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6th July 2023

Q: First and foremost, how’s your health Dave?


DC: Well I’ve got an MDS (Myelodysplastic Syndrome) which

is not curable but is controllable and it’s being controlled at the moment.   


Q: That’s great and a word of encouragement, a friend of mine’s father had it and lived for another twenty-two years.


DC: Oh I’m not sure I could cope with another twenty-two… (laughs) It’s a little bit restricting in that I have to be careful where I go. If I get an infection, I have to report to hospital so I have to avoid mixing in crowds and that’s quite difficult.


The Magic Of It All


Q: Settlement (2021) was written through Lockdown, The Magic Of It All had a very different birth and evolution. It took you to a place where you had never been before and by that, I mean educating younger people about recording a band in a studio. A film crew in there as well, was it a bit overwhelming or were you riding the crest of the wave?


DC: The film crew were there every minute of every day when we were in that studio but after the first five minutes or so you took no notice. They didn’t put lights up or anything like that and it was pretty much fly-on-the-wall stuff. We went into the studio, they followed us into the studio, they filmed every minute of that and then when we went back into the control room they followed us in there and filmed there as well. They were watching every minute and it was an invaluable experience for the students. There were about a dozen of them and they helped set the studio, mic the drum kit and learning all about that because nowadays, young people recording use computerised systems and they don’t see anything about a studio this was an unbelievable experience for them. The guitar amp had been put in a corridor so it didn’t blare across the whole studio, they noticed little bits like that and then ever so often during the playback they’d say ‘Why are you doing that?’ or ‘Can you explain what that is?’. They asked during the recording ‘Can we sample this?’ and we said ‘No! It hasn’t even been issued yet!’ (laughs) They were not in awe of it, they were just keen to learn and I was so pleased that they were able to do it. When it came to lunchtime, we all went outside and sat in the sunshine, had our sandwiches or MacDonald’s or whatever and all mixed in together. It was just good fun.


Q: What did you learn from them?


DC: I learnt what music they were into which was very different of course to what we were playing. Songs are not made as songs anymore, they are pieces of music with words attached that don’t necessarily have any relevance to anything or to the music itself but the songs on this album are quite deep and every line has got a meaning to it. I’m not being pretentious but I’m writing about what’s going on in the world around us and again, they were very interested in that.


Q: Did you manage to talk to people who were there in the seventies and learn more about how much Strawbs music meant to them back then?


DC: Yes we did. It was quite remarkable. We were staying in Stellenbosch which is about three-quarters of an hour outside Cape Town and every night we went into a different café or bar and had a meal and got talking to the locals and it was fascinating talking to them. I knew very little about the whole Apartheid situation and it really was a terrible time but what happened was people were going ‘Oh Strawbs! Oh yes!’ and we began to realise how popular the band was – we had no idea. I knew from the record company in the seventies that we were selling records in South Africa but we couldn’t go over there and play and I had no idea of the sheer volume we were selling over there and that we were one of the biggest bands in South Africa at the time. The album that took off was essentially Grave New World because they identified with the songs. (Dave recites the opening lines to New World)


        There's blood in the dust
        Where the city's heart beats
        The children play games
        That they take from the streets
        How can you teach

        When you've so much to learn
        May you turn
        In your grave
        New world


They identified with that, very much so. Similarly, Part Of The Union became a rallying call for the union movement over there but we had no idea of that until we were there.


Q: That’s quite incredible the power of that song. It got you banned in America for a while as well.


DC: Of course it did but then in Canada, there was a radio station that went on strike and for twenty-four hours, played nothing but Part Of The Union. (laughs). It’s still got that rallying call. 


Q: It is a very special song.


DC: It is and that’s why I’m so pleased to be working with John (Ford) again. It’s an old friendship that never died, we just went our separate ways and came back together again. It was the Settlement album that got us together really because I had some words that I was interested in and John said he had a tune and we put the two together and it became Each Manner Of Man. That was one of the biggest songs on the album.


Q: Is there a release date set for the documentary?


DC: No. We’re doing Cropredy and filming the whole show and clips of that will be used in the documentary. Then the crew are off to America to do some interviews with people like Tony Visconti I hope and we’re also hoping to get Jerry Moss from A&M which would be really lovely. So, the documentary will come out towards the end of the year, how it’s going to be distributed, I can’t tell you yet as I don’t know. The publishing is held by Sony so I’m talking to them about it but who knows.


Q: The new album this month and 2021’s Settlement hasn’t had a much of a live airing yet. Cropredy 2023 has been announced as Strawbs farewell concert and I don’t want you to give too much away but what can you tell us you have planned?


DC: Ooohhh…It will be a seven-piece band. John will be there, Blue Weaver, Brian Willoughby, Cathryn Craig and the backline will be three South African guys from the album. The whole point is the continuity in that the album is called The Magic Of It all, the documentary is called The Magic Of It All, the guys will fly in from South Africa for Cropredy and the whole thing will link together. There will be a couple of surprises as well.


Words and Music


Q: You’ve stated that every word in your lyrics is important and you do paint a picture with every song you write. Magic Of It All has that wonderful line ‘It’s hard to see a stop sign, walking ten feet tall’, Hangman and the Papist, October To May, My Friend Peter…so many great lyrics over the years…


DC: Well The Magic Of It All is a travelogue of the places we’ve been to play and the history of the band all in one but it’s also about not getting to the top of the mountain. We were always climbing, almost there but then the management decided to withdraw support of the band so the band went bust and I went into the radio business. I call it my twenty-year sabbatical.


Q: What I got from those lyrics was even though you never became superstars, you were not at the top of the mountain as you put it in the title track, you have no regrets whatsoever.


DC: No. I’ve done lots of things, many things that I perhaps regret but I have to move on all the time. Life is a journey - even though that is a very corny phrase – and every day you are living a different experience and you have to learn to live with that. The condition I have got, I had to learn to live with it and I live it to the full as much as I possibly can and all the time, you can get through because if you just feel sorry for yourself and curl up in a ball, you will just shrivel away. It’s important for me to be creating and all the time there are new songs coming. Someone will say a phrase and I will pick that phrase up and think ‘ where can I go with that?’. I have a new song going called The Waiting Room which came from when I was sitting in a train station when the last train went by and I thought where is that last train going? Why did it go by? I was there, waiting for it…why didn’t it stop? That sparks the imagination about where I can take this. That’s how I do it. I work from the smallest of phrases and then develop them.


Q: Well that’s why I and many others consider you to be one of England’s finest lyricists. Anybody else, including me, would have just jumped up, got angry and sworn at the driver.  You take that experience and write it.


DC: Yes but I turn it into an imaginary story. The Magic Of It All started with me coming up with a guitar phrase and I thought sounded like John Denver believe it or not, it was just the way I played it with a dropped D. Then I started to get other chords and then the line, The magic of it all, came out and the travelogue part of it.


            The streets of New York city to San Francisco Bay

            Denver to New Orleans, well-wishers all the way

            Those who walk beside you, ready should you fall

            The magic of it all


I’ve had lots of support all the way through. I’ve had letters from young girls saying ‘I was in hospital having electric shock treatment and I got through it by listening to your music’. That was in the seventies and it’s extraordinary to have that. People in America in particular coming up and saying they got married to The Winter Long, that they had their first dance to it. It’s flattering that people have taken the words to heart.

Q: Everybody Means Something To Someone really hit home with me as and I’m getting on in years as well so I wrote myself a note to once a month, call someone I’ve lost touch with to see if we can be back in touch. If I hit one in ten, it’s worth it.


DC: I agree with you. There is actually a piece of driftwood in the front of a cottage just down the road from here. It’s a carving of a fish and I saw it on the wall as I was walking past it. It’s only about twenty yards from the sea and it’s an art exhibition.  There is a little plaque beside it which is the title of the art exhibition and I read it and it said ‘Everything Means Something To Somebody Somewhere’. I made a mental note of it and adapted it to suit myself. I had to refer to that piece of driftwood and also, it’s a notorious are for shipwrecks so hence the shipwreck in the song came in. Nowadays, all we do is talk online but it’s not communicating. You are not actually communicating with people anymore so I thought how do you communicate? You write a letter, send a message or pick up the telephone, those are the three simple verses. I deliberately wrote them simple to get the message across.


Q: When playing live you seem to put the same passion into a song that you had when you first wrote it. Sometimes you take a little step back, close your eyes and tilt your head back with a smile on your face and I wonder where are you? Are you back in the year you wrote it, reliving that memory?


DC: No, not necessarily. I’m singing the words and quite often, the words, although they are the same words, will be affected by the emotions I have got going through my head at that time. For example, Down By The Sea. I live by the sea and one strange lunchtime I did an interview with the music editor of the Daily Express and very casually she asked what I was doing that weekend. I said nothing so she invited me down to see her parents in Dover which is just down the road. We went, they were very nice people, we had a lovely time, had a meal and then walked along the harbour and the sea came crashing over the top of the boardwalk. Down By The Sea came out of that. There was nothing in it but when I sing that song now, if someone has really upset me, I can sing it with the most violent feeling.


            They build their homes upon the seashore

            The quicksand castles of their dreams


They can have a different feeling I will snarl them out sometimes if someone has upset me but other times I can sing them more open with warmth and feeling. The lyrics of my songs are a vehicle for me to express my emotions.




Q: Being a Leicester lad myself, I was somewhat pleased to learn that you studied at Leicester University in the sixties and received an Honorary Doctorate in January this year.


DC: I was absolutely thrilled with that. Two years ago I was given a Lifetime Achievement for music by the university and then to receive an Honorary Doctorate was really unbelievable. The difficult thing was that I wasn’t able to go up and receive it in person because I had just been diagnosed with MDS and the doctors had advised me not to mix in a crowd. There would have been twelve or thirteen hundred people at the De Montfort Hall and there was no way I could have gone there and not shaken hands with loads of them so I had to say no. Luckily I could go up there about a month ago, very quietly, on the train with a mask on all the way, wiping down the seats as I went and oh my god…Anyway, we got up there and met for coffee with the vice-chancellor and he gave me my scholarly scroll which is really the most proudest achievement I’ve ever had.


Q: Leicester university and DeMontfort Hall are just up the road from each other – literally a three-minutes’ walk. When you were studying there back in the sixties, did you ever see any gigs at the De Montfort Hall?


DC: I saw many gigs there, yes. I saw Modern Jazz Quartet, Miles Davis…I saw Gene Vincent hence Be-Bop-A-Lu-La coming into one of the songs now – I’m looking back on that. I saw a Beethoven concert…loads and loads of stuff and I made a point of going there because I was a senior student in the halls of residence on Regent Walk so I could just walk there and see these astonishing people. Then in the seventies, there we were going back to the DeMontfort Hall and playing!


Not Strawbs


Q: Despite being known mainly as being a Folk Rock musician, you’ve often been involved with a lot of Heavy Rock/Heavy Metal musicians. You had Roger Glover from Deep Purple on your first solo album, you recorded a vocal intro for Def Leppard and later, you formed Dark Lord Records with Chris Tsangarides and he produced you. Are you a secret Heavy Rocker?


DC: Not a secret Heavy Rocker but some of the music I enjoy a great deal! The curious thing about Def Leppard is that when Brian Willoughby and I used to go around the Folk clubs – this was when the management decided they were not supporting the band any more – Joe and the guitar player used to come and sit in the front row at our feet and come to see us play and we became really good friends. They gave me the first EP that they put out and I’m really pissed off that I can’t find it. With the recording, I just happened to walk in on the studio to see Tom Allom who was producing them and Joe was reading the poem and he said ‘I can’t read this, you do it.’ (laughs) I saw him when ELP did their last show as Def Leppard were on the bill. I walked up to him and said ‘If I were to say to you When The Walls Come Tumbling Down, what would you say? and he said (Dave adopts Sheffield accent) ‘Fucking Shakespeare.’ (laughs)


Q: There are big debates about the digital age. Streaming, the death of the major record companies, downloads, etc but one area that is rarely touched on in all those debates is one of your passions, radio. What’s your opinion about how the digital age has affected radio or has it not been affected at all?


DC: There are two separate streams but the digital revolution as they call it as far as downloading music, has forced bands of a certain age to go back on the road and play because the royalty stream has dried up. The record companies are abusing it in my opinion, they are the ones who get the money from the streaming services. They are paying royalties which in our case would have been around 13-15% depending on which stage we were stage we were in our contract and for example, if it was 15%, they are taking 85% and we, five members of the band, are sharing the 15%. So bands are really on their knees with regards to the royalty streams. It’s inevitable that sales go down and they are defending it by saying that the music is there and that they are introducing us to a new audience – no you are not because are old audience are all dying off! It’s a dwindling stream and it’s forced bands to go back on the road. I can’t go back on the road again. I’m doing Cropredy and that’s it. I’m not risking my life to go and play The Bull’s Head in somewhere. The radio business, I went into it and spent twenty years in it, twenty of the happiest years of my life, especially the first ten years because it was a growing industry and totally new. We were doing stuff that was new and I had an open palette to do anything I wanted with that radio station, so I did! I had my Christmas lunchtime shows, I had Dame Vera Lynn presenting it, I had Barbra Dickson on presenting the morning show for a week…I did some wonderful stuff of which I am so proud of. I did series called Rock Of Ages where I interviewed Pete Townsend, Cat Stevens, George Harrison, about their religious beliefs and how it affected their songwriting. I’ve got them and they are extraordinary. Cat Stevens had just become Yusuf Islam and I was the first person to interview him. I interviewed Bob Marley and that was one of the last interviews he did, we interviewed him about being a Rastafarian and how that affected his songwriting; to hear Pete Townsend talking about Meher Baba was fascinating. But then the radio business began to consolidate as groups began to form and so on and that was very disappointing. Then it was the demise of the Capitol Radio group as they got taken over. That was all very, very, sad as it took away the individuality of the stations. They began to stream programmes and share programmes across the network but the one good thing that has come out of it is that there are now about four hundred community radio stations around the country playing lots of different types of music and are actual community radio stations. I was going to send out Everybody Means Something To Someone to the local stations here as I think that would be a song that the community stations would pick up on but unfortunately, because I got poorly, I wasn’t able to do it.


Q: Well as with many of your songs, that one has a message that is relevant right now and I suspect will be for many years to come.


DC: People say ‘What do want Strawbs to be remembered for?’ and it’s the songs. The common denominator that runs all the way through Strawbs, no matter who is playing them, is the songs. They tell the story of my life or what I’ve seen. It’s almost like going back to the 1800s when troubadours used to go from village to village singing the news of what was going on. That’s what I’m singing:

           Politicians with their hands all smeared with grease


Q: Isn’t that the truth!


DC: (laughs) I don’t think I’ll be joining the Conservative Party any time soon.


Q: Me neither. Dave, as a long-time fan of your songs, this has been a real pleasure and I thank you for taking the time to talk to me. All the best with the new album and for Cropredy.


DC: It’s been wonderful. Thank you.

Dave Cousins.jpg
Photo: Richard Huggard
Anchor 1

Dave Cousins (デイヴ・カズンズ インタビュー)



Q: 何よりもまずデイブ、健康状態はいかがですか?



Q: それは素晴らしいことですし、励ましの言葉でもあります。私の友人の父親がそうだったんですが、さらに22年長生きしました。


『The Magic Of It All』

Q: 『Settlement』(2021年)はロックダウンの期間中に書かれましたが、『The Magic Of It All』はまったく異なる誕生と進化を遂げました。このアルバムで、あなたは今まで行ったことのない場所に連れて行かれました。スタジオでバンドとレコーディングするということについて、若い人たちを教育するという意味で、です。撮影クルーも入りましたが、少し気おくれしましたか、それとも波に乗っている感じでしたか?

DC: 私たちがスタジオにいた時、撮影クルーは毎日毎分そこにいたけれど、最初の5分くらいが過ぎると、何も気にしなくなったよ。照明も何もつけず、まさに、こっそり他人を観察しているようなものだった。私たちはスタジオに入り、彼らは私たちの後を追ってスタジオに入り、その一部始終を撮影し、私たちがコントロール・ルームに戻ると、彼らは私たちの後を追ってそこでも撮影した。彼らは一分一秒を見守っていたし、生徒たちにとってはかけがえのない経験だった。若者は十数人いた。スタジオのセッティングを手伝ったり、ドラム・キットのマイキングをしたり、スタジオのことをいろいろ教えてもらったりしていたよ。最近の若い人たちはコンピューター・システムを使ってレコーディングしているから、スタジオのことを何も知らないんだ。これは彼らにとって信じられない経験だった。ギターアンプはスタジオ全体に鳴り響かないように廊下に置かれていて、彼らはそんな小さなことに気づいて、プレイバック中に「なぜそんなことをするんだ?」とか「あれはどういうことなのか説明してくれないか?」とか言うことがよくあったよ。レコーディング中には「これ、試聴できる?」って訊かれたんだけど、「ダメだよ! まだ発売されていないんだから!」って(笑)。彼らは畏敬の念を抱いていたわけではなく、ただ熱心に学んでいた。ランチタイムになると、みんな外に出て、日差しの下で座って、サンドイッチやマックなどをみんなで一緒に食べた。とても楽しかった。






DC:ああ、できたよ。それは驚くべきことだった。私たちはケープタウンから45分ほど離れたステレンボッシュに滞在していたが、毎晩違うカフェやバーに入って食事をし、地元の人たちと話をした。アパルトヘイトのことはほとんど知らなかったし、本当にひどい時代だったんだ!でも何が起こったかというと、みんなが「ああ、ストローブスだ!」「ああ、そうだ!」って。バンドがどれだけ人気があるのかが分かってきた。なぜかは分からなかったけどね。70年代にレコード会社から、南アフリカでレコードが売れていることは聞いていたが、向こうに行って演奏することはできなかった。私たちが南アフリカで売れていて、当時は南アフリカで最も有名なバンドの一つだったなんて知らなかった。ヒットしたアルバムは基本的に『Grave New World』だった (デイヴが『ニュー・ワールド』の冒頭部分を語る)。











彼らはそれにとても共感していた。同様に、「Part Of The Union」は向こうの組合運動の呼び水になったが、私たちは現地に行くまでそのことをまったく知らなかったんだ。



DC:もちろんそうだったけれど、カナダではあるラジオ局がストライキを起こし、24時間「Part Of The Union」しか流さなかったんだ(笑)。今でもあの掛け声は残っているよ。



DC:そうだね。だからジョン(・フォード)とまた仕事ができることをとても嬉しく思っている。古くからの友情で、決して切れることはなかった。私たちは別々の道を歩み、また一緒に戻ってきたんだ。『Settlement』のアルバムで一緒になったんだ。僕が興味のある言葉を持っていて、ジョンが曲を持っていると言ったから、その2つを合わせたら、「Each Manner Of Man」という曲になった。アルバムの中で最も大きな意味を持つ曲の一つだった。






DC:ん-......7人編成のバンドになると思うよ。ジョンとブルー・ウィーヴァー、ブライアン・ウィロビー、キャスリン・クレイグ、それとアルバムに参加した三人の南アフリカ人がバックを務める。重要なのは、その継続性で、アルバムのタイトルは『The Magic Of It All』、ドキュメンタリーのタイトルも『The Magic Of It All』。南アフリカからクロップレディに飛んできて、全体がリンクする。


Q:あなたはかねてより、歌詞の一語一語が重要で、どの曲を書いても絵を描いているんだと言ってきました。「Magic Of It All」には、「10フィート高い所を歩きながら、一時停止の標識に気づくのは難しい」という素晴らしい歌詞があります。「Hangman and the Papist」、「October To May」、「My Friend Peter」…など何年もの間、たくさんの素晴らしい歌詞を書かれてきました...。

DC:まあ、「The Magic Of It All」は、僕らが演奏しに行った場所の旅行記であり、バンドの歴史でもある。しかし、それは山の頂上にたどり着けないということでもあるんだ。私たちは常に上り調子で、あと少しで届きそうだったのに、経営陣がバンドへの支援を打ち切ると決めたので、バンドは解体し、私はラジオ業界に入った。私はそれを20年間のサバティカル(長期休暇)と呼んでいるんだ。



DC:いや、違うよ。後悔していることもたくさんあるけれど、常に前に進まなければならないってことさ。人生とは旅であり、それはとても陳腐な言葉ではあるけれど、毎日違う経験をし、それとともに生きることを学ばなければならない。このような状態になってしまったからには、それとともに生きていくことを学ばなければならなかったし、できる限り精一杯生きている。自分を憐れんで丸くなっていたら、ただ萎縮してしまうだけだからだ。私にとって創作活動は重要で、常に新しい曲が生まれる。誰かがあるフレーズを言うと、私はそのフレーズを拾い上げて、「ああ...これでどこに行けるかな?」と考える。「The Waiting Room(待合室)」という新曲があるんだけど、これは駅で座っているときに終電が通り過ぎたんだ。それで、終電はどこへ行くんだ?なぜ通り過ぎたのか?なぜ止まらなかったのか?そのことが、これをどこに持っていけるかという想像力を掻き立てた。それが私のやり方なんだ。私は小さなフレーズから取り組んで、それを発展させていく。


Q:だから私は、そして他の多くの人たちも、あなたをイギリスで最も優れた作詞家の一人だと思っているんですよ。私を含め、他の誰もがそんな時、飛び上がって怒り、運転手に悪態をついたでしょう。 あなたはその経験を文章にする。

DC:そう、でも、それを空想の物語に変えてしまうんだ。「The Magic Of It All」は、ジョン・デンバーに似ていると思ったギターのフレーズを思いついたところから始まったんだ。そしてDを落として弾いたんだ。それから、他のコードも手に入れ始めて、「The magic of it all」というラインが出てきて、旅行記の部分も出てきた。







ずっとたくさんのサポートをしてもらってきた。若い女の子から「病院で電気ショックの治療を受けていましたが、あなたの音楽を聴いて乗り切りました」という手紙をもらったこともある。それは70年代のことで、そんなことは並大抵のことじゃない。特にアメリカでは「Winter Long」を聴いて結婚したとか、最初のダンスを踊ったとか言う人がいるんだ。人々が私の言葉を心に留めてくれているのは光栄なことだよ。


Q:「Everybody Means Something To Someone(誰もが誰かにとって大切な存在なんだ)」は本当に心に響きました。だから、月に一度、音信不通になっている人に電話して、また連絡を取り合えるようにしよう、とメモを書きました。10回に1回でも実行できれば上出来です。

DC:私もそう思う。実は、ここからすぐ近くのコテージの前に流木があるんだ。魚の彫刻なんだけど、前を通ったときに壁に貼ってあるのが見えたんだ。海から20メートルほどしか離れていないのに、美術展をやっているんだ。その横には小さなプレートがあり、そこには美術展のタイトルが書かれていた。そこに『Everything Means Something To Somebody Somewhere』と書かれていたんだよ。私はそれを心に刻み、自分に合うようにアレンジした。

その流木の破片に言及する必要があったし、難破船で有名な場所でもあるから、曲の中の難破船はそれから来ているんだ。今はネットで話すだけで、コミュニケーションになっていない。人はもう実際に人とコミュニケーションを取っているわけではない。だから、どうやってコミュニケーションを取るのかと思ったんだ。手紙を書く、メッセージを送る、電話を取る。 これがシンプルな3節だ。メッセージを伝えるために、わざとシンプルに書いたんだ。



DC: いや、必ずしもそうじゃないよ。私は歌詞を歌っているのだが、同じ歌詞であっても、その時の私の頭の中で起こっている感情によって歌詞が左右されることがよくある。例えば、「Down By The Sea」。私は海のそばに住んでいるんだけど、ある奇妙な昼休みに『デイリー・エクスプレス』紙の音楽担当編集者とインタビューしたんだ。すると、彼女は何気なく、その週末は何をしているのかと訊いてきた。私は何も言わなかったので、彼女はすぐ近くのドーバーにいる彼女の両親に会いに行こうと誘ってくれた。とてもいい人たちで、素敵な時間を過ごすことができた。食事をしてから港に沿って歩くと、波が遊歩道の上から打ち寄せてきた。「Down By The Sea」はその時に出来たんだ。何もなかったのに、今あの歌を歌うと、誰かが本当に私を怒らせた時、私は最も暴力的な気持ちで歌うことができる。


















DC: 2つの別々の流れがあるが、音楽のダウンロードに関しては、デジタル革命と呼ばれるもので、ある年代のバンドは、印税の流れが枯渇したため、ツアーに戻って演奏することを余儀なくされている。レコード会社はそれを悪用している。レコード会社はストリーミング・サービスからお金を得ているのだから。彼らはロイヤリティを支払っているが、それは私たちの場合、契約のどの段階だったかにもよるが、13~15%ほどで、例えば15%だった場合、彼らが85%を取り、私たちバンドメンバー5人が15%を分け合っているんだ。だから、バンドは印税の流れに関して本当に参り切っているんだ。売上が下がるのは避けられないのに、彼らは音楽がそこにあるから、新しい聴衆を紹介しているのだと言って、それを擁護している!そのため、バンドはツアーに戻らざるを得なくなった。私はもうツアーには戻れない。クロップレディはやる。それだけだ。 命をかけてどこかのザ・ブルズ・ヘッドみたいな所でプレイするつもりはない。ラジオ業界に入って20年、人生で最も幸せな20年を過ごした。特に最初の10年間は、成長産業であり、まったく新しいものだったからだ。私たちは新しいことをやっていたし、私はそのラジオ局で何でもできるオープンなパレットを持っていた。そして何でもやったんだ!クリスマスのランチタイムショーでは、ヴェラ・リンのプレゼンターを務めたり、バーブラ・ディクソンに1週間モーニングショーのプレゼンターを務めてもらったり......。とても誇りに思える素晴らしい仕事をしたよ。「Rock Of Ages」というシリーズをやっていて、ピート・タウンゼント、キャット・スティーブンス、ジョージ・ハリスンに、彼らの宗教的信条とそれが曲作りにどう影響したかについてインタビューしたんだ。私にもそれはあるが、彼らのは並外れたものだった。キャット・スティーブンスはユスフ・イスラムになったばかりで、私は彼にインタビューした最初の人物だった。ボブ・マーリーにインタビューしたんだけど、あれは彼が最後に受けたインタビューの一つで、ラスタファリアンであること、それが彼の曲作りにどう影響したかについてインタビューしたんだ。ピート・タウンゼントがメヘル・ババについて話しているのを聞くのも、とても興味深かった。しかし、その後、グループ結成などでラジオ事業が統合され始め、とても残念なことになった。その後、キャピトル・ラジオ・グループは買収され、消滅した。局の個性を奪ってしまうようで、とてもとても悲しいことだった。番組をストリーミング配信し、ネットワーク全体で番組を共有するようになったが、そこから生まれた良いことの一つは、今では全国に約400のコミュニティ・ラジオ局があり、さまざまなタイプの音楽を流していることだ。本当の意味のコミュニティラジオ局なんだ。「Everybody Means Something To Someone」は、コミュニティ局が取り上げてくれる曲だと思うから、ここのローカル局に送ろうと思っていたんだけど、残念ながら、体調が悪くて送れなかったんだ。












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