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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 the one and only John Anderson. John.

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Speaker 1: Great to have you on the podcast. So tell me

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Speaker 1: how'd you cope with lockdown during COVID.

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Speaker 2: I got on with a lot of music, that's for sure.

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Speaker 2: The day we were told to stay indoors, away from

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Speaker 2: the chaos was I was doing a barbecue and I

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Speaker 2: slipped on the top steps near the barbecue is and

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Speaker 2: I broke my foot in two places. For the first

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Speaker 2: six months of COVID, I was on crushes. But it

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Speaker 2: made me want to go in the studio and create.

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Speaker 2: And that's what I did.

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Speaker 1: And what did you create? And you did it alone?

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Speaker 2: Oh yeah, I create a lot of stuff, you know.

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Speaker 2: I called it the opeless opus, and then I did

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Speaker 2: it up to opus opus. And it's a combination of

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Speaker 2: the miracle of playing all the white notes on the

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Speaker 2: keyboard because I can't play them both at the same time,

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Speaker 2: black and white like a normal person. So I just

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Speaker 2: played the white notes and I was playing this music,

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Speaker 2: and I record little sections and then I record another one,

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Speaker 2: and then I record another one. And during the course

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Speaker 2: of about two weeks, I recorded about twenty sort of

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Speaker 2: musical events if you like. And then I actually went

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Speaker 2: on tour I think it was with the Academy of Rock,

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Speaker 2: these young teenagers, and we had a great tour and

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Speaker 2: we called COVID on the way home, which was crazy.

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Speaker 2: But that's the way things happen. But expect the unexpected.

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Speaker 2: But the remarkable thing about working with teenagers you feel

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Speaker 2: young and vibrant until somebody does a self.

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Speaker 1: Or when you look in the mirror.

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Speaker 2: And said, wait a minute, you got a couple of

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Speaker 2: things going on here.

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Speaker 1: Tell me about only being able to play the white

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Speaker 1: keys and not the black keys at the same time.

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Speaker 2: It's just one of those things. I you know, I

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Speaker 2: never learned to play the piano, so I sort of

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Speaker 2: made it up and I just used the wine notes

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Speaker 2: all the time. So it works for me, you know.

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Speaker 2: And and I tell a story that when I was

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Speaker 2: doing my solo show, halfway through it, I'd start playing

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Speaker 2: the keyboards and singing along with the keyboards, and I

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Speaker 2: could never sing with the piano. I played the piano

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Speaker 2: book can never sing with it until I actually broke

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Speaker 2: my back. I know it's a strange idea, but it

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Speaker 2: actually broke my bike putting up Christmas tensely things on

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Speaker 2: the front door of our house. And I felt over

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Speaker 2: on the wall and brought my back and from that

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Speaker 2: moment on I could actually sing at the piano.

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Speaker 1: Okay, a lot of stuff going on. So you were

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Speaker 1: putting up tinsel.

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Speaker 2: And sparkly tinsel and the lights on the front door

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Speaker 2: because it was Christmas.

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Speaker 1: How far did you fall?

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Speaker 2: Probably a four foot back backwards onto the wall which

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Speaker 2: had a sharp sort of edge to it, And and

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Speaker 2: God bless my wife, she phoned up the the ambulance

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Speaker 2: to come and get me. And the ambulance came and

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Speaker 2: got me, and I kept saying I need some morphine.

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Speaker 2: My back is hurting me. And the guy would say, well,

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Speaker 2: we'll give you so when we get to the hospital,

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Speaker 2: and I said, yep, I need it now because it

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Speaker 2: really hurts. And the guy said, oh, are you John Anderson?

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Speaker 2: I said, just can be morphine? He said, can I

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Speaker 2: have your autograph? Then we're in the bloody back of

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Speaker 2: the well. To think about it, We're in the back

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Speaker 2: of the ambulance and he's asking me for an autograph.

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Speaker 1: And how do they treat it? Broken back? And how

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Speaker 1: long did it take to recover.

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Speaker 2: A long time. You basically put on a big type

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Speaker 2: thing around your chest and sit up a lot. And

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Speaker 2: that's when I started creating some music as well.

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Speaker 1: I remember, Okay, you live in California. I don't want

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Speaker 1: your address, but generally speaking, we're in California.

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Speaker 2: Are you in California?

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Speaker 1: Yes, I'm in La.

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Speaker 2: Oh great, I'm Central California.

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Speaker 1: And how'd you end up there?

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Speaker 2: Well, it's a nice story actually, because I came to

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Speaker 2: work and live in La some thirty years ago doing

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Speaker 2: an album called with Yes called The Big Generator, which

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Speaker 2: was one of those experiences that I'll never forget. And

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Speaker 2: it just happened that I was working on an album

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Speaker 2: at the time called Toll Tech, which not many people know,

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Speaker 2: which is my invitation to make music about the Native

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Speaker 2: American character energy that they are wonderful people, the indigenous

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Speaker 2: people of this part of America. And so I was

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Speaker 2: making some music and I'd had a lot of meditation

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Speaker 2: up until that point in time, and I kept seeing

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Speaker 2: this beautiful girl jump up and wave at me halfway

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Speaker 2: through the meditation. And so a friend of mine who

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Speaker 2: worked at BMI, said, I have a friend would like

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Speaker 2: to meet you. She actually writes and organizes the musicians

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Speaker 2: with the company. What's the company called? So the problem, Bob.

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Speaker 1: It'll come to you. It's a mental role there. You

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Speaker 1: got to go through all the pages.

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Speaker 2: No, you know, imagine movies, you imagine the company. She

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Speaker 2: worked for them, and she came to visit me for lunch,

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Speaker 2: and I said I would prepare lunch, and thinking about it,

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Speaker 2: I actually prepared local pizza.

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Speaker 1: Which was a good.

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Speaker 2: And she came in and it was the girl that

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Speaker 2: I've been seeing in my meditation. And I remember just

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Speaker 2: trying to play some music for her but not quite

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Speaker 2: coordinating the idea that I just met somebody I'm going

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Speaker 2: to fall in love with and get married to. And

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Speaker 2: I didn't tell her that, but it just happened to

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Speaker 2: last life. So my wife, Jane and myself got married

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Speaker 2: and we've been together thirty years and we still love

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Speaker 2: each other like crazy.

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Speaker 1: Okay, a couple of things.

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Speaker 2: No, no, no, pardon sorry.

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Speaker 1: Okay, I just want to stop you there. You had

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Speaker 1: a meditation. You saw her? Yeah, she walked in the

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Speaker 1: front door right, a little bit slower. How did the

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Speaker 1: romance begin?

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Speaker 2: Well, I looked at her, sugar Hans saying, I love

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Speaker 2: you we're going to get married. You're incredibly beautiful. I

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Speaker 2: said that in my head. I didn't say it very early. Okay,

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Speaker 2: is that sugar hand, you know? And I was mesmerized.

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Speaker 2: I was totally mesmerized, and thankfully she actually liked me.

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Speaker 2: And then her sister lives in central California and we

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Speaker 2: went up to visit the town of San Luis Obispo,

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Speaker 2: and all of a sudden, I just fell in love

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Speaker 2: with the idea of living in this part of the world.

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Speaker 2: And that was it. And here we are, still thirty

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Speaker 2: years later.

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Speaker 1: Okay, but going back, she comes to your house to

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Speaker 1: hear music. You know you're going to marry her. How

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Speaker 1: do you actually convey to her? How does it become

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Speaker 1: a romance?

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Speaker 2: Well, she said to me. The last thing she said

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Speaker 2: to me was send me a cassette of some of

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Speaker 2: the music, please, because I was working on this music.

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Speaker 2: I said, yeah, I'd love to, so I sent her

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Speaker 2: a cassette but also a note saying, would you like

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Speaker 2: to go to dinner? Would you like to go to

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Speaker 2: the beach, would you like to go and play tennis?

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Speaker 2: Would you like to go and see a movie? I

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Speaker 2: wrote about twenty things you know that we could do together,

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Speaker 2: and she got back to me, here's my phone NUMBERY.

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Speaker 2: She phoned me up and we got together two days

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Speaker 2: later and that was it. Love.

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Speaker 1: Okay, you're British, she's American. You know, it's been thirty

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Speaker 1: years already. But are there any innate differences in people

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Speaker 1: and having a relationship with someone from another country?

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Speaker 2: Yeah, she's smart and I'm a dumb guy. I'm a singer.

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Speaker 2: That's what I do, want a singer in a band.

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Speaker 3: And okay, so you wrote this stuff and then you

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Speaker 3: went on tour with Paul Green's Rod, Right, how did

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Speaker 3: that come together?

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Speaker 2: Well? I met Paul sound twenty twenty some years ago. Actually,

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Speaker 2: I was on tour with Yes for a little while

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Speaker 2: and we're playing at the Philadelphia Forum Spectrum and after

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Speaker 2: the show, came outside the dressing room and there were

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Speaker 2: some young kids, you know, about a dozen kids with

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Speaker 2: T shirts School of Rock. And I said, oh, guys, yes,

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Speaker 2: you're in a rock school. And they looked at me

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Speaker 2: and said, yes we are. And I said what kind

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Speaker 2: of music do you play? We like Frank Zappa and

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Speaker 2: we actually like Yes. And I thought, oh, young kids,

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Speaker 2: how old you? Thirteen? Fourteen? Fifteen year old. And then

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Speaker 2: Paul Green came up and he was the guy who

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Speaker 2: Jack Back Black Pet played in the movie. Paul Green

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Speaker 2: comes up and says, hey, John, how are you doing.

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Speaker 2: These are my students. Would you like to come to

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Speaker 2: Philadelphia and work with these kids? And I said I

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Speaker 2: don't think so. And then a couple of weeks later,

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Speaker 2: he sends me a cassette. In those days we had cassettes,

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Speaker 2: you know, and it was the kids playing Hard at

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Speaker 2: the Sunrise, which is an incredibly difficult piece of music,

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Speaker 2: to say the least. And I called him up and said, well,

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Speaker 2: you didn't tell me they were this good. And he said, listen, John,

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Speaker 2: we're coming to LA in about three days. Would you

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Speaker 2: get up and sing with the band? And I said yeah,

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Speaker 2: because they had a documentary that they were promoting in

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Speaker 2: Los Angeles, So I said, yeah, I'll get up and sing.

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Speaker 2: And it was a great fun They played it so well,

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Speaker 2: the song. And then I struck up a relationship with

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Speaker 2: Paul and he invited me to go to Philadelphia to

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Speaker 2: sort of hang with the kids and sort of teach

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Speaker 2: them a little bit about stage presence and that kind

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Speaker 2: of thing. So I did, so me and Jane went

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Speaker 2: to Philadelphia in the beginning of February, which is the

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Speaker 2: coldest month you can ever go to a city, you know,

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Speaker 2: But we just enjoyed it. I enjoyed it very much.

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Speaker 2: And that's many years ago, twenty four years ago, and

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Speaker 2: so it's life, you know. And then I went on

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Speaker 2: tour with them for a couple of short tours, one

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Speaker 2: in East America and one in the West, and then

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Speaker 2: about ten years later went on tour with them again.

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Speaker 2: Ten years later went on tour with them again, and

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Speaker 2: so I'm staring doing a European tour with them this summer.

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Speaker 2: They're just beautiful, young talented people. What can go wrong?

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Speaker 2: Twenty four young talunted people.

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Speaker 1: Okay, I know they're good because I once did their

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Speaker 1: convention and they played a Frank zappasong. Blew my mind.

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Speaker 1: They even knew it. But okay, they come to you.

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Speaker 1: They're teenagers. It's bad enough being on the road with

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Speaker 1: twenty something musicians. Yeah, what's it like being on the

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Speaker 1: road with all these teenagers.

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Speaker 2: Well, it's great fun because they're young, you know, they're fun,

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Speaker 2: they're hopeful, they're grateful, they're thankful and so on. That's

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Speaker 2: what you are when you're young, when you're fourteen, fifteen, sixteen,

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Speaker 2: you know there's no point in getting around it. They

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Speaker 2: are youthful, joyful and exuberant people and they can play

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Speaker 2: their instruments.

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Speaker 1: Okay, so let's just say you decide you're going to

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Speaker 1: go on the road with them, which you have a

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Speaker 1: number of times. How far in advanced? You give them

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Speaker 1: a set list? If you were to call it, how

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Speaker 1: many songs do they learn? Is a set list? Set

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Speaker 1: in Stone? Yeah?

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Speaker 2: Paul Green is brilliant. He is a real character and

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Speaker 2: quite remarkable teaching young musicians to get their act together,

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Speaker 2: and he does it in such a great way. And

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Speaker 2: he's the guy that says, do you want to do

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Speaker 2: Close to the Air? I just said, yeah, do you

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Speaker 2: want to do on You? And I? Yeah, do you

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Speaker 2: want to do Starship Trooper? Yeah? And you know he

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Speaker 2: just gives me a list, so see, yeah, I'll sing

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Speaker 2: them all. So I got into a thing this last

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Speaker 2: tour we did in August just last year, I said,

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Speaker 2: why do we do some mashups? You know we could

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Speaker 2: do you guys can play Kashmir Zeppelin and it goes

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Speaker 2: straight into long distance run around. So Kashmir happens, and

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Speaker 2: then I started doing a Yes song, and then we

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Speaker 2: started doing Eminem's first hit record. I can't remember what

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Speaker 2: it's called, but it sounds so good when the kids

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Speaker 2: play it, and that goes into Starship Trooper, so you know,

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Speaker 2: it's like you mashed them together, and we did.

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Speaker 1: So. If you're playing cash miror are they playing instrumentally

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Speaker 1: or are you singing.

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Speaker 2: The Robbert player, No, no, no, I'm not singing it.

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Speaker 2: The girl tests brilliant singer. She sings it, and I

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Speaker 2: do some harmony and I'm playing bass very badly.

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Speaker 1: And what keeps you on the road at this point

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Speaker 1: in your life.

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Speaker 2: The adventure of it experiencing audiences. I just finished a

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Speaker 2: tour with the Bang Geeks, a wonderful bunch of musicians

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Speaker 2: who live out of Long Island area of New York,

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Speaker 2: and somebody sent me a video of them performing of

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Speaker 2: All Things Hard at the Sunrise. This is about a

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Speaker 2: year ago, and I kind of freaked out. These guys

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Speaker 2: are so damn good there. It's like note for note

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Speaker 2: exactly correct. They sounded like the Yes of the seventies.

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Speaker 2: So and it wasn't that they just they copied the music,

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Speaker 2: of course, but they didn't sound like the record. They

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Speaker 2: sounded like them performing it with a certain edge to it.

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Speaker 2: So I thought about it for a month or two

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Speaker 2: and called up. I got the phone number of the

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Speaker 2: bass player who runs the show, Richie Castellano, and I said, Richie,

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Speaker 2: how you doing? It's John Anderson. They said, hey, is

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Speaker 2: that you John? I said, yes, me. Why don't we

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Speaker 2: go on the road and do some classics and epics? Richie,

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Speaker 2: he's there. What I want to do is do four

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Speaker 2: epics and the rest of classics. So we do close

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Speaker 2: to the edge gates of Delirium Awaken, which is heaven

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Speaker 2: and ritual from topographic, and we can do that, and

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Speaker 2: then we'll do a bunch of you know, classics like

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Speaker 2: I've seen all good people you know, roundabout that kind

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Speaker 2: of thing. So we put together the show. We just

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Speaker 2: did the twelve shows of on the West Coast about

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Speaker 2: a month ago, two months or six weeks ago, and

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Speaker 2: that was a great, great fun to work with these guys.

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Speaker 2: So hopefully we'll do it every year.

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Speaker 1: Okay, you called yourself, Are you your own manager? How

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Speaker 1: does it work?

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Speaker 2: I'm looking for a manager?

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Speaker 1: Okay, Well you put it out there at this point, Well,

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Speaker 1: you know, someone like you, someone like you at this

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Speaker 1: late date obviously has an opinion on managers.

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Speaker 2: I can't talk about it anymore. That's about it.

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Speaker 1: So what are you looking for?

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Speaker 2: Somebody who understands me, which is a it's a hard

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Speaker 2: it's a hard gig, but very interesting.

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Speaker 1: And then who actually books the tours? You have an agent?

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Speaker 2: Yeah, we have an agent, really great guy, Steve, And

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Speaker 2: of course Paul Green booked the European tour. We start

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Speaker 2: off in Budapest and then we play in Amsterdam, and

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Speaker 2: then we play in Madrid and so on.

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Speaker 1: So when you play these gigs with other either the

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Speaker 1: Long Island Band or the Paul Green Band, Yeah, what's

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Speaker 1: the audience is the audience the fans from the seventies.

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Speaker 2: Who comes combination, you get a lot of you know,

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Speaker 2: you get classic yes fans, you know, and they say, oh,

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Speaker 2: we're going to go and see Johns to sing again,

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Speaker 2: which would be good. And you know, I always put

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Speaker 2: on a good show whenever work. I love it. And

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Speaker 2: you get some young people coming to see these young artists,

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Speaker 2: young teenagers, and they've already done quite a few festivals

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Speaker 2: in Europe over the years. There's a classic Frank Zappa festivals,

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Speaker 2: so everybody goes on in place Frank Zappa, you know.

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Speaker 2: So it's always a lot of fun to to to

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Speaker 2: be around that kind of energy. You're not quite sure

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Speaker 2: the audience are gonna the audience are gonna have a

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Speaker 2: good time because we have a good time. And that's

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Speaker 2: the way I think about music. If you're having a

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Speaker 2: good time, the audience don't get it. And generally it

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Speaker 2: happens that way.

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Speaker 1: And then you know, you were a lot of your

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Speaker 1: success was with the band with multiple members, different song

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Speaker 1: writers the seventies. Accounting to what degree did you get

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Speaker 1: ripped off or you had a fear shake.

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Speaker 2: Rip off? Herdi mean sorry financially, Oh yeah, that happens.

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Speaker 2: You know, nobody escapes that event in the music world,

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Speaker 2: shall we say, or in a kind of world. But

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Speaker 2: it never bothered me that much. I have some funny

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Speaker 2: stories about it, But to me, it was like, you know,

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Speaker 2: you read what you saw.

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Speaker 1: We'll tell a couple of funny stories.

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Speaker 2: No, no, I can't tell you well, no, I can't

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Speaker 2: think about it now.

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Speaker 1: Sorry, Okay, And after all these years, after essentially fifty years,

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Speaker 1: how are you doing financially doing good.

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Speaker 2: You know, We've got a lovely little house here up

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Speaker 2: in the hills away from the village. Who life. You know,

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Speaker 2: it's to noisey down there. So we live on this

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Speaker 2: hill and surrounded by deer and antelope play, you know,

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Speaker 2: with the deer and the antelope play.

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Speaker 1: Yeah, I got the song reference.

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Speaker 2: And I'm creating all the time, music and stories and

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Speaker 2: musicals and all this kind of idea of music being

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Speaker 2: forever broadening your mind and thought and so on. I

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Speaker 2: just feel that I'm doing what I'm supposed to do.

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Speaker 1: Okay, So where exactly did you grow up?

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Speaker 2: Originally in Acrington, which is north of Manchester, twenty nine

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Speaker 2: miles north of Manchester, a little town called Acrington, which

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Speaker 2: is famous for well, probably many things, but the main

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Speaker 2: thing they were famous for Acrington's Stanley football team. They

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Speaker 2: were one of the first eleven teams that created the

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Speaker 2: first league in the history of soccer.

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Speaker 1: And to what degree were you interested in playing soccer?

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Speaker 2: Well, I was the bow boy and I go and

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Speaker 2: get the ball and throw it back on the pitch.

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Speaker 2: I was the ball boy and then but I wanted

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Speaker 2: to play for Akering to the Stanley that was my

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Speaker 2: gig and I had a track suit and I'd play.

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Speaker 2: I'd rehearse when when the players were doing there. What

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Speaker 2: do you call it rehearsal? I suppose it is when

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Speaker 2: they kick the ball around on them on the car park.

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Speaker 2: I'll be there. I'd be there, dribbling away and a

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Speaker 2: little small. I was very small from my age. And

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Speaker 2: the guy who was the trainer of ackering to the

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Speaker 2: Stanley Leslie Leslie Cocker, who eventually became the trainer to

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Speaker 2: England in a World Cup, said to me, John, you're

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Speaker 2: good at dribbling, but you're too small. I think you

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Speaker 2: shouldn't be playing this game. Just be just be a

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Speaker 2: ball boy, okay. And that's what I was. I was

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Speaker 2: happily told you can't play for England, and I thought, okay,

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Speaker 2: so that I'll join my brother's rock and roll band.

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Speaker 2: He had a rock and roll band called the Warriors,

353
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Speaker 2: and there were two singers him, my brother Tony, and

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Speaker 2: this guy called Charlie who actually gave up singing in

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Speaker 2: the band and became a hairdresser. And it just happens

356
00:22:19,760 --> 00:22:22,600
Speaker 2: to be that at that moment in time, the Beatles

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Speaker 2: released a song called Love Me Do and Tony, my

358
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Speaker 2: brother who he sang all the Elvis Presley songs in

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Speaker 2: the band, and I joined the band and started singing

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Speaker 2: Who's that guy with the dark glasses? Roy Orbison? I

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Speaker 2: did all his songs because I'm an auto tenor you

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Speaker 2: see cry cry.

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Speaker 1: Okay, let's come back a little bit. How many kids

364
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Speaker 1: are in the family, three boys and a girl? And

365
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Speaker 1: where were you in the hierarchy?

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Speaker 2: That was the third boy?

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Speaker 1: And what did your parents do for a living?

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Speaker 2: They just had a good time living and my dad

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Speaker 2: was very he was a traveling salesman. There were ballroom

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Speaker 2: champions of Lancashire because there was a big cup on

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Speaker 2: the over the fire place, and they were happy and

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Speaker 2: it was a wonderful life because I worked on the

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Speaker 2: local farm with my brother Tony since I was then

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Speaker 2: ten years old eleven years old, and we sang Heavery

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Speaker 2: brother songs all the time. It was like, you know,

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Speaker 2: in all weathers, I'm serious weather up in the north

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Speaker 2: of England you get a lot of snow, a lot

378
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Speaker 2: of rain, more rain and then a lot of snow,

379
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Speaker 2: then sunny days around Easter. It used to be beautiful.

380
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Speaker 2: But we used to deliver milk, milk the cows shovel

381
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Speaker 2: a lot of cow downg what we call shit, a

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Speaker 2: lot of poop, and I'd shovel it and put it

383
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Speaker 2: in a wheelbarrow and tip it over into the tip

384
00:24:08,760 --> 00:24:12,080
Speaker 2: And all that was used for spreading all over the

385
00:24:12,119 --> 00:24:17,399
Speaker 2: fields to make the grass grow. It's called I can't

386
00:24:17,400 --> 00:24:20,600
Speaker 2: remember what it's called, fertilizer. Fertilizer.

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Speaker 1: Well done, Bob, okay, So let's go back to that era.

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Speaker 1: What kind of kid were you were you? Popular? Good student,

389
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Speaker 1: bad student?

390
00:24:32,400 --> 00:24:34,280
Speaker 2: Well, yeah, I was a nice guy. You know. I

391
00:24:34,359 --> 00:24:38,160
Speaker 2: used to run errands from my mom and do this

392
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Speaker 2: and that and the other, go and play football up

393
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Speaker 2: on the car park with local kids, and play cricket

394
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Speaker 2: even on the car park with local kids. And one

395
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Speaker 2: of the guys that I used to play against lived

396
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Speaker 2: a couple of blocks down the water street. His name

397
00:24:55,760 --> 00:25:00,680
Speaker 2: was David Lloyd and he actually played for England cricket

398
00:25:00,800 --> 00:25:05,440
Speaker 2: Test match. He's one of the most famous commentators now

399
00:25:05,480 --> 00:25:08,280
Speaker 2: in cricket. Sweet guy too.

400
00:25:09,040 --> 00:25:11,520
Speaker 1: So did your parents teach you to dance?

401
00:25:12,600 --> 00:25:17,520
Speaker 2: No, the ballroom dancing, you know, is a different, different world.

402
00:25:17,720 --> 00:25:22,560
Speaker 2: It was all that kind of Fred Astaire type dancing.

403
00:25:23,880 --> 00:25:26,040
Speaker 1: Well, did you have to go to them with them

404
00:25:26,080 --> 00:25:26,800
Speaker 1: to the ballroom.

405
00:25:27,760 --> 00:25:29,680
Speaker 2: Yeah, we could go down the road and watch them

406
00:25:29,720 --> 00:25:33,720
Speaker 2: dance around and it was really beautiful to watch. But

407
00:25:33,800 --> 00:25:36,240
Speaker 2: I was more interested that. By the time I was

408
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Speaker 2: ten eleven, I was interested in being in a band.

409
00:25:40,720 --> 00:25:42,879
Speaker 2: So I joined the band and it was called the

410
00:25:42,960 --> 00:25:47,800
Speaker 2: Little John Skiffle Group, and I played the washboard and

411
00:25:47,840 --> 00:25:52,679
Speaker 2: we were very loud and noisy. Okay, well, American music

412
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Speaker 2: actually a lot of classic American country music.

413
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Speaker 1: You're born just before the Second World War ends? So

414
00:26:01,840 --> 00:26:05,200
Speaker 1: what was life like in the fifties in England for you.

415
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Speaker 2: Delivery milk?

416
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Speaker 1: Well, I mean in terms of a couple of things.

417
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Speaker 1: In terms of music. You look through a US lens,

418
00:26:17,480 --> 00:26:20,720
Speaker 1: we have Ike Turner, Rock Rocket eighty eight, we have

419
00:26:20,840 --> 00:26:24,840
Speaker 1: Rock around the Clock, then we have Elvis and then

420
00:26:25,800 --> 00:26:28,800
Speaker 1: it's sort of a dry period with teen idols, although

421
00:26:28,800 --> 00:26:31,240
Speaker 1: we have the Beach Boys of Four Seasons and then

422
00:26:31,359 --> 00:26:35,520
Speaker 1: come the Beatles. What was it like from a UK viewpoint?

423
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Speaker 2: Well, what hammer was? My brother had a motorbike. He

424
00:26:39,920 --> 00:26:45,479
Speaker 2: actually you ever see Marlon Brando in The Wild Ones Worse? Yeah,

425
00:26:45,600 --> 00:26:49,480
Speaker 2: that's my brother. He had the helmet. Yeah, no, a helmet,

426
00:26:49,560 --> 00:26:52,639
Speaker 2: didn't use a helmet, had a cap, dark glasses and

427
00:26:52,720 --> 00:26:57,200
Speaker 2: a big shield on this motorbike some being motorbike, which

428
00:26:57,280 --> 00:27:02,760
Speaker 2: is like a shaft driven noisy bugger. And he said

429
00:27:02,760 --> 00:27:05,600
Speaker 2: to me, John, we're going to go and see the Beatles.

430
00:27:05,600 --> 00:27:11,960
Speaker 2: They're playing at Southport. And this is like April sixty three, Yeah,

431
00:27:11,960 --> 00:27:15,080
Speaker 2: around that time. I said, okay. So it rained all

432
00:27:15,080 --> 00:27:17,040
Speaker 2: the way there, because you know where I lived, it

433
00:27:17,160 --> 00:27:20,160
Speaker 2: rained all the time, the North Sea or something like that.

434
00:27:20,880 --> 00:27:25,399
Speaker 2: And so we actually went to see the Beatles performing

435
00:27:25,680 --> 00:27:32,040
Speaker 2: in the Floral Hall in Southport in April sixty three.

436
00:27:32,160 --> 00:27:34,800
Speaker 2: And of course we'd heard on the radio Love Me Do,

437
00:27:35,080 --> 00:27:38,200
Speaker 2: and we all liked it, you know, and we sang

438
00:27:38,320 --> 00:27:42,880
Speaker 2: all the way to the gig and went in and

439
00:27:43,040 --> 00:27:46,159
Speaker 2: they're probably about let's say, five hundred and six hundred people,

440
00:27:47,080 --> 00:27:50,040
Speaker 2: mostly guys and a bunch of girls at the front.

441
00:27:50,560 --> 00:27:54,160
Speaker 2: Mostly guys, sort of you know, teenagers. They were called

442
00:27:54,760 --> 00:28:02,480
Speaker 2: you were raither a rocker or hippie. These were sort

443
00:28:02,520 --> 00:28:05,480
Speaker 2: of a mixture, but it was kind of the energy

444
00:28:05,560 --> 00:28:10,800
Speaker 2: was so powerful and the Beatles sounded so amazing that

445
00:28:10,920 --> 00:28:13,640
Speaker 2: you get involved in it. He started shouting and screaming

446
00:28:13,640 --> 00:28:17,600
Speaker 2: after every song. They didn't scream in when they were playing.

447
00:28:17,840 --> 00:28:20,600
Speaker 2: The girls at the front didn't scream. They just waited

448
00:28:20,640 --> 00:28:22,800
Speaker 2: till they finished the song, you know, twists and shout

449
00:28:22,840 --> 00:28:29,680
Speaker 2: and then yeah, wonderful. And it was a revelation for

450
00:28:29,800 --> 00:28:32,199
Speaker 2: me and my brother because we had a band, and

451
00:28:32,240 --> 00:28:34,680
Speaker 2: so we learned all the first album of the Beatles

452
00:28:34,720 --> 00:28:38,200
Speaker 2: and we played that and felt like we were in

453
00:28:38,240 --> 00:28:40,880
Speaker 2: the Beatles sort of. We even had a Beatle air cut.

454
00:28:41,920 --> 00:28:46,000
Speaker 2: And we went to see them about six months later

455
00:28:46,120 --> 00:28:50,520
Speaker 2: in Blackburn, which is only five miles away from Acaring Town,

456
00:28:51,120 --> 00:28:56,760
Speaker 2: and got to the gig and couldn't hear them. Everybody

457
00:28:56,840 --> 00:29:02,040
Speaker 2: was screaming. Everybody was screaming. You could hardly hear them.

458
00:29:02,360 --> 00:29:05,800
Speaker 2: It's fantastic the being with your brother.

459
00:29:05,920 --> 00:29:08,840
Speaker 1: Were you playing gigs out? Were you getting paid or

460
00:29:08,880 --> 00:29:10,040
Speaker 1: you just hauling?

461
00:29:10,480 --> 00:29:15,000
Speaker 2: No? No, no, we got paid. We played working men's clubs,

462
00:29:15,080 --> 00:29:18,080
Speaker 2: very important men's clubs.

463
00:29:18,640 --> 00:29:20,400
Speaker 1: I don't know what a working men's club.

464
00:29:20,240 --> 00:29:23,040
Speaker 2: Is, Okay. Working men's club is when you go there

465
00:29:23,520 --> 00:29:27,000
Speaker 2: and you set up your kid drum kit and your amplifier,

466
00:29:27,400 --> 00:29:29,719
Speaker 2: and then the first person that goes on stage in

467
00:29:29,760 --> 00:29:34,960
Speaker 2: front of about one hundred local people, all drinking a

468
00:29:35,000 --> 00:29:37,520
Speaker 2: lot of beer and the first guy comes on. He's

469
00:29:37,520 --> 00:29:39,880
Speaker 2: a comedian, tells a few jokes and some of them

470
00:29:39,920 --> 00:29:42,640
Speaker 2: dirty and some not, and the crowd are getting h

471
00:29:42,800 --> 00:29:46,680
Speaker 2: it's fantastic. Where's the stripper and this? So the stripper

472
00:29:46,720 --> 00:29:49,360
Speaker 2: comes on and she does her strippering, and then we

473
00:29:49,480 --> 00:29:53,560
Speaker 2: go on after the stripper, and the problem was that

474
00:29:53,640 --> 00:29:56,440
Speaker 2: she would had to come past us in this whole

475
00:29:56,520 --> 00:29:59,080
Speaker 2: way as we were standing there to go on stage,

476
00:30:00,120 --> 00:30:06,120
Speaker 2: to come past naked, and it was frightening, very frightening,

477
00:30:06,520 --> 00:30:12,160
Speaker 2: three young lad like me. Anyway, we go on and

478
00:30:12,200 --> 00:30:14,320
Speaker 2: play four songs, then come back off, and then the

479
00:30:14,320 --> 00:30:17,200
Speaker 2: comedian will go on, then bingo, and then another stripper

480
00:30:17,240 --> 00:30:19,160
Speaker 2: would go on. And that's a working men's club.

481
00:30:20,240 --> 00:30:22,600
Speaker 1: And do you remember how much they would pay the group.

482
00:30:23,120 --> 00:30:29,360
Speaker 2: Five pounds which paid for the petrol and some fish

483
00:30:29,360 --> 00:30:29,840
Speaker 2: and chips.

484
00:30:31,320 --> 00:30:33,760
Speaker 1: Okay, so you work it. How long do you go

485
00:30:33,800 --> 00:30:34,360
Speaker 1: to school?

486
00:30:36,040 --> 00:30:38,160
Speaker 2: Till I was fourteen? And then I said I've had

487
00:30:38,280 --> 00:30:43,240
Speaker 2: enough because I wasn't learning anything in the last two

488
00:30:43,280 --> 00:30:46,000
Speaker 2: months that I was at. The school was actually cool,

489
00:30:46,080 --> 00:30:49,800
Speaker 2: Saint Christopher's, which was kind of nice. The Saint Christopher

490
00:30:49,920 --> 00:30:52,920
Speaker 2: is the patron saint of travel, and that's what I did.

491
00:30:53,480 --> 00:30:56,800
Speaker 2: I traveled. I'm still traveling now.

492
00:30:57,760 --> 00:31:01,560
Speaker 1: Okay, so you're fourteen, you stop going to school. Your

493
00:31:01,600 --> 00:31:02,600
Speaker 1: parents are cool with that.

494
00:31:03,680 --> 00:31:06,960
Speaker 2: Yeah, of course, got a job in the on the farm,

495
00:31:07,000 --> 00:31:10,520
Speaker 2: helping to keep the ball rolling at home, and so.

496
00:31:10,560 --> 00:31:13,600
Speaker 1: You know, okay, you're working on the farm. I've actually

497
00:31:13,640 --> 00:31:16,240
Speaker 1: worked on a farm, and it can be it can

498
00:31:16,320 --> 00:31:20,520
Speaker 1: be very hard work. Yeah, so I can't imagine you're

499
00:31:20,520 --> 00:31:22,960
Speaker 1: working on the farm saying well, this is my future.

500
00:31:23,600 --> 00:31:26,000
Speaker 1: So what was what were you thinking in your brain

501
00:31:26,080 --> 00:31:27,120
Speaker 1: as you're doing all this?

502
00:31:27,800 --> 00:31:31,560
Speaker 2: Well, obviously we had the rock and roll band that

503
00:31:31,600 --> 00:31:38,400
Speaker 2: we play every weekend, and then you know, I don't

504
00:31:38,440 --> 00:31:41,080
Speaker 2: know if you don't think about much other than just

505
00:31:41,520 --> 00:31:45,480
Speaker 2: hearing the next hit song on the radio, learning it

506
00:31:45,640 --> 00:31:49,880
Speaker 2: and going on stage and playing it and just getting

507
00:31:49,920 --> 00:31:53,080
Speaker 2: into the idea of maybe one day we can have

508
00:31:53,120 --> 00:31:56,880
Speaker 2: a hit record. And then this, this, this really happened.

509
00:31:57,320 --> 00:32:00,200
Speaker 2: We were actually rehearsing in our little rehearsal room from

510
00:32:00,280 --> 00:32:04,239
Speaker 2: downtown in Acrington there and this this guy came up

511
00:32:04,240 --> 00:32:07,880
Speaker 2: from Manchester and I think he was They call him

512
00:32:07,960 --> 00:32:10,680
Speaker 2: Jack the Lad, a guy that seems to know everything.

513
00:32:10,800 --> 00:32:13,360
Speaker 2: He came in and heard us playing, he says, I

514
00:32:13,400 --> 00:32:16,520
Speaker 2: think you guys are really good. Do you know do

515
00:32:16,520 --> 00:32:18,200
Speaker 2: you want? Do you want to make a hit record?

516
00:32:18,240 --> 00:32:23,320
Speaker 2: And we said yeah, and they said, well, next Thursday

517
00:32:23,360 --> 00:32:27,040
Speaker 2: can you come down to Manchester and play for my friends.

518
00:32:27,080 --> 00:32:28,680
Speaker 2: I have a couple of friends who've got a lot

519
00:32:28,720 --> 00:32:30,960
Speaker 2: of money and they can make sure you have a

520
00:32:31,040 --> 00:32:36,360
Speaker 2: hit record. And I said that'd be great and Tony said, yeah,

521
00:32:36,480 --> 00:32:41,280
Speaker 2: that'll be really good. He didn't talk, but he said

522
00:32:41,360 --> 00:32:45,360
Speaker 2: it'd be really good. And the guy said, so this Thursday,

523
00:32:45,400 --> 00:32:48,000
Speaker 2: cant can you come down to Manchester and play to

524
00:32:48,120 --> 00:32:52,280
Speaker 2: my two friends? And my brother Tony said no, I'm sorry, No,

525
00:32:52,360 --> 00:32:56,720
Speaker 2: We're playing at baddy Ham working Men's Club and the

526
00:32:56,760 --> 00:33:00,000
Speaker 2: guy said, well cancel it. Oh no, I can't cancel it.

527
00:33:00,240 --> 00:33:04,240
Speaker 2: We promised to go and play and the guy said, well,

528
00:33:04,360 --> 00:33:07,240
Speaker 2: screw You'll go and find another band. So he went

529
00:33:07,280 --> 00:33:10,680
Speaker 2: five miles away to Blackburn and got in touch with

530
00:33:10,720 --> 00:33:13,920
Speaker 2: a band called I'll think about it in a minute

531
00:33:14,120 --> 00:33:22,200
Speaker 2: and uh morton, morton, somebody's more than somebody's five morton. Anyway,

532
00:33:22,520 --> 00:33:25,360
Speaker 2: they were called us something and he went to them

533
00:33:25,720 --> 00:33:28,440
Speaker 2: and within six weeks they were top of the charts

534
00:33:28,480 --> 00:33:32,680
Speaker 2: with a song. Yeah, he actually could do it and

535
00:33:32,480 --> 00:33:36,760
Speaker 2: there was as he could buy anything, you know, and Juliet,

536
00:33:36,840 --> 00:33:45,400
Speaker 2: I think the song was and such wonderful moments in

537
00:33:45,440 --> 00:33:45,920
Speaker 2: my life.

538
00:33:47,640 --> 00:33:50,520
Speaker 1: Okay, so you've missed this big opportunity. What's your first

539
00:33:50,560 --> 00:33:52,280
Speaker 1: break if there is one.

540
00:33:52,600 --> 00:33:59,680
Speaker 2: There wasn't one. I brought my nodded. Well. Basically what

541
00:33:59,720 --> 00:34:04,800
Speaker 2: we did was kind of cool because we decided to

542
00:34:04,880 --> 00:34:10,480
Speaker 2: go to play in clubs in Germany and Scandinavia. It

543
00:34:10,600 --> 00:34:13,960
Speaker 2: was the way to be able to learn your trade

544
00:34:13,960 --> 00:34:17,960
Speaker 2: if you like, you know, you go and play in Cologne, Frankfurt,

545
00:34:19,239 --> 00:34:26,200
Speaker 2: Hamburg and then Helsinki and you do two weeks in

546
00:34:26,239 --> 00:34:30,680
Speaker 2: each a city and they go around. You go round

547
00:34:30,719 --> 00:34:33,799
Speaker 2: and round doing that. And of course that was an

548
00:34:33,920 --> 00:34:37,360
Speaker 2: incredible time. It was like the mid sixties. There was

549
00:34:37,400 --> 00:34:41,600
Speaker 2: so much music around everywhere you looked and listened. It

550
00:34:41,640 --> 00:34:46,160
Speaker 2: was great music. And we became a good band, you

551
00:34:46,160 --> 00:34:51,400
Speaker 2: know at that time, I thought, and we were doing

552
00:34:52,480 --> 00:34:57,240
Speaker 2: basically you played from seven to midnight and fifteen minute

553
00:34:57,280 --> 00:35:01,760
Speaker 2: breaks and the the manager of the club will definitely

554
00:35:01,760 --> 00:35:04,799
Speaker 2: give you some pills to keep you awake. So we

555
00:35:04,840 --> 00:35:08,439
Speaker 2: started on that train of let's take a pill now man,

556
00:35:08,600 --> 00:35:10,600
Speaker 2: you know, he said, yeah, but you're not supposed to

557
00:35:10,680 --> 00:35:12,759
Speaker 2: take into later on in the night. No, I want

558
00:35:12,760 --> 00:35:17,480
Speaker 2: to take it now. It makes me speed. It's called speed,

559
00:35:18,200 --> 00:35:20,080
Speaker 2: and that's what we all did. And we did all

560
00:35:20,120 --> 00:35:22,800
Speaker 2: these gigs around and round and around, go around in circles.

561
00:35:22,880 --> 00:35:27,040
Speaker 2: And then the greatest thing that happened was Sergeant Pepper

562
00:35:27,080 --> 00:35:32,719
Speaker 2: came out. So by then we were on speed marijuana.

563
00:35:34,239 --> 00:35:40,320
Speaker 2: It's called hashies in Europe and LSD. I said, okay,

564
00:35:40,400 --> 00:35:46,360
Speaker 2: let's try this stuff. And then we put on Sergeant Pepper.

565
00:35:47,280 --> 00:35:51,239
Speaker 2: That really blew everybody's mind in the world, I think,

566
00:35:51,960 --> 00:35:56,720
Speaker 2: because it was brilliant. I just wanted to be a beetle.

567
00:35:59,239 --> 00:36:02,320
Speaker 1: How did you get the these gigs in Germany and Scandinavia.

568
00:36:02,600 --> 00:36:06,160
Speaker 2: Oh, there's an agent. There's always an agent. There's always somebody,

569
00:36:06,280 --> 00:36:08,440
Speaker 2: you know, you ask ask around, you know.

570
00:36:11,200 --> 00:36:14,640
Speaker 1: Okay, you hear Sergeant Pepper, which really was mind blowing,

571
00:36:15,120 --> 00:36:17,120
Speaker 1: especially there were no singles on it. It was a

572
00:36:17,160 --> 00:36:22,880
Speaker 1: thing to itself. And you're doing these European tours. What's

573
00:36:22,920 --> 00:36:24,000
Speaker 1: the next step for you?

574
00:36:25,760 --> 00:36:31,720
Speaker 2: Well, the next step was we we we played show

575
00:36:32,680 --> 00:36:41,000
Speaker 2: in Sweden, No Copenhagen, beautiful place, and we had to

576
00:36:41,040 --> 00:36:42,960
Speaker 2: do this one more show. Before we went to the

577
00:36:43,000 --> 00:36:47,000
Speaker 2: next town, which was Clone, and then down to Munich

578
00:36:47,040 --> 00:36:50,640
Speaker 2: and then up to Hamburg, same same thing. And I

579
00:36:50,760 --> 00:36:54,240
Speaker 2: just hattened to take Lstta and I went to see

580
00:36:55,560 --> 00:37:00,800
Speaker 2: one of the greatest movies ever. It was Dr Schivago,

581
00:37:02,560 --> 00:37:05,360
Speaker 2: so Doctor Chibago. I was so in love with that woman,

582
00:37:05,400 --> 00:37:12,279
Speaker 2: whatever her name was. Anyway, I went to see that

583
00:37:12,400 --> 00:37:15,680
Speaker 2: and then went to the gig, and I noticed that

584
00:37:15,719 --> 00:37:20,640
Speaker 2: everybody in the band takes somewhere ste so we'd look

585
00:37:20,680 --> 00:37:22,839
Speaker 2: at each other. We're supposed to be playing music. We're

586
00:37:22,880 --> 00:37:25,399
Speaker 2: standing there on the stage and there's people looking at

587
00:37:25,480 --> 00:37:28,840
Speaker 2: us saying, well, come on, then get on with the music.

588
00:37:28,880 --> 00:37:31,239
Speaker 2: And we're all looking at each other saying, how do

589
00:37:31,320 --> 00:37:35,880
Speaker 2: we do this? We couldn't put it together, you know, mentally,

590
00:37:36,160 --> 00:37:39,600
Speaker 2: we couldn't put it together. It's just not possible. So

591
00:37:39,680 --> 00:37:41,920
Speaker 2: the guy fired us and we went down to Cologne

592
00:37:41,960 --> 00:37:46,839
Speaker 2: and carried on with doing seven hours of singing and

593
00:37:46,880 --> 00:37:51,520
Speaker 2: playing every night. And then one day I just had

594
00:37:51,520 --> 00:37:57,200
Speaker 2: a vision, a musical vision, and I just had this

595
00:37:57,320 --> 00:37:59,880
Speaker 2: idea we were a pretty good band. I thought we

596
00:37:59,880 --> 00:38:03,240
Speaker 2: were a pretty good band of warriors, you know, And

597
00:38:03,760 --> 00:38:09,160
Speaker 2: so I went to the bedroom and woke everybody up. Say,

598
00:38:09,360 --> 00:38:14,160
Speaker 2: come on, guys, let's rehearse. Guys, go away, John please,

599
00:38:15,880 --> 00:38:21,480
Speaker 2: they all said, in unison and go away. But guys,

600
00:38:21,800 --> 00:38:24,399
Speaker 2: we've got to rehearse. Man. We can be really good.

601
00:38:24,440 --> 00:38:27,320
Speaker 2: I've got some ideas musically. We could do a little

602
00:38:27,320 --> 00:38:31,919
Speaker 2: bit of John. Will you go away please? They said

603
00:38:31,960 --> 00:38:36,120
Speaker 2: in unison, And I said, okay, I'm packing my bags,

604
00:38:36,120 --> 00:38:40,960
Speaker 2: I'm leaving, which I did. I left, I got my

605
00:38:41,000 --> 00:38:45,239
Speaker 2: suitcase and I went to Munich. And the rest is

606
00:38:45,239 --> 00:38:49,560
Speaker 2: in my autobiography. It's a good story though.

607
00:38:51,200 --> 00:38:53,960
Speaker 1: Okay, at what point in this story do you start

608
00:38:54,040 --> 00:38:56,280
Speaker 1: playing original material?

609
00:38:57,800 --> 00:39:02,239
Speaker 2: Probably not until I got to London. I was a

610
00:39:02,280 --> 00:39:05,520
Speaker 2: couple of great things happened where I had a visitation.

611
00:39:07,280 --> 00:39:11,480
Speaker 2: Where I was sitting in this beautiful English gardens in Munich,

612
00:39:12,000 --> 00:39:15,640
Speaker 2: and I was mumbling to myself over and over why

613
00:39:15,680 --> 00:39:16,160
Speaker 2: am I here?

614
00:39:17,239 --> 00:39:17,479
Speaker 1: Why?

615
00:39:19,120 --> 00:39:21,399
Speaker 2: Why am I here? What am I supposed to be doing?

616
00:39:21,480 --> 00:39:26,120
Speaker 2: What's going on? What's going on? And the voice said, John,

617
00:39:27,880 --> 00:39:34,040
Speaker 2: nothing matters? And I thought, who the heck was that.

618
00:39:34,160 --> 00:39:36,400
Speaker 2: There's nobody around me. I'm in the middle of a garden.

619
00:39:37,160 --> 00:39:45,319
Speaker 2: And the voice said, John, nothing matters. Well, that did it?

620
00:39:45,760 --> 00:39:51,800
Speaker 2: I said, Oh, my god, somebody's watching me or watching

621
00:39:51,840 --> 00:39:54,440
Speaker 2: over me. What the heck's going on? I'm thinking. But

622
00:39:54,560 --> 00:39:59,560
Speaker 2: something really beautiful happened that I ran to the department

623
00:39:59,560 --> 00:40:02,920
Speaker 2: that I was staying in and there was a telegram

624
00:40:02,960 --> 00:40:05,160
Speaker 2: on the floor. When I opened the door, the telegram

625
00:40:05,320 --> 00:40:08,959
Speaker 2: who was from my mom and it said, John, there's

626
00:40:08,960 --> 00:40:11,479
Speaker 2: a band in Frankfurt want you to sing with them,

627
00:40:12,239 --> 00:40:15,120
Speaker 2: and here's the number. And that was it. It was like,

628
00:40:15,800 --> 00:40:19,319
Speaker 2: somebody wants me, because that's why I was so screwed up.

629
00:40:19,360 --> 00:40:21,839
Speaker 2: I just thought nobody wanted me, but they did, and

630
00:40:21,880 --> 00:40:23,680
Speaker 2: I went to work with them for three months, and

631
00:40:23,719 --> 00:40:27,320
Speaker 2: then I went to London and that's where I met Chris.

632
00:40:28,160 --> 00:40:29,440
Speaker 1: How did you meet Chris Squire?

633
00:40:30,200 --> 00:40:33,480
Speaker 2: Well, I was working at a bar over the Marquee Club,

634
00:40:33,840 --> 00:40:37,600
Speaker 2: a very famous club in London, and all the people

635
00:40:37,600 --> 00:40:40,840
Speaker 2: that played the Marquee came up to the club, you know, normal,

636
00:40:41,560 --> 00:40:44,799
Speaker 2: and I clean up and wash up and help help

637
00:40:44,840 --> 00:40:51,480
Speaker 2: around to survive, and you know, people like who they

638
00:40:51,600 --> 00:40:57,280
Speaker 2: wander in have a few drinks and then even everybody

639
00:40:57,280 --> 00:41:01,239
Speaker 2: who played at the Marquee Club would pop up to

640
00:41:01,239 --> 00:41:06,640
Speaker 2: the club and he met all the greats at that period.

641
00:41:06,760 --> 00:41:11,080
Speaker 2: It was like sixty eight sixty nine. So I was

642
00:41:11,120 --> 00:41:15,040
Speaker 2: there cleaning up one evening and the guy that ran

643
00:41:15,080 --> 00:41:19,600
Speaker 2: the club, a really nice guy, said, I know you're

644
00:41:19,640 --> 00:41:22,080
Speaker 2: looking for a band, John. I said, yeah, I'm looking

645
00:41:22,080 --> 00:41:23,959
Speaker 2: for a band. I said, well, there's a bass player

646
00:41:24,040 --> 00:41:26,440
Speaker 2: over there. I think he might be looking for a singer.

647
00:41:27,280 --> 00:41:30,040
Speaker 2: I thought, okay. So I went toward to this very

648
00:41:30,080 --> 00:41:32,719
Speaker 2: tall guy and said, Hi, my name is John and

649
00:41:32,719 --> 00:41:36,080
Speaker 2: he said my name is Cruse. And I said, so

650
00:41:36,160 --> 00:41:39,640
Speaker 2: you have a band. He said you're what's the band called?

651
00:41:39,640 --> 00:41:46,319
Speaker 2: He said Mabel Greer's Toy Shop. Oh really, yeah, what

652
00:41:46,360 --> 00:41:48,040
Speaker 2: do you want to do? I said, well, I love

653
00:41:48,120 --> 00:41:53,040
Speaker 2: singing and I love pu you know Paul McCartney. Of course,

654
00:41:53,080 --> 00:41:56,440
Speaker 2: you know. I liked his voice and my voice is

655
00:41:56,520 --> 00:42:01,040
Speaker 2: high like that. And he said what kind of music

656
00:42:01,080 --> 00:42:02,799
Speaker 2: do you listen to? Though? I said, oh, I love

657
00:42:02,880 --> 00:42:05,560
Speaker 2: Simon and gar Phone Call. I think all Simon's really

658
00:42:05,600 --> 00:42:09,040
Speaker 2: got his chops together a songwriting wise, you know. And

659
00:42:09,080 --> 00:42:11,799
Speaker 2: they said do you write songs? And said, well, mess

660
00:42:11,840 --> 00:42:15,200
Speaker 2: around with my guitar. I'm not not good. He said, well,

661
00:42:15,200 --> 00:42:19,480
Speaker 2: why did you come to rehearsals of my band Mabel

662
00:42:19,560 --> 00:42:25,040
Speaker 2: Greeners Toy Shop tomorrow and I said okay. Then, and

663
00:42:25,400 --> 00:42:27,640
Speaker 2: before before we partied, he said, why don't we come

664
00:42:27,680 --> 00:42:31,040
Speaker 2: back to my appointment, Well, we'll jam and we wrote

665
00:42:31,040 --> 00:42:34,080
Speaker 2: a couple of songs and I thought, this guy's really nice,

666
00:42:34,160 --> 00:42:36,680
Speaker 2: you know. And the following day I went to the

667
00:42:37,000 --> 00:42:43,800
Speaker 2: rehearsal place to work with his band Match and the

668
00:42:43,880 --> 00:42:50,360
Speaker 2: drummers left because he was getting paid. Nobody got paid

669
00:42:50,360 --> 00:42:53,680
Speaker 2: in this band. But he went to Paris to work

670
00:42:53,719 --> 00:42:57,759
Speaker 2: in another band. So I got a copy of the Maybe,

671
00:43:00,400 --> 00:43:03,479
Speaker 2: I got a copy of Melody Maker, and I looked

672
00:43:03,480 --> 00:43:08,480
Speaker 2: for drummer looking for band, and there it was as

673
00:43:08,560 --> 00:43:12,040
Speaker 2: a love Week kit and a van. My name is

674
00:43:12,080 --> 00:43:17,280
Speaker 2: Bill Bruford, I said, he's the guy. So we phoned

675
00:43:17,360 --> 00:43:19,520
Speaker 2: him up and he came the following day and he

676
00:43:19,640 --> 00:43:22,640
Speaker 2: joined the band. And then the question was, well, what

677
00:43:22,640 --> 00:43:27,920
Speaker 2: are we going to call ourselves? Because Chris said, well,

678
00:43:28,040 --> 00:43:31,480
Speaker 2: maybe Grease Toy Shop is pretty cool, and I said no,

679
00:43:33,600 --> 00:43:36,919
Speaker 2: the best band that I ever heard was an Irish name,

680
00:43:37,080 --> 00:43:42,879
Speaker 2: an Irish band. They called themselves the Do you remember then?

681
00:43:43,080 --> 00:43:47,160
Speaker 2: Of course that I thought that was perfect, very Irish.

682
00:43:48,920 --> 00:43:53,880
Speaker 2: So we rehearsed and rehearsed and did a show. We

683
00:43:53,960 --> 00:43:57,680
Speaker 2: did most of the show, just doing a funky version

684
00:43:57,760 --> 00:43:59,880
Speaker 2: of Midnight Hour.

685
00:44:01,680 --> 00:44:04,440
Speaker 1: And at this point we're Tony and Peter in the band.

686
00:44:05,680 --> 00:44:08,800
Speaker 2: Tony who oh Tony? Yeah, Tony was a keyboard player.

687
00:44:08,920 --> 00:44:13,840
Speaker 2: Peter Banks was the guitar player. Yeah, it's just the

688
00:44:13,920 --> 00:44:18,759
Speaker 2: drummer left. How would I get a thing or you know?

689
00:44:19,520 --> 00:44:21,880
Speaker 2: But yeah, you believe you know, that's basically it.

690
00:44:23,400 --> 00:44:26,160
Speaker 1: So you play this funky version of in the Midnight Hour?

691
00:44:26,520 --> 00:44:27,040
Speaker 2: Yeah?

692
00:44:28,480 --> 00:44:29,920
Speaker 1: Where does it go from there?

693
00:44:30,080 --> 00:44:32,520
Speaker 2: For about an hour, well, we just had to make

694
00:44:32,600 --> 00:44:35,720
Speaker 2: up time. We knew four songs, one of them we'd

695
00:44:36,080 --> 00:44:40,040
Speaker 2: written I'd written with the with Chris that first night,

696
00:44:40,600 --> 00:44:43,440
Speaker 2: and then another song that Chris had, and then we

697
00:44:43,920 --> 00:44:48,799
Speaker 2: did Midnight Hour. It was just a show tour. It

698
00:44:48,920 --> 00:44:52,160
Speaker 2: was just our first show together and we thought we

699
00:44:52,160 --> 00:44:55,920
Speaker 2: were pretty good, you know, And.

700
00:44:55,920 --> 00:44:58,080
Speaker 1: How does it become yes? And how do you get

701
00:44:58,120 --> 00:44:58,839
Speaker 1: a record deal?

702
00:44:59,400 --> 00:45:05,160
Speaker 2: Well that's story. And it was just generally okay, everybody

703
00:45:05,200 --> 00:45:08,759
Speaker 2: put a name of the band in a art. Okay,

704
00:45:09,440 --> 00:45:12,560
Speaker 2: because I started to become the boss, they used to

705
00:45:12,560 --> 00:45:17,480
Speaker 2: call me Napoleon because I was small, and so I'd organized.

706
00:45:17,480 --> 00:45:20,399
Speaker 2: I said, okay, everybody write down a name. I wrote

707
00:45:20,440 --> 00:45:25,000
Speaker 2: down World. Chris wrote down live, it's gotta be short,

708
00:45:25,640 --> 00:45:29,520
Speaker 2: and Peter Banks wrote down yes, and that was it

709
00:45:30,000 --> 00:45:33,520
Speaker 2: because we went through, we went through what we put

710
00:45:33,560 --> 00:45:34,759
Speaker 2: in there with what's this?

711
00:45:35,080 --> 00:45:35,319
Speaker 1: Yes?

712
00:45:36,000 --> 00:45:39,840
Speaker 2: Is it the yes? Peter said no, no, it's just yes,

713
00:45:41,239 --> 00:45:46,759
Speaker 2: and we looked at each other and said, yes, that

714
00:45:46,920 --> 00:45:47,239
Speaker 2: was it.

715
00:45:54,160 --> 00:45:56,840
Speaker 1: Okay, you have a name, you played one gig long

716
00:45:56,960 --> 00:45:59,560
Speaker 1: version of Midnight Hour. How do you end up getting

717
00:45:59,600 --> 00:46:00,840
Speaker 1: a record deal with Atlantic?

718
00:46:01,600 --> 00:46:07,480
Speaker 2: Oh, that's that's another story. The great thing happened was

719
00:46:10,080 --> 00:46:14,040
Speaker 2: Ertigan is coming from New York to see you guys.

720
00:46:14,840 --> 00:46:17,799
Speaker 1: That was wait wait wait wait wait, that's a big thing.

721
00:46:18,120 --> 00:46:21,400
Speaker 1: You're nobody's who is the connection with Armit?

722
00:46:21,920 --> 00:46:26,759
Speaker 2: Okay, here's the story. So what happened was we were

723
00:46:26,800 --> 00:46:30,720
Speaker 2: doing pretty good. We started doing gigs in and around London.

724
00:46:31,000 --> 00:46:33,120
Speaker 2: We did some of Manchester and then we did some

725
00:46:33,280 --> 00:46:39,160
Speaker 2: up north and of England and we were we got tired,

726
00:46:39,440 --> 00:46:42,640
Speaker 2: you know, we started playing good and you know, Bill

727
00:46:42,719 --> 00:46:47,120
Speaker 2: and Chris were really rocking and we got going and uh,

728
00:46:48,480 --> 00:46:51,440
Speaker 2: I go to a phone call from our friend who

729
00:46:51,680 --> 00:46:57,760
Speaker 2: ran that club, the Shaft Club, Chase, and he said this,

730
00:46:57,760 --> 00:47:00,920
Speaker 2: this guy wants your phone number. We have phone numbers,

731
00:47:00,920 --> 00:47:02,680
Speaker 2: He said, can you can you phone him? He wants

732
00:47:02,719 --> 00:47:06,800
Speaker 2: to see if you can play tonight at the the

733
00:47:07,560 --> 00:47:13,120
Speaker 2: pretty famous speakeasy club in London. And he said, they

734
00:47:13,200 --> 00:47:17,040
Speaker 2: want you to play tonight because the band that's supposed

735
00:47:17,080 --> 00:47:20,640
Speaker 2: to be there just got stopped from getting on a

736
00:47:20,680 --> 00:47:26,320
Speaker 2: plane in New York. And we said, so who who

737
00:47:26,360 --> 00:47:29,960
Speaker 2: who do How are we going to replace? He said,

738
00:47:32,840 --> 00:47:36,160
Speaker 2: somebody in the Family Tree and we said, what the

739
00:47:36,200 --> 00:47:38,920
Speaker 2: heck's that? There's a band called the Family So we

740
00:47:39,000 --> 00:47:42,239
Speaker 2: got went to the club and started setting god to

741
00:47:42,239 --> 00:47:44,680
Speaker 2: do our little show that we had, and all of

742
00:47:44,760 --> 00:47:47,440
Speaker 2: a sudden people started coming in there row people at

743
00:47:47,480 --> 00:47:51,120
Speaker 2: Pete Townshend came in and a couple of other guys

744
00:47:52,239 --> 00:47:56,560
Speaker 2: from the big bands, and I said, who are we replacing?

745
00:47:57,440 --> 00:48:03,880
Speaker 2: Said Slide in the Family Stone? Oh fuck, what are

746
00:48:03,920 --> 00:48:06,799
Speaker 2: we gonna do? Well, let's just play, man, Let's just

747
00:48:06,920 --> 00:48:09,680
Speaker 2: do it. Let's just do it, and people, Paul McCart,

748
00:48:09,719 --> 00:48:12,760
Speaker 2: it was all these people came, these droves of people

749
00:48:12,840 --> 00:48:17,319
Speaker 2: came to see Sli in the Family Stone. So we

750
00:48:17,360 --> 00:48:20,839
Speaker 2: did our show. You know, we were we were kind

751
00:48:20,840 --> 00:48:24,520
Speaker 2: of nervous and frightened, but we played hard and we

752
00:48:24,640 --> 00:48:29,320
Speaker 2: got it there. The show a midnight hour yeah, that'll

753
00:48:29,320 --> 00:48:32,799
Speaker 2: do it. I can't remember the songs that we were doing,

754
00:48:32,840 --> 00:48:35,280
Speaker 2: but we were doing some good, good music at that time.

755
00:48:35,840 --> 00:48:42,399
Speaker 2: We're doing actually variations on kind of themes like Yes

756
00:48:42,480 --> 00:48:46,520
Speaker 2: became famous for, which is creating introductions to a song

757
00:48:46,640 --> 00:48:49,759
Speaker 2: and then middle sections and building it up and you know,

758
00:48:49,920 --> 00:48:54,600
Speaker 2: like structure using structure, And it kind of worked and

759
00:48:55,280 --> 00:48:57,800
Speaker 2: went down very well, and we passed a lot of

760
00:48:57,880 --> 00:49:01,160
Speaker 2: joints around it and make sure everybody was happy in

761
00:49:01,160 --> 00:49:05,880
Speaker 2: the Stone. Oh boy, what a night. And that was

762
00:49:05,920 --> 00:49:09,839
Speaker 2: the beginning of our friendship with the manager of that

763
00:49:09,960 --> 00:49:15,920
Speaker 2: club and a really sweet guy, and he was the

764
00:49:15,920 --> 00:49:19,200
Speaker 2: one that got in touch with somebody Atlantic Records, and

765
00:49:19,239 --> 00:49:22,239
Speaker 2: they said, we heard about what happened you. You did

766
00:49:22,239 --> 00:49:26,000
Speaker 2: a great job for sliding the family Stone and Roy

767
00:49:26,440 --> 00:49:30,480
Speaker 2: Roy was the manager, and he said, I think I

768
00:49:30,560 --> 00:49:33,920
Speaker 2: might be able to get you to meet rma Urtigan

769
00:49:34,760 --> 00:49:39,880
Speaker 2: and maybe you could be on Atlantic Records. And I thought,

770
00:49:40,840 --> 00:49:44,600
Speaker 2: any record come pretty I don't care who it is,

771
00:49:45,320 --> 00:49:47,520
Speaker 2: but we need to make a record sort of thing

772
00:49:47,920 --> 00:49:50,160
Speaker 2: because I thought we were playing pretty good on stage.

773
00:49:50,160 --> 00:49:52,320
Speaker 2: It would be good to record some of the show,

774
00:49:54,719 --> 00:49:56,239
Speaker 2: put it out as a record and see how we

775
00:49:56,680 --> 00:49:58,239
Speaker 2: go and We had a couple of songs that we

776
00:49:58,280 --> 00:50:05,200
Speaker 2: thought were commercial but not really, and I think commercial

777
00:50:05,480 --> 00:50:09,640
Speaker 2: became sort of dare I say a nasty word in

778
00:50:09,640 --> 00:50:13,120
Speaker 2: my mind, We're never going to be commercial. I don't

779
00:50:13,160 --> 00:50:16,040
Speaker 2: want to be commercial. I'm too old. I was twenty

780
00:50:16,080 --> 00:50:16,839
Speaker 2: seven years old.

781
00:50:17,000 --> 00:50:17,239
Speaker 1: Something.

782
00:50:18,280 --> 00:50:20,360
Speaker 2: I feel too old. I don't want to be a

783
00:50:20,400 --> 00:50:24,279
Speaker 2: pop star sort of thing. So we carried along the

784
00:50:24,400 --> 00:50:28,120
Speaker 2: train of writing music that became a time in a

785
00:50:28,200 --> 00:50:30,680
Speaker 2: word and things like that. From the second album. I

786
00:50:30,680 --> 00:50:33,840
Speaker 2: can't remember much about the first album, even though.

787
00:50:33,920 --> 00:50:35,839
Speaker 1: Okay, I got a few questions about the first album. Okay,

788
00:50:35,880 --> 00:50:39,080
Speaker 1: so we get there, Ahmed comes to see you, and

789
00:50:39,120 --> 00:50:40,080
Speaker 1: then what happens.

790
00:50:40,400 --> 00:50:45,600
Speaker 2: Oh, I've mentioned this many times and I'll mention it again.

791
00:50:46,120 --> 00:50:54,040
Speaker 2: Well armored, incredibly dressed, very Turkish guy, beautiful, he looked immaculate,

792
00:50:54,760 --> 00:50:59,959
Speaker 2: like a million bucks. And he was producing the great people,

793
00:51:00,040 --> 00:51:02,680
Speaker 2: oh you know he was at that time. He was

794
00:51:02,719 --> 00:51:08,000
Speaker 2: producing Ray Charles and of course I wish I could

795
00:51:08,000 --> 00:51:10,960
Speaker 2: remember their names. How we'll do in a minute, all

796
00:51:11,000 --> 00:51:14,759
Speaker 2: the great people that were on Atlancet Records. Unbelievable, And

797
00:51:14,800 --> 00:51:18,000
Speaker 2: he came to see us. Anyway, we played our little

798
00:51:18,080 --> 00:51:21,560
Speaker 2: four songs and I went to the lute, have a

799
00:51:21,640 --> 00:51:25,520
Speaker 2: p and Roy happily comes running in and starts with

800
00:51:25,600 --> 00:51:28,040
Speaker 2: a peer. I said, John, I'm really going to get

801
00:51:28,080 --> 00:51:31,200
Speaker 2: this guy, this American guy. I'm gonna make sure you

802
00:51:31,239 --> 00:51:33,040
Speaker 2: can make a lot of money. I'm going to get

803
00:51:33,040 --> 00:51:35,640
Speaker 2: you the best contract. And at that moment in time,

804
00:51:36,120 --> 00:51:39,080
Speaker 2: somebody pulled the chain in the toilet next to us,

805
00:51:39,560 --> 00:51:44,799
Speaker 2: and out it comes home. A article said, oh, well

806
00:51:44,800 --> 00:51:52,080
Speaker 2: that blew that. Oh that's a great story, so it is.

807
00:51:52,160 --> 00:51:52,719
Speaker 1: Interested.

808
00:51:53,400 --> 00:51:57,719
Speaker 2: Yeah, he signed us up for ten years, you know,

809
00:51:58,200 --> 00:52:00,560
Speaker 2: three points whatever it was in those days. But we

810
00:52:01,120 --> 00:52:05,200
Speaker 2: managed to slowly but surely get better deal along the way.

811
00:52:05,239 --> 00:52:08,040
Speaker 2: When it took us a couple of albums to make

812
00:52:08,080 --> 00:52:11,120
Speaker 2: any sense about what we're doing. And then we did

813
00:52:11,120 --> 00:52:14,040
Speaker 2: the Yes album, and that was really when we sort

814
00:52:14,080 --> 00:52:18,680
Speaker 2: of felt we're in the game. We're in the game.

815
00:52:19,719 --> 00:52:21,760
Speaker 2: We're hammling okay, tour.

816
00:52:22,160 --> 00:52:24,279
Speaker 1: Well, let's start with the first album, which is where

817
00:52:24,280 --> 00:52:28,640
Speaker 1: I come in. How'd you decide to cover every little

818
00:52:28,680 --> 00:52:29,959
Speaker 1: thing by the Beatles?

819
00:52:30,440 --> 00:52:35,040
Speaker 2: Every little thing she does? It's a great song, you know,

820
00:52:35,200 --> 00:52:38,399
Speaker 2: and we did it very well. You know. That's when

821
00:52:38,520 --> 00:52:44,560
Speaker 2: Yes started to sort of expand an original song into

822
00:52:44,560 --> 00:52:48,600
Speaker 2: something a little bit more rocking and jiving or whatever.

823
00:52:49,920 --> 00:52:54,280
Speaker 2: Dun but that was the whole idea. I think Chris

824
00:52:54,400 --> 00:52:59,000
Speaker 2: was brilliant at letting me, you know, listening to me,

825
00:52:59,680 --> 00:53:02,680
Speaker 2: and then letting the band try it out, because you know,

826
00:53:02,800 --> 00:53:06,399
Speaker 2: there was not doubters at all. They just say, John,

827
00:53:06,880 --> 00:53:09,239
Speaker 2: why do you want to do this? Why do you

828
00:53:09,280 --> 00:53:12,399
Speaker 2: want to do this? And I'd say, just try it out,

829
00:53:13,880 --> 00:53:17,680
Speaker 2: just try it out. So we had a song that

830
00:53:17,760 --> 00:53:21,440
Speaker 2: I was writing, yours Notice Grace, and they're trying to

831
00:53:21,520 --> 00:53:25,359
Speaker 2: start a beginning of it. Anyway, that's the third album.

832
00:53:26,480 --> 00:53:28,800
Speaker 1: So on the first album, you do that every little

833
00:53:28,840 --> 00:53:31,040
Speaker 1: thing that was not you know, there are certain songs

834
00:53:31,040 --> 00:53:32,719
Speaker 1: by the Beatles that are covered all the time. I

835
00:53:32,760 --> 00:53:35,399
Speaker 1: didn't know another cover at that particular point in time,

836
00:53:35,640 --> 00:53:37,960
Speaker 1: and you rearranged it and made it your own. I

837
00:53:37,960 --> 00:53:39,959
Speaker 1: mean it was just utterly fantastic.

838
00:53:40,200 --> 00:53:44,600
Speaker 2: Yeah, that was part of my experience of listening to

839
00:53:44,920 --> 00:53:47,359
Speaker 2: at that time. I was listening to a lot of

840
00:53:48,760 --> 00:53:53,000
Speaker 2: music by no I hadn't got to Sibelius by them,

841
00:53:53,040 --> 00:53:56,799
Speaker 2: but I'd listened to the Planet Suite and things like that,

842
00:53:56,960 --> 00:54:02,239
Speaker 2: the very commercial symphonic music and drag ideas out of

843
00:54:02,280 --> 00:54:05,400
Speaker 2: that and who is it did that as well, King Curmson.

844
00:54:05,440 --> 00:54:09,480
Speaker 2: You know, they were doing all sorts of stravinskyisms here there.

845
00:54:09,520 --> 00:54:14,279
Speaker 2: Everybod started listening to the classic music was written one

846
00:54:14,360 --> 00:54:18,279
Speaker 2: hundred fifty years ago, fifty years ago, symphonic music, and

847
00:54:18,320 --> 00:54:21,759
Speaker 2: they try to bring it into the modern rock and roll.

848
00:54:21,800 --> 00:54:24,760
Speaker 2: And that's basically what happened. It was just the idea

849
00:54:24,800 --> 00:54:29,120
Speaker 2: of structure. Structure will make it work. If you've got

850
00:54:29,120 --> 00:54:31,000
Speaker 2: a good intro, you can always play in the middle

851
00:54:31,000 --> 00:54:33,680
Speaker 2: and then at the end, you know, okay.

852
00:54:34,160 --> 00:54:36,520
Speaker 1: But there are some originals on that first album I

853
00:54:36,520 --> 00:54:40,480
Speaker 1: think are just great yesterday and today looking around.

854
00:54:40,719 --> 00:54:47,600
Speaker 2: Survival, Yeah, I love Survival. Survival that story. That's going

855
00:54:47,640 --> 00:54:53,680
Speaker 2: to be my title of my autobiography, Survival and other Stories.

856
00:54:55,120 --> 00:54:59,200
Speaker 1: So the first album comes out, I mean it was

857
00:54:59,239 --> 00:55:01,719
Speaker 1: like a mystery in America. I was actually turned on

858
00:55:01,800 --> 00:55:05,399
Speaker 1: by my dentist, which is something that didn't happen back then.

859
00:55:06,000 --> 00:55:09,880
Speaker 1: But what was the album comes out? What was your experience.

860
00:55:11,320 --> 00:55:13,600
Speaker 2: Do you know? I don't remember very much about it.

861
00:55:13,640 --> 00:55:15,879
Speaker 2: I think everything was a blair at that time. Because

862
00:55:15,920 --> 00:55:19,320
Speaker 2: you were doing interviews. People wanted to know what you thought,

863
00:55:21,080 --> 00:55:24,400
Speaker 2: which was not very much, but just general people wanting

864
00:55:24,440 --> 00:55:27,160
Speaker 2: you to great. Guy called Chris Welch. He was a

865
00:55:27,200 --> 00:55:31,400
Speaker 2: big fan of our beginnings and the Melody Maker. You

866
00:55:31,680 --> 00:55:36,960
Speaker 2: do interviews about this and that, and it's just one

867
00:55:36,960 --> 00:55:41,880
Speaker 2: of those things you pull apart an album you've just

868
00:55:42,000 --> 00:55:44,880
Speaker 2: made it, and then you look back and think it

869
00:55:44,920 --> 00:55:47,920
Speaker 2: wasn't that good. And the second one was Time of

870
00:55:47,960 --> 00:55:50,960
Speaker 2: a Word that wasn't that good. You know, you just

871
00:55:51,000 --> 00:55:53,400
Speaker 2: got through that emotion of doing it, thinking it's really

872
00:55:53,440 --> 00:55:55,800
Speaker 2: really good, Oh, it really sounds great, and then you

873
00:55:55,880 --> 00:55:59,240
Speaker 2: listen back to it anything within a couple of three months,

874
00:55:59,280 --> 00:56:03,759
Speaker 2: yet you bore it's not working. Are you're performing it,

875
00:56:04,560 --> 00:56:06,759
Speaker 2: but you're thinking about the next step you're going to take.

876
00:56:07,360 --> 00:56:12,680
Speaker 2: And that's been my juxtaposition as a singer in a band.

877
00:56:12,719 --> 00:56:14,640
Speaker 2: I don't play anything. I just have to sing all

878
00:56:14,640 --> 00:56:19,520
Speaker 2: the time and pretend I can play the guitar, which

879
00:56:19,520 --> 00:56:24,040
Speaker 2: I could hardly play. But I was always thinking about

880
00:56:24,040 --> 00:56:26,919
Speaker 2: what we've gotta be doing a bit better. And then

881
00:56:27,239 --> 00:56:31,440
Speaker 2: people come into your life. I met we were doing

882
00:56:31,760 --> 00:56:36,680
Speaker 2: a TV show in France, and it was so funny

883
00:56:36,719 --> 00:56:41,520
Speaker 2: because we were told not to be too loud. Of course,

884
00:56:41,560 --> 00:56:47,800
Speaker 2: we were very loud at that time, and so we

885
00:56:48,200 --> 00:56:53,720
Speaker 2: started playing I think it was yours noticed Grace, and

886
00:56:51,360 --> 00:56:58,480
Speaker 2: the credits came up. They cut us off. We'd waited

887
00:56:58,520 --> 00:57:02,279
Speaker 2: their whole day to do this song. At the end

888
00:57:02,280 --> 00:57:04,239
Speaker 2: of this it was a it was a sort of

889
00:57:04,320 --> 00:57:08,799
Speaker 2: a game like come on Down, you know that kind

890
00:57:08,800 --> 00:57:13,880
Speaker 2: of TV show, and so we waited a day, makeup

891
00:57:13,880 --> 00:57:17,000
Speaker 2: and everything to play it, and just when we started playing,

892
00:57:17,040 --> 00:57:20,320
Speaker 2: it was too loud, so they faded us out and

893
00:57:20,360 --> 00:57:22,960
Speaker 2: the credits came up at the end of the And

894
00:57:23,040 --> 00:57:27,520
Speaker 2: that night I met Keith Charrett and that really yeah,

895
00:57:27,600 --> 00:57:30,680
Speaker 2: because he was playing in a trio on the TV

896
00:57:30,840 --> 00:57:33,880
Speaker 2: show and he said to me, do you want to

897
00:57:33,880 --> 00:57:36,520
Speaker 2: come and see my I'm gonna I'm gont on the

898
00:57:36,560 --> 00:57:37,960
Speaker 2: left bank, you know, I'm just going to do a

899
00:57:38,040 --> 00:57:41,560
Speaker 2: jam session tonight, And I thought, charm session. That's really cool.

900
00:57:41,800 --> 00:57:44,760
Speaker 2: So I went just to see him. I sat by

901
00:57:44,840 --> 00:57:48,760
Speaker 2: myself and he came in and started playing the piano,

902
00:57:49,480 --> 00:57:52,920
Speaker 2: and the drummer was there playing the drums, and he

903
00:57:53,680 --> 00:57:56,080
Speaker 2: kind of looked at the drum and said, what's the

904
00:57:56,080 --> 00:58:00,760
Speaker 2: bass blake? The drummer said, I don't know, I don't know.

905
00:58:01,280 --> 00:58:06,560
Speaker 2: I'm French. And so they're playing when he's Keith Charis

906
00:58:06,600 --> 00:58:10,440
Speaker 2: just diving away on the piano and I couldn't believe

907
00:58:10,520 --> 00:58:12,840
Speaker 2: how good this guy was. He was eighteen years old.

908
00:58:13,520 --> 00:58:15,760
Speaker 2: And then the bass player came. He was six foot

909
00:58:16,040 --> 00:58:19,200
Speaker 2: so handsome, and he brought a real big stand up

910
00:58:19,240 --> 00:58:25,280
Speaker 2: bass and he starts. So jaris playing away with the drummer,

911
00:58:25,560 --> 00:58:32,040
Speaker 2: and he starts tuning up his bass and I can

912
00:58:32,080 --> 00:58:35,040
Speaker 2: see kit Jar going, what the fuck are you doing? Man?

913
00:58:35,400 --> 00:58:39,200
Speaker 2: We're playing jazz, And all of a sudden the bass

914
00:58:39,200 --> 00:58:41,520
Speaker 2: play went but boom boom boom boom boom boom boom

915
00:58:41,560 --> 00:58:45,160
Speaker 2: boom boom boom boom, brilliant. All of a sudden he

916
00:58:45,280 --> 00:58:48,760
Speaker 2: was locked in and Jarrett screamed and they carried on

917
00:58:48,800 --> 00:58:52,320
Speaker 2: playing for an hour. It was like magic. He learned

918
00:58:52,320 --> 00:58:55,600
Speaker 2: about jazz, real jazz. When you see that happen.

919
00:58:57,520 --> 00:59:04,280
Speaker 1: Okay, first album comes out America almost good Time, and

920
00:59:04,320 --> 00:59:06,560
Speaker 1: a word comes out. It's like a secret. You can

921
00:59:06,600 --> 00:59:10,720
Speaker 1: barely find it in the record story. Where does Brian

922
00:59:10,800 --> 00:59:11,680
Speaker 1: Lane come in?

923
00:59:12,000 --> 00:59:14,920
Speaker 2: Well, we had we had a manager, Roy who was

924
00:59:14,960 --> 00:59:20,600
Speaker 2: a really great guy, just not working in tandem with

925
00:59:20,760 --> 00:59:25,000
Speaker 2: what we were trying to do musically, say, and so

926
00:59:25,720 --> 00:59:30,320
Speaker 2: we were just invited to meet this company that actually

927
00:59:30,680 --> 00:59:34,280
Speaker 2: it was the company that created a movie, a very

928
00:59:34,320 --> 00:59:42,800
Speaker 2: famous movie called Platoon. They were pretty big in the

929
00:59:42,840 --> 00:59:47,000
Speaker 2: business world. You know. We were very lowly and who

930
00:59:47,040 --> 00:59:50,120
Speaker 2: are we to even it goes through their front door

931
00:59:50,200 --> 00:59:52,959
Speaker 2: sort of thing. But we went through the front door

932
00:59:53,000 --> 00:59:56,560
Speaker 2: and then we were introduced to Brian, and Brian started

933
00:59:56,560 --> 00:59:59,520
Speaker 2: the managers along with other people. There's a lot of

934
00:59:59,520 --> 01:00:03,680
Speaker 2: people in. It wasn't just this band and that was that.

935
01:00:03,880 --> 01:00:09,280
Speaker 2: And from then on it was just knowing that, gosh,

936
01:00:09,360 --> 01:00:16,240
Speaker 2: we are sort of stable, shall we say, but a

937
01:00:16,280 --> 01:00:21,000
Speaker 2: little bit awkward at times, and where we're going musically,

938
01:00:21,080 --> 01:00:23,480
Speaker 2: who's who wants to go this way? There was that

939
01:00:23,600 --> 01:00:26,920
Speaker 2: story when when I went to say, come on, we've

940
01:00:26,920 --> 01:00:29,800
Speaker 2: got to rehearse. Guys got to rehearse, felt like Pinocchio,

941
01:00:30,200 --> 01:00:32,360
Speaker 2: come on, you got to rehearse. Let's do that, and

942
01:00:32,400 --> 01:00:36,960
Speaker 2: they say not John, just leave leave us alone. I mean, see,

943
01:00:37,040 --> 01:00:41,200
Speaker 2: that sort of thing happened in a way that it

944
01:00:41,360 --> 01:00:45,640
Speaker 2: just happened that I felt out of balance, if you like.

945
01:00:45,840 --> 01:00:49,160
Speaker 2: And it's a funny way of thinking it that I

946
01:00:49,240 --> 01:00:52,440
Speaker 2: was in this speakeasy and it was very early in

947
01:00:52,480 --> 01:00:58,040
Speaker 2: the night and I walked past this band there was

948
01:00:58,080 --> 01:01:00,000
Speaker 2: nobody in the club. I think there's two or three

949
01:01:00,120 --> 01:01:03,560
Speaker 2: people drinking, and they were playing really good. But the

950
01:01:03,600 --> 01:01:07,240
Speaker 2: guitarist was really good. And he was playing what you

951
01:01:07,280 --> 01:01:10,240
Speaker 2: would call one of the most beautiful guitars I've ever seen.

952
01:01:11,080 --> 01:01:16,200
Speaker 2: It was a Gibson, wonderful shaped guitar and he was

953
01:01:16,240 --> 01:01:17,760
Speaker 2: playing the hell out of it, and you know, and

954
01:01:17,800 --> 01:01:19,600
Speaker 2: they were doing good music. I don't know kind of

955
01:01:19,680 --> 01:01:22,520
Speaker 2: music they were doing, but he was good. And I

956
01:01:22,640 --> 01:01:27,680
Speaker 2: mentioned it to Chris that where are we going musically,

957
01:01:27,960 --> 01:01:31,680
Speaker 2: because I don't know, you know. Chris said, well, you know,

958
01:01:31,760 --> 01:01:35,120
Speaker 2: we need to decide. Sometimes you got to change one

959
01:01:35,160 --> 01:01:39,240
Speaker 2: of the guys in the band if things aren't rolling correctly,

960
01:01:39,320 --> 01:01:42,280
Speaker 2: you know. And I said, well, I just saw this

961
01:01:42,360 --> 01:01:47,760
Speaker 2: guy in the band called Bodhast and Chris said, yeah,

962
01:01:47,800 --> 01:01:51,880
Speaker 2: I know, I know, well, I know him, I've seen him,

963
01:01:52,160 --> 01:01:54,480
Speaker 2: so let's try it out. So he try somebody out,

964
01:01:54,520 --> 01:01:59,200
Speaker 2: and the shape of the band evolves, one might say.

965
01:02:00,280 --> 01:02:06,480
Speaker 2: Another musician comes in. And that's when I linked together

966
01:02:06,520 --> 01:02:10,360
Speaker 2: with Steve, and all of a sudden I was in

967
01:02:10,640 --> 01:02:14,400
Speaker 2: musical heaven because we could write music together very quickly.

968
01:02:15,200 --> 01:02:17,920
Speaker 2: With Chris, it was now and again music we'd write something,

969
01:02:18,320 --> 01:02:21,080
Speaker 2: but with Steve is like every day we're writing a

970
01:02:21,080 --> 01:02:23,200
Speaker 2: couple of ideas, a couple of ideas, a couple of

971
01:02:23,320 --> 01:02:25,560
Speaker 2: and more and more and more. So it was a

972
01:02:25,600 --> 01:02:33,240
Speaker 2: spontaneous combustion of musical energy that got us into the

973
01:02:33,280 --> 01:02:34,160
Speaker 2: fragile world.

974
01:02:35,320 --> 01:02:39,400
Speaker 1: Okay, so does Brian Lane come in after the first

975
01:02:39,440 --> 01:02:41,880
Speaker 1: two albums? Is that approximately when he comes in?

976
01:02:42,200 --> 01:02:42,560
Speaker 2: Yeah?

977
01:02:43,200 --> 01:02:46,480
Speaker 1: Okay, Steve Howe comes in. How do you get rid

978
01:02:46,520 --> 01:02:48,120
Speaker 1: of Peter Banks? And what does he say?

979
01:02:49,960 --> 01:02:52,320
Speaker 2: Well, of course he was upset. You know, I think

980
01:02:52,360 --> 01:02:55,360
Speaker 2: we were. I was upset anyway that we had to

981
01:02:55,400 --> 01:02:58,920
Speaker 2: think about changing somebody in the band. It's just one

982
01:02:58,920 --> 01:03:01,920
Speaker 2: of the things you kind of live with it and

983
01:03:02,000 --> 01:03:04,360
Speaker 2: sit down and say, well, what is the best for

984
01:03:04,440 --> 01:03:07,960
Speaker 2: the future of where we're going, and that's what you do.

985
01:03:08,360 --> 01:03:12,280
Speaker 2: And even talked to him about what he would do now.

986
01:03:12,320 --> 01:03:13,880
Speaker 2: He had a couple of guys he wanted to work

987
01:03:13,920 --> 01:03:15,760
Speaker 2: with anyway, so he wanted to go with this other

988
01:03:15,840 --> 01:03:19,040
Speaker 2: band and he said, yeah, that'd be that would good luck?

989
01:03:19,080 --> 01:03:20,720
Speaker 2: You know, what are you going to do? Good luck?

990
01:03:21,880 --> 01:03:25,400
Speaker 2: And okay, so then you get on with it.

991
01:03:25,800 --> 01:03:28,800
Speaker 1: The Yes album is a great leap forward from what

992
01:03:28,840 --> 01:03:32,200
Speaker 1: had come before. Yeah, we have yours is no disgrace

993
01:03:32,320 --> 01:03:38,080
Speaker 1: Starship Trooper. I've seen all good people. Did these all

994
01:03:38,080 --> 01:03:40,880
Speaker 1: come from you now? Meeting and writing with.

995
01:03:40,960 --> 01:03:44,920
Speaker 2: Steve, Yeah, it was a combination of My suggestion was

996
01:03:45,000 --> 01:03:49,120
Speaker 2: very simple, let's get out of London. Let's go and

997
01:03:49,200 --> 01:03:53,840
Speaker 2: find a farmhouse, cottage, rental and we can be somewhere

998
01:03:53,880 --> 01:03:56,840
Speaker 2: totally different than where we are now. And we found

999
01:03:56,840 --> 01:04:00,120
Speaker 2: a place in Devon. We all went there to work.

1000
01:04:01,000 --> 01:04:06,240
Speaker 2: You're there, you connect, you become more than what you

1001
01:04:06,360 --> 01:04:10,200
Speaker 2: were before because you're getting to know each other, know

1002
01:04:10,280 --> 01:04:16,040
Speaker 2: each other O. There's a good parts, quirky parts, nice parts, whatever,

1003
01:04:16,520 --> 01:04:20,480
Speaker 2: but you're you're you're, you're connected. And I thought that

1004
01:04:20,560 --> 01:04:26,000
Speaker 2: was the way to go. And I have some great

1005
01:04:26,040 --> 01:04:30,919
Speaker 2: memories of being in that farmhouse, which Steve Ole lives

1006
01:04:30,920 --> 01:04:36,120
Speaker 2: there now. And the memories were really good because it

1007
01:04:36,200 --> 01:04:40,240
Speaker 2: was it was like very to say the least, it

1008
01:04:40,280 --> 01:04:43,320
Speaker 2: was kind of jazz rock. We we would go there,

1009
01:04:43,440 --> 01:04:50,280
Speaker 2: we would try this, we would try that, and the

1010
01:04:50,360 --> 01:04:56,480
Speaker 2: idea of working as a group became more like a family.

1011
01:04:56,640 --> 01:05:00,160
Speaker 2: If you're like, Okay, we're here, we're stuck together. You know,

1012
01:05:00,240 --> 01:05:03,520
Speaker 2: somebody's gonna make breakfast. That we had a roady who

1013
01:05:03,680 --> 01:05:06,640
Speaker 2: made breakfast and things like that, but you're actually together

1014
01:05:07,560 --> 01:05:13,160
Speaker 2: for the first time without any outside influence. And that

1015
01:05:13,320 --> 01:05:16,840
Speaker 2: was really crucial for me at that time because I

1016
01:05:16,920 --> 01:05:21,600
Speaker 2: knew these were great talented people. I felt very comfortable

1017
01:05:21,600 --> 01:05:24,880
Speaker 2: about writing lyrics and melodies. I was a melody crazy,

1018
01:05:25,400 --> 01:05:28,640
Speaker 2: you know. Every time I every time I heard it,

1019
01:05:28,840 --> 01:05:31,920
Speaker 2: I start writing a melody in my head and singing ideas.

1020
01:05:32,760 --> 01:05:35,280
Speaker 2: So I felt very comfortable about where we were going.

1021
01:05:36,080 --> 01:05:40,360
Speaker 2: And it worked out. I said, basically, we'll learn all

1022
01:05:40,360 --> 01:05:42,880
Speaker 2: this music as well as the songs that were pretty

1023
01:05:42,960 --> 01:05:47,120
Speaker 2: getting known for America. Every little thing was that went

1024
01:05:47,160 --> 01:05:50,000
Speaker 2: in the show. These new songs we should we should

1025
01:05:50,000 --> 01:05:53,800
Speaker 2: go on the road and play the play them as

1026
01:05:53,880 --> 01:05:57,600
Speaker 2: as a practice to go in the studio, rather than

1027
01:05:57,880 --> 01:05:59,880
Speaker 2: go in the studio and start start off with the

1028
01:06:00,040 --> 01:06:02,560
Speaker 2: drums and the kit and the bit to No. I

1029
01:06:02,560 --> 01:06:05,880
Speaker 2: think we've got to play it in the studio. So

1030
01:06:06,000 --> 01:06:07,880
Speaker 2: the only way we can play in the studios go

1031
01:06:07,920 --> 01:06:11,040
Speaker 2: on the road as a band playing some new music

1032
01:06:11,080 --> 01:06:13,480
Speaker 2: as well as this old music from the first couple

1033
01:06:13,520 --> 01:06:18,760
Speaker 2: of albums. And that was the way the way it worked.

1034
01:06:18,800 --> 01:06:22,880
Speaker 2: And by then we had a feeling that we were

1035
01:06:24,000 --> 01:06:26,960
Speaker 2: getting great reaction from the audiences. They would come in

1036
01:06:27,040 --> 01:06:29,920
Speaker 2: to see us again and again. So no matter if

1037
01:06:29,920 --> 01:06:32,000
Speaker 2: we went up to play Birmingham, you'd always see the

1038
01:06:32,200 --> 01:06:35,520
Speaker 2: similar crowd of people would come and I think you

1039
01:06:35,680 --> 01:06:40,200
Speaker 2: just feel, you know, it's like Bob, Yeah, you just

1040
01:06:40,240 --> 01:06:43,000
Speaker 2: feel that everything is happening. You go, well, this is

1041
01:06:43,040 --> 01:06:47,280
Speaker 2: definitely better than we were six months ago. And then

1042
01:06:47,440 --> 01:06:53,800
Speaker 2: we went in and recorded what became the y S album,

1043
01:06:53,840 --> 01:06:55,320
Speaker 2: and then the fragile.

1044
01:07:03,160 --> 01:07:07,200
Speaker 1: Okay See recorded the Yes album. In America, it was

1045
01:07:07,400 --> 01:07:10,920
Speaker 1: commercially more available. You didn't hear it on the radio.

1046
01:07:11,560 --> 01:07:14,440
Speaker 1: I know you were doing interviews, et cetera. Was what

1047
01:07:14,520 --> 01:07:17,800
Speaker 1: was your experience on the inside relative to the success

1048
01:07:18,360 --> 01:07:22,280
Speaker 1: of the Yes album?

1049
01:07:22,360 --> 01:07:23,560
Speaker 2: How do you mean sorry?

1050
01:07:24,480 --> 01:07:27,560
Speaker 1: It seems artistically it's a great leap forward from the

1051
01:07:27,560 --> 01:07:32,800
Speaker 1: two previous albums, especially the second album, and in retrospect

1052
01:07:32,880 --> 01:07:36,240
Speaker 1: everyone can see how great it was. Did you feel

1053
01:07:37,000 --> 01:07:39,960
Speaker 1: from the end standpoint of your band that wait a second,

1054
01:07:39,960 --> 01:07:42,480
Speaker 1: we're blowing up or did you still feel a way

1055
01:07:42,520 --> 01:07:43,800
Speaker 1: we got a big hill to climb.

1056
01:07:46,600 --> 01:07:51,520
Speaker 2: I think we were just feeling good about we had

1057
01:07:51,560 --> 01:07:55,040
Speaker 2: a really good album. We were performing it and audiences

1058
01:07:55,080 --> 01:08:00,400
Speaker 2: were great. The next step, I have to get myself

1059
01:08:00,400 --> 01:08:05,680
Speaker 2: in chronic. I can't say the word chronological order. After

1060
01:08:05,760 --> 01:08:11,560
Speaker 2: the the S album was to go into the Fragile album, right, but.

1061
01:08:12,080 --> 01:08:15,000
Speaker 1: Before we get the fragile, how does Rick Wakeman get

1062
01:08:15,000 --> 01:08:15,520
Speaker 1: in the band?

1063
01:08:16,080 --> 01:08:19,519
Speaker 2: Well? That's that. That was the the reason we called

1064
01:08:19,560 --> 01:08:22,440
Speaker 2: it fragile is because being in a band was very fragile,

1065
01:08:23,280 --> 01:08:25,599
Speaker 2: never quite sure what's going to happen next, and something

1066
01:08:25,760 --> 01:08:30,000
Speaker 2: was going haywire on the on the American tour. When

1067
01:08:30,040 --> 01:08:33,920
Speaker 2: we went on tour doing the S album we were

1068
01:08:33,920 --> 01:08:38,160
Speaker 2: doing with Jethro tell I think we were on tour

1069
01:08:38,240 --> 01:08:43,320
Speaker 2: and magnified in front of five thousand people all of

1070
01:08:43,400 --> 01:08:48,720
Speaker 2: a sudden, ten thousand people. Is you're magnifying your your

1071
01:08:48,960 --> 01:08:52,840
Speaker 2: your creativity and how big can we get and how

1072
01:08:52,920 --> 01:08:55,720
Speaker 2: big should we be? And you know, shouldn't we have

1073
01:08:58,280 --> 01:09:02,920
Speaker 2: great lighting systems and things like that, and so you're growing,

1074
01:09:03,200 --> 01:09:07,120
Speaker 2: You're just growing, and you're thinking, well, the music's got

1075
01:09:07,240 --> 01:09:12,040
Speaker 2: to grow as well. At that time, the Mug had

1076
01:09:12,160 --> 01:09:14,960
Speaker 2: just come out with a new system and Moog and

1077
01:09:15,000 --> 01:09:18,120
Speaker 2: them sounds you could get, and Keith Emerson was playing

1078
01:09:18,120 --> 01:09:23,479
Speaker 2: a Moog and stuff, and it just happened that We

1079
01:09:23,520 --> 01:09:26,160
Speaker 2: did a track I think it was Yours Nice Grace

1080
01:09:26,240 --> 01:09:30,320
Speaker 2: with the Moog theme and everything, and just happened that

1081
01:09:32,400 --> 01:09:35,559
Speaker 2: Tony wasn't that interestry at that time in creating other

1082
01:09:35,680 --> 01:09:38,360
Speaker 2: sounds other than the organ, which he played amazingly well.

1083
01:09:38,400 --> 01:09:42,080
Speaker 2: But it just happened that at that time we'd actually

1084
01:09:42,120 --> 01:09:48,280
Speaker 2: done a show with Rick Wakeman's band. You probably know

1085
01:09:48,400 --> 01:09:52,040
Speaker 2: and you remember the name. I don't, ah, and I

1086
01:09:52,160 --> 01:09:56,720
Speaker 2: just thought this Rick Wakeman is He's quite brilliant, and

1087
01:09:56,760 --> 01:09:58,320
Speaker 2: that was the next step. You're going to bring in

1088
01:09:58,360 --> 01:10:03,520
Speaker 2: another musician, musician who's going to upgrade you musically speaking

1089
01:10:03,840 --> 01:10:09,920
Speaker 2: and sound wise. And that's that's basically what happened. We

1090
01:10:10,080 --> 01:10:14,920
Speaker 2: just got on with the next album, which again you

1091
01:10:15,000 --> 01:10:17,600
Speaker 2: call fragile because everything is so fragile. You don't know

1092
01:10:17,680 --> 01:10:20,800
Speaker 2: if you're going to be here today or tomorrow. There

1093
01:10:20,880 --> 01:10:24,840
Speaker 2: was just so much surrounding. Yes, at that time it

1094
01:10:24,880 --> 01:10:31,080
Speaker 2: was pretty intense at times, and just wanted to get

1095
01:10:31,120 --> 01:10:33,080
Speaker 2: on with the next piece of music.

1096
01:10:34,560 --> 01:10:39,320
Speaker 1: Okay, you talked earlier, you're twenty seven years old, you

1097
01:10:39,400 --> 01:10:43,680
Speaker 1: don't want to be commercial. Suddenly round up how it

1098
01:10:43,760 --> 01:10:48,920
Speaker 1: becomes like this gigantic worldwide hit. And I must say

1099
01:10:48,960 --> 01:10:51,840
Speaker 1: it doesn't sound like anything else on the radio, and

1100
01:10:51,920 --> 01:10:54,120
Speaker 1: no one would have predicted it would have become that hit.

1101
01:10:54,160 --> 01:10:58,000
Speaker 1: But it becomes a worldwide hit. So what was your experience.

1102
01:10:58,760 --> 01:11:03,280
Speaker 2: I remember we were and that it's Pennsylvania rehearsing, and

1103
01:11:03,320 --> 01:11:05,680
Speaker 2: we went for a drive to go for dinner or

1104
01:11:05,680 --> 01:11:08,760
Speaker 2: something like that, and on the way the roundaback came

1105
01:11:08,800 --> 01:11:11,360
Speaker 2: on the radio. We never heard ourselves on the radio.

1106
01:11:11,360 --> 01:11:14,680
Speaker 2: Went turn it up, turn it up, and then all

1107
01:11:14,720 --> 01:11:17,960
Speaker 2: of a sudden, the middle section of roundabout wasn't there

1108
01:11:18,000 --> 01:11:20,080
Speaker 2: and it went straight to the organ solo, and I went,

1109
01:11:20,120 --> 01:11:24,759
Speaker 2: wait a minute, they've edited it. Well, they could have asked,

1110
01:11:25,400 --> 01:11:29,920
Speaker 2: you know, it's like so they got a big persiszk

1111
01:11:30,680 --> 01:11:34,040
Speaker 2: take the middle out. And it was correct because it worked,

1112
01:11:34,720 --> 01:11:38,400
Speaker 2: and it was brilliant and it sounded great, and it

1113
01:11:38,479 --> 01:11:40,439
Speaker 2: was just like all the movies you've ever seen of

1114
01:11:40,560 --> 01:11:44,400
Speaker 2: the band hearing themselves or artists hearing themselves on the

1115
01:11:44,520 --> 01:11:48,960
Speaker 2: radio for the first time. It's freaky, it's wonderful, and

1116
01:11:49,520 --> 01:11:52,760
Speaker 2: you feel like we made it at last, We made it.

1117
01:11:53,760 --> 01:11:54,559
Speaker 2: Little did we know?

1118
01:11:55,160 --> 01:12:02,960
Speaker 1: You know? Okay, it's unbelievable success. Meanwhile, there's a change

1119
01:12:03,000 --> 01:12:06,360
Speaker 1: in the band. You know, because we're all hungry for

1120
01:12:06,479 --> 01:12:10,160
Speaker 1: rock press. At that point, Rick Wakeman comes out with

1121
01:12:11,040 --> 01:12:15,680
Speaker 1: seven keyboards, he's wearing a cape, and then he goes on,

1122
01:12:15,800 --> 01:12:17,879
Speaker 1: I'm the only person who eats meat in the band.

1123
01:12:18,400 --> 01:12:18,639
Speaker 2: Yeah.

1124
01:12:18,720 --> 01:12:20,599
Speaker 1: Were you all taking this with a grain of salt?

1125
01:12:20,720 --> 01:12:22,439
Speaker 1: Or was everybody saying, well, you know, he's kind of

1126
01:12:22,439 --> 01:12:23,439
Speaker 1: an attention hog.

1127
01:12:23,840 --> 01:12:32,160
Speaker 2: No, here's Rickman. Oh he's sparky and capes and and

1128
01:12:32,280 --> 01:12:36,080
Speaker 2: he plays so damn good. He was. He was quite brilliant,

1129
01:12:37,000 --> 01:12:41,280
Speaker 2: and he's brilliant as as he's proved over the years.

1130
01:12:41,280 --> 01:12:45,439
Speaker 2: He's played on so many records that are very well known,

1131
01:12:46,600 --> 01:12:52,639
Speaker 2: and you can't take that away from him. He's brilliant.

1132
01:12:53,640 --> 01:12:54,479
Speaker 2: He's Rick Wakeman.

1133
01:12:56,040 --> 01:12:59,720
Speaker 1: Okay, So next comes close to the Edge. This is

1134
01:12:59,760 --> 01:13:02,880
Speaker 1: real kind of a breakthrough in that there's one song

1135
01:13:03,000 --> 01:13:07,040
Speaker 1: that's a complete side long. Did you feel liberated by

1136
01:13:07,080 --> 01:13:11,720
Speaker 1: your commercial success and said I'm gonna do whatever I

1137
01:13:11,800 --> 01:13:15,839
Speaker 1: want to? How did you approach close to the Edge.

1138
01:13:16,439 --> 01:13:21,240
Speaker 2: It's very simple. We were on tour with Fragile, and

1139
01:13:21,280 --> 01:13:26,400
Speaker 2: no matter where we went, people played, especially the radio

1140
01:13:26,439 --> 01:13:33,320
Speaker 2: stations in the university cycle. We go to university. After university,

1141
01:13:33,439 --> 01:13:36,080
Speaker 2: do a show and go to the radio station and

1142
01:13:36,120 --> 01:13:38,920
Speaker 2: they put on yours notice Grace. You know, don't think

1143
01:13:39,000 --> 01:13:43,040
Speaker 2: about making it short. It's nine minutes long.

1144
01:13:43,080 --> 01:13:43,240
Speaker 1: You know.

1145
01:13:43,320 --> 01:13:46,120
Speaker 2: It's like all of a sudden, wait a minute. FM radio.

1146
01:13:46,439 --> 01:13:51,240
Speaker 2: That's the key, that's the key. The key is radio

1147
01:13:51,439 --> 01:13:56,120
Speaker 2: can play your music now because FM radio accept long

1148
01:13:56,160 --> 01:13:59,640
Speaker 2: form pieces of music, and they would play all the

1149
01:13:59,680 --> 01:14:03,600
Speaker 2: Heart of Sunrise and all this kind of thing without

1150
01:14:03,600 --> 01:14:06,280
Speaker 2: a blinking of an eye. They actually played it. And

1151
01:14:06,320 --> 01:14:09,639
Speaker 2: I started talking to Steve because we'd sort of bonded

1152
01:14:09,960 --> 01:14:13,879
Speaker 2: pretty tightly about songwriting ideas and things, and we started

1153
01:14:14,760 --> 01:14:20,599
Speaker 2: coming up with an idea. I've been reading hermann Hesse

1154
01:14:20,920 --> 01:14:26,560
Speaker 2: Journey to the East, which is a beautiful book of enlightening, enlightenment,

1155
01:14:27,280 --> 01:14:31,680
Speaker 2: and so I just started thinking, yeah, we'll just go

1156
01:14:31,880 --> 01:14:35,280
Speaker 2: let's just go for it. You know, you do. You

1157
01:14:35,280 --> 01:14:37,760
Speaker 2: can only fit twenty minutes on a record because after

1158
01:14:37,800 --> 01:14:41,439
Speaker 2: twenty minutes it goes wonky the sound because it's vinyl,

1159
01:14:41,600 --> 01:14:48,400
Speaker 2: you know. And that was the trials and tribulations of

1160
01:14:49,479 --> 01:14:53,040
Speaker 2: being in a band where everybody agrees and then doesn't

1161
01:14:53,120 --> 01:14:56,559
Speaker 2: really agree, and then you kind of you go sort

1162
01:14:56,560 --> 01:14:59,000
Speaker 2: of a left and then a bit of a right

1163
01:14:59,160 --> 01:15:02,120
Speaker 2: swing and Then all of a sudden, we'd finished close

1164
01:15:02,160 --> 01:15:03,880
Speaker 2: to the edge and I got a phone call from

1165
01:15:03,920 --> 01:15:10,320
Speaker 2: Bill Bruford. I'm leaving the band, said Bill, could you

1166
01:15:10,320 --> 01:15:15,519
Speaker 2: say that again? I'm leaving the band? Why? Well, I've

1167
01:15:15,520 --> 01:15:19,160
Speaker 2: had enough. Okay, what are you going to do? Is

1168
01:15:19,200 --> 01:15:25,120
Speaker 2: I'm going to join King Crimson? Bill, you bastard. I

1169
01:15:25,160 --> 01:15:28,400
Speaker 2: didn't say that, but I just thought, what's wrong with us?

1170
01:15:28,760 --> 01:15:31,000
Speaker 2: That really freaked me out. I thought there was something

1171
01:15:31,120 --> 01:15:34,519
Speaker 2: really badly wrong with us. If he was going to

1172
01:15:34,640 --> 01:15:39,400
Speaker 2: leave after creating what I think personally is a wonderful

1173
01:15:39,400 --> 01:15:42,120
Speaker 2: piece of music, why did he leave?

1174
01:15:42,200 --> 01:15:43,639
Speaker 1: What was there?

1175
01:15:44,680 --> 01:15:47,200
Speaker 2: What was wrong with me? I thought it was me.

1176
01:15:48,280 --> 01:15:49,280
Speaker 2: I just thought it was.

1177
01:15:51,080 --> 01:15:54,040
Speaker 1: You know, well fifty years later, what was it?

1178
01:15:55,880 --> 01:15:58,240
Speaker 2: Well, he wasn't getting old with Chris as much as

1179
01:15:58,280 --> 01:16:01,799
Speaker 2: I thought he was. He wasn't like it, wasn't enjoying. Uh,

1180
01:16:01,880 --> 01:16:06,720
Speaker 2: you know, Christmas said, there's the beat. People said, no,

1181
01:16:06,760 --> 01:16:10,640
Speaker 2: it's there, just to the left, but three inches to

1182
01:16:10,680 --> 01:16:13,599
Speaker 2: the left. No, that's where the beat is. I think

1183
01:16:13,640 --> 01:16:16,879
Speaker 2: they had a couple of jives like that in their recording,

1184
01:16:17,360 --> 01:16:19,360
Speaker 2: but I didn't take it seriously. I just it was just,

1185
01:16:20,000 --> 01:16:25,439
Speaker 2: you know, people not quite understanding where the beat is.

1186
01:16:26,360 --> 01:16:29,120
Speaker 2: But God bless them.

1187
01:16:29,120 --> 01:16:34,320
Speaker 1: You know, he had a parapatetic career and then he

1188
01:16:34,400 --> 01:16:35,640
Speaker 1: ultimately retired.

1189
01:16:35,800 --> 01:16:40,559
Speaker 2: Nobody I know, I know, I wrote a book, Well,

1190
01:16:41,080 --> 01:16:45,840
Speaker 2: it's life. You know, he has had an exceptional life.

1191
01:16:46,360 --> 01:16:49,320
Speaker 2: When he was out there with his last band, I

1192
01:16:49,360 --> 01:16:53,760
Speaker 2: thought they were just so good. I can't remember the name,

1193
01:16:53,800 --> 01:16:59,439
Speaker 2: but yeah, very very good, because in those days, you know,

1194
01:16:59,520 --> 01:17:05,639
Speaker 2: you you sort of I remember doing around that time.

1195
01:17:05,720 --> 01:17:08,360
Speaker 2: It was probably around the time of fried Child tour,

1196
01:17:09,920 --> 01:17:13,439
Speaker 2: or maybe six months or earlier, but we were opening

1197
01:17:13,520 --> 01:17:20,120
Speaker 2: up for The Kinks in a gig in Albany area

1198
01:17:20,800 --> 01:17:24,840
Speaker 2: University of New York there, and the opening band was

1199
01:17:24,880 --> 01:17:28,080
Speaker 2: a band that we hadn't heard about called Mavish Orchestra,

1200
01:17:29,200 --> 01:17:35,200
Speaker 2: and we were there early to soundcheck and we knew

1201
01:17:35,560 --> 01:17:37,559
Speaker 2: Mavishni were going to do a sound check at six

1202
01:17:37,680 --> 01:17:40,760
Speaker 2: thirty something. So me and Chris stood there and my

1203
01:17:40,960 --> 01:17:46,519
Speaker 2: Joe just dropped. I went, Oh, my god, these these

1204
01:17:46,560 --> 01:17:49,800
Speaker 2: guys have got something. I could not believe what they had.

1205
01:17:49,880 --> 01:17:54,040
Speaker 2: My Vish New Orchestra was on another planet and within

1206
01:17:54,120 --> 01:17:56,200
Speaker 2: three months they were headlining around the world.

1207
01:17:57,439 --> 01:18:04,760
Speaker 1: It was like, Wow, So how does Alan White get

1208
01:18:04,760 --> 01:18:05,240
Speaker 1: in the band?

1209
01:18:07,280 --> 01:18:10,599
Speaker 2: Well that was that was that big problem that Bill

1210
01:18:10,640 --> 01:18:14,679
Speaker 2: had left. And I was in limbo and uh Eddie Offred,

1211
01:18:14,720 --> 01:18:19,360
Speaker 2: our wonderful producer dude, said well, I know this kind

1212
01:18:19,360 --> 01:18:22,680
Speaker 2: of Alan White. And I said, Alan White. Didn't he

1213
01:18:22,720 --> 01:18:29,799
Speaker 2: play on uh Friday, what was it called John Lennon album?

1214
01:18:29,840 --> 01:18:36,200
Speaker 2: He said yeah, yeah, So I said, gosh, would he

1215
01:18:36,240 --> 01:18:40,040
Speaker 2: be interested? I wasn't quite sure if he would be interested,

1216
01:18:40,120 --> 01:18:43,240
Speaker 2: you know, And he said, yeah, you know, I'll get

1217
01:18:43,280 --> 01:18:45,760
Speaker 2: him to come down this afternoon at rearsal place we

1218
01:18:45,800 --> 01:18:50,080
Speaker 2: had in Shepherd's Bush and he came in. Joyful guy,

1219
01:18:50,280 --> 01:18:53,080
Speaker 2: sweetest guy in the world. And man, he could play

1220
01:18:53,120 --> 01:18:56,160
Speaker 2: the hell out of their arms. He really really could

1221
01:18:56,240 --> 01:18:59,160
Speaker 2: do it. And not only that, we because we were

1222
01:18:59,160 --> 01:19:01,519
Speaker 2: going on touring two weeks. He learned the whole tour,

1223
01:19:01,680 --> 01:19:06,479
Speaker 2: the whole show in ten days. Ridiculous and he was

1224
01:19:07,000 --> 01:19:10,120
Speaker 2: my best man at my wedding. Really good man.

1225
01:19:11,040 --> 01:19:15,160
Speaker 1: Stylistically. What was different having Alan in the band as

1226
01:19:15,200 --> 01:19:16,120
Speaker 1: opposed to Bill.

1227
01:19:17,960 --> 01:19:19,800
Speaker 2: You know, I don't know. I don't know that much

1228
01:19:19,840 --> 01:19:26,320
Speaker 2: about there was. There was less paradials. I don't know

1229
01:19:26,320 --> 01:19:28,800
Speaker 2: what to say. He was just so on top of it.

1230
01:19:29,040 --> 01:19:34,799
Speaker 2: He played it magnificently. A great, great drummer, there's no question,

1231
01:19:35,080 --> 01:19:38,599
Speaker 2: as Bill was. But Bill was always semi jazz groove,

1232
01:19:40,840 --> 01:19:42,960
Speaker 2: whereas Alan was straight on it, you know. And he

1233
01:19:43,439 --> 01:19:49,120
Speaker 2: just learned everything and performed everything quite brilliantly on that tour,

1234
01:19:49,479 --> 01:19:52,880
Speaker 2: and we became fast friends, and I say he was

1235
01:19:52,880 --> 01:19:53,559
Speaker 2: my best man.

1236
01:19:54,920 --> 01:19:58,479
Speaker 1: So nextis Tales from Top of Graphic Oceans. It took

1237
01:19:58,560 --> 01:20:01,920
Speaker 1: close to the edge one step further. It's a double album,

1238
01:20:02,000 --> 01:20:06,160
Speaker 1: long song, ultimately controversial. Can you tell us about that?

1239
01:20:07,920 --> 01:20:13,040
Speaker 2: In short, it was, it was very well received by

1240
01:20:13,160 --> 01:20:20,240
Speaker 2: Yes fans, very very well received. I went through I

1241
01:20:20,240 --> 01:20:24,160
Speaker 2: don't know what it was it was. When I think

1242
01:20:24,200 --> 01:20:27,800
Speaker 2: about it, I was really scared about what I'd done,

1243
01:20:28,080 --> 01:20:30,840
Speaker 2: and I pushed everybody over the hell over the hill,

1244
01:20:32,520 --> 01:20:35,000
Speaker 2: pushing them up the mountain. Come on, everybody, we can

1245
01:20:35,080 --> 01:20:37,000
Speaker 2: do this. Come on, What the hell? It's only four

1246
01:20:37,000 --> 01:20:39,720
Speaker 2: pieces of music? What the hell? What the hell sort

1247
01:20:39,760 --> 01:20:44,400
Speaker 2: of attitude, you know. And then as I looked back

1248
01:20:44,800 --> 01:20:48,519
Speaker 2: over the first year and the terrible press that we got,

1249
01:20:49,200 --> 01:20:54,360
Speaker 2: and the whole thing, the whole idea, the whole idea

1250
01:20:54,439 --> 01:20:59,200
Speaker 2: of the dream sort of fell apart in my state

1251
01:20:59,200 --> 01:21:01,639
Speaker 2: of consciousness at that time, and I had a rough

1252
01:21:01,680 --> 01:21:06,800
Speaker 2: time when that I happened, and and then you know,

1253
01:21:07,640 --> 01:21:12,200
Speaker 2: we can leap from that moment because there was something

1254
01:21:12,320 --> 01:21:15,320
Speaker 2: going on that I just felt was wrong, and I

1255
01:21:15,320 --> 01:21:19,360
Speaker 2: don't I don't quite. I could never pinpoint why things

1256
01:21:19,840 --> 01:21:23,600
Speaker 2: just didn't sail along so beautifully into the sunset. It

1257
01:21:23,760 --> 01:21:27,920
Speaker 2: just did not happen. But a lot of people enjoyed

1258
01:21:27,920 --> 01:21:32,960
Speaker 2: the album. And the interesting thing was that over the

1259
01:21:33,200 --> 01:21:37,599
Speaker 2: over the next year or so, I I I lost

1260
01:21:37,640 --> 01:21:40,599
Speaker 2: a lot of confidence in what I was thinking about

1261
01:21:40,680 --> 01:21:46,240
Speaker 2: music until I seemed I seemed to get my act together,

1262
01:21:46,880 --> 01:21:51,599
Speaker 2: and then we did going for the One. I had

1263
01:21:51,640 --> 01:21:54,920
Speaker 2: a feeling that that was a very important song. You

1264
01:21:54,920 --> 01:21:57,280
Speaker 2: have to go for it and make it right and

1265
01:21:57,280 --> 01:21:59,960
Speaker 2: make it work. So by the end of the seventh

1266
01:22:00,240 --> 01:22:06,800
Speaker 2: is I had to somehow struggle through a couple of

1267
01:22:06,880 --> 01:22:10,760
Speaker 2: albums and not really knowing where I'm going in the

1268
01:22:10,800 --> 01:22:12,960
Speaker 2: hope that I was going in the right direction. And

1269
01:22:13,000 --> 01:22:19,200
Speaker 2: then we did Awaken, and that for me was and

1270
01:22:19,439 --> 01:22:24,960
Speaker 2: is so important to my state of mind because it

1271
01:22:25,040 --> 01:22:31,400
Speaker 2: really rejoined the band and the angel sang it was.

1272
01:22:31,439 --> 01:22:36,720
Speaker 2: It was just a remarkable feeling at the end of

1273
01:22:36,800 --> 01:22:41,080
Speaker 2: that album, having gone through a lot of doubt, and

1274
01:22:41,560 --> 01:22:47,719
Speaker 2: fear and frustration. Am I doing the right thing I'm singing?

1275
01:22:47,760 --> 01:22:50,320
Speaker 2: Am I singing the right thing? I'm saying the right thing?

1276
01:22:50,439 --> 01:23:02,320
Speaker 2: And thankfully at the end of that period seventies, it

1277
01:23:02,360 --> 01:23:09,800
Speaker 2: was it was really sobering experience for me to wake

1278
01:23:09,920 --> 01:23:11,360
Speaker 2: up and still.

1279
01:23:11,160 --> 01:23:17,000
Speaker 1: Dream Now Rick left and then he came back. What

1280
01:23:17,160 --> 01:23:18,000
Speaker 1: was going on there?

1281
01:23:18,360 --> 01:23:23,480
Speaker 2: Yeah, that was well. We we went through the experience

1282
01:23:23,520 --> 01:23:26,800
Speaker 2: of making an album with another keyboard player who was

1283
01:23:26,960 --> 01:23:33,160
Speaker 2: very very talented, very very strong. It is jazz fusion concept.

1284
01:23:33,160 --> 01:23:39,000
Speaker 2: Great player. He just had different h Swiss, so he

1285
01:23:39,040 --> 01:23:43,080
Speaker 2: has a different perception of where maybe I was going

1286
01:23:43,160 --> 01:23:45,200
Speaker 2: or I think I thought I was going, or I

1287
01:23:45,240 --> 01:23:48,000
Speaker 2: was trying to go. I was I was just going

1288
01:23:48,040 --> 01:23:52,439
Speaker 2: through a very sulways said a difficult time.

1289
01:23:53,960 --> 01:23:57,200
Speaker 1: Okay, so you have relayered not so good, you have

1290
01:23:57,280 --> 01:23:59,920
Speaker 1: going for the one, which is a big comeback, then

1291
01:24:00,040 --> 01:24:03,519
Speaker 1: there's Tormatto, which is not as successful, and then you

1292
01:24:03,640 --> 01:24:06,640
Speaker 1: leave the band. How do you end up leaving the band?

1293
01:24:07,120 --> 01:24:10,240
Speaker 2: Well, because it is it had lost its balance. There

1294
01:24:10,280 --> 01:24:17,120
Speaker 2: was no balance. It was it was it was you know,

1295
01:24:17,479 --> 01:24:20,720
Speaker 2: a couple of the balance. The balance was gone and

1296
01:24:20,760 --> 01:24:25,600
Speaker 2: I couldn't I couldn't bring it back together. So that

1297
01:24:25,760 --> 01:24:29,400
Speaker 2: was the end of that. It was like like when

1298
01:24:29,439 --> 01:24:31,559
Speaker 2: I came, I said, well, the guys, we've got to rehearse,

1299
01:24:31,560 --> 01:24:36,040
Speaker 2: we've got to rehearse. Oh, John, just off okay, because

1300
01:24:36,040 --> 01:24:39,160
Speaker 2: that's what they said when I left the band in Germany,

1301
01:24:39,560 --> 01:24:43,360
Speaker 2: f off very loudly. Then I said, okay, I'm going.

1302
01:24:43,880 --> 01:24:46,200
Speaker 2: And that's what I did. I just let go, you know,

1303
01:24:46,360 --> 01:24:46,720
Speaker 2: let go.

1304
01:24:47,600 --> 01:24:51,280
Speaker 1: Let God you left loudly because you thought you could

1305
01:24:51,280 --> 01:24:51,920
Speaker 1: wake them up.

1306
01:24:53,880 --> 01:24:56,080
Speaker 2: No, I didn't. I didn't wake I didn't think about

1307
01:24:56,080 --> 01:24:59,200
Speaker 2: it at all. I just know that we were in

1308
01:24:59,240 --> 01:25:02,840
Speaker 2: Paris trying to make an album and we brought in

1309
01:25:03,000 --> 01:25:08,600
Speaker 2: the wrong producer and that was it. And then it

1310
01:25:08,760 --> 01:25:13,040
Speaker 2: just happened to Alan was out there skating ice skating

1311
01:25:13,360 --> 01:25:16,320
Speaker 2: or or roller skating with his girlfriend and he broke

1312
01:25:16,360 --> 01:25:21,840
Speaker 2: his ankle. That's it. Okay, home we go, and that

1313
01:25:21,960 --> 01:25:24,960
Speaker 2: was the end of that. It was very obviously, very

1314
01:25:25,040 --> 01:25:29,599
Speaker 2: disappointing for me, because, as I said earlier, I really

1315
01:25:29,640 --> 01:25:33,400
Speaker 2: believed in everybody, and when everything falls apart, you think

1316
01:25:33,439 --> 01:25:36,040
Speaker 2: it's fuerful. You have that feeling of.

1317
01:25:38,000 --> 01:25:47,920
Speaker 1: What did I do? How did Roger Dean end up

1318
01:25:47,960 --> 01:25:49,839
Speaker 1: doing all that? He didn't do the first two albums,

1319
01:25:49,840 --> 01:25:51,479
Speaker 1: then he did all of them. How did that come

1320
01:25:51,520 --> 01:25:53,559
Speaker 1: to be except for going for the one?

1321
01:25:54,200 --> 01:25:59,360
Speaker 2: Yeah, but he was definitely perfect timing to have an

1322
01:25:59,479 --> 01:26:03,720
Speaker 2: artist project the band. You know, I'd say, you know,

1323
01:26:03,760 --> 01:26:06,400
Speaker 2: all the paperwork in the office should be Roger Deanism's

1324
01:26:06,600 --> 01:26:11,360
Speaker 2: a bit which never happened, but the idea was there.

1325
01:26:11,600 --> 01:26:15,200
Speaker 2: We've actually got an emblem and Roger creates it. God

1326
01:26:15,240 --> 01:26:19,280
Speaker 2: bless Roger. Steve how knew him and he came along

1327
01:26:19,280 --> 01:26:20,680
Speaker 2: and he said, what's the name of the album? I

1328
01:26:20,680 --> 01:26:26,719
Speaker 2: said Fragile and I just said, think of porcelain, and

1329
01:26:26,800 --> 01:26:29,240
Speaker 2: he said okay, and he came back with this lovely,

1330
01:26:29,280 --> 01:26:33,240
Speaker 2: beautiful little world that look for a fragile. It's a

1331
01:26:33,280 --> 01:26:33,880
Speaker 2: great idea.

1332
01:26:35,080 --> 01:26:39,240
Speaker 1: Okay, you leave, You're doing your own thing. How did

1333
01:26:39,280 --> 01:26:43,479
Speaker 1: you feel that the band continued under the Yes name

1334
01:26:43,560 --> 01:26:44,759
Speaker 1: with completely different people?

1335
01:26:45,680 --> 01:26:49,000
Speaker 2: And I'm not interested. I just I have no interest.

1336
01:26:50,320 --> 01:26:53,120
Speaker 1: I'm talking about it at that time because you ultimately

1337
01:26:53,160 --> 01:26:54,760
Speaker 1: come back to the band.

1338
01:26:55,439 --> 01:26:58,360
Speaker 2: Only because it just happened. And I'll tell you this story.

1339
01:26:58,400 --> 01:27:00,800
Speaker 2: Then I got a go bob. But here's this the

1340
01:27:01,320 --> 01:27:06,320
Speaker 2: this is life. I was down in silence, France, enjoying

1341
01:27:07,160 --> 01:27:12,559
Speaker 2: the wonderful, beautiful, beautiful part of the world. And I

1342
01:27:12,680 --> 01:27:20,719
Speaker 2: was working on a project that will eventually come to fruition.

1343
01:27:20,840 --> 01:27:24,679
Speaker 2: You tend to start creating stuff after a certain period

1344
01:27:24,680 --> 01:27:27,439
Speaker 2: of your career where you you put it to you

1345
01:27:27,479 --> 01:27:29,439
Speaker 2: finish it, and you put it to one side, and

1346
01:27:29,479 --> 01:27:30,840
Speaker 2: then you have another one and you put it to

1347
01:27:30,920 --> 01:27:32,800
Speaker 2: one side. So you finish it with a drawer full

1348
01:27:33,920 --> 01:27:36,320
Speaker 2: of things that you know you're going to do and

1349
01:27:36,400 --> 01:27:39,400
Speaker 2: finish down the line. And I've got a dozen of

1350
01:27:39,439 --> 01:27:42,439
Speaker 2: them sitting in a drawer over there in the studio

1351
01:27:42,520 --> 01:27:44,240
Speaker 2: here that one day I'm going to get on with

1352
01:27:44,280 --> 01:27:48,639
Speaker 2: them and finish them. And that's when you realize, Okay,

1353
01:27:48,720 --> 01:27:53,559
Speaker 2: you're you're you're creative dude. Uh, it'll happen when it happens.

1354
01:27:53,640 --> 01:27:57,960
Speaker 2: That became my flagship. You know, it'll happen when it happens.

1355
01:27:57,960 --> 01:28:02,360
Speaker 2: And then I've got to call from from Steve. Oh no,

1356
01:28:02,400 --> 01:28:05,280
Speaker 2: it was sorry, it was Chris. And Chris said, I

1357
01:28:05,320 --> 01:28:07,559
Speaker 2: hear you coming to London this weekend. I said, oh, yeah,

1358
01:28:07,560 --> 01:28:10,080
Speaker 2: I'm coming to London see the family and everything. And

1359
01:28:10,120 --> 01:28:13,080
Speaker 2: I went to London and Chris said, I want to

1360
01:28:13,080 --> 01:28:16,760
Speaker 2: play you something and I said, oh, really, you've been

1361
01:28:16,800 --> 01:28:18,960
Speaker 2: working with anybody? He said, oh, yeah, we've been working

1362
01:28:19,000 --> 01:28:21,760
Speaker 2: with Trevor Horn. And I said, oh, he's the guy

1363
01:28:21,800 --> 01:28:26,840
Speaker 2: that did Duck Rock with Malcolm McLaren, very very good album.

1364
01:28:27,600 --> 01:28:32,160
Speaker 2: He's a very smart guy. What's his name. He says

1365
01:28:32,280 --> 01:28:38,080
Speaker 2: it's Trevor Horn. I said, oh, good, and Trevor Ravens

1366
01:28:38,120 --> 01:28:42,640
Speaker 2: in this ensemble. We're going to be called Cinema. I said, oh,

1367
01:28:42,640 --> 01:28:45,719
Speaker 2: good for you. Anyway, he came by the house and

1368
01:28:46,479 --> 01:28:49,439
Speaker 2: sitting in his Rolls Royce, of course, and I came

1369
01:28:49,479 --> 01:28:51,639
Speaker 2: out to meet him and sat in the Rolls Royce

1370
01:28:51,680 --> 01:28:55,240
Speaker 2: with him, and he started playing me this hate trick

1371
01:28:56,000 --> 01:28:58,599
Speaker 2: of the music that became nine oh one two five,

1372
01:28:58,640 --> 01:29:04,200
Speaker 2: and I went, wow, this is so good. Chris, well done.

1373
01:29:04,640 --> 01:29:07,160
Speaker 2: And it's called Cinema. He said, yeah, yeah, we're gonna

1374
01:29:07,200 --> 01:29:11,559
Speaker 2: call it Cinema. Well these are This is a great song,

1375
01:29:11,640 --> 01:29:15,160
Speaker 2: you know, on of a lonely hard chorus song. The

1376
01:29:15,240 --> 01:29:18,320
Speaker 2: song the verse is not so but the chorus is here,

1377
01:29:18,400 --> 01:29:20,000
Speaker 2: you know. He said, yeah, we think it's going to be.

1378
01:29:21,040 --> 01:29:23,120
Speaker 2: Then he played a couple of other tracks and I'm

1379
01:29:23,160 --> 01:29:27,559
Speaker 2: just saying, man, this is so good. And Chris said,

1380
01:29:28,400 --> 01:29:31,600
Speaker 2: do you want to sing on it. And I said,

1381
01:29:32,160 --> 01:29:35,559
Speaker 2: what do you mean sing on it? Yeah, because like

1382
01:29:35,640 --> 01:29:38,400
Speaker 2: you say, it needs a definitely needs a better verse

1383
01:29:38,479 --> 01:29:41,040
Speaker 2: and one of the lonely heart. Maybe you could come

1384
01:29:41,080 --> 01:29:46,880
Speaker 2: in tomorrow to the studio and sing it. I said, well,

1385
01:29:47,080 --> 01:29:48,880
Speaker 2: you know, if I do, it will sound like yes.

1386
01:29:49,840 --> 01:29:53,799
Speaker 2: He said, yeah, that's what we want, and I said, okay,

1387
01:29:54,320 --> 01:29:56,400
Speaker 2: you got the gig. I got the gig, and I

1388
01:29:56,439 --> 01:30:02,200
Speaker 2: felt so refreshed that I was yes. And that's the

1389
01:30:02,320 --> 01:30:05,040
Speaker 2: end of my story, Bob. But it was a good

1390
01:30:05,080 --> 01:30:08,880
Speaker 2: story because the album did great. Owner of a Lonely

1391
01:30:08,880 --> 01:30:12,040
Speaker 2: Heart was a monster hit around the world. We played

1392
01:30:12,080 --> 01:30:15,280
Speaker 2: in front of half a million people in Brazil, which

1393
01:30:15,320 --> 01:30:19,760
Speaker 2: is ridiculously wonderful, along with Rod Stewart and lots of

1394
01:30:19,800 --> 01:30:22,080
Speaker 2: other big stories. But to play in front of half

1395
01:30:22,120 --> 01:30:25,200
Speaker 2: a million people, it's as far as you can see,

1396
01:30:26,360 --> 01:30:28,599
Speaker 2: and the rest is history.

1397
01:30:29,120 --> 01:30:32,680
Speaker 1: Well, you know, it was great. Is Owner of a

1398
01:30:32,680 --> 01:30:36,080
Speaker 1: Lonely Heart is? The rest of the album is unbelievable.

1399
01:30:36,439 --> 01:30:38,800
Speaker 1: You have hold on and leave it.

1400
01:30:39,200 --> 01:30:44,040
Speaker 2: Yeah, everyone a winner I got. I got to walk

1401
01:30:44,080 --> 01:30:46,519
Speaker 2: in and start singing it and writing lyrics a bit

1402
01:30:46,560 --> 01:30:48,320
Speaker 2: here and there. It's kind of change the lyrics. Yeah,

1403
01:30:48,360 --> 01:30:50,720
Speaker 2: of course, John, do what you want, okay, thank you

1404
01:30:50,800 --> 01:30:54,200
Speaker 2: very much. And that's then all of a sudden, I

1405
01:30:54,240 --> 01:30:56,160
Speaker 2: was I was six foot tall from then on.

1406
01:30:56,840 --> 01:31:02,519
Speaker 1: Okay, the music was totally done at that Yeah, and

1407
01:31:02,640 --> 01:31:04,160
Speaker 1: were there any lyrics?

1408
01:31:05,000 --> 01:31:08,200
Speaker 2: There was? There was in honor of a Lonely Heart.

1409
01:31:08,240 --> 01:31:11,720
Speaker 2: There was a song which which was sitting in the

1410
01:31:12,200 --> 01:31:15,519
Speaker 2: track rather than sitting on top of the track. So

1411
01:31:15,600 --> 01:31:17,439
Speaker 2: I just said to Trevor Abe and I said, look,

1412
01:31:17,680 --> 01:31:24,000
Speaker 2: why don't we just go Jutta Murda did dada da dada,

1413
01:31:24,080 --> 01:31:28,040
Speaker 2: because that's what the band was, the bunk. And he said, oh,

1414
01:31:28,120 --> 01:31:31,759
Speaker 2: that's good. Just write that down. Lose yourself. You always

1415
01:31:31,800 --> 01:31:34,160
Speaker 2: live your life and he said, never thinking of the future. Yeah,

1416
01:31:34,280 --> 01:31:36,360
Speaker 2: never thinking of the future. So John, get on with it.

1417
01:31:36,880 --> 01:31:39,160
Speaker 2: So I just got on with it, you know. And

1418
01:31:39,240 --> 01:31:41,960
Speaker 2: then the next one, with another song, Heart's another song.

1419
01:31:42,560 --> 01:31:46,560
Speaker 2: You start opening up and saying, yeah, well this worked beautifully.

1420
01:31:46,600 --> 01:31:50,280
Speaker 2: I'm happy to sing that. And Trevor Horn was very

1421
01:31:50,360 --> 01:31:52,639
Speaker 2: good and everybody was so nice and happy.

1422
01:31:54,520 --> 01:31:56,600
Speaker 1: Did you have any idea it was going to be

1423
01:31:56,680 --> 01:31:58,200
Speaker 1: as successful as it was?

1424
01:31:59,479 --> 01:32:02,200
Speaker 2: I just felt, well, the Owner was a hit. It

1425
01:32:02,360 --> 01:32:06,519
Speaker 2: depends if, of course. At that point in time we

1426
01:32:06,600 --> 01:32:08,479
Speaker 2: had to make a video standing on top of a

1427
01:32:08,600 --> 01:32:13,080
Speaker 2: skyscraper in London and MTV started, so everything changed in

1428
01:32:13,160 --> 01:32:16,320
Speaker 2: a way. So from that moment, I just felt, Oh,

1429
01:32:16,600 --> 01:32:19,040
Speaker 2: I'm on top of the world. Thank you very much, God.

1430
01:32:19,800 --> 01:32:22,160
Speaker 2: I really be a better boy next time.

1431
01:32:23,040 --> 01:32:27,479
Speaker 1: Okay. There was an amazing tour. Okay, and that's the

1432
01:32:27,600 --> 01:32:31,920
Speaker 1: first tour I've ever seen where the lighting rig descended

1433
01:32:32,120 --> 01:32:34,639
Speaker 1: to the stage at one point.

1434
01:32:35,280 --> 01:32:35,479
Speaker 2: Yeah.

1435
01:32:36,439 --> 01:32:40,639
Speaker 1: Yeah, was that something you were involved in or somebody?

1436
01:32:40,880 --> 01:32:44,160
Speaker 2: Well, originally it was the idea that I wanted to use.

1437
01:32:44,400 --> 01:32:47,679
Speaker 2: I'd seen Vangelis, which is another story of my life,

1438
01:32:48,040 --> 01:32:52,120
Speaker 2: was I'd seen a photograph of him in Paris with

1439
01:32:52,400 --> 01:32:55,840
Speaker 2: laser beams and it'd never been used ever, and he

1440
01:32:56,160 --> 01:32:58,400
Speaker 2: was the first guy to use them as a show.

1441
01:32:59,040 --> 01:33:00,680
Speaker 2: And I kept saying that to the guys, We've got

1442
01:33:00,720 --> 01:33:02,800
Speaker 2: to get some laser beams. Got to get some laser beams.

1443
01:33:03,080 --> 01:33:06,960
Speaker 2: And that's when these all the staging in design, because

1444
01:33:07,000 --> 01:33:09,800
Speaker 2: I was that kind of guy who always said, look,

1445
01:33:10,240 --> 01:33:12,760
Speaker 2: there's a lot of people way over there. When you're

1446
01:33:12,760 --> 01:33:14,800
Speaker 2: playing for a ten thousand people, a load of people

1447
01:33:14,800 --> 01:33:17,400
Speaker 2: are way over there and they can just about see me.

1448
01:33:17,520 --> 01:33:21,720
Speaker 2: I'm two inches high. They should see a big spectacle

1449
01:33:22,040 --> 01:33:27,280
Speaker 2: of light and color. That's another That's another interview, Bob.

1450
01:33:28,680 --> 01:33:30,360
Speaker 1: And then how do you meet Van Gelis?

1451
01:33:31,240 --> 01:33:32,760
Speaker 2: That's another interview, Bob.

1452
01:33:33,439 --> 01:33:35,719
Speaker 1: Okay, then I'll ask you just a couple of questions

1453
01:33:35,760 --> 01:33:38,840
Speaker 1: and I'll let you go. Tell me about writing State

1454
01:33:38,920 --> 01:33:39,760
Speaker 1: of Independence.

1455
01:33:40,640 --> 01:33:45,920
Speaker 2: Oh my god, I just as life would have it.

1456
01:33:46,760 --> 01:33:49,960
Speaker 2: I was told not to go near the band by

1457
01:33:50,040 --> 01:33:59,479
Speaker 2: Trevor horn Lessen when they're rehearsing new songs. So I was, Okay,

1458
01:34:00,040 --> 01:34:04,360
Speaker 2: then I'll just twiddle my thumbs for a month or two,

1459
01:34:04,400 --> 01:34:07,680
Speaker 2: which I did and started writing some song ideas that

1460
01:34:07,800 --> 01:34:11,200
Speaker 2: I had. And Van Gelis was in Paris, so I

1461
01:34:11,280 --> 01:34:15,120
Speaker 2: went to Paris for a while, and then I went

1462
01:34:15,200 --> 01:34:23,160
Speaker 2: to see Yes in this gothic castle and they've been

1463
01:34:23,240 --> 01:34:25,280
Speaker 2: there a couple of months and not much had happened.

1464
01:34:25,320 --> 01:34:29,519
Speaker 2: A lot of just wasn't happening on different levels. And

1465
01:34:29,680 --> 01:34:31,960
Speaker 2: then I was there. I came up with some ideas

1466
01:34:32,080 --> 01:34:34,679
Speaker 2: for the next ideas that da Dad, and the following

1467
01:34:34,760 --> 01:34:36,960
Speaker 2: day Trevor Horne said, I think the guys would rather

1468
01:34:37,000 --> 01:34:42,559
Speaker 2: you don't be here anymore. Don't be here anymore, f off,

1469
01:34:44,400 --> 01:34:47,639
Speaker 2: So I said, okay, and I went to to Paris

1470
01:34:47,760 --> 01:34:51,320
Speaker 2: and I went to the studio where vang Gellis was

1471
01:34:51,360 --> 01:34:53,600
Speaker 2: and I'm walking in and he's doing this goo goo

1472
01:34:53,720 --> 01:34:57,200
Speaker 2: goo goo goo goo goo goo goo cuckoo sound, and

1473
01:34:57,320 --> 01:35:00,519
Speaker 2: I said, it's the microphone on. He said, yeah, it's all.

1474
01:35:01,040 --> 01:35:03,960
Speaker 2: So I went to over sorry, singing trying to think

1475
01:35:03,960 --> 01:35:04,800
Speaker 2: of the sona.

1476
01:35:05,360 --> 01:35:08,160
Speaker 1: But I need of life, May I live, may I Love?

1477
01:35:08,840 --> 01:35:11,439
Speaker 2: Coming out of the sky, I named me her name

1478
01:35:12,960 --> 01:35:15,920
Speaker 2: coming up Silver were for it is it is the

1479
01:35:16,160 --> 01:35:19,479
Speaker 2: very nature of the sound of the game. And I

1480
01:35:19,600 --> 01:35:22,480
Speaker 2: went all the way through the song lyric and everything.

1481
01:35:23,360 --> 01:35:24,960
Speaker 1: Just came out of you, just like that, off the

1482
01:35:25,000 --> 01:35:31,639
Speaker 1: top of your eyes like that, and it blew my mind. Okay,

1483
01:35:31,880 --> 01:35:34,400
Speaker 1: there was a little bit of adoption of that song

1484
01:35:34,600 --> 01:35:38,320
Speaker 1: by the Landscape, but ultimately on her first gath in

1485
01:35:38,360 --> 01:35:42,880
Speaker 1: the album with Quincy Jones, Donna Summer Donna Summers Yeah,

1486
01:35:43,120 --> 01:35:45,600
Speaker 1: which is a good version, but I actually prefer the

1487
01:35:45,760 --> 01:35:48,880
Speaker 1: version by Mood Food on the Mood Swings Out Mood

1488
01:35:48,920 --> 01:35:53,000
Speaker 1: Swings Mood Food with Chrissy Hind.

1489
01:35:53,000 --> 01:35:56,880
Speaker 2: It's just she's great. She's great. But you know, Donna

1490
01:35:57,040 --> 01:35:59,960
Speaker 2: was brilliant And did you notice who sang on that song?

1491
01:36:01,479 --> 01:36:03,439
Speaker 1: Remind me I own the album. I can't remember.

1492
01:36:04,200 --> 01:36:11,439
Speaker 2: Here they go, I gotta remember Michael Jackson, Diana Ross,

1493
01:36:15,240 --> 01:36:23,920
Speaker 2: Stevie Wonder, who's the guy in America's got talent on

1494
01:36:24,080 --> 01:36:29,240
Speaker 2: the ceiling? Was dancing on the ceiling? Anyway? A dozen

1495
01:36:29,400 --> 01:36:33,320
Speaker 2: of the top singers ever sang on that song. And

1496
01:36:33,439 --> 01:36:39,559
Speaker 2: I feel blessed that I saw the photograph. But if yeah,

1497
01:36:39,640 --> 01:36:43,800
Speaker 2: if you just google Michael Jackson instead of Independence, yeah,

1498
01:36:43,920 --> 01:36:44,360
Speaker 2: i'll see.

1499
01:36:44,439 --> 01:36:47,320
Speaker 1: I'm seeing if I can find it right now.

1500
01:36:47,640 --> 01:36:48,200
Speaker 2: They're there.

1501
01:36:48,720 --> 01:36:50,760
Speaker 1: Did you know that?

1502
01:36:52,000 --> 01:36:52,160
Speaker 2: Oh?

1503
01:36:52,280 --> 01:36:55,280
Speaker 1: Yeah, lit of Richie Richie?

1504
01:36:55,320 --> 01:36:55,600
Speaker 2: That was it?

1505
01:36:55,720 --> 01:37:02,040
Speaker 1: Sorry, Diana Ross, Brenda Russell, Christopher Krawan, Cannon, James Ingram,

1506
01:37:02,120 --> 01:37:06,040
Speaker 1: Kenny Loggins, Penny Lipton, Patty Austin, the great Michael McDonald

1507
01:37:06,160 --> 01:37:08,080
Speaker 1: and Stevie Wonder, all the.

1508
01:37:08,120 --> 01:37:10,960
Speaker 2: Great sing on the song that I wrote. I'm so blessed,

1509
01:37:11,040 --> 01:37:12,360
Speaker 2: Thank you very much God.

1510
01:37:14,320 --> 01:37:17,320
Speaker 1: And then it also says here in Wikipedia Summer's version

1511
01:37:17,439 --> 01:37:19,839
Speaker 1: is one of Brian Edo's favorite songs.

1512
01:37:20,240 --> 01:37:21,559
Speaker 2: Excellent, well done, Brian.

1513
01:37:22,360 --> 01:37:25,720
Speaker 1: Okay, so did you know that they were covering it

1514
01:37:26,000 --> 01:37:27,559
Speaker 1: or just one day you got the record?

1515
01:37:28,080 --> 01:37:32,839
Speaker 2: No, It's funny that our good friend Lee A. Brams

1516
01:37:34,040 --> 01:37:42,160
Speaker 2: sent Quincy the album before Thriller, because if you if you,

1517
01:37:42,520 --> 01:37:48,439
Speaker 2: if you read that album, it's it's a carbon copy

1518
01:37:48,520 --> 01:37:51,360
Speaker 2: of and Quincy always says that, yes, John, we just okay,

1519
01:37:51,439 --> 01:37:56,000
Speaker 2: we stole it. Okay, because they used voiceovers, because we

1520
01:37:56,160 --> 01:37:59,240
Speaker 2: you know, in Friends of Mister Cairo there was voiceovers

1521
01:37:59,320 --> 01:38:03,479
Speaker 2: of Peter Lauri and all the greats, and then that's

1522
01:38:03,520 --> 01:38:09,240
Speaker 2: what they used in Thriller. Of course, everybody, everybody is

1523
01:38:09,439 --> 01:38:11,439
Speaker 2: part of everything, you know, it's just.

1524
01:38:11,479 --> 01:38:15,479
Speaker 1: The way of the world. And okay, so as you

1525
01:38:15,560 --> 01:38:18,200
Speaker 1: moved on, hold on, that was it.

1526
01:38:18,479 --> 01:38:20,080
Speaker 2: That's the end of my story, Bob.

1527
01:38:20,400 --> 01:38:22,400
Speaker 1: Okay, I got one more question and then we're going

1528
01:38:22,479 --> 01:38:26,960
Speaker 1: to go. So you know, you leave Yes. You work

1529
01:38:27,040 --> 01:38:30,759
Speaker 1: with members of Yes. At this point in your life.

1530
01:38:30,960 --> 01:38:34,880
Speaker 1: To what degree is it frustrating that you have to

1531
01:38:35,040 --> 01:38:38,920
Speaker 1: play the old music live as opposed to the new music?

1532
01:38:39,320 --> 01:38:43,280
Speaker 2: Bob said, perfect question. I just came off tour with

1533
01:38:43,400 --> 01:38:48,120
Speaker 2: the Bank Geeks. These Bank Geeks are there's five six

1534
01:38:48,240 --> 01:38:59,840
Speaker 2: sorry great on two six players, five players, two keyboard players, drummer, bass, guitar.

1535
01:39:00,439 --> 01:39:07,080
Speaker 2: Unbelievable people, unbelievable musicians. Somebody sent me a rendition of

1536
01:39:07,560 --> 01:39:10,960
Speaker 2: Heart of the Sunrise again with them playing it, and

1537
01:39:11,120 --> 01:39:13,840
Speaker 2: I just went crazy and said, I got to work

1538
01:39:13,880 --> 01:39:15,960
Speaker 2: with these guys. I've got to go on to with

1539
01:39:16,080 --> 01:39:18,120
Speaker 2: these guys and play all the music from the seventies

1540
01:39:18,400 --> 01:39:23,040
Speaker 2: because that's the great music of yes, and that's what

1541
01:39:23,160 --> 01:39:23,640
Speaker 2: we just did.

1542
01:39:24,240 --> 01:39:27,920
Speaker 1: And do you feel frustrated that you can't go live

1543
01:39:28,200 --> 01:39:30,320
Speaker 1: and play your new music to a large audience.

1544
01:39:30,960 --> 01:39:35,960
Speaker 2: No. Eventually, whatever I'm doing now will evolve into what

1545
01:39:36,080 --> 01:39:40,200
Speaker 2: it's going to be. And I have great feelings and

1546
01:39:40,600 --> 01:39:44,120
Speaker 2: dreams like any normal guy, and that these things will

1547
01:39:44,160 --> 01:39:49,479
Speaker 2: come to pass and people will hear my latest work,

1548
01:39:49,640 --> 01:39:53,559
Speaker 2: and I have great dreams about it as well, where

1549
01:39:53,560 --> 01:39:55,120
Speaker 2: it's going to be played, and so on and so on.

1550
01:39:55,880 --> 01:39:59,559
Speaker 1: Okay, So as you and myself or in the sunset

1551
01:39:59,600 --> 01:40:03,040
Speaker 1: of our years, and you're a deep think or metaphysical guy,

1552
01:40:03,880 --> 01:40:06,160
Speaker 1: So what ultimately happens to us at the end of

1553
01:40:06,200 --> 01:40:07,000
Speaker 1: our lives.

1554
01:40:07,320 --> 01:40:09,679
Speaker 2: Well, we go to the next level, in the next

1555
01:40:09,840 --> 01:40:13,400
Speaker 2: level of consciousness. It's very been well written throughout the

1556
01:40:13,479 --> 01:40:16,000
Speaker 2: ages as that we keep forgetting that we go to

1557
01:40:16,120 --> 01:40:18,840
Speaker 2: the next level of consciousness. That's all there is to it.

1558
01:40:19,720 --> 01:40:22,720
Speaker 1: Take it or leave it, buddy, Okay, I think we're

1559
01:40:22,720 --> 01:40:24,720
Speaker 1: gonna leave it. Dear John, I want to thank you

1560
01:40:24,840 --> 01:40:27,760
Speaker 1: for taking all the time tell us so much about

1561
01:40:27,800 --> 01:40:32,439
Speaker 1: yourself and your career than to Bob in any event.

1562
01:40:33,080 --> 01:40:35,719
Speaker 1: Till next time. This is Bob left sets