Latest / You Call That Radio? / 'Five to Wan' w/ Hugh Reed & The Velvet Underpants

Transcript

'Five to Wan' w/ Hugh Reed & The Velvet Underpants · You Call That Radio?

• 0:00
  Speaker A: Is this an airflow? It's actually a podcast. Where the fuck's a podcast? You know, it's kind of like a radio show, as you call that radio. I think it's season four. I think it's episode 16. And I hope that introduction annoyed you as much as it annoyed me. We're doing the podcast early, two days early. Instead of Sunday podcast, we get a Friday night podcast for two reasons. One, we talk about a gig that's happening tomorrow. So it's a last gasp attempt to get people to go to the gig, but the majority watching it. Sorry, the majority of the people that are listening to this have either already been at the gig or you missed a gig because you are living in the future. But I thought I'd put this up. I cut off the first half. It's an interview with Huried, by the way. I just noticed that huried has never been on the audio podcast. And over lockdown, Hugh has been on the show 1015, maybe even 20 times. He's a really good guy and an underground legend. He twill be blondie in the eighties, he told a story. And the bit that I've cut off, actually, about how he was taking mushrooms with the Pogues and Joe Strummer from the clash. If you want to watch the full thing, you can check it on YouTube. But the reason I cut the first half hour off was because we had some technical issues trying to bring Jinx Lennon on and Joe Bowen on. And I just thought it was kind of like an advert for the gig. The first half hour was just pretty much a full advert. And we don't do adverts. When you call that radio. We have no sponsors. We have no adverts. We have no funding. We are powered purely by our patrons. And thank you to everyone who supports the show@patreon.com. forward slash youcallthatradio three pound a month and you get bonus material, you get discounts, you get free guest list of festivals and gigs and stuff like that. And also, you just support the show so that people that don't have three pound a month can listen to the show for free. Because we don't have any paywalls or anything like the show is for everyone. And I say, I would like to say an extra thank you because it feels like we've had a moment. It's five years and we're celebrating it. Where I get room to tomorrow. It's Friday night as I'm doing this. And what a ride it's been. Thank you to everyone who's been supporting the show, whether you watch it on YouTube or you listen on Apple or Spotify shows to jam, actually, for being my first Spotify, you my Spotify commenter. Commentate. Commenter. Commenter. I didn't know you could do comments on Spotify, but if you listen to Spotify, you can please leave a comment saying, yes, if you, if you're listening to Spotify. But anyway, hurried velvet underpants, they make very funny music. The live performance is off the scale and yeah, they've got so many interesting stories, but it's going to be a bit different. It's not what we're going to go into the, the backstory of the band or anything like that, because I have had them in the show about 15 times and I know, so this is more like a conversation between two friends who were just chatting away. And at one point Yuri turns the tables on me and actually becomes the interviewer, which is quite interesting. Maybe I should get interviewed on. You call that radio? I've never been interviewed in five years. So maybe we'll do that another time. But thank you very much for everybody for supporting this over the last five years and enjoy this conversation with the legendary hurried.
• 4:00
  Speaker B: Brothers and sisters. May the peace that can only come from the one.
• 4:03
  Speaker A: God be upon you. We are here to tell the people that. We hear you call that Megurtube listens to Vino in the car, but.
• 4:17
  Speaker B: Well, that's my guitar, not mine. That's the band's guitarist I've invited. But they've all shattered. They don't like to be associated with me too much.
• 4:31
  Speaker A: It's a great band, man. It's definitely, I think, the, the tightest of I've ever seen the. The pants. Absolutely tight pair of pants.
• 4:42
  Speaker B: Well, I'm the major member in the pants, you know. No, I know. It's a, it's a totally excellent band, musicianship wise, you know? Absolutely. So.
• 4:53
  Speaker A: And how long. How long have. Obviously, you said you started in the eighties, but how long has this incarnation of the band been going?
• 5:00
  Speaker B: Well, Darren, who you'll know he's actually been in the band since 2001, which I find incredible, really. But then Davey's been in and out of the band, bass player since that time, but Magoo came on board about two years ago and then Chris has joined in the last year, so. But, but, but knowing them all, we all used to work and. Were you ever in northern rock? You know, the community music project and Royston.
• 5:36
  Speaker A: I thought we were going to see the bank.
• 5:38
  Speaker B: No, no, I was. I was a manager of this community music project up in Royston, which was great. It was a great time. That was from 2000 to 2910. And then the. The powers of B decided not to give us any more funding. But so much happened. That's how I know Joe Bone. Joe used to come in and record and with a recording studio with. With lots of different music classes and all that, all over the north of Glasgow. So that was a really good time. And that's how we all met each other.
• 6:10
  Speaker A: I used to work in a call center in Royston, running about that team, is that right? Aye, that's right.
• 6:16
  Speaker B: And so whereabouts in Royston was that then?
• 6:19
  Speaker A: It was the Rosemount workspace behind the flats.
• 6:23
  Speaker B: Oh, yeah, right. Well. Well, we were in the Rosemount school. We were in the basement at the.
• 6:29
  Speaker A: School, you know, so, yeah, it was actually quite an interesting one because one day we went in, one day we were at work and they said, does anyone want to go home early to watch the old farm game? And obviously we all said yes. And the next day we came into work and there was just a big sign up saying, this company no longer exists. And there was a. Newspapers were there. And that's what the day that I learned just to say no comment to the newspaper, and I stupidly made a comment to newspaper earlier on this year and I get stung by that again, just say no comment if a newspaper ever asked you a question, is what I've learned. But yeah, they basically took my. So took a bit of the truth and then just kind of molded. It was nothing bad, but just. They said that I hadn't been paid for three months and had a family to support and it wasn't true. I mean, I didn't have a family to support. You know, I was a bit. I was just.
• 7:26
  Speaker B: You had a band to support, you know.
• 7:28
  Speaker A: I didn't have a band, man, apart from, you know, I mean, as long as my soap bar, I was fine. And, you know, it was. It was a cheaper time and Greg's was. It was 40 pence a sausage roll. You know, you could probably get a piece and two sausage rolls for a pound because Greggs came in and tried to, you know, they undercut all the bakers and just offered everything a lot cheaper. And the only one that really survived is McGee's, which I think McGee's is still in Royston. So. Shouts to the McGee's bakery, still keeping it real, still fighting the good fight against the. The evil corp of. Of Gregg's, the Baker Corp. That is Gregg's. But yeah, they just said, I think that I was an agency, so I get paid Beatley. So I wasn't going to owed a week's wage or something. And then I got it anyway, but they got. They put me in the front, the front page, staring at her like, looking sad. I hanging said that maybe for three months and their family support. Then I was getting messages from people saying, where's your. I didn't know you had the family, sure, but yeah, I should. Don't ever speak to the newspapers, never those people, the newspapers don't speak to the police.
• 8:32
  Speaker B: There was, well, there was a lot of strange things with Oran Royce and I can tell Royce and Vayz, very public.
• 8:37
  Speaker A: Tell me about Royce. Did people make Royston Vesey jokes? Like league of gentleman jokes, because it was Royston Vesey?
• 8:45
  Speaker B: Well, we were a local music center for local people, but I remember there was a big. The huddle. Did you ever see the huddle up there? That was a sort of. It was the, you know, it was a bar, but obviously it's very much a celtic area out there. And I remember the huddle was taken over by some new people and they, when it was taken over by the new people, they sacked the old bouncers or something. So the very first night it opened, the old bouncers came down and the whole place was setting fire and it was just like obliterated. And I found things went on in Royston that you never read about. Well, you seem to get quoted in the paper, but things have. I remember one time there was, we set up this community concert and it was at the bottom of the. Where the steeple is. And so we've set up this community, gone in early and set up the community, the community thing, and then, oh, God, how come no one's come in? And we went outside and found. In the meantime, we were now in a crime scene. I had been taked off by the police, someone had been stabbed outside, so that was why people weren't coming in, because it was. Now I taped off crime scene, but there was. So there was a lot of things happened, but it was all. It was all done in the best possible taste.
• 10:08
  Speaker A: It was all with stabbing people in the best possible taste.
• 10:12
  Speaker B: Well, I don't know, just so many bizarre. Well, for me, one of the things I found is I've been born and raised in Glasgow, but I'm from, I'm from from the south side and I used to. I went up to Royston and Milton and proven Melbourne. I was going how come I've never been to these places? But then when I was actually up there working, I realized there's nothing here, obviously, there's decent people, very good people. But other than that, there's nothing that would bring you up there.
• 10:39
  Speaker A: You know, we played a gig in Milton, the Milton Music Festival, with, I think, Cale Faulkner for the View and a couple other bands. And that was the first time, I think, I've ever been to Milton. And that was good that way. You said good people. But there isn't whoever runs as a community group, though, that ran that. And whoever they were, I can't remember off the top of my head, it will come back to me what a great job they were doing, by the way. Just.
• 11:07
  Speaker B: We worked like the Royston youth action, and there was different youth. You would cover parcel and all that, and there was great youth clubs and there was youth workers doing a. Doing great work and volunteers. But of course, everybody was struggling for funding, you know. And then, of course, they stopped. That was why I moved to China, because when our funding was stopped, I just felt totally disillusioned. So I just thought. I kind of thought, I've got to get out here. I just, you know, I just felt disillusioned, you know?
• 11:37
  Speaker A: But, yeah, there's just no funding anyway for it. In fact, you know what? Actually, I actually got the knockback for funding and actually can actually just take this a moment to say when everyone else is slagging the funders and blah, blah, blah. I'm like, well, I used to do that years ago, but then I realized I've never actually applied for funding, so how can I turn around and say it's all clicky when I've never applied? So you need to fill out the form to do it. But I'm really bad at filling out forms. So I filled out a form with the help of a friend, Josephine shows. Josephine. And we were going to take. We built up the connections in Mexico and we're going to take scottish musicians to Mexico and the mexican musicians to Scotland with a venue over there with musicians. All. It was all. It was all going. It was all ready to go and I got the knockback. So now I can see that all funding is clicky. It's all bullshit. I finally filled out a form and what did I get? Nothing.
• 12:38
  Speaker B: Famously, you know your man McGarvey, and by the way, I backed this up, Mark, he said, you do more for up and coming musicians in Scotland, the great of Scotland do with zero funding. And that's true. You do. You give people a platform, you know, and it's not condescending or anything, you know?
• 13:02
  Speaker A: Yeah, but we need, we need, we need, we need the funding so we can pay the artistry, you know what I mean?
• 13:08
  Speaker B: Absolutely.
• 13:09
  Speaker A: Because, like, I just end up having to take a big. I just have to take a financial risk on, on the gigs, and then I can't afford to lose money or it's not even about. It's not. We're trying to make money. So this gig here right now, I'm looking at ticket sales and I'm going, I think. I think we're going to break even. Everything's going to be all right. I'm going to try and make any money off it, you know, just split it between the bandst, buy everyone around with profits or whatever, but there is.
• 13:34
  Speaker B: Just, you get your cup mark, you deserve.
• 13:40
  Speaker A: I don't want a cut. I just don't want to lose, you know. I mean, that's what I think. I think that's what puts off a lot of the good promoters, is that you end up, you know, you need to. You need to be wanting a full time job to, to pay for the gigs.
• 13:53
  Speaker B: I mean, this is one of the reasons. Well, you know, maver the job I'm doing, just, I was going to finish the contracts the end of March, but we'll.
• 14:02
  Speaker A: Can you talk about what you do? I don't want to ask because I don't like asking people what they do in case it's a mysterious thing or. Can you talk about it or would you.
• 14:09
  Speaker B: Yeah, can. I was working with the refugees down here, which I loved. I felt so lucky to have that job. And then it was a usual funding thing. They stopped the funding there last September, but fortunately, because I work for kind of a Galen Butte council sort of thing, and then this, there's a new thing called the leveling up fund, you know, and, and so. Well, you know, there's so many caveats around the whole thing. I don't want. I have to be careful what I say. So many caveats.
• 14:48
  Speaker A: Yeah.
• 14:49
  Speaker B: And so, so, um.
• 14:53
  Speaker A: Was Levin love and was that not the thing that they. Was that not. The Tories brought that into.
• 14:57
  Speaker B: The Tories brought it into.
• 14:58
  Speaker A: To give a nod to the north. It was a wee nod to the north.
• 15:01
  Speaker B: Yeah.
• 15:01
  Speaker A: And so that was part of that was going to be the. The super fast strain. They didn't even go into Scotland, but technically it was going to help us get to England faster, but, yeah, well.
• 15:10
  Speaker B: Fortunately got some money for that and then. So my job I believe it or not, I'm a supervisor. I'm surprised at that. But they didn't give me a pay rise, just gave me the same rate. But then so and so, they've got just some part time workers in Loch Gilped and Danoon, and then over here, Justin Rossi, and then I'm sort of the supervisor. But again, it'd be better if they gave longer term funding. It looks as if the labour crowd, as far as I can work out of. I better be careful what I say, the labour crowd, are not going to carry on funding it. I don't know all the ins and outs, but I think with these funding things, what tends to happen is it's always funding, like, for a year, so you just get the thing moving. You get the thing moving, then it's time to finish it. You know what I mean?
• 16:01
  Speaker A: Oh, you know, just watch what you're saying, because you are involved, you might rely on them. I can see nothing to do with you. Let me take you off the screen. I can say it's nothing but a scam. Start funding the real projects. Fucking mean, even making people fill out forms, man. Get a grip of yourselves. Just. Just gives money and we'll put. We'll make good things happen. I'll put in the gigs, he'll look after the refugees, we'll just get all these people to do workshops. We could make it, we could do better. Sorry, Hugh.
• 16:36
  Speaker B: Yeah, sure, sure.
• 16:37
  Speaker A: Sorry. Don't agree with me, don't agree with me. It's nothing.
• 16:40
  Speaker B: Well, though I'm very pleased that the jobs are having these jobs here I've enjoyed and I do feel it's valuable, you know, genuinely feel it's valuable, but it just. I just sort of. It's always this periodic funding that I find because that's what happened when I was the manager of the music project. You were always going from year to year and blah, blah, blah. What's wrong with just setting something up and keeping it going? And it would financially make more sense because then people have to spend so much time fundraising and all that as well, you know. And then another thing is, it's not good to build people up, to knock them back down again. You know what I mean?
• 17:21
  Speaker A: Yeah, it needs to be. Yeah. Because what's the point in sending someone good to do good work for six months and then you just leave a. You're leaving, whatever that may be for.
• 17:31
  Speaker B: And it takes a while to. What I find is it teach a well to get things moving. I obviously, six months to get everything set up.
• 17:38
  Speaker A: So young people are going to put up walls and they're going to. They're going to take a while to get used to you and they're going to, you know, you've got to build.
• 17:47
  Speaker B: A rapport and that's things like identifying the centers, identifying the people to work with, you know, and so on and, you know, so. So you get all that done and then you begin to get things moving and then it sort of finishes. No, but you deserve funding, Mark. Absolutely.
• 18:06
  Speaker A: Oh, I tried. I filled it, like I said, I filled in my first form and I get the notebook. So that's that. I'm raging the. I've always. I've always said, you know, if you're not filling out the forms, how can you say it's a click? How can you say that it's broken? And now I've not. Now I've never actually got the knock back. Now I can see that it's fucked.
• 18:28
  Speaker B: You know, Bonnie Prince Bob. Of course, you've interviewed Bonnie Prince Bob.
• 18:32
  Speaker A: I think he just commented there. Yeah. You see.
• 18:37
  Speaker B: He'S got a lot to say about all that.
• 18:40
  Speaker A: Certainly does have a lot to say. Check out his show, by the way. What, the ex? Bonnie Prince Bob.
• 18:45
  Speaker B: Yeah, yeah. Follow his. I don't use x and all that stuff, but follow his ex and follow his YouTube and all that.
• 18:51
  Speaker A: Yeah, that is, um. I don't know, I've kind of done it. I think he's doing it every day at 06:00. You know, he seems to be on a lot, though. He's in sometimes catch up, obviously.
• 19:01
  Speaker B: He's Edinburgh based. I've been through a studio. He seems to have a routine of doing it on. He has his morning rant.
• 19:09
  Speaker A: So he's saying knocking you back is the biggest joke ever. Right, before you start tagging Crepe Scotland, it's the British Arts Council you need to go after because I'm just thinking that way. I'm typing away saying, creative Scotland. Fuck. It's British Arts Council. They, not me. But I've still not applied for crave Scotland. But that's coming next. I'm actually going to put a poll up. Should I. Should I apply. Should I apply for more for funding again? Because I just. It's going to put me off funding again because it was a lot of work to get.
• 19:38
  Speaker B: What you should do is you should try and get that we. Clip of Darren McGarvey on question time. That, that, that in itself should. Well, in a fair while, that should have got you funded.
• 19:52
  Speaker A: The way you fill out forms. And also, I don't think darn's the most popular person when it comes to funding because I think I can't remember what he did. But did you not. Did he not do a tour called not funded by Kramer Scotland or not supported by king of Scotland or he was going to do it?
• 20:06
  Speaker B: Well, actually, being honest, you know, most of them, it's like us doing our bands, we've never had any funding. I've never had any funding. Never anything.
• 20:15
  Speaker A: Gyro babies has never had any funding. Not once. Not once. And then all the people that do get funding to put their gigs on, they never invade Gyro babies to play, I don't think. Not I'm aware of anyway. Yes, we don't really. We don't really fit that one, probably. I mean, I suppose. And around the boat we have a shoot. I mean, I'm assuming that some of the festivals we played for probably had some public funding, but. Yeah, never jackal trades mother band never did any funding. You call that radio with never did any funding? We just don't get it. But I've just put a poll up.
• 20:47
  Speaker B: The major funder and in the old days was the dole. That was. That was who funded the bands in the eighties and nineties. Maybe it still does. But Dole money is even less than it used to be.
• 20:58
  Speaker A: You know, I think it's not just the fact that the money's less, it's the fact that they've turned looking for a job into a job itself. And the fact that you've got to do so many hours, you've got to prove, you know, they've got actually got you working or making up lies every day. So, you know, it used to be that we just let musicians get stoned and write tunes and not ask too many questions of them. And that's why you got so many great bands coming through. There's really. This really. It's tough to be working class, especially, at least, you know. You know, we're older, so we've had the opportunity to see things from different angles, have experiences, but to start out just know, on the door, I mean, that's why. So Jaira baby started. That's. That's what kind of how the name started and stuff. It was unemployment and I just don't know if you could do that now.
• 21:50
  Speaker B: I don't know if you can see. Yeah, the first eight or nine years I was doing my band, I was on just on the doll. And I remember there used to be. Well, they called it enterprise training. Et. But we used to call it extra tenor. But I remember being in there and using the photocopier to photocopy posters and stuff. And then the guys. The guy disciplined me for it, you know, and I'm good, but this is my enterprise, this is what I'm trying to do. This is the only thing that you could do for me. Allow me to use a photocopier. And he banned me. So I was thinking, you know, the.
• 22:22
  Speaker A: Tories, did they not. Was it when they said it was unviable? Just stop doing art. It's unviable. Get a job in it.
• 22:33
  Speaker B: But actually the biggest, you know, UK industry, or one of the biggest as the entertainment industry, you know, the whole, you know, as an industry.
• 22:46
  Speaker A: Yeah. Well, I mean, like, why would you. Why would you come to the UK? Unless you, like, apart from you? Okay, you've got nature here. The nature's good. That is good. Sometimes I exaggerate it a wee bit, but it's good. I've been to other places now I can say it's good, but apart from that, I mean, why would you really come? You wouldn't want to check out the nature in the winter, so why else are you going to come? The royal family. Do you want to take a picture of the castle? They say that, you know, a lot of people that like the royal family, they say things like, they bring a lot of tourists in, but the same people, they say they bring a lot of tourists in are the same people, they hate foreign people. So it's an interesting one.
• 23:30
  Speaker B: But. Well, but I used to say.
• 23:32
  Speaker A: The point was, I quite distracted. I was reading a comment. Sorry, my point is the music scene. We've got the UK Glasgow up here. The music scene is phenomenal. And will it be like that forever if there's just all the tourism money? All the multi billion is a billion pounds. How much is the UK? You continue when I get the number.
• 23:56
  Speaker B: Well, what I was going to say is, you know, when I was in China, I used to say to my friends and bands, you know, like my english friends, and I say, we are the ambassadors, you know, the reason why do chinese students and people want to go to UK? It's not because of the government. Stop. It wasn't stop as a David Cameron or Boris Johnson or someone. It's because of music. It's because of. And make, you know, maybe movies and stuff. It's because of like a train spot and stuff like that, you know, I'm.
• 24:31
  Speaker A: Not sure that job seekers allowance and bad weather, the crates, because obviously, that's why, you know, I love. I love other countries music, but you will notice when you go a warm country that the music's not quite. Not quite as good. 6.7 billion. And, I don't know, that may just be England and wheels. 6.7 billion. Why does everyone laugh at you? Why do people laugh at you? The door. Why does your. Your friends or your family laugh at you when you say, I would like. I'd like to do something with music or even.
• 25:06
  Speaker B: But even with art, you know, video or something more generally, you know?
• 25:13
  Speaker A: Yeah, yeah. No, I'm not. I'm not slagging the painters. France gets a lot of tourists and they've got a more cutting opinion. Royalty.
• 25:23
  Speaker B: France is much more generous and given out.
• 25:26
  Speaker A: Yeah. I think the joke was the cutting opinion on royalty.
• 25:31
  Speaker B: Absolutely.
• 25:32
  Speaker A: Yeah. But, yeah, everyone that goes to France, we've never played Europe. That's something the bucket list love to do next year. And we did. We nearly had all sorted before the. The world went.
• 25:45
  Speaker B: Well, I remember going years ago, I used to go and see circus, our chaos, you know, they'd come to Glasgow Green and stuff, and it would be like people on motorbikes, on tightropes and all that. And then there'd be fire eaters, you know, sort of dancers. And then you find out there's funded by the french government. That's what it was like. This is 20 years ago, you know. But you wouldn't see that sort of thing being funded by creative Scotland or whatever.
• 26:16
  Speaker A: Fund the fire eaters. Someone needs to fund the fire eaters. I'll tell you what, I've actually got friends that they're fire eaters. They never get the fire starters as.
• 26:25
  Speaker B: Well, the fire starters.
• 26:27
  Speaker A: When the fire starters. I think someone's finding the firestarters with all the old buildings that seem to mysteriously go up in flames over here. But, yeah, everyone that goes to France especially, always says they know the way that they look over you. There's different class. You've got. You've got. You're given a meal, you're paid properly, you've got somebody stay and people are nice to you, and then you, you know, you play a gig in Southampton.
• 26:54
  Speaker B: Maybe it's good for the art and good for the music, that you get treated like shit.
• 26:58
  Speaker A: I think. I think it has become of a middle ground.
• 27:02
  Speaker B: Yeah.
• 27:03
  Speaker A: You know, as the sheep weather, as the sheikh government that does create these good music. But, I mean, it's hard to create when you're just. Just living above. I mean, you can create I mean, to be honest, I think in my worst days, writing lyrics is easier for me. It's kind of therapeutic, I find it. But to actually get to the point where you're demoing songs and having to pay for recording and stuff like that. Yeah. So, yeah, apply to cs and demand they give you the law. No one deserves it more. So I put the poll, I put the. Let's see how the polls going on. Let's have a wee look. So you can vote in the poll. If you're watching this on Facebook or, or Twitter, then you can't vote because it's only a. It's a YouTube thing and if you are, it's 100% yes. So I just keep applying for funding until they give me something. Maybe that's all I can do.
• 28:02
  Speaker B: I don't have much success myself, but if you needed a handmark, I could. I could look over it for what it's worth.
• 28:10
  Speaker A: Yeah, yeah, why not? Let's just do.
• 28:12
  Speaker B: I mean, if you're putting something in, send it to me now. Look over it.
• 28:16
  Speaker A: Yeah. We need to maybe get like a wee, an alliance, a coalition of skin artists to just look at each other's forms and try and get something through. Love, Hugh high in the velvet underpass. I actually called you that earlier on in the bio. Have you ever made.
• 28:37
  Speaker B: I have been huge in the velvet underpants before.
• 28:42
  Speaker A: Great performance. Looking forward to yct our fifth year at room two in Glasgow this Saturday. Yeah, it's going to be a good one. I know Frankenstein's tuned into. Listen, couldn't. Didn't have yet. That was. Joe couldn't get the camera, though. I do, and vice versa. No worries at all. Joe, I appreciate you. Me, I appreciate Joe making the effort to try and come on the show because I've been trying to get Joe on the show for absolute years. So what we'll do is we'll be the next time when we're off here, we'll have a wee tech check together.
• 29:09
  Speaker B: Sure. And then Joe's got a lot of stories to tell.
• 29:12
  Speaker A: Oh, no, absolutely. So looking forward to that. So just go. We're talking about what is the worst job you've ever had?
• 29:22
  Speaker B: The worst job. I worked briefly for Strathclyde Regional council. I was. It was awful. I was an office job thing. I think I was 21. I just stuck up for three months. I just. I couldn't. I couldn't take it. That was the worst job. But other than that, I've actually had quite good jobs, you know. You know, community music worker, and then a teacher in China and more recently, these jobs here, community jobs. So in recent years, I've managed to, you know, get positive jobs that I enjoy and then I've still managed to keep the band in that going, you know.
• 30:05
  Speaker A: So do I know my job? Do I know my job?
• 30:09
  Speaker B: Yeah, sure, yeah.
• 30:11
  Speaker A: Selling giant calculators to shopkeepers in calendar nightmare. I was just. There's not a joke. It was my real job. It was my job. It's what. It was one of those. I don't know if it's still a bit, but basically what they do is they kind of scam you by saying, I'm a job in Marketington with them. What's the word they use for up to, up to 100,000 pounds or something, and then they make you an interview, you think that you've dead. Well, with interview, they give you the job, it's commission only. And then you, unbeknown to you, you've joined some kind of a. Like a cult, I would say a cult.
• 30:54
  Speaker B: Right.
• 30:54
  Speaker A: Got a brainwashed cult, like a kind of pyramid scheme going on where it's like, I think your team leaders getting a cut off of your stuff. And if you see anything negative, like, you know, for example, there was one day where I made negative 80 quid because I was stashing my, my stock because you couldn't carry all your stuff about mechanics and the mechanics stole some disney books or something. So you're. And also you've got to, you've got to eat food, you've got to smoke cigarettes. Don't have to smoke cigarettes. I chose to smoke cigarettes. You've got to eat food, you've got to pay your train fare in this random place. It was calendar. I remember the shopkeepers of calendar were particularly rude to me. They were just screaming at me to get their shop. And then when I came back -80 quid, they said I should stop Negin people. Don't be neg. Get away from him, he's a neghead. This is actually the day that these things still go. I noticed there was a Reddit thread about them recently, but I saw a.
• 32:00
  Speaker B: Documentary about things like that. And basically it's all about scamming from the workers. Basically. The manager is making money from the workers. That's what the whole thing is.
• 32:13
  Speaker A: Yeah. The main manager, the team leader above, is getting a little bit more. Just enough to make them not quit.
• 32:18
  Speaker B: Their job, but you're actually the customer because you're buying the stuff.
• 32:25
  Speaker A: Exactly, exactly.
• 32:26
  Speaker B: Flog, you know?
• 32:28
  Speaker A: Yeah. It didn't last long there. Commission only. It's tough. It's tough. Collins says start a go for me for a crave Scotland bribe. I mean, there's a creep Scotland even going to have money next year. The way things are going. I don't know what happened with that. They went back.
• 32:44
  Speaker B: I'm sure they were going to stock the money, but I've heard the money.
• 32:49
  Speaker A: Is not the biggest political. Is another biggest political trick in the game. It's what they do is, as they say, something like, I don't know what's happening with the labor, with the. The pensions getting the heat, allowance getting cancelled. Did they overturn that? Let's see.
• 33:07
  Speaker B: I think that they have it, though. That's still going to. The pensioners are not going to get the money.
• 33:13
  Speaker A: But as far as I understand, okay means tested. So they were defeated. They were defeated in a vote, but they've doubled down on their decision to cut that. So I thought what they would do is. So this is the political trick that I noticed quite a lot is they say something controversial with that. Everyone gets pissed off and then they go, do you know what you can have? And everyone just won. But they've just spent months of their energy fighting for something they already had and seems like. I think it was Tony Ben. I seen Tony Ben doing a good thing, talking about that before. So you're just wasting all your energies getting back to where you were. So that real progression sort of never really happens. So with regards to. Let's get back to the music. We've got this big gig on Saturday and I think what I'd like to do is play one of your tunes just for maybe people that aren't familiar with the back catalogue of the velvet underpants. So there's too many songs for me to choose, but I decided to go to six to one.
• 34:14
  Speaker B: Fair enough. Well, I said that was the. That was the first one, but it's still one of the most popular.
• 34:23
  Speaker A: I think there's something really cool about how this video is aged.
• 34:28
  Speaker B: I know, but. But I mean. But it's still. It's still a quality video, if I say so myself.
• 34:34
  Speaker A: He certainly can say so. Let's play it just now. This is inherited.
• 34:39
  Speaker B: Mostly inherent. Was it?
• 34:42
  Speaker A: I didn't know that. And I was actually in heritage not that long ago. Interesting fact. Brilliant. Okay. West is 61 by Judy the villa underpants. Let us know. In fact, what we'll do is we'll maybe do a competition to give away a couple of tickets for the gig in Saturday as well. I'll think of a question. Or you. You think of a question. And we'll be giving away a couple of free tickets for room two on Saturday, right? So, yeah, you can pick the question.
• 35:12
  Speaker C: I'm from Glasgow. Jon the start. I'm from Glasgow. I'm a Glasgow man. I went to see my team play just the other Saturday against the old enemy. Look at that as Al.
• 35:41
  Speaker B: No say.
• 35:43
  Speaker C: I'm telling you, it wasn't much fun. Look at first. Six to one. It was six to one. Six to one. So decided to join my sonos. Do you understand? So heads up to Sarah Heat just up at the Barrowland. But after a while we'll start losing command. After a while, I could hardly stand so I found it was time I was gone before I gave up the technical yawn. Try to make a. I'm heading along the road but suddenly I shot my load. Six bands, dealer persuasion and look at the state I'm in. One of them sees me, he starts to laugh. One of them starts trying with me for a football scooter. I'm telling you, it's not fun getting your head kicked in. Six to one, it'll take six of you next time. Along comes a policeman, out jumps a fleece man. Where you been?
• 37:11
  Speaker B: Where you going? What you been doing?
• 37:13
  Speaker C: And the radio sign, Romeo, echo, echo down. You've been told before. Daddy opens the back door. I looks at the back of the bike. Six months later, I'm charged with breach. So it gets on the phone line to a famous law firm. When I got to the court case, a legal aid lawyer says, I won that case, my ladder, and he's representing five others. Do you understand? One legal aid lawyer represents six tried men. What chance did I start with? Six to one. Now here I am in the bar l in a very small cell. You feel more dead than alive, but you're sharing a cell.
• 38:16
  Speaker B: One five.
• 38:18
  Speaker C: I'm telling you to live in hell. Six in a very small cell. It's no fun. It's six to one.
• 38:45
  Speaker A: Called our radio making coherent sense. Since 2019, we're going to celebrate the 5 October 2024. Five years of this stuff and cure it. You just heard there will be last on it. 09:25 before that, there'll be Jinx Lennon, there'll be Brenda who have not actually spoke about. We're hoping we're going to get Brent. Oh, wrong one. We're hoping we're going to get Brenda on the show. But I think I know that they're rehearsing tonight, so I don't know if they've got the reception to do so. Brenda, great, though, if you don't know. It's kind of a three. Three female synth. Punk riot girl, I think. I think so. I mean, I think that they don't. They've got an album, but I was trying to find an actual music video. But we maybe find a live version of them doing something. Yeah, let's find a wee bit western, a wee bit of live video. If the sounds alright, we can just play it. We'll give it a go. But I. They're gonna, they're gonna. They're gonna be great. It's gonna. It's the right thing for the gig and I like the way it's flowing. We're gonna start with God. They will play with God this song. Maybe in a wee bit as well. Actually. Strong one, but yeah. So we're starting off with the silky vocals of God the Duncan. And then we'll move to unholy Frankenstein.
• 40:35
  Speaker D: A bit of love around Christmas time is not enough I fear all is well in springtime. You say you've got my back. Is it just some empathy or a benefit? See, you like bits of joy you are giving me a much too small mind is coming, baby. Bit of joy, you are giving me a much too small mind is coming.
• 41:27
  Speaker A: That's Brenda. Brenda. They've got. They've got an album on Spotify, so. But it doesn't seem to be. I don't. I can't find any of the actual music videos, but, yeah, that was. I was just, I think some fun footage there of them playing, but. Yeah. Looking forward to that.
• 41:41
  Speaker B: How long have you been doing your radio podcast?
• 41:46
  Speaker A: Five years.
• 41:48
  Speaker B: But did you not do the radio before the video?
• 41:51
  Speaker A: Yeah, five years ago.
• 41:54
  Speaker B: What was that only five years ago? I think you remember you interviewing me on something that went out on the Internet or something about ten years ago.
• 42:04
  Speaker A: Right. Okay. I. That wasn't. Yeah, I tried this stuff before. I tried it. Yeah, ages ago. There used to be. So whether they start Gyro FM was. I can't remember. I don't remember how we broadcast that. Oh, yeah, I had a showing. It was K radio is an airshow. Was an online or was it FM? I'm not sure, but I had a radio show there. It was called Gyro FM. And every week we would take the venue I was working for the time. They would give me about 40 quid to pay for me and my guests to go ecomarnic and record the radio, and we'd get.
• 42:42
  Speaker B: I remember I was on something and you know, in the city center, they are quite near St. Enoch's.
• 42:48
  Speaker A: Ah, real key. So that was still Gyro FM. So what happened was, is that I stopped. I no longer had my job. I lost my job. And then. So they obviously he wasn't well.
• 42:58
  Speaker B: I was hardly aware that yet ever had a job apart.
• 43:04
  Speaker A: They work. I do, yeah. It's just. It's mostly freelance though, you know, I mean, it's like, you know, I'm. Right now I'm available. I'm basically unemployed. To know, well, I've got this. But I'm basically. I mean, it's not going to employ just that. People just offer me work and then I take it if I can and then I sometimes do too much. I take too much on. And then right now I think I would just. I've got, I've got an album to finish. So I think I'm just going to be skinned for a month or two and just try and get the album finished and try and focus on the podcast and the YouTube channel and. But it's one of those annoying things because the. You need to pay your bills so you have to take the work and then you do the work and then as a result this suffers, then you get less patrons and you get less support. So it's a vicious cycle. So I'm trying to. I'm trying. Sorted. But yeah, what you're talking about is after. So I used to work for the venue and you would pay me to go and do the radio show because we were promoting at the time the venue, because I was the booker for the venue. So it was kind of a promo thing. And then when I lost my job, the radio station still wanted me to do it, but I wasn't going to go to command link for it. So we found our way to broadcast live from Dixon street studios. There he is, actually just right on cue. Colin with Gyro FM.
• 44:21
  Speaker B: Right.
• 44:22
  Speaker A: So he's got, so Colin's got recordings and I have actually seen them. He played me a little clip a couple years back. And this is old, you're talking twelve years old.
• 44:32
  Speaker B: Yeah, I remember. You have interesting guests, you know.
• 44:36
  Speaker A: Yeah, I mean, it was good. I don't. I really can't remember much about it. I remember it being fun. And then after that we tried to do another thing called pet horror. Pet horoscopes, which was a. On pet horoscopes was a show. It was. And it's actually a real hanger that is actually.
• 45:00
  Speaker B: Concept.
• 45:01
  Speaker A: Well, I mean, I wasn't actually doing pet horoscopes, but I just thought it was a funny thing. And then. And then. No, there's a thing I think you can get, like, pet readings, like spirituality stuff. I don't know, it's becoming a thing. I predicted the future. I should have got. I should have actually did real pet horoscopes, you know, I mean, I probably. I'd probably. I could have bought Twitter if I did that, but I was short lived. Pearls were short lived. And then there was, well, sound, which was another thing that we streamed. It was a sound thief helped me do that. We used to stream that live from a flat in the south side, and that was quite good as well.
• 45:42
  Speaker B: Sure.
• 45:43
  Speaker A: But it was just a lot of work and, you know, we. It was. We were just streaming to, like, I think our own. I don't know, was it mixed cloud or something? Like. Something like Max LR. I don't know, something. But, yeah, that's. It was so it was about. It was actually five and a half years ago from being honest that we started this, but the birthday with the bean was right in the middle of festival season, so I was like, well, I should actually celebrate that, but I'm too busy. So it was the first guest ever was the late, great Reverend D. Wayne love, Jake Black of Alabama. Three fame.
• 46:16
  Speaker B: Was that right? Yeah.
• 46:17
  Speaker A: And then obviously he passed away before we launched it, so we actually had to hold on to that December. So I think the first three official guests that we put out was brother Ali, hip hop american hip hop legend.
• 46:30
  Speaker B: Right.
• 46:30
  Speaker A: Leila Josephine. And I think godly Duncan was the first three, so. And that was about, give or take, about five years ago, then a couple of months out from five years ago. And then obviously when lockdown happened, we just went straight into it. We captain what name. So we'd already kind of had you call it radio. We'd already maybe had about twelve audio podcasts. And then we kind of focused on this and forgot to really take care of the audio podcast, which is, if you're listening to this in audio podcast, that means I've taken care of you. That means I have sent this audio to Mako to mix and master, and then I. I've uploaded it to the audio podcast because I. Sometimes it doesn't really work, though, because some of it is quite visual. We do here, you know, for watching videos and stuff like that. But, yeah, I think a lot of that.
• 47:20
  Speaker B: Next question is, you'll have will be historic. You know, people look back and on.
• 47:26
  Speaker A: Yeah, that's why? You know, yeah, I've kind of unlisted most of it because when I look, I was actually making some of it public, actually, for anyone's a YouTube member, I've started making a whole bunch of the older videos now available for members only. So if you're a YouTube member, you can just hit the join button on YouTube. And what's the kind of different thing from Patreon? Because what this does gives you access to videos that ads.
• 47:52
  Speaker B: Well, for example, interview with Jake from Alabama three, that must be very well regarded.
• 47:59
  Speaker A: Yeah, I mean, I got lots of good feedback from it because it was, you know, it was all very sudden. It was probably his last ever interview, so.
• 48:07
  Speaker B: Right.
• 48:08
  Speaker A: And also held back to their respect for the family. But then when Alabama three were playing in December, asked and everyone the band were delighted to in the family were happy for me to release it. And, yeah, a lot of people said it was really good because it was, you know, he was on good form and, you know, you can check it, Apple, Spotify and YouTube as well. Yeah, but, yeah, as I suppose there is, like, it's actually quite sad. There's actually quite a few people that have interviewed that past was the law of averages when you do this many shows. But Dominic Harkin as well. Sorry, Dominic Hawking as well. That was. That was sad. And he did the, famously did the East 17 stay another day song. He went through E 17, but he did stuff with boy George tribe called Quest. He did can I kick it? By tribe called Quest. Yeah, so, yeah, so I interviewed him as well. He's passed away with Kathy McCormick, who you probably know, she was an amazing, powerful east end woman who just fought against austerity or before it was called austerity, whatever. What was equivalent in the east? What did they call austerity? What was the. Did they have a name for fucking everyone over back then?
• 49:26
  Speaker B: Poverty, possibly. I don't know.
• 49:29
  Speaker A: Yeah, it was just good old fashioned poverty, that's why.
• 49:31
  Speaker B: Yeah, those days it was just called poverty, you know.
• 49:34
  Speaker A: Now it's called austerity. And I've noticed that labor said that there will be no return to austerity. So they've rebranded, obviously, because they're not actually doing anything about the poverty. It's just. So what does that mean, no return to austerity? What do you think they're going to call it? Tough decisions? I think it's called.
• 49:50
  Speaker B: I know that we're going to make the tough decision. We're going to make a tough decision of, you know, we're not going to penalize extremely rich people. We're just going to fuck over the pensioners. That's a really tough, difficult decision for them to make. Very tough one.
• 50:07
  Speaker A: We are in the era of tough decisions. And to be fair, I mean, I suppose. I mean, technically it's accurate, because it's tough. Tough luck. Jigsaw Tiger says you're asking great questions. It actually feels like I'm getting interviewed now.
• 50:26
  Speaker B: You've done it well, especially on the fifth anniversary, obviously, you've done a lot. You kept the whole Glasgow music scene, and Scottish more generally, but especially Glasgow throughout the lockdown period, I think.
• 50:39
  Speaker A: I don't see. I don't like watching any. My stuff back. So if anybody wants to volunteer their services to watch certain episodes, like, for example, my birthday one in 2020, the lasted 9 hours. And the hog mini ones, I had a quick look at them the other day, and I had to turn it off immediately because I was wasted. And I'm terrible.
• 51:03
  Speaker B: Sitting here because I love. On the Isle of Butte, you know, it was as if Glasgow was just coming in tomorrow, my friend room during lockdown. And the burns nights have been brilliant. They've been excellent.
• 51:15
  Speaker A: Yeah, yeah. I've enjoyed them as well. We actually need to get one on the go for January. We need to get a venue for January and do another one.
• 51:25
  Speaker B: I mean, we're recording of this song. Can you show me? In fact, we'll be playing it this Saturday and it's. Can you tell me how to get to Jamaica street? And I'm reading the slave's lament because, you know, we started to write that song. It's kind of a bit like Sesame street, but it was about Jamaica street, the Kingston Bridge, Tobago street, all that, you know, in Glasgow. And then, of course, you do have to think that they're called these names because it was to do with slavery and tobacco and all that and imports and stuff. So then I just had the idea, because one of my favorite Burns poems, as the slaves lament, which was written from the point of view of how to, you know, I've been a slave, you know, in Virginia, taken from Africa. And then. So we've just put it over this thing. It's a sky song, so it's a Burns poem over a sky. I'm just trying to show the jolly slick, jolly side of slavery, you know, the. The upside of it, you know.
• 52:35
  Speaker A: Can we. Can you give me a. Can you get my lyric? I think that Bonnie Prince Bob's already know how to get to Jamaica street will be massive.
• 52:42
  Speaker B: He he saw his player in Edinburgh.
• 52:46
  Speaker A: So how did Edinburgh go? Were you. Were you doing the French? Did you do a couple of gigs at the French?
• 52:52
  Speaker B: Yeah, just through it. Um. Oh, what's the name of that bar? I always forget the name of that bar. A bar in Edinburgh playing a bar in Edinburgh for the. For the fringe, you know, so. So Bonnie Prince block came along to see us there. It's just. If you get. If you. Well, I actually, I just read the poem, being honest, but. But the chorus goes, can you tell me how to get. Can you tell me how to get to Jamaica street? Just sort of goes on like that, you know?
• 53:29
  Speaker A: YCDr was a lifesaver during lockdown, says Ali Grant. Capture sessions were truly epic. They were. They were really good.
• 53:36
  Speaker B: By the way.
• 53:36
  Speaker A: You get brilliant sound there, you know, it was amazing. It's hard to believe that we were doing that absolutely live when all your Glastonburys and everybody, they. They pre recorded their. Their live streams would be. That is a credit to. To Mackie and the crew at Capture. Was. It was. It was expensive. Don't be right. It was expensive to do, but pretty much everybody chipped in, so I think it broke even every time.
• 54:02
  Speaker B: Right.
• 54:02
  Speaker A: Apart from the Christmas one, that was historian. That one cost. That one cost me. But, yeah, they were. They were good. I would do them again. I mean, there is a slight chance we may be able to stream some of these gig as well. But I don't want his promises for two reasons. One, I want everybody. They can go to the gig to be there at the gig. And to the last time we tried to stream from room two, there was technical issues, so I don't want to get anyone's hopes up.
• 54:30
  Speaker B: And sometimes there's problems with the mix, you know, the live mics. But. But the copper works gigs were good.
• 54:37
  Speaker A: Yeah, well. Well, that's it. There shouldn't be. So, like, for example, let's just have a look at what. I mean, if you. If you look at some, like. So let's go for YCTR live, room two and. Or is it building a spring? Building a spring. So, wait, wait, so here's one. Okay, let's go for. Okay, let's. So, I mean, that's not bad. It's not as good as capture bus, but we'll take that. We'll take that. You know, I mean, then there was another one. What was dodgy? How did that go? Was.
• 55:19
  Speaker B: It was a bomb scare. I remember seeing somebody. One of the scar bands.
• 55:24
  Speaker A: Yeah. Bomb scare played, I think bomb scared played pretty much every single one of them. They loved it. They just kept coming back. But, yeah, there was, uh, the. The sound of the room, too, is okay when we get it working. But. But I did have. I have been working hard in the background to make sure that there's no repeat because the last one, the sound was just so bad that we just had to cut the stream and then we didn't have enough audio to even save most of the footage. I think maybe dog house is set saved, but I don't think we got dos. I don't think we got. We got a raw. A very rough version of the twisted. And we got. What was this other one? Gasp was just. There was nay sound for gasp set for some reason. So we've looked at the problems. We'll try to address it. We did. We did have. We did try and do some looks the other week. But what the good thing is is that McKenzie's got a new Emma switcher thing, which means it records things automatically. So if then on the is bad, we should have good footage. So we should have your set. We're fingers crossed.
• 56:24
  Speaker B: Yeah. I've got a thing about, you know, people turn up at your gig and then they use their phone and they film a couple of songs, and then they upload it to YouTube. I generally hate that because I just think it doesn't. Nothing against the people doing that, you know, because I know they're doing it with good intentions. I know that. But I mean, because generally the sound, you know, our phones compressing the sound and everything, you know, so I don't think it represents bands well, that thing.
• 56:53
  Speaker A: You know, look at. Are you looking at the screen here?
• 56:56
  Speaker B: Yeah.
• 56:59
  Speaker A: That she call that radio taking phone videos and uploading them to the YouTube shorts because of that. So what the thing about YouTube shorts is, so what I try and do is take every summer I'm enjoying, it's take a 62nd video because YouTube shorts are 60 seconds. So vertical. 60 seconds.
• 57:24
  Speaker B: And that gives a good referred, you know, flavor wasn't there.
• 57:30
  Speaker A: Yeah, because I wouldn't want it. I wouldn't want to film a full song on my phone. One, I can't be astrally. But secondly, when a full songs up there, then I worry that somebody could see that and think, this is a. It's meant to be that way. But I think when, you know it's a clip, you know, it's a clip, you know, that it's not meant.
• 57:46
  Speaker B: Yeah, well, 60 seconds sounds about right to me, you know, because, like, first of all, I mean, even bands that I like, I mean, I feel I put so much effort into making a video. So, like, say, six to one. You showed the six to one, um, you know, video the other. We put a lot of effort into making it that time. That's what I want people to see. I. But if they stumble across somebody as, um, I don't know, the back in the cools or something, you know, and I'm doing six to one, you know, then it doesn't. It doesn't capture the song, you know what I mean? But it's okay for the wee 62nd clip, that gives an idea of what that gig was like, just the way.
• 58:29
  Speaker A: Yeah, yeah. No, I agree as well. It's like, I think when you get some of this, does the full song, you do worry that someone's going to see that and go, I've seen them live, and obviously it's not especially what you do here, when you're very interactive. So it's like, without giving any spoilers away, it's like you need to be. You're part of it.
• 58:48
  Speaker B: And then sometimes I feel it's giving away my trick, you know, I've got a surprise trick and I want people to see that properly. I don't want the ideas given away. And it's given away in a real half arsed way, you know.
• 59:02
  Speaker A: That's why I'm very careful when I'm trying to describe what it is you do without giving any of your secrets away. Because a lot of it is due to the element of surprise. Obviously, if you've seen it before, the surprise is gone, but it's still funny because you get to react to other people being surprised. So it's still cool. So, yeah. Ep says whiter shorts are all right to get the vibe of the gig. Yeah. I think also, as well, I know that especially sort of, I would say maybe. Okay, I wouldn't. It's not an age thing, actually. I think that some people, you know, when you first play the gig, it's quite nice to see a picture or a quick clip that you did it, because sometimes it can be disappointing if there's no one picture or not one. I don't really want pictures or clips either, but it's nice to have one because you can maybe make a kind of rocky montage, I suppose.
• 59:54
  Speaker B: I do like the feeling of, you know, the day after a gig, you go onto social media and you feel that that was a really good gig, and then you get. You get feedback that it was a good gig. You know, that's good, you know, because comment, commenting, you know, the next day you go on Facebook or something, people go, that was a great gig. And then they put up some daft photo and a couple of wee videos and then in a sense, that's good. That validates how you felt that the gig went yourself.
• 1:00:21
  Speaker A: Yeah, I mean, yeah, when I say that I want, I'm quite glad the clips exist and photos exist. I also don't watch any videos of me. If I've just performed, I can't watch the video for at least a year, maybe two years.
• 1:00:35
  Speaker B: I'm a bit like that as well, being honest, you know.
• 1:00:37
  Speaker A: I mean, I was there. I know what happened. I don't need a camera to lie and tell me one of the things is I'm shy, but I know I was good.
• 1:00:46
  Speaker B: Well, I always see my mistakes, and usually there's a lot of mistakes, you know, so I see my mistakes. So I just like.
• 1:00:53
  Speaker A: Right, but it's just the audio is. No, no, right. They've not quite figured out. I mean, it doesn't sound as bad as it used to back in the day, but a phone camera, although it just shows our age that we say phone cameras. You mean your camera, you know, I mean, all phones have cameras new. It's like, oh, your camera phone. But, yeah, but I never watch it the next day or for about a year or two, because then you can just look back and go, I was shy then, but I'm alright now. But I think something was like, it could take the buzz off. It can make you think, it can actually. You think it went well. When you see a rubbish video and you think maybe the whole thing sounded like. But the cameras. Not a fair reflection on what people experience. But even if it is accurate, I don't want to know if I was shy. I would rather stay in my bubble, that I was okay. It's not like I walk away from gigs going, that was perfect. I don't think I've ever did that. How do you react to. Do you so, like. I just try and avoid thinking about that in general. I think that's why.
• 1:01:58
  Speaker B: I don't know why. I kind of cringe when I see myself a lot of times.
• 1:02:03
  Speaker A: Yeah, I know, I get that as well. So. But what I mean is that, how do you deal with coming off stage and thinking about a gig? Do you. Do you analyze it? I'm thinking. I'm trying to get into your mind. Do you. After you do a post match analysis of how you performed, do you think that went well. Do you beat yourself up if you got something wrong?
• 1:02:23
  Speaker B: A little bit. You know, I just like, you know, there's nothing better. Well, it might be one or two things better, but generally speaking, there's not many things better than you've done a great gig and it's gone really well, and you feel it's gone well, you know, that is a brilliant feeling, you know, and, you know, I'm not. Most of the time. I feel that most of the time, the gigs do go well, you know, being honest. Well, and so, I mean, that's why I do it. There'll be no other reason to do it.
• 1:02:54
  Speaker A: Tell that story about the time the gig goes bad. Is a gig ever went bad? Have you got any bad gigs?
• 1:03:01
  Speaker B: I can tell you something that, like, for example, we played. I have to be careful what I say here, but we. We played. We used to go over to Northern Ireland a lot, and Ireland's a brilliant place. You know, I'm. I'm. I'm essentially irish. I used to have an irish passport. My parents.
• 1:03:18
  Speaker A: I'm getting one. I'm getting one next month.
• 1:03:21
  Speaker B: Well, my brother and sister have irish passports. Now. The only reason I've kept a british one is if I go back to China to get a job as an english teacher for whatever daft reason, that's a better passport. But I know that I'm scottish, actually. But anyway, we went over there and we played the West Belfast festival. And, for example, we were on the radio station, and the slogan for the station was a station once again, you know, and I just get tired of getting ripped off. I don't know what it was in Ireland, you know, I love Ireland, but I've never met. I've never been ripped off so many times in any country as in Ireland. So we were going over and I was. I was unemployed. And then I have. I have to hide a van. I have to take six people over to Ireland and all that. So basically it's costing me a grand. And this is like, it was like 1990, 99, and then it. We did the gig, and the gig went no bad, but then I went down to get paid, and the guy who's meant to be paying me, he's no there, you know, and so just get messed about and then essentially just didn't get paid. Didn't get paid. So unfortunately for me, that's the last time I've gone over to Ireland. I dare say I'll be back. But, you know, that was what. That was the worst experience financially.
• 1:04:44
  Speaker A: You know, we the worst experience we had financially was going to Leeds. Leeds. That he pays any. Nothing. Not even. Not even a drink for Paula was on stage, which as the least you can expect. Sure, if you're doing a gig, I have a rule with that. Look, I don't care. Like, if somebody's going on stage, give them a drink. There's not even an alcoholic drink. It could be water, a soft drink. It's just about. I feel like somebody should be a stage manager. Or if it's me, if it's my gig, I'll be the stage manager.
• 1:05:20
  Speaker B: That.
• 1:05:20
  Speaker A: Listen, hand someone, I think, as they go on stage, I think, sure, but we didn't even get a paint. We didn't get one paint. And we traveled all the way to new Leeds from knock and Goriche. I and yeah, but I can't wait. You said you can't go to that one either. I've got a better bit of that. But maybe keep that whenever we keep these stories for the books.
• 1:05:41
  Speaker B: For the books.
• 1:05:41
  Speaker A: Whichever would ever rate a book. You. Um.
• 1:05:44
  Speaker B: Yeah, I've kind of thought about it. And people have said, um, you know, I've. Yeah, I've thought about it. I don't know how many people would be interested, but just in fact, I've written some kind of. I've just written some chapter things just almost for myself, just to remember things that happened, you know.
• 1:06:07
  Speaker A: I started reading chapters for a my band story years and years ago. And I've started trying to do it again. Because I feel like this is our last album coming out. And I'm hoping that we're going to go to Europe. And then maybe that kind of puts an end for now of that chapter and just trying to.
• 1:06:24
  Speaker B: Yeah, I've got friends in Germany, by the way. I'll put you in contact with them. They used to really help us a lot in Europe. So I'll put you in contact with them.
• 1:06:34
  Speaker A: That'd be great. That's the bucket list thing. Because, I mean, the bucket list when we started was make a CD. So that's how long ago it was probably 15 years ago. I wanted to make a CD and I wanted to play a festival. And I think I've ripped the ass out of both of them. So the third one was playing Europe.
• 1:06:50
  Speaker B: Just because I want to be back over to Europe now for, I don't know. Well, 15 years. But I remember Germany used to be brilliant. Germany in the late nineties. The punk scene was kind of still going. And each small town had its own punk club. And I mean, we actually had a promoter that would get us, you know, gigs around Germany. So we used to have a brilliant time. We'd disappear, you know, we'd go through to Switzerland and stuff. We'd disappear for a month. We'd start off in Holland and we had an excellent time. And you would get much better treated over there than we got treated here in the UK, you know?
• 1:07:30
  Speaker A: Well, that's what we're talking about. That's what everybody says. I think I stopped in the middle of saying that. But every single person that goes to France or Germany or Spain says they do treat you better, but that's. Yeah.
• 1:07:44
  Speaker B: Did you do any ganks in Mexico?
• 1:07:47
  Speaker A: Well, I mean, technically, you know, I mean, technically you can see that I played like a container as well, because my mate was hosting a. Like a kind of karaoke stroke, you know, he was playing covers and we took the guitar off him and played some of our songs. But that doesn't account. I want. I've realized I could. I could technically have played a few different countries, but what I want, the rule is, I don't care. It doesn't be busy, but it's got to be the full band, otherwise it doesn't. Otherwise I could just walk a bit, do an open mate night. You say, anywhere I went, I wanted. So we need to be booked. Many be on a flight nowadays.
• 1:08:24
  Speaker B: You just say that you're going on the holiday. Don't tell them it's a band that's playing or anything. I'll be far too much.
• 1:08:30
  Speaker A: I think the trick is. One of the trick. I just think that you just don't refuse to take money. I think that the way. What. Someone could correct me if I'm wrong here, but I think one, you cannot take merch, you cannot take merce. That is because basically, if you take merce, you have to pay for all the merch as if you've sold all. So if you're taking 50 t shirts over unity, give the government 50 t shirts. Monies with really over. Yeah. Then you get your money back. Once they count your t shirts, it's an absolutely shambles, Mandy. But we wouldn't really be doing it for the money anyway. So it's like, I don't. I don't think that we're established enough to be getting commanding big fees on the. On the continent, but it would just be like. What we'd be looking for is our flights and our accommodation and as far as I'm aware, I don't want to name anyone, but I know people who said that? Apparently, if. If you're not making money, well, as if you're not receiving financial reimbursement, then you're okay. We went to South Korea and I'm not going to mention any plans anymore, just in case the Brexit polls are watching. But just. It's as long as you're not taking financial reimbursement. But what they can do is they can put you up, they can pay for your flights, they can give you dinner, free drinks, I believe. But it's all about the money. I think the problem is, the main issue is the tax thing. Who gets the tax money? Does the british government not get the tax? Everyone wants to cut the tax.
• 1:10:01
  Speaker B: You know, even when we were going round, we. You still weren't making a profit on the truck by the time you paid the petrol and accommodation and all the different things, the food and all that. Because we mostly did that in the nineties. We used to go to Europe all the time in the nineties. And.
• 1:10:20
  Speaker A: Yeah, so I think you. You said you were going away for. You were going away for a month, so I think it'd be quite a different thing that I'm looking at. What I would like to do is maybe go to a country for three days, so we could just fly over and maybe get public transport to the next gig. Just doing over three days and then maybe taking a week off and then going somewhere else for three days. That would be my ideal way to do it. Also, I wouldn't get burned out. I wouldn't have to worry about hangovers too much because I would just be doing it for a couple of days. And that is the idea, obviously, the issue that we then have is either paying for guitars or instruments to get on the plane.
• 1:10:57
  Speaker B: But hopefully our extrumer Russell, he never came back. You know, he just. He's married. He's got a grown up child now in Germany. We left him in southern Germany.
• 1:11:10
  Speaker A: That's crazy. So that person would not exist had it not been for fury in the velvet underpants.
• 1:11:15
  Speaker B: That's true. And Max, a rapper, I used to call him Red Road rapper. He ends up living in Germany for seven years. It's always women that make these situations come about, you know, but why not?
• 1:11:30
  Speaker A: Yeah, I was actually. There's actually a few. Few kids walking around there, either because of my band or because I've put nights on and people have met each other through the gigs or whatever, or through introductions, even. Even with the thing. It's quite mad, isn't it?
• 1:11:47
  Speaker B: I hope no one's been murdered as a result of any of your gigs.
• 1:11:51
  Speaker A: Oh, I don't know. Don't even see that. I don't. I don't. I don't think so.
• 1:11:55
  Speaker B: I don't think so in my case, I don't think so either.
• 1:11:58
  Speaker A: Well, don't tell me if you know something. I don't, but, yeah, Danny says really enjoy Hughes story films. Let you know Charlie Hepburn from Southside music is coming along with us on Saturday.
• 1:12:12
  Speaker B: Oh, that's great. Oh, Charlie's a great guy. You'll know Charlie as well, won't you?
• 1:12:16
  Speaker A: Yeah, I think. I think I know Charlie. I've been at going to south side music sometimes to his dad.
• 1:12:22
  Speaker B: His dad was also called Charlie, you know. Yeah, that's always been a great shot. South side music.
• 1:12:28
  Speaker A: I don't know if Charlie knows me, but I usually just go in either to pick up plectrums or random bits and bobs or put a flyer in or something, so. But, yeah, it's a great shop and we need. We need more. We need more stuff with that.
• 1:12:40
  Speaker B: Yeah.
• 1:12:41
  Speaker A: Paul says my lover took quite a while to recover from some of the epic lockdown specials. Yeah, I was looking back at some of the footage. It's quite mad. I was wanting to make a wee edit of, like, you know, the story of YCTR for the five year anniversary, but there's just too much footage to go through. Maybe what I'll do is get some video footage of my face from five years ago and then just see how my hair grows, because it gets really bad in 20 2021. You know, there was no, you couldn't get a haircut, but because my face has changed every day and my hair changed every day, you're actually seeing three shows a day sometimes. So you can actually. If I could figure out a quick way to do it, we could just see my. My hair growing and my face getting far.
• 1:13:27
  Speaker B: There must be some AI up or something that you could put your different pictures.
• 1:13:32
  Speaker A: I don't know if I want to do that. I don't know if I want a throw.
• 1:13:34
  Speaker B: I just need AI that will show. Show that, show the changing sort of thing, not. Not to create a false image, you know?
• 1:13:42
  Speaker A: Yeah, I know. I just. I just. I'm just stolen. I'm unsure of AI. I'm unsure of it.
• 1:13:46
  Speaker B: What I know. I don't trust that.
• 1:13:47
  Speaker A: Well, I mean, Facebook, by the way, for him. And notice that Instagram and Facebook gave me an option to opt out of AI using. Hold on. For anybody who's interested. I'll actually just send you the link because I think my advice would be to opt out of this thing. Whereas here is here. So I'll show you where it is. The link is here. And. Hold on. But. Right, so I'm just going to explain this. So Facebook is doing a thing. Oh, hold on, it's here. She's asking for your permission. So it's generative AI. Okay, let's just, let's just talk a bit. Sorry to change the subject. I'll be quick. But I'm just, I just think they've been quite sneaky with this. Basically, you're getting a notification and if you don't object, then they're just gonna do user stuff anyway. So generative AI is not idea based, but basically what it's doing is it's taking your public comments and your public statements. So basically everything you've done, this not private. And then it's very vague what they're doing with, but it's to create something.
• 1:14:56
  Speaker B: Well, that means that presumably that means that other people can then use it. You know what I mean?
• 1:15:01
  Speaker A: Well, they can sell. I don't, I don't know. I just don't like the way it's going. So I'll do the link again. Hold on. The link is this, um, the first one didn't work, but that one was. So I say facebook.com, forward slash privacy, forward slash Jni Jen, I. But what you do is you go to the bottom and the right to object here. So see that there? You click right, reject and then you object and it's got, you just put it. You just, you don't need to give them a reason. You just need make sure it's your right email address that Facebook's connected with. And just object, man. I'm sure you'll be opt in in the future if you want, but I've just got.
• 1:15:37
  Speaker B: Well, no, I would agree with you because they'll be using that as part of their big database.
• 1:15:41
  Speaker A: You know, I think they're just what? They just want to teach machine learning. But I just feel like, you know, I just feel like I don't like it. I don't understand. I don't like it because I don't understand it.
• 1:15:51
  Speaker B: It was funny. One of the refugees, it's a ukrainian refugee, you know, she was applying for a job and so she sent me a message with our look over her job application. So she came in and I was totally blown away by how well it was written. I was going, ah, it's totally fantastic. Don't know if I could do that. And I was like, this is someone that, you know, English as a second language. And then it turned out she'd use the AI, you know, to fill in the application.
• 1:16:20
  Speaker A: Yeah, there was a same. We were in Mexico. There was a guy in public from. I think he was italian, and he couldn't really speak English much. And then he gave us a review on whatever website. What he said, I was booking.com or Airbnb, and it was the funniest review ever. He said that we. We brought in so much fun that our highland. Our highland friends strolled into the night filled with fun and beer. And it was like a couple of paragraphs long. And I was like, that's amazing. What a lovely thing. And then I realized that it's definitely. He's asked chat GPT for that. But as good size and bad says, I'm not against AI in general. It's a tool. Like, anything could be used for good and it could be used for bad.
• 1:17:03
  Speaker B: But who knows where it's going to go, as they say, you know, like.
• 1:17:06
  Speaker A: I said, I just don't trust what Facebook are gonna use it for. That's what I'm saying. I'm just saying, I don't. It can be used for good, it can be for bad, but what Facebook gonna use it for? So I'm just sort of staying away. But from that just now here, can I borrow an. An amp off year again?
• 1:17:23
  Speaker B: I'm sure that I'll be fine. There's gonna be bike lane there.
• 1:17:28
  Speaker A: It's a not bike lanes there. I don't know if he might be talking about an old story.
• 1:17:34
  Speaker B: Well, there is a story around that, yes.
• 1:17:36
  Speaker A: I think it's a story because, by the way, if any of the artists are watching, backline is provided.
• 1:17:41
  Speaker B: But. But. Well, the story is, you know, I started as a community music worker up in Royston, and at that time, the only piece of equipment we had was an amp. That was the only piece of equipment we had. And Joe was playing a gig at the hall, so I went along, and then I kind of left. You know, I just left at the end of the gig.
• 1:18:01
  Speaker A: Scotia. Fact check. Scotia.
• 1:18:04
  Speaker B: Scotia. So. And then. So I just presume Joel will be bringing the amp home. So then it's like. It's like. It's like two weeks later, it's the next gig, and I'm going up. Where's our Amsterdam? Phones up, Joe. And Joe goes, I thought you had it. So basically we lost the amp. It was the only piece of equipment that at the time Northern Rock had. Maybe we got it again. I can't remember. Yeah, but that's what happened.
• 1:18:31
  Speaker A: We lost them. Well, the drummer lost his expensive cymbals one time in Cosmopol and he found somebody selling it on Gumtree. So we just went to meet him at the bars and then we just took it off the guy.
• 1:18:47
  Speaker B: Well, I remember we played a guy got like in Tina someplace and then we played with this band and then we brought the drum kit up. So it's just way like that. So then we went off and stayed somewhere. So then we goes back to the bar and the drum kit's not there. And then they, in the bar, they said, oh, the drummer from the other band, he took it away last night. I think he thought we'd forgotten it or something. And I remember we had to drive up this for ages, drive through this country lane in the middle of nowhere and we literally could hear the drums, you know. Now he goes into this guy's cottage. Well, excuse me, I think that's ours. You know, he's lucky. He's lucky didn't get his head kicked in, to tell you the truth.
• 1:19:35
  Speaker A: Is this Saturday, room two has come along. It's her birthday party, five years. But I thank the patrons as well and the YouTube members for aim for supporting the show over five years. It's amazing what we've been able to do in that team. Hundreds and hundreds of shoes, I think. I was trying to figure out how many shows we've done but because so many were unlisted and some of them, I don't even know if you'd count some of them as shows, but we're talking about thousand. A thousand shows easy.
• 1:20:05
  Speaker B: I mean, but honestly, got to hand it to you, Mark, I sure your hard work. Well done. Well done.
• 1:20:13
  Speaker A: And we got godly Duncan, unholy Frankenstein, Brenda Jinx Lennon, Judy the Velvet underpants. And we do have an afterparty. We've actually got two after parties. I just need, I just need to say which one I want to go for. But that will be free entry for everybody who comes to the gig. So that starts at ten, I think. And it will be till at least 03:00 a.m. i'm not sure which one we're doing yet, but both, both ones open to three. One maybe open later than that, but we're just going to, we're going. There'll definitely be somewhere for us all to go to get a wee chat and a couple of pains because obviously it's quite when you're running about organizing a gig and, you know, you're even just performing. You're just like. It's too much. You don't get. You don't really get time to relax.
• 1:20:47
  Speaker B: Yeah, for me, I can. It's after the gig, I can relax, you know?
• 1:20:50
  Speaker A: Exactly. I love it. I love chatting to people after the gig's done, so we can all just go somewhere and we'll get a pain and we can talk about stuff then. I've got one last act I've not played yet as Godly Duncan Junior. So I'm going to play nw song from God. They don't continue. And, yeah, I'll see you on Saturday. Shoot.
• 1:21:07
  Speaker B: See you Saturday. Mark.
• 1:21:08
  Speaker A: Don't worry about the aunt. Don't worry about the ampenna, that the back lane is provided. And is there anything else you want to show out here? Actually, sorry. Actually, I went over, the last thing I wanted to pick up on was the. The beauty stories thing, and I'll just get a link to that. Can you tell people a little bit about the.
• 1:21:25
  Speaker B: Okay. Just sometimes I've got nothing better to do with my time here now. I've just made videos. You know, Hugh reads beautiful, beaut. Just a sort of a guide with bad jokes. Um, bad jokes and buick, basically. Okay. It's nothing that. It's just me wandering about my camera, more or less, but there's a lot of interesting things on the island here, so you can check out my music videos and you can check out that Huey's beautiful. Beautiful.
• 1:21:54
  Speaker A: If you want, I put the link in the comments. If anyone's want to check it out, just know that. Yeah, well, thank you. I'm looking forward to Saturday. I'm absolutely buzzing for it, so.
• 1:22:05
  Speaker B: But really looking forward to as well.
• 1:22:07
  Speaker A: Mark, the tickets are. You get pre order that you can. Pre discounted tickets are on schedule right now. And if you're a patron, there's a discount code. And also, if you're just genuinely skin but you really want to go, then just send my message and we'll make sure you can have a party. So why don't you be there? Especially if you've been supporting and it's.
• 1:22:32
  Speaker B: A good venue as well. That's the other thing.
• 1:22:34
  Speaker A: And we've got the big screens, so remember to bring your. Your logo or if you want an image behind you. Have you got any ideas for that.
• 1:22:42
  Speaker B: Song I'll need to remember?
• 1:22:43
  Speaker A: I don't think. Just bring your. Just bring in a usb and we'll get it behind the screens. If not, we'll just put the some. You call that radio stuff in the background. And the night will start at 07:00 with the legendary goddy Duncan junior, who is playing his first Glasgow gig. And it must be about four or five years, maybe six years. So looking forward to that. The prodigy cool drummer is back. And thank you very much. You, Reed.
• 1:24:13
  Speaker D: All come together? When the sea is believed? Like a camera behind you could work with? I love it when it all comes together? When the scene is believing like a camera to greenhouse? I love it when the blood all comes together? When the sea is believing like a camera degree? Never hold your breath if you look what someone? When the plan all comes together? When the sea believe it like a camera cream? Never hold your breath if you watch on what it's.