All language subtitles for BAD COMPANY_ The 40th Anniversary - (2014 Documentary) (360)

so

[Applause]

[Music]

company

[Music]

with

[Music]

[Music]

behind

[Music]

that's right

[Music]

till the day we died

[Music]

oh you're beautiful

thank you

what you're getting is rough and ready

but it's real

i was always aware of music because in

my home in middlesbrough we always had

the radio on it was on all all day so we

listened to things elvis would come on

or frank sinatra and lots of the pop in

through the 50s and i didn't really

realize i was influenced by it but

looking back i think i was you know i

first got into music oh god um when i

was about 13 uh i was brought up on the

border of wales

a little place called newcastle on clem

logically speaking i was a late starter

because i didn't start playing until i

was 18.

um but i

my first intro into playing in bands was

in a local dance band if you will you

know playing standards and

piano and accordion all that sort of

thing i saw my first tv program

at about i guess

it's called all that jazz

and it had featured big band uh jazz you

know swing bands and i was fascinated by

the drummer

i just learned to sort of pick up by ear

you know like chord changes and what

have you i think i was not really doing

that much musically at all and then i

got involved with the

some local bands in harryford which

ended up being the basis of motherhood

you know all different guys from

different local bands

but uh to that point it was just plain

like in local

village halls you know the usual stuff

it wasn't until

oh i suppose i became a teenager really

that i started to be interested in

the pop music of the day which which was

the beatles and the stones etc but when

i heard the rolling stones uh sing i

just want to make love to you which was

it's an old blues song i heard something

different from

the

normal from the pop really although i

still love the beatles and stores

i dug a little deeper and discovered

blues really muddy waters and howling

wolf

and john lee hooker and it was a whole

new world to me that's the thing that

really deeply influenced me i've always

tried to emulate those guys because when

i heard you know wilson pickett singing

or elmore james you know they'd they'd

hit a certain a way of singing and i'd

go that's it that's the way to do it you

know i went to two windsor jazz

festivals and that really opened my eyes

but i knew that i wanted to be a drummer

i wanted to try my hand at playing drums

um

so i made a deal with my parents

after i got my a levels uh give me two

years and if nothing happens in two

years i'll go to university

and it was during those two years that

you know i came down to london did all

sorts of jobs answered auditions and in

the last

couple of months of those two years i

met paul kossoff in black cat bones so

you know the uh the drawbridge was

coming down and i was fully prepared to

go to university my father bought me a

six-string guitar actually that's how i

got into music really because that made

me eligible to join the class band at

school you see all you had to do is have

an instrument so we started playing

together in somebody's kitchen

and i stayed with it i switched from six

string we needed a bass player so i

traded that in and got myself a bass and

and i played bass for a while and sang

and then i um

i put the bass down and just focused on

singing you know

because that's what the band wanted me

to do

but i also always found that um

it was helpful to be able to play piano

and guitar acoustically electrically and

the bass to um

if for songwriting when i would write on

any of those instruments i was with a

band called brown sugar and they started

playing a riff dun

dun dun

[Music]

and i start to sing lyrics over there

and it was a long dusty road

long dusty road to nowhere

and i said the guys well did you write

that riff and they said oh no it's some

old blues riff you see thing but that's

what that's what made me think ah then

if i come up with my own riff you know

so anyway to cut a long story short i

came up with the riff

and then i wrote walk in my shadow which

that was the first song

i wrote and that appeared on the tons of

subs album with free and once once that

had happened

i was kind of off and running really

because i thought wow i can write songs

now you know i ran into paul kossoff

this gig the the nags head you know the

blues boom was huge in london

at that time and uh i didn't think that

black cat bones were that good but

kossoff was wonderful and i'd

i said during the break you know he came

off stage and said oh you know

i think you're great i think your

drummer's crap and he said well it's

funny he should say that because he's

leaving tonight we're having auditions

tomorrow so i went along long story

short i got the job and i played with

coss in black cat bones for about six

months during which time he said i know

this great singer who's in a band called

brown sugar and he's leaving and he

wants to form a band

and um

you know

would you like to come along and i said

yeah

and you know so there was three of us

and then we had to find a bass player

and we knew alexis corner who mentored

paul kossoff he was a family friend and

he said i know this great little kid

uh andy fraser he's just

he was playing with john male

for six months whoa

and he's just got the sack

and we were just staggered that a 15

year old kid could play that well and we

asked him later if he'd like to join the

band

we had a rehearsal there the first time

the four of us got together

and during those rehearsals alexis came

along just to see us you know and we

were stumped for a name

and he'd been in a band called free at

last with graham bond and bacon

and he said you know why don't you call

the band free

and so we said yeah okay

and then we played alexis took us on the

road for a couple of months we did about

i guess 12 or 15 shows with alexis and

we were off and running there she stood

in the street

smiling

[Music]

what's your name baby

maybe we can see things the same

now don't you worry

oh i hesitate

let's move before the rain

[Music]

i mean but we were a little bit more

than a blues band we wanted to be like a

progressive

blues band not just rock me baby and you

know the old standards we wanted to do

you know we wanted to write our own

stuff to my place

and i didn't really realize i was a

songwriter until i was until alan

records

stuck a publishing contract in front of

me and said okay

i said what's this he said this is the

publishing contract and we want you to

sign it blah blah blah

and and i said it says a songwriter he

says yeah you're a songwriter now you've

got songs on the album i went that was

the moment i realized hey i'm a

songwriter you know

and then they install them all for the

contract no i'm just kidding

we played hundreds of shows and we built

up a very good following um

and

all right now is a sort of a catalystic

thing

whereby it just

blew everything up in in a nice way i

mean the fact that that we were now

uh on tv top of the pops or whatever

yeah you know we

we were available to a lot of people i

remember the first tour that we did

behind all right now we were playing

instead of playing towns one after the

other we were playing countries you know

holland france belgium germany

scandinavia whereas before it was just

you know up and down the m1 and down to

cornwall and back so it was a lot of

pressure and ultimately it uh

it brought about our demise i think well

we've been working there for

for two years uh fairly solidly around

england and europe

and we've had a couple of singles out

and

two albums

which had done fairly well you know but

nothing phenomenal

and then

then all right now came along you know

and sort of was a hit in just about

every major country

and it opened up the market incredibly

and we found that we were playing to

countries that normally we would

probably never gone to

what are free intending to do when they

go back to england

rest

i tell you a long rest

not many people know but we did two iron

white festivals and the first one which

was not the big one was in 69 and we did

about a 20-minute set but the big one

was of course in 1970 we had the hit

and it was while we were waiting to go

on the ferry at pete townsend came up

knocked on our transit window and said i

love that [ __ ] song of yours and then

walked off oh my god

[Music]

[Applause]

kossoff's demise

started after the first breakup

we had

the disappointment the follow-up tool

right now

you know we had highway after fire and

water we released steeler which i

thought was a great song but it wasn't a

hit record

that didn't do very well highway didn't

do very well so

we took it personally and andy and paul

made the decision that after highway

after the world tour that was it

and uh it broke our hearts so i'll be

honest it really

it it upset me but it devastated cops

[Music]

so you know i know now that he was an

addict

what i know now about addiction because

i'm in the program myself

and he was born an addict and and

this

breakup completely devastated

[Music]

[Applause]

the basis of martha hoover was formed in

the band we had in harryford

pete watts myself

ferdinand dale griffin the drummer and

the singer called stan stan tippins he

was the original singer

and we went to london to try and get a

foot in the door with ireland records

and in the days when they were in oxford

street

um you know it's

getting frustrating because you'd sit

around all day and wait and then

suddenly say oh he's going home for the

day i was trying to see guy stevens

so in the end i just burst into his

office one day i said i'm fed up with

doing you know i'm not gonna come all

the way down from harry potter and

waste my time blah blah blah and he said

i'll come in i like your attitude and

sort of that sort of sparked it off with

a guy

because guy stevens was then

in the early days of ireland he was the

uh a r man if you will looking for

talent

and he uh liked the band he wanted to

replace the singer you know for the for

the look and the image and the rest so

that's how he came across ian

and guy stevens like the look of it with

the shades and the curly hair

and that was the basis of

the start of mark really yeah

so the first night i met nick was six

sometime in 69 i would imagine

walking in for the audition in in regent

sound

we had a good live following but

we couldn't really sell records we

weren't that commercially successful we

tried different

styles different albums different

singles

um to the point that we were getting

very frustrated and

losing money decided to knock it on the

head

and unbeknownst to us david bowie had

heard about this suggested we do one of

his songs that he was willing to offer

to us to do

we were already dead to radio

we'd had a couple of singles out already

in there and radio just didn't want to

know

but we also know we had to keep you know

we were feeling everywhere and you don't

feel everywhere

over a long period of time if you don't

have a hit so it was getting to the

point where something had to happen and

he came back with doors so he he sent us

the tape

reel to reel tape with all the young

dudes on one on one track and

suffragette said he was the other one

and a nice handwritten letter

and we love the song of course and then

he said well why don't you come record

it and i'll produce it for you

but that really turned our fortunes

around

[Music]

so you get a break and then the band

changes into a different so it wasn't

the same band for me

it had lost its underground sort of a

subversive feel and it became more of a

sort of

a pop band you know and the top of the

pops and ian got into writing

songs in a certain vein that were kind

of based on all the young dudes which is

great you know

pete watched the bass player and mick

they were the two writers they didn't

really want a writer

and then after a while pete watts

couldn't be bothered so

i just started doing it you know with me

it went away from the original concept

of mott and i wanted to

play something a bit more earthy a bit

more rough if you like and um

that's when i

uh hooked up with paul

he was out supporting us on matu on

motherhood

then called peace

and because we'd all

had always liked his singing anyway from

the three days and we we got on really

well and i had a load of songs that we

weren't doing with moth that i'd written

mick was coming in with like uh ready

for love

he came in with can't get it off

and i couldn't sing

paul was the sort of guy that could sing

the sort of songs i was writing and it

was really sad because we had a very

powerful band that was selling out

everywhere but it was just pissing him

off and i knew exactly how he felt

because if it had been him that i had a

couple of hits on that particular record

then i would have probably left

so it was an unfortunate kind of

situation

initially we were just going to record

some stuff being pulled we didn't we

hadn't thought about forming a group

then

we just to record some songs that we had

i had some songs we had some songs we

worked together really well with mixed

songs i can step into them uh you know

things like simple man moving on

um can't enough you love i can step into

them and and i they're very simple and

and that leaves me a lot of room to play

you know and do my vocal thing it was

very uh funny because it was just paul

and i writing songs and you know working

out stuff together and simon turned up

one day from one of his world jaunts to

wherever

they said well you know you want to

want to get a band together

and i was in brazil

and i called i believe i called paul to

see how you know how things were and he

said look

you fancy being playing drums in this

band that me and mick are putting

together

and i love mick mick was so funny i mean

i love him to this day

he's just a great character and he's a

very very good player

so i said yeah man i'd love to well i

was putting the band together with mick

at my cottage and i had a

friend of mine clive coulson had worked

for free earlier

and um he came around to my place and he

now worked with led zeppelin and and we

got talking and i said well we need a

manager

and he said well you know why don't you

give peter grant a call because

they have just formed a new company swan

song and their kind of you know talent

scouting it was a mark of accomplishment

for a rock superstar to have their own

label you know the beatles had apple

and then the rolling stones had rolling

stones records and the jefferson

airplane had grunt records so for one

thing it was a mark of status to have

their own label and to be able to

develop some other artist

and so i gave him a call you know and um

and he said uh and it was kind of nervy

really because there's and there's me

calling this you know manager of led

zeppelin who were bigger than god at the

time you know the members of led

zeppelin

and peter thought they had good taste in

music and that they could do a good job

of picking some artists and attracting

them because zeppelin was at the time

the biggest band in the world

commercially in terms of their concert

sales and their

uh record sales and so on and and that

it would be a

a prestigious thing for a new act to say

hey i'm on led zeppelin's label

luckily he he said he'd be interested in

hearing us

which we couldn't believe our luck

and uh he arranged to come and see us at

a rehearsal um shortly after that he

said uh yeah yeah

i'm interested in you yeah and they and

he came round and uh i said well peter i

come with a band you know and we're

going to be called bad company

and they weren't sure about that i've

had problems in the past with names

um

but you know i wanted to stick to my

guns and bad company is a bad company it

was funny thing was when we were

rehearsing he

we didn't know he was there we were

rehearsing in this village hall in

surrey in aubrey near paul's place

and looking at the watch and said well

he'll be here at a minute it'll be

carried on play and then it was two

o'clock they missed three o'clock and it

was four o'clock and five o'clock

by the time they came back six car paul

said oh this is ridiculous and he's not

going to turn up we must be kidding

ourselves you know

and we all got really pissed off and

played like the vengeance and decided to

go to the pub and when we went out the

hall

there was peter sitting in his car

and we and paul said something like oh

you turned up there he said well i've

been here for ages actually he said uh i

didn't want to come in and i just wanted

to hear you in your natural state

thinking he was late we all got pissed

off and played you know

demonically which he thought was great

and

then he took us on yeah he liked what we

were doing we had i had rock steady wed

can't get enough of your love we were

playing bad company this song so we had

some good

songs going on you know some were mine

some of mine and paul's summer pools you

know but

yes that was the basic essence of it

peter said to me uh i'm not gonna sign

you guys up but what we'll do this what

we'll do we'll just try it we'll just

try it for six months on a basis of a

handshake and so i said okay let's go he

was one of the lads you know he was

very much

on the side of the musician you know and

um

didn't stand any nonsense from the

business side of it

don't [ __ ] talk to me it's my bloody

egg i do bet i'll leave you anytime you

couldn't even get my starting line peter

did what was good for example and peter

understood that the extra money that

they were paying the agency after a

certain point was wasted because eppelin

didn't need an agent anymore in his

opinion promoters all wanted them and he

also renegotiated the money on behalf of

the band with promoters too and kind of

was the architect of what's called the

9010 deal which meant the artist would

make 90 of the net uh prior to that 50

50 was the paradigm so peter was a real

trailblazer in terms of getting more

money for artists

he was very keen to let us

be ourselves he didn't impose himself in

production or song choice or anything

like that he just wanted just to do what

we wanted to do

peter really believed in bad company

and i remember when he first gave me the

record and i heard it i think i went to

a studio and heard some music and met

him or whatever he was very worried that

i wasn't sufficiently excited and he

really you know peter grant uh

you know was 300 pounds he'd been a

former professional wrestler he was an

extremely intimidating guy to begin with

and he was very um

insistent that i understand how much

this meant to him and how strongly he

felt about it

i was already gentlemanly and he said

you know

you do the music and i'll take care of

the business

and he did you know um

[Music]

it was great i mean he divided his time

between us and zeppelin at the time

because we were both doing big stuff in

america but then because he wasn't that

savvy about music which was probably one

of his saving graces you know he didn't

know if f went with a minor or if that

bit went with that he just knew what he

felt and and i remember him saying to

robert plant and and paul at another

time was you know you want i just want

you to wear something bright and jump up

and down a bit it was a very knee-jerk

reaction that he had

for things and he had this incredible

business acumen as well plus this

300 pound wrestler

ex wrestler persona behind it i mean he

was wonderful whenever he'd come to a

show at some point he'd come to every

crew member

looking straight in the eye and say is

everything all right is there anything

that i can do for you and he meant it

he don't overly looked after his man he

looked after everybody if you were in

you were in but by the same time if you

did something wrong against bad company

or led zeppelin

you might as well just pack your [ __ ]

because you were done

did we get on with him yes well yes and

no i

being the naive country kid questioned

him about his um underworld dealings

great i must have been out my [ __ ]

mind

i said mr grant i understand that you

have some

i can't believe i said it um

you have connections with the london

underworld is this true

and he was totally says no

and then the next band meeting we had he

pulled out this submachine gun full of

ping-pong balls

but that was me you know the completely

naive green country and he loved me for

it

what he did for us was wonderful

and i think of him most days i loved him

he was like a dad to me

we didn't even hadn't even settled on a

bass player at the time although i liked

the guy we were trying he was a welsh

guy he didn't want the gig strange

enough so we had to keep looking we had

the three of us simon myself and paul

for ages

we kept trying out all these different

bass players and they were all very good

but they didn't quite for me they didn't

quite click chemistry wise buzz wasn't

even there in the lineup when peter

grant came down he came in at the last

minute buzz we were desperate to do this

record and we took him on not knowing

what we'd taken on but uh turned out to

be great you know he was a real

character

i took him straight away he was

because he wasn't that experienced on

the base then and i loved it when

he turned up for rehearsals like all the

other bass players were so dead keen to

play we said to boss what do you want to

do so unless i want to go to the pub

let's go to the pub you know he didn't

want to play he just wanted to hang out

so that was great

so of course we went to the pub got

completely pissed played a load of

rubbish and said he was in and then next

day paul phones up and said

what what was he like i said no i was

drunk he said so was i said i think i

gave him the job

we had a list of uh bass players and

buzz was right at the bottom number

sixteen and never

one guy we just kept driving because he

looked so

yeah they were all great

but boss was the last resort and it

happened to be one of them looked

exactly like eric clapton we could have

him in the bank because he looked too

much you said that that was about why he

couldn't get it i had all these reasons

[Laughter]

he could stand up there and stare at 50

000 people play bass like it was nothing

he absolutely had that thing the ability

to do it he had an abundance the desire

to do it if there was anything that made

him uncomfortable it was that certainly

wasn't the music but he was endearing i

love boss because he was actually a

singer first and foremost

buzz was the singer in king crimson i

knew he was a bass player he bluffed it

he said it said bass player singer

wanted and he he couldn't play the bass

at all so robert fripp taught him how to

play the basics

and then of course he improved and

learned more about the instrument from

then on

and he played the bass in a very melodic

manner

it was a strange thing for him at the

time because obviously his peers were

jack bruce and alan spenner and all

these amazing bass players so he was

like

he had to get in there real hard and

get his stuff together which he did real

quick actually and developed quite a

phenomenal technique compared to most

rock-based players it's a very exacting

technique on the base

you could play some high things

you know what was that ready for love or

something yeah the slides yeah he did

something really he also he played a

fretless bass which is very hard to do

an ampeg scroll neck i thought he was

actually going to develop it and develop

it with a company and get his own thing

it was very very useful in certain tunes

where it could go lower than most and

could actually slide about

difficult to play because you don't have

any uh you know

threats breaking obvious where

everything is so you have to be pretty

accurate i had never worked with a

fretless space before

and i was really intrigued it's a very

kind of

provocative sound you know it's got a

very

uh interesting uh aspect i just been

working with the basic rock and roll

bass players that went

and he came more from an r b background

and uh i thought it was perfect for the

band when he first joined the band he

came up with great ideas uh unusual like

that skip beat in burning sky

that was his idea

uh and it just uh

we had to really even read

you know he wrote a song called if we

were playing in d we'd play an f sharp

instead of the d root you know he always

fighted

not the obvious thing to play and then

feel like making the chorus he doesn't

actually play the dudu just comes on the

bush and everybody else does basically

go do do bump

but he didn't do he just went he was not

your normal bass player he left holes

which was great and i remember years ago

we were doing all these interviews in

america you know when we just come out

and it was

going on about how great the rhythm

section was they were saying the pastor

really liked your style so economical so

the honest score i didn't know what to

play so i just stopped

[Music]

typically understated he was a very deep

thinker about music

you know buzz

was very very passionate he wasn't just

somebody who like liked music or loved

music he was a musicologist and he's you

know you could go as deep as you wanted

to about classical music he's a massive

schoenberg fan

he introduced me to george russell's

lydian chromatic concept of tonal

organization when i was about 12. he was

you know he was very very deep into

music so his

ideas of space and tone and passing

notes were

thought about a lot

[Music]

freedom is the only thing

[Music]

i gotta say the first few years in bad

company were the happiest of my life

because we had four guys

who

were

just having fun we didn't have to worry

about guitarists falling over we didn't

have to worry about

deadlines to meet we we had a superb

management

we we had

everything was clear

all it was only left for us to play

and and there was such a sense of relief

after free

that uh i'm speaking for myself not for

paul you know i i just

i loved it and and uh

we could do no wrong it was just

wonderful

we all got on famously we there was a

lot of energy there you know the four of

us i think there was uh there was a

compatibility i can sing mixed songs you

know and he can play mine so that's

really probably the nucleus of the band

was that really that songwriting team

because that's how we hooked up in the

first place to me it was immediately an

advantage because it's uh it's hard to

take on the role of songwriting further

and songwriting is really the lifeblood

of any band yeah and it's a tough call

to be keep keep on coming up with new

stuff and all the time you know and

there's also that sense of uh you know a

little bit of competition you did that

so i'll do this and yeah you know i mean

you know you could throw songs with each

other and and there's also the thing of

i can't get this thing finished why have

you got any ideas for this and then you

can check it out amalgamate ideas

yeah yeah yeah well i feel like making

love was a classic example called that

verse i had the referee just worked

together we captured the what we're

singing about you know yeah the boy bit

and the girl bit but simon's a great

writer as well

he's with some great stuff and i think

that's why he's so good to play with as

a drummer because he does

understand music he's not just a drummer

you know he's a great drummer but he

also plays guitar and piano sings

write songs so he has a great empathy

for a song

as a guitar player i find that great as

in a drummer that actually listens to

the words and

takes the dynamics where the songs go in

instead of just crashing through it like

sometimes we'll just

i'm the drummer that you know

at the end he writes through the song

beautifully you know

oh yeah yeah i think really that's the

only way to be you know i i i can't i

could work on with people that aren't

listening

that's that that's what music is

actually listening to each other and

reacting and bouncing off each other

that is what it is you know it's not you

know i mean absolutely driving nuts if

if everybody was playing and just not

listening to each other it's all about

me

we will play with people like that in

various

situations

you know it's not about technique or

you know no

it's about playing with other people

everybody knew that this was going to be

it just it was right it was paul rodgers

and mick ralph's

and simon all together everybody knew it

was be good to give you an example the

first

um uk tour they did

there was no album out there was no

single out it was pretty much word of

mouth that the band was together and

they sold out a national tour as it was

then hammersmith odeon newcastle city

hall like the headlining thing you

couldn't get a ticket and they didn't

have an album it was just simply word of

mouth and it was completely sold out we

were seasoned veterans in our early

twenties

and we had a great repertoire

we we've been around a bit and we had

the backing of

lead bloody zeppelin

and peter grant who was possibly the

best manager

that i ever worked with we had a good

set we had you know paul was a great

singer

uh we we

we could do no wrong

[Music]

i'm gonna quit

i believe the first album went to number

one or was it batman turner overdrive

beat us by i don't know there's always

someone just preventing us

but it was a great debut album and we

were off and running

peter fomey or paul or both of us and

said we've got this ronnie lane's mobile

studio and this empty house and zeppelin

aren't going to go in now because

bonzo's not well and they want to have

some weeks off why don't you go in there

and lay down some tracks we said right

we were in there like a shot and we had

the guitar in one room we had maybe the

vocal on the balcony somewhere and

drums in the in the foyer it just was

cool

paul sang outside yeah on one of the bad

company in the moonlight

we set the mic up way out in the field

and everything and there's a full moon

and the wind blowing across it and stuff

you know

and uh it was it was incredibly

atmospheric because i was standing out

there in the dark with headphones on and

just just i could just hear the music

you know and just my voice and it was a

very

cosmic place to be

and uh it made for a good atmosphere i

suggested that paul sing outside it was

a little chilly night and uh

i remember that because at the end of

the song bad company

there's a little uh it goes and the cold

wind blows

you know it's a little ad-lib at the end

because he was really cold

these are the days before reverb before

digital reverb you had to have either a

live chamber or a plate

you didn't have that in a little mobile

truck so you looked for little nooks and

crannies that you could create a sound

with

and lay down all the uh

the backing tracks vocals over dubs

in two weeks yeah took ten days

we just landed down

i think that one of the things that made

that first album so important

was that as a group they had gotten

together and

if you look at paul rogers

who had an amazing run with free

but also had andy frazier as his

other writer in the group

andy was much more an r b guy

paul had some good ballots um that um he

had stored and if you look at mata huppo

mick took a backseat to ian hunter

in a lot of the writing capacity

and he had some good rockers like can't

get enough of your love and all that he

put them together in those days that

rocker guy and the ballad guy and you

had a lot of great material well we've

been rehearsing and we were we were

bursting to get this stuff down the

interesting thing was at that time we i

didn't really have too much of um

a vision of what the ban would be it was

really a bunch of guys with a bunch of

songs really we put everything down that

we had we went down there and recorded

more material than we needed actually we

there was a song called superstar women

that i think eventually came out but

that i really liked that didn't make the

cut so there was no no no feeling of

well you know they've all all the songs

have got to sound this way or they've

all got to sound this way or that way

there was everything from from bad

company to seagull you know all of the

songs and it it made for an interesting

album

and i i've always liked that if there's

a such a thing as a format for doing

things

that would be the best way instead of

saying well all the songs have got to be

in a certain sort of way you know a

certain character or certainly they can

be totally different the the more

different the better i think it went

very quickly because they were well

rehearsed they had a lot of good ideas

and the song bad company for instance i

had that um having got the idea of this

sort of dark mysterious vast expanse of

the wild west you know this lawless

featureless

area where you want to go out and try

and settle and

the courts seem to portray this feeling

of

being way out there and being

having to survive with yourself your

family whatever however you could in a

lawless world of of nature really a wild

place

and um

so i had all the structure of that and

simon came around and i said here's a

song i'm working on so simon threw a few

lines in for me with that and that

became bad company

[Music]

is

[Music]

till the day i died

i mean we did tour in england and europe

which was very well received

the next step was logical step was going

to the states and uh we did that first

picture supporting edgar winter

and in the following two we were

headlining

the first bad company album banco was

one of those rare records

that people heard it once and they liked

it i remember i did a press mailing

uh

and and and two days later i i was at a

party in joan downs who was then the

music writer and editor for time

magazine came up to me and said wow bad

company is great

i was like so surprised that she knew it

and bothered to listen to it or thought

it was great and similarly

the song can't get enough of your love

was just so perfect for

american rock and roll radio

1974 that the promotion people

uh in atlantic were were very delighted

with the record one of the last shows

was in boston and peter grant flew up

and he always had this habit of giving

us a little pep talk before we went on

he says you've had a good time you've

done well and i just want to show you

something before you go on stage and he

whipped back this towel

on the table and there were four gold

albums

the first album had been certified gold

and we just went we had no idea because

there was no internet in those days

there was no you know we just didn't

know how well it was going so anyway he

says here i'm well done boys now get the

[ __ ] out of here and go and do what you

do well this was a uh bullseye in terms

of rock commerciality in 1974

and there was

very little difficulty in getting them

on tour getting it on the radio getting

press for them and it went to number one

very very quickly

so when we came back the next time in 75

our first tour where we headlined i mean

you know we we went from opening

uh

an opening act to headlining it meant we

did a lot of shows it seemed to me we

were flat out on the road and and sort

of trying to catch up with ourselves and

when we suddenly confronted with the

studio again hey record another album we

were like

okay what did we do the first time you

know i had to it's uh with now with

hindsight i can

you know think back and say oh this is

what we did and this is how it was but

at that time

it was just a whirlwind really and so we

were back in the studio ready to do

another album and it mostly reflected

our experiences on the road at that time

i'd like to apologize for paul not being

here but he's been uh attacked by some

notorious lady i think and yeah i'm

standing with

but uh he sends his regard and he thanks

you

you have all your life to make your

first album or at least as long as it

takes to get there next thing you know

you're back in the studio to do it again

we went to clearwell castle i think and

it was a little bit different though it

wasn't i i didn't find it quite so

organic in the sense that the the place

was also run commercially and they had

parties um

uh for you know you could do a medieval

party there and everybody got dressed up

in armor suits of armor and and drank

mead and they roasted pigs and stuff

like that and it was really weird

sometimes yeah i'd be wondering i'd be

like where's the bass player you know

and i'd go through all these corridors

and things and there'd be a big party

going on and

although these people dressed in

medieval gear and right in the middle of

it all would be buzz drinking mead and

eating you know roast pig bars we've got

a session to do come on you know

so it was a little bit different but it

was it was still very atmospheric i

heard you produced your last album in a

welsh castle yeah what's the story

behind that

we just sponsored doing it in a

situation where we could be just just

the band together because i don't know

if you're familiar with studios

but there's a tendency to waste a lot of

time in studios i think it's just down

with people coming in and out all the

time and there's an atmosphere of having

to make a record

down through the years i've shared a lot

of the songs that i've written with the

band and i do that because i i to give a

sense of cohesion and it's not all about

me you know

you'd have an id and he played it to me

and then we'd chuck it around and i'd

come up with a bit for it or a chorus or

a a middle eight but but i think

generally

he wrote some good songs on his own and

i wrote some good songs on my own like

shooting story about on his own

good luck with garba wrote this is the

second album

so we were both quite prolific at the

time so we used to do that you know

you'd have an idea and i'd say well it

needs you know it's all very nice but it

needs something here you know like

give it a bit of action i feel like

making love i feel like making love was

a song that i had i'd been working on i

mean i had on the back burner i have

lots of songs on the back burner i'm

sure a lot of songwriters do it's you

know not everything gets finished

from

my time with free actually uh when i was

touring with them in san francisco i

had some experiences out there and that

song came from that i feel like making

love was two songs he had the verse and

i had the chorus and i said to make oh

here's this idea i baby when i think

about you and i said just need something

something to take this somewhere and he

comes up with

and i went okay feel like making button

then you know and that's how that came

about

[Music]

[Applause]

[Music]

i sometimes feel like they're almost

written through you sometimes shooting

star was a song like that because i was

just uh

walking along and i was i think i was

out of my cottage

and i started to sing johnny was a

school boy when he heard his first

beatles song

i went hmm must have heard that on the

radio somewhere and went

no

and i ran back in the and i started to

work out the chords and stuff you know

and the song just like flowed out and i

couldn't believe really that no one had

thought to uh

nor the songwriter to come up with the

idea of

equating a shooting star with a shooting

star you know like the idea of burning

out too early and that kind of thing so

you know i just thought it was a

good idea one one of these days i want

to

create a musical around shooting star

and expand the story

and uh

i think that would be quite a nice

because it's happened so many times

before

we went from opening an opening act to

headlining

we were full of ourselves i mean we were

actually

we had our own plan for god's sake so we

could zip from you know city to city

and it was wonderful

they were so filthy rich they couldn't

afford to stay in britain because they

could only be there for whatever the

restrictions are 63 days a year

for a tax

situation

they looked at a lot of different

options one was the u.s but they didn't

want to use up their

their days of touring visa

and so they decided on the south of

france and we rented this villa up in

grass which is just north of monty in

the south of france third album run with

the pack we used to run stones mobile

we all arrived and we were having a you

know

cup of tea waiting for the thing to

arrive

all of us sat around the table the road

crew and

paul and myself and mickenboss

somebody with this huge bloody knock on

the door yeah

and it was mick mckenna and he

was the stones uh mobile engineer

he said that since all right he says

well bit of a problem can't get the

[ __ ] mobile through the gates it's

too wide

you're kidding

it's about

two feet too wide the truck got stuck

about 200 yards short of of the house

and one of clyde's suggestions was

to bring in a helicopter and

raise it over the wall so we called g up

he says rent another villa

so we rented another villa that did have

gates wide enough to accommodate the

mobile and we did the recording there

and we kept the villa

where we were and stayed there so we had

more money than simpson those days no

one thought to take a tape measure and

measure the bloody mobile would it get

through the gates so we had two villas

on the go at the same time

and defeating the whole object of being

residential commuting from one village

to another

we always produced ourselves for our all

for our faults but

i think we were pretty

you know

i suppose opinionated it's the wrong

word but we pretty felt strongly about

how we wanted the sound and which way we

want the music to go

and we didn't want anybody like taking

it away from that we did work with

various different people

if you know in different stages of

production we used

the guy from jimi hendrix eddie kramer

and he was very good

you know we did some mixes with him in

la that was great

but i think

in all situations we all

overrode their opinions we we knew what

we wanted

you know we maybe used them to help us

to get where we wanted to go but we

never actually acknowledged the use of a

producer per se

the first three were particularly

well received and well recorded and very

strong

the fourth one wasn't so strong because

we were we'd been on tour we'd do an

album tour album tour i went to

came to do the fourth album and paul and

i really hadn't got a lot of ideas so we

we did the british sky album anyway

and knocked together some songs but it

wasn't we didn't have like a good stock

pile of songs which is the best thing to

do before you go into a studio

you know you just go in with about 15 or

20 and you end up with about 12 or

something

you didn't have about six when we went

into that record and they weren't all

going to make it so we were writing

things in the studio which is always not

a good idea simply because of the

schedule we were at i mean it wasn't as

if we hadn't had any time off but when

you come off major tours you don't want

to go straight into a studio so you have

a bit of time off

so extensively to write but i mean you

don't you just sort of recover from the

tour

we did one tour in america of 70 cities

70 cities it was like ah where

we didn't know half the time where we

were playing you know mick would have to

have hey

springfield or hey chicago great to be

here and sometimes we didn't know where

we were

[Music]

it became

a big problem for us

it was something that paul brought up

very well he said listen i can't take

this endless

tour album to i need some time off man

give me just a month or two months

but don't keep booking things without

you know consulting us we suddenly

realized well we can't go in and make

another record without more preparation

without having more songs

i mean we got away with the fourth album

it was not a power bad album at all

there's some good songs on there

but there wasn't the abundance of the in

the there was in the first three and uh

so we decided to try and make up for

that on destination angels but i think

we did

i needed to write a song for the album

and i was thinking um

you know what i'm going to write about

now and i actually had a um a synth

guitar was one of the first synth

guitars that ever came out made by

roland

and um

when you got it going it made some

fantastic sounds

and it had you know it had harpsichord

sound it had a bass sound the guitar

could be made to play harpsichord bass

uh guitar acoustic everything you know

all these different sounds and i was

putting all these sounds in and i and i

hit the sound wow this is like a rock

and roll fantasy this guitar and i went

aha

that's it so and then i just i i just i

wrote okay what would a wrong world

fantasy be well

and i'll just categorically state that

right now because

paul quit all that stuff in the mid 70s

so he was never involved in it in any of

this

but i was i did a lot of blow

boz did nick did

the whole zeppelin camp did and

they just played birmingham odium

and dad got me to learn uh rock and roll

fantasy

so when they came over i played it but

even paul tells the story oh yeah you

play county enough you love him and he

wasn't can't get anything over i played

what come on fantasy

so where did you play this at my house

my dad's house yeah i was in the pajamas

i remember being woken up it's your time

which is you know

i come you know

you know

and just played it so that was uh

that was the first time paul actually

turned to simon when you're

fired with one of those many times he

did 1980 was a horrible year

you know lennon was shot

uh i believe you'll have to look up the

chronology but i think it was just after

bonzo had died

it was horrible when john bonham passed

away he he sort of became a virtual

recluse

uh he took it really hard the band would

been

run itself into the ground we were doing

tour album tour album we were all

knackered

and then when john died zeppelin broke

up it was like a house of cards because

once zeppelin went peter grant went into

seclusion there was no one to look after

us by a company we'd go to his house for

meetings we wouldn't see him you know we

got the feeling that he he wasn't really

that well understandably he'd lost a lot

of enthusiasm for the job

so we soldiered on without him but that

was

not very successful i mean we

you know when you have a band of four

strong characters and the managers are

stronger stronger than any of us and

he's not on the scene everybody then

decides they know best

so we only got four people in the band

thinking they know best you know it's

not going to work

at least he was the one we listened to

in terms of like you know

touring or recording not material but

timing of everything

so uh now we did an album that was

it was okay but it was uh it was not the

same after uh without peter's

involvement that was the last album

rough diamonds then after that paul

decided he wanted to quit by the end of

1979 when we'd done rough diamonds which

was really not very good there'd been a

fight between paul and boz

paula expressed a desire to do his own

album so he was saving songs for his own

stuff mick wasn't you know they weren't

collaborating anymore it was writing his

own stuff it's

it happens you know it happens with all

great songwriting partnerships that

eventually you know there'll come a time

where you'll save your own stuff

for something that you want to do solo

and that's what paul did and to a lesser

extent mick the thing about music for me

is the music is really the most

important thing and we were we were

young and we were successful and we did

a lot of partying and i felt that we

were losing touch with the music and it

was getting too much about the party too

much like a shooting star situation if

you know what i mean and uh i just felt

that we

we'd lost track of the original fire

that we had and i wanted to get away and

do something else basically

we weren't getting on and that was

mainly to do because peter wasn't around

he would always sort out any friction

and hold up be such an old tart and

stuff like that

and and get us all unified as a group

again we've lost that unity and you know

i love porn and i've

respected and admired paul since

you know 1968 that's how far back we go

and i think he's one of the finest

singers ever in in the history of

singing them

but i don't know what he got under his

bonnet about buzz

because buzz

was new on the scene christ he'd been a

singer up until 1973.

i mean he'd only been playing bass a

couple of months you know when we got

hold of him

the thing about boz was he was very

musical

and he wasn't scared to voice his

opinion about you know almost

bloody annoying actually you know we

come to the end of this frantic song

it's great take

you know my god

at the end of the on the drums and he'd

go uh should we do another one

someone would start complaining about

how it sounded and he'd go up to the

desk and turn it up full volume and look

round and look at everyone and then turn

it down and said well i used to work in

the old days

we were

saying i know what to do and paul said i

know what to do and you know

so it's all like four different people

as opposed to a group

and i think that's about the end uh

that's when paul decided he didn't want

to do it anymore

and uh we quit just after that paul said

you know i can't take this anymore i'm

going to do my own thing

and it was just a general

screw up all round so that really was

the end of bad company in the end of led

zeppelin my emphasis always been about

music

really that's the thing that that that's

the only reason i do it it's not to be

successful or to be famous it's to uh be

a songwriter and and to sing and to

reach out and to connect with people

that's really my thing you know and

everything else is a side issue you know

and i felt we were losing touch with

that uh

the idea of playing just to reach people

i don't know i and and so i went to seek

something else you know

i thought at the time that maybe he just

wanted some time off you know as you

sometimes do when you work closely

together you just want a bit of a

breather you know get on each other's

nerves if you're in each other's company

all the time

in the old days i remember so and so

leaves the searches

end of group

no reunion plan it was all headlines but

with us with free and with bad company

it was like

we just kind of

dissipated and went our own ways and

also at the time he was the only one

that had kids

see at the time none of us had had

children

he just wanted time apart from the group

spent with his family and do his own

thing so that was probably the right

thing to do because i think if we had

continued somebody might have got hurt

along the way you know i mean he was it

was quite heady and i think he's

his decision to stop was the right one

it was a horrible time as i said 1980

through 82 it was an awful time for me

personally you know i i developed a

an addiction and i went to treatment

and when i came out you know it was all

a bit of a bit of a downer really and i

missed the band terribly

i did i mean it was a it was a great

band and we made some great music but we

really did need some time off

the group didn't continue so we all

drifted off into other things but i

think there was a period where we were

just hanging around you know thinking

well paul want to do something soon um

but it didn't go that way the door was

always left open by pretty much you know

all of us anyway everybody went off and

did whatever they did pulled some solo

stuff what he did cut loose i think he

did his first solo album

yeah and then paul got involved with

jimmy page

and put together the band called the

firm

because of john's death uh john bonham

you know and jimmy said to me well we

should form what's former band and go on

tour and i said well you know i really

don't want to get into the grind again

you know and he said i'll tell you what

what we'll do we'll make two albums

and we'll do two tours and that'll be it

that's all we'll do

and i said okay that sounds good and

that's what we did i did an album called

take this in about 1980-81

with simon and a few other musicians

bosnia often played his jazz he loved

his jazz

and that's what he ended up doing

getting her um getting himself

a 10 12 piece jazz band up in edinburgh

which he got his rocks off on so

thank goodness he did that

you know we all found things to do but

it wasn't as rewarding as being in a

group particularly simon and me and paul

always been band members you know when

you make living in that mentality you

depend on the other people you're with

i met b.b king and played with him at

his club in in new york

and

we did a song called every day of the

blues which is this first song i played

with paul kossoff on stage at the fickle

pickle influencery park so for me it was

a fantastic full circle to to be playing

that song

i i met hubert sumlin who is and played

with he actually played all right now

with me buzz decided he wanted to retire

and

buzz just basically stayed in the

hammock on the poop deck for six years

and got browner and browner and browner

the four tops invited me to to play at

their 50th anniversary in detroit when i

met paul

uh

we we were on the same uh show in

detroit

uh

uh we were both doing a tribute to the

the four tops and that was a real honor

because i didn't even know that they

would be

aware of me you know naturally everyone

knows about

all rogers and bad company

but i had no idea he was even there

and i got to sing a couple of songs of

couple of their songs

and and they came on stage and they

actually stood behind me

like i was their lead singer and they

were my backing band

which was i mean it was a real honor

to me

paul rogers

is one of the most underrated

personalities you would ever want to

meet this man has talent

beyond talent

this man can sing

anything

he could sing the telephone book i was

watching tv one night and then there was

this

brit awards or something and queen were

on

and then then i realized paul was

singing with them you know they they

arranged to do like all right now or

something

together and i thought wow you know

that's great and uh

then they

obviously invited him to be the vocalist

for some queen shows

i had just played with brian for a nod

off robbins charity at wembley and so we

got talking and he said uh you know we

want to play that but we need a singer

do we if you'll sing for us our couple

of songs uh we will rock you with the

champions we'll be your backing band for

your song you know all right now i said

that sounds like a good deal and that's

what we did and it was dynamite that to

me was

was a great thing it was just something

which was kind of in my blood because we

grew up on free and bad company and

freddie was a big fan of bad company so

i went on and played with paul and it

seemed like the most natural thing in

the world there was an instant easy

chemistry there people

people from the bowels of this building

where we're rehearsing all came rushing

up to see what they could what the

excitement was you know they're popping

their heads in the door so from the

get-go it was very exciting and paul as

it happened um was in a sort of lull

and paul told me later that he was

considering

giving up playing at that point you know

he was feeling that he wanted to have

some more home life and stuff but i'm

afraid we put an end to that

[Music]

[Applause]

[Music]

it was very sad that we found out that

peter grant had passed away in 1995.

obviously missed him terribly still do

it was good to see everybody of course

we'd all lost touch with each other we'd

all gone off and done different things

um

yeah i mean you know

we never fell out we just went our own

separate ways so it was it was kind of

nice to hook up although it was a sad

circumstance in which to

get everybody together

and robert plant suggested to us

at the get-together that perhaps we

should think about getting back together

and doing something

which sowed the seed in everybody's mind

and which eventually led to the

1999 reunion

this is like as if we hadn't stopped we

started playing again you know and then

very quickly we had the old

chemistry back

which was quite amazing really because

everybody had gone off and done loads of

different things

[Applause]

[Music]

[Applause]

the reunion was not a success and i

think we could all agree that primarily

um there were two camps there was paul

and myself who were sober

and there was mick and buzz who weren't

and when when i'm trying to maintain

sobriety and i'm only speaking for

myself here and we have you know mick

and buzz

who

completely the other way it led to a

huge divide and

uh we didn't get on bottom line is it

was not a success

both commercially or personality wise

and i think we're all quite glad to see

the back of each other

not so much me and paul because i've

always gotten on fairly well with paul

but boz became a problem

his intake was pretty bad

and um

you know it eventually uh killed him

it was buzzer's belated 60th birthday

party and had some friends staying some

musicians staying

and there was a lot of people arriving

later on

i was in the kitchen cooking up a huge

buffet and

boz was wandering around i think we were

watching horse racing we were betting on

the television on sky

and buzz turned round to his friend

billy and said gadget life doesn't get

any better than this

when he walked outside onto the patio

picked up alvin's guitar

and said to tam white

he said no no that's the wrong note for

this tune and he's going this is how

it's played

and the next thing we heard was the

guitar hitting the floor and

that was that i'm afraid

well it affected me a lot you know i was

very very upset and obviously saddened

he was a great friend of mine probably

in the group we were the closest to you

know i mean he got on with everybody but

me and him used to hang out a lot and

used to go out together and we share the

house on tour we share it together you

know

so i was very good friends with him and

uh he was a lovely guy and

it did change you know the band

we plodded on without him

but i do miss him terribly yeah he was a

great

character in the band

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drink heavily

some would say detrimentally so i

wouldn't agree with that because in all

the times i saw him drinking

he was always practicing working

recording

laughing listening understanding

philosophizing he lived a full life

alcohol didn't prevent any of these

things he was never the curtains closed

on your own bevy merchant he wasn't one

of those guys he drank socially

he enjoyed drinking

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i never saw it as a bad thing he did

have an incredible

tolerance for stimulants

and he could actually function because

he would play

in whatever state he was in he just

wanted to continue doing what he liked

to do

if he could and any excuse really to be

playing or to be listening to music

you didn't believe in going out on a

half life

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he was just something else and if you

could have seen him play in the last few

years of his life he became a

world-class bass player

phenomenal

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the whole reason we got back together

was there was uh

concern about the trademark of the name

and because the band wasn't working

there was a danger that other people

might might use the name and

all these sort of things so

the obvious thing was to do something

well paul was still in queen

and

so i said well why don't we just do a

gig at least then

it can be seen that we are

working as bad company you know with

simon and me and paul obviously without

poor old boss

so that's what we did we did a gig in

florida at the hard rock august 2008.

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wonderful i gotta say that was

absolutely

came out of the blue

um

i can't even remember why we did it the

name was being plagiarized by certain

people in fact make himself took it out

on on the road and i didn't like

that

and i decided that what we needed was to

pull the thing together to have a new

contract between us which stated that

none of us could play without the

other's permission i'll use the name so

we said in order to uh

to define that um we would do a show

we'd video the show dvd the show and

we'd release it well we had a good time

playing that that show and the audience

was fantastic so it was yet another kind

of reformation i suppose but it was yeah

but it was like we hadn't stopped it was

great

we filmed it and paul did some remixing

of the

tapes and it was a big success

and it paved the way to do these 10

shows

earlier in in 09 when we did the east

coast of america

we were all a bit you know

not quite sure how it would be without

balls and how we'd be received

but of course

uh

as soon as we started playing and the

audiences responded so well that we

we felt good about it again you know

despite boz not being there it was uh

the the song still came across quite

fresh and and uh

and it was um

it was suddenly as if we hadn't stopped

but there was a long period

in between where we hadn't done anything

there was mick and there was porn there

was myself and we had howard lease and

lynn sorenson from paul's solo band

and it was a wonderful combination

all i've ever wanted to do is be in a

band and the banner i've been in the

longest is bad company and

i can do that i'm good at that um

i think everybody else probably feels

the same i mean

we've all done different things in the

interim but nothing is rewarding for me

anyway well i've just come up to

an s7 not going to do another three

month tour thank you not straight off

the bat but we can do you know a couple

of dates so we end up doing these 10

dates the 10 shows in uh

you know nine were some of the best that

i've ever experienced in any band but

whether we go beyond that into recording

new stuff is

is you know it we could

and there is not two so it's a bit like

the early days of bad company where we

would left behind those demons and we

were now playing unfettered unchained

and just having a ball

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i wasn't quite sure what to expect

because it's been such a long time and

we considered we had we went for like

what 10 years

yeah somebody said to me is it like

riding a bike i said no it's like riding

a wild stallion

i like that you don't forget how to do

it but it doesn't make it any less

dangerous

i like that

if you put that first

thank you see you

later thank you my friend

show me the right

[Applause]

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i'm always trying to hear what paul's

doing

and try to

you know supplement it compliment it

whatever back it up like like you said

earlier on you've got to have a

structure you can't keep be too

free-form but there's certain times and

songs that you know he'll do something

and i'll try and back it up rather than

right over it yeah paul goes somewhere

we'll go there with it you know or

whatever way you know it's just at the

moment whatever we'll go run with it and

whatever dictates you know the mood of

the audience or the way we're feeling

and we're always right there to

compliment that and it's just a natural

thing we do it's not like a problem for

any of us it's a magical experience

pretty much every night i have to pinch

myself once in a while because

i'll be standing there next to him and i

look back at her assignment and going

wow these are the guys that i grew up

just loving they're they're playing

their music i think paul is the greatest

rock singer that's ever lived

and to this day i mean he hasn't lost a

step a lot of singers of his generation

are

substituting the high notes for lower

notes or tuning down a little bit but

paul we play everything in

a 440 concert pitch the same as the

records a lot of the times i'm playing

i'm thinking about what i'm doing but

now and then i get a chance and i can

i'm just listening to him play and sing

while i'm playing and it's it's a

magical feeling all of the gigs have all

of the shows have been um

exceptional and the uk tour was another

uh

endorsement of that you know that the

response was great and we played well

good morning

what we'll do is we'll walk in at three

o'clock nikki horn will get up and make

an introduction you'll play do a photo

session then do the uh q a

and then a signing of a guitar that will

present to the hard rock and then down

yeah right

getting too old for this [ __ ]

gonna have to whip me into shape here

hello

this was the first hard rock ever

many people known it

but where's your drum here

all right

ah [ __ ] better than that

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we have

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i was in the states last year for

10 shows and when i come home my friends

and family were asking you know is the

uk thing going to happen i said well

swann is secrecy but possibly you know

ladies and gentlemen would you please

welcome a true super group ladies and

gentlemen bad company

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don't you know that you are

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i like that sound basically

yeah that's it that's what we're missing

you know

well that went well didn't it it was

really good

i thought they were fantastic that that

that kind of chemistry

is still there there's absolutely no

doubt

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hello

nice to see you first gig lovely

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wow

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[Applause]

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[Applause]

so

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it would be nice to do some more and

it'd be also nice to do some new stuff

if if

if that's the way it's gonna i mean i

haven't written for a long time i must

be honest

i haven't really felt like you know you

go through a patch when you're not

working and then you have

marital problems whatever you know all

that stuff and you don't feel like

writing anything there's nothing to

write about that's good i like to write

about stuff that's good you know not

miserable stuff

so uh but i'm starting to write again

now i'm feeling good about everything

and having the band there as a vehicle

is an incentive

because i've always written for a ban

you know and when bad companies stopped

there was no vehicle although i kept

writing

it was all kinds of various stuff at

least

having bad coming there gives me a focus

to think well if there is a certain

thing that we do

whatever it is you know like it or not

so i'm trying to tailor the stuff i'm

writing to fit that

bill you know to keep it

up to date but still keep the essence of

what we did in the early days and

but paul played a couple of things and i

picked up on them and i said what's that

you know

like little glimpses of things it would

be nice if we did some new stuff

we shall see who knows i mean we're fit

um

sober and

who knows what the future will bring but

i really hope that we can do some shows

together in the future

as long as there's a market there and a

demand for it and we're enjoying it

there's no reason not to do it

as long as we physically can

i don't think any of us want to do

marathon

tours anymore we're too old for that

i would love to do another album you

can't predict it really just have to see

how it goes but hopefully there'll be

more that will be lovely

that will be lovely

i'm gonna take a break and i'm going to

uh focus on songwriting songwriting

really you know that's where everything

it kind of stems from and i'll see where

that takes

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i love the me

and i love to see the crowd

dancing in the house

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here come the dancers

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it's

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fantasy

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put up the spotlight

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up

you