WEBVTT - Remarkable Australian: Andy Cichon

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<v Speaker 1>Now I've got a ripper for you today, as we

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<v Speaker 1>shine the spotlight on an ordinary do is he doing

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<v Speaker 1>extraordinary things? A fellow called Andy Sashan not a household name,

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<v Speaker 1>but jeeves played with some He's a bass guitarist toured

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<v Speaker 1>with some of the biggest names in music. We're talking

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<v Speaker 1>about here, Billy Thorpe, Rose Katou, amongst others, Shanai Twain,

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<v Speaker 1>and his success is unsurprising when you hear some of

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<v Speaker 1>his work like this. I'm one of those people that

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<v Speaker 1>could listen to someone play the bass guitar forever. I

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<v Speaker 1>just it's wonderful. Currently playing his trade with the one

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<v Speaker 1>and only Billy Joel if you don't mind Billy Joel.

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<v Speaker 1>And we know we mentioned a few weeks ago Billy's

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<v Speaker 1>not well and that's how we became aware of Andy.

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<v Speaker 1>After my listener Tom, and good on you, Tom. He's

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<v Speaker 1>a made of ban is. He called in to tell

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<v Speaker 1>us that Billy wasn't well. I wanted to find out

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<v Speaker 1>more about the Andy Sshon story. Here's some of his

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<v Speaker 1>tales playing in New York City and around the world.

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<v Speaker 1>I'm delighted to say we find him in the Big

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<v Speaker 1>Apple today and he's on the line. Andy, What a

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<v Speaker 1>delight to meet you on the telephone. I hope things

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<v Speaker 1>are good.

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<v Speaker 2>Look, it's great, nice to meet you, sir. How's my

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<v Speaker 2>wonderful city. I flew into Sydney for the first time

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<v Speaker 2>in ten years in December, and when you look out

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<v Speaker 2>of that plane window and see the harbor, it just

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<v Speaker 2>takes your breath away. I mean, I live there from

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<v Speaker 2>eighty four to ninety seven, and it's still just one

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<v Speaker 2>of the goat I mean, top five great cities in

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<v Speaker 2>the world, of the ones I've seen. But I'm good.

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<v Speaker 2>I'm actually not in New York City, which is one

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<v Speaker 2>of my other favorite cities. I'm about one hundred and

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<v Speaker 2>ten miles because I've been here too long now north

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<v Speaker 2>of the city on a beautiful little thirty acre again,

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<v Speaker 2>been here too long, thirty Acre Lake, and it's the

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<v Speaker 2>sun is setting and it's gorgeous as the sun is

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<v Speaker 2>well and truly up in Sydney beautiful.

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<v Speaker 1>Yeah, it's up at sixteen to agreed, it's a cool

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<v Speaker 1>day here, but it's pretty clear outside. I guess always

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<v Speaker 1>we started at the beginning, and at some point you thought,

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<v Speaker 1>when you saw a bass guitar somewhere or a guitar. Gee,

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<v Speaker 1>I might give that a go ad. Did it start?

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<v Speaker 1>Was it family that encouraged you or something you just

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<v Speaker 1>wanted to do?

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<v Speaker 2>Yeah? Look, my dad was an amateur player, a trumpet player,

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<v Speaker 2>played violin piano. He started me on piano when I

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<v Speaker 2>was like six, and so I did classical piano until

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<v Speaker 2>I was fifteen and sort of taught myself guitar and

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<v Speaker 2>had actually had a gig with my dad where he

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<v Speaker 2>asked me to read some Herb Albert tunes. I think

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<v Speaker 2>I was thirteen, and it's the same son as a guitar,

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<v Speaker 2>just an octavelowa. Read your way through it, you'll be fine.

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<v Speaker 2>And that was it. That was the beginning of the

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<v Speaker 2>love affair. And so I played around Adelaide where I

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<v Speaker 2>grew up, you know, sort of four or five nights

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<v Speaker 2>a week from fourteen till I was eighteen. And then

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<v Speaker 2>I went and got a real job for a while

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<v Speaker 2>in marine biology at the University of Adelaide, until I

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<v Speaker 2>sat my folks down, made them cry and told them

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<v Speaker 2>I was off to Sydney to join Roase Tattoo.

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<v Speaker 1>If that's not the best story in the history of stories,

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<v Speaker 1>I don't know what is how did you get to

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<v Speaker 1>who did you know in Rose Tattoo? How did that happen?

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<v Speaker 2>I didn't know anybody. I didn't know anybody. I cold

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<v Speaker 2>called every management company in Sydney and Melbourne. And I

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<v Speaker 2>love the Tats. I remember the first time I heard

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<v Speaker 2>rock and Roll out Law. Yeah, on countdown. I ran

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<v Speaker 2>down the hallway and turned the corner and saw the

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<v Speaker 2>television were like, oh my god, they're animals, but man,

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<v Speaker 2>can they rock? So that was that was twenty one,

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<v Speaker 2>I guess I was nearly twenty two and I joined

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<v Speaker 2>the Tats, and you know, my father wept. He said like,

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<v Speaker 2>I never would have started you on piano if it means,

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<v Speaker 2>you know, you're going to give up the marine biology

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<v Speaker 2>job and off of Sydney. But you know, first time

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<v Speaker 2>on countdown. He got over that pretty quickly and he

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<v Speaker 2>was supportive, you know, his entire life of what I

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<v Speaker 2>was doing. So yeah, that's how it started. And one

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<v Speaker 2>thing led to another, and it was Rose tattooed to

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<v Speaker 2>Swanny to James Rain's you know, my own thing, and

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<v Speaker 2>on and on.

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<v Speaker 1>I think I've got rock and Roll out Law on

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<v Speaker 1>a forty five somewhere, but I've got just this image

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<v Speaker 1>of your old man saying MC kid's on campdown wonderful.

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<v Speaker 2>Exactly that you know he would be if we were

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<v Speaker 2>playing an Adelaide, whatever band I was in passing through Adelaide,

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<v Speaker 2>you know, you go there for the weekend and play

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<v Speaker 2>four or five nights, and on Sunday night there was

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<v Speaker 2>one venue, the Tivoli Hotel, and I'd go home to

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<v Speaker 2>mom and Dad's for dinner on the Sunday night, and

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<v Speaker 2>on the way out, I'd always say, you know, my

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<v Speaker 2>dad want me to put your name on the door,

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<v Speaker 2>and so no, I know, no, Sonny, I've got to work.

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<v Speaker 2>I've got to work right now. As I walk out

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<v Speaker 2>and go, you know, just in case. Sure enough, you

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<v Speaker 2>could see the front door from the stage and they

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<v Speaker 2>were like, you know, nine hundred thousand crazy ROAs tattoo

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<v Speaker 2>fans and my dad Max would walk in like you know,

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<v Speaker 2>three songs into the set and stage. It's a great memory.

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<v Speaker 1>That's beautiful, mate, it really is. And you've got to

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<v Speaker 1>be I mean, I don't know, but you must be

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<v Speaker 1>to have been able to play for so long with

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<v Speaker 1>that and those wonderful people in Australia. You must have

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<v Speaker 1>really been at the forefront of bass playing in Australia.

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<v Speaker 1>You must have been so.

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<v Speaker 2>So here's the thing, you know, I've always been a

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<v Speaker 2>guy that never I didn't care about being a virtuoso.

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<v Speaker 2>I cared about playing in a great band. And I've

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<v Speaker 2>had that the joy of doing that my entire career,

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<v Speaker 2>which is now forty years, you know, I mean from

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<v Speaker 2>Rose Tattoo to then I was Sweany for a little while,

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<v Speaker 2>and then James Rain when he first turned solo for

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<v Speaker 2>those first two albums up until nineteen ninety. Then I

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<v Speaker 2>went out of my own as a frontman singer in

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<v Speaker 2>a band called Judge Mercy, which was kind of a

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<v Speaker 2>hard rock band. We opened for like iron Maid and

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<v Speaker 2>an AC DC what and then hang on.

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<v Speaker 1>Let's not air brush this mate, that's enormous.

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<v Speaker 2>No, no, it was great. I gave it. I gave

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<v Speaker 2>it four or five years that we had an album

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<v Speaker 2>and an EP and it didn't work in the end,

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<v Speaker 2>but it was no regrets. And then back to base.

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<v Speaker 2>It was back to like you know, Dragon Billy Thorpe.

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<v Speaker 2>And then in ninety seven a buddy of mine and

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<v Speaker 2>made of mine that I'd worked with in Australia, Noel Rush, said, look,

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<v Speaker 2>you know, why don't you, why don't you roll the

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<v Speaker 2>dice over here? My couch is your couch, you know,

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<v Speaker 2>come over and roll the dice. And I did, and

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<v Speaker 2>you know it basically did what I when I left

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<v Speaker 2>Adelaide and moved to Sydney, I just I just called

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<v Speaker 2>every management company in the United States from Aida z

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<v Speaker 2>and and I got to l for John Landau, who

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<v Speaker 2>managed Bruce Springsteen and Shania Twain. And the reception said, oh,

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<v Speaker 2>we might be looking for someone for Shania Twain. I

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<v Speaker 2>had no idea who that was. I looked over my mate, no,

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<v Speaker 2>because she wasn't she hadn't released the big, the big,

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<v Speaker 2>you know, come on. And so I sent my stuff

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<v Speaker 2>through and you know, because of because of the awareness

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<v Speaker 2>of bands like Rose Tattoo and Ice House, who I'd

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<v Speaker 2>recorded with, and and Billy Thorpe, you know, my stuff

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<v Speaker 2>got listened to. And then I auditioned, you know, with

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<v Speaker 2>Mutt Lang, the great hard rock yeah who did a

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<v Speaker 2>C D C. And deeth Leppard and Shaniah and let

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<v Speaker 2>me just you know, this is what sums up my

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<v Speaker 2>upbringing in Australia. After I'd played the first hour or so,

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<v Speaker 2>he came out to me and said, New Izzies, you

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<v Speaker 2>played different to any other musicians in the world. Why

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<v Speaker 2>do you think that is? And I said, well, you know,

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<v Speaker 2>I figure you worked with the best rock band from

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<v Speaker 2>our country, you know ac DC. You know those guys played,

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<v Speaker 2>you know, ten twelve shows a week, doubles on Friday,

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<v Speaker 2>Saturdays and Sundays. I got to play six nights a week,

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<v Speaker 2>you know, pretty much my entire career. And that makes

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<v Speaker 2>you match fit. And you don't get that in a

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<v Speaker 2>rehearsal room. And you couldn't do that in Los Angeles

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<v Speaker 2>or New York or London. But in Australia you had

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<v Speaker 2>our pub rock circuit and you went out and you

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<v Speaker 2>played six nights a week, forty five weeks a year,

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<v Speaker 2>and that's what made makes us play a little bit differently.

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<v Speaker 2>I think the match fit well.

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<v Speaker 1>But I'm loving talking to you. I've got to ask

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<v Speaker 1>you some questions that are probably on the list I

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<v Speaker 1>need to tick off. Tell me about the biggest show

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<v Speaker 1>and biggest crowd you've played in front of.

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<v Speaker 2>In front of the Colisse in Rome with Billy Joel,

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<v Speaker 2>I think it was two thousand and eight, two hundred

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<v Speaker 2>and fifty thousand people in the crowd and live streamed

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<v Speaker 2>live streams on Italian television. You can see it on YouTube.

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<v Speaker 2>Funny because we were on a turntable with Brian Adams

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<v Speaker 2>when on first and then the stage would turn around

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<v Speaker 2>and then we were set up, so it was a

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<v Speaker 2>quick change. But during the be our opening song or

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<v Speaker 2>there's a bald eagle just swimming over the lake, I'm

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<v Speaker 2>looking at here, it's so gorgeous, and go and hit

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<v Speaker 2>the wrong button and we got halfway through the first

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<v Speaker 2>song in the stage started to rotate again around the

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<v Speaker 2>wrong way and all the microphone leads. But you can

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<v Speaker 2>find that on YouTube, just look up Billy Joel Rome.

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<v Speaker 2>So that was the biggest one and a spectacular show.

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<v Speaker 1>Wow, how did you get to play with Billy?

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<v Speaker 2>I was already in Chennaia. Twain's band had been for

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<v Speaker 2>a year and a half and I was New York

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<v Speaker 2>based and we had mutual friends. He'd actually tried to

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<v Speaker 2>get me to fill in with him back in ninety

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<v Speaker 2>three when he was in Australia on tour and his

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<v Speaker 2>bass player had to go home because his parent had died.

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<v Speaker 2>I think and I missed a call. I didn't have

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<v Speaker 2>a cell phone. Didn have a mobile and so I

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<v Speaker 2>missed four hours of messages on my answering machine when

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<v Speaker 2>I got home to my place in Sydney. And at

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<v Speaker 2>that point they had to go with the guy from

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<v Speaker 2>the opening band, so I had a chance in ninety three.

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<v Speaker 2>So he was aware of me. He was aware that

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<v Speaker 2>through mutual friends, I was with Shanaia, which in the

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<v Speaker 2>late nineties was the biggest scene going album in the world,

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<v Speaker 2>and so he just asked me to fill in and

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<v Speaker 2>do a couple of songs in the studio with him

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<v Speaker 2>that we used for Runaway Bride or something, and then

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<v Speaker 2>his guy had to take two shows off. He had

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<v Speaker 2>another opportunity. Billy was talking about maybe winding it down,

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<v Speaker 2>and I filled in. I cold filled in, like I

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<v Speaker 2>finished the Shania Twain tour and a Sunday after two

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<v Speaker 2>years of solid touring with her, learning Billy songs in

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<v Speaker 2>the back of the tour bus and flew into Saint

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<v Speaker 2>Louis and with no rehearsal and just went up and

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<v Speaker 2>did it. You know, I did my homework, but at

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<v Speaker 2>soundcheck Billy was like, what do you need to run?

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<v Speaker 2>It's all about you. Do they thank you for helping out.

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<v Speaker 2>I'm like, they haven't got it. We're pretty much you

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<v Speaker 2>know up, you know what creek without a paddle. And

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<v Speaker 2>so we played Cream most of sound Chick and halfway

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<v Speaker 2>through the set, and I had a lot of helpful

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<v Speaker 2>queuing from the other band members, and but halfway through

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<v Speaker 2>the city just leaned at the guitar play and made

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<v Speaker 2>two quick downstrokes with his hand and launched into Good

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<v Speaker 2>Times Bad Times by led Zeppelin, which, luckily I knew

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<v Speaker 2>what he liked. I'd ask people, what else does he like? Kream,

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<v Speaker 2>Hendrix and Zeppelin? So I touched on that song. So

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<v Speaker 2>in front of seventeen thousand people, we rocked Good Times

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<v Speaker 2>Bad Times. And I swear that's why I got the gig,

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<v Speaker 2>Not because I knew how to play piano, man, because

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<v Speaker 2>I knew how to play leads.

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<v Speaker 1>Oh that is amazing. Oh mate.

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<v Speaker 2>So I've been with him now for twenty twenty five years.

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<v Speaker 1>Ah, that's extraordinary. And when and when he I'm assuming

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<v Speaker 1>he does the band intro, does he have special words

0:10:54.760 --> 0:10:56.880
<v Speaker 1>for you? Are you the are you the RZ? Or

0:10:57.200 --> 0:10:58.320
<v Speaker 1>how does he refer to you?

0:10:59.720 --> 0:11:02.680
<v Speaker 2>Now? Always? You know, all the way from Adelaide Australia,

0:11:02.720 --> 0:11:04.719
<v Speaker 2>please work on the base because I always mentions my

0:11:04.800 --> 0:11:08.200
<v Speaker 2>hometown always does in I think when we played the

0:11:08.320 --> 0:11:12.960
<v Speaker 2>MCG back in twenty two, he launched into waltzing Matilda,

0:11:13.559 --> 0:11:16.680
<v Speaker 2>oh no before. Yeah, he does that from time to

0:11:16.720 --> 0:11:20.240
<v Speaker 2>time as well. Yeah, he's just the best, the best

0:11:20.280 --> 0:11:22.240
<v Speaker 2>guy in the world to work for. I love him

0:11:22.280 --> 0:11:22.720
<v Speaker 2>so much.

0:11:23.200 --> 0:11:27.960
<v Speaker 1>Do you pinch yourself every day?

0:11:28.400 --> 0:11:32.520
<v Speaker 2>I know that I am so lucky that I've been

0:11:32.559 --> 0:11:36.320
<v Speaker 2>doing this professionally now for forty years, and I just

0:11:36.880 --> 0:11:40.040
<v Speaker 2>it's what I absolutely love doing. I do it that

0:11:40.160 --> 0:11:43.640
<v Speaker 2>the joy of playing with those musicians, with his band, specifically.

0:11:44.360 --> 0:11:46.800
<v Speaker 2>I know that there's you know, this talk that things

0:11:46.880 --> 0:11:49.000
<v Speaker 2>might be, you know, with his health issues and stuff.

0:11:49.400 --> 0:11:52.560
<v Speaker 2>I don't believe we're done done, but the biggest tragedy

0:11:52.720 --> 0:11:54.760
<v Speaker 2>would be and I know he's going to be okay

0:11:54.840 --> 0:11:58.160
<v Speaker 2>health wise, but if that band doesn't get to play

0:11:58.160 --> 0:12:00.840
<v Speaker 2>together again, that will be a tragedy because is to

0:12:00.880 --> 0:12:03.640
<v Speaker 2>be a part of that collective, of that group of

0:12:03.720 --> 0:12:06.839
<v Speaker 2>musicians where the sum of the past is way more

0:12:07.360 --> 0:12:12.199
<v Speaker 2>than what we are as individual players. We're good musicians,

0:12:12.600 --> 0:12:15.559
<v Speaker 2>We're a fantastic band and I love playing in that

0:12:15.600 --> 0:12:16.240
<v Speaker 2>band so much.

0:12:16.920 --> 0:12:19.040
<v Speaker 1>Mate, you are an inspiration. I'm going to spend the

0:12:19.040 --> 0:12:21.880
<v Speaker 1>rest of the afternoon on YouTube watching Billy Joel Live

0:12:22.520 --> 0:12:25.280
<v Speaker 1>as a result of this conversation. And I've got a

0:12:25.320 --> 0:12:29.080
<v Speaker 1>listener who's a wiggle, Greg Page, who says, thanks so

0:12:29.160 --> 0:12:31.319
<v Speaker 1>much for having Andy on. What a great story. It's

0:12:31.320 --> 0:12:33.480
<v Speaker 1>been great to hear you got connected with him over

0:12:33.520 --> 0:12:36.480
<v Speaker 1>the previous weeks. I've been following along. He sounds like

0:12:36.559 --> 0:12:38.920
<v Speaker 1>such a great human being. And you know what, mate,

0:12:38.960 --> 0:12:42.079
<v Speaker 1>without you know whatdding in your pocket. I've watched a

0:12:42.080 --> 0:12:45.760
<v Speaker 1>few of your interviews on YouTube, and my executive producer Nelson,

0:12:45.800 --> 0:12:48.679
<v Speaker 1>who had a chat with you, tell me what a

0:12:48.720 --> 0:12:53.320
<v Speaker 1>great Australian story and just what a brilliant bloke you are.

0:12:53.640 --> 0:12:56.560
<v Speaker 1>Continued great success made and I hope we can keep

0:12:56.600 --> 0:12:57.040
<v Speaker 1>in touch.

0:12:58.640 --> 0:13:02.600
<v Speaker 2>Thanks. Look, look, it's been a great journey. It's not

0:13:02.679 --> 0:13:05.559
<v Speaker 2>over yet. I know my boss, the greatest boss I've

0:13:05.559 --> 0:13:07.959
<v Speaker 2>ever had, is going to get well. I don't think

0:13:08.000 --> 0:13:10.040
<v Speaker 2>he's prepared to hang it up yet. I think he's

0:13:10.080 --> 0:13:12.880
<v Speaker 2>going to be fine eventually. I think what he wants

0:13:12.920 --> 0:13:15.320
<v Speaker 2>is just a clean slate and to go like I

0:13:15.320 --> 0:13:18.480
<v Speaker 2>feel great now, let's do some stuff again. I hope

0:13:18.520 --> 0:13:22.120
<v Speaker 2>that's the case. But no matter what happens, I'm not done.

0:13:22.240 --> 0:13:25.280
<v Speaker 2>I'm just still just I can't believe I'm saying this

0:13:25.360 --> 0:13:27.280
<v Speaker 2>up before years. I'm just getting started. I still love

0:13:27.320 --> 0:13:29.439
<v Speaker 2>it so much. Been a pleasure to chat to you.

0:13:29.400 --> 0:13:32.160
<v Speaker 1>You too, mate, and stay well, let's keep in touch.

0:13:32.600 --> 0:13:36.640
<v Speaker 1>Thanks Andy, Andy, Sir Sean, Wow, Well, you know sometimes

0:13:36.640 --> 0:13:41.079
<v Speaker 1>we'd write in an introductory paragraph or two, this is

0:13:41.120 --> 0:13:44.200
<v Speaker 1>a ripper, I am. I'm not speechless, but some of

0:13:44.240 --> 0:13:46.160
<v Speaker 1>those stories, wow,