I did the taste test with the sugar.
Oh yeah?
The old looking at the finger, dabbing on it.
Oh, it's salt, isn't it?
It's salt.
You've all got salt.
We've got salty.
Great.
I'm just guessing that it's sugar or salt.
It's salt.
Bravo, braps, I think it is.
You would have to me.
Yeah.
Is that not enough?
Yeah.
I couldn't find the sugar, I'm just going to start.
It's not that English.
It's got seeds.
I can't do all that.
He's sitting right here, killing all of us.
I don't need to do the farm.
I'm just trying to get the rest of it out of the way.
Oh, come on.
I'm not doing all that.
That's all.
I like this.
I think this is the sixth tone session.
I think Sam and Adam are number five.
We have the pictures trail.
Johnny Lynch in, it's really fucking difficult to talk to you
when you've got one of our blank list of strategy methods.
It's not a help.
It's really cool then, yeah.
I just thought I'd wrap up a little extra while.
But you've got your regulation Indie Boy hoodie on.
I have yet one of the hoodies on.
I actually wore the Beagle.
That sounds filthy.
For anybody listening on the podcast, don't worry, it doesn't mean it that way.
Now, you're known for a number of things.
Many of them legal.
But you were sort of the guy who ran fence for Kenny
for King Crissot and James Yorkston almost for a long time.
And it's only in the last year or really, isn't it, that your albums come out
that you're known as the pictures trail musician.
What the fuck took you so long?
There was just a lot to do, I suppose.
And I was really in the hurry to make a record.
And when you're working with someone who's producing
what I think are the best records ever,
it puts you off a little bit.
But you said to me you just sort of speculatively came over partly because of the music scene
and you started going to the pubs where the guys were playing.
But this was years ago, wasn't it now?
It was in 1999 when I graduated and came over.
And I came over here.
And yeah, I was just totally in love with the musical about Sebastian,
Del Gagos, the beat-a-bang were a big thing.
And I was really into that.
The stuff that they were from, St Andrews, I thought.
The beat-a-bang was my beat-a-bang.
No, Black Hawk, well, if I'm going to go to Scotland,
I want to be in a place where I kind of think there might be a music scene.
And I came over here and there wasn't actually anyone doing music.
Other than Kenny and a couple of friends and then,
we'd go and see them playing pubs and there'd be more and more people.
And every week there'd be more and more people getting involved in this fence.
I mean, at what point did you start to get the impetus to really decide,
right, I need to make an album now?
Because you had little tracks knocking around, you did a picket fence, didn't you?
Yeah, I had done an album before.
It was like a 10-pack thing back in 2002 that I gave it to Kenny.
And it was released as a CD-art.
And it was sort of full-length albums by a non-hundreds of people.
This is kind of what you're going to get, basically.
This is going to be one of these overall videos.
I do not approve.
I do not approve this message.
This is like some sort of weird church.
It's the old Roxy Art House, it's basically in between the festival theatre and the hall.
The Roxy is a church, isn't it?
Yeah.
There's Lady Glen Orkey's church, officially, I think it's called.
Is this like an upstairs room in the church?
Yeah, this is downstairs.
I could just disturbingly close up at your mouth when you're doing something weird.
I'm a genius!
They made us guacamole and salsa, which is sort of bizarre, but it's nice.
I know you're not baked.
I'm not made out.
I'm not baked, you cunt!
I'm coming in to loud, coming in to loud, coming in to loud, coming in to loud, coming in to loud, coming in to loud.
I remember we were talking earlier about James Jordan when he released the box set of his latest album with Harrods
There was an album with cover versions on it, it wasn't all collective people, it wasn't...
It was a lot of quite the f**k on there, certainly quite the associated f**k
I suppose that's kind of how f**k music has always worked in the past
Well that's fine, the weird thing with us is that we kind of get tied to that f**k thing a lot
And there's a lot of people from who consider themselves old school f**ks who kind of get...
And who vocally have said, you know, what the hell do you think you are?
You know, you're not f**k, this isn't traditional f**k or whatever, and it isn't
But one thing that it has over a lot of other music that we tout to ourselves is the fact that there is a strong order of tradition up in the mix collective
There's a strong sense of, you know, community
I wanted to see
You'll find that, you'll find that
You'll find that
Won't you take me back, now I'm older, now I'm black
The days I want to see, you'll find
You'll find that
And they put this good advertising
Well the one that Alex Cornish is going to come and do is one of the first people to guess it up
He said basically we should get a bottle of gin and film it at the start
And just cut back to it every once in a while through the session and see if we can't finish a bottle of gin in one session
That's what it is, oh that's incredible
Thank you
