1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,236 --> 00:00:22,556 Speaker 2: The first time I saw Tommy Emmanuel play, it was 3 00:00:22,596 --> 00:00:26,356 Speaker 2: like rediscovering guitar all over again. I was sixteen visiting 4 00:00:26,436 --> 00:00:28,716 Speaker 2: Salt Lake City when I stopped into a store called 5 00:00:28,756 --> 00:00:31,876 Speaker 2: Acoustic Music. At the time, I was listening heavily to 6 00:00:31,916 --> 00:00:35,516 Speaker 2: guitarists like Lenny Brow and Chad Atkins. After sharing this 7 00:00:35,556 --> 00:00:37,556 Speaker 2: with the guys who worked at the store, they told me. 8 00:00:37,476 --> 00:00:39,036 Speaker 1: They had a DVD I needed to watch. 9 00:00:39,516 --> 00:00:41,956 Speaker 2: They popped in a live performance of Tommy Emmanuel and 10 00:00:41,996 --> 00:00:45,076 Speaker 2: I was floored. It's a key formative moment along my 11 00:00:45,156 --> 00:00:47,676 Speaker 2: journey as a player and a fan, so having an 12 00:00:47,716 --> 00:00:50,196 Speaker 2: opportunity to sit down and have an hour long conversation 13 00:00:50,276 --> 00:00:54,196 Speaker 2: with Tommy Emmanuel was huge for me. On today's episode, 14 00:00:54,196 --> 00:00:57,236 Speaker 2: we discussed Tommy Emmanuel's insane technique and how he developed 15 00:00:57,276 --> 00:01:00,076 Speaker 2: the ability to play multiple parts on the guitar at once. 16 00:01:00,796 --> 00:01:02,716 Speaker 2: He tells the story of opening for Stevie Wonder in 17 00:01:02,796 --> 00:01:04,876 Speaker 2: nineteen eighty and walking in on him jamming with an 18 00:01:04,876 --> 00:01:07,916 Speaker 2: early Lin drum machine and performing on the same bill 19 00:01:08,116 --> 00:01:11,236 Speaker 2: as the Beg's in Australia during the sixties when he 20 00:01:11,356 --> 00:01:12,116 Speaker 2: was just a kid. 21 00:01:14,996 --> 00:01:16,276 Speaker 1: This is broken record. 22 00:01:16,756 --> 00:01:25,916 Speaker 2: Real musicians, real conversations. Here's my conversation with Tommy Emmanuel 23 00:01:25,956 --> 00:01:31,676 Speaker 2: from Amazon Music Studio one twenty six. You mentioned from 24 00:01:31,716 --> 00:01:33,996 Speaker 2: six am to seven am this morning you were you 25 00:01:33,996 --> 00:01:34,716 Speaker 2: were playing guitar. 26 00:01:35,116 --> 00:01:39,516 Speaker 3: Yeah, I got up. I got up and to play. Yeah. 27 00:01:39,876 --> 00:01:41,956 Speaker 1: And is that an everyday occurrence? 28 00:01:42,676 --> 00:01:48,236 Speaker 3: Not always? Sometimes if I'm touring a lot, sometimes I 29 00:01:48,356 --> 00:01:51,316 Speaker 3: need that time to sleep, you know, and I can 30 00:01:51,356 --> 00:01:55,516 Speaker 3: play later. But I wanted to be I knew I 31 00:01:55,556 --> 00:01:59,196 Speaker 3: had an early start here today, so I wanted to 32 00:01:59,236 --> 00:02:00,236 Speaker 3: be already playing. 33 00:02:00,516 --> 00:02:00,756 Speaker 1: Wow. 34 00:02:00,836 --> 00:02:04,916 Speaker 3: You know, it's like you start your motor you know. 35 00:02:05,276 --> 00:02:05,556 Speaker 1: Yeah. 36 00:02:05,636 --> 00:02:08,876 Speaker 3: I mean I don't. I don't try to push my 37 00:02:09,676 --> 00:02:14,196 Speaker 3: first thing in the morning. I usually play songs that 38 00:02:14,356 --> 00:02:18,156 Speaker 3: I really enjoy playing that I can play quietly because 39 00:02:18,156 --> 00:02:20,676 Speaker 3: I don't want to wake up the person in the 40 00:02:20,876 --> 00:02:23,476 Speaker 3: room next to me in the hotel, you know. 41 00:02:23,756 --> 00:02:25,796 Speaker 2: Right it's going to I mean, yeah. Do you do 42 00:02:25,596 --> 00:02:27,316 Speaker 2: you do you get complaints in the hotels? 43 00:02:28,156 --> 00:02:32,316 Speaker 3: One time, a friend of mine and I we were 44 00:02:32,556 --> 00:02:37,196 Speaker 3: rehearsing for a show and there was a knock at 45 00:02:37,236 --> 00:02:39,676 Speaker 3: the door, and there it was a reception lady, and 46 00:02:39,716 --> 00:02:42,516 Speaker 3: she said, or the guy next door said, you're making 47 00:02:42,716 --> 00:02:46,636 Speaker 3: a terrible noise in here. And I said, you tell 48 00:02:46,716 --> 00:02:47,596 Speaker 3: him it's music. 49 00:02:48,996 --> 00:02:52,316 Speaker 2: Yeah, and people are paying money to see that he's 50 00:02:52,356 --> 00:02:53,036 Speaker 2: going to preciate. 51 00:02:53,236 --> 00:02:55,556 Speaker 3: Well, these things happen. You've got to be You've got 52 00:02:55,596 --> 00:02:57,636 Speaker 3: to be thinking of others in that situation. 53 00:02:57,876 --> 00:02:58,076 Speaker 1: Yeah. 54 00:02:58,636 --> 00:03:04,156 Speaker 3: And if there's something in my practice that that I 55 00:03:04,356 --> 00:03:08,116 Speaker 3: that I need to work on, say, if I'm I'm 56 00:03:08,156 --> 00:03:10,076 Speaker 3: going to try this song I'm I haven't played in 57 00:03:10,116 --> 00:03:12,436 Speaker 3: a while in the show tonight. I need to run 58 00:03:12,476 --> 00:03:15,956 Speaker 3: it down. I need my brain to know where my 59 00:03:16,076 --> 00:03:16,996 Speaker 3: hands have to go. 60 00:03:17,396 --> 00:03:21,236 Speaker 2: But you don't do settlers, right, You don't improvise on 61 00:03:21,276 --> 00:03:23,196 Speaker 2: stage in terms of what you're going to do. 62 00:03:23,356 --> 00:03:27,516 Speaker 3: Yeah. Well, you know, at the moment, I've got a 63 00:03:27,556 --> 00:03:30,156 Speaker 3: new album out called Living in the Light, and so 64 00:03:30,836 --> 00:03:35,516 Speaker 3: I generally opened the show with like four brand new songs. Wow, 65 00:03:35,756 --> 00:03:40,236 Speaker 3: you know, just to do something different, you know, And 66 00:03:40,876 --> 00:03:46,996 Speaker 3: that always is Sometimes it works really great. Other times 67 00:03:47,036 --> 00:03:50,236 Speaker 3: I think I should have done this earlier, or I 68 00:03:50,316 --> 00:03:53,076 Speaker 3: you know, maybe I should have started with something slower. 69 00:03:53,156 --> 00:03:56,596 Speaker 3: And you know, but I've been coming out, like, you know, 70 00:03:56,916 --> 00:03:59,316 Speaker 3: one song after the other, bang bang bang in the 71 00:03:59,876 --> 00:04:02,276 Speaker 3: in the first part of the show, and it always 72 00:04:02,356 --> 00:04:07,996 Speaker 3: gets me into a good spiritually, physically, in a good 73 00:04:08,036 --> 00:04:11,356 Speaker 3: place because I'm I'm already pushing myself amazing. 74 00:04:11,716 --> 00:04:14,796 Speaker 1: Would you mind just doing something you might open a 75 00:04:14,796 --> 00:04:15,116 Speaker 1: show with? 76 00:04:16,076 --> 00:04:19,156 Speaker 3: Sure? You want to hear it now? Yeah, I'll play 77 00:04:19,196 --> 00:04:21,996 Speaker 3: it for you and you'll hear where it goes to color. 78 00:04:22,396 --> 00:05:48,796 Speaker 3: So it starts out with rock plus roll, it comes 79 00:05:48,796 --> 00:07:24,676 Speaker 3: to color ready keep Yeah, that's black and white to color. 80 00:07:24,836 --> 00:07:28,036 Speaker 3: Oh that is beautiful. It's a good opener because it's 81 00:07:28,036 --> 00:07:31,236 Speaker 3: got everything. It's got a groove, it's got a message, 82 00:07:31,596 --> 00:07:34,996 Speaker 3: it's got a breakdown section, it takes, it goes somewhere 83 00:07:34,996 --> 00:07:37,156 Speaker 3: else and then it comes back in. You know. 84 00:07:37,436 --> 00:07:40,796 Speaker 2: Yeah, there's so much happening when you like, when you play, 85 00:07:41,076 --> 00:07:44,716 Speaker 2: there's so much your body's moving, your vocal. 86 00:07:44,436 --> 00:07:48,196 Speaker 3: Eye already too hot in my coat in halfway through 87 00:07:48,236 --> 00:07:50,116 Speaker 3: that song and I was like, shouldn't have put my 88 00:07:50,156 --> 00:07:50,516 Speaker 3: coat on? 89 00:07:52,356 --> 00:07:53,156 Speaker 1: It's incredible. 90 00:07:53,916 --> 00:07:55,796 Speaker 3: Well, I didn't expect you to ask me to play, 91 00:07:55,996 --> 00:07:58,676 Speaker 3: so so this is this is fun. 92 00:07:58,796 --> 00:08:03,196 Speaker 2: I'm sorry I jammed you up. I set you up man. Yeah, 93 00:08:03,236 --> 00:08:05,276 Speaker 2: but are you are you here? Because like and there's 94 00:08:05,316 --> 00:08:07,756 Speaker 2: there's like a rhythm, there's uh I mean, there's those 95 00:08:07,796 --> 00:08:11,716 Speaker 2: wonderful court changes. There's a mellow there's so much do 96 00:08:11,796 --> 00:08:14,476 Speaker 2: you hear? Are you hearing other instruments in your head? 97 00:08:14,676 --> 00:08:17,596 Speaker 3: Of course, this is a band, you know. This is 98 00:08:17,596 --> 00:08:24,556 Speaker 3: the piano players. It's Ray Charlds, you know. And this 99 00:08:24,716 --> 00:08:38,556 Speaker 3: is so there's the drama, right, and then the bass right, 100 00:08:38,636 --> 00:08:50,356 Speaker 3: and then the rhythm. This is only you're just hearing 101 00:08:50,436 --> 00:08:53,876 Speaker 3: this little guitar which is thin and everything about it. It's 102 00:08:53,876 --> 00:08:57,076 Speaker 3: a great sounding little axe. But you plug this thing 103 00:08:57,116 --> 00:08:59,676 Speaker 3: in into a PA and it is as big as 104 00:08:59,676 --> 00:09:02,436 Speaker 3: a band, and you turn it up and it's got 105 00:09:02,436 --> 00:09:06,796 Speaker 3: everything there. And that's another right reason why people often 106 00:09:06,836 --> 00:09:09,076 Speaker 3: come up and say, I could have sworn there you're 107 00:09:09,156 --> 00:09:11,796 Speaker 3: that you had backing tracks, or I could have sworn 108 00:09:11,876 --> 00:09:15,356 Speaker 3: there was something else in there, you know. Yeah, And 109 00:09:15,396 --> 00:09:17,836 Speaker 3: it's just the way of doing it. 110 00:09:18,276 --> 00:09:20,316 Speaker 2: There's even like a lot implied by the way in 111 00:09:20,356 --> 00:09:22,676 Speaker 2: what you do, Like you can trick yourself into hearing 112 00:09:22,836 --> 00:09:24,636 Speaker 2: things that aren't there because. 113 00:09:24,236 --> 00:09:27,116 Speaker 3: Of you know, that's a good point. You're right. 114 00:09:28,036 --> 00:09:29,956 Speaker 2: That happens a lot when I listened to you, because 115 00:09:29,996 --> 00:09:33,316 Speaker 2: I'll start to hear multiple I mean, you're already doing 116 00:09:33,316 --> 00:09:35,236 Speaker 2: a lot, but I'll hear even more than what's happening 117 00:09:35,276 --> 00:09:38,276 Speaker 2: because I'm just my mind's filling things in, you know. 118 00:09:38,556 --> 00:09:40,796 Speaker 3: Yeah. Well the other thing is is that when you 119 00:09:40,956 --> 00:09:44,276 Speaker 3: leave it hanging, the time is still there. Yeah, because 120 00:09:44,316 --> 00:09:56,796 Speaker 3: the time's internalized inside me. Right, nothing's going you know 121 00:09:56,836 --> 00:10:13,596 Speaker 3: what I mean. Then I so I kind of put 122 00:10:13,636 --> 00:10:16,076 Speaker 3: a bit of pressure on it to say this is 123 00:10:16,116 --> 00:10:17,476 Speaker 3: this is the groove right here? 124 00:10:17,596 --> 00:10:17,876 Speaker 1: You know. 125 00:10:18,596 --> 00:10:28,796 Speaker 3: So the first but I'm implying the time, I'm putting 126 00:10:28,796 --> 00:10:31,436 Speaker 3: it out there, you know, for you to feel it 127 00:10:31,596 --> 00:10:34,476 Speaker 3: and hear how the melody works. But then the second 128 00:10:34,476 --> 00:10:35,876 Speaker 3: time around, I go and here it is. 129 00:10:36,796 --> 00:10:39,436 Speaker 1: Yeah, yeah, yeah, yeah, that's a beautiful trick. 130 00:10:39,796 --> 00:10:45,196 Speaker 3: Well, it's just I need that. All I'm doing is 131 00:10:45,236 --> 00:10:51,116 Speaker 3: satisfying my needs inside, you know, and then I put 132 00:10:51,156 --> 00:10:54,116 Speaker 3: him out there and it makes sense to me, you know. 133 00:10:56,196 --> 00:10:59,476 Speaker 3: And I think most artists do the same thing. They 134 00:10:59,516 --> 00:11:03,716 Speaker 3: have something inside that needs to be satisfied, you know. 135 00:11:04,636 --> 00:11:08,876 Speaker 3: For me, it's it's the melody and how the song. 136 00:11:08,956 --> 00:11:14,236 Speaker 3: Because when I'm writing and when I'm playing, I've got 137 00:11:14,276 --> 00:11:19,956 Speaker 3: several hats on. I'm also the arranger, the producer, the artist, 138 00:11:20,316 --> 00:11:25,076 Speaker 3: the I'm the listener. I'm trying to do everything to 139 00:11:25,236 --> 00:11:28,076 Speaker 3: make sure that when I play this song to you 140 00:11:28,436 --> 00:11:31,356 Speaker 3: and you're you're listening to it for the first time, 141 00:11:31,636 --> 00:11:35,596 Speaker 3: that it does everything. It ticks every box. Yeah, you know, 142 00:11:36,196 --> 00:11:38,516 Speaker 3: that's all I'm trying to do, you know. 143 00:11:39,076 --> 00:11:41,276 Speaker 2: Well, and you're right too. I mean, I think about it. 144 00:11:41,276 --> 00:11:43,396 Speaker 2: It's probably a lot of there's a lot of people 145 00:11:43,396 --> 00:11:44,836 Speaker 2: I could think of, but the first one that comes 146 00:11:44,876 --> 00:11:45,876 Speaker 2: to mind is Stevie Wonder. 147 00:11:46,596 --> 00:11:46,996 Speaker 1: Yeah. 148 00:11:47,076 --> 00:11:48,876 Speaker 2: You know, if he's just sitting just like how you were, 149 00:11:48,876 --> 00:11:53,076 Speaker 2: if he's just playing piano, there is an implied rhythm that. 150 00:11:53,076 --> 00:11:55,876 Speaker 1: Is uniquely Stevie, you know, totally. And so when he 151 00:11:55,876 --> 00:11:58,876 Speaker 1: plays drums, by the way and his records, even like Superstition, 152 00:11:58,916 --> 00:12:01,236 Speaker 1: which is a great drum part, it's bizarre. It's like 153 00:12:01,276 --> 00:12:02,756 Speaker 1: not like a normal feel. 154 00:12:02,996 --> 00:12:06,156 Speaker 3: Yeah, that's right. Well, in nineteen eighty, which was a 155 00:12:06,196 --> 00:12:09,516 Speaker 3: long time ago, I was working with a great in 156 00:12:09,516 --> 00:12:13,556 Speaker 3: Australia named John Farnham and we were opening for Stevie Wonder, 157 00:12:14,116 --> 00:12:17,636 Speaker 3: and that was one of the most incredible tours. I 158 00:12:17,716 --> 00:12:22,796 Speaker 3: got to be there at soundcheck every day and Stevie 159 00:12:22,876 --> 00:12:26,916 Speaker 3: sang and played for like three hours in the afternoon, 160 00:12:27,156 --> 00:12:30,356 Speaker 3: and then they had to literally take him off the stage, 161 00:12:30,676 --> 00:12:33,596 Speaker 3: take him to his dressing room so we could get 162 00:12:33,636 --> 00:12:36,676 Speaker 3: set up and do our sound check because he didn't 163 00:12:36,716 --> 00:12:40,356 Speaker 3: want to stop playing. But he was so wonderful, I mean, 164 00:12:40,476 --> 00:12:45,396 Speaker 3: and his band and everything. And I remember when we 165 00:12:45,396 --> 00:12:48,516 Speaker 3: were in the city of Perth in Australia. I walked 166 00:12:48,516 --> 00:12:53,116 Speaker 3: past his dressing room and I could hear this drum 167 00:12:53,196 --> 00:12:56,396 Speaker 3: machine thing going and I could hear him jamming away 168 00:12:56,476 --> 00:13:00,276 Speaker 3: on it like great. And his bodyguard guy was standing there, 169 00:13:00,276 --> 00:13:03,796 Speaker 3: and I said, can I go in and see what 170 00:13:03,916 --> 00:13:06,516 Speaker 3: he's doing? And he said, and he opened the door 171 00:13:06,516 --> 00:13:09,636 Speaker 3: and let me in. Right, So Steve's got he's back 172 00:13:09,676 --> 00:13:12,996 Speaker 3: to the door and he's jamming away with this machine. 173 00:13:14,516 --> 00:13:20,436 Speaker 3: And he suddenly quoted the guitar solo from Memphis, Tennessee. Dude, 174 00:13:20,476 --> 00:13:24,196 Speaker 3: it do do the original guitar solo. He quoted it. 175 00:13:24,276 --> 00:13:27,116 Speaker 3: He says, hey, guitar player, I'm back there behind him. 176 00:13:27,156 --> 00:13:31,916 Speaker 3: He knew it was me. It was unbelievable. Anyway, what 177 00:13:31,996 --> 00:13:36,956 Speaker 3: he was doing was programming the Linn drum machine before 178 00:13:36,996 --> 00:13:41,436 Speaker 3: it was even completely imbedded kind of thing. He was 179 00:13:41,516 --> 00:13:46,036 Speaker 3: programming this piece of technology. It looked like a homemade computer. 180 00:13:46,556 --> 00:13:48,836 Speaker 3: And he was in there doing stuff, showed me how 181 00:13:48,876 --> 00:13:52,036 Speaker 3: it worked, and played along with it and you try it, 182 00:13:52,116 --> 00:13:56,436 Speaker 3: you know, did you actually try? I mean no, you know, 183 00:13:56,516 --> 00:14:00,396 Speaker 3: he just watched him, you know, yeah. Wow, he's amazing. 184 00:14:00,476 --> 00:14:04,876 Speaker 3: And the best part of this story is fifteen years later, 185 00:14:05,036 --> 00:14:09,156 Speaker 3: nineteen ninety five, I was at Lax Airport about to 186 00:14:09,196 --> 00:14:10,916 Speaker 3: get on a plane. I needed to go into the 187 00:14:10,956 --> 00:14:13,796 Speaker 3: men's room for a minute, and I walked into the 188 00:14:13,836 --> 00:14:17,556 Speaker 3: public toilet and there was this big, tall guy standing 189 00:14:17,596 --> 00:14:20,716 Speaker 3: by the door of one of the cubicles and I 190 00:14:20,796 --> 00:14:26,036 Speaker 3: recognized him and I said, I know you. I met 191 00:14:26,116 --> 00:14:28,836 Speaker 3: you like that, And a voice in the cubicle said, 192 00:14:28,956 --> 00:14:30,716 Speaker 3: that's the guitar player from Australia. 193 00:14:30,836 --> 00:14:31,796 Speaker 1: Was stid out of here. 194 00:14:31,996 --> 00:14:34,916 Speaker 3: Yeah, can you believe that he knew my voice instantly? 195 00:14:35,076 --> 00:14:38,996 Speaker 1: Instantly that level of to be able to recall, yeah, 196 00:14:39,036 --> 00:14:41,076 Speaker 1: something like that, and not only just recall your voice, 197 00:14:41,076 --> 00:14:43,436 Speaker 1: but then also that that anecdote of you entering the room. 198 00:14:43,476 --> 00:14:44,116 Speaker 1: And there's like a. 199 00:14:44,076 --> 00:14:47,476 Speaker 2: Sense that he that has to be tied to hear 200 00:14:47,516 --> 00:14:48,076 Speaker 2: some of his music. 201 00:14:48,156 --> 00:14:53,076 Speaker 3: We don't know what the kind of abilities that a 202 00:14:53,156 --> 00:14:56,556 Speaker 3: man like that has, who's been blind since he was young, 203 00:14:57,116 --> 00:15:03,476 Speaker 3: and his abilities and his senses on a well spiritual 204 00:15:03,596 --> 00:15:08,876 Speaker 3: level that are almost otherworldly, you know, Yeah, so you 205 00:15:08,876 --> 00:15:11,916 Speaker 3: can hear it the moment you hear him sing and play, 206 00:15:12,276 --> 00:15:16,756 Speaker 3: you know, oh boy, look out, there's something going on here. Yeah. Yeah, 207 00:15:16,796 --> 00:15:19,436 Speaker 3: And that's why we all love our Stevie Wonder because 208 00:15:19,476 --> 00:15:22,796 Speaker 3: there's never been anybody like in him and Ray Charles. 209 00:15:22,956 --> 00:15:26,876 Speaker 3: Oh my god, where would we be without them? Yeah? Musically, 210 00:15:27,156 --> 00:15:30,596 Speaker 3: musically yeah, we'd be. There'd be a big hole. 211 00:15:30,636 --> 00:15:31,996 Speaker 1: But black and white to color. 212 00:15:35,476 --> 00:15:35,676 Speaker 3: Yeah. 213 00:15:37,716 --> 00:15:39,396 Speaker 1: Was that the tour? I think in the States on 214 00:15:39,436 --> 00:15:41,756 Speaker 1: that that was a tour where he was lobbying to 215 00:15:41,796 --> 00:15:43,196 Speaker 1: get the. 216 00:15:43,156 --> 00:15:45,516 Speaker 2: Martin Luther King Junior Holiday in the States too, right, 217 00:15:45,596 --> 00:15:48,676 Speaker 2: the nineteen eighty probably was. And I think in at 218 00:15:48,756 --> 00:15:50,196 Speaker 2: least in the States. I don't know if in Australia 219 00:15:50,196 --> 00:15:56,876 Speaker 2: he had. 220 00:15:54,076 --> 00:15:55,956 Speaker 3: In a Square Circle album. 221 00:15:56,596 --> 00:15:59,836 Speaker 2: Well maybe it would have been a master Blaster. 222 00:15:59,916 --> 00:16:03,276 Speaker 3: It was master Blast, master Blast, yeah, because every night 223 00:16:03,596 --> 00:16:07,036 Speaker 3: we got up and played with with with him in 224 00:16:07,076 --> 00:16:10,316 Speaker 3: the band. Because when he heard John Farnum's sing, he said, 225 00:16:10,516 --> 00:16:11,956 Speaker 3: you got to come and you guys have got to 226 00:16:11,996 --> 00:16:15,116 Speaker 3: come and join us and and we'll we'll do something 227 00:16:15,156 --> 00:16:19,956 Speaker 3: together and so and Ben Bridges was was his Steve 228 00:16:20,156 --> 00:16:23,316 Speaker 3: Stevie's guitar player, and he invited me to plug into 229 00:16:23,356 --> 00:16:27,836 Speaker 3: his gear and and we just jammed together on Happy 230 00:16:27,876 --> 00:16:33,236 Speaker 3: Birthday too, and then we were into Master Blaster. It 231 00:16:33,316 --> 00:16:37,556 Speaker 3: was awesome. Dennis Davis was playing drums and h and 232 00:16:37,596 --> 00:16:40,436 Speaker 3: he was so nice to work with. Two and our 233 00:16:40,956 --> 00:16:44,676 Speaker 3: drummer David Jones jumped up on on the kit and 234 00:16:44,676 --> 00:16:48,476 Speaker 3: and Dennis just took off one of the toms and 235 00:16:48,676 --> 00:16:52,716 Speaker 3: just danced around and played the tom while our drama played. 236 00:16:52,756 --> 00:16:54,836 Speaker 3: You know. It was just that's what it was like 237 00:16:54,916 --> 00:16:58,236 Speaker 3: in those days. See, if you found somebody that you 238 00:16:58,476 --> 00:17:01,956 Speaker 3: that you really click with, you got together. You know, 239 00:17:02,276 --> 00:17:06,676 Speaker 3: what a dream, What a dream? It was unbelievable. Well, uh, 240 00:17:06,716 --> 00:17:10,596 Speaker 3: this story could go on because the last show was 241 00:17:10,596 --> 00:17:15,196 Speaker 3: in Perth and the next day was was Billy Joel 242 00:17:15,356 --> 00:17:20,836 Speaker 3: in Australia for the first time, all right, and so 243 00:17:21,356 --> 00:17:24,236 Speaker 3: we were all staying in the same hotel. So I 244 00:17:24,316 --> 00:17:26,916 Speaker 3: got to meet Billy and his band and everything and 245 00:17:26,996 --> 00:17:30,076 Speaker 3: we all hung it. And then after the show, the 246 00:17:30,156 --> 00:17:34,316 Speaker 3: hotel put ropes across the bar area, so the public 247 00:17:34,356 --> 00:17:38,556 Speaker 3: had to stay out and we hang around the piano here. 248 00:17:38,636 --> 00:17:41,236 Speaker 3: So there was me and Ben and David Brown from 249 00:17:41,516 --> 00:17:46,116 Speaker 3: Billy Joel's band. There was Billy Stevie and and John 250 00:17:46,156 --> 00:17:50,516 Speaker 3: Farnum at the piano and just we were just jamming 251 00:17:50,596 --> 00:17:56,276 Speaker 3: tunes and Stevie wonder knew most of Billy Joel's songs 252 00:17:57,116 --> 00:18:02,556 Speaker 3: what he could sing them. Yeah, it was unbelievable. That's 253 00:18:02,596 --> 00:18:06,196 Speaker 3: an amazing It would be a long time ago. 254 00:18:06,396 --> 00:18:07,196 Speaker 1: So we're recorded. 255 00:18:10,076 --> 00:18:12,476 Speaker 3: You know. It's the same thing with the day that 256 00:18:12,556 --> 00:18:17,276 Speaker 3: I met Chet Atkins and and we we played together. 257 00:18:18,876 --> 00:18:22,236 Speaker 3: There was a cassette player with a microphone set up 258 00:18:22,236 --> 00:18:26,036 Speaker 3: on the table, and neither of us thought to record it. 259 00:18:27,236 --> 00:18:30,916 Speaker 3: You know, we played for hours and never recorded it. 260 00:18:31,516 --> 00:18:34,716 Speaker 1: Do you remember what you played? Was it or was 261 00:18:34,756 --> 00:18:35,076 Speaker 1: it just? 262 00:18:35,236 --> 00:18:40,956 Speaker 3: It was? It was? It was tunes that that were popular, 263 00:18:41,116 --> 00:18:44,396 Speaker 3: kind of jazz tunes, you know, like Lover Come Back 264 00:18:44,436 --> 00:18:47,636 Speaker 3: to Me and Caravan and tunes like that. 265 00:18:48,036 --> 00:18:50,796 Speaker 1: You go, a great version of Caravan on you had 266 00:18:50,836 --> 00:18:54,756 Speaker 1: a trio record passing through from a few years ago. 267 00:18:54,876 --> 00:18:57,236 Speaker 3: Oh yeah you know about that. Yeah, yeah, with you 268 00:18:57,316 --> 00:19:04,196 Speaker 3: it's you and Ian Date and and fiddler I Ian Cooper, 269 00:19:04,556 --> 00:19:05,956 Speaker 3: the incredible violin player. 270 00:19:06,076 --> 00:19:07,876 Speaker 1: You guys have great You guys play off each other. 271 00:19:09,116 --> 00:19:13,676 Speaker 3: I was recorded in a heartbeat, that whole album. Yeah, 272 00:19:13,956 --> 00:19:18,196 Speaker 3: just just put it together quickly and it's great album, 273 00:19:18,196 --> 00:19:20,116 Speaker 3: all that stuff. Thanks, But playing with Chack, I mean, 274 00:19:20,156 --> 00:19:21,276 Speaker 3: playing with chet I must have. 275 00:19:23,276 --> 00:19:23,956 Speaker 1: That had to be. 276 00:19:25,636 --> 00:19:27,676 Speaker 3: One of the greatest days of my life. You know, 277 00:19:28,036 --> 00:19:31,636 Speaker 3: I'll just never forget it. And you know, when I 278 00:19:31,676 --> 00:19:34,996 Speaker 3: was a little boy and I'm trying to trying to 279 00:19:34,996 --> 00:19:37,756 Speaker 3: collect ched Atkins records and all that, and I had 280 00:19:37,756 --> 00:19:41,156 Speaker 3: a little portable turntable with the speaker in it that 281 00:19:41,236 --> 00:19:47,956 Speaker 3: my mum had given me, and I said many times, 282 00:19:48,276 --> 00:19:50,036 Speaker 3: I'm going to meet him and we're going to play 283 00:19:50,116 --> 00:19:53,676 Speaker 3: together like that. And I'm just a kid, you know. 284 00:19:54,196 --> 00:19:56,876 Speaker 3: My mother said, I believe you will. You know, you 285 00:19:57,076 --> 00:20:00,916 Speaker 3: just keep at it, you know, and I believe you will. 286 00:20:01,196 --> 00:20:04,476 Speaker 3: And sure enough, I ended up writing him a fan letter. 287 00:20:04,996 --> 00:20:09,116 Speaker 3: I was eleven. I wrote this fan letter telling him 288 00:20:09,196 --> 00:20:11,996 Speaker 3: him that I was listening to his music and trying 289 00:20:12,036 --> 00:20:14,476 Speaker 3: to work it out and all that, and could he 290 00:20:14,556 --> 00:20:17,036 Speaker 3: send me a photograph with an autograph on it. And 291 00:20:18,236 --> 00:20:21,516 Speaker 3: about two months later, I came home from school and 292 00:20:21,556 --> 00:20:24,836 Speaker 3: my mum said, go into your room. There's something on 293 00:20:24,876 --> 00:20:29,756 Speaker 3: your bed, and there was this big brown envelope and 294 00:20:29,836 --> 00:20:33,716 Speaker 3: I had American eagle kind of stamps, and you know, 295 00:20:33,836 --> 00:20:38,276 Speaker 3: my heart started going like this and it was a 296 00:20:38,356 --> 00:20:42,196 Speaker 3: letter from Chet with a black and white photograph signed 297 00:20:42,196 --> 00:20:45,876 Speaker 3: to me. And yeah, I remember when I opened it, 298 00:20:45,876 --> 00:20:50,436 Speaker 3: it was just like pristine. You know. It had RCA Victor, 299 00:20:50,916 --> 00:20:53,916 Speaker 3: you know, from the desk of chet Akers, all written 300 00:20:53,916 --> 00:20:55,916 Speaker 3: in gold at the top of this thing, you know, 301 00:20:56,076 --> 00:20:59,316 Speaker 3: it was all typed out and his signature on the bottom. 302 00:20:59,556 --> 00:21:01,876 Speaker 1: That for all the way from the America, I feel 303 00:21:01,876 --> 00:21:03,276 Speaker 1: like incredible. 304 00:21:02,676 --> 00:21:05,196 Speaker 3: To nowhere in Australia. I was just a kid going 305 00:21:05,236 --> 00:21:08,476 Speaker 3: to school in a little town and park call parks 306 00:21:08,876 --> 00:21:15,276 Speaker 3: in Australia. But I was already dreaming. I'd already seen 307 00:21:16,356 --> 00:21:18,956 Speaker 3: coming over here, you know what I mean. I'd already 308 00:21:19,396 --> 00:21:24,676 Speaker 3: dreamt it and had that vision in my mind. And 309 00:21:25,036 --> 00:21:29,556 Speaker 3: this is what leads me when I'm talking with young 310 00:21:29,596 --> 00:21:33,076 Speaker 3: guys now who you know, they want to be doing 311 00:21:33,236 --> 00:21:35,796 Speaker 3: what I'm doing. They want to be a concert player, 312 00:21:35,836 --> 00:21:37,796 Speaker 3: they want to get out there and tour the world 313 00:21:37,796 --> 00:21:40,476 Speaker 3: and all that. And I always say, you know, where's 314 00:21:40,516 --> 00:21:44,676 Speaker 3: your vision? Where do you see yourself? Where do you belong? 315 00:21:45,436 --> 00:21:50,876 Speaker 3: You know? And because I always knew I was a 316 00:21:50,916 --> 00:21:53,996 Speaker 3: concert player, I just didn't know how I was going 317 00:21:54,036 --> 00:21:57,316 Speaker 3: to get there. And I had to do the hard 318 00:21:57,436 --> 00:22:01,796 Speaker 3: road I had to play every musical situation I could. 319 00:22:03,436 --> 00:22:06,316 Speaker 3: I had to play where people didn't listen to you. 320 00:22:06,836 --> 00:22:09,076 Speaker 3: I had to play in bars where I was under 321 00:22:09,236 --> 00:22:11,996 Speaker 3: rage and all that. I had to play for free 322 00:22:12,036 --> 00:22:15,796 Speaker 3: a lot. I had to play for food and all 323 00:22:15,796 --> 00:22:19,716 Speaker 3: that kind of stuff. And I ran away from school 324 00:22:19,716 --> 00:22:22,676 Speaker 3: when I was fifteen, and because it was a waste 325 00:22:22,716 --> 00:22:25,676 Speaker 3: of time to me, I needed to get to work. Yeah, 326 00:22:25,876 --> 00:22:28,236 Speaker 3: you know, and your mom just did that, No, she 327 00:22:28,436 --> 00:22:30,916 Speaker 3: I broke her heart, Yeah, because she wanted me to 328 00:22:30,956 --> 00:22:36,076 Speaker 3: finish high school and get a higher school certificate. And 329 00:22:36,956 --> 00:22:39,796 Speaker 3: I was more interested in going to Sydney to play 330 00:22:39,836 --> 00:22:41,076 Speaker 3: with the big boys. 331 00:22:41,196 --> 00:22:43,596 Speaker 2: Who were the like and who in Sydney would have 332 00:22:43,636 --> 00:22:45,476 Speaker 2: been the people you were wanted to go play with 333 00:22:45,516 --> 00:22:46,196 Speaker 2: at that time. 334 00:22:46,036 --> 00:22:50,756 Speaker 3: Well, nobody who could really play what I wanted, the 335 00:22:51,116 --> 00:22:54,756 Speaker 3: kind of style that I play, But people who knew 336 00:22:54,756 --> 00:22:58,316 Speaker 3: more about music than I did, that's for sure. And 337 00:22:58,436 --> 00:23:02,396 Speaker 3: so the next best thing to go on to Nashville. 338 00:23:02,556 --> 00:23:05,236 Speaker 3: Well it's what you could do. Yeah, And well I 339 00:23:05,396 --> 00:23:09,876 Speaker 3: just wanted I just wanted to. I was hungry for knowledge. 340 00:23:10,436 --> 00:23:13,036 Speaker 3: I was hungry for it, and I still am, you know, 341 00:23:13,596 --> 00:23:18,996 Speaker 3: And I'm hungry for experience as well, because you can't 342 00:23:19,036 --> 00:23:25,596 Speaker 3: play anything meaningful without experiencing life, you know. And that's 343 00:23:25,636 --> 00:23:29,836 Speaker 3: why when we listened to a teenager like Stevie Wonder 344 00:23:29,996 --> 00:23:36,116 Speaker 3: was playing you Are the Sunshine my Life, you know, 345 00:23:37,436 --> 00:23:41,476 Speaker 3: how does he do that? It's a gift, it's otherworldly, 346 00:23:41,876 --> 00:23:48,036 Speaker 3: you know. So anyway, I wanted to move to Sydney, 347 00:23:48,116 --> 00:23:52,796 Speaker 3: and I got some people to help me get down there, 348 00:23:53,196 --> 00:23:56,156 Speaker 3: and I rented a room, I got a day job, 349 00:23:56,956 --> 00:24:01,276 Speaker 3: and then I auditioned for different artists and stuff, and 350 00:24:01,356 --> 00:24:06,636 Speaker 3: people laughed, They just outwardly laughed when I walked in 351 00:24:06,676 --> 00:24:09,516 Speaker 3: for the audition because I was a fifteen year old kid, 352 00:24:09,956 --> 00:24:12,796 Speaker 3: and you know, who do you think you are? What 353 00:24:12,836 --> 00:24:14,796 Speaker 3: do you think you're going to do? Well, let's just 354 00:24:14,796 --> 00:24:17,916 Speaker 3: play the music, and you know, and I knew all 355 00:24:17,916 --> 00:24:21,636 Speaker 3: the songs. I knew all the vocal harmonies. I knew 356 00:24:21,676 --> 00:24:23,956 Speaker 3: I could quote the record if if it was a 357 00:24:23,956 --> 00:24:27,636 Speaker 3: song I'd learned from a record, and I was ready 358 00:24:27,716 --> 00:24:32,076 Speaker 3: to go, you know, and electric at that point, electric, yeah, yeah, yeah, 359 00:24:32,796 --> 00:24:33,956 Speaker 3: did you I mean? 360 00:24:33,996 --> 00:24:38,476 Speaker 2: And it was quite an interesting road to what you're 361 00:24:38,516 --> 00:24:43,436 Speaker 2: doing now. So when you had that vision as a kid, 362 00:24:43,756 --> 00:24:46,636 Speaker 2: the youth of concert Plane, was it more in the 363 00:24:46,876 --> 00:24:48,476 Speaker 2: who was it in the vein of at that time? 364 00:24:49,116 --> 00:24:52,036 Speaker 3: If you had to imagine it, well, when I played tune, 365 00:24:52,076 --> 00:24:55,396 Speaker 3: so I was playing a kind of a Chad Atkins 366 00:24:55,436 --> 00:25:04,956 Speaker 3: type style. But I was listening to Gordon Lightfoot, Neil Diamond, 367 00:25:05,156 --> 00:25:09,796 Speaker 3: Carol King, James Taylor in the seventies, I mean I was, 368 00:25:09,916 --> 00:25:17,556 Speaker 3: and Stevie Wonder, Ray, Charles, Jerry Reid, you know, people 369 00:25:17,716 --> 00:25:20,156 Speaker 3: like that I was listening to. And I was listening 370 00:25:20,196 --> 00:25:22,276 Speaker 3: to what was on the radio, the Beatles, the Rolling 371 00:25:22,316 --> 00:25:26,596 Speaker 3: Stones and all. When I was young, I thought the 372 00:25:26,676 --> 00:25:29,636 Speaker 3: Rolling Stones and the Beatles were so out of tune, 373 00:25:29,916 --> 00:25:32,556 Speaker 3: you know, And I just couldn't understand it because I 374 00:25:32,596 --> 00:25:35,436 Speaker 3: was so used to listening to chedd Atkins, who was 375 00:25:35,556 --> 00:25:38,436 Speaker 3: so in tune it was unbelievable, you know. And you 376 00:25:38,556 --> 00:25:42,636 Speaker 3: listen to a Stevie Wonder record and his vocal is 377 00:25:42,676 --> 00:25:47,236 Speaker 3: so unbelievable, you know. And when you hear guys playing 378 00:25:47,236 --> 00:25:49,476 Speaker 3: in and out and singing in and out of tune, 379 00:25:49,956 --> 00:25:51,556 Speaker 3: it's kind of weird. You know. 380 00:25:51,796 --> 00:25:52,556 Speaker 1: What do you think about it? 381 00:25:53,156 --> 00:25:56,356 Speaker 3: Do how? I totally love everything they've ever done, and 382 00:25:56,436 --> 00:25:59,516 Speaker 3: I totally get it. But when I was young, I mean, 383 00:26:00,036 --> 00:26:03,276 Speaker 3: that's the only filter I had. Yeah, you know, is. 384 00:26:03,276 --> 00:26:06,596 Speaker 2: The difference between when you're a young, kind of hot 385 00:26:06,596 --> 00:26:10,196 Speaker 2: shot player and you're listening to Chad and it's precision 386 00:26:10,196 --> 00:26:10,916 Speaker 2: and it's beautiful, but. 387 00:26:10,876 --> 00:26:11,996 Speaker 1: There's a lot of soul and chat too. 388 00:26:12,036 --> 00:26:14,076 Speaker 2: But yeah, it's clearly there's that other bit of it 389 00:26:14,076 --> 00:26:18,316 Speaker 2: that's just you know, just another level of talent, and 390 00:26:18,316 --> 00:26:20,036 Speaker 2: then you're listening to the Beatles and the Stones and 391 00:26:20,076 --> 00:26:22,396 Speaker 2: it sounds slightly out of tune? Is that the difference 392 00:26:22,396 --> 00:26:25,076 Speaker 2: between learning to be a player and learning to make records? 393 00:26:25,916 --> 00:26:29,916 Speaker 3: Or I think the lesson when I look back on 394 00:26:29,956 --> 00:26:33,516 Speaker 3: it now was how good are the songs? You know 395 00:26:33,556 --> 00:26:39,876 Speaker 3: what I mean? So I could tell you in my 396 00:26:39,956 --> 00:26:42,916 Speaker 3: own recordings where I could have got the tuning a 397 00:26:42,916 --> 00:26:46,556 Speaker 3: bit better, but the feeling on the track was exactly 398 00:26:46,796 --> 00:26:49,796 Speaker 3: the right one, and I was willing to live with it. 399 00:26:50,196 --> 00:26:53,116 Speaker 3: And I think I learned that from, you know, hearing 400 00:26:53,116 --> 00:26:55,396 Speaker 3: the Rolling Stones and going it's a bit out of tune, 401 00:26:55,596 --> 00:26:58,596 Speaker 3: but boy doesn't it feel good? You know what I mean? 402 00:26:58,756 --> 00:27:01,036 Speaker 3: I had to learn that, and like I was saying, 403 00:27:01,396 --> 00:27:04,196 Speaker 3: you know, you just got to grow up a little 404 00:27:04,276 --> 00:27:08,916 Speaker 3: and see what works, you know, I mean, I still 405 00:27:10,156 --> 00:27:13,116 Speaker 3: it still bothers me. When a person comes up to 406 00:27:13,156 --> 00:27:15,676 Speaker 3: play for me and they're not in tune, it's like, 407 00:27:15,756 --> 00:27:18,556 Speaker 3: hang on a sec, just just take a second in 408 00:27:18,636 --> 00:27:24,036 Speaker 3: tune up, you know. And or I have an artist 409 00:27:24,116 --> 00:27:27,556 Speaker 3: who's opening for me on tour and I kind of 410 00:27:27,636 --> 00:27:30,916 Speaker 3: say at the start of at the run, you know, 411 00:27:31,356 --> 00:27:33,596 Speaker 3: make sure you check your tuning when you come out, 412 00:27:33,836 --> 00:27:36,796 Speaker 3: you know, And I'll do the same before I introduce you. 413 00:27:37,116 --> 00:27:39,596 Speaker 3: I'll make sure I'm dead in tune and all that. 414 00:27:39,876 --> 00:27:42,156 Speaker 3: So when we start to play that, it just is 415 00:27:42,236 --> 00:27:46,316 Speaker 3: right on. And there's been quite a few people who 416 00:27:46,356 --> 00:27:48,236 Speaker 3: are open for me who walked out and we went 417 00:27:48,276 --> 00:27:50,516 Speaker 3: into it and it's like that's how to tune and 418 00:27:50,556 --> 00:27:53,556 Speaker 3: they're smiling away and I'm like, no, no, no, this 419 00:27:53,636 --> 00:27:59,516 Speaker 3: is not good enough. Yeah, but yeah, tuning is so 420 00:28:00,476 --> 00:28:04,476 Speaker 3: it's so everything to me. You know. There are people 421 00:28:04,876 --> 00:28:10,356 Speaker 3: like Paco de Lucia. The last couple of times that 422 00:28:11,316 --> 00:28:16,116 Speaker 3: I saw him, I didn't see him tune once, but 423 00:28:16,236 --> 00:28:20,436 Speaker 3: I never heard anything at all, even the slightest bit 424 00:28:20,556 --> 00:28:24,596 Speaker 3: out of tune. He was so perfect in his tuning 425 00:28:24,956 --> 00:28:28,276 Speaker 3: and he's playing and everything that you know, it was 426 00:28:29,116 --> 00:28:31,716 Speaker 3: it was otherworldly, Like Steve, you wonder it was like 427 00:28:32,276 --> 00:28:38,036 Speaker 3: Paco was just another one of those gifted, incredible guys, you. 428 00:28:37,996 --> 00:28:40,596 Speaker 1: Know, one of the things you just can't explain probably. 429 00:28:40,316 --> 00:28:43,996 Speaker 3: Right, Yeah, He's just he's that good. It's on another level, 430 00:28:44,156 --> 00:28:49,276 Speaker 3: you know. And you never see him, you know, looking 431 00:28:49,316 --> 00:28:53,756 Speaker 3: at the tuna and he's just like he's he's ready 432 00:28:53,796 --> 00:28:56,476 Speaker 3: to play, and away he goes, and it's perfect, and 433 00:28:56,516 --> 00:28:59,956 Speaker 3: then he goes into the next song and it's perfect again. 434 00:29:00,236 --> 00:29:00,436 Speaker 3: You know. 435 00:29:01,836 --> 00:29:03,796 Speaker 2: I was watching a video of him recently from like 436 00:29:03,836 --> 00:29:10,436 Speaker 2: I think seventy nine. It was early eighties with. 437 00:29:08,556 --> 00:29:10,836 Speaker 3: When John and. 438 00:29:10,356 --> 00:29:14,196 Speaker 1: With John and I think this one was just solo 439 00:29:14,396 --> 00:29:15,876 Speaker 1: for some real or just the two. It was just 440 00:29:15,956 --> 00:29:17,516 Speaker 1: al And and Paco. 441 00:29:17,676 --> 00:29:20,636 Speaker 2: Yeah, And one of the one of the comments was, man, 442 00:29:20,716 --> 00:29:21,916 Speaker 2: Paco just smoked out. 443 00:29:22,956 --> 00:29:24,236 Speaker 1: I don't think he has a problem. 444 00:29:26,996 --> 00:29:31,396 Speaker 3: But there's only been one Paco, you know. And I 445 00:29:31,796 --> 00:29:36,236 Speaker 3: work with him in Germany and I played the first 446 00:29:36,316 --> 00:29:41,316 Speaker 3: hour and he played the second hour, right, and I 447 00:29:41,436 --> 00:29:45,596 Speaker 3: cried through the whole show. It just it brought me 448 00:29:45,676 --> 00:29:49,876 Speaker 3: to tears. It affected me emotionally on a little deep 449 00:29:50,076 --> 00:29:54,156 Speaker 3: level that that very rarely happens to me. But as 450 00:29:54,156 --> 00:29:57,316 Speaker 3: soon as he started to play, I was totally gone. 451 00:29:57,876 --> 00:30:00,276 Speaker 2: You know, when something like that happens for you, like, 452 00:30:00,756 --> 00:30:04,676 Speaker 2: is there any part of you that consciously or unconsciously 453 00:30:05,396 --> 00:30:10,716 Speaker 2: wants to or or and orporates something from that into 454 00:30:10,756 --> 00:30:12,476 Speaker 2: your own plane of course. 455 00:30:13,116 --> 00:30:17,516 Speaker 3: Of course, emotions are such an important part of my show. 456 00:30:18,116 --> 00:30:22,956 Speaker 3: You know, I want people to forget their troubles. I 457 00:30:23,036 --> 00:30:28,076 Speaker 3: want people not to be engaged in a way that 458 00:30:28,116 --> 00:30:33,196 Speaker 3: they're not thinking about you know, money, health, the future, 459 00:30:33,676 --> 00:30:39,156 Speaker 3: children or whatever. They're having a break from that. That's 460 00:30:39,236 --> 00:30:43,436 Speaker 3: my job. My job is to take you out of 461 00:30:43,476 --> 00:30:48,276 Speaker 3: your life that can be hard and at least give 462 00:30:48,316 --> 00:30:52,076 Speaker 3: you an hour and a half of respite from it. 463 00:30:53,836 --> 00:30:59,436 Speaker 3: This is today's reprieve from from stress and the strain 464 00:30:59,556 --> 00:31:05,716 Speaker 3: of life, you know, And so I definitely try to 465 00:31:05,796 --> 00:31:10,956 Speaker 3: surprise people because surprise is a big element in entertainment. 466 00:31:11,316 --> 00:31:15,676 Speaker 3: You know, it's an important tool that everybody who's good 467 00:31:15,676 --> 00:31:19,636 Speaker 3: at entertainment has surprised built in. You know, if you 468 00:31:19,716 --> 00:31:24,116 Speaker 3: go back to Charlie Chaplin and the Marx Brothers or 469 00:31:24,436 --> 00:31:29,036 Speaker 3: you know, anybody like that, you'll see that the funniest 470 00:31:29,036 --> 00:31:31,916 Speaker 3: part is when things don't turn out how you think, 471 00:31:32,036 --> 00:31:35,356 Speaker 3: or they just constantly surprise you. You know, it's what 472 00:31:35,396 --> 00:31:39,676 Speaker 3: I love about Penn and Teller. They do the same thing, 473 00:31:40,156 --> 00:31:42,716 Speaker 3: you know. And I think it was Penn who said, 474 00:31:43,356 --> 00:31:50,036 Speaker 3: you know what is entertainment, Well, surprise me, surprise me, 475 00:31:50,436 --> 00:31:55,436 Speaker 3: that's entertainment. Yeah, it's beautiful, and really I try to 476 00:31:55,516 --> 00:32:00,436 Speaker 3: keep things that simple, you know. And there are certain 477 00:32:00,556 --> 00:32:04,436 Speaker 3: songs that I play that are designed to make you 478 00:32:04,636 --> 00:32:07,196 Speaker 3: want to close your eyes and just go with it. 479 00:32:08,076 --> 00:32:08,316 Speaker 1: You know. 480 00:32:08,676 --> 00:32:12,836 Speaker 3: Somewhere over the Rainbow, that's a song that means so 481 00:32:12,996 --> 00:32:16,716 Speaker 3: much to people, you know. And I have a new 482 00:32:16,796 --> 00:32:20,796 Speaker 3: song that I that that I wrote for my youngest granddaughter. 483 00:32:21,156 --> 00:32:23,396 Speaker 3: I'll play a little bit of it to you. And 484 00:32:23,636 --> 00:32:26,036 Speaker 3: after I've been you know, hosing the hell out of 485 00:32:26,076 --> 00:32:29,476 Speaker 3: it and and and throwing all my stuff at at 486 00:32:29,556 --> 00:32:32,996 Speaker 3: everybody and getting the crowd going, now it's time for 487 00:32:33,036 --> 00:32:36,436 Speaker 3: them to have a little break for a minute. So 488 00:32:36,756 --> 00:32:38,076 Speaker 3: I just play this and I'll do. 489 00:33:19,876 --> 00:33:31,676 Speaker 4: About of. 490 00:34:33,156 --> 00:34:33,596 Speaker 1: That's good. 491 00:34:33,676 --> 00:34:37,756 Speaker 3: It's just real simple. But once I start playing it, 492 00:34:37,836 --> 00:34:43,236 Speaker 3: everybody has that moment to be able to just just 493 00:34:43,316 --> 00:34:46,116 Speaker 3: go with it, you know, And I do when I'm 494 00:34:46,116 --> 00:34:47,876 Speaker 3: playing it. I just go with it. 495 00:34:48,276 --> 00:34:51,996 Speaker 2: And there's no part of you that wants to do more. 496 00:34:52,316 --> 00:34:54,956 Speaker 3: No, it doesn't need anything else. It needs me to 497 00:34:54,996 --> 00:34:58,276 Speaker 3: play it with as much expression as I can, to 498 00:34:58,356 --> 00:35:01,516 Speaker 3: take my time, you know, just tell the story. 499 00:35:01,476 --> 00:35:02,956 Speaker 1: Yeah, that's really beautiful. 500 00:35:03,316 --> 00:35:09,196 Speaker 3: Thank you. That's little Georgia. She's four years old. I 501 00:35:09,196 --> 00:35:11,956 Speaker 3: wrote that for her for when she's like forty five 502 00:35:12,036 --> 00:35:14,316 Speaker 3: and she can play that song and say, oh, it's 503 00:35:14,316 --> 00:35:18,116 Speaker 3: who I really am. You know, So you you and. 504 00:35:20,436 --> 00:35:21,836 Speaker 1: Did you set out to write. 505 00:35:21,596 --> 00:35:25,956 Speaker 3: That for her? It I did, Yeah, when she was 506 00:35:25,956 --> 00:35:29,156 Speaker 3: only tawny. You know, she's four now. She was probably 507 00:35:29,196 --> 00:35:33,196 Speaker 3: two when I when I wrote that, I just had 508 00:35:33,956 --> 00:35:37,716 Speaker 3: a vision kind of thing of the woman she might 509 00:35:37,756 --> 00:35:39,276 Speaker 3: grow into. You know. 510 00:35:41,236 --> 00:35:43,876 Speaker 2: We'll be back with more from Tommy Emmanuel after the break. 511 00:35:47,916 --> 00:35:50,436 Speaker 2: I want to ask you about a few guitar players, okay, 512 00:35:50,556 --> 00:35:53,596 Speaker 2: and we can start with Paco since you were talking 513 00:35:53,596 --> 00:35:56,836 Speaker 2: about him. Is there anything he was doing that night 514 00:35:58,316 --> 00:36:01,076 Speaker 2: that brought you to tears that you can point to. 515 00:36:03,116 --> 00:36:05,556 Speaker 1: Tech like on the guitar in terms of whether it's 516 00:36:05,596 --> 00:36:09,076 Speaker 1: harmonically or melodically or everything. 517 00:36:09,796 --> 00:36:18,276 Speaker 3: It was absolutely everything. It was expression on an incredible level. 518 00:36:19,036 --> 00:36:26,916 Speaker 3: It was tone, It was chords that that were deep, 519 00:36:27,236 --> 00:36:31,396 Speaker 3: you know, that was stuff he was playing and it 520 00:36:31,476 --> 00:36:37,796 Speaker 3: was just the ultimate experience for me. You know, and 521 00:36:40,756 --> 00:36:43,916 Speaker 3: I couldn't point to one thing. It was just everything. 522 00:36:44,836 --> 00:36:48,116 Speaker 3: You know, there are some people like when I hear 523 00:36:48,196 --> 00:36:51,356 Speaker 3: Stevie ray Vaughn and I hear that Varbrado he's got 524 00:36:51,516 --> 00:36:54,316 Speaker 3: and stuff like that, and that's the tone that he 525 00:36:54,356 --> 00:36:59,036 Speaker 3: plays stuff with. Wow, it just touches me so much, 526 00:36:59,116 --> 00:37:02,796 Speaker 3: you know, And I can hear I can hear his 527 00:37:02,956 --> 00:37:07,236 Speaker 3: intense love for what he's doing in what he plays, 528 00:37:07,316 --> 00:37:10,556 Speaker 3: you know, yeah, and uh and then that goes for 529 00:37:10,836 --> 00:37:13,956 Speaker 3: so many people out there are so many good musicians 530 00:37:14,516 --> 00:37:17,636 Speaker 3: out there, and I'm just so grateful that people still 531 00:37:18,076 --> 00:37:19,396 Speaker 3: still want to see me play. 532 00:37:19,596 --> 00:37:23,116 Speaker 1: You know, you're you're a wonderful player and and and 533 00:37:23,116 --> 00:37:25,876 Speaker 1: and you come from you know, like one of the 534 00:37:25,876 --> 00:37:27,276 Speaker 1: people that you got to play with. It's one of 535 00:37:27,276 --> 00:37:31,396 Speaker 1: my favorites. And you're where you're part of that. 536 00:37:31,676 --> 00:37:35,356 Speaker 2: His lineage is as Lenny bros. A guy I lot with, 537 00:37:35,436 --> 00:37:41,236 Speaker 2: don't I already know about today, but phenomenal player, interesting guy. 538 00:37:41,396 --> 00:37:44,516 Speaker 3: From what I've read what he did in uh in 539 00:37:44,836 --> 00:37:49,236 Speaker 3: uh Sweet Georgia Brown with with with Chet when you 540 00:37:49,356 --> 00:38:33,556 Speaker 3: see so uh les and then away he went, he 541 00:38:33,676 --> 00:38:36,796 Speaker 3: went off into Lenny down land, and you know, Chet 542 00:38:36,836 --> 00:38:40,636 Speaker 3: stopped playing and he played the whole thing, you know. Yeah, 543 00:38:40,836 --> 00:38:43,876 Speaker 3: he was phenomenal. The day I was talking about when 544 00:38:44,036 --> 00:38:47,716 Speaker 3: I met Chet in nineteen eighty, I met Lenny that 545 00:38:47,876 --> 00:38:50,476 Speaker 3: day too. He was in Chet's office on the third level. 546 00:38:50,916 --> 00:38:52,516 Speaker 3: I took him to his gig that night. 547 00:38:53,956 --> 00:38:55,876 Speaker 1: Was he as wild as day? He was? 548 00:38:56,356 --> 00:39:02,476 Speaker 3: He was freaked out. It's a beautiful, beautiful soul. Wow. 549 00:39:02,676 --> 00:39:08,636 Speaker 3: He was a beautiful person and had a massive gift, 550 00:39:09,516 --> 00:39:14,316 Speaker 3: you know. And but he just I think Lenny just 551 00:39:14,476 --> 00:39:18,916 Speaker 3: saw well the world through his own kind of filters, 552 00:39:19,756 --> 00:39:20,916 Speaker 3: and that wasn't the. 553 00:39:20,956 --> 00:39:25,676 Speaker 1: Real world, you know, meaning just he was he was 554 00:39:25,796 --> 00:39:28,676 Speaker 1: living by different Yeah. 555 00:39:29,636 --> 00:39:34,716 Speaker 3: The lie is jazz players are supposed to work for 556 00:39:34,876 --> 00:39:38,876 Speaker 3: peanuts and and and stay with all their friends and 557 00:39:39,076 --> 00:39:43,316 Speaker 3: be down and out. I think that that's his you know. 558 00:39:44,196 --> 00:39:46,876 Speaker 3: I know most of the good jazz players I know 559 00:39:47,596 --> 00:39:52,956 Speaker 3: are exactly the opposite. They're great businessmen. They play because 560 00:39:52,996 --> 00:39:57,636 Speaker 3: they love it, but they know how how to work properly, 561 00:39:58,036 --> 00:39:58,236 Speaker 3: you know. 562 00:39:58,596 --> 00:40:02,516 Speaker 1: Yeah, But he model himself more after the Charlie Parker's, 563 00:40:03,276 --> 00:40:05,716 Speaker 1: the torture artists who couldn't That's. 564 00:40:05,556 --> 00:40:08,716 Speaker 3: What I was looking for. Yeah, I think I think 565 00:40:08,796 --> 00:40:12,876 Speaker 3: a lot people around him who encouraged him, and I 566 00:40:12,956 --> 00:40:18,796 Speaker 3: think in his life he was he was supposed to 567 00:40:18,876 --> 00:40:20,676 Speaker 3: be the torture genius. 568 00:40:21,356 --> 00:40:23,516 Speaker 2: You know, I want to ask you about this about 569 00:40:23,556 --> 00:40:26,236 Speaker 2: the plane too, But personality wise, I mean, and I 570 00:40:26,436 --> 00:40:29,436 Speaker 2: love that Chet and Leney record. Oh yeah, but they 571 00:40:29,556 --> 00:40:31,836 Speaker 2: seemed like they were just very chat seems like the 572 00:40:31,876 --> 00:40:33,116 Speaker 2: exact opposite totally. 573 00:40:33,276 --> 00:40:37,796 Speaker 3: Chet was. But Chad had such a beautiful heart for 574 00:40:39,236 --> 00:40:43,156 Speaker 3: people in need. You know, he helped everybody. You know, 575 00:40:43,236 --> 00:40:47,436 Speaker 3: I'm just one of millions he helped, you know. So 576 00:40:48,276 --> 00:40:51,676 Speaker 3: he was a beautiful guy. After Chet died and everything, 577 00:40:52,676 --> 00:40:55,676 Speaker 3: when they went through his desk and everything, they found 578 00:40:55,756 --> 00:40:58,756 Speaker 3: little notes from you know, Chet, can I have another 579 00:40:58,916 --> 00:41:02,956 Speaker 3: ten thousand dollars? I promise I'll pay it back, love Lenny. 580 00:41:03,396 --> 00:41:06,396 Speaker 3: You know, Chet gave him money and stuff like that 581 00:41:06,996 --> 00:41:07,756 Speaker 3: to help him out. 582 00:41:08,196 --> 00:41:10,196 Speaker 1: You know, he's had a big hope for him. 583 00:41:10,236 --> 00:41:12,516 Speaker 3: But the last time I saw Lennie, he was playing 584 00:41:12,636 --> 00:41:18,196 Speaker 3: at Dante's here in La and I walked in and 585 00:41:18,396 --> 00:41:23,196 Speaker 3: sat down and it was him playing that electric Kirk 586 00:41:23,316 --> 00:41:26,516 Speaker 3: sand with the extra high string. He had a bass 587 00:41:26,556 --> 00:41:29,596 Speaker 3: player and a drummer and there were three people in 588 00:41:29,676 --> 00:41:32,476 Speaker 3: the room. You know, it should have been three hundred. 589 00:41:32,996 --> 00:41:36,996 Speaker 3: There were like three people in the room, and I 590 00:41:37,196 --> 00:41:39,836 Speaker 3: sat down and he was playing away and he looked 591 00:41:39,876 --> 00:41:42,796 Speaker 3: up and he went like that because he recognized me 592 00:41:43,116 --> 00:41:45,836 Speaker 3: like that. And then in the middle of whatever he 593 00:41:45,996 --> 00:41:50,676 Speaker 3: was playing, Giant Steps or something, he quoted wal Cie Matilda. 594 00:41:53,156 --> 00:41:55,996 Speaker 3: He did that in the middle of the solo, you know, 595 00:41:56,236 --> 00:42:00,716 Speaker 3: a classic. And then I went up and talked to 596 00:42:00,836 --> 00:42:04,796 Speaker 3: him in the break, and he seemed in really good shape. 597 00:42:04,876 --> 00:42:08,716 Speaker 3: He was teaching at g T in those days, which 598 00:42:08,756 --> 00:42:13,196 Speaker 3: is Missians Institute, and I thought he was going to 599 00:42:13,436 --> 00:42:17,076 Speaker 3: really do well. He was gone not long after that, 600 00:42:17,636 --> 00:42:18,596 Speaker 3: in eighty four. 601 00:42:19,556 --> 00:42:22,956 Speaker 2: And what made Chet and Lenny's playing work because they 602 00:42:22,996 --> 00:42:27,676 Speaker 2: are both you wouldn't think because they're so their own players, 603 00:42:27,716 --> 00:42:31,436 Speaker 2: and they are so they can both do a lot well. 604 00:42:31,796 --> 00:42:34,636 Speaker 3: I can relate to it because when I play with 605 00:42:34,796 --> 00:42:39,516 Speaker 3: people like Martin Taylor or Frank Rignola who have a 606 00:42:39,756 --> 00:42:44,436 Speaker 3: much bigger, bolder chord knowledge than I have. I'm the 607 00:42:44,556 --> 00:42:47,396 Speaker 3: melody guy, you know what I mean. So if you 608 00:42:47,516 --> 00:42:58,516 Speaker 3: think about what what what Chet played in that, he 609 00:42:58,676 --> 00:43:14,476 Speaker 3: played the singer's part. Lenny play, he played all those 610 00:43:14,516 --> 00:43:20,476 Speaker 3: beautiful shapes underneath, you know. And I have the same experience, 611 00:43:21,916 --> 00:43:26,196 Speaker 3: so I can relate to what chat like me. He's 612 00:43:26,276 --> 00:43:30,116 Speaker 3: a song player, where we want to play like a singer, 613 00:43:30,716 --> 00:43:34,316 Speaker 3: you know. So first thing you got to do is 614 00:43:34,436 --> 00:43:37,916 Speaker 3: learn the melody right as if it was being sung, 615 00:43:38,556 --> 00:43:41,036 Speaker 3: and then find the person to give you the right 616 00:43:41,156 --> 00:43:44,476 Speaker 3: chords underneath, or learn them yourself, and then show them 617 00:43:44,796 --> 00:43:50,036 Speaker 3: show them to somebody, you know, Like I remember when 618 00:43:50,116 --> 00:43:53,516 Speaker 3: I learned the Nearness of You, the first thing I 619 00:43:53,636 --> 00:43:57,276 Speaker 3: did is listen to Ela Fitzgerald Singer and Frank Sinatra. 620 00:43:57,716 --> 00:44:01,396 Speaker 3: They're like my two signs, you know, go this way 621 00:44:01,476 --> 00:44:04,876 Speaker 3: and go that way, and find which way works for you, 622 00:44:05,516 --> 00:44:09,076 Speaker 3: you know. And then when I played it with Martin Taylor, 623 00:44:09,716 --> 00:44:14,676 Speaker 3: he had some slightly more B bop changes in in 624 00:44:14,876 --> 00:44:18,476 Speaker 3: the uh in the section of something let's see. 625 00:44:27,436 --> 00:44:28,316 Speaker 1: His is do. 626 00:44:51,636 --> 00:44:56,156 Speaker 3: Let's see that. That's like that piano sound. So the 627 00:44:56,276 --> 00:45:13,676 Speaker 3: original was it went to that sound? Oh, no, like that, 628 00:45:14,156 --> 00:45:17,476 Speaker 3: so it was a little more orchestral sounding, you know, 629 00:45:18,156 --> 00:45:22,676 Speaker 3: And I like that kind of piano thing, you know. 630 00:45:24,756 --> 00:45:26,996 Speaker 1: Oh you like what he did, yeah, yeah. 631 00:45:27,596 --> 00:45:30,596 Speaker 3: So when I play it with with Martin, I play 632 00:45:30,716 --> 00:45:33,156 Speaker 3: his changes, because that's really like when I play it 633 00:45:33,236 --> 00:45:35,876 Speaker 3: with someone else, I play I try to remember their 634 00:45:36,036 --> 00:45:40,476 Speaker 3: changes so they're in their their zone, you know. Yeah. 635 00:45:40,876 --> 00:45:44,676 Speaker 3: And also the other thing that I think I learned 636 00:45:44,716 --> 00:45:48,396 Speaker 3: from Chat was like when the bridge comes around, if 637 00:45:48,436 --> 00:45:51,756 Speaker 3: you listen to the bridge in the ninas of you, 638 00:45:52,636 --> 00:45:56,476 Speaker 3: Ella Fitzgerald just sings it exactly. All my sound was 639 00:45:56,516 --> 00:46:18,076 Speaker 3: written just as simple as that. I don't need to 640 00:46:18,156 --> 00:46:22,196 Speaker 3: be going, you know, because I can do. You know, well, 641 00:46:22,196 --> 00:46:25,716 Speaker 3: look at all this stuff. I know, I purposely stay 642 00:46:25,756 --> 00:46:30,636 Speaker 3: away from that, you know, to honor the song and 643 00:46:30,796 --> 00:46:33,956 Speaker 3: to play the song right. Yeah, you know, there's guys 644 00:46:33,996 --> 00:46:36,076 Speaker 3: out there, like I remember the first time I saw 645 00:46:36,196 --> 00:46:40,276 Speaker 3: George Benson. It was about seventy nine, and George was 646 00:46:40,516 --> 00:46:43,316 Speaker 3: just like he was so damn good. It was like 647 00:46:43,796 --> 00:46:46,796 Speaker 3: from the very first bar of the first song, your 648 00:46:46,916 --> 00:46:49,796 Speaker 3: jaw hit the ground and it never came up, you know, 649 00:46:50,196 --> 00:46:52,396 Speaker 3: it was it was so incredible. 650 00:46:53,156 --> 00:46:54,716 Speaker 1: And I bought. 651 00:46:54,596 --> 00:46:57,276 Speaker 3: Tickets to both shows that he did. He did a 652 00:46:57,436 --> 00:47:00,316 Speaker 3: matinee and then an evening show, and I went to 653 00:47:00,396 --> 00:47:04,196 Speaker 3: both shows and he was he was beyond anything I'd 654 00:47:04,236 --> 00:47:15,436 Speaker 3: ever seen, you know. And he started with yeah, all 655 00:47:15,516 --> 00:47:20,996 Speaker 3: that stuff, and but but the stuff that he improvised 656 00:47:21,356 --> 00:47:25,276 Speaker 3: to start the song was like it just blew everyone away, 657 00:47:25,476 --> 00:47:27,676 Speaker 3: you know. And two of my dear friends who were 658 00:47:27,756 --> 00:47:31,636 Speaker 3: teachers at the Conservatorium in in Sydney in those days, 659 00:47:32,276 --> 00:47:35,996 Speaker 3: they were they were biggrudgingly going to the show because 660 00:47:36,076 --> 00:47:38,556 Speaker 3: I bought tickets for them, and they're like, we didn't 661 00:47:38,556 --> 00:47:41,476 Speaker 3: want to see this guy. We want a real jazz musician, 662 00:47:41,716 --> 00:47:46,436 Speaker 3: you know. And of course George in the first song. Yeah, 663 00:47:46,596 --> 00:47:50,236 Speaker 3: And they said to me afterwards, well, we heard more 664 00:47:50,356 --> 00:47:53,356 Speaker 3: music in his cadenzas than we've ever heard, you know. 665 00:47:53,916 --> 00:47:55,036 Speaker 3: And that's what he was like. 666 00:47:55,356 --> 00:47:57,316 Speaker 2: That's the thing about George Benson, I was like, you know, 667 00:47:57,356 --> 00:47:59,516 Speaker 2: because he can disappear into the song like you know, 668 00:47:59,596 --> 00:48:03,956 Speaker 2: I mean, he can be the pop guy, but he's 669 00:48:04,516 --> 00:48:06,756 Speaker 2: you know, everything he does could be a bebop guy. 670 00:48:06,876 --> 00:48:09,276 Speaker 1: He could. I mean, he could go. 671 00:48:09,356 --> 00:48:12,196 Speaker 3: Back to the early records, you know, It's Uptown and 672 00:48:12,556 --> 00:48:16,316 Speaker 3: George Benson Cookbook. Oh my god, some of those tunes. 673 00:48:16,356 --> 00:48:21,516 Speaker 3: It's so extraordinary, you know. And yeah, when you talk 674 00:48:21,596 --> 00:48:25,116 Speaker 3: with George about his early days, he can tell you 675 00:48:25,516 --> 00:48:28,396 Speaker 3: who he listened to and what they played, and where 676 00:48:28,436 --> 00:48:32,516 Speaker 3: he got ideas from from the organ players and horned players, 677 00:48:32,636 --> 00:48:35,716 Speaker 3: I mean just everything. He remembers everything he's got an 678 00:48:35,756 --> 00:48:37,196 Speaker 3: amazing mind. Credible. 679 00:48:37,796 --> 00:48:41,276 Speaker 1: Do you remember hearing Joe Pass for the first time? Oh? 680 00:48:42,196 --> 00:48:47,876 Speaker 3: Yeah, Well, when I first heard Joe Pass, I was 681 00:48:48,036 --> 00:48:50,396 Speaker 3: still discovering jazz. 682 00:48:51,036 --> 00:48:51,196 Speaker 1: You know. 683 00:48:51,396 --> 00:48:56,036 Speaker 3: When I was young, we didn't listen to jazz, you know, 684 00:48:56,316 --> 00:49:00,236 Speaker 3: we didn't listen to classical music either. I had to 685 00:49:00,396 --> 00:49:05,996 Speaker 3: get away from my family environment and move to the 686 00:49:06,116 --> 00:49:10,156 Speaker 3: city to meet people who were big into a music 687 00:49:10,276 --> 00:49:14,356 Speaker 3: that I'd never experienced. And it was somebody opened a 688 00:49:14,436 --> 00:49:17,996 Speaker 3: door for me and I saw some guitar players. I said, 689 00:49:18,236 --> 00:49:20,676 Speaker 3: what the hell is that? What is this thing you're doing? 690 00:49:20,756 --> 00:49:25,916 Speaker 3: He said, Oh, it's Where's Montgomery, you know, it's where 691 00:49:26,316 --> 00:49:29,756 Speaker 3: Who's Where's Montgomery? Well, here's some records. Go away and listen, 692 00:49:29,916 --> 00:49:32,556 Speaker 3: you know, and then you know, you've got to listen 693 00:49:32,636 --> 00:49:34,356 Speaker 3: to Joe Pass. You've got to listen to you know. 694 00:49:34,716 --> 00:49:37,516 Speaker 3: And I discovered all those guys. I was about eighteen, 695 00:49:38,316 --> 00:49:42,596 Speaker 3: you know, and it was just a whole new world 696 00:49:43,036 --> 00:49:46,516 Speaker 3: for me, you know. And over the years, one of 697 00:49:46,596 --> 00:49:48,996 Speaker 3: the things that I noticed about the players that I 698 00:49:49,156 --> 00:49:53,116 Speaker 3: really loved is that you could sing their solos. You 699 00:49:53,236 --> 00:49:57,396 Speaker 3: could learn how to sing what they improvised because it 700 00:49:57,516 --> 00:50:01,116 Speaker 3: was so singable, you know. It was beautiful, and Chat 701 00:50:01,196 --> 00:50:06,156 Speaker 3: always did that with his solos. You know, anybody who's 702 00:50:06,436 --> 00:50:09,516 Speaker 3: listened to Chet, they'll go straight in to sing his 703 00:50:10,036 --> 00:50:13,316 Speaker 3: improvised soul because it's totally singable. 704 00:50:14,716 --> 00:50:16,956 Speaker 1: We'll be back with Tommy Emmanuel. 705 00:50:20,516 --> 00:50:22,756 Speaker 2: Going back a bit to our Stevie conversation while we're 706 00:50:22,756 --> 00:50:27,156 Speaker 2: talking about the guitar players and just about how there's 707 00:50:27,156 --> 00:50:30,796 Speaker 2: something maybe extra sensory happening with Steve, even though he 708 00:50:30,956 --> 00:50:33,116 Speaker 2: doesn't have one of his senses, there's certainly something extra 709 00:50:33,196 --> 00:50:34,236 Speaker 2: sensory happening with him. 710 00:50:34,356 --> 00:50:35,356 Speaker 3: Oh. Absolutely. 711 00:50:35,716 --> 00:50:40,796 Speaker 1: Do I have a right that you learned how to 712 00:50:40,996 --> 00:50:44,076 Speaker 1: do harmonics like Chad Atkins through a dream? 713 00:50:44,556 --> 00:50:50,036 Speaker 3: Yeah? Yeah. I don't tell this story on stage, but 714 00:50:50,316 --> 00:50:54,876 Speaker 3: the truth is, I said, I wanted to make this sound. 715 00:50:54,996 --> 00:50:58,076 Speaker 3: I'll show you what I'm talking about. This sound here, 716 00:51:12,076 --> 00:51:15,356 Speaker 3: that sound there. I couldn't figure out how he was 717 00:51:15,476 --> 00:51:23,356 Speaker 3: doing that right, and I just I asked people. I 718 00:51:25,116 --> 00:51:29,116 Speaker 3: tried to find videos that might have someone doing that. 719 00:51:29,196 --> 00:51:31,916 Speaker 3: I never saw anybody do it. I just couldn't figure 720 00:51:31,996 --> 00:51:37,676 Speaker 3: it out. And one night I had a dream, and 721 00:51:38,076 --> 00:51:41,516 Speaker 3: in the the dream was so quick and it was 722 00:51:41,676 --> 00:51:45,516 Speaker 3: just it was simply this. It was like a red 723 00:51:45,676 --> 00:51:49,676 Speaker 3: velvet curtain. Spotlight came on. Chad Atkins came out in 724 00:51:49,756 --> 00:51:53,756 Speaker 3: a tuxedo with his gretch guitar and he sat down 725 00:51:53,836 --> 00:51:56,076 Speaker 3: on a chair and he went deliver and he did 726 00:51:56,156 --> 00:52:00,756 Speaker 3: it like this, up and down. And then that's all 727 00:52:00,836 --> 00:52:07,356 Speaker 3: I remember. When I woke up, somehow I knew I 728 00:52:07,476 --> 00:52:10,036 Speaker 3: knew that I knew how to do it, and I 729 00:52:10,156 --> 00:52:15,836 Speaker 3: picked up the guitar and I went, there it is, 730 00:52:16,236 --> 00:52:21,996 Speaker 3: you know what I mean. Yeah, And the only answer 731 00:52:22,116 --> 00:52:25,196 Speaker 3: to that that I could come up with that was 732 00:52:25,276 --> 00:52:32,796 Speaker 3: logical is that maybe my subconscious figured it out and 733 00:52:32,996 --> 00:52:36,516 Speaker 3: showed it to my conscious part of the brain, and 734 00:52:36,636 --> 00:52:39,716 Speaker 3: when I woke up, my conscious said, this is it. 735 00:52:40,636 --> 00:52:43,636 Speaker 3: That's the only thing I can still. 736 00:52:43,476 --> 00:52:46,596 Speaker 2: Pretty wild, you mean, really, I mean, even if that 737 00:52:46,836 --> 00:52:50,436 Speaker 2: is the logical explanation that your brain can do, that 738 00:52:50,996 --> 00:52:54,236 Speaker 2: that your brain did, that is really interesting. 739 00:52:55,476 --> 00:53:00,156 Speaker 3: Sometimes things happen and you can't explain them. I always 740 00:53:00,276 --> 00:53:03,916 Speaker 3: call it. A white man calls it coincidence. You know 741 00:53:03,996 --> 00:53:08,636 Speaker 3: what I mean, because you know, when you look at 742 00:53:08,756 --> 00:53:12,316 Speaker 3: what's going on in the world, you know that we're 743 00:53:12,396 --> 00:53:16,676 Speaker 3: all the same, We're all connected, and it doesn't matter 744 00:53:16,756 --> 00:53:19,636 Speaker 3: where we come from, what color we are, and none 745 00:53:19,676 --> 00:53:23,236 Speaker 3: of that stuff matters. That we're all pretty much the same, 746 00:53:24,716 --> 00:53:29,276 Speaker 3: and we have to find why we're here. You know, 747 00:53:30,116 --> 00:53:34,516 Speaker 3: I'm lucky because when I was little, all I wanted 748 00:53:34,556 --> 00:53:40,116 Speaker 3: to do was make music, and I just found something 749 00:53:40,996 --> 00:53:49,156 Speaker 3: that I was so passionate about. And I still am. 750 00:53:49,796 --> 00:53:53,116 Speaker 3: I still want to play as much today as I 751 00:53:53,236 --> 00:53:55,916 Speaker 3: did when I was six years old. You know, it's 752 00:53:55,956 --> 00:54:00,396 Speaker 3: the same. It's exactly the same passion. It's just ignited 753 00:54:00,596 --> 00:54:04,956 Speaker 3: by the amount of information that's coming at me from 754 00:54:05,036 --> 00:54:07,796 Speaker 3: the people I listened to. See a lot of guitar 755 00:54:07,916 --> 00:54:12,436 Speaker 3: players don't look at the big picture, you know. And 756 00:54:13,156 --> 00:54:18,116 Speaker 3: those years from nineteen seventy to nineteen eighty were really 757 00:54:18,236 --> 00:54:25,196 Speaker 3: important in my growth and my knowledge as a songwriter, 758 00:54:25,836 --> 00:54:28,916 Speaker 3: as a player who can write a song. And that 759 00:54:29,156 --> 00:54:33,916 Speaker 3: was because all I listened to were great singers, great songwriters, 760 00:54:34,356 --> 00:54:38,316 Speaker 3: you know, people whose music was what was still wonderful, 761 00:54:38,436 --> 00:54:42,796 Speaker 3: you know. I remember in seventy one, I was playing 762 00:54:42,836 --> 00:54:45,156 Speaker 3: in a band and we were doing covers. We were 763 00:54:45,236 --> 00:54:50,636 Speaker 3: playing Chuck Berry, Credence, Beatles, Rolling Stones, all that stuff. 764 00:54:50,756 --> 00:54:54,836 Speaker 3: Was a great band to be in. And I bought 765 00:54:54,876 --> 00:54:58,236 Speaker 3: a little turntable and a speaker and everything. Put it 766 00:54:58,316 --> 00:55:01,836 Speaker 3: in my little caravan that I had, and I bought 767 00:55:02,876 --> 00:55:05,716 Speaker 3: American Pie because it came out. It was on the 768 00:55:05,836 --> 00:55:09,676 Speaker 3: radio every five minutes. You heard bye Bye Me basically 769 00:55:09,756 --> 00:55:11,756 Speaker 3: the whole thing, the whole song. Oh yeah, wow, yeah. 770 00:55:12,196 --> 00:55:17,476 Speaker 3: So I had American Pie album, Carol King's Tapestry album, 771 00:55:17,996 --> 00:55:24,676 Speaker 3: and Chris Christofferson's Silver Tounge Devil album. What an album. 772 00:55:25,396 --> 00:55:31,036 Speaker 3: So that's nineteen seventy one. You know, that started me going, 773 00:55:31,116 --> 00:55:33,116 Speaker 3: oh my god, I listen to this music. And then 774 00:55:33,876 --> 00:55:38,396 Speaker 3: you know, I played in different bands and there were 775 00:55:38,476 --> 00:55:43,356 Speaker 3: some people who were big into Stevie Wonder and stuff 776 00:55:43,436 --> 00:55:45,476 Speaker 3: like that, and so I had to learn all this 777 00:55:45,756 --> 00:55:48,676 Speaker 3: R and B music as well, and so and so 778 00:55:48,956 --> 00:55:54,676 Speaker 3: my education really began then, you know, in pop music 779 00:55:55,076 --> 00:55:58,956 Speaker 3: and all that sort of stuff. And Chet Atkins came 780 00:55:59,036 --> 00:56:03,036 Speaker 3: out with an album called chet Picks on the Beatles, right, 781 00:56:04,116 --> 00:56:16,356 Speaker 3: and that's when he first did that, right, that lead do. 782 00:56:17,236 --> 00:56:19,756 Speaker 3: I worked out how to do that, and then I 783 00:56:20,396 --> 00:57:03,956 Speaker 3: started messing with it, giving it a backbeat. And when 784 00:57:04,036 --> 00:57:08,636 Speaker 3: I was first doing my solo thing, I would go 785 00:57:08,716 --> 00:57:11,316 Speaker 3: into that tune and people were like, you know, they'd 786 00:57:11,356 --> 00:57:14,556 Speaker 3: never heard anybody play that. You know, they're all the 787 00:57:14,596 --> 00:57:17,396 Speaker 3: parts at the same time, and so I was only 788 00:57:17,476 --> 00:57:20,516 Speaker 3: doing Lady Madonna that way. So then I started working 789 00:57:20,556 --> 00:57:38,996 Speaker 3: out other things like and so forth, and then I 790 00:57:39,076 --> 00:57:51,556 Speaker 3: came right, you can train yourself to do that stuff. 791 00:57:51,636 --> 00:57:53,876 Speaker 3: You just have to work it out and then be 792 00:57:53,996 --> 00:57:56,556 Speaker 3: willing to put the time in. You know what I mean, 793 00:57:56,796 --> 00:58:01,916 Speaker 3: Because someone who hasn't played a lot comes up and says, 794 00:58:01,956 --> 00:58:04,556 Speaker 3: I want to learn Lady Madonna, and I said, well, 795 00:58:04,556 --> 00:58:06,556 Speaker 3: you're going to have to. You're going to have to 796 00:58:06,676 --> 00:58:10,316 Speaker 3: learn it bar by bar because because it's two completely 797 00:58:10,436 --> 00:58:15,956 Speaker 3: separate parts. So you got the piano party, you got that, 798 00:58:16,316 --> 00:58:22,356 Speaker 3: then you got them, you got the melody part Paul 799 00:58:22,436 --> 00:58:25,316 Speaker 3: McCartney's singing bit, right, So you go to the two 800 00:58:25,396 --> 00:58:28,956 Speaker 3: at the same time. So here's here's what it sounds 801 00:58:29,116 --> 00:58:43,276 Speaker 3: like at a learner's pace. You ready, that's the first 802 00:58:43,316 --> 00:58:46,516 Speaker 3: two bars. Go away and play that for all day 803 00:58:46,596 --> 00:58:49,276 Speaker 3: to day and tomorrow. I'll see you the next day 804 00:58:49,276 --> 00:58:51,716 Speaker 3: and we'll learn the next two bars. That's kind of 805 00:58:51,796 --> 00:58:54,836 Speaker 3: what it's like to learn something complicated like that. And 806 00:58:54,996 --> 00:58:57,036 Speaker 3: is that how when you first started putting the style together? 807 00:58:57,196 --> 00:59:00,116 Speaker 3: Is that how you would or were you already? No, 808 00:59:01,236 --> 00:59:02,796 Speaker 3: I was wanting to get to the end of it, 809 00:59:02,916 --> 00:59:05,436 Speaker 3: so I could do it all again, right, But then 810 00:59:05,556 --> 00:59:09,836 Speaker 3: I learned along the way that you can if you 811 00:59:09,916 --> 00:59:11,716 Speaker 3: want to, you can piece it together, but you've got 812 00:59:11,836 --> 00:59:14,956 Speaker 3: to stop and fix the bumps in the road where 813 00:59:14,956 --> 00:59:17,836 Speaker 3: you're struggling, you know what I mean. So you want 814 00:59:17,876 --> 00:59:22,436 Speaker 3: it to be like that, right, But sometimes it's like, 815 00:59:22,996 --> 00:59:25,956 Speaker 3: you know, there's a there's some bumps and anything because 816 00:59:26,036 --> 00:59:29,156 Speaker 3: you haven't practiced it and smoothed it out yet, you know. 817 00:59:30,236 --> 00:59:35,036 Speaker 3: So beyond that beginner's one though, because then you have 818 00:59:35,116 --> 00:59:38,036 Speaker 3: to add the courts, yeah, or you don't have to, 819 00:59:38,236 --> 00:59:49,276 Speaker 3: but you do, well, I add the backbeat, right. So, 820 00:59:51,116 --> 00:59:55,236 Speaker 3: but when I'm playing it, I've practiced it enough that 821 00:59:55,396 --> 00:59:58,076 Speaker 3: I'm not thinking about all the technique of playing it, 822 00:59:58,236 --> 01:00:01,196 Speaker 3: all the stuff that's going on. I'm only thinking about 823 01:00:01,476 --> 01:00:06,236 Speaker 3: Lady Madonna. I wonder how. 824 01:00:07,596 --> 01:00:10,756 Speaker 4: Again funds the money? 825 01:00:11,036 --> 01:00:13,756 Speaker 3: You know what I mean. I'm totally into the melody 826 01:00:13,956 --> 01:00:17,396 Speaker 3: and singing it. That's why it feels that way. But 827 01:00:17,636 --> 01:00:19,996 Speaker 3: if all the rest of it doesn't happen, right, I 828 01:00:20,116 --> 01:00:23,236 Speaker 3: have to stop and make sure that it does, you know. 829 01:00:23,596 --> 01:00:27,956 Speaker 3: But that hasn't happened yet, so, you know what I mean? 830 01:00:28,156 --> 01:00:29,436 Speaker 1: Those fast licks. 831 01:00:29,676 --> 01:00:38,876 Speaker 3: You're able to do it Ray Charles, Ray Charles. It's 832 01:00:38,916 --> 01:00:42,636 Speaker 3: not even super clear. It's purposely a little bit muffled, 833 01:00:43,796 --> 01:00:45,956 Speaker 3: you know what I mean. That makes it even funkier 834 01:00:46,676 --> 01:01:12,916 Speaker 3: if you go back to Jerry Reid's the claw all right, 835 01:01:12,996 --> 01:01:23,556 Speaker 3: so that says piano and he's put it on the guitar. 836 01:01:23,796 --> 01:01:27,036 Speaker 3: You know, when I met Jerry the very first time, 837 01:01:27,716 --> 01:01:31,076 Speaker 3: I said, how on earth did you end up writing 838 01:01:31,196 --> 01:01:34,276 Speaker 3: and playing and singing this, you know, and He's just 839 01:01:34,396 --> 01:01:36,356 Speaker 3: looked at me and he said, I'm just trying to 840 01:01:36,396 --> 01:01:39,556 Speaker 3: be Ray Charles. Man, I'm just trying to be Ray. Yeah, 841 01:01:39,756 --> 01:01:43,516 Speaker 3: And it answered everything for me, you know. You know, 842 01:01:43,796 --> 01:01:50,956 Speaker 3: you cannot underestimate the influence of Ray Charles in modern music, 843 01:01:51,636 --> 01:01:56,876 Speaker 3: in all music. Ray has has his place up here. Yeah. Yeah, yeah. 844 01:01:59,236 --> 01:02:01,996 Speaker 3: I have a daughter, Rachel, and we purposely named a 845 01:02:02,116 --> 01:02:04,436 Speaker 3: Rachel so we could shorten it to Ray and just 846 01:02:04,516 --> 01:02:05,756 Speaker 3: say his name all the time. 847 01:02:05,916 --> 01:02:07,596 Speaker 1: That's great, that's great. 848 01:02:07,836 --> 01:02:08,036 Speaker 3: Yeah. 849 01:02:08,396 --> 01:02:09,996 Speaker 2: And at this point do you are you have you 850 01:02:10,196 --> 01:02:12,756 Speaker 2: done this enough that you sort of know based on 851 01:02:13,236 --> 01:02:16,196 Speaker 2: where you're playing the melody, like what like how you 852 01:02:16,236 --> 01:02:17,876 Speaker 2: can play an A there or a g. 853 01:02:18,156 --> 01:02:25,876 Speaker 3: Well, yeah, that's a written key. I think, and I'm 854 01:02:25,916 --> 01:02:28,636 Speaker 3: always looking for the best key to play a song 855 01:02:28,756 --> 01:02:34,516 Speaker 3: in any way, but a song like that, I'm trying 856 01:02:34,556 --> 01:02:36,836 Speaker 3: to learn the melody right and then move the chords 857 01:02:38,596 --> 01:02:42,636 Speaker 3: underneath it, you know. And I just started doing that 858 01:02:42,716 --> 01:02:45,236 Speaker 3: because I was doing a TV show in Australia and 859 01:02:45,396 --> 01:02:52,716 Speaker 3: they said, we were hoping you might play what's that 860 01:02:52,876 --> 01:02:57,356 Speaker 3: song called You're My wonder Wall? Wonder He said, every 861 01:02:57,596 --> 01:03:00,716 Speaker 3: every guest has to play wonder Wall. And I said, 862 01:03:01,356 --> 01:03:04,796 Speaker 3: wonder Wall. I know the song, but I you know, 863 01:03:05,396 --> 01:03:08,436 Speaker 3: it's not a song that I thought I would want 864 01:03:08,476 --> 01:03:12,356 Speaker 3: to arrange, right So before the show, like a minute 865 01:03:12,396 --> 01:03:16,156 Speaker 3: before the show, I started going, oh yeah, I think 866 01:03:16,196 --> 01:03:18,556 Speaker 3: I can make it work, you know. And it actually 867 01:03:18,676 --> 01:03:22,556 Speaker 3: is a really great song. Yeah yeah, and I've still 868 01:03:22,596 --> 01:03:24,396 Speaker 3: got to work on it. I just throw it in 869 01:03:24,516 --> 01:03:29,796 Speaker 3: occasion the union happening and all that, you know, but 870 01:03:30,236 --> 01:03:34,436 Speaker 3: it doesn't it doesn't have musically the big the big 871 01:03:34,596 --> 01:03:37,316 Speaker 3: payoff that like he comes the chorus, you know what 872 01:03:37,356 --> 01:03:38,916 Speaker 3: I mean, The whole thing is this. 873 01:03:39,956 --> 01:03:41,996 Speaker 1: Yeah, but not in a bad way, but in a 874 01:03:42,036 --> 01:03:42,476 Speaker 1: good way. 875 01:03:42,596 --> 01:03:47,436 Speaker 3: Yeah yeah. But see, songs like that sometimes don't work instrumentally. 876 01:03:48,076 --> 01:03:51,836 Speaker 3: This is why, you know, a lot of times people saying, 877 01:03:51,996 --> 01:03:54,996 Speaker 3: why don't you play blah blah blah, or my son's 878 01:03:55,076 --> 01:03:58,876 Speaker 3: learning this Ed Sheeran song or whatever. I love Edge Shearing, right, 879 01:03:59,556 --> 01:04:03,956 Speaker 3: But not all songs that are popular make good instrumentals, 880 01:04:04,476 --> 01:04:07,836 Speaker 3: you know, and instrumental has to be interesting, has to 881 01:04:07,956 --> 01:04:11,236 Speaker 3: tell you a story and take you somewhere. And sometimes 882 01:04:11,996 --> 01:04:15,916 Speaker 3: if you don't know the lyric and you're just listening 883 01:04:16,036 --> 01:04:19,196 Speaker 3: to it as a song, it can get boring. But 884 01:04:19,316 --> 01:04:24,956 Speaker 3: there are certain songs that really work as instruments. For instance, 885 01:04:26,236 --> 01:04:29,556 Speaker 3: years ago, I was asked to do a to submit 886 01:04:29,636 --> 01:04:33,436 Speaker 3: a track as a tribute to Bert Bachac right, And 887 01:04:33,756 --> 01:04:37,356 Speaker 3: of course I wanted to play this guy's in love 888 01:04:37,476 --> 01:04:40,676 Speaker 3: or one of those early songs of his, and some 889 01:04:40,876 --> 01:04:43,476 Speaker 3: other artists had already done it, and the only song 890 01:04:43,636 --> 01:04:47,876 Speaker 3: left was Close to You by the Carpenters, which is 891 01:04:47,996 --> 01:04:51,796 Speaker 3: a Burt Backrack song. Right. It's a masterpiece, that song, 892 01:04:52,116 --> 01:04:55,716 Speaker 3: but nobody wanted to touch it, and I said, great, 893 01:04:56,836 --> 01:04:59,196 Speaker 3: that's my reason for doing it, right there, I love 894 01:04:59,276 --> 01:05:03,796 Speaker 3: the song and how can I make it? How can 895 01:05:03,836 --> 01:05:07,276 Speaker 3: I breathe some new life into a song that's been 896 01:05:07,396 --> 01:05:11,756 Speaker 3: done so much? So I went looking for the right 897 01:05:11,916 --> 01:05:15,756 Speaker 3: key to play the song in a right. I listened 898 01:05:15,876 --> 01:05:19,716 Speaker 3: to the Carpenter's version several times. I knew it anyway, 899 01:05:19,756 --> 01:05:22,556 Speaker 3: because I learned it when I was a teenager. But 900 01:05:22,836 --> 01:05:46,916 Speaker 3: so I put the melody, so I found a good 901 01:05:46,996 --> 01:05:56,636 Speaker 3: key to play it in. Why do So you got 902 01:05:56,676 --> 01:05:57,876 Speaker 3: the melody do do do. 903 01:05:59,876 --> 01:05:59,916 Speaker 1: Do? 904 01:06:02,436 --> 01:06:04,956 Speaker 3: And I made sure that at every turn it was 905 01:06:05,196 --> 01:06:56,916 Speaker 3: it was unresolved then resolved. So like that you said, yeah, the. 906 01:06:59,796 --> 01:07:01,556 Speaker 4: Only world in to. 907 01:07:03,036 --> 01:07:21,316 Speaker 3: Follow you like me? The long right and and it's 908 01:07:21,396 --> 01:07:24,996 Speaker 3: still plain the melody how it was the composer intended. 909 01:07:25,556 --> 01:07:29,956 Speaker 3: But I'm doing all I can to make it colorful 910 01:07:30,036 --> 01:07:35,076 Speaker 3: and different, you know. And and uh, and this chord 911 01:07:37,956 --> 01:07:40,876 Speaker 3: is an unexpected it's not in the the the original 912 01:07:41,316 --> 01:07:50,396 Speaker 3: close to right, yeah, yeah, that has intension yeah, and uh. 913 01:07:50,636 --> 01:07:51,796 Speaker 3: And then on the end. 914 01:07:58,796 --> 01:07:59,276 Speaker 1: Close to. 915 01:08:01,356 --> 01:08:13,876 Speaker 3: The second time, which is that's a typical little jazz piano. 916 01:08:23,356 --> 01:08:29,316 Speaker 3: Now the ending close to like a white to color 917 01:08:30,036 --> 01:08:33,356 Speaker 3: it went into it ended in a different key. Yeah. Yeah. 918 01:08:33,556 --> 01:08:37,036 Speaker 3: So these are some of the things that are really 919 01:08:37,156 --> 01:08:40,316 Speaker 3: simple ideas that I picked up along the way somehow. 920 01:08:40,836 --> 01:08:43,916 Speaker 3: And that's an example of how you can use them 921 01:08:44,396 --> 01:08:47,996 Speaker 3: to make something that has been played a million times 922 01:08:48,516 --> 01:08:50,556 Speaker 3: make it interesting yeah, you know. 923 01:08:51,796 --> 01:08:56,156 Speaker 2: So it's been amazing talking to you, and you so 924 01:08:56,236 --> 01:08:57,716 Speaker 2: many more things. I mean, I have a lot more 925 01:08:57,916 --> 01:09:01,476 Speaker 2: I want to ask about air supply o Turner, but. 926 01:09:01,796 --> 01:09:03,716 Speaker 3: You know you can ask me whenever. 927 01:09:03,716 --> 01:09:05,276 Speaker 1: You're like, well, we can save it for next time. 928 01:09:05,356 --> 01:09:07,956 Speaker 1: To screw it. 929 01:09:09,636 --> 01:09:12,476 Speaker 3: You told it Tina Turner. Yeah, which is well. I 930 01:09:12,716 --> 01:09:14,916 Speaker 3: was in the band that were opening opening, you know, 931 01:09:16,676 --> 01:09:19,116 Speaker 3: and that was a great tour. It was nineteen eighty 932 01:09:19,236 --> 01:09:23,676 Speaker 3: seven and it was break every rule to her. But 933 01:09:23,836 --> 01:09:27,156 Speaker 3: I have an interesting Tina Turner story because her manager, 934 01:09:27,316 --> 01:09:31,916 Speaker 3: Roger and was an Australian is an Australian and I 935 01:09:32,156 --> 01:09:35,636 Speaker 3: was songwriting with my friend Steve Kipner, who wrote Let's 936 01:09:35,716 --> 01:09:38,876 Speaker 3: Get Physical and Twister, Fate and heart Attack all those 937 01:09:38,956 --> 01:09:43,716 Speaker 3: songs for Living Newton John and anyway, I got a 938 01:09:43,796 --> 01:09:48,676 Speaker 3: call from Roger, who was managing Olivia at that time 939 01:09:48,796 --> 01:09:52,836 Speaker 3: as well, and he rang me and he said, I'm 940 01:09:52,916 --> 01:09:56,356 Speaker 3: going to take on Tina Turner and everything, and he said, 941 01:09:56,716 --> 01:09:58,596 Speaker 3: can you come by the office. I want to play 942 01:09:58,636 --> 01:10:02,356 Speaker 3: you something. So I went past his office and he 943 01:10:02,476 --> 01:10:05,036 Speaker 3: played me the demo of What's Love Got to Do 944 01:10:05,196 --> 01:10:08,796 Speaker 3: With It? And I got to the end of the 945 01:10:08,836 --> 01:10:13,156 Speaker 3: first chorus and I said, Roger, this is a smash. 946 01:10:13,836 --> 01:10:18,356 Speaker 3: This is so fantastic. He said, I know, she doesn't 947 01:10:18,396 --> 01:10:22,676 Speaker 3: want to do it, and I said, what he said, 948 01:10:23,236 --> 01:10:26,076 Speaker 3: she doesn't want to do it, but he found a 949 01:10:26,156 --> 01:10:31,356 Speaker 3: way of helping her come into the song. The guy 950 01:10:31,396 --> 01:10:35,476 Speaker 3: who wrote it, Terry Bretton, brilliant English guy, came over 951 01:10:36,236 --> 01:10:41,396 Speaker 3: from London to hear, spent the day with Tina and 952 01:10:42,876 --> 01:10:46,516 Speaker 3: coached her into singing the song and then she got 953 01:10:46,596 --> 01:10:47,156 Speaker 3: inside it. 954 01:10:47,516 --> 01:10:52,356 Speaker 1: You know, yeah, I heard the demo before, but the record. 955 01:10:52,636 --> 01:10:57,156 Speaker 3: Was basically the demo. They just put her voice in 956 01:10:57,316 --> 01:11:00,436 Speaker 3: there and put a different solo on it. That's what 957 01:11:00,556 --> 01:11:04,276 Speaker 3: the demo sounded like. The demo sounded like a hit record. 958 01:11:04,516 --> 01:11:06,436 Speaker 1: Wow. Yeah, that's insane. 959 01:11:06,716 --> 01:11:10,236 Speaker 3: That's what all demos in the eighties sounded like. They 960 01:11:10,356 --> 01:11:11,716 Speaker 3: sounded like a hit record. 961 01:11:14,396 --> 01:11:16,756 Speaker 1: Did you did you ever try your hand at that 962 01:11:17,676 --> 01:11:18,436 Speaker 1: pop songwriting? 963 01:11:18,516 --> 01:11:19,116 Speaker 3: For of course? 964 01:11:19,236 --> 01:11:19,436 Speaker 1: Yeah? 965 01:11:20,236 --> 01:11:23,756 Speaker 3: Well I always think everything our writes pop, you know. Yeah, 966 01:11:25,276 --> 01:11:27,196 Speaker 3: now it's grand grandpop. 967 01:11:26,996 --> 01:11:31,236 Speaker 1: Right, yeah, yeah, now it's did you ever? Did you ever? 968 01:11:31,356 --> 01:11:32,196 Speaker 1: Do you know the beaches? 969 01:11:33,076 --> 01:11:35,876 Speaker 2: However, because when you you did a lot of toy 970 01:11:35,876 --> 01:11:37,996 Speaker 2: on in Australia through the sixties and seventies. 971 01:11:38,356 --> 01:11:42,596 Speaker 3: Well, in the early sixties, we were playing some you know, 972 01:11:42,756 --> 01:11:45,116 Speaker 3: rock and roll festivals, and we were playing kind of 973 01:11:45,236 --> 01:11:52,796 Speaker 3: surfy instrumental music. And then this, uh, this other band 974 01:11:52,956 --> 01:11:55,956 Speaker 3: with with boys in it. You know, they were just 975 01:11:56,036 --> 01:12:01,476 Speaker 3: a little older than us. And I remember Barry, Barry 976 01:12:01,556 --> 01:12:06,156 Speaker 3: Gibb played guitar in an open e tuning, so when 977 01:12:06,196 --> 01:12:09,316 Speaker 3: he played a chord, it looked like that. And I'll 978 01:12:09,436 --> 01:12:13,156 Speaker 3: just never forget my brother Phil. He said, Oh, these 979 01:12:13,236 --> 01:12:19,756 Speaker 3: guys will never get anywhere. Look at this guy. You know. Yeah, 980 01:12:20,436 --> 01:12:23,356 Speaker 3: they were so good, you know. And when I hear 981 01:12:23,476 --> 01:12:27,356 Speaker 3: How Deep is Your Love on the radio, just parts 982 01:12:27,396 --> 01:12:33,076 Speaker 3: of it, they're so beautiful, and I just just amazed 983 01:12:33,636 --> 01:12:36,476 Speaker 3: at how good they write and sing, and you know 984 01:12:36,956 --> 01:12:41,676 Speaker 3: those I got to re record How Deep Is Your 985 01:12:41,716 --> 01:12:45,596 Speaker 3: Love with Barry for that album Green the Green. 986 01:12:45,476 --> 01:12:48,116 Speaker 1: Fields twelve years ago. 987 01:12:48,356 --> 01:12:53,116 Speaker 3: Yes, yeah, we did it at OURCA Studio A and 988 01:12:53,476 --> 01:12:57,516 Speaker 3: we did fourteen takes, one after the other, and Barry 989 01:12:57,676 --> 01:13:00,516 Speaker 3: was standing right where you're sitting. He was standing that 990 01:13:00,716 --> 01:13:02,876 Speaker 3: close to me, and I'm playing just with a mic 991 01:13:03,316 --> 01:13:06,276 Speaker 3: on and the band are all live, and I tell you, 992 01:13:06,436 --> 01:13:10,516 Speaker 3: he sang his heart out in every take. He was amazing. 993 01:13:11,156 --> 01:13:12,276 Speaker 1: He is incredible. 994 01:13:12,436 --> 01:13:19,036 Speaker 3: But that's how that guy, the producer from Nashville, Dave 995 01:13:20,676 --> 01:13:24,636 Speaker 3: Dave Cubb, that's how he works. It's like, Yep, we 996 01:13:24,716 --> 01:13:27,356 Speaker 3: got a great take, Let's do another one. Yep, we 997 01:13:27,476 --> 01:13:29,836 Speaker 3: got another great take, Let's do another one. 998 01:13:30,076 --> 01:13:30,276 Speaker 1: You know. 999 01:13:31,316 --> 01:13:36,836 Speaker 3: I'm like, he's saying it perfectly, it's done, you know, 1000 01:13:37,236 --> 01:13:39,916 Speaker 3: and he's like, no, no, let's keep going. 1001 01:13:40,276 --> 01:13:42,796 Speaker 1: So he just do you know what he ended up 1002 01:13:42,796 --> 01:13:43,756 Speaker 1: getting useder Now. 1003 01:13:46,076 --> 01:13:49,476 Speaker 3: You never know because people do this, yeah, you know, 1004 01:13:50,516 --> 01:13:53,316 Speaker 3: but I can tell you that it's a beautiful record 1005 01:13:53,476 --> 01:13:55,436 Speaker 3: and Barry saying his heart out. 1006 01:13:55,956 --> 01:13:56,996 Speaker 1: Is that your first time I meet him? 1007 01:13:57,036 --> 01:14:02,836 Speaker 3: Barry? Now, I met Barry years ago and they interviewed 1008 01:14:02,916 --> 01:14:07,756 Speaker 3: him for an interview for a documentary thing on me, 1009 01:14:08,036 --> 01:14:10,116 Speaker 3: and I was really surpris eyes when I saw him. 1010 01:14:10,156 --> 01:14:12,596 Speaker 3: I said, you spoke to Barry, you know, like and 1011 01:14:13,396 --> 01:14:16,356 Speaker 3: he he always said, you know, they are the world's 1012 01:14:16,396 --> 01:14:18,676 Speaker 3: full of great guitar players, and then there's this guy. 1013 01:14:19,196 --> 01:14:22,396 Speaker 3: You know, he always put me in another category. 1014 01:14:22,796 --> 01:14:26,716 Speaker 1: You know. But anyway, he's that from a guy like 1015 01:14:26,956 --> 01:14:33,676 Speaker 1: you know, I mean, because again considered his facilities, Yeah, unbelievable. 1016 01:14:33,756 --> 01:14:35,996 Speaker 3: Yeah, he's a fantastic. 1017 01:14:35,556 --> 01:14:38,796 Speaker 1: Guy singer songwriter the whole day and performing. 1018 01:14:38,876 --> 01:14:40,436 Speaker 3: You know, it's a funny thing. I was playing in 1019 01:14:41,716 --> 01:14:44,156 Speaker 3: I was playing a show in Miami and there was 1020 01:14:44,236 --> 01:14:46,596 Speaker 3: a young guy with like a beard and tats, and 1021 01:14:47,116 --> 01:14:48,956 Speaker 3: he's sitting in front of me, and every now and 1022 01:14:48,996 --> 01:14:51,996 Speaker 3: again i'd see him and he was had tears in 1023 01:14:52,076 --> 01:14:54,356 Speaker 3: his eyes when I was I was playing, and he 1024 01:14:54,796 --> 01:14:58,436 Speaker 3: got very emotional when I played certain songs and I 1025 01:14:58,636 --> 01:15:00,956 Speaker 3: saw it and I thought, Gee, wondered, what's going on 1026 01:15:01,076 --> 01:15:03,396 Speaker 3: with this guy? And I eventually met him and it 1027 01:15:03,476 --> 01:15:08,676 Speaker 3: was Barry's son, Steven. He's a great guy. Yeah, great dude. Yeah, yeah, 1028 01:15:09,356 --> 01:15:12,356 Speaker 3: that's a great family. Beautiful people. Yeah, you know. 1029 01:15:13,676 --> 01:15:16,396 Speaker 1: Tommy, thank you so much, man. Wonderful to Bill that 1030 01:15:16,756 --> 01:15:17,436 Speaker 1: you and sit with you. 1031 01:15:17,516 --> 01:15:17,636 Speaker 3: Man. 1032 01:15:17,836 --> 01:15:21,036 Speaker 1: Oh here you played this close? I mean, come on insane. 1033 01:15:24,076 --> 01:15:26,276 Speaker 2: An episode description, you'll find a link to a playlist 1034 01:15:26,316 --> 01:15:28,996 Speaker 2: featuring our favorite songs from Tommy Emmanuel, as well as 1035 01:15:29,076 --> 01:15:32,116 Speaker 2: his new album Living in the Light. Check out YouTube 1036 01:15:32,156 --> 01:15:35,276 Speaker 2: dot com slash Broken Record Podcast to see more content 1037 01:15:35,596 --> 01:15:37,596 Speaker 2: from the show, and be sure to follow us on 1038 01:15:37,716 --> 01:15:40,916 Speaker 2: Instagram at the Broken Record pot. Broken Record is produced 1039 01:15:40,916 --> 01:15:42,956 Speaker 2: and edited by Leah Rose with marketing and help from 1040 01:15:43,076 --> 01:15:46,396 Speaker 2: Eric Sandler and Jordan McMillan. Our engineer is Ben Holliday. 1041 01:15:47,156 --> 01:15:50,036 Speaker 2: Broken Record is production of Pushkin Industries. If you love 1042 01:15:50,116 --> 01:15:53,516 Speaker 2: this show and others from Pushkin, consider subscribing to Pushkin Plus. 1043 01:15:53,916 --> 01:15:56,956 Speaker 2: Pushkin Plus is a podcast subscription that offers bonus content 1044 01:15:57,076 --> 01:15:59,356 Speaker 2: and ad free listening for four ninety nine a month. 1045 01:15:59,556 --> 01:16:02,956 Speaker 2: Look for Pushkin Plus on Apple podcast subscriptions. And if 1046 01:16:02,996 --> 01:16:05,036 Speaker 2: you like this show, please remember to share, rate, and 1047 01:16:05,116 --> 01:16:07,596 Speaker 2: review us on your podcast app Our theme musics by 1048 01:16:07,636 --> 01:16:08,196 Speaker 2: Kenny Beats. 1049 01:16:08,356 --> 01:16:11,796 Speaker 1: I'm justin Rich. What s