Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / Tommy Emmanuel

Transcript

Tommy Emmanuel · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

• 0:15
  Speaker 1: Pushkin.
• 0:20
  Speaker 2: The first time I saw Tommy Emmanuel play, it was
• 0:22
  Speaker 2: like rediscovering guitar all over again. I was sixteen visiting
• 0:26
  Speaker 2: Salt Lake City when I stopped into a store called
• 0:28
  Speaker 2: Acoustic Music. At the time, I was listening heavily to
• 0:31
  Speaker 2: guitarists like Lenny Brow and Chad Atkins. After sharing this
• 0:35
  Speaker 2: with the guys who worked at the store, they told me.
• 0:37
  Speaker 1: They had a DVD I needed to watch.
• 0:39
  Speaker 2: They popped in a live performance of Tommy Emmanuel and
• 0:41
  Speaker 2: I was floored. It's a key formative moment along my
• 0:45
  Speaker 2: journey as a player and a fan, so having an
• 0:47
  Speaker 2: opportunity to sit down and have an hour long conversation
• 0:50
  Speaker 2: with Tommy Emmanuel was huge for me. On today's episode,
• 0:54
  Speaker 2: we discussed Tommy Emmanuel's insane technique and how he developed
• 0:57
  Speaker 2: the ability to play multiple parts on the guitar at once.
• 1:00
  Speaker 2: He tells the story of opening for Stevie Wonder in
• 1:02
  Speaker 2: nineteen eighty and walking in on him jamming with an
• 1:04
  Speaker 2: early Lin drum machine and performing on the same bill
• 1:08
  Speaker 2: as the Beg's in Australia during the sixties when he
• 1:11
  Speaker 2: was just a kid.
• 1:14
  Speaker 1: This is broken record.
• 1:16
  Speaker 2: Real musicians, real conversations. Here's my conversation with Tommy Emmanuel
• 1:25
  Speaker 2: from Amazon Music Studio one twenty six. You mentioned from
• 1:31
  Speaker 2: six am to seven am this morning you were you
• 1:33
  Speaker 2: were playing guitar.
• 1:35
  Speaker 3: Yeah, I got up. I got up and to play. Yeah.
• 1:39
  Speaker 1: And is that an everyday occurrence?
• 1:42
  Speaker 3: Not always? Sometimes if I'm touring a lot, sometimes I
• 1:48
  Speaker 3: need that time to sleep, you know, and I can
• 1:51
  Speaker 3: play later. But I wanted to be I knew I
• 1:55
  Speaker 3: had an early start here today, so I wanted to
• 1:59
  Speaker 3: be already playing.
• 2:00
  Speaker 1: Wow.
• 2:00
  Speaker 3: You know, it's like you start your motor you know.
• 2:05
  Speaker 1: Yeah.
• 2:05
  Speaker 3: I mean I don't. I don't try to push my
• 2:09
  Speaker 3: first thing in the morning. I usually play songs that
• 2:14
  Speaker 3: I really enjoy playing that I can play quietly because
• 2:18
  Speaker 3: I don't want to wake up the person in the
• 2:20
  Speaker 3: room next to me in the hotel, you know.
• 2:23
  Speaker 2: Right it's going to I mean, yeah. Do you do
• 2:25
  Speaker 2: you do you get complaints in the hotels?
• 2:28
  Speaker 3: One time, a friend of mine and I we were
• 2:32
  Speaker 3: rehearsing for a show and there was a knock at
• 2:37
  Speaker 3: the door, and there it was a reception lady, and
• 2:39
  Speaker 3: she said, or the guy next door said, you're making
• 2:42
  Speaker 3: a terrible noise in here. And I said, you tell
• 2:46
  Speaker 3: him it's music.
• 2:48
  Speaker 2: Yeah, and people are paying money to see that he's
• 2:52
  Speaker 2: going to preciate.
• 2:53
  Speaker 3: Well, these things happen. You've got to be You've got
• 2:55
  Speaker 3: to be thinking of others in that situation.
• 2:57
  Speaker 1: Yeah.
• 2:58
  Speaker 3: And if there's something in my practice that that I
• 3:04
  Speaker 3: that I need to work on, say, if I'm I'm
• 3:08
  Speaker 3: going to try this song I'm I haven't played in
• 3:10
  Speaker 3: a while in the show tonight. I need to run
• 3:12
  Speaker 3: it down. I need my brain to know where my
• 3:16
  Speaker 3: hands have to go.
• 3:17
  Speaker 2: But you don't do settlers, right, You don't improvise on
• 3:21
  Speaker 2: stage in terms of what you're going to do.
• 3:23
  Speaker 3: Yeah. Well, you know, at the moment, I've got a
• 3:27
  Speaker 3: new album out called Living in the Light, and so
• 3:30
  Speaker 3: I generally opened the show with like four brand new songs. Wow,
• 3:35
  Speaker 3: you know, just to do something different, you know, And
• 3:40
  Speaker 3: that always is Sometimes it works really great. Other times
• 3:47
  Speaker 3: I think I should have done this earlier, or I
• 3:50
  Speaker 3: you know, maybe I should have started with something slower.
• 3:53
  Speaker 3: And you know, but I've been coming out, like, you know,
• 3:56
  Speaker 3: one song after the other, bang bang bang in the
• 3:59
  Speaker 3: in the first part of the show, and it always
• 4:02
  Speaker 3: gets me into a good spiritually, physically, in a good
• 4:08
  Speaker 3: place because I'm I'm already pushing myself amazing.
• 4:11
  Speaker 1: Would you mind just doing something you might open a
• 4:14
  Speaker 1: show with?
• 4:16
  Speaker 3: Sure? You want to hear it now? Yeah, I'll play
• 4:19
  Speaker 3: it for you and you'll hear where it goes to color.
• 4:22
  Speaker 3: So it starts out with rock plus roll, it comes
• 5:48
  Speaker 3: to color ready keep Yeah, that's black and white to color.
• 7:24
  Speaker 3: Oh that is beautiful. It's a good opener because it's
• 7:28
  Speaker 3: got everything. It's got a groove, it's got a message,
• 7:31
  Speaker 3: it's got a breakdown section, it takes, it goes somewhere
• 7:34
  Speaker 3: else and then it comes back in. You know.
• 7:37
  Speaker 2: Yeah, there's so much happening when you like, when you play,
• 7:41
  Speaker 2: there's so much your body's moving, your vocal.
• 7:44
  Speaker 3: Eye already too hot in my coat in halfway through
• 7:48
  Speaker 3: that song and I was like, shouldn't have put my
• 7:50
  Speaker 3: coat on?
• 7:52
  Speaker 1: It's incredible.
• 7:53
  Speaker 3: Well, I didn't expect you to ask me to play,
• 7:55
  Speaker 3: so so this is this is fun.
• 7:58
  Speaker 2: I'm sorry I jammed you up. I set you up man. Yeah,
• 8:03
  Speaker 2: but are you are you here? Because like and there's
• 8:05
  Speaker 2: there's like a rhythm, there's uh I mean, there's those
• 8:07
  Speaker 2: wonderful court changes. There's a mellow there's so much do
• 8:11
  Speaker 2: you hear? Are you hearing other instruments in your head?
• 8:14
  Speaker 3: Of course, this is a band, you know. This is
• 8:17
  Speaker 3: the piano players. It's Ray Charlds, you know. And this
• 8:24
  Speaker 3: is so there's the drama, right, and then the bass right,
• 8:38
  Speaker 3: and then the rhythm. This is only you're just hearing
• 8:50
  Speaker 3: this little guitar which is thin and everything about it. It's
• 8:53
  Speaker 3: a great sounding little axe. But you plug this thing
• 8:57
  Speaker 3: in into a PA and it is as big as
• 8:59
  Speaker 3: a band, and you turn it up and it's got
• 9:02
  Speaker 3: everything there. And that's another right reason why people often
• 9:06
  Speaker 3: come up and say, I could have sworn there you're
• 9:09
  Speaker 3: that you had backing tracks, or I could have sworn
• 9:11
  Speaker 3: there was something else in there, you know. Yeah, And
• 9:15
  Speaker 3: it's just the way of doing it.
• 9:18
  Speaker 2: There's even like a lot implied by the way in
• 9:20
  Speaker 2: what you do, Like you can trick yourself into hearing
• 9:22
  Speaker 2: things that aren't there because.
• 9:24
  Speaker 3: Of you know, that's a good point. You're right.
• 9:28
  Speaker 2: That happens a lot when I listened to you, because
• 9:29
  Speaker 2: I'll start to hear multiple I mean, you're already doing
• 9:33
  Speaker 2: a lot, but I'll hear even more than what's happening
• 9:35
  Speaker 2: because I'm just my mind's filling things in, you know.
• 9:38
  Speaker 3: Yeah. Well the other thing is is that when you
• 9:40
  Speaker 3: leave it hanging, the time is still there. Yeah, because
• 9:44
  Speaker 3: the time's internalized inside me. Right, nothing's going you know
• 9:56
  Speaker 3: what I mean. Then I so I kind of put
• 10:13
  Speaker 3: a bit of pressure on it to say this is
• 10:16
  Speaker 3: this is the groove right here?
• 10:17
  Speaker 1: You know.
• 10:18
  Speaker 3: So the first but I'm implying the time, I'm putting
• 10:28
  Speaker 3: it out there, you know, for you to feel it
• 10:31
  Speaker 3: and hear how the melody works. But then the second
• 10:34
  Speaker 3: time around, I go and here it is.
• 10:36
  Speaker 1: Yeah, yeah, yeah, yeah, that's a beautiful trick.
• 10:39
  Speaker 3: Well, it's just I need that. All I'm doing is
• 10:45
  Speaker 3: satisfying my needs inside, you know, and then I put
• 10:51
  Speaker 3: him out there and it makes sense to me, you know.
• 10:56
  Speaker 3: And I think most artists do the same thing. They
• 10:59
  Speaker 3: have something inside that needs to be satisfied, you know.
• 11:04
  Speaker 3: For me, it's it's the melody and how the song.
• 11:08
  Speaker 3: Because when I'm writing and when I'm playing, I've got
• 11:14
  Speaker 3: several hats on. I'm also the arranger, the producer, the artist,
• 11:20
  Speaker 3: the I'm the listener. I'm trying to do everything to
• 11:25
  Speaker 3: make sure that when I play this song to you
• 11:28
  Speaker 3: and you're you're listening to it for the first time,
• 11:31
  Speaker 3: that it does everything. It ticks every box. Yeah, you know,
• 11:36
  Speaker 3: that's all I'm trying to do, you know.
• 11:39
  Speaker 2: Well, and you're right too. I mean, I think about it.
• 11:41
  Speaker 2: It's probably a lot of there's a lot of people
• 11:43
  Speaker 2: I could think of, but the first one that comes
• 11:44
  Speaker 2: to mind is Stevie Wonder.
• 11:46
  Speaker 1: Yeah.
• 11:47
  Speaker 2: You know, if he's just sitting just like how you were,
• 11:48
  Speaker 2: if he's just playing piano, there is an implied rhythm that.
• 11:53
  Speaker 1: Is uniquely Stevie, you know, totally. And so when he
• 11:55
  Speaker 1: plays drums, by the way and his records, even like Superstition,
• 11:58
  Speaker 1: which is a great drum part, it's bizarre. It's like
• 12:01
  Speaker 1: not like a normal feel.
• 12:02
  Speaker 3: Yeah, that's right. Well, in nineteen eighty, which was a
• 12:06
  Speaker 3: long time ago, I was working with a great in
• 12:09
  Speaker 3: Australia named John Farnham and we were opening for Stevie Wonder,
• 12:14
  Speaker 3: and that was one of the most incredible tours. I
• 12:17
  Speaker 3: got to be there at soundcheck every day and Stevie
• 12:22
  Speaker 3: sang and played for like three hours in the afternoon,
• 12:27
  Speaker 3: and then they had to literally take him off the stage,
• 12:30
  Speaker 3: take him to his dressing room so we could get
• 12:33
  Speaker 3: set up and do our sound check because he didn't
• 12:36
  Speaker 3: want to stop playing. But he was so wonderful, I mean,
• 12:40
  Speaker 3: and his band and everything. And I remember when we
• 12:45
  Speaker 3: were in the city of Perth in Australia. I walked
• 12:48
  Speaker 3: past his dressing room and I could hear this drum
• 12:53
  Speaker 3: machine thing going and I could hear him jamming away
• 12:56
  Speaker 3: on it like great. And his bodyguard guy was standing there,
• 13:00
  Speaker 3: and I said, can I go in and see what
• 13:03
  Speaker 3: he's doing? And he said, and he opened the door
• 13:06
  Speaker 3: and let me in. Right, So Steve's got he's back
• 13:09
  Speaker 3: to the door and he's jamming away with this machine.
• 13:14
  Speaker 3: And he suddenly quoted the guitar solo from Memphis, Tennessee. Dude,
• 13:20
  Speaker 3: it do do the original guitar solo. He quoted it.
• 13:24
  Speaker 3: He says, hey, guitar player, I'm back there behind him.
• 13:27
  Speaker 3: He knew it was me. It was unbelievable. Anyway, what
• 13:31
  Speaker 3: he was doing was programming the Linn drum machine before
• 13:36
  Speaker 3: it was even completely imbedded kind of thing. He was
• 13:41
  Speaker 3: programming this piece of technology. It looked like a homemade computer.
• 13:46
  Speaker 3: And he was in there doing stuff, showed me how
• 13:48
  Speaker 3: it worked, and played along with it and you try it,
• 13:52
  Speaker 3: you know, did you actually try? I mean no, you know,
• 13:56
  Speaker 3: he just watched him, you know, yeah. Wow, he's amazing.
• 14:00
  Speaker 3: And the best part of this story is fifteen years later,
• 14:05
  Speaker 3: nineteen ninety five, I was at Lax Airport about to
• 14:09
  Speaker 3: get on a plane. I needed to go into the
• 14:10
  Speaker 3: men's room for a minute, and I walked into the
• 14:13
  Speaker 3: public toilet and there was this big, tall guy standing
• 14:17
  Speaker 3: by the door of one of the cubicles and I
• 14:20
  Speaker 3: recognized him and I said, I know you. I met
• 14:26
  Speaker 3: you like that, And a voice in the cubicle said,
• 14:28
  Speaker 3: that's the guitar player from Australia.
• 14:30
  Speaker 1: Was stid out of here.
• 14:31
  Speaker 3: Yeah, can you believe that he knew my voice instantly?
• 14:35
  Speaker 1: Instantly that level of to be able to recall, yeah,
• 14:39
  Speaker 1: something like that, and not only just recall your voice,
• 14:41
  Speaker 1: but then also that that anecdote of you entering the room.
• 14:43
  Speaker 1: And there's like a.
• 14:44
  Speaker 2: Sense that he that has to be tied to hear
• 14:47
  Speaker 2: some of his music.
• 14:48
  Speaker 3: We don't know what the kind of abilities that a
• 14:53
  Speaker 3: man like that has, who's been blind since he was young,
• 14:57
  Speaker 3: and his abilities and his senses on a well spiritual
• 15:03
  Speaker 3: level that are almost otherworldly, you know, Yeah, so you
• 15:08
  Speaker 3: can hear it the moment you hear him sing and play,
• 15:12
  Speaker 3: you know, oh boy, look out, there's something going on here. Yeah. Yeah,
• 15:16
  Speaker 3: And that's why we all love our Stevie Wonder because
• 15:19
  Speaker 3: there's never been anybody like in him and Ray Charles.
• 15:22
  Speaker 3: Oh my god, where would we be without them? Yeah? Musically,
• 15:27
  Speaker 3: musically yeah, we'd be. There'd be a big hole.
• 15:30
  Speaker 1: But black and white to color.
• 15:35
  Speaker 3: Yeah.
• 15:37
  Speaker 1: Was that the tour? I think in the States on
• 15:39
  Speaker 1: that that was a tour where he was lobbying to
• 15:41
  Speaker 1: get the.
• 15:43
  Speaker 2: Martin Luther King Junior Holiday in the States too, right,
• 15:45
  Speaker 2: the nineteen eighty probably was. And I think in at
• 15:48
  Speaker 2: least in the States. I don't know if in Australia
• 15:50
  Speaker 2: he had.
• 15:54
  Speaker 3: In a Square Circle album.
• 15:56
  Speaker 2: Well maybe it would have been a master Blaster.
• 15:59
  Speaker 3: It was master Blast, master Blast, yeah, because every night
• 16:03
  Speaker 3: we got up and played with with with him in
• 16:07
  Speaker 3: the band. Because when he heard John Farnum's sing, he said,
• 16:10
  Speaker 3: you got to come and you guys have got to
• 16:11
  Speaker 3: come and join us and and we'll we'll do something
• 16:15
  Speaker 3: together and so and Ben Bridges was was his Steve
• 16:20
  Speaker 3: Stevie's guitar player, and he invited me to plug into
• 16:23
  Speaker 3: his gear and and we just jammed together on Happy
• 16:27
  Speaker 3: Birthday too, and then we were into Master Blaster. It
• 16:33
  Speaker 3: was awesome. Dennis Davis was playing drums and h and
• 16:37
  Speaker 3: he was so nice to work with. Two and our
• 16:40
  Speaker 3: drummer David Jones jumped up on on the kit and
• 16:44
  Speaker 3: and Dennis just took off one of the toms and
• 16:48
  Speaker 3: just danced around and played the tom while our drama played.
• 16:52
  Speaker 3: You know. It was just that's what it was like
• 16:54
  Speaker 3: in those days. See, if you found somebody that you
• 16:58
  Speaker 3: that you really click with, you got together. You know,
• 17:02
  Speaker 3: what a dream, What a dream? It was unbelievable. Well, uh,
• 17:06
  Speaker 3: this story could go on because the last show was
• 17:10
  Speaker 3: in Perth and the next day was was Billy Joel
• 17:15
  Speaker 3: in Australia for the first time, all right, and so
• 17:21
  Speaker 3: we were all staying in the same hotel. So I
• 17:24
  Speaker 3: got to meet Billy and his band and everything and
• 17:26
  Speaker 3: we all hung it. And then after the show, the
• 17:30
  Speaker 3: hotel put ropes across the bar area, so the public
• 17:34
  Speaker 3: had to stay out and we hang around the piano here.
• 17:38
  Speaker 3: So there was me and Ben and David Brown from
• 17:41
  Speaker 3: Billy Joel's band. There was Billy Stevie and and John
• 17:46
  Speaker 3: Farnum at the piano and just we were just jamming
• 17:50
  Speaker 3: tunes and Stevie wonder knew most of Billy Joel's songs
• 17:57
  Speaker 3: what he could sing them. Yeah, it was unbelievable. That's
• 18:02
  Speaker 3: an amazing It would be a long time ago.
• 18:06
  Speaker 1: So we're recorded.
• 18:10
  Speaker 3: You know. It's the same thing with the day that
• 18:12
  Speaker 3: I met Chet Atkins and and we we played together.
• 18:18
  Speaker 3: There was a cassette player with a microphone set up
• 18:22
  Speaker 3: on the table, and neither of us thought to record it.
• 18:27
  Speaker 3: You know, we played for hours and never recorded it.
• 18:31
  Speaker 1: Do you remember what you played? Was it or was
• 18:34
  Speaker 1: it just?
• 18:35
  Speaker 3: It was? It was? It was tunes that that were popular,
• 18:41
  Speaker 3: kind of jazz tunes, you know, like Lover Come Back
• 18:44
  Speaker 3: to Me and Caravan and tunes like that.
• 18:48
  Speaker 1: You go, a great version of Caravan on you had
• 18:50
  Speaker 1: a trio record passing through from a few years ago.
• 18:54
  Speaker 3: Oh yeah you know about that. Yeah, yeah, with you
• 18:57
  Speaker 3: it's you and Ian Date and and fiddler I Ian Cooper,
• 19:04
  Speaker 3: the incredible violin player.
• 19:06
  Speaker 1: You guys have great You guys play off each other.
• 19:09
  Speaker 3: I was recorded in a heartbeat, that whole album. Yeah,
• 19:13
  Speaker 3: just just put it together quickly and it's great album,
• 19:18
  Speaker 3: all that stuff. Thanks, But playing with Chack, I mean,
• 19:20
  Speaker 3: playing with chet I must have.
• 19:23
  Speaker 1: That had to be.
• 19:25
  Speaker 3: One of the greatest days of my life. You know,
• 19:28
  Speaker 3: I'll just never forget it. And you know, when I
• 19:31
  Speaker 3: was a little boy and I'm trying to trying to
• 19:34
  Speaker 3: collect ched Atkins records and all that, and I had
• 19:37
  Speaker 3: a little portable turntable with the speaker in it that
• 19:41
  Speaker 3: my mum had given me, and I said many times,
• 19:48
  Speaker 3: I'm going to meet him and we're going to play
• 19:50
  Speaker 3: together like that. And I'm just a kid, you know.
• 19:54
  Speaker 3: My mother said, I believe you will. You know, you
• 19:57
  Speaker 3: just keep at it, you know, and I believe you will.
• 20:01
  Speaker 3: And sure enough, I ended up writing him a fan letter.
• 20:04
  Speaker 3: I was eleven. I wrote this fan letter telling him
• 20:09
  Speaker 3: him that I was listening to his music and trying
• 20:12
  Speaker 3: to work it out and all that, and could he
• 20:14
  Speaker 3: send me a photograph with an autograph on it. And
• 20:18
  Speaker 3: about two months later, I came home from school and
• 20:21
  Speaker 3: my mum said, go into your room. There's something on
• 20:24
  Speaker 3: your bed, and there was this big brown envelope and
• 20:29
  Speaker 3: I had American eagle kind of stamps, and you know,
• 20:33
  Speaker 3: my heart started going like this and it was a
• 20:38
  Speaker 3: letter from Chet with a black and white photograph signed
• 20:42
  Speaker 3: to me. And yeah, I remember when I opened it,
• 20:45
  Speaker 3: it was just like pristine. You know. It had RCA Victor,
• 20:50
  Speaker 3: you know, from the desk of chet Akers, all written
• 20:53
  Speaker 3: in gold at the top of this thing, you know,
• 20:56
  Speaker 3: it was all typed out and his signature on the bottom.
• 20:59
  Speaker 1: That for all the way from the America, I feel
• 21:01
  Speaker 1: like incredible.
• 21:02
  Speaker 3: To nowhere in Australia. I was just a kid going
• 21:05
  Speaker 3: to school in a little town and park call parks
• 21:08
  Speaker 3: in Australia. But I was already dreaming. I'd already seen
• 21:16
  Speaker 3: coming over here, you know what I mean. I'd already
• 21:19
  Speaker 3: dreamt it and had that vision in my mind. And
• 21:25
  Speaker 3: this is what leads me when I'm talking with young
• 21:29
  Speaker 3: guys now who you know, they want to be doing
• 21:33
  Speaker 3: what I'm doing. They want to be a concert player,
• 21:35
  Speaker 3: they want to get out there and tour the world
• 21:37
  Speaker 3: and all that. And I always say, you know, where's
• 21:40
  Speaker 3: your vision? Where do you see yourself? Where do you belong?
• 21:45
  Speaker 3: You know? And because I always knew I was a
• 21:50
  Speaker 3: concert player, I just didn't know how I was going
• 21:54
  Speaker 3: to get there. And I had to do the hard
• 21:57
  Speaker 3: road I had to play every musical situation I could.
• 22:03
  Speaker 3: I had to play where people didn't listen to you.
• 22:06
  Speaker 3: I had to play in bars where I was under
• 22:09
  Speaker 3: rage and all that. I had to play for free
• 22:12
  Speaker 3: a lot. I had to play for food and all
• 22:15
  Speaker 3: that kind of stuff. And I ran away from school
• 22:19
  Speaker 3: when I was fifteen, and because it was a waste
• 22:22
  Speaker 3: of time to me, I needed to get to work. Yeah,
• 22:25
  Speaker 3: you know, and your mom just did that, No, she
• 22:28
  Speaker 3: I broke her heart, Yeah, because she wanted me to
• 22:30
  Speaker 3: finish high school and get a higher school certificate. And
• 22:36
  Speaker 3: I was more interested in going to Sydney to play
• 22:39
  Speaker 3: with the big boys.
• 22:41
  Speaker 2: Who were the like and who in Sydney would have
• 22:43
  Speaker 2: been the people you were wanted to go play with
• 22:45
  Speaker 2: at that time.
• 22:46
  Speaker 3: Well, nobody who could really play what I wanted, the
• 22:51
  Speaker 3: kind of style that I play, But people who knew
• 22:54
  Speaker 3: more about music than I did, that's for sure. And
• 22:58
  Speaker 3: so the next best thing to go on to Nashville.
• 23:02
  Speaker 3: Well it's what you could do. Yeah, And well I
• 23:05
  Speaker 3: just wanted I just wanted to. I was hungry for knowledge.
• 23:10
  Speaker 3: I was hungry for it, and I still am, you know,
• 23:13
  Speaker 3: And I'm hungry for experience as well, because you can't
• 23:19
  Speaker 3: play anything meaningful without experiencing life, you know. And that's
• 23:25
  Speaker 3: why when we listened to a teenager like Stevie Wonder
• 23:29
  Speaker 3: was playing you Are the Sunshine my Life, you know,
• 23:37
  Speaker 3: how does he do that? It's a gift, it's otherworldly,
• 23:41
  Speaker 3: you know. So anyway, I wanted to move to Sydney,
• 23:48
  Speaker 3: and I got some people to help me get down there,
• 23:53
  Speaker 3: and I rented a room, I got a day job,
• 23:56
  Speaker 3: and then I auditioned for different artists and stuff, and
• 24:01
  Speaker 3: people laughed, They just outwardly laughed when I walked in
• 24:06
  Speaker 3: for the audition because I was a fifteen year old kid,
• 24:09
  Speaker 3: and you know, who do you think you are? What
• 24:12
  Speaker 3: do you think you're going to do? Well, let's just
• 24:14
  Speaker 3: play the music, and you know, and I knew all
• 24:17
  Speaker 3: the songs. I knew all the vocal harmonies. I knew
• 24:21
  Speaker 3: I could quote the record if if it was a
• 24:23
  Speaker 3: song I'd learned from a record, and I was ready
• 24:27
  Speaker 3: to go, you know, and electric at that point, electric, yeah, yeah, yeah,
• 24:32
  Speaker 3: did you I mean?
• 24:33
  Speaker 2: And it was quite an interesting road to what you're
• 24:38
  Speaker 2: doing now. So when you had that vision as a kid,
• 24:43
  Speaker 2: the youth of concert Plane, was it more in the
• 24:46
  Speaker 2: who was it in the vein of at that time?
• 24:49
  Speaker 3: If you had to imagine it, well, when I played tune,
• 24:52
  Speaker 3: so I was playing a kind of a Chad Atkins
• 24:55
  Speaker 3: type style. But I was listening to Gordon Lightfoot, Neil Diamond,
• 25:05
  Speaker 3: Carol King, James Taylor in the seventies, I mean I was,
• 25:09
  Speaker 3: and Stevie Wonder, Ray, Charles, Jerry Reid, you know, people
• 25:17
  Speaker 3: like that I was listening to. And I was listening
• 25:20
  Speaker 3: to what was on the radio, the Beatles, the Rolling
• 25:22
  Speaker 3: Stones and all. When I was young, I thought the
• 25:26
  Speaker 3: Rolling Stones and the Beatles were so out of tune,
• 25:29
  Speaker 3: you know, And I just couldn't understand it because I
• 25:32
  Speaker 3: was so used to listening to chedd Atkins, who was
• 25:35
  Speaker 3: so in tune it was unbelievable, you know. And you
• 25:38
  Speaker 3: listen to a Stevie Wonder record and his vocal is
• 25:42
  Speaker 3: so unbelievable, you know. And when you hear guys playing
• 25:47
  Speaker 3: in and out and singing in and out of tune,
• 25:49
  Speaker 3: it's kind of weird. You know.
• 25:51
  Speaker 1: What do you think about it?
• 25:53
  Speaker 3: Do how? I totally love everything they've ever done, and
• 25:56
  Speaker 3: I totally get it. But when I was young, I mean,
• 26:00
  Speaker 3: that's the only filter I had. Yeah, you know, is.
• 26:03
  Speaker 2: The difference between when you're a young, kind of hot
• 26:06
  Speaker 2: shot player and you're listening to Chad and it's precision
• 26:10
  Speaker 2: and it's beautiful, but.
• 26:10
  Speaker 1: There's a lot of soul and chat too.
• 26:12
  Speaker 2: But yeah, it's clearly there's that other bit of it
• 26:14
  Speaker 2: that's just you know, just another level of talent, and
• 26:18
  Speaker 2: then you're listening to the Beatles and the Stones and
• 26:20
  Speaker 2: it sounds slightly out of tune? Is that the difference
• 26:22
  Speaker 2: between learning to be a player and learning to make records?
• 26:25
  Speaker 3: Or I think the lesson when I look back on
• 26:29
  Speaker 3: it now was how good are the songs? You know
• 26:33
  Speaker 3: what I mean? So I could tell you in my
• 26:39
  Speaker 3: own recordings where I could have got the tuning a
• 26:42
  Speaker 3: bit better, but the feeling on the track was exactly
• 26:46
  Speaker 3: the right one, and I was willing to live with it.
• 26:50
  Speaker 3: And I think I learned that from, you know, hearing
• 26:53
  Speaker 3: the Rolling Stones and going it's a bit out of tune,
• 26:55
  Speaker 3: but boy doesn't it feel good? You know what I mean?
• 26:58
  Speaker 3: I had to learn that, and like I was saying,
• 27:01
  Speaker 3: you know, you just got to grow up a little
• 27:04
  Speaker 3: and see what works, you know, I mean, I still
• 27:10
  Speaker 3: it still bothers me. When a person comes up to
• 27:13
  Speaker 3: play for me and they're not in tune, it's like,
• 27:15
  Speaker 3: hang on a sec, just just take a second in
• 27:18
  Speaker 3: tune up, you know. And or I have an artist
• 27:24
  Speaker 3: who's opening for me on tour and I kind of
• 27:27
  Speaker 3: say at the start of at the run, you know,
• 27:31
  Speaker 3: make sure you check your tuning when you come out,
• 27:33
  Speaker 3: you know, And I'll do the same before I introduce you.
• 27:37
  Speaker 3: I'll make sure I'm dead in tune and all that.
• 27:39
  Speaker 3: So when we start to play that, it just is
• 27:42
  Speaker 3: right on. And there's been quite a few people who
• 27:46
  Speaker 3: are open for me who walked out and we went
• 27:48
  Speaker 3: into it and it's like that's how to tune and
• 27:50
  Speaker 3: they're smiling away and I'm like, no, no, no, this
• 27:53
  Speaker 3: is not good enough. Yeah, but yeah, tuning is so
• 28:00
  Speaker 3: it's so everything to me. You know. There are people
• 28:04
  Speaker 3: like Paco de Lucia. The last couple of times that
• 28:11
  Speaker 3: I saw him, I didn't see him tune once, but
• 28:16
  Speaker 3: I never heard anything at all, even the slightest bit
• 28:20
  Speaker 3: out of tune. He was so perfect in his tuning
• 28:24
  Speaker 3: and he's playing and everything that you know, it was
• 28:29
  Speaker 3: it was otherworldly, Like Steve, you wonder it was like
• 28:32
  Speaker 3: Paco was just another one of those gifted, incredible guys, you.
• 28:37
  Speaker 1: Know, one of the things you just can't explain probably.
• 28:40
  Speaker 3: Right, Yeah, He's just he's that good. It's on another level,
• 28:44
  Speaker 3: you know. And you never see him, you know, looking
• 28:49
  Speaker 3: at the tuna and he's just like he's he's ready
• 28:53
  Speaker 3: to play, and away he goes, and it's perfect, and
• 28:56
  Speaker 3: then he goes into the next song and it's perfect again.
• 29:00
  Speaker 3: You know.
• 29:01
  Speaker 2: I was watching a video of him recently from like
• 29:03
  Speaker 2: I think seventy nine. It was early eighties with.
• 29:08
  Speaker 3: When John and.
• 29:10
  Speaker 1: With John and I think this one was just solo
• 29:14
  Speaker 1: for some real or just the two. It was just
• 29:15
  Speaker 1: al And and Paco.
• 29:17
  Speaker 2: Yeah, And one of the one of the comments was, man,
• 29:20
  Speaker 2: Paco just smoked out.
• 29:22
  Speaker 1: I don't think he has a problem.
• 29:26
  Speaker 3: But there's only been one Paco, you know. And I
• 29:31
  Speaker 3: work with him in Germany and I played the first
• 29:36
  Speaker 3: hour and he played the second hour, right, and I
• 29:41
  Speaker 3: cried through the whole show. It just it brought me
• 29:45
  Speaker 3: to tears. It affected me emotionally on a little deep
• 29:50
  Speaker 3: level that that very rarely happens to me. But as
• 29:54
  Speaker 3: soon as he started to play, I was totally gone.
• 29:57
  Speaker 2: You know, when something like that happens for you, like,
• 30:00
  Speaker 2: is there any part of you that consciously or unconsciously
• 30:05
  Speaker 2: wants to or or and orporates something from that into
• 30:10
  Speaker 2: your own plane of course.
• 30:13
  Speaker 3: Of course, emotions are such an important part of my show.
• 30:18
  Speaker 3: You know, I want people to forget their troubles. I
• 30:23
  Speaker 3: want people not to be engaged in a way that
• 30:28
  Speaker 3: they're not thinking about you know, money, health, the future,
• 30:33
  Speaker 3: children or whatever. They're having a break from that. That's
• 30:39
  Speaker 3: my job. My job is to take you out of
• 30:43
  Speaker 3: your life that can be hard and at least give
• 30:48
  Speaker 3: you an hour and a half of respite from it.
• 30:53
  Speaker 3: This is today's reprieve from from stress and the strain
• 30:59
  Speaker 3: of life, you know, And so I definitely try to
• 31:05
  Speaker 3: surprise people because surprise is a big element in entertainment.
• 31:11
  Speaker 3: You know, it's an important tool that everybody who's good
• 31:15
  Speaker 3: at entertainment has surprised built in. You know, if you
• 31:19
  Speaker 3: go back to Charlie Chaplin and the Marx Brothers or
• 31:24
  Speaker 3: you know, anybody like that, you'll see that the funniest
• 31:29
  Speaker 3: part is when things don't turn out how you think,
• 31:32
  Speaker 3: or they just constantly surprise you. You know, it's what
• 31:35
  Speaker 3: I love about Penn and Teller. They do the same thing,
• 31:40
  Speaker 3: you know. And I think it was Penn who said,
• 31:43
  Speaker 3: you know what is entertainment, Well, surprise me, surprise me,
• 31:50
  Speaker 3: that's entertainment. Yeah, it's beautiful, and really I try to
• 31:55
  Speaker 3: keep things that simple, you know. And there are certain
• 32:00
  Speaker 3: songs that I play that are designed to make you
• 32:04
  Speaker 3: want to close your eyes and just go with it.
• 32:08
  Speaker 1: You know.
• 32:08
  Speaker 3: Somewhere over the Rainbow, that's a song that means so
• 32:12
  Speaker 3: much to people, you know. And I have a new
• 32:16
  Speaker 3: song that I that that I wrote for my youngest granddaughter.
• 32:21
  Speaker 3: I'll play a little bit of it to you. And
• 32:23
  Speaker 3: after I've been you know, hosing the hell out of
• 32:26
  Speaker 3: it and and and throwing all my stuff at at
• 32:29
  Speaker 3: everybody and getting the crowd going, now it's time for
• 32:33
  Speaker 3: them to have a little break for a minute. So
• 32:36
  Speaker 3: I just play this and I'll do.
• 33:19
  Speaker 4: About of.
• 34:33
  Speaker 1: That's good.
• 34:33
  Speaker 3: It's just real simple. But once I start playing it,
• 34:37
  Speaker 3: everybody has that moment to be able to just just
• 34:43
  Speaker 3: go with it, you know, And I do when I'm
• 34:46
  Speaker 3: playing it. I just go with it.
• 34:48
  Speaker 2: And there's no part of you that wants to do more.
• 34:52
  Speaker 3: No, it doesn't need anything else. It needs me to
• 34:54
  Speaker 3: play it with as much expression as I can, to
• 34:58
  Speaker 3: take my time, you know, just tell the story.
• 35:01
  Speaker 1: Yeah, that's really beautiful.
• 35:03
  Speaker 3: Thank you. That's little Georgia. She's four years old. I
• 35:09
  Speaker 3: wrote that for her for when she's like forty five
• 35:12
  Speaker 3: and she can play that song and say, oh, it's
• 35:14
  Speaker 3: who I really am. You know, So you you and.
• 35:20
  Speaker 1: Did you set out to write.
• 35:21
  Speaker 3: That for her? It I did, Yeah, when she was
• 35:25
  Speaker 3: only tawny. You know, she's four now. She was probably
• 35:29
  Speaker 3: two when I when I wrote that, I just had
• 35:33
  Speaker 3: a vision kind of thing of the woman she might
• 35:37
  Speaker 3: grow into. You know.
• 35:41
  Speaker 2: We'll be back with more from Tommy Emmanuel after the break.
• 35:47
  Speaker 2: I want to ask you about a few guitar players, okay,
• 35:50
  Speaker 2: and we can start with Paco since you were talking
• 35:53
  Speaker 2: about him. Is there anything he was doing that night
• 35:58
  Speaker 2: that brought you to tears that you can point to.
• 36:03
  Speaker 1: Tech like on the guitar in terms of whether it's
• 36:05
  Speaker 1: harmonically or melodically or everything.
• 36:09
  Speaker 3: It was absolutely everything. It was expression on an incredible level.
• 36:19
  Speaker 3: It was tone, It was chords that that were deep,
• 36:27
  Speaker 3: you know, that was stuff he was playing and it
• 36:31
  Speaker 3: was just the ultimate experience for me. You know, and
• 36:40
  Speaker 3: I couldn't point to one thing. It was just everything.
• 36:44
  Speaker 3: You know, there are some people like when I hear
• 36:48
  Speaker 3: Stevie ray Vaughn and I hear that Varbrado he's got
• 36:51
  Speaker 3: and stuff like that, and that's the tone that he
• 36:54
  Speaker 3: plays stuff with. Wow, it just touches me so much,
• 36:59
  Speaker 3: you know, And I can hear I can hear his
• 37:02
  Speaker 3: intense love for what he's doing in what he plays,
• 37:07
  Speaker 3: you know, yeah, and uh and then that goes for
• 37:10
  Speaker 3: so many people out there are so many good musicians
• 37:14
  Speaker 3: out there, and I'm just so grateful that people still
• 37:18
  Speaker 3: still want to see me play.
• 37:19
  Speaker 1: You know, you're you're a wonderful player and and and
• 37:23
  Speaker 1: and you come from you know, like one of the
• 37:25
  Speaker 1: people that you got to play with. It's one of
• 37:27
  Speaker 1: my favorites. And you're where you're part of that.
• 37:31
  Speaker 2: His lineage is as Lenny bros. A guy I lot with,
• 37:35
  Speaker 2: don't I already know about today, but phenomenal player, interesting guy.
• 37:41
  Speaker 3: From what I've read what he did in uh in
• 37:44
  Speaker 3: uh Sweet Georgia Brown with with with Chet when you
• 37:49
  Speaker 3: see so uh les and then away he went, he
• 38:33
  Speaker 3: went off into Lenny down land, and you know, Chet
• 38:36
  Speaker 3: stopped playing and he played the whole thing, you know. Yeah,
• 38:40
  Speaker 3: he was phenomenal. The day I was talking about when
• 38:44
  Speaker 3: I met Chet in nineteen eighty, I met Lenny that
• 38:47
  Speaker 3: day too. He was in Chet's office on the third level.
• 38:50
  Speaker 3: I took him to his gig that night.
• 38:53
  Speaker 1: Was he as wild as day? He was?
• 38:56
  Speaker 3: He was freaked out. It's a beautiful, beautiful soul. Wow.
• 39:02
  Speaker 3: He was a beautiful person and had a massive gift,
• 39:09
  Speaker 3: you know. And but he just I think Lenny just
• 39:14
  Speaker 3: saw well the world through his own kind of filters,
• 39:19
  Speaker 3: and that wasn't the.
• 39:20
  Speaker 1: Real world, you know, meaning just he was he was
• 39:25
  Speaker 1: living by different Yeah.
• 39:29
  Speaker 3: The lie is jazz players are supposed to work for
• 39:34
  Speaker 3: peanuts and and and stay with all their friends and
• 39:39
  Speaker 3: be down and out. I think that that's his you know.
• 39:44
  Speaker 3: I know most of the good jazz players I know
• 39:47
  Speaker 3: are exactly the opposite. They're great businessmen. They play because
• 39:52
  Speaker 3: they love it, but they know how how to work properly,
• 39:58
  Speaker 3: you know.
• 39:58
  Speaker 1: Yeah, But he model himself more after the Charlie Parker's,
• 40:03
  Speaker 1: the torture artists who couldn't That's.
• 40:05
  Speaker 3: What I was looking for. Yeah, I think I think
• 40:08
  Speaker 3: a lot people around him who encouraged him, and I
• 40:12
  Speaker 3: think in his life he was he was supposed to
• 40:18
  Speaker 3: be the torture genius.
• 40:21
  Speaker 2: You know, I want to ask you about this about
• 40:23
  Speaker 2: the plane too, But personality wise, I mean, and I
• 40:26
  Speaker 2: love that Chet and Leney record. Oh yeah, but they
• 40:29
  Speaker 2: seemed like they were just very chat seems like the
• 40:31
  Speaker 2: exact opposite totally.
• 40:33
  Speaker 3: Chet was. But Chad had such a beautiful heart for
• 40:39
  Speaker 3: people in need. You know, he helped everybody. You know,
• 40:43
  Speaker 3: I'm just one of millions he helped, you know. So
• 40:48
  Speaker 3: he was a beautiful guy. After Chet died and everything,
• 40:52
  Speaker 3: when they went through his desk and everything, they found
• 40:55
  Speaker 3: little notes from you know, Chet, can I have another
• 40:58
  Speaker 3: ten thousand dollars? I promise I'll pay it back, love Lenny.
• 41:03
  Speaker 3: You know, Chet gave him money and stuff like that
• 41:06
  Speaker 3: to help him out.
• 41:08
  Speaker 1: You know, he's had a big hope for him.
• 41:10
  Speaker 3: But the last time I saw Lennie, he was playing
• 41:12
  Speaker 3: at Dante's here in La and I walked in and
• 41:18
  Speaker 3: sat down and it was him playing that electric Kirk
• 41:23
  Speaker 3: sand with the extra high string. He had a bass
• 41:26
  Speaker 3: player and a drummer and there were three people in
• 41:29
  Speaker 3: the room. You know, it should have been three hundred.
• 41:32
  Speaker 3: There were like three people in the room, and I
• 41:37
  Speaker 3: sat down and he was playing away and he looked
• 41:39
  Speaker 3: up and he went like that because he recognized me
• 41:43
  Speaker 3: like that. And then in the middle of whatever he
• 41:45
  Speaker 3: was playing, Giant Steps or something, he quoted wal Cie Matilda.
• 41:53
  Speaker 3: He did that in the middle of the solo, you know,
• 41:56
  Speaker 3: a classic. And then I went up and talked to
• 42:00
  Speaker 3: him in the break, and he seemed in really good shape.
• 42:04
  Speaker 3: He was teaching at g T in those days, which
• 42:08
  Speaker 3: is Missians Institute, and I thought he was going to
• 42:13
  Speaker 3: really do well. He was gone not long after that,
• 42:17
  Speaker 3: in eighty four.
• 42:19
  Speaker 2: And what made Chet and Lenny's playing work because they
• 42:22
  Speaker 2: are both you wouldn't think because they're so their own players,
• 42:27
  Speaker 2: and they are so they can both do a lot well.
• 42:31
  Speaker 3: I can relate to it because when I play with
• 42:34
  Speaker 3: people like Martin Taylor or Frank Rignola who have a
• 42:39
  Speaker 3: much bigger, bolder chord knowledge than I have. I'm the
• 42:44
  Speaker 3: melody guy, you know what I mean. So if you
• 42:47
  Speaker 3: think about what what what Chet played in that, he
• 42:58
  Speaker 3: played the singer's part. Lenny play, he played all those
• 43:14
  Speaker 3: beautiful shapes underneath, you know. And I have the same experience,
• 43:21
  Speaker 3: so I can relate to what chat like me. He's
• 43:26
  Speaker 3: a song player, where we want to play like a singer,
• 43:30
  Speaker 3: you know. So first thing you got to do is
• 43:34
  Speaker 3: learn the melody right as if it was being sung,
• 43:38
  Speaker 3: and then find the person to give you the right
• 43:41
  Speaker 3: chords underneath, or learn them yourself, and then show them
• 43:44
  Speaker 3: show them to somebody, you know, Like I remember when
• 43:50
  Speaker 3: I learned the Nearness of You, the first thing I
• 43:53
  Speaker 3: did is listen to Ela Fitzgerald Singer and Frank Sinatra.
• 43:57
  Speaker 3: They're like my two signs, you know, go this way
• 44:01
  Speaker 3: and go that way, and find which way works for you,
• 44:05
  Speaker 3: you know. And then when I played it with Martin Taylor,
• 44:09
  Speaker 3: he had some slightly more B bop changes in in
• 44:14
  Speaker 3: the uh in the section of something let's see.
• 44:27
  Speaker 1: His is do.
• 44:51
  Speaker 3: Let's see that. That's like that piano sound. So the
• 44:56
  Speaker 3: original was it went to that sound? Oh, no, like that,
• 45:14
  Speaker 3: so it was a little more orchestral sounding, you know,
• 45:18
  Speaker 3: And I like that kind of piano thing, you know.
• 45:24
  Speaker 1: Oh you like what he did, yeah, yeah.
• 45:27
  Speaker 3: So when I play it with with Martin, I play
• 45:30
  Speaker 3: his changes, because that's really like when I play it
• 45:33
  Speaker 3: with someone else, I play I try to remember their
• 45:36
  Speaker 3: changes so they're in their their zone, you know. Yeah.
• 45:40
  Speaker 3: And also the other thing that I think I learned
• 45:44
  Speaker 3: from Chat was like when the bridge comes around, if
• 45:48
  Speaker 3: you listen to the bridge in the ninas of you,
• 45:52
  Speaker 3: Ella Fitzgerald just sings it exactly. All my sound was
• 45:56
  Speaker 3: written just as simple as that. I don't need to
• 46:18
  Speaker 3: be going, you know, because I can do. You know, well,
• 46:22
  Speaker 3: look at all this stuff. I know, I purposely stay
• 46:25
  Speaker 3: away from that, you know, to honor the song and
• 46:30
  Speaker 3: to play the song right. Yeah, you know, there's guys
• 46:33
  Speaker 3: out there, like I remember the first time I saw
• 46:36
  Speaker 3: George Benson. It was about seventy nine, and George was
• 46:40
  Speaker 3: just like he was so damn good. It was like
• 46:43
  Speaker 3: from the very first bar of the first song, your
• 46:46
  Speaker 3: jaw hit the ground and it never came up, you know,
• 46:50
  Speaker 3: it was it was so incredible.
• 46:53
  Speaker 1: And I bought.
• 46:54
  Speaker 3: Tickets to both shows that he did. He did a
• 46:57
  Speaker 3: matinee and then an evening show, and I went to
• 47:00
  Speaker 3: both shows and he was he was beyond anything I'd
• 47:04
  Speaker 3: ever seen, you know. And he started with yeah, all
• 47:15
  Speaker 3: that stuff, and but but the stuff that he improvised
• 47:21
  Speaker 3: to start the song was like it just blew everyone away,
• 47:25
  Speaker 3: you know. And two of my dear friends who were
• 47:27
  Speaker 3: teachers at the Conservatorium in in Sydney in those days,
• 47:32
  Speaker 3: they were they were biggrudgingly going to the show because
• 47:36
  Speaker 3: I bought tickets for them, and they're like, we didn't
• 47:38
  Speaker 3: want to see this guy. We want a real jazz musician,
• 47:41
  Speaker 3: you know. And of course George in the first song. Yeah,
• 47:46
  Speaker 3: And they said to me afterwards, well, we heard more
• 47:50
  Speaker 3: music in his cadenzas than we've ever heard, you know.
• 47:53
  Speaker 3: And that's what he was like.
• 47:55
  Speaker 2: That's the thing about George Benson, I was like, you know,
• 47:57
  Speaker 2: because he can disappear into the song like you know,
• 47:59
  Speaker 2: I mean, he can be the pop guy, but he's
• 48:04
  Speaker 2: you know, everything he does could be a bebop guy.
• 48:06
  Speaker 1: He could. I mean, he could go.
• 48:09
  Speaker 3: Back to the early records, you know, It's Uptown and
• 48:12
  Speaker 3: George Benson Cookbook. Oh my god, some of those tunes.
• 48:16
  Speaker 3: It's so extraordinary, you know. And yeah, when you talk
• 48:21
  Speaker 3: with George about his early days, he can tell you
• 48:25
  Speaker 3: who he listened to and what they played, and where
• 48:28
  Speaker 3: he got ideas from from the organ players and horned players,
• 48:32
  Speaker 3: I mean just everything. He remembers everything he's got an
• 48:35
  Speaker 3: amazing mind. Credible.
• 48:37
  Speaker 1: Do you remember hearing Joe Pass for the first time? Oh?
• 48:42
  Speaker 3: Yeah, Well, when I first heard Joe Pass, I was
• 48:48
  Speaker 3: still discovering jazz.
• 48:51
  Speaker 1: You know.
• 48:51
  Speaker 3: When I was young, we didn't listen to jazz, you know,
• 48:56
  Speaker 3: we didn't listen to classical music either. I had to
• 49:00
  Speaker 3: get away from my family environment and move to the
• 49:06
  Speaker 3: city to meet people who were big into a music
• 49:10
  Speaker 3: that I'd never experienced. And it was somebody opened a
• 49:14
  Speaker 3: door for me and I saw some guitar players. I said,
• 49:18
  Speaker 3: what the hell is that? What is this thing you're doing?
• 49:20
  Speaker 3: He said, Oh, it's Where's Montgomery, you know, it's where
• 49:26
  Speaker 3: Who's Where's Montgomery? Well, here's some records. Go away and listen,
• 49:29
  Speaker 3: you know, and then you know, you've got to listen
• 49:32
  Speaker 3: to Joe Pass. You've got to listen to you know.
• 49:34
  Speaker 3: And I discovered all those guys. I was about eighteen,
• 49:38
  Speaker 3: you know, and it was just a whole new world
• 49:43
  Speaker 3: for me, you know. And over the years, one of
• 49:46
  Speaker 3: the things that I noticed about the players that I
• 49:49
  Speaker 3: really loved is that you could sing their solos. You
• 49:53
  Speaker 3: could learn how to sing what they improvised because it
• 49:57
  Speaker 3: was so singable, you know. It was beautiful, and Chat
• 50:01
  Speaker 3: always did that with his solos. You know, anybody who's
• 50:06
  Speaker 3: listened to Chet, they'll go straight in to sing his
• 50:10
  Speaker 3: improvised soul because it's totally singable.
• 50:14
  Speaker 1: We'll be back with Tommy Emmanuel.
• 50:20
  Speaker 2: Going back a bit to our Stevie conversation while we're
• 50:22
  Speaker 2: talking about the guitar players and just about how there's
• 50:27
  Speaker 2: something maybe extra sensory happening with Steve, even though he
• 50:30
  Speaker 2: doesn't have one of his senses, there's certainly something extra
• 50:33
  Speaker 2: sensory happening with him.
• 50:34
  Speaker 3: Oh. Absolutely.
• 50:35
  Speaker 1: Do I have a right that you learned how to
• 50:40
  Speaker 1: do harmonics like Chad Atkins through a dream?
• 50:44
  Speaker 3: Yeah? Yeah. I don't tell this story on stage, but
• 50:50
  Speaker 3: the truth is, I said, I wanted to make this sound.
• 50:54
  Speaker 3: I'll show you what I'm talking about. This sound here,
• 51:12
  Speaker 3: that sound there. I couldn't figure out how he was
• 51:15
  Speaker 3: doing that right, and I just I asked people. I
• 51:25
  Speaker 3: tried to find videos that might have someone doing that.
• 51:29
  Speaker 3: I never saw anybody do it. I just couldn't figure
• 51:31
  Speaker 3: it out. And one night I had a dream, and
• 51:38
  Speaker 3: in the the dream was so quick and it was
• 51:41
  Speaker 3: just it was simply this. It was like a red
• 51:45
  Speaker 3: velvet curtain. Spotlight came on. Chad Atkins came out in
• 51:49
  Speaker 3: a tuxedo with his gretch guitar and he sat down
• 51:53
  Speaker 3: on a chair and he went deliver and he did
• 51:56
  Speaker 3: it like this, up and down. And then that's all
• 52:00
  Speaker 3: I remember. When I woke up, somehow I knew I
• 52:07
  Speaker 3: knew that I knew how to do it, and I
• 52:10
  Speaker 3: picked up the guitar and I went, there it is,
• 52:16
  Speaker 3: you know what I mean. Yeah, And the only answer
• 52:22
  Speaker 3: to that that I could come up with that was
• 52:25
  Speaker 3: logical is that maybe my subconscious figured it out and
• 52:32
  Speaker 3: showed it to my conscious part of the brain, and
• 52:36
  Speaker 3: when I woke up, my conscious said, this is it.
• 52:40
  Speaker 3: That's the only thing I can still.
• 52:43
  Speaker 2: Pretty wild, you mean, really, I mean, even if that
• 52:46
  Speaker 2: is the logical explanation that your brain can do, that
• 52:50
  Speaker 2: that your brain did, that is really interesting.
• 52:55
  Speaker 3: Sometimes things happen and you can't explain them. I always
• 53:00
  Speaker 3: call it. A white man calls it coincidence. You know
• 53:03
  Speaker 3: what I mean, because you know, when you look at
• 53:08
  Speaker 3: what's going on in the world, you know that we're
• 53:12
  Speaker 3: all the same, We're all connected, and it doesn't matter
• 53:16
  Speaker 3: where we come from, what color we are, and none
• 53:19
  Speaker 3: of that stuff matters. That we're all pretty much the same,
• 53:24
  Speaker 3: and we have to find why we're here. You know,
• 53:30
  Speaker 3: I'm lucky because when I was little, all I wanted
• 53:34
  Speaker 3: to do was make music, and I just found something
• 53:40
  Speaker 3: that I was so passionate about. And I still am.
• 53:49
  Speaker 3: I still want to play as much today as I
• 53:53
  Speaker 3: did when I was six years old. You know, it's
• 53:55
  Speaker 3: the same. It's exactly the same passion. It's just ignited
• 54:00
  Speaker 3: by the amount of information that's coming at me from
• 54:05
  Speaker 3: the people I listened to. See a lot of guitar
• 54:07
  Speaker 3: players don't look at the big picture, you know. And
• 54:13
  Speaker 3: those years from nineteen seventy to nineteen eighty were really
• 54:18
  Speaker 3: important in my growth and my knowledge as a songwriter,
• 54:25
  Speaker 3: as a player who can write a song. And that
• 54:29
  Speaker 3: was because all I listened to were great singers, great songwriters,
• 54:34
  Speaker 3: you know, people whose music was what was still wonderful,
• 54:38
  Speaker 3: you know. I remember in seventy one, I was playing
• 54:42
  Speaker 3: in a band and we were doing covers. We were
• 54:45
  Speaker 3: playing Chuck Berry, Credence, Beatles, Rolling Stones, all that stuff.
• 54:50
  Speaker 3: Was a great band to be in. And I bought
• 54:54
  Speaker 3: a little turntable and a speaker and everything. Put it
• 54:58
  Speaker 3: in my little caravan that I had, and I bought
• 55:02
  Speaker 3: American Pie because it came out. It was on the
• 55:05
  Speaker 3: radio every five minutes. You heard bye Bye Me basically
• 55:09
  Speaker 3: the whole thing, the whole song. Oh yeah, wow, yeah.
• 55:12
  Speaker 3: So I had American Pie album, Carol King's Tapestry album,
• 55:17
  Speaker 3: and Chris Christofferson's Silver Tounge Devil album. What an album.
• 55:25
  Speaker 3: So that's nineteen seventy one. You know, that started me going,
• 55:31
  Speaker 3: oh my god, I listen to this music. And then
• 55:33
  Speaker 3: you know, I played in different bands and there were
• 55:38
  Speaker 3: some people who were big into Stevie Wonder and stuff
• 55:43
  Speaker 3: like that, and so I had to learn all this
• 55:45
  Speaker 3: R and B music as well, and so and so
• 55:48
  Speaker 3: my education really began then, you know, in pop music
• 55:55
  Speaker 3: and all that sort of stuff. And Chet Atkins came
• 55:59
  Speaker 3: out with an album called chet Picks on the Beatles, right,
• 56:04
  Speaker 3: and that's when he first did that, right, that lead do.
• 56:17
  Speaker 3: I worked out how to do that, and then I
• 56:20
  Speaker 3: started messing with it, giving it a backbeat. And when
• 57:04
  Speaker 3: I was first doing my solo thing, I would go
• 57:08
  Speaker 3: into that tune and people were like, you know, they'd
• 57:11
  Speaker 3: never heard anybody play that. You know, they're all the
• 57:14
  Speaker 3: parts at the same time, and so I was only
• 57:17
  Speaker 3: doing Lady Madonna that way. So then I started working
• 57:20
  Speaker 3: out other things like and so forth, and then I
• 57:39
  Speaker 3: came right, you can train yourself to do that stuff.
• 57:51
  Speaker 3: You just have to work it out and then be
• 57:53
  Speaker 3: willing to put the time in. You know what I mean,
• 57:56
  Speaker 3: Because someone who hasn't played a lot comes up and says,
• 58:01
  Speaker 3: I want to learn Lady Madonna, and I said, well,
• 58:04
  Speaker 3: you're going to have to. You're going to have to
• 58:06
  Speaker 3: learn it bar by bar because because it's two completely
• 58:10
  Speaker 3: separate parts. So you got the piano party, you got that,
• 58:16
  Speaker 3: then you got them, you got the melody part Paul
• 58:22
  Speaker 3: McCartney's singing bit, right, So you go to the two
• 58:25
  Speaker 3: at the same time. So here's here's what it sounds
• 58:29
  Speaker 3: like at a learner's pace. You ready, that's the first
• 58:43
  Speaker 3: two bars. Go away and play that for all day
• 58:46
  Speaker 3: to day and tomorrow. I'll see you the next day
• 58:49
  Speaker 3: and we'll learn the next two bars. That's kind of
• 58:51
  Speaker 3: what it's like to learn something complicated like that. And
• 58:54
  Speaker 3: is that how when you first started putting the style together?
• 58:57
  Speaker 3: Is that how you would or were you already? No,
• 59:01
  Speaker 3: I was wanting to get to the end of it,
• 59:02
  Speaker 3: so I could do it all again, right, But then
• 59:05
  Speaker 3: I learned along the way that you can if you
• 59:09
  Speaker 3: want to, you can piece it together, but you've got
• 59:11
  Speaker 3: to stop and fix the bumps in the road where
• 59:14
  Speaker 3: you're struggling, you know what I mean. So you want
• 59:17
  Speaker 3: it to be like that, right, But sometimes it's like,
• 59:22
  Speaker 3: you know, there's a there's some bumps and anything because
• 59:26
  Speaker 3: you haven't practiced it and smoothed it out yet, you know.
• 59:30
  Speaker 3: So beyond that beginner's one though, because then you have
• 59:35
  Speaker 3: to add the courts, yeah, or you don't have to,
• 59:38
  Speaker 3: but you do, well, I add the backbeat, right. So,
• 59:51
  Speaker 3: but when I'm playing it, I've practiced it enough that
• 59:55
  Speaker 3: I'm not thinking about all the technique of playing it,
• 59:58
  Speaker 3: all the stuff that's going on. I'm only thinking about
• 1:00:01
  Speaker 3: Lady Madonna. I wonder how.
• 1:00:07
  Speaker 4: Again funds the money?
• 1:00:11
  Speaker 3: You know what I mean. I'm totally into the melody
• 1:00:13
  Speaker 3: and singing it. That's why it feels that way. But
• 1:00:17
  Speaker 3: if all the rest of it doesn't happen, right, I
• 1:00:20
  Speaker 3: have to stop and make sure that it does, you know.
• 1:00:23
  Speaker 3: But that hasn't happened yet, so, you know what I mean?
• 1:00:28
  Speaker 1: Those fast licks.
• 1:00:29
  Speaker 3: You're able to do it Ray Charles, Ray Charles. It's
• 1:00:38
  Speaker 3: not even super clear. It's purposely a little bit muffled,
• 1:00:43
  Speaker 3: you know what I mean. That makes it even funkier
• 1:00:46
  Speaker 3: if you go back to Jerry Reid's the claw all right,
• 1:01:12
  Speaker 3: so that says piano and he's put it on the guitar.
• 1:01:23
  Speaker 3: You know, when I met Jerry the very first time,
• 1:01:27
  Speaker 3: I said, how on earth did you end up writing
• 1:01:31
  Speaker 3: and playing and singing this, you know, and He's just
• 1:01:34
  Speaker 3: looked at me and he said, I'm just trying to
• 1:01:36
  Speaker 3: be Ray Charles. Man, I'm just trying to be Ray. Yeah,
• 1:01:39
  Speaker 3: And it answered everything for me, you know. You know,
• 1:01:43
  Speaker 3: you cannot underestimate the influence of Ray Charles in modern music,
• 1:01:51
  Speaker 3: in all music. Ray has has his place up here. Yeah. Yeah, yeah.
• 1:01:59
  Speaker 3: I have a daughter, Rachel, and we purposely named a
• 1:02:02
  Speaker 3: Rachel so we could shorten it to Ray and just
• 1:02:04
  Speaker 3: say his name all the time.
• 1:02:05
  Speaker 1: That's great, that's great.
• 1:02:07
  Speaker 3: Yeah.
• 1:02:08
  Speaker 2: And at this point do you are you have you
• 1:02:10
  Speaker 2: done this enough that you sort of know based on
• 1:02:13
  Speaker 2: where you're playing the melody, like what like how you
• 1:02:16
  Speaker 2: can play an A there or a g.
• 1:02:18
  Speaker 3: Well, yeah, that's a written key. I think, and I'm
• 1:02:25
  Speaker 3: always looking for the best key to play a song
• 1:02:28
  Speaker 3: in any way, but a song like that, I'm trying
• 1:02:34
  Speaker 3: to learn the melody right and then move the chords
• 1:02:38
  Speaker 3: underneath it, you know. And I just started doing that
• 1:02:42
  Speaker 3: because I was doing a TV show in Australia and
• 1:02:45
  Speaker 3: they said, we were hoping you might play what's that
• 1:02:52
  Speaker 3: song called You're My wonder Wall? Wonder He said, every
• 1:02:57
  Speaker 3: every guest has to play wonder Wall. And I said,
• 1:03:01
  Speaker 3: wonder Wall. I know the song, but I you know,
• 1:03:05
  Speaker 3: it's not a song that I thought I would want
• 1:03:08
  Speaker 3: to arrange, right So before the show, like a minute
• 1:03:12
  Speaker 3: before the show, I started going, oh yeah, I think
• 1:03:16
  Speaker 3: I can make it work, you know. And it actually
• 1:03:18
  Speaker 3: is a really great song. Yeah yeah, and I've still
• 1:03:22
  Speaker 3: got to work on it. I just throw it in
• 1:03:24
  Speaker 3: occasion the union happening and all that, you know, but
• 1:03:30
  Speaker 3: it doesn't it doesn't have musically the big the big
• 1:03:34
  Speaker 3: payoff that like he comes the chorus, you know what
• 1:03:37
  Speaker 3: I mean, The whole thing is this.
• 1:03:39
  Speaker 1: Yeah, but not in a bad way, but in a
• 1:03:42
  Speaker 1: good way.
• 1:03:42
  Speaker 3: Yeah yeah. But see, songs like that sometimes don't work instrumentally.
• 1:03:48
  Speaker 3: This is why, you know, a lot of times people saying,
• 1:03:51
  Speaker 3: why don't you play blah blah blah, or my son's
• 1:03:55
  Speaker 3: learning this Ed Sheeran song or whatever. I love Edge Shearing, right,
• 1:03:59
  Speaker 3: But not all songs that are popular make good instrumentals,
• 1:04:04
  Speaker 3: you know, and instrumental has to be interesting, has to
• 1:04:07
  Speaker 3: tell you a story and take you somewhere. And sometimes
• 1:04:11
  Speaker 3: if you don't know the lyric and you're just listening
• 1:04:16
  Speaker 3: to it as a song, it can get boring. But
• 1:04:19
  Speaker 3: there are certain songs that really work as instruments. For instance,
• 1:04:26
  Speaker 3: years ago, I was asked to do a to submit
• 1:04:29
  Speaker 3: a track as a tribute to Bert Bachac right, And
• 1:04:33
  Speaker 3: of course I wanted to play this guy's in love
• 1:04:37
  Speaker 3: or one of those early songs of his, and some
• 1:04:40
  Speaker 3: other artists had already done it, and the only song
• 1:04:43
  Speaker 3: left was Close to You by the Carpenters, which is
• 1:04:47
  Speaker 3: a Burt Backrack song. Right. It's a masterpiece, that song,
• 1:04:52
  Speaker 3: but nobody wanted to touch it, and I said, great,
• 1:04:56
  Speaker 3: that's my reason for doing it, right there, I love
• 1:04:59
  Speaker 3: the song and how can I make it? How can
• 1:05:03
  Speaker 3: I breathe some new life into a song that's been
• 1:05:07
  Speaker 3: done so much? So I went looking for the right
• 1:05:11
  Speaker 3: key to play the song in a right. I listened
• 1:05:15
  Speaker 3: to the Carpenter's version several times. I knew it anyway,
• 1:05:19
  Speaker 3: because I learned it when I was a teenager. But
• 1:05:22
  Speaker 3: so I put the melody, so I found a good
• 1:05:46
  Speaker 3: key to play it in. Why do So you got
• 1:05:56
  Speaker 3: the melody do do do.
• 1:05:59
  Speaker 1: Do?
• 1:06:02
  Speaker 3: And I made sure that at every turn it was
• 1:06:05
  Speaker 3: it was unresolved then resolved. So like that you said, yeah, the.
• 1:06:59
  Speaker 4: Only world in to.
• 1:07:03
  Speaker 3: Follow you like me? The long right and and it's
• 1:07:21
  Speaker 3: still plain the melody how it was the composer intended.
• 1:07:25
  Speaker 3: But I'm doing all I can to make it colorful
• 1:07:30
  Speaker 3: and different, you know. And and uh, and this chord
• 1:07:37
  Speaker 3: is an unexpected it's not in the the the original
• 1:07:41
  Speaker 3: close to right, yeah, yeah, that has intension yeah, and uh.
• 1:07:50
  Speaker 3: And then on the end.
• 1:07:58
  Speaker 1: Close to.
• 1:08:01
  Speaker 3: The second time, which is that's a typical little jazz piano.
• 1:08:23
  Speaker 3: Now the ending close to like a white to color
• 1:08:30
  Speaker 3: it went into it ended in a different key. Yeah. Yeah.
• 1:08:33
  Speaker 3: So these are some of the things that are really
• 1:08:37
  Speaker 3: simple ideas that I picked up along the way somehow.
• 1:08:40
  Speaker 3: And that's an example of how you can use them
• 1:08:44
  Speaker 3: to make something that has been played a million times
• 1:08:48
  Speaker 3: make it interesting yeah, you know.
• 1:08:51
  Speaker 2: So it's been amazing talking to you, and you so
• 1:08:56
  Speaker 2: many more things. I mean, I have a lot more
• 1:08:57
  Speaker 2: I want to ask about air supply o Turner, but.
• 1:09:01
  Speaker 3: You know you can ask me whenever.
• 1:09:03
  Speaker 1: You're like, well, we can save it for next time.
• 1:09:05
  Speaker 1: To screw it.
• 1:09:09
  Speaker 3: You told it Tina Turner. Yeah, which is well. I
• 1:09:12
  Speaker 3: was in the band that were opening opening, you know,
• 1:09:16
  Speaker 3: and that was a great tour. It was nineteen eighty
• 1:09:19
  Speaker 3: seven and it was break every rule to her. But
• 1:09:23
  Speaker 3: I have an interesting Tina Turner story because her manager,
• 1:09:27
  Speaker 3: Roger and was an Australian is an Australian and I
• 1:09:32
  Speaker 3: was songwriting with my friend Steve Kipner, who wrote Let's
• 1:09:35
  Speaker 3: Get Physical and Twister, Fate and heart Attack all those
• 1:09:38
  Speaker 3: songs for Living Newton John and anyway, I got a
• 1:09:43
  Speaker 3: call from Roger, who was managing Olivia at that time
• 1:09:48
  Speaker 3: as well, and he rang me and he said, I'm
• 1:09:52
  Speaker 3: going to take on Tina Turner and everything, and he said,
• 1:09:56
  Speaker 3: can you come by the office. I want to play
• 1:09:58
  Speaker 3: you something. So I went past his office and he
• 1:10:02
  Speaker 3: played me the demo of What's Love Got to Do
• 1:10:05
  Speaker 3: With It? And I got to the end of the
• 1:10:08
  Speaker 3: first chorus and I said, Roger, this is a smash.
• 1:10:13
  Speaker 3: This is so fantastic. He said, I know, she doesn't
• 1:10:18
  Speaker 3: want to do it, and I said, what he said,
• 1:10:23
  Speaker 3: she doesn't want to do it, but he found a
• 1:10:26
  Speaker 3: way of helping her come into the song. The guy
• 1:10:31
  Speaker 3: who wrote it, Terry Bretton, brilliant English guy, came over
• 1:10:36
  Speaker 3: from London to hear, spent the day with Tina and
• 1:10:42
  Speaker 3: coached her into singing the song and then she got
• 1:10:46
  Speaker 3: inside it.
• 1:10:47
  Speaker 1: You know, yeah, I heard the demo before, but the record.
• 1:10:52
  Speaker 3: Was basically the demo. They just put her voice in
• 1:10:57
  Speaker 3: there and put a different solo on it. That's what
• 1:11:00
  Speaker 3: the demo sounded like. The demo sounded like a hit record.
• 1:11:04
  Speaker 1: Wow. Yeah, that's insane.
• 1:11:06
  Speaker 3: That's what all demos in the eighties sounded like. They
• 1:11:10
  Speaker 3: sounded like a hit record.
• 1:11:14
  Speaker 1: Did you did you ever try your hand at that
• 1:11:17
  Speaker 1: pop songwriting?
• 1:11:18
  Speaker 3: For of course?
• 1:11:19
  Speaker 1: Yeah?
• 1:11:20
  Speaker 3: Well I always think everything our writes pop, you know. Yeah,
• 1:11:25
  Speaker 3: now it's grand grandpop.
• 1:11:26
  Speaker 1: Right, yeah, yeah, now it's did you ever? Did you ever?
• 1:11:31
  Speaker 1: Do you know the beaches?
• 1:11:33
  Speaker 2: However, because when you you did a lot of toy
• 1:11:35
  Speaker 2: on in Australia through the sixties and seventies.
• 1:11:38
  Speaker 3: Well, in the early sixties, we were playing some you know,
• 1:11:42
  Speaker 3: rock and roll festivals, and we were playing kind of
• 1:11:45
  Speaker 3: surfy instrumental music. And then this, uh, this other band
• 1:11:52
  Speaker 3: with with boys in it. You know, they were just
• 1:11:56
  Speaker 3: a little older than us. And I remember Barry, Barry
• 1:12:01
  Speaker 3: Gibb played guitar in an open e tuning, so when
• 1:12:06
  Speaker 3: he played a chord, it looked like that. And I'll
• 1:12:09
  Speaker 3: just never forget my brother Phil. He said, Oh, these
• 1:12:13
  Speaker 3: guys will never get anywhere. Look at this guy. You know. Yeah,
• 1:12:20
  Speaker 3: they were so good, you know. And when I hear
• 1:12:23
  Speaker 3: How Deep is Your Love on the radio, just parts
• 1:12:27
  Speaker 3: of it, they're so beautiful, and I just just amazed
• 1:12:33
  Speaker 3: at how good they write and sing, and you know
• 1:12:36
  Speaker 3: those I got to re record How Deep Is Your
• 1:12:41
  Speaker 3: Love with Barry for that album Green the Green.
• 1:12:45
  Speaker 1: Fields twelve years ago.
• 1:12:48
  Speaker 3: Yes, yeah, we did it at OURCA Studio A and
• 1:12:53
  Speaker 3: we did fourteen takes, one after the other, and Barry
• 1:12:57
  Speaker 3: was standing right where you're sitting. He was standing that
• 1:13:00
  Speaker 3: close to me, and I'm playing just with a mic
• 1:13:03
  Speaker 3: on and the band are all live, and I tell you,
• 1:13:06
  Speaker 3: he sang his heart out in every take. He was amazing.
• 1:13:11
  Speaker 1: He is incredible.
• 1:13:12
  Speaker 3: But that's how that guy, the producer from Nashville, Dave
• 1:13:20
  Speaker 3: Dave Cubb, that's how he works. It's like, Yep, we
• 1:13:24
  Speaker 3: got a great take, Let's do another one. Yep, we
• 1:13:27
  Speaker 3: got another great take, Let's do another one.
• 1:13:30
  Speaker 1: You know.
• 1:13:31
  Speaker 3: I'm like, he's saying it perfectly, it's done, you know,
• 1:13:37
  Speaker 3: and he's like, no, no, let's keep going.
• 1:13:40
  Speaker 1: So he just do you know what he ended up
• 1:13:42
  Speaker 1: getting useder Now.
• 1:13:46
  Speaker 3: You never know because people do this, yeah, you know,
• 1:13:50
  Speaker 3: but I can tell you that it's a beautiful record
• 1:13:53
  Speaker 3: and Barry saying his heart out.
• 1:13:55
  Speaker 1: Is that your first time I meet him?
• 1:13:57
  Speaker 3: Barry? Now, I met Barry years ago and they interviewed
• 1:14:02
  Speaker 3: him for an interview for a documentary thing on me,
• 1:14:08
  Speaker 3: and I was really surpris eyes when I saw him.
• 1:14:10
  Speaker 3: I said, you spoke to Barry, you know, like and
• 1:14:13
  Speaker 3: he he always said, you know, they are the world's
• 1:14:16
  Speaker 3: full of great guitar players, and then there's this guy.
• 1:14:19
  Speaker 3: You know, he always put me in another category.
• 1:14:22
  Speaker 1: You know. But anyway, he's that from a guy like
• 1:14:26
  Speaker 1: you know, I mean, because again considered his facilities, Yeah, unbelievable.
• 1:14:33
  Speaker 3: Yeah, he's a fantastic.
• 1:14:35
  Speaker 1: Guy singer songwriter the whole day and performing.
• 1:14:38
  Speaker 3: You know, it's a funny thing. I was playing in
• 1:14:41
  Speaker 3: I was playing a show in Miami and there was
• 1:14:44
  Speaker 3: a young guy with like a beard and tats, and
• 1:14:47
  Speaker 3: he's sitting in front of me, and every now and
• 1:14:48
  Speaker 3: again i'd see him and he was had tears in
• 1:14:52
  Speaker 3: his eyes when I was I was playing, and he
• 1:14:54
  Speaker 3: got very emotional when I played certain songs and I
• 1:14:58
  Speaker 3: saw it and I thought, Gee, wondered, what's going on
• 1:15:01
  Speaker 3: with this guy? And I eventually met him and it
• 1:15:03
  Speaker 3: was Barry's son, Steven. He's a great guy. Yeah, great dude. Yeah, yeah,
• 1:15:09
  Speaker 3: that's a great family. Beautiful people. Yeah, you know.
• 1:15:13
  Speaker 1: Tommy, thank you so much, man. Wonderful to Bill that
• 1:15:16
  Speaker 1: you and sit with you.
• 1:15:17
  Speaker 3: Man.
• 1:15:17
  Speaker 1: Oh here you played this close? I mean, come on insane.
• 1:15:24
  Speaker 2: An episode description, you'll find a link to a playlist
• 1:15:26
  Speaker 2: featuring our favorite songs from Tommy Emmanuel, as well as
• 1:15:29
  Speaker 2: his new album Living in the Light. Check out YouTube
• 1:15:32
  Speaker 2: dot com slash Broken Record Podcast to see more content
• 1:15:35
  Speaker 2: from the show, and be sure to follow us on
• 1:15:37
  Speaker 2: Instagram at the Broken Record pot. Broken Record is produced
• 1:15:40
  Speaker 2: and edited by Leah Rose with marketing and help from
• 1:15:43
  Speaker 2: Eric Sandler and Jordan McMillan. Our engineer is Ben Holliday.
• 1:15:47
  Speaker 2: Broken Record is production of Pushkin Industries. If you love
• 1:15:50
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• 1:15:53
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• 1:15:59
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• 1:16:02
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• 1:16:05
  Speaker 2: review us on your podcast app Our theme musics by
• 1:16:07
  Speaker 2: Kenny Beats.
• 1:16:08
  Speaker 1: I'm justin Rich. What s