Latest / You Call That Radio? / 'The Anti- Social Worker' w/ Paul Wellings (R.I.P)

Transcript

'The Anti- Social Worker' w/ Paul Wellings (R.I.P) · You Call That Radio?

• 0:01
  Speaker A: She called that radio season four, episode 22 and today's episode is actually from about two years ago. But we're just going back in time, sadly for sad reasons, because my guest today is Paul Wellens, AKA the anti social worker who sadly passed away in July. I don't know much about the details, but I know that he was in hospital and stuff like that. So yeah, I just thought I'd put this interview for prosperity. And he was a character. I never met him in real life, but he was on or he called that radios live streams various times and we spoke each other quite regularly through email and messenger and stuff like that. And he was always trying to, you know, arrange gigs or arrange podcasts and stuff like that. But basically his background was pirate radio lwr, the iconic pirate radio station. He toured with people like Peter Tosh, Billy Bragg, John Cooper Clark and Benjamin Zephaniah. I also recorded his first album with the Mad professor of Maths, Massive Attack fame. He was championed by the likes of John Peel and he was also a writer for the NME in the good old days of music journalism. And he DJ does my Tatar Paul as well. So yeah, this is about. I've not actually listened to this interview back yet, but Michael shouts to Marco. He mixed and mastered it so it should be of a high quality.
• 1:58
  Speaker B: But I just remember and from an.
• 2:00
  Speaker A: Interview that he was a character above a cockney geezer, sharing all sorts of stories from behind to the scenes of the music industry and music journalism and he was discussing his newest projects as the anti social worker. So yeah, sad news to hear that he passed. Passed away. All the best his friends and family and hopefully you can enjoy this interview as much as I enjoyed having it. So yeah, this is from back in 2022. Sorry, yeah, yeah, 2022. And this is an interview with Paul Wyns, the antisocial worker.
• 2:46
  Speaker C: I got you. 1 2, 1 2, 1 2. Yo, this is Charlie Tuna from Jurassic 5 live and direct here in Glasgow, Scotland. And you call that radio.
• 3:01
  Speaker B: As she call that radio tv. We are live sober October. So I'm staying in the house tonight and I'm sure a few more reasons as well. So I. I'm getting. I'm absolute honor to welcome a very special guest on tonight, an impromptu chat with an absolute legend, a former NME writer, wrote for loads of different newspapers and music magazines. Limojo as well, part of the Anti Social Workers, a massive dub band in the 80s who is and very influential and he's just released a sole album under the name Antisocial Worker, which just came out as well and yeah, Stan is poet. Poet, a rapper, loves a bit of the gram as well. I'm just talking to him there off air and we were going to do a pre recording but we just decided to go live so feel free to interact. If you're watching this live as a 14th of October, if it's not the 14th of October, just leave a comment and I'll try to reply everyone I can. It's Paul Ellings.
• 4:08
  Speaker C: Welcome. Yo, bro. Yeah, what you saying? M. What are you saying?
• 4:12
  Speaker B: Well, mate, I'm just as I'm saying I'm a sober October and I. I'm having to quit boozing, order, quit smoking. All the regular viewers are sick and me talking about how I've quit quitting smoking but I just. I'm sick of smoking at the weekends and quitting every weekend.
• 4:28
  Speaker A: I'm just.
• 4:29
  Speaker B: I've got my vape here because I'm on live on air so I'll. This is all. This is the strongest thing I'll have. The robo snow is the strongest thing I'm having tonight. A cup of tea but no, it's great, it's great to speak to you, mate.
• 4:42
  Speaker C: I've been Andrew.
• 4:43
  Speaker B: Reading. Reading up on a lot of your stuff. You've worked with some absolute legends over the years and you have plug the album straight away though. Let's just plug the album straight away before I forget. It's out now is on m1music.com and a social worker, Militant business and grime poetry. And the great thing about the term grime poetry is that we had the amazing Don on the show the other day from. He's a Geordie Graham poet and he just made his first. He's been doing a lot of poetry for the last 10 years. I don't know how long he's doing it for. I've known him for about 10 years and he's done poetry and then in the last couple years he started doing it over a beat and he's nailing it and I think the Jordy accent sounds fantastic on it so. But yeah, so it's good. Two grand poets in a month on your call out radio. So pleased to have you on the show, mate. Let's go. Let's go to the first song you ever wrote. How did that come about? How did. When did you start writing? Did the. Did the journalism. Did the writing come before the. The wraps or. Or the poetry of what happened?
• 5:55
  Speaker C: Well, I mean I've got the first poem here if you want to hear it. Do you want to hear it live?
• 6:00
  Speaker B: Yes, mate.
• 6:01
  Speaker C: Yeah.
• 6:02
  Speaker B: That's a good way to start the show. Written about it. Let's do it.
• 6:05
  Speaker C: Let's do it. I mean, this was written when I was 19 years old and it, it made. It did make it onto the first Anti Social Workers album, but it went on to the. The current album with a sort of very heavy hip hop beat behind it. It's called Master race face. You get respect. Sorry, take two. To get respect, you have to give respect. You're the face that launched a thousand zits. You can't read our old diary without moving your lips. The only woman's movement you like is from the waist down. You'll make some girl feel rich. A cosmetic surgeon be dumb as you look. Would need a frontal lobotomy. You're like Frankie Styles monster with Eagles personality. Someone said you look like Jimmy Dean, an old lady with a white stick. If my dog had your face, I'd shave its ass and make it walk backwards quick. You've nothing north of the shoulders. You losing charades to Mr. Wonder. Letting you live at all was your mum's biggest blunder. You'd have to study for a blood test. You belong to Pooper. You think man your labor is the president of Cuba. You say this is the white land of your dreams. All of them wet. You reckon you grow on people but so do hairy waltz. You've done for equal rights what psycho did for showers. You're the master race face. Born to crawl and cower. Thank you. That's me.
• 7:32
  Speaker B: Superb, mate, superb. Where's my round of applause button? I've got a round of applause button, surely. Where is it a day? Yeah, I already changed that one actually. Quarantine Stream. All that stuff needs to go in a bin. But that was brilliant, mate. No, 19 year old.
• 8:02
  Speaker C: 19 years old. I wrote that. Yeah, because it was the rise of, you know, all the rocker gangs, races, anti Nazi league and all that. And there was these Nazi bands coming out and I just thought, no, no, we ain't having that. And you know, because I. I spent like 30 years of my life in the East End in London's Tower Hamlets borough, which is probably the most. Yeah, the Collingwood Estate. Yeah. Probably the most cult, multicultural place on the planet. You know, Tower, Hamlet. But basically, yeah, so I started off doing a bit of poetry and then I met some guy when I was working on a local newspaper, writing about music and football and stuff like that. And I met these, these dudes just outside North London and I met These dudes. And we formed the Antisocial Workers. And we were just like, spitting bars over the top of, like, what they call Virgin Excursions, you know, like by, like, you know, the dub side of a reggae single. So you'd have as Wood's warrior Charge as an instrumental. And we just do our poetry over the top of that. And then we took it to this guy called the Mad professor, who was in Peckham, southeast London at the time, who went on to be like the biggest dub producer in the uk, you know, by far. He's like the equivalent of Lee Scratch Perry in Jamaica, you know, and he produced all these original dub tunes. And. And we. We put an album out and it went. It was called positive style. In 1983, it got into the front cover of Sounds magazine. We got interviewed by the NME and everything and. And it all took off. We started touring with Eco Mouse. You know, the reggae icons are Eco Mouse, Marley's partner Peter Tosh. We did, you know, we ended up doing the London Dominion Theater to a massive crowd there. That was his sellout. And although having said that, some of the reggae purists didn't like us because we were like these roughneck punks and some of them were fried plastic glasses at us and all that, but, you know, I can take that. I'm a big boy. And. But that was great. And then. And then that sort of fizzled out. And then I got into DJing. I was doing, like, Ministry of Sound in London. I was doing Pasture in Ibiza. And that was what I was really doing, really. And a bit of poetry, a bit of street poetry, and then, you know, of bringing up families and all the usual stuff that goes on in your life. You know, sometimes the artists go on the back burner and. But when Johnson got in, I felt this real righteous anger rising up because I just thought he was such a liar, such a fraud. And. And it's always triggered me that that sort of class war that the super rich start, you know, and. And I thought, you know what? I'm going back in this studio. I'm going to go in his antisocial worker, singular, as opposed to the workers. And I put out this album called Militant Business and Grind Poetry. He's doing really well. You know, we've had plays on radio 11 extra 6 music. It was all done in one take. The album, it was done in two hours. I did it in one take. All the tunes were selected on the day, mainly hip hop and grime tunes and, you know, for a small independent label Doing all that in one take and, you know, getting rave reviews and that kind of radio coverage, you know, for a black owned indie label as well. It was, it's owned by a guy called the Magnifique, who's sort of west, in my opinion, northwest London's finest rapper. And yeah, he, him and this guy called Cutmaster Robinson, who's the producer, they created the tunes for me and I just spat my bars over the top of it and, you know, I'm really proud of it. And I'm doing festivals coming up and I'm doing. Getting an agent, you know, I'm getting an agent in London who represents, you know, some of the top comedians in the country and stuff. So. And poets. So, you know, I'm hoping to get some big work out of it. I want to get Glastonbury, you know, on the small stage and, you know, rebellion and all that stuff, you know, that's what I want to do.
• 12:13
  Speaker B: Amazing, mate, amazing. And it's a, it's, it's a, it's a good idea, I think, doing that, doing an album quickly that I didn't think that if I can set myself a deadline and I stick to it, some amazing things happen. But then I think I overdid it the last time. So this time I've been taking my time and as a result not much is happening because you just got my time in the world. So it's good to have a deadline in it.
• 12:38
  Speaker C: Yeah, exactly. Sure. Yeah.
• 12:40
  Speaker B: I mean, it's in one take. I mean, I'm assuming that you are. You spend. You pulled over the lyrics for a while. You, you were fr. Oh, yeah.
• 12:47
  Speaker C: No, no, don't get me wrong, I didn't do it freestyle. I'd written the lyrics beforehand. I've written all lyrics beforehand, but I literally did them in one take. We didn't, we didn't do any edits, nothing. No, you know, the whole album was recorded in two hours and that's straight. I'm telling you straight. That's what it. Yeah, yeah. So amazing.
• 13:06
  Speaker B: We've got Jim. Jim. Morning. Who's. We sometimes do that, a poetry slam one here. We do one a year and we do. Look every quarter, final, semi, finals. In the final. Jim Warren's known as the grumpy judge and he's actually said. Excellent poem.
• 13:21
  Speaker C: Oh, wow.
• 13:23
  Speaker B: The most. I think the highest he's ever given, Aaron, is a five and he's given a six out of ten. So that's really.
• 13:29
  Speaker C: I'm not worthy.
• 13:31
  Speaker B: That's good.
• 13:31
  Speaker C: I'm Honored.
• 13:34
  Speaker B: He's got some, some A lot, a lot of antifascist, anti racist poetry coming.
• 13:38
  Speaker C: Oh man.
• 13:39
  Speaker B: A Scottish perspective. Yeah. But yeah, man, Katie Christie's nice. Hello, Katie. She says it was awesome.
• 13:45
  Speaker C: Oh k. Love it.
• 13:47
  Speaker B: Stuart Graham's in the house. Hello, Stuart. Paul says that was a solid poem for a 19 year old. I was drinking Thunderbirds.
• 13:55
  Speaker C: So was I, mate. That's probably what inspired it.
• 14:00
  Speaker B: Is it Thunderbird or Thunderbirds? Is it just Thunderbird?
• 14:03
  Speaker C: I called it Thunderbird. I don't know.
• 14:05
  Speaker B: I mean also maybe I've just never seen it written in. It's not. You know.
• 14:09
  Speaker C: He also used to drink that horrible stuffed barley wine. I don't know if you've ever drunk that. Oh God, I don't know.
• 14:14
  Speaker B: Barley wine. But I. Thunderbirds did exist when we were. We were doing under his drinking. But I was Mary a Mary down man myself.
• 14:19
  Speaker C: Marder. That was the other one.
• 14:21
  Speaker B: We had Mar Cider and I think. What was the other one? Mad Dog 2020.
• 14:26
  Speaker C: Yeah.
• 14:27
  Speaker B: Yeah.
• 14:27
  Speaker C: All lethal. Yeah.
• 14:28
  Speaker B: Yeah. But it's sober. October different tonight. It was a different era. It was last month. It was last month. Also Paul's added as well that. That my professor is amazing.
• 14:42
  Speaker C: Yeah.
• 14:42
  Speaker B: Love this dub mix of the Protection album.
• 14:45
  Speaker C: No, he's a legend. He's. He's worked with all of them. Massive Attack, Chard, you know, he's a remix producer in great demand and we had some great times with him in the studio. He literally lives up to his name. He's like mad as a box of frogs, you know, but beautiful. Beautiful album he produced for us, you know, I mean it. He made our fairly standard lyrics sound, you know, super cool because of his dub rhythms, you know. So.
• 15:17
  Speaker B: You, you. I seen that you say that you, you had, you had a good line about name dropping that you can, you can say you don't like the name. I'll let you say that name. But we actually have a part of the show called the Name Drop and I drops. Why get your name drop say that we. Where the name drop. You call that lady? No, obviously Mad Professor. To. To do work with Mad Professor. That's a name drop and a half.
• 15:48
  Speaker C: Yeah, I'll pick that one up off the floor. Yeah. Okay. The trouble, the trouble with being a journalist is you have met a lot of so called celebrities. You know, most of them are. But you know, I'd rather be down my mates with a pub than some of these celebrity parties. But you know, trouble is, you know, as. As I said earlier, you know, that's that's the nature of journalism. You do meet those people. So, you know, I worked for the NME for. Right throughout the 80s, so I met a few people, you know, some bad, some ugly.
• 16:24
  Speaker B: Yeah. But I think there is maybe a point of celebrity, though. They're not living normal lives, are they? So they're just traveling in the world and everyone's kissing their ass.
• 16:32
  Speaker C: Yeah, that's true.
• 16:33
  Speaker B: They're not living. So I think it must be quite hard to stay grounded and stay a normal person.
• 16:38
  Speaker C: It is, yeah. I mean, me and you, we like, we're real ones, you know what I mean, what we call in London. You're a real one. And you know, once you. As you say, I mean, I've got another poem actually, I'll read. That is very appropriate, actually, for what you're talking about. Let me find it. Talk amongst yourselves.
• 16:54
  Speaker B: Go and talk amongst the comments.
• 16:56
  Speaker C: Talk about you.
• 16:57
  Speaker B: Talk about.
• 16:58
  Speaker C: Well, I got it, I got it, I got it, I got it. I want to talk about you if you want.
• 17:02
  Speaker B: No, no, no, no. It's not all about me. It's not.
• 17:04
  Speaker C: Here we go.
• 17:05
  Speaker B: Take away, take up.
• 17:06
  Speaker C: This is. This is from the new album, right? It's called Real Going Out, Talking spitters, drillers, rappers, shellers, sprayers, shutters, hustlers, trappers and and bar. She said music is not competition Music is a mission Wise up and rise up I ain't got no Lambo ain't got no diamond grill I ain't got a mill in the bank I'm real I ain't got bikini video models I ain't got a fur coat, ain't popping crisps I'm real I ain't got a private jet Ain't got a luxury crib Ain't lighting cigars with dollars I'm real, I'm real, I'm real I'm a real one I swear down. There you go. Yeah, it's all about our hip hop has been commercialized. And, you know, I mean, my hip hop that I love is stuff like Public Enemy and. And Two Pack and all that. But that's not. Then that's proper conscious hip hop, you know. Whereas the stuff that's coming out now, every video has got like a private jet and, you know, the. In mink coats. And I just thought this got no relation to my world or the people I grew up with at all.
• 18:13
  Speaker B: You know, it seems to be. That's the sort of chart side of the thing. But as you. You just seen off here, you're talking about, you're A massive fan of the. Of Graham and how it's the.
• 18:23
  Speaker C: Yeah, I love it.
• 18:24
  Speaker B: Punk.
• 18:25
  Speaker C: Yeah, yeah, it is the new punk because he's got minimalist beats. It's anti authority, you know, it's very militant, anti establishment. It's DIY music. A lot of people just do it on their laptop at home. I mean, I. I got into it when it first started, about 20 years ago. I went into this my mate shop in Essex, he had a record store and he said, paul, you've got to listen to this, mate. And it was a tune called Dollar Sign by Sticky. And I thought, oh, this is super cool. What is this? And he goes, I don't know what it's called, but it's like a new form of music and it was one of the very first grime tunes ever. And I thought, this is like fresh. I love it. And. And I've lived and breathed the scene ever since, you know, I love it. I listen to one extra all day long listening to grime, you know. You know, I've got hundreds of grime albums. I've seen loads of grime acts live.
• 19:22
  Speaker B: And yeah, you said that the new singles got. Got played in one extra. Yeah, and so, yeah, extra Sex Music.
• 19:31
  Speaker C: Six music and Radio one on the specialist shows in the evening, obviously it's not going to get played in the daytime because it's got words like O and all that on it. You know what I mean? I. I ain't going to get away with that.
• 19:42
  Speaker B: You're going to get pissy.
• 19:43
  Speaker C: Although I have had a radio edit of it. They actually took all out. They've done their own edit of it. So on one, I think it was like Radio Essex or something like that.
• 19:51
  Speaker B: I've money I've had swear words on sex music before, but just because he didn't understand my accent.
• 19:57
  Speaker C: Really.
• 19:58
  Speaker B: Yeah, they just.
• 19:59
  Speaker C: What was that with your hip hop thing?
• 20:01
  Speaker B: No, I was saying I've got a band called Gyro Babies which is like, yeah, yeah, post punks, I think. But it was the song when I'm not an I'm a secret animal. And it was quite blatantly said that three times in the song. And then there's another bit when I say, did that go out for dinner time? Told the boy, told the boy said as well the word. But I said that quite fast. So it was. I mean, I think I can understand why that's fell under the radar, but I thought maybe arsh isn't a swear word. I don't know. But they, they played it but then.
• 20:33
  Speaker C: Then the next Get Away with a Hole. But I mean, I like that Gyro Babies you sent me all the links to your music. You know, I. I've always had like Compat Angels. I don't know if you've ever heard of them. They were a very big post punk band in the sort of early 80s. Yeah, I love them.
• 20:48
  Speaker B: Yeah, I've got. I've got a note of them. I've got enough one to check them out.
• 20:52
  Speaker C: Yeah, I think you'd like them. Yeah, I will.
• 20:54
  Speaker B: I will definitely check them. But also Jeremy Kale with a song called Jeremy Kale My Wife but played that on the radio, but he got a radio edit of it. So that. And so it was. He reversed the word. So it's Jeremy because we. My wife.
• 21:08
  Speaker C: He's got a new show coming out soon. Christ knows why.
• 21:13
  Speaker B: There's Tom Devan is here. Everyone loves A Secret Animal. Tom. A secret animal. Secret Animals. The song that I just mentioned. It's got a garden party. Secret animal garden parties. Now I've got Mary down for the win. Mad professor as the boss. Stuart, enjoyed your last poem.
• 21:32
  Speaker C: Oh, lovely.
• 21:33
  Speaker B: Real silver. I can't remember if it was silver or gold.
• 21:37
  Speaker C: Yeah, I had silver. Yeah.
• 21:39
  Speaker B: I don't really remember what the difference is. What was the difference? One was dry and one was.
• 21:43
  Speaker C: Yeah, one was sweet. I. Wasn't it sweet? All right.
• 21:45
  Speaker B: Okay. Jeremy K's been riding my bike. Correct. That's the radio edit going back to. Let's stop talking about me like going back to the. The enemy journalism. So. Yeah, because, I mean, I. I used to. I mean, you're writing in the eight, you said the eighties, so I was probably a bit too young for. For your comments, but I was obsessed with it in the 90s when I was buying it every week about. Yeah, probably bought. If I don't have money, I'd maybe buy the Melody Maker as well. But I always preferred the nme I loved.
• 22:10
  Speaker C: Yeah. Yeah.
• 22:11
  Speaker B: I just love the sort of form of journalism back then. And I think it was a bit more exciting. I mean, I've tried. I do write from one website. I try and do music journalism. It's a very hard art form, man. Because I don't. I don't know why. Putting things down, you know, if I don't get nothing nice to see, I try not to write about it at all. And it's difficult to, you know, write in an artistic way, to tell. To find an interesting way of saying that you like something. So I've got a Lot of respect for music journalists. Have you got any advice? Have you got advice to.
• 22:41
  Speaker C: Well, what's my advice? I've got. This is another name drop. This is a advice I got from Danny Baker, you know, who's. He's now. A little bit. He's been canceled a little bit now.
• 22:51
  Speaker B: But as he's been canceled for.
• 22:54
  Speaker C: I better not go into all that because it might be legalistic. But, yeah, so he told me, always don't write about the band and what songs they played, what clothes they're wearing. Just write about what you did that day, all the funny things that happened on your journey, and then just mention the band at the end. And that's what I used to do because I. I live quite a lively life, you know, I was a bit of a rascal and I always used to talk about that. That side of stuff and then just mention the band at the end, you know.
• 23:22
  Speaker B: That's a brilliant idea, man. Do you know what? You're right as well, because it. Where. When I've done it before, it has been like, you know, more like a. Yeah, the story of getting to the show and coming back and.
• 23:34
  Speaker C: Yeah, all that. Yeah, I did all that because then.
• 23:36
  Speaker B: What you're doing is you're writing a short story.
• 23:38
  Speaker C: Yeah, exactly.
• 23:39
  Speaker B: And I still got a piece of art in its own right.
• 23:42
  Speaker C: Yeah, yeah, yeah, exactly that. Yeah, you nailed it. You nailed it.
• 23:48
  Speaker B: Ali Grant says you guys would do a decent cover of Komsa Angels. Katie says always look for your articles in nme. Because I'm way older than Mark, so.
• 24:02
  Speaker C: I went under a few pseudonyms. I mean, I used to go into the pseudonym because I was worried about me benefits getting cut. So I used to. I used to go under Terry Malloy, which is my favorite character in on the Waterfront, you know, the Marlon Brando film. And I also went as Paul Kicks because there was an Adrian Frills around at the time. So I thought I'd call myself Paul Kicks. But I did write under my real name for the Melody Make. I went under the name Jimmy Mac for Sounds when I wrote for them. And I did some poems as Jimmy Mac as well on a few punk albums. But I've always. Yeah, I've always. Nowadays, obviously, I've written like two or three, you know, slim little volumes on popular culture, some books that were published by an independent socialist publisher, you know, so. And I've written under my own name, obviously. I mean, I wrote a thing called.
• 24:59
  Speaker B: Well, I think you froze there, mate. Paul has frozen. But what I play one of his the new single and hopefully we'll get him back. Paul, if you can hear me, I think what you just need to do is log out and log back in again and we'll get the end of that story. Yeah, surely, man. Are you back? You're back.
• 25:22
  Speaker C: Oh good. All right, sorry, I don't know what happened there. Yeah, yeah, I wrote a book called Army Journalist Get Me out of Here which is all about my life on the Enemy in the Mirror and it was all about the sort of. I don't know, like. I don't know, just. I was just there at the. When it was a very street smart time in, in, in music journalism, you know, and there were very few working class writers on the music press. There were a lot of sort of middle class guys in leather jackets but there weren't too many people from my kind of background. But the. And then the second one.
• 26:05
  Speaker B: Yeah, okay, so I think.
• 26:08
  Speaker C: I'm doing this in stages and, and, and then the other two were. I did a thing called Sex Lines and Videotape which is like cult film quotes because I'm a massive film fan. I've got about a thousand films in Doors work and also. And then the last one was the Divine Comedians which was quotes from radical stand up comedians. People I love like Richard Pryor and I don't know, whatever Russell Brand or whoever. Yeah, so I've done a little bit of that.
• 26:37
  Speaker B: How can you get the books?
• 26:38
  Speaker C: Oh, they're all on Amazon and you know, decent bookshops can order them. Waterstones. I've done like book signings in Waterstones and all that, but they're only slim little volumes. I mean, don't expect too much, for Christ's sake.
• 26:50
  Speaker B: But you know, have you done them, have you done them any audiobooks yet?
• 26:54
  Speaker C: No, we never did that. No, it was, it was done on a. A thing called a Progressive Press which they did a. I think they did a book by Tony Ben and I did a. They did a lot of socialist imprints anyway and.
• 27:10
  Speaker B: Yeah, no, when you were enemies. When you were enemy journalist, you. I think that's how you met James Brown. I just, I'm just looking at the list of the name drops. Yeah, James Brown, I think that's probably the name drop of the year.
• 27:24
  Speaker C: That was one of the. That was one of the shortest interviews I ever did. I met him at some kind of. I think it was the dj, what was it called now, DJ of the Year Awards or something like that. And he was performing live and I just met him backstage and I Was I literally just spoke to him for about a minute and. And then when he was on stage, I managed to touch his flare which was. I don't know, it meant something to me. I don't know why. I was really into funk at the time and I touched his massive great 40 inch flares he was wearing. I don't know. Seems silly now, but yeah, I know he's a legend. Yeah.
• 27:59
  Speaker B: What. But what was. I can't remember off the top of my head, but that was the one that stuck it. Could we just get any more name drops at the be just now before I play your. Your new. Your new single.
• 28:08
  Speaker C: Oh, I'm gonna say such a dickhead. Like quoting people I've interviewed. Is that what you want?
• 28:16
  Speaker B: That's what I do. I'll be telling you when I interviewed Paul Wellens next week. So what was the way as well you're saying you don't. You don't like to name drop. So you can start off with that wings. I thought that was funny. You don't like to name drop. As you were telling.
• 28:29
  Speaker C: Oh well, well, as well as I. I can't remember. Well, I used to say as I. As I said to ne. Nelson Mandela, I don't like name droppers. But he. He's no longer there, so I don't know. That's right. As I said to the Pope recently. Yeah, that's. I updated it. Yeah, yeah, yeah. Well, what you want? Well, I just do my favorites really.
• 28:49
  Speaker B: I mean I did he who was sound, who was actually nice, who was actually cuz we talked about earlier on about how it's hard to keep grounded and not become an with the fame. So who stayed sound? Who kept it real?
• 29:00
  Speaker C: The most memorable ones for me were. I mean Paul Weller was very memorable, but he was a miserable sod, I've got to be honest. And I love his music. I've always loved Paul Weller from the Jam, you know, Style Council, everything. I loved him. And I did Reggie cry as well, which was. That's pretty, pretty heavy. You know what I mean? So I did him in Park Vers prison. Yeah. And well, yeah, and he gave you one of them handshakes that, you know, you sort of checked how many fingers you had after. After shaking hands with him. But yeah, so that was an interesting one. You know, we got spun as we went in. You know, he sent us a VR just saying bring me some roofman cigarettes and God bless Reg and all this. I mean not that I was, you know, I don't hear. I Worship scumbags. But it was, you know, and they were bad people in the East End. I. I knew he's. I got introduced to him by his brother, Charlie Cry. He was actually a bit of a gentleman, you know, he was. He was okay, but obviously the twins were psychopaths, let's be honest.
• 30:05
  Speaker B: About Raucous. Sorry about raucous. I heard the word about Rockus.
• 30:11
  Speaker C: Oh, a bit of a raucous.
• 30:13
  Speaker B: Rockies. Rockies. Oh, yeah.
• 30:16
  Speaker C: Oh, they called. Oh, yeah. They call your ruckus. Anyway. Yeah. I mean. But, you know. You know, but I don't think they were this sort of Robin Hood characters. People paint them out to me, I know they. They leant on a lot of people who are really struggling, but I don't want to get into that, because I don't.
• 30:36
  Speaker B: It's just a. It's just the way that people with crime and stuff as well. And I mean, you're getting. Yeah, you get a crime as well, you know, all these. All these murderers on Netflix again.
• 30:48
  Speaker C: Yeah. I was mainly interested in, you know, what a glamorous life it was in the 60s. That's what I wanted to know, you know, And. And he did give me a bit of that. But he saved all the best bits, probably for his book. But I thought, I ain't gonna come in here. I'm gonna take everything he says with a pinch of salt. I ain't gonna hear repair. I worship scumbags. You know what I mean? And. But I did love his brother, I've got to be honest. Charlie Craig treated me lovely. And he wasn't a psycho, you know, he was. And I am drawn. I am a bit drawn to those sort of bad boys. A bit like, you know, a moth to a flame, really. And. And he'd say to me, oh, don't worry, Paul. No one will touch you. You know, everyone. I'm. You know, if anyone wants to win, you know, I'll iron them out. And if anyone has a go at you, you know what I mean? He was like, it awful. I've got Charlie Cray in the corner, you know what I mean? But I'm not.
• 31:42
  Speaker B: TV shows the Sopranos. And I would say that's mine as well.
• 31:46
  Speaker C: Oh, I love it.
• 31:46
  Speaker B: And I think that's only the only TV show during lockdown that was. See, I don't really like watching a series again once I've seen it. I think life's too short. I don't really watch much TV anyway. So when it's. But my partner, she didn't. She hadn't seen it yet, so watched it for start to finish and I think it would. Quite so much time had passed as well. So, you know, I would have been my 20s, early 20s when Sopranos finished. So watching in your 30s, it was a totally different experience because obviously you're a bit, well, allegedly more mature in some respects. So there's a lot more that maybe didn't catch the first time around. And it was.
• 32:22
  Speaker C: Yeah, man, that's right, that's right. I mean, he's surprised. Sopranos, you know, the greatest thing on tv in my opinion. And the Wire, we talked about that as well.
• 32:29
  Speaker B: And the Court and comedy wise as well. I think Sopranos gets underrated. Mentioned how great it was at times.
• 32:35
  Speaker C: Beautifully written as well.
• 32:37
  Speaker B: Again, someone told me that the Wires dated a little bit because I'm thinking about maybe watching that again. Instead of watching a new mediocre TV show, I'm thinking about watching another classic. Do you think the Wire?
• 32:48
  Speaker C: I watched the Wire about a couple of years ago, season one, and still loved it. Yeah, but it's Sopranos. Always found I just couldn't wait for it to come on every week, you know, because it. And by the end of it, it was so, as I said, so beautifully written. That vulnerability about Tony Soprano, you know, going to see the psychiatrist and, you know, I don't know, I just. It was just the best drama. And funny enough when I, when I. This is another terrible name drop, but. Excuse me, but. But when I. I did some poetry at the Jamaican Calabash Festival on Treasure beach in Jamaica, and I've shared a stage with Lynn and Kwesi Johnson. But at that festival, I met David Chase, the creator of, of, of the Wire. And was he involved in the Sopranos as well? I can't remember now. Who wrote the Sopranos? I'm getting mixed up now.
• 33:43
  Speaker B: Yeah, no, it was a different guy.
• 33:45
  Speaker C: That was a different guy for the Sopranos. Yeah. But David Chase I met for. Yeah, he did the Wire because he was talking about Idris Elba and I said, I, I said, you know, I've lived, you know, even though I was born in the London New Towns. I said, I grew up, I was raised in, in the East.
• 33:57
  Speaker B: Oh, no, sorry. David Chase did rate the Sopranos.
• 33:59
  Speaker C: Oh, he did, sorry. He did, yeah. So I met him. I met the creator of the Wire. Sopranos. Yeah, yeah, yeah.
• 34:05
  Speaker B: So the David who. So who did the Wire then?
• 34:07
  Speaker C: I think, I think.
• 34:11
  Speaker B: That'S incredible. I don't even know that.
• 34:13
  Speaker C: Yeah, there you go. Double check it. I might Be double check. I might be chatting.
• 34:17
  Speaker B: Let's see. You may be late though. David Simon, that the Wire?
• 34:21
  Speaker C: Sorry, you're right, it was another David. Yeah, yeah, I saw David, I saw David Simon but I also saw Tony's nephew and I forgot the actor's name. He was there as well.
• 34:36
  Speaker B: Oh yes.
• 34:37
  Speaker C: You know the guy, he was always getting in trouble and Tony was bailing him out all the time.
• 34:41
  Speaker B: Yes, yeah, he's actually, he did.
• 34:44
  Speaker C: I've forgotten the actor's name there but we had.
• 34:46
  Speaker B: Yeah, I've got it here, I've got it here because he, he actually, I've actually got a good story about him, believe it or not. So Christopher.
• 34:56
  Speaker C: Yes, Christopher.
• 34:57
  Speaker B: Yeah, Multi Santi Christian.
• 34:58
  Speaker C: That's it, yeah, that's it, yeah, yeah, the actor's name.
• 35:02
  Speaker B: But the actor's name, I'm just going to bring it up because he is. It was Michael. Sorry if I'm butchering the pronunciation but Imperial. Yeah, Michael Imperial.
• 35:13
  Speaker C: Yeah, yeah, yeah.
• 35:14
  Speaker B: And I've got a good story about him actually. He. So one of our friends, he's an amazing. James Price, an amazing director. Check him out if you can. He's make some, some really hard hitting short films from Glasgow, from the, the schemes or what you would call an estate then there, but we call them schemes up here. So he makes some really good hard hitting short films and he just messaged Chrissy man said. Because he said he's got a band and he went can I make you a music video? And he made him a music video. It's incredible. I'll actually, I'll. I'll maybe play that. I'll send you a link to it actually. Yeah, yeah but it's. And he just kept it completely Scottish. He filmed it in Springbone.
• 35:53
  Speaker C: Yeah.
• 35:54
  Speaker B: And. And the guy used it so. A small world. Small world. So he said. So what was. What was meeting him like?
• 36:00
  Speaker C: Oh, it was incredible because I just thought oh my God, you know, idolize that show. And he was just talking about, I think James Gandolfini had just passed at the time and he was saying how sad it all was and then no one saw that coming and, and I just watched Gandolfini's last movie that he made before he died as well. And yeah, so it's all, it's all quite emotional really. But I thought what's, what's little old me doing talking to these giants? You know what I mean? Yeah.
• 36:30
  Speaker B: It's just some of you watch that much Natalie in real life must be so it does seem like I'VE seen him in interviews and stuff and he just seems like a. Well, a very good actor for a start. Because he's. That the role he played is nothing like the as in real life, obviously. Well, I mean, sometimes you get people that just play themselves. Like Joe Pesci. Imagine is just Joe Pesci.
• 36:51
  Speaker C: Have you heard the Joe Pesci Sings album? That's hilarious. He does like a cab raping. He sounds like sort of like a poor man's Frank Sinatra. It's a really funny album.
• 37:03
  Speaker B: Well, is it meant to be funny?
• 37:04
  Speaker C: Yeah, no, no, it's not meant to be funny, but funny.
• 37:07
  Speaker B: Yeah, that might make it funnier. I'll check that out. I've actually got. I've got a wee clip here to you before we get off. Final thing we see in the NME is we've got our interview. You Talk on Channel 4 talking about the music business. Yeah, I don't think. I don't think we'll have a copyright issue with this because it's. We're going back a bit and I don't.
• 37:26
  Speaker C: Yeah, it's 92.
• 37:27
  Speaker B: Yeah, 92. And I don't think it's on. It's not on the Channel 4's YouTube channel. This is you on Channel 4 talking about the music business in 1992. So let's just watch that.
• 38:02
  Speaker D: The music business, full of boozers, losers and jacuzzi users. Ever since I was an ace reporter on the Music Press and a radio bj, I've always thought the pop industry was a load of old top. Look at Brit award winning wrinkly Rocco. Rod Stewart. You gotta hand it to Rod for making a living as a singer all these years. His voice reminds me of some poor screamer on the lav suffering from acute constipation. Marvin Gaye. He ain't well. Take David Essex, please. I was a bit put out to see Mr. Essex manage to get back to civilization after his truck broke down in the desert 100 miles from anywhere. But seriously, David, do us a favour and each time you go out of the desert, take a few others with you, like, say, the gay whale merchant, Sting, Housewives. Choice Cliff Richard or soap dodger Sir Bob Geldof. Is someone having a jest when they tell us yes have reformed alongside Elp and Mike Oldfield. These are the bland at times forgot LPs, CDs. Who gives to monkeys? Slippery deals from slippery hills with the new boss same as the old boss These dinosaurs took an early bath even in high school days when US rice was discovered There was more sex, seduction and sedition at five minutes of a Soul weekender than taking your childhood sweetheart to say yes perform 30 minute tunes like the snappily titled Tales from Topographic Oceans. I bet the Milco whistled that one while delivering his daily pinter. If these geriatrics return, what hope is there for the young and gifted ones trying to push $? The music business is one of the youngest, wealthiest and most self indulgent industries of the 20th century. It survives and fries on geriatric DJs similar to Harry Enfield's characters. Nice and smash. Free trips to America, free lunches, payola, kickbacks, white rasters, heroin taking rock stars, Valium choking record executives, overpaid nitwits picking up an annual sal salary my dad didn't earn in 40 hard working years. Plus out of touch talent scouts who discover a dance tune six months after it's tongued the roof off in the clubs and then they turn heroes into zeros. What we need is a younger, faster, cleverer, tougher music business. Not the false hair, false teeth, false smiles and false words we get now. We should recognise the real power and influence of the club DJs encourage the free enterprise of self run groups like Soul to Soul or feisty ladies like Lisa Stansfield and Get street smart operators 1992.
• 40:36
  Speaker C: I sound even more cockney there than I do now. Jesus.
• 40:39
  Speaker D: Remain as much use terrible.
• 40:41
  Speaker C: Yeah, that was all filmed in Madame Two Swords obviously you know, with all the waxwork dummies. But it could have been the real people, you know, had about as much life in him as in.
• 40:50
  Speaker B: And what would it advice would you give to someone like myself trying to do interviews? What, what is about advice if you're doing interviews?
• 41:00
  Speaker C: I'm not saying I'm a great interviewer or anything but I always, you know, I like to use, you know, very unusual questions. I don't know but I. Be a good listener, I think. Don't interrupt too much. I think that's important. You know, let them, you know, get their flow going and you know, just chip in when, when you've got something decent to say. But don't start saying, you know, what your influences and you know, what color your underpants or whatever, you know what I mean? Just, just be a bit quirky and yeah, just be a good listener. I think that's the best advice. Yeah.
• 41:36
  Speaker B: Listening episodes. That was a flashback and a half.
• 41:40
  Speaker C: It was. Yeah.
• 41:43
  Speaker B: And Tom says.
• 41:48
  Speaker C: I love Mark East Smith. Yeah, I went to see him just before he died and I've always, I've always liked the Fall, you know, because I. John Peel used to play some anti social worker records on his show. And he played who's Watching you? Which is I think you're gonna play later. And yeah, I saw Mark Smith live and I watched him backstage and he was like completely mashed. He was like drinking pint after can off the can of bitter or whatever he was drinking. He staggered on stage, he tripped over everything and he just sort of said something like, you know, I can't do a man cake server. He just. Or whatever, you know. And yeah, but it was shambolic. But he's utterly brilliant. You just couldn't take your eyes off him, you know what I mean?
• 42:36
  Speaker B: And we've got a question for you from Jim Morning. Who said yes, Grove.
• 42:43
  Speaker C: Yeah, yeah, yeah. From your manner. Yeah. Scottish guy, very good writer. Yeah, we. We used to fight over the soul albums actually when they came into the offices. I used to try and grab them before he grabbed them to review. But. Oh, he's a great writer. Yeah, he's written books on Ali and black America. Black American music. I think he's got one out right now actually. He's just come out.
• 43:04
  Speaker B: It has, it has. It has just released a book. I can't remember what, I can't remember. Off the top. Yeah.
• 43:10
  Speaker C: It'S the link between American music and American politics and. Or that might have been one of his previous ones. But I know he went out to be something big in the TV world. I think it was very big on Channel 4 or something.
• 43:22
  Speaker B: Yeah, I mean, well, I lost contact.
• 43:25
  Speaker C: With him now, but I lost.
• 43:28
  Speaker B: I've. I didn't know that he was such a great writer. He's big, he's big up here mainly for hosting them sports shows like off the Ball and you know, growing up as a football fan, it was. It was a really good host. So it was actually later on that I figured I found that he was such a great writer. But yeah, I have asked him. He didn't get back to me.
• 43:51
  Speaker C: So hopefully he's lost in it.
• 43:56
  Speaker B: Michael says the Sopranos brought the Alabama three to the one Jew re watching it. Such good telling.
• 44:01
  Speaker C: Oh, the best. That was everything. That was everything. The Sopranos here, I think with every.
• 44:08
  Speaker B: Single member of Alabama 3 on here at some point.
• 44:10
  Speaker C: Oh, good.
• 44:11
  Speaker B: So yeah, shows them great band. And Jim says he's a commission editor for Channel 4.
• 44:17
  Speaker C: That's what he was.
• 44:18
  Speaker B: That's yeah. Amazing collection. Mark Remy, when you get a minute as Proto Bell, you're looking bro. Thank you very much. All Right. Baby Doll, Sugar Cube. That's. That. Is Collette in the house? Okay, so I'm going to play the new single. So you said it was. She wanted to kind of hinted that it was Boris Johnson being shy. His job that's going to inspire this return. Oh, also, she used anti social workers and now you're the anti social worker. What happened? What happened to the rest of the band?
• 44:52
  Speaker C: I don't know. Like we were teenagers, you know what I mean? You had silly little fallouts, all that cliche about musical differences and all that, but, you know, it just. It ran its course. We achieved everything we wanted to achieve. And then I decided I wanted to get into DJing and other stuff, you know, and, yeah, that was it, really. I mean, I don't. I don't speak. I don't know the. Where the. What the other guys are doing now. I've got no real contact with them, so, you know, good luck to them, whatever they're doing. But I went in. I went in a different direction.
• 45:28
  Speaker B: Did you see that? You. You about right. I was reading an interview with you and you were saying that you actually broke up just as you were. You were just hitting. You were on the front cover of the magazine or something like that.
• 45:41
  Speaker C: Yeah, we just got on the front cover of Sounds and yeah, we did an interview and that was a few arguments about, you know, the interview and what shouldn't have been said, what had been said, and we just thought, you know, let's call it a day. So we quit while we're on the top, I suppose. Quit while we're ahead.
• 45:59
  Speaker B: Voice. This is the new single and as off the new album.
• 46:03
  Speaker C: Yeah.
• 46:03
  Speaker B: So no m1music.com. I'll put a link in the comments.
• 46:08
  Speaker C: Yeah, singles called War in a Ghetto.
• 46:12
  Speaker B: It's War in the Ghetto. And yeah, just give it a re introduction, man. And I will get as I'm getting.
• 46:17
  Speaker C: You'll be to introduce it now.
• 46:19
  Speaker B: Yeah, introduce.
• 46:20
  Speaker C: Yeah, yeah. I mean this, this was written about all the knife crime that I was seeing in London and stories I'd heard from mates and family members and. And that's what it's all about. It's trying to increase the peace.
• 46:45
  Speaker E: I'm a peaceful hustler but I've seen another life for some ego and money chasing people doing silliness pure vanities don't talk about urban regeneration if you can't regenerate mindsets if you don't prove yourself you're going to get stepped on. Only the para survive. You can't be A pussy hole on Hackney Road. Not that manner. Too hood post.
• 47:10
  Speaker C: Go.
• 47:10
  Speaker E: Ghetto wars. Allow it, bro, allow it. We go again. There's inherited boots. One minute he goes to the shop with his mate, next minute he's been stabbed by an or. Every other day, five zero knock at his door. He likes to go back in time. He knows how everything is going to end up. He's here in his yard. It's safe, it's calm. It's not safe out there. Exploited, trafficked, keeping thugs sweet. The government only cares about itself. They're not talking to people in the blocks or council estates. They're talking to people in Chelsea or Mayfair. He gave up on himself in the furrow. This is the life. You don't need to look for it because it's right there. No one carries a shank for fashion. It's not for show. For him, it's for defense. If the time came, he'd be 100% prepared to use it. It's either him or them. He'd rather be in jail than dead. That's the reality. He feels like Superman until it's time to run. He's got his squads back. People get shot at, wet up. People are dying. He's a soldier. If a soldier can do it, he can do it. It's another east side story. His days are filled with hyper vigilance, bare violations, anxiety attacks and super paranoia. Crack fiends, laughing, hyenas, bullies, snitches, slipping snakes, psychopaths on the front line. You don't know what you're gonna hear. Who's gonna die next. He doesn't like speeding cars going the wrong way hints, black cars, dodgy license plates. He wants to leave. It's a sad life. There's nothing to be glamorized. Children die. Everyone wants to leave. It's just about timing. Dealing food, Road man running from the jakes. He can't be doing this no more. But as long as there is drugs and poverty, we'll always have a gang problem. He likes his probation officer. She's like family. He can't even argue with her. Magistrates give him a 12 month referral order under the supervision of a youth offending team. He's enrolled in college. He seems to be turning his life around. No more county lines. No more stag vests for the ghetto youth. No more counties lines. No more stab lists for the ghetto.
• 49:32
  Speaker C: Group.
• 49:55
  Speaker B: As you call that. Radio, tv. We are live social worker Paul Wellings. Tonight, absolute legend. Just to be shout out to all the patrons who support the show@patreon.com radio or if you're one of the YouTube members. Thank you for keeping the show going. To be having a live video stream right now with the legend Paul Wellens. We just listened to the new single Absolutely Brilliant, which is done in one take. Unbelievably, in one.
• 50:22
  Speaker C: Tight. Yeah. East side. It's an east side story, man. That's what it is.
• 50:27
  Speaker B: And you're saying that you picked the beats that day as well?
• 50:29
  Speaker C: Yeah.
• 50:30
  Speaker B: So did you just practice that as an acapella piece, did you? Yeah, yeah. Live a couple of times before.
• 50:36
  Speaker C: I just wrote it, read it back to myself once. Went in the studios and picked out tunes that fit into the lyrics, really, you know, and we did it. I say we record the whole thing in one out in a couple of hours. I mean, there's a lot of London slang on the album. But I'm gonna try not to talk too much London slang tonight because obviously, I know, honestly, I've got a Scottish audience.
• 50:57
  Speaker B: Don't dumb it down for us. For us. And before he went. Before he went an eyelash. I learned already that before we went live, went for an eyelash, which is. I'm assuming it's a slash.
• 51:06
  Speaker C: Yeah.
• 51:07
  Speaker B: For a pee. So, yeah, no, keep. No, keep the. Keep the London slang going.
• 51:11
  Speaker C: Okay. Yeah. I just saw that you interviewed Jason Williamson there as well, from Sleeper Mods, who I love. I've seen him live three or four times. I'd love to get a gig with him if you can fix that up for me.
• 51:21
  Speaker B: I don't. I don't think so, man. I don't. I don't really think so. It was sound. It was sound, but it was. It was my pal Jen, she's friends. I think she knows him personally. And the manager, I think that's his wife, so there's some kind of connection there, but there's no. Yeah, I'd like a dad to get a support slot as well, mate.
• 51:40
  Speaker C: Yeah. Or a collab. I'll do a collab.
• 51:42
  Speaker B: Collaboration. Yeah. Yeah. They're smashing alive just now. Who else are you enjoying? I mean, I think we're going to see, obviously the email and the snuffers are supposed to be playing in the 15th of November. They've actually moved their gig to the 29th of this month. And it was supposed to be Bob Villain supporting, or we thought Bob Villain was supporting, but I've been loving what Bob Villains been doing. Have you. Have you had any house stuff?
• 52:07
  Speaker C: Not really, no. I mean, I say I'm to Be honest. I mainly listen to grime and reggae these days.
• 52:12
  Speaker B: This is where it's great. It's great. It's kind of Graham rock music.
• 52:17
  Speaker C: Yeah.
• 52:18
  Speaker B: I thought. I thought it may have been up your street.
• 52:21
  Speaker C: I've heard the name, but I don't know much about. I mean, obviously, you know, Amber with His Slippers. It's a great name because, I mean, I used to be a bit of a speed freak myself, you know, so as soon as I saw that name.
• 52:31
  Speaker B: I thought they're more straight up O rock and roll. I think they're just a rock and roll band. And also did do a collaboration with Sleeford Modge as well. But. Yeah, yeah, but Bob Villain, definitely. Check out Bob Villain. Kenneth Grime with guitars, I think.
• 52:43
  Speaker C: I think I might have heard him. The name seems familiar, but I'm. I'm mainly, you know, I'm. I'm mainly into sort of like people like Koji Radical, you know, Kano Little Sims, those sort of people, you know, very intelligent grime stroke hip hop artists. They're the people I like.
• 53:02
  Speaker B: Shit and kill. Is it a Little Sims?
• 53:06
  Speaker C: Chewing Kill, Yes.
• 53:09
  Speaker B: Last year I kind of got enough of that. And Koji Radical I don't know a lot about, but I was. I was gutted to miss it. Boom Town. But Kojo Radicals got a. Had a single a couple months ago that I played on the show as well. Fantastic.
• 53:20
  Speaker C: Yeah.
• 53:21
  Speaker B: And also Ko. Oh, you don't need saying about Kennel. Absolutely.
• 53:24
  Speaker C: No, no, no. You know, some feedback from your.
• 53:28
  Speaker B: From the song Julie, who's a. An MC up here. A great MC up here, he says. Reminds me of Mike Skinner with the slang and poetry, kind of.
• 53:36
  Speaker C: Yeah, I like the Streets. Yeah. But to be honest, the antisocial workers apparently slightly influenced the Street. So. Yeah, we came a long time before Mike Skinner, but I don't know. I don't know whether he confirmed that, but someone told me that. I don't know how true that is.
• 53:50
  Speaker B: Yeah, I mean, the first. The Street's first album was A Game Changer.
• 53:53
  Speaker C: Oh, do you know what? I was in Oxford street in London in hmv, the big store there. And they played that, the original pirate material. And when I heard it, I thought, I've heard nothing like this. This is. This is unreal. And I went straight to the store, the store attendant, I said, yeah, we'll see. They said, all the streets. I said, yeah, I'll have it right now. And I bought it. I played it to death.
• 54:18
  Speaker B: Yeah, yeah, I think that. Absolutely. I mean, I'm Not. Not massive fan of the stuff that came up later. No, but they just changed everything. Like it.
• 54:30
  Speaker C: Yeah. Sorry I saw you to interrupt, but I reminded me. Reminded me of my pirate radio days, you know, because I used to be on a station called LWR and we used to play at tower blocks. Like the North Peckham estate is a very heavy estate, you know, where. Where the doctors wouldn't go, like, medics wouldn't go, but taxis wouldn't go anywhere. But we had a. We had a show there and they used to guard the aerial with. With baseball bats on the roof to stop rival stations cutting it down and all that. But, you know, Mike Skinner's that album reminded me of those pirate radio days, because lwr, you know, we were playing pioneering. We were like the original Rebel pioneers who were part of playing underground black music because Radio 1 and all these commercial stations were just. All the DJs sounded like bank managers, you know, and it was. And they were just playing a lot of pop music and there was no real black music in the 80s on mainstream radio. So we. We started that scene and we had DJs like Pete Tong on there, you know, he's gone on to be superstar. We had maxi jazz from Faithless, you know, beautiful, beautiful, beautiful gentle soul, he was. And sadly, people like Westwood, who, you know, we don't talk about.
• 55:44
  Speaker B: Now, can we talk about Westmid?
• 55:46
  Speaker C: Do we have to?
• 55:48
  Speaker B: Well, no, we don't have to, but I don't.
• 55:50
  Speaker C: I don't want to get done by his lawyers or anything.
• 55:52
  Speaker B: Right, okay. We'll just see. Did you. Would you. Was it a surprise to you or did you think you did you have get bad vibes off him?
• 56:02
  Speaker C: He was always hanging around with young girls. Yeah, I mean, but I don't want to say further than that. I mean, he. He started off. I mean, he did. Nick, there's a reggae DJ called David Rodigan. He used to play a club called Gossips in Soho, where I also djed with a guy called Desi Parks. And it was like the king of rare groove sort of thing. And Westwood, yeah, Nick Rodigan's act, you know, Rhodigan was like the. In my opinion, Westwood, Nick Roddick and Zach, because Westwood was working as a barman in this club called Gossips, and he used a lot of phrases on radio that Roddy Good was using. You know, a lot of the sort of yardy talk and all that. You know, it's all going down with your boy Westwood and all this stuff. And. Yeah, so, yeah, he originally Started out playing a bit of R B and he played some good hip hop back in the day. He was well respected by Def Jam. You know, like people like Public Enemy respected him in the early days and Pack and all these people. But. But then he. I think the whole thing went to his head. All that power went to his head and he. Because, you know, the biggest name in hip hop in the UK at the time, in DJ wise. And he started believing his own sort of public. And then with power comes, you know, it's meant to come great responsibility. But I think with him it came with great irresponsibility and he did a lot of. A lot of bad things.
• 57:33
  Speaker B: There's nothing you could say about Westwood that his lawyers could refute.
• 57:38
  Speaker C: But, I mean, I've got to be honest with you. I mean, I did one of his first interviews on the Evening Standard. I interviewed him when he was on the same. He'd gone on a KISS pirate station by the time I got to lwr, so. But I did know him. I used to stay around his flat in Hammersmith and we used to go up to Soul Weekends together. We used to drive up there and he used to DJ and. And there'd be Trevor Nelson with us and all that mob. And. Yeah, I didn't see any evidence of the sort of stuff he's been accused of now, really. Although he did like, you know, young. Younger girls. I'm not saying underage girls, but younger girls and. But, you know, as I say, I just think that the whole, you know, the whole thing went to his head and he just thought, you know, I'm untouchable, I can do what I like because I've got all that wealth, all that power and.
• 58:34
  Speaker B: And, you know, always corruption. Let's talk about the two other. The actual legends that you mentioned there. Pete Tong, Max. Pete Tong. Just think. Talking about. We're talking about Raymond Slang. When did Pete Tong. When did he. When was the point that his name started getting used as Raymond Slang?
• 58:53
  Speaker C: Well, it was maybe in, like, the warehouse parties of the acid raves in London. I mean, I used to go to a lot of them. You know, I was good friends with a guy called Terry Farley who. Who started off this fanzine called Boyzone and I used to write for that. And, yeah, that was all going around in. And the other thing was. Oh, they used to say things like, oh, he's. He's got. He needs a couple of Wilsons for that, you know, and that was Wilson Picket Ticket. And, you know, it's all these. All These strange things. And then of course the shaman, they reproduced all that, didn't they Mr. C? Reproduced all that, you know. Anyone got any salmon? And you know all that. But Ebenezer Good and all that stuff, you know.
• 59:39
  Speaker B: And you know, lens for any viewers?
• 59:41
  Speaker C: Any viewers? Yeah. Anyone got any viewers? No. I mean I would say now is. Is. Is very different. I mean I'm, you know, I'm a sort of old school Londoner really. But you know, nowadays, you know, all the kids. I mean my kids used to talk. What they called you Faken. You know they used to call like almost talking us. But it's mainly sort of a lot of hip hop slang, a lot of grime slang. But they'd almost talk in. My kids are white. I mean I'm married to a black woman now, but my first wife, she. Sorry. My kids were like using a lot of Jamaican slang and what they called you faking. So. But now you know, a lot of the London kids now either white kids are talking in a lot of almost like a pure Jamaican accent. You know, the patois.
• 1:00:32
  Speaker B: Patois.
• 1:00:32
  Speaker C: You get me Star Go.
• 1:00:35
  Speaker B: Some. Some more comments about the the last the song Words of life's truths with beats and a booming baseline loving it says ep.
• 1:00:42
  Speaker C: Oh, thank you. Yeah.
• 1:00:44
  Speaker B: Collect saying increase the piece. What a good rap lyric your reman is bro the night. Love your fresh characters. Bonnie, you've done it again. Love your bones. Baby dollar and Julie, you called Baby.
• 1:00:55
  Speaker C: Doll a lot, aren't you? Yeah. Well, should I call you Baby Doll?
• 1:00:59
  Speaker B: She's Baby Doll. She calls everyone baby though. And she is Baby Doll. So she has. She has Colette as Baby Doll. And so are you, so am I. And so is everybody watching this. These are all baby dolls but collects the original Baby Doll and the original Sugar Cube as well. J. Lee's saying that was an epic tune from the beat to the bars. Great concept and message to you. It's a good noise, says Stuart. Great tune, says Lou.
• 1:01:24
  Speaker C: Thank you, Lou.
• 1:01:25
  Speaker B: And Lou's also asking about is that the new. You call that radio jingle? I like it. It's funky. No, it's actually one of the old ones. But Colin Simon God the Duncan JR. Made a four minute song and we've only used 20 seconds of it. But that's like the guitar solo near the end. We're actually going to do what's an album called now that's what I call. You call that radio. And we'll just put all the jingles on it for it. So if you're a patreon Expect that in your inbox soon. I'm just going to put it together and we've got about six songs now that's been used for the jingles. Really good tune. Loved it. It says Marco. Angela loves the London slang. Good to see you here, Angela And Evelyn and Sniffers will be a great gig. My next one's Deep Purple, then Mickey names and finishing the year off with Wet Leg a lot. Yeah, well, Wet Leg I met them at McCull's. They played that tiny little pub called McCulles a bit, I don't know, eight months ago and now they're playing in like. What was it, Jimmy Kimmel or whatever in last night in New York.
• 1:02:21
  Speaker C: Yeah.
• 1:02:21
  Speaker B: They have never seen a band blow up quite as quick as that in a long time.
• 1:02:25
  Speaker C: Bit of lady power. Right on, sister.
• 1:02:28
  Speaker B: Well, they said that they're going to do the show. They chatted after the gig but I think they may have get too big. No, I don't know. It's worth an email. I think I've maybe missed the boat though I should have followed up a bit quicker. Have you heard of Aluya? As I'm saying that right. I think she's great. Cezeppy.
• 1:02:44
  Speaker C: I don't. I'm not sure about that.
• 1:02:46
  Speaker B: I think that was when we're talking about the grime stuff. I'll write that down and check it out.
• 1:02:50
  Speaker C: Another Leah.
• 1:02:51
  Speaker B: I think it's a different one. Julie saying I'd Good to know, man. Could definitely see Mike being influenced by you. And the Grand Don't Come From Free was a classic. I know there was some good tunes in that I just didn't. I think it's quite. I just. I just like. I hadn't heard anything like the first album so I think it didn't have the. Quite the same effect on me. Did I not spot another Gyros gig of the 26th. Yes. The gyro Babies will be playing classic grand in the 26th of November. That is correct and we're going to give another show to the album one more time. It's M1 Music. We've done. We've actually done over an hour now so it's M1.
• 1:03:25
  Speaker C: I forget to put in the burst and festival thing because that's the dedication of my wife and I've got a little story about that. Very interesting.
• 1:03:33
  Speaker B: Yes. Okay. Well man, I'm in the rush. Yeah getting that today. M onemusic.com for the album. If you've been enjoying the tunes today I'll put the link I Put the link in the comments as well. So we've got. Obviously we've covered your journalism, the music, but of course you're performing as a spoken word performer as well. I believe this is a spoken word thing that we're going to. We're about to check it.
• 1:03:56
  Speaker C: Yeah.
• 1:03:58
  Speaker B: So it's just. What is it we're about to watch?
• 1:04:00
  Speaker C: Oh, sorry, yeah. She's from Burst and Festival. This year I did a gig work, which Burston Festival was the longest strike in history, where a lot of the school kids walked out and supported the teachers getting sacked by these sort of farm owners. And I did a gig with Mick lynch from the rmt, you know, genuine working class hero and the comedian Mark Thomas. And I. I did a thing called this, one of the tracks on my new album. And it's a thing called Empress. And it's. It's a dedication to my. To my wife, who is actually the. The niece of the late, great reggae superstar Sugar Miner. So I feel truly blessed. I messed. I met her. I met her on. I know she's going to sound flash, but I had a bit of a tax rebate. I met her on a world cruise, which is only about 10 grand, but. And she was the only one under 60 on the boat. I thought she looked, you know, hot as. And. And five years later we're still married. And, you know, I've had it, I've had it, I've had it. You know, I've had some ups and downs in my life. I've had. I've had some real. So I've had some real shit happen in my life. But right now I feel I'm. I'm living the dream, you know what I mean? I live by the coast. I'm two minutes walk from the beach. I'm writing poetry, I'm playing out and I'm married to this beautiful woman. And this is Empress, my tribute to her, if you got it there. Oh, son. My stepson cried when he heard it, so. Which is lovely. You still there? Hello?
• 1:05:35
  Speaker B: Maybe I am here. I am here. I'm just getting. I'm just getting this. I'm sorry, I muted myself because I thought we're ready to go. It should just give me a bit of background to the festival and then we're ready to go in about five seconds.
• 1:05:46
  Speaker C: Right. What? More about the bursting?
• 1:05:48
  Speaker B: Yes.
• 1:05:49
  Speaker C: Yeah. Okay. Well, it's an annual festival, so it's like a socialist festival. You get all the trade unions come up, all the labor movement, and loads of people have played there, like, you Know, you get a lot of big speakers, you know, you've had Tony Ben speak there, Dennis Skinner, you know, the late great Bob Crow, one of my political heroes. And you get a lot of bands as well. Billy Bragg plays there, you know, all the usual suspects. Attila.
• 1:06:18
  Speaker B: Yeah. Have you had the Teller's dub album as well?
• 1:06:22
  Speaker C: Yeah, I was a bit, I was, I've got to be honest, when he told me he's done a dub album, I thought, oh, this ain't gonna work. You know what I mean? Because I, I've known it till the 41 years. I put one of his first gigs on. I love Attila. We played loads of gigs with him back in the day with the Antisocial Workers. And I thought, I don't know about him doing dub poetry, you know, because he's a really good punk poet. And I thought, I don't know, maybe he's not going to fit in with it, with the reggae sound. But in actual fact, it's a great album. I gave it, you know, I, I, it, it sort of, what's the word? It kind of, it completely changed my preconceptions about it. Yeah. And Benjamin Z. And I loved it, so that's good enough for me. And I played with Benjamin, you know. Love the man.
• 1:07:08
  Speaker B: Yeah, it was, I was kind of some of the similar thoughts. I was just sort of more surprised that he was, he was doing a dub album. Obviously. I've just known him as a fantastic poet, but incredible. I really liked that he performed at the Sports and I thought it worked really well.
• 1:07:24
  Speaker C: So.
• 1:07:24
  Speaker B: Yeah, and then. Yeah, so. Yep, definitely. It seems to like a year. And like I said, Donald Jenkins is the guy you should check out as well for a more grain poetry from the, from the jordy end of the country. Don does some. A great night in Newcastle for spoken word. I'm sure he would love to have.
• 1:07:47
  Speaker C: Maybe I'll team up with you. I'll share a stage with you one night.
• 1:07:50
  Speaker B: Absolutely. We'll get up in Glasgow. No bother. I'm sure, Don, we'd love to have you done up in Newcastle as well.
• 1:07:57
  Speaker C: Yeah. The weird thing about Attila's album though, because it's an all white production, you know, the guys are doing the reggae are all white. And obviously we did a very similar thing with the antisocial workers in 83. But the thing was we were playing with a mad professor and we were playing with virtually all Jamaican musicians. I mean, we had on drums, we had the guy who's in the film Rockers. I Don't know if you've ever seen that film. It's a top reggae film. Well, the guy who's the lead character in that was a drummer on our albums, so I personally didn't think it was going to work, but I've done a great job. And apparently his producer, Attila's producer, he's working with Freddie McGregor in Jamaica, so, you know, he's doing all right. Kingsy Salmon, I think his name is amazing.
• 1:08:43
  Speaker B: This is the. I've got it ready now. This is Paul Life from Boston Fest.
• 1:08:48
  Speaker C: Katie to my beautiful wife Roma, who's filming in the front row there. The. The niece of the reggae superstar Sugar Miner. She's the biggest superstar in the house today. And this is called Empress. You are Sugar's cuz. Always got good things going. From reggae royalty with humbleness flowing.
• 1:09:10
  Speaker E: You are my empress, my warrior woman, my Jamaican queen.
• 1:09:15
  Speaker C: I'm your number one fan.
• 1:09:16
  Speaker E: We saw the whole world and met at sea and soon you were my wifey to be.
• 1:09:21
  Speaker C: I remember visiting your school in downtown Kingston. Retracing your steps out of the Friend.
• 1:09:27
  Speaker E: Zone to Tough Gunk Studios and Marley and Tosh's grave. And your joyful smile could save any rave. You say nice like rice and stop your noise.
• 1:09:37
  Speaker C: You're feisty but you know how to treat silly boys.
• 1:09:41
  Speaker E: We clapped for higher pay for healthcare workers you nursed all your life.
• 1:09:46
  Speaker C: No shirkers. Now I just want to grow old.
• 1:09:48
  Speaker E: With you because I love everything and.
• 1:09:51
  Speaker C: Anything you do now I just want to grow old with you because I love everything and anything you do.
• 1:09:58
  Speaker B: Amazing stuff. Thank you, Rowan. Empress.
• 1:10:00
  Speaker C: Yeah, it's got a lot of memories to that me that. Because recently my stepson, who's a real hard East End geezer, you know, he's a proper geezer. He came up and obviously, you know, I'm his stepdad now. Now I've met Roma and. And he said, Paul, that tune Empress, that you played about my mum, he said, it just moved me to tears. And he started crying when we were having din and I just held his hand and I started crying. I know. And we both, you know, tough cookies, really. You know, we've both gone through a lot of in our life and it was such an emotional moment and my wife started feeling up as well. But, yeah, it's amazing, the power of words, you know, just when you're spilling your truth out, you know.
• 1:10:39
  Speaker B: Absolutely, man, absolutely. It's something about spoken word. When it's done right, man, it just hits G Lee saying, amazing poem. Yeah, Lucy, now That's a true love poem.
• 1:10:53
  Speaker C: Thank you, Lou.
• 1:10:54
  Speaker B: Respect the wife and what bra words to say about your good lady. Sweet. This is Colette.
• 1:11:01
  Speaker C: I'm learning your Scottish slang.
• 1:11:05
  Speaker B: Don't dumb down for us. Gaze as much London slang as you like. Beautiful words. Keep living the dream. It says Angela and Empress. Yes. And also by the way, funny enough, we've empressed ironically at 9 o'clock tonight we're actually going to be premiering a live stream of the the best. Probably in my opinion one of the best rappers in the country. Impress. And I don't think if you watch this tonight you're not going to deny it. Empress. I see Empress. I don't even know if I'm. I think because her name is Emma. I thought our stage name was Empress but it might just be Empress. I don't know. Yeah, but whatever it is, she is a phenomenal 9:00 on our YouTube channel. I'll probably link in the comments to check it out and you'll see how. How we do hip hop and Paisley.
• 1:11:52
  Speaker C: Yeah, well I like that Scottish guy who was on the Rap Game, you know I thought he was one of the best on it. Shogun man.
• 1:12:00
  Speaker B: Yes. It was a bit cheeky. He get kicked.
• 1:12:02
  Speaker C: He had a lot of attitude but I love yes.
• 1:12:03
  Speaker B: Oh, he does have an attitude. He's first gig was on my stage. I got his first gig. He's done. He's done. He's done amazing. Yeah, yeah. I think they were trying to tell him what to do and that's just how he rolls. But yeah, he did, he did good. I mean I think that. I think maybe I was a bit biased but I thought he was the best on the show that I thought so.
• 1:12:27
  Speaker C: Yeah. And he was so different really because there are a lot of Londoners because Crepton, Conan and Target, you know, they're all Londoners so there is a London bias. So it's great to hear different regional accents, you know.
• 1:12:42
  Speaker B: Absolutely, man. Scotland's got a phenomenal scene. It's just hard and it's interesting. I was talking to Don Jenkins about that Duke everywhere, I would say they say the London's got that issue in London. Don't really take it as seriously as they might. And I suppose another thing is it's about the slang as well, you know.
• 1:12:58
  Speaker C: Yeah.
• 1:12:58
  Speaker B: If you try to be true to yourself and speaking your own accent then you're going to. But I mean I didn't know American slang. When I go into hip hop you just learn it, you know. I didn't know, we were talking about Mike Skinner in the Streets. That was the first time. I mean, the first time I heard that, I was like, I don't know if I liked that. I don't know. I couldn't desire school. It was like. It was so much to get my brain together.
• 1:13:21
  Speaker C: Because he grew up about a mile from where I used to live, so, you know, it just. It's a different generation.
• 1:13:27
  Speaker B: I've never heard anything like this and I just, I was addicted to it. I just kept on listening to it again and again and I was like, hold on. I actually love this. Do you know what I mean? But of course, it was so new. It was like. And that's usually the best songs, but I like that. And they, they don't. It grows on you and you're just taking it all in.
• 1:13:44
  Speaker C: Oh, mate. When I, when I heard that first Dizzy album, it gassed me up so much. I. I think I had it on repeat for about a week. Yeah, I just never heard anything like.
• 1:13:52
  Speaker B: It, you know, which you imagine from a, from a glass region perspective because, you know, he's hearing this accent, you're not used to hearing this new type of music. Yeah.
• 1:14:03
  Speaker C: The weird thing was he was also name dropping places I knew, you know, very autobiographical, you know. I mean, I've got a track on the new album called East Is east, which talks about, you know, all the East London things I did, you know, good, bad, whatever, ugly and. Yeah, so, so that's, that's my sort of homage to, to East London. I say, even though I was born in the London new towns, there's a lot of East End in me, you know, and the.
• 1:14:31
  Speaker B: So have you got gigs coming up as in the book just now?
• 1:14:34
  Speaker C: Well, at the moment I'm seeing. I don't know if I told you, I'm seeing an agent and yeah, he's meant to be lining me up. Festivals and benefit gigs and charity fundraisers and. And he's, he's well connected, you know. I'm going down to Soho to see him and he's. He's with a lot of household names. I won't mention the people, but. And hopefully I'm going to sign with him next week. So. Yeah, I mean, he's talking about maybe the small stage at Glasgow and Rebellion and all sorts of places.
• 1:15:01
  Speaker B: Yeah, amazing.
• 1:15:03
  Speaker C: Yeah.
• 1:15:04
  Speaker B: Well, give us a shout if you're fancy up to Scotland. I'm sure we could.
• 1:15:06
  Speaker C: Oh, I'd love it, I'd love it. I really. My missus loves traveling and she said, what she loves about coming out with me because now, do it now. I'm doing poetry because I've decided to, to put the DJing on the back burner, you know, I've had enough of that. There's too many egotists, too many snakes, too many. I mean, the great thing about poetry is you're creating your own work, whereas DJing, you're just recreating someone else's work, you know, and, and the brilliant thing is, you know, I could do a poetry gig. I don't know what you pay in Scotland. I mean, what would I get playing at the Ice Box out of interest?
• 1:15:41
  Speaker A: No idea.
• 1:15:43
  Speaker B: No longer exist, actually.
• 1:15:44
  Speaker C: Okay, well, let's just say, for instance, right, say I get paid 150, 200 quid, right? Do a poetry gig, right? I'd only have to do a 20 minute set. I get, you know, if the audience are decent, you know, they applaud after every poem and all I've got to bring along is my bloody poetry book, you know, I mean, that's all I've got to carry.
• 1:16:07
  Speaker B: Bring a few extras and you can sell some.
• 1:16:09
  Speaker C: Yeah, whereas if DJing, if I'm. No, I mean, this is my, like this, these are all the lyrics on the album. This is my original thing, you know. But if I was DJing, if I had to play out and do me all night, I'd have to be lugging all this heavy gear for 200 quid. I'd have to play at least two hours, do you know what I mean? And my missus got sick of it. She said, I hate all this DJing, you know, and no one's applauding you, they're doing their own thing, you know what I mean? They're buzzing off, they're not doing whatever they're doing.
• 1:16:38
  Speaker B: But latency as well. You're getting, you're, you're playing.
• 1:16:41
  Speaker C: Yeah, and also you. My missus just got fed up with it. She said, I don't do that no more. But she loves the idea about going all over the country doing poetry gigs. She said, you know, you'll do a poem about me, you'll get some applause. You've only got to work 20 minutes and, you know, sweet as a nut, you know, and you've got.
• 1:16:58
  Speaker B: It's still ill enough to go for a paint somewhere else.
• 1:17:01
  Speaker C: She said, we can make a holiday out of it. That's what we're going to do. Do a bit of traveling. Like when I come up to Scotland, I'll come and see sights. I mean, I've only been to Scotland a couple of times. I've obviously been to the Edinburgh fringe and all that stuff, but I've done. I remember once I was working for this PR company. I was like poacher turned gamekeeper. I was a journalist turned pr, which is not great, but. And, and they were based in Scotland, but I was working in London and they phoned me up one day and said, get a flight from Stanstead to Glasgow, we've got some news for you. So I took a flight up to Glasgow and the news was they were giving me the tintak. They were sacking me. And I thought, I can't believe this. I flung all the way up to Glasgow with him to like to. To out me of the job. So I said, I've been this. I said, could someone take me around to the Celtic ground? You know, because I'm, you know, my Scottish team is Celtic. You know, being with the socialist connections and all that. I've got the Celtic shirt and. But I'm a West Ham supporter. But my, my, my Scottish team is Celtic and, and she. The receptionist goes, oh, I feel so sorry for you that you got the sack, so I'll drive you to sell it. Grand. So she, bless her heart, she drove me in a little. I don't know what it was a little mini. We drove to the Celtic ground. I touched the wall, I thought, wow, I've actually been at the Celtic ground. So that, that was the. That was amazing for me.
• 1:18:22
  Speaker B: Amazing. Brilliant stuff. So you've been in park.
• 1:18:26
  Speaker C: Even though I got the sack and then straight after that had to get a plane back and tell my wife I've got major redundant.
• 1:18:32
  Speaker B: But you're going to see Celtic.
• 1:18:34
  Speaker C: I've got to see the Celtic.
• 1:18:35
  Speaker B: It's not all bad. It's not. Yeah, no, we'll get you. We'll get you up. We'll get up there. Is it?
• 1:18:40
  Speaker C: Sure.
• 1:18:41
  Speaker B: Soon as Ice Box gone at Twerk there. Yes. A great community venue. Had a pet food bank. At a normal food bank. It did close swap so people could just pay, take, take free clothes and stuff. They're still going to keep the, the charity work up. They're still going to be doing the food bank stuff. So. Yeah. Keep an eye on Xbox page.
• 1:19:04
  Speaker C: You know we talked about having an eyelash earlier. Yeah, well, I'm absolutely breaking my neck.
• 1:19:08
  Speaker B: Well, that's, that's fine. That must maybe. I say let's take a wrap up.
• 1:19:11
  Speaker C: Yeah. Do you want to put that. Who's watching you or not?
• 1:19:14
  Speaker B: I'm gonna Finish with who's Watching this? Exactly what I'm going to do. Give it a quick intro and then you can go for a. For an eyelash.
• 1:19:21
  Speaker C: All right, Here we go. Yeah. This is who's Watching you by the antisocial workers from. With the Mad professor, the legendary dub producer from 1983, from the album Positive Style. And he was played by John peel on Radio 1. And that's how it happened.
• 1:19:37
  Speaker B: Amazing stuff, mate. Well, it's my pleasure talking to you tonight.
• 1:19:40
  Speaker C: Thank you, mate.
• 1:19:47
  Speaker B: Yeah, sure, mate.
• 1:19:48
  Speaker F: You can check my census form.
• 1:19:50
  Speaker B: My name's the author.
• 1:19:53
  Speaker F: 147 people live here. Our outside toilet has four inside doors. I go to work in a submarine. I'm a part time rat gasser and full time piss artist.
• 1:20:08
  Speaker B: And I was.
• 1:20:08
  Speaker F: Born on a small island of St. Volo. That's right. Straight up, mate, straight up. Who's watching you? In the land of the true phone tapping census forms they're the keepers of the human zoo Our lives become files in their dark office room Computers know about you from the womb to the.
• 1:20:40
  Speaker B: Tooth.
• 1:20:48
  Speaker F: Private life becomes a memory with figures in a lottery game when your number is called Run like hell because it will never be the same.
• 1:21:03
  Speaker C: But.
• 1:21:04
  Speaker F: Beware because they'll have a printout of where you're running to because state surveillance wants control over me and you repeat over me and you repeat over me and yeah, yeah.