August 22, 2025 • 14 mins
A true New Zealand music legend, Don McGlashan has written some of our most-loved tunes.
From ‘Anchor Me’ in his time with the Mutton Birds, through to his incredible work as a solo artist and his compositions for film and television.
In 2023 McGlashan went on a very special tour around New Zealand, and off the back he’s released his first solo live album – ‘Take It To The Bridge’.
Although he’s been part of the making of a dozen or more studio albums, McGlashan confessed to Jack Tame that he was never really interested in live albums.
“It sort of surprised me, that in the middle of this tour,”
“I suddenly felt this would be great, this is really special – I should be, we should be recording everything.”
LISTEN ABOVE
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Teams podcast
from News Talks at b.
Speaker 2 (00:17):
Miracle Soon, Shine On My Sisters, Shine On Our Come Miracle, Shine.
Speaker 3 (00:34):
Shine Miericals, Shine On.
Speaker 2 (00:44):
My Sisters, Shine on a Come.
Speaker 4 (00:50):
Music legends. Dom McGlashan has written some of our most
love songs, from Anchor Me in his time with the
Muddon Birds, through to his incredible work as a solo
artist and composer for film and television. In twenty twenty three,
went on a very special tour around New Zealand, and
off the back of that, for the first time ever,
(01:11):
he's just released a solo live album, Take It to
the Bridge. Don McGlashen is with us this morning. Cald A,
good morning.
Speaker 5 (01:18):
How are you.
Speaker 4 (01:19):
I'm very well, thank you, delighted to be speaking with you,
and it feels like you're sort of everywhere everywhere at
the moment. But take us back a little bit. It
was twenty twenty three when you were touring. Tell us
about the recording process for Take It to the Bridge.
Speaker 6 (01:34):
Well, I've never been really into live albums for some reason.
I don't know i've been I must have been part
of the making of a dozen or more studio albums,
but I've never I guess I've never listened to many
live albums, that's the issue. So it sort of surprised
me that in the middle of this tour, or early
(01:55):
on in the tour with Anita Clark, I suddenly felt
this would be great, this is really special. I we
should be recording this. And luckily Bob our soundman had
already been had already started recording everything, and we had
all these cool venues to choose between, each with a
different sort of feeling. We did a big house concert
in Carterton, and we did Loons in Littleton a couple
(02:17):
of times, and and the Q Theater in Auckland, so
there was a lot to choose from, and they all
had kind of different audience feel I think I think
we realized quite early on that it was a sort
of an extraordinary event.
Speaker 4 (02:32):
I don't know why, but yeah, and you wanted to
capture it, capture it for posterity's sake, yeah, yeah.
Speaker 5 (02:40):
Or for for our sake in a way.
Speaker 6 (02:42):
I mean posterity posterity is are fairly slippery beasts, so
got no idea what it's going to be interested in,
but certainly certainly as we listened to the stuff more
and more, we kind of realized that we were as
we played, we were learning about the songs. And that's
a bizarre thing for me to say, because I've been
playing the songs for so long and patiently explaining to
(03:04):
them to anybody who listened for so long, that you
wouldn't think that I would need to learn about them.
But yeah, we learned a lot. I mean, and Ita
is a collaborator that really pushes me hard, and every
night it's quite different.
Speaker 5 (03:17):
So yeah, it was. It was a great too.
Speaker 4 (03:20):
And so when you say you learn about the songs,
what do you mean by that?
Speaker 5 (03:24):
Well, I guess as I get older.
Speaker 6 (03:27):
I mean, I I start off with a lot of
songwriter to start off with a fragment of melody, and
then they hum, They play the guitar and they hum
over it and say that outcomes, you know, going to
love your baby all night long or whatever.
Speaker 5 (03:42):
And I'm not really like that.
Speaker 6 (03:43):
I always sort of think about an idea or a
topic or some sort of subject matter that I want
to get into, and I gradually write around that for
days and days and weeks and months before I let
myself pick up the guitar, because picking up the guitar
is kind of a that's a door through which I
(04:04):
can't return, you know, because it's going to be a song,
going to be a song quite soon as soon as
I pick up the guitar. And but you'd think that
would that would end up with a bunch of songs
that are whose meaning is quite tidy. But it's the
opposite with me. I mean, yeah, I've got some songs
that it's pretty obvious what they're about. But I've got
(04:24):
a bunch of other songs that are probably the ones
I prefer, which I don't really know what they're about,
and every time I perform them, I sort of.
Speaker 5 (04:32):
Think, oh, that's what it's about.
Speaker 6 (04:34):
Or better, even somebody comes up to me from the
audience tells me what the song's about.
Speaker 4 (04:39):
That's amazing. So and can you give us an example.
It is the one that springs to mind where someone
has helped you kind of interpret your own art in
that way.
Speaker 6 (04:51):
Well, I guess White Valiant's a bit like that. It's
not so much interpreting, it's about locating it. I've had
a lot of people come up to me and say,
I know exactly the cliffs that you're talking about, the
quarry that you're talking about the road. You know, it'll
be somewhere near where they grew up. You know, it'll
(05:11):
be some some piece of landscape that's part of their
internal landscape, I guess. And in a way that kind
of underlines effect that the song. You know, the song's
kind of a vessel that people can pour different ideas
into if it's not too pompously.
Speaker 4 (05:31):
No, no, no, not at all. It is interesting like that.
Speaker 2 (05:35):
Really.
Speaker 4 (05:36):
No, hey, look at this end of things, guilty as charge,
you know, so don't worry. This is a no judge.
Speaker 5 (05:44):
We can speak freely.
Speaker 4 (05:45):
Yeah. You know, usually when I think about a live album,
and you touched on this a moment ago, you think
about an album being recorded in one place. But one
thing that distinguishes this record is that actually you've been
in these quite quite unique spaces as you tould take
it to the bridge. So talk to me about the
(06:07):
different kind of environments you were in and the ways
in which that may be changed the direction of your
performances and influenced you and you and Anita.
Speaker 6 (06:17):
Yeah, well, I think I think touring, especially when you're
you know, not doing main centers and you're touring all
over the country to quite far flying places. It reminds
It reminds me anyway of how traveling through the country
is like is kind of like filling up a reservoir,
(06:40):
or like breathing in or something, and then performing is
like breathing out, if that makes any sense.
Speaker 5 (06:46):
So I'm seeing all these things.
Speaker 6 (06:48):
I'm seeing the trees, I'm seeing people as we go
past I stopping in cafes and talking to people, and
all of that is all that A is giving me
stuff to write about. Janet Frame used to say this
cool thing. She used to say that she would never
take a cab, never take a taxi to an interviewer,
she had to do a book tour or anything because
(07:10):
because nothing would be sticking to her as she got
out of the taxi, she'd be too slippery, you know,
whereas if she takes a bus or something, then she's
more like a you know, like a like a like
a pylon in the in the in the sea that's
covered with molecles.
Speaker 5 (07:28):
And that's where the writing comes from. I love that,
and it's.
Speaker 6 (07:32):
Kind of true because when I'm driving around, these impressions
come and they sick to me and they might turn
into songs or when I get to where wherever we're going,
they might turn into a better way to sing a
particular song, or a different depth to a character that
I'm trying to inhabit in a particular song. So it
is like like breathing and then breathing out. And this tour,
(07:55):
because we went to lots of different places, was very
much like.
Speaker 5 (07:58):
That, you know places is like Glen Haalkee, like right
at the far end of the of the lake lake.
Speaker 6 (08:08):
Like a tip yeah, yeah, and all yeah, all the
way to you know to we did away Hiki Show
and later the tour was kind of broken up because
we got sick and we had to sort of stop
the tour and then we had to get back into
it about a month later.
Speaker 5 (08:24):
But went all the way.
Speaker 6 (08:26):
I think the furthest north was fun and then further
south might have been Glen Orky, not sure.
Speaker 5 (08:32):
Yeah.
Speaker 4 (08:33):
Do you find too that there's another dimension because you
split your time between between Canada and New Zealand. Now,
do you find that there's an extra dimension as you
travel about New Zealand and that you kind of have
this element of separation some of the time and then
it's you know you're kind of relearning about these spaces
and seeing seeing the country change.
Speaker 5 (08:58):
Yeah, a little bit.
Speaker 6 (08:59):
I mean I've always been somebody who can't write about
a place that I've just arrived at, so and Canada,
even though I've been coming here for over a decade. Now,
I don't. I'm not writing about beavers or or hockey
or mounties.
Speaker 5 (09:17):
Yeah, I mean that that might.
Speaker 4 (09:19):
Happenma Glasson's Maple Syrup tribute album coming up.
Speaker 5 (09:23):
So well, little bit. Yeah, we could sell it with
little bottles of maple syrup. I yeah, I tend to.
Speaker 6 (09:31):
And I think probably what happens is that images from home,
images from alter or kind of clarify as I'm over
here in Canada and I'm And it certainly happened to
be when I was living in England with the Mutton Birds,
that a lot of songs arrived that were more or
less let us home, led us home to people, and
(09:52):
it was very inco deeply inconvenient for us because I
was trying to write like shiny songs and what came
out for the four years we were there, which were
generally more involved let us let us to friends and relatives. Yeah,
it's certainly what's happening now. And I'm finding, Yeah, I'm
finding that.
Speaker 5 (10:16):
I guess. I guess I'm not.
Speaker 6 (10:18):
I'm not as I'm driving around the country side and
as we're heading to this or that venue. I'm not
sort of that engaged with what's changed. I'm engaged with
where I've changed. And and you know how how you
know that particular road looked when I was twenty and
when I was thirty driving up on the way to
that gig, and how how I'm a different person now.
Speaker 4 (10:41):
You're listening to Jack Taime on news Talk zed V.
I'm speaking to Don McGlashan about his new live album,
Take It to the Bridge. You recently came back and
performed with the christ Symphony Orchestra. I know that you've
performed with orchestras over the years. I think it was
that back when it was the Auckland Sinfonia now the
Philharmonic Orchestra in Auckland. You've had plenty of experience with them.
(11:04):
What is that What is that like being on stage
and performing with an orchestra and having that kind of
that lush sound.
Speaker 5 (11:14):
It was fantastic.
Speaker 6 (11:15):
I mean, the thrill part of the thrill was was
working over a period of months, maybe about eight months
with Alex Vandenbrook, who's the the CSO arranger, or was
working on that project anyway, and he he and I
just battered ideas backwards and forwards.
Speaker 5 (11:35):
You know, how should we approach a thing well made?
Is it?
Speaker 6 (11:38):
Is it like a big, a big arrangement that that
gets really dramatic in the middle and then tapes away,
or is it something more quiet and threatening?
Speaker 5 (11:46):
All the way through all these sorts of.
Speaker 6 (11:50):
Discussions, it was it was not at all. I think
sometimes when when an orchestra gets sort of appended to
a songwriter, it's more like the arrangers doing there. But
you turn up, You've got three days to rehearse or
two days to rehearse, and then.
Speaker 5 (12:03):
That's it was. This was much more back.
Speaker 6 (12:07):
And forth, and so by the time I got on
the stage, I really knew. I knew where everything was going,
and it was kind of like the songs were coming
to life the way I first imagined them, because I
think when when you first imagine the song, it's it's
kind of resplendent with all of these colors, and then
(12:27):
you play with your guitar and you played with the band,
and it goes in a different direction, not not worse
or better, but a different direction because it's picked up
by whoever you're collaborating with.
Speaker 5 (12:38):
But this was a chance to.
Speaker 6 (12:40):
Just just coloring the songs in a really cool way.
And it was you know, there were times when I
was in front of the orchestra and I just I
just it was all I could do to not forget
the next line because I was so thrilled by what
the orchestra had done on the last line.
Speaker 4 (13:00):
Ah, that's so special. What an amazing experience.
Speaker 6 (13:04):
It was amazing, And it was also I mean you
mentioned the API before as orcan Symphonia as it was,
but it was it was interesting that I had that experience.
But that experience was radically different because I was a
French horn player. I was actually second horn in the
or Symphonia, which then became the ApoA for quite a while,
(13:25):
you know, I think two or three years while I
was sort of paying my way through the end of university.
But I wasn't a very diligent French horn player and
I didn't practice enough. And French horns there they have
a way of punishing you when you when you think
you think you're too smart, and like you know, I can.
I can remember times when I just couldn't quite hit
(13:46):
the note I was supposed to hit, and the orchid
and the conductor would stop the orchestra, and I still
carry a lot of anxiety from that. And it was
it was a kind of this working with the CSO
was a way of exercising that because because I was
in charge, you know, if if I made a mistake,
I just love from the orchestra would fall about. But
(14:07):
it wasn't quite as life and death as it was
when it was a French one.
Speaker 4 (14:11):
Yes, yes, yes, you've gone from hitting the wrong note
to very nearly forgetting your lines. But now that you're
the man in front, it doesn't matter so much.
Speaker 6 (14:18):
Yeah.
Speaker 4 (14:19):
Hey, it is such a pleasure to speak. Thank you
so much, and we're so glad that you did make
that decision to record Take It to the Bridge. Congratulations Tom,
Thanks Jack. That is Don the glasson his new live
album is Take It to the Bridge, and all the
details are of course on the news Talks.
Speaker 1 (14:35):
He'd be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio
You're listening to the Saturday Morning with Jack Teams podcast
from News Talks at b.
Speaker 2 (00:17):
Miracle Soon, Shine On My Sisters, Shine On Our Come Miracle, Shine.
Speaker 3 (00:34):
Shine Miericals, Shine On.
Speaker 2 (00:44):
My Sisters, Shine on a Come.
Speaker 4 (00:50):
Music legends. Dom McGlashan has written some of our most
love songs, from Anchor Me in his time with the
Muddon Birds, through to his incredible work as a solo
artist and composer for film and television. In twenty twenty three,
went on a very special tour around New Zealand, and
off the back of that, for the first time ever,
(01:11):
he's just released a solo live album, Take It to
the Bridge. Don McGlashen is with us this morning. Cald A,
good morning.
Speaker 5 (01:18):
How are you.
Speaker 4 (01:19):
I'm very well, thank you, delighted to be speaking with you,
and it feels like you're sort of everywhere everywhere at
the moment. But take us back a little bit. It
was twenty twenty three when you were touring. Tell us
about the recording process for Take It to the Bridge.
Speaker 6 (01:34):
Well, I've never been really into live albums for some reason.
I don't know i've been I must have been part
of the making of a dozen or more studio albums,
but I've never I guess I've never listened to many
live albums, that's the issue. So it sort of surprised
me that in the middle of this tour, or early
(01:55):
on in the tour with Anita Clark, I suddenly felt
this would be great, this is really special. I we
should be recording this. And luckily Bob our soundman had
already been had already started recording everything, and we had
all these cool venues to choose between, each with a
different sort of feeling. We did a big house concert
in Carterton, and we did Loons in Littleton a couple
(02:17):
of times, and and the Q Theater in Auckland, so
there was a lot to choose from, and they all
had kind of different audience feel I think I think
we realized quite early on that it was a sort
of an extraordinary event.
Speaker 4 (02:32):
I don't know why, but yeah, and you wanted to
capture it, capture it for posterity's sake, yeah, yeah.
Speaker 5 (02:40):
Or for for our sake in a way.
Speaker 6 (02:42):
I mean posterity posterity is are fairly slippery beasts, so
got no idea what it's going to be interested in,
but certainly certainly as we listened to the stuff more
and more, we kind of realized that we were as
we played, we were learning about the songs. And that's
a bizarre thing for me to say, because I've been
playing the songs for so long and patiently explaining to
(03:04):
them to anybody who listened for so long, that you
wouldn't think that I would need to learn about them.
But yeah, we learned a lot. I mean, and Ita
is a collaborator that really pushes me hard, and every
night it's quite different.
Speaker 5 (03:17):
So yeah, it was. It was a great too.
Speaker 4 (03:20):
And so when you say you learn about the songs,
what do you mean by that?
Speaker 5 (03:24):
Well, I guess as I get older.
Speaker 6 (03:27):
I mean, I I start off with a lot of
songwriter to start off with a fragment of melody, and
then they hum, They play the guitar and they hum
over it and say that outcomes, you know, going to
love your baby all night long or whatever.
Speaker 5 (03:42):
And I'm not really like that.
Speaker 6 (03:43):
I always sort of think about an idea or a
topic or some sort of subject matter that I want
to get into, and I gradually write around that for
days and days and weeks and months before I let
myself pick up the guitar, because picking up the guitar
is kind of a that's a door through which I
(04:04):
can't return, you know, because it's going to be a song,
going to be a song quite soon as soon as
I pick up the guitar. And but you'd think that
would that would end up with a bunch of songs
that are whose meaning is quite tidy. But it's the
opposite with me. I mean, yeah, I've got some songs
that it's pretty obvious what they're about. But I've got
(04:24):
a bunch of other songs that are probably the ones
I prefer, which I don't really know what they're about,
and every time I perform them, I sort of.
Speaker 5 (04:32):
Think, oh, that's what it's about.
Speaker 6 (04:34):
Or better, even somebody comes up to me from the
audience tells me what the song's about.
Speaker 4 (04:39):
That's amazing. So and can you give us an example.
It is the one that springs to mind where someone
has helped you kind of interpret your own art in
that way.
Speaker 6 (04:51):
Well, I guess White Valiant's a bit like that. It's
not so much interpreting, it's about locating it. I've had
a lot of people come up to me and say,
I know exactly the cliffs that you're talking about, the
quarry that you're talking about the road. You know, it'll
be somewhere near where they grew up. You know, it'll
(05:11):
be some some piece of landscape that's part of their
internal landscape, I guess. And in a way that kind
of underlines effect that the song. You know, the song's
kind of a vessel that people can pour different ideas
into if it's not too pompously.
Speaker 4 (05:31):
No, no, no, not at all. It is interesting like that.
Speaker 2 (05:35):
Really.
Speaker 4 (05:36):
No, hey, look at this end of things, guilty as charge,
you know, so don't worry. This is a no judge.
Speaker 5 (05:44):
We can speak freely.
Speaker 4 (05:45):
Yeah. You know, usually when I think about a live album,
and you touched on this a moment ago, you think
about an album being recorded in one place. But one
thing that distinguishes this record is that actually you've been
in these quite quite unique spaces as you tould take
it to the bridge. So talk to me about the
(06:07):
different kind of environments you were in and the ways
in which that may be changed the direction of your
performances and influenced you and you and Anita.
Speaker 6 (06:17):
Yeah, well, I think I think touring, especially when you're
you know, not doing main centers and you're touring all
over the country to quite far flying places. It reminds
It reminds me anyway of how traveling through the country
is like is kind of like filling up a reservoir,
(06:40):
or like breathing in or something, and then performing is
like breathing out, if that makes any sense.
Speaker 5 (06:46):
So I'm seeing all these things.
Speaker 6 (06:48):
I'm seeing the trees, I'm seeing people as we go
past I stopping in cafes and talking to people, and
all of that is all that A is giving me
stuff to write about. Janet Frame used to say this
cool thing. She used to say that she would never
take a cab, never take a taxi to an interviewer,
she had to do a book tour or anything because
(07:10):
because nothing would be sticking to her as she got
out of the taxi, she'd be too slippery, you know,
whereas if she takes a bus or something, then she's
more like a you know, like a like a like
a pylon in the in the in the sea that's
covered with molecles.
Speaker 5 (07:28):
And that's where the writing comes from. I love that,
and it's.
Speaker 6 (07:32):
Kind of true because when I'm driving around, these impressions
come and they sick to me and they might turn
into songs or when I get to where wherever we're going,
they might turn into a better way to sing a
particular song, or a different depth to a character that
I'm trying to inhabit in a particular song. So it
is like like breathing and then breathing out. And this tour,
(07:55):
because we went to lots of different places, was very
much like.
Speaker 5 (07:58):
That, you know places is like Glen Haalkee, like right
at the far end of the of the lake lake.
Speaker 6 (08:08):
Like a tip yeah, yeah, and all yeah, all the
way to you know to we did away Hiki Show
and later the tour was kind of broken up because
we got sick and we had to sort of stop
the tour and then we had to get back into
it about a month later.
Speaker 5 (08:24):
But went all the way.
Speaker 6 (08:26):
I think the furthest north was fun and then further
south might have been Glen Orky, not sure.
Speaker 5 (08:32):
Yeah.
Speaker 4 (08:33):
Do you find too that there's another dimension because you
split your time between between Canada and New Zealand. Now,
do you find that there's an extra dimension as you
travel about New Zealand and that you kind of have
this element of separation some of the time and then
it's you know you're kind of relearning about these spaces
and seeing seeing the country change.
Speaker 5 (08:58):
Yeah, a little bit.
Speaker 6 (08:59):
I mean I've always been somebody who can't write about
a place that I've just arrived at, so and Canada,
even though I've been coming here for over a decade. Now,
I don't. I'm not writing about beavers or or hockey
or mounties.
Speaker 5 (09:17):
Yeah, I mean that that might.
Speaker 4 (09:19):
Happenma Glasson's Maple Syrup tribute album coming up.
Speaker 5 (09:23):
So well, little bit. Yeah, we could sell it with
little bottles of maple syrup. I yeah, I tend to.
Speaker 6 (09:31):
And I think probably what happens is that images from home,
images from alter or kind of clarify as I'm over
here in Canada and I'm And it certainly happened to
be when I was living in England with the Mutton Birds,
that a lot of songs arrived that were more or
less let us home, led us home to people, and
(09:52):
it was very inco deeply inconvenient for us because I
was trying to write like shiny songs and what came
out for the four years we were there, which were
generally more involved let us let us to friends and relatives. Yeah,
it's certainly what's happening now. And I'm finding, Yeah, I'm
finding that.
Speaker 5 (10:16):
I guess. I guess I'm not.
Speaker 6 (10:18):
I'm not as I'm driving around the country side and
as we're heading to this or that venue. I'm not
sort of that engaged with what's changed. I'm engaged with
where I've changed. And and you know how how you
know that particular road looked when I was twenty and
when I was thirty driving up on the way to
that gig, and how how I'm a different person now.
Speaker 4 (10:41):
You're listening to Jack Taime on news Talk zed V.
I'm speaking to Don McGlashan about his new live album,
Take It to the Bridge. You recently came back and
performed with the christ Symphony Orchestra. I know that you've
performed with orchestras over the years. I think it was
that back when it was the Auckland Sinfonia now the
Philharmonic Orchestra in Auckland. You've had plenty of experience with them.
(11:04):
What is that What is that like being on stage
and performing with an orchestra and having that kind of
that lush sound.
Speaker 5 (11:14):
It was fantastic.
Speaker 6 (11:15):
I mean, the thrill part of the thrill was was
working over a period of months, maybe about eight months
with Alex Vandenbrook, who's the the CSO arranger, or was
working on that project anyway, and he he and I
just battered ideas backwards and forwards.
Speaker 5 (11:35):
You know, how should we approach a thing well made?
Is it?
Speaker 6 (11:38):
Is it like a big, a big arrangement that that
gets really dramatic in the middle and then tapes away,
or is it something more quiet and threatening?
Speaker 5 (11:46):
All the way through all these sorts of.
Speaker 6 (11:50):
Discussions, it was it was not at all. I think
sometimes when when an orchestra gets sort of appended to
a songwriter, it's more like the arrangers doing there. But
you turn up, You've got three days to rehearse or
two days to rehearse, and then.
Speaker 5 (12:03):
That's it was. This was much more back.
Speaker 6 (12:07):
And forth, and so by the time I got on
the stage, I really knew. I knew where everything was going,
and it was kind of like the songs were coming
to life the way I first imagined them, because I
think when when you first imagine the song, it's it's
kind of resplendent with all of these colors, and then
(12:27):
you play with your guitar and you played with the band,
and it goes in a different direction, not not worse
or better, but a different direction because it's picked up
by whoever you're collaborating with.
Speaker 5 (12:38):
But this was a chance to.
Speaker 6 (12:40):
Just just coloring the songs in a really cool way.
And it was you know, there were times when I
was in front of the orchestra and I just I
just it was all I could do to not forget
the next line because I was so thrilled by what
the orchestra had done on the last line.
Speaker 4 (13:00):
Ah, that's so special. What an amazing experience.
Speaker 6 (13:04):
It was amazing, And it was also I mean you
mentioned the API before as orcan Symphonia as it was,
but it was it was interesting that I had that experience.
But that experience was radically different because I was a
French horn player. I was actually second horn in the
or Symphonia, which then became the ApoA for quite a while,
(13:25):
you know, I think two or three years while I
was sort of paying my way through the end of university.
But I wasn't a very diligent French horn player and
I didn't practice enough. And French horns there they have
a way of punishing you when you when you think
you think you're too smart, and like you know, I can.
I can remember times when I just couldn't quite hit
(13:46):
the note I was supposed to hit, and the orchid
and the conductor would stop the orchestra, and I still
carry a lot of anxiety from that. And it was
it was a kind of this working with the CSO
was a way of exercising that because because I was
in charge, you know, if if I made a mistake,
I just love from the orchestra would fall about. But
(14:07):
it wasn't quite as life and death as it was
when it was a French one.
Speaker 4 (14:11):
Yes, yes, yes, you've gone from hitting the wrong note
to very nearly forgetting your lines. But now that you're
the man in front, it doesn't matter so much.
Speaker 6 (14:18):
Yeah.
Speaker 4 (14:19):
Hey, it is such a pleasure to speak. Thank you
so much, and we're so glad that you did make
that decision to record Take It to the Bridge. Congratulations Tom,
Thanks Jack. That is Don the glasson his new live
album is Take It to the Bridge, and all the
details are of course on the news Talks.
Speaker 1 (14:35):
He'd be website for more from Saturday Morning with Jack Tame.
Listen live to news Talks he'd be from nine am Saturday,
or follow the podcast on iHeartRadio
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.