jenkins with the blues collectivesadtimes.co.uk
interviews the Blues
with the theme of this recording,
local journalist Dick Ward decided to ask
each band member twelve (one
for each bar) questions. He conducted the
interviews by e-mail.
Dylan Bates -
Richard 'Homer' Bolton
- rhythm guitar
Thad Kelly - electric
guitar + voice
- electric electric violinist.
Is it true
you almost died just after
you were born? Do you want to tell me about
remember, Dick; you'd be better
off asking my parents about that. I
can tell you that I was two months
premature, drunk, and weighed only four
you wrote to Billy when you
were a teenager asking to play with him.
What inspired you to write that
Well, I had
heard some of Billy's records,
and I realised that he was the only
guitarist with the speed I required
for a band I had at the time. In the
course of our ensuing letters,
however, he advised me that "All guitarists
are crap", and I never asked
I hear about you (before
you joined the Blues Collective) attacking
BJ onstage with a replica pistol?
Where did you hear that?! I
think someone's been pulling your leg.
your violin through an effects
box (and very wonderfully, too, I might
add). Where do you sit in the 'acoustic
v. electric debate?
Hm. I only
got that effects thing because
Rick [Bolton] seemed to have so much more
fun at gigs than I did.
But the Blues is always Bluer on the other
side of the fence, and I might
throw that effects box away; I only like
three of its infinite effects,
and even those aren't up to much. Besides, I
don't have an amp.
about your musical influences
- especially in relation to the blues.
hundreds of records, most of
which have influenced me somehow. Only a few
are Blues records: Robert
Johnson, Snooks Eaglin, Captain Beefheart...
Then there's Sugarcane Harris
and Gatemouth Brown in specifically
violinistic terms... One of my main
Blues influences is Robert Ward; I don't
suppose you're related?
your own band - 'Waiting On
Dwarfs'. Tell me about the music and
philosophy behind it.
philosophy behind the music;
rather, the music is behind the philosophy.
Whereof we cannot speak, thereof
we must make music, Dick.
Billy grab you by the ear
and haul you to your feet when in concert.
How do you put up with such
crass rudeness from the bandleader?
As a young man, I always
wanted to play with Billy; now I have
achieved a childhood aspiration!
I'm not likely to throw it all away for the
sake of a sore ear, now, am
I? I have a fear of standing up in
front of crowds, and Billy has
done wonders for my confidence, with nothing
more than a finger and thumb...
it's cheaper than hypnotherapy.
you're soloing, Billy sometimes
changes the chords behind your back. How
does that make you feel?
doesn't bother me at all.
He never changes them in an uncomfortable
way, and a change is as good
as a rest. It's not so much like being
stabbed in the back as having
obviously are multi-faceted. Asides
from playing with the Blues Collective, what
projects will you be working
on in the coming year?
It's true, I
have a wealth of ideas
and potential projects; I'm not so good at
the admin side of things, which
explains the scarcity of Waiting On Dwarfs
gigs, for instance. I will be
recording with my brother Roland's band,
Bitten By A Monkey, and playing
with Nigel Burch's Flea-Pit Orchestra; and
if previous years are anything
to go by, I may very well form a few new
bands... Also, I'd like to concentrate
on some music-theatre ideas I have, with
some puppeteers I met the other
of music are you most at
home with and what style is the real you and
where did you get it from?
Hmm. I play
regularly with a band called
the Flea-Pit Orchestra, which is difficult
to categorise, and there I feel
I am in my element: I suppose that my
contributions come from a muddle
of swing, early calypso, with a gypsy
flavour, which might stem from a
classical training in tandem with a jazz and
world environment... or who
knows? It could be innate.
Voodoo thing surrounding
the band. Is it true? Have there really been
power cuts before Blues Collective
gigs? Does it scare you?
Power cuts, accidents,
illnesses... even death... Yes. Before
a gig - sometimes weeks before
- I have nightmares and premonitions of
Dylan, say whatever you want
about working with Billy, the Blues
Collective and the importance of blues
We all have
our worries, our neuroses,
our depressions... That is what the Blues is
for. Oh Yeah.
'Homer' BOLTON - electric electric
you first come across Billy?
REHEARSAL STUDIOS, WHICH
BILLY MANAGED WITH FIENDISH COMMERCIAL
ACUMEN; NOT ONLY DID YOU PAY FOR
THE SPACE, BUT BY MAKING AND SELLING THE
SANDWICHES THE JENKINS CLAN MANAGED
TO DISGUISE A BIT OF BLATANT PROFITEERING OF
A CAPTIVE MARKET AS 'THE PERSONAL
How did you
end up being in the Blues
THAT I WAS RECOMMENDED BY
THE OTHER MEMBERS OF MY TRIO, THAD KELLY
& MIKE PICKERING.
Billy hog all the solos on
sadtimes? Isnt it a bit demeaning to be
billed as rhythm guitarist
when youre such a wonderful player in your
NOTHING WRONG WITH BEING A
RHYTHM GUITARIST; IT'S OFTEN MORE FUN TO
PLAY THE GROOVE, AND IT USUALLY
SOUNDS BETTER. IN ANY CASE, AT THE LAST
COUNT THERE WERE TWO (SORT OF)
SOLOS OF MINE. THAT'S PLENTY.
many, many different styles
of music. How does the blues fit in?
WAS FIRST (RIGHT AFTER LEARNING
THE MOST BASIC CHORDS IN FIRST POSITION AND
NOT QUITE BEING ABLE TO DO
CALYPSO FINGERPICKING). IT HAS INFORMED MOST
OF THE OTHER MUSIC I'VE PLAYED
SINCE, SOMETIMES AGAINST MY BETTER JUDGEMENT
(YOU JUST CAN'T SHAKE THE
DAMN STUFF OFF). ALTHOUGH I'M STILL HEARING
MORE AND LEARNING MORE ABOUT
IT, THE BLUES ALWAYS FEELS THE MOST NATURAL
THING IN THE WORLD TO PLAY,
LIKE WEARING YOUR FAVOURITE OLD PAIR OF
to be quite cruel onstage.
Ive heard him introduce you as Homer
Simpson, Michael Bolton, Michael Jackson,
Gerald Ford, Uncle Fester the list
goes on. Whats that all about?
seems to undermine your
onstage soloing by changing the chords
behind you when youre not looking.
How do you cope with crap like that?
YOU USE YOUR
EARS, IF YOU'RE AWAKE,
AND YOU GET TO EXPECT IT.
Is it true
you once drove an over 500
mile round trip in one day, just to play
with the Blues Collective? Why?
It must have been financially well worth it!
NOT REALLY (NOT IN THE
BIG SCHEME OF THINGS).
like as a bandleader?
You run your own trio and have are currently
about to release your own
CD. Billy hates bandleading. Why? How do you
BELIEVE BILLY HATES BANDLEADING
- HE'S DONE SO MUCH OF IT, HE MUST BE AN
EXPERT BY NOW. BY CONTRAST
I AM A MERE TYRO EMBARKING ON THE FIRST BAND
THAT IS SOLELY MY OWN RESPONSIBILITY.
IT'S FRIGHTENING. (IN FACT, AS I WRITE I AM
PUTTING OFF TYPING SOMETHING
NECESSARY FOR THE MIX OF THE CD BALLADS 'N'
FUNK' BY THE RICHARD BOLTON
GROUP, OUT VERY SOON AT A GIG NEAR YOU.)
Is it true
you sometimes work with
Rolf Harris? And tell me some of the other
musicians you've worked with
in the past especially the ones who
have driven you to seek refuge
in the blues.
OCCASIONALLY DEPUTISE FOR GRAEME
TAYLOR, ROLF'S REGULAR PICKER, AND I CAN BE
HEARD ON FIVE TRACKS OF ROLF'S
LATEST 'BIRTHDAY ALBUM'. MY FIRST EVER 'PRO'
GIG AFTER LEAVING SCHOOL WAS
AT THE GAY TOWER BALLROOM IN BIRMINGHAM.
THEY STILL DID TWO 'STRICT
TEMPO' NIGHTS. THEN, WHEN I DROPPED OUT OF A
MUSIC DEGREE COURSE AT BRISTOL
UNIVERSITY, I JOINED A BAND CALLED TICKLE
THAT PLAYED IN WORKINGMEN'S CLUBS.
WE SUPPORTED SUZI QUATRO AT THE BOURNEMOUTH
ODEON. LATER, I WAS TWICE EMPLOYED
AT THE TOP RANK IN CARDIFF. I HAD TO
TRANSCRIBE 'HOOKED ON CLASSICS' OFF
THE RECORD AND WRITE OUT THE PARTS FOR THE
BAND. IN 1987 I PLAYED IN THE
DISCO BAND ON THE QE2 FOR SIX WEEKS. DID YOU
KNOW THAT THE SUN NEVER SHINES
IN THE MIDDLE OF THE ATLANTIC? JUST AFTER,
OR JUST BEFORE, THAT I PLAYED
THE WEST LONDON COUNTRY ' N' IRISH CIRCUIT
(ACTON, HANWELL, HILLINGDON)
WITH CHARLES ANTHONY.
with the Blues Collective
seems to co-incide with becoming a father.
Any substance in that?
voodoo thing.. Is it true
your mother passed away having heard
the Blues Prayer recited by
Ned Sherrin, Mark Almond, Arthur Smith,
Dylan Bates and Billy on BBC R4s
Loose Ends? And that time you were
rushed to hospital when the band
was on a December tour. Did those things
MOTHER WAS EATING A SANDWICH
AT THE TIME, AND BILLY MADE HER CHOKE ON
IT. THE NURSING HOME SAID
THAT IT SHOULD HAVE BEEN PUREED, BUT SHE WAS
BROUGHT UP A DEVOUT METHODIST...
YES, I WAS
RUSHED TO HOSPITAL WITH
PNEUMONIA (THE OLD BLUESMAN'S FRIEND, THEY
USED TO CALL IT). FORTUNATELY,
I ONLY HAD TO MISS ONE GIG, BECAUSE THE
OTHERS ALL GOT BLOWN OUT ANYWAY.
I DID START TO REALLY RECOVER, HOWEVER,
AFTER A BLAZING BLUES BURNUP AT
THE VORTEX A MONTH LATER.
Rick. Tell me anything you
would like to make public about the Blues
Collective, the blues, and sadtimes.co.uk.
COLLECTIVE IS THE BLUES TODAY
AND sadtimes.co.uk IS ITS LATEST RECORD.
THAD KELLY -
electric electric bass
sound is amazing! I heard
you on BBC R3 with Partisans recently and
even dear old Auntie got a good
sound. Whats the secret?
Thats a very
interesting question Dick.
The trick is to always borrow someone else's
bass. The thinking behind
this is that a cheese sandwich is just a
plain old cheese sandwich unless
someone makes it for you, then, it
takes on a quality of the finest
cuisine ever to grace your pallette. Its
really good if you can borrow
leads and an amp as well, I'm working on
this. BBC R3 engineers like cheese
sarnies too I guess.
happened to the double bass?
I ate it.
closely with saxophonist Julian
Seigal and guitarist Phil Robson in
Partisans in fact youve a huge UK tour
this autumn. How do you switch from that
type of genre to the blues?
very interesting question,
Dick. It's fairly easy because the blues is
relevant to all forms of jazz
and rock, It's where it all comes from, so.
I'm either there or going back...
or somewhere in between.. or
get a bit monotonous plonking
on the same three chords all the time?
can if you're not careful.
You only have to listen to most blues bands
in this country.Its important
to play open forms of the blues. It's all to
easy to play the same bass
line on different tunes.
that onstage with the Blues
Collective, you always seem to wear scruffy
brown shoes whilst your leader
has very nice polished black ones. Fashion
statement or what? And why is
the band dressing up anyway? Is it a
pathetic attempt to attract a Blues
Brother type audience?
For a long
time I never owned a suit
and had to borrow a jacket off our drummer
(see question 1). I think bandleading
and highly polished black shoes were a
quality admired by Himmler and Goebels.
Dressing up is a pathetic attempt to attract
any type of audience.
blues come naturally to you?
And if yes, why?
What is your
stance on the old 'blues
is an Afro-American form and white Europeans
can't play it chestnut?'
listen to most British blues
bands you'd have to agree. They sing about
working in the cotton fields
which isn't very relevant to white Europeans
living in the 21st Century.
Billy sings about Barbie dolls and pizza
delivery bikers, much more relevant
to us all don't you think?
Is it true
you started out as a rock
musician? Tell me about that and how you
found your metier in jazz.
No it's not
true. I grew up listening
to Miles and Gillespie, jazz was never an
alien sound like it was initially
to some musicians. It felt natural to play
seem to take a bass solo
Dick, don't tell me you've
been to a gig and not talked through the
bass solo!? The truth is they
are incredibly boring. Even in great players
it tends to be a display of
technique rather than of music. Everything
kind of stops to let this low
rumbling instrument fart around. It's the
same with drum solos.
You and Mike
Pickering together seem
to be one of the U.K.'s most potent rhythm
sections. How long have you
worked together and in what formats?
Too long and
in both formats - CD and
about this blues voodoo that
seems to hang around the band. It sounds
like showbiz poppycock to me!
with things you don't understand,
Dick. Don't underestimate the power of the
there anything you would
like to make public about working with
Billy. Go on, spill the beans. He's
a bullshitter isnt he? I've been
interviewing him on and off for quite
a few years now and I'm still sceptical.
Tell me like it really is, Thad.
Billy is a
professional. He studies
and deconstructs his chosen genre in great
detail. If you don't get it
by now Dick I suggest you get a job at Jazz
FM. Don't waste my time. Yuppie.
PICKERING - drumming drummer
Is it true
you quit art college to
play the blues?
Well I did
leave college to play the
drums and get into music.I'd been into jazz
and blues and realised I liked
players that were improvising/blowing so I
thought I better get serious.
I got a job delivering sandwiches.
Part of your
blues apprenticeship involved
looking after the drums for Rick Lee and Ten
Year's After. Tell me about
observing a band like that and how it
affects your blues playing now?
I learnt not
to watch Spinal Tap constantly
on the tour bus with a band in which one of
the leading members 'girlfriends'
had decided to become the manager and design
all the band outfits and who'd
had an album called 'Stonedhenge'.
difference between jazz
drumming and blues drumming?
You tell me
How come you
play the blues so naturally?
What's gone wrong in your life, Mike?
Tony and Billy on the production
of 'sadtimes.co.uk'. Is studio work
something you are actively involved
with and if so, with whom?
Yes. I love
it in the studio. This
year I've made albums with a rock band
called 'Stangeways', a 'A Man Called
Adam' who play um, chillout house! An
album with Richard Bolton and
film sessions for a film called 'Captain
Corelli's Mandolin' are my most
recent projects in the studio. At some point
I'd like to produce,if something
recorded 'S.A.D.' with the
Blues Collective in 1996, you were also
playing (as you still do) some
ridiculously amazingly complicated but
amazingly good stuff with flautist
Eddie Parker. How are you able to switch
styles so easily?
I don't know
how to answer that. It's
just different music that requires different
Is it true
you first played with Billy
in front of several thousand people at an
Austrian Jazz Festival? What
was that like?
Yes. It was
scarey but Billy always
goes down well at festivals.They love it.
blues, you do jazz. You also
do pop and latin. Which style is you and
think about styles. There's
only two kinds of music - good or bad. I try
not to play the second type.
Of all the
styles you play, is the
blues one of the easiest or hardest?
an experienced one to one
teacher, class teacher and workshop leader.
Relating this to the blues
- what are the key elements you'd impress
upon a student?
You can try
and teach someone to play
their instrument and then you have to tell
them to listen to as much music
as possible. So for the blues I'd tell
people to listen to some. It's more
about feel than technique.
Voodoo. True or False?
I heard that Thad Kelly once missed a blues
rehearsal because he 'put his
foot through into the flat below'. Oh yes,
like you would - 'put your foot
through the floor'. But then - it's not
something that happens every day.
it's true. Last week we
tried to have the first Blues Collective
rehearsal for a couple of months.
I got in my car, drove one hundred yards -
flat tyre! Tyre man fixed it,
was just about to put it on when he found a
second nail puncturing the
new inner tube he'd just put in. That's the
first puncture in five years!There's
loads more - and they always seem to happen
around the blues.
Mike, as Billy would say, 'tell
it like it isn't, wasn't and never will be'
about sadtimes.co.uk., the
blues and the Blues Collective. Go on, spill
Thad's got a
shed. Billy plays crash
videos. Rick is now Richard and Dylan wears
bright red cords....and they
can all tell it how it is.
JENKINS - electric electric guitarist
Still got the blues,eh?
'em, Dick. But things have
gotten worse now the family have one of
these web-net PC things. They got
you trapped. The ol' paranoia creeping in. I
just noticed that Annies's
e-mail address [Annie is the mother of
Billy's children] has been timed
out cos she ain't contacted anyone no
time, for as a teacher of excluded
and special needs kids she's been doing
stupid, stupid OFSTED stuff - nothing
to do with helping kids, all to do with
'accountability', job creation
for educated people with no self initiative
or drive. The TV watchers.
This so called 'Labour' government has
screwed up. They're pathetic. Give
me a cheatin', lyin', self interested brazen
Tory. At least we know where
we stand with 'em. So my bird has got to
re-register. Pathetic. And what
is the point.....
hold on, Billy. You're just
ranting. 'Pissed Off Boy' and all that (if I
refer you to
one of your songs on
the last Blues Collective CD..)
You're right.The kids
are getting older, my three wheeler is
getting older, me grandparents are
long dead, me Mum's dead, my oldest mate
Frank is dead, me Dad's dementia
is getting worse, there's less work for
living creative musicians..Did
you know, Dick, that there is no reason why
anyone born in say the last
twenty five years might never have heard or
seen live professional musicians?!
Yes,the blues are getting deeper.
So I suppose
your way at kicking back
at these, if you may forgive me, rather
trivial day to day occurrences,
is to write dubious songs about meeting
Cliff Richard and suchlike.
a clue, have you Dick!
I hear you interviewed the other Blues
Collective guys. But I've seen the
transcripts and you tried to spot cracks in
my modus operandi- but there
ain't any (except in the roof of mi garden
shed). Listen, all I'm doing
is what I've always done. Aural art. I
create a musical cartoon of a subject.
Sometimes the subject is a place or person
or whatever. In this instance,
as words are quite important to me these
days, I can conjure up an event
aligned with sub social political innuendo
pondering the falseness of media
infiltration upon the way one conducts one
self on a day to day basis.
I don't want to spell it out to you Dick -
can't you just feel the groove?
Well I'm not
sure whether I can 'feel
the groove'. It's all a bit uncomfortable
for me. Take 'Badlands', the
first track, for instance. That's not a
blues groove - it's 'reggae'..
really, Dick!? Yes, a reggae
feel and if you played an instrument, you'd
find that F# minor is a pretty
uncomfortable key to play in. This is a
multi-cultural society. Here in
London, one of the world's great cities,
people are still insular and territorial.
Everyone has their own 'badlands' just down
the road. To be frank, you
could say the sentiment is, sadly, racist -
like 'Monkey Men' on 'Scratches
Of Spain' [Babel BDV9404]. That was composed
from a bigoted tourist's point
of view. To the ignorant Englishman abroad
(almost as frightening as the
American tourist) many Spaniards might look
like a lighter skinned James
Brown. 'Badlands' has the same ethos.
There's quite a few Yardie shootings
doing down round here. The stupid person
might equate the Jamaican groove
This is the
first time that I can recall
you've actually taken a working live unit
into the recording studio. Why
is this so?
to you about the need for
kineticism in jazz, Dick. Blues is a deeper
thing. It's our little church.
Oh, and the minor point that all the guys
are brilliant and need to be
documented and heard. Blues is an old
Master. It takes trust and understanding.
Some people just ain't got it - some of the
VOGC guys ain't got 'em. Fantastic
musicians. But the guys on the record have
got 'em deep - despite what
some of them might say. Just listen, Dick.
The reason I've taken the live
act into the studios is the fact that the
Blues Collective is the only
unit I'm really happy to appear in public
with. That 'Suburbia' Classical
Collective thing was a year out of my life I
was not happy with. Been there
and done that. Great players - a joy to
stand in front and direct, but
that music has left my body.
treated live work with
indifference. It is a PERFORMANCE. That's
why most of my music starts in
the studio. Well it actually starts with
pencil and paper. So I make my
aural art pieces onto tape, get a record
out, then I'm obliged to cobble
a composite band together to promote the
This is one
of the reasons why I'm
taking a break from the Babel Label. We
needed to tour to sell units so
my Muse was being held to ransom. Now, by
reactivating VOTP I'm back at
the helm. No regrets at all and only
positive things to say about the Babel
years. I could be back with 'em. Just need
to tread my own dirty water
for a while.
guitar effects. You consider
double tracking unethical, will never use
samples or drum machines where
you can use a real player and you have
spoken in the past about 'proportional
representation' of sound in the studio. Why
are you such a technophobe?
I'm sitting here thrashing
away at this bloomin' PC. I find modern
stuff very amusing and great fun.
It's just that people like me need to focus,
and such is the weight of
consumerism and commerce, it's very hard to.
Pleasure for me comes from
a deep appreciation of something - not
quickfire knee trembler fast food
pointlessness. I'm not adverse to a
'quickie' - but not repeatedly, all
the time. It just gets too superficial.
I use PEOPLE. I'm not
a great socialiser and I find many people
shallow, repetitive and boring
(and no doubt they would say the same about
me). But at least I stick up
for my fellow travelers. As for 'effects' on
my guitar I want as
little energy from skin, thumb pick, string
and pick up diluted. One speaker,
small amp up at 9 and a half. And those
guitarists I've worked with who
have got all those stupid little coloured
boxes say - 'great sound, Billy'.
The weird thing is, both Dylan and Rick use
effects brilliantly. But not
about the other tunes on
Just look at
the titles and listen
to the music, Dick.
Lee Said, I'm Happy that
the Duke and Me are Resting On My Bed Of
Blues in Badlands and I Love Your
Smell even though Cliff Richard Spoke To Me
and made me log onto sadtimes.co.uk..
sure I 'Love Your Smell'
too, Billy. Why did you wait five years
between Blues Collective records?
I never rush
recordings. That rare
solo guitar album issued in Germany in 1988
- 'In The Nude' [West Wind
WW010]. I waited nineteen years before I
felt ready to document my solo
playing. Nineteen years! 'Still Sounds Like
Bromley' [Babel BDV9717]- eleven
years putting that together. Some of the
pieces on the 1999 release 'Suburbia'
[Babel BDV9926]I wrote in 1974!
mentioned the Blues Collective
being your 'little church'. Tell me about
this religious hang up you've
worked it out at last. I
was baptized and confirmed into the Church
of England. My parents are and
were deeply Christian (me Mum died, as I
mentioned earlier, on Easter Day
just gone. What a great day for a believer
to go). Other family members
are deeply involved in the church, both
professionally and pastorally.
But not one family member ever forced me
towards it - they put me through
the obligatory processes, but only as a
matter of course. They let me find
my own way in this world. So I was singing
away in the Parish choir from
about the age of 10 and sussing out all the
backstage duplicity until I
took up the guitar aged 12. And what was I
drawn too? Not the pop sound
of the day - the irreverent crappy poppy
Beatles or the jangle jangle smiley
goodtime shite-y bands. No, I was drawn to
what in effect was, and is the
opposite to sacred music - the 'devil's
music'. Blues. The sound of people
singing and playing for themselves. Making
the most of this complex life
without the help of an 'Almighty'. See, the
church had to pour scorn on
the blues. The bluesman said bollocks to all
that bible stuff - 'we're
going it alone'. The blues was anti-church -
had to be chastised.
So now that
I feel, without irony,
that I've become a 'born-again' bluesman.
For I now realize that was my
calling - not rock and roll, show business,
the big time blah blah. HUMANITY.
Taken me quite a few years to come home.
scared it's another one of
my flighty obsessions - but then, I'm a
committed family man and I've enjoyed
the ups and downs of my twin daughters for
sixteen years now..
No, faith in
a Godhead is a dangerous
philosophy. Faith in humanity is much more
So does this
mean all your work outside
of blues over the last three decades is
stupid, Dick! Of COURSE it
is!! Everything I've realized I have had
100% belief in. All the Babel
recordings of the Nineties are very relevant
and part of what's made this
new recording. I've talked to you about this
when 'S.A.D.' [Babel BDV9615]
was released in '96. Telling it like it is
with one note stuff .
What are your current obsessions
Well. It was
the Enfield motorcycle
last year - I always get one every ten years
it seems. In fact I go through
a 'ten year motorcycle' ha ha. Then it was
drinking honey and lemon. Off
that now. Now I've prescribed myself a game
of bowls twice a week. I'm
hoping that, like the blues, will see
through till the end.
about fate - what have
you got to say about the 'blues voodoo?
spoken to the other guys, Dick.
Things really do happen. I'd really rather
not talk about it.
Billy, tell me some juicy
intimate details about the rest of the band.
enough, Dick, they all
uniquely had the similar thing to say about
thought that you're a few
inches short of a column - or words to that
now for only £12
p&p) from www.billyjenkins.com
See also CD