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Too Much, Too Soon: Ed Hollis and Speedball Records

March 15, 2017

Ed Hollis (left) with Lee Brilleaux (right)

By early 1978 Ed Hollis was Hot. Very much the Eddie in Eddie and The Hot Rods, under Hollis’ management these Southend proto-punks had delivered a run of hit singles and a brace of successful albums for Island Records. In addition to managing the Rods he co-produced their records and contributed lyrics. Ed was a cutting-edge networker and knew everyone. Island still wore flares. Offering Ed his own label gave Island access to the spikey musicians then carousing through London without waking up the cheesecloth fraternity. Sure enough Ed recorded some great tracks but Speedball released nothing. What went wrong? And what is the connection to Robert Palmer, Traffic, Johnny G, the Flying Lizards and Talk Talk?

Larry Debay met Ed in late 1975. “I was managing the Count Bishops  and Ed was managing the five-piece Hot Rods (with Lew Lewis) so we met at gigs like the Red Cow and the Nashville. We connected straight away over music. I was into way out, avant-garde , free jazz music  like early Magma and so was Ed. I liked him a lot. In 1977 with my partner Tim Crosby we opened Bizarre Records in Praed Street, Paddington which sold the music I was listening to – the Velvets, Stooges, German stuff, Groovies, MC5  and also Steve Reich and Terry Riley. After our record shop we wanted a record label. So we started Obnoxious Records which put out an EP of pre-Velvets tracks, the Roughnecks and the Beachcombers. So then we were talking to Ed about doing a label with him in late 1976 – early 1977. We actually gave him some money towards recording costs”

Sounds writer Peter Makowski first met Ed when he interviewed Eddie and the Hot Rods at Island. “Ed showed me photos of himself when he was younger, he was chubby with loads of frizzy hair like Mick Farren. By August 1977 that had all gone. He was like a mentor to me. Ed used to give me amazingly eclectic tape compilations – mixes of eight different versions of Two Sevens Clash, Dollar Brand, Stones bootlegs.”



Credit: Howard Thompson

Another key member of Ed’s inner circle was Only Ones guitarist John Perry. “In early ’78 we had a weekly residency at the Speakeasy and that’s where we met Ed. Another Girl Another Planet was recorded but not finished or mixed. One night after a gig at the Rock Garden, Ed took Peter Perrett down to Island’s St Peter’s Square studio in Hammersmith. Ed had the keys to the place and Peter had the 2″ master reel of Another Girl Another Planet in the car. Peter put down a vocal – which may be the one you hear on the record – and they did a rough mix, very exciting but very speedy and tinny with virtually no bottom end.” Ed would eventually receive an engineering credit on the Only Ones debut LP. John Perry again: “After that Ed became a mate. Everyone liked him – he connected a lot of people. He had an enormous record collection, 10,000 vinyl LPs of extraordinary catholic taste, he was the first person I knew with Charles Manson’s album, he had 150 LPs from the New York loft scene (a fairly obscure live jazz circuit) and he really knew his music.”

“Ed wasn’t a musician, he was an enormous enthusiast and at that point a social phenomenon with lots of energy. He was a hugely likeable chap, very definitely in it for the music rather than the money. He was often with his wife Sheila, who ran the Rods fan club. Some people thought Sheila was crazy but I liked her.”

“At that point Island was still a very Fairporty sort of place. We didn’t sign with Island because they seemed a bit at sea, a bit lacking in direction. Ed started bringing in all these people to Island who they normally wouldn’t have signed – may not even have known about – like the Heartbreakers, the musical end of punk, people who could actually play. Someone at Island spotted that Ed could be a very useful conduit to parts of the musical world they didn’t know and they more or less offered him his own label. Call it what you want, issue some singles, albums we’ll talk about if the singles do well. Speedball was my choice of name – most of the recordings were first takes and the name was a bit like that.” Larry Debay points out that “the first Count Bishops EP was called Speedball so it was a name that was around.” Label design was by Michael Beal who had designed the Obnoxious Record sleeves. Often working out of Praed Street Michael was another key figure who connected the Heartbreakers to Steve Lillywhite and would later go to design artwork for the Only Ones. His design for the Speedball Records logo was clearly based on the work of San Franciscan counter-culture artist S. Clay Wilson and his Pirate Dykes.


Credit: Nina Antonia

Credit: Nina Antonia

Speedball was not the first boutique label to be funded by Island. It’s predecessor was Ghetto Rockers, used by the Hot Rods youthful A&R man Howard Thompson in August 1977 as a vehicle for a single by the Snivelling Shits, featuring Pete Makowski on guitar and fellow Sounds writers Giovanni Dadamo (vocals), and Dave Fudger (bass) plus Hot Rod Steve Nicol on drums. The single ‘Terminal Stupid’ was produced by Ed Hollis, and engineered by a youthful Steve Lillywhite. When sent as white-label to NME it was made Single Of The Week and now sells for upwards of £50. This was going to be the first release on Speedball, to be followed by The Reaction, a band that featured Ed’s younger brother Mark (later to find success with Talk Talk). Ed produced their only single ‘I Can’t Resist’, issued by Island in June1978.

Following in Howard Thompson’s footsteps Hollis rapidly built up a very happening roster drawn from the very best London’s happening musicians. According to Pete Makowski “loads” of bands sent in demos, including the Flying Lizards. Then there were numerous all-night sessions at St Peters Square. Pete Makowski remembers that “Chris Wood from Traffic was the caretaker at the studios which meant he was forever recording a never-ending solo album. Ed used to record over Chris’ masters.” First up were the Heroes, otherwise Walter Lure and Billy Rath from the Heartbreakers, plus Henri Paul Tortosa and Steve Nicol. They recorded Too Much Monkey/Junkie Business (Chuck Berry) and Seven Day Weekend (Gary US Bonds), Walter Lure finding the duplication of the riotous party sounds in the background of the latter a considerable challenge. “There was an emergency exit with a long stairway, we brought a bunch of empty bottles and metal and plastic chairs to the top of the stairs with a microphone and started hurling everything down the stairs and screaming. It is barely audible on the finished track but we all had a great time doing it.” In 1983 these two tracks were finally released as a 7” single by Skydog International.

Other tracks recorded for Speedball can be found on the Skydog LP “Punks From The Underground”, also released in 1983. Whilst misleadingly labelled (“Ed didn’t want anything to do with punk” – Pete Makowski) and appallingly packaged, it is the only record of the Speedball sessions thus far. Both Heroes tracks are included, together with ten others. NME writer Nick Kent contributed two tracks, ‘Chinese Shadow’ and ‘Switch-Hitter Dub’. John Perry was invited to the session ”Nick already had his band the Subterrraneans, he is playing some basic guitar parts and I am jamming over the top of it live.” The Snivelling Shits offered a sub-Velvets I’m Waiting For My Crossroads (ITV not Robert Johnson) plus Bring Me The Head. The Shits also recorded a fractured version of Syd Barrett’s Vegetable Man as The Vegetables.

Deeno’s Marvels were a Southend band formed by Rods roadie Deano and his brother Warren: their autobiographical Oil City Rockers is the chanted title and little more. Pink Fairies off-shoot The Lightning Raiders achieved a personal best with Didja, sounding like an English Burritos playing the first Faces LP. The Phantoms included Henri Paul Tortosa and the omnipresent Steve Nicol performing a tough and spirited version of the MC5’s High School. Mark Hollis recorded the track I’m Flying, which for years has mistakenly been credited to the Shits. The arrangement is very freakbeat, with Pete Townshend guitar and Who Sell Out harmonies.

ROTRMarquee - Ed only

Similarly the Small Faces-style instrumental Speedball Jive was rumoured to be Ducks Deluxe hiding under the alias of the Speedballs.  More recent research has revealed it to be John Perry and Mike Kellie, the drummer in the Only Ones. Mike Kellie remembers the session in great detail. “Ed was recording Johnny Thunders in the basement. John Perry and I were there waiting for either Perrett or Thunders to arrive and meanwhile we got a sound and began playing. John Perry “It’s all done on the fly. At the end you can hear the shout of “That’ll do won’t it?”. This has got to be August 1978, something like that.” A version of Cream’s NSU was recorded by Kellie and Perry the same night, but this not surfaced thus far.

The same session produced the highspot of the Speedball Sessions, the still unreleased “Tall Stories (38 and Conscience Stricken)” recorded by Perry, Kellie and Robert Palmer. The late Mike Kellie explains

“At some point Robert Palmer came down to say hello, he and I had been friends for a while as we were both part of the Island family  – he was in Vinegar Joe whilst I was in Spooky Tooth. I remember we ordered a small package to lift the atmosphere, expecting a bill of around £60. When it arrived  the dealer only wanted £38. Having tasted his presentation I remember clearly coining the phrase “38 and conscience stricken” to describe his actions. I remember it so clearly because I was really quite proud of the line and never forgot it”.

John Perry again. “Kellie and I were in the studio just bumming around and Palmer wandered in and picked up a bass. I just started playing a basic riff in A. What I didn’t know is that Robert wrote on bass. My guitar part had lots of room for a strong bass part which we put down in a single take. Five minutes later Robert’s got this lyric about “giving me gear with the best parts missing”. It could have just been a placeholder lyric. But it fitted the song nicely and his bassline was lovely. In this instance Kellie’s kit sounded glorious and he plays it straight. Completely a first take. I added a lead guitar over the top.”

“I liked the records Robert Palmer had done with Little Feat but I thought they were a little bit fussy and I thought a more Free style would suit him as another avenue. Robert loved the track too, as did all the secretaries at Island, because it was a bit rougher than his usual style. I think Island would have released it under the Speedball label with or without Robert’s name but his manager nixed it because he saw Robert as much smoother.” Perry’s enthusiasm is totally justified. The track turned up on a cassette earlier this year and some form of release can only be a matter of time.


The start of the sessions for Johnny Thunders first (and best) LP, So Alone coincided with the end of Speedball. John Perry was there  “I believe Ed Hollis was due to produce So Alone but some time in the first two days of the sessions Speedball collapsed and Lillywhite leapfrogged over Hollis to be the producer of So Alone. I am not sure if Ed did any sessions or whether he was lined up to do so. There were whispers about Ed being too doped, too crazy. He needed a straighter business partner.  By the autumn Island had pulled the plug on Speedball. It was a summer thing, basically ‘What we did on our holidays’. Plus someone cottoned on that Speedball was a drug reference.”

“Ed’s energy got too much and sort of shook him apart. Ed clearly had wanted to be in the Rods rather than just the manager – choosing their material, writing songs – and I think that’s difficult for a band to take after a while. He very quickly started running amok. He did without sleep practically that whole summer but as long as he had a structure it was workable, without the structure things started falling to bits.” Matters were not improved by the Rods beginning to falter commercially. Ed was big into speed  (as were all the Rods) but now he started drifting into junk.” Pete Makowski concurs “By the time the Rods released Life On The Line Ed had developed a bad smack habit. At his best he could get things out of people that no other producer could. But towards the end his Wall Of Sound had become a Wall Of Drugs.”

According to Larry Debay “there was a backlash throughout the industry over drugs, fuelled in part by stories of the Heartbreakers.”  I was working with Nico at the time and we were just about to sign to Arista when at the last minute there was a call from Clive Davies saying he didn’t want anything to do with artists who were involved with drugs. The failure of Speedball was a disaster for Ed musically but we were all much too high to worry about it for long. Everything happened so fast in those days that there would be another opportunity along in a minute.” Pete Makowski agrees “1976-1978 felt like about ten years, so much happened.”

John Perry remembers that “when Speedball was finally stopped Ed cleared his desk and took all the cassettes and quarter-inch tapes home. The masters would have remained at Island and would probably have got lost in the shuffle.” Larry Debay last saw Ed in late 1979 “then I left England and didn’t see him again. I had a fire at my place in Highgate which destroyed my record collection and my underground magazine collection. So what tapes I had I gave to Marc Zermati of Skydog, and he eventually put them out as Punks From The Underground. Ed also sold some tapes direct to Marc. The album didn’t sell because nobody really cared about this type of music any more. Marc didn’t include Tall Stories on the LP only because he did not have the tape.”

RIMG3383Rods bass player Paul Gray remembers Speedball as heralding the end of the bands relationship with Ed. “Ed was an operator, and a very good one. Hugely likeable but sadly untrustworthy with the Hot Rods finances, as we were to find out to our cost once he’d departed. Large amounts of money went missing, mainly up his nose.” After Speedball Ed went on to work with Johnny G, who had a minor hit with The Hippys (sic) Graveyard in 1978 for Beggars Banquet. Pete Makowski “If Ed had carried on he would have been a real icon. When punk ended his work would have begun. Ed was game for anything – very much in the mould of Guy Stevens” (another charismatic producer associated with Island). In late 1978 or early 1979 Ed started working with the Damned, resulting in a Top Twenty chart single in Love Song. Ed’s demo versions of Noise Noise Noise, Suicide and Love Song finally emerged on the 25th Anniversary Edition of Machine Gun Etiquette.

Hot Rods guitarist Graeme Douglas received a phone call from Ed just before he died. “We arranged to meet up and write some more songs – I was so pleased that he was lucid and coherent.” It was not to be. “I Believe In You” from Talk Talk’s album Spirit Of Eden was written by Mark Hollis about his brother Ed as a final plea. The album was released in September 1988 but the following April  Ed died as consequence of long-term heroin addiction. If the masters still exist, a proper Speedball Records compilation would be a worthy tribute to the fine artistic vision of Ed Hollis.


 Ed Hollis / Speedball Records Discography

7” Vinyl Singles

Eddie And The Hot Rods – Writing On The Wall / Cruisin’, February 1976 Island WIP 6260

Eddie And The Hot Rods – Wooly Bully / Horseplay, June 1976 Island WIP 6306

Eddie And The Hot Rods – Teenage Depression / Shake, October 1976 Island WIP 6354

Eddie And The Hot Rods – I Might Be Lying / Ignore Them, April 1977 Island WIP 6388

Eddie And The Hot Rods – Do Anything You Wanna Do / Schoolgirl Love, July 1977 Island WIP 6401

Snivelling Shits – Terminal Stupid / I Can’t Come, August 1977 Ghetto Rockers Pre 2

Eddie And The Hot Rods – Quit This Town / Distortion May Be Expected, December 1977 Island WIP 6411

Eddie And The Hot Rods – Life On The Line / Do Anything You Wanna Do (live), March 1978 Island WIP 6438

The Reaction – I Can’t Resist / I Am A Case, June 1978 Island WIP6437

The Damned – Love Song / Suicide / Noise Noise Noise, April 1979 Chiswick CHS 112

Heroes – Seven Day Weekend / Too Much Junkie Business,1983 Skydog International SKI 6101



Eddie And The Hot Rods – Live At The Marquee, August 1976 Island IEP 2

Eddie And The Hot Rods – Live At The Sound Of Speed, June 1977 Island IEP 5

Eddie And The Hot Rods – Life On The Line 12”, March 1978 Island 12WIP 6438

The Damned – Machine Gun Etiquette Promo Sampler 7”, 2009 Devil’s Jukebox DJB66630PRO-7 (blue vinyl)



Eddie And The Hot Rods – Teenage Depression, December 1976 Island ILPS 9457

Eddie And The Hot Rods – Life On The Line, November 1977 Island ILPS 950

The Only Ones, May 1978 CBS 82830



Various Artists Punks – From The Underground, 1990 Skydog 62243-2

Machine Gun Etiquette (25th Anniversary Edition) – The Damned, November 2004 Chiswick CDWIKD 250



My thanks to everyone who was interviewed for this article (especially John Perry) and to Pedro Mercedes, Nina Antonia, Steve Hooker, Alan Hauser, Steve Crancher, Jay Rathbone, Marc Zermati and Howard Thompson.


From → Music

  1. Marilyn permalink

    Thank you so much for writing about my dear friend Eddie. We were friends well before Eddie and the Hotrods. Eddie was the most gentle, kind and lovable person. Eddie used to drive a little black and white Mini.. wore bumper boots and had a habit of biting his nails. I remember congregating at Eddies mums on Sunday mornings with Howard, Chris and Ed’s younger brother and others. Sadly we lost touch when I moved to Australia. I am so so sad to learn that Eddie past away. Whenever I listen to music I think of Eddie. Music was his life and his life was music. Rock On Ed.

    • Chris permalink

      Hi Marilyn .
      I just read your message. I am currently writing an article about Eddie Hollis. Do you agree to discuss it with me? My Name is chris . (

  2. Matty Doherty permalink

    Ed was around in Southend in mid 80’s seriously damaged.
    Last time we met he turned up at my flat wearing pigtails and a basque (oh how we laughed) and shooting through his jeans into his thigh. We talked about the Damned and Only Ones and music in general.
    He was a very likeable man and loved talking music.
    My memories are patchy at best but remember him with fondness.

  3. Jackie permalink

    Lovely article about Ed I am glad to see he is not forgotten, he was a really nice enthusiastic person. He used to make me cassettes of music he thought I’d like. I have one with what he thought would be his first 4 releases on his Speedball label. He had 2 photos of himself on his mantelpiece, one with Sparks and one with Peter Tork. The John Perry, Kellie and Robert Palmer recordings happened on the 18th of March 1978, I was there making Robert Palmer cups of tea. I used to keep diaries, so remember it was the day after the hot rods played 2 nights at the Lyceum , I last saw him in May 1985, still enthusiastic about music , but very wasted by this time he was In a bad way, always hoped he would get himself clean. Sadly missed.

    • Jackie, thanks so much for your comments, much appreciated. Could you list the contents of your cassette with the first 4 Speedball releases? And do you have any decent pictures of Ed?

      • Jackie permalink

        1)Heartbreakers, Too Much Junkie Business- 7 day Weekend
        2)The Speedballs , NSU – Speedball Jive
        3)Arthur Comix ( or the Shits), I am waiting for my Crossroads- Only 13
        4)Deano’s Marvels, Tears of a Clown- Oil City Rockers.
        Sorry no decent pictures of him, I wish I had taken some, no one seemed to take photo’s back then. I only have this on cassette, I was thinking of getting it put on to CD.
        I have somewhere a version of Dead or Alive Johnny Thunders on cassette too, I thought I had 38 and conscious stricken ( Tall Stories ) but couldn’t find the tape.
        Thanks again for the Article, A Snivelling Shits fan Paul, sent me the link, very grateful to him.

      • Jackie, could have your email address please ? I am

  4. Mark permalink

    I got here by searching for information about “I believe in you” by Talk Talk. I do really appreciate this article, thanks for the effort.

    • Mark, thank you so much for your positive feedback. If you happen to have any decent pictures of Ed please let me know. All the best, Simon

  5. Mike Richmond permalink

    Brilliant article. Ed definitely produced the Love Song single which was released by The Damned in 1979. It also reached No. 20 in the singles chart and The Damned appeared on Top of The Pops too…

  6. Perry Bamonte permalink

    Thank you so much for this article, which caused me to shed a tear or two remembering my dear friend, Ed.

    We met in the early 80’s – I can’t remember where or how but I think as my girlfriend at the time knew Lew Lewis it might be through him. It was certainly drug connected but Ed and I hit it off right away. His knowledge and enthusiasm for music was as vast as his collection of vinyl, which took up half his house. Every visit to Ed’s was a musical education, he’d talk excitedly about one band or artist after another then run off and return with an album to play me.

    I was playing guitar for an awful band at the time and Ed offered to record a demo for us. The other band members took some convincing because when they met Ed for the first time he was clearly out of it. But they eventually came round and we recorded a few tracks in a small studio. Shortly after that I met the Cure and went off to work for them.

    I bumped into Ed a year or so later in a second-hand record store in Southend. I was clean by then and Ed was trying to convince me he was too, with his can of Special Brew in hand. I needed to stay clear of that side of my past, so I declined his offer to hang out. That was the last time I saw him and I live with the guilt and regret of not trying harder to be a friend to him when he needed one. He deserved better. He was a beautiful soul and a lovely man with a genuine passion for what he did.

    God bless and RIP Ed Hollis.

  7. Christophe VANDENBERGHE permalink

    Congratulations on your article, the only one so complete about Ed Hollis.
    I am currently writing an essay on Mark Hollis, and I realized that his relationship with his brother was crucial. Ed has a fascinating personality. He was passionate about music and he should have done a lot more in this area. I think if Mark inspired a lot of artists, Ed first influenced Mark a lot.
    Would you agree to discuss with me about Ed ?
    Best regards

  8. Chris permalink

    Congratulations on your article, the only one so complete about Ed Hollis.
    I am currently writing an essay on Mark Hollis, and I realized that his relationship with his brother was crucial. Ed has a fascinating personality. He was passionate about music and he should have done a lot more in this area. I think if Mark inspired a lot of artists, Ed first influenced Mark a lot.
    Would you agree to discuss with me about Ed ?
    Best regards

  9. Kev More permalink

    Great detail. I’ve always wondered where The Feelgoods and The Rods got the inspiration for their covers from US bands that weren’t so well known over here (e.g. Hard Drivin’ Man). I assume Ed was behind that?

  10. More so for the Rods – can’t see them getting to Bob Seger and Sam The Sham without Ed’s assistance. I think the Feelgoods were more in control of their own musical direction – Lee and Wilko knew their Coasters, early Stones etc

  11. Gavin Riddall Albatross Golf Tours permalink

    Hi Simon – Nice article – I do have a white label copy (1 sided) of NSU which is due to go to an auction. Regards Gavin Riddall

  12. Cathy Mulready permalink

    Hi, you have definitely done your homework on Ed Hollis , great article ! , does anyone know where Ed is laid to rest ? I would love to go and pay my last respects to him.

    • Cathy – sorry I don’t know, maybe someone else here would. Glad you liked the article.

    • Steve Egan permalink

      He was cremated at Sutton rd cemetery. I went and sat at the back wearing one of his scruffy tee shirts. Walking across the park afterwards I turned to see a cloud of smoke drifting away from the chimney. I thought that’s him and there he goes and I thought he would be happy with that.

  13. Steve mole Morris permalink

    This write up is few years old now I only received from a friend October 2022 it’s really good to see something written so well about ed Hollis because great he gets remembered for his contribution to music I’ve always given him compliment regarding his passion and knowledge of rocknroll .
    I grew up on canvey island and started playing drums in late 70’s I’ve been fortunate to meet the people connection bands such as feelgoods ,Lew Lewis , deeno and Warren Kennedy…and many more …I played for a canvey band called stax century from early 80,s to 90s we didn’t have much in common with Dr feelgood or Lew Lewis …we played more post punk indie style sort of chameleon joy Division vibes we had strong local fan base and did fair bit of recording and had indie label and major interest but we never broke on the circuit …we did play with talk talk by chance in the early days we didn’t meet Ed Hollis till a few years later members of talk talk were very complimentary when supported them they hadn’t broken out or were not signed …was I few years later towards the end of our time we met Ed Hollis meeting him was incredible at the time …like comments on this site he was loved and had huge influence…he was sort of clean …well debatable…he loved our music and year or before he passed we set out to record a album we managed several songs Ed blagged studio time couple members in the band were dabbling in drugs and with Ed it sort of got bit messy …The recording was the last ever band that recorded with Ed Hollis we thought session was lost but they turned up the session was not final mixed but still has a good level and spirit … diploma studio Essex around 1987 saw there would be some interest in fact it was last ever recording session that ed Hollis worked on .. I spent some great times and rocknroll times in company of Ed .. actually the band stax century also split after his passing it was end of era for us the 90,s came along I spent many more years playing the drums and actually met Roman jug in 90,s and played on his solo album 2002 ISH …. hearing more of Ed Hollis from Roman and his rocknroll stories from his Dammed days …but hey you’re tribute to ed Hollis is beautiful and emotional for me … hopefully this information reaches you …kind regards Steve mole Morris 🥁🎶

    • Thanks so much Steve, glad you liked the piece on Ed. A shortened version will appear in book I plan to publish next year on The Only Ones so watch this space! All the best, Simon

      • Steve Mole Morris permalink

        Hi Simon Thanks for this message

        Great you are writing about the only ones they are massive inspiration or band amongst many that I have loved for years 🎵

        Definitely be interested I know you are probably well informed but someone who could help is Warren Kennedy he spent many years with the only ones with his brother deeno both started out road crew with the Dr feel good sadly Dean passed away but Warren Kennedy is very successful tour manager and friend of Pete perret hopefully might help or contribute to your book …I actually got to play recently with John Perry totally by chance ..I was supporting Martin Stephenson ( Dante’s) John Perry was on guitar I didn’t actually know it was him …my band was supporting I had met Martin Stephenson he liked my brush style on drums and invitation to play few songs on the night … imagine my joy to get to play with John Perry ..we spoke and exchanged stories about Ed Hollis Couple of songs from session we did with ed Hollis his final recording session are on YouTube stax century ed Hollis session mystery unfolds , colourful sound .. shallow hole …. just thought I would mention to you

        Good luck with book and in life

        Kind regards Steve mole 🥁

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