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that, for example, that I could turn into my version. I recorded a dozen, probably 14
tracks that I put down myself. I played the guitar, I did the vocal, I added bass and

drums. Put other guitars on and things like that, and then I didn't really know what
to do with it. Karen said, you should put it out yourself. You should do it yourself. You
should do it yourself. And I kind of heard what she said, and I think I was just probably

too frightened to do it because I've never done it before.

I've never had the confidence to do that myself. So I said to the band, look, I've got
this project here that I've been working on. We had been talking about this before
lockdown. We were getting to do a Robert Johnson tribute act, as it were, as part of

our show just to say, why should we book you because we're looking for blues bands?
Ah, but we do a Robert Johnson tribute. So I'd picked that up and I'd run with it and

then BlueTouch said, we want to get involved. Can we do this? Whilst part of me was
going no, this is my project, the other part of me was going, okay, we can put this out.
If we're going to go out and showcase this then maybe other people should get

involved. So that BlueTouch album is basically Neil Sadler with a couple of people
stuck on the top.

BiTS: Well, I never did. I never realised that, to be honest with you. That's quite a

story.

NS: No, that's right. Now what there is coming is that this year, at some point, I have
been working on a different version of the Robert Johnson. Because when other

people get involved in a project, it changes, as it will automatically because when
somebody else plays a different instrument or whatever, things change. I've revisited