November 20, 2024 • 14 mins
Join us as we drop the needle on some of their biggest hits and uncover the tales behind them. We were honored to have Alan Longmuir in our studio before his passing, sharing memories from his time with The Bay City Rollers. Get ready to hear how the iconic 'Saturday Night' came to life, complete with Alan's charming Scottish accent. We also feature The Northern Pikes, a Saskatoon band still rocking the stage today. Listen in as they recount the creation of fan-favorite 'Girl with A Problem'. Plus, Ian Thomas takes us on a journey back to the making of his first hit, 'Pilot', with a story that involves a night spent in his 'French truck'. Ian's humor and storytelling prowess shine through in this segment.See omnystudio.com/listener for privacy information.
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Episode Transcript
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Speaker 1 (00:00):
Careful clock clocker.
Speaker 2 (00:03):
Boy, so cool to be playing on to have to
wreck it off the tire table.
Speaker 3 (00:07):
Are you ready for this?
Speaker 4 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu jetbreaks.
Speaker 5 (00:16):
Hello and welcome back to another opportunity to enhance your
music knowledge and hear great stories about your favorite songs
and how they came to be. In this episode, three
artists dropped the needle on one of their biggest hits
and tell us a story or two about it. We
had the honor of welcoming Alan long Muir to our
studios before he passed. If you're not familiar with the name,
you're certainly familiar with the band. He was part of
the Bay City Rollers. We apologize ahead of time for
(00:38):
our lack of captions as Alan has a very strong
Scottish accent, but I'm sure you'll get the gist of it.
Speaker 1 (00:44):
But I love this only because it means so much
to me because as one of the first number ones
we've brought on America. And can you kick us off
for here for this country, I'm Canada.
Speaker 5 (00:54):
More from Alan shortly. First up a song from a
Saskatoon band who are still touring today playing the songs
we all know and sing along too, like girl with
the Problem, here's the Northern Pikes.
Speaker 3 (01:03):
It's been a long time since I played a record,
to tell you the truth, many years.
Speaker 6 (01:08):
Well.
Speaker 7 (01:08):
Records are records. I've sort of rediscovered records lately.
Speaker 2 (01:12):
But I was good.
Speaker 3 (01:13):
I could not do it now, but I could get
a song right on with the Nino.
Speaker 6 (01:17):
It was the.
Speaker 3 (01:21):
Yeah.
Speaker 2 (01:22):
Garth Hudson is the old organ there.
Speaker 3 (01:24):
Yeah, And Garth Hudson from the band played the organ
on this song. The solo and throw Crystal Tali Pharaoh
who is up with Billy Joel Now did the backup vocals.
It was great having her in the studio. I remember
filming her with our video camera with just her headphones on,
singing the song. It was like a cool moment to
(01:45):
just hear someone that talented. I could come in and
bang it off like a couple of takes. Didn't take
her long, you know what.
Speaker 7 (01:52):
I remember she had so much jewelry and stuff on.
She was jingly jangling around. And I remember Rick, her
producer's Rick Hut, Rick Ricutt Fraser Hill produced it and
they h she'd be jingle jangling around. There was time
for the tank and no no jingle jangle, I remember that. Yeah,
it's just like she just nailed it.
Speaker 3 (02:11):
Yeah, no, she's pro for sure. Recorded at Bearsville Studio
in Woodstock, New York, technically Bearsville, New York, outside of Woodstock.
Speaker 7 (02:21):
You know, we did so many demo versions of this song,
as I recall, they were like, yeah, three or four
different versions, and then we kind of came up with
this one, which was sort of decided to hit him
with a chorus right.
Speaker 3 (02:32):
Off the top. Yeah. I think we knew it had
single potential. That's why I think we spent so much
time trying to figure out the right arrangement. And you
usually come back to where you start usually. I mean,
it's a thing because we tried some quieter intros.
Speaker 7 (02:47):
The first demo I remember was kind of like a
Mexican yeah kind of thing going on in there, with
a descending guitar line, sort of save those versus as
I remember, and Brian kind of came up with that
sort of during one of our demo things here, and
it's sort of.
Speaker 3 (03:10):
The video was lots of fun. It was very hot,
filmed in Toronto, and we had Crystal and Garth come
in and play with us. On stage four the video,
which was really cool because at that point in our
career we hadn't had keyboard players.
Speaker 7 (03:26):
Yeah, no, this is an expansion album and there's there's
Garth is a solo B three Bad Scientist. Garth.
Speaker 6 (03:35):
He was great.
Speaker 7 (03:35):
He was just so so great.
Speaker 3 (03:38):
Well, another thing about Garth is a different song, but
kissed Me Fool speaking of the jewelry Garth, remember he'd
hum to the song. We had to put a motorcycle,
full motorcycle helmet on him while he played according and
kissed Me Fool because he just he just was like
humming and it's like he can't do that, Garth. But
he was great though. He would we would have supper
at the studio. Member we'd all get together and have
(03:59):
a big table. It was like the last at supper
every night. It was a big recording budget back in
those days. And Garth was great. He would just stories
would come out of him and then I think he
kind of like fell asleep at the table. Jokingly.
Speaker 7 (04:11):
I think, yeah, you know what.
Speaker 3 (04:15):
You know.
Speaker 7 (04:16):
What I like with their final version of this is
that it really spread out the vocals because it kind
of made the chorus. It's basically it's like Merle Brian
and Crystal and the chorus, and I'm kind of the
guy singing that sing the verses. It's funny, you know,
I met you tonight. People will sing that answer of
(04:36):
away you go.
Speaker 3 (04:39):
Yeah, always did well in the live show of the song.
Speaker 2 (04:42):
I try to help rouse.
Speaker 4 (04:45):
She's good.
Speaker 7 (04:49):
It's an odd arrangement, isn't it? Like you start with it.
This is what we started with the book ends, you know,
and the only time you hear is the very beginning Brianne.
Speaker 3 (04:57):
Yeah, not many songs start with.
Speaker 7 (05:03):
I just love that rip.
Speaker 2 (05:05):
That was like, sounds good, still sounds pretty fresh.
Speaker 5 (05:07):
Yeah, you're listening to behind the Vinyl of the podcast.
I'm your host, Steve Jeffries. Thanks for the download. Still
to come. Alan Longmure of the Bay City Rollers on
how Saturday Night came to be. But before we get
to that, Ian Tamas shares the story about spending the
night in his French truck making his first hit song Pilot.
Here's Ian with.
Speaker 2 (05:25):
More there it is hell alone.
Speaker 6 (05:30):
Here's sign on the Fender Rhodes pilot. Of course, that's
this song takes me back to nineteen seventy eight, I think,
and I just watched a program called Alternative three.
Speaker 2 (05:45):
It was a BBC documentary on how basically the Earth
was screwed.
Speaker 6 (05:50):
Big business had already traveled to had set up on
the Dark side of the Moon, and it was a
whole thesis they had going there were as one of
the Apollo flights went around the dark side of the Moon,
one of the astronauts was heard saying, what is that
down there? Why didn't you tell us about? And I
(06:12):
went to white noise, And so this was all part
of the hypothesis, and there were a lot of scientists
who were missing from the scientific.
Speaker 2 (06:22):
Pool in that window.
Speaker 6 (06:24):
So out of that emerged a collection of songs because
I just thought it was a fascinating premise and I
didn't think that it was particularly far fetched that big
business would.
Speaker 2 (06:36):
Really end up screwing humanity.
Speaker 3 (06:38):
And here we are.
Speaker 6 (06:40):
With the global warming and big business for the most part,
not really giving a damn.
Speaker 2 (06:46):
So I found it hilarious that a.
Speaker 6 (06:49):
Song about big business screwing the planet and the human species,
their own species, for God's sakes, ended.
Speaker 2 (06:57):
Up being a hit in the discos. People were dancing
to it. That almost made me laugh.
Speaker 6 (07:03):
Doing the album was great fun. We did it at
Phase one Studios in Toronto. It was the first album
I engineered by myself, engineer and produced, and I.
Speaker 2 (07:16):
Did the bedtracks at Phase one. But then I rented
a truck because I got.
Speaker 6 (07:20):
Tired of driving to Toronto. So I had this truck
called lit truck was from Montreal, rented. The guy who
owned it was Gee Scharbenu, And whenever Gee called me.
Speaker 2 (07:31):
It was hell, oh, yeah, yea, it's Gee.
Speaker 6 (07:33):
He never called me Ian. He couldn't get it wrap
his mouth around it. So I was yeah, Yan, And
so I had his truck in my driveway. I mixed
this song at three o'clock in the morning. I got
up in the middle and I couldn't sleep, made myself
a cup of tea, went out into the truck, fired
(07:54):
up the twenty four track and just started mixing, and
by breakfast time it was finished.
Speaker 2 (08:01):
And I loved that this.
Speaker 6 (08:06):
Was a modern song and the lead instrument, the recorder,
was a Renaissance instrument, which made me laugh.
Speaker 2 (08:17):
But it had such a.
Speaker 6 (08:21):
It had such an odd sound, and it had sort
of been in my consciousness because my brother Dave a
couple of years later with the Bob and Doug stuff.
When we came back from the States, when my dad
was doing his PhD down there. When we came back
to Canada, it seemed like all we were ever, all
(08:43):
we ever saw on TV were National Film Board documentaries,
and it'd be some guy in a canoe and there'd
be a lonely recorder. For Dave, it was this lonely
recorder and some paddling talking about the pollution killing the
fish and the mercury poisoning killing the people. And no
(09:07):
matter if it was about the beaver, an industrious little fellow, whatever.
Speaker 2 (09:11):
The documentary was, here would be this. It would be
this lonely recorder thing.
Speaker 6 (09:18):
Maybe that's why the sound of the instrument was in
my head when I'd written the song and I was
looking for something that.
Speaker 2 (09:26):
Worked around that turnaround of chord changes.
Speaker 6 (09:31):
Which I figured out of my Fender Rhoades, and I
loved the shape of it, sort of going from major
to minor. And then when I had Bob Deutsch, a
friend in Hamilton who ended up buying Grand Avenue Studios
from Danny Lanoi, both Danny and Bob came out that day. No, Yeah,
(09:52):
Danny and Bob Deutsch and Danny Landwall came out to
the to La truck in my driveway while I was recording,
Bobby doing the recorder part, and it was just it
was the icing on the cake and I thought, Bobby
Deutsch just just.
Speaker 2 (10:10):
Aste, just aced it.
Speaker 6 (10:13):
This song ended up being a favorite across the country
with radio they played the daylights out of it, which
was great, and it also ended up it was one
of Rick Moranis's favorite songs. Rick Moranis was a jock
at Chum when that song was out and a disc
(10:35):
jockey Chum, and actually it was his request that I
do Pilot on the Second City Show, So I did
two songs there. One was hold On from the Runner
and this song Pilot from the Glider album. That's the
story of Pilot.
Speaker 5 (10:55):
Funny guy, phenomenal storyteller too. That was Ian Thomas, brother
of Dave Thomas. Bobby Cats with how Pilot was made.
Thanks for listening to Behind the vinyl of the podcast,
I'm Steve Jeffries and it's time to grab your Scottish
to English translator and hear how s A T You are?
Day Night came to be from the Bay City Rollers.
The late great founding member Alan Longer.
Speaker 1 (11:20):
Well, this was a song called Saturday Night, which was
we recorded in Britain a long time ago. We heard
the demo and it was and only got to number
fifty in written and there's a big, big show corours
here called Top of the Popes and it dropped one
point to fifty one. So I got consoled. And of
course the guy from Rust the Records, Clive Davis, liked
(11:42):
to chart like the chant and he says, it's it's
a great it's a great record, so he he released
an America and kind of grammar and then we've done
the Howard Coselle Show and it was what we had
to do it live, and we've done it. We took
a week to record it live and did the big
Tark books also members. It was quite funny because the
(12:04):
front of the box went up in the air and
the two sides fell down and we shot it them
to the audience and then it was what happened every
one of the guys in the band. Eric was playing
away in one of the the yells and the light
was tripping there on top of him. It was funny
at the time, but it was actually live, so he
couldn't do nothing about it. But I love this song
because it's a This means so much to me because
(12:27):
it was one of the first number ones we had
in America and that kind of kicked us off for here,
for this country and Canada, and it went world wide,
you know, especially in Japan as well, and it was
it was it was great, you know. And every time
we play it, even when we play it now, it
goes down really really well.
Speaker 2 (12:43):
You know.
Speaker 1 (12:43):
It's a brilliant song, just a nostalgic popular song. And then,
as I say, I mean, they never realized there was
going to be number one, so that was it, you know. So,
but I still love it anyway. So and then as
I say, the thing is that it's been going for
ever and ever and ever, and a lot of DJs
play all the time. And if I ever go out anywhere,
(13:05):
if I'm going to a club or or or disco
or something a long time ago enough, I mean, they
see you coming in and they start playing it, and
they think you're going to jump up and down in
the air, but you never do, you know. But it's
great for me. I mean, it's great because of this
part of the part of my life, you know. So
(13:28):
and then I'm just saying, like say, so, I say
go back in Scotland and you walk on it, and
I say Marvel Coope Pub and these guys say, oh
he's shot an a coming or wherever.
Speaker 2 (13:37):
And then you go.
Speaker 1 (13:38):
You got to you get knocked all the time. You
just got to go on with it, you know.
Speaker 5 (13:43):
Okay, I may have exaggerated a little bit of his accident,
wasn't that. Thick Alan passed in July of twenty eighteen,
But his music lives on. And that's it for another
episode of Behind the Vinyl. Thanks for listening. I'm Steve
Jeffries asking you a favorite. If you love music and
the stories behind them, check out our previous episodes. They
know that we've got a lot more on the way.
Make sure you check back for more. See you next time.
Speaker 4 (14:03):
This has been Behind the Vinyl, the podcast hosted by
Stu Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
Careful clock clocker.
Speaker 2 (00:03):
Boy, so cool to be playing on to have to
wreck it off the tire table.
Speaker 3 (00:07):
Are you ready for this?
Speaker 4 (00:11):
Welcome to Behind the Vinyl. Here's your host, Stu jetbreaks.
Speaker 5 (00:16):
Hello and welcome back to another opportunity to enhance your
music knowledge and hear great stories about your favorite songs
and how they came to be. In this episode, three
artists dropped the needle on one of their biggest hits
and tell us a story or two about it. We
had the honor of welcoming Alan long Muir to our
studios before he passed. If you're not familiar with the name,
you're certainly familiar with the band. He was part of
the Bay City Rollers. We apologize ahead of time for
(00:38):
our lack of captions as Alan has a very strong
Scottish accent, but I'm sure you'll get the gist of it.
Speaker 1 (00:44):
But I love this only because it means so much
to me because as one of the first number ones
we've brought on America. And can you kick us off
for here for this country, I'm Canada.
Speaker 5 (00:54):
More from Alan shortly. First up a song from a
Saskatoon band who are still touring today playing the songs
we all know and sing along too, like girl with
the Problem, here's the Northern Pikes.
Speaker 3 (01:03):
It's been a long time since I played a record,
to tell you the truth, many years.
Speaker 6 (01:08):
Well.
Speaker 7 (01:08):
Records are records. I've sort of rediscovered records lately.
Speaker 2 (01:12):
But I was good.
Speaker 3 (01:13):
I could not do it now, but I could get
a song right on with the Nino.
Speaker 6 (01:17):
It was the.
Speaker 3 (01:21):
Yeah.
Speaker 2 (01:22):
Garth Hudson is the old organ there.
Speaker 3 (01:24):
Yeah, And Garth Hudson from the band played the organ
on this song. The solo and throw Crystal Tali Pharaoh
who is up with Billy Joel Now did the backup vocals.
It was great having her in the studio. I remember
filming her with our video camera with just her headphones on,
singing the song. It was like a cool moment to
(01:45):
just hear someone that talented. I could come in and
bang it off like a couple of takes. Didn't take
her long, you know what.
Speaker 7 (01:52):
I remember she had so much jewelry and stuff on.
She was jingly jangling around. And I remember Rick, her
producer's Rick Hut, Rick Ricutt Fraser Hill produced it and
they h she'd be jingle jangling around. There was time
for the tank and no no jingle jangle, I remember that. Yeah,
it's just like she just nailed it.
Speaker 3 (02:11):
Yeah, no, she's pro for sure. Recorded at Bearsville Studio
in Woodstock, New York, technically Bearsville, New York, outside of Woodstock.
Speaker 7 (02:21):
You know, we did so many demo versions of this song,
as I recall, they were like, yeah, three or four
different versions, and then we kind of came up with
this one, which was sort of decided to hit him
with a chorus right.
Speaker 3 (02:32):
Off the top. Yeah. I think we knew it had
single potential. That's why I think we spent so much
time trying to figure out the right arrangement. And you
usually come back to where you start usually. I mean,
it's a thing because we tried some quieter intros.
Speaker 7 (02:47):
The first demo I remember was kind of like a
Mexican yeah kind of thing going on in there, with
a descending guitar line, sort of save those versus as
I remember, and Brian kind of came up with that
sort of during one of our demo things here, and
it's sort of.
Speaker 3 (03:10):
The video was lots of fun. It was very hot,
filmed in Toronto, and we had Crystal and Garth come
in and play with us. On stage four the video,
which was really cool because at that point in our
career we hadn't had keyboard players.
Speaker 7 (03:26):
Yeah, no, this is an expansion album and there's there's
Garth is a solo B three Bad Scientist. Garth.
Speaker 6 (03:35):
He was great.
Speaker 7 (03:35):
He was just so so great.
Speaker 3 (03:38):
Well, another thing about Garth is a different song, but
kissed Me Fool speaking of the jewelry Garth, remember he'd
hum to the song. We had to put a motorcycle,
full motorcycle helmet on him while he played according and
kissed Me Fool because he just he just was like
humming and it's like he can't do that, Garth. But
he was great though. He would we would have supper
at the studio. Member we'd all get together and have
(03:59):
a big table. It was like the last at supper
every night. It was a big recording budget back in
those days. And Garth was great. He would just stories
would come out of him and then I think he
kind of like fell asleep at the table. Jokingly.
Speaker 7 (04:11):
I think, yeah, you know what.
Speaker 3 (04:15):
You know.
Speaker 7 (04:16):
What I like with their final version of this is
that it really spread out the vocals because it kind
of made the chorus. It's basically it's like Merle Brian
and Crystal and the chorus, and I'm kind of the
guy singing that sing the verses. It's funny, you know,
I met you tonight. People will sing that answer of
(04:36):
away you go.
Speaker 3 (04:39):
Yeah, always did well in the live show of the song.
Speaker 2 (04:42):
I try to help rouse.
Speaker 4 (04:45):
She's good.
Speaker 7 (04:49):
It's an odd arrangement, isn't it? Like you start with it.
This is what we started with the book ends, you know,
and the only time you hear is the very beginning Brianne.
Speaker 3 (04:57):
Yeah, not many songs start with.
Speaker 7 (05:03):
I just love that rip.
Speaker 2 (05:05):
That was like, sounds good, still sounds pretty fresh.
Speaker 5 (05:07):
Yeah, you're listening to behind the Vinyl of the podcast.
I'm your host, Steve Jeffries. Thanks for the download. Still
to come. Alan Longmure of the Bay City Rollers on
how Saturday Night came to be. But before we get
to that, Ian Tamas shares the story about spending the
night in his French truck making his first hit song Pilot.
Here's Ian with.
Speaker 2 (05:25):
More there it is hell alone.
Speaker 6 (05:30):
Here's sign on the Fender Rhodes pilot. Of course, that's
this song takes me back to nineteen seventy eight, I think,
and I just watched a program called Alternative three.
Speaker 2 (05:45):
It was a BBC documentary on how basically the Earth
was screwed.
Speaker 6 (05:50):
Big business had already traveled to had set up on
the Dark side of the Moon, and it was a
whole thesis they had going there were as one of
the Apollo flights went around the dark side of the Moon,
one of the astronauts was heard saying, what is that
down there? Why didn't you tell us about? And I
(06:12):
went to white noise, And so this was all part
of the hypothesis, and there were a lot of scientists
who were missing from the scientific.
Speaker 2 (06:22):
Pool in that window.
Speaker 6 (06:24):
So out of that emerged a collection of songs because
I just thought it was a fascinating premise and I
didn't think that it was particularly far fetched that big
business would.
Speaker 2 (06:36):
Really end up screwing humanity.
Speaker 3 (06:38):
And here we are.
Speaker 6 (06:40):
With the global warming and big business for the most part,
not really giving a damn.
Speaker 2 (06:46):
So I found it hilarious that a.
Speaker 6 (06:49):
Song about big business screwing the planet and the human species,
their own species, for God's sakes, ended.
Speaker 2 (06:57):
Up being a hit in the discos. People were dancing
to it. That almost made me laugh.
Speaker 6 (07:03):
Doing the album was great fun. We did it at
Phase one Studios in Toronto. It was the first album
I engineered by myself, engineer and produced, and I.
Speaker 2 (07:16):
Did the bedtracks at Phase one. But then I rented
a truck because I got.
Speaker 6 (07:20):
Tired of driving to Toronto. So I had this truck
called lit truck was from Montreal, rented. The guy who
owned it was Gee Scharbenu, And whenever Gee called me.
Speaker 2 (07:31):
It was hell, oh, yeah, yea, it's Gee.
Speaker 6 (07:33):
He never called me Ian. He couldn't get it wrap
his mouth around it. So I was yeah, Yan, And
so I had his truck in my driveway. I mixed
this song at three o'clock in the morning. I got
up in the middle and I couldn't sleep, made myself
a cup of tea, went out into the truck, fired
(07:54):
up the twenty four track and just started mixing, and
by breakfast time it was finished.
Speaker 2 (08:01):
And I loved that this.
Speaker 6 (08:06):
Was a modern song and the lead instrument, the recorder,
was a Renaissance instrument, which made me laugh.
Speaker 2 (08:17):
But it had such a.
Speaker 6 (08:21):
It had such an odd sound, and it had sort
of been in my consciousness because my brother Dave a
couple of years later with the Bob and Doug stuff.
When we came back from the States, when my dad
was doing his PhD down there. When we came back
to Canada, it seemed like all we were ever, all
(08:43):
we ever saw on TV were National Film Board documentaries,
and it'd be some guy in a canoe and there'd
be a lonely recorder. For Dave, it was this lonely
recorder and some paddling talking about the pollution killing the
fish and the mercury poisoning killing the people. And no
(09:07):
matter if it was about the beaver, an industrious little fellow, whatever.
Speaker 2 (09:11):
The documentary was, here would be this. It would be
this lonely recorder thing.
Speaker 6 (09:18):
Maybe that's why the sound of the instrument was in
my head when I'd written the song and I was
looking for something that.
Speaker 2 (09:26):
Worked around that turnaround of chord changes.
Speaker 6 (09:31):
Which I figured out of my Fender Rhoades, and I
loved the shape of it, sort of going from major
to minor. And then when I had Bob Deutsch, a
friend in Hamilton who ended up buying Grand Avenue Studios
from Danny Lanoi, both Danny and Bob came out that day. No, Yeah,
(09:52):
Danny and Bob Deutsch and Danny Landwall came out to
the to La truck in my driveway while I was recording,
Bobby doing the recorder part, and it was just it
was the icing on the cake and I thought, Bobby
Deutsch just just.
Speaker 2 (10:10):
Aste, just aced it.
Speaker 6 (10:13):
This song ended up being a favorite across the country
with radio they played the daylights out of it, which
was great, and it also ended up it was one
of Rick Moranis's favorite songs. Rick Moranis was a jock
at Chum when that song was out and a disc
(10:35):
jockey Chum, and actually it was his request that I
do Pilot on the Second City Show, So I did
two songs there. One was hold On from the Runner
and this song Pilot from the Glider album. That's the
story of Pilot.
Speaker 5 (10:55):
Funny guy, phenomenal storyteller too. That was Ian Thomas, brother
of Dave Thomas. Bobby Cats with how Pilot was made.
Thanks for listening to Behind the vinyl of the podcast,
I'm Steve Jeffries and it's time to grab your Scottish
to English translator and hear how s A T You are?
Day Night came to be from the Bay City Rollers.
The late great founding member Alan Longer.
Speaker 1 (11:20):
Well, this was a song called Saturday Night, which was
we recorded in Britain a long time ago. We heard
the demo and it was and only got to number
fifty in written and there's a big, big show corours
here called Top of the Popes and it dropped one
point to fifty one. So I got consoled. And of
course the guy from Rust the Records, Clive Davis, liked
(11:42):
to chart like the chant and he says, it's it's
a great it's a great record, so he he released
an America and kind of grammar and then we've done
the Howard Coselle Show and it was what we had
to do it live, and we've done it. We took
a week to record it live and did the big
Tark books also members. It was quite funny because the
(12:04):
front of the box went up in the air and
the two sides fell down and we shot it them
to the audience and then it was what happened every
one of the guys in the band. Eric was playing
away in one of the the yells and the light
was tripping there on top of him. It was funny
at the time, but it was actually live, so he
couldn't do nothing about it. But I love this song
because it's a This means so much to me because
(12:27):
it was one of the first number ones we had
in America and that kind of kicked us off for here,
for this country and Canada, and it went world wide,
you know, especially in Japan as well, and it was
it was it was great, you know. And every time
we play it, even when we play it now, it
goes down really really well.
Speaker 2 (12:43):
You know.
Speaker 1 (12:43):
It's a brilliant song, just a nostalgic popular song. And then,
as I say, I mean, they never realized there was
going to be number one, so that was it, you know. So,
but I still love it anyway. So and then as
I say, the thing is that it's been going for
ever and ever and ever, and a lot of DJs
play all the time. And if I ever go out anywhere,
(13:05):
if I'm going to a club or or or disco
or something a long time ago enough, I mean, they
see you coming in and they start playing it, and
they think you're going to jump up and down in
the air, but you never do, you know. But it's
great for me. I mean, it's great because of this
part of the part of my life, you know. So
(13:28):
and then I'm just saying, like say, so, I say
go back in Scotland and you walk on it, and
I say Marvel Coope Pub and these guys say, oh
he's shot an a coming or wherever.
Speaker 2 (13:37):
And then you go.
Speaker 1 (13:38):
You got to you get knocked all the time. You
just got to go on with it, you know.
Speaker 5 (13:43):
Okay, I may have exaggerated a little bit of his accident,
wasn't that. Thick Alan passed in July of twenty eighteen,
But his music lives on. And that's it for another
episode of Behind the Vinyl. Thanks for listening. I'm Steve
Jeffries asking you a favorite. If you love music and
the stories behind them, check out our previous episodes. They
know that we've got a lot more on the way.
Make sure you check back for more. See you next time.
Speaker 4 (14:03):
This has been Behind the Vinyl, the podcast hosted by
Stu Jeffries. Audio production courtesy of Doug Morehouse, Derek Welsman
and Troy McCallum. Thanks for listening.
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