He wants to know why there wasn't more of that.

I think when Terry came back from Australia and, uh, he was getting … He was having personal problems.

He was getting a divorce and all the rest of it, so he came back to this country probably to escape all that anxiety.

And, uh, when I knew he was back in the country, I said, "Terry, do you fancy coming in on, coming in with me on this, uh, this EP?" You know, um, uh, "Together we can do it, and I think it would have quite a big impact, you know?" And, uh, he wasn't sure, and then we went out and got drunk and I managed to persuade him.

[laughs] So, uh, yeah, he eventually came in with me on this EP, Great Aspirations.

[singing] Scatter me far and wide.

Up in the hills where we walked.

We love you.

Do you feel like you were intentionally trying to do something different, or is that just a sound that developed naturally between you guys?

I think it was a natural thing, you know, instinctual.

It's the, the sum of its parts is, some of the, of the parts of the band are much bigger than the parts themselves added together, if you know what I mean.

Uh, there was some sort of fusion that made it bigger than what it was, you know? Um, and the personalities, you know, made it kind of different, you know? Andy was the only writer to begin with.

I didn't start writing till a bit later, but, uh, we used to do his songs, and, um, Terry and I used to invent these [laughs] spasticated rhythms, uh, to his songs.

We were an unusual outfit, there's no doubt about it.

And, uh, back then you, you couldn't really get a record deal back then, you know? It was difficult.

One question I like to ask everyone is do you have a distinctive memory from a p- from a tour, something that stood out, whether it was a great performance, something unique or totally bizarre that happened that you, you could share with us?

Had these all been written in the UK or did you do any writing in America at that stage?

No, this was all in the UK.

In fact, once we decided on Todd, Todd said, well, can you send me your demo? So Andy and myself sent him our demos.

And within a week, he'd cut the lot together on reel-to-reel and said, this is what we're going to be doing.

He chose the whole running order, although it got messed with later on.

He chose the running order and said, right, this is what we're going to be doing day one, track one, side one, you know.

um which we were quite shocked about we never had that before it was always well we'll record a bunch of songs and see which comes out the best you know but he was adamant this is what was going to be on the record you know so he sort of took control right from the beginning did that feel all right well i didn't mind it but um i think and is not used to working that way you know um i think one of the things that andy likes is um they have different ways of working And he likes to kind of do lots of takes until we get there, which, okay, that's up to a point.

Did you, at that stage, did you think recording it, that was going to be a little bit of the last album for a bit?

Yeah.

Back then, studio time was very expensive.

In London, you would pay a thousand pounds a day then.

You might pay that now, but back then, the thousand quid was a lot of money.

So you didn't hang about.

So you have to have a fair idea of where you're going.

Although I think it's nice to have a little bit of don't know where you're going in the studio, just a little bit of it.

Oh, they're so underrated, aren't they? But yeah, your role in it as well.