Welcome to A Breath of Fresh Air with Sandy Kaye. Hello and a very big welcome to you. Today we’re talking about the life and music of Lawrence Juba, a guitarist and composer whose name you might recognise from his time playing with Paul McCartney and Wings.
And yeah, that’s a pretty incredible place to start, but it’s really only part of his story. Lawrence grew up in London with a strong classical background and in the late 70s found himself touring the world as part of Wings, appearing on the Back to the Egg album and playing alongside Paul and Linda as well as with Denny Lane. After Wings, Lawrence moved to the US and built a whole new career as a solo artist, becoming one of the world’s most respected fingerstyle acoustic guitarists.
Lawrence has also produced and played on several Al Stewart albums and contributed to soundtracks like Dirty Dancing, Good Will Hunting and Pocahontas. His session work includes tracks by Belinda Carlyle and Eric Carman. In this episode, we dig into Lawrence Juba’s journey, the Wings years, the solo years, the session years and the creative drive that’s kept him making music on his own terms for decades.
It’s a great story about following the music wherever it leads. Hello, nice to see you. Let’s just take a step back and come up to present time.
What I know about you is that you started playing guitar the very week that I want to hold your hand came out. You were just a young guy then. Pretty much.
That was the timing of it. In fact, the With the Beatles album came out a little before I Want to Hold Your Hand. And it was kind of November of 63.
And they did the previous week to my birthday, they did the Royal Command performance. And my dad always wanted me to play the saxophone. And I didn’t.
But I kind of begrudgingly said, OK, I’ll learn clarinet, you know, I’m playing the orchestra at school. But I made sure my name was at the bottom of the list. So they ran out of clarinets before they ever got to me.
And because the Beatles had played for royalty, it kind of they went guitar went from being a hooligan instrument to being something actually quite legit, pretty much overnight. And on my 11th birthday, there was a guitar at the bottom of the bed and I picked it up and never put it down. Oh, yeah.
I’ll tell you something. I think you’ll understand. Say that something.
I want to hold your hand. Please say to me. Let me be your man.
And please say to me. You let me hold your hand. I let me have, I touch you, I feel happy inside.
It’s such a feeling that my love, I can’t hide. What I also know about you is that you’re a fingerstyle guitarist. Now, I’m not a guitarist.
I’m sure some people listening may well be, but I’m sure a lot of people aren’t. Can you explain what a fingerstyle guitarist is? Well, basically, I mean, fingerstyle guitarist is a technique of playing guitar where you use your right hand fingers, assuming you’re right handed, use your right hand fingers to pluck the notes rather than using a flat pick. And that, in my case, allows me to do bass, melody, rhythm stuff, all the different parts.
You know, of my peers, for example, I mean, you’d know Tommy Emmanuel. Of course. And Tommy’s a fingerstyle guitar player.
But he’s rooted in the kind of the Chet Atkins American tradition, which is a little different from my background because I was a fan of like Bert Jantzsch and John Remborn, Pentangle, and early Paul Simon, Bob Dylan, that kind of fingerpicking. But with a dose of ragtime thrown in. And because I was, my ambition was to be a studio guitar player.
I studied classical guitar, which is a kind of fingerstyle guitar, because, again, you’re using just your fingers. And over the years, I had kind of had this parallel thing of being, on one hand, a rock league guitar player, you know, from when I played with Wings, but also as a studio musician needing to be versatile to be able to play a lot of different styles. In the course of time, I just found that my self-expression was really coming through the solo acoustic fingerstyle guitar.
Why was your earliest ambition to be a studio musician? That was kind of a brass ring thing. It’s just I was 13 and I was playing with much older musicians. And, you know, I knew at that point that I wanted to make a living as a guitar player.
And because I could read music and I understood a lot of different musical styles, it was a very natural progression for me to aim at being a studio player. And I was in bands as a teenager and I kind of turned down, you know, opportunities to get signed to record labels. Because for one thing, because both my parents had left school very young, because they were growing up in London during the Blitz in World War II.
So they didn’t really get the benefit of an education, whereas I had the opportunity. And I loved music. I loved learning about music and analyzing music, as well as listening analytically, listening to the radio and hear, listen to what the bass was doing and what the drums were doing and how it all worked together like a puzzle.
That studio world just fascinated me because I loved the idea of making records. LJ, what were you listening to in those days? Everything. I was listening to Motown records and stuff like soul music and stuff where I could really get a sense of groove.
There’s so many different stylistic influences, but what my goal has always been to be a musician, to be an accomplished musician and to make a living as a professional musician. And of course, in high school, it was like, oh, you don’t want to do that. You know, you should be a teacher or an accountant or a pharmacist or something.
Of course. Well, you certainly managed to fulfill all of those dreams, didn’t you? And very, very well. I believe that the first project you did was with former Beatles producer George Martin.
How did that come about? That was one of the first studio projects I worked on, which was an album for Cleo Lane and John Dankworth. And I’d worked with John Dankworth, her husband, who’s an alto sax player. Paul Hart, who was the bass player in the National Youth Jazz Orchestra, was also Cleo Lane’s piano player and violinist.
And he and I were kind of part of this group of players that we were playing all the time. And so he recommended me to go in and work on this album. That was really my first real taste of kind of the high level of studio work.
I met him at the party just a couple of years ago. He was rather over hearty and ridiculous. But as I’d seen him on the screen, he cast a certain spell.
What was that like for you? Pretty intimidating. You know, but George Martin had this very nice manner. You know, he puts you at ease.
Anytime I walked into a studio, it was like a great learning experience. Did you suffer imposter syndrome? I still do. Still, you know, I always feel like I’m getting away with something.
The thing in Hollywood is, you know, if somebody says, well, can you do this? You always say, yes. And then you figure out how to do it. Or, hey, do you have a Christmas song? Oh, yeah, sure.
And then you go write one. I think you have to have a little bit of that, some dare. Tell me about working with Charles Aznavour.
I did a lot of sessions for a producer named Del Newman. Del Newman being the arranger that took over from Paul Buckmaster on the Elton John albums back in the 70s. He had produced a number of projects that I worked on, including an album with Rosemary Clooney.
And Charles Aznavour, I think I worked on like four albums for him. One of which we did in Paris, which was very cool. And I discovered many years later from my own Wikipedia page, that it was number one in France for almost the entire year of 1978.
I had no idea. Until tomorrow comes Until I see the face That’s just a breath away Here where I lie beside you Here I wait for the day Until tomorrow comes What was he like to work with? Very creative. The language barrier really amounted to everybody gathering around the piano and a lot of gesturing.
You seem to have been thrown into it and have never stopped since, because soon after that in 1977, you got to work on the James Bond film, The Spy Who Loved Me. That was really cool to actually get to play the James Bond scene. Because when I was 11 years old, Dr. No came out right around that time.
And that real twangy guitar sound was just really tickled my eardrums. It was an amazing time for me in my mid-twenties, that I was going from Trident to Abbey Road to Olympic, all these legendary studios, and working with musicians that were just legendary musicians too. It was amazing.
Back then, if you wanted to record something, you had to go into a studio with a two-inch tape machine and interact with other musicians. And the musicians I was interacting with, many of them were musicians that had kind of come up in the 60s and had played on a lot of big hit records then. One of my favorite drummers to work with was Clem Cattini, who was the drummer with the Tornadoes.
Telstar, which was a huge hit back in the early 60s. What was Alan Parsons like to work with? I didn’t really know at the time, because it was a secret session. I showed up at Abbey Road on a Tuesday night, and there was a string orchestra, and Francis Monkman from Curved Air was playing harpsichord, and a couple of mandolins, and I’m playing guitar, and we did this kind of Renaissance-like instrumental piece.
And I didn’t know it was for Alan Parsons. And then 25 years later, I read in a magazine, he was talking about recording Tales of Mystery and Imagination, and he said, oh yeah, we had Laurence Tuber come in. We did? I had no idea.
I think that was my first time working at Abbey Road in Studio 2. That in itself would have been a huge thrill for you. Oh yeah, it was all a thrill. Just the fact that I could actually leave the house in the morning with a car full of guitars, and a briefcase full of pedals, and an amplifier, and go and make records.
And get paid for it. In 1978, in walks Paul McCartney. How did that meeting come about? Well, there were a couple of phases to this.
The first phase was that I was working at a studio in North London on a session with Herbie Flowers was playing bass, who was an old friend of Paul’s. And on our musician’s union break, we went off to the men’s room, and I walk in and there’s Paul McCartney zipping up his fly. A really inauspicious way of meeting a Beatle.
But Herbie had introduced me, and so I, you know, at least I could say I’d met Paul. But a few months later, I was playing in the house band on a TV show with David Essex, who was a big pop star. I know.
A little big hit over there. Rock and roll, rock on, ooh, my soul Hey, did you do, did you Hey, shout summertime blues Jump up and down in the blue suede shoes Hey, did you rock and roll, rock on And where do we go from here Which is the way that you feel Still looking for that blue jean Baby queen, prettiest girl I ever seen See you shake on the movie screen Jimmy Bean James Dean Each week there would be a different musical guest. So one week we had Ronnie Spector, and then the next week we had Denny Lane.
And we did Go Now, which was the old Moody Blues hit that was kind of his signature song. And I played a guitar solo on it, and he liked my playing. In fact, I had not seen the video of his performance until fairly recently.
And it was just Denny at the piano. The band were off camera. But when I start the solo, you can see this smile flashes across his face.
And he then turned around and said how much he enjoyed playing with me, and then recommended me to Paul and Linda. We’ve already said Goodbye Since you gotta go, oh you better go now Go now, go now, go now Before you see me cry I don’t want you to tell me Just what you intend to do now We’ve already said So long I don’t want to see you go Oh you better go now Go now, go now, go now Don’t you even try Telling me that you really don’t want me To end this way Yeah That was September of 77, and in April of 78, I was actually working in Studio 2 at Abbey Road when I got a phone call.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. It’s very unusual to get a phone call in the studio, because there were no cell phones in those days, and usually if you did get a phone call, it was an emergency of some kind.
But in this case, I got to go up the stairs. Normally, you never got to be in the control room, because the musicians stayed down in the studio. But I went up the stairs and picked up the phone, and it was Paul’s office, wanting to know if… Jenny says, can you come and jam on Monday? And, oh, by the way, Paul and Linda will be there, which panicked me a little bit, because I didn’t know any Wings tunes.
My record collection at that point was really much more geared towards kind of Weather Report, Return to Forever, Mahavishnu Orchestra, the more fusion-y, kind of jazzy end of the spectrum. And I just didn’t know what to expect. So I went into the audition, and Steve Holley, who was about to become the drummer, was also auditioning on the same day.
And we played a bunch of Chuck Berry tunes and some reggae grooves, and then we got offered the gig. But I don’t get how that works. I mean, you’ve got no idea what he’s going to ask you to play during the audition.
What if you didn’t know those Chuck Berry tunes? Well, everybody knows Chuck Berry tunes. And the fact is I can fake it pretty good. Between my experience and my musical ear, I can get by.
And that’s part of the challenge, really, is to be able to make music no matter what the circumstances. And I’ve always been able to do that quite reasonably, is to be able to just listen and figure it out. So is that part of the test? Probably so, yeah.
I think the ability to be able to adapt to a situation like that. And because, you know, Wings, there was a component of Wings, which you don’t really see because it’s kind of part of the iceberg that’s under the surface, the nine tenths under the surface. We did a lot of jamming, you know, and there were sections of songs on records that would emerge out of jams.
And Paul just loves to play. Even when we were in the studio or in a rehearsal working on something else, the first thing we’d do would probably just start jamming and see where it went. Ooh, baby.
First thing to me. If you’d have taken an hour, I’d run it right through me. Ooh.
Major attraction. Woken up in underwear. Regular.
Leave it, leave it all. It must have been an amazing experience working with him and the band. Oh, not just him, I’m with Linda too, because she had a very keen musical sensibility.
She grew up around music because her dad, Lee Eastman, was really the top music attorney in New York. You know, people misunderstood that somehow it had something to do with Eastman Kodak because she was a photographer. But Eastman, the law firm represented Tommy Dorsey and Frank Lesser and great band leaders and Broadway composers.
And Paul’s father-in-law, Lee, really, like, he knew the music publishing business inside out. And she didn’t, you know, she didn’t come into the band, and Paul wanted her in the band, because that way they could be working together and raising the kids together and it all, it wasn’t like him going off on the road and leaving her at home. It was very much a family scenario.
So the kids were always around? Yeah, especially up in Scotland when we first started. I mean, it was between the kids and the dogs and the horses and the goats. We spent the whole month of July there recording the first phase of what would become the Back to the Egg album.
Come September, because the kids were in school, we actually went down to the south coast to a medieval castle called Lim Castle. And then we went to Abbey Road for a few months. Did it take you a long time to get used to the fact that you were working with Paul McCartney after being such a huge Beatles fan from when you were just a little tacker? There are kind of dimensions to it, because on one hand, as a professional, that’s the gig.
In terms of the personal side of it, my father had passed away a month before I joined the band. You know, I was kind of grieving at the same time, and being part of the band was actually really helpful because it was a stabilising thing for me. I mean, even to the extent, you know, I’d be on stage and it would be like, wait a minute, I’m on stage with Paul McCartney.
It’s like, that feeling doesn’t ever really go away, because it’s Paul McCartney, you know. And then later, I mean, I got to work with Paul Amringo together in the studio, and I’m there with half the Beatles, and it was like, whoa. Everybody needs attention Everybody wants to smile Get it to the power of… Watching the two of them together and understanding just how deep that creative connection goes.
So in your opinion, they really were the real deal. I mean, they started it all off… Without question. Yeah, without question.
And when you look at the arc of their career as a band, you know, there’s pictures floating around on Facebook, you know, John at 16 with Paul at 15 and George at 14. I mean, they were kids, and they were working together for years. Even before Ringo joined the band, they were probably the greatest cover band that ever existed.
I mean, their repertoire was enormous, from doing, you know, like, hours and hours at night in Hamburg. So before they ever made a record, they were a great band. But for me, I think one of the most important lessons I learned was how to be creative in that context, and watching Paul work and understanding that you didn’t have to have a bolt of lightning strike you around the head to get inspiration, that it was a work ethic where he’d just make music and write music because that was his job.
That helped me make the transition from being simply a studio musician to also being a composer. I learned a lot about family life from that. I also learned a lot about making records.
The things that I learned really kind of carried over into the next chapter of my life when I met Hope in New York and then moved to LA with her. What spurred you to start making solo records while you were simultaneously with Wings? My first recordings that I did while I was in Wings were Paul had asked me to record stuff out of his publishing catalogue. So I recorded tunes that he owned the publisher, like Stormy Weather, for example, which I did with, like, a 40-piece orchestra, because I could.
But that was really, you know, for his publishing company. . . . Later, and not very much later, was really when I started getting into doing it for myself, and I just started accumulating. During the 80s, when my kids were little, I started accumulating a lot of tunes.
And then by 1989 was when I got offered a record deal from a friend of mine, and I started putting out solo acoustic records. You started writing for yourself at that time too, though. There was a track that you wrote called Maisy.
Maisy. That was something that we recorded in Scotland. And, you know, the fact that my first fingerstyle guitar piece has Paul McCartney on bass and Danny Lane on harmonica was a pretty cool thing.
. . . During the middle part of the 80s, I actually started getting into, as well as doing a lot of studio work in movies and television and records here in LA, I also was composing. For example, I did the score for A Very Brady Christmas, the Brady Bunch Christmas movie. By the end of the 80s, I was really, you know, I felt like my compositional chops were getting good, and I was really, I had worked on my technique as a solo acoustic player, and then just started making records and getting out and performing.
LJ, why did Wings disband? Wings disbanded for, I think, a couple of reasons. One, I mentioned earlier that Linda was just getting tired of it. You know, the kids were settled in school.
They didn’t really want to be doing any more world tours. John Lennon was killed. And I think that Wings had kind of run its course.
It was Paul’s 70s project. And then he got busted in Tokyo, of course, which, you know, also kind of put the damper on the touring. I knew that it was not going to be a lifetime gig.
Officially, Wings folded in 1981, when Denny Layne left the group. Hope was quite connected to the television world, wasn’t she? Yes, because her dad was Sherwood Schwartz, who created Gilligan’s Island and the Brady Bunch. But I didn’t know this when we met.
You know, it was love at first sight. I met her at a comedy club in Manhattan called Catch a Rising Star. And eventually, at some point, you know, I got introduced to her parents and I still didn’t really know about any of this TV stuff at all.
And then she said, well, you should probably watch, you know, some of my dad’s TV shows. So it’s like, oh, now I’m in this weird nexus of Beatlemania and American sitcom culture. What a unique place to be.
Yeah, I bet. Had you grown up with those shows in the UK? No. Not at all? Not at all.
I didn’t watch a lot of television. Yeah, as a little kid I watched Doctor Who. It was English.
And Monty Python and stuff. Growing up, you know, we only had, what, you know, two, three channels. So it wasn’t her father’s prowess that impressed you? No.
I mean, I got to know her parents as people. And I’m still discovering stuff about her dad. I mean, we’ve got an archive of, you know, his career because he started off as a writer for Bob Hope at the end of The Searchers and then ended up doing Forces Radio, writing comedy for that, and then got into television.
Really quite a remarkable career. Just sit right back and you’ll hear a tale A tale of a fateful trip That started from this traffic port Aboard this tiny ship The mate was a mighty sailing man The skipper brave and sure Five passengers set sail that day For a three-hour tour Being in that environment, and because Hope is a writer, and then she came to me and said, I want to do a comedy rock and roll band. And I said, great, let’s do that together.
And she came up with a group called The Housewives, which she called domestic rock and roll. And it was songs like Be My Babysitter and Call A Repairman and stuff like that. I’m looking for someone special Hey, maybe it could be you It’s something I might think so too I want to go out and have fun Cause baby, that’s my style So be my babysitter Babysitter And we used to play comedy clubs around L.A. Then she and I were just doing a lot of writing together, and then her dad said, I want to do a Gilligan’s Island musical.
We want you to write the songs. So we did that, and that went through a long development process, and about seven, eight years ago was published and gets done by community theaters. The fact is that I like the combination of comedy and music.
You’ve done so much. You’ve played guitar on Belinda Carlile’s Mad About You. I played much of the guitar on her first album.
I also did Eric Carman’s Make Me Lose Control. I’m on the Dirty Dancing soundtrack. I’m on Time of My Life, She’s Like the Wind.
It’s just a lot of stuff, especially in the 80s, 90s, I was doing a lot of records, and then I ended up doing a lot more movie and television stuff, like Good Will Hunting and Pocahontas. You became really good friends with Al Stewart along the way, didn’t you? I did, because when Peter White went off and did his solo career, I was asked to work with Al, and I ended up producing four albums for him, and we did a lot of touring together. Just the two of us, like as an acoustic duo, back in the 90s.
I liked his records, because the Year of the Cat album was produced by Alan Parsons, and these were great-sounding records. You released a photo memoir called Guitar With Wings in 2014. Can you tell us a little bit about that? Well, I had shoeboxes full of photos, and taking Linda’s cue, in terms of wielding a camera, I did a lot of fly-on-the-wall stuff, and I was very pleased with the way that that turned out.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. That brings us up to present day and you’ve just recently released your fifth solo album called A Day In My Life.
Your fifth album of Beatles arrangements. I’ve done like 30 albums. You’ve got 30 solo albums out.
Yeah, something like that. I lost track some time ago. Are they all instrumental? They are.
On the electric guitar and vocal oriented side of things like with Al Stewart or with T-Bear or with Billy J. Kramer, that’s when my kind of producer, studio musician, hat arranger comes into play. And 95% of the guitar on T-Bear’s album is me playing either acoustic, electric or lap slide. But for my stuff, the first batch were all original compositions.
I’ve written I think over 150 compositions for solo guitar. Not only have done arrangements of Beatles songs, but also did an album, for example, called I’ve Got The World On Six Strings, which is all Harold Arlen tunes. You’ve challenged yourself in so many different areas, Lawrence.
You never wanted to add vocals to your bow as well? No, I do sing, but I haven’t made a vocal record. My band, Airfoil, that’s my wings band. But Paul doesn’t like us kind of referring to it as wings.
And as a wing is an airfoil, I’m being kind of cheeky with it. We do wings repertoire. It’s the rock and roll side of wings.
But like, you know, we’re doing the White Album. I’m singing Cry Baby Cry. I’m singing Sexy Sadie.
So as time goes on, I get more confident in my singing. But as a solo acoustic guitar player, I can engage an audience without having to sing. I’ll sing an encore.
I’ll sing like Johnny B. Goode or 20 Flight Rock or something like that. But what I do is really engaging the audience as an instrumentalist. You let the guitar sing for you.
Yeah, the guitar really does it. And because my repertoire is very wide, it’s an entertaining thing too. Some of the guitar repertoire, like Walk Don’t Run, for example, I have a new arrangement that I just did of that.
And the audience always seems to love it. So I haven’t really had the need to be singing. A Day in My Life is the fifth collection in a series of your solo acoustic arrangements of Beatles songs.
Do you have a favourite on that album? I do like Strawberry Fields Forever, I think, because how that arrangement came about was just kind of one of those epiphany kind of moments. Because the record of Strawberry Fields Forever, the Beatle record, is in the cracks between the key of A and the key of Bb, because they had a faster version that they slowed down and a slower version that they sped up and joined the two together. So there wasn’t a definitive key that I could say, OK, I’m going to do it in A or I’m going to do it in Bb.
And Bb is not a particularly friendly key for solo guitar. So I was trying it in standard tuning in A and in Bb didn’t really work. And then I used DADGAD tuning a lot, D-A-D-G-A-D.
That’s kind of become a specialty for me. And then when I discovered the Strawberry Fields Forever hook, that Strawberry Fields Forever is an Ebmaj7 chord, which you can’t play in standard tuning, but you can in DADGAD. And then everything in that arrangement kind of fell into place.
And it was just like that aha moment where it was like, oh, the guitar meets the music in the perfect way. ♪ I always enjoy playing that because it’s just, and it’s such a cool piece of music. I mean, as much as I’m a McCartneyphile, you know, from having been so involved with him, as time goes by, I’ve developed a keener appreciation for the aspects of John Lennon’s musicality that you don’t really realize kind of where he’ll do things that aren’t, they’re just not normal, you know.
But they’re not normal because he’s deliberately trying to do something. It’s just intuitive. There’s an intuitive aspect to it.
Whereas Paul’s approach to writing is a very different approach, and I love both ends of that. And of George, of course, too. I mean, I do one, my guitar gently weeps, and that’s always a special one to do.
♪ ♪ ♪ ♪ ♪ ♪ Well, your wife must be very pleased with you. She asked you for one album, and you’ve given her so many. Yeah, and she gets to sit in the control room at Abbey Road and produce it.
Well, you know, because I trust her ears, and I trust her judgment. And she’s a huge Beatle fan, and she’s a huge fan of mine. And because she gets to hear me practicing this stuff over and over and over again, you know, I think she deserves to have a say in that stuff.
I mean, and there’s plenty of stuff. I’ve got a batch of new compositions that I’m getting ready to record. I’ve got some new arrangements I’m getting ready to record.
I’m just not sure, in the nature of things now, I mean, putting out records is not like it used to be. When I did A Day in My Life, I actually, the intention was to do it for vinyl. I didn’t even want to do CDs, and then people started asking for CDs, so I thought we’d better put out… You know, I’ve thought about doing a complete Beatles album, but I think I’m almost done.
I mean, there’s still songs that keep popping up. It’s like, oh, I never did do an arrangement of that. Like, Help makes a really cool blues tune, but that’s when I’d rather do an electric guitar.
And I’ve been playing a lot more electric guitar, and she bears part of that because I hadn’t been, and then I guess it must have been about five years ago, certainly pre-COVID, when we reconnected after a number of years, and I started sitting in with him on some of his local LA gigs and then went in the studio for the Fresh Bear Tracks album, and actually co-wrote a song with him for that. A great song. It just started, it kind of… I started playing more electric, and then people said, well, come and play at the Grammy Museum, we’re doing Rubber Soul, or we’re doing Band on the Run or whatever, and it just… And, you know, because I’d been playing a lot of electric guitar in the studio, but not very much of it live, and as the studio work kind of dried up, and I started doing a lot more touring, again, that was all acoustic.
But then, last few years, it’s like, okay, I’m an electric guitar player again. Every day, it’s the same old, same old Putting one in front of the other Same old food, the same old drive I need more to feel alive Lounging in the bar for five days a week Rules are more confined than the blues for me Change will do me good Stop knocking on wood Change will do me fine I’m heading on down the line Keeping up last night’s in the microwave Do it like I say Same old food, the same old drive I need more to feel alive Change will do me good Stop knocking on wood Change will do me fine I’m heading on down the line Life is not full of fame or heart Gotta get it together with a brand new start The clock is ticking and the time is fast Looking to the future, one little minute fast Next chapter begins. It does, yeah.
Amazing. Laurence Dubat, LJ, thank you so much for being with us today. What a joy chatting with you.
I do want to mention one thing. My daughter, Elsie, has an album out. It’s called From the Valley.
From the Valley? She’s on Elektra Records here. She’s on Parlophone Records in the UK. From the Valley, right.
Not only is she a very successful songwriter, but she’s also a very compelling artist. Familiar with Bon Iver? Yes, yes, yes. Justin from Bon Iver sings on, I think, two or three songs on her album with her too, because she’s involved in that scene as well.
Aren’t you the best dad? The best husband and the best dad. We’ll definitely give that a push too for you. Thank you.
Even in winter Bright sunny days I pray for rain to come Oh, but it never does Gotta get out of here Start a whole new life Gotta go somewhere Where the sun don’t shine so bright Everything around here Everything about this place Just brings me down Cause there ain’t no cat Or fox or shadow All that remains Ghosts in the desert Should I run away Or break this train to come I’ll run away Gotta go somewhere Where the sun don’t shine so bright Everything around here Place just brings me down Without you I’ll keep running baby I’ll keep running Till you stop running through my mind And I’ll keep loving you I’ll keep loving you I don’t really know why I know that I Gotta get out of here Start a whole new life Gotta go somewhere Where the sun don’t shine so bright Everything around here Everything about this place Just brings me down Oh, LJ, I love your work. And I really, really appreciate it. I do appreciate you giving me the opportunity to engage.
Thank you for your time today. Very welcome. Cause it’s a beautiful day You’ve been listening to A Breath of Fresh Air with Sandy Kaye.
Beautiful day Oh, baby, any day That you’re gone away It’s a beautiful day