Still Rockin' It - Cheryl Lee
Still Rockin' It - Cheryl Lee
What has Jimi Hocking of The Screaming Jets been up to lately? OR How to not join the The Angels, then join The Angels!
We caught up for a zoom chat with energetic guitarist for The Screaming Jets, Jimi 'the Human' Hocking.
We hear about his early TV career, how he didn’t join The Angels, then he did join The Angels, his solo career and what’s coming up next for The Screaming Jets.
The Screaming Jets - Razor
D-Generation - David Boon, Mike Whitney, Joan Kirner
The Angels - Take A Long Line
The Screaming Jets - Shadow Boxer
Jimi Hocking & Rebecca Davey - The Golden Rule
The Screaming Jets - Nothing To Lose
ZZ Top - Legs
What have The Screaming Jets been up to lately … let’s find out!
Get out when you can, support local music and I'll see you down the front!!
Visit: ThatRadioChick.com.au
That Radio Chick Cheryl Lee here. Welcome to the Still Rocking at podcast where we'll have music news and interviews with some of our favourite Australian musicians and artists. We caught up for a zoom room chat with energetic guitarist from The Screaming Jets, Jimi 'The Human' Hocking. We hear about his early TV career, how he didn't join the Angels and his solo career and what's coming up next for the Screaming Jets. To catch up on podcasts from other favourite artists or for more Radio Chick stuff, simply go to that Radio Chick. com. au. I'd like to welcome into the Zoom room today James Kevin Hocking. Jimi, welcome to the show.
:Hi, Cheryl, nice to be here. James, no one calls me James, except my mother when I am in trouble.
Speaker 2:When you've been naughty.
:Yeah, it's my naughty name.
Speaker 2:Also known as Jimi the Human, member of the Screaming Jets, which we've got some exciting news to talk about in a minute. But I'm wondering if we can go back a little bit first, if that's okay. I know you're from a musical family. When did you decide that the guitar was your thing?
:Well, it's a funny thing. My dad was a piano player so we all got marched off to piano lessons when we were very small and my mum was a light opera singer. So we had a very diverse environment with music, which actually turned out to be a very healthy thing, of course and we all had piano lessons. We all enjoyed the piano. It was old fashioned. We had a very strict teacher. Dad didn't teach us, like we went off, some old lady with a ruler who would bang us over the knuckles when we played it wrong and it was terrible.
:After a while I saw the Beatles on TV. It was already a rerun by then, I guess, but Hard Day's Night was on TV, I remember, and that was the start of me thinking I want to do that, I want to play the guitar. I don't even remember the real genesis of it, but my parents told me when I was little I started making guitars out cornflake boxes and rubber bands across the hole. So I mean I must have been four or five years old when that happened. I got my first guitar at six, just a classical guitar and banged one on that with no idea for the longest time and then kind of just started learning chords from some of dad's friends who would come around for barbecues actually, and that was the start.
Speaker 2:It obviously stood you in very good stead and, apart from the current band, the list of bands that you've been in as long as your arm.
:Unemployable, otherwise no one will ever do another job.
Speaker 2:I read that you got your first acoustic guitar as a Christmas present, and then you must have been passionate about it because you taught yourself.
:Yeah, let's not think too highly. I didn't mean I was any good, I was just teaching myself how to hold it. How to you know some rudimentary chords? It was actually a guy called Mike Graboski who was a bass player. You might have heard of Paul Graboski. He was playing a lot of piano and TV. His brother, Mike sadly not with us anymore was a good friend of my dad's and he was a bassist and taught me my first real chords. You know so I learned these three chords and straight away they unlocked the vault to play a hundred pop songs. You know so that was the start, and I just sing and play with a guitar in my room. But that was how I did it. So that was the early days.
Speaker 2:And the rest is history.
:Here I am locked in my room right now.
Speaker 2:Still doing it 40 years later. You are listening to Still Rocking it, the podcast with Cheryl Lee. Let's have a song, shall we? One written by Dave Gleason and Jimi Hocking, R azor from one of my favourite Screaming Jets albums, Chrome. Back to speak more to Jimi shortly.
Speaker 2:You did some stuff for TV, like themes for tele movies.
:Yeah, that's right. So actually I mean I was banging around in kind of terrible school bands even in the late 70s and you know, the first band that got any recognition would have been 84. So I was playing in garage bands and punk kind of inspired bands. But cause my dad worked for the ABC, we got the inside word about a lot of that stuff. So once again I was extremely fortunate and there was a show on let me think I think it was Fame and Misfortune was one of the programs at the ABC, no beg your pardon. It was called Sweet and Sour. Sweet and Sour was a show where for the first time in the ABC's history, I believe, they got outside songwriters to write for that program. I think Billy Miller and people who were considered modern rock musicians at the time. They did some writing for the ABC because normally it would all be in-house. It went so well for them that they had this idea that they had a movie called Emerging.
:They thought they would approach a few young rock bands to write some music for this movie and I think there was a couple of bands could approach and my band at the time got the gig. So we were not experienced in the studio or anything particularly, and this was the old days when you didn't have to be. You could just go in there and there's an engineer and they'd all just roll tape for you. That was the start of a period where I did. I wrote songs for that movie.
:We adapted some of the songs I was already playing in the band or band was called the Astro Boys. Then I actually wrote for a TV show called Fame and Misfortune, which is a musically based kid series, and then I did things like late night news and stuff like that which I played sessions for for the ABC, which also then brought me to the early D-generation series which became the Working Dog Guys. They started on the ABC and I did a lot of the early sessions for their TV show so a great apprenticeship, a great learning curve, I imagine absolutely, and I had to play a lot of different things.
:It was rock-based because that was what they were doing. They did parodies of Midnight Oil songs and, you know, made up bands and there was, I remember there was WA and K news theme that I had to come up with, and so it was pretty fun to do. But, like I say, it was in the old days, before home recording or anything like that was a thing. I didn't have a four track record or anything, so I really had to kind of not that I was comprehensive like a good right or anything, but I had to chart out ideas and stuff like that because there was no other medium, you know, available at the time. I didn't have any money, that's for sure.
Speaker 2:Let's have a couple of quick tip bits just to remind us how funny D-generation were. Nobody was sacred, everybody was fair game. Here's cricketer, David Boone, once in a lifetime Talking Heads. Another cricketer and tv personality, Mike Whitney, with Whitney Houston's,
Speaker 2:I will always love you and you've got to love a politician with a sense of humour. Former Premier of Victoria, Joan Kerner, doing Joan Jet. I Love Rock and Roll. You've probably been asked this question a thousand times and I'm sorry I'm still going to ask it again where did Jimi the Human come from?
:it's incredible that it got legs at all, because in the mid 80s I was, you know, going broke that quick it was wasn't funny and I was. I had this band, the Astros. We were like a Frank Zapper meets Devo meets, you know, Midnight Oil inspired band. Everybody loved us in the industry but we couldn't get arrested by the public, was just like not very commercial. But I was a great band and so I started playing folk clubs. Now what that means is just cafes that had an acoustic guitar player in the background, when any time you pulled an acoustic guitar you you were called a folk musician, irrespective of what you were playing. So I kind of came into that scene through a great man called Ricky Vengeance who sort of encouraged me to do that.
:I had no real concept of selling myself, you're just some guy in the corner. So I started doing these acoustic shows and I would just put on their blackboard because I was nobody, just some guy with the guitar. I was an incidental part of the night if you were going to a cafe, so they just put Jimi on the blackboard and the owner of the cafe is like you can't be Jimi, you need to be something else. So I started all these different concepts. I was Jimi the guitarist, Jimi the skateboarder, Jimi the idiot, like on it really. And then one night, at this gig at Fat Bob's Cafe in South Caulfield, I was talking about playing music for everybody, like it didn't have to be folk, didn't have to be. Blues could be whatever you know, it could be just human music music for humans and I wrote on the blackboard the next time I came Jimi the Human.
:That was the first idea and then a couple years later I got on stage with the Angels that that's another sort of part of the story a live line tour. Bob Spencer broke his arm. The short version is I got recruited to take his place for the tour and I told Doc this story just in passing, as we were driving around together, and he loved it. And he said to me oh, that should be your stage number, it's a great stage name. And I'm like, yeah, I don't know it's kind of a joke. You know he loved it and he introduced me to everybody on the stage every night as Jimi the Human by the end of the tour it was a thing.
Speaker 2:So that's how it started we can thank Doc for Jimi the Human in a way, I mean it wasn't like I resisted heavily, but I just didn't see it.
:I was kind of like it was just some gag that I came up with. I just didn't think it was going to be a thing, you know.
Speaker 2:How did Bob Spencer break his arm running into Doc? Do you know you?
:Need to ask Bob this. But, um, what I know of it is obviously I wasn't there like the night before I came on board they had this bit of stick they were doing on stage where Bob would play the guitar and then Doc would come up with the microphone and sing louder and try and be louder than Bob. Then he would try and be louder. So they were doing this bit of stage craft, you know, and it ended up where the crew would drag out a quad box, a speaker box, and Bob would jump up on top of it and kind of win this duel. But the speaker box had no speakers in it, it was just a prop that they were using from somewhere, so it wasn't very heavy.
:Bob jumped on top of the box. Doc got enthusiastic. He was an enthusiastic guy and he came over and kicked the box, thinking he had had some weight in it so it wouldn't matter. But it didn't. So as he kicked on the top of the box it scissored, kind of. Bob fell forward and it fell back. Bob landed on his face on top of the guitar and broke his wrist and the guitar underneath him. So when I was called and I ended up going to the hotel. I didn't know them, not really. It was a very sad scene. It was not like coming into this band having a great experience from like one.
Speaker 2:Everybody was really oh, this is really bad, you know because you were only going to fill in for the one night and then they were going to cancel the rest of the tour. But they must have thought you were a bit alright, this work experience guy, because they kept for the whole rest of the Australian tour.
:I remember the moment because it was a very long gig. It was in the days when, you know, brisk spring single people were doing long sets and they only decided to do a three set concert. So you know, normal set would be about an hour and a quarter, an hour and 20. These were three, 45 minutes. The history of the band thus far, I don't mind telling you. I knew the old stuff because I was a fan.
:Of course, you know, I was a young guitar player in Australia but in the middle there was some songs in the middle from a couple of albums. I wasn't that okay with, you know, watch the red, that kind of period. And then I knew the new stuff, you know. The short version is that I did well enough. Now I'm a good improviser, you know. I don't mind saying it's kind of been my bread and butter. I'm good at just getting up and playing. It's a skill I even teach now. Just, I've been doing lessons today.
:So I remember Brent Eccles saying to me you know you better be, you know you better be good. You know, because this is not, we haven't got time to bullshit around here, you know, and um, he was trying to pull the heavy on me and I said because I was young and cocky. I said I am, you know. And Brent said that was the moment he knew would be friends, because it was just like giving it back. And I came off stage after this. It was at the Palais Theater in Melbourne. It was a big theater show and there were some tense moments, make no mistake, but it was fine. And Rick, you know, looked around the band and looked at me and said well, that went way better than I expected. Maybe we don't cancel this tour at all. And nobody really went. Yeah, hooray. It was just kind of like yeah, maybe, and that was kind of it. That was as congratulatory as it was.
Speaker 2:Realistically, you saved that tour.
:Well, that's right. I mean it was a big break for me. I'm well aware that it put me on the map, because the next thing that happened was I did the Jimi and the Human thing. I had a minor record deal and we had a successful record, so it was kind of set me in motion. They were very gracious about it. They said, you know, you saved the tour. Like they were heavily invested financially in this tour. I recall that I just bought a really expensive guitar which I really couldn't afford. So the tour came along and they put me on the band wage and everything. Like they really looked after me. So I paid off this guitar and you know, an expensive Paul Reed Smith. They were brand new at the time and at the very end of the tour I didn't even expect anything. But they gave me like a bonus. You know, like because I was 24, I just went straight down the guitar shop
Speaker 2:Of course you did, and it's sort of serendipitous that you ended up playing in the Jets with Dave, who ended up playing with the Angels.
Speaker 4:You are listening to Still Rocking it. The podcast with Cheryl Lee.
Speaker 2:Let's have a real quick Angels song with Doc out the front, take a long line and then back to speak some more with Jimi the Human.
:Well, it is, you know and uh. But you know the Angels, and especially me and Dave. We're a circle of friends with those guys. We have been for a long time. The Angels and the Jets have done many tours together over the years. We did heaps of shows together so it's not uncommon for us to be hanging out before on a big concert bill.
:I was in Mount Isa. I was on the weekend with the Jets. The Angels were on the bill the following night. John got there early so John and Sam and Nick and myself all had dinner. You know that's normal for us. It's kind of how Dave ended up in the band anyway, like a family we kind of are. And when you've got something going on in your band or your workplace, the first place you look is is within your own connections. You know, and that's you know. That makes total sense. That's what you do. You know, because people's ability is one thing, but you know you're going to have to work with them and travel with them and all that stuff.
:Ironically there's a subcategory story to the Angels my Angels experience because in the time when I was playing in that band I mentioned the experimental band, the Astros I got a phone call from Dirty Pool Management in Sydney saying that the Angels were looking for a guitar player and would I come to Sydney to audition? I was young and this is before Bob joined the band and, believe it or not, because I grew up in the musical household and I had no money, I said no. I said I'm not going to the Sydney to audition for a band that will probably pick somebody that they know to play in the band. So it turns out out of like, say, I don't know how many let's say 10 people got asked about this. I'm just making that up, but I do know I was the only person who didn't show up.
:So when Brent Eccles then the drama I was ringing around studios in Melbourne to find a replacement for the single night they were doing an engineer down here, a great producer too, he said Jimi Hosking would be able to do it, and Eccles remembered my name as the only guy that didn't show up for the audition. He's like that's that guy. So in a weird way. That was another part of how I came into the gig.
Speaker 2:Okay, here's one for you from the Screaming Jets Got you Covered album. Here's them doing an Angels song Shadow Boxer. Fast forward. So you joined the Jets in 94, did two albums with them. Left a few years later. Can I ask why you left?
:Well, the thing about the Jets was it was actually 93 that I came into the band and asked me if I would do three weeks with the band because the original guitar player, Izzy, had got very ill and he wanted to take some time off. So I was in Sydney. I ended up saying yes. I didn't really think I was going to be a match made in heaven for the band. I just didn't think I was the right kind of personality maybe, but within a very short period of time that was not the case and we all became friends quickly, but especially David and I. We realized we had a very similar sense of humour. We spent two days reciting Monty Python to each other in the Tarago.
:Just a flesh wound. Exactly right, and that was how it went. You know, you drive all those miles and you get to know very quickly if you're going to hit it off with somebody. And David often says we started mucking around on the second day and we'd been mucking around for 30 years. So it was always an ad hoc thing. It was like, well, Izzy's not coming back, We've got another tour, so would you do that? So yes, so we've got an album to do. What about we do that? Okay, I did hit a point where how can I say this?
:It wasn't all smooth sailing politically in the band and at one point I was like well, it is your band, you guys. You know I came into it like this. And here it is five years later I'm still in the band and I had stress at home. I was in a difficult marriage that was obviously going down the gurgler and I had a lot of stuff going on. So I kind of left the band impulsively in a way I probably shouldn't have, you know. But it was an impulsive moment and I was like, okay, that's it, I'm going to go and do something else. All that happened was I went home, I got in the ass kick for getting divorced, and then I lost all my money and I you know it was a bit of a disaster.
:I did my black belt grading, which I've been trying to do for years, and then I started writing for a new project that turned to a blues idea and I started in the blues scene. That was kind of the period that happened. So then I had an opening in New York and I started going to New York and started doing gigs over there and then a new chapter happened for about eight or nine years.
Speaker 2:Very good segway into the blues chapter, because I wanted to congratulate you in 2005 in Memphis, Tennessee, when you won the solo duo category, that's right In a big stage.
:It was a big deal and I think that Australians didn't or don't realize how big a deal it was, and it's now been won by three Australians. Fiona Boyce won it, I think, a couple of years just before I did. Then I came along and did it in 2005. And this year Frank Santana has won it another Australian musician and we're the only non-Americans to win anything in a contest. And just to put it into perspective, when I arrived there there's hundreds of entrants. There's like 2000 people there trying to get this thing going. It runs over four or five nights. There's so many people to play through. So when you win it they call you the unsigned blues performer of the year and you do major festivals TV in America.
Speaker 2:It is a big deal.
:I didn't expect to win it. I was over there, you know, kind of like I'd wanted in Australia that's how you get to go so you got to win it locally. And the prize is you get a ticket to the thing. And once I got there I was just thinking I'm just going to have a good time now because I didn't expect to win it. I thought we were just there and you know so I started. I'm not a big drinker but I hit the Budweisers. It's pretty hard. You know, Memphis, with a few of the other musicians I was chatting up for jams, I was just hanging out. You know I made great friends in the time I was there.
Speaker 2:Waving the Aussie flag.
:Yeah, and of course I think we're exotic, you know, especially in places like Memphis, you know you open your mouth and you're exotic Australian accent. They're like hey man, where are you from? I hear you got accent. So it's a really weird and wonderful place to hang out.
Speaker 2:Glad you came back Rejoining the screaming jets to replace Izzy, but in between all of that, 20 albums other than those with the jets. I think I lost count at about 20.
:I would have played on 20 of other people's albums, probably over the years, but I think I've released about 15, album I've come up with and I've done a couple of blues for that. So there's about 17 records that I've made outside the band.
Speaker 2:That's a great body of work. Congratulations.
:Thank you. They're not all good, but I did it anyway.
Speaker 4:You are listening to Still Rocking it. The podcast with Cheryl Lee.
Speaker 2:Let's have one of Jimi's blues songs from his album. Jimi Hocking and Rebecca Davey Live at the Royal Standard. Here is the Golden Rule. Back to speak to Jimi about the Jets after this.
Speaker 2:Is this the last one, the 2021 album to the Moon so Blue?
:Yeah, it is.
:I mean I was kind of putting that record together over a long period of time. Really, the theme of the record is a bit depressing in some ways because it was about loss. I lost a dear friend and a couple along the way over a few years, my dad and so I took it kind of hard and what I do is I just write ideas, and it's a cathartic process. So I had done that. But I looked at the body of work that I assimilated for like 6 or 7 years. I thought there's some nice things on here but it's all a bit sad. So I decided to come up with a few more lighthearted ideas, which was part of the Jimi the Human ethos, and I kind of mixed up the album and I was happier with a more balanced set of songs and I really do like what's on that record. But I didn't do much about launching it. The problem was I finished it during lockdown and there was nowhere to play. We weren't doing anything. So I kind of did it as an exercise to release something in that period.
Speaker 2:Because writing and playing music can be really cathartic, can't it? It probably helped you through that tough time losing your dad, and what I loved was the connection with the album cover that, of course, your band mate Scotty Kingman, who's a pretty keen photographer, took the photo of that moon, and that was when your father passed away.
:I know, right, I know, and it was because he's really he's a great photographer, he's a very talented guy, and he was just doing like a series of photos, I think, to entertain himself and he came up with that shot. It was actually my sister that noticed it. She said you know that Scotty has a shot of the moon. The night the dad passed and I was like no, I didn't realize that it was a full moon or a blood moon or something you know. So that became cover.
Speaker 2:Beautiful album with some beautiful songs. Better move on before you have to leave me. I said earlier you are a busy, busy man, because I was looking at the Jets schedule and, as if that's not enough, in between there you've got to get with them on the, for instance, on the fourth and fifth, and then you went up, did your own thing on the sixth at the Rising Sun, the 11th at Zook's place. Do you ever sit still?
:No, I used to be worse. I used to like if I had a gap in a weekend I'd be worried that my career was over, you know. So I quickly put something together. I've got young kids and stuff now. They're both in school now but I've slowed down a little bit. But there's some things that I in many ways they're good to maintain anyway, because they're things that I'll do in between tours and I don't want to let it go all together. You know, a little guitar festival is coming up in Ballarat, I'll be getting the early flight back from Sydney to make sure I can drive there and do that in a couple of weeks. And you know I'm a player. You know I still love to play. You know, even with all the challenges I may have, you know it's still my thing.
Speaker 2:The Jets. You've released the first single off the new album. I played it to death on the radio. People are ringing out saying stop, no they're not.
:So I think the second one has just come out. I think we've now got two. The second one has just come as well.
Speaker 2:Oh, how exciting, and I ordered my red vinyl online. I'm very excited.
:It's hard to believe how, how back vinyl is. You know, when we did the last in lockdown, we re-released the anniversary issue of the All For One album, which we re-recorded. We were the number one vinyl album in the country at the time. Like vinyl is like yeah.
Speaker 2:Yeah, I got it, it's purple.
:Yeah, yeah, I mean it's awesome, you know, like, but I just you never thought in a million years that that was going to be so full circle, you know offer me vinyl,
Speaker 2:I mean offer me a coloured vinyl. I'll take two.
:That's right, I'm all about it.
Speaker 2:In the whole albums coming out.
:Yeah,early October, I do know that.
Speaker 2:Watch this space. You can pre-order it online. Like me. Here it isf First single off the new album professional misconduct. Nothing to Lose Back to wrap it up with Jimi the Human shortly.
Speaker 2:Yeah, the exciting news that I woke up to on all the socials this morning, apart from the tour that's going with the vinyl. Get onto the Googleometer and check out the dates that the jets are coming to you. As an Adelaide girl, Obviously I'm so excited because you're coming to our race.
:Yeah, I've got it in my diary. The Baby Animals and us. I think. Yeah, and Ice house, that's right. Yeah, so they'll be great fun. You know, I actually really love Adelaide. In the old touring days I was a sleepy town, you know, some years ago. But now every time I go to Adelaide, you know, I walk up the mall. There's always like really good young buskers and there's more coffee shops and like it seems like it's taking a real leap in the arts and in just the general vibe. It sounds a bit corny to say that, but there's just a lot going on now in Adelaide. I really enjoy being there.
Speaker 2:It's a good spot.
:Yeah, absolutely it is.
Speaker 2:And I think the next time I see you guys is next month at the ski club in Darwin.
:Oh, is that right? Yeah, yeah, that's going to be awesome, yeah, so I'll see you down the front there.
Speaker 2:Have I got time for two more quick questions? I'd like to know what Jimi the Human listens to when he's alone in his car and whatever he wants in the CD stacker.
:No, I'm not to know that. It's just going to disappoint people because they're going to think I'm going to say Black Sabbath and Jimi Hendrix or something. I mean, which one, mariah?
Speaker 2:Carey.
:No, I don't have a large collection of Mariah records Nothing wrong with her. But I got to phases of really different things and I think when I started playing more blues shows I really started to look for the original source of some of the music that we are now playing. So I really love old records. It's a cliche, I know, but I listened to lots of old blues records. I love T-Bone Walker, I love BB King. They're the records I listen to a lot. I love old jazz records Herb Hill, a spartan castle, those kind of players Joe Pass I know they're not great rock examples.
:I was obsessed with Les Paul as a kid but I listened to Neil Young records I listened to and then if I go to a rock phase I want to put Thin Lizzy on, I still put AC/DC records on. You know they're still to me the blueprint of how to make a great rock record. Have you heard that riff? You know riff, raff. It's like listen to the way they've mixed it, like we still dissect those ideas. You know they're still there. And I love ZZ Top. I like the old recordings before the 80s remixes, those boxy sounding records they made in that studio in Texas. I mean, they're just to me. You know, if I could make a blues record that sounded like that, I'd be happy. You know, like that sounds how, like how it should be to me.
Speaker 2:Yes.
:They're probably good constants. I bought the Fleetwood Mac the old Peter Green Fleetwood Mac collection a little while ago and that become I listening to that, even though it's without the politics. I still love albums like Dark Side of the Moon, yeah, so they're still things I listen to on long drives, you know, and people send me newer albums of up and coming blues artists which I listen to. There's a lot, a lot of good stuff coming up. People are making good records but often you know they don't have people like your good self in their lives who are supporting some of those things and it's hard for them to get heard. So it's. I'm encouraged by the amount of young musicians who are still creatively and actively writing and recording music. It's amazing actually.
Speaker 2:It is. I'm also an interviewer here on our channel 44. And you know, maybe one day when you guys are in Adelaide you might sit down and let me have a chat with you what I usually ask. The last question which I thought I might ask you because it would be interesting do you have a non-negotiable that you have to have on your rider, you or the band?
:I wish.
Speaker 2:Blue Smarties or something.
:Well, riders are. Riders are pretty standard. You need to get a bunch of beer. We get a bottle of Jack Daniel in the band. That's like one of our extra things we always get. Everybody likes to have a Jack Me. I'm not so mad. I've been trying to change that to Fireballs, but anyway, that's just me. We get a cheese platter usually, but often and this is becoming a point of contention with me pubs will provide us with a cheese platter, so thank you. But they won't provide us with crackers. So they give us cheese and all this stuff and there are no crackers to put it on.
Speaker 2:Like. So there's a block of bree cheese.
:It's like well, what do they think we're going to do with that? Pick it up like a donut and eat it. So I'm starting to say that if we don't get crackers, there's going to be trouble.
:That absolutely has to be a non-negotiable you must have crackers with your cheese and it comes on like where are the crackers? What do they think we're going to do? What were Vikings? But some. But I used to have my part of the rider used to be Dave back in the day always had he wanted a new pair of rugby socks on the rider and he often got them. I wanted a pack of biscuits, either chocolate, teddy bears or tiny teddies. It was also a way to see if they were reading the rider. You know, like it was a test.
Speaker 2:Are they paying attention?
:And I was always was actually a test to see if they were looking at the details, you know.
Speaker 2:Yeah.
:There was one girl, Karen, who was a big fan of the Jets and she worked at Arnott's and she would often come to the gig. She heard on an interview me talking about biscuits and she would throw packets of biscuits up on the stage for me from work. So I wish she'd do it again, but she's over it now.
Speaker 2:Anyway, you must be a pretty fit fellow the way you jump around on that stage. I'm looking forward to seeing you jumping around pretty soon. Thanks again for coming into the zoom room talking to us today.
:Thanks for having a chat. Nice to be on.
Speaker 2:For people to go and check out Jimi the Human music?
:Well, it's my name, so it's of course all the W's jimihocking. com, and that's about J-I-M-I-H-O-C-K-I-N-G. Like Jimi Hendrix, because I'm like him obviously.
Speaker 2:Of course. Thank you so much for that. We'll see you down the front.
:Oh yeah, no worries, great to have a chat. Thank you so much for having me on See ya.
Speaker 2:You thought I'm gonna go out with the Screaming Jet second single from the professional misconduct album. But you're gonna have to go and buy it because I want to go out with one of Jimi's favorites. They're all great Thin Lizzie, Neil Young, AC/DC but I'm in the mood for some ZZ T op. She's got legs.
Speaker 2:You're with Cheryl Lee, that radio chick. Thank you so much for joining me on the Still Rocking at podcast. I'll see you again next time. Get out when you can support Aussie music and I'll see you down the front.