The following is a complete transcript of an interview Roy kindly gave to Dave Burnham just after coming off stage at the Half Moon, Putney in August, 1994. It was late and Roy was tired, but he spent over an hour answering all the questions thrown at him. An abridged version of the interview might have appeared in one or two publications, but thanks to the Stormcock e-mail list, here is the complete unexpurgated version (the full horror as R.H. might say!).
11.30pm. Upstairs at The Half Moon, Putney with Dave & Sue Burnham and Jon Dixon.
(RH=Roy, DB=Dave, SB=Sue, JD=Jon)
DB: It's very rare to find an artist with your longevity, and one who continually attracts a young audience. It seems to me your standards have a lot to do with that, so how do you maintain your quality control?
RH: I guess it's a different question, it's like 'how do you maintain yourself?' The most crucial thing I experience is how I'm thinking. I don't expect that ever to be deflected, very much, from what was going on when I was around about six. I had a very clear idea, when I was about six, what was happening around me and I don't think that very many of my ideas have changed since I was about nine. So it's kind of maintenance really, not letting it slip; don't get too far into something that you've let yourself go - don't give up!
DB: Yeah, definitely that.
RH: That's what it is, it's more like that.
DB: You've got a very strong rapport with your audiences and the inter-song chats contribute to a very friendly, special atmosphere. It creates an overall experience that's quite unique to each gig...
DB: ...I was wondering how that interactive thing came about. Whether it's partly the heritage of the Folk Club era, or if it's just something that's totally intrinsic to yourself?
RH: Oh, it's both, and also differs from night to night. Some nights you can't hear them at all, and they're saying plenty, but you can't hear them because the monitors are so loud and everything around you is so... Kind of isolated, on stage. That little voice in the middle of nowhere you're not able to hear, so you're not able to respond; but in a place where you are able to hear, your response is much better, and their response is likewise, and then it makes for a good gig. So I think it has something to do with... farce really. It has a lot to do with farce. Billy Connolly gave up singing folk music because he'd rather stand on stage and be what he really is - funny. I guess that if I hadn't had been so inclined, in the way that I am - it's down to inspirations in that respect - if I hadn't been inspired by people like Percy Shelley, when I was about ten years old, then I might have lived a very different life altogether. I might have gone into scripted comedy, or something completely different like that, and been able to have such a script together that at any given moment go off on a tangent and come back again. There are many people who can do that and Billy does it very well. But I think it's a kind of a tradition here in Britain as well. We have been, over the centuries, pretty inward looking and I 'spose that's part and parcel of being an island, but it's also a tribal thing as well and I think we derive a lot of our humour from looking in the mirror and looking at others. There's a lot of poking fun goes on here; it's very infectious and it's infected the whole nation. It's been a long-time infection now; it's moved ahead of many of the rest of the European traditions. I mean, they're ahead of us in other ways and you shouldn't think about 'ahead' anyway. I think it's from that sort of a region that I'm coming from, but the problem is that I'm inspired by the poets, so I'm always going to give in that direction, rather than in any other. It's the making of me...and also the downfall of me.
SB: Comedy and Poetry.
RH: Yeah, it's... Next.
DB: When did you first pick up the guitar?
RH: When I was about 12 or 13.
DB: On the 1967 album Come Out Fighting Ghengis Smith you sang 'I don't need wealth and I don't want fame'. How do you feel about the whole concept of fame these days?
RH: Oooooo, it's rather weird now... Mind you, it always was! (Laughs) I've always had a 'take it or leave it' attitude to it; I'm much more interested in what I'm *doing*, rather than in anything like that. It's very funny, I kind of have people come up to me in the street and say 'Can I have your autograph?' and you can go for months without that happening and then all of a sudden it'll happen three times and you think 'I'm not famous, I'm me!' I integrate with, and communicate with other people on the same level as they communicate with me. There's never been a barrier between me and anybody that I know. If it's the bank manager then I treat him like the bank manager and he treats me like the customer. If it's the car mechanic he treats me like a different kind of customer and we're nearer to being friends... Much nearer, actually. So it depends on the person.
DB: You've played a lot of festivals over the years, and it was on a video featuring performances from Stonehenge in 1984 that I actually first found out about you. Compared to the 60's, certainly the late 60s, what do you think about contemporary festivals?
RH: Well it's a business machine now, it's CHINGGGGGG, and it has all the manifestations of that. So that you go and you arrive and you expect this and that and that and that...whatever. That's the reason that people go, and the more attractions there are; the more likely you are to spread your accessibility to people so that the cash register's ticking over. It didn't used to be like that at all, it used to be that you went for the pleasure of - well, to be quite brutally frank, getting out of it and getting into the sounds. You can still do that, very much so, but now there's this haunting CHINGGGGGG behind everything.
DB: A lot of the less commercial events, and an awful lot of people's lives, are going to be really affected when the Criminal Justice Bill becomes law. How do you feel about that thing?
RH: Well, I think it's a load of rubbish... But I think you know what I think about that. I think you ought to print what *you* think and it'll be about what I think.
DB: Yeah, that's fair enough. (Travellers, squatters, ravers, hunt saboteurs, motorway protesters - will all become criminals. The police will have sweeping new powers; it will mean the end of the 'Right to Silence' and if a raid on your home showed up a rubber glove and a watch you could find yourself facing a 10 year stretch for 'Going equipped for terrorism'. Find out about it and do something - although by the time this is published it will, most likely, already be law.)
DB: What was it about the TV series The Prisoner that inspired McGoohan's Blues? Was it having spent some time yourself at Her Majesty's pleasure, or was it like being a prisoner in a misguided society?
RH: Both. The big problem that you've got with writing things like that, is that you don't want them to be true, but increasingly they are. So that over the years you think: 'HEY I wrote something that's actu... Oh fuck, did I? Shit... Oh dear'. Well maybe the next time I can write something that fantasises instead and then I won't have to look back and say 'You were right Roy... Haha... You were right... Oh fuck, you were right... Oh shit!' You know. It's terrible just to think about... A little man like me... A little boy as I was, writing a song like that and it still being a valid thing to say now. And I can't actually see a time when it won't be, it's sort of... It's fairly timeless. I didn't think it was going to be. I didn't think about things like that. I've ended up writing some kind of timeless music - that's what I'm into. But I didn't think about that then, it was almost stream-of-consciousness, and you sort of have withdrawal symptoms from it... You don't want it to be there, and at the same time - it's the same as what I was saying tonight, it's like a hollow victory, it's a very hollow victory. YUK!
DB: A question from Paul Davison, who runs the electronic mailing list Stormcock: In McGhoohan's Blues you mention 'computer stained fingers'. What's your opinion of people with similarly discoloured digits these days?
DB: Bearing in mind that the Internet is possibly the last really free information highway which isn't controlled, regulated or observed intensely.
RH: Yeah. I think there's an incredible wealth of communication that's being got into via computer. In those terms it's a wonderful contraption, a wonderful invention; and I've got two myself, right, so my fingers are as stained as everyone elses (laughing) but in the other sense, where they've got you on file somewhere, it's like the closing of a million doors behind you... You can hear the big slam.
DB: We've seen you bring the harmonica out for the first time in ages just recently for East of the Sun. Have you ever tried dabbling with any other instruments over the years? I know that at one point you wanted to have a go at the piano.
RH: Yeah, it's a dabble though. The problem is that... Er... Someone like Phil Collins for instance, who starts out in life as a drummer, has to then diverge and develop a different musicality in order to survive the changes that are happening around him. I think that at some time he's probably tried the guitar and found out how really difficult it is (laughs). You never actually see him playing one of those, but you do see him at the keyboard where all the notes are regulated, you know, it's a mathematical job. The guitar's much less like that altogether, and so... To maintain a pop career, I think it's necessary to diverge into other instruments.
I think that Neil Young is the best diverger; by far and away the most dedicated of all of us to everything he does. He's more dedicated to music than I am, and he's just as dedicated with what he's saying, so he's actually a bit more dedicated than I am and I respect him highly. So, yes, I regret that I've never actually managed to be inspired enough to get into anything else, and I should've been, I really should have been, because the piano can be a wonderful instrument, but I'm afraid that my inspiration is just purely on the words... And it's gonna stay there. I could spend 3 or 4 years learning how to play the piano quite well...
DB: Nah, stick with the words!
RH: Yeah, we'll stick with the words. That was the decision I made Dave! (Laughs)
DB: On Stormcock, between One Man Rock 'n Roll Band and Me and My Woman there's a snippet from Che off Valentine, released 3 years later. I've often wondered why. Is it some kind of future echo?
RH: YEAH, that was what it was intended to be... I don't think you need... NEXT! (Laughs)
DB: South Africa is a beautiful song and it's quite rightly lasted the course as a live favourite. Following the elections over there, do you think you could dare to predict how things might go for them?
RH: Well, I think that the lunatic right has appeared recently, in the last month, to have accepted their lot, as they did in Rhodesia/Zimbabwe. The numbers involved in South Africa are very much bigger and so, therefore, you can at some stage envision a highly trained white army of considerable numbers putting themselves between all the people and democracy there. But I don't think it will actually happen because there's too much awareness now... And focus by the International Community. I think the International Community now has sufficient weight to actually stop something like that in its tracks. I have a feeling these days that events can be affected, really affected, by one thing that happens. The one thing that happened which was good, it was obviously bad as well... The one thing that happened that the world saw on TV, that actually everybody went: 'Oh...Dear' and the South African right wing must have gone: 'Oh...Dear', and they must have chewed their lips and said... 'Bastard' 5,000 times, not being able to do anything about it and then not knowing what to do, was the shooting of those guys who were pleading for mercy that they didn't deserve at all... At the time. Everybody saw the dilemma, and everybody saw the absolute truth about what was going on; that they actually deserved to be shot through the head, right there and then. Murder's wrong, but it was a microcosm of what was going to happen. When you stand back from things like that and you think... I think it has a big effect on everyone, it's world-wide. The guy being shot in the head by the US Colonel in Vietnam was like a big blow for the Americans, that... It was like... Phheeeww, what the fuck are we doin' here? With guys who just take the law into their own hands like that... Just take a gun out and shoot someone through the fuckin' head... WHAT? O.K... Let's stand back from this a minute and see. I think it's a good move to have DeClerk as Vice President, a very good move. I think Nelson Mandela is one of the most magnanimous souls on Earth...
DB: Certainly a survivor.
RH: Certainly... A great man, still one of the greatest men of our time.
DB: There's some footage in the film Made which shows you at a large outdoor festival, I dunno what the festival was...
RH: Hyde Park free concert.
DB: Right. I think you were playing Highway Blues.
DB: Do you know if anyone still has a copy of that festival performance... Anywhere?
RH: I don't know, it's possible that EMI do.
DB: 'Cos it was filmed and then found and then used in Made.
RH: Yes, it was whoever made that film. I don't think they really filmed me, so much as the event. What we should have done at the time was to say: 'Can we have the footage that you're not using?' But you don't think; that's one of my big problems, if I'd have magpied everything like that, then you could say: 'Heh, look at this scene from'... You know... And do a big number with it. But I've never actually bothered much. In recent times this is untrue, but I've never bothered much about the past, I'm always in the middle of the next step and so the past is really scattered... So I don't know, I've no idea... It's possible.
DB: Yeah... I was also gonna ask the same thing about the Albert Hall film. There's a 16 mm around somewhere, I was wondering if that might find its way onto video?
RH: AAAGGH!... It is awful!
DB: Is it? Oh dear. (Chuckles)
RH: It is awful... It's great, fantastic. It was obviously in the infancy of video. It was done 'professionally' and the tape's about that wide and it's like that (draws a 16 mm reel in the air), and it was green not so long ago... We opened the box and there was mould on it.
DB: Oh dear, that sounds a bit desperate doesn't it?
JD: Yes, doesn't it?
RH: They went and took it away and had it transferred to tape with slightly better imaging, but there was nothing they could do about the actual cameraman on the day. So the angle that the camera was finally left at, I dunno whether it died or whether it actually fell... Gradually, was about 45 degrees. So you've got Page walking on stage like that (leans over) coming towards you at 45 degrees. And Nick, aged six or seven, coming up to the microphone; and you wonder what the hell he's gonna do. I watched it with an almost morbid interest, I thought: 'What the hell is he trying to do?' And he's grappling around and he suddenly gets what he wanted, it's the microphone, and he pulls it towards him and he says: 'BYEBYE', right, and goes, at this angle. So it is awful, it's really awful.
DB: (Joking) Well, you could always put instructions on the video, sort of stick some books under your telly or something - swing the screen up.
RH: Yeah (unimpressed) we stuck some books under the telly for you folks. It still doesn't look right, 'cos there's these corners missing, but imagine that the camera was that way... Anyway... We've given you that.
(DB concedes, despite it being a priceless Harper artefact, it's back down to quality control - and quite right too.)
DB: In the accompanying booklet to Valentine you said that 'War between sexes may be a valid way of life for some but it has to be profoundly stupid' - reflecting Male Chauvinist Pig Blues & Magic Woman. How do you relate to feminism 20 years on?
RH: Well it's in the place it should always be [[(the light on the adjacent snooker table suddenly pings off.)]] - it's gone, your time is up! (Laughs) It's in the place it always was. I think that's another thing that's benefited hugely from media exposure, because it's obvious to people. George Bernard Shaw said, in about 1950 [[(impersonates Shaw)]] 'You politicians, you can't lie anymore, you've got the camera to face', or words to that effect. BUT if you start talking sense I'm gonna be listening. So people are taken for what they actually are and what they're actually saying, that makes sense to everybody. People like Germaine Greer, who for a long time was labelled like 'Feminist Idiot', has now risen so far above that, and beyond that. Feminism is for wise people, and for idiots who can't really get on with the opposite sex that well. What we all have to do is to make sure that we are all equal, within the bounds of possibility. Some are always gonna be more equal than others. I mean, I saw a woman today who had legs up to my eyebrows, I'm not joking, and I had to actually look round at her, I had to! It was a freak show walking down the King's Road, and she wanted to be a freak show, that's what she wanted to be, exactly. She was about 6'3" and made like every Vogue front cover that you've seen in the last 10 years. And you had to have a look, you knew that it was like 'Hands Off'. She wanted to do it and she got the reaction out of me and everybody else that she wanted to get, and it's just basic pure male WOW! But when I actually went 'Wow', and thought about it, I thought: 'Nothing to do with you Roy at all, nothing to do with you whatsoever, forget it', and went back to being Roy immediately. So people play with you, they play around; but if you've got the brain you can see through it.
DB: Can you tell me about that famous night at the Rainbow on Valentine's day in '74?
RH: Oh Christ! Where should I start... Breakfast?
DB: A couple of brief impressions.
RH: Well, getting Moony (Keith Moon) out of bed to start with, was like Hell on Earth. He didn't even know that he'd got anymore gigs left... Ever, it was horrendous. The effort involved in getting him out of bed and getting him to the Rainbow was exhausting. Then when he'd got me exhausted and off my fucking feet, when he started to go in an 'upward direction', those were his words. I said 'Jesus I'm feeling tired, how am I gonna do this tonight?' and he turned around and he said: 'Ere, I've got something for you.....
DB: OH NO!
RH: Yeah, that's exactly what I thought... Oh No. He got a briefcase, and he opened it and there were rows of drugs and the whole thing and the bottom was like full of... He must have recognised all of it, and he took something out and he said: 'Ere, take those two right now, and that'll put you in an upward direction' and he fiddles around a bit more, pulls out another canister, tips out another pill... A really big red one and says 'And take that about 11 o'clock and that'll keep you going straight, and then when you've had enough of that take those two' and I thought 'Fuckin' hell. Here I am, I've got my night planned for me!'
DB: A chemically engineered evening.
RH: Yes, a chemically engineered evening. There are many impressions, but that one is absolutely unforgettable.
DB: On reflection, why do you think it was that Trigger didn't work in the long term? Was it the illness thing that cropped up soon after, or just the public can't cope with 'Intelligent Rock?'
RH: A combination of intelligent lyrics and Rock Out. They've got to be cultured into that. I think Neil Young has managed to do it to some degree, he's done it over the years and it's taken him a long time, but a segment of the population has to be "into you" to start with, on a pop level perhaps, and then be carried for a lifetime by your own progression. But...there's a larger question there isn't there? What's your original question?
DB: Why you thought it was that Trigger didn't work out in the long term. I mean, another thing I was wondering was, I thought it might be difficult to portray a really true cross-section of all your work in a purely band format.
RH: It is... And that's one of the bugbears, one of the drawbacks of being me. I can't do that stuff all at the same time, you've got to give people a relatively accessible evening. The crucial thing with that band, and it's such a shame... It was such a shame. I think that Bill Bruford was, perhaps, the odd one out, but he was the most technically gifted of all of us. The big problem is that he could have a job anywhere, anytime he wanted, and will do for the rest of his life. He's an excellent drummer. But Spedding didn't like how busy he was, he just used to say in his Sheffield brogue... 'Humph... He's too busy'. Bruford didn't like Spedding either, because he thought he was too minimalist... So it was like these two figures who didn't really like each other, but the band was good... It was really good, and Dave would've gone anywhere and improved as a player and you know... Etcetera. And it's such a shame that band didn't stay together. I know (taps finger hard on table) that Spedding thinks of it as some of his best work, on record, and I know that he wanted to get it back together again... Sort of 10 years later... And I was into something else. We could easily have done, and shit we still could, (clicks fingers) probably, but it's not gonna be the same again. We should have actually kept it together. We should have kept it together... And we didn't. If we'd have kept it together that band would've gone places... It would have been. That's the one point in my life that I regret not holding onto people, because I think that band was really, really good. Maybe we did need a different drummer; but I think Bill's a great, great drummer and that eventually the two of them would've settled into each other. I think it's a shame, I just think it's a shame. Maybe it's me that they couldn't have taken eventually: 'What the F*** are you writing about now? You clown! Why do we have to sing your words all the time?'
SB: Sack the front man!
RH: Who needs a damn front man, especially when he can't sing like Peter Gabriel!
JD: Would you ever work with any band again, do you think? You haven't worked with a band for a long time.
RH: I think so. I mean, that's gonna happen next weekend anyway at Cropredy and it's gonna happen on the 10th (Aug) with Ian Anderson; I dunno what the hell's gonna happen there. I'm so damn idiosyncratic now that it's very difficult for anybody really to work with me. I come across, all the time, bands full of people who are terrific players. They can outstrip me (clicks fingers) whack... Like that. Nick's on that sort of level, he could join any band and fit in anywhere, anytime. Since I've gone further and further out on my own particular limb, it's become increasingly hard for me to actually get it together with other people again, because I need to take the extra breath and have the extra bar in there. That's what I was saying to Nick when I first came up, I should not be playing the guitar anymore... I should be singing, that's what I should be doin'. The band should actually poke me into action... They should go: 'NOW, do it now! We're beginning to play. We're going to play now, Roy... Roy... Stop talking, come round... Yes, there's a good boy, he's got hold of the mike.' I think that it would be very much better, because I would be organised, but whilst I'm still the entire orchestra, then I've got far too much power. I can stop when I wanna stop, stop the whole band and...
SB: Which you did. (During Watford Gap the night before)
RH: Yeah...you know, oh, yeah I've just had a thought, I must go and see my dentist. (Chuckles all round)
SB: You must.
RH: It's crazy, you've just got too much power and if I had a band I would be more disciplined. And I see guy's all the time - they're brilliant, and I come away from a session with them thinking: 'Jesus, what does it take to be like that, to actually just fit in like that and to go, what you mean, this?...and just do it.' And it's wonderful, I just stand back and go: 'Wow! It was such a pleasure to be with you guys, because you're actually so damn professional.' Then I wonder what they think about me: 'Roy... What does he do? Well he sits on a stage, and sometimes it gets a bit iffy; sometimes the audience have to squirm a little... Just a little... And then sometimes they're in hysterics 'cos he's done something really foolish,' and you can't have a ba'd doing that; sort of... Really weird. There will be another time, yes, but I'll have to get into another discipline... It is another discipline... NEXT.
DB: Which of your own albums are you fondest of?
RH: Well, I often think about things like that and it's kind of a constantly shifting tide. There are one or two that are at the top all the time, but they're like sort of rocks poking out of the sea... I don't wanna get too far into that analogy. If you like... There's a joint first! It contains Stormcock, HQ, Bullinamingvase... I think that I'm forced to put Lifemask in with those three... And therefore Valentine is kind of forced to be in there... And then Flat Baroque is forced, because of that, to be in there right? Then it gets a bit weird, then I think: 'Hold on Roy. You can't have six or seven, o' whatever it is, in first place. Okay, we'll have those six in that place and we'll have a 6th place, and in 6th place we've got Folkjokeopus, definitely Descendants of Smith... That should really have been in one of the first places, and very often is. And Once, and the last one isn't too bad, when all is said and done. Then Sophisticated Beggar, and what are we gonna do with that? That's joint 6th as well, you know...and so you go on down the list like that. Then the most relevant question is, I suppose, which is 'out' of the list...and you have to think: 'Ah, right, I know that one'... I know which are not in the list; and sort of joint 15th or something would be Come Out Fighting, but it shouldn't be, it should be slightly ahead of that...we'll have Come Out Fighting 15th on its own, or something. Then 16th you've got Burn The World, which is just not very good, well... The ideas... The whole thing is OK, but it never reached the proper place it should have reached. It's a double or triple record, but I never exploited it. It never actually reached the target... It's an arrow in mid-air; somebody will get it together, someday. That's also where Work of Heart is, that's the other one... I don't really wanna play that record. There's some good songs, Drawn To The Flames is really great and I am a Child is good too; there's another good one on there. That's another one that never reached the target, that's when you're governed by 25 minutes on the side of a record, and you had to do something in 25 minutes. You couldn't fade it and carry it... Or could you? And did you want to, could you do it in one go and blah, blah, blah, blah. Some of the poetry in it's really good, and it was stillborn, because that band didn't work as well as the HQ band, and I now know why. I couldn't put my finger on it at the time, but I now know why and don't wanna say.
DB: Fair enough.
RH: So you've got the stragglers, those 3. Born In Captivity is better than those, but Work of Heart and Burn The World never reached... They're arrows in mid-air. The rest, as somebody said to me the other day: 'Well you've never made a bad record'. Yes there are, but they're sort of hidden by the decent stuff and there's still some decent poetry on them anyway.
DB: When you're on stage with Nick and playing something, like towards the end of Same Old Rock, and he's got a free reign and flying away, I've seen you kind of glance across with... Some nights a mixture of joy and pride. Can you put that into words?
RH: Jesus Christ! He's a fully fledged adult human being. He's his own man, and very much so. I think he appreciates what his Dad has done, and who his Dad is; and he probably appreciates that more than his Dad does. His Dad's the twit who walks down the street... And looks for somewhere to piss where no-one can see him, like, and he ends up pissing in the bushes, 'cos he can't be bothered to go into the cafe and ask to use the loo at that point, he has to look right now... 'Where can I piss?'... And just do it now. I react like that, I am like that... And I guess he's right; he's got me down to a tee, he knows exactly what's going on. He knows when I've flown the coup for 10 minutes and I'm on planet Zarg... And he can take that... It's part and parcel of living with me I think. It's not a serious condition, and I guess that Crazy Boy, which is a song that he's written for me... Is... It's very, very flattering to have an adult human being be able to be explicit with those emotions for you. I regard him as an equal, like as another human being, and never will I ever be able to afford to be any different, with him or anybody else, because the moment you start thinking that... The ground disappears from underneath you and you start becoming the arsehole that you see... Blah, blah, blah... Wherever. So you've got to retain humility. And I love him deeply and it's mutual and it'll last for the rest of my life. We're both saddled with each other, and it's forever. Sometimes it's kind of mildly annoying, but most of the time it's filled with a deep sense of pride.
DB: What plans for the future? Have you had much time of late to use the studio at home in Ireland, and what might be coming together for next year on the album front?
RH: Well, yes, there's a song cycle I've got up and running called Seven Ages of Man, but the more that I think about it, the bigger it gets...
DB: It's huge!
RH: The starting point is conception, or even before, and the end is obviously decay. There's tragedy in every life, at the end, and that's part of it. There are lots of things along the way, and I'm trying to get some of my favourite themes in along the way, at the times they happened to me, at the sort of times they occurred to me. So there are songs like, for instance, I'll try my best to pick up a banjo for this one (sings) 'I don't wanna be a part-time Daddy, not there when you need somebody...' I won't sing the rest of that, but that's around the age of 30 I would think.
There's a battle going on at the moment, about whether it would be more successful to have a Republic. So there's a song called 'Republic' bound to be in there, and there's another song which I'm not going to give you the title of - because I'll blow it! (Laughs all round) There's a lot of things going on in me head, it's just arranging them properly, and having the time to.
Well, it's been lovely to see you; I hope that the charabanc doesn't break down on the way back.
DB: Thanks for your time Roy, that was great, and thanks for the last couple of evenings too.
Many thanks also to Jon Dixon for loaning the recording equipment and keeping an eye (or should that be an ear?) on things sound-wise during the interview, and to Darren for arranging it.
2011-01-01 19:25:21 UTC - GNU/Linux (i686)