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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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Speaker 1: My guest today is Justin Hayward of the Moody Blues.

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Speaker 1: Justin so good to have you on the podcast. Thank you,

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Speaker 1: my my pleasure. I believe. Okay, you have a new single,

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Speaker 1: Living for Love. Tell me how that came to be?

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Speaker 1: While I sit down and play the guitar, you know,

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Speaker 1: and these things jump out of the guitar. I've got

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Speaker 1: a beautiful um Gibson J two hundred and I sat

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Speaker 1: down one night and in January this year, and the

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Speaker 1: song just popped out. So I had eight percent of

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Speaker 1: it within a few minutes. And then I woke up

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Speaker 1: the next morning played it again and I thought, oh,

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Speaker 1: this is really nice, so I I finished the rest

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Speaker 1: and then I went down to um the studio that

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Speaker 1: I use in Genoa, which is not far from here,

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Speaker 1: and recorded it and I really love it, you know,

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Speaker 1: I'm still I'm still loving it now. And he released

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Speaker 1: it to two weeks ago. But I've been doing it

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Speaker 1: on stage on the UK tour and I'm thinking when

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Speaker 1: when I do the gig and I think, um, well,

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Speaker 1: I wonder if I still like it after singing it

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Speaker 1: every night? And then I came back and put it

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Speaker 1: on and I thought, oh, it's great. Yeah, I love it.

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Speaker 1: That's how it happens. You know what you're asking me?

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Speaker 1: How do these How is it? How? I don't know.

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Speaker 1: Just I just plick up a plectrum in the guitar

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Speaker 1: and these things. I'm a songwriter. This happens. Okay, let's

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Speaker 1: talk about a few things. You talk about your J

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Speaker 1: two hundred. Are you a gearhead? Do you have a

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Speaker 1: lot of guitars, recording equipment? I have some nice things. Yeah,

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Speaker 1: I'm discrim anating, so I don't have a lot of stuff. Yeah,

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Speaker 1: I have a lovely Martin D twenty eight that I've

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Speaker 1: had since the sixties. And that's an interesting story how

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Speaker 1: I got that guitar. But that's another thing. Tell me

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Speaker 1: the story of how you get the dw Okay, so

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Speaker 1: do you you know d Martin Dwight? Absolutely, absolutely right.

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Speaker 1: So it's a nineteen fifty seven Dwight. And when in

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Speaker 1: the sixties, there used to be when we first went

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Speaker 1: to America, there used to be maybe five or six

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Speaker 1: bands on the on the bill, and we were never

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Speaker 1: top of the bill. But one day we got to

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Speaker 1: be headlining but in the early years we weren't. So

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Speaker 1: you get five or six bands and even a light shows,

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Speaker 1: kind of psychedelic light show on the bill. And there

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Speaker 1: was at that time these young uh lads, I have

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Speaker 1: to say then because they were boys. Yes, they were boys.

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Speaker 1: So boys who used to travel around America and look

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Speaker 1: for really beautiful guitars because you could do that then

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Speaker 1: in the sixties they hadn't been found or they were

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Speaker 1: in it's a hard work for British people to say,

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Speaker 1: but pawn shops p A w N or people's homes

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Speaker 1: or little music shops tucked away in places, and these

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Speaker 1: boys would know these guitars, how beautiful they were, and

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Speaker 1: they only chose really the best ones. And when we

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Speaker 1: would come off stage, each there's only one guitar in

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Speaker 1: the movie Blues, that's me, but some some groups would

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Speaker 1: have two or three guitar players. And when you walked

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Speaker 1: off stage at these gigs, you were just about to

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Speaker 1: be paid, and you'd walk past about six beautiful guitars

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Speaker 1: that these boys had in the van and they'd line

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Speaker 1: them up as you came off stage on your way

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Speaker 1: to the dressing room or whatever they call the a

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Speaker 1: synch room, you know in those days, and you and

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Speaker 1: I looked at some I looked at this D twenty

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Speaker 1: and I thought, oh, that that is really looks so sweet,

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Speaker 1: you know, And I picked it up and it was

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Speaker 1: the nicest acoustic guitar I've ever played, and it still

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Speaker 1: is to this day. So that's how I came by

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Speaker 1: a few of these guitars in the sixties. That's how

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Speaker 1: it used to happen. But that's how that one happened. Okay,

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Speaker 1: when it comes to guitar, certainly D is the acoustic standard,

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Speaker 1: but certainly with Gibson's, everyone even of the same model,

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Speaker 1: will sound different. Have you found that with your guitars? Absolutely?

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Speaker 1: But um I met the guys who made my my

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Speaker 1: three three five, My red Gibson three three five was

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Speaker 1: made in three I had. I actually had a three

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Speaker 1: three five brand new in sixty three, but I couldn't

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Speaker 1: afford to keep it then in the Moody Is. I've

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Speaker 1: been in the Moodies for about a year and I

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Speaker 1: had enough money to put a deposit down on another

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Speaker 1: three through five. So I found the prep my present

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Speaker 1: three three five, And when I was able to go

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Speaker 1: to the US and visit Kalamazoo in Michigan. I just

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Speaker 1: turned up and they were like, hey, just earned you know,

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Speaker 1: pictures of your three three five and that the serial number.

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Speaker 1: And I met the guys who made it, and they said,

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Speaker 1: we because we've seen your guitar in pictures on on

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Speaker 1: on video on the TV and kind of stuff like that,

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Speaker 1: we know your guitar and we will remember it because

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Speaker 1: there wasn't that we remember those kind of things. It

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Speaker 1: has a big bag Factsbury factory, Bigsby, and two pieces

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Speaker 1: of mother of pearl where the stop to help us were.

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Speaker 1: So they remembered it. And they said that the next

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Speaker 1: one on the line didn't have what mine had. They

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Speaker 1: knew that that when they take them off the line,

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Speaker 1: they know that one's nice and one's like, you know,

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Speaker 1: one was fabulous, and one's like, oh, doesn't quite come together.

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Speaker 1: So that's that's the way instruments are, isn't it okay?

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Speaker 1: In terms of electrics, you have the three thirty five,

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Speaker 1: that semi hollow body. Do you have any other electrics

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Speaker 1: that you favor. I've got my telecaster from That's that's

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Speaker 1: what I bought when I first joined the mood is

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Speaker 1: sixty five and then I've got a Tom Anderson that

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Speaker 1: is beautiful. I've got a Parker that is really uh

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Speaker 1: really good for recording. How you plug it straight in

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Speaker 1: direct into the desk, got beautiful sound. That's about it. Okay,

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Speaker 1: you said you're in Genuay. Know you cut the record

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Speaker 1: in Italy. Are you living full time in Genoa? And

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Speaker 1: why Genoa? I'm not living in general. No, I'm down

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Speaker 1: the road. Okay, you're you're living. You go to Genoa

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Speaker 1: to record, You're living in Italy? What inspired you to

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Speaker 1: live in Italy? No, I don't live in Italy. I

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Speaker 1: live just across the border, across the French border. Well,

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Speaker 1: let me ask you a different way, what inspired you

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Speaker 1: to live in that area as opposed to the UK.

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Speaker 1: I had a holiday home in this part of the

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Speaker 1: world in the eighties and I was coming back here

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Speaker 1: and then I got to know musicians along the Coat Dessore,

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Speaker 1: along the Riviera coast from sort of Marseille through to

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Speaker 1: live Orno in Italy, and there was a lot of

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Speaker 1: English musicians in the eighties and early nineties who were

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Speaker 1: playing with Italian rock stars or French rock stars who

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Speaker 1: all wanted English kind of guitar players and musicians because

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Speaker 1: English players got rock and roll, and I'm not sure

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Speaker 1: that the Italians and the French did. But anyway, the

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Speaker 1: Italian the French artists wanted really English guitar players because

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Speaker 1: they had a different kind of background cultural background. I

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Speaker 1: think English with rock and roll music, with the three

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Speaker 1: chords and um So I met a lot of people

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Speaker 1: musicians along this coast recording and they became really friends, families,

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Speaker 1: and and I became part of that group and community,

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Speaker 1: and that led me to Italy and to record there.

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Speaker 1: I can't I can't say I can actually afford to

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Speaker 1: go and record in London because it's like joke, money,

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Speaker 1: but where do you live? I live in Los Angeles,

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Speaker 1: And we could talk about today's economic world and what's

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Speaker 1: going on in the UK, but uh, let's let's stay

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Speaker 1: with the money. You know you, so, could you could

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Speaker 1: you afford to go and rent a studio in l A? Now?

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Speaker 1: I will tell you. I will tell you like a

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Speaker 1: week l A. Since it's a hot bed of the

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Speaker 1: music industry and universal music is located here. There are

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Speaker 1: many home studios, and the home studios are so good

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Speaker 1: that the only reason someone goes to a big studio

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Speaker 1: is to cut basics to get a certain drums sound

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Speaker 1: or something. So many times you can go to a

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Speaker 1: big studio for a day or two, and except for

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Speaker 1: a couple of elite studios, the prices have actually gone down.

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Speaker 1: So as far as the old days, you know, locking

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Speaker 1: out a studio for six weeks, Um, nobody does that anymore.

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Speaker 1: So could someone afford the thousand dollars to dollars to

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Speaker 1: record one or two day is in a big studio

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Speaker 1: if they are a major label artist, yes, if they're

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Speaker 1: in putting out their records independently, they will do their

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Speaker 1: best not to do that, but maybe one day. But

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Speaker 1: that begs a question of money. You had great success

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Speaker 1: fifty years ago in a band with multiple members when

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Speaker 1: the royalties were low, So how is your financial situation today?

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Speaker 1: Which multiple members? What does that members? No? No? When

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Speaker 1: you have the songwriting in your group, uh, there were

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Speaker 1: different people who wrote different songs, some acts the same

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Speaker 1: person wrote all ten songs. As we know, most of

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Speaker 1: the money is in the songwriting unless you have an

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Speaker 1: overall deal where you mix the recording revenue in the

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Speaker 1: publishing will pay for a minute once. Some people own it.

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Speaker 1: Some people don't own it. Some people sold it. Record

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Speaker 1: royalties are lower. They have to split five ways. Uh,

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Speaker 1: when you go on the road, the money has to

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Speaker 1: be split. So it's different from being a solo artist

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Speaker 1: who owns all the songs. Never Mind, fifty years ago

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Speaker 1: royalty rates were lower. And your question is, well, now

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Speaker 1: that it's fifty years later, how good is the income

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Speaker 1: stream from the moodies I'm doing Okay. I've spent my

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Speaker 1: life on the road as well. Okay, I'm going I'm

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Speaker 1: doing all right. Thanks, okay, and you I could I

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Speaker 1: could afford, I could afford to speak to you about. Okay,

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Speaker 1: And do you still own your own publishing? Um? I

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Speaker 1: own the I never did own the copyrights of my

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Speaker 1: early material and who who did own it? I own

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Speaker 1: a ship up the copyrights? Um the t R oh

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Speaker 1: okay and but the the So you're still getting the

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Speaker 1: song writing for writing the songs. Some people sell those

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Speaker 1: royalty streams. Do you still own yours? I'm doing okay, okay,

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Speaker 1: So let's go looking good. Thanks, Okay. Let's go back

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Speaker 1: to the song. You talked about your seeing the guitar

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Speaker 1: you come up with the sound. Is that normally how

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Speaker 1: you write on inspiration? Or is it sometimes a more

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Speaker 1: labored process. UM, well, that that's a good question. I'm

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Speaker 1: not sure that I I, Um, you know, if we

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Speaker 1: if song writes us sat around and waited for inspiration,

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Speaker 1: I think we're working a long time. I find that

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Speaker 1: I if I put my mind to it, if I

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Speaker 1: if I decided to sit down, if I decided to

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Speaker 1: write a song, and I can, I can do it. Now.

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Speaker 1: There was much more pressure in the early days of

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Speaker 1: the band because with the first with the albums of

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Speaker 1: the mood Is, there was always there was always the

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Speaker 1: thing where, oh, Justin will have something because he always

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Speaker 1: had stuff ready. You know, I'm the son of two teachers,

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Speaker 1: and I always had my stuff ready, so I would

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Speaker 1: never studio time was really precious to me. So if

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Speaker 1: there was a studio, if there was a session happening

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Speaker 1: on the Saturday, on the Friday night, I would have

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Speaker 1: something and be ready to go. And the other and

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Speaker 1: that was great. The others knew that, oh, Justin will

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Speaker 1: have something, and so we could kick. I could kick

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Speaker 1: the ball down the pitch and that was that was great.

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Speaker 1: But there was a lot of pressure to do that

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Speaker 1: because the records kept coming, so I had to just

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Speaker 1: move on quickly from one to the other. Now I

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Speaker 1: have more time about it because I can. I'm still

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Speaker 1: um can I put it. I'm still want to be

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Speaker 1: true to my goal goals of making music and earned

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Speaker 1: playing music live, so I can. I can take my

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Speaker 1: time over that. I'm offered a lot of work on

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Speaker 1: the road, which most of it I say, Yeah, that's great,

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Speaker 1: and I can be choose what I do and when

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Speaker 1: I write it and do it as a pleasure not

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Speaker 1: as a pressure. Okay, you talked about seeing the G

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Speaker 1: two hundred picking it up when you were not on

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Speaker 1: the road. Do you play the guitar every day? And

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Speaker 1: how often do you just pick it up and get inspired? Ah?

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Speaker 1: You see? You you keep using this word inspired. You know,

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Speaker 1: if we, like I said, we sat around waiting to

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Speaker 1: be inspired, we you wouldn't do much. So what maybe

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Speaker 1: you would, but you know, just looking at looking out

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Speaker 1: the window waiting for somebody, or we're looking for a

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Speaker 1: girl to come by, and oh that's nice. But I

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Speaker 1: find it's you have to put your mind to it.

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Speaker 1: I can't. I can't remember what you're saying about the guitars.

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Speaker 1: What do you say about that? Well, I I guess.

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Speaker 1: I guess it sounded like with the new song that

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Speaker 1: you were just drumming and something keen to you. Ah,

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Speaker 1: that's how it usually works. I enjoy playing so that

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Speaker 1: stuff just comes stuff just comes out. And in this

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Speaker 1: particular song, you've talked about it being optimistic, harkening back

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Speaker 1: to an era there was more optimistic. Is that true?

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Speaker 1: Can you amplify that? Um? I think I was lucky

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Speaker 1: enough to be in a generation that didn't have the

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Speaker 1: weight of constant news bombarding them because there wasn't took

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Speaker 1: place to uh you know, I hardly listened to the radio,

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Speaker 1: but me and my brother used to listen to Radio

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Speaker 1: Luxembourg and we had about three or four records, and

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Speaker 1: my brother's friend had three or four and my friend

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Speaker 1: and then you could have a whole nights entertainment with

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Speaker 1: about world records. But I come from a time when

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Speaker 1: the music was particularly wonderful. Now music is great today.

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Speaker 1: I would there are kids out there falling in love

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Speaker 1: right now to the music that's just being made at

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Speaker 1: this moment, and they'll remember that all their lives. And

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Speaker 1: it was a time for me when I knew that

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Speaker 1: I could get a job. I was in a loving

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Speaker 1: family with my brother and my sister, and it was

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Speaker 1: a time of optimism under under and a commitment that

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Speaker 1: you that another war like my parents had gone through

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Speaker 1: would never happen again. So it was a safe, secure,

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Speaker 1: optimistic world. And in that world there was wonderful music.

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Speaker 1: That was our lives and we were living for love.

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Speaker 1: I was living for love and girls and boys around us,

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Speaker 1: and I had I had a wonderful school, and I

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Speaker 1: lived not in luxury, but I lived in the English countryside,

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Speaker 1: which is the most beautiful. And you know, you've only

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Speaker 1: realized these things later, don't you, Bob, buttely I realized that.

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Speaker 1: So it was. It was. It was really good, you know,

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Speaker 1: it was kind of funny. I was laughing all the time,

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Speaker 1: and I was living for love and that's it. And

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Speaker 1: if if we were able to do that now, I

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Speaker 1: think the world would be a better place. I'm full

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Speaker 1: bringing love back. That's what I'm for, not against anything.

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Speaker 1: I'm just for stuff. Okay, what did your parents do

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Speaker 1: for a living in the country side that they were Well,

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Speaker 1: we lived in Swindon, which is set in the west

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Speaker 1: country of England. It's in the veil of the White Horse.

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Speaker 1: My parents both taught in different schools. My father talked

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Speaker 1: in quite a rough school. He taught when when I

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Speaker 1: was a small boy, he taught Latin. It was just

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Speaker 1: but he taught Latin, English and what was quaintly called

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Speaker 1: divinity in those days. And my mother taught domestic science,

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Speaker 1: and she taught in a girls school. My father taught

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Speaker 1: in a boys school. My mother's taught in a girls school.

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Speaker 1: I was lucky enough to pass the eleven pross along

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Speaker 1: with my brother the same, and we went to what

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Speaker 1: was known as a grammar school. If you passed this

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Speaker 1: exam when you were eleven, you went to a better

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Speaker 1: last of school. It was a state exam. It wasn't

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Speaker 1: you didn't have to pay anything for it. But that's

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Speaker 1: the way it was then. And my brother and I

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Speaker 1: went to a beautiful school. Yeah, but my parent, like

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Speaker 1: I said, my parents English, English, literature, grammar, um, Latin

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Speaker 1: disappeared after you know in the but then my mother

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Speaker 1: domestic science. And you reference your brother and your sister.

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Speaker 1: Where are you in the family, oldest, middle, youngest, Well,

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Speaker 1: my brother died young, but he was in the Royal

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Speaker 1: Navy and um, so we lost him. He was only

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Speaker 1: forty one when he passed. But I'm the second son,

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Speaker 1: and my sister is quite a few years younger than me,

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Speaker 1: eight or nine years younger than me. And what kind

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Speaker 1: of kid were you growing up? Were you the type

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Speaker 1: who played sports and had a lot of friends? Were

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Speaker 1: you more introvert? Did? Maybe every child is introverted? Um? Um?

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Speaker 1: What was like? I don't know. I always had a

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Speaker 1: lot of friends, always had a lot of fun laughs.

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Speaker 1: Um fALS a lot with my brother of course, you know.

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Speaker 1: And that's the way brothers are, um, jumping on each

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Speaker 1: other and trying to get the better of each other.

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Speaker 1: My brothers only was only about eighteen months older than me,

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Speaker 1: so we were kind of the same. So we were

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Speaker 1: punching each other all the time. Um. But I don't

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Speaker 1: know what child, or what kind of childer was really,

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Speaker 1: But I know that I loved music. I come from

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Speaker 1: a family with a very strong faith, and so I

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Speaker 1: loved the music of the English hymnal or hymn's ancient

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Speaker 1: and modern? Was was was a hymn book in the

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Speaker 1: anger look in church, and I love those. We used

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Speaker 1: to sing them in in assembly every morning. Every morning

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Speaker 1: in school you'd have an assembly and you'd sing those

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Speaker 1: and sing them at church, and I got to know them,

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Speaker 1: and I love those melodies and the things in Him's

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Speaker 1: ancient modern so that it's only about four or five,

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Speaker 1: and I can one of my earliest memories as loving

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Speaker 1: this music and these and under hymns. So that's that's

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Speaker 1: what I grew up with. At what point did you

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Speaker 1: start playing a musical instrument? Oh? I My parents knew

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Speaker 1: that I love music, so they sent me for like

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Speaker 1: one or two piano lessons. I knew that wasn't gonna work.

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Speaker 1: I couldn't get the mathematics. I was never good at mathematics,

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Speaker 1: but so I couldn't get the mathematics of music is

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Speaker 1: beyond me or just to differ us too lazy. But

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Speaker 1: I could kind of play. My grandfather had a piano.

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Speaker 1: Most houses after the war had a piano. They were

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Speaker 1: subsidized form with the purpose of making us do home entertainment,

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Speaker 1: you know. I think that was the post war government idea,

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Speaker 1: and it was a good idea. So most families would

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Speaker 1: have a piano that costs very very little, and my

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00:22:33,200 --> 00:22:35,679
Speaker 1: grandfather would very kindly just say I go in the

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Speaker 1: front room and bash on the piano. You know, I

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Speaker 1: don't care, so I was able to do that. But

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Speaker 1: I knew that I wanted a guitar, so I pested

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Speaker 1: and pested my parents when I was about eight, and

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Speaker 1: they didn't buy me a guitar. They bought me a

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Speaker 1: ukulele that didn't cost very much, so I could plain

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Speaker 1: the uk I knew. I'd played the ukulele straight off.

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Speaker 1: It's kind of easy, ding ding ding ding. I don't

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Speaker 1: know whether you're a player, but that's so extitute, and

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00:23:06,280 --> 00:23:08,359
Speaker 1: the spacing is the same as the top four strings

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Speaker 1: of a guitar. So it's like, yeah, okay, complay that.

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Speaker 1: So I'm going to pester you some more for a guitar.

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00:23:13,040 --> 00:23:15,800
Speaker 1: So I got a guitar when I was ten, and

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Speaker 1: then I was forming groups. Okay, what error was that?

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00:23:20,400 --> 00:23:22,919
Speaker 1: In popular music? What was on the radio when you

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00:23:22,960 --> 00:23:30,479
Speaker 1: were forming groups? Buddy Holly? Well, in fact, but Buddy

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Speaker 1: died what fifty nine February fifty nine. But in England

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Speaker 1: and in Great Britain, it's hard to explain how it's hard.

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Speaker 1: It's hard to convey how big Buddy what what a

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Speaker 1: huge artist Buddy Holly was and a huge influence to people.

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Speaker 1: So Buddy Holly Everly Brothers, thank goodness. And in Great

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Speaker 1: Britain we had Cliff in the Shadows, who I love

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Speaker 1: then and I love them now today. And then of

359
00:23:58,359 --> 00:24:01,360
Speaker 1: course everything changed. But I was in nineteen sixty three

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Speaker 1: and I was in London in six four. I was

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Speaker 1: a professional musician then, because um, I got a job

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Speaker 1: when I was about seventeen playing guitar for a rock

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Speaker 1: and roll singer. But yeah, so Buddy Holly, the evil is.

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Speaker 1: I was never an Elvis guy, you know. I my

365
00:24:20,840 --> 00:24:24,159
Speaker 1: girlfriends always loved Elvis, but it was Buddy for me

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Speaker 1: all the way. And a lot of English rock and

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Speaker 1: roll heroes as well. So needles say in the US,

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Speaker 1: when the Beatles broke really in January sixty four, it

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Speaker 1: changed everything. I could delineate the ways, but I won't.

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Speaker 1: They broke earlier sixty two in the UK. To what

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Speaker 1: degree did the Beatles change the game? And what were

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Speaker 1: you inspired? Were you a fan? You use that word again?

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Speaker 1: Don't be inspired, don't you, Bob? You want the secret

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Speaker 1: to of how to be inspired? No, there are no secrets. Actually,

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Speaker 1: I think you can only open your mind, take a shower,

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Speaker 1: go out and exercise the inspiration might happen, but if

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00:25:10,000 --> 00:25:12,960
Speaker 1: you try and a trick inspirit, inspiration can't do it.

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00:25:13,920 --> 00:25:20,280
Speaker 1: Um yeah, okay, So the Beatles. I remember in my

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Speaker 1: hometown of Swindon hearing Love Me Do on the radio

380
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Speaker 1: and I walked out of my house in Swindon and

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Speaker 1: I remember this as clear as anything. I walked down

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Speaker 1: the street after hearing Loved Me Do and know and

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Speaker 1: I knew my life was going to be different. You anybody,

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Speaker 1: any kid of that era, particularly a little herbit like

385
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Speaker 1: me playing guitar, would know that something has happened, something

386
00:25:57,680 --> 00:26:00,760
Speaker 1: has changed in the in the way the Beatles made

387
00:26:00,760 --> 00:26:07,280
Speaker 1: that record, and it was monumental, you know, that's yeah,

388
00:26:07,320 --> 00:26:10,560
Speaker 1: And I wasn't disappointed that there's a strange thing. Also,

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00:26:10,720 --> 00:26:13,359
Speaker 1: I remember that just after Love Me Do, there was

390
00:26:13,400 --> 00:26:17,879
Speaker 1: a guy on the radio. It's quite a nice old gentleman,

391
00:26:17,920 --> 00:26:20,520
Speaker 1: but he was like in charge of what people thought

392
00:26:20,560 --> 00:26:26,119
Speaker 1: about music, was on the BBC and he was on

393
00:26:26,200 --> 00:26:28,479
Speaker 1: lots of programs. It all was wheeling in when they

394
00:26:28,520 --> 00:26:31,879
Speaker 1: wanted to know something about music or discussed music or

395
00:26:31,920 --> 00:26:37,960
Speaker 1: anything like that. And so after we'd as young people,

396
00:26:38,000 --> 00:26:42,480
Speaker 1: we discovered the Beatles and they discovered us I saw

397
00:26:42,520 --> 00:26:46,359
Speaker 1: this man on the on the on the television my

398
00:26:46,480 --> 00:26:50,800
Speaker 1: girlfriend's house, and he and he was saying, my this,

399
00:26:51,040 --> 00:26:55,560
Speaker 1: you know, like the Beatles that will never last, you know,

400
00:26:55,600 --> 00:26:57,600
Speaker 1: I give them like a few weeks, didn't at this

401
00:26:57,640 --> 00:27:01,479
Speaker 1: time next year, they'll be gone. And I remember thinking,

402
00:27:01,560 --> 00:27:05,920
Speaker 1: you are so you are, so you're just your your

403
00:27:06,600 --> 00:27:09,600
Speaker 1: that's it. There's no point in listening to you anymore

404
00:27:09,640 --> 00:27:14,159
Speaker 1: because we all knew different and so what I We

405
00:27:14,200 --> 00:27:16,879
Speaker 1: didn't need to tell us what we were listening to

406
00:27:17,280 --> 00:27:21,520
Speaker 1: because it was so obvious. It was just brilliant. Your

407
00:27:21,560 --> 00:27:24,560
Speaker 1: parents were educators. How did you they feel about your

408
00:27:24,560 --> 00:27:29,760
Speaker 1: becoming a professional musician as opposed to going to university. Well,

409
00:27:29,840 --> 00:27:34,880
Speaker 1: my parents were very enlightened people, almost maybe you'd say

410
00:27:34,960 --> 00:27:39,679
Speaker 1: New age kind of people, and very very enlightened, and

411
00:27:39,720 --> 00:27:44,679
Speaker 1: they were there. The idea was that we should do

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00:27:44,760 --> 00:27:48,600
Speaker 1: what we wanted to do. And they, of course, because

413
00:27:48,640 --> 00:27:52,320
Speaker 1: they were teachers, they wanted all of us to get

414
00:27:53,640 --> 00:27:58,600
Speaker 1: our school qualifications, so which they were called O levels

415
00:27:59,680 --> 00:28:05,360
Speaker 1: jen Certificates of education under Grammar School. So as long

416
00:28:05,400 --> 00:28:09,640
Speaker 1: as I got my five O levels, they were they

417
00:28:09,640 --> 00:28:12,160
Speaker 1: were good with what I wanted to do. I got

418
00:28:12,200 --> 00:28:14,360
Speaker 1: my phile velos and so you can do what you want.

419
00:28:14,440 --> 00:28:16,879
Speaker 1: I worked in an office for about three months, but

420
00:28:16,960 --> 00:28:19,520
Speaker 1: I was answering ads in the Melody Maker all the time.

421
00:28:20,280 --> 00:28:23,800
Speaker 1: That's how I got my first Jake gig And who

422
00:28:23,880 --> 00:28:26,160
Speaker 1: was there with and how did you work your way

423
00:28:26,200 --> 00:28:31,080
Speaker 1: to Marty Wilde. Well, I was always playing in groups

424
00:28:31,080 --> 00:28:33,680
Speaker 1: in Swindon ever since I was, like I said, about

425
00:28:33,720 --> 00:28:35,679
Speaker 1: ten or eleven years old, because there were lots of

426
00:28:35,720 --> 00:28:40,600
Speaker 1: groups at school. Swindon is a very lively music scene

427
00:28:41,080 --> 00:28:46,360
Speaker 1: still is to this day, very vibrant and lots of

428
00:28:46,520 --> 00:28:53,680
Speaker 1: good places to play. And so yeah, so I answered

429
00:28:53,680 --> 00:28:58,360
Speaker 1: an ad. I was answering ads in the melody Maker

430
00:28:58,440 --> 00:29:00,120
Speaker 1: for jobs. I used to have a job sex and

431
00:29:00,760 --> 00:29:06,520
Speaker 1: situations vacant and so I am fired off a lot

432
00:29:06,600 --> 00:29:11,560
Speaker 1: of replies to had very rarely got any replies. Some

433
00:29:11,640 --> 00:29:14,600
Speaker 1: of them were from the military, because that you didn't

434
00:29:14,680 --> 00:29:16,640
Speaker 1: know that they were going to be from the military. Well,

435
00:29:16,680 --> 00:29:20,800
Speaker 1: welcome to the fourth Battalion, the fierce alerts. I would

436
00:29:20,840 --> 00:29:24,680
Speaker 1: like to come up and but sometimes, but this one

437
00:29:24,720 --> 00:29:27,560
Speaker 1: time I got a reply. I think I think the

438
00:29:27,560 --> 00:29:35,000
Speaker 1: thing it said named artists seeks guitar player. And I

439
00:29:35,040 --> 00:29:37,280
Speaker 1: answered it and I got I gotta reply and I

440
00:29:37,360 --> 00:29:39,800
Speaker 1: went up to a house. I went up on the

441
00:29:39,840 --> 00:29:43,280
Speaker 1: train to a house in East London, nice part of

442
00:29:43,400 --> 00:29:47,760
Speaker 1: East London called black Heath, and Maulti Wilde opened the

443
00:29:47,800 --> 00:29:51,080
Speaker 1: door and it was like, whoa, that's Mattie. Why I

444
00:29:51,160 --> 00:29:54,520
Speaker 1: knew who it was and I did a little audition

445
00:29:54,600 --> 00:29:57,840
Speaker 1: and I got the job. That was it. How long

446
00:29:57,920 --> 00:30:01,040
Speaker 1: did you work from Marty? And were you content or

447
00:30:01,080 --> 00:30:03,400
Speaker 1: were you saying, well, I'm doing this now, but there's

448
00:30:03,400 --> 00:30:11,480
Speaker 1: something bigger for me personally, every teenager he thinks, even

449
00:30:11,600 --> 00:30:15,160
Speaker 1: the moody blues, I think you're every young person thinks

450
00:30:15,200 --> 00:30:17,880
Speaker 1: I'm doing this now, but maybe there's something else. I

451
00:30:17,920 --> 00:30:19,840
Speaker 1: still do it now. I think I'm doing this now

452
00:30:19,880 --> 00:30:23,680
Speaker 1: with Bob. Maybe there's something else though, you know, maybe

453
00:30:23,720 --> 00:30:27,680
Speaker 1: this is going to lead to something that's facetious. I

454
00:30:27,720 --> 00:30:33,360
Speaker 1: don't mean that, but there's always something. But in truth,

455
00:30:33,560 --> 00:30:36,360
Speaker 1: I learned so much from Marty. He was my hero

456
00:30:36,880 --> 00:30:40,840
Speaker 1: and he still is my hero to this day, and

457
00:30:40,920 --> 00:30:44,200
Speaker 1: he taught me some valuable things. Really, he was writing

458
00:30:44,240 --> 00:30:50,600
Speaker 1: his own material and he really said that surviving this business,

459
00:30:50,640 --> 00:30:54,360
Speaker 1: you have to create an identity, and that means writing

460
00:30:54,400 --> 00:30:56,720
Speaker 1: your own material. Just cover versions is never going to

461
00:30:56,800 --> 00:31:02,280
Speaker 1: do it for you, And so I started writing right then.

462
00:31:03,240 --> 00:31:06,680
Speaker 1: But I knew also that Marty and Joyce because we

463
00:31:06,680 --> 00:31:09,880
Speaker 1: were like a little trio and Mary, Marty's wife. Joyce

464
00:31:09,880 --> 00:31:13,960
Speaker 1: has a gorgeous voice. She was one of a group

465
00:31:13,960 --> 00:31:16,880
Speaker 1: of girl called the Vernon Girls Vernon's Girls in Liverpool

466
00:31:16,920 --> 00:31:20,920
Speaker 1: that some English people would know about and remember fondly.

467
00:31:22,320 --> 00:31:26,720
Speaker 1: And but they didn't need me. They didn't need me.

468
00:31:26,960 --> 00:31:32,600
Speaker 1: And so I started writing and kind of saw myself

469
00:31:32,680 --> 00:31:35,720
Speaker 1: as a bit of a songwriter, and I thought, oh,

470
00:31:35,760 --> 00:31:38,000
Speaker 1: that's what I'm going to be. That's I've got a

471
00:31:38,080 --> 00:31:41,400
Speaker 1: lot of songs, you know, here make make demos and stuff.

472
00:31:42,920 --> 00:31:45,000
Speaker 1: And that's also how I got to the Moody Blues

473
00:31:45,080 --> 00:31:49,040
Speaker 1: with my own songs, my own demos. Can you tell

474
00:31:49,120 --> 00:31:54,040
Speaker 1: us about how you switch from Marty to the Moody Blues, Well,

475
00:31:54,200 --> 00:31:57,640
Speaker 1: I did. I did nothing for you for quite for

476
00:31:57,680 --> 00:32:01,720
Speaker 1: a few months, you know, and that I wasn't sure

477
00:32:01,840 --> 00:32:06,080
Speaker 1: what kind of thing that I was wanted to do, really,

478
00:32:06,120 --> 00:32:09,160
Speaker 1: so I did a few folk clubs and things. I

479
00:32:09,200 --> 00:32:15,840
Speaker 1: had a nice twelve string acoustic guitar and um I

480
00:32:16,280 --> 00:32:21,120
Speaker 1: sent off to another advertisement, and the many maker situations vacant,

481
00:32:21,600 --> 00:32:24,440
Speaker 1: and it was for because I knew somebody in Eric

482
00:32:24,480 --> 00:32:28,440
Speaker 1: Burdon's office and he was looking for another guitar player,

483
00:32:29,000 --> 00:32:31,760
Speaker 1: and I thought, maybe, you know, it's like Eric's life

484
00:32:31,840 --> 00:32:34,680
Speaker 1: is changing. I'll send him some of my songs. So

485
00:32:34,800 --> 00:32:38,200
Speaker 1: I sent him up my demos. I never heard anything

486
00:32:38,240 --> 00:32:42,240
Speaker 1: from Eric except about three years later when he said, hey, Justin,

487
00:32:42,320 --> 00:32:45,920
Speaker 1: and I said, your stuff to like. But he gave

488
00:32:46,000 --> 00:32:51,240
Speaker 1: my stuff to like Pinder of the Moody Blues and

489
00:32:51,360 --> 00:32:56,400
Speaker 1: that it uh yeah, and it might liked it. And Mike,

490
00:32:57,040 --> 00:33:02,160
Speaker 1: Mike called me one day and and I came up

491
00:33:02,160 --> 00:33:05,720
Speaker 1: to London, met Mike and with we thought great, Mike

492
00:33:05,800 --> 00:33:10,720
Speaker 1: wants to write it, wants to move the Moodies into

493
00:33:10,840 --> 00:33:16,640
Speaker 1: a different kind of space, away from cover versions, and

494
00:33:17,200 --> 00:33:20,440
Speaker 1: it seemed like a good fit. And none of us

495
00:33:20,440 --> 00:33:23,000
Speaker 1: had anything. In fact, I had more than anybody else

496
00:33:23,000 --> 00:33:24,880
Speaker 1: because I had an amplifier out of Fox, a C

497
00:33:25,040 --> 00:33:29,200
Speaker 1: thirty amplifier, so I was well ahead. You know. Okay,

498
00:33:29,280 --> 00:33:32,640
Speaker 1: the Moodies had had a hit with Denny Lane, who

499
00:33:32,680 --> 00:33:36,000
Speaker 1: had left the group, and you're saying when he left,

500
00:33:36,040 --> 00:33:39,720
Speaker 1: they still to what situation were they in and were

501
00:33:39,760 --> 00:33:45,080
Speaker 1: you worried about joining a sinking ship. Oh, that's the

502
00:33:46,000 --> 00:33:50,200
Speaker 1: that's a that's rather horrid. Say that again, I was

503
00:33:50,200 --> 00:33:53,960
Speaker 1: was I worried about joining a sinking ship? Well, you know,

504
00:33:54,040 --> 00:33:57,120
Speaker 1: this is when you have a career as a musician,

505
00:33:57,400 --> 00:34:02,760
Speaker 1: unlike being a businessperson. You get one shot. Okay, so

506
00:34:02,920 --> 00:34:09,040
Speaker 1: people are always evaluating opportunities. So I wasn't there. You're

507
00:34:09,080 --> 00:34:11,840
Speaker 1: the only person who was there. In the back of

508
00:34:11,960 --> 00:34:15,000
Speaker 1: your mind, you might have said, well, these guys had

509
00:34:15,040 --> 00:34:18,400
Speaker 1: a hit under this name, maybe there's not as big

510
00:34:18,480 --> 00:34:21,480
Speaker 1: a future as something else. Or did he just feel

511
00:34:21,600 --> 00:34:24,960
Speaker 1: right and said, okay, I'm gonna play this out. Oh

512
00:34:25,000 --> 00:34:27,920
Speaker 1: I wish there was a plan to everything. I wish

513
00:34:27,960 --> 00:34:31,120
Speaker 1: I could give give you. I wish I could tell

514
00:34:31,200 --> 00:34:36,080
Speaker 1: you there was a plan to the whole thing. There wasn't.

515
00:34:36,080 --> 00:34:39,880
Speaker 1: Nobody had anything. Denny had left. Yes, the group was

516
00:34:39,920 --> 00:34:42,919
Speaker 1: put together by a group of money men who put

517
00:34:43,640 --> 00:34:48,120
Speaker 1: people from different groups together around Denny Cordell, who had

518
00:34:48,200 --> 00:34:50,879
Speaker 1: this the song Go Now, which was a wonderful song

519
00:34:50,960 --> 00:34:56,480
Speaker 1: by Bertie Banks sung by Bessie Banks, actually the original record,

520
00:34:57,080 --> 00:35:03,120
Speaker 1: and everybody knew it was great, and the Denny it

521
00:35:03,160 --> 00:35:06,719
Speaker 1: had gone up and down, and then Denny left and

522
00:35:06,800 --> 00:35:09,719
Speaker 1: Clint Warwick left the original bass player as well left

523
00:35:09,760 --> 00:35:14,480
Speaker 1: the group, and they were both I think they were

524
00:35:14,520 --> 00:35:17,279
Speaker 1: both actually good at rhythm and blues. Those rhythm and

525
00:35:17,280 --> 00:35:19,839
Speaker 1: blues kind of covered Redelli had the perfect voice for that.

526
00:35:20,239 --> 00:35:23,960
Speaker 1: Like I said before, Mike wanted to just change things

527
00:35:24,719 --> 00:35:27,240
Speaker 1: and move forward, and I think Graham did as well

528
00:35:27,280 --> 00:35:34,120
Speaker 1: in the band. And um, that's why you know, to

529
00:35:34,160 --> 00:35:38,120
Speaker 1: come back to your your idea of of why it

530
00:35:38,160 --> 00:35:40,719
Speaker 1: would Nobody had anything, Like I said, I had a box,

531
00:35:40,800 --> 00:35:44,400
Speaker 1: a c thamp, So what what's the point of It's like,

532
00:35:44,480 --> 00:35:48,759
Speaker 1: having a philosophy of life doesn't really matter when you're

533
00:35:48,800 --> 00:35:52,279
Speaker 1: just in a van looking to earn the price of

534
00:35:52,360 --> 00:35:57,440
Speaker 1: gas at a a doing a gig. You can have

535
00:35:57,480 --> 00:36:00,439
Speaker 1: all the philosophy and about life and what you want

536
00:36:00,480 --> 00:36:04,000
Speaker 1: to be and as much as you like, but you're

537
00:36:04,040 --> 00:36:05,600
Speaker 1: just sitting in a van and you're allowed to have

538
00:36:05,880 --> 00:36:09,439
Speaker 1: as many opinions as you want. It only matters later

539
00:36:09,520 --> 00:36:13,239
Speaker 1: when you've kind of got stuff. So, um, you know what,

540
00:36:13,280 --> 00:36:15,880
Speaker 1: there was a whole lot of nothing for us, for

541
00:36:15,920 --> 00:36:18,399
Speaker 1: all of us, So I don't think there was any

542
00:36:18,400 --> 00:36:21,600
Speaker 1: ship to kind of sync in that way. What we

543
00:36:21,680 --> 00:36:25,080
Speaker 1: did have was was an agent but but there's some

544
00:36:25,080 --> 00:36:28,680
Speaker 1: some truth in what you say or you remind me

545
00:36:28,760 --> 00:36:31,680
Speaker 1: now really, because there was a promoter that was going

546
00:36:31,719 --> 00:36:34,040
Speaker 1: to give us like half a dozen gigs or something.

547
00:36:34,960 --> 00:36:39,200
Speaker 1: So so that was good. Okay, you're with the band,

548
00:36:39,480 --> 00:36:43,279
Speaker 1: they record one of your songs, you have a mild hit,

549
00:36:44,000 --> 00:36:48,760
Speaker 1: and then you start doing Days of Future Past. Uh,

550
00:36:48,800 --> 00:36:51,360
Speaker 1: there's a lot of history written. What is the truth

551
00:36:51,400 --> 00:36:55,520
Speaker 1: about how that album came together? Well? It maybe it

552
00:36:55,560 --> 00:36:59,399
Speaker 1: depends who you are and what you know. Everybody has

553
00:36:59,400 --> 00:37:03,279
Speaker 1: a different perspective. I'm sure the people behind your curtains there,

554
00:37:03,800 --> 00:37:06,520
Speaker 1: if you open the curtains and there was something happened outside,

555
00:37:07,200 --> 00:37:12,000
Speaker 1: a few other people from looking from different houses would

556
00:37:12,000 --> 00:37:15,440
Speaker 1: have a different idea of what happened. But I can

557
00:37:15,480 --> 00:37:18,280
Speaker 1: tell you what I what happened to me and what

558
00:37:18,280 --> 00:37:24,319
Speaker 1: what happened around me was that um there was We

559
00:37:24,440 --> 00:37:28,680
Speaker 1: actually had a debt to Decca, and Decca were a

560
00:37:28,719 --> 00:37:33,840
Speaker 1: wonderful recording company run by elderly gentlemen and with the

561
00:37:33,960 --> 00:37:39,279
Speaker 1: second largest classical catalog in the world. Uh, Josha Gramophone

562
00:37:39,320 --> 00:37:42,879
Speaker 1: had the biggest, but Decca, as you probably know, still

563
00:37:42,920 --> 00:37:46,919
Speaker 1: to this day, has a magnificent classical catalog and they

564
00:37:47,000 --> 00:37:50,280
Speaker 1: also made radar systems, and they had a consumer division,

565
00:37:51,360 --> 00:37:55,840
Speaker 1: and we'd made a couple of records for them, and

566
00:37:56,280 --> 00:38:02,399
Speaker 1: um Gus Studgeon actually was engineer on Flymy High, which

567
00:38:02,440 --> 00:38:05,680
Speaker 1: I think was the song you referenced before, but but

568
00:38:06,160 --> 00:38:09,760
Speaker 1: um that was the one that only but we recorded

569
00:38:09,840 --> 00:38:12,680
Speaker 1: quite a few songs before Days of Future Past, but

570
00:38:12,719 --> 00:38:17,040
Speaker 1: nobody kind of noticed. But and then Tony Clark was

571
00:38:17,600 --> 00:38:21,360
Speaker 1: assigned to us as a man called Tony Clark record producer,

572
00:38:21,480 --> 00:38:26,200
Speaker 1: as a in house producer for Decca, and they kind

573
00:38:26,200 --> 00:38:28,359
Speaker 1: of had a call on us because we owed them

574
00:38:28,400 --> 00:38:30,960
Speaker 1: some money that we had a debt to them, and

575
00:38:31,280 --> 00:38:36,680
Speaker 1: they approached us a lovely man called Hu Mendel, one

576
00:38:36,680 --> 00:38:41,960
Speaker 1: of the eedulderly gentleman, elegant, olderly gentleman at Decca, and

577
00:38:43,920 --> 00:38:49,120
Speaker 1: proposed that we would make a demonstration record to demonstrate

578
00:38:49,160 --> 00:38:51,680
Speaker 1: that stereo could be as interesting for rock and roll

579
00:38:51,719 --> 00:38:54,360
Speaker 1: as classical music. Because, like I said, they had the

580
00:38:54,360 --> 00:38:58,399
Speaker 1: biggest classical catalog, second biggest classical catalog, and they had

581
00:38:58,400 --> 00:39:03,280
Speaker 1: a consumer division, which meant that they had record, um

582
00:39:03,320 --> 00:39:06,640
Speaker 1: you know, the radiograms and stuff, and they were trying

583
00:39:06,680 --> 00:39:10,400
Speaker 1: to sell stereo units and they wanted that they had

584
00:39:10,480 --> 00:39:11,960
Speaker 1: quite a lot of rock and roll up well they

585
00:39:11,960 --> 00:39:15,680
Speaker 1: have the Stones actually, you know, and some other really nice,

586
00:39:16,040 --> 00:39:23,560
Speaker 1: nice um pop and rock acts and they had us,

587
00:39:23,680 --> 00:39:28,440
Speaker 1: so they they Humental proposed this idea of making a

588
00:39:28,480 --> 00:39:31,600
Speaker 1: demonstration record to demonstrate stereo could be as interesting for

589
00:39:31,680 --> 00:39:34,879
Speaker 1: rock and roll as it was for classical music, and

590
00:39:35,080 --> 00:39:40,000
Speaker 1: then they assigned so we said yes, yeah, sure, and

591
00:39:40,080 --> 00:39:44,040
Speaker 1: we'd already started righting. Nights was already actually already recorded,

592
00:39:44,080 --> 00:39:46,840
Speaker 1: and we recorded Nights in White Satin for the BBC

593
00:39:47,040 --> 00:39:50,799
Speaker 1: about six months before it was ever recorded for Days

594
00:39:50,800 --> 00:39:54,280
Speaker 1: in Future part. But we were doing a stage show

595
00:39:54,360 --> 00:39:57,680
Speaker 1: that included some of these songs. There was a song

596
00:39:57,719 --> 00:40:02,480
Speaker 1: called Another Morning that we were doing one of rays songs,

597
00:40:02,480 --> 00:40:04,879
Speaker 1: and a song called Dawn is a Feeling that Mike

598
00:40:05,000 --> 00:40:07,319
Speaker 1: asked me to sing and I loved It's such a

599
00:40:07,360 --> 00:40:10,600
Speaker 1: lovely song. And we were doing this stuff on stage,

600
00:40:11,400 --> 00:40:19,480
Speaker 1: and then he met that they assigned another independent product

601
00:40:19,800 --> 00:40:23,399
Speaker 1: man called Michael, Michael Dacobarti, who is a lovely man,

602
00:40:23,560 --> 00:40:30,200
Speaker 1: very posh, public school and m he really had this

603
00:40:30,280 --> 00:40:33,080
Speaker 1: idea of trying to make it some kind of concept

604
00:40:33,640 --> 00:40:38,120
Speaker 1: on the concept that they proposed was that we should

605
00:40:38,200 --> 00:40:41,839
Speaker 1: make a kind of rock version of Divor Jack two

606
00:40:42,440 --> 00:40:46,160
Speaker 1: juxtaposition against the real Divor Jack. And they already had

607
00:40:46,200 --> 00:40:49,880
Speaker 1: Peter Knight, one of the greatest romantic string arrangers in

608
00:40:49,920 --> 00:40:54,239
Speaker 1: the world, under contract to them. They thought Peter Knight

609
00:40:54,360 --> 00:40:58,560
Speaker 1: could could do it if we could do some rock

610
00:40:58,719 --> 00:41:01,839
Speaker 1: versions of stuff from the New World Symphony, and then

611
00:41:01,920 --> 00:41:06,399
Speaker 1: Peter Knight would play the New World Symphony and we'd

612
00:41:06,480 --> 00:41:09,400
Speaker 1: see that almost rock and roll. It's quite nice in

613
00:41:09,480 --> 00:41:16,400
Speaker 1: stereo going to Classgow and Peter Knight came to see

614
00:41:16,600 --> 00:41:20,360
Speaker 1: us at the one hundred Club in Oxford Street before

615
00:41:20,400 --> 00:41:25,279
Speaker 1: this project was started, and I remember him saying, I

616
00:41:25,360 --> 00:41:29,280
Speaker 1: don't think you boys are ever gonna get the rock

617
00:41:29,480 --> 00:41:33,080
Speaker 1: version of Divor Jack together, but your stuff is great.

618
00:41:34,719 --> 00:41:37,440
Speaker 1: What about if we did it the other way around?

619
00:41:37,640 --> 00:41:41,680
Speaker 1: And Hu Mentel and Michael Jacob Barclay kind of went

620
00:41:41,719 --> 00:41:45,680
Speaker 1: along with this idea. And it was a sort of

621
00:41:45,840 --> 00:41:50,480
Speaker 1: secret from the chairman and the board at Decca because

622
00:41:50,520 --> 00:41:54,080
Speaker 1: they were expecting a rock version of Divor Jack. But

623
00:41:54,560 --> 00:41:57,520
Speaker 1: there was Hu Mendel and Michael Dacob Barclay saying that

624
00:41:57,560 --> 00:42:00,400
Speaker 1: we could have a couple of days studio time to

625
00:42:00,480 --> 00:42:04,439
Speaker 1: put our stuff down and Peter Knight would sketch out

626
00:42:04,560 --> 00:42:10,319
Speaker 1: orchestral arrangements based on our themes, and that's what we did.

627
00:42:10,360 --> 00:42:15,080
Speaker 1: We recorded our songs, about ten songs, you know, in

628
00:42:15,120 --> 00:42:16,960
Speaker 1: a in a day or so a couple of days.

629
00:42:17,280 --> 00:42:20,800
Speaker 1: And then at the in the weekend in the studio,

630
00:42:21,600 --> 00:42:25,200
Speaker 1: Peter Knight came in with the orchestra that didn't have

631
00:42:25,280 --> 00:42:28,480
Speaker 1: a name. I think somebody in our band thought up

632
00:42:28,480 --> 00:42:31,000
Speaker 1: the name the Festival Orchestra because it sounded good. There

633
00:42:31,040 --> 00:42:34,920
Speaker 1: isn't a festival orchestra. It just sounds nice, but you

634
00:42:34,960 --> 00:42:39,600
Speaker 1: know how that goes, that kind of stuff, and that's

635
00:42:39,920 --> 00:42:43,080
Speaker 1: they recorded the themes of Days of Future Past. He

636
00:42:43,120 --> 00:42:45,480
Speaker 1: did all his bits. I was the only one that

637
00:42:45,560 --> 00:42:48,160
Speaker 1: came to the studio. I wasn't allowed in the control

638
00:42:48,239 --> 00:42:50,600
Speaker 1: room because these were the days when you weren't invited

639
00:42:50,640 --> 00:42:54,000
Speaker 1: into the control room. The engineer had a white lab coat,

640
00:42:54,600 --> 00:42:59,400
Speaker 1: the tape operator had a brown lapcoat. A decker in

641
00:43:00,000 --> 00:43:05,880
Speaker 1: sixty seven, and they played it back. They mixed it

642
00:43:05,920 --> 00:43:09,640
Speaker 1: all together, segue between our bits and the orchestra bits,

643
00:43:10,800 --> 00:43:15,120
Speaker 1: and they played it back to us. They invited us

644
00:43:15,160 --> 00:43:17,200
Speaker 1: around to the studio and then not into the control

645
00:43:17,280 --> 00:43:19,080
Speaker 1: room but down on the studio floor. They played it

646
00:43:19,120 --> 00:43:22,279
Speaker 1: back on a couple of big Tannoi speakers and we thought, oh,

647
00:43:22,440 --> 00:43:26,560
Speaker 1: that's great. Nice, it's good stereo demonstration record. Nobody will

648
00:43:26,600 --> 00:43:29,160
Speaker 1: ever hear it, but it's cutting a nice And that

649
00:43:29,280 --> 00:43:34,560
Speaker 1: was that. And then Nights in White Satin came out

650
00:43:35,120 --> 00:43:37,120
Speaker 1: to a lot of resistance because a lot of people

651
00:43:37,160 --> 00:43:40,440
Speaker 1: didn't want to. We didn't know, We didn't. I can't

652
00:43:40,440 --> 00:43:43,360
Speaker 1: say that we were fully it was anything to do

653
00:43:43,400 --> 00:43:46,279
Speaker 1: with us. We didn't have any power or any influence.

654
00:43:47,840 --> 00:43:52,439
Speaker 1: It's just these things happened, and Nights came out, and

655
00:43:53,160 --> 00:43:56,200
Speaker 1: there was another interesting thing that happened. Can I ramble

656
00:43:56,239 --> 00:44:00,880
Speaker 1: on a bit more? Absolutely? Okay, So so night that,

657
00:44:01,120 --> 00:44:03,120
Speaker 1: so Days of Future Pass came out, I think it

658
00:44:03,200 --> 00:44:11,000
Speaker 1: was November eventually came out, and Nights had come out.

659
00:44:12,880 --> 00:44:16,560
Speaker 1: Some people just in the in the promo department story.

660
00:44:16,640 --> 00:44:20,480
Speaker 1: You'll never there was a lot of resistance to it.

661
00:44:20,480 --> 00:44:23,160
Speaker 1: It wasn't our idea, but Nights out. It was just

662
00:44:23,280 --> 00:44:26,960
Speaker 1: I think it was Hu Mental who one of the

663
00:44:27,000 --> 00:44:30,640
Speaker 1: lovely gentle gentlemen from Decca who really believed in it.

664
00:44:31,080 --> 00:44:33,680
Speaker 1: But of course the pluggers all said, oh, it's four

665
00:44:33,719 --> 00:44:37,040
Speaker 1: minutes long. It's like slow, no, you never get it

666
00:44:37,080 --> 00:44:40,120
Speaker 1: on the radio, and they were right, we didn't, but

667
00:44:40,320 --> 00:44:43,120
Speaker 1: we came. There was a song festival down in the

668
00:44:43,160 --> 00:44:46,480
Speaker 1: south of France and Can called mead him. And it

669
00:44:46,600 --> 00:44:48,480
Speaker 1: was in the days when song first was used to

670
00:44:48,680 --> 00:44:52,239
Speaker 1: actually play something. It used to have artists on and

671
00:44:52,280 --> 00:44:56,240
Speaker 1: it was about songs, and then now it's about doing business,

672
00:44:56,320 --> 00:45:01,640
Speaker 1: you know, with stuff around the world. And we went

673
00:45:01,760 --> 00:45:06,879
Speaker 1: down to Medham in January and we we were part

674
00:45:06,920 --> 00:45:10,680
Speaker 1: of the live show and the Supremes were due to

675
00:45:11,600 --> 00:45:15,120
Speaker 1: fly in and play live. Now there was union rules

676
00:45:15,200 --> 00:45:17,359
Speaker 1: that you could only go on TV if you played live,

677
00:45:17,440 --> 00:45:21,759
Speaker 1: not miming. Now everybody else except us and long John

678
00:45:21,840 --> 00:45:27,040
Speaker 1: Baudrey were miming. We were actually playing live. The Supremes

679
00:45:27,040 --> 00:45:29,879
Speaker 1: didn't turn up, their flight was late. They didn't turn

680
00:45:30,000 --> 00:45:32,480
Speaker 1: up in time to do the live Eurovision thing on

681
00:45:33,640 --> 00:45:36,960
Speaker 1: for medium across Europe. We went on, played a couple

682
00:45:37,000 --> 00:45:42,360
Speaker 1: of songs and played nights. The next day in France,

683
00:45:42,400 --> 00:45:47,560
Speaker 1: it was like whoa, what what's happened? Set Extra and

684
00:45:47,640 --> 00:45:52,640
Speaker 1: Moody Blues. That does take you know, and suddenly that

685
00:45:52,840 --> 00:45:57,719
Speaker 1: this whole the journey was born with Knights in White

686
00:45:57,719 --> 00:46:09,440
Speaker 1: Satin was remarkable. Star did here in France. In America,

687
00:46:09,880 --> 00:46:14,120
Speaker 1: the first go round. Tuesday Afternoon was bigger. Tuesday Afternoon

688
00:46:14,200 --> 00:46:18,440
Speaker 1: was a hit. How did you write both Tuesday Afternoon

689
00:46:19,200 --> 00:46:25,160
Speaker 1: in Knights and White, Sam, How did I write them? Yes? Well,

690
00:46:25,600 --> 00:46:28,239
Speaker 1: tues Tuesday Afternoon was put out as a single by

691
00:46:28,440 --> 00:46:33,400
Speaker 1: London Records in UM in the US because clearly, like

692
00:46:33,520 --> 00:46:35,759
Speaker 1: the rest of the promo people, they didn't think nights

693
00:46:35,800 --> 00:46:40,319
Speaker 1: at any legs at all. So but Tuesday Afternoon kind

694
00:46:40,320 --> 00:46:42,759
Speaker 1: of too and a half minutes bang, you know it's over.

695
00:46:43,400 --> 00:46:50,280
Speaker 1: And so Tuesday Afternoon UM once Humanel and Michael Jacob

696
00:46:50,360 --> 00:46:55,759
Speaker 1: Barclay Graham our drama and all of us in the

697
00:46:55,800 --> 00:46:59,240
Speaker 1: group had had decided on this conspiracy of of doing

698
00:46:59,520 --> 00:47:03,360
Speaker 1: our own stuff and Peter Night and and I thought,

699
00:47:03,880 --> 00:47:06,120
Speaker 1: you know, we knew it was going to be like

700
00:47:06,200 --> 00:47:08,200
Speaker 1: the story of a day in the life of one guy.

701
00:47:08,600 --> 00:47:12,200
Speaker 1: And so I, I said, a couple of days before

702
00:47:12,280 --> 00:47:19,800
Speaker 1: this session, I'm I bags the afternoon. Ray had the morning,

703
00:47:20,280 --> 00:47:25,120
Speaker 1: John had lunch time, Mike had dawn you know, a sunset,

704
00:47:26,239 --> 00:47:29,560
Speaker 1: and I had nights. It just all seemed to kind

705
00:47:29,560 --> 00:47:31,560
Speaker 1: of fit together, you know, Hang on a minute, you've

706
00:47:31,560 --> 00:47:34,600
Speaker 1: got I we've been doing Dawn and we've been doing

707
00:47:34,680 --> 00:47:38,120
Speaker 1: ray Song another morning owned I've got nights. It's it's

708
00:47:38,200 --> 00:47:41,680
Speaker 1: like a perfect kind of thing. So I said, I

709
00:47:41,719 --> 00:47:44,120
Speaker 1: want the afternoon. Just a couple of days before we

710
00:47:44,160 --> 00:47:46,680
Speaker 1: read So I just went down to my parents place

711
00:47:46,719 --> 00:47:51,960
Speaker 1: in Wiltshire. I got my roles string guitar, but my

712
00:47:52,000 --> 00:47:55,799
Speaker 1: guitar out and quite difficult to play that or rolls

713
00:47:55,880 --> 00:47:59,600
Speaker 1: string and stating a stat in a field smoked to

714
00:47:59,680 --> 00:48:06,800
Speaker 1: join and them Tuesday afternoon. Apologies to the the the police.

715
00:48:08,320 --> 00:48:12,000
Speaker 1: It's a bit like busting me sixty years. Absolutely. Yeah.

716
00:48:12,800 --> 00:48:17,319
Speaker 1: So Days the Future Past is an interesting album. It

717
00:48:17,440 --> 00:48:23,160
Speaker 1: became more successful. It's time went on the records became

718
00:48:23,239 --> 00:48:27,520
Speaker 1: hits on the chart once again. What was the thought

719
00:48:27,719 --> 00:48:30,279
Speaker 1: now that the album was done, was if you'd as

720
00:48:30,280 --> 00:48:34,040
Speaker 1: this success in the band and what was the inspiration?

721
00:48:34,160 --> 00:48:36,759
Speaker 1: How did you decide to move forward in search of

722
00:48:36,800 --> 00:48:41,759
Speaker 1: the lost court. Well that's assuming that we could. But

723
00:48:41,880 --> 00:48:45,320
Speaker 1: we were had enough influence to move these things forward,

724
00:48:45,400 --> 00:48:49,799
Speaker 1: but we were uh, like I said before, we didn't

725
00:48:49,800 --> 00:48:53,279
Speaker 1: have anything. So it wasn't We'd like to have done

726
00:48:53,280 --> 00:48:58,440
Speaker 1: a lot of things, but there was no plan. But

727
00:48:59,800 --> 00:49:04,320
Speaker 1: I think that Decca had seen that Days of Future passed.

728
00:49:04,400 --> 00:49:10,920
Speaker 1: There was something there. Humantal was loved it forever. You know,

729
00:49:11,320 --> 00:49:13,319
Speaker 1: I loved him as a as a as a man,

730
00:49:13,480 --> 00:49:16,960
Speaker 1: as an elderly man, and he'll be in my memory

731
00:49:17,080 --> 00:49:21,080
Speaker 1: as the sweetest person that I ever knew from that period.

732
00:49:21,520 --> 00:49:25,920
Speaker 1: And he stuck with it. He stuck with it against

733
00:49:25,920 --> 00:49:29,760
Speaker 1: the board of Decca, and it started to be picked

734
00:49:29,840 --> 00:49:32,680
Speaker 1: up by FM radio in America Days of Future past,

735
00:49:33,000 --> 00:49:36,840
Speaker 1: and particularly of course Tuesday afternoon and nights and another

736
00:49:36,920 --> 00:49:38,879
Speaker 1: morning and all of these kind of things, and they

737
00:49:38,880 --> 00:49:44,600
Speaker 1: started to get on the radio. FM radio was needed

738
00:49:44,680 --> 00:49:50,359
Speaker 1: things that were recorded well in stereo. That sadly Abbey Road,

739
00:49:50,400 --> 00:49:53,080
Speaker 1: the studio just down the road from Broaderst Gardens where

740
00:49:53,080 --> 00:49:57,120
Speaker 1: the Decca studio was, we're recording things and I've got

741
00:49:57,120 --> 00:50:00,600
Speaker 1: no idea why George Martin let this go. But you

742
00:50:00,680 --> 00:50:04,560
Speaker 1: had drums on the left, vocals on the right. It

743
00:50:04,640 --> 00:50:08,400
Speaker 1: was not that kind of stereo, whereas everything at Decca

744
00:50:08,760 --> 00:50:14,719
Speaker 1: was done in a kind of cinematic stereo spread which

745
00:50:14,840 --> 00:50:19,120
Speaker 1: just sounded beautiful. When FM radio came along, and drums

746
00:50:19,160 --> 00:50:21,440
Speaker 1: on the left, vocals on the right didn't sound that great.

747
00:50:21,960 --> 00:50:24,920
Speaker 1: It's good in mona hoo, but not in stereo. So

748
00:50:26,239 --> 00:50:29,479
Speaker 1: it just started to break. And then London Records were

749
00:50:30,320 --> 00:50:34,000
Speaker 1: telling the elderly gentleman in England, you know, there's something

750
00:50:34,080 --> 00:50:38,960
Speaker 1: happening here. And then they asked us to go back

751
00:50:39,000 --> 00:50:41,680
Speaker 1: in the studio and you know, well do whatever you want,

752
00:50:41,800 --> 00:50:44,960
Speaker 1: just give us some more songs. Kind of thing. That

753
00:50:45,040 --> 00:50:48,160
Speaker 1: was Decca's attitude. And the chairman of Decca came to

754
00:50:48,239 --> 00:50:50,720
Speaker 1: visit us, I think on about our third or fourth

755
00:50:50,760 --> 00:50:53,360
Speaker 1: album and he came down and you never came to

756
00:50:53,440 --> 00:50:56,080
Speaker 1: the studio. He just was in this lovely office on

757
00:50:56,120 --> 00:50:59,640
Speaker 1: the albert Embankment in London. But he came to the

758
00:50:59,640 --> 00:51:01,960
Speaker 1: student you know, and all the staff were like, whoa,

759
00:51:02,320 --> 00:51:05,280
Speaker 1: it's Sir Edward Lewis and he and he came into

760
00:51:05,440 --> 00:51:10,080
Speaker 1: us stoned Herberts studying lying around in the studio and

761
00:51:10,120 --> 00:51:12,080
Speaker 1: he said, I don't know what you boys are doing,

762
00:51:12,520 --> 00:51:15,120
Speaker 1: but people seem to love it, so just carry on.

763
00:51:15,760 --> 00:51:20,759
Speaker 1: And we we had we had studio time, which was

764
00:51:21,400 --> 00:51:26,359
Speaker 1: like a gold treasure. And so to what degree was

765
00:51:26,440 --> 00:51:31,520
Speaker 1: the melotron a leap forward for the band, because certainly

766
00:51:31,560 --> 00:51:35,640
Speaker 1: the melotron was used on Strawberry fields forever, but the

767
00:51:35,680 --> 00:51:39,360
Speaker 1: Moody Blues were seen as the biggest users of the melotron.

768
00:51:39,920 --> 00:51:43,240
Speaker 1: Well that's uh, thank well, thank you for that. Because

769
00:51:43,680 --> 00:51:46,719
Speaker 1: it's an interest, it's it enables me to point out

770
00:51:46,800 --> 00:51:50,680
Speaker 1: that Mike Pinder actually worked for the company Melotronics, that

771
00:51:51,000 --> 00:51:54,000
Speaker 1: had invented this instrument called the melotron. The melotron was

772
00:51:54,040 --> 00:51:57,880
Speaker 1: really a sound effects instrument, really made for radio, so

773
00:51:57,920 --> 00:52:00,760
Speaker 1: it had it was made up of sound. You pressed

774
00:52:00,800 --> 00:52:04,239
Speaker 1: the key and there was the sound of a sort

775
00:52:04,239 --> 00:52:07,440
Speaker 1: of a cockerel in the morning, and a train rushing

776
00:52:07,480 --> 00:52:11,680
Speaker 1: through a tunnel, and springs going wing and dogs barking,

777
00:52:12,080 --> 00:52:15,640
Speaker 1: and that was of what the melotron and was about.

778
00:52:15,680 --> 00:52:19,560
Speaker 1: But there was um a little bits of it that

779
00:52:19,680 --> 00:52:23,520
Speaker 1: were kind of orchestral strings and a kind of organy

780
00:52:24,000 --> 00:52:27,880
Speaker 1: and if you Mike decided that he was we we

781
00:52:27,960 --> 00:52:31,279
Speaker 1: went up to this place club in the Midlands, he

782
00:52:31,440 --> 00:52:33,279
Speaker 1: and I and somebody else in the band, I don't

783
00:52:33,320 --> 00:52:36,200
Speaker 1: know who it was, and we bought this old melotron

784
00:52:36,239 --> 00:52:39,800
Speaker 1: that they had stuck in a corner for about twenty pounds.

785
00:52:39,840 --> 00:52:42,520
Speaker 1: When we brought it back to London, Mike fiddled with

786
00:52:42,560 --> 00:52:46,799
Speaker 1: it and he duplicated all the parts that sounded orchestral,

787
00:52:46,960 --> 00:52:51,760
Speaker 1: so there was a double manual and then he could

788
00:52:51,880 --> 00:52:54,319
Speaker 1: roll his fingers over the melotron and it gave this

789
00:52:54,440 --> 00:52:58,040
Speaker 1: orchestral sound. And to get back to your point, and

790
00:52:58,719 --> 00:53:04,000
Speaker 1: sorry for rambling, but the it made my songs work

791
00:53:05,840 --> 00:53:11,680
Speaker 1: the that orchestral sound instead of vox continental organ or

792
00:53:12,040 --> 00:53:16,920
Speaker 1: piano or something like that. This, the meltron sound made

793
00:53:18,080 --> 00:53:22,160
Speaker 1: the songs work. That and the voices and the Decca

794
00:53:22,719 --> 00:53:28,920
Speaker 1: echoes that they had at the time echo chambers were

795
00:53:29,120 --> 00:53:33,400
Speaker 1: made it work okay. On the album In Search of

796
00:53:33,440 --> 00:53:36,879
Speaker 1: the Loss Chord, you had had the two most successful

797
00:53:37,040 --> 00:53:41,719
Speaker 1: tracks on these of Future Past, but you didn't have

798
00:53:41,760 --> 00:53:44,920
Speaker 1: the majority of tracks by a long shot on In

799
00:53:44,960 --> 00:53:48,839
Speaker 1: Search of the Lost Card? Was that just democracy? Were

800
00:53:48,840 --> 00:53:53,879
Speaker 1: you happy about that? What went on there? I don't

801
00:53:53,920 --> 00:53:56,560
Speaker 1: think I was just democracy. You know, we had a

802
00:53:56,640 --> 00:54:00,839
Speaker 1: couple of songs each everybody had their go and that

803
00:54:00,960 --> 00:54:03,000
Speaker 1: was That's what it was like in a group. You know,

804
00:54:03,200 --> 00:54:07,680
Speaker 1: it's um. Everybody has the same kind of say. Everybody's

805
00:54:07,960 --> 00:54:11,680
Speaker 1: voice is just as valid as as somebody else's. I

806
00:54:11,800 --> 00:54:14,359
Speaker 1: wish Mike could had been given more because he was

807
00:54:14,760 --> 00:54:17,279
Speaker 1: just a superb writer and a great guitar player as

808
00:54:17,320 --> 00:54:19,719
Speaker 1: well as a good keyboard player. But that that was

809
00:54:20,040 --> 00:54:25,440
Speaker 1: just that's only in hindsight. Now, Okay, the world was

810
00:54:25,520 --> 00:54:29,600
Speaker 1: shifting and the moody Blues were part of it. We're

811
00:54:30,239 --> 00:54:32,719
Speaker 1: on a couple of these next albums. There was not

812
00:54:33,040 --> 00:54:37,359
Speaker 1: some big hit like Tuesday Afternoon, but the albums were

813
00:54:37,400 --> 00:54:42,560
Speaker 1: embraced strongly. What was the view like from within the band? Well,

814
00:54:42,680 --> 00:54:48,400
Speaker 1: I don't think we were ever looking to have a

815
00:54:49,200 --> 00:54:52,680
Speaker 1: hit single. I think I might have been after Nights

816
00:54:52,920 --> 00:54:55,520
Speaker 1: and we recorded a couple of things, but they weren't

817
00:54:55,560 --> 00:55:01,640
Speaker 1: released until maybe ten years later. But um, I think

818
00:55:01,719 --> 00:55:06,799
Speaker 1: we were just happy with this. Hey FM radio, we're good.

819
00:55:06,920 --> 00:55:10,400
Speaker 1: We've been asked to America by Bill Graham to come

820
00:55:10,400 --> 00:55:14,040
Speaker 1: over for He offered us a couple of gigs that

821
00:55:14,200 --> 00:55:17,040
Speaker 1: we stayed and we were supporting lots of other people.

822
00:55:17,400 --> 00:55:22,160
Speaker 1: We were kind of, uh, content with what we were.

823
00:55:22,239 --> 00:55:24,640
Speaker 1: We weren't part of any kind of trend or fashion,

824
00:55:24,800 --> 00:55:27,720
Speaker 1: and Decca weren't pressing us to get a hit single.

825
00:55:29,200 --> 00:55:33,360
Speaker 1: They liked the albums in the LP format, They liked

826
00:55:33,400 --> 00:55:38,600
Speaker 1: their stereo spread and their cinematic kind of idea of

827
00:55:38,640 --> 00:55:42,920
Speaker 1: how recording should be. So that I don't think we

828
00:55:42,920 --> 00:55:47,040
Speaker 1: were worried about that. No. In Search of the Lost

829
00:55:47,120 --> 00:55:52,040
Speaker 1: Chord has a huge called following. How does on the

830
00:55:52,120 --> 00:55:56,759
Speaker 1: Threshold of a Dream get made? Oh? I think Threshold

831
00:55:56,800 --> 00:55:59,360
Speaker 1: of a Dream was the happiest and the nicest and

832
00:55:59,400 --> 00:56:01,799
Speaker 1: the most beauty, a full thing because I think there

833
00:56:01,880 --> 00:56:04,520
Speaker 1: was a tension there that we didn't know it was

834
00:56:04,560 --> 00:56:07,400
Speaker 1: going to work days of future past. It's like, whoa,

835
00:56:07,840 --> 00:56:10,439
Speaker 1: Actually people have heard it. We never thought anybody would

836
00:56:10,440 --> 00:56:12,560
Speaker 1: ever hear it, but people heard it and liked it.

837
00:56:13,160 --> 00:56:15,520
Speaker 1: Then we had to go back and make In Search

838
00:56:15,560 --> 00:56:18,440
Speaker 1: of the Lost Chord. That's when the record companies, you know,

839
00:56:18,560 --> 00:56:22,520
Speaker 1: are like, um, yeah, I've got to come up with something.

840
00:56:22,600 --> 00:56:27,799
Speaker 1: So I loved In Search of the Last Chord and

841
00:56:28,400 --> 00:56:30,920
Speaker 1: Threshold of a Dream was the first time that we

842
00:56:31,040 --> 00:56:35,439
Speaker 1: ever felt comfortable actually people really kind of like what

843
00:56:35,480 --> 00:56:39,960
Speaker 1: we're doing. And it was the loveliest of album. And

844
00:56:40,000 --> 00:56:43,560
Speaker 1: we'd found Phil Travers the cover of a sleeve artist

845
00:56:44,000 --> 00:56:46,200
Speaker 1: and he was a big influence as well. You know,

846
00:56:46,760 --> 00:56:49,759
Speaker 1: he'd start to paint halfway through the album. He'd come

847
00:56:49,800 --> 00:56:52,120
Speaker 1: into the control room and listen to it and sketch

848
00:56:52,160 --> 00:56:56,640
Speaker 1: out ideas and it was all one. It was all

849
00:56:56,640 --> 00:57:00,560
Speaker 1: one kind of family of creating stuff off that was

850
00:57:00,640 --> 00:57:02,359
Speaker 1: that was very very nice, and I think it all

851
00:57:02,400 --> 00:57:04,759
Speaker 1: came together on the Threshold of a Dream. It's a

852
00:57:04,800 --> 00:57:08,759
Speaker 1: love it's a lovely album and it's my favorite. And

853
00:57:08,960 --> 00:57:11,280
Speaker 1: on the Threshold of a Dream there was not only

854
00:57:11,320 --> 00:57:14,640
Speaker 1: was it a gatefold cover, there was a huge multi

855
00:57:14,680 --> 00:57:19,960
Speaker 1: page insert of the lyrics. Now, did you have to

856
00:57:20,080 --> 00:57:22,840
Speaker 1: fight with the label or did in that you wanted

857
00:57:22,880 --> 00:57:25,840
Speaker 1: this extensive package or did they charge it to you?

858
00:57:25,920 --> 00:57:30,400
Speaker 1: What went on there? Um? Well, you clearly you clearly

859
00:57:30,440 --> 00:57:33,320
Speaker 1: don't know about that. You wouldn't have phrased it the

860
00:57:33,360 --> 00:57:37,560
Speaker 1: way you did pay people. But um, yes, it was

861
00:57:37,600 --> 00:57:42,160
Speaker 1: an expensive thing that we were doing and to to

862
00:57:42,640 --> 00:57:45,960
Speaker 1: to request that Decca put that gatefold and a book

863
00:57:46,000 --> 00:57:49,680
Speaker 1: of lyrics in it as well, with all designed by

864
00:57:49,680 --> 00:57:54,440
Speaker 1: Phil Travis. So um, I can't say there was conflict

865
00:57:54,520 --> 00:57:58,680
Speaker 1: with the with the with the label, but we realized

866
00:57:58,760 --> 00:58:01,960
Speaker 1: that there was always there was going to be this

867
00:58:02,120 --> 00:58:08,720
Speaker 1: difficulty about sleeves, uh, and we should work towards kind

868
00:58:08,720 --> 00:58:13,920
Speaker 1: of trying to resolve that. Really, Yeah, which Threshold of

869
00:58:13,920 --> 00:58:19,080
Speaker 1: a Dream brought it all into focus, that idea. Well,

870
00:58:19,120 --> 00:58:23,400
Speaker 1: the next album to our Children's Children's Children comes out

871
00:58:23,520 --> 00:58:28,960
Speaker 1: on your own imprint. Threshold. How did Threshold come to be? Um?

872
00:58:29,000 --> 00:58:32,480
Speaker 1: The Threshold was part of It was part of Decca,

873
00:58:32,800 --> 00:58:36,960
Speaker 1: and Threshold gave us one thing. It gave us control

874
00:58:37,160 --> 00:58:43,920
Speaker 1: over those sleeves and what was to be released, and

875
00:58:44,000 --> 00:58:49,120
Speaker 1: that was our idea of yes, just getting control over

876
00:58:49,160 --> 00:58:52,600
Speaker 1: that stuff, and Decca were quite happy that we had that.

877
00:58:52,680 --> 00:58:56,880
Speaker 1: It was it changed the royalty status. Are royalty was

878
00:58:56,920 --> 00:59:01,040
Speaker 1: getting a little better at every time, so um that

879
00:59:01,200 --> 00:59:03,760
Speaker 1: they could afford to do that and have a negotiation

880
00:59:03,840 --> 00:59:07,080
Speaker 1: with us about that and then we would be responsible

881
00:59:07,160 --> 00:59:11,960
Speaker 1: for the sleeves. And actually I don't think, um, what

882
00:59:12,160 --> 00:59:16,040
Speaker 1: which which album was it after Threshold? It was Children's Children?

883
00:59:16,080 --> 00:59:18,600
Speaker 1: Was it correct? So I don't think it was a

884
00:59:18,640 --> 00:59:20,920
Speaker 1: gatefold that I don't think there was a lyrics or

885
00:59:20,960 --> 00:59:23,880
Speaker 1: maybe there was inside it was an insert that went

886
00:59:23,960 --> 00:59:29,760
Speaker 1: into the double gatefold. Because we love sleeves and I

887
00:59:30,160 --> 00:59:34,360
Speaker 1: love sleep. It's just absolutely great that whole thing about

888
00:59:34,440 --> 00:59:37,760
Speaker 1: making sleeves and enjoyed every moment of that. So I

889
00:59:37,800 --> 00:59:40,040
Speaker 1: think it was to do with trying to get give

890
00:59:40,120 --> 00:59:42,920
Speaker 1: us control Threshold, which which it did do. It gave

891
00:59:43,000 --> 00:59:45,040
Speaker 1: us control over the sleeves and what we could do

892
00:59:45,720 --> 00:59:49,960
Speaker 1: within a royalty. It was an agreement that we would

893
00:59:49,960 --> 00:59:54,960
Speaker 1: take care of that. But also acts were signed to threshold.

894
00:59:55,040 --> 00:59:57,480
Speaker 1: The one that got the most traction in America was

895
00:59:57,560 --> 01:00:02,880
Speaker 1: trapeeze Ah was in charge of that. And how interested

896
01:00:02,960 --> 01:00:09,720
Speaker 1: in that were you? You mean the business of it, yes,

897
01:00:09,800 --> 01:00:13,439
Speaker 1: the business of saying, let's build our own little empire here,

898
01:00:13,480 --> 01:00:16,920
Speaker 1: will sign acts will make them a hit? Which acts

899
01:00:16,920 --> 01:00:20,040
Speaker 1: to sign? Was that something you were interested in or

900
01:00:20,080 --> 01:00:24,880
Speaker 1: somebody else did that? So you that's that's an assumption

901
01:00:24,920 --> 01:00:27,200
Speaker 1: that we're going to build our own little empire here.

902
01:00:28,480 --> 01:00:32,560
Speaker 1: I don't think anybody thought that. Um. I think it

903
01:00:32,720 --> 01:00:35,560
Speaker 1: was just a question of listen, Deca are going to

904
01:00:35,640 --> 01:00:38,640
Speaker 1: give us some studio time. What they had was studio time,

905
01:00:38,720 --> 01:00:44,560
Speaker 1: fantastic studios, and they were going to give a studio time.

906
01:00:44,600 --> 01:00:48,800
Speaker 1: So let's We knew lots of musicians around London and

907
01:00:49,680 --> 01:00:53,120
Speaker 1: around England that we thought really should be making it,

908
01:00:53,520 --> 01:00:56,800
Speaker 1: and so it was our chance to record those albums.

909
01:00:57,160 --> 01:00:59,880
Speaker 1: Those those people are. There was a young boy that

910
01:01:00,080 --> 01:01:03,320
Speaker 1: I knew that I had seen at a party, because

911
01:01:03,560 --> 01:01:05,360
Speaker 1: that there's the days when you just go went to

912
01:01:05,440 --> 01:01:08,160
Speaker 1: other people's apartments with your records and stuff. And I'd

913
01:01:08,200 --> 01:01:11,400
Speaker 1: seen Time and sitting in a corner this boy called

914
01:01:11,440 --> 01:01:15,040
Speaker 1: Time and T T I M O N. And he's

915
01:01:15,080 --> 01:01:17,840
Speaker 1: such a lovely player and such such a lovely voice,

916
01:01:18,200 --> 01:01:22,240
Speaker 1: and you think, it's studio time. Let's let's just record it,

917
01:01:22,320 --> 01:01:25,360
Speaker 1: you know. And so I think that was a lot

918
01:01:25,440 --> 01:01:27,640
Speaker 1: of the stuff with Threshold. It was we were just

919
01:01:28,000 --> 01:01:30,960
Speaker 1: enjoying the fact that we had studio time, we could

920
01:01:30,960 --> 01:01:35,200
Speaker 1: call upon an engineer to record this these things. And

921
01:01:35,640 --> 01:01:37,640
Speaker 1: that's as far as it went on. I'm not sure

922
01:01:37,680 --> 01:01:42,360
Speaker 1: there was any empire building ideas there, but it was

923
01:01:42,400 --> 01:01:45,480
Speaker 1: a it was a nice idea. It's a nice idea

924
01:01:45,520 --> 01:01:50,400
Speaker 1: to income that you bring other musicians in. And what

925
01:01:50,480 --> 01:01:54,440
Speaker 1: was the genesis of to our Children's Children's children first

926
01:01:54,880 --> 01:01:59,200
Speaker 1: came up? Who came up with the name? Um? I

927
01:01:59,200 --> 01:02:03,919
Speaker 1: think that a couple of these things are curiously enough,

928
01:02:04,040 --> 01:02:06,160
Speaker 1: I think from the Bible. As a matter of fact,

929
01:02:06,280 --> 01:02:10,720
Speaker 1: I think Children's Children might even be there's a verse

930
01:02:10,800 --> 01:02:13,560
Speaker 1: in the in the Bible. I don't know whether it's

931
01:02:13,600 --> 01:02:17,160
Speaker 1: to our children's children's children, but it might be. The

932
01:02:17,280 --> 01:02:20,919
Speaker 1: keys of the Kingdom certainly is with them, Peter, I think,

933
01:02:21,640 --> 01:02:25,680
Speaker 1: But who our Lord gave the keys of the Kingdom too.

934
01:02:26,760 --> 01:02:32,720
Speaker 1: But so at the the the the idea of to

935
01:02:32,800 --> 01:02:39,320
Speaker 1: our Children's Children was really from Tony Clark, our producer.

936
01:02:39,400 --> 01:02:41,320
Speaker 1: It was an album that he really wanted to make,

937
01:02:42,200 --> 01:02:47,240
Speaker 1: and um yes, and that that was that was his thing,

938
01:02:47,960 --> 01:02:55,040
Speaker 1: and it's out of space, moon rockets, that kind of stuff.

939
01:02:56,360 --> 01:02:59,880
Speaker 1: Tony Tony Clark was such a wonderful combination with us

940
01:03:01,080 --> 01:03:04,760
Speaker 1: staff producer from Decca, and then became our friend and

941
01:03:04,920 --> 01:03:09,280
Speaker 1: one of the kind of inner circle. But this was

942
01:03:09,360 --> 01:03:13,520
Speaker 1: always I would sometimes be asked up into the control

943
01:03:13,640 --> 01:03:16,479
Speaker 1: room and he and he described what he wanted out

944
01:03:16,480 --> 01:03:18,920
Speaker 1: of a track, say that me or one of the

945
01:03:18,960 --> 01:03:22,800
Speaker 1: boys had written, and he would describe it like so,

946
01:03:22,960 --> 01:03:26,080
Speaker 1: justin what I wanted you, you can see the sun

947
01:03:26,200 --> 01:03:29,720
Speaker 1: coming up in the morning, and as the sun rises

948
01:03:29,880 --> 01:03:34,920
Speaker 1: behind you, there's there's a cool wind is blowing across

949
01:03:34,960 --> 01:03:37,880
Speaker 1: the grass. But in front of you you can see

950
01:03:37,920 --> 01:03:44,360
Speaker 1: some trees and the clouds are parting as the sun rises,

951
01:03:44,400 --> 01:03:47,960
Speaker 1: and there's the most gentle kind of touch on your face.

952
01:03:48,600 --> 01:03:52,520
Speaker 1: And that's how it and he'd described it in these

953
01:03:52,520 --> 01:03:56,440
Speaker 1: wonderful cinematic terms, and then I'd go down the steps

954
01:03:56,600 --> 01:03:58,440
Speaker 1: from the control room, and the other guys will say,

955
01:03:58,520 --> 01:04:00,160
Speaker 1: what what did he say? And I said to E

956
01:04:00,800 --> 01:04:14,000
Speaker 1: A and C sharp minor, Oh yeah, right great, I'm good, okay.

957
01:04:14,360 --> 01:04:16,400
Speaker 1: One of the songs on that albums. I never thought

958
01:04:16,400 --> 01:04:18,880
Speaker 1: I'd live to be a hundred and when you're in

959
01:04:18,920 --> 01:04:22,800
Speaker 1: your when you're in twenties, hundreds is far off. Now

960
01:04:23,440 --> 01:04:26,320
Speaker 1: people live to a hundred. Do you still sing that song?

961
01:04:26,400 --> 01:04:27,880
Speaker 1: And what do you think about it? With a different

962
01:04:27,960 --> 01:04:31,200
Speaker 1: viewpoint from this so close to the number, I haven't.

963
01:04:31,240 --> 01:04:35,400
Speaker 1: I haven't even heard that song mentioned for fifty years.

964
01:04:38,720 --> 01:04:40,520
Speaker 1: It's a cute little song. I think I did it.

965
01:04:41,520 --> 01:04:44,040
Speaker 1: I think it appears twice on the album I know that.

966
01:04:44,120 --> 01:04:45,920
Speaker 1: Tony I was like, I don't think there's anything on

967
01:04:46,000 --> 01:04:51,000
Speaker 1: it except biddy guitar and some echo chamber. I don't

968
01:04:51,040 --> 01:04:55,040
Speaker 1: have any feelings about it. It's just an interesting idea

969
01:04:55,160 --> 01:04:59,360
Speaker 1: about somebody something shooting through space. I never thought I'd

970
01:04:59,400 --> 01:05:04,200
Speaker 1: live to be a million. So you have three albums

971
01:05:04,200 --> 01:05:08,200
Speaker 1: in a row that become more and more successful commercially,

972
01:05:08,320 --> 01:05:12,320
Speaker 1: but there's not a hit single on any of them.

973
01:05:12,720 --> 01:05:16,640
Speaker 1: Was everything going along swimmingly in the band or was

974
01:05:16,680 --> 01:05:18,840
Speaker 1: there a thought that we need to be bigger? Or

975
01:05:18,840 --> 01:05:24,000
Speaker 1: want to be bigger. No. I I wish I could

976
01:05:24,040 --> 01:05:26,240
Speaker 1: tell you that there was some kind of plan and

977
01:05:26,480 --> 01:05:30,160
Speaker 1: some kind of proposal, but I don't. I don't think so.

978
01:05:30,280 --> 01:05:32,880
Speaker 1: I think those kind of plans and proposals always came

979
01:05:32,920 --> 01:05:39,600
Speaker 1: from outside of the group. But fortunately with the album

980
01:05:39,640 --> 01:05:42,760
Speaker 1: that we're probably that you're clearly leading to is called

981
01:05:42,840 --> 01:05:46,000
Speaker 1: question of Balance than I had. I had a song

982
01:05:46,240 --> 01:05:50,840
Speaker 1: called Question that was recorded quite some time before the album,

983
01:05:50,920 --> 01:05:56,040
Speaker 1: and Decker put it out within like a two weeks

984
01:05:56,040 --> 01:05:59,600
Speaker 1: of us recording it, and it was a hit. Was

985
01:05:59,640 --> 01:06:06,120
Speaker 1: it fantastic song called Question? And to what degree did

986
01:06:06,160 --> 01:06:10,440
Speaker 1: the fact that it hit change your life or the

987
01:06:10,480 --> 01:06:14,520
Speaker 1: BMS trajectory? Well, I think it probably. I think it

988
01:06:14,560 --> 01:06:17,680
Speaker 1: probably did change our lives insomuch as that it put

989
01:06:17,800 --> 01:06:23,480
Speaker 1: us on television and um the the I think the

990
01:06:23,560 --> 01:06:29,240
Speaker 1: most memorable time for that from me was we played

991
01:06:29,240 --> 01:06:33,240
Speaker 1: at the Isle of Wight Festival in and it was

992
01:06:33,280 --> 01:06:38,520
Speaker 1: a festival that the security broke down, the fences came down,

993
01:06:39,080 --> 01:06:42,840
Speaker 1: became a free fenced festival. It was kind of overrun

994
01:06:43,000 --> 01:06:47,120
Speaker 1: and it got quite alarming and a lot of groups.

995
01:06:47,160 --> 01:06:50,240
Speaker 1: Somebody jumped on stage when Joreny Mitchell was doing her

996
01:06:50,280 --> 01:06:54,160
Speaker 1: thing and bang the mic into her mouth and her

997
01:06:54,200 --> 01:06:59,200
Speaker 1: poor journey her like her lip was bleeding, and that

998
01:06:59,520 --> 01:07:03,320
Speaker 1: I remember. But Richie Havens and I backstage and knew

999
01:07:03,440 --> 01:07:08,800
Speaker 1: Richie and then we were talking about, you know, how

1000
01:07:08,800 --> 01:07:10,840
Speaker 1: how is this kind of thing going to calm down?

1001
01:07:11,600 --> 01:07:16,640
Speaker 1: The security people had just kind of left and everything

1002
01:07:16,680 --> 01:07:21,480
Speaker 1: that it was becoming a massive free festival, and we

1003
01:07:21,480 --> 01:07:23,400
Speaker 1: were the whole We were supposed to go on like

1004
01:07:23,520 --> 01:07:26,800
Speaker 1: at lunchtime, and of course, like these festivals go, everything

1005
01:07:26,920 --> 01:07:31,600
Speaker 1: was late. We went on at sunset and we played Question,

1006
01:07:32,040 --> 01:07:35,280
Speaker 1: which had just become a hit, and the whole place

1007
01:07:35,360 --> 01:07:40,800
Speaker 1: went romped and everything came down to a calm, serene

1008
01:07:41,080 --> 01:07:44,640
Speaker 1: It's like, oh I love this song and it's great,

1009
01:07:44,720 --> 01:07:49,080
Speaker 1: and every the whole sort of vibe changed and it

1010
01:07:49,240 --> 01:07:53,800
Speaker 1: was an interesting time with that question, and I think

1011
01:07:54,160 --> 01:07:57,520
Speaker 1: it made a big impression here in the in Europe

1012
01:07:57,600 --> 01:08:02,400
Speaker 1: and in the UK. That's on. We were only kept off,

1013
01:08:02,440 --> 01:08:04,800
Speaker 1: We only kept off number one, but by the BBC,

1014
01:08:04,960 --> 01:08:07,120
Speaker 1: who had a song out with their football team. I

1015
01:08:07,120 --> 01:08:09,080
Speaker 1: think it was called back Home and there was a

1016
01:08:09,120 --> 01:08:12,480
Speaker 1: BBC record and they that they had the chart, of course,

1017
01:08:12,520 --> 01:08:14,800
Speaker 1: the BBC, and they kept us off number one. We

1018
01:08:14,800 --> 01:08:18,320
Speaker 1: were always we were number two for a while and

1019
01:08:18,439 --> 01:08:24,479
Speaker 1: you have this great success. Does it change your everyday life? Um? Well,

1020
01:08:25,439 --> 01:08:30,200
Speaker 1: I don't know change our everyday life that this. Remember

1021
01:08:30,240 --> 01:08:32,880
Speaker 1: when I said before that you can have a philosophy

1022
01:08:33,000 --> 01:08:36,479
Speaker 1: of life, and when you're going up and down the

1023
01:08:36,560 --> 01:08:40,960
Speaker 1: motorway in a van with with nothing and you're just

1024
01:08:41,160 --> 01:08:44,200
Speaker 1: living with your girlfriend, you know that your philosophy of

1025
01:08:44,200 --> 01:08:46,639
Speaker 1: life doesn't mean anything. But as soon as you start

1026
01:08:46,720 --> 01:08:50,080
Speaker 1: to have stuff around you, then you have to kind

1027
01:08:50,080 --> 01:08:54,679
Speaker 1: of live out your philosophy. And sometimes that is very different.

1028
01:08:54,760 --> 01:08:56,600
Speaker 1: It's okay when you're in a van for somebody to

1029
01:08:56,640 --> 01:08:59,439
Speaker 1: be this kind of over there on one side of

1030
01:08:59,560 --> 01:09:05,639
Speaker 1: the the spectrum philosophically and you on the other doesn't matter.

1031
01:09:05,760 --> 01:09:09,040
Speaker 1: But when you've got stuff family and the house and possessions,

1032
01:09:09,120 --> 01:09:11,000
Speaker 1: it kind of matters. So you start to have to

1033
01:09:11,080 --> 01:09:14,320
Speaker 1: live that. And I think that was after that. The

1034
01:09:14,360 --> 01:09:18,160
Speaker 1: early seventies was the time when you could see the

1035
01:09:18,160 --> 01:09:22,040
Speaker 1: the difference in lifestyles and priorities and what people in

1036
01:09:22,080 --> 01:09:26,439
Speaker 1: the band really wanted out of their own lives and

1037
01:09:26,600 --> 01:09:33,160
Speaker 1: what did you want? Oh um, what did I want?

1038
01:09:37,520 --> 01:09:43,040
Speaker 1: I wanted to continue staying in bed in the morning

1039
01:09:42,680 --> 01:09:47,360
Speaker 1: playing the guitar. I don't know. I just want to

1040
01:09:47,360 --> 01:09:50,120
Speaker 1: make your way in the world and help play music

1041
01:09:50,200 --> 01:09:55,479
Speaker 1: and help people hear it and appreciate it. I think

1042
01:09:55,600 --> 01:10:01,320
Speaker 1: that's what I wanted, Okay. In this era, especially in England,

1043
01:10:01,320 --> 01:10:04,719
Speaker 1: there are a lot of managers who call the shots,

1044
01:10:05,160 --> 01:10:07,519
Speaker 1: and we hear stories relevant of the money, We hear

1045
01:10:07,600 --> 01:10:10,000
Speaker 1: stories of the main interesting I've booked this tour, you

1046
01:10:10,080 --> 01:10:13,280
Speaker 1: have to get back out there. Were you in control

1047
01:10:13,560 --> 01:10:16,759
Speaker 1: or were you feeling the whip of either the record

1048
01:10:16,840 --> 01:10:20,800
Speaker 1: company or a manager or an agent. No, we never

1049
01:10:20,840 --> 01:10:26,719
Speaker 1: did have a manager or an agent, and we never

1050
01:10:26,760 --> 01:10:30,160
Speaker 1: did have We had a lovely agent actually no, I'd

1051
01:10:30,160 --> 01:10:33,120
Speaker 1: tell her like called Colin Berlin, who was my agent

1052
01:10:33,320 --> 01:10:37,400
Speaker 1: just before I joined the Moodies, and we didn't have

1053
01:10:37,479 --> 01:10:41,679
Speaker 1: an agent when I joined, and I suggested working with Colin,

1054
01:10:42,000 --> 01:10:44,799
Speaker 1: and Colin was absolutely great. Got are some great gigs.

1055
01:10:45,760 --> 01:10:50,120
Speaker 1: And then Colin's life changed and he sort of stepped aside,

1056
01:10:50,760 --> 01:10:56,760
Speaker 1: and we had a good agent in the US and

1057
01:10:56,840 --> 01:11:00,479
Speaker 1: then but we were playing a lot of big places

1058
01:11:00,520 --> 01:11:03,960
Speaker 1: in the you know, big arenas in the US, and

1059
01:11:04,320 --> 01:11:06,639
Speaker 1: I think there was occasions when I thought I wonder

1060
01:11:06,640 --> 01:11:08,799
Speaker 1: who was getting paid for this. You know, you've got

1061
01:11:08,960 --> 01:11:13,880
Speaker 1: like twelve thousand people in here, and I know how

1062
01:11:13,960 --> 01:11:17,280
Speaker 1: much we're getting, So I wonder who's getting paid. And

1063
01:11:17,400 --> 01:11:22,439
Speaker 1: about that time, I suppose about seventy one, so it

1064
01:11:22,439 --> 01:11:27,200
Speaker 1: will be every good boy. I suppose that kind of era. Um.

1065
01:11:27,280 --> 01:11:30,840
Speaker 1: We met Jerry Weintrobe and Michael Jerry Weintrobe who some

1066
01:11:30,920 --> 01:11:36,760
Speaker 1: people might have heard about. And Jerry came to see us,

1067
01:11:36,880 --> 01:11:39,240
Speaker 1: and we wanted to. He had an artist called John

1068
01:11:39,280 --> 01:11:43,720
Speaker 1: Denver and he could see us playing these venues and

1069
01:11:43,800 --> 01:11:46,439
Speaker 1: he wanted to have John Denver open for us because

1070
01:11:46,680 --> 01:11:49,639
Speaker 1: we were always having acoustic artists opening for us. Once

1071
01:11:49,680 --> 01:11:53,439
Speaker 1: we've become a headliner, we didn't want another group setting

1072
01:11:53,520 --> 01:11:57,880
Speaker 1: up in front of our stuff, so acoustic artists would

1073
01:11:57,880 --> 01:12:02,240
Speaker 1: be great. And so Jerry's jested John Denver and we did.

1074
01:12:02,360 --> 01:12:05,320
Speaker 1: We he did a tour of the UK with us.

1075
01:12:06,800 --> 01:12:10,879
Speaker 1: But then Jerry really came to us and he pointed

1076
01:12:10,880 --> 01:12:16,920
Speaker 1: out that we weren't exactly being paid for this stuff.

1077
01:12:17,080 --> 01:12:20,120
Speaker 1: You know, we were just going through the motions with

1078
01:12:20,240 --> 01:12:23,000
Speaker 1: an agent and who also wasn't getting but he was

1079
01:12:23,040 --> 01:12:25,280
Speaker 1: still on the agent, only getting his temper cent or

1080
01:12:25,280 --> 01:12:28,600
Speaker 1: whatever it was, and he had a different idea of

1081
01:12:28,720 --> 01:12:32,719
Speaker 1: way of touring and a way of looking at the business.

1082
01:12:33,000 --> 01:12:36,160
Speaker 1: And I think that changed things touring wise for us.

1083
01:12:36,400 --> 01:12:39,479
Speaker 1: And then we became part. I always feel that we

1084
01:12:39,560 --> 01:12:44,400
Speaker 1: became part of Jerry Wintrobe's movie of his life somehow,

1085
01:12:45,000 --> 01:12:49,160
Speaker 1: because it's larger than life character. Wonderful to be part

1086
01:12:49,240 --> 01:12:52,439
Speaker 1: of the movie of his life. As far as I'm concerned,

1087
01:12:52,479 --> 01:12:54,559
Speaker 1: it is absolutely brilliant, and he took us on a

1088
01:12:54,600 --> 01:13:00,519
Speaker 1: wonderful ride and changed things for us. Okay, the Every

1089
01:13:00,560 --> 01:13:03,479
Speaker 1: Good Boy deserves favor. There's another hit, Story in the

1090
01:13:03,520 --> 01:13:08,320
Speaker 1: Eyes written by you once again. So that album. What's

1091
01:13:08,360 --> 01:13:11,519
Speaker 1: the story of the making of that one? Every Good Boy?

1092
01:13:13,000 --> 01:13:17,559
Speaker 1: How did that happen? Um? I can remember recording story

1093
01:13:17,560 --> 01:13:20,040
Speaker 1: in your Eyes, because okay, I just remember the guitar

1094
01:13:20,400 --> 01:13:26,240
Speaker 1: riff and how I done it at home and and

1095
01:13:27,320 --> 01:13:31,280
Speaker 1: then put the basic acoustic track down with with John

1096
01:13:31,280 --> 01:13:35,360
Speaker 1: and Graham and Mike on tambourine and then put my

1097
01:13:35,400 --> 01:13:38,400
Speaker 1: three three five on top of it. But honest honestly,

1098
01:13:38,479 --> 01:13:42,879
Speaker 1: don't remember much about the rest of the album. Um,

1099
01:13:43,320 --> 01:13:46,280
Speaker 1: you you you must know that I don't. I know.

1100
01:13:46,360 --> 01:13:49,400
Speaker 1: I you know I say this. I know I was

1101
01:13:49,439 --> 01:13:56,320
Speaker 1: there in the sixties seventies, But my mind was elsewhere chemically, mystically,

1102
01:13:56,880 --> 01:14:00,920
Speaker 1: and emotionally, So I can't say that I have completely

1103
01:14:00,960 --> 01:14:04,720
Speaker 1: I have complete recall of some flashbacks of some rather

1104
01:14:04,880 --> 01:14:09,040
Speaker 1: strange things, but I can't remember certain details. But I'm

1105
01:14:09,080 --> 01:14:12,519
Speaker 1: giving you. I'm doing my best to give you an overview. Well,

1106
01:14:12,520 --> 01:14:14,600
Speaker 1: I think you're doing quite a fine job. Then we

1107
01:14:14,720 --> 01:14:19,360
Speaker 1: have the Seventh Sojourn, which actually has two hits. One

1108
01:14:19,880 --> 01:14:22,360
Speaker 1: Isn't Life Strange? You were one of the singers on that,

1109
01:14:22,439 --> 01:14:25,759
Speaker 1: but John Lodge wrote that, And I'm just a singer

1110
01:14:25,800 --> 01:14:28,280
Speaker 1: in a rock and roll band. You've been on quite

1111
01:14:28,280 --> 01:14:31,160
Speaker 1: a ride at this point, was the band starting to

1112
01:14:32,000 --> 01:14:35,240
Speaker 1: run a bit on fumes and get tired, or where

1113
01:14:35,280 --> 01:14:39,920
Speaker 1: things as strong as they'd always been. Um, well, it

1114
01:14:40,040 --> 01:14:42,880
Speaker 1: goes back to this kind of philosophy of life. I

1115
01:14:42,960 --> 01:14:45,920
Speaker 1: think I'm sorry to bang on about that, but that's

1116
01:14:45,960 --> 01:14:52,439
Speaker 1: a fact. And then there were people were moving so

1117
01:14:52,640 --> 01:14:55,519
Speaker 1: up the far apart in the way they live their lives,

1118
01:14:55,560 --> 01:14:57,840
Speaker 1: and they wanted to have that. I could see that

1119
01:14:58,000 --> 01:15:02,080
Speaker 1: it was kind of turn running into a mist somehow.

1120
01:15:02,720 --> 01:15:05,599
Speaker 1: There was this sort of fog that had descended, and

1121
01:15:06,040 --> 01:15:09,200
Speaker 1: sometimes I could see someone through that fog, and sometimes

1122
01:15:09,240 --> 01:15:14,200
Speaker 1: I couldn't in the in the band metaphorically, I don't

1123
01:15:14,200 --> 01:15:21,680
Speaker 1: mean literally, but I could see that it was not fragmenting.

1124
01:15:21,800 --> 01:15:26,320
Speaker 1: But I knew that it wasn't a happy time. It

1125
01:15:26,400 --> 01:15:29,439
Speaker 1: wasn't a happy time. I think we made some I

1126
01:15:29,439 --> 01:15:31,800
Speaker 1: think Mike did a song I think it was called

1127
01:15:31,840 --> 01:15:34,439
Speaker 1: Lost in a Lost World that was I thought was

1128
01:15:34,520 --> 01:15:39,320
Speaker 1: so beautiful. And I had a song called New Horizons

1129
01:15:39,840 --> 01:15:43,600
Speaker 1: that I know that we would as a group we

1130
01:15:43,640 --> 01:15:46,719
Speaker 1: would sit and listen to and think, oh, that's nice

1131
01:15:46,800 --> 01:15:50,080
Speaker 1: kind of thing. You know, there was a beauty about it,

1132
01:15:50,320 --> 01:15:55,439
Speaker 1: and that there was some really nice things, and and

1133
01:15:55,640 --> 01:15:58,360
Speaker 1: and and it's in life strange, and it was the

1134
01:15:58,680 --> 01:16:03,200
Speaker 1: way that these things were recorded, and there was this

1135
01:16:03,920 --> 01:16:09,040
Speaker 1: fog that had descended between us and were that it

1136
01:16:09,120 --> 01:16:14,080
Speaker 1: was you could only reach out to someone occasionally and

1137
01:16:14,080 --> 01:16:18,080
Speaker 1: and and and pull them in and into focus, and

1138
01:16:18,120 --> 01:16:22,080
Speaker 1: then I could see it slipping away. Mike didn't want

1139
01:16:22,080 --> 01:16:24,320
Speaker 1: to do it anymore. I think that was the sort

1140
01:16:24,320 --> 01:16:27,479
Speaker 1: of point of it. And Tony Clark and I started

1141
01:16:27,520 --> 01:16:34,000
Speaker 1: to actually record another album after Seventh Sojourn, and there

1142
01:16:34,080 --> 01:16:36,400
Speaker 1: was a phone call from down in the canteen and

1143
01:16:36,479 --> 01:16:38,600
Speaker 1: Tony and I were in the control room. I was

1144
01:16:38,640 --> 01:16:44,160
Speaker 1: allowed in the control room by this time, and it's

1145
01:16:44,200 --> 01:16:47,559
Speaker 1: one of the roadies said here, you know, the other

1146
01:16:47,600 --> 01:16:50,040
Speaker 1: boys want to see you and Tony downstairs. So I

1147
01:16:50,080 --> 01:16:52,760
Speaker 1: came downstairs and the other guys were sitting there and

1148
01:16:52,800 --> 01:16:57,479
Speaker 1: they said, we don't want to continue with this. And

1149
01:16:57,720 --> 01:16:59,840
Speaker 1: I mean, I don't mean the band, it's just didn't

1150
01:16:59,840 --> 01:17:03,040
Speaker 1: want to continue with being together kind of thing or

1151
01:17:03,360 --> 01:17:08,840
Speaker 1: doing this, and so we just drifted apart. So it

1152
01:17:09,000 --> 01:17:12,240
Speaker 1: wasn't that what some asson wasn't a happy time for me.

1153
01:17:12,600 --> 01:17:16,360
Speaker 1: It was a very kind of sad, melancholy kind of time.

1154
01:17:17,960 --> 01:17:20,920
Speaker 1: So how did you feel in the canteen when they

1155
01:17:20,960 --> 01:17:25,360
Speaker 1: told you that, Hey, I'm the guy who always had

1156
01:17:25,400 --> 01:17:27,840
Speaker 1: songs ready to go in the studio, remember, so I

1157
01:17:28,200 --> 01:17:30,960
Speaker 1: had got stuff kind of ready to do. I was

1158
01:17:31,000 --> 01:17:36,800
Speaker 1: good and I was surprised. I can't say that I

1159
01:17:36,880 --> 01:17:42,040
Speaker 1: wasn't surprised, but totally, but for this to be pulled

1160
01:17:42,120 --> 01:17:46,799
Speaker 1: up that that short, I was surprised at that moment.

1161
01:17:47,640 --> 01:17:54,760
Speaker 1: And yeah, it was kind of shocking. Really. Yeah, And

1162
01:17:55,760 --> 01:17:58,200
Speaker 1: how do you end up working with John Large on

1163
01:17:58,280 --> 01:18:01,800
Speaker 1: Blue Jays? Well, I think what what happened was that

1164
01:18:01,880 --> 01:18:04,600
Speaker 1: we we had a big tour that we were to

1165
01:18:04,680 --> 01:18:07,960
Speaker 1: do and with Jerry Ranchob as well, a world tour,

1166
01:18:08,120 --> 01:18:11,000
Speaker 1: so we continued to do that. I knew that Mike

1167
01:18:11,080 --> 01:18:16,320
Speaker 1: was unhappy. It was quite clear. And UM, so we

1168
01:18:17,040 --> 01:18:20,720
Speaker 1: Mike and I talked about doing something together, and we

1169
01:18:20,840 --> 01:18:22,920
Speaker 1: talked about it for a few years. Wouldn't it be

1170
01:18:23,000 --> 01:18:25,479
Speaker 1: nice and like a side project, we do it together?

1171
01:18:26,920 --> 01:18:31,360
Speaker 1: And um. At the end of the Japanese tour, at

1172
01:18:31,400 --> 01:18:34,240
Speaker 1: the end of Yes, we went to Japan, I flew back.

1173
01:18:34,280 --> 01:18:37,439
Speaker 1: We might have played in Hawaii, and I came back

1174
01:18:37,479 --> 01:18:41,040
Speaker 1: to l A with nothing happening. There was nothing in

1175
01:18:41,080 --> 01:18:44,680
Speaker 1: the diary at all. And I was going around to

1176
01:18:44,720 --> 01:18:48,720
Speaker 1: say Mike had had remarried and was living How do

1177
01:18:48,760 --> 01:18:51,840
Speaker 1: he remarried? I don't know, but he was maybe not,

1178
01:18:51,920 --> 01:18:56,320
Speaker 1: but he was married to an American girl and in California.

1179
01:18:56,720 --> 01:19:00,519
Speaker 1: I think he was over in Studio City, somewhere the

1180
01:19:00,560 --> 01:19:03,040
Speaker 1: other side of the hill, you know how You know

1181
01:19:03,120 --> 01:19:07,680
Speaker 1: you got up to Monghowa that far from that right now. No,

1182
01:19:07,840 --> 01:19:10,439
Speaker 1: it's very nice. You go down into Studio City. There's

1183
01:19:10,439 --> 01:19:13,120
Speaker 1: some really nice stuff done. Mike was living down there

1184
01:19:13,160 --> 01:19:17,880
Speaker 1: with his wife, and UM, we were talking, just talking

1185
01:19:17,920 --> 01:19:21,280
Speaker 1: about kind of things, how it would be, you know,

1186
01:19:21,360 --> 01:19:24,479
Speaker 1: how it would be. And then Mike, I think Mike

1187
01:19:24,640 --> 01:19:29,400
Speaker 1: at that same time he got another property out out

1188
01:19:29,400 --> 01:19:32,640
Speaker 1: of l a somewhere a bit more kind of hippie ish,

1189
01:19:32,680 --> 01:19:35,680
Speaker 1: and I was just hanging out with him, and we

1190
01:19:35,680 --> 01:19:39,599
Speaker 1: were starting to make plans for an album because there

1191
01:19:39,640 --> 01:19:43,880
Speaker 1: was nothing else happening. The next thing is so the

1192
01:19:43,920 --> 01:19:48,559
Speaker 1: next thing, I know, John and Tony Clark turned up

1193
01:19:48,960 --> 01:19:54,639
Speaker 1: and suggested the idea that the four of us should

1194
01:19:54,640 --> 01:19:58,559
Speaker 1: do something. I didn't really want to do that, and

1195
01:19:58,600 --> 01:20:01,880
Speaker 1: I know Mike called me into the kitchen and he said, listener,

1196
01:20:02,000 --> 01:20:05,320
Speaker 1: I'm out now. I don't want to do that, and

1197
01:20:06,439 --> 01:20:10,559
Speaker 1: I thought, okay then and then so I think we

1198
01:20:10,640 --> 01:20:13,639
Speaker 1: went through like a coffee with me and and John

1199
01:20:13,680 --> 01:20:17,000
Speaker 1: and Tony Clark, and we thought, well, let's do that instead,

1200
01:20:17,160 --> 01:20:20,640
Speaker 1: you know, let's go let's go home, and and we

1201
01:20:20,760 --> 01:20:25,920
Speaker 1: did that. No plan, Bob, no plan. These things just happened.

1202
01:20:26,080 --> 01:20:28,639
Speaker 1: I hear that, and then how does the group get

1203
01:20:28,640 --> 01:20:31,719
Speaker 1: back together? So we did Blue Jay's That was nice.

1204
01:20:31,760 --> 01:20:34,840
Speaker 1: Blue guitar was very nice. I'd already recorded that with

1205
01:20:34,960 --> 01:20:37,600
Speaker 1: tense C the guy. That was a nice. That was

1206
01:20:37,640 --> 01:20:41,120
Speaker 1: a nice time. Then m Wine Show pulled the back

1207
01:20:41,240 --> 01:20:45,200
Speaker 1: band back together to do a compilation we've never done,

1208
01:20:45,200 --> 01:20:50,880
Speaker 1: a kind of greatest hits, and Jerry was talking with

1209
01:20:50,920 --> 01:20:54,400
Speaker 1: the label about the greatest hits. And while he was

1210
01:20:56,680 --> 01:20:59,559
Speaker 1: discussing this the greatest hits, which we've never done, we'd

1211
01:20:59,560 --> 01:21:05,000
Speaker 1: always go resisted and then um the idea came back.

1212
01:21:05,400 --> 01:21:08,120
Speaker 1: But I think I think me and John and Ray

1213
01:21:09,120 --> 01:21:13,200
Speaker 1: we're sitting around just you know, because everybody that the

1214
01:21:13,240 --> 01:21:17,639
Speaker 1: people in England were still friends, and that where everybody

1215
01:21:17,680 --> 01:21:21,080
Speaker 1: was still friends. There's no that nothing was said that

1216
01:21:21,240 --> 01:21:26,000
Speaker 1: couldn't be unsaid, Nothing was said that couldn't be unto unsaid.

1217
01:21:26,080 --> 01:21:31,479
Speaker 1: You know, sometimes things can't be unsaid. But um, so

1218
01:21:32,160 --> 01:21:35,920
Speaker 1: I think we thought, well, maybe why don't we do it?

1219
01:21:36,040 --> 01:21:39,000
Speaker 1: Jerry was like, yeah, are you guys? Why don't him again? Now? Now? Yeah,

1220
01:21:39,000 --> 01:21:40,439
Speaker 1: why did you get back to it? Why don't you

1221
01:21:40,520 --> 01:21:46,200
Speaker 1: do this album? So we did, We went, we talked

1222
01:21:46,240 --> 01:21:49,960
Speaker 1: about it. Mike didn't want to leave America, so we thought, okay,

1223
01:21:50,000 --> 01:21:53,200
Speaker 1: well los Angeles just quite nice. So we all pulled

1224
01:21:53,240 --> 01:21:57,200
Speaker 1: over to Los Angeles and started recording the Octave album

1225
01:21:57,320 --> 01:22:02,200
Speaker 1: at the record plant in um On, Wilshire. I think

1226
01:22:02,240 --> 01:22:06,519
Speaker 1: it was. We recorded quite a bit of that. Wasn't

1227
01:22:06,520 --> 01:22:11,320
Speaker 1: a happy sort of time really. Um, some of the

1228
01:22:11,320 --> 01:22:16,520
Speaker 1: guys rented houses there. I didn't. I was kind of commuting,

1229
01:22:16,560 --> 01:22:19,280
Speaker 1: which was quite difficult between here in Los Angeles or

1230
01:22:19,360 --> 01:22:22,439
Speaker 1: this is more the interesting flights used to take much

1231
01:22:22,520 --> 01:22:25,880
Speaker 1: quick as Los Angeles to London in the seventies. You

1232
01:22:25,880 --> 01:22:28,600
Speaker 1: know that they used to go faster. He played, you

1233
01:22:28,600 --> 01:22:31,639
Speaker 1: could do it in eight hours. It was fantastic. Takes

1234
01:22:31,640 --> 01:22:38,960
Speaker 1: you about thirteen now. But so, uh, I'm sorry, Bob.

1235
01:22:39,680 --> 01:22:43,720
Speaker 1: So yeah, So we were making the album and in

1236
01:22:44,160 --> 01:22:48,920
Speaker 1: at Mike's studio actually up in Coral Canyon, and then

1237
01:22:49,400 --> 01:22:51,759
Speaker 1: we were there when there were that terrible mud slide.

1238
01:22:51,760 --> 01:22:54,960
Speaker 1: Do you remember that when the rains came down seventy stuff?

1239
01:22:54,960 --> 01:22:56,960
Speaker 1: And I think it was that that went on all

1240
01:22:57,000 --> 01:23:02,240
Speaker 1: the rains. And I'm sorry, but they those big, most

1241
01:23:02,320 --> 01:23:05,320
Speaker 1: those big cars, and maybe yet l A drivers don't

1242
01:23:05,360 --> 01:23:06,960
Speaker 1: quite know how to drive in the mud, and they're

1243
01:23:06,960 --> 01:23:08,800
Speaker 1: not like English people who drive in the mud all

1244
01:23:08,840 --> 01:23:11,840
Speaker 1: the time. But so there was a lot of cars

1245
01:23:11,920 --> 01:23:15,240
Speaker 1: whizzing around on the Pacific Coast Highway, which was I

1246
01:23:15,280 --> 01:23:19,360
Speaker 1: was going up there every day, and um, I could

1247
01:23:19,400 --> 01:23:24,639
Speaker 1: see that this album wasn't really working either. Tony Clark

1248
01:23:24,880 --> 01:23:27,800
Speaker 1: wasn't There was things happening in his personal life, and

1249
01:23:28,000 --> 01:23:31,160
Speaker 1: it's such a lovely man, but things were happening changes

1250
01:23:31,200 --> 01:23:34,400
Speaker 1: in his personal life. Mike clearly didn't want to do it,

1251
01:23:34,920 --> 01:23:37,600
Speaker 1: and so I think there was a moment when it

1252
01:23:37,920 --> 01:23:40,599
Speaker 1: came apart then during the Octave album. But at least

1253
01:23:40,640 --> 01:23:44,519
Speaker 1: we had the album The Day We Meet Again and

1254
01:23:45,160 --> 01:23:49,320
Speaker 1: stuff from that album, and but we that then we

1255
01:23:49,439 --> 01:23:52,200
Speaker 1: carried on. I think we carried on because the rest

1256
01:23:52,200 --> 01:23:55,240
Speaker 1: of us wanted to and Mike didn't. Mike stayed there,

1257
01:23:56,640 --> 01:23:59,200
Speaker 1: so the rest of us came home and moved on.

1258
01:24:00,240 --> 01:24:03,000
Speaker 1: So you talk about eight hours were you taking the

1259
01:24:03,240 --> 01:24:06,800
Speaker 1: sst the Concorde. I did take the Concorde a couple

1260
01:24:06,800 --> 01:24:09,479
Speaker 1: of times, but the Concorde wasn't Concorde. It wasn't called

1261
01:24:09,560 --> 01:24:12,439
Speaker 1: duck Concorde. It was called Concorde. But the Concorde was

1262
01:24:12,439 --> 01:24:15,800
Speaker 1: was going. Um, I don't believe it ever once in

1263
01:24:15,880 --> 01:24:18,200
Speaker 1: Los Angeles, I would cut. I took it a few

1264
01:24:18,200 --> 01:24:22,360
Speaker 1: times from Washington or New York and Toronto, and I

1265
01:24:23,000 --> 01:24:26,200
Speaker 1: once I took it to Dallas. But you could you'd

1266
01:24:26,200 --> 01:24:31,880
Speaker 1: have fly sub Sonic over America. But no, I was

1267
01:24:32,000 --> 01:24:35,200
Speaker 1: just doing like a seven oh seven oh seven from

1268
01:24:35,360 --> 01:24:38,200
Speaker 1: Los Angeles to London. They could do it real quick.

1269
01:24:39,360 --> 01:24:48,320
Speaker 1: They really put the pedal to the metal. What was

1270
01:24:48,360 --> 01:24:55,639
Speaker 1: it like creating and releasing the moody blues sound when

1271
01:24:55,640 --> 01:24:59,080
Speaker 1: the world was changing the late seventies we had punk

1272
01:24:59,160 --> 01:25:03,600
Speaker 1: and disco, Then into the early eighties we have the

1273
01:25:03,640 --> 01:25:07,760
Speaker 1: new wave sound, we have MTV. Did you say this

1274
01:25:07,800 --> 01:25:09,559
Speaker 1: is what we're doing or did you feel a little

1275
01:25:09,720 --> 01:25:11,400
Speaker 1: like a fish out of water or do you want

1276
01:25:11,400 --> 01:25:17,519
Speaker 1: to change the sound? Um? Well, I don't. We were

1277
01:25:17,600 --> 01:25:21,200
Speaker 1: kind of came through that sort of unscared, I think

1278
01:25:21,880 --> 01:25:25,320
Speaker 1: because nobody kind of pointed the finger at us and said, hey,

1279
01:25:25,360 --> 01:25:28,639
Speaker 1: it's over you guys, because we'd always gone our own way.

1280
01:25:28,840 --> 01:25:30,880
Speaker 1: We were never, like I said before, we were never

1281
01:25:30,960 --> 01:25:33,960
Speaker 1: kind of chasing a hit. We were never really fashionable,

1282
01:25:35,680 --> 01:25:38,559
Speaker 1: so we couldn't really be out of fashion. We were

1283
01:25:39,640 --> 01:25:42,800
Speaker 1: just doing troubling our own road and doing our own thing.

1284
01:25:43,760 --> 01:25:50,120
Speaker 1: And luckily enough, when they when I think it was Deutcha,

1285
01:25:50,240 --> 01:25:53,040
Speaker 1: I think it was not Deutchra Grantville what were they

1286
01:25:53,080 --> 01:25:59,800
Speaker 1: called before they bought the Deca catalog in or one

1287
01:26:00,080 --> 01:26:05,960
Speaker 1: Redwood was still there and they were still alive. But um,

1288
01:26:06,120 --> 01:26:11,800
Speaker 1: there was the record company was refreshed in America and

1289
01:26:12,200 --> 01:26:16,439
Speaker 1: that's when we had a chance to They supported us

1290
01:26:16,439 --> 01:26:19,439
Speaker 1: going back in the studio in the UK and making

1291
01:26:19,880 --> 01:26:24,280
Speaker 1: a long distance Voyager. Yeah. And I think that that

1292
01:26:24,360 --> 01:26:26,479
Speaker 1: album really set us up for the eighties and what

1293
01:26:26,640 --> 01:26:30,040
Speaker 1: was to come. So do you have a relationship with

1294
01:26:30,080 --> 01:26:36,000
Speaker 1: Mike Pinder today? Yes, So there was his family. There

1295
01:26:36,040 --> 01:26:42,880
Speaker 1: was no discord over his leaving the band. Not with me, No,

1296
01:26:43,400 --> 01:26:46,479
Speaker 1: I've always been loving good vibes all around bub you know.

1297
01:26:46,600 --> 01:26:49,880
Speaker 1: I just I'll make it. I'll make a point of

1298
01:26:50,280 --> 01:27:00,880
Speaker 1: trying to get my own way by pink pink gentle, persuadediveout. Yeah, sure, Yeah.

1299
01:27:01,040 --> 01:27:04,280
Speaker 1: I saw Mike at the the Rock and Roll Hall

1300
01:27:04,320 --> 01:27:06,840
Speaker 1: of Fame when we were inducted. It's a lovely time.

1301
01:27:07,920 --> 01:27:11,200
Speaker 1: And what was it like having Ray Thomas and Graham

1302
01:27:11,280 --> 01:27:16,680
Speaker 1: Age pass Well? Ray had left the group quite a

1303
01:27:16,680 --> 01:27:23,200
Speaker 1: long time before he died, and so that was his

1304
01:27:23,240 --> 01:27:26,960
Speaker 1: life was kind of separate outside the Moodies anyway, and

1305
01:27:27,040 --> 01:27:30,679
Speaker 1: he he didn't want want to go on. I knew

1306
01:27:30,680 --> 01:27:37,320
Speaker 1: he was uncomfortable on the road and in the studio. Um,

1307
01:27:37,360 --> 01:27:40,519
Speaker 1: so that was that Ray had left it anyway, and

1308
01:27:40,680 --> 01:27:44,280
Speaker 1: I loved him. Were always had such laughs, you know,

1309
01:27:44,320 --> 01:27:46,439
Speaker 1: there was. That's the thing about the mood is that

1310
01:27:46,760 --> 01:27:51,639
Speaker 1: I should mention that I started laughing in in August

1311
01:27:52,000 --> 01:27:54,800
Speaker 1: and I never stopped it. Funny all the way, but

1312
01:27:57,080 --> 01:28:03,280
Speaker 1: inappropriate and irreverence sometimes but always me so. But but Graham,

1313
01:28:03,720 --> 01:28:08,640
Speaker 1: Graham's passing really kind of hit me earlier this year. Yeah,

1314
01:28:08,720 --> 01:28:12,280
Speaker 1: because Graham loved the group so much. He was the

1315
01:28:12,320 --> 01:28:16,240
Speaker 1: center that he was the thing that held the group together. Well,

1316
01:28:16,320 --> 01:28:19,280
Speaker 1: when Ray had left and there was the core three people,

1317
01:28:19,320 --> 01:28:23,599
Speaker 1: you continued to tour as the Moody Blues. Uh, there's

1318
01:28:23,640 --> 01:28:27,040
Speaker 1: no chance you will continue to tour with John Lodge

1319
01:28:27,120 --> 01:28:30,200
Speaker 1: under that name. I don't I don't know, is the

1320
01:28:30,240 --> 01:28:34,720
Speaker 1: honest answer. Just have to say, I don't know, is it?

1321
01:28:34,880 --> 01:28:38,639
Speaker 1: Sometimes I don't know is a good answer. Well, sometimes

1322
01:28:38,680 --> 01:28:41,680
Speaker 1: people are against it, that's the but I have your

1323
01:28:41,760 --> 01:28:47,120
Speaker 1: answer there. So at this time in your seventies, some

1324
01:28:47,200 --> 01:28:50,479
Speaker 1: people might say you you talked about wanting to sleep

1325
01:28:50,520 --> 01:28:53,800
Speaker 1: in the morning in your own bed. Um. Some people

1326
01:28:53,920 --> 01:28:57,639
Speaker 1: might say I don't like my own bed, which bet

1327
01:28:57,680 --> 01:29:03,040
Speaker 1: it is. OK. That's a musicians just want to stay

1328
01:29:03,080 --> 01:29:08,320
Speaker 1: in bed anywhere. So what's the what's the motivation to

1329
01:29:08,400 --> 01:29:13,600
Speaker 1: still go on the road to share the music? You know,

1330
01:29:13,720 --> 01:29:18,280
Speaker 1: I'm a musician man musicians, So I just want to

1331
01:29:18,320 --> 01:29:20,360
Speaker 1: play music. I want to do a do a gig.

1332
01:29:21,080 --> 01:29:23,360
Speaker 1: I love that little bit of magic that can happen

1333
01:29:23,400 --> 01:29:28,439
Speaker 1: in a room as simple as that. You know, the

1334
01:29:28,560 --> 01:29:34,800
Speaker 1: arc of a musical career is that now today, in

1335
01:29:34,840 --> 01:29:39,599
Speaker 1: today's internet world, specific records don't have the impact either

1336
01:29:39,720 --> 01:29:44,960
Speaker 1: commercially or in mind share, and audiences are smaller. Therefore,

1337
01:29:45,120 --> 01:29:49,080
Speaker 1: some people don't even record new music and they're depressed

1338
01:29:49,080 --> 01:29:51,800
Speaker 1: about it. What do you think about the modern environment

1339
01:29:52,160 --> 01:29:56,879
Speaker 1: visa via your career, visably my career. I'm not depressed

1340
01:29:56,920 --> 01:30:01,760
Speaker 1: about it. I can. I can still. I could still

1341
01:30:01,800 --> 01:30:04,559
Speaker 1: pop down to Jenuay and do and do something I don't.

1342
01:30:04,560 --> 01:30:08,000
Speaker 1: I don't have to employ a great number of musicians

1343
01:30:08,040 --> 01:30:11,080
Speaker 1: to do it, because I can pretty much do it myself.

1344
01:30:11,160 --> 01:30:13,360
Speaker 1: But when me and Alberta can do it between us,

1345
01:30:14,400 --> 01:30:20,840
Speaker 1: I play the stuff and Alberto plays, and you know,

1346
01:30:20,920 --> 01:30:23,080
Speaker 1: we we've got all the tools that we need. I've

1347
01:30:23,120 --> 01:30:25,200
Speaker 1: got my old I've got my old dear Ex seven,

1348
01:30:25,200 --> 01:30:29,160
Speaker 1: my Jupiter eight, which is fantastic. I've got my guitars,

1349
01:30:30,120 --> 01:30:34,120
Speaker 1: I've got a time code, and that's about it, really,

1350
01:30:34,640 --> 01:30:38,240
Speaker 1: And that's why, you know, we come back to Living

1351
01:30:38,280 --> 01:30:42,000
Speaker 1: for Love and there's almost nothing on that record, but

1352
01:30:42,080 --> 01:30:45,040
Speaker 1: it's for me. It's just so beautiful. It's so it's

1353
01:30:45,080 --> 01:30:49,040
Speaker 1: so simple and so beautiful, and so I'm just fine

1354
01:30:49,200 --> 01:30:53,960
Speaker 1: with how it is. And I really feel for the

1355
01:30:54,280 --> 01:30:57,400
Speaker 1: young kids with the pressure that they're under now in

1356
01:30:57,439 --> 01:31:01,040
Speaker 1: this business to try and become a commodity or a

1357
01:31:01,120 --> 01:31:05,799
Speaker 1: personality and to try and promote yourself in that way.

1358
01:31:07,000 --> 01:31:11,639
Speaker 1: And I think for me, I'm so lucky where it's

1359
01:31:11,720 --> 01:31:14,240
Speaker 1: just I don't I don't want to be a celebrity.

1360
01:31:14,400 --> 01:31:17,240
Speaker 1: I never I never was wanted that or anything like that.

1361
01:31:17,680 --> 01:31:23,320
Speaker 1: I just want to play some some music. And that's

1362
01:31:23,360 --> 01:31:26,920
Speaker 1: what that's I said at the beginning. My goal is too,

1363
01:31:27,600 --> 01:31:29,519
Speaker 1: I want to be true to my goal of playing

1364
01:31:29,640 --> 01:31:33,559
Speaker 1: music and recording music and playing live. That's what I want.

1365
01:31:35,000 --> 01:31:39,360
Speaker 1: How close were you to John Lodge these days? I

1366
01:31:39,400 --> 01:31:44,160
Speaker 1: think everybody we're all connected that so that the three

1367
01:31:44,200 --> 01:31:47,559
Speaker 1: of us Might and John and myself are connected by

1368
01:31:47,920 --> 01:31:54,479
Speaker 1: just such a wonderful catalog and legacy of things. So

1369
01:31:54,680 --> 01:31:58,760
Speaker 1: which is always nice. So I said before that that

1370
01:31:58,920 --> 01:32:03,040
Speaker 1: not nothing with with Mike or with any with John

1371
01:32:03,160 --> 01:32:05,879
Speaker 1: or Graham, or nothing was said that couldn't be unset,

1372
01:32:06,560 --> 01:32:09,439
Speaker 1: which is always very nice. It's not. It's not a

1373
01:32:09,479 --> 01:32:11,400
Speaker 1: brotherhood because I had a brother and I know what

1374
01:32:11,560 --> 01:32:13,840
Speaker 1: that's like. But it's a being in a group is

1375
01:32:13,840 --> 01:32:19,880
Speaker 1: a very different dynamic. You were married at a relatively

1376
01:32:19,960 --> 01:32:24,120
Speaker 1: young age and your marriage sustained, which is not the

1377
01:32:24,200 --> 01:32:27,760
Speaker 1: case with many music marriages. Who is the key to

1378
01:32:27,800 --> 01:32:35,880
Speaker 1: having your marriage sustained? I'm away a lot ha, but

1379
01:32:36,040 --> 01:32:38,559
Speaker 1: a being we leave it at that or anymore in sight,

1380
01:32:40,439 --> 01:32:46,519
Speaker 1: I don't think, so okay. And what about your kids?

1381
01:32:46,520 --> 01:32:50,600
Speaker 1: What are your kids up to? Um? Well, they have

1382
01:32:50,680 --> 01:32:53,840
Speaker 1: a lovely life. My daughter lives in West Cornwall, which

1383
01:32:53,880 --> 01:32:57,360
Speaker 1: is the most beautiful part of England for me. And

1384
01:32:58,200 --> 01:33:06,040
Speaker 1: she's a sacred cranial osteopathists, which is gentle and kind

1385
01:33:06,040 --> 01:33:09,120
Speaker 1: of manipulation of the spine. It's very beautiful. It it's

1386
01:33:09,280 --> 01:33:12,320
Speaker 1: um did great things for her or when she had

1387
01:33:12,360 --> 01:33:15,960
Speaker 1: some problems and so. And I've got a grandson who

1388
01:33:16,120 --> 01:33:22,760
Speaker 1: is beautiful and fourteen and gets taller every every other week.

1389
01:33:23,080 --> 01:33:26,920
Speaker 1: You know, he's different. And I've gotten. You know, my sister,

1390
01:33:27,040 --> 01:33:31,599
Speaker 1: I'm very close, and yeah, it's just gotta love. I'm

1391
01:33:31,960 --> 01:33:35,080
Speaker 1: so it's so wonderful to have so many nice friends

1392
01:33:35,120 --> 01:33:39,080
Speaker 1: and gentle and not to have a pressure to do

1393
01:33:39,120 --> 01:33:45,160
Speaker 1: anything outside of that. And yeah, I'm very lucky to

1394
01:33:45,200 --> 01:33:49,479
Speaker 1: have a wonderful crew in a tour with the guitar text.

1395
01:33:49,479 --> 01:33:52,479
Speaker 1: Steve Chant, my production manager, and I've been together a

1396
01:33:52,520 --> 01:33:57,080
Speaker 1: long time. And Mike Dawes, the guitar player that I

1397
01:33:57,120 --> 01:34:03,559
Speaker 1: work with now genius genius young man common Gold on flutes.

1398
01:34:03,600 --> 01:34:08,200
Speaker 1: And Julie Reagan's who's the most gorgeous as the voice

1399
01:34:08,200 --> 01:34:11,160
Speaker 1: of an angel and is the most brilliant musician I've

1400
01:34:11,240 --> 01:34:14,400
Speaker 1: ever had the pleasure to be in the company of.

1401
01:34:15,479 --> 01:34:19,840
Speaker 1: So these are the people that we love. And the

1402
01:34:19,960 --> 01:34:26,320
Speaker 1: Moody sound was unique, but certainly Jerry Weintraub managed other acts.

1403
01:34:27,080 --> 01:34:30,599
Speaker 1: Do you have relationships with your contemporaries in the music

1404
01:34:30,640 --> 01:34:33,080
Speaker 1: business who were the Moody sort of a self contained

1405
01:34:33,160 --> 01:34:38,639
Speaker 1: unit aside from the other acts. Well, if you might

1406
01:34:38,800 --> 01:34:42,000
Speaker 1: remember that we talked earlier about you were quite interested

1407
01:34:42,040 --> 01:34:44,160
Speaker 1: about how you get how I got my D twenty

1408
01:34:44,200 --> 01:34:47,880
Speaker 1: eight because because there was I have a lot of acquaintances.

1409
01:34:47,920 --> 01:34:52,280
Speaker 1: In the music business. We have acquaintances, don't we. People say, well,

1410
01:34:52,280 --> 01:34:54,800
Speaker 1: do you know somebody. It's like, well, I'm an acquaintance

1411
01:34:54,840 --> 01:34:56,800
Speaker 1: of this, but I'm not sure that I would say

1412
01:34:56,800 --> 01:34:59,360
Speaker 1: that I know somebody. So I've got a lot of

1413
01:34:59,400 --> 01:35:02,599
Speaker 1: acquaintance is in the music, of course, and the music

1414
01:35:02,760 --> 01:35:05,120
Speaker 1: business is one of those things. If you're a musician,

1415
01:35:05,720 --> 01:35:08,960
Speaker 1: people you go to events or something like that, and

1416
01:35:09,120 --> 01:35:12,400
Speaker 1: I'm often asked to, often asked to play turn up

1417
01:35:12,400 --> 01:35:16,599
Speaker 1: and play nights, which people love and you know it's

1418
01:35:16,960 --> 01:35:21,080
Speaker 1: in their in their hearts, that kind of thing. And

1419
01:35:21,080 --> 01:35:25,080
Speaker 1: and people but hey, justin that that other artists that

1420
01:35:25,160 --> 01:35:27,960
Speaker 1: I don't know and I'm not acquainted with. But you

1421
01:35:28,000 --> 01:35:30,680
Speaker 1: can come up and say hey, justin I say, hey, no,

1422
01:35:31,120 --> 01:35:33,960
Speaker 1: are you doing love it? And that's the kind of

1423
01:35:34,000 --> 01:35:37,000
Speaker 1: the thing is. That's the wonderful thing about musicians and

1424
01:35:37,040 --> 01:35:41,280
Speaker 1: the music business. So, yes, I'm familiar with quite a

1425
01:35:41,320 --> 01:35:44,880
Speaker 1: lot of people. I have a lot of acquaintances. And

1426
01:35:45,439 --> 01:35:48,640
Speaker 1: are you one of those people who thinks about legacy

1427
01:35:48,760 --> 01:35:51,400
Speaker 1: and being remembered or you more of the type of

1428
01:35:51,400 --> 01:35:55,320
Speaker 1: person says I'm doing this now, I'm gonna diet sometime.

1429
01:35:55,360 --> 01:35:59,120
Speaker 1: There's no way afterlife. I live my life. That's it

1430
01:35:59,200 --> 01:36:01,240
Speaker 1: is that a choice of I've got to be one

1431
01:36:01,280 --> 01:36:04,519
Speaker 1: of those, got to be either one or the Well. No,

1432
01:36:04,720 --> 01:36:07,639
Speaker 1: it doesn't have to be a choice. It can be both.

1433
01:36:08,000 --> 01:36:09,519
Speaker 1: It can be like, Hey, I want to live my

1434
01:36:09,560 --> 01:36:11,639
Speaker 1: life having a good time, but I want my songs

1435
01:36:11,680 --> 01:36:13,880
Speaker 1: to live on. I want them to pay dividends from

1436
01:36:13,880 --> 01:36:16,599
Speaker 1: my family. I want them to bring joy two people,

1437
01:36:16,800 --> 01:36:23,479
Speaker 1: that further generations. What I know is that I'll never

1438
01:36:23,520 --> 01:36:28,439
Speaker 1: get tired of playing Um the Everly Brothers. I'll never

1439
01:36:28,439 --> 01:36:31,400
Speaker 1: get tired of playing Buddy Holly. I'll never get tired

1440
01:36:31,400 --> 01:36:35,200
Speaker 1: of playing Buffalo Springfield or Cliff in the Shadows or

1441
01:36:35,320 --> 01:36:44,120
Speaker 1: the Beatles, Um or Elvis or a Steely Dan or

1442
01:36:44,160 --> 01:36:51,920
Speaker 1: anything so or Shostakovich or you know, Rene Fleming. I'll

1443
01:36:51,960 --> 01:36:55,640
Speaker 1: never get tired of it. So that it doesn't the

1444
01:36:55,720 --> 01:36:59,640
Speaker 1: personal thing about them, I'm not really bound up in.

1445
01:37:00,080 --> 01:37:03,040
Speaker 1: I'm not really bound up about with them as people.

1446
01:37:03,320 --> 01:37:07,479
Speaker 1: And I understand that's what music is, that there's there's

1447
01:37:07,840 --> 01:37:11,080
Speaker 1: music there and that will be your It will be

1448
01:37:11,200 --> 01:37:13,479
Speaker 1: or or not to be. There's nothing I can do

1449
01:37:13,600 --> 01:37:17,800
Speaker 1: to make that or get worried about that, whether that's

1450
01:37:17,800 --> 01:37:23,880
Speaker 1: a legacy or not. I'll always love certain pieces of

1451
01:37:23,960 --> 01:37:27,679
Speaker 1: music and they'll live forever with other people as well

1452
01:37:27,880 --> 01:37:30,559
Speaker 1: because that that that's the way I feel. So I'm

1453
01:37:30,560 --> 01:37:34,240
Speaker 1: not bound up in thinking about legacy or trying to

1454
01:37:34,280 --> 01:37:37,479
Speaker 1: make anything happen. There is there a way to make

1455
01:37:37,520 --> 01:37:43,120
Speaker 1: things happen there now less than ever. But you just

1456
01:37:43,240 --> 01:37:46,360
Speaker 1: got off of a tour at the end of the summer.

1457
01:37:46,840 --> 01:37:49,280
Speaker 1: I know you're doing this cruise coming up at the

1458
01:37:49,360 --> 01:37:52,200
Speaker 1: beginning of the year. What are your plans for live

1459
01:37:52,240 --> 01:37:58,040
Speaker 1: work in the future. Well, I'm offered stuff, that's for sure.

1460
01:37:58,640 --> 01:38:00,960
Speaker 1: I had had the best tour have ever had in

1461
01:38:01,000 --> 01:38:03,960
Speaker 1: the UK. So I did three things this year already.

1462
01:38:04,000 --> 01:38:10,160
Speaker 1: I did the American tour, interrupted by circumstances, but then, um,

1463
01:38:10,200 --> 01:38:12,880
Speaker 1: we had a great tour, very successful and all the

1464
01:38:12,880 --> 01:38:16,200
Speaker 1: places are asking us back, so that's nice. Um. I

1465
01:38:16,240 --> 01:38:20,160
Speaker 1: did the War of the World's tour, which was fantastic, holograms,

1466
01:38:20,320 --> 01:38:27,240
Speaker 1: giant screens, explosions, martians, It's just and forever autumn, which

1467
01:38:27,320 --> 01:38:34,320
Speaker 1: has been the most wonderful gift to me around the world. Um. So, uh,

1468
01:38:34,400 --> 01:38:37,479
Speaker 1: that I'm offered stuff, and I think I'm going to

1469
01:38:37,600 --> 01:38:41,760
Speaker 1: say yes. Well, justin I want to thank you so

1470
01:38:41,840 --> 01:38:43,640
Speaker 1: much for taking the time. I gotta tell you it

1471
01:38:43,720 --> 01:38:46,680
Speaker 1: was anxious about talking to you because you know, you

1472
01:38:46,760 --> 01:38:48,840
Speaker 1: hear songs on the radio. Yeah, I know that song

1473
01:38:48,880 --> 01:38:51,960
Speaker 1: that's iconic. But the Moodies are a thing unto itself,

1474
01:38:52,680 --> 01:38:56,679
Speaker 1: you know, and it's uh, it's got a special aura,

1475
01:38:56,920 --> 01:39:00,200
Speaker 1: certainly for me and I know for others. So want

1476
01:39:00,200 --> 01:39:03,800
Speaker 1: to thank you for talking to me from you know,

1477
01:39:03,880 --> 01:39:06,479
Speaker 1: the Cote de Sur and however you pronounce it. My

1478
01:39:06,520 --> 01:39:09,880
Speaker 1: French is not good, So thanks again. Justin You're welcome

1479
01:39:10,520 --> 01:39:35,240
Speaker 1: until next time. This is Bob left sets h