Football and Music 1:1 with House Music Legend Terry Farley

The Liverpool Connection is an LFC podcast that aims to bring the story of our wonderful club to as many fans as possible around the world. The history, the passion, the music, the people, the City – we want to share perspectives on and off the pitch. We're delighted to have you here with us, be sure to Like and Subscribe with Notifications on for our latest podcast.

🔊 Listen to The Liverpool Connection Podcast on Spotify, Apple Podcasts or Google Podcasts: https://www.buzzsprout.com/785459

📲 Follow The Liverpool Connection on Social Media:
💻 Website: https://www.atxreds.com
🐤 Twitter: https://twitter.com/atxredspodcast
📘  Facebook: https://www.facebook.com/atxredspodcast/
📸 Instagram: https://www.instagram.com/atxredspodcast/

Daz O'Connor, Steve Wilson, Nik O'Connor, Glenn Kewley, Julian Lane

The British Academy of Soccer
Central Texas

B.D. Riley's Irish Pub
Aldrich at Mueller

80s Casuals


Up The Reds


Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.

Transcript

Speaker 1: 0:00

Hi, this is Chris Hawkins and you're listening to the Liverpool Connection podcast. Hi everyone, and welcome to the Liverpool Connection podcast. I'm your host, dazza, and this is my football and music one-on-one episodes, where I bring on a guest that is into football and into music and who better than house music legend and head of iconic record label Junior Boyzone that had the likes of Underworld Dust Brothers aka Chemical Brothers Express 2.? It's Mr Terry Farley.

Speaker 2: 0:43

How are you, mate? I'm okay, thank you, you know, big win last night against the Manx, but I left early like an idiot and I missed it, so it's a bittersweet day.

Speaker 1: 1:01

Yeah, well, I want to. We'll talk about because you are a chelsea supporter. So, uh, please, you know, um, everybody go easy on him, um. But I want to go back to you know your musical roots. Let's start there. Like what, what was you know 15 year old telly listening to in his house?

Speaker 2: 1:23

um, I was, I, I. I basically grew up as a kid in north kensington, kind of not in hill and not in dale around there, so the music of the streets really was, um, tamla, motown and reggae. So I, I, I, I got into black music and very early I. So I got into black music and very early I become very much a black music snob, as I tend to sort of. Whenever I tend to get into things, whether that's clothes or music or whatever it is, I tend to sort of go in feet first.

Speaker 2: 2:06

And with reggae, you know, I, I used to go to Shepherd's Bush Market and hang out on where the reggae shops were there and, uh, you know, buy, buy at least one record a week with my pocket money. And, uh, you know, I was, I was into like in 19, sort of what year are we looking at 15.? So when I was 15, yeah, I mean, I had a paper round then so I could buy kind of music. I think I would say I was like into Big Youth and Dennis Brown and Gregory Isaacs, but also very much like the records coming out of America, like Casey and the Sunshine Band. Cooling the Gang Wild and Peaceful Album was kind of an LP that kind of opened my mind to you know what was really modern in music in America, you know?

Speaker 1: 3:05

what was really modern in in music in america and how? How was you know? How did that go from like? Did the fanzine start first, or did the record label come? Come first? Which?

Speaker 2: 3:17

oh, no, no, no, no, the boy, what boys own. The fanzine started first I had been very much into the Ends magazine, the Liverpool magazine. They even printed a couple of my really stupid letters. I wrote them and Hooten kind of every time I speak to him he laughs about it and I think I was. You know, I wrote a letter about what people were wearing at Chelsea at that time and they printed it and I'd always liked fanzines and printed stuff and you know I bought blues and soul magazine religiously, black music, religiously, the face, um, id, and I just thought, oh, we could, you know, we could write, we could do one of these for ourselves and kind of had a little kind of blueprint of I knew what fanzines were about.

Speaker 2: 4:24

Fanzines were about creating a little world of your own and you write about what you want and what you are and if there's enough people who are like you, they buy it. And you also need to get a few enemies. So you need to sort of be able to to get a few enemies, so you need to sort of be able to uh, find people to take the piss out of, basically, and um, you know, we, we followed a blueprint that was, you know was very much the end, but it was also, uh, you know, even sniffing glue. You know that was another fanzine. I didn't like punk at all but I used to buy that, that magazine, because they used to sell it in rough trades and I used to, you know. So Boys' Home wasn't anything new, it was just kind of a continuation of a tradition really.

Speaker 1: 5:17

Well, I mean, it's crazy to think. You know, obviously you started with Andrew Weatherall, the governor, you know Simon Eccles and Steve Maves. I mean, were you just all mates Like? Did you all meet at Rough Trade?

Speaker 2: 5:37

No, no, we were mates. Andrew and Simon lived in Windsor and me and Steve lived in Slough and lived in Windsor and me and Steve lived in Slough and basically the M4 goes down the middle of the two towns and Slough was a pretty kind of it was a very, very working class town and it had a terrible reputation around that time. But there was a lot of kids in Slough who were really really into soul music and disco and funk. So we had a good scene in Slough. But the other side of the motorway, once you got into Windsor Town Centre, it was a little bit kind of. The girls were a bit nicer and you know, it was a bit safer.

Speaker 2: 6:25

You didn't get like there's no chance of getting nutted on a night out by some sort of horrible person. So we used to go over there and hang out with Andrew, who was really young I mean, I was probably like about 21 and he was probably about 17 then and we used to hang out in a pub called the adam and eve with them which was a bit of a goth club, uh, goth club pub and we didn't kind of. You know you didn't get goths in slough but it was quite. It was quite nice and you know he was a very clever kid and, um, when we decided to do the fanzine, you know he was the obvious person for me to kind of ask, to kind of help with the, the logistics of it all and how did the, the record label then come about?

Speaker 1: 7:18

because I, I know you've, you know you and Pete did the Fire Island in what 91, 92?

Speaker 2: 7:29

I don't know about 90, I mean, but yeah, but Junior Boys come out, junior Boys Own come. After Boys Own Productions, which was basically around about 89 90, I got asked by Houghton to remix Stepping Stone, the farm, and I'd never been in a studio. Andrew got asked to go and do Loaded. He'd never been in a studio and that was just simply because of the parties we were doing. We were doing these, you know, the boys' own parties and we were getting a lot of like a lot of pop people coming along, you know, just as punters. You know, kevin Rowland used to come, we had Bananarama, we had Martin Fry from ABC and Bobby Gillespie come down. I think Andrew I'm not sure, I think Andrew had been a big Jesus and the Mary chain fan and they just oh, do you want to remix the record? And we were like yeah, we've done a couple of remixes.

Speaker 2: 8:44

And Pete Tong, who I had been DJing my first ever gigs really as a DJ. I was at a club called the Raid which was like there was nights at the WAG, there was nights in film studios and warehouse parties. So this was like 86, 87. And me myself, paul Oakenfold and Pete Tong were the three residents and Pete was. You know, he had the dance side at London Records sewn up and he said, oh, do you want to do a label? And we were like, oh, oh, okay, what do we have to do there? He goes make a record, all right. Okay, here's a load of money. You know me, andrew and Pete and uh, a really good, really good, uh, producer Hugo Nicholson, um went into a very posh studio, uh, in 1989, it was about a thousand pound a day and, um, we made um raise your hands, uh, which is the Bocca Juniors record. Uh, and, yeah, and, and, and that was it really. I mean, uh, we, you know, I, I, I thought of the name managed to spell the, the word Boca, wrong on the label, which is a kind of running theme with me, actually with fanzines.

Speaker 2: 10:12

We also wrote the first article Well, we never. Paul Oakenfold wrote it, but he wouldn't let us use his name because there was a lot of talk about drugs in it the very first article about that kind of acid-alcine amnesia, with Alfredo and I, because I used to do the layout of the magazine at home with Electroset, you know, on a piece of card and a piece of white A4. And we would take that to the printer, friend. We knew who would actually make like these metal plates. And I spelt Balearic wrong, haven't we all? You know? Yeah, but not in the headline. The headline was Bermondsey goes Balearic. And yeah, I mean, you know, spelling has never, never, ever been one of my pluses. So, yeah, so we did the.

Speaker 2: 11:15

And then it was, I mean, the Boys Own Productions records. You know we put some great records out. You know we really did, but it it was too early. You know that the mondays hadn't kind of blown up, the farm hadn't really blown up either. Uh, and if we, I think if we'd come maybe a year later after you know that kind of whole, and maybe a year later after you know that kind of whole scene had been kind of, you know, blown up, I think we would have had much more success. But we were kind of. You know it's always. Someone said to me never be the people at the beginning, always be the people who come second, because they're the people who make money. You know, the ones at the beginning, you'll have people talking about you in 20 years' time, but you'll be penniless. And the people who come second or even third, they're the ones who make the money, because that's when the majority of the people are into that music.

Speaker 1: 12:18

So where did the change come from then? From Boyzone to Junior Boyzone?

Speaker 2: 12:22

Well, we got dropped basically by Pete Tong because we just wasn't selling enough records. We were selling, you know, to a very small scene which was, you know at that time kind of terms, the Balearic Network. You know, there was one. There was a club in Liverpool which was Cream. In its very early stages there was most excellent in Manchester. There was Venus in Nottingham. There was, oh, there was a place in Middlesbrough. Oh, charlie Chester got involved with him.

Speaker 2: 13:04

I can't think of the name of it, but that was kind of about it really. So you know, we were only selling a few thousand records and they had put quite a lot of money into the idea. So we got dropped. But the length of our contract meant there was some money to keep an office going, to keep an office going. So you know, we decided to sort of do a diffusion range. If you want, john Paul Gaultier was doing Junior Gaultier at that time, which was very popular in London, and we was like oh right, we'll call it Junior Boys Own Men, and that was the right label at the right time, as opposed to our previous incarnation being the right label at the wrong time.

Speaker 1: 13:52

I mean Pete Tong must be kicking himself, though. You know. I mean you go from Boyzone to you're just changing a name, really and you know, underworld, like I said, express 2, and and then Doss Brothers.

Speaker 2: 14:08

Yeah, it wasn't. I think it wasn't just a name Boyzone. The records that come out in Boyzone were very kind of they were Balearic records. You know, there was all sorts of records Left, stressed, stump, dream it's Over, brilliant, all sorts of records Less Stressed, don't Dream it's Over, you know, and and, but they, they were kind of Balearic records for that time. You know, sitting in a field doing a pill watching the sun come up, whereas Junior Boys' own was about house music and I think at that time FFR, which was the Pete Tong's, the parent label, they were a house label. So we would have just been like I think we would have just got lost. It was the right time for Junior Boyzone.

Speaker 1: 14:59

Yeah, I mean it's just an iconic label. You know it's the pinnacle for me. Growing up, I mean I had the best of both worlds, you know, living outside of Liverpool and then moving over to the States. So I knew house music from back home and then house music in the States and then I actually saw the Dust Brothers. Their first appearance was in Orlando at the DJ's place and they're in the outside backstage. Icy and Josh Wink were inside and it was rammed stage. Um, icy and josh wink were inside and it was rammed. But outside it was dust brothers, basement twins and a lad called dj who from baltimore, and that that was actually the first time I'd ever heard the dust brothers and they just blew me away. And then after that I was like tracking down every junior boy's own truck.

Speaker 2: 16:11

Yeah, I think what happened with them was Andrew was playing a gig in Manchester and he said that there was a couple of kids from, like you know, the home counties come up to him with a cassette and said oh you know, we're big fans of yours and we've made this record. What do you think of it? And I don't know how he'd listen to it, but he'd come in the office on Monday and said this record's great, you've got to release this. And yeah, steve asked, you know he said come and listen to it, what do you think? And it kind of wasn't really my thing. You know, I was I'm kind of like an american black music house band and it wasn't. It wasn't but you could tell it was really good and I was kind of like well, look, if you and andrew both think it's really good, you know, uh, let's go with it, you and yeah, obviously they had to change their name because it was an American hip-hop band called the Dust Brothers.

Speaker 1: 17:12

Yeah, still to this day. Song of the Siren the Sabres mix is one of my favourites. Yeah, it's just from start to finish. You know, it's one of those where you know, I mean I DJ as well, but sometimes, you know, this generation have got a span of like two, three minutes of listening to a record. Yeah, yeah, that record you just play from start to finish. I mean yeah.

Speaker 2: 17:40

I'm afraid that's TikTok for you. You know that, yeah, it's reducing their attention span. Yeah, I'm afraid that's TikTok for you. You know that, yeah, reducing their attention span. I noticed that it's not a new thing. I noticed about five years no, about eight years ago, me and Pete played in Turin and we walked in this club and it was really really jumping. I was fucking, oh, this is going to be good. And then, kind of, I noticed that the guy was only playing three minutes of a record, four minutes to record.

Speaker 2: 18:08

You know, uh, and me and Pete, when, when we used to play together a lot, we used to play records we liked and and we would really let them records play, you know, some eight, nine minute records, uh, and it was, you know, for us it was about the flow, uh, kind of. You know, I don't really like that, taking people on journey stuff. It sounds a bit pretentious, but if you, you know, if you really like a record, you should let it play. And we lost the crowd, you know we lost it. You know you could see that they just wasn't kind of, they wasn't there for that kind of vibe. So, um, yeah, and it's only getting worse because, you know, because of tiktok and people's especially younger people's attention span yeah, well, it seems to be like with with records as well.

Speaker 1: 19:02

You know, like you'd have the, a dub plate or a white label and I was having a chat with mark xtc, uh, yesterday, and you know how, when you used to play vinyl, um, you get changed spotters, but then you'd put like stickers over the actual names. You know, these days you just you just pick up your phone and you start in front of the speaker and then it's online within you know, 20 minutes, and that takes the romanticism out of the scene a bit. You know, it was always great to hear tracks that you've never heard before.

Speaker 2: 19:41

Yeah, yeah, absolutely heard before. Yeah, yeah, absolutely, and and that gave the track time to build as well. Um, rather than kind of, like you know, I, I I've noticed with myself. Actually, you know, I'll probably sort of, you know, find I'll manage to find at least five or six records I really like every week, either from a promo or buying them from band camp or track sourceels, and I'll play them that weekend, but by the next weekend there's probably only one of them records I'm still playing, you know, whereas back in the day, if you got a test pressing, you know there would only be like 20 people with that test pressing in the country and you know you could be playing that for three months before that record come out and, uh, you know, the crowd really got to know it, whereas I don't think they really do now. I think, you know, I think it's, uh, I think I think djs seem to think that, uh, the whole, the whole night is more about their performance than what they play spot on.

Speaker 1: 20:52

I I 100 agree with you. I mean, I think you know it. It's, it's weird for, especially for yourself, you've been in the scene for a very long time. I've been in the scene for, you know, 40 years as well, and you know times do change. We've got to change with the times. But it's just hard to go to a show now and everybody has their phone out instead of taking, like back in the day, no phones. It's just that moment lives in my brain. I had my crazy times, as everyone else has, but you still remember, you know? Yeah, absolutely. People seem to think they need to capture everything on a phone to be reminded and I'm like well, you have a mind, just take it in.

Speaker 2: 21:52

I mean, there's also a kind of trend now with, you know, clubs banning phones. Certain clubs, you know, will tell. But there's also, I think I've noticed, especially with kind of more, slightly more mature crowds, there's a bit of self-policing now. You know, people get a phone out and hold the phone up and you can see people look, you know disapproving looks really, and they tend to put it back in their pocket a bit quickly and you know you can be snobbish about all that. But it is about the moment, it is about your experience, not the experience through the lens, isn't it? And it's the same with football.

Speaker 2: 22:44

When you see people and I don't know there's a penalty and they're old and they're fine, you'll be able to watch that on telly and you don't need it on your phone. It's going to look shit, it's going to sound shit. That great atmosphere that you're going to be in when that penalty goes in was going to really transfer badly to your phone. You're going to go. Oh, I thought it was a lot better than that when I was there. Well, it's the same. Do you need a phone to dance?

Speaker 1: 23:14

No, I thought it was a lot better than that when I was there. Well, it's the same. Do you need a phone to dance? No, you don't.

Speaker 2: 23:19

No, you don't.

Speaker 1: 23:21

But before I want to get into Chelsea, you know, obviously I think I have to need to bring up Underworld. You know, getting them onto Junior Boyzone. How did that come about? Because you know they did learn.

Speaker 2: 23:37

That was Darren Emerson. Yeah, basically it was Darren Emerson. Darren was DJing at Nicky Holloway's Monday night weekly party called the Recession Session, I believe at the Milk Bar which was next to the Astoria on Tottenham Court Road and he was from Romford and he was, you know, he was like 18 years old, but really good DJ, really good DJ. He played it. We did a party down on the coast played it.

Speaker 2: 24:19

we did a party um down on the coast and I remember him, uh, cutting two copies of a treaty by youth for lindy you remember that record, yeah, like like with, with all the kind of you know um aboriginal noises going on, and he was cutting from one to another and it just went on forever, uh, and I was just like fucking hell, who is this kid, you know? And then, and then he he'd met the two, you know the two guys who were underworld. But I'm not sure if they were actually called underworld at that time, because I think they've been, they've been a you know a previous incarnation, um, and well, I think, maybe just like an electronic band, pop band as opposed to dance band, and and I I believed it kind of. You know he started working with them, um, and then he came, come into steve steve hall, in in the uh, junior boys own offices with some tapes and, like you know, let's have a listen to this. And, you know, steve saw the potential and, you know, gave them money to go and make some music.

Speaker 1: 25:24

Yeah, yeah, and that's some music, you know, I mean Rez, cowgirl, born, slippy are, you know, instilled in, you know, electronic music history. I mean, it just goes on from there. But, um, let's get to your, your. Well, one of your favorite parts is chelsea football club. Um, when, when was the first time you went went to to stan Bridge?

Speaker 2: 25:56

I used to live walking distance to Queen's Park Rangers ground and all my family were Rangers fans and I used to get taken to Rangers by my dad in this kind of this is like about 69, 70. This is like about 69, 70. And he used to put me in a boys' pen in the loft dens and we played Chelsea. Say we played right, qpr had just won the cup. They won the League Cup in 1967. They beat West Brom and QPR were in the third division then in 67. They beat West Brom and QPR were in the third division. Then you know, I mean incredible kind of thing to do for a third division team to win a cup final. And there was a testimonial for a player called Mick Leach, or was it Mike Keane One of them? I think no, maybe Mike Keane and QPR played Chelsea and I was in the boys' pen and it was a really nice sunny day so I presume it was pre-season, maybe about 1968.

Speaker 2: 27:11

And I watched this big gang of kids maybe 200, 300, we could walk right around the ground back in them days, you know walk from what was near Weyand up down the sideline into the loft and kind of went up the back of the loft and the clothes they were wearing. They were all in like kind of pastel stay press and Ben Shermans, dr Martin boots, and a lot of them were in shoes, you know, like they were called Timpsons Royals, but they were like wingtips, wingtip brogues, and most of these kids were like 14, 15. And I was about 10. And I was like fucking hell, I want to be a Chelsea fan. You know, it literally was. You know about the look and about the clothes, you know, and it was like I've got to go to Chelsea and it was like no, you can't go to Chelsea, you're too young, you're not allowed on the bus. Didn't know anyone who supported Chelsea. Everyone who I knew in that part of London was Queen's Park Rangers. So I never went.

Speaker 2: 28:23

And then my family got moved out to Slough and Slough was like a kind of imagine, like Runcorn is to Liverpool and Manchester, that's what Slough is to like West London and everyone was Chelsea in Slough. All their families had been moved out from Fulham and from Battersea and it was all Chelsea. And you know, once I kind of hit 13, I could get a paper round and I went up to Chelsea and I think the first game I went to was Bobby Charlton's last game and I went up to. We got in the ground early and it was, I mean, I think it was 60,000 people in the ground that game and I just remember being in the shed and it was just like a thieving mass of teenage testosterone and you know it was totally different from what QPR was like.

Speaker 2: 29:24

Qpr was, you know, a really kind of passionate, local kind of crowd. You know loads of kind of men, you know grown men, very funny blokes, whereas Chelsea was just teenager rampage. You know it was just and I was just completely hooked. You know I was completely hooked and by about 75, I was going to away games as well.

Speaker 1: 29:55

I was going to away games as well. Yeah, I think the away games are much better because it's the travelling with all your mates that you do, especially when you play in Europe. But Liverpool and Chelsea I think it took us a long time to have a big rivalry. You know, it wasn't until you know.

Speaker 2: 30:19

Probably, I would say like the ghost goal from Luis Garcia, where it really I would say for a lot of people it might have been the 82 game in the FA Cup at Chelsea. You know when, when there was you know it was, was it 82? It was 82, yeah, when there was quite a lot of you know shenanigans going on from very early in the morning at Warren Street to very late at night at Euston and in the way end. I mean it was quite a classic kind of game that for that era, you know where, like, clothes become really important what you're wearing. And I mean from then, and I also think you know it's like there was a whole thing about, you know like wasn't there, like you know, scousers, manx and Cockneys, you know. But I think yeah, I think you're right Probably the kind of that kind of like on the field rivalry probably was then, because we were awful then we did beat you in that game and we also beat you in the 78 FA Cup game at Chelsea, 4-2, I think.

Speaker 2: 31:41

But no, yeah, it was probably then You're right.

Speaker 1: 31:47

I think with the Mourinho and Benitez thing. I mean Mourinho back then to me was an amazing tactician but he also had that little quirky sense of humour. I think he's lost it a bit. You know, back then he was kind of cocky with the media and everything he was young.

Speaker 2: 32:11

He was young. We're all cocky when we're young. We're all cocky and quirky. He was young. We're all cocky when we're young, we're all cocky and quirky, and you know we all have our best ideas when we're young. You know there's still a lot of people at Chelsea. You know, even like last night people were, you know, when we were 3-2 down and you know people were going get him out of the club, get Poch out. Get Poch out. You know, get Jose back to the end of the season interim manager, which I think would be an absolute disaster. But you know people still love him at Chelsea. You know they still love him at Chelsea.

Speaker 1: 32:49

Well, I mean he won. You know the titles for you, yeah, but I mean that's modern day football. Terry, you know something, something goes wrong on the pitch. It's this player's fault. You know. Sack the manager, we're too quick to. You know, kind of I mean you can criticize your team, you know, I mean Klopp's got it wrong sometimes on on, you know bringing subs, on taking players off, you can criticize, but then when you start like just screaming for them to be sacked or this player, you know sod off, it's just like come on lads. You know, potts, just I mean to me he's a fantastic manager. He just needs to sort out, like out, who his first 11 really are. I mean, cole Palmer, for me, has saved your season.

Speaker 2: 33:42

Oh, absolutely Absolutely. And if they don't sort it out next season, I could see someone probably not an English club, because I don't think he would go straight away to an English club, because I don't think he would go straight away to an English club but I could see him leaving. If we're this shit next season. I could see, you know, bayern Munich or Barcelona coming in for him and him quite happily going.

Speaker 1: 34:09

You know he hasn't got any, any ties with Chelsea, any allegiance, you know well, I saw that interview I think it was last week and it was pitch side, you know and they were just like, you know, thank God, chelsea have you. And he was just kind of like, yeah, you know. Basically, yeah, you know, I mean I can't believe City, let him go. I really can't, because he's a fantastic footballer and he looks like he's got a good head on his shoulders you know mature for his age, and I think you know the skies, yeah.

Speaker 2: 34:43

I think. I think basically, you know Foden is is 18 months ahead of him in his development and you know he was always going to be number one. You know he was always going to be number one, you know. And so he knew he wasn't going to get, you know, and I think they just let him go because you know they have Foden who is a better player at the moment by far.

Speaker 1: 35:07

Yeah, he's banging them in and he's probably, you know, doing help in City because I mean, to me City haven't been as good as last season. You know, letting Mahrez Guggenheim go, I think is massive for them, yes, but you know what were your expectations, like, you know, at the start of this season, Like realistic, you know what you know what you know, what I didn't really know.

Speaker 2: 35:39

Really, I think Americans really should be kept away from British football. American owners, I think you know I really really really don't. I can't see. You know I don't fit in the ones. Liverpool have been great. The Arsenal, you know they had their American owners. I don't know they ripped the arse out of a side that just won the Champions League and then won the World Club title. You know, I thought we would be top four, right, and I thought the first game of the season when we played Liverpool and we were by far the better side. You know all these kids, we all thought, wow, here we go, but that didn't last long. I don't know, you know, I don't know, I don't know. I've got no idea what's going to happen next year. I think they really have to bite the bullet and buy some experience. You know an experience number nine and an experience centre half. You know we've got centre halves and they're children. Really, you know, yeah.

Speaker 1: 37:05

Well, I just think Bowley just went to the supermarket and like bought everything. I think that's what his problem was and Pochettino should have kind of said hold on a minute, I don't need all these young players. But I just think he went with it and I think that's why you are where you are at this moment. But I mean, you know you're in a FA Cup semi-final, I mean it is against City, but you never know, you know it's a one-off.

Speaker 2: 37:38

You never know. You know what. You know. I didn't give us a chance about beating them in Porto either. You know, in the Champions League final Didn't give us a hope in hell, and you know know we pulled it off. But then we sold the two players who you know, mason Mount and Kai Havertz, who you know the creator of the goal and the scorer of the goal. You know. We flogged both of those off and we bought some, like you know, children to take their place, and it's just bizarre. You know it's bizarre. And you know children to take their place, and it's just bizarre. You know it's bizarre.

Speaker 1: 38:14

And you know, a couple of points with that win last night, a couple of points from seventh, so anything can happen. You know, I mean for you, like for myself, like if Liverpool were in like 10th and were only three points behind in 7th, I probably would want to give Europa Conference League a miss. Absolutely, absolutely.

Speaker 2: 38:41

Although it is the only club competition we haven't won now, yeah, because it wasn't there. So maybe you know, maybe being the team who's actually, because I think it's only man United, liverpool and Chelsea isn't it in England who have won all the competitions no, we haven't won Europa League did you not?

Speaker 1: 39:07

I thought you weren't no, really well, we you did. You did a kind of cup winners cup, but Did you not? I thought you weren't no, really Well. You did a kind of it's called the Cup Winners' Cup, but Klopp's never won Europa League but Liverpool have. Yeah, when it was called the European Cup Winners' Cup. Yeah, but not the new Europa League thing. We haven't Right?

Speaker 2: 39:29

I think the Cup Winners' Cup, Not the new Europa League thing. We haven't Right. I think the Europa Cup, I think the Cup Winners' Cup. They just got rid of that, though, didn't they? And the Europa League? Did Liverpool not win that with Michael Owen in Spain? Like about when you did a plastic treble, didn't you? Yeah, when we beat Alaves, yeah, I think that was.

Speaker 1: 39:55

I love that.

Speaker 2: 39:57

Yeah, I think the Europa Cup used to be called the Bears Cup didn't it?

Speaker 1: 40:04

Something like that? Yeah, but I think Europa League.

Speaker 2: 40:07

Anyway, you're right. I mean, you know, I've got no interest in a kind of dodgy Thursday night trip to Hungary anymore. So yeah, I think we'd be better off staying out of it.

Speaker 1: 40:21

I agree, I'd be the same way. But you know it's a funny old world where you can end up. You know, I'm hoping, you know we're we're challenging for the title, you know, and hopefully you get your OPA. It's a swan song for good old clop, um, but yeah, uh, you know I. I just think it's been crazy that the last cup, three seasons between us and and your team, you know being in three finals and only really scored yeah, we only scored one, like one goal. Yeah, you know it's been. We've always had a tough time against Chelsea. You've always had our number. I remember the 4-4 at Stamford Bridge. Oh, yeah, yeah, yeah, yeah, that was insane. It was just goal back, goal back, goal back.

Speaker 2: 41:11

There was another good one wasn't there when Mark Hughes, and when was that? Were we 2-0 down and we ended up beating you 4-2 in an FA Cup game? Yeah, vialli, I think, scored. It was a really good Chelsea side then. You know, the late 90s was a really good Chelsea side then you know the late 90s was a really good Chelsea side. You know we had Vialli, we had the centre-half from Frank Leboeuf and it was a really, really good side that we nearly won the title.

Speaker 2: 41:46

I remember we I think we had to win the last two games or something. I remember we I think we had to win the last two games or something and I went to Miami for the Miami Music Week conference. You know where everyone went and we were trying to find. We were trying to find somewhere to find. I think Chelsea were playing, chelsea were playing someone's shit at home and I was trying to find somewhere to watch the game. There was no internet and I couldn't find anywhere. And I remember we're walking along. You know it would be like you know we didn't have the mobile phones. It would be like maybe when I get back to the hotel I can use their phone to ring. You know, ring home see what the score was, and I'm pretty sure it was Giles Peterson was walking along the road and he went oh, you only got a draw.

Speaker 2: 42:36

It was drawn against Leicester, we 2-0 up against Leicester and we blew it. We blew it and Vialli was. That was right, and Vialli was the manager then, and Bates, because we blew the title, the league title that year. He sacked him, which was an absolute tragedy. And yeah, we won the FA Cup twice and the League Cup and the European Cup Winners' Cup in that little period in the late 90s with Viali and Ruud Gullit and Di Matteo. Yeah, we had a really good, very attractive side to watch, but we definitely blew the title. We should have won the title in that period.

Speaker 1: 43:27

Well, to me, like you know, baloch Drogba. Drogba was one of the best footballers I've seen. He just had everything you know physicality, just technical, just absolutely brilliant. I think you know another one's Kante Love Kante. I wish he, you know, would have been 10 years younger and we would have Liverpool would have picked him up. I wish we never had Joe Cole. I'll tell you that that was a complete waste of money.

Speaker 2: 44:03

Yeah, but Joe Cole might have been one of Mourinho's failures. What he wanted Joe Cole to do, instead of sort of letting him, you know, express himself, you know. So you know, yeah, I don't know. I mean, I think the Drogba thing might be. It's like I remember when Drogba first played for Chelsea I think we played Newcastle and in the paper it had, I mean, I remember the reporter saying you know, he was like a young boy chasing a balloon around a park, you know he couldn't, and the Newcastle fans were all singing what a Waste of Money, what a Waste of Money. And we were all like, oh, and Mourinho, I think, got interviewed and he said look, don't judge Drogba by this season. Judge Drogba when he leaves Chelsea at the end of his career. And maybe you know some of them kids at Chelsea now. Maybe we do that and judge them then.

Speaker 2: 45:08

I don't know yeah, will anyone get that sort of time anymore.

Speaker 1: 45:14

Yeah, I mean, that's the thing, isn't it? I? I think that's what I'll miss about clop. The most is he's giving these young kids a chance to shine and they've, they've all done it. I mean, conor bradley, like coming in for trent, like you know, t Trent's Trent, you know whether people can discuss. Like you know, is he a good defender. You know what he brings more to the team, like the team set up for Trent to play the way he plays. You know, yeah, sure he goes forward. Then, you know, then Henderson would come back in that space. But Conor Bradley, 18 years old, to come in, if he had a bad game I'm sure people in the stands would be he's too young and blah blah. We've got to give these young players a chance to shine. Yeah, too many people are too judgmental too quickly. So we've got to. But you know what I usually end with Terry is I'll ask my musical guest ultimate headline festival for a Friday, saturday and a Sundayay day.

Speaker 2: 46:31

So your headliners for friday, saturday, sunday and these are people in their prime or now um, it's, it's, whether alive or dead.

Speaker 1: 46:40

You know what? Who would you? Okay, yeah?

Speaker 2: 46:43

all right, uh, I would go. I would go friday. I would go for a kind of funky vibe and I would go for I'm trying to think of the really good bands I saw back in the day. I would go for the Fatback Band on a Friday night. I saw them at the California Ballroom in Dunstable in 1977. Ballroom in Dunstable in 1977 and it was 5,000 people standing up in there and it was like a football ground and and in fact a lot of the kids in there were people who went to football and they started chanting, bring on the fat back, bring on the fat back. And when the band come on they look fucking terrified because of the reception they got. You know it was like crazy, but they were a brilliant funk band. So I'd have Fatback band on Friday night. Saturday night I would have Marvin Gaye.

Speaker 2: 47:44

I saw him at the Royal Albert Hall about in the early 80s and you you know he is absolute class, absolute class. And Sunday afternoon, big Youth. He was someone who I was obsessed with and he was a real kind of like. During that punk rock era all the punks liked Big Youth and I wasn't a punk, I've always been a soul boy, but you know he was great and I saw him in a pub in Lewisham about four years ago called the Fox and Firkin, where they put on reggae bands, and there was only about 200 people in there and he's probably early 70s. And he was only about 200 people in there and he's probably early 70s and he was fantastic. He was absolutely amazing. So, yeah, them three.

Speaker 1: 48:37

Nice, any gigs coming up for you?

Speaker 2: 48:44

Oh God, yeah, I'm in Brighton tomorrow. I've got festivals this summer. I've got Shindig, which is a really good festival down in the West Coast. I'm going to Malta, croatia, italy, ibiza, and I might take myself to New York. I haven't been to New York for long, so I might just go for a little holiday there you go.

Speaker 1: 49:14

Well, you know I live in Texas, so, oh well, yeah, yeah, I would love for you to come here, it would you know. Do you still do? Do you do South Park Weekender at all?

Speaker 2: 49:30

No, me and Pete played there once back in the day and we didn't go down particularly well, to be quite honest with you. At that time we were going to New York a lot and we were going to a club called the Sound Factory where Junior Vasquez was playing, and we had become a bit obsessed with that kind of hard kind of darker sound darker gay New York sound. And yeah, it didn't work in Southport not at all never got asked back.

Speaker 2: 50:04

I'd love to do it. I mean, I heard, you know, I heard really good things. Funny enough, the Southport Weekender now is in Bognor Regis.

Speaker 1: 50:13

Yeah, they've changed it, yeah.

Speaker 2: 50:15

Yeah, and I knew people who went, you know, like last month it was, and they said, you know, Ron Trent apparently was absolutely amazing and it was a really good event. So I would like to go, even if they're not asking me to DJ, maybe I'll go along as a punter, sit in the deck chair.

Speaker 1: 50:34

Yeah Well, terry, it's been an absolute pleasure. You know you are embedded in my musical history, what you've done for Acid House and house music. You know I couldn't thank you any more. You know, obviously I'm a Liverpool supporter, you're a Chelsea supporter, but I really appreciate you like coming on and kind of you know, giving your kind of opinion on. You know what's going on in the stands, like. You know, like the chants, the horrible chanting needs to stop. It's just, you know it's grown men, it's 50, 60-year-old men saying horrible things that these young kids are picking up on and they're singing it and they don't understand what they're really singing. That needs to stop. But you know I appreciate you coming on and you know spending a little time with me.

Speaker 2: 51:30

Okay, no, thank you very much Des.

Speaker 1: 51:31

Appreciate it. Please, everybody like and subscribe, and we'll see you next time.

Speaker 2: 51:49

And then, oh so, there's a song on the tide and it's a sweet silver song. Oh my God For the dream he taught and the hope. Oh, oh, we hope, we hope, and we hope, oh, oh, oh Bye.