My aim as a young player was to be able to play anything that anyone asked me to play. In the age 18 I went to work at the majestic hotel. And there were three superb jazz musicians. Two of them were 33. Beer in mind I was 18 and I didn't quite believe that people could live that long. The pianist and multi-instrumentalist sax and flute player were both world-class. The drummer was a jazz drummer in London who was 38 and each of these players were stunning. As I say two were world-class but they chose to stay in Bournemouth with their families rather than move on to the larger scene. The band leader was in his 60s and was a fan of Al Baili, the crewner from the early 1940s. But nevertheless these people were better for me. Now would you like to hone in any of this or should I keep going? You keep going brother. I think he's doing very well don't you? Can you all so see there are parallels with whatever life you have? At the majestic it was a superb education in sight breeding, playing Jollison's fast and slow, fox drops, quick steps and Bermitzvars and weddings. I have played Bermitzvars and no doubt we shall return to a tale. So I'm working with people better than myself. The next is we go to our work. Our work is not coming to us. So we go to the work and in 1967 that was London. If you were in the music industry you had to go to London. So I went to London with the Giles Brothers, bass player and drummer who were both better musicians and myself. We went to London together. We moved there in the middle of 1967. I had just turned professional on my 21st birthday and we moved to London. We had a job backing the flowerpot men. They had a hit. Let's go to San Francisco. It was a hit of the time, Tim Panagli. So I said to mother, I'm moving to London. I packed my bags, guitar, everything necessary for the professional life in London. The Jiles Brothers arrived at about 6 o'clock in the morning, Lai Road, Wimbledon. We climbed into the crumbling vehicles. I believe in 1953 for popular and the 1952 crumbling Daimler and set off for London. We arrived in London about 10 o'clock at Tim Panagli, Denmark Street, the Jirkondor, part of the car. Then we went to meet our agent who had got us this booking backing, the flowerpot men. We went there, turned up in Solho Square, went into his office, and said they've got someone else. Oh yes! He signed a check for five pounds for our petrol. We went back to the Jirkondor, looked in the backpages of the melody maker. Musicians desperate for work. So desperate they'll accept any job, however menial. Please call this number. Pushed our coins into this telephone box before setting off home to Wimbledon, leaving London about 6 o'clock. I still don't understand why an agent in London who knew at least the evening before that the job had moved, would not pick up a telephone until those young men. This was my first hand-to-hand contact with the music industry. So we're right back in Wimbledon about 10 o'clock. Hello mum, I'm home. Air and mother did not look surprised. Well, one of my contacts from the Bournemouth Hotel Circuit, Douglas Ward, who I'd been working with at the Tutenglenn Hotel, the first country house hotel in England, as one of the cordovox trio, Doug got us a job, backing a singer, an Italian singer, at an Italian restaurant in London, La Dolce Norte, in German street in the centre of Piccadilly. And we were a quartet, Douglas, Giles Giles and Fripp, backing hot lips and marrano. At least this is what I called him and actually how I used to introduce him. Ladies and gentlemen, please put your hands together, yes, it's a great expense all the way from it in the ear. Hot lips, marrano. And so your marrano would come on and say to me, please, please, you know, call me hot lips. However, Douglas Ward, our band leader, a lovely gentleman, and now a leading light in the burlin' a review of cruise ships. If you go Douglas Ward, this is what he's now doing. He will tell you the cruise ships you need to get upon. Lovely man, he was burnt up in a pouring act of traffic, traffic manners at a rinder bank. And he got out of his car and stopped and explained to these three rather rough looking men how their driving habits could certainly be improved and their manners should be addressed. So they stomped on him and kicked him and left him in a heap. I visited him in hospital a week later. And Giles Giles and Fripp turned up the back hot lips and marrano was a trio. This began on the Monday and we learned on the Wednesday that the agent was ripping us off. This is my second hand-to-hand contact with the music industry within the space of about three months. So we went on strike on the Thursday, we returned to work on the Friday and we're sacked on the Saturday. And went back to Ignamani and poverty at 93A, Brondisby Road. Now there is one other step that we should introduce before we actually go back to the beginning again. Which is? When we are between work. That is when we're unemployed because we've just been sacked from the Dolce and Otte for going on strike and insulting the singer. We keep practicing. And in my period of what I've referred to as unemployment, I kept practicing 2, 4, 6, 8, 10, even 12 hours a day. When we're working, it's difficult to find the time to keep practicing, although may I say I do, but nevertheless this is the principle, keep practicing. So, beginnings are hard to find, but nevertheless we begin where we are and we begin with the name. 0.2, we go to someone who knows more than we do. 0.3, we get out of bed. 0.4, we practice. 0.5, we work with people that are better than us. 0.6, we go to our work. 0.7, we keep practicing.