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Hue And Cry - Episode #41 - Interview with Pat & Greg Kane · The Uncharted Sounds Podcast

• 0:22
  Speaker 1: Welcome to the Uncharted Sounds podcast. I'm Noel. I'm here
• 0:26
  Speaker 1: again with Martin. How you doing, Martin?
• 0:28
  Speaker 2: Hey, hoy you doing? Oh yeah, very good, very good.
• 0:30
  Speaker 1: Perfect. So before we get into the band, we're covering
• 0:33
  Speaker 1: this episode what's been on your record deck lately?
• 0:36
  Speaker 3: Yeah?
• 0:36
  Speaker 2: So I went back this week to nineteen eighty nine
• 0:41
  Speaker 2: and an album by Joe Jackson called Blaze of Glory.
• 0:45
  Speaker 2: You might not have heard of it, but it's got
• 0:48
  Speaker 2: I guess. The main song on from there was the
• 0:51
  Speaker 2: single down to London, which is a great song, but
• 0:54
  Speaker 2: it's like a it's a brilliant mix of just great
• 0:58
  Speaker 2: tunes and it's one of those albums you know sometimes
• 1:02
  Speaker 2: you always have an album that you go back to,
• 1:04
  Speaker 2: you know, is an album that you always, you know,
• 1:07
  Speaker 2: keep returning to all the time. Well, that's one of
• 1:09
  Speaker 2: the albums that I'm I always always go back to.
• 1:12
  Speaker 1: So yeah, oh fantastic, Oh brilliant. I'll be listening to
• 1:17
  Speaker 1: the Strokes. Is this it a great album? Yeah, Megan,
• 1:20
  Speaker 1: it's just's got great songs on it. My favorite as
• 1:22
  Speaker 1: a single as well, it's called hard to explain. It's
• 1:24
  Speaker 1: probably my favorite. But I did see them a few
• 1:27
  Speaker 1: times when they've were where they were around at that
• 1:29
  Speaker 1: era when they were just first releasing that album. They're
• 1:32
  Speaker 1: a great band and they still sound as fresh today
• 1:34
  Speaker 1: as they did then. I was going to ask you,
• 1:36
  Speaker 1: who are we talking about today?
• 1:37
  Speaker 2: Okay, So no, for this episode, we're featuring the band
• 1:41
  Speaker 2: Hue and Cry.
• 1:42
  Speaker 1: Now.
• 1:43
  Speaker 2: I don't know about you, but for me me, it's
• 1:46
  Speaker 2: one of those bands that maybe there they had a
• 1:50
  Speaker 2: huge hit that people will probably know the song as
• 1:55
  Speaker 2: opposed to knowing the band. So the band is Hue
• 1:57
  Speaker 2: and Cry and the song was laid bir of love.
• 2:24
  Speaker 4: Like you said you loads like, oh no, you say it,
• 2:29
  Speaker 4: but you wan't so up now under food.
• 2:33
  Speaker 5: Now I'm gonna put me down and I gotta lay
• 2:35
  Speaker 5: a new way down where the battle saddle days.
• 2:42
  Speaker 6: Get away now.
• 2:48
  Speaker 5: About now?
• 2:49
  Speaker 6: Too much pain?
• 2:50
  Speaker 5: Do it again? Not feel like down?
• 2:53
  Speaker 7: I wanna bight back my Now you're gonna wear plus
• 2:56
  Speaker 7: my lad lived.
• 3:11
  Speaker 8: They ain't gonna worry for you know more, ain't gonna
• 3:16
  Speaker 8: worry but.
• 3:18
  Speaker 5: You know more.
• 3:24
  Speaker 1: Right now? Interesting because that is pretty much that song
• 3:27
  Speaker 1: is pretty much everything I know about the band, and
• 3:30
  Speaker 1: I know you know a lot more about them, so
• 3:32
  Speaker 1: it'd be interesting to learn from you about the band,
• 3:34
  Speaker 1: so quite interesting to find out a little bit more
• 3:36
  Speaker 1: so tell us about where you know their background and
• 3:38
  Speaker 1: where they're from and so on.
• 3:40
  Speaker 2: So well, so there's there are a Scottish duo formed
• 3:42
  Speaker 2: in eighty three in Cobridge by two brothers, Pat Caine
• 3:47
  Speaker 2: and Greg Kine. And as you know, we're going to
• 3:50
  Speaker 2: be talking to Pat and Greg later that they were
• 3:53
  Speaker 2: as I said that, they were best known for their single,
• 3:55
  Speaker 2: which is from eighty seven, Labor of Love, which we've
• 3:58
  Speaker 2: just played. But that's spend like sixteen weeks in the
• 4:02
  Speaker 2: UK chart. You know, obviously a huge song, and it's
• 4:05
  Speaker 2: also one of those songs that still sounds as fresh
• 4:09
  Speaker 2: today as it did right back in eighty seven, and
• 4:13
  Speaker 2: it's always played on the radio. It's always played, you know,
• 4:16
  Speaker 2: even now. It's one of those songs that it has
• 4:18
  Speaker 2: got huge longevity. Okay, So yeah, So I mean they
• 4:22
  Speaker 2: sort of mixed what you might think about soul jazz,
• 4:26
  Speaker 2: sophisticated popper and had little bit of politics in there
• 4:30
  Speaker 2: as well. So let's look a little bit about their
• 4:32
  Speaker 2: formation back in back in eighty three. The sort of
• 4:35
  Speaker 2: story begins, I guess in Lanarkshire in Coatbridge.
• 4:39
  Speaker 1: Interesting because when I mentioned about Langashire, I looked up
• 4:42
  Speaker 1: and the two bands we might know who also came
• 4:45
  Speaker 1: from Lanarkshire with the Jesus and Mary Chain And that's
• 4:48
  Speaker 1: Dick Camera.
• 4:49
  Speaker 2: So yeah, so Pat and Greg, they sort of grew
• 4:53
  Speaker 2: up in a Catholic working class family, were clearly you know, politics,
• 4:58
  Speaker 2: music and debate were all part of their everyday life.
• 5:01
  Speaker 2: I think Pat became very interested in soul singers and
• 5:04
  Speaker 2: political writing, and Greg immersed himself in things like jazz, harmony, instrumentation,
• 5:11
  Speaker 2: arrangements and so on. And in eighty three years say
• 5:13
  Speaker 2: they formed Hue and Cry. It'd be interesting to ask
• 5:16
  Speaker 2: them about the name, but apparently it was from what
• 5:18
  Speaker 2: I've ascertained they've it was inspired by that, you know,
• 5:22
  Speaker 2: the old phrase about always a bit of a hue
• 5:24
  Speaker 2: and cry over there, you know about public outrage or uproar.
• 5:27
  Speaker 9: You know.
• 5:27
  Speaker 1: It's interesting because I was wondering if ever they ever
• 5:31
  Speaker 1: anybody thought that was their nicknames, Hugh and Cry, because
• 5:35
  Speaker 1: when I lost I like the band James, and I
• 5:37
  Speaker 1: talked to people have seen James, They say, oh, yeah,
• 5:39
  Speaker 1: he talked about he. It's not he. James is the
• 5:41
  Speaker 1: band tim Boob is a foot man, but they think
• 5:44
  Speaker 1: James is the name of the singer. So I just
• 5:46
  Speaker 1: want to read any of that is what did you
• 5:47
  Speaker 1: called Hugh and nickname Cry or something? I don't know that.
• 5:50
  Speaker 2: What was interesting in eighty three this song came out,
• 5:53
  Speaker 2: but they didn't really sound like many many other bands
• 5:56
  Speaker 2: around at that time.
• 5:57
  Speaker 1: Probably around them would have been the Proclaimers and Delibie Tree,
• 6:00
  Speaker 1: other bands like that.
• 6:01
  Speaker 2: Yeah, Deacon Blue maybe, yes, yeah, exactly. You know, we've
• 6:04
  Speaker 2: already interviewed a few Scottish bands on our podcast with
• 6:08
  Speaker 2: you know the Skids TV twenty one, you know, to
• 6:11
  Speaker 2: name a couple, But I think that and Hue and
• 6:14
  Speaker 2: Cry are very different from all of those types of bands. Okay,
• 6:18
  Speaker 2: so let's as we move on. They sort of started
• 6:21
  Speaker 2: to build a reputation in eighty four playing the smaller
• 6:24
  Speaker 2: Scottish venues, you know, university gigs, support slots. Obviously there
• 6:29
  Speaker 2: was and this is a venue that's cropped up in
• 6:31
  Speaker 2: a couple of our podcasts, but Glasgow's King Tuts. You know,
• 6:34
  Speaker 2: I went there, Yeah, I remember you saying. And also
• 6:37
  Speaker 2: before it became sort of what is now has got
• 6:40
  Speaker 2: almost legendary status hasn't it well because.
• 6:43
  Speaker 1: There were, as I guess, being discovered there. Yeah.
• 6:45
  Speaker 2: An interesting fact is that Pat Kine has often said
• 6:48
  Speaker 2: that the band learned their sort of performance discipline by
• 6:54
  Speaker 2: playing to some of those smaller venues, the difficult crowds,
• 6:57
  Speaker 2: as opposed to some of the sort of trendy London
• 7:00
  Speaker 2: showcases that they put on in the industry, you know, Yeah, yeah,
• 7:04
  Speaker 2: I think the live lineup around them also constantly involved,
• 7:08
  Speaker 2: from what I can what I've learned, and unlike a
• 7:11
  Speaker 2: lot of duos, for example, they expanded their sound with
• 7:15
  Speaker 2: lots of backing musicians and they had that almost orchestral feel.
• 7:20
  Speaker 2: I think they also generated a lot of industry attention
• 7:24
  Speaker 2: because Pat Kane's voice stood out fairly quickly. I think
• 7:28
  Speaker 2: so eighty five they were starting to send out demo
• 7:31
  Speaker 2: tapes around the labels. They definitely attracted attention in the UK.
• 7:36
  Speaker 2: They were beginning, you know, in the music industry. Britain
• 7:39
  Speaker 2: was beginning to embrace acts like Blue Nile, Prefhabs Sprout,
• 7:43
  Speaker 2: for example, Style Council.
• 7:44
  Speaker 1: Yeah. Interest in other bands area with a similar kind
• 7:47
  Speaker 1: of vibe included Blue Rondo and a band I liked
• 7:51
  Speaker 1: called Animal nightlife with a great single called a Great Pretender,
• 7:55
  Speaker 1: and of course another podcast band, the Higsons.
• 7:57
  Speaker 2: Yeah no good show. Yeah yeah, I think I think
• 8:00
  Speaker 2: the from what once again, from what I've read, the
• 8:02
  Speaker 2: brothers were sort of perfectionists even at that demo stage.
• 8:06
  Speaker 2: You know, I think they said, you know, Greg Kine
• 8:08
  Speaker 2: spent quite a bit of time arranging the songs being
• 8:11
  Speaker 2: you know, whether they were ready for like commercial radio,
• 8:14
  Speaker 2: for example. But what happened was eighty six they they
• 8:19
  Speaker 2: had their first single and that was here comes everybody,
• 8:51
  Speaker 2: come and.
• 8:51
  Speaker 6: Join your hairs.
• 8:52
  Speaker 10: Now it's weird believe that.
• 9:07
  Speaker 5: Time.
• 9:08
  Speaker 9: I'm going back with these days and ye beat it.
• 9:15
  Speaker 6: They shouldn't have buy.
• 9:16
  Speaker 10: It in this way here through that name when they're gons,
• 9:22
  Speaker 10: but just ny back, would you tell me.
• 9:34
  Speaker 4: By the oh boy, that's the game that's like today, say.
• 9:41
  Speaker 5: Don't lose your poor girl, you natty who will with
• 9:46
  Speaker 5: the name.
• 9:48
  Speaker 6: To sometimes make this work.
• 9:52
  Speaker 5: Let's make the word that be desert two together come
• 9:59
  Speaker 5: ye big.
• 10:18
  Speaker 1: Now.
• 10:18
  Speaker 2: That single appeared on the small Glasgow label Stampede Records.
• 10:22
  Speaker 2: It didn't chart, but certainly started to get noticed by
• 10:26
  Speaker 2: the major labels and the Virgin Records subsidiary Circa then
• 10:30
  Speaker 2: signed the band afterwards and they had another single, or
• 10:34
  Speaker 2: their first Circa single I guess you'd call. It was
• 10:37
  Speaker 2: called I refuse.
• 11:07
  Speaker 5: Hell, little little girl.
• 11:09
  Speaker 11: I know you're not being a little girls, but in
• 11:14
  Speaker 11: this man's world, get all this be just a little girl.
• 11:19
  Speaker 6: Yeah, sweet my daughter.
• 11:23
  Speaker 4: I'm a mother home out of family and of course
• 11:27
  Speaker 4: this is your destiny.
• 11:30
  Speaker 11: What you were born?
• 11:33
  Speaker 5: What do you say? No, I'm not no, I'm not
• 11:37
  Speaker 5: a wait I refuse, I refuse. I'm die a Christian,
• 11:42
  Speaker 5: scared deminish.
• 11:43
  Speaker 4: I refuse, profuse, don't you emisoda dog to come, not refuse?
• 11:49
  Speaker 4: Out redus right up until die, until I die till die.
• 11:58
  Speaker 2: The single reached the UK one hundred. It did get
• 12:01
  Speaker 2: higher on a later reissue, but that also that period
• 12:05
  Speaker 2: started to see the band touring quite extensively around around Britain,
• 12:09
  Speaker 2: supporting some of the larger acts and building an you know,
• 12:13
  Speaker 2: quite a devoted life following which, to be honest with you,
• 12:16
  Speaker 2: Noel is still there today. You know, they've got an
• 12:18
  Speaker 2: incredibly loyal audience which is you know, terrific. And apparently
• 12:22
  Speaker 2: the people that saw those early gigs said, you know,
• 12:25
  Speaker 2: they were much more improvised than the maybe the you know,
• 12:29
  Speaker 2: the studio recordings. One of those bands that has got
• 12:32
  Speaker 2: quite a different live sound to their sound on record.
• 12:36
  Speaker 2: For example. Now, nineteen eighty seven was I suppose you'd
• 12:39
  Speaker 2: call it maybe their breakthrough year. It sort of changed
• 12:42
  Speaker 2: everything really because that's when the single Labor of Love
• 12:46
  Speaker 2: became the big hit, reached number six in the UK charts,
• 12:50
  Speaker 2: as I said earlier, spent sixteen weeks on the chart
• 12:53
  Speaker 2: as well. They had their album Seduced and Abandoned, which
• 12:57
  Speaker 2: releached number twenty two in the UK Album's chart and
• 13:00
  Speaker 2: eventually got a silver certification.
• 13:03
  Speaker 1: Very good.
• 13:03
  Speaker 2: Another single there called Strength to Strength that also charted,
• 13:08
  Speaker 2: peaked at number forty six, and they say that's when
• 13:11
  Speaker 2: they started to become a lot more well known, a
• 13:13
  Speaker 2: lot bigger, almost what you'd call major live attractions, and
• 13:17
  Speaker 2: they supported bigger acts right across that club and theater
• 13:20
  Speaker 2: circuit in the UK and started to headline more venues themselves.
• 13:25
  Speaker 1: Yeah, I saw that in eighty seven, and they supported
• 13:27
  Speaker 1: Madonna on her UK tour with some of the bands
• 13:30
  Speaker 1: including Level forty two. Yeah.
• 13:31
  Speaker 2: Interesting enough.
• 13:32
  Speaker 1: Though.
• 13:33
  Speaker 2: One of the things that most people don't realize is
• 13:34
  Speaker 2: that Labor of Love was originally you know, and we've
• 13:38
  Speaker 2: heard this a few times on our podcast about what
• 13:40
  Speaker 2: people think of songs, but Labor Love originally was considered
• 13:43
  Speaker 2: a bit too unusual for mainstream radio. I'm not quite
• 13:47
  Speaker 2: sure what their criteria was, but because of its you know,
• 13:51
  Speaker 2: sophisticated arrangement and some of the some of the lyrics.
• 13:55
  Speaker 1: Yeah, I mean bohemian raps. You can do it. You'd
• 13:57
  Speaker 1: imagine anything can really Okay.
• 14:00
  Speaker 2: So we then move into eighty eight, and this is
• 14:02
  Speaker 2: where they released Remote, which I think for most fans,
• 14:07
  Speaker 2: it's generally considered to be some like there, the ultimate album,
• 14:11
  Speaker 2: you know, the sort of masterpiece I suppose you might call.
• 14:14
  Speaker 2: It reached number ten in the UK chart, earned gold
• 14:18
  Speaker 2: and had a couple of tracks on it, Ordinary Angel,
• 14:20
  Speaker 2: which got to number forty two and specifically Looking for Linda,
• 14:24
  Speaker 2: which is a song people might know and that got
• 14:26
  Speaker 2: to number fifteen in the UK charts.
• 14:40
  Speaker 6: Was not Looking for Linda had I'm the storting.
• 14:50
  Speaker 5: It's just one buppys. Are you going to help me?
• 14:55
  Speaker 6: She used to work there a long time ago.
• 15:00
  Speaker 12: Stand thirty five pounds and one pack of cities.
• 15:05
  Speaker 13: Under and earn for him and doors Nanci Campana straight
• 15:12
  Speaker 13: down to the center to again the city left her.
• 15:20
  Speaker 5: Side.
• 15:22
  Speaker 8: Look at up, never started look here, never started looking.
• 15:29
  Speaker 8: Body never started look here, never started looking.
• 15:39
  Speaker 5: Body was looking.
• 15:46
  Speaker 2: Looking for Linda was probably one of their another one
• 15:49
  Speaker 2: of their defining songs musically. The band were moving into that,
• 15:54
  Speaker 2: as I said right at the beginning, that sort of
• 15:56
  Speaker 2: jazz and soul territory, I guess you call it. As
• 15:59
  Speaker 2: they got bigger and bigger into eighty nine, they released
• 16:02
  Speaker 2: Bittersweet and started to really hone their live reputation and
• 16:07
  Speaker 2: interestingly enough, they didn't want to just make another pop album,
• 16:10
  Speaker 2: so it feels like, you know, they're evolving and they're
• 16:13
  Speaker 2: changing as they go. They released this ambitious live studio
• 16:18
  Speaker 2: hybrid with all these orchestral and jazz influences, you know,
• 16:22
  Speaker 2: and then you've got this. They released the Violently EP,
• 16:26
  Speaker 2: got the number twenty one in the UK charts and
• 16:28
  Speaker 2: interesting enough has got a great trumpet solo in.
• 16:30
  Speaker 1: It to me, Oh, interesting stuff to say. In eighty
• 17:10
  Speaker 1: nine as well, they played a massive gig at Edinburgh
• 17:13
  Speaker 1: Usher Hall with loads of other Scottish bands including Deacon
• 17:16
  Speaker 1: Blue and Texas.
• 17:17
  Speaker 2: Okay moving in to nineteen ninety A bit of a
• 17:20
  Speaker 2: turning point here. I think obviously the music landscape in
• 17:23
  Speaker 2: the UK was changing a bit. Dance music and Madchester
• 17:27
  Speaker 2: and indie rock was starting to come through. I think
• 17:30
  Speaker 2: Hue and Cry sort of found themselves a little bit
• 17:34
  Speaker 2: out of step with some of those what you might
• 17:37
  Speaker 2: consider to be commercial trends. I know, what goes around
• 17:40
  Speaker 2: comes around, but they just decided that, do you know what,
• 17:43
  Speaker 2: I think we'll just become even more experimental, and that
• 17:46
  Speaker 2: sort of started to define sort of what was happening,
• 17:49
  Speaker 2: you know, for the rest of their career. You then
• 17:50
  Speaker 2: get to a point where in ninety one they released
• 17:53
  Speaker 2: the album Stars Crashed Down, got to number ten in
• 17:56
  Speaker 2: the UK album chart and released a single, my Salt Heart.
• 18:03
  Speaker 5: Make you sweat to know the taste of me?
• 18:07
  Speaker 4: You're not sweet about the way that of your necessary
• 18:11
  Speaker 4: for you lack a chemical.
• 18:13
  Speaker 6: I am the veterns that you know.
• 18:16
  Speaker 3: I was aware if.
• 18:18
  Speaker 6: Think I'm a rocker, I'm a bone.
• 18:20
  Speaker 14: Don't there a few deciptis will make the guy right
• 18:24
  Speaker 14: in the sand come a cross about to the will Lord,
• 18:29
  Speaker 14: when where all the truths work, We're happy about right on.
• 18:32
  Speaker 9: The tamp out your tongue, find the number slid my mind, well,
• 18:39
  Speaker 9: I forgive la Stone bind the number slide.
• 18:47
  Speaker 6: I know my brothers haled him.
• 18:50
  Speaker 4: Use for them to give a bit being able at
• 18:54
  Speaker 4: Merry crucial Lenaman, I will provide. I give assume my honesty.
• 18:59
  Speaker 14: Is on a stain an right on the.
• 19:02
  Speaker 5: Temple of your tongue. The band and.
• 19:07
  Speaker 1: My ma.
• 19:09
  Speaker 5: On the gallo Laxton and.
• 19:11
  Speaker 10: The band and.
• 19:17
  Speaker 5: Your town band and somebody who said.
• 19:25
  Speaker 4: Beating the wild out my human body would be nother
• 19:29
  Speaker 4: matter bad don't And.
• 19:31
  Speaker 5: That's what I have been.
• 19:34
  Speaker 1: Now.
• 19:34
  Speaker 2: That single reached number forty seven. It's a great song,
• 19:38
  Speaker 2: had an eighties vibe, I thought, and I think that
• 19:40
  Speaker 2: the critics were probably a bit divided. Some thought, okay, great,
• 19:43
  Speaker 2: they've got ambition, they love the genre hopping, you know,
• 19:47
  Speaker 2: whereas perhaps others felt that they drifted too far, you know,
• 19:51
  Speaker 2: from the what you might consider that sort of commercial
• 19:54
  Speaker 2: soul pop labor loved type song.
• 19:58
  Speaker 1: And actually nineteen ninety boy we're talking about you talked
• 20:01
  Speaker 1: about here at the top of the program about her.
• 20:04
  Speaker 1: You've been listening to his album It's currently sitting on
• 20:06
  Speaker 1: your record deck, Joe Jackson. They supported him in ninety
• 20:09
  Speaker 1: one in Rotterdam.
• 20:10
  Speaker 2: Into ninety two, the brothers launched their own label, Fidelity Records,
• 20:17
  Speaker 2: and then released the album Truth and Love got to
• 20:19
  Speaker 2: number thirty three in the UK chart. So you can
• 20:21
  Speaker 2: see that they're still maintaining a sort of a good
• 20:25
  Speaker 2: commercial sense, even though maybe from a singles point of
• 20:28
  Speaker 2: view they've perhaps not quite cut it. But you know,
• 20:31
  Speaker 2: people thought they were maybe operating outside of that mainstream pop,
• 20:35
  Speaker 2: but their albums were still were still charting.
• 20:37
  Speaker 1: So I saw that in nineteen ninety two they played
• 20:40
  Speaker 1: the Scottish Flower which is the Celtic Music Festival, and
• 20:44
  Speaker 1: other bands on the line are the Levelers and Van
• 20:48
  Speaker 1: Morrison and loads of others.
• 20:49
  Speaker 2: Now ninety three, I suppose you might call it the
• 20:53
  Speaker 2: sort of remix revival. So they had a brief chart revival,
• 20:57
  Speaker 2: and that they released a compilation album Let Laborer Love
• 21:01
  Speaker 2: the Best of Hugh and Cry and that had a
• 21:03
  Speaker 2: Joey Negro remix of Labor and Love on it. That
• 21:06
  Speaker 2: remix suddenly gotten banned back in the charts again got
• 21:10
  Speaker 2: the number twenty five, and the Best of Hugh and
• 21:12
  Speaker 2: Cry that reached number twenty seven into ninety four. Now
• 21:17
  Speaker 2: they started to have more jazz and big band experiments.
• 21:21
  Speaker 2: They collaborated with renowned arranger Richard Niles.
• 21:25
  Speaker 1: So I had a quick look into Richard Niles actually,
• 21:28
  Speaker 1: so he was born in USA but grew up in London.
• 21:31
  Speaker 1: But his father, who obviously was a key employence, had
• 21:33
  Speaker 1: worked with Bing Crosby, Cole Porter, Frank Sinatra and so on.
• 21:37
  Speaker 1: So Richard worked with loads of artists and I couldn't
• 21:40
  Speaker 1: mention that it would be here all day, but so
• 21:42
  Speaker 1: earlier on maybe Cat Stevens, Kate Bush, Paul McCartney. But
• 21:45
  Speaker 1: he's also worked with the Pet Shop Boys, Tits for Fears,
• 21:49
  Speaker 1: Antipeche Mode, and he's composed and produced several commercials from
• 21:52
  Speaker 1: Multer national companies like McDonald's and actually presents radio shows
• 21:56
  Speaker 1: including BBC Radio two. So you know a bit of
• 21:59
  Speaker 1: a bit of a record there. Yeah.
• 22:01
  Speaker 2: The album that came off the back of that was
• 22:04
  Speaker 2: called Showtime and sort of leaned heavily into the orchestral
• 22:08
  Speaker 2: jazz pop. They had a single just Say You Love Me,
• 22:11
  Speaker 2: got to number ninety nine in the UK charts. Pat
• 22:14
  Speaker 2: Kane started working with the BBC Radio orchestras and big bands,
• 22:17
  Speaker 2: so ninety five to ninety nine, the band moved further
• 22:21
  Speaker 2: into jazz experimentation. Albums included Piano and Voice Jazz not Jazz,
• 22:27
  Speaker 2: next Move, and they collaborated with some what you might
• 22:30
  Speaker 2: call elite jazz musicians. I'm not familiar with them myself,
• 22:34
  Speaker 2: but you know Michael Brecker, Mike Stern, alongside others including
• 22:39
  Speaker 2: Randy Brecker and Danny Gottlieb. Okay, Looking through the two thousands,
• 22:42
  Speaker 2: two thousand and two thousand and seven, you know, they
• 22:45
  Speaker 2: were still doing touring regularly. They still played festivals. Two
• 22:49
  Speaker 2: thousand and eight they had an album Open Soul, and
• 22:52
  Speaker 2: that sort of marked a bit of a comeback. Did
• 22:54
  Speaker 2: a number of sold outdates in the UK supported Al
• 22:57
  Speaker 2: Green in two thousand and eight, which is appropriate bearing
• 23:01
  Speaker 2: in mind there you know their sort of soul influences.
• 23:05
  Speaker 2: I guess, okay. We then move on twenty nine, twenty fifteenish,
• 23:09
  Speaker 2: you know, the continue to evolve, releasing albums including you know,
• 23:13
  Speaker 2: exmus Day, Hot Wire, September Songs. Once again, still still
• 23:17
  Speaker 2: doing live work.
• 23:18
  Speaker 1: I noticed that from the twenty tens onwards they played
• 23:21
  Speaker 1: several of those kind of retro rewind festival weekends. Now
• 23:25
  Speaker 1: while Cuban Cry weren't on the bill that we went
• 23:27
  Speaker 1: to in twenty sixteen. There were similar artists that were
• 23:30
  Speaker 1: doing the same circuit at the same time. So out
• 23:33
  Speaker 1: of interested ones that we saw there were sixteen bands,
• 23:35
  Speaker 1: and that increded Billy Ocean, the Human League ten C C.
• 23:39
  Speaker 1: Kim Wild and Paul Character was very good. Yeah, okay,
• 23:42
  Speaker 1: the whole two sort of all work the circuit. Another word,
• 23:44
  Speaker 1: similar ones, you know, Human Cry would have been on
• 23:46
  Speaker 1: that bill, so yeah.
• 23:48
  Speaker 3: Yeah, brilliant.
• 23:49
  Speaker 2: Well, you know, into the into the what might be
• 23:52
  Speaker 2: termed the pandemic years. Twenty twenty four, Hue and Cry
• 23:56
  Speaker 2: released forty which was like a celebration of there forty
• 24:00
  Speaker 2: years together. And then in twenty twenty five they got
• 24:04
  Speaker 2: to a stage where actually they were starting to get
• 24:09
  Speaker 2: recognized whilst they continued to do sold out venues. That
• 24:12
  Speaker 2: one of the major developments there was an announcement that
• 24:15
  Speaker 2: Hue and Cry would receive the Outstanding Achievement Award at
• 24:19
  Speaker 2: the Scottish Music Awards, So finally, you know, recognition of
• 24:24
  Speaker 2: more than four decades in them in music. And then
• 24:28
  Speaker 2: the big news of course is that this year twenty
• 24:30
  Speaker 2: twenty six, as we're talking now, new album everybody. They
• 24:34
  Speaker 2: announced the brand new studio album is going to be
• 24:37
  Speaker 2: released at the back end of May, and you know
• 24:40
  Speaker 2: they're still even now, they're still releasing you know, completely
• 24:44
  Speaker 2: new music, which is which is great.
• 24:46
  Speaker 1: Well, that's great, I think if that was a really
• 24:48
  Speaker 1: great overview there. So let's have a chat with the
• 24:51
  Speaker 1: pattern Greg Pat Greg, welcome to the podcast. What influenced
• 24:55
  Speaker 1: your early music?
• 24:56
  Speaker 15: Well, the Methods story is that we had an uncle
• 25:00
  Speaker 15: actually the son of the woman who looked after this
• 25:03
  Speaker 15: and nana who looked after this when woe was out working.
• 25:06
  Speaker 15: And he used to be the head of an institution
• 25:09
  Speaker 15: called the Talk of the Town in New York and London,
• 25:12
  Speaker 15: as in New York as well in London. His was
• 25:14
  Speaker 15: in London, there was a theatrical impresario and he fell
• 25:18
  Speaker 15: ill and died and we all went down.
• 25:21
  Speaker 16: To see him and see that, do you know, Commemoryum
• 25:24
  Speaker 16: in London.
• 25:25
  Speaker 15: And when they were of divvying up his property, we
• 25:29
  Speaker 15: me and Gregory got his record collection. So his record
• 25:31
  Speaker 15: collection was just that of a kind of sixties seventies
• 25:34
  Speaker 15: hipster and it had rolling Stones, Bobby Darren, the Beatles, Gordoners,
• 25:40
  Speaker 15: what else. So we had this just this very concentrated,
• 25:44
  Speaker 15: eclectic set of music that came out right into the
• 25:47
  Speaker 15: heart of our lives at a very impressionable age. And
• 25:49
  Speaker 15: then up to that we had been subjected to Sinatra,
• 25:53
  Speaker 15: Big Banjazz, Oscar Peterson shows on BBC BBC two just
• 25:57
  Speaker 15: before the football, so we'd had this kind of jazz influence.
• 26:00
  Speaker 15: We started, we got the best to pop from my
• 26:03
  Speaker 15: uncle Bill, late uncle Bill, and then after that it
• 26:07
  Speaker 15: was post It was punk and post punk, and we
• 26:10
  Speaker 15: always emphasized the post punk part of it as much
• 26:12
  Speaker 15: as the punk part of it, because you know, three
• 26:14
  Speaker 15: chords in the truth was punk. All the chords and
• 26:17
  Speaker 15: all the truths post punk, and thing was how do
• 26:19
  Speaker 15: you make a hit record out of all that beautiful
• 26:21
  Speaker 15: trouble and chaos. So, I mean that's my version of
• 26:24
  Speaker 15: the story, what's yours?
• 26:26
  Speaker 3: Pretty much? Yes, it was a bit of The box
• 26:28
  Speaker 3: of records is a little bit more diverse than you've
• 26:31
  Speaker 3: kind of intimated. There was Dylan in there, there was
• 26:33
  Speaker 3: Peggy Lee in there, there was Count Basie, there was
• 26:35
  Speaker 3: sure there was a bit more eclectic than it wasn't
• 26:38
  Speaker 3: just the Stones and the Beatles, and there was classical
• 26:41
  Speaker 3: stuff in there, and I was classically trying. I'm a
• 26:44
  Speaker 3: classically trained pianist, so I was pulling out all these records.
• 26:48
  Speaker 3: But you know, we were very lucky. I mean I
• 26:51
  Speaker 3: remember Nana who looked after. She was very political as well.
• 26:54
  Speaker 3: Do you remember that.
• 26:55
  Speaker 16: She was like a kind of sparky lady.
• 26:58
  Speaker 1: Yeah.
• 26:58
  Speaker 3: I was sitting and shout at the news at lunch time,
• 27:00
  Speaker 3: and you'd be sitting having your soup that she'd made
• 27:01
  Speaker 3: for you, which she was shouting at some Tory MP.
• 27:05
  Speaker 3: So there was a kind of there. Devlin was the name,
• 27:08
  Speaker 3: wasn't it Bill Devlin. They had quite an influence in
• 27:10
  Speaker 3: us because our dad was a great singer and he
• 27:13
  Speaker 3: had all these old seventy eights and when her mum
• 27:17
  Speaker 3: and him bought a house, they couldn't really afford. So
• 27:19
  Speaker 3: I remember Saturday nights when they coudn't afford to go out,
• 27:22
  Speaker 3: they'd put these beautiful like fox trot big band things
• 27:25
  Speaker 3: with like Duke Ellington or Glenn Miller, and they would
• 27:27
  Speaker 3: fox trot around the room. We'd move all the seats
• 27:29
  Speaker 3: away and we'd sit up on the couch and watch them.
• 27:32
  Speaker 3: And remember partly they could float, and this was a
• 27:35
  Speaker 3: small living room. But they never fell over, they never stumbled,
• 27:38
  Speaker 3: they didn't do it. It was like some weird and
• 27:41
  Speaker 3: I was mesmerized by that, and I thought that had
• 27:44
  Speaker 3: a big influence on me, watching them do that on
• 27:47
  Speaker 3: Saturday nights when they had no money to pay for
• 27:49
  Speaker 3: this house to couldn't really afforded. Poor dad must have raching.
• 27:53
  Speaker 3: But anyway, the house became the family home and it'll
• 27:57
  Speaker 3: be forever loved.
• 27:58
  Speaker 15: But you know, my father, my father, I had saved
• 28:00
  Speaker 15: up four hundred pounds was it, Gregory five hundred pounds
• 28:03
  Speaker 15: to go and see Celtic play in the European Cup
• 28:05
  Speaker 15: final in nineteen sixty seven, and the beautiful house came
• 28:09
  Speaker 15: up and my mother gave him googly eyes and said,
• 28:12
  Speaker 15: could you put that money to a new house?
• 28:14
  Speaker 16: John?
• 28:15
  Speaker 15: So no greater love half a man for a woman
• 28:18
  Speaker 15: than to give up these nineteen sixty seven Celtic Lisbon
• 28:20
  Speaker 15: money to buy the first house. So it's it's a
• 28:24
  Speaker 15: very special place sacramented.
• 28:27
  Speaker 2: Were you always distined to go into music then? Because
• 28:30
  Speaker 2: of that background, I can't remember talking about it since
• 28:35
  Speaker 2: I played pianos as I was seven or eight. When
• 28:37
  Speaker 2: I went to high school, the music huts that we
• 28:40
  Speaker 2: had first year, first day or second day of high school.
• 28:44
  Speaker 3: The music teacher proposed proposition to the class was what
• 28:50
  Speaker 3: was the first musical instrument known to man?
• 28:52
  Speaker 12: Now?
• 28:53
  Speaker 3: Because I had been through music studies for three years previous,
• 28:57
  Speaker 3: I knew the answer, but I kept my hands down
• 28:59
  Speaker 3: and I let everybody do drum guitar, went around all
• 29:02
  Speaker 3: of the room, and I sat there on my hands
• 29:04
  Speaker 3: on my head down, and they said, you there, what's
• 29:06
  Speaker 3: your name is? The name is Gregory Kinzer. She's going in.
• 29:09
  Speaker 3: I said the human voice, and he went, oh, right,
• 29:13
  Speaker 3: that's right. So another girl had said something close to that.
• 29:17
  Speaker 3: So they asked us to stay at the end, and
• 29:20
  Speaker 3: he said, right, what is the dealer? I said, well,
• 29:22
  Speaker 3: I play piano. Says what do you play us? I
• 29:24
  Speaker 3: can play some bait Oven. So I've played some bait Oven.
• 29:26
  Speaker 3: The girl did kind of likewise, said would you like
• 29:28
  Speaker 3: to play an instrument? And I heard all this jazz
• 29:30
  Speaker 3: stuff that my dad liked, all the big band stuff
• 29:32
  Speaker 3: and stuff like that. So the first thing came to
• 29:34
  Speaker 3: my head with saxophone. So I walked home the second
• 29:36
  Speaker 3: day at school with a saxophone member. Schools were like that,
• 29:40
  Speaker 3: and I walked. I got ripped to bits of all
• 29:43
  Speaker 3: my pals I used to do the walk with. Got
• 29:44
  Speaker 3: into the house. Remember Dad coming back from works. What's that?
• 29:47
  Speaker 3: I said, Look, Dad, it's a saxophone. Can you put
• 29:49
  Speaker 3: sax with us?
• 29:50
  Speaker 1: Know?
• 29:51
  Speaker 3: This is a bit of learn. So that was the
• 29:53
  Speaker 3: kind of school we had. I had a fantastic music
• 29:56
  Speaker 3: department and they were so encouraging. So me and I
• 29:58
  Speaker 3: used to play saxophone and piano, classical duets, vague a
• 30:03
  Speaker 3: French kind of Germanic sort of pieces when they to
• 30:06
  Speaker 3: your ambush and your and your your tone. And then
• 30:09
  Speaker 3: obviously the beat and UB forty were coming big back then,
• 30:12
  Speaker 3: so it was good for me being a saxhone player
• 30:14
  Speaker 3: because I could play all the beat stuff, I could
• 30:16
  Speaker 3: play UB forty stuff. The specials they were they were
• 30:19
  Speaker 3: working a sax of trombone, but the saxophone had a
• 30:22
  Speaker 3: place in this sort of sca punk revival thing. So
• 30:25
  Speaker 3: all the kind of planets were aligning as far as
• 30:27
  Speaker 3: I was concern musically.
• 30:28
  Speaker 15: Yeah, And also they also did musical theater, and I
• 30:31
  Speaker 15: was I was a sort of semi star and the
• 30:34
  Speaker 15: musical theater for five years five years on the Trot,
• 30:38
  Speaker 15: and I was a sort of sensitive, wibbly child, so
• 30:41
  Speaker 15: there was a haven in a heartless world for me
• 30:43
  Speaker 15: to go and get time off during classes and at
• 30:47
  Speaker 15: lunch times to go and practice for musical theater. And
• 30:50
  Speaker 15: I mean and it totally fit with, totally amplified the
• 30:54
  Speaker 15: background that we had from Sinatra and the bel canto singers,
• 30:57
  Speaker 15: because it was that. It was Rogers and Hammerstein, it
• 30:59
  Speaker 15: was Joseph Technical dream Coat, it was Carousel West Side Story,
• 31:06
  Speaker 15: you know. I mean, I couldn't. I couldn't have had
• 31:08
  Speaker 15: a grander education and popular song. Everybody thought I was
• 31:14
  Speaker 15: a raging homosexual because I was putting on makeup and
• 31:19
  Speaker 15: dancing around with other.
• 31:21
  Speaker 16: Men and women.
• 31:22
  Speaker 15: They little did they know it was the greatest best
• 31:24
  Speaker 15: way to get girls. I think I've ever I can
• 31:28
  Speaker 15: vouch for you not being it was like second year
• 31:34
  Speaker 15: going out with snogging was sixth year. It was quite extraordinary,
• 31:37
  Speaker 15: you know. So I'd recommend it to anybody as approving ground,
• 31:42
  Speaker 15: but definitely definitely gave me and also buried in me
• 31:47
  Speaker 15: the idea that when you go on stage, you're not
• 31:49
  Speaker 15: that you're nervous, but you're safe. And it's also if
• 31:53
  Speaker 15: I was a bit. I was a bit intimidated and
• 31:56
  Speaker 15: bullied at school. So the one place where I could
• 31:59
  Speaker 15: have power over the hordes was to stand on stage
• 32:03
  Speaker 15: and to beam it down and to get all the acclaim.
• 32:06
  Speaker 15: Not in sport, not in fighting, not in whatever it
• 32:08
  Speaker 15: was it I was. I was supposed to achieve and
• 32:10
  Speaker 15: but in musical theater and then be the sinus shoe
• 32:13
  Speaker 15: of all eyes, as the poets would say. But it
• 32:16
  Speaker 15: was a safe place for me, and it remains a
• 32:19
  Speaker 15: safe place, whereas your you might think it was a
• 32:22
  Speaker 15: nervous place or an anxious place, a bit the opposite
• 32:24
  Speaker 15: for me.
• 32:25
  Speaker 2: And can you remember what the first song you wrote
• 32:28
  Speaker 2: was together?
• 32:30
  Speaker 1: Yeah?
• 32:31
  Speaker 3: I was in punk bands and the sing on our
• 32:35
  Speaker 3: band was the most handsome guy in the school. But
• 32:38
  Speaker 3: I couldn't write any lyrics. Mark was smart, He was
• 32:41
  Speaker 3: smart languages and signs, but not when it came to
• 32:44
  Speaker 3: creative writing. And my brother was, you know, top of
• 32:46
  Speaker 3: his year in English every year. So we had a
• 32:48
  Speaker 3: punk band together. I kind of approached Pat and said,
• 32:51
  Speaker 3: would you write some lyrics for us? So he wrote
• 32:53
  Speaker 3: a handful of lyrics for as we gave him the
• 32:54
  Speaker 3: sort of subject matter. We kind of wanted and he
• 32:56
  Speaker 3: sort of made them work. So that was the first
• 32:58
  Speaker 3: time we wrote together, but we one in the same band,
• 33:01
  Speaker 3: and I think the song was called.
• 33:02
  Speaker 15: Gra Dy grad Dy Gordon Helen Love, so it was
• 33:06
  Speaker 15: very slow se reggae song.
• 33:08
  Speaker 16: Yeah, I've got in my head grad Day.
• 33:10
  Speaker 3: Red Skies, Rage Above.
• 33:12
  Speaker 12: Grady, Red Guys, Rage, job of Grady, God Down Hell
• 33:18
  Speaker 12: then Love.
• 33:19
  Speaker 16: Yeah, I remember it.
• 33:20
  Speaker 3: That was the way we wrote that song, and that
• 33:22
  Speaker 3: must have been eighty.
• 33:26
  Speaker 1: Eight.
• 33:27
  Speaker 3: So it kind of amazon all these punk bands perhaps
• 33:29
  Speaker 3: supplyingers with the lyrics. And here you recte the story
• 33:32
  Speaker 3: where we were rehearsing mum's living room and you sort
• 33:35
  Speaker 3: of came in and we were jamming around the jams start.
• 33:38
  Speaker 15: Well, yeah, that was and then and then and then
• 33:41
  Speaker 15: I basically thought I can sing this, and I said,
• 33:45
  Speaker 15: let me sing it, and so I did sing it,
• 33:47
  Speaker 15: and it's it was just that moment of feeling like
• 33:49
  Speaker 15: part of a band and feeling that your voice would
• 33:51
  Speaker 15: fit into pop music rather than just be something that
• 33:55
  Speaker 15: you're just singing to yourself in the mirror. But I
• 33:57
  Speaker 15: felt this is a fair word. I thought I could
• 33:59
  Speaker 15: do this publically and that could be quite impressive.
• 34:02
  Speaker 2: So can I get the elephant in the room out
• 34:04
  Speaker 2: of the way then quite quite quickly, which is obviously
• 34:07
  Speaker 2: you then go to writing this song Labor of Love,
• 34:10
  Speaker 2: which is clearly you know, a huge hit was on
• 34:13
  Speaker 2: the charts for you know, sixteen odd weeks, and then
• 34:17
  Speaker 2: the other remix later on, you know, in ninety three,
• 34:20
  Speaker 2: and it's like just interested as to how you got
• 34:23
  Speaker 2: from that point to writing this song that even when
• 34:28
  Speaker 2: you listen to it today, I mean as a fan,
• 34:32
  Speaker 2: you can hear that it still feels relevant, it feels
• 34:37
  Speaker 2: you know, fresh, It doesn't feel like it's aged at all.
• 34:41
  Speaker 3: Thank you. That's very kind of you, Martin. From a
• 34:43
  Speaker 3: technical musical point of view, it was recorded sixteen channels,
• 34:47
  Speaker 3: not twenty fours. Usually do old analog tape. There's three
• 34:50
  Speaker 3: takes of it which I've got and here in our
• 34:52
  Speaker 3: studio I've got the multi tracks for it. The Horns
• 34:57
  Speaker 3: will record all the backing tracks. Done in Glasgow with
• 34:59
  Speaker 3: a great band with us at the time, and that
• 35:02
  Speaker 3: was the band that we're trying to kind of get
• 35:03
  Speaker 3: people to notice us. Just they were really great band
• 35:07
  Speaker 3: and they did the backing tracks for it to two
• 35:09
  Speaker 3: American two New York producers flew over to Glasgow to
• 35:12
  Speaker 3: produce it for us, and then Pat nine then flew
• 35:15
  Speaker 3: to New York to put the horns and the strings
• 35:17
  Speaker 3: on it. The horns and the strings were kind of
• 35:19
  Speaker 3: written by Pat and I in this arranger called Jimmy
• 35:21
  Speaker 3: Beyond a Little. The three of us kind of brainstorms
• 35:23
  Speaker 3: to come up with the rift. But the musically, the
• 35:26
  Speaker 3: very intro of the song is our jazz guitarist to
• 35:29
  Speaker 3: chune his guitar to a open A minor and you
• 35:31
  Speaker 3: play the open A minor and I just slide it
• 35:32
  Speaker 3: up two threats and that's the back. And I used
• 35:35
  Speaker 3: to hear him do it every so what do you think?
• 35:38
  Speaker 3: What's he doing there? Most people sort of do harmonics
• 35:41
  Speaker 3: to sort of tune their guitar or they plug it
• 35:43
  Speaker 3: into a tuner, and he could change guitar just doing that,
• 35:46
  Speaker 3: so it stuck with me. I can't say Nigel wrote
• 35:48
  Speaker 3: that riff, but that's what he used to change guitar.
• 35:50
  Speaker 3: But I had to keep noticing it going. And when
• 35:52
  Speaker 3: I put it over the A minor, I thought, God,
• 35:54
  Speaker 3: that works really well and it gives that kind of
• 35:56
  Speaker 3: it's a hopeful distance. It's not a dark distance. It's
• 35:59
  Speaker 3: like you move the shape up the two threats, but
• 36:02
  Speaker 3: keep the base the same. No, it's a kind of
• 36:04
  Speaker 3: I don't know, it's not it's not kind of sad.
• 36:06
  Speaker 3: It's a kind of progressive dissonance. And that's what kind
• 36:09
  Speaker 3: of inspired me so musically to take it down that route.
• 36:45
  Speaker 4: D you say, I aba that you say, but you
• 36:50
  Speaker 4: want so now I've got me down and I've got
• 36:55
  Speaker 4: to let it away down, get away now about Noway
• 37:11
  Speaker 4: not gonna.
• 37:13
  Speaker 5: Back down your women norm start getting into jack ain't
• 37:31
  Speaker 5: gonna work for you no more.
• 37:36
  Speaker 15: We've always had a love of Latin music, Latin jazz.
• 37:40
  Speaker 15: After Cuban there was a there was a famous any
• 37:45
  Speaker 15: on the front of the paper called the Latin Kick,
• 37:48
  Speaker 15: and it had Tito Plenty, Ruben Blades, manner of other people.
• 37:54
  Speaker 15: And I've always loved Latin grooves, Latin jazz, and so
• 37:58
  Speaker 15: Gregory came up. You'll hear the piano. I have to
• 38:00
  Speaker 15: did did did did?
• 38:01
  Speaker 16: Did?
• 38:01
  Speaker 15: Did did? That was Gregory's riff, and in the writing
• 38:04
  Speaker 15: of it that all came off that. Probably an underrealized
• 38:08
  Speaker 15: part of it is that I was listening to quite
• 38:10
  Speaker 15: a lot of early rap and I thought I wonder,
• 38:13
  Speaker 15: what's a percussive lyric that would go with with this groove.
• 38:17
  Speaker 15: So I was really into sort of percussive signing from
• 38:20
  Speaker 15: James James Brown and slign of family stone and I
• 38:24
  Speaker 15: was always into that. So that was that was part
• 38:26
  Speaker 15: of that was my coint ofbution to it musically, and
• 38:29
  Speaker 15: then the whole the lyric of it withdrawal my labor
• 38:32
  Speaker 15: of love. Strike for the right to get into your
• 38:34
  Speaker 15: heart ain't going to work for you no more. At
• 38:36
  Speaker 15: the time of the nineteen eighty seven general election, I mean,
• 38:39
  Speaker 15: go figure, you know what what was the song about.
• 38:42
  Speaker 15: Actually what the song was about, and it remains relevant,
• 38:44
  Speaker 15: is about working class, a working class Tory realizing the
• 38:48
  Speaker 15: error of his or her ways.
• 38:51
  Speaker 16: Seems to be perennially relevant, but I thought it was.
• 38:54
  Speaker 15: It was also part of that post punk thing where
• 38:57
  Speaker 15: you try to smuggle in ideas and to the heart
• 39:00
  Speaker 15: of pop music, that sugar pill approach. So you could
• 39:04
  Speaker 15: read it as a love song, as a love affair,
• 39:07
  Speaker 15: except it was a love affair between an elite and
• 39:09
  Speaker 15: a class as much as it was between a boy
• 39:10
  Speaker 15: and a girl, or a boy and a boy and
• 39:12
  Speaker 15: a girl and a girl, and so that's fun to try.
• 39:15
  Speaker 15: I've always loved big, extended metaphors and saw in pop songs.
• 39:20
  Speaker 15: You know, Elvis Costello probably being the guy who does
• 39:22
  Speaker 15: the best. So they had all all those elements and
• 39:27
  Speaker 15: the musical elements. Greg's talking about the punk attitude elements,
• 39:32
  Speaker 15: and for some reason it evaded the censors and got
• 39:35
  Speaker 15: a lot of play. And our theory is that because
• 39:38
  Speaker 15: we didn't push that aspect of the message and the promotion.
• 39:42
  Speaker 15: A lot of DJs were very happy to play it
• 39:45
  Speaker 15: because as a political message, but we didn't push it
• 39:48
  Speaker 15: as a political measure. But it's bloody obvious if you
• 39:50
  Speaker 15: listen to the song.
• 39:51
  Speaker 1: So I was going to say, we interviewed carter Us.
• 39:55
  Speaker 1: They had a song called blood Sport for All, which
• 39:56
  Speaker 1: is very anti racism and bullying in the army. I
• 40:00
  Speaker 1: was saying, they've actually a lot rices liked it, thought
• 40:02
  Speaker 1: it was it was a positive thing. So it was
• 40:05
  Speaker 1: there was any one of your songs that was really
• 40:08
  Speaker 1: missing the stored and taking the wrong way you can
• 40:11
  Speaker 1: think of.
• 40:12
  Speaker 3: I remember the most obvious when I first thing, it
• 40:13
  Speaker 3: was called I Refuse, and I used to remember they
• 40:17
  Speaker 3: used to play it in the clubs, and I used
• 40:19
  Speaker 3: to be quite proud to watch everybody up dancing, and
• 40:21
  Speaker 3: everybody thought it was about some like a guy asking
• 40:24
  Speaker 3: a girl out and she's gone down. They thought it
• 40:27
  Speaker 3: was a knockback song, pat and I said, it's not
• 40:31
  Speaker 3: back song. So that's one I remember the most because
• 40:34
  Speaker 3: everybody thought that's what it was about, and they quite
• 40:36
  Speaker 3: liked it for that fact.
• 40:38
  Speaker 15: Yeah, well, no, what the song was knocking back was
• 40:41
  Speaker 15: western Western imperialism and patriarchy is where it was knocking back.
• 40:46
  Speaker 16: That's like, that's that's one.
• 40:47
  Speaker 1: Well.
• 40:48
  Speaker 15: Locally, luckily, we've always over explained our songs patiently and
• 40:51
  Speaker 15: fanatically to our audiences, so nobody's ever been mistaken about
• 40:55
  Speaker 15: what we were singing about. We didn't leave anything to ambiguity.
• 40:58
  Speaker 3: Although we had a wonderful jazz multige drummer called Sandro
• 41:02
  Speaker 3: Chiancho Water drummer, and he played in their first jazz
• 41:05
  Speaker 3: album and it was one of my favorite huing cry songs,
• 41:08
  Speaker 3: a song called Iron Cage. I just love it the
• 41:10
  Speaker 3: way we put it together and Mike Steans playing the
• 41:13
  Speaker 3: solo on it, and Sandro and you were great on it,
• 41:16
  Speaker 3: and Sandra used to call it Iron Gate he thought
• 41:21
  Speaker 3: the whole thing was about a iron gate. So he
• 41:25
  Speaker 3: did all those tours nice room with him, and I said, Sandro,
• 41:28
  Speaker 3: and I tried to explain to me. He wasn't having it.
• 41:30
  Speaker 3: It is sorry, Greg stuck in my head?
• 41:31
  Speaker 1: Now was that?
• 41:32
  Speaker 3: Okay?
• 41:32
  Speaker 15: I got a song about metallurgy and gardening. There you go, okay, yeah,
• 41:41
  Speaker 15: that's fine. Whatever whatever gets you grooving.
• 41:43
  Speaker 16: I don't care.
• 41:46
  Speaker 5: Mm hmm.
• 42:39
  Speaker 12: There's a change I can not see, but it's long
• 42:44
  Speaker 12: enough for me. There's a child or father of him down.
• 42:51
  Speaker 6: Over every house in town. You can't.
• 42:56
  Speaker 16: This came in, but it can't be touching.
• 42:59
  Speaker 5: It was you there when you.
• 43:01
  Speaker 16: Feel too much.
• 43:03
  Speaker 11: I was there before you start little luck on every hard.
• 43:11
  Speaker 7: Well.
• 43:11
  Speaker 10: You try and find the king.
• 43:15
  Speaker 6: Improvise you can't and.
• 43:19
  Speaker 5: You I'm your acord in child. That's me week comeboard,
• 43:27
  Speaker 5: So I silent lea rad my iron case fat then musty.
• 43:40
  Speaker 15: My Actually it's about Max Weber and his theory of
• 43:48
  Speaker 15: capitals and ben that's beside the point.
• 43:51
  Speaker 16: Don't even go then.
• 43:52
  Speaker 3: The thing is, if you have you played with the
• 43:54
  Speaker 3: jazz posessions for as long as we do. The really
• 43:58
  Speaker 3: the worst thing they are They bad song titles like
• 44:02
  Speaker 3: they could play this gorgeous piece of music that's just
• 44:04
  Speaker 3: melting every and it's called something like rubber hose us.
• 44:10
  Speaker 3: So they used to kind of they used to kind
• 44:13
  Speaker 3: of rename our songs. So when Labor Lover was and
• 44:15
  Speaker 3: a hit in the summer of eighty seven, they called
• 44:18
  Speaker 3: it Winthorpe's My Neighbor Above. That's what they would say
• 44:23
  Speaker 3: instead of withdraw my labor Love. That I could hear
• 44:25
  Speaker 3: them on stays going Winthorpe's my neighbor above. Really, really,
• 44:32
  Speaker 3: that's jazz musicians. They kind of thing, you keep themselves
• 44:34
  Speaker 3: interested because after they've played the song one and a
• 44:36
  Speaker 3: half times, the kind of bored of it. So I
• 44:38
  Speaker 3: guess all they're going to making up lyrics and alternative titles.
• 44:42
  Speaker 3: Keeps them interested, That's what.
• 44:44
  Speaker 15: Because people say that they never realized it was called
• 44:47
  Speaker 15: one withdraw My Labor of Love until we explained it
• 44:52
  Speaker 15: in some interviews thirty five years later.
• 44:54
  Speaker 16: It's so so weird. I thought it was obvious.
• 44:57
  Speaker 2: I was gonna say, the impact of that, you know,
• 45:00
  Speaker 2: having that sort of huge hit, that what was that
• 45:03
  Speaker 2: like for the band? Because the impact of it on you,
• 45:06
  Speaker 2: whether it was about the follow up or whether it
• 45:08
  Speaker 2: was about you know, whether it impacted you at all.
• 45:11
  Speaker 2: You know, I'm just interested as to, you know, how
• 45:14
  Speaker 2: it came across.
• 45:15
  Speaker 15: I think it feured our ambition. Gregor, I think you
• 45:17
  Speaker 15: would agree with that. The idea was good. God, if
• 45:20
  Speaker 15: we can have a hit record with this, what else
• 45:23
  Speaker 15: is possible? Because I mean, I'm famously I never wanted
• 45:25
  Speaker 15: it to come out though it's too complex, too difficult
• 45:27
  Speaker 15: to dance to, et cetera, et cetera. But I think
• 45:30
  Speaker 15: it gave us put real air and put the wind
• 45:33
  Speaker 15: under our wings, you know, to go to the next level.
• 45:36
  Speaker 15: And I think it set us sent us back to
• 45:38
  Speaker 15: New York to think about remote the next album, and
• 45:42
  Speaker 15: we thought, well, we can try anything.
• 45:44
  Speaker 16: We can try and get hit.
• 45:45
  Speaker 15: We can get hit with Labor of Love. Anything's possible.
• 45:48
  Speaker 15: I think that would be the honest thought, honest legacy
• 45:51
  Speaker 15: that it had. And I also got us a bit
• 45:53
  Speaker 15: more money and to spend on the record and on ourselves,
• 45:56
  Speaker 15: So it was it was a very very growth oriented
• 45:59
  Speaker 15: creative bust.
• 46:00
  Speaker 2: It gave us a thing, so you weren't under pressure
• 46:03
  Speaker 2: to come up with come on, let's have Labor of
• 46:05
  Speaker 2: Love too, or you know, the next because obviously had
• 46:08
  Speaker 2: been looking for Linda and your Hat, you know, and
• 46:09
  Speaker 2: they and they are what I would consider to be,
• 46:12
  Speaker 2: you know, a great pop song as opposed to, you know,
• 46:16
  Speaker 2: a jazz song or whatever whatever that is.
• 46:18
  Speaker 3: But we we thought we'd already been written. The reason
• 46:21
  Speaker 3: we went with Labor Love before Strength and Strength is
• 46:23
  Speaker 3: weally thought Strena Strength was a better song. I thought
• 46:26
  Speaker 3: it was a better record, and that's got the whole
• 46:29
  Speaker 3: Latin thing turned up to the max. So we thought
• 46:31
  Speaker 3: we had delivered another labor Love. But we Labor Lovers
• 46:35
  Speaker 3: was the precluder for Strength and Strength. That's all our
• 46:38
  Speaker 3: hopes were hinged on. And then when Strength and Strength
• 46:41
  Speaker 3: suffered with distribution issues and manufacturing issues, and you know,
• 46:46
  Speaker 3: it was got to number forty two in the charts
• 46:48
  Speaker 3: because it was none none in the shops the week
• 46:51
  Speaker 3: that week went. There was just no records in the shops.
• 46:54
  Speaker 3: They just getting didn't get them delivered in time.
• 47:34
  Speaker 11: For one of them, the lie but the sore sad
• 47:40
  Speaker 11: sense stipend a lot of signs nothing's gone and missus best.
• 47:47
  Speaker 5: Fans word to make a up to.
• 47:51
  Speaker 16: Fand he's gonna be up to.
• 47:53
  Speaker 13: Like ninety hourogy here, I don't stay to stay, said up,
• 48:01
  Speaker 13: I didn't know.
• 48:01
  Speaker 5: We five.
• 48:04
  Speaker 13: A sime Nod five.
• 48:18
  Speaker 11: Girl, the big desire take it everywhere of fire.
• 48:25
  Speaker 5: But no handswer.
• 48:29
  Speaker 3: Yes, that was heartbreaking, but it was a young record company.
• 48:34
  Speaker 3: All the infrastructure wasn't there yet. This is before Virgin
• 48:36
  Speaker 3: had come a long part and gave him the umbrella
• 48:39
  Speaker 3: supporting for the next record and a massive attack and
• 48:43
  Speaker 3: Nina Cha all that this is the very beginning of Circa,
• 48:45
  Speaker 3: so there would have been problems, and there were problems.
• 48:48
  Speaker 3: So that was frustrating. But you know, the music business
• 48:52
  Speaker 3: or a creative life, it makes you tough, so you
• 48:55
  Speaker 3: have to kind of my mat my mom and I
• 48:57
  Speaker 3: really worried about it because I'm in nineteen eighty seven.
• 49:00
  Speaker 3: I mean I was still twenty years old, you know,
• 49:02
  Speaker 3: perhaps twenty two. But they were still worried that we
• 49:05
  Speaker 3: were going to be okay because one minute you're kind
• 49:07
  Speaker 3: of the biggest kid on the block and the next
• 49:09
  Speaker 3: minute you put your opus strength to strength and it
• 49:13
  Speaker 3: doesn't happen. It doesn't connect, it doesn't sell, or the
• 49:16
  Speaker 3: infrastructure thing falls down and you're like, oh shit, so partner,
• 49:20
  Speaker 3: I am very early. What you have to do what
• 49:23
  Speaker 3: you have to deal with when you're in the creative industries.
• 49:26
  Speaker 3: I mean with your second single part and I won
• 49:28
  Speaker 3: the cover of every magazine. Who or touring with my
• 49:30
  Speaker 3: Donna were top of the pox and this Thursday night
• 49:33
  Speaker 3: Wogan on a Saturday night, I mean, as far as
• 49:36
  Speaker 3: we can said this is what this is what happens.
• 49:39
  Speaker 3: But when yeah, Strength to Strength didn't hit, it hit
• 49:42
  Speaker 3: me hard that I didn't. I remember listening to their
• 49:44
  Speaker 3: company's office when we got the test pressings and it
• 49:47
  Speaker 3: sounded amazing. Part I thought, goodness to me, this is
• 49:49
  Speaker 3: going to be massive, and it didn't. So I don't
• 49:52
  Speaker 3: think writing another labor of love. I think everybody realized
• 49:56
  Speaker 3: how unique that song was and the pattern. I've never
• 49:59
  Speaker 3: tried to do it. Yes, I've played Latiner Pagos after that,
• 50:03
  Speaker 3: and I've done it. I mean Strength of Trend's got
• 50:06
  Speaker 3: a Latiner page on it as well, but no, we've
• 50:08
  Speaker 3: never tried to kind of mimic. And I think for
• 50:10
  Speaker 3: me musically, it was the failure of Trend to Strength.
• 50:13
  Speaker 3: It made me think, oh, no, every record is unique.
• 50:17
  Speaker 3: I thought, it's kind of stuck. All my money. I
• 50:20
  Speaker 3: had patterns trying to strength been at But as I said,
• 50:23
  Speaker 3: we learned very early. Here comes the forty years of creativity.
• 50:29
  Speaker 1: Well you're not the first band was spoken to on
• 50:32
  Speaker 1: the podcast who had a record out and the record
• 50:35
  Speaker 1: company didn't have enough products on the shelf that could
• 50:38
  Speaker 1: have got much higher chart success because she didn't make
• 50:40
  Speaker 1: enough of them. So it's like a really frustrating story that.
• 50:43
  Speaker 3: Is everything's on vinyl back then. No then, I guess
• 50:48
  Speaker 3: record companies were competing for lathe time. These manufacturers must
• 50:53
  Speaker 3: have been rammed. Pat and I have just been to
• 50:56
  Speaker 3: visit a new album being cut at a viral manufacturing
• 51:00
  Speaker 3: and Edinburgh, and goodness me, they're only making like a
• 51:04
  Speaker 3: thousand copies. A first album sold one hundred and fifty
• 51:08
  Speaker 3: thousand copies, the second album sold half a million. They
• 51:11
  Speaker 3: bactically make half a million pieces of vinyl, even the manufacturing.
• 51:15
  Speaker 3: So yes, I'm glad to hear. I mean, I've spoke
• 51:18
  Speaker 3: to a lot of these bands who've got some of
• 51:19
  Speaker 3: the stories where they just didn't make the product. But
• 51:22
  Speaker 3: then and reflecting back, it must have been difficult to
• 51:25
  Speaker 3: meet those deadlines.
• 51:27
  Speaker 2: Well, I think one of the one of the bands
• 51:29
  Speaker 2: that Knowl's intimating about is. It's immaterial who'd had the
• 51:33
  Speaker 2: hit driving away from home. So that's a fantastic song,
• 51:38
  Speaker 2: and we spoke to them very early on. That was
• 51:42
  Speaker 2: a product not of the capacity of the vinyl producing factories.
• 51:47
  Speaker 2: It was a product of the record company saying, oh,
• 51:52
  Speaker 2: I don't think it will sell anymore, so we'll only
• 51:55
  Speaker 2: make this number. But of course it absolutely flew off
• 51:58
  Speaker 2: the shelf. Its stalled at number six Dean in the charts,
• 52:01
  Speaker 2: and I think it would have been gone to number one.
• 52:03
  Speaker 2: I'm absolutely sure of it, because you're you know, and
• 52:06
  Speaker 2: even now people still remember that song. You know, it's like.
• 52:10
  Speaker 16: They might remember it.
• 52:12
  Speaker 2: Yeah, they might not remember it's a material, but they
• 52:15
  Speaker 2: definitely remember that song.
• 52:17
  Speaker 1: I really like the band James, and I've seen James
• 52:20
  Speaker 1: a few times and I've spoken to people since they've said, oh, yes,
• 52:23
  Speaker 1: I really like him. It's not h him. It's a band.
• 52:25
  Speaker 1: You know, there's a lead singer and there's a band
• 52:27
  Speaker 1: called James. Now we've spoken to other artists who perform
• 52:30
  Speaker 1: and the nicknames. So, because you're both brothers, when you
• 52:33
  Speaker 1: came to fame, did anybody ever think you were called
• 52:35
  Speaker 1: Hue and Cry?
• 52:37
  Speaker 3: They still think I called you.
• 52:39
  Speaker 16: Yeah, yeah, is huge?
• 52:41
  Speaker 3: Is that's me? Big Chuggy is huge?
• 52:47
  Speaker 16: I mean I despair.
• 52:49
  Speaker 3: I know it still happens. I mean I think Cray
• 52:51
  Speaker 3: is certainly more mysterious for the name that you have.
• 52:53
  Speaker 3: Quickly now, yeah, crying my name drummer is cry. It
• 53:02
  Speaker 3: used to be the drummer on ultravox.
• 53:06
  Speaker 16: Did you see all the dry ice coming up behind me?
• 53:08
  Speaker 3: And zoom.
• 53:10
  Speaker 1: Dramatic.
• 53:13
  Speaker 3: I'm going to do that. We walk into the gig
• 53:14
  Speaker 3: at the same generally, do the dry eyes behind you
• 53:16
  Speaker 3: as you walk.
• 53:17
  Speaker 16: Hugh, this is cry.
• 53:20
  Speaker 2: I could see you jazz hands working hard there.
• 53:24
  Speaker 3: We've missed a trick all these years.
• 53:26
  Speaker 15: My favorite story I've been telling about Hugh and christ
• 53:28
  Speaker 15: because because it was the eighties, you named you thought
• 53:31
  Speaker 15: you name your band after a radical communistic practice and
• 53:35
  Speaker 15: you would get away with it, you know. So that's
• 53:37
  Speaker 15: what I thought You and Cry was a kind of
• 53:39
  Speaker 15: a rebellion against the established order. And I once met
• 53:42
  Speaker 15: a guy called Christopher Richins who was a very famous writer, critic,
• 53:47
  Speaker 15: very posh, very very radical, and I was interviewing on
• 53:51
  Speaker 15: for BBC or something, and he said, yeah, you're you're
• 53:54
  Speaker 15: part of a band, aren't you, I said, yes, Ban,
• 53:56
  Speaker 15: it's called Huan. Christ says ah Hu and cry, do
• 53:59
  Speaker 15: you know that's an to popular vigilentism where the community
• 54:03
  Speaker 15: decides to hate someone and they dragged them out of
• 54:06
  Speaker 15: their house and persecute them and stund them to death.
• 54:10
  Speaker 15: Is that what Ben's named after? And I went after
• 54:13
  Speaker 15: and looked and looked it up and indeed it was
• 54:16
  Speaker 15: so so Unfortunately, we're incredibly right We thought we were
• 54:20
  Speaker 15: incredibly left wing. We're actually incredibly right wing. Yeah, or
• 54:24
  Speaker 15: at least the balances itself out. I've also I've done
• 54:27
  Speaker 15: further research and it and it can be about in
• 54:29
  Speaker 15: a popular uprising. But part of the meaning of it
• 54:31
  Speaker 15: is persecution of the week, which is.
• 54:34
  Speaker 16: The very opposite of what I was.
• 54:37
  Speaker 15: And the thing came from Dickens, So I've got to
• 54:39
  Speaker 15: go back to the original Dickens context and find to
• 54:43
  Speaker 15: find the phrase. I think it was from a Tale
• 54:44
  Speaker 15: of Two Cities. I think was where I first got
• 54:47
  Speaker 15: that got the notion.
• 54:49
  Speaker 3: That's that's quite interesting because I work a lot with
• 54:51
  Speaker 3: jazz musicians and one of their Manchester has punished the week.
• 54:55
  Speaker 16: Yeah, well that's that's the whiblash thing, isn't it.
• 54:57
  Speaker 2: Yeah, I was going to ask you at you about
• 55:00
  Speaker 2: the jazz musicians, because obviously you work with so many
• 55:03
  Speaker 2: and they're all all sort of well renowned. Is there
• 55:06
  Speaker 2: any one or two that you fail has maybe impacted
• 55:10
  Speaker 2: on your ability, you know, the why you arrange the
• 55:13
  Speaker 2: songs or the way you play them live or whatever.
• 55:16
  Speaker 3: Is there not necessarily played with but influenced us Becker Brothers.
• 55:22
  Speaker 15: Michael Brecker who played with us on remote and also
• 55:28
  Speaker 15: on jazz jazz or jazz record in the nineties. And
• 55:32
  Speaker 15: I mean, Michael Brecker just is halfway between Massio Parker
• 55:37
  Speaker 15: and John Coltrane and and the way that he plays.
• 55:40
  Speaker 16: And I mean, you know, my idea of a good
• 55:43
  Speaker 16: time is.
• 55:44
  Speaker 15: To sit with a bottle of whiskey and the more
• 55:47
  Speaker 15: difficult end of John Coltrane's album. And that's my that's
• 55:50
  Speaker 15: my idea of a great evening. In so to actually
• 55:53
  Speaker 15: play with Michael and to record with him, and for
• 55:58
  Speaker 15: him to be this meeting point between all these traditions
• 56:01
  Speaker 15: of pop saxophone and hardcore jazz saxophone. I kind of
• 56:05
  Speaker 15: die happy having done that when you actually think about that,
• 56:08
  Speaker 15: and not just once and knew at the height of
• 56:11
  Speaker 15: the success, but twice when we were experiment in the nineties,
• 56:16
  Speaker 15: and the any other person that I was just amazed
• 56:18
  Speaker 15: to play with an animaze that we even getting one
• 56:21
  Speaker 15: near him was Ron Carter Jazz, who was for many
• 56:25
  Speaker 15: years Miles Davis's bassist in the Meles Davis Quintet. But
• 56:29
  Speaker 15: he came in and played on a synth pop song
• 56:32
  Speaker 15: called Where We Wish to Remain, which was on remote
• 56:35
  Speaker 15: and just it was such an imperious presence, you know,
• 56:41
  Speaker 15: but enhances it so beautifully. And I'm very proud of
• 56:44
  Speaker 15: our jazz records. I think we played with some of
• 56:47
  Speaker 15: the hottest musicians in the world went on those records.
• 56:51
  Speaker 15: Another one called Next Move, where we played with yanton
• 56:54
  Speaker 15: Ian Thomas and Lawrence Cartle and Tommy Smith on saxophone.
• 57:18
  Speaker 5: Next Boom Baby, that tour may get away. Whether you build,
• 57:23
  Speaker 5: are you burn? You know what?
• 57:25
  Speaker 16: Shot turned the low?
• 57:26
  Speaker 5: Where Next Boom Baby make my future? Y gotta be me.
• 57:32
  Speaker 14: My game's gotta be four than the same old things.
• 57:37
  Speaker 5: Cat you with your down in the cup.
• 57:40
  Speaker 17: Get Yard said, I want to tell like I shall
• 57:44
  Speaker 17: went too far?
• 57:46
  Speaker 6: He doesn't it a deal and a fas when they packed.
• 57:49
  Speaker 5: Our cars, Dona was dark that next pool Baby, that
• 57:56
  Speaker 5: a bay get away? But are you build?
• 57:59
  Speaker 7: Are you burn?
• 58:00
  Speaker 1: Do you know that?
• 58:01
  Speaker 5: Sat time ago?
• 58:03
  Speaker 8: That's very my future, Garab my game more than the same.
• 58:24
  Speaker 15: What people say about you and Crai is that we
• 58:26
  Speaker 15: were a certain generation says that we were inspirational to
• 58:29
  Speaker 15: them because their mom and dads would buy their records
• 58:31
  Speaker 15: for the for the pop songs, but in the midst
• 58:34
  Speaker 15: of these records would be all these arrangements and horned
• 58:36
  Speaker 15: arrangements of performance, and a lot of people say that
• 58:38
  Speaker 15: we inspired them to pick up their instrument from the
• 58:41
  Speaker 15: from the fusion that we created in our main records
• 58:45
  Speaker 15: between jazz and jazz and soul and pop. So we're
• 58:49
  Speaker 15: very proud of that. I'm very proud of that part
• 58:51
  Speaker 15: of I mean, Gregory is completely drenched in it as well.
• 58:54
  Speaker 3: Of course, it's quite topical for me because, as you know, Pattern,
• 58:58
  Speaker 3: I had an electronic music now for our new record,
• 59:02
  Speaker 3: So I go to a lot of electronic nights in
• 59:04
  Speaker 3: Glasgow and in Edinburgh and a lot of these guys
• 59:07
  Speaker 3: are bringing in samples and I didn't really I didn't
• 59:11
  Speaker 3: really think about that when we're doing electronic stuff. I
• 59:13
  Speaker 3: just wanted to keep it real analog stuff. But everywhere
• 59:15
  Speaker 3: to go, every time I going to say a really
• 59:17
  Speaker 3: good gig, there's a sample comes in. It can either
• 59:19
  Speaker 3: be like a like Moby used as the kind of
• 59:21
  Speaker 3: gospel singers or whatever blah. But it's definitely an old
• 59:23
  Speaker 3: writers fat boy slim. But in the electronic world it's
• 59:26
  Speaker 3: very prevalent. So I've been struggling. I think, how am
• 59:28
  Speaker 3: I going to how am I going to bring this
• 59:31
  Speaker 3: into what Pat and I do live? And I say,
• 59:34
  Speaker 3: wait a minute. Our whole archive and our whole catalog
• 59:37
  Speaker 3: is jazz samples. That's all we've ever made, so the
• 59:40
  Speaker 3: first two or three albums. So the technology, now, I
• 59:43
  Speaker 3: don't know if you under understand the technology stem splitting
• 59:46
  Speaker 3: was you've put a recording from a CD, put it
• 59:50
  Speaker 3: into the sofia, it will split it, drums, vocal, bass,
• 59:52
  Speaker 3: it splits it all up. And then that allows you
• 59:55
  Speaker 3: to then nick just a guitar line or just a
• 59:57
  Speaker 3: horn line, or just to you don't have to take
• 59:59
  Speaker 3: the record or a breakdown in the record. You can
• 1:00:01
  Speaker 3: actually break the record down. So I was mixing a
• 1:00:04
  Speaker 3: live version of a song of Theirs called a Sweet
• 1:00:06
  Speaker 3: and Visibility. We did a great version of it, perhaps
• 1:00:09
  Speaker 3: really stunning, and I thought, I wonder if I could
• 1:00:11
  Speaker 3: get the album bits to fit on this somehow and
• 1:00:14
  Speaker 3: let me kind of have a wee look, because when
• 1:00:16
  Speaker 3: I mix it here, it gives me ideas of what
• 1:00:18
  Speaker 3: I can add to it live.
• 1:00:19
  Speaker 2: Yeah, that's great because I mean I have I haven't
• 1:00:22
  Speaker 2: personally haven't seen you live, but you're you know from
• 1:00:25
  Speaker 2: what I can read that there's quite a difference between
• 1:00:29
  Speaker 2: your live performance and your say studio. What you've got
• 1:00:32
  Speaker 2: in the studio, Well, you know is that and that's
• 1:00:35
  Speaker 2: a conscious decision. Was it to make it sound so different?
• 1:00:39
  Speaker 6: Yes?
• 1:00:39
  Speaker 3: For me anyway, it's Pat and I at our heart
• 1:00:42
  Speaker 3: our jazz musicians, so we never play anything the same twice.
• 1:00:46
  Speaker 3: So I've been filming us for sixteen years. I set
• 1:00:49
  Speaker 3: up six cameras after the soundcheck, I know we had
• 1:00:51
  Speaker 3: to place them. Now, I fire them off when the
• 1:00:54
  Speaker 3: beginning parties to get a bitter kind of pissed off
• 1:00:56
  Speaker 3: at me because I would walk on stage to fire
• 1:00:58
  Speaker 3: the cameras and the audience I have the you go
• 1:01:00
  Speaker 3: here coming on? I said, no, no, give us five minutes.
• 1:01:02
  Speaker 3: So I was kind of I've learned to do it
• 1:01:04
  Speaker 3: a bit better now, so I don't spoil the spectacle
• 1:01:07
  Speaker 3: of Pat and I walking on, But we do a
• 1:01:10
  Speaker 3: series of eight shows back to back or whatever, the
• 1:01:13
  Speaker 3: space of two or three weeks. The songs are never
• 1:01:15
  Speaker 3: the same twice, they're never the same tempo. Pat never
• 1:01:18
  Speaker 3: comes in at the same time, The solos are always different.
• 1:01:21
  Speaker 3: The conversations and the rack on touring before and after
• 1:01:26
  Speaker 3: every song is different. We've never done, as you call it,
• 1:01:29
  Speaker 3: the space bar gig, where everything's all scripted and all
• 1:01:33
  Speaker 3: sync to the lights and to the graphics, even when
• 1:01:35
  Speaker 3: we had our big bands and we're playing arenas all
• 1:01:37
  Speaker 3: around the Europe and the UK. Again, it was a
• 1:01:42
  Speaker 3: bunch of was a living jazz musicians and the drummer
• 1:01:44
  Speaker 3: would kind of off and would see how we get there,
• 1:01:47
  Speaker 3: get to the end, and you know, there was a
• 1:01:49
  Speaker 3: lot of creativity and that a lot of kind of
• 1:01:52
  Speaker 3: not high and by your fingertips, but it was a
• 1:01:54
  Speaker 3: kind of white knuckle ride sometimes when you're in front
• 1:01:57
  Speaker 3: of ten thousand people, but that's the joy of it.
• 1:01:59
  Speaker 3: Even when it's now there's two of his and Tumbridge
• 1:02:01
  Speaker 3: Wells in front of three hundred and fifty people, were
• 1:02:03
  Speaker 3: down deep south of England. It's brilliant. Did you just
• 1:02:07
  Speaker 3: they know that it's made up, it's created on the spot.
• 1:02:11
  Speaker 15: And Gregor Will Gregory was insistent and when we go
• 1:02:13
  Speaker 15: out with something called an electroacoustic set at the moment,
• 1:02:16
  Speaker 15: and Gregory says, it's not just about hitting the space bar.
• 1:02:20
  Speaker 15: He sets machines running on the night with a wee
• 1:02:24
  Speaker 15: bit of coordination, but with a lot of looseness. So
• 1:02:26
  Speaker 15: it's not really as if I have to come in
• 1:02:28
  Speaker 15: on bar sixteen, otherwise the whole song is completely falling apart.
• 1:02:32
  Speaker 15: I can come in as I feel, and he can
• 1:02:34
  Speaker 15: start composing soundscapes in front of me and bringing them
• 1:02:39
  Speaker 15: to a cause.
• 1:02:40
  Speaker 16: So it's a very way.
• 1:02:42
  Speaker 15: I was thinking, oh, Gregory, you make yourself so difficult
• 1:02:45
  Speaker 15: for you at the age of your late fifties.
• 1:02:47
  Speaker 16: Why don't you make it easy for yourself?
• 1:02:49
  Speaker 1: No, no, no.
• 1:02:49
  Speaker 15: And then what it means is that even though it's
• 1:02:52
  Speaker 15: very very electronic and digital and synthesizer, it's organic and
• 1:02:56
  Speaker 15: flows and swells and throbs and develops and climaxes and
• 1:03:00
  Speaker 15: it goes down again again. It's it's that's what keeps
• 1:03:03
  Speaker 15: you going in our career is just a kind of
• 1:03:06
  Speaker 15: basic belief in the principle of creativity and spontaneity and
• 1:03:11
  Speaker 15: on the thing's happening on the fly. We've got a
• 1:03:13
  Speaker 15: big We've got a gig coming up, a series of
• 1:03:16
  Speaker 15: gigs coming up in October with with with Joebra conjoined
• 1:03:20
  Speaker 15: with Rochford and Johnny h Jazz various nights, and that
• 1:03:24
  Speaker 15: will be a big band, but it will also come
• 1:03:26
  Speaker 15: down to the electronic stuff and it will do piano,
• 1:03:29
  Speaker 15: vocal and will probably busk something else. So it's it's
• 1:03:32
  Speaker 15: we're at a very very rich, fertile stage in our
• 1:03:35
  Speaker 15: career where we have we have so many different modes
• 1:03:38
  Speaker 15: that we can we can follow. You're never bored and
• 1:03:41
  Speaker 15: you're never there's never a yawn situation. Do you never
• 1:03:44
  Speaker 15: feel as if you're coming up to something and you're
• 1:03:46
  Speaker 15: you're tired to do it. It's very opposite.
• 1:03:49
  Speaker 2: Because those package tools as they seem to be becoming
• 1:03:52
  Speaker 2: more prevalent, don't they In terms of the live scene.
• 1:03:56
  Speaker 3: You know, our promoter, Josh, he wasn't really we didn't
• 1:03:58
  Speaker 3: really do eighties and stuff that before, but he did
• 1:04:01
  Speaker 3: the last the Forties Anniversary tour we did, which is
• 1:04:04
  Speaker 3: really successful. And then we also did Us the Christians
• 1:04:07
  Speaker 3: and Go West, which was really successful. And one of
• 1:04:11
  Speaker 3: my favorite videos is the Stacks too were Booker tdmgs
• 1:04:14
  Speaker 3: are the back band and you've got Oats Red going
• 1:04:16
  Speaker 3: on in Salm and Dave. You're thinking, WHOA, So I
• 1:04:20
  Speaker 3: mean it's not anything new. People were kind of bringing
• 1:04:23
  Speaker 3: all their they were kind of I quite like things
• 1:04:26
  Speaker 3: that are efficient, an efficiency freak. So when you put
• 1:04:30
  Speaker 3: these multi band lineups together and we share drum kits,
• 1:04:33
  Speaker 3: the drum kits have been shared, the base apps are
• 1:04:35
  Speaker 3: being shared, I guess yes, all the lights and the
• 1:04:37
  Speaker 3: PA and stuff like that. So yeah, we've been We've
• 1:04:40
  Speaker 3: really enjoyed these multi lineup tours and then every summer
• 1:04:44
  Speaker 3: we meet them in a field somewhere in England for
• 1:04:46
  Speaker 3: these eighties retro festivals. Yeah, I'm looking forward to. I've
• 1:04:49
  Speaker 3: watched Andy Roachford some of the stuff on YouTube. He's
• 1:04:51
  Speaker 3: really bo strong and Johnny. He's a funny wee guy.
• 1:04:56
  Speaker 3: I quite like his darkness. It's kind of a bit
• 1:04:58
  Speaker 3: left field. We meet him when we did the Leads
• 1:05:01
  Speaker 3: Orchestra thing. I don't know if you met him. He
• 1:05:03
  Speaker 3: was standing inside the stage and some of his read quibs.
• 1:05:05
  Speaker 3: I thought, God, you're a smart guy.
• 1:05:07
  Speaker 1: I quite like your Is there any of the Scottish
• 1:05:10
  Speaker 1: bands or artists that you hang out with, or actually
• 1:05:12
  Speaker 1: any artists or bands you hang out with?
• 1:05:14
  Speaker 3: Yes, I will a tiptoe through this one if that
• 1:05:17
  Speaker 3: was brought up well, he brought up his kids in
• 1:05:19
  Speaker 3: the West End of Glasgow late eighties, early nineties. I'm
• 1:05:22
  Speaker 3: still in the West End of Glasgow. So who did
• 1:05:26
  Speaker 3: I bump into the other day? Last night? I bumped
• 1:05:29
  Speaker 3: into doogie from Travis. Two weeks ago I saw Paul
• 1:05:34
  Speaker 3: mccarnan and see him for.
• 1:05:36
  Speaker 16: Did you see Paul Famed from Blue Oile?
• 1:05:38
  Speaker 3: And I see is it PJ from the Blue ele
• 1:05:41
  Speaker 3: Quite a lot. I saw justin Curry about two weeks ago.
• 1:05:45
  Speaker 3: Worse for weares with his week Parl tramped in the
• 1:05:48
  Speaker 3: streets of Partick. I saw the Biffy Clyro guys. Later
• 1:05:52
  Speaker 3: Hearston the place close to here. He's quite a good
• 1:05:54
  Speaker 3: looking guy. That's saying. I didn't realize he's a proper
• 1:05:57
  Speaker 3: rock God.
• 1:05:57
  Speaker 15: I'm just you guys in why I've moved to Edinburgh,
• 1:06:00
  Speaker 15: which is to avoid all these people.
• 1:06:02
  Speaker 3: Now the West End is a small part of Glasgow
• 1:06:04
  Speaker 3: must be only what two miles square? Pat If it's that,
• 1:06:09
  Speaker 3: that's what a lot of Still Game guys live around here,
• 1:06:12
  Speaker 3: Camen Bridges lives around here. It's a very creative little hub.
• 1:06:16
  Speaker 3: But Glasgow's in ESCO City of Music, you know, and
• 1:06:19
  Speaker 3: to maintain that title, you have to keep you have
• 1:06:22
  Speaker 3: to keep investing in your culture and supporting and celebrating
• 1:06:25
  Speaker 3: your music and arts.
• 1:06:27
  Speaker 2: Did I hear you right when you said, oh, yeah,
• 1:06:28
  Speaker 2: well our new album, I think it's called Everybody is
• 1:06:32
  Speaker 2: always very very electronic, didn't you?
• 1:06:34
  Speaker 1: Yeah?
• 1:06:34
  Speaker 2: Is that a change or is that just an evolution
• 1:06:37
  Speaker 2: or is that something that's, you know, something you've done
• 1:06:39
  Speaker 2: to you know, after the forty compilation, you know, to
• 1:06:42
  Speaker 2: mix things up a little bit.
• 1:06:44
  Speaker 15: I think it's a big change. I mean it's partly
• 1:06:47
  Speaker 15: it's partly listening to what's going on around us, and
• 1:06:50
  Speaker 15: it's partly totally going back to our roots because you know,
• 1:06:53
  Speaker 15: we've always worked with machines. A bit of an impression
• 1:06:57
  Speaker 15: that we've gone out with a big soul review and
• 1:06:59
  Speaker 15: we'll love organic posicians and we love the tradition of jazz,
• 1:07:02
  Speaker 15: but to actually get stuff done to be ambitious on
• 1:07:06
  Speaker 15: a pop level. We've always worked with the same sequencer, synthesizers,
• 1:07:09
  Speaker 15: drum machines, and then the whole post punk thing was
• 1:07:12
  Speaker 15: for me and I don't know, maybe not so much
• 1:07:14
  Speaker 15: for you, Gregory, but for certllly for me. Bands like
• 1:07:17
  Speaker 15: Skirtty Polity, Human League, cabrit Voltaire or Certain Ratio, even
• 1:07:22
  Speaker 15: Soft Selfty to some degree having seventeen British Electric Foundation,
• 1:07:26
  Speaker 15: a lot of these are very very formative. Some early
• 1:07:28
  Speaker 15: Simple Minds Paramount were very formative for me in terms
• 1:07:31
  Speaker 15: of how exciting music could be and what machines could do.
• 1:07:35
  Speaker 15: So I've always had a wee bit of a machine
• 1:07:36
  Speaker 15: aesthetic that has has occasionally come through with some of
• 1:07:41
  Speaker 15: the B sides that we've done. So some of our
• 1:07:43
  Speaker 15: B sides and Imembe we did a B side I
• 1:07:45
  Speaker 15: think it was on was I Refuseal you'll correct me
• 1:07:48
  Speaker 15: on this, greg It was a song called Joe and
• 1:07:50
  Speaker 15: Josephine and it's this It's this total synth ballad classic
• 1:07:56
  Speaker 15: right right at the very beginning of our career. If
• 1:07:59
  Speaker 15: you go go down and find it track it down
• 1:08:02
  Speaker 15: on Spotify, you'll hear what sounds like a completely alternative
• 1:08:06
  Speaker 15: pathway for you and cry to go along.
• 1:08:10
  Speaker 6: Joe, Joseph h Joseph, Joe, I'm so say living in.
• 1:08:36
  Speaker 10: He says, and lose that out, turning.
• 1:08:43
  Speaker 6: Joe making global comer. Then will never never what's yours
• 1:09:18
  Speaker 6: helped me?
• 1:09:20
  Speaker 4: My insides are outside and by all my beauty statistic spise,
• 1:09:28
  Speaker 4: that's yours.
• 1:09:33
  Speaker 15: After our fortieth there's a there's a week such of sense, well,
• 1:09:39
  Speaker 15: what's the rebirth moment? What's the rebirth that you could
• 1:09:43
  Speaker 15: you could do that was authentic rather than just sort
• 1:09:46
  Speaker 15: of chasing something. And so I sat down McGregory in
• 1:09:49
  Speaker 15: two thousand and eighteen and said, I think, I think
• 1:09:52
  Speaker 15: I want to make an electronics record.
• 1:09:54
  Speaker 16: How do we do this? Gregory? Can you find out?
• 1:09:57
  Speaker 16: And then hope we went to find out.
• 1:10:00
  Speaker 15: It's been an eight year process to get this record
• 1:10:02
  Speaker 15: to come out and finally to kind of make it
• 1:10:05
  Speaker 15: make it to the public. But part of that has
• 1:10:08
  Speaker 15: been learning. Part of that has been staggering around what
• 1:10:10
  Speaker 15: do we do after COVID and what does the music
• 1:10:13
  Speaker 15: business do after COVID?
• 1:10:14
  Speaker 16: What do we all do after COVID?
• 1:10:16
  Speaker 15: And then most of the record was written before it
• 1:10:18
  Speaker 15: went through that went through various parent fatalities of various parents,
• 1:10:24
  Speaker 15: children growing up, moving here, moving there, and then eventually
• 1:10:29
  Speaker 15: getting to nail this record in about twelve months ago.
• 1:10:32
  Speaker 15: So it's been it's actually happened before a fortieth anniversary.
• 1:10:38
  Speaker 15: There was obviously processes going on underway. And also we'll
• 1:10:43
  Speaker 15: tell that you tell the story Greg about our Eurovision
• 1:10:46
  Speaker 15: song contest con testing and the advice he gave you
• 1:10:49
  Speaker 15: on the on the record and how to do how
• 1:10:51
  Speaker 15: to do an electronic record?
• 1:10:53
  Speaker 3: You can can you read that out there?
• 1:10:55
  Speaker 15: I'm one hundred percent sure that synthesizers, even though they're
• 1:10:58
  Speaker 15: not living in the biologic sense, there is in some
• 1:11:02
  Speaker 15: sense a consciousness that we connect with, and that's from
• 1:11:04
  Speaker 15: doctor Robert Mogu, the great electronic instrument creator.
• 1:11:08
  Speaker 3: So that was the manta that was stuck to our
• 1:11:10
  Speaker 3: wall in our studio, just through there with all the synthesizers.
• 1:11:14
  Speaker 3: But as part said, I didn't know much about subtractive
• 1:11:16
  Speaker 3: analog synthesis. I kind of knew that was really difficult
• 1:11:19
  Speaker 3: to do, and I thought, really, at fifty seven years
• 1:11:23
  Speaker 3: old or fifty five, I think I was it to think,
• 1:11:25
  Speaker 3: how can I really go through all this again learning?
• 1:11:28
  Speaker 3: But yes, I'd disappeared way down the rabbit hole and
• 1:11:32
  Speaker 3: the guy look mumbno computer the British centers for the Eurovision.
• 1:11:37
  Speaker 3: He was his name Sam Battle, and he was on
• 1:11:39
  Speaker 3: many different forums back then, and he said to me,
• 1:11:43
  Speaker 3: turn the computer off, Greg, just like the machines interact.
• 1:11:47
  Speaker 3: And I said, what, I can't turn the computer off
• 1:11:49
  Speaker 3: because that's she's not. Just turn it off and give
• 1:11:52
  Speaker 3: machines MIDI data, give them a masterclock and let them
• 1:11:57
  Speaker 3: interact with each other. So, I mean, we had an
• 1:11:59
  Speaker 3: ink two years pert. It was twenty eighteen we started,
• 1:12:03
  Speaker 3: and in the pandemic hit in twenty twenty. So those
• 1:12:06
  Speaker 3: two years we wrote twenty songs which started off as
• 1:12:10
  Speaker 3: a big cacophonol synth, chaotic mess. That's what I was hearing.
• 1:12:15
  Speaker 3: What part was hearing was this is fabulous, this is inspiring,
• 1:12:18
  Speaker 3: and I'm thinking this is crazy. This doesn't make any
• 1:12:21
  Speaker 3: sense since don't even know what key the bloody things in.
• 1:12:25
  Speaker 3: So there was lots of dissonance and surprises and I
• 1:12:29
  Speaker 3: had to learn an awful lot. But it was very chaotic,
• 1:12:32
  Speaker 3: but for some reason part was connecting with it and
• 1:12:35
  Speaker 3: his because with a songwriting partnership, I was kind of
• 1:12:38
  Speaker 3: getting off on his connection to or. I struggled because
• 1:12:41
  Speaker 3: my job is a harmony guy. I like harmony. I
• 1:12:45
  Speaker 3: like the way that harmony kind of up sets up
• 1:12:47
  Speaker 3: a mood or defindes a mood. This mood was I
• 1:12:50
  Speaker 3: don't know what's going on here because I didn't. I
• 1:12:53
  Speaker 3: knew I'd learned enough to make it all happen. So
• 1:12:56
  Speaker 3: my job was to try and force harmony on this chaos.
• 1:13:00
  Speaker 3: And every time I tried to force it too much,
• 1:13:02
  Speaker 3: Pat would kind of push back and say, no, no, no,
• 1:13:04
  Speaker 3: celebrate what's going on here. So cut a very long
• 1:13:06
  Speaker 3: story shot and managed to force enough harmony, and he
• 1:13:10
  Speaker 3: managed to create enough melody to make songs out of
• 1:13:13
  Speaker 3: this chaos. And then when we gave it to a
• 1:13:15
  Speaker 3: mixed engineer, he's a guy called you had Nevill who's
• 1:13:18
  Speaker 3: mixed the Sugar Babes, Petre up Boys, Jeran Juran. You know,
• 1:13:22
  Speaker 3: he's an electronics guy. And again I met him through
• 1:13:24
  Speaker 3: the forums and he agreed to kind of meet to
• 1:13:27
  Speaker 3: mix a record. He was saying to me, this is chaos,
• 1:13:30
  Speaker 3: and I said, Patterny's instructure, it's only instruction we've got
• 1:13:33
  Speaker 3: to You had try and keep as much as that
• 1:13:35
  Speaker 3: original chaos as you can, because that's what inspired the songs.
• 1:13:38
  Speaker 3: So sixty seventy percent of the sins that are on
• 1:13:41
  Speaker 3: the record are from those chaotic writing sessions, which that's
• 1:13:44
  Speaker 3: the first time that's ever happened to me in a record.
• 1:13:47
  Speaker 3: Usually you demo and you get as close as you
• 1:13:49
  Speaker 3: can and you replace it all with jazz musicians or
• 1:13:51
  Speaker 3: great musicians. You know, the synths made a statement when
• 1:13:54
  Speaker 3: we were writing these songs, and they've ended up on
• 1:13:57
  Speaker 3: the record. And when Pat and I were listening to
• 1:13:59
  Speaker 3: being cut at that Vinyl plan, God, you could hear
• 1:14:02
  Speaker 3: all that chaos part. It was still there, and I
• 1:14:05
  Speaker 3: was exciting for us it was I was. I was
• 1:14:07
  Speaker 3: a bit scared about OX. I didn't really know what
• 1:14:09
  Speaker 3: was going on, but Pat and Iron post forty year career,
• 1:14:13
  Speaker 3: I'm not really scared. I'm just kind of thinking, right,
• 1:14:15
  Speaker 3: my jobs to producer, I'm supposed to make some sort
• 1:14:17
  Speaker 3: of understanding of this, and I'm trying to make this
• 1:14:21
  Speaker 3: a record that we promo people and our pr people
• 1:14:24
  Speaker 3: can go down and play to people. But the response
• 1:14:26
  Speaker 3: we've had from it has been amazing, So I guess
• 1:14:28
  Speaker 3: there's going to be more chaos in front of his brother.
• 1:14:30
  Speaker 3: When we go again, a.
• 1:14:45
  Speaker 17: Ship stream from the deepest well a time time, I
• 1:14:57
  Speaker 17: our my hell, what's myself to these arms? How come ahead,
• 1:15:08
  Speaker 17: mysilf to protect you from harm? Let us out this
• 1:15:18
  Speaker 17: kind of power.
• 1:15:20
  Speaker 16: Maybe Suger.
• 1:15:23
  Speaker 10: Gears it makes me, Suger.
• 1:15:31
  Speaker 5: Gets it makes me song.
• 1:15:37
  Speaker 11: I can't take im from.
• 1:15:42
  Speaker 5: The start up. They won't help me now.
• 1:15:49
  Speaker 15: The one of the inspirations behind this record is the
• 1:15:51
  Speaker 15: NASA Space Sound Library, whereas if you listen to the
• 1:15:55
  Speaker 15: deep space pulse of a quasar or a black hole
• 1:16:00
  Speaker 15: Georgio Moroder. So the universe sounds that Georgio Morouder if
• 1:16:04
  Speaker 15: you listen to it carefully enough. And so we think
• 1:16:06
  Speaker 15: we're making the ultimate roots music. I mean, it's the
• 1:16:08
  Speaker 15: root of reality, the physical rule of reality. So we
• 1:16:12
  Speaker 15: think we're doing folk music. But if you listen to it,
• 1:16:15
  Speaker 15: if you listen to it, it's just totally inspirational. It's
• 1:16:17
  Speaker 15: like the sound of the universe as a as a sequencer,
• 1:16:20
  Speaker 15: as a sense.
• 1:16:20
  Speaker 1: It's amazing. We win through the band called b Movie,
• 1:16:24
  Speaker 1: and they had the same influences, all the same bands
• 1:16:26
  Speaker 1: you mentioned, early Simple Minds, earlier Ultravox, as well, and
• 1:16:30
  Speaker 1: that braasically cools them to start using sims. But what
• 1:16:33
  Speaker 1: you're doing sounds incredible. This turn off the computer things
• 1:16:35
  Speaker 1: sounds incredible.
• 1:16:37
  Speaker 3: It sounds incredible, but it's really petrifying.
• 1:16:42
  Speaker 2: So thank you so much for your time. I mean,
• 1:16:44
  Speaker 2: it's been fantastic, really good. Just one last question. Then,
• 1:16:48
  Speaker 2: you've got forty years experience. You know your brothers. What's it?
• 1:16:53
  Speaker 2: Is there one sort of overriding memory or an event
• 1:16:57
  Speaker 2: or something that's happened in those years that you think,
• 1:17:00
  Speaker 2: actually that was something else you know that that still
• 1:17:03
  Speaker 2: resonates with you.
• 1:17:04
  Speaker 3: Now I'll go first. It's the the that song I
• 1:17:08
  Speaker 3: was talking about either on Sweet Visibility when the age
• 1:17:11
  Speaker 3: on a hand is Street Latin Orchestra came in and
• 1:17:14
  Speaker 3: played over the front of our song that we didn't
• 1:17:16
  Speaker 3: know what was about. Wrote this song, We wrote a well,
• 1:17:20
  Speaker 3: Pat wrote the bassline. So we built the whole song
• 1:17:22
  Speaker 3: around this Pat singing a bass line to me, and
• 1:17:25
  Speaker 3: it could it wouldn't go away, that song, Sweet of Visibility.
• 1:17:28
  Speaker 3: Every time we were putting the runner over of the album,
• 1:17:30
  Speaker 3: somebody else said, you need to keep that song. You
• 1:17:31
  Speaker 3: need to keep that song. Pat and I were not
• 1:17:33
  Speaker 3: convinced that day in New York when all those guys
• 1:17:36
  Speaker 3: and they looked as though they'd come off a film
• 1:17:38
  Speaker 3: set of West Side Story. I mean it's white T shirts, jeans,
• 1:17:42
  Speaker 3: leather jackets, the heart yeah yeah, and they all set
• 1:17:47
  Speaker 3: up and then they were running it down. You and
• 1:17:48
  Speaker 3: I looked at each other and going, surely not. I
• 1:17:51
  Speaker 3: thought they were running down a different arrangement. And then
• 1:17:54
  Speaker 3: when it started, do you remember when they did build
• 1:17:57
  Speaker 3: up to the riff, O, my god, I forget that.
• 1:18:02
  Speaker 3: I can I still get it now? And then you're saying,
• 1:18:05
  Speaker 3: like the producer going no, no, no, that's way too Latin,
• 1:18:08
  Speaker 3: and you shoving his hand away from just going.
• 1:18:10
  Speaker 15: No, no, no, no, don't touch that dial. I don't
• 1:18:13
  Speaker 15: touch that that No you don't know you don't leave
• 1:18:18
  Speaker 15: it alone. That is completely brilliant.
• 1:18:58
  Speaker 13: I'm not outside us a siren real part mus be
• 1:19:03
  Speaker 13: assured nyas.
• 1:19:05
  Speaker 16: You met me and starts.
• 1:19:07
  Speaker 4: Away father And I was last with Wes, but I
• 1:19:12
  Speaker 4: am stay casting.
• 1:19:13
  Speaker 5: When you play fround the.
• 1:19:15
  Speaker 9: Great time compared one of the past love letty nice assertion.
• 1:19:23
  Speaker 6: Bars there we were as black ass.
• 1:19:26
  Speaker 13: All you prepare every one of the pen lesson.
• 1:19:36
  Speaker 15: I'm hard put to disagree with Gregory there. I think
• 1:19:39
  Speaker 15: the only other, the only other moment that I have
• 1:19:42
  Speaker 15: that it burns in my head is we were supporting
• 1:19:44
  Speaker 15: Joe Jackson on a European tour and we were a
• 1:19:48
  Speaker 15: four piece Gregory five piece, four piece, five of us.
• 1:19:52
  Speaker 15: We were absolutely tight as a that's tough, as they say.
• 1:19:57
  Speaker 15: We were playing at the theater theat Dell Musica in Barcelona,
• 1:20:03
  Speaker 15: and the think about that venue is that it has
• 1:20:06
  Speaker 15: a stained glass walls and ceiling, and it was the
• 1:20:10
  Speaker 15: early evening. All the sunlight came through in this multi
• 1:20:13
  Speaker 15: colored coaleidoscopic descent and onto our stage and I could
• 1:20:19
  Speaker 15: do anything as a vocalist, the band could play anything
• 1:20:22
  Speaker 15: as musicians, and we were we were opening for one
• 1:20:25
  Speaker 15: of our favorite artists, and the audience was hugely appreciative,
• 1:20:30
  Speaker 15: and I remember, I think, if music is about anything
• 1:20:34
  Speaker 15: at the time, one of my problems about being in
• 1:20:38
  Speaker 15: the music business is that I haven't enjoyed the good
• 1:20:40
  Speaker 15: times as much as I should have. And I'm dedicated
• 1:20:43
  Speaker 15: to doing that now. But I remember that's one of
• 1:20:44
  Speaker 15: the few times where I thought this is a this
• 1:20:47
  Speaker 15: is as good as it gets. Just for sheer beauty
• 1:20:50
  Speaker 15: and self control and expressiveness. I hope to have more
• 1:20:54
  Speaker 15: moments like that as I go along from the age
• 1:20:57
  Speaker 15: of sixty two.
• 1:20:58
  Speaker 16: I'm fine. I'm not finished yet. I don't think all right.
• 1:21:00
  Speaker 2: Look, look, thank you so much.
• 1:21:02
  Speaker 3: That's so good.
• 1:21:02
  Speaker 2: You've been brilliant.
• 1:21:03
  Speaker 1: Thank you, thank you.
• 1:21:04
  Speaker 16: Nice to meet you, gentlemen. Bye bye, No, thank you.
• 1:21:07
  Speaker 1: Cheers.
• 1:21:10
  Speaker 12: H I got a car.
• 1:21:52
  Speaker 6: Weird happines.
• 1:21:55
  Speaker 12: It's joy for wild.
• 1:21:57
  Speaker 6: Fruit stuff, you know.
• 1:21:59
  Speaker 13: Jeers Mattie again.
• 1:22:03
  Speaker 6: I want about that big any classes.
• 1:22:10
  Speaker 5: Tell you what I don't.
• 1:22:14
  Speaker 6: No, heaven sounds dirty.
• 1:22:18
  Speaker 15: I'm an or an.
• 1:22:19
  Speaker 5: Airy angel when down in it to order air? Just fine?
• 1:22:30
  Speaker 10: Its weird, heaven.
• 1:22:36
  Speaker 5: Ger A dear beyond marriage boy.
• 1:22:44
  Speaker 2: Well, thank you for listening to this episode of the podcast.
• 1:22:47
  Speaker 2: As you know, we do our research from a variety
• 1:22:50
  Speaker 2: of sources. But if you want to add any more
• 1:22:52
  Speaker 2: detail for us, or even correct us on anything, then
• 1:22:55
  Speaker 2: please do get in touch with us. Where can they
• 1:22:57
  Speaker 2: get in touch with us now?
• 1:22:58
  Speaker 1: They can contact us on our email address, which is
• 1:23:02
  Speaker 1: Unchartedsounds Podcast at gmail dot com.
• 1:23:05
  Speaker 2: And of course you can also get in touch with
• 1:23:07
  Speaker 2: us on our Facebook group, the Uncharted Sounds Group, as
• 1:23:10
  Speaker 2: well as our Facebook page the Uncharted Sounds page and
• 1:23:13
  Speaker 2: of course you can also contact us on our website www.
• 1:23:18
  Speaker 2: Dot unchartedsounds dot co dot uk.
• 1:23:21
  Speaker 1: And once again thanks to crash Land for writing the
• 1:23:25
  Speaker 1: theme tune specifically for our podcast.
• 1:23:27
  Speaker 2: Thanks everybody for listening.
• 1:23:28
  Speaker 1: Thank you,