If you like listening to Rockonteurs, then we would love you to subscribe to us permanently. So hit subscribe wherever you get your podcasts from. Hello, Gary. How the guy? What do you got? I'll tell you what I've got. It's not much. I have, do you ever get those things where you suddenly a record pops into your head for the first time in just years and years and years. This isn't an advert we're doing, is it? It sounds like... Well, sort of. No, no, no, no. It's... No, because I just suddenly remembered an album, and I literally haven't thought about it for like 35 years. It's Jai by Junior. Junior Giswum. He had that one big hit, Mama used to say. That's right, yeah. Yeah, he was English, isn't he? He was English. Now, hang on. Sorry, have I got this completely wrong? Did Richard Burgess produce that? Oh, I don't know. Maybe, because that was the thing. I went back and listened to this album. I actually went and auditioned for him when I was 19.

And because, no, because this album, it's, the production and everything is amazing. It would sort of,

it sounds like one of those records that all the Toto guys are on or something. It's so slick and sophisticated and brilliant. And you dug it back out? I dug it back out. Yeah, but, and it's, you know how very often that happens and you're actually disappointed? It's like, you know. Yeah. It was Bob Carter who produced that. Sorry, I got that wrong. I don't know who I was thinking about. And where was he from? I don't know. I think he was just from London somewhere. And it's all English guys, but it's like a real anomaly. It's just such, it's such a slick record. And the songwriting is brilliant. And that's apropos of nothing, right?

Appropri of nothing. Just came out and it was, um, yeah, I was literally in the gym and I, and that thing where I literally had to just keep stopping and going

fuck this is amazing but that is the beauty of what we have in front of us now as a as you know

a resource that we can think of a song we'll talk about a song at a at a you know a dinner

party and suddenly just put it on is that good or bad because? Because it's taken the hunting away, hasn't it?

The sort of the delving back through dusty old, you know, vinyl.

Well, I think there's two sides to it.

I think it's good for us who are at the other end of it.

And just frankly, I've got the time or the inclination to go digging through everything.

But for the Voyager, if you like, the explorer, the young explorer, I don't know if it is so good.

You don't think.

Not necessarily, because there's not the value in it. You can't be the Marco Polo of musical hunting anymore, can you? No, exactly. Like we said to Paul Jones, you know, getting on the bus, going to someone's house just to show you a record cover. Yeah, record cover. And the other beauty is, of course, if you want to think, you think, I've got to hear that track again.

And you had to go to your vinyl collection and you pull out the record.

And on it is written in Biro, Debbie, 226, 47, 9.8.

And you just think, oh, of course.

That's right.

That's what the record's about.

That's right. That's what's just popped into my head. You know, those little scribbles that people... That's absolutely right. Because we never cherished the product then, did we? We bought the sleeve and, you know, someone, you'd say, you'd take it to a party and you said, someone would say, you'd meet someone and they'd write down that. You'd let them write down stuff on your record sleeve.

Or someone would give you a record and they'd write something on it.

Or, you know, or a slim volume perhaps.

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