Wow.

Yeah.

It was me and my mate, Simon Lloyd.

He played sax.

And the only other person in the band was Sylvain's wife, Rosie.

This fantastic Puerto Rican drummer who had this drum kit, which had timbales instead of toms.

And that was the first time I went abroad.

But so was there a point when, or sort of what was the thing that kind of, as you've kind of transitioned out of this sort of bands into being a session guy, you're kind of, you know, you're, you're, you're obviously, is, is, is that a different, is, is that a different entity? And how did that sort of like, what, what, what were the things you were learning really, I suppose, about the difference between being in a band and actually turning up and doing a session?

Yeah.

But it's, it's done in such a way that if something really kicks off, I can go off down that path and follow it, you know? I was also, 'cause if...

But I can't really cut things short.

I mean, I've had a couple of, of instances.

There was...

I remember, I can't, I can't remember what it was, but I had this gag and I'm just like, "This is a killer.

This is the best joke ever.

Yeah

... because there's a big bass section in that song.

Well, the, the funniest bit about that is because I, I don't really remember doing that.

I remember working on the album, but I don't...

That was just me, her, and Pat Leonard and Bill Bottrell, the engineer, in the studio.

And it's... 'Cause when I did that, that's way above my pay grade, that sort of playing.

It's like you get Pino Palladino, you get Tony Levin, you don't get me to do that.

And so I thought we were mucking around.

So Guy, how do you fancy picking up from that? Where are you taking us, and what is the link back to Jimmy?