The MUNGO JERRY story - 'BEYOND THE SUMMERTIME' - as you may know, featured the thoughts and comments of several of the musicians who have played in the band since 1970. The co-authors, DEREK WADESON & JOHN VAN DER KISTE were unable to track down the band's original bass thumper, MIKE COLE, but after the 'Where Are They Now' MUNGO JERRY feature that appeared in the Sunday People newspaper during the summer of '95, Mike surfaced at last and talked to the fan club at length about his time in the band and of course, his SACKING!!!

CAN YOU GIVE US A BRIEF INSIGHT INTO WHAT YOU DID BEFORE JOINING THE GOOD EARTH?

Well, I'll give you a brief summary of my life until then. Born in Perivale, grew up in Eastcote. Educated at Field End Primary School and Kilburn Grammar School. I was encouraged to sing at primary school and to perform in choirs and solo; I'm sure this is what gave me my basic love of music. From the age of eleven to eighteen, I studied cello which included ensemble and orchestral playing as well as Royal Academy exams. Fortunate to have two very good and caring lady 'cello teachers. Used to play jazz and improvise in the school assembly hall - a duo with a friend on the school piano and me on cello. The music master, whose preference was strongly for classical music, didn't exactly approve but on the other hand he didn't stop us.

Left school with 8 'O'level GCE's and 3 'A'levels in English, French and Economics. Immediately bought a double bass, joined a jazz quintet and subsequently became friends with some very talented and knowledgeable musicians who taught me a lot.

Served four year articles with a West End firm of chartered accountants. During these years I worked full time during the day for a miserable salary and in the evenings played double and electric bass with various jazz, dance, cabaret and rock bands while studying for my accountancy exams. These gigs, combined with work and study, left me with little free time but kept me solvent. One of the regular jobs was a piano trio on Wednesday night at the Marquee in Oxford Street. We did a couple of sets supporting the MANFRED MANN band which in those days was a really exciting R'n B outfit. We used to pop out for a quick pint with PAUL JONES.

Qualified and became a member of ICAEW in 1967. Following that, worked for one year with an international firm, now part of Ernst & Young. Needed a break, so drove to Spain with a girlfriend in a WW2 American Willis jeep. Stayed on the Costa del Sol for most of 1968 and had a great time.

When I came back from Spain, I rented a house in Gerrards Cross with a couple of friends. I worked for the Hoover company (coincidentally also in Perivale) and then for BICC in Iver. Hated it. Decided that I wanted to earn my living playing music and that now was the time. I replied to an advert in MELODY MAKER by a band looking for a double bass player; you probably know the rest, including the 'stag night' audition.

WERE YOU THE ONLY ONE WHO AUDITIONED?

Apparently yeah! A bit unkind of them, I thought to mention that in the book, but still...

WHAT WERE THE EARLY DAYS LIKE BEFORE IN THE SUMMERTIME?

Well the main thing was that we always used to go down very well - exceptionally well much of the time - at live performances. I say we, but it was mostly down to Ray. Whatever the audience, it was never a problem getting them going. So we just gigged around and had a good time basically, travelling around in the Transit.

DID THINGS CHANGE WHEN 'SUMMERTIME' CAME ALONG?

Yes, things certainly changed, I joined the band in October '69 as I recall, and we spent the next two or three months gigging around. Just prior to Christmas we went into the studio and then had another one or two further sessions in January. We completed the first album and carried on gigging just as before. At that time, we were doing probably about two or three gigs a week. I was also doing occasional gigs with DIZ DISLEY. Then came the Hollywood Music Festival which coincided with the maxi-single release. The real change took place during the Hollywood weekend. On Saturday morning we were unknowns, by Sunday we were 'stars'. Suddenly people were queuing up to interview us, photograph us, book us, wine and dine us and so on. The subsequent release of the single was exciting of course but to me it seemed, at the time, like a continuation of the whole process..

THE BAND CHANGED ITS NAME TO MUNGO JERRY, WHAT DO YOU REMEMBER ABOUT THIS?

We were all frantically trying to think of a name because the Dawn people wanted to finish the artwork and print the label and cover. On the evening prior to the final studio session I went round to Paul's flat, which I believe was in Sunbury or in that vicinity. We ran through two or three of Paul's numbers which we planned to record the next day. At some point we discussed the matter of the band's name. Paul had written two lists of names - just any names, whatever came into his mind plus some contributions from me - in two separate columns and we paired the names in various combinations...this name with that name, this name with another name. Eventually, we came up with two or three alternatives. MUNGO JERRY was one of them, I can't remember what the others were.

I BELIEVE INCREDIBLE SHARK WAS ONE OF THEM?

That was BARRY MURRAY's idea and I think it was just Shark! I believe it was Barry who thought of it...anyway, he came up with this name and we all just burst out laughing!

I'M NOT SURPRISED! I THINK PAUL SAID, IF THE BAND WERE CALLED THAT, HE WAS OFF??

I don't think any of us would have tolerated that name. Anyway, Paul brought this list in, these two or three names and next morning it became MUNGO JERRY. I've spoken to Ray since and he said he didn't like MUNGO JERRY at all at the time.

IT IS A STRANGE NAME?

We were all so much against the name 'SHARK' that in desperation we would have accepted virtually anything else;but in fairness to Barry, he did succeed in concentrating our minds - so comimg up with that dreadful name may just have been a clever ploy. Paul is quoted in the book as saying that he got the name from T.S ELIOT but that's not true to my knowledge. None of us realised the connection with T.S ELIOT until a while later. When the record broke, an old school friend of mine, a barrister, phoned me up and amongst other things asked me, "Who thought of the name?" So I told him, basically the banjo player but it was sort of a collective choice. He said, "You know it's from T.S ELIOT's 'OLD POSSUM'S BOOK OF PRACTICAL CATS'; there are two cats called 'Mungojerrie' and 'Rumpelteazer'." I said that I knew of the poem (we had in fact studied T.S ELIOT for A-level English) but not in detail. So I told the guys and that was the first we knew about it. I think that Paul's memory may have been playing tricks or the book is inaccurate; I don't believe that he'd read it or heard of that name before. Actually, it's to our credit that we invented something rather than merely copied it. Anyway, that's how I remember the name coming about.

WHAT ARE YOUR MEMORIES OF THE HOLLYWOOD MUSIC FESTIVAL?

Huge crowd and a colossal bill - a lot of big names on it. THE GRATEFUL DEAD, JOSE FELICIANO, GINGER BAKER's AIRFORCE, FAMILY, plus many other high profile bands, so understandably we were a bit nervous, and maybe a bit tentative. Some 40,000 people were there in the field or fields - certainly the biggest audience we had encountered so far. We knew we were a good live act and we were hoping to go down well but the actual reception exceeded our wildest dreams. As we finished the first number virtually the whole crowd stood up and started cheering and waving their hands. It was fantastic! It was probably better than scoring the winning goal in the Cup Final, because it was so far beyond our expectations. I think that it was largely down to Ray and his energy and stage presence and, I suppose the rest of the band too - we all played our part.

Another factor was the contrast between us and the other predominantly electric bands. I think we went on after the GRATEFUL DEAD the first day [since this interview took place, I have been told that it was on the second night that we followed them, so I'm sorry if I misled anyone]. They were playing thirty minute numbers and JERRY GARCIA's ten minute guitar solos did rather challenge the attention span. No disrespect intended, but my own view is that he is not that great a guitarist that I can listen to him soloing for ten minutes, especially in festival conditions which can be noisy and windy. I always thought that their music was a bit self indulgent. I hope that I haven't upset their fans too much - after all it's only a matter of taste and personal preference. Anyway, we went on after some of these famous bands and I think that it is fair to say that we were different.

MUNGO WERE SO UNUSUAL, THE INSTRUMENTS USED, ETC?

That's right! I think they'd already had several hours of conventional rock groups with essentially the standard line-up of three guitars, drums and vocals.

We were basically an unpretentious but very competent jug and skiffle band which included a banjo, piano and double bass and I think that the people just loved that idea and the acoustic sound of it. Another contrast was that a lot of the time, we would swing rather than rock.

THE SECOND APPEARANCE WAS JUST THE SAME WAS IT?

Yeah! We went down just as well - maybe even better. By that time, the record had been played many, many times over the festival sound system and everyone was singing the tunes, talking about us and so on. We knew it wasn't a fluke because Ray had been doing that consistently at our previous gigs. This time it was just on a larger scale and happened to be in the company of the media and many of the best rock bands in the business.

YOU SAID THAT YOU WERE ALL NERVOUS BEFORE YOU WENT ON?

Well I was. I can't speak for the others but I imagine we all were to some extent.

WHAT WERE YOU ALL LIKE WHEN YOU CAME OFF?

Surprised!

ON A HIGH?

Yeah sure!

WHAT WERE THE OTHER ACTS REACTIONS LIKE?

Festivals like that, you don't really see that much of the other bands. You arrive, you do your stuff, change in the caravan, drive away, or go back to your hotel. You don't really hang around too much. There was no real dressing room as such. They did have a mobile caravan but it wasn't for the use of unknowns like us - only the 'toffs' were allowed in. I have a very clear memory of GINGER BAKER pulling up in his Jensen Interceptor, out of the car and straight into the caravan. So anyway, you don't have much opportunity to talk to other acts. In any case, after our sets we were pretty much surrounded by radio, TV and newspaper reporters waiting to interview us plus we had to deal with photographers, fans and so on; so we wouldn't have been able to talk with other acts even if they were there.

IT MUST HAVE BEEN BRILLIANT?

It was! I don't know how to describe the exact moment - like the incredible surprise of winning 1st prize on the pools or the lottery, or something like that? I suppose none of us could quite believe it at first. You can look back with hindsight and rationalize that it was a culmination of everything we had been doing in the preceding months but, at the time it was a complete and brilliant surprise.

A footnote to Hollywood which I almost forgot to mention: Ray and I used my car, a Ford Anglia estate as I recall, to drive to Stoke sharing the driving. On the way back to London, after 48 hours with virtually no sleep, both of us were pretty drowsy. We reached the suburbs of London when Ray lost concentration for a moment and turned off the road into a yard or something like that. We were fast approaching a brick wall but fortunately, I was awake enough to be able to alert him just in time and we stopped about ten yards short... The history of the band could have been very different - and shorter!

RAY SEES JOE RUSH AS A TRULY INSPIRATIONAL CHARACTER, DOU THINK HIS PRESENCE AND WASHBOARD PLAYING IMPROVED THE BANDS SOUND WHEN HE MADE HIS OCCASIONAL APPEARANCES ON RECORDS AND LIVE SHOWS?

Unfortunately, I never really got to know Joe. I'd only played with him maybe two or three times so I don't really have a lasting impression. I know Ray thinks very highly of him and he still sees Joe from time to time. Most bass players like to have a swinging drummer or percussionist to combine with so in that sense I would have liked to have played with him more frequently. That was another thing about Mungo - on rock numbers, there wasn't a strong backbeat to push the thing along.

TELL US ABOUT THE ROTTERDAM FESTIVAL?

I can remember an awful lot of people there, maybe 100,000! I don't know if that's an exaggeration, I would say 80,000 plus. Just people everywhere, as far as you could see! It was well organised and peaceful. The aroma of marijuana was everywhere. I remember people walking around with spliffs and no interference whatsoever from the police on duty.

THE BAND WENT DOWN AS WELL AS EVER?

We did yeah! I remember my double bass got lost in transit and I had to use an electric bass. Do you remember a band called GENTLE GIANT? They were very friendly to me and the bass player kindly lent me his bass guitar. Ray has given an account of the audience reaction - paper plates and all. I remember watching SOFT MACHINE's set from the back of the stage - they were fantastic!

I have one personal memory of the Rotterdam Festival. Our flight into Holland landed at Amsterdam Airport. At the festival I met a lovely lady photographer from Minneapolis and stayed at her flat overnight. When it was time to go back, which I think might have been the next day or the day after, she gave me a lift on her motor scooter to Amsterdam Airport. I hadn't been given details of the return flight, just the time of departure. So I waited for some time, expecting to meet Eliot or the other guys but no one turned up. Eventually I went to the counter, made enquiries and discovered that the return flight was from Rotterdam. So I missed the plane and had to go back on a later flight all on my own. I don't know if that's of any interest but that's just my final memory of it. But overall it was all very enjoyable.

CAN YOU THINK OF ANY OTHER MEMORABLE GIGS?

I honestly can't think of any other outstandingly memorable gigs. I can remember lots of gigs, particularly ones we did in the UK and have many memories tucked away somewhere in the recesses of the brain. Maybe Ray will be able to jog my memory. Of course, we went to the Isle Of Wight festival. The promoters got way behind schedule and we weren't prepared to hang around any longer so we didn't actually play. It would have been memorable had we played and I'm sure that we would have brought the house down.

WHAT ARE YOUR FEELINGS ABOUT 'IN THE SUMMERTIME', DO YOU LIKE THE SONG?

Yeah I do! As you know, no one expected 'IN THE SUMMERTIME' to be a hit, or the hit. It was originally intended to be the B-side but everyone picked up on that rather than 'MIGHTY MAN' which was one of my favourites.

'MIGHTY MAN' WAS EARMARKED TO BE THE SINGLE?

Well yes, so I believe. I've always liked 'MIGHTY MAN'- it was a good swinger.

COLIN ONCE SAID IN AN INTERVIEW THAT IT WAS PROBABLY THE BANDS THEME TUNE?

Yeah that's right! It was usually the one with which we closed the show. Obviously, we are now identified with 'IN THE SUMMERTIME' which I think is also a very good song, with a tricky but catchy melody and an unusual beat.

RAY HAS RE-RECORDED IT OVER AND OVER BUT I THINK THAT MY FAVOURITE VERSION WAS THE LIVE VERSION. THERE WAS A RECORDING THAT WAS ON A SESSION FOR DAVE LEE TRAVIS IN 1970, YOU MUST HAVE PLAYED ON IT?

Good heavens! You probably know far more than me about the early discography. I actually went to HMV recently and bought several CD's, including a Laserlight compilation with some tracks recorded in 1983 I think. I bought that just out of curiosity and had a listen. One of the tracks was a later version of 'IN THE SUMMERTIME'. I did find it interesting, but personally I feel that nothing can compare with the original recording. That's not sour grapes or anything like that, it's just that the original had an authentic and unique feel.

I'VE HAD A BIT OF A DISCUSSION WITH RAY ALONG THESE LINES, HE WAS TOYING WITH THE IDEA OF GOING BACK TO THE ORIGINAL SOUND BUT I DON'T THINK THAT HE COULD RECREATE IT WITH ANY BAND. THE GUYS THAT HE HAD IN THE BAND THEN HAD A GREAT FEEL FOR THE MUSIC, YOU CAN'T BUY THAT FEEL?

That's right, I agree absolutely - it just happened that way. I was a bit surprised to read Paul saying he hated it?

I'VE SPOKEN TO PAUL ABOUT THAT SINCE THAT SUNDAY PEOPLE ARTICLE AND HE INSISTS HE NEVER SAID THAT HE HATED IT, AND WAS QUOTED AS SAYING "IT WASN'T US", WHICH I DON'T BELIEVE HE SAID EITHER.

Can you believe ANYTHING you read in the newspapers? I don't know what Paul's views are on it but all I can say is that you would naturally grow attached to a song like that because it did so much for the band. Even if you were indifferent to it initially, you're bound to become fond of it. Moreover, you couldn't say "it wasn't us" and I can well believe that Paul was misquoted. In connection with these articles, I did a nice interview with MICHAEL PRESCOTT (son of the awesome deputy PM) but the final published version was a complete travesty - so much so, that Michael actually phoned me to apologise and explain that his article had been butchered by his editor. 'IN THE SUMMERTIME' was part of the band's repertoire and we used to play it at gigs, so it was us. It's not as if we said, 'we'll not do our usual stuff, we'll try and do something that's commercial or a bit more 'teeny-bopperish''. It was a song we enjoyed playing and which people enjoyed hearing.

WAS THE DEBUT ALBUM A LOT OF FUN TO MAKE?

Personally, I don't recall it being a whole lot of fun but that's no reflection on BARRY MURRAY or Howard (the engineer). All of us in the band were relatively inexperienced in recording studios at that time, so I think we were all a bit anxious to get a good take down and not to make mistakes. There's a lot of hanging about while the technicians place mikes, do sound checks, adjust balances, etc. You tend to play safe on those occasions. I was concentrating on not screwing up rather than playing something inspirational - heaven forbid that you should ruin an otherwise good take by making a balls-up. Wisely, we decided to record 'live', pretty much as we would have done on a gig. Nowadays I'm more relaxed in the studio and thoroughly enjoy recording. But all in all, it was a good experience and the outcome speaks for itself.

WHAT ARE YOUR MEMORIES OF THE U.S.A TOUR IN 1970?

It was good! A great experience because I'd never been to the U.S.A before and we had pretty good audience receptions most of the time. We travelled extensively on the East coast, West coast and Midwest but didn't go down South. Apart from several days in Long Island when Eliot was arranging an itinerary, we didn't have too much time for sightseeing. When you are on tour, you see an airport, you see a Holiday Inn and then you see the gig and then back to the hotel and another airport.

My other memories of the US tour? I remember the roadies smashed up my bass when they turned the van over.

Did you know that? They turned the van over on the freeway and I think that everything must have fallen on top of the bass and splintered it so it was completely unplayable. I had to borrow an electric bass and then when we got to Los Angeles I bought a Fender in Hollywood (not the Stoke one), which I've still got actually, and which I used for the rest of the tour [I've since sold it to a friend, a professional electric bass player, who wanted it because it was one of the genuine and quite valuable USA 1960's Fender Precisions which, it is said, have a unique sound and feel that you don't get with the Japanese versions].

AND THE BAND WENT DOWN WELL?

Yes, I think we did! Obviously, we were small fish in a big pond, although the record was, or had been in the charts and up to No.2. So we weren't unknown but on the other hand we weren't established artists. When we first arrived in New York we were under the impression that a tour had been planned. But it hadn't, so I know that Eliot had to do a lot of hustling to put a tour together, which to his credit, he managed to do. As I say, we hung around in Long Island for a week or two waiting for everything to get sorted out. I love America! I wouldn't want to live there but it's a fascinating place to visit.

I can remember a lot of other personal things but I'm sure you don't want to hear all the sordid details. We did meet ROD STEWART in Detroit. Can't remember the name of the venue but anyway he was on the same bill and we had a few drinks with all the guys in the band.

THEY LIKED A DRINK DIDN'T THEY?

Yeah I believe so! I remember we did this puerile, very childish thing. You've heard about bands wrecking hotels and things? Well we never did anything like that but I remember Paul and I went into one of the FACES rooms and we were making paper darts, paper aeroplanes, setting light to them and throwing them out of the window and watching them dive in flames into the swimming pool which was a bit stupid really. Childish things one does, I'm not particularly proud of that!

THE BAND DID SOME RECORDING WHILST THERE?

I think we did, I can't remember what tracks we did.

'HAVE A WHIFF ON ME' WAS ONE, IT TURNED UP ON THE SECOND ALBUM IN THE STATES,'MEMOIRS OF A STOCKBROKER'.

That's right! I remember doing 'Whiff' in New York.

I'VE HEARD THE OTHERS SAY THAT THEY DIDN'T LIKE THAT VERSION BUT I THINK THAT IT IS THE BEST BY A LONG WAY?

I've never heard it!

MUNGO JERRY IN THOSE DAYS HAD A BIT OF A REPUTATION FOR BEING A BIT CRUDE AND BAWDY. ANY TRUTH TO THIS?

I dare say we were! I don't think anymore than most rock bands. Was that the image? Maybe we sort of cultivated that a bit at the time. We all liked a drink and sometimes went a little over the top but I think we were basically quite clean living by rock'n roll standards. We used to have games of football on the beach, played golf occasionally, went swimming and all that kind of thing. We were generally quite careful about what we ate and things like that. Obviously there were the usual girlfriends and so on but that's normal. A certain amount of notoriety does you no harm in the record business, so I think it was possibly something either conjured up or 'enhanced' by our managers or the media...

CONJURED UP BY ME I THINK! RAY OFTEN GOT INTO TROUBLE FOR WHAT HE SAID ON STAGE?

His language was a bit uninhibited at times. I know that certain people commented on his language on stage but that was just Ray. As Ray said, he was only using words that people were using in their everyday life. Crude? I don't know what is meant by that. The music was sometimes a bit uninhibited but I don't think that the individual guys in the band were like that. Certainly the music gave that impression. It was wild and it was goodtime music.

DID YOU GET ANOTHER DOUBLE BASS WHEN YOU GOT BACK TO ENGLAND?

By the time we got back to England, I was out of the band so I didn't really need one! Yes, I did buy another and also started to do much more work on electric.

WE READ IN THE BOOK THAT YOU WERE ASKED TO LEAVE AFTER THE U.S.A TOUR, HOW DID YOU LEARN ABOUT THAT?

What happened? I think it was all pre-meditated. We got back from the U.S.A and we had this so-called rehearsal - just a day or two after we got back from the States. We went into this room and started playing, not new numbers but familiar material. Someone said, there's something wrong with the beat, "the beat's not right", or something like that. It all seemed very contrived to me. Anyway, I knew the writing was on the wall by that time, from the attitude and actions of the others during the USA tour. A day or two later, we were all gathered in the office. Eliot drew the short straw. It fell to him to tell me that the guys didn't want me in the band any more. That's how I learned about it.

I did one more gig with the band. Eliot had scheduled an appearance for us on a TV show for the next day, 'Holiday On Ice' or something like that. Do you know the show? It was recorded somewhere in Kent - Deal or Sandwich, as I recall - Ray will probably remember. Anyway, Eliot asked me if I would do it and I just went through with it. So that was the end of the original MUNGO JERRY. That was the last time I saw any of the guys until fairly recently, until I met up with Ray (in 1995), following the 'Missing Mike' articles in the Sunday People. I was shocked obviously, but to be fair and with hindsight, I probably wasn't too diplomatic and may have seemed somewhat arrogant at the time. I had been playing a lot of modern jazz and believed that it was more sophisticated music, which it is. I probably showed it in the wrong way. I think they sensed that I had a contempt for the music. It wasn't so, it's just that I wanted to explore some more sophisticated harmonies and rhythms, help to develop the music along those lines and open up other possibilities. MUNGO JERRY had other, different qualities and deserved its success. Ray said that they thought that I was, "turning my nose up at the music". Since then Ray and I had have had a good talk about it and I can understand how they felt, but I want to make it clear to you and, via you perhaps to Ray, that I always had the greatest respect for him as a person and as a performer and song writer.

WERE YOU SURPRISED TO HEAR THAT RAY WAS SACKED FROM THE BAND?

I only learned that from Ray recently. He told me that...and I was surprised! I just don't see how you could do it because Ray was the band basically. Alright, everyone else played their part but if you take Ray away from that band, it's not MUNGO JERRY anymore. Whereas, Ray with players A,B and C is still MUNGO JERRY. Nevertheless, and I'm obviously biased, I don't think that any of the subsequent line-ups can match that original version.

HAVE YOU HEARD MUCH OF THE STUFF SINCE YOU LEFT?

Well as I say, I've listened to this CD. Apart from that, I haven't heard a lot.

WHAT DID YOU THINK OF THAT CD?

I didn't think Ray was doing anything he wasn't doing in 1970 to be honest. That's not intended as a criticism, it's just how I hear it. It did seem to be the same kind of material but didn't have the original feel. There was a GENE VINCENT type number, 'IN THE SUMMERTIME' plus various re-recordings of songs that had been done before. In any case, I have no way of knowing whether that particular CD was typical. Was that taken from one or more albums or was it a compilation of bits and pieces?

A COMPILATION.

Well to be fair, I haven't really heard any of Ray's albums so I can't really comment.

MIKE PICTURED WITH HIS DAUGHTER AT RAY AND BRITTA's WEDDING.

WHAT ARE YOU UP TO NOW?

I earn my living as an accountant in public practice. I'm quite well established. I work with a colleague whom I've known for many years now. I spend my time with clients and getting more and more involved in music - practicing, playing, hanging out. I'm beginning to network with other guys and I'm doing a fair bit of professional playing. I work mostly as a freelance. Having been off the scene for a good many years, it's taken a while to get my name about again. There's no commercial pressure whatsoever and I love it. I play with some very good players, so that's nice and I'm still learning. You never stop learning. In fact, learning and improving is a great motivation for me.

I THINK THAT'S THE SAME WITH PAUL AND COLIN

Well I'm glad to hear that. Personally I'm enjoying my music more than I ever did. I do know that many musicians have to make gigs they don't really like, just to pay the mortgage and support their families.

DESPITE WHAT HAPPENED 25 YEARS AGO, WOULD YOU LIKE TO GET TOGETHER WITH THE GUYS AGAIN IF THERE WAS ANY KIND OF REUNION?

Yeah, why not! I've already met Ray and there's no problem with Ray at all. But is that likely? Is there any possibility of that?

WELL IT HASN'T HAPPENED YET!

Well if it's gonna happen, it's gotta happen fairly soon because we're all getting on a bit. There's no hassle as far as I'm concerned. Life's too short for bad feelings, especially after 25 years. I don't know, it might be interesting because we must have all moved on, must have all changed musically. On the other hand it might be a disaster! Who knows? It might be interesting to find out.