Speaker 1Propel Fitness Water with Gatorade Electrolytes, Zero Sugar, and Vitamins. Propel hydrates better than water to help you get the most out of your workout and get back to your best self. What propels you? Propel with Gatorade Electrolytes. Let's move on, Tim.
Speaker 2Let's move on to a category that I confess right up front. I know very few of these albums. Soul Destroyers, Soul Music, some great records coming out this year. Isley Brothers, Brother, Brother, Brother. Do you want to talk about that one?
Speaker 3No, I like it.
Speaker 2This is going to be a brief, brief category.
Speaker 3I mean, I will know. I think Isley Brothers really come into the room with Harvest for the World and Slightly Later. But this is really good. I mean, this is a sort of era again. And I think it's retrospective. I don't know if it was called it at the time, but now. And it doesn't surprise me. Retrospectively, it's referred to as kind of progressive soul. That a lot of the soul artists were really kind of stretching their limits in the same way that a lot of rock bands were. And one of the major movers in this was a guy called Norman Whitfield, who kind of wrote and produced albums for the Temptations, amongst others. And he really pushed this band into extension. He did epic territory. And I think this year he does an album with the Undisputed Truth, who became his, you know, pet project after the Temptations. And he later went on to do Rose Royce. There's some great albums in this period. And really, you know, they're as impressively, ambitiously progressive as anything. You know, I was talking about the Groundhogs being kind of a progressive blues. There was definitely a progressive soul where it doesn't really share very much with. Genesis, yes, King Crimson. But there's a certain modus operandi that's shared. You know, this idea of stretching the music to the limits. The themes become more complex.
Speaker 2The tracks don't follow the traditional three-minute top form. Not at all.
Speaker 3And artists are also taking control of their production. So you said Stevie Wonder takes control. Marvin Gaye's soundtrack this year, Trouble Man. First album that he's produced himself. And again, you know, he's fusing funk. He's fusing jazz. Synthesizers. Great use of synthesizers on that album. And so all of these bands are playing as well with the possibilities of technology. And then you've also got artists like Gil Scott-Heron. I think he does a wonderful album, Free Will, which is a real transition. First half of the album is where he suddenly introduced this wonderful soul jazz ballad voice that he has. And, you know, he is a great singer. You know, he's in that tradition of Billie Holiday, Nina Simone, Otis Redding. Such a rich voice. So the first album is full of just beautiful, beautiful songs and with arrangements and playing by a guy called Brian Jackson, flautist, jazz musician. The second side is much more coming out kind of last poets where it's percussive, recorded live, him reciting poetry because he started off in that kind of last poets working to rhythms. But you've also got Brian Jackson improvising over as well. So the first side is like a suite of songs. The second side is him reciting declamatory poetry. I know he's on the moon and revolution will not be televised. So that's the last hurrah of that style. So it's a transition where you've got one side of what his music is going to become, which is slightly more soulful, jazzy, musically exploratory. And then this more kind of primitive beat poetry approach. But, yeah, great album, Free Will, and a real transition. Superfly is amazing this year as well.
Speaker 2Yeah, I was going to say, apart from Marvin Gaye's Trouble Man, another iconic, you know, blaxploitation movie with an incredible soundtrack, Curtis Mayfield's Superfly. Talk about great voices as well. Yeah, yeah. Phenomenal, phenomenal voice.
Speaker 3I think Marvin's probably my favorite of all of them. But some of these guys come close. And I think Mayfield might be the one who comes closest to Marvin Gaye's effect. But, yeah, another interesting thing as well is that a lot of these albums, including, you know, the best selling album in America, apparently.
Speaker 21973. War, yeah.
Speaker 3War, the world's a ghetto. Yeah. A lot of this is kind of coming out of ghetto culture, almost kind of two or three streets in New York or L.A. or what have you. You know, in the way that in the era of hip hop, they became huge as well. But, yeah, you've got a lot of ghetto culture coming into the mainstream. And a lot of these artists like Marvin Gaye, Curtis Mayfield, War, dealing with quite interesting state of the nation political issues.
Speaker 2And that's, to be fair, that's where they would be very different to the the actual progressive rockers who are off with the fairies mostly, aren't they? To an extent.
Speaker 3Although, as I said, Gabriel, get them out by Friday. You know, it's a Guardian article on housing and sending them by the pound. Social commentary. That was actually a slogan by one of the parties in one of the elections around that time. OK, I just always had the finger on the pulse.
Speaker 2I always just think of that lamb lies down on Broadway.
Speaker 3Yeah, but I think, you know, if you listen to Aqualung, he's got a real kind of kick and sink. I think gritty sociopolitical element.
Speaker 2That's true. That's true. Yes. Yeah. Also, Bobby Womack across 110th Street. I know the title track. Great. That's also a soundtrack, isn't it?
Speaker 3It is. So half of it is Bobby Womack songs, including the title track, which is, for me, the best thing he ever did. And one of the great Blacks Boys anthems. It's incredible. It's up there with Shaft and Superfly and so on. And then you've got instrumental interludes provided by J.J. Johnson, who used to work with Miles Davis. And they're really good. You know, again, you get one of the things I love in that period is the use of clavinet.
Speaker 2OK. You know. OK. Starts surely a trend started off by Stevie Wonder or possibly the same year. Yeah. Oh, yeah. I guess so. Yeah. Yeah. Yeah. So let's. Oh, actually, one more album. I think you may want to talk about him because I know you're a big fan. Terry Callie is What Colour Is Love from this year.
Speaker 3Great album. I mean, this is kind of it's a bit like I mean, not quite as much. But we're going to talk about Scott Walker at some point. And these were Scott's wilderness years. And in a way, these were almost Terry Callie's wilderness years. And I don't think he was very well known outside of particular local. I think he became really well known in the 90s and 2000s. I know. A household name.
Speaker 2Well, I mean, I'd never heard of him until I think a bunch of his albums were reissued probably in the late 90s. I'd never heard of him. So I'm assuming he wasn't particularly. Successful, you know, in his. No. Well, I mean, he ended up being embraced by the trip. I mean, he sang on a massive attack song. Yeah. Yeah. So I know I know he became hip in the 2000s. But was he successful at the time or was he.
Speaker 3What do you see? He was getting record contract. You know, he's getting record contracts released. Well, who wasn't?
Speaker 2Who wasn't getting a record contract?
Speaker 3I think he had some hits on the northern soul scene. Right. So his first album, as we know, the folk sound of the new folk sound of Terry Callie, which is a beautiful. Album, almost of traditional folk stuff, but done in such a glacial way with that amazing voice of his recorded in 64, released in 68, I think. Didn't we find out? Yeah. But what a wonderful album. Then he sort of reappears in the early 70s with much more kind of Philly soul influenced albums and things. I think did quite had the odd single that did well in northern soul. But he was still stretching his music out. I mean, there's a track on this called Dancing Girl, which is, you know, eight minutes plus.
Speaker 2Oh, it must be. That's good, then.
Speaker 3Absolutely. It is. Must be eight minutes plus. But it has, you know, swirling acoustic guitars, hypnotic melodies. It's really ambitious. You know, there's some great material that he's working on during this period. And the title track, What Color Is Love, is, you know, just an amazing ballad. And his voice, once more, you know, has that kind of ageless Karen Carpenter genius. So I guess it's a neglected period for him, but really good albums.
Speaker 2Well, you mentioned Scott. Scott Walker. The next category, actually, is our uncategorizable character. The music is outside the music that we couldn't really figure out how to shoehorn it in to any of the other categories. And actually, before we talk about the Scott Walker album, I want to talk about an album that, in fact, interesting for the first time, as you know, we opened this up before we recorded this podcast today. We opened it up, told people we were doing 1972, opened it up for suggestions. And one of the albums that apparently. Came up more than any other. Was an album by two Brazilian musicians, Milton Nascimento and Lowe Borges. I hope I've said that correctly. Well, Clube de Esquina. I'd never heard of this record. You had. I went and listened to it. It's brilliant. It's absolutely phenomenal. So I want to thank whoever is out there. Quite a few people. A few people recommended it. I didn't know it at all. What a beautiful record. And, you know, again. Goes without saying, it has that kind of Latin flavor. I've listened to it, but it's almost like the equivalent of a spiritual folk soul album, but filtered through that kind of Latin sound, Latin sensibility. It's sung in Portuguese, so I don't understand what they're singing about, but the voices are beautiful. There's certain tracks where the voice has got that wonderful kind of seventies halo of reverb. You know, that kind of reverb, plate reverb sound, lost in that reverberating sound. I'm always a sucker for that. You knew this album already, Tim. I've only listened to a few tracks so far. buy it if I can find a vinyl copy. it's not going to be easy i think but it's
Speaker 3lovely i mean one of the things to say you mentioned the voices but and this is true of a lot of the kind of brazilian music of this era the singing is exquisite and the guitar playing yeah so there's a kind of quite intricate acoustic guitar as i said singing that is you know like your karen carpenter's deathlessly beautiful and pitch perfect and one of the things that i was thinking is that this has a level of musicality that hawkwind don't that's one of my first thoughts for sure i love them both in different ways but what
Speaker 2are you trying to say to
Speaker 3him i'm not saying anything i'm saying it's the polar opposite in
Speaker 2that sense we're trying to say i'm not saying anything you're saying hawkwind is the anti-dave brock you're saying hawkwind are rubbish is that what you're saying i'm not i like it you better not be mate i love hawkwind it's only one thing for it fine no i understand what you're saying whereas there's this kind of idiot savant thing going on with a band like hawkwind they're not
Speaker 3trained musicians these are they sound like they know what they're doing they know everything yeah and um deodato did the arrangements apparently on something right well what is interesting a few people have said that this was an example of brazilian music stretching almost into kind of progressive territory and i don't really hear that progressive i didn't hear progressive i didn't hear psychedelic i heard that some of the songs went off at tangents or they were longer a bit psychedelic the normal in that way they're all fairly short the
Speaker 2tracks i look but it's a double album which is a double which in itself is kind of a statement in 1970s to make a double album but
Speaker 3what i also love about
Speaker 2cover is amazing yes it's very good what a cover
Speaker 3very very good and what i love about brazilian music in this period is beyond its exquisite musicality you know these singers for the ages is that it exists in its own kind of brazilian bubble that i don't hear very much outside you can actually hear traditional musics in it so i'm hearing yeah you know habim completely you know this is all you know i talk about groundhogs as being progressive blues perhaps in that sense this is progressive bossanova that this is the progressive mindset well we have to be applied to habim we have to be careful
Speaker 2here tim because you know we're talking about brazilian music and obviously the only thing we know about brazilian music is probably bossanova so the temptation was to compare but i i also heard that too yeah i i hear that there must be you hear the traditions the tradition of brazilian music including bossanova which habim is an example yeah or joe beam however you say yeah i definitely heard that i definitely heard that that as you say the guitar style so whereas a british folk artist will be doing the the folk finger picking here it's the kind of bossanova pluck which is very much the hallmark of the guitar playing um beautiful record absolutely beautiful so thank you to our listeners for suggesting that record which i'm definitely going to try and try and track down if only for the cover which is stunning scott walker now you alluded to this earlier tim i'd never listened to this record um before now i was very surprised how how much i liked it because this is by by popular opinion this is scott walker at his artistic idea the mid 70s that run of classic albums in the late 60s ending with till the band comes in and then apparently got sucked into this world where he was playing the chicken in a basket nightclub and this is actually one of those this is an album of scott doing movie themes yeah but it's so good and so beautiful i love
Speaker 3it i mean again it's one of those albums i discovered a few years back and i think it's one of the last scott albums i discovered because it's considered the wilderness years it's considered him and a deer artistically and personally that he's drinking himself senseless he's painting and decorating painting and decorating the chicken
Speaker 2in the basket sir oh
Speaker 3god he's playing the chicken in a basket circuit in doncaster and then bowtie on right
Speaker 2after spit the dog yeah and this is it
Speaker 3three years earlier he's had number one albums he's got his own bbc tv show he's been a pin-up yeah now he's playing chicken in a basket doncaster wakefield they're not liking it they want leeds united on match of the day opening
Speaker 2for orville the duck exactly wearing his bowtie and painting and decorating during the week this
Speaker 3is it he's like fuck off get billy brumner instead but he's made this beautiful record of movie things and i listen he's beautiful the thing is his singing's great the arrangements are great yeah his selection of material from films of the day because i've got the album and it's got of course one of these classic sleeve notes of you know scott he's a moviegoer he loves the film so he was choosing his favorite films as if scott himself thought about this you know scott was out of his mind on i don't know whiskey maybe fumes from maybe new care from fumes from his
Speaker 2wallpaper maybe some castle brown out putting some wallpaper up and he got high on the fumes from the wallpaper well
Speaker 3have you seen one of the covers of the mid-70s walker brothers albums and he's there and he's looking quite jolly and he's got newcastle brown oh yeah night flies yeah yeah it's not night flies no it's the one before oh no regret is it no no regrets yeah yeah so maybe he's out of his head newcastle brown ale but by god his singing is amazing the selection material is really good the arrangements you know this is not phoned in and if it is phoned in they've got the talent of
Speaker 2the gods scott phoning it in than almost anyone else making trying their hardest it's it's melancholy
Speaker 3rich beautiful you know it's a kind of post sinatra andy williams mor album for the early 70s you know he's not carrying on scott three scott four till the band which i know you know that probably ended his creative career for a few years but this is quality work beautifully yeah quality quality
Speaker 2with a bow tie chicken in the basket and scott high from wallpaper face fumes absolutely i i liked it a lot i need to go and buy it and check it out properly i only listened to a few tracks and i was you know because you love the
Speaker 3sleeve notes as well i like it already scott he's a movie girl what's the cover of the one i've got because i think there are a couple of them but
Speaker 2is it scott leading against a lamppost no the one i've got i think there are companies this one has
Speaker 3actually got i think i've got the contour version which was the budget yeah yeah i love it and it's got singing i think in bingley love it love
Speaker 2it already right sooty and sweep are on after him yeah brilliant roch that live at the rochdale arcana on a tuesday night yeah introduced by
Speaker 3cyril smith scott
Speaker 2walker sings you the movie goer okay brilliant um other records this year that we find uncategorizable uh kevin coins case we've talked a lot about kevin we love kevin corn on the show good debut he's there great debut album he's right he's right there at the gate isn't he johnny cash america 200 years saluting story i'm famously not a johnny cash fan on the show simpson you are our johnny cash expert where does this fit
Speaker 3well is this johnny's wilderness years i don't know but this is johnny's mad conceptual years and he does a few you know quite a few weird rambling concert albums this one i think is his attempt to tell the history of america in song and poetic interludes so you have his amazing speaking voice in between where he's giving you a history lesson on the birth of america of the american constitution and the birth of america and then you'll get flashes of songs traditional and do we get a bit of the star
Speaker 2spangled banner thrown in i think you
Speaker 3might do at one point and it does the cover is him with the stars and stripes of course fit right in with
Speaker 2the donald trump campaign right now wouldn't it annette peacock i'm the one she's a fascinating artist isn't she annette peacock i don't like this album very much but it's very odd how would you describe this to him it is difficult because
Speaker 3she was married wasn't she married to paul blair yeah after carla and she comes from quite an avant-garde background and jazz background i know this album less than her others i know because she did obviously she worked with bruford and bruford appears on some of her albums and those used to be quite cheap in the late 70s so i know her kind of like song x style extremes yeah i have that one i
Speaker 2quite like that one this one i'm less fond of um i listen but it's interesting it's interesting i think that's i think that's the point it's very interesting i don't really like it but it's very
Speaker 3unique well do you know who sort of makes albums a little like this around this time as well although not as soulful there's a great album i think it's called sunset glow i might be wrong there but it's julie tippets okay and she sort of combines jazz soul balladry but with real avant-garde jazz elements and she has the cream of the british free jazzers because of course she was married to keith tippett you know so um and also
Speaker 2brian auger no they made brian auger she worked
Speaker 3with him so that's a real weird fusion of sometimes being this kind of accessible and charming and then going off at some wayward tangents and i guess that's it with an ep peacock it hits on things you know very well and abandons them i think something you have to go
Speaker 2and listen to it's interesting go and listen to it is like this kind of sleazy jazz funk with this very confrontational female voice very angular yeah over the top of her head and then she's like the top of semi kind of poets slash singing slash jazz scatting well in another world i can see how patty smith would have been i was i was exactly gonna say
Speaker 3that yeah in another world yeah she's got the crown that patty smith wears yeah i don't know whether she made a series of albums as consistent and of course smith had a great band you know patty smith
Speaker 2group yeah captain beefheart two albums this year another artist to put out two albums this year spotlight kid clear spot their captain beefheart records i like the
Speaker 3more accessible scale aren't they more
Speaker 2slightly more obsessive he's toned it down from tryout mask and licked my decals off but yeah they're good they're good records but but they're kind of in some way stereotypical Captain Beefheart records. But they are good. They are good. Now, let's get to some meat here, Tim, in this category. Todd. We like Todd. Now, we've been very hot and cold on Todd on this podcast. When we've talked about albums like Wizard of True Star, we've waxed lyrical. When we've talked about Utopia's Raw, we've had to conclude not so good. This is a phenomenal record, isn't it? Something, anything. Another double album, ridiculously eclectic, with songs that have become standards, if not by him, by other artists, things like Hello, It's Me, I Saw the Light. Most people of a certain age would certainly recognise those songs.
Speaker 3Well, I think I Saw the Light is still used on so many kind of Netflix and Amazon Prime productions as well. Hello, It's Me as well.
Speaker 2But again, you know, in some ways this feels like a Wizard of True Star. We talked about one of the very first episodes, which I think is takes the prize, I think, for the most experimental, most ambitious, most eclectic Todd record. But this is the album before that. And it's a double album, of course, which immediately endears us to us. We love double albums. Don't we, Tim? We love albums where artists are allowed to just sprawl out in all directions. So he's doing that in a classic Toddy way. And phenomenal songwriting, everything from heavy rock to beautiful soul, ballads to experimental pieces, sometimes within the same song.
Speaker 3Yeah, I mean, there are probably sort of two or three albums you could pull out of it. And one of them, weirdly, is, you know, in this, you've got a singer-songwriter album that matches Carole King's tapestry and early Laura Nero.
Speaker 2Yeah, well, he was a big Laura Nero fan.
Speaker 3But compared to Laura Nero, he's got the Carole King earworms, you know, like, as we said, I Saw the Light and so on, Hello, It's Me. And I think that, you know, he could have released, he could have released a brilliant, timeless, conventional singer-songwriter album that would have torn the charts apart.
Speaker 2Yeah, I think he was just too curious about what he could do musically to settle down and make that kind of crossover record. I mean, the closest he ever came to making that record was when he produced other artists, like Ballad of Hell. I mean, created a monster there.
Speaker 3Well, weirdly, he's made people focus with other artists. He's trying to get to the essence of what the artist is. Yeah, XTC. And then, you know, XTC. XTC being, for example, Patti Smith. I think the album he did with her, Wave, is great, even though it's not highly rated. But I think he's almost getting to the essence of the group and saying, right, this is what you are, this is what you do. So he's a really good guiding hand as a producer. This album sounds good as well, because we sometimes criticise some of his productions for sounding a little haphazard, but this sounds good.
Speaker 2Well, I don't know if he recorded this one in the same way he did Wizard, a Wizard of True Star he recorded at home. I think, so three sides of this album is Todd on his own with nobody else. The fourth side is him with a band in the studio. I think the first three sides, are again in his home studio, yeah. Right. So the drum sounds sometimes are pretty rough, you know, like his one microphone.
Speaker 3But his voice sounds great. His voice is always great.
Speaker 2Yeah, even when it doesn't sound great, it doesn't matter. It's his aesthetic, it's his sound.
Speaker 3Well, he's got a real flair for melody, and in some ways, you know, Harry Nilsson, who did do an album this year, which isn't my favourite of his, but he's got that level of versatility and vocal talent almost, I think, Todd Graham Graham. Oh, for sure.
Speaker 2Yeah, his arrangements, the voices, harmony, voices and stuff like that. Just a real prodigy. And I mean, still very young.
Speaker 3And the thing is, yes, something, anything, which is it's something, anything in a way, but if anything, he gets more wayward after this. Obviously, Wizard of True Star, but then Utopia, then his experiments with electronics. Yeah, I mean, one of my favourite albums of his is Healing, which we've not, I don't think we've ever discussed that one. But his electronic album.
Speaker 2Love it. Yeah, we love Todd, not everything, but we love the fact that he made all these different albums. You know, I mean, I think that's one of the beautiful things about Todd. You look at his career as a whole and this endless sense of searching for new things to do, new things to try.
Speaker 3This is what kind of fascinates me, because obviously, you know, both of us would have been too young to know how it was received. But how was it received that he comes from the NASA kind of post Beatles pop band into this kind of almost Laura Nero singer songwriter? And with this album, he hits mainstream pay dirt to an extent and then does a Wizard of True Star. How? How do fans react? How do critics react? How do radio stations react?
Speaker 2Well, it would have been less easy to tell at the time, wouldn't it? Because you don't. Nowadays, we have the immediate kind of mirror that reflects everything back at your social media and in those days, reviews and sales. All right. And how many people bought tickets to shows? I guess they were the barometers.
Speaker 3And people putting out so many albums in a way. It's almost like, Oh, if you don't like that, I've got this.
Speaker 2Yeah, well, we talk about that. Yeah, another one six months down the road. And in Todd's case, definitely, that was the case. Very prolific, pretty. Because just a couple of other entries in this category. Ossie Beeser, they released their, I think, third album this year, Heads. Ossie Beeser, I don't know how familiar you are with them, Tim. I really like Ossie Beeser. It's again, we talk about the influence of progressive ideals on other forms of music. This is an Afro rock band, you know, and they had Roger Dean artwork. So a lot of progressive rock fans ended up buying Ossie Beeser albums because they had Roger Dean artwork and they're probably disappointed they didn't get a sort of symphonic prog thing. But there is something very progressive and very ambitious and experimental about them. Yeah, totally. They're a rock band. They're a traditional rock band. They're a traditional African band. They're using synthesizers. They've got ambitious creative production, sound design elements in their sound too. And very unique in the musical landscape at the time.
Speaker 3Yeah, and I really like their early albums. And they do have a sound. I mean, arguably, they don't really progress beyond that sound. A bit like Fela Kuti. Right. You've got the album. I mean, Fela Kuti, I think in some ways, almost hones his sound and hones his sound. Yes. There are little differences. But yeah, Ossie Beeser have got this sound. And you're right. It's almost like a kind of progressive Afro beat, Afro rock, but really interesting, really interesting stuff.
Speaker 2And they're obviously playing the same clubs that all the rock bands are playing. So they're introducing this music. You know, I don't know, one day they might be opening for Black Sabbath next day. I mean, that's the beauty of a band like this. They could have probably opened for any number of different artists.
Speaker 3And people would have been intrigued.
Speaker 2People would have been intrigued. Yeah. And still are. I think, you know, when you hear Ossie Beeser. And it's not a sound you'll recognize immediately. It's never become an archetype, has it, that sound? It's very unique at the time. And it still sounds.
Speaker 3But it's a fascinating time. And sometimes I think, you know, were we imagining this? But actually, I've got, retrospectively, I've kind of got or found or been given old copies of Melody Maker or Rock Magazines. And you look at Rock Magazines in 1969, Melody Maker, and it really does cover progressive psychedelics. It covers psychedelia, blues, folk artists, jazz artists. Maybe there's a piece on Stockhausen. Within, you know, the whatever, 40 pages of your Melody Makers in 69 to even 77, it covers so much ground. If you're a curious music fan, you find this. So Ossie Beeser supporting Yes and John Martin supporting Yes, it's not a shock. And I think that by the late 70s, even though for both. Both of us, the late 70s, early 80s is one of the most exciting periods of music making. Certain things have been lost.
Speaker 2A little bit. Although I remember buying sounds in the late 70s and you'd have the Police, Supertramp and Saxon in the same edition, you know. But I think certainly nowadays, it's all about specializing in a very narrow niche. Otherwise, you won't sell your magazine.
Speaker 3Yeah, you have your classical magazine, your jazz magazine. Yeah. Or a world music heavy metal magazine.
Speaker 2And I do miss that, you know. I miss that one publication being able to cover this very broad church of musical styles. Yeah. Because you would find yourself introduced to stuff that you didn't think you were going to.
Speaker 3Well, this is it. The only reason I mention it here is because could Ossie Beeser have happened in 1980? Could they have? I mean, maybe if they've had a kind of a new wave edge.
Speaker 2I think they could. I think they could. I mean, there was there was kind of African influences in music. You know, in the 80s. Well, Talking Heads, famously, of course. Yeah. Yeah, Pickbag and stuff like that, you know. But as you say, it mutated into something different by then. It was less rock. It was more new wave. So I think it's, yes, it has been.
Speaker 3I'm just wondering if this was kind of, and it was the perfect time for a band like Ossie Beeser to thrive and get great support then, I'm saying.
Speaker 2Sorry, then. Yeah, possibly. If a band like Ossie Beeser came out like now, I think they could potentially blow some minds. They would still sound like nothing else anyone had ever heard before. And that's the fascinating thing about a band like that. So much like, you know, we talked about some of these musical styles having almost become archetypes in themselves. That one hasn't really, has it? No. Ossie Beeser still sound like nothing else you'll have in your record collection. And would today if they came out today.
Speaker 3Indeed. Same with Mark Holman, too.
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