And there was a movement afoot to take another year off, and if we had been able to do that, and rethink everything, I think when we came back it would have been very different.
So, in the course of events, I had an opportunity to come in contact with Colin Matthews, through the Rex Foundation sponsoring recordings of various music that was being recorded over there.
Actually, the year anniversary of what you just heard, my son Grahame and I are going to be in a play together, and I'm acting for the first time in front of an audience that doesn't consist of a high...
But we were really locked in to that kind of format, and as the '90s wore on, it became for me more solidified, in that sense that there weren't as many of those magical shows that were just magic all...
Especially in the realm of bringing an opportunity to do something creative to people, as I said, who wouldn't ordinarily have that opportunity. I think that's very important.
And that format was - we'd been using that format, I guess, since the late '70s, and it was starting to get very predictable. In other words, certain songs would surface in the same points in the set...