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MS:  An absolute honour and really genuinely I think what was most remarkable to
    me  was  that  one  of  the  earliest  albums  that  I  became  interested  in  or  kind  of

    confounded with when I was a very small girl but then learned to love, was “Live at
    the Cafe Au Go-Go”, and what actually happened was that we were fortunate to have
    played with quite a number of blues people just prior to meeting John Lee and then

    we  supported  him  in  Dublin  and  followed  on  by  meeting  him  in  New  Haven  in
    Connecticut.  What  we  realised  and  what  was  true,  was  that  we  had  people  in
                                                               common. So we knew people.


                                                               BP: [Chuckling] You talked about other
                                                               musicians almost all the time.

                                                               MS:  Brian had such a good recollection

                                                               of his recording history, and I think that
                                                               he was quite taken by the fact that there

                                                               was a lot of common elements to it, and
                                                               we could share that. It was the first time,
                                                               not the last time, but it was certainly the
                                                               first time that I really felt the sense of,

                                                               or the potential for the community, the
                                                               family of blues people and being part of

                                                               that. Quite frankly, Ian, I was sitting in
                                                               that dressing room as we were talking
                                                               with John Lee, really wondering how has
    that happened? I've had it happen a few times.


    BP:  You had more expertise on his history than his band. We were sitting there and
    his band kept saying, hey what song is that, John Lee? We'd be saying, oh geez that’s
    ‘Boogie Chillen’ in Detroit 1948. I wasn't going to mention any names, Mike Osborne

    he kept re-tuning John Lee's guitar, and then he'd go out and John Lee would tune it
    back.


    MS:  He really knew how he wanted to play it and how he wanted his guitar. It was
    also I think, the nature and everyone will know this of John Lee, that it is quite all a
    stream of consciousness that he played in a way that really didn't conform to the 12

    bar or even 16. He wasn't conforming, he was expressing and I think this was what
    we spoke about as well. We talked about blues as an expression.

    BiTS:  That's very interesting because I believe that he was actually, as you suggested,

    very difficult to follow.

    MS:  Yes, he was. He was.

    BP:  He changes what he wants to, I guess.


    MS:  Yeah. And I mean, there are those who actually allowed him, or with whom he
    flourished because that could happen.
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