Welcome to A Breath of Fresh Air with Sandy Kaye. Hello there and a very big welcome to you. Really great to have your company.
One of the most successful British bands of the 80s and 90s is best remembered for the success they had with the song Love Is All Around from the soundtrack of the movie Four Weddings and a Funeral. I feel it in my fingers, I feel it in my toes Love is all around me And so the feeling grows It’s written on the wind It’s everywhere I go Oh, yes it is So if you really love me Come on and let it show You know I love you, I always will My mind’s made up, I was on my way Wet, Wet, Wet formed in Glasgow in Scotland in 1982 taking their name from a Scritti Politti song. The band consisted of four school friends who simply had nothing better to do with their lives in a town that offered little in the way of future employment.
Well, the guys got pretty good at making music and became an instant success. Joining me today is founder and bassist Graeme Clark and their latest addition, vocalist Kevin Simm. Graeme starts off by telling us how it all began.
Yeah, just to give you a kind of context, in the sort of mid to late 80s, that was around the time that I left school, you know, music was a massive part of our life, our culture, everything really. And we met in the playground. Now sometimes I wonder if we’ve ever left that playground, you know what I mean, the way we behaved.
But, you know, we decided back then because of the sort of jobs environment that there was nothing happening. It was that just Britain that we were in and the North had been certainly forgotten about. So when we left school, the shipyards used to open and everybody would go in and build ships, basically.
And so when we left school, there was nothing like that. There was no jobs. Three out of every four males were unemployed where I stayed.
So it was a funny kind of place, you know, in terms of employment. And it seemed to me, because we loved music so much, it meant that we could devote the majority of our time to making music. And, you know, we were lucky enough to all share the same kind of ambitions and goals in life.
And so for that, for those formative years for us, it was spent in my mother’s back room, basically honing our craft. We knew nothing about that at that time. But, you know, by total default, we played together for two years.
And it dawned on me that if we wrote a decent song, the ingredients were there for it to go out and become something, you know. And we were lucky enough that that actually eventually happened. We managed to get some people interested.
We took it down to London, you know, there’s that kind of life support system in the music business. It’s London, and you have to kind of, that’s where all the music business is. And we went down there, and as usual, all the streets were paved with gold, of course.
We found out the hard way. And, you know, but I’m here to tell the tale that we went out there and grew arms and legs, and it went kind of crazy from sort of 1987 onwards. MUSIC PLAYS That’s a rough outline of how it all started.
So you were actually in Glasgow at the time, weren’t you? You all went to school together there. And you telling me that there was no prospects for any of you for after school, that must have felt really hopeless at the time. It’s funny, you know, when I speak about it like that, it sounds totally hopeless, but nothing could be further from the truth.
I loved where I grew up. It made me who I am, and I think that’s kind of safe to say for everybody, that they love their environment, and regardless of whether you have nothing, you know, you make do. And being young, youthful exuberance is a kind of amazing thing, you know? You make do, and you make with what you’ve got.
So, I mean, we big borrowed and stole our instruments and sort of, you know, we honed our craft. You know, I think music gives you hope, and that’s something that’s beautiful about music. You know, we were lucky, or I was lucky anyway, to have this sort of outlet and to enable this to come in and fill my life and fill my soul and sort of take away all the external stuff that comes in and really affects you.
How did you decide who was going to play what instrument? None of you were trained in music, were you? You said that you just picked up instruments and went for it. Well, it became quite obvious that I wasn’t going to be the singer. So, you know, I picked up the bass because, for me, I was listening to a lot of reggae music and the bass was very prominent in reggae music.
And so, for some reason, I gravitated to that kind of constellation. Tommy had been a drummer. I’d met him on the school bus when we were 13 and 14.
So we had played together, you know, from day one before we even had a band. So, you know, it was a matter of Neil coming in, he played the keyboards, and Marty was the singer. And so we were a four-piece, essentially, and that’s the way it happened.
We can all kind of play a bit of guitar. Even the newbie, Kevin, down there, you know, he plays a bit of guitar sometimes, you know what I mean, as well as sings like a bird. So it’s amazing how far, certainly in pop music, that can take you, just these kind of simple, basic things.
And that was it for me. It was an understanding of, you know, you didn’t have to be amazingly proficient in any sort of instrument. You just had to have, I think, a bit of enthusiasm and a decent haircut, and you would go very far in pop music.
The first single was Wishing I Was Lucky, that was released in early 1987. It immediately gained a whole deal of attention. How did that feel for you? You must have thought all your Christmases had come at once.
Yeah, it was great. And for me, it’s funny, Wishing I Was Lucky was really one of the first bands that I listened to, that we ever wrote together, and I’ve come back to it because you have relationships with songs, I know that sounds a bit strange, but you do, you know, in terms of you love them, and then you maybe fall out of love with them, and you sort of eventually gravitate back to them again. And that song, for me, there was something honest about it, because we were.
It was the truth of where we were in our lives. It spoke to us, and the idea was, if it spoke to us in a way, then maybe, just maybe, it might go out there and speak to other people. And I think that was true.
We did get a kind of leg up, and sort of people really kind of bought into the band, if you like. You know, they knew we were working class guys who came from absolutely nothing, and went into this world of music, and sort of ran as fast as we could. ♪ He sings, he sings all the time ♪ He sings I’m gonna stay ♪ I’m gonna stay ♪ When I catch you when you’re falling ♪ I have my weapon ready We were just in our early 20s, man, you know, so, I mean, we didn’t know anything, and sometimes that is the greatest way to be.
To this day, we’re still, you know, I feel that I’m very blessed that I can go out there and earn some sort of living from making music. The thing about it, I wander through this world that we’re in, and people come up to us and say, do you know what, see that wish, and I was lucky, I did my first year at university to it, you know, and so it becomes almost like postcards in people’s lives, you know, that you have had some sort of impact there, you know, and that’s the power of music. In the sort of older days of my life, you know, I can come back to that and see the impact that I’ve had and have a proper perspective, if you like, you know, sometimes when you’re inside it and you’re just doing it and it’s just gone out there, you have no time to assess or look at what you’ve done, and it just takes a wee bit of time, you know, and certainly you can see the benefits and see the value that music brings to people’s lives.
How did the success of that single change your lives? Aye, it changed it, you know, in lots of different ways, everything was shared in the band, from the songwriting to the money, what wasn’t shared was the success, and some people had more success than others, and what I’m talking about is, you know, the singer of the band, that is the kind of main focus, so although my life changed in many, many different ways and sort of coming from nothing and suddenly having something, that does change you in terms of who you are I guess, you know, I think that old thing of erring on the side of caution and, you know, we were surrounded by people who always kind of told us you know what, this could end tomorrow, you know, let’s just say music isn’t the environment that you can sort of build any sort of career or think about how are we going to build a career, you basically go out there and run as fast as you can, for as long as you can, and hope nothing trips you up. When the gun starts shooting with the bullets of the same shot on it with a smile upon your face you’re going from second to almost you well try to laugh.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. You know, going to America was a fantastic thing.
It really was. And it introduced to me how big Elton John was throughout the world, you know. Because, I mean, Elton had been part of the furniture in the UK, you know.
For me growing up as a guy in the 70s, you know, Elton had always been there, you know. And he’d always been a very well-respected songwriter and singer. Going to America and, you know, he was much bigger in America than he was in our country.
And maybe that’s a case of when you come from a certain country and you’re part of the furniture, it’s sort of, he’s just ubiquitous, you know. He’s there everywhere in America. It’s this English guy, oh man, oh Elton, you know.
I mean, we would go into clubs and they’d say, you’re Scottish, what are you doing here? And we’d say, no, we’re opening for Elton. And they were like, oh my God, Elton John! Oh, guys, these guys are opening for Elton! You know what I mean? And it was like, Elton’s a big deal here, man, you know. So it was fairly incredible to see that and have that, the perspective of where we were kind of watching this.
I’ve always said that one’s enough to love Now I hear you bragging one is not enough Well, someone told me you’re not satisfied You got plans to make me want a four or five I guess this kind of thing’s just in your blood But you won’t catch me calling up my love I ain’t no puzzle piece that needs to fit If it takes more than me, let’s call it quits Because I don’t want to go on with you like that Don’t want to be a bear in your hat It must have been really surreal, the whole situation Imagine that, I mean, even in this day and age, if somebody said, oh, we’re doing it at the Hollywood Bowl, you would clean up You’d catch yourself, wouldn’t you? You do an amazing American accent to compliment you on that So, 1989, you’d already scored your first British number one with a version of The Beatles with a little help from my friends, hadn’t you? And that must have gone over super well in America too Well, America’s a kind of anomaly for us, you know We’ve kind of, we’ve sort of been right around the edges of success there And, you know, we did okay We never quite broke it, you know The Elton thing kind of set it all up And then politically, managerially, all things come into play that we weren’t privy to I mean, we worked with Nile Rodgers and he said to me, you know what, Graham? If you have a hit in America, you have a hit all over the world And, you know, it seemed to me that we were kind of this band that had hits all over the world apart from America, you know And so that told me that there was a bigger story out there about why we weren’t making the grade in America Also, I think in America, you have to go out there, you know If you look at Elton’s career, yeah, his first album sort of went out there and exploded But he went over there and toured very extensively for two years He had a massive presence there for a long time, didn’t he? He did He had to keep promoting it, that’s right He did And so, you know, with us, it was, you know, yeah, a little help from my friends came out It was number one in a few countries It did really well in Britain But it was a compilation album, which was Sergeant Pepper Knew My Father It was part of an NME compilation that they put out 20 years after the anniversary of the Beatles release of Sergeant Pepper So it was us, Billy Bragg, lots of different bands did this compilation And of course, we want to do a day in the life, don’t we? You know what I mean? And they say, no, you need to do a little help from our friends So we recorded it really quickly It was, you know, something that we never really thought about We did it in two days And then the NME said, you know what? You’re a young pop band You’ve got lots of kind of youthful people that are watching and listening, buying into the band We would love to release this as a single because, you know, we feel it will do really well And little did we know, you know, not only did it do well, it took us to number one And of course, you’ve got to see that in the context Back then, number one was a huge deal But so was the top three singles And, you know what I mean? Nowadays, number one is the only number that means anything in the streaming charts You know what I mean? So we’d had an alright career And then, of course, when it goes to number one, that’s where it kind of almost earns you a bit of longevity You know what I mean? Suddenly your career is not that whole thing about where I spoke about the West of Scotland Something’s going to happen and something’s going to take it away from us, you know Suddenly you’re like, well, this buys us a bit of time And we can go and do the second album But it’s gonna get me down It’s only begun, yeah What I know is all the tools Sweet surrender Sweet surrender Determination Came creeping across the nation Graeme, was there a time when you finally could let go of that Maybe something’s going to happen and this will all go away? You know, I probably blow up and make it much more than it actually is I think that that’s just something that’s inbuilt in us That you often come back to and tap into But at the end of the day, we went out there I think we had really lucky that we had the success that we had And really, you have that And you kind of be able to be playing nowadays 45 years after we first started Well, as you said, you all worked hard You were talented You’d all gelled together And the songs that you were writing and putting out really worked You’d taken yourselves from a soul pop to a more pure pop sound, didn’t you? And there was a bit of blues thrown in there for good measure as well I think there was I think, you know, it’s nice to come back to the music And talk about that we felt the music was the vehicle that was going to do everything You know, there’s always the cosmetics around Do you look good? Are you young enough? You know what I mean? All this sort of thing But for me, what was always going to last was if the music was good You know, if the music was good Then guys like Elton, who inadvertently we toured with back in the day So, I mean, you were seeing this sort of pretty much forensically You know, and under a microscope And so it was always in my radar But if we keep the songwriting up to a certain standard Then, you know, we can play these songs forever I, I live a perfect life All I ever want lies forgiven Took away all of those tears And said they broke away, they broke away Do you lead a better life Even when the sweet tends to bitter Took away all of our tears And said they broke away, they broke away We put a lot of work in the studio and writing songs and stuff like that, you know Proved to be a winning formula didn’t it? Well, it did, it did You know, I think it did And, you know, to this day Music’s a changed landscape New music especially is a really difficult thing to sell Especially if you’re a band like us who have been through I mean, Elton, God bless him, he still releases albums But, I mean, nobody goes to an Elton John concert They listen to the new album They go to hear your song, Daniel, you know what I mean? That’s right As you said earlier, all those old songs The whole heritage thing reminds us of where we were in the best years of our lives That’s why people cling to them so much I mean, talking about the best years of our lives You were racing up the charts And 1994 saw you at the peak of your talents And you actually got to contribute Love Is All Around Which was a cover of a song that the Troggs had done To the film Four Weddings and a Funeral Can you share the story around how that came to be? Yeah, like everything in life Opportunities arise and things happen for you And, you know, this was a movie that was written by Richard Curtis The British movie industry had come to a bit of a grinding halt And this was their way out of it, they thought And, of course, they came to us and said Well, we’re doing a movie about weddings Now, we all know that when we go to a wedding There’s always the fight, right? But there’s always the band there as well before the fight And so they usually play well-known songs and stuff like that And this was just Richard’s favourite records Of his youth and his university and all that So he said, you can have the choice of doing Glory Again or I Will Survive Barry Manilow, Can’t Smile Without You Or this Troggs song Now, we couldn’t really do Glory Again or I Will Survive We just thought, right, that’s not quite right The Barry Manilow one, a bit cheesy And if we do it, it just tips the cheese meister And Lord Kina into a lot of indigestion there So we came to Love Is All Around with no history I didn’t really know the song We had sort of bits and pieces that we were writing And you’ve always got four or five different ideas Floating up in the air and you’re just waiting for them to land And so there were bits that joined onto the Love Is All Around song That fitted and were different from the original And a lot of 60s songs, I always find They’re great songs, don’t get me wrong But sonically, sometimes they sound like the transistor radio That they would often be played on, do you know what I mean? They sound very tinny and something very thin And I felt that Love Is All Around was a bit like that, the Troggs version So I just felt, even if we go in and record it in a better way It’ll sound sonically better than the Troggs It might not be better, but it’ll sound better And of course, we had these bits that we’d recycled That the chord progression sort of worked to set up the verse And so that’s why when you hear the intro It’s this kind of big explosive, really kind of vibey start That sort of creates the tension And then you get that release of a feelie around our fingers And it sort of really worked really well And we thought, we didn’t realise how well it worked And how good it was going to hit people’s emotions And impact on their life But we felt it was good Another opinion of it was, we did the same again It was done in a day So if you really love me Come on and let it show No, I love you, I always will My mind’s made up, but there’s no beginning I see your face before me As I lay on my bed The only thing you said Oh, yes I did You gave your promise to me And I give mine to you There’s a moral to that story, isn’t it? Where it’s like, you know, if you’re going to do something Do it as quickly as you possibly can And don’t think about it, you know If somebody had said to us Hey man, this is going to be the biggest song you’ve ever done You would think, oh, I better go and have a think about this For two weeks before we do anything, you know And then we’d contrive it And it would be totally different It wouldn’t work So I mean, this was going to be part of the movie And we finished it and we thought Oh, this is nice This might make a nice B-side That’s what we were thinking And for the people that don’t know about B-sides These were the opposite side of the vinyl 7-inch That used to get released back in the day And so when Richard Curtis, who wrote the movie, heard that He came back and said We’re actually recalling the movie And he said We’re actually recalling the movie And he said We’re actually recalling the movie And he said That took us all by surprise And of course, the record company said We want to release this As a single And so, it was like Really, right, OK We’ll go with the flow And of course, the rest is history 15 weeks at the top of the British charts And it did well, and it did well, really well in Australia, you know, I remember, I remember it too. Yeah, we loved it. Yeah, we still love it.
Yeah, great. Well, listen, we’re so happy that, you know, we can re-energize ourself with Australia. And one of the people that like that song, you know, we’re really pumped, you know, that was a catalyst.
We were kind of in demand because it went out there and exploded in every territory it was released in. And we were kind of running about the world at breakneck speed, trying to be everywhere at once. Because, you know, that West of Scotland thing, it’s like, it could end tomorrow, kind of, you know, we’d done okay up to that point.
But this was the record that, you know, when the record’s right, it’ll go crazy. And it certainly did. The song’s phenomenal success made it the UK’s best-selling love ballad at the time, with sales of almost two million physical and digital copies.
It was everywhere, so much so that it became overwhelming even for the band, who eventually chose to remove the record from sale to allow other songs to reach the charts.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. Interestingly, it wasn’t too long after the success of that one that the band suddenly imploded.
Well, I think as often in bands, you get to that threshold where, you know, you’re almost as big as you can possibly ever be and where do you go after that? And I think that’s on everybody’s mind, you know. People in the band wanted to do other things. That is fairly binary and straightforward.
You know, that was it. And people wanted to go into theatre. People were wanting to go into movies as well, but I wasn’t going to happen, you know.
It’s never a good idea for guys in bands to cross over into movies, man. It never really… I think Bowie’s the only guy that made it… That managed to do it, yeah. Yeah, I mean, so it’s a difficult thing, but it was almost like a pool swing, wasn’t it? It was like this crazy time that suddenly you have this massive, massive success and you think, oh, it won’t affect me, but we were all affected by it, you know, by having huge success and things going up a level again, you know, where suddenly you know that you’re going to have lots of money and, you know, all these things.
All right, now you can buy the castle in Scotland if you want, you know. You can do all these things that you think, well, once I get there, this is going to make me feel great and this is going to fix me and fix all the problems in my life, only to understand that money won’t fix anything. It just enables you to build big walls around yourself if you want to do that, you know what I mean? But it’s lovely to have these things happen to you and experience it, but I’m glad that I’m living to tell the tale.
And in a sense, I’m glad that my life never stayed the same in that part where it was just, you know, this life of complete luxury because when you’re a songwriter, Rod Stewart often says that, you know, what am I going to write about? You know, the tractor for cutting the grass is broke down, you know, that’s what he’s writing songs about because he’s a wealthy guy, man, you know, and he lives in California. And, you know, it was lovely for me to have this experience and have all this kind of benefits that come along with being hugely successful, but at the same time, I was the kind of guy that was like, this money is burning a hole in my pocket. And I think a lot of people are like that, you know what I mean? I think if you get it, I spend it, man, you know what I mean, on frivolous, stupid things, but it enables me to reset and default again and sort of, OK, I can understand who I am now, you know? You heal me so clearly And see how I try You feel me so heal me And tear me apart And I won’t tell it’s over I won’t tell at all And do they have to know Do they have to know About my goodnight girl Caught up in your wishing well Your hopes and sighing Take your loving promises And make them last And make them last You split up for a while, and you came back together again.
Yeah. You couldn’t be without that winning combination. Well, I think it’s the old thing, isn’t it? You don’t know what you’ve got until it’s gone.
And, you know, we were no different. You know, suddenly, we weren’t by any stretch of the imagination a unique band that kind of have huge success, and then go, you know what, it’s a good idea if we all make a movie now and change our kind of vocation in life for two years. You know, you just need to look at Queen and Freddie making these solo records and not really happening because you don’t have those ingredients around you or those things that are kind of part of the winning formula, you know? So we spent three years in the kind of wilderness trying to… And in a sense, it’s acclimatising to what has just happened.
I remember, you know, after it all happened, you were in so much demand that all you wanted to do, I just had a baby. So although I’m travelling all throughout the world and it’s all fantastic, you know, in the back of my mind, I’m like, I want to get back and see my kid, man. You know, I want to go back and, you know, enjoy what this is.
So in terms of that, you know, you spend your life trying to achieve this thing in life. You achieve it, find out six months later, oh, it’s not really what I thought it was going to be. And then you spend the rest of your life trying to, you know, in a sense, recapture and sort of get back to that point and, you know, where you were having all the success.
And some things for me, it wasn’t really about that, you know. I want to be contented. You know, I think happiness is the wrong word.
I want to be contented in my life and not be too in demand that I don’t have a life. You know what I mean? That’s really the point that we got to. This is it.
We decided to come back together. By that time, everybody had changed. We’re all in our 30s.
We’ve all kind of got families now. You know, we’ve changed in your 20s. You know, it’s four guys against the world, blah, blah, blah.
You can’t sustain that, four guys challenging the world. You know, people are like, you know what? I’m not going to challenge the world. I’m going back to take my kids to school.
Sort of normalising your life in a sense, you know, and sort of coming back to you don’t live in that kind of unreal world, you know, of limousines picking you up at the airport. I remember we used to fly down to London. You’d get picked up in the limousine.
You would go and do the work. You’d get taken back in the limousine, back to the airport. You would get back to Glasgow like that, right? Do you need to get your mum to come and collect you at the airport, man? You know what I mean? It’s not really the pop star life, man.
Mum, can you come and pick me up at Glasgow? You know what I mean? So in terms of that, it’s a funny, weird life, you know? Yeah, it’s great when you’re in the limo and all that, but you have to have a dose of reality in there as well, you know? And I think that’s what I’m coming back to. After we came back together, it was like it was never going to be the same. Well, and even that you managed to do.
You did all get back together and you had that incredible hit, Weightless, which was your first top ten single in over a decade. You regrouped in 2012 for that one-off gig at Glasgow Green to celebrate the 25th anniversary of the album popped in, sold out. Then you’ve cast a net and found Kevin Sin to join you.
Oh, yeah. I mean, you know, to go back to what you were saying there, you know, you sort of punctuate the career, don’t you, with, oh, 25 years and here we go. We’re going back and rekindle, you know, the Glasgow Green gig and stuff like that.
But for me, it has to be a little bit more than just sort of the passage of time. And it had to be an ongoing concern. Otherwise, we do just turn into this kind of heritage thing.
And that’s where a guy like Kevin comes in, you know? When it was clear to me that there was a couple of guys that weren’t really interested in doing it. And that’s when it becomes a horrible place because then you’re just, you’re almost reliving your youth. And don’t get me wrong, there’s nothing wrong with that.
And we do do a bit of that. But for me… You needed to take it forward as well. I think you do for your own sanity, you know? And so to find a guy like Kevin who has not only come in and breathed life into these songs that we’re talking about that were written back in the day, but he’s also carved out a road and a roadmap for us to go down, enabling us to make new music.
The morning light comes deep in To start a new day Out there the world is waiting To take us far away And it’s time to make the final break But the memory will linger forever If I never see you again Then think of me now and then Though it hurts so sweetly They say all good things come to an end You’ve changed my life completely I’m touched by your love If I never see you again Then that is so unforgiving Kevin Simm joined Wet Wet Wet in 2018 after Marty Pello left the band to pursue a solo career. Graham had seen Kevin’s performance on The Voice where he’d won the 2016 series. Impressed by his voice and soulfulness, the remaining members of Wet Wet Wet were unanimous in offering him the role of new frontman.
You know, I’m a songwriter and Kevin’s a songwriter, so it’s a perfect vehicle for the two of us to get together, to put these songs together. Yeah, I mean, you know, we might not have the success that we’ve had in the past, but, you know, how do you measure success, you know? People often measure it, you know, in the millions of records that you sold, you know, but for me, success is a contentment, you know what I mean? That’s success for me, you know, to have my family around me, to have people I love around me, you know, for me that’s the success now because I’ve been around that money thing and the thing that you’re chasing that you think you need in your life, and it doesn’t fill that hole that, you know, needs to be filled, you know? It’s like, you know, what makes sense in my life, you know, and making music makes perfect sense. And you said before also, Graeme, that if you’re putting out good music, music that you like, that’s your sense of fulfilment too.
Well, absolutely, and to lead from that, from your question, when Kevin came in, you know, we were like, let’s do a new album, but we were sort of running around, touring, trying to establish the new kind of set up that we had, and I often wondered in the back of my mind, will we ever be able to do an album? Will we ever have time to kind of sit down? Well, unfortunately we did because COVID happened and everybody seemed to, the world went into hibernation. Now, as terrible as it was, it enabled us to do this. Basically, we wrote an album and it was a great way to work because Kevin’s a new guy and there’s me and all the rest of my cohort standing over Kevin going like that.
Like, Kevin, what have you got? You know, that’s a kind of bit of pressure, you know what I mean? A lot of pressure on poor Kevin. How did you handle that? Thankfully it didn’t happen that way, do you know what I mean? Because of lockdown, obviously, we were doing all our songwriting over Zoom, so it was like, you know, you’re kind of in your own home environment, your own studio environment, so it kind of took the pressure off a little bit and it was an ideal situation for me personally. The new album’s called Journey.
Can you point us towards one of your favourite tracks? I think probably my favourite track on the album is a track called Cold Black Coffee Blues. It’s just a really cool track that started off as something really basic and then just ended up being something really, really cool and different, I think. Used to be warm We’ve all been so tired You by my side Cold black coffee Just ain’t right Cold black coffee It’s an empty chair A table for one You’re just not there See that space in my heart I wanna lose Cold black coffee Ain’t no use When I got the call from the guys that they were interested in looking for a new singer for the band, you know, obviously it was something I was really excited about and jumped at the chance and it’s been brilliant.
You know, for me, the older I get, the more when I hear people sing along to the songs, that’s what opens the door to the songs. It’s like seeing the joy in people’s faces of oh man, I’m reliving my wedding anniversary here, man, you know what I mean? That to me is the value of music and some songs I like better than others but if we decided to put it on the set it’s for a reason. It’s been fabulous hearing your stories, Graeme.
I’ve really enjoyed it. Great! Thank you so much. It’s a beautiful day You’ve been listening to A Breath of Fresh Air with Sandy Kaye Beautiful day Oh, I bet any day that you’re gone away It’s a beautiful day