker 1: to say who is the better pepper? Eata and uh. 80 00:05:20,916 --> 00:05:25,236 Speaker 1: And the dove the dove was smart. So the dove 81 00:05:25,756 --> 00:05:29,196 Speaker 1: had this it was. It was the kind of hook 82 00:05:29,596 --> 00:05:32,996 Speaker 1: of the eclypso and it went something like, what the 83 00:05:33,036 --> 00:05:36,956 Speaker 1: dove did is that it found a way to ease 84 00:05:38,356 --> 00:05:41,356 Speaker 1: the eating of the pepers. So while the pitcher was 85 00:05:41,836 --> 00:05:45,236 Speaker 1: continually eating the peppers, the dove found the way to 86 00:05:45,236 --> 00:05:47,756 Speaker 1: ease that bag. So it used to saying this this 87 00:05:47,876 --> 00:05:53,036 Speaker 1: refrain in the ECLIPSEO which went something like, I think 88 00:05:53,836 --> 00:05:59,036 Speaker 1: didn't go again. Oh yeaht Nettie, Yeah, Nettie, Nettie ban 89 00:05:59,196 --> 00:06:07,196 Speaker 1: simande wyo wyo ban simande. And you mustn't say, you 90 00:06:07,316 --> 00:06:13,676 Speaker 1: must not say, you must not say. And that is 91 00:06:13,716 --> 00:06:17,556 Speaker 1: how the dove is the pressure of the heat from 92 00:06:17,596 --> 00:06:19,516 Speaker 1: the pepper barb ca. 93 00:06:21,116 --> 00:06:21,316 Speaker 3: Yeah. 94 00:06:21,636 --> 00:06:24,516 Speaker 1: Yeah. And all the time the dove was doing that, 95 00:06:25,636 --> 00:06:31,436 Speaker 1: the pigeon was continually eating. Wow, it was that the 96 00:06:31,476 --> 00:06:34,476 Speaker 1: pigeon had so much just eventually it just collapsed because 97 00:06:37,716 --> 00:06:40,116 Speaker 1: it just collapse from eating too much peppers. You know, 98 00:06:40,876 --> 00:06:43,796 Speaker 1: but you would have heard that refrain I just did. Nettie, 99 00:06:43,996 --> 00:06:50,196 Speaker 1: Nettie band Simandi. What's familiar there? Wow, that's the clipso 100 00:06:50,396 --> 00:06:53,116 Speaker 1: it came from. That's the clips from which we took. 101 00:06:53,716 --> 00:06:56,236 Speaker 1: We took, we took the name from. We don't know 102 00:06:56,876 --> 00:07:01,196 Speaker 1: what Simandy needs Really you don't know, no, never know 103 00:07:01,276 --> 00:07:03,716 Speaker 1: what seman they means. It was just a refrain that 104 00:07:03,916 --> 00:07:06,476 Speaker 1: was sung by the Dove. We liked the song of 105 00:07:06,516 --> 00:07:09,956 Speaker 1: it and it connected us with that were roots in 106 00:07:09,996 --> 00:07:12,356 Speaker 1: the Caribbean, so we said let's go with that for 107 00:07:12,436 --> 00:07:14,436 Speaker 1: the name of the band. Patrick. 108 00:07:14,516 --> 00:07:16,516 Speaker 2: So, Patrick, you remember the song as well growing up? 109 00:07:16,596 --> 00:07:16,716 Speaker 1: Uh? 110 00:07:16,956 --> 00:07:21,876 Speaker 4: Sure, sure, I mean I left the Caribbean quite early, 111 00:07:22,676 --> 00:07:26,156 Speaker 4: but yes, it was a popular It was a popular 112 00:07:26,236 --> 00:07:29,716 Speaker 4: song and we you know, as the years went by, 113 00:07:30,716 --> 00:07:33,516 Speaker 4: we kind of translated or found it, I feel like 114 00:07:33,756 --> 00:07:39,116 Speaker 4: a way to express the to utilize the name to 115 00:07:39,956 --> 00:07:41,796 Speaker 4: mean other things. So it's like, you know, you would 116 00:07:41,796 --> 00:07:45,716 Speaker 4: say Simander, which is kind of if you like Jamaican linguo, 117 00:07:46,556 --> 00:07:50,436 Speaker 4: instead of just associating it with that one no Shell 118 00:07:51,476 --> 00:07:56,356 Speaker 4: Lord Nelson's song. But Steve Brightley says that it reflects 119 00:07:56,356 --> 00:07:58,836 Speaker 4: our Caribbean heritage and so it should. 120 00:07:59,956 --> 00:08:02,756 Speaker 2: Are you two both from the same place in the Caribbean? 121 00:08:03,396 --> 00:08:04,276 Speaker 1: Yes, Guyana. 122 00:08:05,716 --> 00:08:12,076 Speaker 2: What what was the Caribbean community in London in the sixties, Like, 123 00:08:12,156 --> 00:08:14,956 Speaker 2: were you guys spread out throughout Like where did you 124 00:08:14,956 --> 00:08:17,276 Speaker 2: guys all live in a specific place where you spread 125 00:08:17,276 --> 00:08:18,876 Speaker 2: out throughout the city? 126 00:08:18,996 --> 00:08:20,756 Speaker 1: Like, what was the diaspora of. 127 00:08:20,836 --> 00:08:24,116 Speaker 2: The Caribbean community in London in the sixties when you 128 00:08:24,156 --> 00:08:25,116 Speaker 2: guys got there. 129 00:08:25,196 --> 00:08:25,876 Speaker 1: What was that like? 130 00:08:27,876 --> 00:08:33,876 Speaker 4: Yeah, just back a little, because some Caribbean people went 131 00:08:33,916 --> 00:08:39,636 Speaker 4: to London. Caribbean people from other places went to different locations, 132 00:08:39,956 --> 00:08:46,236 Speaker 4: So you'd find petitions for example in Leeds, it'd find agwillains. 133 00:08:45,596 --> 00:08:47,396 Speaker 1: For example in Slough. 134 00:08:48,356 --> 00:08:51,396 Speaker 4: But our community, and it was a tight community when 135 00:08:51,436 --> 00:08:55,596 Speaker 4: we when we were there in those days, Guyanese, Trinidadian, 136 00:08:57,156 --> 00:09:01,956 Speaker 4: to a lesser extent, Barbigian and Jamaicans. 137 00:09:01,356 --> 00:09:04,076 Speaker 1: So it was it was mainly Guyanese and. 138 00:09:04,076 --> 00:09:07,636 Speaker 4: Jamaicans in our community, but it was our community was tight. 139 00:09:08,276 --> 00:09:10,676 Speaker 1: It's a I can't say that I see the. 140 00:09:10,636 --> 00:09:15,836 Speaker 4: Same thing nowadays, but we had the privilege of living 141 00:09:15,876 --> 00:09:18,916 Speaker 4: through a period where that sort of thing happened. 142 00:09:18,916 --> 00:09:21,756 Speaker 1: You know, our street, Steve and I left five doors. 143 00:09:21,876 --> 00:09:25,716 Speaker 4: Our families lived about five doors apart from the time, 144 00:09:26,476 --> 00:09:28,236 Speaker 4: well I was there before him, but from the time 145 00:09:28,276 --> 00:09:31,436 Speaker 4: he came in an event, we lived very close. His 146 00:09:31,556 --> 00:09:35,276 Speaker 4: parents knew my parents, his family knew my family, and 147 00:09:35,316 --> 00:09:36,996 Speaker 4: we've lived that way kind of. 148 00:09:37,236 --> 00:09:40,316 Speaker 1: You know, for all these years. 149 00:09:40,236 --> 00:09:42,596 Speaker 2: Which of you got into music first or were you 150 00:09:42,636 --> 00:09:43,796 Speaker 2: both in the music. 151 00:09:44,356 --> 00:09:46,996 Speaker 4: I got in the first, I used to play soul 152 00:09:47,116 --> 00:09:51,596 Speaker 4: music with a band, you know, do little trips through 153 00:09:52,236 --> 00:09:55,956 Speaker 4: German basic American bases in Germany and that sort of thing. 154 00:09:56,516 --> 00:09:59,236 Speaker 1: That was a bit of a you know, a travel. 155 00:09:59,236 --> 00:10:03,876 Speaker 1: It was not quite a popular location for there, so 156 00:10:04,276 --> 00:10:10,196 Speaker 1: for the bands at that time, certainly the the young bands, 157 00:10:10,476 --> 00:10:13,196 Speaker 1: the bands, the developing bands, if I can put it 158 00:10:13,196 --> 00:10:15,196 Speaker 1: that way. I used to play a lot on the 159 00:10:15,316 --> 00:10:18,836 Speaker 1: American basis. We toured. 160 00:10:19,196 --> 00:10:21,756 Speaker 4: When we did, I can't even call those things tours, 161 00:10:21,756 --> 00:10:23,836 Speaker 4: you know, it goes spend too much a month or 162 00:10:23,836 --> 00:10:27,076 Speaker 4: what have you, playing American bases in different kind of places, 163 00:10:27,156 --> 00:10:30,356 Speaker 4: and then make a few pounds or dollars as the 164 00:10:30,396 --> 00:10:31,956 Speaker 4: case may be, and. 165 00:10:31,876 --> 00:10:34,516 Speaker 1: Then go back home. But I started quite early. 166 00:10:34,516 --> 00:10:38,116 Speaker 4: You know, natural fact, I must have been tender sixteen, 167 00:10:38,276 --> 00:10:39,836 Speaker 4: just going into my seventeenth year. 168 00:10:40,596 --> 00:10:43,516 Speaker 1: That's when I started to do it. Were you doing 169 00:10:43,556 --> 00:10:46,916 Speaker 1: American soul music or was it? Yeah? 170 00:10:46,956 --> 00:10:50,676 Speaker 4: Absolutely, I mean that I think that's probably the music 171 00:10:50,716 --> 00:10:52,756 Speaker 4: that I grew up on. 172 00:10:52,836 --> 00:10:55,596 Speaker 1: The difference between Steve and I is probably that I 173 00:10:55,756 --> 00:10:56,796 Speaker 1: liked a lot of. 174 00:10:56,756 --> 00:11:00,276 Speaker 4: Rock music as well, and his rock music range is 175 00:11:00,316 --> 00:11:02,476 Speaker 4: probably narrower than mine. 176 00:11:02,556 --> 00:11:06,996 Speaker 1: But you know, all guys were rock rock people. Yeah, 177 00:11:07,956 --> 00:11:11,716 Speaker 1: what was the first rock and role you started getting into? Patrick, Well, 178 00:11:11,756 --> 00:11:12,756 Speaker 1: I wouldn't, I wouldn't. 179 00:11:12,916 --> 00:11:15,156 Speaker 4: I wouldn't say rock and roll, more more more rock 180 00:11:15,196 --> 00:11:19,236 Speaker 4: guitar like you know, led Zeppelin ten years after Jimmy Hendrix, 181 00:11:19,276 --> 00:11:25,196 Speaker 4: my all time favorite Claire main Maine kind of guitar 182 00:11:25,516 --> 00:11:28,756 Speaker 4: guitar music, not. 183 00:11:28,276 --> 00:11:34,236 Speaker 1: Not not the Jerry Leine Lewis and Little Richard that 184 00:11:34,876 --> 00:11:36,716 Speaker 1: I mean. I like that, but it wasn't the kind 185 00:11:36,756 --> 00:11:40,076 Speaker 1: of stuff that I was into. It was nice to 186 00:11:40,116 --> 00:11:46,436 Speaker 1: listen to, not not for doing That's right. The other 187 00:11:46,436 --> 00:11:47,916 Speaker 1: stuff was a little more fun, I guess. 188 00:11:47,996 --> 00:11:51,676 Speaker 2: Right, at what point do you two decide to put 189 00:11:51,676 --> 00:11:55,236 Speaker 2: a band together yourselves, like to say, like we too, 190 00:11:55,236 --> 00:11:56,476 Speaker 2: we should do something together. 191 00:11:58,996 --> 00:12:03,236 Speaker 1: First of all, had to develop some skills on on 192 00:12:03,236 --> 00:12:06,836 Speaker 1: on an instrument. I mean Patrick had been playing the 193 00:12:06,876 --> 00:12:09,396 Speaker 1: guitar for a while, so he was quite skillful on 194 00:12:09,436 --> 00:12:13,236 Speaker 1: his on his instrument. And I experimented with a few 195 00:12:13,236 --> 00:12:18,156 Speaker 1: instruments before I actually settled on the base. My first 196 00:12:18,196 --> 00:12:26,076 Speaker 1: instrument was I I purchased a harmonica, and I still 197 00:12:26,156 --> 00:12:30,236 Speaker 1: wonder what was the attraction of the harmonicas, But I 198 00:12:30,276 --> 00:12:33,556 Speaker 1: think I think it might have been because TV was 199 00:12:33,676 --> 00:12:37,316 Speaker 1: very much into the harmonica at that time, so it 200 00:12:37,396 --> 00:12:38,756 Speaker 1: might have had something to do with it. 201 00:12:38,876 --> 00:12:40,876 Speaker 2: I was gonna ask if that because that sounds more 202 00:12:40,956 --> 00:12:43,436 Speaker 2: like maybe where your inspiration would have been from, rather 203 00:12:43,476 --> 00:12:46,716 Speaker 2: than like a blues harmonica, more of like a Stevie wonder. 204 00:12:46,876 --> 00:12:49,796 Speaker 1: Yeah, yeah, it might have been. You know Stevie's I 205 00:12:49,836 --> 00:12:53,716 Speaker 1: really like Steve how Stevie used the harmonica, you know, 206 00:12:54,276 --> 00:12:57,556 Speaker 1: the way it is phrasing, and it was almost like 207 00:12:57,556 --> 00:13:02,676 Speaker 1: like a sex in the way that he utilized the harmonica, 208 00:13:02,836 --> 00:13:05,836 Speaker 1: you know, really really attractive for me. So I think 209 00:13:05,836 --> 00:13:09,316 Speaker 1: that might have been an influence. But I didn't the 210 00:13:09,396 --> 00:13:13,556 Speaker 1: kind of skills that Stevie yet, so that do didn't 211 00:13:13,676 --> 00:13:18,476 Speaker 1: last very long. Patrick's laughing. 212 00:13:18,516 --> 00:13:23,156 Speaker 2: I liked that you didn't sound. 213 00:13:23,076 --> 00:13:32,356 Speaker 1: Like Stevie Patrick, I remember his efforts. Then after that, 214 00:13:32,436 --> 00:13:38,716 Speaker 1: I I I I like the trumpet. I was attracted 215 00:13:38,756 --> 00:13:47,076 Speaker 1: to the trumpet skill of me, so I purchased a trumpet. 216 00:13:48,516 --> 00:13:50,716 Speaker 1: But it was it was I mean, I couldn't buy 217 00:13:50,756 --> 00:13:54,276 Speaker 1: anything at that time, you know, in my mid teens, 218 00:13:54,396 --> 00:14:00,956 Speaker 1: I couldn't buy anything significant, no big name, brand, brand new, 219 00:14:01,076 --> 00:14:03,596 Speaker 1: or anything like that. So it was a second hand trumpet, 220 00:14:03,636 --> 00:14:06,996 Speaker 1: and I think it probably needed a good service in 221 00:14:07,196 --> 00:14:11,916 Speaker 1: before I started use it, so the pads and everything 222 00:14:11,956 --> 00:14:16,516 Speaker 1: were all born, so that didn't last very long. And 223 00:14:16,556 --> 00:14:19,236 Speaker 1: then I tried the guitar a little bit more, and 224 00:14:19,316 --> 00:14:21,596 Speaker 1: actually it was still still bit that and then to 225 00:14:21,676 --> 00:14:25,236 Speaker 1: spatch it, he said, well, listen, why don't you try 226 00:14:25,236 --> 00:14:28,276 Speaker 1: the bass. I'm on the guitar. If you get on 227 00:14:28,276 --> 00:14:30,996 Speaker 1: the bass, then we could try and maybe try and 228 00:14:31,036 --> 00:14:34,116 Speaker 1: put something together. So that was when I bought my 229 00:14:34,196 --> 00:14:37,116 Speaker 1: first bass guitar. It was around maybe seventeen or I 230 00:14:37,156 --> 00:14:40,996 Speaker 1: was around maybe seventeen or eighteen something like that. I 231 00:14:41,036 --> 00:14:44,316 Speaker 1: did connect rate it pretty quick that way. I did 232 00:14:44,316 --> 00:14:47,396 Speaker 1: connect with it pretty quickly. And maybe my style of 233 00:14:47,636 --> 00:14:52,916 Speaker 1: my style also was very unique, even right from the outset, 234 00:14:53,356 --> 00:14:56,236 Speaker 1: because I wasn't really listening to bass players as I 235 00:14:56,276 --> 00:14:59,996 Speaker 1: suppose many people would do, trying to learn techniques and 236 00:15:00,276 --> 00:15:03,916 Speaker 1: basic things from bass players who were around at the time, 237 00:15:04,556 --> 00:15:07,996 Speaker 1: and right from the outset I developed my own arm 238 00:15:08,316 --> 00:15:09,076 Speaker 1: style of playing. 239 00:15:09,956 --> 00:15:14,676 Speaker 2: I always wondered about that because the interplay between YouTube 240 00:15:14,676 --> 00:15:18,076 Speaker 2: between the bass and guitar is always even on the 241 00:15:18,156 --> 00:15:20,436 Speaker 2: new record, from the very first record, all the way 242 00:15:20,436 --> 00:15:23,876 Speaker 2: through until the newest record is always seems to me 243 00:15:23,996 --> 00:15:26,876 Speaker 2: it have been the key to the music. You guys 244 00:15:26,916 --> 00:15:29,356 Speaker 2: sound very much like you guys are are playing off 245 00:15:29,396 --> 00:15:31,556 Speaker 2: one another when when you're playing, you know. 246 00:15:32,036 --> 00:15:34,756 Speaker 1: Not possible, because I mean we started together. I mean 247 00:15:34,876 --> 00:15:37,876 Speaker 1: the band really started with me and Patrick, even before 248 00:15:37,916 --> 00:15:43,076 Speaker 1: we started thinking about get adding drums and other instrumentation 249 00:15:43,236 --> 00:15:47,196 Speaker 1: was me and Patrick used the child basic ideas. And 250 00:15:47,276 --> 00:15:50,636 Speaker 1: Patrick was always a kind of guitarist who didn't seek 251 00:15:50,676 --> 00:15:54,476 Speaker 1: to fill every space. You know, you got guitarists who 252 00:15:54,516 --> 00:15:57,876 Speaker 1: with every gap, every space, they would want to put 253 00:15:57,916 --> 00:16:01,756 Speaker 1: something in. But Patrick has always been a guitarist who 254 00:16:01,796 --> 00:16:05,316 Speaker 1: would seek the compliment. And you'll find out with my 255 00:16:05,436 --> 00:16:08,196 Speaker 1: style of plan I use a lot of syncopatient with 256 00:16:08,236 --> 00:16:12,596 Speaker 1: my BA explained. I developed that from very early, so 257 00:16:12,676 --> 00:16:15,596 Speaker 1: I used that syncopation. And then then we got the 258 00:16:15,636 --> 00:16:18,236 Speaker 1: band together. You know, we got a drummer who was 259 00:16:18,316 --> 00:16:25,836 Speaker 1: also complimentary, you know, so that's three those three elements. 260 00:16:26,516 --> 00:16:32,396 Speaker 1: I think we're foundational in terms of the sound the 261 00:16:32,476 --> 00:16:36,956 Speaker 1: song that Simanda developed self, Patrick and Sam. You know, 262 00:16:37,076 --> 00:16:40,436 Speaker 1: Sam was a was a complimentary is the drummer you listened, 263 00:16:40,516 --> 00:16:43,276 Speaker 1: He was very much trying to play with the. 264 00:16:43,276 --> 00:16:47,036 Speaker 2: Bass right, almost maybe more like like a ringo, more 265 00:16:47,076 --> 00:16:48,676 Speaker 2: than doing like a backbeat, almost like a ringo. Like 266 00:16:48,716 --> 00:16:50,596 Speaker 2: he was coming up with interesting parts, you know, like 267 00:16:51,076 --> 00:16:52,956 Speaker 2: and really seemed like he was following what you guys 268 00:16:52,996 --> 00:16:57,396 Speaker 2: were doing, and very very unique, unique parts. 269 00:16:57,876 --> 00:17:01,876 Speaker 1: Yeah, you'll find that those three albums, they're very spacious. Yeah, 270 00:17:02,156 --> 00:17:04,156 Speaker 1: you know, very specious. 271 00:17:04,916 --> 00:17:07,636 Speaker 2: We'll be right back with more from simon day after 272 00:17:07,676 --> 00:17:14,836 Speaker 2: the break we guys first got together. What were some 273 00:17:14,876 --> 00:17:16,276 Speaker 2: of the early efforts you got. I mean, were you 274 00:17:16,316 --> 00:17:19,596 Speaker 2: guys at first doing covers or were you guys starting 275 00:17:19,596 --> 00:17:21,356 Speaker 2: to write original stuff at that point. 276 00:17:21,916 --> 00:17:25,676 Speaker 4: We had a band before we did Simande, which is 277 00:17:25,716 --> 00:17:30,436 Speaker 4: called Meta, and once again, you know, the focus was 278 00:17:30,836 --> 00:17:33,436 Speaker 4: doing our original music. But we did a couple of 279 00:17:33,556 --> 00:17:36,556 Speaker 4: covers with that Forgot, which was a Rollin Kirk track 280 00:17:36,716 --> 00:17:39,916 Speaker 4: one Rolling Kirk track, one Miles Davis Thing Footprints and 281 00:17:40,636 --> 00:17:45,076 Speaker 4: well look slavery if my memory serves me well, and 282 00:17:45,156 --> 00:17:48,036 Speaker 4: that was about it. Because we always wantd to create 283 00:17:48,076 --> 00:17:51,956 Speaker 4: our own original sound and our own original have our 284 00:17:51,996 --> 00:17:56,556 Speaker 4: own original style, and we sort of achieved that with Mita. 285 00:17:58,036 --> 00:18:01,556 Speaker 4: It was a four piece Na Steve really wonderful English 286 00:18:01,636 --> 00:18:05,716 Speaker 4: drama and Saxon polk player god Ress is so called 287 00:18:05,716 --> 00:18:06,716 Speaker 4: Pepsi Delgado. 288 00:18:08,076 --> 00:18:11,716 Speaker 1: Did you guys ever record meter? Well if we did, none, 289 00:18:11,876 --> 00:18:14,316 Speaker 1: I either think we did. But the tip, the tips 290 00:18:14,316 --> 00:18:17,476 Speaker 1: wouldn't have survived in those days. It was it was 291 00:18:17,516 --> 00:18:21,516 Speaker 1: your your real to real stuff. So it was unless 292 00:18:21,556 --> 00:18:27,076 Speaker 1: it was properly it wouldn't It wouldn't have survived, man, 293 00:18:27,316 --> 00:18:28,116 Speaker 1: because that's what I mean. 294 00:18:28,116 --> 00:18:31,396 Speaker 2: If you guys doing fascinating you guys were doing Roland 295 00:18:31,436 --> 00:18:33,636 Speaker 2: Kirk and volunteers, I mean that is that's that's a 296 00:18:33,676 --> 00:18:35,596 Speaker 2: bugged out toune, you know, like that would have been 297 00:18:35,636 --> 00:18:36,556 Speaker 2: incredible to hear. 298 00:18:37,436 --> 00:18:40,196 Speaker 1: And you know, we did get some recognition. We started 299 00:18:40,236 --> 00:18:44,196 Speaker 1: to get some recognition, not not not not from the public, 300 00:18:44,396 --> 00:18:48,596 Speaker 1: but from within the music industry because I think it 301 00:18:48,676 --> 00:18:51,996 Speaker 1: was probably unusual at that time kids have owed it 302 00:18:52,236 --> 00:18:55,356 Speaker 1: to be so into jazz and not just and not 303 00:18:55,596 --> 00:18:59,156 Speaker 1: just jazz, but really complicated stuff. You know, we were intimized. 304 00:18:59,196 --> 00:19:02,036 Speaker 1: There is a lot of the time signatures that was 305 00:19:02,076 --> 00:19:05,076 Speaker 1: going on, you know that Miles and Cold Train and 306 00:19:05,156 --> 00:19:07,316 Speaker 1: those guys used to do. That's why we called the 307 00:19:07,356 --> 00:19:13,356 Speaker 1: band meter because we were specifically focusing on different time signatures. 308 00:19:13,876 --> 00:19:16,796 Speaker 1: Time signatures not just your four four, but you know 309 00:19:16,876 --> 00:19:20,476 Speaker 1: your six faith, three four, five four and that kind 310 00:19:20,556 --> 00:19:23,116 Speaker 1: of stuff. So I think a lot of the older 311 00:19:23,196 --> 00:19:28,076 Speaker 1: musicians at the time were fascinated by these these kids. 312 00:19:28,236 --> 00:19:32,396 Speaker 1: You know that. I'm so involved with this type of jazz. 313 00:19:32,596 --> 00:19:35,156 Speaker 2: With calypse and a lot of the music from the Caribbean. 314 00:19:35,196 --> 00:19:36,916 Speaker 2: It was a lot of that, and four four was 315 00:19:36,956 --> 00:19:39,276 Speaker 2: that stuff also in a little bit of a different meter. 316 00:19:39,316 --> 00:19:42,956 Speaker 4: But mainly four four what I know of Calypso Calypso. 317 00:19:44,036 --> 00:19:48,876 Speaker 4: It's another thing I love about Calypso is the lyricism. 318 00:19:49,716 --> 00:19:51,876 Speaker 1: You know, I don't know how much. 319 00:19:51,756 --> 00:19:57,516 Speaker 4: You know about some of those songwriters or their music, 320 00:19:58,316 --> 00:20:01,476 Speaker 4: but the lyric writing is absolutely fabulous. 321 00:20:01,556 --> 00:20:01,756 Speaker 2: Yeah. 322 00:20:02,676 --> 00:20:07,876 Speaker 4: And you know storytelling, Yeah, I think it's just incredible, 323 00:20:08,236 --> 00:20:09,956 Speaker 4: kind of like Chuck Bay or something like that. 324 00:20:10,196 --> 00:20:11,236 Speaker 1: Like the stories they tell. 325 00:20:12,316 --> 00:20:15,876 Speaker 4: Well, let me tell you to what to do. You 326 00:20:15,916 --> 00:20:17,796 Speaker 4: don't have to be a cabby a person to enjoy it. 327 00:20:17,916 --> 00:20:23,476 Speaker 4: Listen to Sparrow, you know, listen to old Calypso and 328 00:20:23,476 --> 00:20:26,116 Speaker 4: you will see and old Calypso is different from the 329 00:20:26,156 --> 00:20:29,236 Speaker 4: stuff you have today, which is more popular, which is 330 00:20:29,236 --> 00:20:33,556 Speaker 4: like Soca Eclypso storytelling stuff and you got some great 331 00:20:33,596 --> 00:20:34,276 Speaker 4: stories there. 332 00:20:34,916 --> 00:20:35,236 Speaker 1: M hm. 333 00:20:36,036 --> 00:20:38,036 Speaker 2: So the meter stuff, so the odd times stuff that 334 00:20:38,116 --> 00:20:41,036 Speaker 2: really came from your guys's love of jazz. 335 00:20:41,676 --> 00:20:43,036 Speaker 1: Yeah, yeah, yeah. 336 00:20:43,636 --> 00:20:45,396 Speaker 2: Were you guys going out to see a lot of 337 00:20:45,476 --> 00:20:48,716 Speaker 2: music at the time, because London had, you know, there 338 00:20:48,716 --> 00:20:50,156 Speaker 2: were a lot of as I understand, a lot of 339 00:20:50,236 --> 00:20:52,636 Speaker 2: a lot of American jazz musicians coming to Europe to play, 340 00:20:52,836 --> 00:20:56,636 Speaker 2: and of course London itself had like a pretty vibrant music. 341 00:20:56,676 --> 00:20:58,196 Speaker 1: Still, you guys going out to see a lot of 342 00:20:58,196 --> 00:21:03,396 Speaker 1: stuff or mostly it would be the American musicians. When 343 00:21:03,396 --> 00:21:05,876 Speaker 1: I when I, you know, went out, it was mostly 344 00:21:05,956 --> 00:21:08,596 Speaker 1: American musicians, but there were there were there were some 345 00:21:09,156 --> 00:21:12,156 Speaker 1: are popular venues in our locality. There was one called 346 00:21:12,196 --> 00:21:16,156 Speaker 1: ram Jam and a lot of musicians use American musicians. 347 00:21:16,516 --> 00:21:22,636 Speaker 1: I think I saw James Brown there, if I recall correctly, Patrick, 348 00:21:22,676 --> 00:21:26,716 Speaker 1: you used to more. Patrick was more outgoing in terms 349 00:21:26,756 --> 00:21:29,076 Speaker 1: of going and listening. Way, babe, did you see Jimmy 350 00:21:29,156 --> 00:21:33,276 Speaker 1: was not in the Western Marquie Mark Mark Marquee. That's 351 00:21:33,276 --> 00:21:38,356 Speaker 1: what I was looking for, Yes, But tell me about 352 00:21:38,396 --> 00:21:39,676 Speaker 1: that experience seeing Jimmy. 353 00:21:39,796 --> 00:21:45,116 Speaker 4: I saw Jimmy when he first came to England at 354 00:21:45,316 --> 00:21:47,676 Speaker 4: what was then the most famous rock club, which is 355 00:21:47,676 --> 00:21:52,636 Speaker 4: the Market Club in Ward the Street. It's his you know, 356 00:21:53,116 --> 00:21:57,036 Speaker 4: are you experienced trio kind of thing and it's a 357 00:21:57,076 --> 00:22:00,796 Speaker 4: long time ago. And the thing I remember most is I, 358 00:22:00,956 --> 00:22:01,716 Speaker 4: I don't know who. 359 00:22:01,676 --> 00:22:04,516 Speaker 1: Believes me now, but it's true. Shook my hand. So 360 00:22:04,796 --> 00:22:08,836 Speaker 1: that was a great great you haven't watched that hands since? Right, 361 00:22:12,996 --> 00:22:16,436 Speaker 1: I was an Ardent fan. I've been an Ardent fan 362 00:22:17,276 --> 00:22:19,716 Speaker 1: of you know, from then to an hour. 363 00:22:19,756 --> 00:22:21,796 Speaker 2: Actually, it's really hard to beat, it's really hard to 364 00:22:21,836 --> 00:22:27,156 Speaker 2: be Tell me about how the first the first album 365 00:22:27,196 --> 00:22:31,676 Speaker 2: came together, the self titled album. 366 00:22:31,876 --> 00:22:32,236 Speaker 1: You see. 367 00:22:32,676 --> 00:22:36,196 Speaker 4: What you have to remember is that we rehearsed every day, 368 00:22:36,996 --> 00:22:41,556 Speaker 4: I mean every day and much of the day and 369 00:22:41,596 --> 00:22:44,876 Speaker 4: from the from meter days all the way through when. 370 00:22:44,716 --> 00:22:45,356 Speaker 1: We finished meeting. 371 00:22:45,436 --> 00:22:49,556 Speaker 4: We didn't work with Ginger Johnson, but we we were 372 00:22:49,636 --> 00:22:54,876 Speaker 4: constantly creating what what eventually came to many music. 373 00:22:55,796 --> 00:23:01,356 Speaker 1: We were absolute musicians. That was that was our life. 374 00:23:01,516 --> 00:23:09,076 Speaker 1: Raison death. Yeah, that's kind of all we did, or 375 00:23:09,316 --> 00:23:09,636 Speaker 1: we did. 376 00:23:09,996 --> 00:23:14,836 Speaker 4: It was like one long stream of creativity that turned 377 00:23:14,836 --> 00:23:20,396 Speaker 4: into Semandi music nineteen empty like nineteen one empty two. 378 00:23:20,636 --> 00:23:22,876 Speaker 2: In the first album, it's the it's you know, the 379 00:23:22,956 --> 00:23:27,916 Speaker 2: message ricks incredible, incredible stuff. 380 00:23:29,396 --> 00:23:32,956 Speaker 1: Yeah, we were fortunate with having John Shoeder as our 381 00:23:33,036 --> 00:23:36,796 Speaker 1: producer in the sense that he never saw t interfere 382 00:23:36,836 --> 00:23:41,516 Speaker 1: with the music. He was fascinated with the music. School 383 00:23:41,596 --> 00:23:43,836 Speaker 1: was quite unusual, I mean, looking back on it now, 384 00:23:43,876 --> 00:23:48,756 Speaker 1: because we've only been together for about a year before 385 00:23:48,796 --> 00:23:51,996 Speaker 1: we went into the studio, you know, and and to 386 00:23:52,116 --> 00:23:54,516 Speaker 1: have that kind of how can I say, a rapid 387 00:23:55,396 --> 00:24:01,676 Speaker 1: access to you know, to high quality recordings at that 388 00:24:01,836 --> 00:24:05,596 Speaker 1: time was you know, it was unusual. Normally it'd have 389 00:24:05,676 --> 00:24:08,076 Speaker 1: to be you on the road three four or five 390 00:24:08,156 --> 00:24:13,396 Speaker 1: years building a profile before you get that kind of opportunity. 391 00:24:13,636 --> 00:24:17,636 Speaker 1: We started to develop a following, you know, there was 392 00:24:17,676 --> 00:24:20,836 Speaker 1: a following that you still come and listen to us 393 00:24:20,836 --> 00:24:23,516 Speaker 1: whenever we were playing. But we were certainly not what 394 00:24:23,556 --> 00:24:26,876 Speaker 1: you might call a big you know, a big name band. 395 00:24:27,796 --> 00:24:30,956 Speaker 1: But John Shoeda liked the music and he wanted to 396 00:24:30,996 --> 00:24:33,796 Speaker 1: get us into the studios as early as possible, and 397 00:24:33,836 --> 00:24:36,556 Speaker 1: that's what he did. And he took us into the 398 00:24:36,596 --> 00:24:41,316 Speaker 1: studio and just left us really to you know, to create. 399 00:24:42,036 --> 00:24:46,236 Speaker 1: There was no real pressure on us. Okay, guys, start 400 00:24:46,316 --> 00:24:48,996 Speaker 1: recording and that kind of thing. But we had a 401 00:24:48,996 --> 00:24:53,556 Speaker 1: lot of freedom in terms of you know, or building 402 00:24:53,556 --> 00:24:57,996 Speaker 1: our interactions and getting the right atmosphere, go in, et cetera. 403 00:24:58,996 --> 00:25:02,676 Speaker 1: So that was my recollection. Well, I will put one word, 404 00:25:02,756 --> 00:25:04,356 Speaker 1: you know, you ask us what it was like. It 405 00:25:04,436 --> 00:25:05,276 Speaker 1: was very exciting. 406 00:25:05,756 --> 00:25:09,276 Speaker 4: First time returned it to do any real recording of 407 00:25:09,316 --> 00:25:14,356 Speaker 4: our own. John was in house producer for five records 408 00:25:14,596 --> 00:25:17,076 Speaker 4: and it had all sorts of you know, hits with 409 00:25:17,316 --> 00:25:20,396 Speaker 4: various people. So the fact that he saw us like 410 00:25:20,556 --> 00:25:23,716 Speaker 4: us and loved the music I wanted to do something with. 411 00:25:23,796 --> 00:25:27,396 Speaker 1: Us was fortunate us. So it was a good bit 412 00:25:27,476 --> 00:25:29,636 Speaker 1: of fortune that we were introduced to him and. 413 00:25:29,596 --> 00:25:34,756 Speaker 4: He to us and rapidly moved from there to chest 414 00:25:34,836 --> 00:25:39,996 Speaker 4: Janus Records in America and touring America with agreed. 415 00:25:41,316 --> 00:25:46,876 Speaker 1: What was that tour like? Really excited I. I mean, 416 00:25:48,276 --> 00:25:50,396 Speaker 1: we've been on the road, as I said, we've been 417 00:25:50,516 --> 00:25:54,796 Speaker 1: existed for about a year, and and to be moving 418 00:25:54,836 --> 00:25:58,636 Speaker 1: from small venues and I can't even cause some of 419 00:25:58,636 --> 00:26:02,396 Speaker 1: them were just very small clubs in the UK, yeah, 420 00:26:02,436 --> 00:26:06,396 Speaker 1: you know, and then to be going in the States 421 00:26:06,436 --> 00:26:10,956 Speaker 1: and being playing in football stadiums, you know, twenty to 422 00:26:11,036 --> 00:26:14,516 Speaker 1: thirty thousand people. Yeah, to be playing a week at 423 00:26:14,556 --> 00:26:17,756 Speaker 1: the Apollo. I mean the Apollo was even in the 424 00:26:17,876 --> 00:26:21,996 Speaker 1: UK that was like the holy grail you know for 425 00:26:22,196 --> 00:26:25,756 Speaker 1: soul music and that that that kind of stuff. And 426 00:26:25,876 --> 00:26:27,996 Speaker 1: to have the opportunity of going and played that for 427 00:26:28,356 --> 00:26:31,476 Speaker 1: to do a week there was was something. You know, 428 00:26:31,596 --> 00:26:36,396 Speaker 1: It's just it was a mind blowing experience. Really. Yeah. 429 00:26:37,596 --> 00:26:41,036 Speaker 1: How was Al as a performer on that Well, I 430 00:26:41,236 --> 00:26:45,516 Speaker 1: was into his element at the time. You know, I 431 00:26:45,596 --> 00:26:50,796 Speaker 1: love it. The guys used to be throwing the girls 432 00:26:50,796 --> 00:26:52,596 Speaker 1: were throwing their things at him. 433 00:26:52,636 --> 00:26:57,596 Speaker 2: You know, you got shock seeing that stuff, Like how 434 00:26:57,596 --> 00:26:58,836 Speaker 2: the girls are responding to Al. 435 00:26:58,996 --> 00:27:02,236 Speaker 4: We got shot now we we We finished with Church 436 00:27:02,316 --> 00:27:03,356 Speaker 4: long before that, man. 437 00:27:04,996 --> 00:27:14,756 Speaker 1: Great, got you got you man? That's wild. Yeah. But 438 00:27:15,076 --> 00:27:17,316 Speaker 1: I was big, man, I was big. The girls would 439 00:27:17,316 --> 00:27:20,876 Speaker 1: do anything to get the moment without I mean anything. 440 00:27:20,996 --> 00:27:23,436 Speaker 1: They were offering anything to if you could get the 441 00:27:23,516 --> 00:27:28,756 Speaker 1: maccuster out because it was really that big. It was 442 00:27:28,876 --> 00:27:32,756 Speaker 1: just a ginormous It's probably difficult to imagine now you 443 00:27:32,796 --> 00:27:36,676 Speaker 1: know just how big how big he was at the time. Yeah. 444 00:27:36,876 --> 00:27:39,836 Speaker 2: Yeah, when you first went into the studio for that 445 00:27:39,876 --> 00:27:44,836 Speaker 2: first album, was it then, like Dove is almost eleven 446 00:27:44,876 --> 00:27:48,836 Speaker 2: minutes long. Were all your songs at that point like 447 00:27:49,116 --> 00:27:51,196 Speaker 2: that you would play like in your sets, were they 448 00:27:51,236 --> 00:27:52,956 Speaker 2: all pretty long like that? And when you got to 449 00:27:52,996 --> 00:27:56,636 Speaker 2: the studio you thought, I'll bring them down or or 450 00:27:57,436 --> 00:27:57,716 Speaker 2: I was. 451 00:27:57,676 --> 00:28:00,196 Speaker 4: Just everything in the same way we had been doing 452 00:28:00,236 --> 00:28:05,796 Speaker 4: it before. And because it's so much improvisational stuff and 453 00:28:06,196 --> 00:28:10,996 Speaker 4: you go divide in a sense, I do I think 454 00:28:11,036 --> 00:28:13,236 Speaker 4: we knew it was that longer we were cutting it. 455 00:28:15,036 --> 00:28:19,036 Speaker 1: But we never enough. Yeah, we never operated in with 456 00:28:19,076 --> 00:28:23,116 Speaker 1: the kind of commercial restrictions on on on on songs. 457 00:28:23,116 --> 00:28:25,116 Speaker 1: You know, your three and a half minutes. We never 458 00:28:25,196 --> 00:28:27,156 Speaker 1: worked a three and a half and a half minute 459 00:28:27,716 --> 00:28:31,436 Speaker 1: kind of limit for the songs. However, the songs developed, 460 00:28:32,436 --> 00:28:34,156 Speaker 1: that's how we we went with them. 461 00:28:34,556 --> 00:28:36,916 Speaker 2: So like with with the message, for instance, you guys 462 00:28:36,916 --> 00:28:39,796 Speaker 2: didn't have a longer version that you get in the studio. 463 00:28:39,796 --> 00:28:42,436 Speaker 1: Dot, let's get it closer to four. That's just kind 464 00:28:42,436 --> 00:28:45,556 Speaker 1: of what it was. So we did it. 465 00:28:45,676 --> 00:28:48,836 Speaker 4: John just captured what we were doing on the on 466 00:28:48,876 --> 00:28:49,316 Speaker 4: the table. 467 00:28:49,596 --> 00:28:50,476 Speaker 1: Those were the songs. 468 00:28:51,636 --> 00:28:53,676 Speaker 4: There were some that we you know, there was some 469 00:28:54,356 --> 00:28:58,436 Speaker 4: improvization going on, so they might be a little longer here, 470 00:28:58,476 --> 00:29:00,436 Speaker 4: a little shorter there, but those are the songs. 471 00:29:01,036 --> 00:29:03,836 Speaker 1: Mm hmmm. I think it's because of the jazz element 472 00:29:03,916 --> 00:29:06,036 Speaker 1: and the music. You know, we always wanted to make 473 00:29:06,116 --> 00:29:09,516 Speaker 1: space for the sex players, you know, we Devil wanted 474 00:29:09,516 --> 00:29:14,236 Speaker 1: our sax players to be just accent accent players, and 475 00:29:14,276 --> 00:29:18,316 Speaker 1: that's why you'll find a leader of them. Yeah, exactly, exactly. 476 00:29:18,956 --> 00:29:21,276 Speaker 2: Yeah, as much as part of the I feel like 477 00:29:22,036 --> 00:29:25,796 Speaker 2: the sound of Sinandi was like the way you guys 478 00:29:25,796 --> 00:29:28,956 Speaker 2: played together. Steven Patrick as a bass playing guitar player, 479 00:29:29,476 --> 00:29:33,716 Speaker 2: there were wonderful songs that would just be drum, you know, 480 00:29:33,756 --> 00:29:37,316 Speaker 2: and it sounded almost more Jamaican in that sense, you know, 481 00:29:37,356 --> 00:29:40,556 Speaker 2: like NAVINGI kind of where it wasn't even reggae, but 482 00:29:40,716 --> 00:29:44,476 Speaker 2: just with the kind of spiritual with the drum. Was 483 00:29:44,516 --> 00:29:46,676 Speaker 2: that something you guys were also listening to or was 484 00:29:46,716 --> 00:29:49,556 Speaker 2: that more of the Jamaican members of the group or what? 485 00:29:49,596 --> 00:29:51,596 Speaker 1: How did how how did that enter the sound. 486 00:29:51,596 --> 00:29:55,596 Speaker 4: From That's more from Pablo and Mike at the time, 487 00:29:55,636 --> 00:29:59,076 Speaker 4: and I know it was at that time. It was 488 00:29:59,116 --> 00:30:03,236 Speaker 4: really quite important because that gave us a slightly different 489 00:30:03,516 --> 00:30:06,636 Speaker 4: tilt to our music that rasted are. 490 00:30:08,116 --> 00:30:08,716 Speaker 1: Underpinning. 491 00:30:09,516 --> 00:30:12,476 Speaker 4: Yeah, and I think maybe it was the first album 492 00:30:12,556 --> 00:30:17,156 Speaker 4: or first and second album. We have about four raster 493 00:30:17,316 --> 00:30:19,556 Speaker 4: songs on there, and. 494 00:30:19,516 --> 00:30:21,276 Speaker 1: It was very important on music. 495 00:30:21,556 --> 00:30:24,516 Speaker 4: Pablo as a as a percussion players, a bungka player 496 00:30:24,556 --> 00:30:29,596 Speaker 4: had is a really original style. It would we interacted, 497 00:30:29,676 --> 00:30:33,236 Speaker 4: you know, musically, and they brought to Bablo and Mike 498 00:30:33,276 --> 00:30:40,556 Speaker 4: book much of the Rastafarian element that Simandi was to it. Yeah, 499 00:30:41,116 --> 00:30:45,756 Speaker 4: that was all part of Samandai's make up. The percussive thing, 500 00:30:46,756 --> 00:30:48,756 Speaker 4: the styling of the guitar and bass. 501 00:30:48,756 --> 00:30:51,436 Speaker 1: It was better what we did. You know. 502 00:30:51,556 --> 00:30:54,916 Speaker 4: It wasn't it wasn't it wasn't contrived, you know it 503 00:30:55,116 --> 00:30:59,196 Speaker 4: it was organic with that way so beautiful. 504 00:30:59,236 --> 00:31:00,996 Speaker 2: Even in hindsight, you listen to these records and you guys, 505 00:31:01,036 --> 00:31:02,596 Speaker 2: I want to talk about the new record because you guys, 506 00:31:02,716 --> 00:31:04,996 Speaker 2: I feel like you guys have figured out how to 507 00:31:05,076 --> 00:31:07,476 Speaker 2: keep that. But you guys, really I don't know how 508 00:31:07,516 --> 00:31:10,276 Speaker 2: you guys did it. But even just the way the congas, 509 00:31:10,356 --> 00:31:12,436 Speaker 2: that the just the sound of those so crisp and 510 00:31:12,596 --> 00:31:16,036 Speaker 2: just like you guys really captured something just magical, you know. 511 00:31:17,036 --> 00:31:22,276 Speaker 1: So yeah, John John John just allowed us to He 512 00:31:22,356 --> 00:31:24,356 Speaker 1: allowed us to be ourselves in the studio. 513 00:31:26,396 --> 00:31:28,356 Speaker 2: After the flast break, we're back at the rest of 514 00:31:28,396 --> 00:31:35,836 Speaker 2: my conversation with see Monday. Were you guys shocked over 515 00:31:36,036 --> 00:31:38,476 Speaker 2: Over the years, after a while, you guys kind of 516 00:31:38,516 --> 00:31:43,236 Speaker 2: just retreated into civilian life. But you know, through the 517 00:31:43,356 --> 00:31:49,756 Speaker 2: nineties and two thousands, you guys' music became revered, you 518 00:31:49,796 --> 00:31:51,476 Speaker 2: know in a sense, and it would just pop up 519 00:31:51,516 --> 00:31:55,236 Speaker 2: in movies or in other people's music. How did that 520 00:31:55,276 --> 00:31:56,516 Speaker 2: feel when that sorted to happen? 521 00:31:57,036 --> 00:31:59,436 Speaker 1: Well, I mean, never, we never ceased being musicians. You know, 522 00:32:00,836 --> 00:32:03,596 Speaker 1: It's just for a while because nothing was happening for 523 00:32:03,676 --> 00:32:08,116 Speaker 1: the music, we decided to go down another avenue and 524 00:32:08,236 --> 00:32:13,396 Speaker 1: something to some extent that probably you know, we always 525 00:32:13,396 --> 00:32:16,516 Speaker 1: felt we'd do at some point, But we never ceased 526 00:32:16,596 --> 00:32:20,596 Speaker 1: being musicians. But certainly with the interest the new interests 527 00:32:20,636 --> 00:32:23,396 Speaker 1: in the music, I think started in the eighties or 528 00:32:23,396 --> 00:32:26,516 Speaker 1: it might have been the nineties. Certainly, the first the 529 00:32:26,556 --> 00:32:29,956 Speaker 1: first sampling and I heard of the song was brought 530 00:32:29,996 --> 00:32:34,036 Speaker 1: to my attention by my my older children at the time, 531 00:32:34,436 --> 00:32:39,476 Speaker 1: was the Della Soul sample. And then after that, I 532 00:32:39,476 --> 00:32:45,076 Speaker 1: think was the Fujis And then you know, I became 533 00:32:45,076 --> 00:32:47,756 Speaker 1: aware that something was happening with the music. I think 534 00:32:47,796 --> 00:32:52,036 Speaker 1: I told Patrick also that something was happening with the music, 535 00:32:52,156 --> 00:32:57,716 Speaker 1: and you know, we saw the development. Unfortunately for us prior, 536 00:32:57,956 --> 00:33:01,036 Speaker 1: just prior to that, when all the activity with the 537 00:33:01,116 --> 00:33:06,916 Speaker 1: music that was being generated by the younger generation, we'd 538 00:33:06,956 --> 00:33:10,436 Speaker 1: also got all our copyright back for our songs, so 539 00:33:10,596 --> 00:33:14,716 Speaker 1: that that that coincided nicely with what what was happening 540 00:33:14,996 --> 00:33:15,676 Speaker 1: with the music. 541 00:33:16,476 --> 00:33:20,796 Speaker 2: Wow, that's great. Was that like a pretty tough processing 542 00:33:20,916 --> 00:33:21,756 Speaker 2: the copyright back? 543 00:33:22,636 --> 00:33:25,276 Speaker 1: Yes? That well? 544 00:33:25,276 --> 00:33:28,756 Speaker 3: I think I think we had to just have sufficient 545 00:33:28,876 --> 00:33:33,156 Speaker 3: nows to know what to do, and sufficient interest to 546 00:33:33,236 --> 00:33:36,876 Speaker 3: realize that something had gone terribly wrong with the music 547 00:33:36,956 --> 00:33:40,756 Speaker 3: that we had written and seemed to be owned and 548 00:33:40,836 --> 00:33:45,316 Speaker 3: divided up, you know, between all kinds of people except us. 549 00:33:46,476 --> 00:33:49,356 Speaker 3: Was that what we got to that point, you know, 550 00:33:49,396 --> 00:33:52,156 Speaker 3: it was kind of time to go just take it, 551 00:33:52,356 --> 00:33:54,196 Speaker 3: take it back because it was ours, you know. 552 00:33:55,036 --> 00:33:57,556 Speaker 1: Yeah, yeah, got to clean that up a little bit. 553 00:33:58,436 --> 00:34:01,916 Speaker 1: We didn't have to, fortunately, end up in any big 554 00:34:01,956 --> 00:34:04,756 Speaker 1: hearings before the courts or things like that. I think 555 00:34:04,796 --> 00:34:09,916 Speaker 1: people recognized pretty quickly after we had instruct did attorneys 556 00:34:09,956 --> 00:34:15,076 Speaker 1: to you know, to represent us and communicate to them, 557 00:34:15,436 --> 00:34:18,156 Speaker 1: you know, how we felt about what was happening. I 558 00:34:18,196 --> 00:34:22,876 Speaker 1: think people recognized pretty quickly that they didn't really have 559 00:34:22,916 --> 00:34:26,476 Speaker 1: a lectus stand on and it was best to get 560 00:34:26,516 --> 00:34:28,836 Speaker 1: the thing resourced. Let's talk. 561 00:34:29,076 --> 00:34:31,756 Speaker 2: Let's talk about renaissance guy. I mean I was saying 562 00:34:31,756 --> 00:34:35,356 Speaker 2: a bit earlier, like the new album. I was shocked 563 00:34:35,716 --> 00:34:39,796 Speaker 2: because in some way I thought it sounded a lot 564 00:34:39,796 --> 00:34:42,836 Speaker 2: like the classic lineup. Even the drums sounded so similar 565 00:34:42,836 --> 00:34:45,716 Speaker 2: to to Sam Kelly and and and the way that 566 00:34:45,996 --> 00:34:48,756 Speaker 2: you guys still create that space which doesn't exist in 567 00:34:48,796 --> 00:34:53,316 Speaker 2: a lot of modern music. It's still present in your guys' music. 568 00:34:53,836 --> 00:34:55,716 Speaker 2: When did you guys start collecting these songs? And when 569 00:34:55,716 --> 00:34:59,276 Speaker 2: did you guys decide to go record a new project. 570 00:35:00,596 --> 00:35:03,716 Speaker 4: I think it's it's kind of an ongoing process. We 571 00:35:03,796 --> 00:35:07,836 Speaker 4: never stopped writing. We never killed off the Simandi project. 572 00:35:07,956 --> 00:35:11,476 Speaker 4: We were always working in some form or fashion. The 573 00:35:11,556 --> 00:35:18,316 Speaker 4: hardest thing was deciding what Samanda twenty twenty four was 574 00:35:18,356 --> 00:35:18,756 Speaker 4: going to be. 575 00:35:19,196 --> 00:35:22,676 Speaker 1: But much of what we did. 576 00:35:24,036 --> 00:35:27,356 Speaker 4: Is if you liked the end product of a lot 577 00:35:27,396 --> 00:35:31,596 Speaker 4: of work coming towards at that time and that space. 578 00:35:32,156 --> 00:35:34,876 Speaker 4: We didn't write to go into the studio to record. 579 00:35:35,516 --> 00:35:39,076 Speaker 4: We've been writing, and we could seelect material from the 580 00:35:39,076 --> 00:35:42,676 Speaker 4: stuff that we had written, and we selected about maybe 581 00:35:42,916 --> 00:35:46,236 Speaker 4: there was a from about a bunch of shortlists of 582 00:35:46,276 --> 00:35:48,316 Speaker 4: maybe fifteen twenty songs. 583 00:35:48,716 --> 00:35:49,036 Speaker 1: Wow. 584 00:35:49,476 --> 00:35:52,236 Speaker 4: And I must say that the ani Man and Gene 585 00:35:53,236 --> 00:35:58,716 Speaker 4: was really very helpful in, you know, in our latter 586 00:35:58,756 --> 00:36:01,876 Speaker 4: process of deciding which tract to go on the album, 587 00:36:02,316 --> 00:36:05,396 Speaker 4: because he was he was openly enough to say, I 588 00:36:05,476 --> 00:36:07,876 Speaker 4: really like this, I think it's good that sort of thing, 589 00:36:07,916 --> 00:36:11,316 Speaker 4: and not something and I'm going to just not they 590 00:36:11,356 --> 00:36:17,716 Speaker 4: shouldn't be faid any money doing. 591 00:36:17,756 --> 00:36:19,796 Speaker 1: But it was from being Patrick. Patrick passed over it 592 00:36:19,836 --> 00:36:22,436 Speaker 1: pretty quickly. But it was a difficult it was. It was. 593 00:36:24,436 --> 00:36:28,356 Speaker 1: It was not as as easy as Patrick probably makes 594 00:36:28,396 --> 00:36:33,116 Speaker 1: it sound, you know, because there were lots of things 595 00:36:33,116 --> 00:36:35,796 Speaker 1: we had to be thinking about, you know, the band 596 00:36:35,836 --> 00:36:39,676 Speaker 1: that that at that time, and now, you know, people 597 00:36:39,676 --> 00:36:42,396 Speaker 1: were now exposed to the three albums, they knew what 598 00:36:42,476 --> 00:36:45,596 Speaker 1: the sound of the band was, you know those days. 599 00:36:45,756 --> 00:36:48,916 Speaker 1: What would they expect now, Yeah, you know, are they 600 00:36:48,956 --> 00:36:51,836 Speaker 1: going to expect us to try and recreate something that 601 00:36:51,876 --> 00:36:55,516 Speaker 1: we did in the seventies, or are we going to 602 00:36:55,556 --> 00:36:59,636 Speaker 1: do something now that maybe so far remove from what 603 00:36:59,676 --> 00:37:04,716 Speaker 1: they're expecting that you know, it disappoints them. So it 604 00:37:04,756 --> 00:37:07,116 Speaker 1: was it was quite a difficult process for us. Actually, 605 00:37:07,156 --> 00:37:09,396 Speaker 1: even Patrick and I had a differences with all of 606 00:37:09,436 --> 00:37:11,836 Speaker 1: the some of the material in terms of what we 607 00:37:11,996 --> 00:37:15,716 Speaker 1: think would be correct for the album or and so on. 608 00:37:15,756 --> 00:37:19,316 Speaker 1: You know. So it wasn't it wasn't it wasn't uneasy. 609 00:37:20,236 --> 00:37:24,476 Speaker 1: It wasn't an easy process. We wanted a connectedness bit 610 00:37:24,556 --> 00:37:27,996 Speaker 1: the seventies, but we didn't want it to appear as 611 00:37:27,996 --> 00:37:30,796 Speaker 1: were we're trying to recreate the seventies because we're in 612 00:37:30,836 --> 00:37:34,516 Speaker 1: different places now forty years the past. You know, we 613 00:37:34,676 --> 00:37:37,676 Speaker 1: different people. You know, we are not kids anymore. We're 614 00:37:37,756 --> 00:37:44,636 Speaker 1: were big, grown men. So all of those those considerations 615 00:37:44,676 --> 00:37:48,516 Speaker 1: played into the into the selection process. 616 00:37:48,916 --> 00:37:52,836 Speaker 4: We've always gone in the same direction. Really, that's that's 617 00:37:52,876 --> 00:37:56,396 Speaker 4: my old Yeah, he has his writing style. 618 00:37:56,676 --> 00:37:58,436 Speaker 1: I have kind of my writing style. 619 00:37:58,476 --> 00:38:01,676 Speaker 4: We don't write as much together s ifing down as 620 00:38:01,716 --> 00:38:04,836 Speaker 4: we did in the past, but our direction is, especially 621 00:38:04,916 --> 00:38:08,196 Speaker 4: to Semantha's, much the same, you know, to that extent. 622 00:38:08,276 --> 00:38:13,036 Speaker 4: It wasn't that that had a task to achieve a 623 00:38:13,076 --> 00:38:14,436 Speaker 4: body of sums that we go both. 624 00:38:15,276 --> 00:38:16,076 Speaker 1: We're all happy with. 625 00:38:17,556 --> 00:38:21,156 Speaker 2: Have your guys's taste, I mean, you're listening habits changed 626 00:38:21,396 --> 00:38:23,876 Speaker 2: from the seventies to now, Like I guess when you 627 00:38:23,916 --> 00:38:25,996 Speaker 2: go to listen to music now, what are you listening 628 00:38:25,996 --> 00:38:28,716 Speaker 2: to and has it changed since you know, the seventies. 629 00:38:29,756 --> 00:38:31,956 Speaker 2: I'm still very much into jazz. Jazz is still my 630 00:38:32,076 --> 00:38:35,956 Speaker 2: favorite medium for listening to music. I don't listen to 631 00:38:36,036 --> 00:38:40,116 Speaker 2: music that much anymore, to be honest, I don't don't 632 00:38:40,116 --> 00:38:41,076 Speaker 2: get the opportunity. 633 00:38:41,436 --> 00:38:46,596 Speaker 1: Really. The most might be now if I'm traveling, you know, 634 00:38:46,636 --> 00:38:49,596 Speaker 1: in the air, then I might take out my phone 635 00:38:49,636 --> 00:38:52,716 Speaker 1: and put a couple of tracks on. But most of 636 00:38:52,756 --> 00:38:56,116 Speaker 1: most of the albums on my phone would be jazz, 637 00:38:57,076 --> 00:39:00,676 Speaker 1: and mostly it would be the traditional jazz stuff, you know, 638 00:39:00,836 --> 00:39:04,276 Speaker 1: not not the not the modern too much of the 639 00:39:04,356 --> 00:39:08,396 Speaker 1: modern stuff. There's a lot of you know, musicians now 640 00:39:08,396 --> 00:39:11,036 Speaker 1: even based play now you know, they're they're into this, 641 00:39:12,676 --> 00:39:16,476 Speaker 1: displaying their skills. It's almost like beast players are now 642 00:39:16,556 --> 00:39:19,796 Speaker 1: guitar players, you know. And I when I when I 643 00:39:19,836 --> 00:39:23,156 Speaker 1: hear some of them, and it's nice stuff. It's great stuff, 644 00:39:23,676 --> 00:39:29,236 Speaker 1: very technical and whatever, but it doesn't have that I 645 00:39:29,276 --> 00:39:31,276 Speaker 1: mean like ron KRT and some of those guys, they 646 00:39:31,356 --> 00:39:34,836 Speaker 1: play one note, yeah, put it in the right place 647 00:39:34,996 --> 00:39:38,516 Speaker 1: and it just hits you. It's you more than than 648 00:39:38,596 --> 00:39:41,236 Speaker 1: twenty notes that some of these guys would would now 649 00:39:41,276 --> 00:39:43,956 Speaker 1: be playing so these guys know, they display their skills, 650 00:39:43,956 --> 00:39:47,036 Speaker 1: they display their techniques and their abilities and so on. 651 00:39:47,396 --> 00:39:50,916 Speaker 1: But I find that that knowing where to just land 652 00:39:50,956 --> 00:39:55,436 Speaker 1: the note or put or put a particular groove there, 653 00:39:55,956 --> 00:39:58,876 Speaker 1: I find that lacking much with some of some of 654 00:39:58,916 --> 00:40:04,116 Speaker 1: what I'm hearing. I don't listening enough listen. I'm gonna 655 00:40:04,116 --> 00:40:04,596 Speaker 1: listen to more. 656 00:40:04,596 --> 00:40:07,276 Speaker 4: But when I do listen, you know, I'm a I'm 657 00:40:07,316 --> 00:40:10,516 Speaker 4: a big fan of good song, right thing, and I 658 00:40:10,716 --> 00:40:11,916 Speaker 4: like to hear stories, so. 659 00:40:12,796 --> 00:40:14,036 Speaker 1: I kind of will listen to that. 660 00:40:14,756 --> 00:40:16,396 Speaker 2: So like if you like, when you say you want 661 00:40:16,396 --> 00:40:18,156 Speaker 2: to listen to more, like, what's something you want to 662 00:40:18,836 --> 00:40:21,036 Speaker 2: you might mis listening to that you if you had time, 663 00:40:21,036 --> 00:40:22,076 Speaker 2: you throw it on. 664 00:40:22,356 --> 00:40:23,076 Speaker 1: When I go home. 665 00:40:23,876 --> 00:40:29,596 Speaker 4: The albums I listened to generally are the two Herbi 666 00:40:29,636 --> 00:40:32,996 Speaker 4: Haandcock albums, the one that he has, the Johnny Mitchell. 667 00:40:33,036 --> 00:40:35,876 Speaker 1: The Johnny Mitchell songs Yeah the River, Yeah yeah yeah, 668 00:40:36,276 --> 00:40:39,916 Speaker 1: River River River, Yeah it's river, and the one would 669 00:40:39,956 --> 00:40:42,796 Speaker 1: Imagine on it. So I listened to that. I listened 670 00:40:42,876 --> 00:40:43,836 Speaker 1: to there's. 671 00:40:43,676 --> 00:40:48,916 Speaker 4: This compilation there's not really a compilation, but Bob Marley 672 00:40:49,036 --> 00:40:52,076 Speaker 4: songs played by other artists and now it's simply listened 673 00:40:52,116 --> 00:40:54,516 Speaker 4: to that a great deal with India. 674 00:40:54,636 --> 00:40:57,636 Speaker 1: I Rea, I think it's on it. Maxie Priest. 675 00:40:58,396 --> 00:41:00,796 Speaker 4: I really don't listen enough, but I listened to to 676 00:41:01,116 --> 00:41:03,396 Speaker 4: those things when I when I'm home and get the 677 00:41:03,436 --> 00:41:04,516 Speaker 4: listening opportunity. 678 00:41:04,996 --> 00:41:10,436 Speaker 2: M hm. How did you guys select the new personnel 679 00:41:10,476 --> 00:41:13,876 Speaker 2: in the band when you had to put some new 680 00:41:13,876 --> 00:41:17,236 Speaker 2: people around you? How did you guys figure out who 681 00:41:17,276 --> 00:41:18,236 Speaker 2: the right people would be? 682 00:41:20,036 --> 00:41:20,396 Speaker 1: Monday? 683 00:41:21,076 --> 00:41:24,236 Speaker 4: Most of these guys we have known for ages, and 684 00:41:24,276 --> 00:41:29,676 Speaker 4: they have known each other for ages, you know, and 685 00:41:29,756 --> 00:41:32,036 Speaker 4: it's a very It's actually, when I think about it, 686 00:41:32,036 --> 00:41:35,996 Speaker 4: it's quite strange. Ray who is our singer? Now, this 687 00:41:36,076 --> 00:41:39,236 Speaker 4: is a funny looking story. He was a kid coming 688 00:41:39,276 --> 00:41:42,956 Speaker 4: to watch us rehearse in Brixton when he for a 689 00:41:43,076 --> 00:41:43,516 Speaker 4: sex help. 690 00:41:44,756 --> 00:41:48,796 Speaker 1: Really had his own career as a solo singer, did 691 00:41:48,916 --> 00:41:50,676 Speaker 1: some and he's also a good songwriter. 692 00:41:51,836 --> 00:41:54,636 Speaker 4: I worked did some work with him in the mid 693 00:41:54,836 --> 00:41:59,836 Speaker 4: mid mid eighties. Going towards the nineties, he worked with 694 00:41:59,916 --> 00:42:04,196 Speaker 4: Jazzy b. He worked with many other people. Then the 695 00:42:04,196 --> 00:42:07,836 Speaker 4: piano player I've known since the mid eighties. First time 696 00:42:07,916 --> 00:42:11,396 Speaker 4: I encounted him, Jian Reid. He used to work be 697 00:42:11,436 --> 00:42:13,476 Speaker 4: in a band with a guy that used to play 698 00:42:13,556 --> 00:42:17,836 Speaker 4: drums with me, and in other places the rest of 699 00:42:18,196 --> 00:42:21,516 Speaker 4: people either agent and brought them or we knew of them. 700 00:42:21,676 --> 00:42:24,796 Speaker 4: For example, the drummer Richard Bailey, he's been around almost 701 00:42:24,836 --> 00:42:26,876 Speaker 4: as long as us. He's a bit younger than us, 702 00:42:27,076 --> 00:42:31,276 Speaker 4: but he's almost because we had there were some really 703 00:42:31,396 --> 00:42:36,116 Speaker 4: nice bands in England in the early days, and you 704 00:42:36,196 --> 00:42:38,756 Speaker 4: know he used to play with some of them. We 705 00:42:39,316 --> 00:42:43,116 Speaker 4: are very pleased to say that we think we have 706 00:42:43,436 --> 00:42:44,396 Speaker 4: the cream of the crop. 707 00:42:44,876 --> 00:42:46,436 Speaker 2: Well, you know, that goes to show I mean, really 708 00:42:46,476 --> 00:42:48,156 Speaker 2: is that you guys really are the key to the 709 00:42:48,196 --> 00:42:50,316 Speaker 2: sound I mean. And then it's like, no matter what 710 00:42:50,556 --> 00:42:54,196 Speaker 2: era of the group I'm listening to, it's like, what 711 00:42:54,396 --> 00:42:56,116 Speaker 2: the way you guys sound together. It sounds like you 712 00:42:56,156 --> 00:42:58,796 Speaker 2: guys aren't even writing so much together anymore. From from 713 00:42:59,076 --> 00:43:02,196 Speaker 2: Patrick was saying, but you guys still have a interplay 714 00:43:02,236 --> 00:43:05,596 Speaker 2: between one another. That's just it just sounds like the band. 715 00:43:05,796 --> 00:43:08,636 Speaker 1: You know, well, we formed the band. The band is 716 00:43:08,676 --> 00:43:09,956 Speaker 1: the band, our creation. 717 00:43:10,676 --> 00:43:14,396 Speaker 4: The music that you know that the band plays to 718 00:43:15,716 --> 00:43:20,716 Speaker 4: a great extent is decided upon between us. And you 719 00:43:20,756 --> 00:43:23,316 Speaker 4: know the thing about the twenty fifteen albums, Steve might 720 00:43:23,396 --> 00:43:26,076 Speaker 4: have a different view, but for me, the important thing 721 00:43:26,476 --> 00:43:31,236 Speaker 4: for the twenty fifteen album was bringing the original six 722 00:43:31,316 --> 00:43:37,196 Speaker 4: players back together to do that album. Very important that 723 00:43:37,276 --> 00:43:39,956 Speaker 4: we could do that, and I mean every man was 724 00:43:40,036 --> 00:43:40,716 Speaker 4: ready to do. 725 00:43:40,676 --> 00:43:42,076 Speaker 1: It, and we did it. 726 00:43:42,116 --> 00:43:46,236 Speaker 4: And in fact John also came back on board, John Troda, 727 00:43:46,276 --> 00:43:51,276 Speaker 4: and the original engineer also came back on board, Alan Florence. 728 00:43:51,516 --> 00:43:56,916 Speaker 4: So that's the original Semandic project. It's not exactly the 729 00:43:56,916 --> 00:43:59,516 Speaker 4: same as it was in the first three albums, but 730 00:43:59,636 --> 00:44:04,036 Speaker 4: that to me is a very important thing. And Steve 731 00:44:04,156 --> 00:44:06,036 Speaker 4: mightn't have to write together in the way sit down 732 00:44:06,076 --> 00:44:09,036 Speaker 4: in the room any longer. We know what it We 733 00:44:09,356 --> 00:44:12,996 Speaker 4: both of us know what it is that we want 734 00:44:13,076 --> 00:44:17,116 Speaker 4: some Mandy music to be. And we each have a 735 00:44:17,196 --> 00:44:22,116 Speaker 4: and and what is crafted at the end of the day. 736 00:44:22,196 --> 00:44:26,436 Speaker 4: That's just how it's always been, I suppose how it 737 00:44:26,516 --> 00:44:27,156 Speaker 4: always will be. 738 00:44:27,276 --> 00:44:31,076 Speaker 1: We might not have that long, but that's it. But 739 00:44:32,276 --> 00:44:35,876 Speaker 1: a lot of the songs, you know, although the developmental 740 00:44:35,996 --> 00:44:40,716 Speaker 1: process is when the band comes together, so you'll have 741 00:44:40,756 --> 00:44:44,276 Speaker 1: the ideas, the genesis of the ideas and whatever. But 742 00:44:44,436 --> 00:44:48,676 Speaker 1: the real can I say, the completion of the songs 743 00:44:48,916 --> 00:44:51,196 Speaker 1: or when the band comes together and we start, because 744 00:44:51,196 --> 00:44:54,836 Speaker 1: lots of changes take place in that process. I mean 745 00:44:54,836 --> 00:44:57,836 Speaker 1: a lot of the songs on the album when we 746 00:44:57,876 --> 00:45:01,836 Speaker 1: presented them as demos, you know, they're in a form 747 00:45:02,156 --> 00:45:06,236 Speaker 1: that is different how they were presented as demos. Yeah, 748 00:45:06,516 --> 00:45:08,396 Speaker 1: a number of a number of the songs. Because when 749 00:45:08,396 --> 00:45:10,556 Speaker 1: you start, when we when the band is together and 750 00:45:10,676 --> 00:45:12,916 Speaker 1: everybody is putting in there a little bit, you have 751 00:45:12,996 --> 00:45:16,556 Speaker 1: the drama it is isn't put the keyboard players so 752 00:45:16,796 --> 00:45:20,076 Speaker 1: you know, and that all comes together, it impacts the 753 00:45:20,116 --> 00:45:25,316 Speaker 1: song and it it sometimes also dictates the direction of 754 00:45:25,436 --> 00:45:29,116 Speaker 1: the of the song. So although myself and Patrick will 755 00:45:29,116 --> 00:45:31,716 Speaker 1: be there, I have my my style of plane obviously, 756 00:45:31,756 --> 00:45:36,996 Speaker 1: which will remain an influence on on the sound. Patrick 757 00:45:36,996 --> 00:45:40,556 Speaker 1: will have his style of plane also that isn't remains 758 00:45:40,596 --> 00:45:44,076 Speaker 1: an important influence on the sound. But the audio instrumentation 759 00:45:44,236 --> 00:45:47,036 Speaker 1: also has an impact in terms of the direction and 760 00:45:47,116 --> 00:45:49,716 Speaker 1: the flow of the of the minister. 761 00:45:51,276 --> 00:45:54,516 Speaker 2: Tell me about bringing in some of the get jazz. 762 00:45:54,596 --> 00:45:56,796 Speaker 2: You mentioned Jazzy B earlier. I think you were saying 763 00:45:56,796 --> 00:46:00,476 Speaker 2: that your singer Ray with jazz B. He's on the record, 764 00:46:01,156 --> 00:46:06,156 Speaker 2: Celeste on the record, incredible, incredible singer. 765 00:46:07,796 --> 00:46:11,236 Speaker 1: I agree with you. Guys familiar with her before, I 766 00:46:12,076 --> 00:46:15,276 Speaker 1: only she she did the TV Edward that that plays 767 00:46:15,316 --> 00:46:19,636 Speaker 1: a lot. But I hadn't seen or heard much of her, 768 00:46:19,716 --> 00:46:20,996 Speaker 1: but I yet see her. 769 00:46:21,316 --> 00:46:25,916 Speaker 4: Being interviewed one time on Jules Holland's show a couple 770 00:46:25,996 --> 00:46:26,716 Speaker 4: of years. 771 00:46:26,516 --> 00:46:29,636 Speaker 1: Drew Holland might get to explain to you, Fami a little bit, 772 00:46:29,716 --> 00:46:30,596 Speaker 1: jews Holland down. 773 00:46:30,996 --> 00:46:33,316 Speaker 2: Yeah, I mean somehow that his stuff ends up I 774 00:46:33,316 --> 00:46:35,396 Speaker 2: know it's a BBC thing, but somehow it ends up 775 00:46:35,636 --> 00:46:36,116 Speaker 2: here all the time. 776 00:46:36,196 --> 00:46:39,836 Speaker 1: Yeah, yeah, I've seen plenty of jewels. I just assumed 777 00:46:39,836 --> 00:46:42,356 Speaker 1: it was, you know, everybody kind of knew about it. 778 00:46:42,396 --> 00:46:44,396 Speaker 4: But he did a kind of series where we interviewed 779 00:46:44,516 --> 00:46:48,716 Speaker 4: artists and she was one that he interviewed, sat down 780 00:46:48,796 --> 00:46:51,636 Speaker 4: and discussed the work and stuff. 781 00:46:51,676 --> 00:46:53,516 Speaker 1: I've seen her do that. 782 00:46:54,356 --> 00:46:58,716 Speaker 4: And our management and her management had gotten together some 783 00:46:58,836 --> 00:46:59,996 Speaker 4: way Former Passion. 784 00:47:00,476 --> 00:47:01,156 Speaker 1: Sheest did that. 785 00:47:01,276 --> 00:47:04,956 Speaker 4: We link up, and so we did while we were 786 00:47:04,956 --> 00:47:09,836 Speaker 4: in New York and we started the same song, started 787 00:47:09,876 --> 00:47:12,076 Speaker 4: working on that, and when we came back to the UK, 788 00:47:12,276 --> 00:47:16,236 Speaker 4: we completed it and then she recorded it with us. 789 00:47:16,356 --> 00:47:19,196 Speaker 1: And you were quite right. She's a she's a wonderful singer. 790 00:47:19,276 --> 00:47:22,436 Speaker 4: She's she's an artist, you know, she's not. 791 00:47:23,316 --> 00:47:26,796 Speaker 1: Yeah, yeah, a wonderful voice. Wonderful voice. 792 00:47:27,316 --> 00:47:32,996 Speaker 4: But yeah, Ray worked with Jazzy quite a bit, and 793 00:47:33,036 --> 00:47:37,116 Speaker 4: I like, I love that linkage when we did how 794 00:47:37,156 --> 00:47:41,516 Speaker 4: we wrote and the issue of Jazzy joining us came up, 795 00:47:42,036 --> 00:47:45,236 Speaker 4: you know, there was a kind of a direct link there, 796 00:47:45,756 --> 00:47:47,156 Speaker 4: and they worked together for Quinn. 797 00:47:48,196 --> 00:47:49,676 Speaker 2: Yeah, I think those are really great too. I mean, 798 00:47:49,756 --> 00:47:51,756 Speaker 2: I like that it wasn't it was nice to have 799 00:47:51,836 --> 00:47:54,036 Speaker 2: a couple of those touches. But I like that it 800 00:47:54,116 --> 00:47:57,636 Speaker 2: was wasn't you know, full of features. It's just these 801 00:47:57,636 --> 00:48:00,556 Speaker 2: really you know, Jazzy b which made sense, and Celeste 802 00:48:00,676 --> 00:48:04,236 Speaker 2: was just like a really wonderful addition. And I love 803 00:48:04,276 --> 00:48:06,356 Speaker 2: I love and the song. I love that you guys 804 00:48:06,356 --> 00:48:08,476 Speaker 2: did a Cold Train. So the Cold Trane is a 805 00:48:08,516 --> 00:48:11,836 Speaker 2: great it's quite such a great song. And now I 806 00:48:11,836 --> 00:48:14,236 Speaker 2: was gonna ask, I didn't really know that you guys 807 00:48:14,276 --> 00:48:16,836 Speaker 2: were such jazz fans. It makes sense to me now 808 00:48:16,836 --> 00:48:19,356 Speaker 2: that you guys did that contribute to to John Man. 809 00:48:20,556 --> 00:48:21,716 Speaker 1: That's a tribute to. 810 00:48:22,156 --> 00:48:28,516 Speaker 4: Great musicianship, leadership in our community. You know, it's a tribute. 811 00:48:30,196 --> 00:48:32,556 Speaker 4: It's it speaks the Cold Train. But you know, we 812 00:48:32,636 --> 00:48:39,396 Speaker 4: had so many people that are honored metaphorically through through 813 00:48:39,476 --> 00:48:40,916 Speaker 4: that I remember. 814 00:48:40,516 --> 00:48:42,116 Speaker 1: The days as a young fellow. 815 00:48:42,156 --> 00:48:44,236 Speaker 4: He and Steve well remember this too, and we'd sit 816 00:48:44,276 --> 00:48:47,196 Speaker 4: down and watch TV and Mohammad Ali would come to 817 00:48:47,276 --> 00:48:48,596 Speaker 4: England and be interviewed. 818 00:48:49,316 --> 00:48:50,836 Speaker 1: I mean you would, you would leave. 819 00:48:50,756 --> 00:48:52,636 Speaker 4: Your job and go sit down to what's to tell 820 00:48:52,676 --> 00:48:52,996 Speaker 4: you for that? 821 00:48:53,796 --> 00:48:55,996 Speaker 1: What an inspiration? What an inspiration? 822 00:48:56,156 --> 00:48:59,276 Speaker 4: And it's in that kind of vein that you know, 823 00:49:00,196 --> 00:49:04,716 Speaker 4: I would approach col trade something that we said, Jesus, 824 00:49:04,716 --> 00:49:07,876 Speaker 4: this is all mine, this is all. 825 00:49:07,836 --> 00:49:11,156 Speaker 1: My community, and this is it's just fabulous. 826 00:49:10,676 --> 00:49:13,956 Speaker 2: To have that amazing. Well, guys, I'm so excited. I'm 827 00:49:13,996 --> 00:49:16,756 Speaker 2: excited that you guys are coming back to La. I 828 00:49:16,796 --> 00:49:18,876 Speaker 2: was telling Steve before we got on Patrick that I 829 00:49:18,916 --> 00:49:21,876 Speaker 2: saw you guys in La back in twenty sixteen. I 830 00:49:21,956 --> 00:49:23,916 Speaker 2: lied to my wife to get out of the house 831 00:49:23,916 --> 00:49:28,876 Speaker 2: to go see you guys. So I'm excited excited to 832 00:49:28,876 --> 00:49:30,556 Speaker 2: come back. I won't lie this time though. I'm going 833 00:49:30,596 --> 00:49:35,756 Speaker 2: out for all confidence and all right. 834 00:49:35,836 --> 00:49:38,796 Speaker 1: Yeah, man, thanks thanks for the to us, Thanks you guys, 835 00:49:38,836 --> 00:49:40,476 Speaker 1: Thank you for the music. Come on, y'all, thank you 836 00:49:40,596 --> 00:49:41,156 Speaker 1: for the music. 837 00:49:44,276 --> 00:49:47,396 Speaker 2: Thanks so much to original Semon Daid members Steve and 838 00:49:47,476 --> 00:49:50,796 Speaker 2: Patrick for talking about their legacy and their new album 839 00:49:50,836 --> 00:49:53,956 Speaker 2: with Me. Here some of our favorite Semon Day tracks. 840 00:49:53,996 --> 00:49:56,796 Speaker 2: You can find a playlist and episode description or on 841 00:49:56,836 --> 00:50:00,596 Speaker 2: our website at broken Record podcast dot com, and be 842 00:50:00,636 --> 00:50:03,396 Speaker 2: sure to follow us on Instagram at the Broken Record Pod. 843 00:50:04,076 --> 00:50:07,236 Speaker 2: You can follow us on Twitter at broken Record. Broken 844 00:50:07,276 --> 00:50:09,836 Speaker 2: Record is produced and edited by Lee A. Rose, with 845 00:50:09,956 --> 00:50:13,396 Speaker 2: marketing help from Eric Sandler and Jordan McMillan. Our engineer 846 00:50:13,596 --> 00:50:17,996 Speaker 2: is Ben Tollinay. Broken Record is a production of Pushkin Industries. 847 00:50:18,396 --> 00:50:21,156 Speaker 2: If you love this show and others from Pushkin, consider 848 00:50:21,196 --> 00:50:25,556 Speaker 2: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription 849 00:50:25,636 --> 00:50:28,436 Speaker 2: that offers bonus content and ad free listening for four 850 00:50:28,556 --> 00:50:31,796 Speaker 2: ninety nine a month. Look for Pushkin Plus on Apple 851 00:50:31,876 --> 00:50:35,876 Speaker 2: podcast subscriptions. And if you like this show, please remember 852 00:50:35,876 --> 00:50:38,476 Speaker 2: to share, rate, and review us on your podcast app. 853 00:50:38,716 --> 00:50:41,516 Speaker 1: Our theme music's by Kenny Beats. I'm justin Richmond.