December 8, 2025 • 11 mins
The Working Class Man is back.
Celebrating the 40th anniversary of his landmark album, For The Working Class Man, Jimmy Barnes is bringing his most famous songs to our shores early next year.
The most successful artist in Australian chart history has long loved New Zealand because we showed his band, Cold Chisel, love right from the very beginning.
Cold Chisel headlined a Summer Concert Tour earlier this year, but 2026’s tour will be a solo venture for Barnes, as he plays the iconic album from start to finish, with a few additions from his chart-topping catalogue.
“It was such a, a record that was so pivotal in my life and career,” Barnes told Heather du Plessis-Allan.
“The songs on this record changed my life forever.”
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
The Working class Man is back. Jimmy Barnes. He's bringing
his most famous songs to our shores in the first
half of next year. Most successful artist in Australian chart history.
And he's long loved New Zealand because we showed his
band Cold Chisel love right from the very beginning. But
this time it's a solo tour he's going to be doing.
He's backed up by his Cold Chisel bandmte Ian Moss,
who's also going to be performing solo. It's called for
(00:21):
the Working class Man Tour and it's going to mark
the fortieth anniversary of the song's release and the album's release,
and Jimmy Barns is with us. Now.
Speaker 2 (00:28):
Hi, Jimmy, Oh are you hell? Are you well?
Speaker 1 (00:30):
I'm very well. How are you though? Because you've had
the health stuff.
Speaker 2 (00:32):
Oh, I'm fighting fitness. I mean I've had one hundred
thousand dollars one hundred thousand mile service, you know. I mean, yeah,
I'm really healthy. I'm good. I'm swimming a kilumba of
most days now and working out every day and I'm
I'm ready at rock. Yeah.
Speaker 1 (00:45):
But do you know what? Do you know why I'm
asking this? Because you had the heart surgery and the
infection around about the same time that my husband had
exactly the same experience, and you're playing it down. I
mean what you went through was massive.
Speaker 2 (00:55):
Oh it was very painful and I nearly died. I
was close to death. Staff. I got staff infection in
my heart and it was really the operation I had
went for about seven hours. It was sort of the
surgeon here, Paul Jans, who's probably one of the best
in the world, said it was like it was more
dangerous than a transplant. So so, you know, it was
(01:16):
a major work. But I just figure, you know, I
was in I was in great hands, and you know,
I left, you know, and like I said, I've got
all new parts and all the stuff, so I should
be going for another twenty years.
Speaker 1 (01:28):
What made it more dangerous than a transplant.
Speaker 2 (01:30):
Because there was with the transplant, they take it all out.
These these were internal workings. They had to add a
valve aerotic valve replacement I had. They had to repair
the mitro valve go under their back and repair the
mitro valve. They had to take out where the valves
are seated because the virus had eaten into it. So
(01:50):
they had to transplant all this flesh there and then
I think it's fourteen centimeters of aorta had been eaten
away by this bug. And literally, if they hadn't done that,
I could been you know, I could have been singing
and bulged and popped it and died on spot. You know.
It was like it was very just. It was long, intense,
and you needed you know, it's a team of surgeons
(02:12):
as you put you know because your husband done it,
but there's not the the physical pain of having your chest.
You know, price to open is incredibly us the second
time I've had it, so I'd want a two thousand
and seven as well.
Speaker 1 (02:24):
Oh yeah, because they cut through, don't they. They do
the whole.
Speaker 2 (02:27):
And I literally when I had done two thousand and seven,
I as I was going into the hospital, being cheeky
as I was, I had a digital camera. I gave
it to the nurse and said take a few snaps,
you know, and I was thinking they're going to get
the machines and all that sort of stuff. About three
days after I got out of intensive care, I saw
my camera and I managed to reach for it and
they're taken photographs inside my chest and it's this like
(02:47):
they're just it's like a carjack ass, like medieval.
Speaker 1 (02:52):
But you know what, people I think don't appreciate about
what you've been through, almost dying from an in fiction.
All of the trauma of the surgery is that it
takes years to really recover from it. But you were
back on stage with him what like three or four
six months.
Speaker 2 (03:04):
It started rehearsal seven weeks after surgery with cultures and
went on cultures or two. I just had to I
had to be really careful. I was really you know,
I had great physios. I did it. And the doctor said,
when when you're doing physio, you've got to do exactly
what they say. You can't do too much, you can't
do do too little. So for the first you know,
three months, I did exactly what they said. Every day
(03:26):
I had a physio with me on the road, so
he would check every day and check had that and
had the hit at the same time. So, uh, it's
you know, And once I got strong enough to say
you can go a bit harder, I pushed myself. And
besides that, I was you know Jane, and my wife's
the best nurse in the world. She was she's been
through this before and she she was feeding me. And
(03:46):
every morning I get up and have the juices from
growing in an organic garden, you know, I had a
fresh vegetables, fresh everything grown, fruit from our own trees,
all organic, and so I was I was just getting
everything was pumped, Everything was goodness, It was love. It
was gonna be pumped into me. And everything was cooked
with love. And I think that you know that that
thing about you know, it's like like singing. If you
sing with love, people hear it. If you cook with love,
(04:08):
people can taste it and people can feel it, and
the goodness is there. And so I was surrounded by
by really great people and great love. There's a lot
of care and you know, just so many well wishes
from so many punters out there who are just you know,
wishing me the best along the way sort of. They
didn't want me to fall apart, so you know, and luckily.
The other thing is luckily when it happened. You know,
(04:30):
leading up to that, I've gone through five years. Prior
to that, I've done through a lot of changes in
my life, and I'd got really healthy. I was swimming,
you know, miles every day and and all that sort
of stuff. So the doctor said, if I hadn't been
as healthy as I was when I went in, I
might not have made it.
Speaker 1 (04:45):
So you think it hasn't changed your perspective on life? Oh?
Speaker 2 (04:49):
Absolutely, you know, And every moment's precious and every you know,
and you know, and you really you can't take things
for granted. You do have to make an effort. You
do have to. You know, it's important. You know, I
want to be around to see my grandkids grow. I
want to be around and you know, and you know,
I want to, you know, look at the sunset with
my with my wife. You know, I'm going to hold
a hand and you know, and feel that warmth. And
(05:11):
to do that you have to you have to take
the right steps.
Speaker 1 (05:13):
Now, Jimmy, tell me what made you decide to do
a tour of this album forty years on? What brought
this on for you?
Speaker 2 (05:19):
Well? It was it was such a record, was so
pivotal in my life and in my career. This songs
on this record changed my life forever. I remember making
it forty years ago in nineteen eighty five. I was
I'd come out the back of coach as Or at
the end of December eighty three when Coaches were finished.
I thought, you know, I don't know how I'm going
(05:40):
to follow this band, such a great rock and roll band.
You know, I was I wasn't a songwriter, you know,
I just started writing songs. I've had Don Walker, who's
the best songwrite in the world, I think, writing songs
for Colch as well. So I was terrified, but you know,
and I left Coach as well. February eighty four. I
went up with I've got a rock and roll, little
little band or just guitars, no keyboards, anthem. It was
(06:01):
real simple, and I went and played all these little
clubs all the way up queens like North Queensland and back,
and over the period of a month, I sort of
phund my feet as it just says. You know, it
wasn't wasn't pretty, and it wasn't sort of flash. It
was just raw and it had emotion. And so I
made a record and I put that out and I thought,
you know, this will just sort of bridge the gap
between the people. Won't to compare me to Coaches. And
(06:21):
that record went to number one and I was body
swerve and I was so that was really lucky, and
it sort of gave me a bit of breathing room.
But in what it did was it allowed me to
sit back and go, This next record I make is
the one that's either going to make or break me.
So I've got to make something great here. So I
went to America to write a lot of songs and
to do a lot of work for this record. I
(06:42):
was working with Bob Clear Mountain, who's a record producer
who's one of the best in the world. I redid
all the songs from Body, Swerve and and packed them
up for this, and then I needed a bunch of
other songs, and so I wrote and wrote with people.
You know, I've made a lot of friends over the years.
Mick Fleetwood, you know, was a dear friend of mine
(07:02):
and I love making. He's one of the sweetest guys
in the world, but also one of the great drummers,
you know. So Mick, Mick was Mick was around and
Mix said I want to get involved, and he was
introducing me to players. Billy Burnett, who was the nephew
of Dorsey Burnett of the Rock and Roll Trio, which
is one of the great rockabilly bands in the world,
who I loved. So Billy became friends of mine, and
we were there and uh you know we uh we
(07:24):
uh we were still of good in the studio and
recorded a few tracks. I started writing some songs I
wrote with a guy called Chas Sanford. Chas was a
was a huge writer at the time, and he'd written
you know, talked to Me for sev Nix and Missing
You for John Waite. He'd been writing songs for Don
Henley and and he gave me a song called a
Diaty be with You Tonight. And I remember getting that
(07:46):
song and thinking, this is a really good song. This
is a big step in the right direction from my
record so starting to gain a bit of confidence. A
week later I was in the record company in Geffrid
Records with the A and R guy, and he said
had been contacted by Steve van Zandt. And Steve van
Zant was the guitar player from Bruce's band, Bruce Springsteen's band,
(08:07):
and that was a huge fan of Stevie van Zantz
and he said to stevee who loves your voice and
wants to write a song for you. So him and
Steve Jordan, who is now the drummer from the Rolling Stones,
I got together and sent me a demo of a
song they wrote together, and it's like Steve van Zandt
playing an acoustic guitar and singing into a dictaphone with
Steve Jordan playing drums on the back of his couch,
and it sounded just amazing. And so that was right
(08:29):
the night away. So I had these two songs under
my belt and I knew it was going to be good.
I wrote a song called without Your Love. It's a
love song for Jane, my wife, and I went and
recorded it with with Mick Fleetwood and a whole bunch
of really great players. And then the last sort of
big piece of the puzzle came when I met with
a guy called Jonathan Kane. And so Jonathan was he's
(08:49):
been in a band called The Babies, who I really liked,
and he was in Journey. And I did know a
lot about Journey, but I knew they were massive in America,
but they never they never translated to Australia, so we
didn't know him much here. But anyway, Jonathan came in
and we were talking and he was asking he obviously
hadn't beaten in Australia or New Zealand, he was asking
(09:10):
about what it was like to tour down down this
part of the world, and I was explaining how the
audience is a pretty pretty tough you know. If you
don't like it, it's like, you know, they'll throw things back. Yeah,
and if they like you, they love you. And I said,
you know, the soul of the earth. People that came
out on a Saturday night kicked their bloody. He was
up and then you know, Monday morning, the back of
work and they're looking after their family so they get
their care and he must say he took it all in.
I could see him and he went away, and a
(09:31):
week later he sent me a song working Classmen, and
I remember hearing the demo and thinking, I think this
song's going to define my career literally and uh so
I finished recording those songs. By the time I'd finished
recording both, you know, all those songs, I knew I
had a really good record. I felt. I felt I
had a really good record on my on my hands,
(09:52):
and it was just now it was how to get
it across to people. I came back to Australia and
Michael Getinski, my dear, a friend and my partner in crime,
who you know who I loved daily. Michael and I
sat and we had so many songs. I had to
be a double record. And he's going, we're talking at
the time, and I remember a double record in nineteen
(10:13):
eighty five. I think it might have been forty five
dollars or something like that was expensive and it's too expensive.
You know, people are struggling, you know. It was like
it's like the times are now, you know, people were
making hard times back to buy records, and so we
did everything we could. We pulled favors from the art department,
so we did all this and we managed to get
the record and we and we got we got them
so they could put it out at nineteen ninety nine,
(10:35):
so it was under twenty dollars. And to get a
double album under twenty dollars, and I said, well we should,
we should make a point of this and just say
this is for the working class people. So we called
it for the working class man. And I think the
fact that we came from the the it wasn't a gimmick.
It wasn't sort of trying to you know, trying to
play people. Was trying to make things worth while for
(10:55):
them and thinking thinking about the situation of the public,
they all sort of jumped on it and it ended
up just going crazy. It was you know, sold six
hundred thousand copies and it was a record that was
sort of that literally changed my life.
Speaker 1 (11:08):
Yeah, I'm looking forward to seeing it live. Jimmy listen
look after yourself.
Speaker 2 (11:11):
Yes, I will. Nice to talk to you.
Speaker 1 (11:12):
Yeah, brilliant to talk to you. Jimmy Barnes, who'll be
bringing the fortieth anniversary of for the Working Classman the
album to New Zealand and'll be doing it in the
first half of next years. To keep an eye out
for that. For more from the Mic Asking Breakfast, listen
live to news talks.
Speaker 2 (11:26):
It'd be from six am weekdays, or follow the podcast
on iHeartRadio.
The Working class Man is back. Jimmy Barnes. He's bringing
his most famous songs to our shores in the first
half of next year. Most successful artist in Australian chart history.
And he's long loved New Zealand because we showed his
band Cold Chisel love right from the very beginning. But
this time it's a solo tour he's going to be doing.
He's backed up by his Cold Chisel bandmte Ian Moss,
who's also going to be performing solo. It's called for
(00:21):
the Working class Man Tour and it's going to mark
the fortieth anniversary of the song's release and the album's release,
and Jimmy Barns is with us. Now.
Speaker 2 (00:28):
Hi, Jimmy, Oh are you hell? Are you well?
Speaker 1 (00:30):
I'm very well. How are you though? Because you've had
the health stuff.
Speaker 2 (00:32):
Oh, I'm fighting fitness. I mean I've had one hundred
thousand dollars one hundred thousand mile service, you know. I mean, yeah,
I'm really healthy. I'm good. I'm swimming a kilumba of
most days now and working out every day and I'm
I'm ready at rock. Yeah.
Speaker 1 (00:45):
But do you know what? Do you know why I'm
asking this? Because you had the heart surgery and the
infection around about the same time that my husband had
exactly the same experience, and you're playing it down. I
mean what you went through was massive.
Speaker 2 (00:55):
Oh it was very painful and I nearly died. I
was close to death. Staff. I got staff infection in
my heart and it was really the operation I had
went for about seven hours. It was sort of the
surgeon here, Paul Jans, who's probably one of the best
in the world, said it was like it was more
dangerous than a transplant. So so, you know, it was
(01:16):
a major work. But I just figure, you know, I
was in I was in great hands, and you know,
I left, you know, and like I said, I've got
all new parts and all the stuff, so I should
be going for another twenty years.
Speaker 1 (01:28):
What made it more dangerous than a transplant.
Speaker 2 (01:30):
Because there was with the transplant, they take it all out.
These these were internal workings. They had to add a
valve aerotic valve replacement I had. They had to repair
the mitro valve go under their back and repair the
mitro valve. They had to take out where the valves
are seated because the virus had eaten into it. So
(01:50):
they had to transplant all this flesh there and then
I think it's fourteen centimeters of aorta had been eaten
away by this bug. And literally, if they hadn't done that,
I could been you know, I could have been singing
and bulged and popped it and died on spot. You know.
It was like it was very just. It was long, intense,
and you needed you know, it's a team of surgeons
(02:12):
as you put you know because your husband done it,
but there's not the the physical pain of having your chest.
You know, price to open is incredibly us the second
time I've had it, so I'd want a two thousand
and seven as well.
Speaker 1 (02:24):
Oh yeah, because they cut through, don't they. They do
the whole.
Speaker 2 (02:27):
And I literally when I had done two thousand and seven,
I as I was going into the hospital, being cheeky
as I was, I had a digital camera. I gave
it to the nurse and said take a few snaps,
you know, and I was thinking they're going to get
the machines and all that sort of stuff. About three
days after I got out of intensive care, I saw
my camera and I managed to reach for it and
they're taken photographs inside my chest and it's this like
(02:47):
they're just it's like a carjack ass, like medieval.
Speaker 1 (02:52):
But you know what, people I think don't appreciate about
what you've been through, almost dying from an in fiction.
All of the trauma of the surgery is that it
takes years to really recover from it. But you were
back on stage with him what like three or four
six months.
Speaker 2 (03:04):
It started rehearsal seven weeks after surgery with cultures and
went on cultures or two. I just had to I
had to be really careful. I was really you know,
I had great physios. I did it. And the doctor said,
when when you're doing physio, you've got to do exactly
what they say. You can't do too much, you can't
do do too little. So for the first you know,
three months, I did exactly what they said. Every day
(03:26):
I had a physio with me on the road, so
he would check every day and check had that and
had the hit at the same time. So, uh, it's
you know, And once I got strong enough to say
you can go a bit harder, I pushed myself. And
besides that, I was you know Jane, and my wife's
the best nurse in the world. She was she's been
through this before and she she was feeding me. And
(03:46):
every morning I get up and have the juices from
growing in an organic garden, you know, I had a
fresh vegetables, fresh everything grown, fruit from our own trees,
all organic, and so I was I was just getting
everything was pumped, Everything was goodness, It was love. It
was gonna be pumped into me. And everything was cooked
with love. And I think that you know that that
thing about you know, it's like like singing. If you
sing with love, people hear it. If you cook with love,
(04:08):
people can taste it and people can feel it, and
the goodness is there. And so I was surrounded by
by really great people and great love. There's a lot
of care and you know, just so many well wishes
from so many punters out there who are just you know,
wishing me the best along the way sort of. They
didn't want me to fall apart, so you know, and luckily.
The other thing is luckily when it happened. You know,
(04:30):
leading up to that, I've gone through five years. Prior
to that, I've done through a lot of changes in
my life, and I'd got really healthy. I was swimming,
you know, miles every day and and all that sort
of stuff. So the doctor said, if I hadn't been
as healthy as I was when I went in, I
might not have made it.
Speaker 1 (04:45):
So you think it hasn't changed your perspective on life? Oh?
Speaker 2 (04:49):
Absolutely, you know, And every moment's precious and every you know,
and you know, and you really you can't take things
for granted. You do have to make an effort. You
do have to. You know, it's important. You know, I
want to be around to see my grandkids grow. I
want to be around and you know, and you know,
I want to, you know, look at the sunset with
my with my wife. You know, I'm going to hold
a hand and you know, and feel that warmth. And
(05:11):
to do that you have to you have to take
the right steps.
Speaker 1 (05:13):
Now, Jimmy, tell me what made you decide to do
a tour of this album forty years on? What brought
this on for you?
Speaker 2 (05:19):
Well? It was it was such a record, was so
pivotal in my life and in my career. This songs
on this record changed my life forever. I remember making
it forty years ago in nineteen eighty five. I was
I'd come out the back of coach as Or at
the end of December eighty three when Coaches were finished.
I thought, you know, I don't know how I'm going
(05:40):
to follow this band, such a great rock and roll band.
You know, I was I wasn't a songwriter, you know,
I just started writing songs. I've had Don Walker, who's
the best songwrite in the world, I think, writing songs
for Colch as well. So I was terrified, but you know,
and I left Coach as well. February eighty four. I
went up with I've got a rock and roll, little
little band or just guitars, no keyboards, anthem. It was
(06:01):
real simple, and I went and played all these little
clubs all the way up queens like North Queensland and back,
and over the period of a month, I sort of
phund my feet as it just says. You know, it
wasn't wasn't pretty, and it wasn't sort of flash. It
was just raw and it had emotion. And so I
made a record and I put that out and I thought,
you know, this will just sort of bridge the gap
between the people. Won't to compare me to Coaches. And
(06:21):
that record went to number one and I was body
swerve and I was so that was really lucky, and
it sort of gave me a bit of breathing room.
But in what it did was it allowed me to
sit back and go, This next record I make is
the one that's either going to make or break me.
So I've got to make something great here. So I
went to America to write a lot of songs and
to do a lot of work for this record. I
(06:42):
was working with Bob Clear Mountain, who's a record producer
who's one of the best in the world. I redid
all the songs from Body, Swerve and and packed them
up for this, and then I needed a bunch of
other songs, and so I wrote and wrote with people.
You know, I've made a lot of friends over the years.
Mick Fleetwood, you know, was a dear friend of mine
(07:02):
and I love making. He's one of the sweetest guys
in the world, but also one of the great drummers,
you know. So Mick, Mick was Mick was around and
Mix said I want to get involved, and he was
introducing me to players. Billy Burnett, who was the nephew
of Dorsey Burnett of the Rock and Roll Trio, which
is one of the great rockabilly bands in the world,
who I loved. So Billy became friends of mine, and
we were there and uh you know we uh we
(07:24):
uh we were still of good in the studio and
recorded a few tracks. I started writing some songs I
wrote with a guy called Chas Sanford. Chas was a
was a huge writer at the time, and he'd written
you know, talked to Me for sev Nix and Missing
You for John Waite. He'd been writing songs for Don
Henley and and he gave me a song called a
Diaty be with You Tonight. And I remember getting that
(07:46):
song and thinking, this is a really good song. This
is a big step in the right direction from my
record so starting to gain a bit of confidence. A
week later I was in the record company in Geffrid
Records with the A and R guy, and he said
had been contacted by Steve van Zandt. And Steve van
Zant was the guitar player from Bruce's band, Bruce Springsteen's band,
(08:07):
and that was a huge fan of Stevie van Zantz
and he said to stevee who loves your voice and
wants to write a song for you. So him and
Steve Jordan, who is now the drummer from the Rolling Stones,
I got together and sent me a demo of a
song they wrote together, and it's like Steve van Zandt
playing an acoustic guitar and singing into a dictaphone with
Steve Jordan playing drums on the back of his couch,
and it sounded just amazing. And so that was right
(08:29):
the night away. So I had these two songs under
my belt and I knew it was going to be good.
I wrote a song called without Your Love. It's a
love song for Jane, my wife, and I went and
recorded it with with Mick Fleetwood and a whole bunch
of really great players. And then the last sort of
big piece of the puzzle came when I met with
a guy called Jonathan Kane. And so Jonathan was he's
(08:49):
been in a band called The Babies, who I really liked,
and he was in Journey. And I did know a
lot about Journey, but I knew they were massive in America,
but they never they never translated to Australia, so we
didn't know him much here. But anyway, Jonathan came in
and we were talking and he was asking he obviously
hadn't beaten in Australia or New Zealand, he was asking
(09:10):
about what it was like to tour down down this
part of the world, and I was explaining how the
audience is a pretty pretty tough you know. If you
don't like it, it's like, you know, they'll throw things back. Yeah,
and if they like you, they love you. And I said,
you know, the soul of the earth. People that came
out on a Saturday night kicked their bloody. He was
up and then you know, Monday morning, the back of
work and they're looking after their family so they get
their care and he must say he took it all in.
I could see him and he went away, and a
(09:31):
week later he sent me a song working Classmen, and
I remember hearing the demo and thinking, I think this
song's going to define my career literally and uh so
I finished recording those songs. By the time I'd finished
recording both, you know, all those songs, I knew I
had a really good record. I felt. I felt I
had a really good record on my on my hands,
(09:52):
and it was just now it was how to get
it across to people. I came back to Australia and
Michael Getinski, my dear, a friend and my partner in crime,
who you know who I loved daily. Michael and I
sat and we had so many songs. I had to
be a double record. And he's going, we're talking at
the time, and I remember a double record in nineteen
(10:13):
eighty five. I think it might have been forty five
dollars or something like that was expensive and it's too expensive.
You know, people are struggling, you know. It was like
it's like the times are now, you know, people were
making hard times back to buy records, and so we
did everything we could. We pulled favors from the art department,
so we did all this and we managed to get
the record and we and we got we got them
so they could put it out at nineteen ninety nine,
(10:35):
so it was under twenty dollars. And to get a
double album under twenty dollars, and I said, well we should,
we should make a point of this and just say
this is for the working class people. So we called
it for the working class man. And I think the
fact that we came from the the it wasn't a gimmick.
It wasn't sort of trying to you know, trying to
play people. Was trying to make things worth while for
(10:55):
them and thinking thinking about the situation of the public,
they all sort of jumped on it and it ended
up just going crazy. It was you know, sold six
hundred thousand copies and it was a record that was
sort of that literally changed my life.
Speaker 1 (11:08):
Yeah, I'm looking forward to seeing it live. Jimmy listen
look after yourself.
Speaker 2 (11:11):
Yes, I will. Nice to talk to you.
Speaker 1 (11:12):
Yeah, brilliant to talk to you. Jimmy Barnes, who'll be
bringing the fortieth anniversary of for the Working Classman the
album to New Zealand and'll be doing it in the
first half of next years. To keep an eye out
for that. For more from the Mic Asking Breakfast, listen
live to news talks.
Speaker 2 (11:26):
It'd be from six am weekdays, or follow the podcast
on iHeartRadio.
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