WEBVTT - Richard Thompson

0:00:08.720 --> 0:00:12.680
<v Speaker 1>Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

0:00:13.200 --> 0:00:17.520
<v Speaker 1>My guest today is the one and only Richard Thompson. Richard,

0:00:17.760 --> 0:00:20.759
<v Speaker 1>you have a new album shipped to short Why that title?

0:00:21.640 --> 0:00:24.239
<v Speaker 2>Well, it seemed appropriate at the time. Let me think, Well,

0:00:26.040 --> 0:00:29.280
<v Speaker 2>I think in a sense, we're all a bit out

0:00:29.320 --> 0:00:32.280
<v Speaker 2>to see you know, you know, like musicians, songwriters and

0:00:32.479 --> 0:00:36.519
<v Speaker 2>and uh, we're kind of sending messages to land, like

0:00:36.560 --> 0:00:39.239
<v Speaker 2>a song as it is a kind of a little

0:00:38.760 --> 0:00:46.040
<v Speaker 2>a little message from far far out at sea. Uh.

0:00:46.800 --> 0:00:49.040
<v Speaker 2>I think as an artist, I think you always feel

0:00:49.040 --> 0:00:51.120
<v Speaker 2>like like you're on the edge of society. You you're not,

0:00:51.159 --> 0:00:52.880
<v Speaker 2>you're not kind of part of it, you're not in it.

0:00:53.680 --> 0:00:57.720
<v Speaker 2>So I suppose that's what that really means to me. Anyway, Well,

0:00:57.760 --> 0:00:59.680
<v Speaker 2>well tell me about feeling like you're on the edge

0:00:59.720 --> 0:01:08.399
<v Speaker 2>of society about it. I think if you're slightly removed,

0:01:08.400 --> 0:01:09.840
<v Speaker 2>if you're one of those people, you know, you go

0:01:09.880 --> 0:01:13.919
<v Speaker 2>to a party and and you spend more time watching

0:01:13.959 --> 0:01:18.960
<v Speaker 2>everybody else that than actually engaging that, then I think

0:01:18.959 --> 0:01:21.440
<v Speaker 2>you're kind of on the edge. But when you're on

0:01:21.480 --> 0:01:24.200
<v Speaker 2>the edge, you get the best of you, You get

0:01:24.200 --> 0:01:26.800
<v Speaker 2>a clearer view of everything. Just being that little bit.

0:01:27.600 --> 0:01:30.240
<v Speaker 1>Okay, So let's say I call you up and I say, Richard,

0:01:30.240 --> 0:01:33.200
<v Speaker 1>I'm going to a party. Are you going to say, okay,

0:01:33.240 --> 0:01:36.240
<v Speaker 1>pick me up. Are you going to say not interested?

0:01:38.360 --> 0:01:40.760
<v Speaker 2>I used to go to parties to pick up girls

0:01:40.800 --> 0:01:45.920
<v Speaker 2>and get drunk. Now I'm happily married and I don't drink.

0:01:47.240 --> 0:01:51.000
<v Speaker 2>Parties become more, you know, like dinner parties. I think

0:01:51.400 --> 0:01:54.600
<v Speaker 2>I love parties where you go and you sit around

0:01:54.640 --> 0:01:56.560
<v Speaker 2>and you have some dinner or something, and you have

0:01:56.720 --> 0:02:01.840
<v Speaker 2>really good intellectual conversations. I love intellectual conversation. That's my

0:02:01.920 --> 0:02:02.520
<v Speaker 2>favorite thing.

0:02:03.600 --> 0:02:06.440
<v Speaker 1>Well, let me just say that I invited you to

0:02:06.520 --> 0:02:10.080
<v Speaker 1>a dinner party and you don't know anybody. Is that

0:02:10.200 --> 0:02:11.440
<v Speaker 1>exciting or depressing?

0:02:12.520 --> 0:02:15.760
<v Speaker 2>It depends who it is, depends who's sitting at the table.

0:02:15.880 --> 0:02:19.560
<v Speaker 2>I mean, I've done that many times, and sometimes you

0:02:19.639 --> 0:02:24.399
<v Speaker 2>make friends for life, and sometimes you meet really interesting people. Yeah,

0:02:24.400 --> 0:02:28.680
<v Speaker 2>if it's a table containing you know, uh, you know

0:02:28.720 --> 0:02:37.440
<v Speaker 2>William Blake and Stevie Smith and Dmitriy Shostakovich and you know,

0:02:38.240 --> 0:02:40.320
<v Speaker 2>Michael Angelo, then I think that that could be an

0:02:40.320 --> 0:02:43.440
<v Speaker 2>interesting party, you know. And I wouldn't mind if I

0:02:43.480 --> 0:02:46.600
<v Speaker 2>didn't know anybody beforehand. I could find lots to talk about.

0:02:47.880 --> 0:02:49.240
<v Speaker 1>Well, I don't think we're going to be going to

0:02:49.280 --> 0:02:50.799
<v Speaker 1>that dinner party soon, but.

0:02:52.040 --> 0:02:53.560
<v Speaker 2>Perhaps in heaven, you know. See.

0:02:54.360 --> 0:02:57.560
<v Speaker 1>So just to be clear, you feel like you're on

0:02:57.600 --> 0:03:00.840
<v Speaker 1>the outside, but you don't have any social anxiety.

0:03:01.440 --> 0:03:05.920
<v Speaker 2>Social anxiety and not really No, I used to, but

0:03:05.960 --> 0:03:12.520
<v Speaker 2>I think I think I think I'm over it now. Actually, yeah, yeah,

0:03:12.560 --> 0:03:13.440
<v Speaker 2>I think I'm fine.

0:03:14.760 --> 0:03:17.360
<v Speaker 1>Did you always feel like an outsider your whole life?

0:03:19.960 --> 0:03:24.919
<v Speaker 2>Most of my life? Yeah, an outside yeah, in some ways,

0:03:25.520 --> 0:03:28.000
<v Speaker 2>a bit of a stranger in some ways. You know,

0:03:28.080 --> 0:03:29.880
<v Speaker 2>I was a bit of a solitary kid, I suppose,

0:03:29.919 --> 0:03:35.280
<v Speaker 2>and I still enjoy my own company. I need some

0:03:35.320 --> 0:03:42.760
<v Speaker 2>alone time generally speaking. So yeah, I mean I think

0:03:43.000 --> 0:03:47.040
<v Speaker 2>I engage were well with people when I engage. But

0:03:47.120 --> 0:03:51.880
<v Speaker 2>there is always that the artist thing where you're always

0:03:51.920 --> 0:03:58.560
<v Speaker 2>thinking in terms of reflecting, in terms of reflecting reality,

0:03:59.080 --> 0:04:03.920
<v Speaker 2>reflecting society, and I think to do that you just

0:04:03.960 --> 0:04:09.320
<v Speaker 2>have to be that that little one degree removed, just

0:04:09.360 --> 0:04:10.640
<v Speaker 2>to give yourself some perspective.

0:04:12.160 --> 0:04:14.480
<v Speaker 1>So you need your alone time. What do you do

0:04:14.560 --> 0:04:15.600
<v Speaker 1>in your alone time?

0:04:16.480 --> 0:04:17.120
<v Speaker 2>What do I do?

0:04:20.200 --> 0:04:20.479
<v Speaker 1>Well?

0:04:21.880 --> 0:04:27.240
<v Speaker 2>I get creative whatever that means, you know, you know,

0:04:27.400 --> 0:04:32.000
<v Speaker 2>I play music. I think about music. I compose music,

0:04:32.520 --> 0:04:35.719
<v Speaker 2>I compose lyrics and I watched the football.

0:04:36.520 --> 0:04:40.920
<v Speaker 1>Well, is your alone time because you want to create

0:04:41.279 --> 0:04:43.040
<v Speaker 1>or you're sick of hanging with people?

0:04:44.080 --> 0:04:46.320
<v Speaker 2>No, I'm not sick of hanging with people. It just

0:04:46.360 --> 0:04:52.240
<v Speaker 2>feels like a need. If it's not daily, then it's

0:04:52.279 --> 0:04:55.240
<v Speaker 2>certainly weekly that I just have to get away and

0:04:56.440 --> 0:05:00.560
<v Speaker 2>create something. And that's an old human it's not a

0:05:00.800 --> 0:05:04.200
<v Speaker 2>human traits. Isn't it like a creativity? I think we

0:05:04.480 --> 0:05:08.039
<v Speaker 2>love to create something where we look for inspiration, you know,

0:05:09.320 --> 0:05:11.800
<v Speaker 2>So I'm just looking for inspiration, Okay.

0:05:11.839 --> 0:05:15.239
<v Speaker 1>I find my best inspiration comes when I'm not looking

0:05:15.279 --> 0:05:19.320
<v Speaker 1>for it, primarily in the shower. Is there a moment

0:05:19.560 --> 0:05:21.599
<v Speaker 1>or a place where you find that you tend to

0:05:21.600 --> 0:05:24.200
<v Speaker 1>get the best ideas well?

0:05:24.240 --> 0:05:28.640
<v Speaker 2>The shower is very good, so is the bath, you know,

0:05:28.760 --> 0:05:39.000
<v Speaker 2>the Turkish bath very good. That work for Rumy gelidin Rumy.

0:05:36.040 --> 0:05:36.360
<v Speaker 1>I think.

0:05:38.440 --> 0:05:41.200
<v Speaker 2>But as Picasso said, you know, the music will find you,

0:05:41.279 --> 0:05:44.680
<v Speaker 2>but but it wants to find you working. And I

0:05:44.680 --> 0:05:47.680
<v Speaker 2>think sometimes you kind of have to meet creativity halfway.

0:05:47.880 --> 0:05:52.320
<v Speaker 2>You can't just kind of let it come, or you

0:05:52.320 --> 0:05:54.719
<v Speaker 2>can wait for a long time and get very frustrated.

0:05:54.800 --> 0:05:58.200
<v Speaker 2>So I tend to kind of, you know, noodle at projects,

0:05:58.240 --> 0:06:02.479
<v Speaker 2>and then I find and at some point I get

0:06:02.480 --> 0:06:07.359
<v Speaker 2>in the right mental state to allow creativity in.

0:06:09.480 --> 0:06:13.200
<v Speaker 1>Okay, So this last album came, you know, essentially half

0:06:13.240 --> 0:06:17.280
<v Speaker 1>a decade after the previous album. You talked about working

0:06:17.320 --> 0:06:21.720
<v Speaker 1>to let the inspiration in. Was it that you decided

0:06:21.760 --> 0:06:24.159
<v Speaker 1>you were going to make another record or what is

0:06:24.200 --> 0:06:25.280
<v Speaker 1>that interim about.

0:06:26.880 --> 0:06:32.360
<v Speaker 2>I think the album process, unless you've got a deadline

0:06:32.360 --> 0:06:37.919
<v Speaker 2>that you have to, you know, grab, I think things

0:06:37.960 --> 0:06:40.920
<v Speaker 2>just accumulate. I think you accumulate enough material, and you think, well,

0:06:40.920 --> 0:06:44.120
<v Speaker 2>I've got I've got sixteen songs here. Surely out of

0:06:44.160 --> 0:06:47.560
<v Speaker 2>those sixteen, i've got twelve twelve good ones I can

0:06:47.560 --> 0:06:49.720
<v Speaker 2>put on a record, So let's book some studio time,

0:06:49.800 --> 0:06:52.880
<v Speaker 2>you know. I think it works like that. Really, COVID

0:06:53.160 --> 0:06:56.479
<v Speaker 2>gave me a lot more time to write, but obviously

0:06:57.000 --> 0:06:59.520
<v Speaker 2>I couldn't tour, So that was two and a half

0:06:59.600 --> 0:07:03.760
<v Speaker 2>years of not touring. But you know, I wrote a

0:07:03.760 --> 0:07:06.160
<v Speaker 2>couple of EPs. I wrote this album, I wrote the

0:07:06.200 --> 0:07:10.280
<v Speaker 2>next album. I wrote a musical play, I'm one way ahead,

0:07:10.480 --> 0:07:12.120
<v Speaker 2>I'm so far ahead, I can't believe it.

0:07:13.360 --> 0:07:17.480
<v Speaker 1>Okay. The last song on the album talks about needing

0:07:17.520 --> 0:07:19.600
<v Speaker 1>to go on the road to make the money to

0:07:19.600 --> 0:07:23.920
<v Speaker 1>make that whole work. So it didn't work for a

0:07:24.000 --> 0:07:26.920
<v Speaker 1>couple of years with COVID. Was that tough financially, Yeah,

0:07:26.960 --> 0:07:29.120
<v Speaker 1>really tough. You think, like a lot of musicians. I

0:07:29.480 --> 0:07:33.000
<v Speaker 1>had to had to dig into my pension. So many

0:07:33.040 --> 0:07:34.320
<v Speaker 1>people I knew did the same thing.

0:07:34.520 --> 0:07:38.080
<v Speaker 2>It was. It was tough, you know, on top of

0:07:38.160 --> 0:07:43.120
<v Speaker 2>an expensive divorce. But that was really tough. And I'm

0:07:43.160 --> 0:07:44.040
<v Speaker 2>still catching.

0:07:43.800 --> 0:07:49.960
<v Speaker 1>Up, okay. You know, you talk about an expensive divorce.

0:07:50.080 --> 0:07:54.480
<v Speaker 1>You get into the lyrics on this record and it

0:07:54.640 --> 0:07:59.800
<v Speaker 1>seems to be a divorce record, and then finding love

0:08:01.400 --> 0:08:03.320
<v Speaker 1>and it seems that, you know, you talk a lot.

0:08:03.360 --> 0:08:05.120
<v Speaker 1>The best song on me I'm for Me is trust,

0:08:05.880 --> 0:08:09.720
<v Speaker 1>and you talk about trust. How much is this reflective

0:08:09.800 --> 0:08:12.960
<v Speaker 1>of the relationship you were with and then you got divorced?

0:08:14.520 --> 0:08:18.040
<v Speaker 2>Probably nothing to do with that, really. I wrote the

0:08:18.080 --> 0:08:25.160
<v Speaker 2>song really about my wife, who's an adoptee, and adoptees

0:08:25.240 --> 0:08:28.480
<v Speaker 2>sometimes have a hard time trusting anybody, so so I

0:08:28.520 --> 0:08:30.720
<v Speaker 2>really write write it for her. I'm putting words in

0:08:30.760 --> 0:08:35.880
<v Speaker 2>her mouth. Frankly, It's an old trick, but I'll resort

0:08:35.920 --> 0:08:42.240
<v Speaker 2>to it if I have to and you know, she

0:08:42.280 --> 0:08:45.360
<v Speaker 2>has a hard time trusting people. She kind of trusts

0:08:45.440 --> 0:08:50.480
<v Speaker 2>me now after seven years fifty so that's an achievement.

0:08:51.559 --> 0:08:52.520
<v Speaker 1>So how'd you meet her?

0:08:54.000 --> 0:09:00.880
<v Speaker 2>I mean it backstage, classic friend of a friend, and

0:09:01.920 --> 0:09:04.720
<v Speaker 2>we're both from North London, both come from the same town,

0:09:06.080 --> 0:09:09.280
<v Speaker 2>you know, both come from the same background, share similar values,

0:09:11.720 --> 0:09:13.520
<v Speaker 2>and you know, just someone I have my I think

0:09:13.679 --> 0:09:16.280
<v Speaker 2>she's a wonderful person and she does do a lot

0:09:16.320 --> 0:09:20.800
<v Speaker 2>of work in the adopted your world, does a lot

0:09:20.800 --> 0:09:28.480
<v Speaker 2>of important work in that world, and I'm filled with admiration.

0:09:30.280 --> 0:09:34.280
<v Speaker 1>Did the new relationship have anything to do with the divorce?

0:09:37.720 --> 0:09:41.960
<v Speaker 2>You could say that I suppose. I think, you know,

0:09:42.160 --> 0:09:44.320
<v Speaker 2>I was married to my previous wife for you know,

0:09:44.440 --> 0:09:49.720
<v Speaker 2>thirty plus years, and I think at some point you

0:09:49.840 --> 0:09:53.920
<v Speaker 2>realize that that there's there's no life there. It's it's

0:09:53.960 --> 0:09:58.240
<v Speaker 2>a kind of a lifeless relationship and you're kind of

0:09:58.240 --> 0:10:04.720
<v Speaker 2>going through the motions. So yeah, well, without being too

0:10:04.760 --> 0:10:08.760
<v Speaker 2>specific about it, I should say that's true.

0:10:09.040 --> 0:10:12.400
<v Speaker 1>And your present wife has children. Are they still in

0:10:12.440 --> 0:10:13.960
<v Speaker 1>the home or are they outside the home?

0:10:15.360 --> 0:10:18.160
<v Speaker 2>Her children are now just about left that they were

0:10:18.160 --> 0:10:23.920
<v Speaker 2>in their twenties, so they're now independent. Yeah, my kids

0:10:23.920 --> 0:10:28.600
<v Speaker 2>are much older. I got five kids. My youngest is thirty,

0:10:28.720 --> 0:10:34.160
<v Speaker 2>so my oldest is fifty something, so might have long

0:10:34.240 --> 0:10:34.920
<v Speaker 2>flown the coop.

0:10:36.360 --> 0:10:38.880
<v Speaker 1>When you got involved with your present wife, you were

0:10:38.880 --> 0:10:41.319
<v Speaker 1>living with her. Were the kids still in the.

0:10:41.280 --> 0:10:46.560
<v Speaker 2>Home, Yeah, some so, some were somewhat.

0:10:47.000 --> 0:10:49.040
<v Speaker 1>So what was it like starting all over with the

0:10:49.120 --> 0:10:51.120
<v Speaker 1>kids in your home? I mean that must have been

0:10:51.280 --> 0:10:53.520
<v Speaker 1>you know, some people say they don't want to do

0:10:53.600 --> 0:10:55.160
<v Speaker 1>that anymore. Been there done that?

0:10:56.080 --> 0:11:01.400
<v Speaker 2>You know, I'm I think it was unfortunate that the

0:11:01.440 --> 0:11:03.880
<v Speaker 2>wee all got on very well. I mean I really

0:11:04.000 --> 0:11:06.600
<v Speaker 2>like us that Zarah's kids, so that they're great kids.

0:11:07.400 --> 0:11:11.240
<v Speaker 2>And you know, it wasn't like we were there all

0:11:11.280 --> 0:11:13.840
<v Speaker 2>the time. You know, sometimes I'm working. I was in

0:11:13.880 --> 0:11:16.520
<v Speaker 2>England some some of the time. She was in the States.

0:11:17.440 --> 0:11:20.080
<v Speaker 2>The kids went off to college at some point, so

0:11:21.800 --> 0:11:24.280
<v Speaker 2>it wasn't like we were, you know, under each other's

0:11:24.280 --> 0:11:29.880
<v Speaker 2>feet or anything. So just a nice relationships all round.

0:11:30.360 --> 0:11:33.360
<v Speaker 1>So you have five kids, A couple of them are

0:11:33.400 --> 0:11:35.880
<v Speaker 1>well known from your first wife. What are the other

0:11:35.920 --> 0:11:36.800
<v Speaker 1>three kids up do?

0:11:38.679 --> 0:11:41.400
<v Speaker 2>Let's see what my daughter came He is a musician,

0:11:41.480 --> 0:11:45.120
<v Speaker 2>My son Teddy's a musician, my son Jack's a musician

0:11:45.240 --> 0:11:50.920
<v Speaker 2>slash interior designer. My daughter Moona's basically a mother, she's

0:11:50.960 --> 0:11:56.040
<v Speaker 2>got five kids, and my son Jesse's kind of does

0:11:56.600 --> 0:11:58.880
<v Speaker 2>it stuff that I don't understand.

0:12:00.559 --> 0:12:02.040
<v Speaker 1>And are they all off the payroll?

0:12:04.400 --> 0:12:07.200
<v Speaker 2>Yeah? Pretty much? Yeah, thank thank God that they'll start

0:12:07.240 --> 0:12:11.959
<v Speaker 2>paying me at some point. I don't perhaps they'll support

0:12:12.000 --> 0:12:14.200
<v Speaker 2>me in the assisted living home.

0:12:15.520 --> 0:12:20.359
<v Speaker 1>And how much contact do you have with them?

0:12:20.800 --> 0:12:26.240
<v Speaker 2>My kids? Yeah, I'm pretty good, fairy frequent. I probably

0:12:26.280 --> 0:12:29.240
<v Speaker 2>see Teddy the most because when I'm in New Jersey,

0:12:29.280 --> 0:12:33.520
<v Speaker 2>he's in New York, so we're fairly close together. My

0:12:33.520 --> 0:12:37.280
<v Speaker 2>mother kids are all kind of around, you know, Southeast England,

0:12:37.360 --> 0:12:39.480
<v Speaker 2>so I'll see them all in the next couple of

0:12:39.520 --> 0:12:40.199
<v Speaker 2>weeks probably.

0:12:41.320 --> 0:12:44.679
<v Speaker 1>So how most of the time you're in New Jersey now.

0:12:45.679 --> 0:12:48.920
<v Speaker 2>It's about fifty to fifty I should say, yeah, between

0:12:48.960 --> 0:12:49.960
<v Speaker 2>London and New Jersey.

0:12:51.200 --> 0:12:57.640
<v Speaker 1>And with your previous wife, where were the locations.

0:12:58.080 --> 0:12:59.800
<v Speaker 2>Between London and Los Angeles?

0:13:00.360 --> 0:13:01.920
<v Speaker 1>And was it still fifty to fifty?

0:13:03.080 --> 0:13:03.840
<v Speaker 2>I say pretty much?

0:13:03.920 --> 0:13:06.120
<v Speaker 1>Yeah, So you have a place in London.

0:13:06.559 --> 0:13:08.600
<v Speaker 2>I have a place in London from which I'm speaking

0:13:08.640 --> 0:13:10.199
<v Speaker 2>to you right now.

0:13:11.520 --> 0:13:13.280
<v Speaker 1>And how long have you had that place?

0:13:14.080 --> 0:13:18.880
<v Speaker 2>Oh golly, at least thirty years, probably thirty five years.

0:13:19.800 --> 0:13:22.559
<v Speaker 1>And when you're not there, is there somebody stays for you?

0:13:23.280 --> 0:13:24.720
<v Speaker 2>Well, where we have people look after it.

0:13:24.800 --> 0:13:30.719
<v Speaker 1>Yeah, okay, So what's the difference to you living in

0:13:30.760 --> 0:13:34.680
<v Speaker 1>Los Angeles is supposed to living in New Jersey.

0:13:35.760 --> 0:13:38.560
<v Speaker 2>I love Los Angeles. I love California as a state.

0:13:38.600 --> 0:13:42.440
<v Speaker 2>It's a beautiful state and it's full of variety, and

0:13:43.400 --> 0:13:46.200
<v Speaker 2>in many ways it's easy living. I mean it's expensive living,

0:13:46.240 --> 0:13:49.040
<v Speaker 2>but it's kind of easy in so many ways. Compared

0:13:49.080 --> 0:13:53.400
<v Speaker 2>to Britain anyway, New Jersey for me is a lot

0:13:53.440 --> 0:13:58.199
<v Speaker 2>more convenient. I'm much closer for doing you know, Atlantic

0:13:58.800 --> 0:14:05.400
<v Speaker 2>backwards and forwards stuff. I'm twenty minutes from the airport

0:14:05.600 --> 0:14:09.720
<v Speaker 2>and yeah, it's it's a handy place to be. I know,

0:14:09.880 --> 0:14:12.960
<v Speaker 2>just in New Jersey. I just live it. Live at

0:14:12.960 --> 0:14:16.120
<v Speaker 2>a condo and I've got a studio in the basement

0:14:16.160 --> 0:14:21.480
<v Speaker 2>which is great, and some good friends and that's all

0:14:21.480 --> 0:14:21.920
<v Speaker 2>I need.

0:14:23.160 --> 0:14:25.560
<v Speaker 1>And what's the difference between living in the US and

0:14:25.600 --> 0:14:28.880
<v Speaker 1>living in the UK? I think.

0:14:31.320 --> 0:14:34.240
<v Speaker 2>What's the truth that I think? You know, Europe's older,

0:14:35.360 --> 0:14:44.239
<v Speaker 2>that's the main thing. The The socialist historian Eric Hobsbaum

0:14:44.680 --> 0:14:49.280
<v Speaker 2>said late in life he said that the best place

0:14:49.320 --> 0:14:53.480
<v Speaker 2>is to live a constitutional monarchies because they give you

0:14:53.520 --> 0:14:58.080
<v Speaker 2>the greatest chance of freedom. And I feel that really

0:14:58.240 --> 0:15:04.800
<v Speaker 2>about Britain's a kind of stability to bring and you know,

0:15:05.000 --> 0:15:09.160
<v Speaker 2>there's a security so that people there's a lot of

0:15:09.200 --> 0:15:12.440
<v Speaker 2>things people don't worry about. That the kind of accept

0:15:13.400 --> 0:15:17.360
<v Speaker 2>a certain continuum that Britain's been around for a couple

0:15:17.360 --> 0:15:19.440
<v Speaker 2>of thousand years and it will continue to be around

0:15:20.160 --> 0:15:23.520
<v Speaker 2>in the future. Well, with America, it feels much more unstable,

0:15:24.040 --> 0:15:27.160
<v Speaker 2>and it feels like so much more like it like

0:15:27.200 --> 0:15:30.840
<v Speaker 2>a new country and has all the insecurities of a

0:15:30.880 --> 0:15:35.680
<v Speaker 2>new country. And you know, right now politically America is

0:15:35.760 --> 0:15:40.760
<v Speaker 2>very divided. Although politics in Britain is pretty bad, it's

0:15:40.840 --> 0:15:45.440
<v Speaker 2>never at that level. So I'm concerned about about America,

0:15:45.520 --> 0:15:49.200
<v Speaker 2>about how divisive it's become, and it seems to be

0:15:49.280 --> 0:15:53.080
<v Speaker 2>really tearing itself apart, and perhaps it'll end up as

0:15:53.160 --> 0:15:56.120
<v Speaker 2>being a bit more fragmented than it is now.

0:16:03.400 --> 0:16:07.480
<v Speaker 1>When you say there's more freedom in a constitutional monarchy,

0:16:07.960 --> 0:16:08.960
<v Speaker 1>can you amplify that?

0:16:10.240 --> 0:16:15.240
<v Speaker 2>Yeah, you think of the British royal family and you think,

0:16:15.400 --> 0:16:17.680
<v Speaker 2>you know that these are over privileged people. You know

0:16:17.720 --> 0:16:19.800
<v Speaker 2>that I mean, my god, you know what, we pay

0:16:19.880 --> 0:16:21.760
<v Speaker 2>them all this money and they dressed up in these

0:16:21.840 --> 0:16:26.200
<v Speaker 2>uniforms and they do these ceremonies, and is it all

0:16:26.320 --> 0:16:30.080
<v Speaker 2>really necessary? You know? I think, particularly if you're an American,

0:16:31.440 --> 0:16:34.800
<v Speaker 2>you could look at that and think it's ridiculous. But

0:16:34.880 --> 0:16:38.200
<v Speaker 2>I think in Britain, you think, you know, the Queen,

0:16:38.320 --> 0:16:40.560
<v Speaker 2>the King, you know, it is a kind of kind

0:16:40.600 --> 0:16:45.600
<v Speaker 2>of a continuity, and politicians come and go, and their

0:16:45.600 --> 0:16:48.520
<v Speaker 2>egos come and go, and their incompetence comes and goes.

0:16:48.560 --> 0:16:50.440
<v Speaker 2>But there's a kind of stability about the fact that

0:16:50.440 --> 0:16:56.560
<v Speaker 2>the Queen was there for like seventy years and you know,

0:16:56.680 --> 0:16:58.680
<v Speaker 2>went through god knows how many prime ministers. You know,

0:16:58.680 --> 0:17:00.880
<v Speaker 2>you have a fair price. The first prime Minister is

0:17:00.920 --> 0:17:10.320
<v Speaker 2>Winston Churchill. So you know, there's there's this very very accomplished,

0:17:10.880 --> 0:17:16.160
<v Speaker 2>very knowledgeable figurehead in the Queen for seventy years, and Charles,

0:17:16.440 --> 0:17:19.640
<v Speaker 2>I think also fills the same role. It's just a

0:17:19.680 --> 0:17:24.000
<v Speaker 2>sense of inheritance and continuity, and it means that there's

0:17:24.080 --> 0:17:27.240
<v Speaker 2>less emphasis on the politicians. I think in America sometimes

0:17:27.720 --> 0:17:31.240
<v Speaker 2>the politicians get treated almost like royalty. But you know,

0:17:31.680 --> 0:17:35.200
<v Speaker 2>mister President's you know, people kind of genuflector a bit

0:17:35.600 --> 0:17:38.160
<v Speaker 2>to just the office of president.

0:17:40.359 --> 0:17:42.320
<v Speaker 1>Okay, wait a second, we're in the US, so we're

0:17:42.359 --> 0:17:46.240
<v Speaker 1>one step removed. And we read about modern European history

0:17:46.280 --> 0:17:50.560
<v Speaker 1>when the kings and queens had all this power. But

0:17:50.640 --> 0:17:54.960
<v Speaker 1>to us the queen feels like a figurehead with no

0:17:55.160 --> 0:17:59.440
<v Speaker 1>political power. How do the people in the UK view

0:17:59.480 --> 0:18:02.560
<v Speaker 1>her or here now it's a king.

0:18:02.680 --> 0:18:08.680
<v Speaker 2>But yeah, yeah, the view is a good idea. The

0:18:08.960 --> 0:18:12.440
<v Speaker 2>kings and queens of Britain I have have not had

0:18:13.320 --> 0:18:18.200
<v Speaker 2>constitutional power for a long time, so that they've always

0:18:18.200 --> 0:18:21.760
<v Speaker 2>been figureheads. As I said, they say the Queen reigne,

0:18:21.840 --> 0:18:24.080
<v Speaker 2>she does not rule, but I should say now the

0:18:24.160 --> 0:18:27.920
<v Speaker 2>king reigns, he does not rule. So it's it's a

0:18:28.040 --> 0:18:31.760
<v Speaker 2>symbolic can continue them if you like, in theory that

0:18:31.800 --> 0:18:34.920
<v Speaker 2>the king can can dissolve parliament. He can say that's it,

0:18:35.680 --> 0:18:39.320
<v Speaker 2>you know, you're out, but he'll never do it. Like

0:18:39.359 --> 0:18:42.000
<v Speaker 2>a lot of things about British politics, a lot isn't

0:18:42.040 --> 0:18:47.240
<v Speaker 2>written down. It's just kind of tradition and and you

0:18:47.280 --> 0:18:53.639
<v Speaker 2>know a previous experience really so yeah, it's it's a

0:18:53.680 --> 0:18:57.600
<v Speaker 2>totally symbolic continuity. But but but it does take the

0:18:57.600 --> 0:19:03.240
<v Speaker 2>emphasis away from the politicians as themselves. And what about Brexit?

0:19:04.359 --> 0:19:12.680
<v Speaker 2>What about Brexit? Absolute mess, absolute mess. I'm a stupidity incompetence.

0:19:14.920 --> 0:19:16.639
<v Speaker 2>If you were going to leave the European Union, at

0:19:16.720 --> 0:19:19.400
<v Speaker 2>least have a plan, at least look at it thoroughly

0:19:19.560 --> 0:19:24.399
<v Speaker 2>and figure out what you're actually going to do. This was,

0:19:25.520 --> 0:19:28.280
<v Speaker 2>you know, the Conservative Party of Britain basically in fighting

0:19:29.080 --> 0:19:32.200
<v Speaker 2>and mister Cameron thinking well that the way I'll unite

0:19:32.200 --> 0:19:34.840
<v Speaker 2>the party is to have a referendum over Europe, which

0:19:34.880 --> 0:19:37.720
<v Speaker 2>is absolutely stupid. No one expected people to vote for

0:19:37.800 --> 0:19:42.439
<v Speaker 2>outs anyway, but they did. I had to. I had

0:19:42.480 --> 0:19:47.639
<v Speaker 2>to hold to that and it's a disaster. There's a

0:19:47.680 --> 0:19:50.639
<v Speaker 2>movement to rejoin the EU and I might be a

0:19:50.680 --> 0:19:51.720
<v Speaker 2>fan of that actually.

0:19:53.440 --> 0:19:57.280
<v Speaker 1>And we hear, you know, labor just got in. But

0:19:57.400 --> 0:20:01.919
<v Speaker 1>we hear that the NHS is underfunded. We hear that

0:20:02.040 --> 0:20:05.679
<v Speaker 1>immigration did not decrease, which was one of the big

0:20:06.240 --> 0:20:12.160
<v Speaker 1>points of Brexit. What's the status of the country today.

0:20:12.880 --> 0:20:15.840
<v Speaker 2>I think you just hit hit upon the two big

0:20:15.920 --> 0:20:21.679
<v Speaker 2>issues right now, which is immigration. But Britain does not

0:20:21.720 --> 0:20:25.359
<v Speaker 2>have a successful immigration policy and that they're gonna have

0:20:25.400 --> 0:20:29.000
<v Speaker 2>to deal with that. It's serious stuff. And the NHS

0:20:29.000 --> 0:20:32.480
<v Speaker 2>has been underfunded for years and years and years. The

0:20:32.600 --> 0:20:35.879
<v Speaker 2>problem is the medicine keyps becoming more and more expensive.

0:20:36.520 --> 0:20:41.400
<v Speaker 2>You know, to treat certain patients you need big expensive machines.

0:20:42.200 --> 0:20:45.320
<v Speaker 2>It costs a fortune and the NHS has not been

0:20:45.359 --> 0:20:49.600
<v Speaker 2>able to keep up. It's a brilliant idea, but it

0:20:49.680 --> 0:20:50.560
<v Speaker 2>just needs more funding.

0:20:51.600 --> 0:20:54.000
<v Speaker 1>And if you become ill, do you go to a

0:20:54.000 --> 0:20:56.439
<v Speaker 1>private doctor or the NHS?

0:20:59.200 --> 0:21:03.520
<v Speaker 2>What if I can afford, I'll go you a private doctor, okay,

0:21:05.480 --> 0:21:08.119
<v Speaker 2>or I'll get ill in America? Where where where I'm

0:21:08.119 --> 0:21:08.680
<v Speaker 2>on medicare?

0:21:10.359 --> 0:21:12.480
<v Speaker 1>So you grew up in notting Hill.

0:21:15.119 --> 0:21:19.800
<v Speaker 2>Briefly. Yeah, when we were five we moved to Highgate.

0:21:19.800 --> 0:21:22.720
<v Speaker 1>And for those of us you know geography challenge, where

0:21:22.800 --> 0:21:23.080
<v Speaker 1>is there?

0:21:25.280 --> 0:21:28.639
<v Speaker 2>Well, notting Hill is a few miles west of central London.

0:21:29.000 --> 0:21:32.719
<v Speaker 2>Highgate is about five miles north of central London and

0:21:32.760 --> 0:21:35.199
<v Speaker 2>it's kind of a leafy suburb or on the edge

0:21:35.240 --> 0:21:38.000
<v Speaker 2>of a leafy suburb. There's a big park called Hampster's Heath,

0:21:38.000 --> 0:21:43.240
<v Speaker 2>which is yeah, you can't build on it. It's like

0:21:43.440 --> 0:21:47.119
<v Speaker 2>too sandy to build on. So it survived in close

0:21:47.160 --> 0:21:51.480
<v Speaker 2>proximities London. And that's where I live now in London.

0:21:51.520 --> 0:21:53.639
<v Speaker 1>And what do your parents do for a living.

0:21:55.720 --> 0:21:58.520
<v Speaker 2>My mum was a housewife, my dad was a policeman.

0:22:00.320 --> 0:22:03.800
<v Speaker 1>So when marijuana and other things became a big deal,

0:22:03.840 --> 0:22:07.239
<v Speaker 1>and your father was a policeman, how did you square that?

0:22:10.520 --> 0:22:17.119
<v Speaker 2>Well, he said, probably in the seventies, you know, he

0:22:17.160 --> 0:22:20.639
<v Speaker 2>said to me. Oh yeah, people talking about marijuana all

0:22:20.680 --> 0:22:22.240
<v Speaker 2>the time. He said, Well, we used to call it

0:22:22.280 --> 0:22:26.480
<v Speaker 2>Indian hemp back in the day, and it's pretty talking

0:22:26.440 --> 0:22:29.040
<v Speaker 2>about the nineteen sixties or even the fifties, he said, yeah,

0:22:29.040 --> 0:22:32.280
<v Speaker 2>you know, well we used to confiscate some sometimes from

0:22:32.280 --> 0:22:35.359
<v Speaker 2>the West Indian immigrants, you know, and we'd have a

0:22:35.359 --> 0:22:38.000
<v Speaker 2>little smoke at the police station. And he said, it

0:22:38.040 --> 0:22:42.600
<v Speaker 2>didn't do much for me, he said.

0:22:41.240 --> 0:22:43.360
<v Speaker 1>And so how many kids in the family.

0:22:45.560 --> 0:22:49.159
<v Speaker 2>In Oh, my siblings just a sister. I have an

0:22:49.160 --> 0:22:49.760
<v Speaker 2>older sister.

0:22:50.240 --> 0:22:53.159
<v Speaker 1>And okay, you were born in forty nine. Did you

0:22:53.240 --> 0:22:55.160
<v Speaker 1>still feel the after effects of the war.

0:22:57.359 --> 0:23:03.960
<v Speaker 2>Yeah, well, London was pretty bombed, you know, during the war.

0:23:04.160 --> 0:23:07.520
<v Speaker 2>So as kids were we play on these bomb sites.

0:23:07.560 --> 0:23:10.199
<v Speaker 2>I mean, it's really dangerous and our parents didn't know

0:23:10.280 --> 0:23:13.800
<v Speaker 2>necessarily what we were doing, but you know, we play

0:23:13.880 --> 0:23:17.880
<v Speaker 2>in the broken glass and you know, thank thank god,

0:23:17.880 --> 0:23:21.520
<v Speaker 2>we never encountered an unexploded bomber or an incendiary or anything.

0:23:23.040 --> 0:23:26.120
<v Speaker 2>But you know what, we just you know what, it's

0:23:26.160 --> 0:23:28.879
<v Speaker 2>your childhood. You've got nothing else to compare it to.

0:23:29.680 --> 0:23:33.119
<v Speaker 2>So it just seemed fine, you know. And the street

0:23:33.160 --> 0:23:36.560
<v Speaker 2>we lived on was like all shrad or damage on

0:23:36.840 --> 0:23:38.760
<v Speaker 2>the buildings, and at the end of the street was

0:23:38.800 --> 0:23:43.960
<v Speaker 2>actually a bomb site. But that was just our child well,

0:23:43.960 --> 0:23:45.639
<v Speaker 2>we just had fun. We enjoyed it.

0:23:45.920 --> 0:23:48.639
<v Speaker 1>And when did the fog live? When did it go

0:23:48.720 --> 0:23:52.280
<v Speaker 1>from black and white to color? I think.

0:23:55.080 --> 0:23:57.600
<v Speaker 2>It probably took till sixty seven. I'm thinking, you know,

0:23:57.640 --> 0:24:02.119
<v Speaker 2>sixty three when the Beatles, Mary Korn's, you know, the

0:24:02.160 --> 0:24:06.320
<v Speaker 2>whole fashion and music thing. London became the center of

0:24:06.359 --> 0:24:08.960
<v Speaker 2>that whole world. I think it was still black and

0:24:08.960 --> 0:24:11.960
<v Speaker 2>white then, and I think sixty seven with sort of

0:24:11.960 --> 0:24:17.679
<v Speaker 2>psychedelia flower power, I think then suddenly it turned it

0:24:17.760 --> 0:24:22.000
<v Speaker 2>turned to color far as I remember, and you know,

0:24:22.040 --> 0:24:24.600
<v Speaker 2>the fifties was very gray as far as I remember

0:24:24.600 --> 0:24:28.040
<v Speaker 2>as a kid, that just seemed like the weather was great.

0:24:28.240 --> 0:24:33.040
<v Speaker 2>It's just seemed like the people's energy was kind of down.

0:24:33.920 --> 0:24:37.399
<v Speaker 2>But as kids were we just enjoyed it anyway. But

0:24:37.560 --> 0:24:41.160
<v Speaker 2>looking back, it did seem basically kind of post war

0:24:41.800 --> 0:24:45.639
<v Speaker 2>you know, poversy really And what was it like when

0:24:45.680 --> 0:24:56.639
<v Speaker 2>the Beatles hit exciting? Exciting? I think, well, you know,

0:24:56.840 --> 0:25:01.240
<v Speaker 2>even when I was I was like thirteen, fourteen years old,

0:25:01.560 --> 0:25:05.480
<v Speaker 2>it was very easy to get caught up in pop

0:25:05.520 --> 0:25:07.679
<v Speaker 2>culture because you had the radio, you had music on

0:25:07.680 --> 0:25:13.080
<v Speaker 2>the radio, you had some very good TV shows for teenagers.

0:25:13.280 --> 0:25:16.440
<v Speaker 2>And by the time I was fifteen, I was going

0:25:16.480 --> 0:25:22.400
<v Speaker 2>out to hear bands, going out to clubs, folk clubs,

0:25:22.600 --> 0:25:26.399
<v Speaker 2>rock clubs. I knew you had a lot of choice

0:25:26.440 --> 0:25:29.240
<v Speaker 2>in London. You had a huge variety of things that

0:25:29.320 --> 0:25:32.600
<v Speaker 2>you could go and see, so you kind of felt

0:25:32.600 --> 0:25:33.960
<v Speaker 2>you were at the epicenter really.

0:25:35.080 --> 0:25:38.200
<v Speaker 1>So from your house you could get the tube or

0:25:38.240 --> 0:25:40.120
<v Speaker 1>how would you actually get to these clubs? And how

0:25:40.119 --> 0:25:40.840
<v Speaker 1>long would it take?

0:25:42.600 --> 0:25:44.679
<v Speaker 2>Yeah, you could take the tube or the bus. The

0:25:44.720 --> 0:25:46.879
<v Speaker 2>tube is very quick. I mean from my from our

0:25:46.920 --> 0:25:49.960
<v Speaker 2>house at that point, we could you could be in

0:25:50.000 --> 0:25:54.240
<v Speaker 2>town in like fifteen minutes, twenty minutes from the kind

0:25:54.240 --> 0:25:57.080
<v Speaker 2>of inner suburbs. Well, when my parents moved us to

0:25:57.119 --> 0:25:59.320
<v Speaker 2>the outer suburbs, it took it took about you know,

0:25:59.359 --> 0:26:01.080
<v Speaker 2>half an hour thirty five minutes.

0:26:02.280 --> 0:26:05.480
<v Speaker 1>So did your parents ever care that you went alone,

0:26:05.520 --> 0:26:11.840
<v Speaker 1>or they say, hey, go be your own person. I'd

0:26:11.840 --> 0:26:13.040
<v Speaker 1>always I'd always.

0:26:12.840 --> 0:26:15.720
<v Speaker 2>Deceived my parents really about what I was doing and

0:26:15.720 --> 0:26:20.000
<v Speaker 2>where I was going. So sometimes I missed the last

0:26:20.000 --> 0:26:23.160
<v Speaker 2>train home, so I'd have to walk home, which made

0:26:23.320 --> 0:26:25.040
<v Speaker 2>I'll be getting in at like one o'clock two in

0:26:25.119 --> 0:26:29.200
<v Speaker 2>the morning, and thank god, my parents were heavy sleepers,

0:26:29.240 --> 0:26:32.199
<v Speaker 2>and I kind of sneak in and they say, what

0:26:32.240 --> 0:26:33.640
<v Speaker 2>time did you get in last night? I said, oh,

0:26:33.640 --> 0:26:37.040
<v Speaker 2>you know, eleven, eleven thirty. I said, oh, okay, so

0:26:37.080 --> 0:26:39.600
<v Speaker 2>I did that for years. Okay, how good a.

0:26:39.520 --> 0:26:43.560
<v Speaker 1>Student were you?

0:26:43.640 --> 0:26:44.240
<v Speaker 2>Not very good?

0:26:45.240 --> 0:26:47.119
<v Speaker 1>And was there always music in the house?

0:26:48.520 --> 0:26:52.800
<v Speaker 2>Yeah, my parents were musical, you know, they weren't professional,

0:26:52.840 --> 0:26:56.160
<v Speaker 2>but my mom was a good singer and my father

0:26:56.280 --> 0:27:02.639
<v Speaker 2>was an amateur guitar player. So we have Let's Pool records,

0:27:02.680 --> 0:27:07.439
<v Speaker 2>Jago Reinhart records, lot Lonnie Johnson records from my father's

0:27:07.480 --> 0:27:10.000
<v Speaker 2>collection and from my sister's collection, who was five years

0:27:10.040 --> 0:27:13.840
<v Speaker 2>older than me. We had all the good rock and roll.

0:27:13.880 --> 0:27:17.960
<v Speaker 2>But so we had Buddy Holly, Elvis, Jean Vincent, Jerry Lee,

0:27:19.520 --> 0:27:24.000
<v Speaker 2>all the good rock and roll as well. So always

0:27:24.040 --> 0:27:24.800
<v Speaker 2>music in the house.

0:27:25.400 --> 0:27:27.280
<v Speaker 1>And when did you start to play an instrument.

0:27:29.720 --> 0:27:34.440
<v Speaker 2>My father brought home a guitar that was damaged when

0:27:34.480 --> 0:27:37.200
<v Speaker 2>I was ten, and he kind of glued it back

0:27:37.200 --> 0:27:39.359
<v Speaker 2>together again, and then I just picked it up and

0:27:39.400 --> 0:27:43.280
<v Speaker 2>started playing because it was something I wanted to do

0:27:43.320 --> 0:27:45.320
<v Speaker 2>for a long time. I've been asking my parents for

0:27:45.359 --> 0:27:50.000
<v Speaker 2>a guitar since I was five, So at ten, I

0:27:50.040 --> 0:27:50.840
<v Speaker 2>finally got one.

0:27:52.160 --> 0:27:54.080
<v Speaker 1>Why were you asking them at age five?

0:27:57.000 --> 0:28:03.800
<v Speaker 2>Rock and roll? You know? You know Elvis had a guitar,

0:28:03.960 --> 0:28:07.840
<v Speaker 2>but Buddy Holly had a guitar, and so, you know,

0:28:07.960 --> 0:28:09.920
<v Speaker 2>posing with a tennis racket in the in front of

0:28:09.960 --> 0:28:13.719
<v Speaker 2>the mirror. I had to suffice for a while, but

0:28:13.760 --> 0:28:16.520
<v Speaker 2>then I was very glad to get my hands on

0:28:16.560 --> 0:28:17.040
<v Speaker 2>a real one.

0:28:18.320 --> 0:28:20.800
<v Speaker 1>So your father glued the guitar back together. Did you

0:28:20.840 --> 0:28:23.160
<v Speaker 1>ever take lessons? I did?

0:28:23.240 --> 0:28:25.399
<v Speaker 2>Yeah, I took classical lessons for a couple of years,

0:28:27.080 --> 0:28:30.200
<v Speaker 2>which was great. That really got my fingers working properly.

0:28:31.440 --> 0:28:33.359
<v Speaker 2>I'm very glad to this day, I'm very glad that

0:28:33.400 --> 0:28:33.760
<v Speaker 2>I did that.

0:28:34.840 --> 0:28:37.320
<v Speaker 1>And can you read music to this day?

0:28:37.400 --> 0:28:42.640
<v Speaker 2>I can't. I can, Yeah, I'm not particularly good read.

0:28:42.680 --> 0:28:45.560
<v Speaker 2>I can write it fast than I can read it.

0:28:46.920 --> 0:28:49.200
<v Speaker 1>Okay, So if you're making a record, you ever write

0:28:49.200 --> 0:28:51.640
<v Speaker 1>down charts.

0:28:52.480 --> 0:28:55.920
<v Speaker 2>Not usually, I mean sometimes we write you know, like

0:28:55.920 --> 0:29:00.000
<v Speaker 2>like you know, a Nashville style chart, you know where

0:29:00.360 --> 0:29:03.280
<v Speaker 2>you just you know, you have the bars and you

0:29:03.320 --> 0:29:05.080
<v Speaker 2>have the you know the one called the four called

0:29:05.120 --> 0:29:10.520
<v Speaker 2>the five chord get kind of shorthand charts. Really, if

0:29:10.560 --> 0:29:12.840
<v Speaker 2>I'm bringing musicians in like a string quartel or something

0:29:12.840 --> 0:29:16.320
<v Speaker 2>there that then I'll notate that properly.

0:29:17.200 --> 0:29:20.600
<v Speaker 1>Okay, So you're playing in the guitar, At what point

0:29:20.600 --> 0:29:22.320
<v Speaker 1>do you start playing with other people?

0:29:24.320 --> 0:29:28.240
<v Speaker 2>Pretty quickly, as soon as I started, my friend who

0:29:28.240 --> 0:29:33.120
<v Speaker 2>live around the corner started as well, so we took

0:29:33.160 --> 0:29:35.480
<v Speaker 2>lessons together and I was like a week ahead of him,

0:29:35.520 --> 0:29:38.400
<v Speaker 2>so I got to play lead and he played rhythm.

0:29:39.760 --> 0:29:43.000
<v Speaker 1>And when did you start forming a band or start

0:29:43.080 --> 0:29:43.720
<v Speaker 1>playing out?

0:29:45.520 --> 0:29:47.959
<v Speaker 2>I think, yeah, well, I think when I was twelve.

0:29:48.160 --> 0:29:52.479
<v Speaker 2>I think I was in a band, like an instrumental band.

0:29:53.600 --> 0:29:55.840
<v Speaker 2>And I think when I was thirteen or we did

0:29:55.880 --> 0:29:58.320
<v Speaker 2>our first show and that was also our last show

0:29:58.400 --> 0:30:03.480
<v Speaker 2>because it was it was so bad experience traumatic that

0:30:03.720 --> 0:30:07.400
<v Speaker 2>we basically broke up at that point. And then I

0:30:07.400 --> 0:30:10.640
<v Speaker 2>played with other kids at my school. I was in

0:30:10.680 --> 0:30:12.800
<v Speaker 2>a band with Hugh Cornwell, who was in the Stranglers

0:30:15.240 --> 0:30:17.120
<v Speaker 2>that lasted a couple of years, and then I met

0:30:17.160 --> 0:30:21.040
<v Speaker 2>the Fairport guys, probably when I was sixteen, started playing

0:30:21.080 --> 0:30:22.040
<v Speaker 2>with them.

0:30:22.360 --> 0:30:25.520
<v Speaker 1>At what point in this story do you say this

0:30:25.600 --> 0:30:27.440
<v Speaker 1>is going to be what I do for a living.

0:30:32.320 --> 0:30:35.880
<v Speaker 2>Almost at no point, really, you know, it wasn't a

0:30:35.920 --> 0:30:41.680
<v Speaker 2>career choice. If you see interviews with the Beatles in

0:30:41.720 --> 0:30:44.960
<v Speaker 2>ninely sixty four sixty five that they say, well, we'll

0:30:44.960 --> 0:30:47.680
<v Speaker 2>do this another couple of years and then we'll move over.

0:30:47.800 --> 0:30:51.200
<v Speaker 2>We'll just write for other people, you know, it wasn't

0:30:51.200 --> 0:30:53.880
<v Speaker 2>a career choice. That there was no sense of longevity

0:30:54.920 --> 0:31:00.920
<v Speaker 2>being in popular music. So I think we thought we'd

0:31:00.960 --> 0:31:03.800
<v Speaker 2>do it for a couple of years. Really, I'm eighteen,

0:31:03.880 --> 0:31:08.640
<v Speaker 2>nineteen twenty. At some point, I'm like twenty two, and

0:31:08.680 --> 0:31:11.360
<v Speaker 2>I'm still going. Twenty five, I'm still going, but I'm

0:31:11.360 --> 0:31:13.360
<v Speaker 2>still looking over my shoulder, and I'm still thinking that,

0:31:13.440 --> 0:31:17.720
<v Speaker 2>you know, this cannot last. And I'm thirty thirty five,

0:31:17.800 --> 0:31:20.120
<v Speaker 2>you know, but I think I was forty when my

0:31:20.160 --> 0:31:22.680
<v Speaker 2>mother said, no, when are you going to get When

0:31:22.680 --> 0:31:24.440
<v Speaker 2>are you going to get a real job? You haven't really,

0:31:24.920 --> 0:31:26.760
<v Speaker 2>you know, what are you going to settle down and

0:31:27.200 --> 0:31:29.920
<v Speaker 2>stop this music nonsense? You know, this is this is

0:31:29.960 --> 0:31:31.600
<v Speaker 2>when she came to see me at the Royal Festival

0:31:31.640 --> 0:31:39.560
<v Speaker 2>Hall in London. So so I think in my nightmare,

0:31:39.560 --> 0:31:42.120
<v Speaker 2>so I'm still kind of looking over my shoulder thinking

0:31:42.720 --> 0:31:45.320
<v Speaker 2>that this isn't a real job. What am I doing?

0:31:45.440 --> 0:31:48.400
<v Speaker 2>At some point I've got to go back to university

0:31:48.520 --> 0:31:51.840
<v Speaker 2>or something, you know, and do more study. I don't know.

0:31:52.720 --> 0:31:54.720
<v Speaker 1>Did things ever get tough in you how to get

0:31:54.720 --> 0:31:55.400
<v Speaker 1>a day job?

0:31:57.080 --> 0:32:01.920
<v Speaker 2>Not quite? Somehow I always managed to survive when I

0:32:02.000 --> 0:32:08.200
<v Speaker 2>left school. I was a stained glass stained glass artist

0:32:09.080 --> 0:32:18.440
<v Speaker 2>for a year. What we did graphic design and stained glass,

0:32:19.320 --> 0:32:21.959
<v Speaker 2>and I worked at the Zoo for a while. But mostly,

0:32:22.120 --> 0:32:25.120
<v Speaker 2>you know, I survived on music, and when I wasn't

0:32:25.120 --> 0:32:29.800
<v Speaker 2>in a band, I could survive on playing sessions, studio sessions.

0:32:30.560 --> 0:32:35.200
<v Speaker 1>Okay, So, for lack of a better term, Fairport and

0:32:35.280 --> 0:32:39.840
<v Speaker 1>those other racks were folk oriented. When you started in bands,

0:32:39.880 --> 0:32:41.920
<v Speaker 1>were you playing that music or were you playing more

0:32:42.080 --> 0:32:45.920
<v Speaker 1>rock and roll type stuff. I think.

0:32:48.120 --> 0:32:50.520
<v Speaker 2>Growing up in London listening to a wide range of

0:32:50.640 --> 0:32:53.520
<v Speaker 2>music meant that I could play a wide range of music.

0:32:53.560 --> 0:32:55.720
<v Speaker 2>I could play folk music, I could play rock and roll,

0:32:55.720 --> 0:32:58.560
<v Speaker 2>I could play a bit of jazz, I could play classical,

0:33:00.360 --> 0:33:02.880
<v Speaker 2>so I was kind of ready for anything, really, and

0:33:02.920 --> 0:33:06.360
<v Speaker 2>when Fairport started, we really were a folk rock band

0:33:07.360 --> 0:33:11.120
<v Speaker 2>and I was happy to play that. That seemed to

0:33:11.280 --> 0:33:14.400
<v Speaker 2>me a great choice of music. And we love lyrics.

0:33:14.600 --> 0:33:16.640
<v Speaker 2>We were a real lyric band, so we would be

0:33:16.720 --> 0:33:21.320
<v Speaker 2>covering you know, Leonard Cohen and Bob Dylan, Jonny Mitchell.

0:33:22.120 --> 0:33:25.560
<v Speaker 2>We'd be covering songs by the great singer songwriters.

0:33:32.800 --> 0:33:36.160
<v Speaker 1>Okay, something that always fascinated me. We had a big

0:33:36.440 --> 0:33:42.280
<v Speaker 1>folk movement late fifties early sixties in US, completely wiped

0:33:42.320 --> 0:33:45.320
<v Speaker 1>off the map by the Beatles, and then in the

0:33:45.440 --> 0:33:50.880
<v Speaker 1>late sixties there was the folk era from England, Fairport Convention, Steele, iye,

0:33:51.040 --> 0:33:54.240
<v Speaker 1>span all these other acts. What caused that.

0:33:55.680 --> 0:34:04.400
<v Speaker 2>Becaused it? I think, well, you know, since the grammar phone,

0:34:04.480 --> 0:34:07.480
<v Speaker 2>or maybe since like Stephen Foster, you know, a lot

0:34:07.480 --> 0:34:13.120
<v Speaker 2>of UK music has been imported, and you know, songs

0:34:13.120 --> 0:34:15.320
<v Speaker 2>like you know, Carolina Moon Keeps Shining that that you

0:34:15.320 --> 0:34:18.320
<v Speaker 2>know that these songs were kind of romantic and almost

0:34:18.360 --> 0:34:22.040
<v Speaker 2>mythological to the Brits. It was like somewhere somewhere else

0:34:22.080 --> 0:34:24.800
<v Speaker 2>you could go that in your mind at least, that

0:34:25.200 --> 0:34:30.120
<v Speaker 2>was a better place somehow, and you know, all through

0:34:30.200 --> 0:34:36.240
<v Speaker 2>the jazz era, the swing era, music was more popular

0:34:36.320 --> 0:34:38.719
<v Speaker 2>from the other side of the Atlantic, and I think

0:34:38.880 --> 0:34:41.080
<v Speaker 2>when you have rock and roll that the same thing happened.

0:34:42.680 --> 0:34:45.799
<v Speaker 2>And I think even the British folk revival of the

0:34:45.840 --> 0:34:51.440
<v Speaker 2>fifties was sparked by people like Pete Seeger and the Weavers,

0:34:52.080 --> 0:34:56.040
<v Speaker 2>and it took till the fifties for people like you

0:34:56.080 --> 0:34:58.560
<v Speaker 2>and mccol and A. L. Lloyd to say, okay, well

0:34:58.600 --> 0:35:01.440
<v Speaker 2>we're gonna start out of folk club and you have

0:35:01.480 --> 0:35:04.440
<v Speaker 2>to sing songs from where you come from. You've got

0:35:04.480 --> 0:35:06.480
<v Speaker 2>to sing British songs. If you're Scottish, you've got to

0:35:06.480 --> 0:35:13.360
<v Speaker 2>sing Scottish songs. If you're English, English songs. And that

0:35:13.640 --> 0:35:19.279
<v Speaker 2>was a big change, you know, And for Fairport it

0:35:19.320 --> 0:35:21.160
<v Speaker 2>seemed to us a logical thing to do in the

0:35:21.200 --> 0:35:27.279
<v Speaker 2>sixties was to contemporize folk music, was to bring it

0:35:27.320 --> 0:35:32.280
<v Speaker 2>into the twentieth century by playing it on amplified instruments

0:35:32.280 --> 0:35:36.480
<v Speaker 2>and drums. So really that was that that revival which

0:35:36.480 --> 0:35:39.520
<v Speaker 2>started sort of sixty eight sixty nine fair Butt start

0:35:39.520 --> 0:35:45.160
<v Speaker 2>started playing traditional music as a rock band and still

0:35:45.200 --> 0:35:49.719
<v Speaker 2>I spam followed, other bands followed, but it took us

0:35:49.719 --> 0:35:52.040
<v Speaker 2>that long, I think to really shake off the American

0:35:52.080 --> 0:35:53.560
<v Speaker 2>shackles in some ways.

0:35:54.719 --> 0:35:59.319
<v Speaker 1>Well there's also Britange and Pentangle. To what degree were

0:35:59.400 --> 0:36:03.080
<v Speaker 1>you out in the forest alone or were there other

0:36:03.239 --> 0:36:06.440
<v Speaker 1>English bands pushing you forward and leading the way in

0:36:06.520 --> 0:36:07.520
<v Speaker 1>this type of music?

0:36:08.680 --> 0:36:12.080
<v Speaker 2>Not really, no, I mean I think we thought Pentangle

0:36:12.160 --> 0:36:18.120
<v Speaker 2>were more of a kind of folk slash jazz fusion band,

0:36:18.280 --> 0:36:20.360
<v Speaker 2>if you like that, And we thought they were a

0:36:20.400 --> 0:36:23.360
<v Speaker 2>bit wimpy, you know that they didn't play particularly loud,

0:36:24.080 --> 0:36:27.960
<v Speaker 2>so we weren't influenced by by them. I mean, I

0:36:28.000 --> 0:36:30.839
<v Speaker 2>love but yanch as a player, and I've seen him

0:36:30.880 --> 0:36:34.000
<v Speaker 2>for years in folk clubs, and I love Danny Thompson,

0:36:35.520 --> 0:36:39.319
<v Speaker 2>but we didn't really pay much attention to Pentangle. You know,

0:36:39.640 --> 0:36:43.560
<v Speaker 2>all those guitar players David Graham, John Rambourn, Bert Yan

0:36:43.800 --> 0:36:47.880
<v Speaker 2>Martin Carthy. I saw a lot of in folk clubs

0:36:48.200 --> 0:36:52.000
<v Speaker 2>when I was a teenager, so I was strongly influenced

0:36:52.000 --> 0:36:54.560
<v Speaker 2>by them at the time. And it was part of

0:36:54.320 --> 0:36:58.080
<v Speaker 2>that mix, that that London mix of you know, being

0:36:58.120 --> 0:37:00.520
<v Speaker 2>able to hear all these different different things. You know,

0:37:00.960 --> 0:37:03.840
<v Speaker 2>they went in there with the Who and the Yardbirds

0:37:02.960 --> 0:37:06.680
<v Speaker 2>and anything else you could see in London at the time,

0:37:06.840 --> 0:37:12.040
<v Speaker 2>you know, so it was really fair boss idea. It's

0:37:12.360 --> 0:37:18.280
<v Speaker 2>idea to amplify and play traditional ballads.

0:37:18.880 --> 0:37:22.520
<v Speaker 1>Okay, let's go back. You're going to clubs. What acts

0:37:22.520 --> 0:37:28.080
<v Speaker 1>did you see rock clubs?

0:37:29.080 --> 0:37:31.120
<v Speaker 2>There was a great club called the Marquee Club, of course,

0:37:32.200 --> 0:37:35.720
<v Speaker 2>in Soho, which started out as a jazz club, started

0:37:35.719 --> 0:37:38.880
<v Speaker 2>by a guy called Chris Barber, and by about nineteen

0:37:38.960 --> 0:37:43.319
<v Speaker 2>sixty five you had The Who playing there as in

0:37:43.320 --> 0:37:45.880
<v Speaker 2>a residency, a little club like three hundred, three hundred

0:37:45.920 --> 0:37:50.279
<v Speaker 2>people standing. Maybe you had the Yard Buds on Fridays

0:37:50.360 --> 0:37:52.520
<v Speaker 2>were there at Clapton then with Jeff Beck, then with

0:37:52.600 --> 0:37:55.920
<v Speaker 2>Jimmy Page lost the guitar players to go and watch

0:37:55.960 --> 0:38:01.120
<v Speaker 2>their Spencer Davis group with Steve Winwood would play there.

0:38:01.160 --> 0:38:06.719
<v Speaker 2>The Nice Who, kind of the the the precursor to

0:38:06.760 --> 0:38:11.759
<v Speaker 2>Emerson Lincoln Palmer, lots of good music. I saw a

0:38:11.760 --> 0:38:16.239
<v Speaker 2>billboard for one particular week of nineteen sixty five, and

0:38:16.280 --> 0:38:19.600
<v Speaker 2>I realized that I'd seen three shows that week. And

0:38:19.680 --> 0:38:21.520
<v Speaker 2>I saw The Who on Tuesday, I saw the Yarbas

0:38:21.560 --> 0:38:25.320
<v Speaker 2>on Friday, I saw the Bill Evans Trio on Thursday.

0:38:25.880 --> 0:38:27.400
<v Speaker 2>I mean, well, what a week that was. That was

0:38:27.480 --> 0:38:29.440
<v Speaker 2>just fantastic education.

0:38:29.880 --> 0:38:32.640
<v Speaker 1>Okay, when you saw these bands, all these bands went

0:38:32.680 --> 0:38:36.080
<v Speaker 1>on to be household names, and certainly and who live

0:38:36.120 --> 0:38:39.239
<v Speaker 1>at Leads they had the poster from the Marque when

0:38:39.239 --> 0:38:41.960
<v Speaker 1>you saw them at the Marquis. Did you think they

0:38:42.000 --> 0:38:45.560
<v Speaker 1>would be as big as they would become? Were they

0:38:45.800 --> 0:38:47.200
<v Speaker 1>as good as they became?

0:38:51.400 --> 0:38:53.640
<v Speaker 2>In some ways? I think when the who were writing

0:38:53.840 --> 0:39:00.759
<v Speaker 2>really great three minute pop songs before they became you know,

0:39:00.840 --> 0:39:03.040
<v Speaker 2>you know, like an arena band or a stadium band.

0:39:03.120 --> 0:39:05.840
<v Speaker 2>I think that they were just a great club band.

0:39:06.160 --> 0:39:08.399
<v Speaker 2>And you know that they had a lot of visual

0:39:08.440 --> 0:39:12.440
<v Speaker 2>stuff that they had all that great pop art ideas

0:39:12.520 --> 0:39:16.640
<v Speaker 2>you know from people like Peter Blake. So that was

0:39:16.760 --> 0:39:19.759
<v Speaker 2>very very exciting. And they played very loud and they

0:39:19.800 --> 0:39:22.759
<v Speaker 2>would destroy their instruments on a regular basis, which is

0:39:22.840 --> 0:39:26.640
<v Speaker 2>quite exciting too. So you know, a very anarchic, very

0:39:27.760 --> 0:39:31.399
<v Speaker 2>very visual and as a fifteen sixteen year old, I mean,

0:39:31.640 --> 0:39:33.320
<v Speaker 2>just what you wanted to see really, you know, it

0:39:33.560 --> 0:39:36.200
<v Speaker 2>was that kind of thing, you know, you know, the

0:39:36.320 --> 0:39:39.080
<v Speaker 2>yard Bers were just a pretty good R and B band.

0:39:40.840 --> 0:39:44.280
<v Speaker 2>I think when we heard the real stuff from Chicago,

0:39:44.719 --> 0:39:48.239
<v Speaker 2>when we actually heard Howling Wolf Records, we raised that

0:39:48.320 --> 0:39:50.840
<v Speaker 2>Yelberds were actually a bit kind of wimpy, you know,

0:39:51.200 --> 0:39:55.560
<v Speaker 2>they didn't have that kind of testosterone, you know, the

0:39:55.640 --> 0:39:58.520
<v Speaker 2>running through the music that you heard on Muddy Waters

0:39:58.560 --> 0:40:03.640
<v Speaker 2>and records. But yeah, exciting stuff. And you can see

0:40:03.640 --> 0:40:05.920
<v Speaker 2>great jazz as well. In London, all the good jazz

0:40:05.960 --> 0:40:08.879
<v Speaker 2>came through and you can see great classical concerts as well.

0:40:09.000 --> 0:40:13.879
<v Speaker 2>So it was a real small gas board of excitement there.

0:40:14.280 --> 0:40:15.839
<v Speaker 1>Did you ever see the Beatles live?

0:40:17.160 --> 0:40:21.080
<v Speaker 2>No? I never did. I probably wouldn't have been able

0:40:21.080 --> 0:40:23.920
<v Speaker 2>to hear them anyway. Reports say that you just couldn't

0:40:23.960 --> 0:40:26.880
<v Speaker 2>hear a thing, but it sure was exciting.

0:40:27.040 --> 0:40:28.080
<v Speaker 1>And what about the Stones?

0:40:29.520 --> 0:40:32.640
<v Speaker 2>I saw the Stones quite early on. I didn't think

0:40:32.640 --> 0:40:35.520
<v Speaker 2>they were very good. Actually I still don't think they're

0:40:35.560 --> 0:40:40.160
<v Speaker 2>very good, but I think live that they're not that interesting.

0:40:40.160 --> 0:40:43.360
<v Speaker 2>But they've made some great records. There's some absolutely definitive,

0:40:43.440 --> 0:40:48.240
<v Speaker 2>wonderful rock records that that you know, pretty much set

0:40:48.239 --> 0:40:54.480
<v Speaker 2>the standard for decades for other bands, which records what

0:40:54.600 --> 0:41:02.200
<v Speaker 2>the things least like you know, Street Fighting Man, Brown Sugar,

0:41:02.960 --> 0:41:06.560
<v Speaker 2>you know that generation of Stones records I think are

0:41:06.560 --> 0:41:11.120
<v Speaker 2>really really great, fantastic records. They've got great grooves, great sounds,

0:41:12.239 --> 0:41:16.799
<v Speaker 2>and they just does everything that a rock band should do.

0:41:16.960 --> 0:41:20.880
<v Speaker 2>And you know the bands that followed, like Pearl Jamer

0:41:21.040 --> 0:41:23.640
<v Speaker 2>kind of in the shadow of what the Stones could

0:41:23.640 --> 0:41:25.000
<v Speaker 2>achieve in the seventies, I think.

0:41:25.320 --> 0:41:30.239
<v Speaker 1>So in America started with the Beatles, and although the

0:41:30.400 --> 0:41:33.839
<v Speaker 1>Stones were an element, we got all what was called

0:41:33.840 --> 0:41:37.440
<v Speaker 1>the British invasion, everything from Herman's Hermits to Freddie and

0:41:37.480 --> 0:41:41.480
<v Speaker 1>the Dreamers. What degree did they have impact? Were you

0:41:41.560 --> 0:41:43.320
<v Speaker 1>paying attention to them in the UK?

0:41:45.040 --> 0:41:47.759
<v Speaker 2>Well, in the UK it was just like saturation, you know,

0:41:49.040 --> 0:41:51.320
<v Speaker 2>especially the bands from the North, the bands from Liverpool

0:41:51.320 --> 0:41:55.400
<v Speaker 2>and Manchester pretty much saturated that the charts for a

0:41:55.440 --> 0:41:57.960
<v Speaker 2>long time. You know. All we could offer from the

0:41:57.960 --> 0:42:02.080
<v Speaker 2>South was the Dave Clark five, which there made some

0:42:02.120 --> 0:42:04.200
<v Speaker 2>good records, but they were not a good band at all.

0:42:05.520 --> 0:42:10.040
<v Speaker 2>So you know, the Beatles, the Holly's, you know, the

0:42:10.120 --> 0:42:14.120
<v Speaker 2>Mersey Beats, the Big Three, the Escorts, you know, all

0:42:14.160 --> 0:42:19.560
<v Speaker 2>these Liverpool bands. We're actually pretty good and what we

0:42:19.719 --> 0:42:25.200
<v Speaker 2>really enjoyed them and tried to learn stuff from them,

0:42:25.200 --> 0:42:25.400
<v Speaker 2>you know.

0:42:26.040 --> 0:42:28.480
<v Speaker 1>So why did the innovation come from the North as

0:42:28.480 --> 0:42:29.520
<v Speaker 1>opposed to the South?

0:42:30.719 --> 0:42:35.640
<v Speaker 2>Good question, I think because Liverpool is a seaport, you

0:42:35.800 --> 0:42:45.319
<v Speaker 2>had sailors, American sailors bringing over records and perhaps you know,

0:42:45.400 --> 0:42:49.320
<v Speaker 2>trading them in in in you know, in pawn shops

0:42:49.360 --> 0:42:54.880
<v Speaker 2>and junk shops. So in Liverpool you could buy Motown

0:42:54.960 --> 0:42:58.040
<v Speaker 2>records at a time when when they were harder to

0:42:58.080 --> 0:43:02.640
<v Speaker 2>find in London. And obviously you know that the Beatles,

0:43:02.640 --> 0:43:06.640
<v Speaker 2>for instance, started off doing some great covers. You know,

0:43:06.680 --> 0:43:08.600
<v Speaker 2>you've got a hold on me things things like that,

0:43:08.880 --> 0:43:13.080
<v Speaker 2>All these these great Motown and R and B records,

0:43:13.360 --> 0:43:16.360
<v Speaker 2>the well, we never heard in the South. You know,

0:43:16.360 --> 0:43:19.080
<v Speaker 2>where we heard we heard chuck Berry and bow Didley,

0:43:19.080 --> 0:43:21.080
<v Speaker 2>where we heard that kind of R and B stuff

0:43:21.080 --> 0:43:24.800
<v Speaker 2>from Chicago, but where we never heard we never heard Motown,

0:43:24.840 --> 0:43:27.399
<v Speaker 2>particularly until they started to tour in the UK.

0:43:28.280 --> 0:43:30.400
<v Speaker 1>And I have to ask before we move forward, what

0:43:30.520 --> 0:43:31.360
<v Speaker 1>about skiffle?

0:43:33.120 --> 0:43:41.480
<v Speaker 2>Skiffle? My god, yeah, interesting UK phenomenon. Why I asked myself,

0:43:41.520 --> 0:43:43.920
<v Speaker 2>why was this skiffle? Very strange thing?

0:43:44.880 --> 0:43:45.040
<v Speaker 1>So?

0:43:45.400 --> 0:43:50.239
<v Speaker 2>I think because after World War Two kids didn't have

0:43:50.239 --> 0:43:52.239
<v Speaker 2>any money, you know that there was there were these

0:43:52.280 --> 0:43:57.000
<v Speaker 2>teenagers who were just impoverished. Things are still unrational, you know,

0:43:57.400 --> 0:43:59.360
<v Speaker 2>through the fifties, you know, you like couldn't get sweets,

0:44:00.040 --> 0:44:04.040
<v Speaker 2>you couldn't get butter. You know, it's crazy, and no

0:44:04.080 --> 0:44:06.680
<v Speaker 2>one could afford a real instruments and so people would

0:44:06.719 --> 0:44:08.920
<v Speaker 2>make homemade instruments there that they'd make, you know, the

0:44:09.000 --> 0:44:15.480
<v Speaker 2>washtub bass, sorry, the wash the washboard rhythm and then

0:44:15.520 --> 0:44:19.280
<v Speaker 2>the washtub bass, and if you can afford a guitar

0:44:19.440 --> 0:44:21.759
<v Speaker 2>or two that that would be good as well. And

0:44:22.960 --> 0:44:31.880
<v Speaker 2>they just played like led Belly songs, Wouldy Guthrie songs. Uh.

0:44:31.920 --> 0:44:36.120
<v Speaker 2>There was a famous skiffle band run by Lonnie Donegan

0:44:36.880 --> 0:44:39.840
<v Speaker 2>and he he had major hits in the UK. I

0:44:39.840 --> 0:44:42.399
<v Speaker 2>think he recorded That's the Right Mama, like a week

0:44:42.480 --> 0:44:45.839
<v Speaker 2>after Elvis Presley or a week before Elvis Presley. So

0:44:45.840 --> 0:44:48.200
<v Speaker 2>so he nearly invented rock and roll, but not quite.

0:44:49.280 --> 0:44:51.480
<v Speaker 2>But he was kind of the beginning of the skiffle

0:44:51.520 --> 0:44:56.240
<v Speaker 2>movement and and it just spread like wildfire through Britain.

0:44:56.239 --> 0:44:58.719
<v Speaker 2>But because it was homemade music, you could make the

0:44:58.719 --> 0:45:02.960
<v Speaker 2>instruments yourself, you know, the Beatles filmed the Quarrymen, you know,

0:45:03.960 --> 0:45:09.719
<v Speaker 2>John and Paul. Anyway, and I don't know how long

0:45:09.719 --> 0:45:12.480
<v Speaker 2>it lasted a couple of years. Maybe it was just

0:45:12.560 --> 0:45:15.759
<v Speaker 2>a strange British phenomenon. And then after that you had

0:45:16.680 --> 0:45:19.760
<v Speaker 2>a traditional jazz boom in Britain as well. You're concurrent

0:45:19.800 --> 0:45:23.120
<v Speaker 2>with rock and roll. You had this revival of New

0:45:23.200 --> 0:45:27.279
<v Speaker 2>Orleans traditional jazz basically in the nineteen twenties. So you

0:45:27.320 --> 0:45:30.280
<v Speaker 2>had all these bands like like I could Builk playing

0:45:31.719 --> 0:45:34.200
<v Speaker 2>trad jazz. And my sister, you know, used to used

0:45:34.200 --> 0:45:37.839
<v Speaker 2>to go and dance to traditional jazz. That was one

0:45:37.880 --> 0:45:41.960
<v Speaker 2>of her things. Concurrent with rock and roll. Very strange.

0:45:42.200 --> 0:45:44.400
<v Speaker 1>And let's go back to the clubs. You know, you

0:45:44.440 --> 0:45:48.160
<v Speaker 1>talk about the yard Birds. They have clapped in, they

0:45:48.239 --> 0:45:52.680
<v Speaker 1>have Page, they have Beck. Of course, you have John Mayle,

0:45:52.880 --> 0:45:58.279
<v Speaker 1>you have Peter Green, Fleetwood Mac. To what degree did

0:45:58.320 --> 0:46:01.239
<v Speaker 1>not only you go to see these these guitarists, were

0:46:01.239 --> 0:46:02.719
<v Speaker 1>they influential to you?

0:46:07.200 --> 0:46:09.480
<v Speaker 2>Well, I learned how to copy those guys, and then

0:46:09.480 --> 0:46:11.440
<v Speaker 2>I kind of rejected it, and I thought that this

0:46:11.560 --> 0:46:15.400
<v Speaker 2>is an overcrowded world, the world of the the British

0:46:15.480 --> 0:46:18.440
<v Speaker 2>blues man, you know, the Peter Greens and the Eric Clapton's,

0:46:18.440 --> 0:46:21.120
<v Speaker 2>you know, and the Mick Taylor's, et cetera, et cetera,

0:46:21.160 --> 0:46:25.160
<v Speaker 2>et cetera. I just said, well, I'm going to play

0:46:25.200 --> 0:46:27.360
<v Speaker 2>something different, you know, I'm not going to be like

0:46:27.400 --> 0:46:32.040
<v Speaker 2>these guys. So when we started playing the traditional music,

0:46:32.280 --> 0:46:35.160
<v Speaker 2>that was much more of an influence for me, so

0:46:35.200 --> 0:46:37.920
<v Speaker 2>that I have more of a Celtic influence on on

0:46:38.040 --> 0:46:38.800
<v Speaker 2>my guitar playing.

0:46:46.360 --> 0:46:51.680
<v Speaker 1>Okay, you form Fairboard Convention. How long do you play

0:46:51.920 --> 0:46:54.400
<v Speaker 1>before you get hooked up with Joe Boyd?

0:46:56.600 --> 0:47:01.120
<v Speaker 2>Not very long, I think. I think I left school

0:47:01.160 --> 0:47:05.240
<v Speaker 2>in May sixty seven. We were playing around the clubs

0:47:06.560 --> 0:47:09.160
<v Speaker 2>that summer. I think it was something like September when

0:47:09.200 --> 0:47:13.080
<v Speaker 2>we hooked up with Joe. Joe discovered us, Haha, as

0:47:13.120 --> 0:47:17.400
<v Speaker 2>they say, so just a few months really, which is

0:47:17.440 --> 0:47:19.960
<v Speaker 2>extraordinary in so many ways.

0:47:20.640 --> 0:47:22.880
<v Speaker 1>Well, you know a lot of bands in the US

0:47:23.040 --> 0:47:24.799
<v Speaker 1>they formed and they said, oh, we got to get

0:47:24.840 --> 0:47:29.040
<v Speaker 1>a record deal. Was that in Fairport Convention's mind? Or

0:47:29.080 --> 0:47:31.160
<v Speaker 1>did Joe Boyd find you and then you got a

0:47:31.200 --> 0:47:31.759
<v Speaker 1>record deal.

0:47:33.200 --> 0:47:36.920
<v Speaker 2>We weren't thinking about a record deal at all. We

0:47:37.000 --> 0:47:40.640
<v Speaker 2>just thought we're thrilled to be playing anywhere, to be

0:47:40.640 --> 0:47:44.239
<v Speaker 2>playing music, and to actually be an opening act for

0:47:44.640 --> 0:47:46.360
<v Speaker 2>people like the Pink Floyd. I mean that was just

0:47:46.640 --> 0:47:50.840
<v Speaker 2>staggering to us. They're just amazing. So Joe offering to

0:47:50.880 --> 0:47:58.440
<v Speaker 2>record us felt amazing and we were very very excited.

0:47:59.280 --> 0:48:03.680
<v Speaker 2>So how did Joe actually find you. Joe ran a

0:48:03.680 --> 0:48:08.000
<v Speaker 2>club called the UFO Club in London. I think it

0:48:08.040 --> 0:48:10.360
<v Speaker 2>was only one day a week. It was most of

0:48:10.360 --> 0:48:13.480
<v Speaker 2>the time it was an Irish club, and on the

0:48:13.520 --> 0:48:18.759
<v Speaker 2>weekends it suddenly became uh, you know, light shows and

0:48:18.840 --> 0:48:22.239
<v Speaker 2>hippies and all that stuff. And we were opening for

0:48:22.280 --> 0:48:24.600
<v Speaker 2>the Pink Floyd and Joe came to the dressing room

0:48:24.600 --> 0:48:29.200
<v Speaker 2>and said, I really enjoyed what you guys played. Let's

0:48:29.239 --> 0:48:32.520
<v Speaker 2>make a record. It was it was some cliched you know,

0:48:33.320 --> 0:48:33.839
<v Speaker 2>and we did.

0:48:33.960 --> 0:48:36.480
<v Speaker 1>Okay, Well, you know, you make a record, you have

0:48:36.560 --> 0:48:39.720
<v Speaker 1>to sign a deal. It involves money. To what degree

0:48:39.719 --> 0:48:40.799
<v Speaker 1>were you conscious of that?

0:48:42.080 --> 0:48:46.799
<v Speaker 2>Yeah, Well, Joe had a relationship at that point with

0:48:51.239 --> 0:48:57.240
<v Speaker 2>the Who's managers kittlee em Bird and Yeah, Lamberton Stanley, Yeah,

0:48:57.280 --> 0:49:03.600
<v Speaker 2>and they had all so Joe just said, let's do

0:49:03.680 --> 0:49:07.480
<v Speaker 2>a record for those guys, and we did. We just

0:49:07.480 --> 0:49:10.920
<v Speaker 2>did a single for those guys, and then after the single,

0:49:11.000 --> 0:49:13.800
<v Speaker 2>what we kind of looked around a bit wider and

0:49:15.320 --> 0:49:19.320
<v Speaker 2>we did the next record on PolyGram and then really

0:49:19.920 --> 0:49:24.759
<v Speaker 2>we jumped to the label everybody really wanted to be on,

0:49:24.760 --> 0:49:28.319
<v Speaker 2>which was Island Records at that time, which was you know,

0:49:28.440 --> 0:49:30.680
<v Speaker 2>the label that that was the place to be, a

0:49:30.760 --> 0:49:34.720
<v Speaker 2>really good, well run independent record label.

0:49:35.120 --> 0:49:39.680
<v Speaker 1>And in retrospect, how good a producer was Joe Boyd.

0:49:41.840 --> 0:49:45.399
<v Speaker 2>I think he was a very good producer. I would

0:49:45.440 --> 0:49:47.680
<v Speaker 2>have to put him in the context of working with

0:49:47.760 --> 0:49:50.719
<v Speaker 2>John Wood as an engineer. John Wood was a great engineer,

0:49:51.520 --> 0:49:53.439
<v Speaker 2>and the combination of the two of them I think

0:49:53.920 --> 0:49:59.880
<v Speaker 2>was excellent and led to great results. And Fairport Records act.

0:50:00.000 --> 0:50:01.880
<v Speaker 2>I think the first record doesn't sound particularly good, but

0:50:02.120 --> 0:50:06.600
<v Speaker 2>from the second record onwards, the records sound really good.

0:50:07.040 --> 0:50:09.319
<v Speaker 2>You know, Sandy Denny records sound really good. Nick drect

0:50:09.400 --> 0:50:14.040
<v Speaker 2>records sound really good. So whatever that was, whatever that

0:50:14.040 --> 0:50:19.880
<v Speaker 2>that team produced in that particular room, the soundt ning

0:50:19.960 --> 0:50:23.200
<v Speaker 2>studio was a great studio. The mixing desk was a

0:50:23.200 --> 0:50:25.880
<v Speaker 2>great mixing desk. You know, all these things contribute to

0:50:25.880 --> 0:50:28.640
<v Speaker 2>to the to the sound of those records, and it's

0:50:28.680 --> 0:50:31.839
<v Speaker 2>all analog, and that that stuff sounds absolutely great. Still

0:50:31.880 --> 0:50:34.600
<v Speaker 2>sounds great, and I think it sounds good because Joe's

0:50:34.600 --> 0:50:39.600
<v Speaker 2>approach was really not to be too fiddly about special effects,

0:50:40.160 --> 0:50:43.319
<v Speaker 2>about hyping that the sound too much. He would kind

0:50:43.360 --> 0:50:48.400
<v Speaker 2>of try to get a naturalistic sound on records, and

0:50:48.600 --> 0:50:53.560
<v Speaker 2>I think that gives you a certain longevity, so that

0:50:53.600 --> 0:50:57.240
<v Speaker 2>stuff doesn't sound dated. I can listen to an incredible

0:50:57.280 --> 0:51:00.240
<v Speaker 2>string band record and it just sounds fresh as a day.

0:51:00.360 --> 0:51:01.520
<v Speaker 2>I mean, it just sounds wonderful.

0:51:02.400 --> 0:51:07.200
<v Speaker 1>Interesting act, Go back one step. How did the band

0:51:07.360 --> 0:51:10.200
<v Speaker 1>actually come together? The first iteration of the band.

0:51:11.480 --> 0:51:16.640
<v Speaker 2>Yeah. I had a school friend who lived next door

0:51:16.680 --> 0:51:20.680
<v Speaker 2>to Ashley Hutchings and the bass player in Fairport. And

0:51:20.840 --> 0:51:25.680
<v Speaker 2>at some point Ashley's blue blues band, the guitar player

0:51:25.680 --> 0:51:27.439
<v Speaker 2>was sick or something like it couldn't make a show.

0:51:27.640 --> 0:51:31.520
<v Speaker 2>That's so I filled in for him. I filled in

0:51:31.600 --> 0:51:33.799
<v Speaker 2>for another actually's bands. He had a jug band going

0:51:33.840 --> 0:51:35.360
<v Speaker 2>as well, so I think I filled in for that

0:51:35.440 --> 0:51:40.080
<v Speaker 2>as well. And at a certain point he and Simon Nicol,

0:51:40.440 --> 0:51:44.400
<v Speaker 2>who is also a neighbor of Ashley's, and I, the

0:51:44.440 --> 0:51:47.080
<v Speaker 2>three of us said well, let's put a band together.

0:51:47.320 --> 0:51:49.360
<v Speaker 2>Let's let's put together a folk rock band. You know,

0:51:49.400 --> 0:51:51.560
<v Speaker 2>we all love that kind of music. We love the birds,

0:51:52.239 --> 0:51:55.560
<v Speaker 2>we love the loving Spoonful, you know what, we love

0:51:56.040 --> 0:51:59.600
<v Speaker 2>all those great lyric writers. Let's do something along those lines.

0:52:00.040 --> 0:52:01.799
<v Speaker 2>So that was really the beginning. So three of us

0:52:03.160 --> 0:52:06.759
<v Speaker 2>we had a drama temporarily called Sean Fraser. He didn't

0:52:06.800 --> 0:52:11.319
<v Speaker 2>last very long. Martin lamble that the drummer who joined

0:52:11.400 --> 0:52:14.040
<v Speaker 2>us came to see us at the show and said

0:52:14.400 --> 0:52:18.440
<v Speaker 2>I can do a better job, and he fit in very,

0:52:18.520 --> 0:52:22.480
<v Speaker 2>very very quickly. So really four of us. Judy Diable

0:52:22.960 --> 0:52:27.400
<v Speaker 2>was a singer who was again local to another neighbor

0:52:27.440 --> 0:52:32.280
<v Speaker 2>of Ashley's. And so it's a five piece to begin with. Yeah, okay,

0:52:32.280 --> 0:52:36.600
<v Speaker 2>and how about Ian Matthews. Yeah, In Matthews joined because

0:52:37.320 --> 0:52:41.080
<v Speaker 2>we felt we were a bit vocal light. Judy was

0:52:41.120 --> 0:52:44.880
<v Speaker 2>really our only singer and she's more of a folks

0:52:44.880 --> 0:52:47.480
<v Speaker 2>singer than a rock singer. So Ian added a bit

0:52:47.520 --> 0:52:49.759
<v Speaker 2>more spine to the vocal department.

0:52:50.160 --> 0:52:51.239
<v Speaker 1>Yeah, how did you find Ian?

0:52:54.480 --> 0:52:57.160
<v Speaker 2>He was recommended me. He was in a bank called Pyramid.

0:52:59.000 --> 0:53:01.040
<v Speaker 2>When Pyramid broke up, he was at a loose end

0:53:01.200 --> 0:53:03.920
<v Speaker 2>and someone said, oh, that there's a band auditioning. You

0:53:03.960 --> 0:53:06.680
<v Speaker 2>should go down, and I just came down to the studio.

0:53:06.760 --> 0:53:10.160
<v Speaker 2>It wasn't really like an audition. Well, we were working

0:53:10.160 --> 0:53:12.480
<v Speaker 2>on a song and he said, we just said, oh,

0:53:12.800 --> 0:53:16.279
<v Speaker 2>sing some harmony on that song. So so he just

0:53:16.360 --> 0:53:18.759
<v Speaker 2>kind of started working with us and that was it.

0:53:18.800 --> 0:53:22.680
<v Speaker 2>Really that there wasn't any sense of audition or or

0:53:24.120 --> 0:53:27.279
<v Speaker 2>you're in the band or anything. He just he was

0:53:27.600 --> 0:53:28.560
<v Speaker 2>instantly in it.

0:53:29.760 --> 0:53:33.760
<v Speaker 1>And how did Judy Devil get replaced by Sandy Danny?

0:53:34.560 --> 0:53:39.160
<v Speaker 2>Well, Judy, as I said, was really a focusinger who

0:53:39.200 --> 0:53:42.239
<v Speaker 2>did better with a lighter accompaniment. She had a hard

0:53:42.239 --> 0:53:47.040
<v Speaker 2>time singing over the volume of a band. So we

0:53:47.280 --> 0:53:49.799
<v Speaker 2>asked Judy to leave. We auditioned for Sandy.

0:53:50.200 --> 0:53:53.279
<v Speaker 1>A little bit slow. How do you tell her she's

0:53:53.320 --> 0:53:56.240
<v Speaker 1>out of the bit? Well, how does she react?

0:53:57.360 --> 0:54:03.120
<v Speaker 2>How does she react? She reacted? You know, how can

0:54:03.160 --> 0:54:05.319
<v Speaker 2>you react that? You know, you've been playing with your

0:54:05.320 --> 0:54:08.240
<v Speaker 2>friends for for a year or so and then suddenly

0:54:08.880 --> 0:54:12.080
<v Speaker 2>they asked you to leave. It's it's a tough one,

0:54:12.719 --> 0:54:14.239
<v Speaker 2>but we had to be realistic. We had to say,

0:54:14.200 --> 0:54:15.920
<v Speaker 2>you know, your Judy, you know you're yeah, you're you're

0:54:15.960 --> 0:54:18.359
<v Speaker 2>not singing in tune. You know, you're pushing too much

0:54:18.719 --> 0:54:22.680
<v Speaker 2>to sing over over the band. And I think actually

0:54:22.960 --> 0:54:25.680
<v Speaker 2>who was kind of the it was kind of actually

0:54:25.760 --> 0:54:29.040
<v Speaker 2>his band really at that point, and actually we would

0:54:29.080 --> 0:54:31.320
<v Speaker 2>do the hiring and firing as so he took it

0:54:31.400 --> 0:54:35.359
<v Speaker 2>on one side and went for a walk and broke

0:54:35.400 --> 0:54:37.680
<v Speaker 2>the news to her. But it's it's a tough it's

0:54:37.680 --> 0:54:40.680
<v Speaker 2>it's the worst thing to do in a band, and

0:54:40.719 --> 0:54:44.120
<v Speaker 2>the second worst thing to do it is auditioning. So

0:54:44.320 --> 0:54:47.279
<v Speaker 2>we were very glad that after probably only two or

0:54:47.280 --> 0:54:51.680
<v Speaker 2>three singers, Sandy came in and was just like on

0:54:51.760 --> 0:54:55.719
<v Speaker 2>another level. Actually, she was absolutely wonderful stella and so

0:54:56.320 --> 0:54:57.560
<v Speaker 2>she was hired instantly.

0:54:58.320 --> 0:55:01.280
<v Speaker 1>Did she have any status or she just some girl

0:55:01.400 --> 0:55:03.560
<v Speaker 1>came in and sang. Were you aware of who she

0:55:03.760 --> 0:55:05.759
<v Speaker 1>was prior to auditioning her.

0:55:06.760 --> 0:55:08.680
<v Speaker 2>Yeah, well we were aware of who she was. I'm

0:55:08.719 --> 0:55:11.440
<v Speaker 2>not sure i'd ever seen her. She was singing mostly

0:55:11.440 --> 0:55:14.719
<v Speaker 2>in folk clubs, but had a very good reputation in

0:55:14.719 --> 0:55:18.400
<v Speaker 2>folk clubs, and you know, it was a friend of

0:55:18.440 --> 0:55:20.080
<v Speaker 2>a friend of a friend and all that kind of stuff.

0:55:20.120 --> 0:55:26.600
<v Speaker 2>You know, lots of social connections, but really, you know,

0:55:26.960 --> 0:55:28.640
<v Speaker 2>it was a leap for Sandy, I think, and a

0:55:28.719 --> 0:55:33.279
<v Speaker 2>leap for us as well. But it was something that

0:55:33.360 --> 0:55:36.520
<v Speaker 2>just worked really well. From the beginning. She was so good,

0:55:36.760 --> 0:55:38.719
<v Speaker 2>and I think she was looking for a new challenge

0:55:39.239 --> 0:55:42.040
<v Speaker 2>and I think she was really happy to be in

0:55:42.040 --> 0:55:43.800
<v Speaker 2>that environment at that time.

0:55:44.000 --> 0:55:47.880
<v Speaker 1>And at some point there's a car accident where our

0:55:48.000 --> 0:55:52.960
<v Speaker 1>van accident where the drummer and your girlfriend are killed.

0:55:53.080 --> 0:55:54.239
<v Speaker 1>Can you tell me about that?

0:55:56.080 --> 0:56:01.320
<v Speaker 2>Yeah, so that was sixteen nine. So we were traveling

0:56:01.360 --> 0:56:03.880
<v Speaker 2>back from Birmingham to London, which about one hundred and

0:56:03.880 --> 0:56:07.360
<v Speaker 2>twenty miles, something we did all the time. But we

0:56:07.400 --> 0:56:09.839
<v Speaker 2>didn't stay in a hotel when we played Birmingam. We

0:56:09.920 --> 0:56:13.680
<v Speaker 2>just drive back and our driver had been ill. He

0:56:14.120 --> 0:56:17.280
<v Speaker 2>had an ulcer, so he hadn't been sleeping very well.

0:56:19.960 --> 0:56:23.480
<v Speaker 2>Sandy traveled separately. She was traveling with her boyfriend. So

0:56:26.239 --> 0:56:31.759
<v Speaker 2>you know, the van went off the road, somersaulted. It

0:56:31.840 --> 0:56:34.200
<v Speaker 2>killed Jenny Franklin, who was my girlfriend at the time.

0:56:34.360 --> 0:56:38.200
<v Speaker 2>It killed our druma, Martin Lamble. Very very traumatic for

0:56:38.239 --> 0:56:40.280
<v Speaker 2>the band, as you can imagine.

0:56:40.880 --> 0:56:46.480
<v Speaker 1>Well, how was it for you with your girlfriend passing away?

0:56:47.160 --> 0:56:49.600
<v Speaker 2>Well, it seemed unreal, you know in some ways, being

0:56:49.600 --> 0:56:52.600
<v Speaker 2>twenty years old, it was my first experience of somebody

0:56:53.440 --> 0:56:58.000
<v Speaker 2>dying and actually watching somebody die, So it was very

0:56:58.040 --> 0:56:59.960
<v Speaker 2>tough and it took me a long time to get

0:57:00.160 --> 0:57:04.359
<v Speaker 2>a real perspective on it. Were very, very difficult, and

0:57:04.480 --> 0:57:09.520
<v Speaker 2>I think you know, in those days, you didn't necessarily

0:57:09.520 --> 0:57:13.319
<v Speaker 2>have counseling, you didn't have therapy, You just kind of

0:57:13.719 --> 0:57:15.359
<v Speaker 2>I think it was close enough to World War Two

0:57:15.480 --> 0:57:18.480
<v Speaker 2>that the people said, Okay, well, you know, put yourselves together,

0:57:18.560 --> 0:57:20.640
<v Speaker 2>you know, just get on with it, come on, you know,

0:57:20.800 --> 0:57:26.240
<v Speaker 2>move on to the next thing. So we'd have aggrieved properly,

0:57:28.240 --> 0:57:31.080
<v Speaker 2>it just wasn't on the agenda in those days, so

0:57:31.280 --> 0:57:34.320
<v Speaker 2>we just kind of dealt with it or didn't deal

0:57:34.360 --> 0:57:37.480
<v Speaker 2>with it. And I think we made bad decisions for

0:57:37.520 --> 0:57:40.560
<v Speaker 2>the next couple of years in many ways. I think

0:57:40.560 --> 0:57:43.480
<v Speaker 2>I think a lot of stuff was kind of crazy.

0:57:44.240 --> 0:57:46.840
<v Speaker 2>You know. I actually had a nervous breakdown at some point.

0:57:48.480 --> 0:57:51.600
<v Speaker 2>Rest of us we're not in a good mental state

0:57:51.920 --> 0:57:53.160
<v Speaker 2>for a couple of years.

0:57:53.880 --> 0:57:55.560
<v Speaker 1>And what were some of those bad decisions?

0:57:57.400 --> 0:58:00.560
<v Speaker 2>Bad decisions that people leaving the band actually actually left

0:58:00.560 --> 0:58:04.680
<v Speaker 2>the band. Sandy left the band. I left the band,

0:58:06.040 --> 0:58:10.320
<v Speaker 2>and I think given a different set of circumstances, it

0:58:10.360 --> 0:58:14.480
<v Speaker 2>would have stayed together much longer. But it was all

0:58:14.840 --> 0:58:16.760
<v Speaker 2>it's all a little upside down at that point.

0:58:17.320 --> 0:58:19.080
<v Speaker 1>And so was I in the first one to leave.

0:58:21.400 --> 0:58:25.560
<v Speaker 2>Yeah, Ian left, Yeah, it was the first one to leave.

0:58:27.040 --> 0:58:30.840
<v Speaker 2>He was really into a different kind of repertoire, I

0:58:30.880 --> 0:58:33.840
<v Speaker 2>should say. You know, he loved country rock, and when

0:58:33.840 --> 0:58:36.400
<v Speaker 2>he left Fairport, he formed a band called.

0:58:37.640 --> 0:58:38.440
<v Speaker 1>Southern Comfort.

0:58:38.520 --> 0:58:42.760
<v Speaker 2>Southern Comfort, Yeah, and that was much more Ian's thing,

0:58:43.040 --> 0:58:45.080
<v Speaker 2>and he kind of stayed in that style really for

0:58:45.120 --> 0:58:49.000
<v Speaker 2>the rest of his career. And yeah, Ian's a great

0:58:49.000 --> 0:58:51.640
<v Speaker 2>thing and he's still a great singer, and he's made

0:58:52.120 --> 0:58:55.080
<v Speaker 2>some wonderful music over the years.

0:58:54.280 --> 0:58:58.840
<v Speaker 1>Ok Ian has a hit international hit with a cover

0:58:58.960 --> 0:59:03.200
<v Speaker 1>of Woodstock Fairboard does not have a hit. Are you

0:59:03.480 --> 0:59:06.920
<v Speaker 1>jealous or what do you think about that?

0:59:11.080 --> 0:59:15.200
<v Speaker 2>We didn't think hits were important at that time. It

0:59:15.240 --> 0:59:18.120
<v Speaker 2>was really about albums in sort of nineteen sixty nine

0:59:18.200 --> 0:59:20.920
<v Speaker 2>nineteen seventy to have a hit album would have been

0:59:20.920 --> 0:59:24.720
<v Speaker 2>our ambition. And I think we had a couple that

0:59:24.920 --> 0:59:29.880
<v Speaker 2>scraped the top ten in the UK. But you know,

0:59:30.000 --> 0:59:34.720
<v Speaker 2>singles that was really for pop bands. You know what,

0:59:34.760 --> 0:59:38.440
<v Speaker 2>We weren't paying attention at all to singles. Maybe a

0:59:38.480 --> 0:59:41.520
<v Speaker 2>single would help you to sell an album. That was

0:59:41.560 --> 0:59:42.120
<v Speaker 2>the virtue.

0:59:42.320 --> 0:59:46.600
<v Speaker 1>Okay, you're making album after album. Our finance is tight

0:59:46.760 --> 0:59:48.200
<v Speaker 1>or is there enough to live and be?

0:59:48.320 --> 0:59:58.200
<v Speaker 2>Okay, we made cheap records back in those days. You know,

0:59:58.560 --> 1:00:00.720
<v Speaker 2>a record wouldn't cost you that that much or you know,

1:00:00.720 --> 1:00:05.240
<v Speaker 2>ten fifteen thousan pounds wasn't really a lot of money

1:00:05.520 --> 1:00:13.000
<v Speaker 2>even then, so we were always in the studio and

1:00:13.120 --> 1:00:17.760
<v Speaker 2>Joe would bankroll us anyway. If we needed funds to record,

1:00:17.960 --> 1:00:21.040
<v Speaker 2>he kind of find money from somewhere and just stick

1:00:21.080 --> 1:00:25.360
<v Speaker 2>it on our never ending bill. But we were always

1:00:25.360 --> 1:00:29.560
<v Speaker 2>in the studio. We'd sometimes after shows, we'd drive back

1:00:29.600 --> 1:00:32.720
<v Speaker 2>to London and go in the studio and just record

1:00:32.760 --> 1:00:33.160
<v Speaker 2>all night.

1:00:33.840 --> 1:00:38.240
<v Speaker 1>And at what point did you start writing songs?

1:00:39.280 --> 1:00:41.840
<v Speaker 2>Well, I started co writing for the first Fairpoor album

1:00:41.880 --> 1:00:45.200
<v Speaker 2>in sixty seven, and I think I co wrote because

1:00:45.200 --> 1:00:47.680
<v Speaker 2>I didn't have the confidence to write something on my own.

1:00:48.200 --> 1:00:49.760
<v Speaker 2>And I think in sixty eight I wrote a song

1:00:49.800 --> 1:00:54.480
<v Speaker 2>called Meat on the Ledge, which was my first solo effort.

1:00:55.720 --> 1:00:58.720
<v Speaker 2>And having done it, I kind of got comfortable with

1:00:58.760 --> 1:01:01.080
<v Speaker 2>the idea. I thought, I, Okay, I can write lyrics.

1:01:01.120 --> 1:01:03.600
<v Speaker 2>I can write the melody as well. This is fun.

1:01:03.680 --> 1:01:08.800
<v Speaker 2>I love doing this. I'll do it some more, but

1:01:08.880 --> 1:01:09.680
<v Speaker 2>I'm still doing it.

1:01:09.760 --> 1:01:13.400
<v Speaker 1>And at this late date, what's your process.

1:01:15.080 --> 1:01:15.800
<v Speaker 2>At the early day?

1:01:16.000 --> 1:01:18.760
<v Speaker 1>No, now today or you know, listen, you know you

1:01:18.800 --> 1:01:21.440
<v Speaker 1>have all a billion things. People you know, write the music,

1:01:21.520 --> 1:01:24.040
<v Speaker 1>then write the lyrics. Some people write it all at

1:01:24.040 --> 1:01:27.320
<v Speaker 1>the same time. Some people go back the snippets they've

1:01:27.320 --> 1:01:30.920
<v Speaker 1>recorded previously. Build a song brick by brick? How do

1:01:31.040 --> 1:01:32.760
<v Speaker 1>you do it? Oh?

1:01:32.800 --> 1:01:33.880
<v Speaker 2>I do it? I do all of those.

1:01:36.840 --> 1:01:37.040
<v Speaker 1>Yeah.

1:01:37.080 --> 1:01:40.080
<v Speaker 2>Sometimes I write lyrics first, sometimes I write melody first.

1:01:41.480 --> 1:01:43.400
<v Speaker 2>Sometimes it comes all at once. That that that's like

1:01:44.080 --> 1:01:51.040
<v Speaker 2>a gift from God. That's wonderful. Uh. Yeah. I don't

1:01:51.120 --> 1:01:54.000
<v Speaker 2>like to limit the possibilities. I like to give as

1:01:54.080 --> 1:02:00.360
<v Speaker 2>many doors open to the creative process as possible. And

1:02:00.440 --> 1:02:03.480
<v Speaker 2>you know, it's it's hard to define what the process is.

1:02:04.080 --> 1:02:07.000
<v Speaker 2>Many have tried and most have failed.

1:02:14.600 --> 1:02:17.400
<v Speaker 1>So did you have any advanced morning that Sandy was

1:02:17.440 --> 1:02:19.520
<v Speaker 1>going to leave the band? Or was that a shock?

1:02:25.840 --> 1:02:27.880
<v Speaker 2>I think Sandy was just in a bit of a state,

1:02:27.960 --> 1:02:31.480
<v Speaker 2>you know, I think we all were. We weren't thinking

1:02:31.560 --> 1:02:37.720
<v Speaker 2>rationally necessarily. Sandy could be fairly, you know, up and

1:02:37.760 --> 1:02:43.800
<v Speaker 2>down in terms of mood. So and she hated flying.

1:02:44.800 --> 1:02:47.520
<v Speaker 2>And we were on our way to some shows in

1:02:47.600 --> 1:02:50.160
<v Speaker 2>Denmark which we had to fly to, and she wasn't

1:02:50.200 --> 1:02:57.360
<v Speaker 2>on the plane. And I suppose she missed a few

1:02:57.400 --> 1:02:59.640
<v Speaker 2>other shows before that. So so I think we thought

1:02:59.640 --> 1:03:03.040
<v Speaker 2>that was the our straw, and wonderful though she was,

1:03:03.960 --> 1:03:05.720
<v Speaker 2>maybe we could live without her.

1:03:06.320 --> 1:03:09.120
<v Speaker 1>Well. It certainly changed the character of the band. I mean,

1:03:09.120 --> 1:03:11.560
<v Speaker 1>that was the first album. First time I saw the

1:03:11.640 --> 1:03:16.200
<v Speaker 1>band with full house. Was there any thought that while

1:03:16.280 --> 1:03:17.560
<v Speaker 1>we need to replace.

1:03:17.200 --> 1:03:22.120
<v Speaker 2>Her, Yeah, there were thoughts that we should replace her,

1:03:22.120 --> 1:03:28.800
<v Speaker 2>but nobody really sprang to mind. So in a spirit

1:03:28.840 --> 1:03:33.280
<v Speaker 2>of camaraderie, I think we just said, oh, we'll split

1:03:33.320 --> 1:03:36.200
<v Speaker 2>the vocals between us, which especially what we did. So

1:03:36.560 --> 1:03:38.360
<v Speaker 2>none of us felt we were the greatest singer in

1:03:38.400 --> 1:03:41.720
<v Speaker 2>the world at that point, but well, we just divided

1:03:41.760 --> 1:03:45.160
<v Speaker 2>it up. You know. We'd split songs sometimes into different singers,

1:03:46.400 --> 1:03:49.720
<v Speaker 2>we'd harmonize songs. I think we felt a little exposed,

1:03:49.800 --> 1:03:52.800
<v Speaker 2>but I think we also thought that we were a

1:03:52.880 --> 1:03:56.000
<v Speaker 2>very good instrumental band at that point and that was exciting,

1:03:56.400 --> 1:04:01.680
<v Speaker 2>and that if we were a little over balance, if

1:04:01.680 --> 1:04:04.120
<v Speaker 2>we're little under balanced on vocals, then we were over

1:04:04.160 --> 1:04:06.640
<v Speaker 2>balanced instrumentally. That would make up for it.

1:04:07.640 --> 1:04:08.960
<v Speaker 1>So how did you decide to leave?

1:04:14.120 --> 1:04:18.760
<v Speaker 2>I mean, again, I think still some trauma from the accident.

1:04:19.400 --> 1:04:22.200
<v Speaker 2>I wasn't thinking clear. It's like a gut reaction. I thought, well,

1:04:22.320 --> 1:04:24.280
<v Speaker 2>I've been in band since I was twelve, you know,

1:04:25.680 --> 1:04:28.280
<v Speaker 2>I want to do something on my own for a while. Really,

1:04:28.320 --> 1:04:31.560
<v Speaker 2>that was all it was, you know, these people were

1:04:31.640 --> 1:04:35.720
<v Speaker 2>my best friends. But I literally just couldn't go on.

1:04:36.000 --> 1:04:38.720
<v Speaker 2>I just hit a wall. I'd had it, so I

1:04:38.760 --> 1:04:39.440
<v Speaker 2>had to get out.

1:04:39.880 --> 1:04:43.440
<v Speaker 1>And at that point was it about playing sessions or

1:04:43.480 --> 1:04:44.600
<v Speaker 1>cutting your own record.

1:04:47.360 --> 1:04:51.280
<v Speaker 2>I had ambitions to make my own record, but I

1:04:51.320 --> 1:04:53.160
<v Speaker 2>survived on session work. I did a lot of session

1:04:53.200 --> 1:04:57.040
<v Speaker 2>work for the next two years, which was great. I

1:04:57.080 --> 1:04:59.040
<v Speaker 2>didn't even go looking for it. Just the phone started

1:04:59.120 --> 1:05:03.760
<v Speaker 2>ringing a wonderful thing, and my diary started filling up,

1:05:03.760 --> 1:05:08.400
<v Speaker 2>and that was great that that kept me going. Yeah,

1:05:08.400 --> 1:05:12.680
<v Speaker 2>for a couple of years. But I've been accumulating songs

1:05:14.400 --> 1:05:15.880
<v Speaker 2>and I thought I'd really like to put these songs

1:05:15.880 --> 1:05:18.800
<v Speaker 2>on a record. So at some point, I, you know,

1:05:19.000 --> 1:05:22.600
<v Speaker 2>I went into the studio with John Wood and I

1:05:22.680 --> 1:05:26.720
<v Speaker 2>recorded them and that was the first solo album.

1:05:27.920 --> 1:05:29.640
<v Speaker 1>Can you tell us what it was like being a

1:05:29.680 --> 1:05:32.320
<v Speaker 1>session musician in a couple of sessions you played.

1:05:32.000 --> 1:05:39.440
<v Speaker 2>On session musician? Well, first of all, it was nice

1:05:39.480 --> 1:05:43.680
<v Speaker 2>because I was working with people mostly that I knew

1:05:43.960 --> 1:05:46.560
<v Speaker 2>and producers that I knew. So, you know, I play

1:05:46.600 --> 1:05:50.200
<v Speaker 2>on Ian Matthew's record, I planned Sandy Denny's record, and

1:05:50.240 --> 1:05:54.600
<v Speaker 2>then I play on that kind of the folk rock records,

1:05:57.400 --> 1:05:59.760
<v Speaker 2>singers and names I can't even remember. But you know,

1:05:59.840 --> 1:06:03.760
<v Speaker 2>you get to know a producer and he'd say, can

1:06:03.800 --> 1:06:05.400
<v Speaker 2>you come and do this session? And you say, okay,

1:06:05.440 --> 1:06:08.080
<v Speaker 2>can you You know, that was great? Can you now

1:06:08.160 --> 1:06:10.640
<v Speaker 2>do some of my other artists? So you get to

1:06:10.640 --> 1:06:13.280
<v Speaker 2>do a roster, You get book for a whole roster

1:06:13.320 --> 1:06:17.040
<v Speaker 2>of artists, and you know, occasionally I'd step out of

1:06:17.080 --> 1:06:20.200
<v Speaker 2>that kind of comfort area into like a real pop

1:06:20.240 --> 1:06:26.680
<v Speaker 2>session where you're playing with you know, seasoned, hardened, first

1:06:26.760 --> 1:06:31.080
<v Speaker 2>call session musicians, and that was fun. Sometimes too, that

1:06:31.480 --> 1:06:38.120
<v Speaker 2>could be great. But yeah, and a lot sometimes you

1:06:38.120 --> 1:06:41.640
<v Speaker 2>didn't know who the artist was. That was true. Maybe

1:06:41.680 --> 1:06:43.360
<v Speaker 2>a third of the time. Yeah, you didn't know who

1:06:43.360 --> 1:06:46.040
<v Speaker 2>the artist was. You just turn up and do it.

1:06:46.760 --> 1:06:49.919
<v Speaker 1>Okay, you make the first solo album, it certainly gets

1:06:49.960 --> 1:06:53.959
<v Speaker 1>good distribution in the US. It's PND it first, then

1:06:54.520 --> 1:06:58.280
<v Speaker 1>conventional wisdom changes. What was your experience of Henry the

1:06:58.360 --> 1:06:58.920
<v Speaker 1>Human Flyer.

1:07:00.640 --> 1:07:05.200
<v Speaker 2>My experience, well, you know, I thought it was an

1:07:05.240 --> 1:07:08.200
<v Speaker 2>okay record, and I was kind of alarmed at the

1:07:08.760 --> 1:07:16.560
<v Speaker 2>reviews that it got, which were very negative, and at

1:07:16.560 --> 1:07:18.960
<v Speaker 2>a certain point that they were so negative that I thought, well,

1:07:19.080 --> 1:07:22.080
<v Speaker 2>I'm going to treat this as a positive. I'm going

1:07:22.160 --> 1:07:25.480
<v Speaker 2>to think I've gone somewhere that people aren't ready for.

1:07:27.760 --> 1:07:30.560
<v Speaker 2>I must be ahead of the game. How can people

1:07:30.600 --> 1:07:36.200
<v Speaker 2>not understand this record? Yeah, the arrogance of youth. So

1:07:36.400 --> 1:07:39.760
<v Speaker 2>I just thought, well, I shall persevere. You know, this

1:07:40.080 --> 1:07:43.280
<v Speaker 2>is one thing. I'll make another record and I'll see

1:07:43.280 --> 1:07:46.080
<v Speaker 2>how they like that one. But it was a notoriously

1:07:46.080 --> 1:07:49.360
<v Speaker 2>bad selling record. According to Warner Brothers, it was their

1:07:49.360 --> 1:07:55.520
<v Speaker 2>worst selling record ever, which I I'm quite proud of.

1:07:57.160 --> 1:07:59.640
<v Speaker 1>How do you meet Linda? When does it become a

1:07:59.720 --> 1:08:03.320
<v Speaker 1>rong antique relationship? And when do you start making music together?

1:08:04.680 --> 1:08:07.640
<v Speaker 2>Okay, well, I think I met Lenda in sixty nine

1:08:08.520 --> 1:08:10.640
<v Speaker 2>when we were making a Fairport record call Leigion Leave,

1:08:12.760 --> 1:08:18.200
<v Speaker 2>and she was a friend of Sandy's, and we have

1:08:18.240 --> 1:08:22.160
<v Speaker 2>Sundy's best friends really, and at a certain point we

1:08:22.280 --> 1:08:28.000
<v Speaker 2>became romantically involved. And for about six months there or

1:08:28.040 --> 1:08:31.200
<v Speaker 2>maybe longer, maybe it was a year, we didn't see

1:08:31.280 --> 1:08:34.160
<v Speaker 2>much of each other. But because she was working on

1:08:34.280 --> 1:08:36.840
<v Speaker 2>various projects and I was playing with Sandy, I was

1:08:36.840 --> 1:08:39.320
<v Speaker 2>playing with Ian, I was on the road, I was

1:08:39.360 --> 1:08:45.640
<v Speaker 2>doing us tours, and we said, well, you know, if

1:08:45.640 --> 1:08:48.200
<v Speaker 2>we work together, well why don't we just work together

1:08:48.520 --> 1:08:51.080
<v Speaker 2>and we'll be a duo and at least we can

1:08:51.120 --> 1:08:54.880
<v Speaker 2>travel together, we'll spend some time together. So that's really

1:08:54.920 --> 1:08:57.040
<v Speaker 2>what we did. And we went back to the folk

1:08:57.080 --> 1:08:59.720
<v Speaker 2>club So that seemed, you know, a way to earn

1:08:59.760 --> 1:09:02.760
<v Speaker 2>a living at that point, not having a manager all

1:09:02.800 --> 1:09:05.320
<v Speaker 2>that kind of stuff, where we just what is the

1:09:05.360 --> 1:09:11.240
<v Speaker 2>folk clubs got paid in cash, you know, gas was

1:09:11.320 --> 1:09:14.320
<v Speaker 2>you know, twenty five cents a gallon or something. Everything

1:09:14.360 --> 1:09:17.559
<v Speaker 2>was very cheap. Never stayed in hotels, stayed in the

1:09:17.600 --> 1:09:24.760
<v Speaker 2>promoter's house, spare bedroom, and we were comparatively well off.

1:09:25.720 --> 1:09:27.479
<v Speaker 2>And we did that for you know, like a year,

1:09:27.760 --> 1:09:29.640
<v Speaker 2>and then at a certain point where we thought, well,

1:09:29.640 --> 1:09:32.160
<v Speaker 2>we're going around in circles here, you know, the folk clubs,

1:09:32.160 --> 1:09:34.640
<v Speaker 2>at the folk clubs, but that they don't translate to

1:09:34.720 --> 1:09:38.240
<v Speaker 2>something else, that there's no progress. You have to kind

1:09:38.280 --> 1:09:40.400
<v Speaker 2>of jump out of there. So we took on a

1:09:40.439 --> 1:09:46.240
<v Speaker 2>manager and then we started playing concerts and sometimes where

1:09:46.240 --> 1:09:49.000
<v Speaker 2>we hired a band, where we had a band sometimes

1:09:50.800 --> 1:09:55.360
<v Speaker 2>and we started to tour more and you know, we

1:09:55.400 --> 1:09:56.800
<v Speaker 2>have a bit more of a career there.

1:09:58.120 --> 1:10:01.559
<v Speaker 1>Okay, you made a number of albums with her, and

1:10:01.640 --> 1:10:04.519
<v Speaker 1>the first one that really got noticed in the US

1:10:04.680 --> 1:10:09.280
<v Speaker 1>was poured down like silver in seventy five, and then

1:10:09.920 --> 1:10:13.799
<v Speaker 1>four albums after that, in eighty two, Shootout the Lights

1:10:13.840 --> 1:10:19.040
<v Speaker 1>gets phenomenal reviews, and then the duo was over. So

1:10:19.720 --> 1:10:24.320
<v Speaker 1>the period of time that you're with Linda, what was

1:10:24.320 --> 1:10:27.840
<v Speaker 1>it like on the inside.

1:10:27.520 --> 1:10:34.320
<v Speaker 2>Well, you know, we're raising a family and trying to

1:10:34.320 --> 1:10:37.320
<v Speaker 2>work at the same time, so we're always compromised to

1:10:37.360 --> 1:10:40.840
<v Speaker 2>some extent, and we were never really able to do

1:10:40.880 --> 1:10:46.120
<v Speaker 2>a US tour. We could never quite bring the whole

1:10:46.120 --> 1:10:50.400
<v Speaker 2>family over or whatever, you know, travel with a nanny. Well,

1:10:50.400 --> 1:10:54.120
<v Speaker 2>we didn't quite have the budget or the the inclination

1:10:54.240 --> 1:10:58.080
<v Speaker 2>really at that point to tour America. So you know,

1:10:58.160 --> 1:11:02.160
<v Speaker 2>touring was bits and pieces. Recording was bits and pieces

1:11:02.160 --> 1:11:04.559
<v Speaker 2>where we're kind of throwing it together as we could

1:11:04.640 --> 1:11:09.720
<v Speaker 2>when we could. But it wasn't like Light. We were

1:11:09.760 --> 1:11:13.200
<v Speaker 2>full on trying to promote ourselves at that point.

1:11:14.560 --> 1:11:20.200
<v Speaker 1>Okay, but when you know, the band breaks up or

1:11:20.280 --> 1:11:23.040
<v Speaker 1>the act breaks up at the height of it's both

1:11:23.080 --> 1:11:27.519
<v Speaker 1>commercial and critical success. I mean, all of a sudden

1:11:27.520 --> 1:11:31.759
<v Speaker 1>you get these phenomenal reviews. It's the opposite of Henry

1:11:31.800 --> 1:11:35.160
<v Speaker 1>the Human Fly. You know, is there anything well, I'm

1:11:35.160 --> 1:11:37.080
<v Speaker 1>onto something. How do we maximize this?

1:11:41.479 --> 1:11:43.439
<v Speaker 2>Well, I don't know. I think you know, it was

1:11:43.439 --> 1:11:46.519
<v Speaker 2>the end of our relationship. But yeah, we were married

1:11:46.520 --> 1:11:48.479
<v Speaker 2>for ten years. We were in a musical relationship for

1:11:48.520 --> 1:11:53.240
<v Speaker 2>ten years, and it was kind of you know, I

1:11:53.280 --> 1:11:57.040
<v Speaker 2>think we've grown a part enough. You know that it

1:11:56.240 --> 1:12:01.400
<v Speaker 2>was it showed, you know, it was significant enough to

1:12:01.720 --> 1:12:07.840
<v Speaker 2>uh to break up. You know. Yeah, musical partnerships can

1:12:07.880 --> 1:12:13.880
<v Speaker 2>be pretty finite as well, So it was just time,

1:12:14.000 --> 1:12:17.559
<v Speaker 2>what can I say. And the lights were successful, I mean,

1:12:19.439 --> 1:12:22.360
<v Speaker 2>there wasn't really a way to capitalize on that. I

1:12:22.360 --> 1:12:24.120
<v Speaker 2>think we tried to do a US tour at that point,

1:12:24.160 --> 1:12:27.040
<v Speaker 2>but it was a bit of a disaster on the whole.

1:12:27.479 --> 1:12:32.000
<v Speaker 2>And you know, I went off and pursued a solo career.

1:12:32.800 --> 1:12:36.360
<v Speaker 1>Now, at some point you get involved in Eastern religion here.

1:12:38.040 --> 1:12:47.080
<v Speaker 2>Sufiism, yeah, well a Sufism yeah yeah. Another band I knew,

1:12:47.240 --> 1:12:51.400
<v Speaker 2>a band called Mighty Baby, who were good friends who

1:12:51.400 --> 1:12:55.080
<v Speaker 2>actually I did a lot of session work with. Uh.

1:12:56.439 --> 1:13:00.800
<v Speaker 2>It embraced Sufism. That that went to North Africa and

1:13:00.800 --> 1:13:03.080
<v Speaker 2>they met a teacher there and they came back and

1:13:04.680 --> 1:13:07.280
<v Speaker 2>I thought, oh that these guys are different. Well, what's

1:13:07.320 --> 1:13:10.760
<v Speaker 2>going on? You know? So I kind of hung out

1:13:10.800 --> 1:13:13.680
<v Speaker 2>with them and I thought, well, this is for me

1:13:13.760 --> 1:13:14.160
<v Speaker 2>as well.

1:13:15.439 --> 1:13:18.760
<v Speaker 1>And at that point, is there a point where you

1:13:18.840 --> 1:13:20.679
<v Speaker 1>stop your musical career.

1:13:24.240 --> 1:13:26.080
<v Speaker 2>There was a point where when I just felt like

1:13:26.400 --> 1:13:31.439
<v Speaker 2>absolutely drained musically speaking, I had nothing left to offer.

1:13:31.640 --> 1:13:34.400
<v Speaker 2>I was like empty on the inside, and I thought, well,

1:13:35.080 --> 1:13:36.640
<v Speaker 2>I've got to stop for a while. I think it

1:13:36.680 --> 1:13:41.400
<v Speaker 2>was at seventy six seventy seven, And you know, I

1:13:42.439 --> 1:13:43.960
<v Speaker 2>ran an antique shop for a while. I had a

1:13:43.960 --> 1:13:50.960
<v Speaker 2>little antique business which was moderately successful. But after a

1:13:51.040 --> 1:13:55.160
<v Speaker 2>year I kind of got reinspired, you know. That's that.

1:13:55.240 --> 1:13:58.000
<v Speaker 2>Then punk came along, you know that, the Sex Pistols,

1:13:58.520 --> 1:14:01.120
<v Speaker 2>and I thought, well, this is it. This is the

1:14:01.240 --> 1:14:04.320
<v Speaker 2>energy that you need to play music. This is this

1:14:04.360 --> 1:14:09.960
<v Speaker 2>is going back to like Elvis the Sun Sessions. It's

1:14:09.960 --> 1:14:13.280
<v Speaker 2>got the same kind of energy to it. Really, so

1:14:13.400 --> 1:14:16.800
<v Speaker 2>this should be inspiring me. And it did, and I

1:14:16.840 --> 1:14:18.000
<v Speaker 2>wanted to get back into music.

1:14:18.520 --> 1:14:20.960
<v Speaker 1>So you make a couple of records with Joe Boyd.

1:14:21.720 --> 1:14:23.120
<v Speaker 1>What's that experience like?

1:14:25.960 --> 1:14:30.439
<v Speaker 2>Really good? Well, Joe and I've always been friends and

1:14:30.479 --> 1:14:39.560
<v Speaker 2>I've always admired Joe's uh, Joe's musical intelligence and ability

1:14:39.640 --> 1:14:42.960
<v Speaker 2>to spot talent, all that kind of stuff, all the

1:14:43.000 --> 1:14:46.360
<v Speaker 2>stuff you know you expect from people like you know,

1:14:46.439 --> 1:14:50.840
<v Speaker 2>John Hammond Senior. Joe's a bit like that. You know,

1:14:51.320 --> 1:14:57.639
<v Speaker 2>he could spot potential and I think he made such

1:14:57.680 --> 1:15:05.559
<v Speaker 2>a difference to the British music scene in the sixties

1:15:05.560 --> 1:15:09.439
<v Speaker 2>and seventies. No one else had the ears, I don't

1:15:09.479 --> 1:15:13.759
<v Speaker 2>think to sign the incredible string band Fairbaal Convention, Sandy Denny,

1:15:14.439 --> 1:15:22.320
<v Speaker 2>John Martin, Dudu Paquana, Nick Drake. No one else could

1:15:22.360 --> 1:15:25.880
<v Speaker 2>see that stuff in the right perspective. And that's why

1:15:25.880 --> 1:15:27.760
<v Speaker 2>we love Joe because he seemed like he was on

1:15:27.800 --> 1:15:29.639
<v Speaker 2>the same wavelength as us.

1:15:30.439 --> 1:15:32.559
<v Speaker 1>And how did you end up working with Mitchell Frum

1:15:32.640 --> 1:15:34.439
<v Speaker 1>after a couple of albums with Joe?

1:15:36.600 --> 1:15:42.240
<v Speaker 2>Well, at that point I was signed to Capitol Records.

1:15:42.760 --> 1:15:44.960
<v Speaker 2>We had the same management, the same record label as

1:15:45.000 --> 1:15:48.880
<v Speaker 2>Credit House, and my manager said, oh, you should hear

1:15:48.880 --> 1:15:52.080
<v Speaker 2>this Credit House record. Mitchell Froom's has such a great

1:15:52.160 --> 1:15:54.559
<v Speaker 2>job on it. You should have them on your record.

1:15:55.720 --> 1:15:57.880
<v Speaker 2>And I love the Credit House record. I though it's fantastic,

1:15:58.240 --> 1:15:59.960
<v Speaker 2>and I thought, well, if I can get you know,

1:16:00.680 --> 1:16:03.720
<v Speaker 2>ten percent of that spirit on my record, that would

1:16:03.760 --> 1:16:07.720
<v Speaker 2>be great, and I'm not sure that ever happened, but

1:16:07.720 --> 1:16:11.200
<v Speaker 2>but Mitchell was great fun to work with. I really

1:16:11.280 --> 1:16:13.360
<v Speaker 2>enjoyed working with Mitchell. Well. I think we did like

1:16:13.400 --> 1:16:16.640
<v Speaker 2>four records or something together. It was just fun. We

1:16:16.640 --> 1:16:19.400
<v Speaker 2>were just enjoying ourselves, which is what you're supposed to

1:16:19.439 --> 1:16:21.719
<v Speaker 2>do in the studio. Really great fun.

1:16:22.160 --> 1:16:28.840
<v Speaker 1>Well, what was different working with Mitchell's supposed to Joe.

1:16:29.040 --> 1:16:31.400
<v Speaker 2>More quirky about sound. I think in a sense, you know,

1:16:32.160 --> 1:16:34.280
<v Speaker 2>Joe was more naturalistic and he just kind of let

1:16:34.360 --> 1:16:41.000
<v Speaker 2>things happen. He basically sit reading the baseball scores in

1:16:41.040 --> 1:16:44.280
<v Speaker 2>the in the in the Herald Tribune and let things happen.

1:16:45.360 --> 1:16:46.880
<v Speaker 2>Mitchell was a bit more hands on than that. And

1:16:47.120 --> 1:16:53.439
<v Speaker 2>also between Mitchell and engineer Chair Blake, there was this

1:16:53.600 --> 1:17:00.559
<v Speaker 2>idea of kind of garage to garage excuse me, that's

1:17:02.320 --> 1:17:05.080
<v Speaker 2>you know, the stuff that sounds like it's been recorded

1:17:05.320 --> 1:17:09.439
<v Speaker 2>low fi. And I think we we went in for

1:17:09.520 --> 1:17:14.040
<v Speaker 2>a lot of that. That that kind of idea that

1:17:15.520 --> 1:17:17.960
<v Speaker 2>you make it sound you know, funky again, you make

1:17:18.000 --> 1:17:20.160
<v Speaker 2>it sound like it was recorded at Sun Studios. I

1:17:20.160 --> 1:17:21.880
<v Speaker 2>mean it kind of all goes back to that again,

1:17:23.120 --> 1:17:28.000
<v Speaker 2>so kind of funky drum sounds, funky room sounds, and

1:17:28.400 --> 1:17:32.040
<v Speaker 2>you know, kind of purposefully downgrading the high five if

1:17:32.040 --> 1:17:34.600
<v Speaker 2>you like. You know, So I think we did a

1:17:34.600 --> 1:17:37.120
<v Speaker 2>lot of that, and I think that's the difference.

1:17:37.880 --> 1:17:42.240
<v Speaker 1>And then the rumor INSI album happens and there's a

1:17:42.280 --> 1:17:47.240
<v Speaker 1>burst of energy in terms of acceptance on the exterior.

1:17:47.280 --> 1:17:49.360
<v Speaker 1>What did it feel like on the interior?

1:17:51.240 --> 1:17:54.600
<v Speaker 2>Uh, it felt different. Well, you know, I was on

1:17:54.680 --> 1:17:57.880
<v Speaker 2>Capitol Records, you know, for for a few albums, and

1:17:57.920 --> 1:18:05.599
<v Speaker 2>then uh, there's a new head of the company comes

1:18:05.600 --> 1:18:11.519
<v Speaker 2>in and the company kind of transforms and I actually

1:18:11.600 --> 1:18:15.920
<v Speaker 2>get my records promoted, uh, which I can't say really

1:18:15.920 --> 1:18:20.439
<v Speaker 2>happened much before that. But suddenly I have that the

1:18:20.520 --> 1:18:25.360
<v Speaker 2>Capitol Records machine is working on my behalf as opposed

1:18:25.400 --> 1:18:30.240
<v Speaker 2>to you know, everybody else's behalf. So that was the difference. Really.

1:18:31.320 --> 1:18:33.960
<v Speaker 2>Hail Milgram, who became the head of the company and

1:18:34.720 --> 1:18:37.400
<v Speaker 2>just a great guy and a great friend to this day,

1:18:37.560 --> 1:18:43.800
<v Speaker 2>just a wonderful music person. You know, sometimes you think,

1:18:44.080 --> 1:18:48.680
<v Speaker 2>you know, record executives forget the reason that they were

1:18:48.720 --> 1:18:52.280
<v Speaker 2>They went into the record business, and they get caught

1:18:52.400 --> 1:18:57.960
<v Speaker 2>up in numbers and percentages and you know, chart positions

1:18:58.000 --> 1:19:02.719
<v Speaker 2>and all that kind of stuff. It's always refreshing when

1:19:03.920 --> 1:19:08.519
<v Speaker 2>record executives really care about music, and it just doesn't

1:19:08.520 --> 1:19:09.040
<v Speaker 2>always happen.

1:19:10.120 --> 1:19:12.759
<v Speaker 1>So who signed you with Capitol Records? Originally?

1:19:13.920 --> 1:19:18.519
<v Speaker 2>Uh, good question. I can't remember.

1:19:18.960 --> 1:19:21.360
<v Speaker 1>Okay, but this was before hal.

1:19:23.680 --> 1:19:24.639
<v Speaker 2>Again, I can't remember.

1:19:24.840 --> 1:19:28.040
<v Speaker 1>Okay, how does it end with Capitol Records? For you?

1:19:29.320 --> 1:19:35.600
<v Speaker 2>There it ends, my contract ran out, hailed left by

1:19:35.680 --> 1:19:39.800
<v Speaker 2>that time, my contract ran out, and basically they said,

1:19:40.360 --> 1:19:44.719
<v Speaker 2>let's do a compilation album and goodbye. And that was fine.

1:19:44.760 --> 1:19:48.680
<v Speaker 2>I was glad at that point because a lot of

1:19:48.680 --> 1:19:51.639
<v Speaker 2>people were beginning to question the role of the major

1:19:51.720 --> 1:20:00.439
<v Speaker 2>labels because you never seem to earn any money. And

1:20:01.479 --> 1:20:03.840
<v Speaker 2>I think people thought, well, maybe, you know, if I

1:20:03.920 --> 1:20:06.920
<v Speaker 2>work with an independent label or if I put out

1:20:06.920 --> 1:20:10.960
<v Speaker 2>my own records, I'll see some return. And that did

1:20:10.960 --> 1:20:11.920
<v Speaker 2>turn out to be the case.

1:20:19.400 --> 1:20:24.280
<v Speaker 1>Okay, do you receive any royalties from all the records

1:20:24.320 --> 1:20:25.640
<v Speaker 1>you've done?

1:20:27.200 --> 1:20:38.479
<v Speaker 2>A streaming has basically killed royalties. Roches used to be

1:20:38.520 --> 1:20:44.040
<v Speaker 2>half my income, half my income. That's recording rotter's and

1:20:44.120 --> 1:20:47.479
<v Speaker 2>songwriting and royalties. It was about fifty percent of my income.

1:20:47.680 --> 1:20:52.760
<v Speaker 2>It's now about two percent of my income. And that's

1:20:52.840 --> 1:20:59.759
<v Speaker 2>down to you know, Spotify and or these companies paying

1:20:59.800 --> 1:21:05.519
<v Speaker 2>you virtually nothing for putting your intellectual property out there,

1:21:05.760 --> 1:21:09.640
<v Speaker 2>and people being able to do hundreds of thousands, but

1:21:09.720 --> 1:21:12.320
<v Speaker 2>somehow it's millions of streams of your music and paying

1:21:12.320 --> 1:21:16.720
<v Speaker 2>you ten bucks. Is it a moral? Yes, it is

1:21:16.760 --> 1:21:18.679
<v Speaker 2>a moral. What can you do about it? I don't

1:21:18.680 --> 1:21:24.360
<v Speaker 2>know what you do about it. Sustainable model, No, it

1:21:24.439 --> 1:21:29.000
<v Speaker 2>isn't a a styinable model. Musicians deserve better.

1:21:29.360 --> 1:21:34.400
<v Speaker 1>Okay, let's go back, because you know the usual model

1:21:34.400 --> 1:21:37.760
<v Speaker 1>of a record deal is they advance you money. They

1:21:37.800 --> 1:21:41.480
<v Speaker 1>do or do not sell records, forget the creative accounting.

1:21:41.960 --> 1:21:45.040
<v Speaker 1>But you're earning back at a very low rate. So

1:21:45.160 --> 1:21:47.439
<v Speaker 1>there's some household named bands that are still in the red.

1:21:48.479 --> 1:21:51.880
<v Speaker 1>So where did the royalties come from? The royalties come

1:21:51.920 --> 1:21:56.559
<v Speaker 1>from the Fairport records, from the Richard and Linda records,

1:21:56.600 --> 1:22:00.720
<v Speaker 1>from the solo records? What generated money forgetting the songwriting?

1:22:00.800 --> 1:22:00.920
<v Speaker 2>Just?

1:22:01.080 --> 1:22:03.600
<v Speaker 1>Were there ever any recording royalties?

1:22:04.920 --> 1:22:09.439
<v Speaker 2>Actually recording anti is? I probably make a bit from

1:22:09.479 --> 1:22:13.360
<v Speaker 2>the really early stuff, from the Fairport stuff a bit,

1:22:13.400 --> 1:22:15.599
<v Speaker 2>But I mean that these records that they turn over,

1:22:15.680 --> 1:22:22.439
<v Speaker 2>but they don't they don't sell a lot, particularly you know,

1:22:23.560 --> 1:22:26.960
<v Speaker 2>on a label like Capital. I enjoyed my time at Capital.

1:22:27.120 --> 1:22:31.559
<v Speaker 2>But you get an advance from which you would make

1:22:31.600 --> 1:22:37.759
<v Speaker 2>the record, and you pay your your manager fifteen percent,

1:22:38.000 --> 1:22:40.559
<v Speaker 2>and you pay the lawyer probably ten percent for making

1:22:40.600 --> 1:22:43.840
<v Speaker 2>the deal, and and and and you wouldn't end up

1:22:43.840 --> 1:22:48.000
<v Speaker 2>with anything. You'd also, yeah, you'd make a video in

1:22:48.000 --> 1:22:51.960
<v Speaker 2>those days, and the video budget could be like seventy

1:22:52.000 --> 1:22:56.160
<v Speaker 2>five thousand dollars, which you didn't necessarily want to spend,

1:22:56.200 --> 1:22:59.600
<v Speaker 2>but the video department wanted to spend that money just

1:22:59.840 --> 1:23:01.840
<v Speaker 2>so that that it didn't go down. That they went

1:23:01.880 --> 1:23:04.760
<v Speaker 2>to every artist to spend the maximum, so that the

1:23:04.840 --> 1:23:14.799
<v Speaker 2>video department could keeping being funded to the max. Someone

1:23:15.840 --> 1:23:18.880
<v Speaker 2>a Capital told me, at some point, you know, just

1:23:18.880 --> 1:23:21.479
<v Speaker 2>before I left, I think that I had never made

1:23:21.479 --> 1:23:27.479
<v Speaker 2>a record that lost money, and yet I still appear

1:23:27.560 --> 1:23:30.880
<v Speaker 2>to capitally. Am I about you know, four hundred thousand

1:23:31.439 --> 1:23:36.799
<v Speaker 2>dollars which I'll never recoup. It's like the film industry.

1:23:36.840 --> 1:23:39.280
<v Speaker 2>You know, you have all these write offs, yet you

1:23:39.960 --> 1:23:43.080
<v Speaker 2>try to never show a profit. Like you try to

1:23:43.080 --> 1:23:46.280
<v Speaker 2>never show a profit on a film, you try to

1:23:46.280 --> 1:23:48.719
<v Speaker 2>never show up a profit on a record. Is it corrupt? Yes,

1:23:49.000 --> 1:23:52.479
<v Speaker 2>you know it wouldn't happen in other industries. It only

1:23:52.479 --> 1:23:53.759
<v Speaker 2>happens in creative industries.

1:23:55.400 --> 1:24:03.480
<v Speaker 1>Okay, prior to streaming, literally, what was generating the royalty income? Sales?

1:24:03.840 --> 1:24:04.479
<v Speaker 1>What was it?

1:24:05.600 --> 1:24:09.120
<v Speaker 2>Well, you know, records on independent labels. You know, I

1:24:09.160 --> 1:24:11.439
<v Speaker 2>was on Joe Boyd's label for a while, Hannibal Records,

1:24:11.439 --> 1:24:15.160
<v Speaker 2>and that I actually actually got paid for records, so

1:24:15.200 --> 1:24:21.559
<v Speaker 2>that would be good. But mostly I'd be earning rossies

1:24:21.600 --> 1:24:26.080
<v Speaker 2>from songwriting rather than performance, not that much from performance

1:24:26.080 --> 1:24:26.400
<v Speaker 2>at all.

1:24:28.400 --> 1:24:33.639
<v Speaker 1>And the songwriting royalties that you were getting were from covers.

1:24:33.680 --> 1:24:35.200
<v Speaker 1>Where was the money coming from?

1:24:36.680 --> 1:24:40.280
<v Speaker 2>From your own records and from covers, A mixture of things.

1:24:40.800 --> 1:24:43.040
<v Speaker 2>And that's still the case, except the numbers are now

1:24:43.120 --> 1:24:44.559
<v Speaker 2>are now tiny.

1:24:45.360 --> 1:24:47.760
<v Speaker 1>So when they were at their max, how much money

1:24:47.800 --> 1:24:51.400
<v Speaker 1>were we talking about?

1:24:53.479 --> 1:24:56.559
<v Speaker 2>I'm not sure I should say, really was it six figures?

1:24:58.200 --> 1:25:02.800
<v Speaker 2>Six figures could be okay a good year.

1:25:03.439 --> 1:25:07.240
<v Speaker 1>Okay, So now we're in this, you know, all these

1:25:07.320 --> 1:25:10.160
<v Speaker 1>years later, a couple of decades on, we're in this

1:25:10.479 --> 1:25:14.759
<v Speaker 1>internet streaming era. Needless to say, is you just said

1:25:15.200 --> 1:25:21.720
<v Speaker 1>your royalties are down? Has streaming has the Internet benefited

1:25:21.760 --> 1:25:23.759
<v Speaker 1>you at all? Or has it only been a negative?

1:25:26.680 --> 1:25:32.080
<v Speaker 2>Hard to quantify, but probably if people can stream your music,

1:25:32.120 --> 1:25:36.000
<v Speaker 2>they might come and see you live, and live is

1:25:36.000 --> 1:25:38.439
<v Speaker 2>the place you own money these days, and that's why

1:25:38.479 --> 1:25:45.400
<v Speaker 2>everybody is out there playing live. Apart from that, it's

1:25:45.439 --> 1:25:49.719
<v Speaker 2>a big negative. If I owned more of my own music,

1:25:50.040 --> 1:25:51.840
<v Speaker 2>I would not put it on streaming services.

1:25:54.000 --> 1:25:57.479
<v Speaker 1>Let me ask you this. Let's say you own the

1:25:57.640 --> 1:26:01.880
<v Speaker 1>music and you license it directly to the streaming company,

1:26:01.920 --> 1:26:06.840
<v Speaker 1>which means you would get sixty odd sense okay, especially

1:26:06.920 --> 1:26:13.080
<v Speaker 1>with songwriting, and you could sell physical copies, there would

1:26:13.120 --> 1:26:14.240
<v Speaker 1>be some money there.

1:26:14.080 --> 1:26:20.439
<v Speaker 2>Right, Yeah, you might be overwriting what an artist actually

1:26:20.479 --> 1:26:25.840
<v Speaker 2>gets from a streaming services. I get points zero zero

1:26:26.920 --> 1:26:30.759
<v Speaker 2>zero six of a dollar.

1:26:32.680 --> 1:26:34.560
<v Speaker 1>I don't want to get into a long discussion of

1:26:34.720 --> 1:26:40.080
<v Speaker 1>stream streaming royalties on demand pace different from radio streaming,

1:26:40.280 --> 1:26:42.120
<v Speaker 1>blah blah blah. All I know is people who are

1:26:42.120 --> 1:26:45.400
<v Speaker 1>a lot less famous than you, who are earning just

1:26:45.479 --> 1:26:51.000
<v Speaker 1>because they own everything, are doing earning six figures from

1:26:51.040 --> 1:26:55.439
<v Speaker 1>streaming companies. But let's forget that for now. So you

1:26:55.600 --> 1:26:59.360
<v Speaker 1>made records that were independent, Now the new record is

1:26:59.400 --> 1:27:02.960
<v Speaker 1>with new asked, do you have a feeling about making

1:27:03.000 --> 1:27:07.439
<v Speaker 1>a record independently or as opposed to a company.

1:27:08.080 --> 1:27:11.920
<v Speaker 2>Well, I consider news to be like a bigger independent label,

1:27:12.200 --> 1:27:16.679
<v Speaker 2>and they've been great for me. I did another record

1:27:16.680 --> 1:27:20.519
<v Speaker 2>in New West. They've been great, They've been absolutely great.

1:27:20.960 --> 1:27:23.120
<v Speaker 1>Let me ask you a different question. You put out

1:27:23.120 --> 1:27:26.760
<v Speaker 1>a couple of records on your own label. Yeah, what

1:27:26.840 --> 1:27:27.960
<v Speaker 1>was that experience? Like?

1:27:32.240 --> 1:27:35.240
<v Speaker 2>It's good? I mean, it's that there's a lot to cover.

1:27:35.360 --> 1:27:40.080
<v Speaker 2>It's hard work. You really do have to work at it.

1:27:40.080 --> 1:27:42.479
<v Speaker 2>It's easy to put stuff up on bank camp, for instance,

1:27:43.200 --> 1:27:45.400
<v Speaker 2>and then you do get a good return on it,

1:27:45.439 --> 1:27:49.000
<v Speaker 2>but people have to find it, like most things on

1:27:49.040 --> 1:27:53.559
<v Speaker 2>the internet that people have to actually find you. So

1:27:53.680 --> 1:27:56.960
<v Speaker 2>a little promotion doesn't hurt. You can hire own publicists,

1:27:56.960 --> 1:28:02.040
<v Speaker 2>I suppose sometimes that's not switch about it. I did

1:28:02.080 --> 1:28:07.080
<v Speaker 2>an instrumental record back in the seventies which I made

1:28:07.120 --> 1:28:13.320
<v Speaker 2>for six hundred pounds and I basically delivered it myself

1:28:14.360 --> 1:28:18.639
<v Speaker 2>to the to the record stores. That was quite interesting.

1:28:18.840 --> 1:28:22.439
<v Speaker 2>That was an interesting exercise in being the hands on

1:28:22.640 --> 1:28:23.400
<v Speaker 2>label manager.

1:28:25.000 --> 1:28:27.360
<v Speaker 1>Okay, when you made independent records though in the last

1:28:27.400 --> 1:28:31.840
<v Speaker 1>couple of decades, by time the cycle was done, were

1:28:31.840 --> 1:28:33.160
<v Speaker 1>you in the black or the red?

1:28:35.040 --> 1:28:37.599
<v Speaker 2>I'd be in the black. I'd be in the black.

1:28:38.080 --> 1:28:41.280
<v Speaker 1>So why did you decide to go back just because

1:28:41.280 --> 1:28:43.519
<v Speaker 1>it was so much work to do it yourself.

1:28:48.960 --> 1:28:54.440
<v Speaker 2>I don't know. Sometimes it's a matter of coordinating, coordinating,

1:28:54.479 --> 1:28:57.280
<v Speaker 2>work with with your management, coordinate with your agent, can

1:28:57.280 --> 1:29:02.839
<v Speaker 2>augizing work with the record company, and doing something that

1:29:02.840 --> 1:29:09.040
<v Speaker 2>that can work, you know, give it given a balance

1:29:09.200 --> 1:29:14.519
<v Speaker 2>of those elements. So sometimes you want something that has

1:29:14.520 --> 1:29:18.839
<v Speaker 2>a bit more cloud to it to push a record,

1:29:19.840 --> 1:29:20.960
<v Speaker 2>let people know it's there.

1:29:21.280 --> 1:29:24.840
<v Speaker 1>Okay, So this record that came out, did you cut

1:29:24.880 --> 1:29:27.760
<v Speaker 1>it independently and then make a deal with New West

1:29:27.880 --> 1:29:29.320
<v Speaker 1>or do you make a deal with New West and

1:29:29.360 --> 1:29:30.640
<v Speaker 1>then make the record.

1:29:31.240 --> 1:29:35.600
<v Speaker 2>I made the record independently and then went to the

1:29:35.600 --> 1:29:36.320
<v Speaker 2>record companies.

1:29:37.280 --> 1:29:41.360
<v Speaker 1>So you had enough cash in your coffers to do

1:29:41.400 --> 1:29:42.040
<v Speaker 1>it yourself.

1:29:42.880 --> 1:29:46.559
<v Speaker 2>Yeah. I mean it's a cheap record. So tell me

1:29:46.680 --> 1:29:47.880
<v Speaker 2>cheap in quality of course, ye?

1:29:48.040 --> 1:29:51.880
<v Speaker 1>Right right? Tell me how you did it, right, tell

1:29:51.920 --> 1:29:54.240
<v Speaker 1>me how you did it, How I did it?

1:29:55.479 --> 1:29:58.559
<v Speaker 2>How amde it went into a studio.

1:30:00.080 --> 1:30:04.000
<v Speaker 1>Well let's go back. Okay, wait, wait, you get divorced,

1:30:04.040 --> 1:30:08.200
<v Speaker 1>you get remarried, you have COVID, I mean the COVID period.

1:30:08.280 --> 1:30:12.200
<v Speaker 1>Did you ever get COVID? Oh? Yeah, a couple of times. Yeah, okay,

1:30:12.720 --> 1:30:16.920
<v Speaker 1>so serious, So when do you decide you're going to

1:30:17.040 --> 1:30:19.800
<v Speaker 1>make another record, because no one, you don't have a contract,

1:30:19.840 --> 1:30:22.679
<v Speaker 1>No one's breathing down your throat. When do you decide

1:30:23.040 --> 1:30:23.880
<v Speaker 1>I want to do it?

1:30:25.840 --> 1:30:30.320
<v Speaker 2>Well, we figured that we couldn't really go into the

1:30:30.320 --> 1:30:33.040
<v Speaker 2>studio during COVID, so we had to wait that out.

1:30:33.680 --> 1:30:36.800
<v Speaker 2>So I made a couple of things at home in

1:30:36.880 --> 1:30:41.200
<v Speaker 2>my home studio. But then I had a lot of

1:30:41.240 --> 1:30:43.640
<v Speaker 2>material that I really wanted to get out there, you know,

1:30:44.080 --> 1:30:48.120
<v Speaker 2>get it off my chest. So I discussed that with

1:30:48.200 --> 1:30:52.960
<v Speaker 2>my management and I said, you know, I was living

1:30:53.000 --> 1:30:54.479
<v Speaker 2>in Woodstock at the times, and so I said that

1:30:54.479 --> 1:30:57.200
<v Speaker 2>there's this really good studio in Woodstock I'd like to use.

1:30:58.400 --> 1:31:01.360
<v Speaker 2>So we arranged for the musicians to fly in from

1:31:01.560 --> 1:31:09.679
<v Speaker 2>lah and book studio time. Made the record in a week.

1:31:10.080 --> 1:31:21.839
<v Speaker 2>Basically sounds really good. Ah, does it have a Woodstock

1:31:21.880 --> 1:31:23.960
<v Speaker 2>sound to it? I don't know. Maybe there's a Woodstock

1:31:24.040 --> 1:31:25.080
<v Speaker 2>vibe there somewhere.

1:31:26.080 --> 1:31:29.000
<v Speaker 1>So when it's all said and done, how much did

1:31:29.040 --> 1:31:29.519
<v Speaker 1>it cost you?

1:31:31.880 --> 1:31:38.640
<v Speaker 2>I'm not sure? I actually don't know. Okay, not a

1:31:38.680 --> 1:31:39.360
<v Speaker 2>lot cheap.

1:31:39.640 --> 1:31:45.960
<v Speaker 1>Okay. So the manager you presently have he is or

1:31:46.000 --> 1:31:46.479
<v Speaker 1>she is.

1:31:51.200 --> 1:31:54.680
<v Speaker 2>Well, I'm with a company called Vector Management and My

1:31:54.760 --> 1:31:56.000
<v Speaker 2>manager is Brad.

1:31:56.760 --> 1:32:00.519
<v Speaker 1>Okay, how long have you been with Vector Effect?

1:32:00.520 --> 1:32:02.519
<v Speaker 2>For about ten years?

1:32:03.000 --> 1:32:05.160
<v Speaker 1>So what can you tell us about managers?

1:32:06.800 --> 1:32:14.479
<v Speaker 2>Let's say about managers. There's almost as many kinds of

1:32:14.520 --> 1:32:17.800
<v Speaker 2>managers as there are human beings. I mean, there's a

1:32:17.840 --> 1:32:26.200
<v Speaker 2>huge range there. I've had managers who were kind of

1:32:26.360 --> 1:32:31.200
<v Speaker 2>screamed down the phone style, you know, old school, old school.

1:32:31.600 --> 1:32:36.120
<v Speaker 2>I've had managers who take far too high a percentage.

1:32:36.720 --> 1:32:39.519
<v Speaker 2>The nice thing about Vector is they're a big enough

1:32:39.520 --> 1:32:43.880
<v Speaker 2>company that if you do want to do something like

1:32:43.960 --> 1:32:46.639
<v Speaker 2>get on TV, they could probably do it for you.

1:32:46.720 --> 1:32:48.800
<v Speaker 2>That they could probably get you on the late night

1:32:48.880 --> 1:32:52.960
<v Speaker 2>chat shows. So that's nice.

1:32:53.840 --> 1:32:54.720
<v Speaker 1>That they are.

1:32:54.760 --> 1:32:57.640
<v Speaker 2>So you know, there are reasonable human beings. That they

1:32:57.760 --> 1:33:04.400
<v Speaker 2>like music that's important, and that they look out for

1:33:04.439 --> 1:33:08.320
<v Speaker 2>my interests, which is what I need from my management,

1:33:08.439 --> 1:33:10.639
<v Speaker 2>is you know, people who care about you and look

1:33:10.680 --> 1:33:11.120
<v Speaker 2>out for you.

1:33:11.840 --> 1:33:13.799
<v Speaker 1>And what about agents.

1:33:14.640 --> 1:33:17.559
<v Speaker 2>I have a wonderful agent in the States, Frank Riley,

1:33:17.600 --> 1:33:24.040
<v Speaker 2>who's been major now for like like twenty years, who again,

1:33:24.920 --> 1:33:27.880
<v Speaker 2>you know, things career. He doesn't just just book me

1:33:27.920 --> 1:33:31.759
<v Speaker 2>because the money is there. He'll think, Okay, you shouldn't

1:33:31.760 --> 1:33:35.000
<v Speaker 2>play this market too often, you know, let's go back

1:33:35.040 --> 1:33:39.400
<v Speaker 2>in another year or two. Just you know, a smart guy,

1:33:39.560 --> 1:33:42.840
<v Speaker 2>a very respected agent, and he's been wonderful. We have

1:33:42.880 --> 1:33:43.720
<v Speaker 2>a great relationship.

1:33:45.720 --> 1:33:49.679
<v Speaker 1>Okay. Needless to say, the business has changed radically from

1:33:49.680 --> 1:33:53.880
<v Speaker 1>when you first started. Okay, when you first started, there

1:33:53.880 --> 1:33:56.800
<v Speaker 1>were a limited number of albums released a year. I

1:33:56.840 --> 1:33:59.000
<v Speaker 1>remember in the early seventies when I went from twenty

1:33:59.040 --> 1:34:02.320
<v Speaker 1>five hundred to five thousand albums, people say, oh, that's

1:34:02.360 --> 1:34:06.200
<v Speaker 1>way too many. Now i'm streaming services, they'll get sixty

1:34:06.240 --> 1:34:12.080
<v Speaker 1>thousand tracks a day. So from making the music, A

1:34:12.120 --> 1:34:16.000
<v Speaker 1>lot of your contemporaries don't make any new music. A

1:34:16.000 --> 1:34:18.920
<v Speaker 1>lot of them had vast success. They say, I'm going

1:34:19.000 --> 1:34:22.080
<v Speaker 1>to spend all the time and effort and it's going

1:34:22.160 --> 1:34:26.080
<v Speaker 1>to make a very little dent in the universe.

1:34:27.080 --> 1:34:27.320
<v Speaker 2>True?

1:34:27.479 --> 1:34:32.920
<v Speaker 1>Does it the landscape affect you mentally and creatively? Knowing

1:34:32.960 --> 1:34:37.120
<v Speaker 1>no matter what you do, because nobody reaches everybody anymore,

1:34:37.160 --> 1:34:39.400
<v Speaker 1>it's not like the sixties or seventies. How does that

1:34:39.439 --> 1:34:44.360
<v Speaker 1>affect your motivation? I can't help doing what I do.

1:34:44.840 --> 1:34:47.919
<v Speaker 1>I can't help writing songs. I can't help being creative.

1:34:48.240 --> 1:34:50.920
<v Speaker 1>I can't help it. I'm driven by something. God knows

1:34:50.960 --> 1:34:54.439
<v Speaker 1>what it is, but I have to do it. I'm

1:34:54.479 --> 1:34:56.200
<v Speaker 1>not a happy human being if I don't do it.

1:34:57.000 --> 1:34:58.680
<v Speaker 1>People can't live with me if I don't do it,

1:35:00.120 --> 1:35:03.639
<v Speaker 1>family get upset with me if I'm not being creative.

1:35:04.479 --> 1:35:07.280
<v Speaker 1>So I'm always going to do it. And whether the

1:35:07.360 --> 1:35:09.960
<v Speaker 1>m is it gets out there or not, it doesn't matter.

1:35:10.439 --> 1:35:12.920
<v Speaker 1>I'd rather it did get out there. But if it doesn't,

1:35:12.960 --> 1:35:15.240
<v Speaker 1>well that's too bad. But I'm still going to do it.

1:35:16.439 --> 1:35:18.960
<v Speaker 2>And I've had this conversation with with other singer songwriters

1:35:19.040 --> 1:35:22.680
<v Speaker 2>of my age, who say, what's the point. What's the

1:35:22.720 --> 1:35:24.680
<v Speaker 2>point of me making music? What's the point of me

1:35:24.680 --> 1:35:28.280
<v Speaker 2>putting out records? Nothing ever happens? You know, my audience

1:35:28.320 --> 1:35:31.400
<v Speaker 2>doesn't seem to get any bigger, you know, I you know,

1:35:31.479 --> 1:35:39.479
<v Speaker 2>I break even, you know what, what's the point? And

1:35:39.479 --> 1:35:41.720
<v Speaker 2>and I kind of agree with them, except for that

1:35:41.880 --> 1:35:44.640
<v Speaker 2>fact that I can't stop doing it. I have to

1:35:44.680 --> 1:35:49.840
<v Speaker 2>do it, uh, you know. And my audience it doesn't

1:35:49.840 --> 1:35:53.960
<v Speaker 2>get smaller. I think it gets bigger actually slowly, slowly, slowly,

1:35:55.080 --> 1:35:58.320
<v Speaker 2>maybe through word of mouth. More people come to shows,

1:35:58.560 --> 1:36:02.080
<v Speaker 2>and as my old fai and move on to another

1:36:02.120 --> 1:36:06.360
<v Speaker 2>plane of existence. Younger people seem to fill up those slots,

1:36:06.439 --> 1:36:10.640
<v Speaker 2>so I just keep doing it. I can't help it.

1:36:11.520 --> 1:36:16.160
<v Speaker 1>Okay, are you doing anything actively you as an individual

1:36:16.640 --> 1:36:20.240
<v Speaker 1>to promote or grow the audience? Are you on social media?

1:36:20.320 --> 1:36:22.920
<v Speaker 1>Are you doing anything else? Or are you doing it

1:36:23.000 --> 1:36:24.960
<v Speaker 1>essentially the same way you've always done it.

1:36:25.200 --> 1:36:26.599
<v Speaker 2>I'm talking to you right now.

1:36:28.720 --> 1:36:32.120
<v Speaker 1>Well, okay, and other people.

1:36:33.600 --> 1:36:38.360
<v Speaker 2>I do promotion. I go on you know, podcasts, and

1:36:38.920 --> 1:36:43.479
<v Speaker 2>I go on websites, and I physically turn up at

1:36:43.520 --> 1:36:50.679
<v Speaker 2>radio stations and I do all that stuff. Besides playing shows,

1:36:51.400 --> 1:36:55.640
<v Speaker 2>I do promote. And I suppose that after COVID, in

1:36:55.640 --> 1:36:58.040
<v Speaker 2>some ways it's easier because in the old days, I

1:36:58.080 --> 1:36:59.679
<v Speaker 2>used to expect you to to get on a plane

1:36:59.840 --> 1:37:03.360
<v Speaker 2>and visit two or three cities a day, you know,

1:37:03.479 --> 1:37:06.720
<v Speaker 2>to promote yourself and visit all these radio stations. Now

1:37:06.840 --> 1:37:08.840
<v Speaker 2>I can do it from home. I just could be

1:37:08.840 --> 1:37:10.880
<v Speaker 2>at one place and I can talk to a lot

1:37:10.880 --> 1:37:13.360
<v Speaker 2>of people from that one place. So in that sense,

1:37:13.400 --> 1:37:17.639
<v Speaker 2>it's easier. But I do it. Yes, I promote myself.

1:37:18.560 --> 1:37:22.200
<v Speaker 1>So you know, you make records. Everybody who's creative. You

1:37:22.240 --> 1:37:24.320
<v Speaker 1>know you're never going to do something bad. You've had

1:37:24.320 --> 1:37:26.800
<v Speaker 1>your chops. You've been doing it for so long. But

1:37:26.840 --> 1:37:30.240
<v Speaker 1>when you do something that's great, and artists know when

1:37:30.280 --> 1:37:33.160
<v Speaker 1>they do something that it's great, can't have an eleven

1:37:33.360 --> 1:37:38.000
<v Speaker 1>with every attempt. But when you do something great and

1:37:38.760 --> 1:37:42.520
<v Speaker 1>not much happens in the marketplace, is that disillusioning?

1:37:44.200 --> 1:37:47.720
<v Speaker 2>Not at this point, No, it doesn't accept it. I

1:37:47.720 --> 1:37:51.320
<v Speaker 2>accept it. I'm a seventy five year old artist and

1:37:53.120 --> 1:37:58.920
<v Speaker 2>I'm not catered for by popular media anymore. So I

1:37:59.040 --> 1:38:02.680
<v Speaker 2>do what I do. If I end up playing, you know,

1:38:02.840 --> 1:38:08.439
<v Speaker 2>in you know, assisted living facilities, you know, to fifteen people,

1:38:09.479 --> 1:38:12.240
<v Speaker 2>I'm still going to do it because I love to

1:38:12.280 --> 1:38:14.720
<v Speaker 2>do it. I love to perform. I love to communicate

1:38:14.800 --> 1:38:18.479
<v Speaker 2>music to people. This is stuff I love doing, and

1:38:19.200 --> 1:38:21.799
<v Speaker 2>it's not going badly for me. It's actually it's actually

1:38:22.320 --> 1:38:28.439
<v Speaker 2>going very well. You know. If I gets frustrated, it's

1:38:28.560 --> 1:38:31.719
<v Speaker 2>more with things like streaming that that kind of kill

1:38:32.800 --> 1:38:35.639
<v Speaker 2>so many people's ambitions and careers.

1:38:37.040 --> 1:38:42.680
<v Speaker 1>Okay, so you're telling me your audience is replenishing and

1:38:43.680 --> 1:38:47.400
<v Speaker 1>it's growing, but you really don't know what's causing.

1:38:47.000 --> 1:38:52.200
<v Speaker 2>The No, I don't know. I do what I do.

1:38:52.240 --> 1:38:54.320
<v Speaker 2>I put the energy out there, and I figure if

1:38:54.320 --> 1:38:56.639
<v Speaker 2>you do that, then it comes back in some form

1:38:57.360 --> 1:38:59.200
<v Speaker 2>and maybe it's not the form you're expecting that, but

1:38:59.240 --> 1:39:00.519
<v Speaker 2>it does come back eventually.

1:39:02.000 --> 1:39:03.599
<v Speaker 1>And how many gigs do you do a year?

1:39:04.479 --> 1:39:07.640
<v Speaker 2>A year? One hundred?

1:39:08.320 --> 1:39:10.200
<v Speaker 1>And is that the right number? Would you like to

1:39:10.240 --> 1:39:11.360
<v Speaker 1>do more or fewer?

1:39:12.360 --> 1:39:15.920
<v Speaker 2>I might have to do less, I'm funny. It harder

1:39:16.000 --> 1:39:20.880
<v Speaker 2>to travel, so I might cut down to seventy five

1:39:22.120 --> 1:39:24.160
<v Speaker 2>or even fifty. I mean, I mean I've done that.

1:39:24.320 --> 1:39:26.599
<v Speaker 2>You know how many things I've done in my life,

1:39:26.600 --> 1:39:30.760
<v Speaker 2>like five thousand or something. It's a it's a lot

1:39:30.760 --> 1:39:33.400
<v Speaker 2>of shows, but I love it. I love it.

1:39:33.960 --> 1:39:37.040
<v Speaker 1>Okay, So do you love every gig? Or you playing

1:39:37.160 --> 1:39:39.439
<v Speaker 1>some of the songs thinking about are you going to

1:39:39.479 --> 1:39:42.240
<v Speaker 1>be late for the plane? This is a shitty hotel?

1:39:43.560 --> 1:39:47.000
<v Speaker 2>Yeah, oh, you just deal with that stuff. You know,

1:39:47.160 --> 1:39:50.320
<v Speaker 2>shitty hotel, You think, well, tomorrow will be a better hotel.

1:39:50.520 --> 1:39:53.320
<v Speaker 2>You know, a bad sound system, You think, well, you know,

1:39:53.439 --> 1:39:56.000
<v Speaker 2>what can you do? You know, if the audience can

1:39:56.040 --> 1:39:59.320
<v Speaker 2>hear you that, then you know tomorrow's another day. You

1:39:59.320 --> 1:40:02.519
<v Speaker 2>know you're something better. But there's always stuff on the road.

1:40:02.520 --> 1:40:08.000
<v Speaker 2>There's always you know, flight delays and you know snowstorms

1:40:08.160 --> 1:40:11.360
<v Speaker 2>and god knows what. But you just deal with that stuff.

1:40:11.520 --> 1:40:13.760
<v Speaker 2>You know, bad food, No food, you know, I mean

1:40:13.920 --> 1:40:16.160
<v Speaker 2>you just get on with it. You get on with it.

1:40:16.880 --> 1:40:19.639
<v Speaker 1>Well, I'm actually going about the gig itself, the hour

1:40:19.760 --> 1:40:20.719
<v Speaker 1>you're on stage.

1:40:20.960 --> 1:40:21.400
<v Speaker 2>Yeah.

1:40:21.600 --> 1:40:26.280
<v Speaker 1>Is it always rewarding? Sometimes not as rewarding? Does it

1:40:26.320 --> 1:40:27.520
<v Speaker 1>depend on the audience?

1:40:29.080 --> 1:40:33.519
<v Speaker 2>Uh? The audience is usually good. There's there's really a

1:40:33.520 --> 1:40:39.800
<v Speaker 2>bad audience. Rarely a bad audience, and maybe one gig

1:40:39.840 --> 1:40:46.960
<v Speaker 2>in four you're thinking. This is a struggle. And it's

1:40:47.000 --> 1:40:49.160
<v Speaker 2>usually done to the sound more than anything else here.

1:40:49.160 --> 1:40:51.920
<v Speaker 2>You know, you can't hear yourself on the stage. There's

1:40:51.920 --> 1:40:53.840
<v Speaker 2>too much blowback come from the back of the pa

1:40:53.960 --> 1:40:56.720
<v Speaker 2>or something. So everything just sounds a little like it's underwater.

1:40:57.680 --> 1:41:01.000
<v Speaker 2>You know that there are shows like that some nights

1:41:01.080 --> 1:41:03.599
<v Speaker 2>late this stuff sounds so great. You know that you've

1:41:03.640 --> 1:41:09.080
<v Speaker 2>got such a great sound on stage. Uh, you know,

1:41:09.760 --> 1:41:13.400
<v Speaker 2>most nights, I'm really enjoying myself and I'm really enjoying

1:41:14.320 --> 1:41:17.360
<v Speaker 2>the interaction with the audience. Most nights. I love it.

1:41:18.439 --> 1:41:19.040
<v Speaker 2>Nothing better.

1:41:19.240 --> 1:41:22.160
<v Speaker 1>And are you concerned at all about legacy?

1:41:23.280 --> 1:41:24.800
<v Speaker 2>Legacy? No, it couldn't go less.

1:41:26.439 --> 1:41:30.280
<v Speaker 1>So if you walk off this mortal coil and no

1:41:30.320 --> 1:41:33.000
<v Speaker 1>one remembers you, whether than the people from your generation,

1:41:33.560 --> 1:41:35.839
<v Speaker 1>that's totally fine with That's okay.

1:41:37.560 --> 1:41:40.760
<v Speaker 2>My legacy are my kids who play music, and they

1:41:40.760 --> 1:41:43.920
<v Speaker 2>play music very well, and I'm happy to pass the

1:41:43.960 --> 1:41:46.320
<v Speaker 2>baton to my children.

1:41:48.680 --> 1:41:50.720
<v Speaker 1>And how often do you play the guitar.

1:41:54.120 --> 1:41:58.519
<v Speaker 2>Every day? Some days I'm Some days I'm traveling all

1:41:58.600 --> 1:42:02.280
<v Speaker 2>day and I can't play the guitar. Sometimes I just

1:42:02.320 --> 1:42:05.200
<v Speaker 2>can't find the time to physically get my hands on it.

1:42:05.240 --> 1:42:09.559
<v Speaker 2>But most days I play something. Some days I play

1:42:09.640 --> 1:42:11.680
<v Speaker 2>like eight hours, you know, other days I play half

1:42:11.720 --> 1:42:12.040
<v Speaker 2>an hour.

1:42:13.240 --> 1:42:16.160
<v Speaker 1>And when you're doing that, you're noodling or you're rehearsing.

1:42:16.200 --> 1:42:17.519
<v Speaker 1>What are you doing whole stuff?

1:42:17.560 --> 1:42:20.799
<v Speaker 2>I mean, sometimes I'm just keeping my fingers working, pressing scales,

1:42:20.880 --> 1:42:24.479
<v Speaker 2>that kind of stuff. Sometimes I'm working ideas for songs.

1:42:26.120 --> 1:42:28.519
<v Speaker 2>That's usually what I'm doing, working on ideas for songs,

1:42:29.200 --> 1:42:32.840
<v Speaker 2>how to come up with the best accompaniment for a song,

1:42:34.680 --> 1:42:37.639
<v Speaker 2>or finding a melody for a song.

1:42:39.439 --> 1:42:42.920
<v Speaker 1>And you have it as dollar reputation as a guitarist,

1:42:43.320 --> 1:42:46.000
<v Speaker 1>to what degree do people track you down and say, hey,

1:42:46.040 --> 1:42:54.960
<v Speaker 1>I want to work with you, work with me not interesting? Well,

1:42:55.000 --> 1:42:56.519
<v Speaker 1>I mean, at the end of what I'm I'm saying,

1:42:56.800 --> 1:42:58.760
<v Speaker 1>come play on my record something like that.

1:42:58.920 --> 1:43:02.600
<v Speaker 2>Come play my record if I got time, Yeah, sure, absolutely.

1:43:03.120 --> 1:43:07.960
<v Speaker 2>Mostly I play on you know, people, whether it's some connection,

1:43:08.160 --> 1:43:11.799
<v Speaker 2>whether it's a friend of a friend or an actual

1:43:11.840 --> 1:43:16.679
<v Speaker 2>friend making a record. You know, my son just asked

1:43:16.680 --> 1:43:19.320
<v Speaker 2>me to plan his record. That's great. I'll do that one.

1:43:22.439 --> 1:43:24.720
<v Speaker 2>Sometimes I get too many offers to do that.

1:43:24.920 --> 1:43:31.519
<v Speaker 1>Actually, Okay, all these years later, your ex wife Linda

1:43:31.560 --> 1:43:36.200
<v Speaker 1>put out a record you're involved with that Fairport does

1:43:36.400 --> 1:43:42.200
<v Speaker 1>these annual celebrations you've appeared there? Does time heal all

1:43:42.320 --> 1:43:50.519
<v Speaker 1>wounds or were relationships pretty much steady the whole time? Well?

1:43:50.520 --> 1:43:55.080
<v Speaker 2>I get on fine with Linda. That's nice. I'm happy

1:43:55.120 --> 1:43:58.120
<v Speaker 2>to contribute it to her record. I think it's done very well.

1:43:58.120 --> 1:44:02.120
<v Speaker 2>It's a good record. Actually, lots of great contributors to

1:44:02.120 --> 1:44:08.120
<v Speaker 2>that record, Fairpol. They're like brothers. You know. Maybe you

1:44:08.120 --> 1:44:10.639
<v Speaker 2>don't see them every day, but when you do see them,

1:44:10.960 --> 1:44:13.599
<v Speaker 2>you get that old connection comes back. It's lovely. I'll

1:44:13.600 --> 1:44:16.920
<v Speaker 2>see them next weekend. I'm going to play at the

1:44:17.000 --> 1:44:22.160
<v Speaker 2>Properly Festival Forwood's Festival, and that'll be great to see everybody.

1:44:22.760 --> 1:44:23.679
<v Speaker 2>Be absolute blast.

1:44:24.800 --> 1:44:26.240
<v Speaker 1>And how many guitars do you own?

1:44:30.040 --> 1:44:32.200
<v Speaker 2>I try not to own too many, but I probably

1:44:32.200 --> 1:44:37.000
<v Speaker 2>owned twenty maybe thirty. I don't know. I like to

1:44:37.000 --> 1:44:40.320
<v Speaker 2>play them. I don't know to sit in the cupboard neglected.

1:44:40.560 --> 1:44:42.479
<v Speaker 2>So if I don't play a guitar, I'll try and

1:44:42.520 --> 1:44:46.360
<v Speaker 2>get rid of it. But yeah, not too many. I'm

1:44:46.360 --> 1:44:48.640
<v Speaker 2>not in the Keith Richard class.

1:44:49.160 --> 1:44:50.639
<v Speaker 1>And what are a couple of your favorites.

1:44:55.200 --> 1:44:57.760
<v Speaker 2>Well, I kind of like fenders. I suppose electric guitars.

1:44:58.240 --> 1:45:02.080
<v Speaker 2>I've got a bunch of Fenders, probably my oldest is

1:45:02.080 --> 1:45:08.680
<v Speaker 2>about fifty nine. Acoustics. I play Loudons that made in

1:45:08.720 --> 1:45:11.519
<v Speaker 2>Northern Ireland, wonderful guitars. I've probably got half a dozen

1:45:11.560 --> 1:45:19.400
<v Speaker 2>of those. But you know, they're all wonderful tools. You know,

1:45:20.080 --> 1:45:22.599
<v Speaker 2>I don't treat them too reverentially, but that they are

1:45:23.720 --> 1:45:25.160
<v Speaker 2>essential tools of the trade.

1:45:25.200 --> 1:45:26.880
<v Speaker 1>And if you go on the road, will you take

1:45:27.040 --> 1:45:29.320
<v Speaker 1>your favorites with you or say they're too valuable?

1:45:32.479 --> 1:45:37.280
<v Speaker 2>Favorites too valuable? I'll take my really good road guitars,

1:45:37.640 --> 1:45:40.439
<v Speaker 2>which are excellent. I'm very happy with.

1:45:40.960 --> 1:45:45.719
<v Speaker 1>And how about the amps amps?

1:45:49.120 --> 1:45:51.000
<v Speaker 2>I have a variety of As you know, I play

1:45:51.000 --> 1:45:54.439
<v Speaker 2>a lot of Fender amps, and if I don't take

1:45:54.479 --> 1:45:57.040
<v Speaker 2>my own, I'll hire Fender amps. I'm happy with Vox

1:45:57.040 --> 1:46:02.320
<v Speaker 2>as well. Fox. I see fifteen's and stuff I've got

1:46:02.400 --> 1:46:05.639
<v Speaker 2>nam called Divided by thirteen, which I use mostly on stage.

1:46:05.880 --> 1:46:08.360
<v Speaker 2>It's kind of weird. It's got hybrid amp, which is

1:46:08.400 --> 1:46:14.360
<v Speaker 2>absolutely wonderful. You know, But again, tours of the trade.

1:46:13.920 --> 1:46:16.439
<v Speaker 1>And you play solo, at least when I've seen you

1:46:16.600 --> 1:46:20.400
<v Speaker 1>in the past years. Is that just economically the only

1:46:20.439 --> 1:46:22.360
<v Speaker 1>way you could do it? Would you rather play with

1:46:22.439 --> 1:46:26.240
<v Speaker 1>the band or you like doing it solo?

1:46:28.200 --> 1:46:33.639
<v Speaker 2>Playing with a band is expensive and if I break even,

1:46:33.840 --> 1:46:37.640
<v Speaker 2>I'm doing well. So that doesn't happen all the time. Well,

1:46:37.640 --> 1:46:40.240
<v Speaker 2>we're going out in October November this year with the

1:46:40.240 --> 1:46:44.559
<v Speaker 2>band in the States. Solo, I can earn a living,

1:46:44.960 --> 1:46:48.439
<v Speaker 2>and so probably two thirds of what I do is solo.

1:46:49.760 --> 1:46:53.000
<v Speaker 1>And then you were coming up in a very vibrant

1:46:53.120 --> 1:46:57.200
<v Speaker 1>scene in terms of music today. Is there anything happening

1:46:57.439 --> 1:47:00.519
<v Speaker 1>for either all players or young players that you find

1:47:00.600 --> 1:47:02.080
<v Speaker 1>interesting and stimulating.

1:47:03.520 --> 1:47:10.759
<v Speaker 2>There's always good players. I'm not sure that that always

1:47:10.760 --> 1:47:15.120
<v Speaker 2>get recognized. I'm not sure the industry is geared to

1:47:15.840 --> 1:47:22.519
<v Speaker 2>innovation or originality. I think you know, people tend to

1:47:22.520 --> 1:47:25.519
<v Speaker 2>get signed if they sound like everything else. That that's

1:47:25.560 --> 1:47:29.160
<v Speaker 2>the sad truth of it. Madison Cunningham I like a lot.

1:47:29.360 --> 1:47:31.280
<v Speaker 2>I think she's a really good guitar player. She's got

1:47:31.320 --> 1:47:37.640
<v Speaker 2>a great band, nice arrangement ideas, not nice quirky songs.

1:47:37.479 --> 1:47:43.200
<v Speaker 2>That's someone I like. You know, there's wonderful kind of

1:47:43.200 --> 1:47:49.240
<v Speaker 2>singer songwriters around and they're always happening, but you know

1:47:49.280 --> 1:47:53.760
<v Speaker 2>what actually sells records? Sometimes that to me is of

1:47:53.800 --> 1:47:54.759
<v Speaker 2>no interest whatsoever.

1:47:56.680 --> 1:47:58.800
<v Speaker 1>And these new artists that you do find that you

1:47:58.840 --> 1:48:02.760
<v Speaker 1>do like, but you actively searching for them, or do

1:48:02.840 --> 1:48:05.920
<v Speaker 1>people say, hey, you got to hear this? Oh?

1:48:05.960 --> 1:48:08.040
<v Speaker 2>I think a combination of both. Yeah. I think I

1:48:08.080 --> 1:48:12.360
<v Speaker 2>often recommendations because there's so much out there that you

1:48:12.640 --> 1:48:15.360
<v Speaker 2>kind always find the stuff you know you would like,

1:48:15.479 --> 1:48:18.480
<v Speaker 2>So recommendations are very important.

1:48:19.240 --> 1:48:24.439
<v Speaker 1>Okay, so let's go back. You're the observer. You're one

1:48:24.520 --> 1:48:29.439
<v Speaker 1>step removed. Do you think that makes you different or

1:48:29.520 --> 1:48:32.800
<v Speaker 1>are we all one step removed whether we recognize it

1:48:32.920 --> 1:48:33.120
<v Speaker 1>or not.

1:48:42.080 --> 1:48:43.800
<v Speaker 2>Is it a good thing to be able once? I

1:48:43.800 --> 1:48:45.680
<v Speaker 2>don't know if it's a good thing. I think as

1:48:45.720 --> 1:48:48.600
<v Speaker 2>an artist you can't help it. You have to be

1:48:48.680 --> 1:48:53.720
<v Speaker 2>that little bit away. Sometimes you can't help it. That

1:48:53.880 --> 1:48:56.680
<v Speaker 2>doesn't mean you can't be a social human being. You

1:48:56.760 --> 1:49:03.320
<v Speaker 2>can't feel an integral part of the human right. But

1:49:04.000 --> 1:49:07.800
<v Speaker 2>I think sometimes you do feel like a bit of

1:49:07.800 --> 1:49:09.400
<v Speaker 2>an alien somehow.

1:49:10.360 --> 1:49:13.640
<v Speaker 1>So you're in the city, you may not even be

1:49:13.760 --> 1:49:17.360
<v Speaker 1>talking to anybody, you're walking down the street. Do you

1:49:17.439 --> 1:49:20.200
<v Speaker 1>feel different from everybody else? Or you feel like you're

1:49:20.280 --> 1:49:21.400
<v Speaker 1>just like everybody else.

1:49:24.840 --> 1:49:27.120
<v Speaker 2>I don't know. I feel that like a you know,

1:49:27.320 --> 1:49:32.680
<v Speaker 2>like like a I feel like an individual. I think

1:49:32.720 --> 1:49:36.720
<v Speaker 2>most people do feel like individuals. But I think I

1:49:37.280 --> 1:49:41.240
<v Speaker 2>interact well with other people. When I'm walking down the street.

1:49:41.520 --> 1:49:43.600
<v Speaker 2>Sometimes I'm just in my own space that I'm in

1:49:43.640 --> 1:49:48.759
<v Speaker 2>my own world, which is usually musical walking on the streets,

1:49:48.800 --> 1:49:53.200
<v Speaker 2>sometimes I just you know, I hear melodies and you know,

1:49:53.520 --> 1:49:56.960
<v Speaker 2>lyrics and stuff invading me.

1:49:59.120 --> 1:50:03.680
<v Speaker 1>It's it's so, if I put you down with a

1:50:03.720 --> 1:50:07.120
<v Speaker 1>group of musicians, are you going to find commonality or

1:50:07.120 --> 1:50:09.160
<v Speaker 1>are you going to feel separate in that environment?

1:50:10.439 --> 1:50:12.639
<v Speaker 2>If you spend long enough, that's it. I think you're

1:50:12.640 --> 1:50:15.880
<v Speaker 2>always going to find commonality, but it could take a while.

1:50:17.240 --> 1:50:18.040
<v Speaker 2>It could take a while.

1:50:18.080 --> 1:50:20.160
<v Speaker 1>And what about if I take you for a meeting

1:50:20.200 --> 1:50:23.960
<v Speaker 1>with business people, are you always going to feel these

1:50:23.960 --> 1:50:25.000
<v Speaker 1>are not my people?

1:50:26.080 --> 1:50:31.360
<v Speaker 2>Probably? Yeah, yeah, But people in suits kind of worry me.

1:50:31.560 --> 1:50:35.720
<v Speaker 2>I must say I've always had that attitude. I wear

1:50:35.720 --> 1:50:37.040
<v Speaker 2>a suit as little as possible.

1:50:39.600 --> 1:50:42.800
<v Speaker 1>And you know, in the sixties they said music could

1:50:43.280 --> 1:50:47.679
<v Speaker 1>save the world. What's your viewpoint on music in general today?

1:50:47.960 --> 1:50:52.080
<v Speaker 2>Well, it did save the world. It happened already to

1:50:52.280 --> 1:50:56.840
<v Speaker 2>save the world. Music today, Well, I'd like to think

1:50:56.840 --> 1:50:58.320
<v Speaker 2>it can save the world. I'd like to think that

1:50:58.439 --> 1:51:01.920
<v Speaker 2>my music could change something. Who knows. But I'm not

1:51:01.960 --> 1:51:05.040
<v Speaker 2>going to write an overt political song at this point.

1:51:05.120 --> 1:51:11.840
<v Speaker 2>But but you know, music changes people. Listening to music

1:51:11.920 --> 1:51:15.840
<v Speaker 2>changes people. It changes people's hearts. It softens people's hearts,

1:51:15.880 --> 1:51:21.320
<v Speaker 2>it hardens people's hearts, it opens people's hearts. Music is

1:51:21.520 --> 1:51:25.479
<v Speaker 2>a wonderful thing. It aspires to the spiritual, so it

1:51:25.520 --> 1:51:27.439
<v Speaker 2>can do all kinds of wonderful things to people.

1:51:29.680 --> 1:51:31.200
<v Speaker 1>How did it save the world once?

1:51:31.760 --> 1:51:33.080
<v Speaker 2>How did you change the world?

1:51:33.760 --> 1:51:36.160
<v Speaker 1>How did you said that music did save the world? Well,

1:51:36.280 --> 1:51:36.960
<v Speaker 1>I can experiment.

1:51:37.040 --> 1:51:39.000
<v Speaker 2>I think in the sixties it did. Did it did

1:51:39.040 --> 1:51:44.040
<v Speaker 2>for me anyway? Yeah, it was a whole revolution in

1:51:44.080 --> 1:51:48.840
<v Speaker 2>the sixties, really a social revolution. I means it was

1:51:48.880 --> 1:51:53.559
<v Speaker 2>a huge component of that. But you know, it didn't

1:51:53.560 --> 1:52:01.600
<v Speaker 2>necessarily last, and it was necessarily lays sincere, but it

1:52:02.960 --> 1:52:03.840
<v Speaker 2>did change the world.

1:52:06.200 --> 1:52:09.040
<v Speaker 1>Okay, most people who this deep into the podcast are

1:52:09.160 --> 1:52:12.920
<v Speaker 1>very familiar with you and your music. But for those

1:52:12.960 --> 1:52:15.880
<v Speaker 1>who are not, something most artists don't like to do

1:52:16.280 --> 1:52:20.080
<v Speaker 1>is sell themselves. But if you were going to explain

1:52:20.240 --> 1:52:26.000
<v Speaker 1>yourself and your music to someone completely unfamiliar, what would

1:52:26.080 --> 1:52:26.559
<v Speaker 1>you say?

1:52:26.920 --> 1:52:35.639
<v Speaker 2>Ooh yeah, tough question. What would I say? Well, I'd

1:52:35.640 --> 1:52:39.400
<v Speaker 2>probably be self deprecating and mumble and basically say nothing

1:52:39.600 --> 1:52:42.720
<v Speaker 2>about myself. But if I had to, I'd say I

1:52:42.920 --> 1:52:53.519
<v Speaker 2>was a singer, songwriter, guitarist somewhere between Celtic and rock,

1:52:55.360 --> 1:52:58.920
<v Speaker 2>and I've been doing it for the last fifty five years.

1:52:59.560 --> 1:52:59.960
<v Speaker 2>That's it.

1:53:01.479 --> 1:53:04.240
<v Speaker 1>Okay, that's a raw description. And then I might ask

1:53:04.280 --> 1:53:08.760
<v Speaker 1>the question what makes you different? Are you special from

1:53:08.800 --> 1:53:11.480
<v Speaker 1>other people in that category?

1:53:12.040 --> 1:53:14.519
<v Speaker 2>I honestly don't know. I don't know what makes me different.

1:53:17.760 --> 1:53:23.680
<v Speaker 2>I think everybody has a different accumulation of music that

1:53:23.720 --> 1:53:26.880
<v Speaker 2>they've listened to in their lives, and in that sense,

1:53:26.920 --> 1:53:30.120
<v Speaker 2>everyone is different. Everyone expresses different things when when they

1:53:30.160 --> 1:53:33.720
<v Speaker 2>express music. You know, someone who only listen to you know,

1:53:33.840 --> 1:53:39.280
<v Speaker 2>A C. D. C. And Beethoven and Charlie Parker is

1:53:39.320 --> 1:53:41.880
<v Speaker 2>going to express things very differently from someone who's only

1:53:41.920 --> 1:53:46.960
<v Speaker 2>listened to you know, the birds and Stravinsky and uh

1:53:48.000 --> 1:53:51.880
<v Speaker 2>and Louis Armstrong. You know you hear, you hear music

1:53:51.960 --> 1:53:53.960
<v Speaker 2>or your whole life, and some you you take to

1:53:54.040 --> 1:53:57.439
<v Speaker 2>heart and some you reject. But everyone has it has

1:53:57.479 --> 1:54:06.040
<v Speaker 2>a different formula of acceptance and rejection. So we're all different.

1:54:06.880 --> 1:54:07.719
<v Speaker 2>We're very different.

1:54:09.320 --> 1:54:11.559
<v Speaker 1>Okay, Richard, I want to thank you for taking this

1:54:11.680 --> 1:54:14.160
<v Speaker 1>time with this audience. I would like to go deeper

1:54:14.200 --> 1:54:17.680
<v Speaker 1>into your earlier points about the dinner table and who

1:54:17.680 --> 1:54:19.519
<v Speaker 1>would you want to have dinner table. That will be

1:54:19.560 --> 1:54:23.200
<v Speaker 1>another time, but thanks a lot for taking the time.

1:54:23.320 --> 1:54:25.920
<v Speaker 2>Thank you well, thank you so much for your time.

1:54:26.000 --> 1:54:29.800
<v Speaker 1>I do appreciate until next time. This is Bob left

1:54:29.840 --> 1:54:30.360
<v Speaker 1>sets