Yeah the story was that it happened on the dance floor at Speed. Was about royalties for Pulp Fiction I think.
The album did come out and the reason it flopped was cos it was shit. Really fucking weak, and I like Alex Reece a lot. Some of the tracks were played by Grooverider and Fabio so it wasn’t boycotted but really most of the album wasn’t good enough to play out.
Edit: this was meant to quote Version in the reply but I fucked it up.
Back at the post-Peterson Acid Jazz label, Piller's millionaire in the making was Jay Kay, the young west Londoner soon to be Jamiroquai. "It's one of the things I'm proudest of," says Piller, who signed him in 1992 for the debut single When You Gonna Learn?. "Discovering a kid like Jamiroquai, who was constantly turned down when I tried to take him to major labels."
Eventually Sony saw a future in his protege, and gave him a contract. "I did make money out of him," Piller adds. "We had his publishing rights. But I sold him, because I couldn't afford his recording style and techniques. That first single cost 37 grand – and at the time I was still working out of two rooms. But Jamiroquai paid for the Blue Note, which is the other thing I'm most proud of."
A building someone you knew once lived in can do this. There's someone else there now, someone with no connection to any of you, someone for whom the place is almost a blank slate.
I went past a friend's old house a few years ago and caught myself wondering whether the stain was still on the floor where one of us had spilled a cocktail, whether there was anything left of us and all the time we spent there or whether it had all been overwritten by the new occupant(s). A palimpsest.
Is there any trace at all left of this...there's another map, the map of interiors and the city turned inside out. and what we can access is always changing. sometimes doors are bolted and areas we knew well become off-limits. like a friend's old house as you say, or places we used to work.