September 17, 2024 • 27 mins
Discover the secrets behind the legendary career of guitarist Steve Hackett.
From the moment a pivotal call from Peter Gabriel changed his life, to the exhilarating highs of performing at iconic venues like Madison Square Garden, Hackett shares the trials and triumphs of his journey with Genesis.
Hear firsthand how influential figures like Segovia and Hank Marvin helped shape his unique sound, and enjoy personal anecdotes about the challenges and rewards of mastering difficult instruments.
Hackett also opens up about the emotional rollercoaster of launching his solo career and the communal spirit of being inducted into the Rock and Roll Hall of Fame.
Experience the intricate balance of live performances, the joy of sharing the stage with legendary acts, and the demands of a grueling tour schedule.
You'll also get a glimpse into Hackett's personal life, including his favorite pastimes, cherished movies, and songs that inspire him.
This episode is a treasure trove of behind-the-scenes stories and musical history, offering an intimate look at one of rock's most revered guitarists.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:14):
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolvedinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
Hi, I'm Tony Mantor.
Welcome to Almost LiveNashville.
Steve Hackett joins us today,offering a unique opportunity to
explore his tenure with theiconic band Genesis and the
events that led him to become amember.
Additionally, we delve into hissolo career and current
(01:21):
endeavors, providing acomprehensive understanding of
his diverse experiences.
It's a great pleasure to havehim on our show and we extend
our gratitude for his time.
Thanks for joining us today.
Speaker 2 (01:33):
Yeah, yeah, very good , thank you yes.
Speaker 1 (01:36):
You've got such a body of work.
Do you ever sit back andreflect on all the things that
you've done and then just say toyourself, wow, I did all this.
Speaker 2 (01:45):
I've got a friend who makes films and he said
achievements seem so little inretrospect and I think it's a
very good adage to keep yourselfgrounded and not to think oh
well, I got to work with thegreat this, that and the other,
and I did this and I did that.
I reckon that, you know, withmost musicians and performers
(02:06):
there's always room forimprovement, so that's why we
keep doing another, one, another, one, another one.
I'm sure you know that yourself.
Yeah, absolutely.
Speaker 1 (02:16):
It's just sometimes you're sitting around rehashing
the old days and then you findthat, wow, look at all the
things that we've done together,yeah, keeps building.
And then you just that, wow,look at all the things that
we've done together, yeah, keepsbuilding.
And then you just never thoughtyou could ever do that when
he's young.
Speaker 2 (02:30):
Yeah, well, yeah, I mean when you're a kid, my God.
I mean I listened to Segovia,for instance, when I was 15 and
I thought, my God, this is aquantum leap, if I could have
used these words.
You know everything I'm hearingso far.
You know great guitarists playsingle line things you know,
never mind being able to knitextraordinarily with the right
(02:51):
hand.
Yeah, and when I saw him playingon TV I thought he's hardly
moving and all these notes arecoming out.
It's all from barre positions.
It seems measured and leisurely.
I'm sure it was.
I'm sure it was probablysweating, you know, for the life
of him, but so it seemed to me.
(03:12):
And so I don't know how we gotonto the subject of that, but
I've always thought when I was akid, listening to it, I thought
, oh, I'll never be able to playlike that Little, knowing that
many years later I was to recordprecisely some of the same
materials and some other Bachpieces that he hadn't touched.
Every now and again, if Irecord a Bach piece, you know
(03:36):
that it's going to put youthrough the wringer in many ways
and all you're doing is addinga footnote to the greats.
It's a bit like doing aShakespearean thing where all
those greats have preceded you.
Yeah, for sure, you just add afootnote to it and that's on the
classical side of things, nevermind rock.
So yeah, I mean, if you told meone day you're going to play
(03:58):
this, I would have said get outof here, Nah.
Speaker 1 (04:01):
Yeah.
So what was your early years?
Like I know, you started outfairly young, so how did you
evolve?
Speaker 2 (04:09):
so you could be what you are today.
Well, my dad played a number ofmusical instruments.
He wasn't a professionalmusician.
He eventually became aprofessional artist, painting
paintings.
You know the war years weren'tnecessarily kind to a lot of
very creative guys like himself,and he happened to have a very
high IQ.
He could play all theseinstruments.
And so, from the age of two, Iwas trying to play harmonica,
(04:31):
just like my dad, buying mecowboy tunes to listen to and
Slim Whitman records and DavidCrockett, roy Rogers yeah, you
know all those cowpokes outthere.
I loved all of that stuff, ofcourse.
So I was playing harmonica 10years before I touched guitar.
By the time I was 12, I wasjust about able to get my arms
(04:53):
around the guitar that he hadthat he brought back from Canada
.
And then, by the time I was 14,I gave up my summer holiday to
just do nothing but play guitar.
With this brutal action he saidyou'll get calluses.
I never got calluses with thatguitar.
I just had open wounds on myfingers.
I didn't know what was a greataction, what was heavy gauge,
(05:13):
what was light Early days.
You've got to suffer to getthere.
Speaker 1 (05:17):
What was that for his guitar?
Was that a name brand or justsomething he found?
Speaker 2 (05:21):
It looked like something the others might have
played.
You know it was a K, k-a-y OkayS cello hole guitar, big round
thing, all right, sort of thingthat country players would play.
I found it absolutely marvelous.
You know, once I was able tomaster a few chords on it.
Then a friend bought a nylonstring guitar, okay, and I
(05:43):
thought this is cheating.
This doesn't feel like barbedwire anymore, this is gentle on
the fingers.
So somewhere along the line thepenny dropped.
You didn't have to be in painfrom the word go.
You could actually enjoy thisthing.
Speaker 1 (05:56):
Yeah, yeah, that's great.
You mentioned a few people, sowho were some of the ones that
inspired you to evolve to whatyou have become today?
Speaker 2 (06:06):
Well, you know, I think Hank Marvin of the Shadows
was a big deal for all of usBritish guitarists from a
certain time.
Okay, I mean, he was alwaysfive years older than the guys
who were five years older thanme, so the Eric Clapton's and
Jeff Beck's and all of thosepeople you know he was that and
I got to meet him a few timesand have a get together with a
bunch of people we wished himwell off to when he was
(06:30):
relocating to Australia, and atthat do I was being introduced
to Eric Clapton, Jeff Becks,David Gilmour, Steve Howell I
was already working with becauseso it's a name drop.
Not at all.
That's great.
We were already having the bandGTR Right, We'd formed that and
that took off for us big timein the States.
Speaker 1 (06:50):
Yeah, that was really good.
Speaker 2 (06:51):
So that was interesting Just shortly after
I'd left Genesis.
That was something that tookoff, I'm glad to say.
Speaker 1 (06:58):
Yeah, for sure.
Now, how did you start writingsongs?
Did that happen over a periodof time?
So how did that transitionhappen for you?
Speaker 2 (07:09):
Well, I think I became aware that when I'd seen
King Crimson.
I saw them in 1969, just beforethey made in the court the
Crimson King Okay and the thingthat struck me about that was
they were coming up with songsthat had great long instrumental
passages, great singing butgreat long instrumental passages
(07:30):
.
And of course, to aninstrumentalist this was a
clarion call and I came to knowover time, most importantly Ian
MacDonald, who being really, Ithink, the prime writer with
them, along with Pete Sinfield.
I wouldn't say that he mentoredme, but he gave me one or two
ideas and he was veryencouraging and seemed to like
(07:52):
what I was doing.
That's nice.
Then he was about he'd leftCrimson.
He was just about to go off andform Foreigner.
Of course we kept up contact,my late great pal, and that was
really wonderful.
I was thrilled that he likedwhat I did, because I was so
impressed with what he could doand shortly I was to join
(08:13):
Genesis.
Speaker 1 (08:14):
Yeah, I heard that come from an ad in a paper or
something along that line.
Speaker 2 (08:19):
After five years of advertising the back pages of
Melody Maker, I got a call fromPeter Gabriel, who was the lead
singer of Genesis, and theywanted someone who could write
and I'd advertised myselfalready as a writer, so it was
aspirational rather thananything in concrete.
At that point I wanted to be awriter, but that was the whole
(08:40):
point.
Genesis wanted someone whocould play electric guitar 12
string and could write.
So I laid claim to all thosethree things.
Speaker 1 (08:49):
So that actually put the pressure on you and you had
to step up to the plate and dosome of the things that you said
you could do.
Speaker 2 (08:55):
Yes, that's right.
Yeah, that was important.
Phil Collins joined the bandthree months before I did.
They were up and running doinggigs with him.
Speaker 1 (09:04):
Yeah, that was good that you got a chance to join
them all together like that and,most importantly, they had some
work.
Speaker 2 (09:09):
Charisma Records our record company were putting
three acts on for the price offish and chips.
You could go and see Linda'sFun Vanagraph Generator and
Genesis.
We were the opening act of theopening act.
Speaker 1 (09:22):
Yeah, I've seen that happen many times.
Speaker 2 (09:25):
It was a kind of shock to me, because I've been a
legend in my own bedroom up tothat point and I'd done damn old
gigs and suddenly we wereplaying to full houses, town
halls throughout the UK, and itwas a kind of yes, had to step
up to the plate, as you sorightly put it.
Speaker 1 (09:43):
Yes, so once you joined Genesis and all the
dominoes started falling inplace like they did, what was
that experience like for you?
When we're young, we alwaysanticipate and dream upon what
we can do yes, and then we hopethat we can get there yes.
Then, all of a sudden, you arethere.
(10:03):
So what was that like for you?
Speaker 2 (10:06):
Yes, thrilling and terrifying in so many ways.
There's something about it,isn't there.
You know you want this thing,you want it, you want it, you
want it Exactly.
And then suddenly you're thereand there's going to be some
times when nerves are going toget the better of you and other
times when you think I can layimposter syndrome to one side
(10:29):
and say, yeah, no, I'm all rightEnough.
People were saying to me no,you're right for the band,
you're good for this, and I'dcome up with certain techniques.
And then John Lennon startedsaying nice things about the
band, which was absolutelylovely, but there was no social
media.
You couldn't make use of thatat the time, so closely guarded
secrets.
So you know, lennon would dothe odd interview and mention us
(10:53):
more than once, which was very,very nice, saying we were true
sons of the Beatles.
And I look back on some of theearly Genesis stuff and I can
see the influence.
Of course you know that'sfairly obvious.
In fact, our first hit singlewas based on a guitar riff that
I had and in 1972, some of theguys in the band were saying,
(11:16):
well, that sounds a little bittoo close to the Beatles, we
shouldn't use that.
The following year I'm stilljamming away on the same riff
with Phil.
Everyone jams together, a songcomes out of it and that's our
first hit single.
I Know what I Like.
So a kind of homage to theBeatles.
Very British in so many ways.
Speaker 1 (11:33):
Yeah, that makes sense.
So, as you grew with Genesisand then Genesis grew within
itself, it doesn't matter whatlevel you're at.
There's always going to be upsand downs, good and bad days.
Sure, everybody certainly hasthem.
Sure, what are a couple of thegood ones that you'll always
remember about being withGenesis in those years that you
(11:55):
performed with them?
Speaker 2 (11:56):
There are a couple of shows that I remember.
I do remember playing in LA forthe first time at the Roxy Club
, doing two shows a night andthree nights, and we weren't
selling out anywhere else butfor some reason LA really seemed
to get it with us.
Another time in America, againdoing Madison Square Garden in
77, where, from the very firstnote, the whole of the audience
(12:20):
stood up.
It was a great feeling.
You can't buy those moments,that's right.
Similar thing happened inGlasgow when we had equipment
problems and we couldn't put onour show and so we postponed it.
We came back a couple of weekslater and I thought, you know,
the Glasgow audience got to bereally angry and stoneless.
(12:41):
But no, it was again it's thisthing On Effie thrilled to have
us, and that was a great, greatfeeling.
Speaker 1 (12:49):
Not a lot better than that kind of feeling, for sure.
Speaker 2 (12:52):
Wonderful there.
So those feelings of you knowwhen you get the ultimate
sanction from the audience.
It's not the amount of recordsyou sell, it's not about the
numbers, it's about the realemotional impact of something
you know.
You find your aspirations findtheir echo within the response
of the audience and it allbecomes one and it's a wonderful
(13:15):
wonderful moment.
Speaker 1 (13:17):
It's about the music.
That's what sells it.
Speaker 2 (13:20):
That's it.
Yes, that's right.
It's about the music.
The music is its own currency,Even if I never earned another
penny from gigs or from selling.
It's about as I say.
It pays you back.
That's right.
The spirit of the music ispriceless.
Speaker 1 (13:36):
Absolutely.
Speaker 2 (13:37):
The spirit of the response, all of that.
These are things that no amountof marketing can replace that
direct contact.
Speaker 1 (13:44):
Yes for sure.
Now, you mentioned the elationof being on stage, but you also
mentioned the horror of being onstage.
Sure, so you must have hadthose same feelings when you
decided to embark on your solocareer.
Speaker 2 (14:01):
Well, I did an album when I was still with Genesis in
1975.
And then, by some point in 77,I decided to leave the band,
take the chance and doing myfirst show, which may have been
in Oslo I'm not sure if it wasOslo or Gothenburg, but
terrifying.
Speaker 1 (14:19):
I can just imagine.
Speaker 2 (14:20):
You know, either this show is going to go well or and
I'm going to have a career orit's going to be thumbs down.
Feed him to the lions.
Luckily it was thumbs up.
Yeah, that was great Because ithappened once.
On that show I realized wecould do it again multiple times
.
There was a great response tothe band at that time, a great
(14:41):
response to the subsequent albumthat we were going to do, which
was Spectral Mornings, and itjust seemed to go up and up and
up and that was an extraordinarything.
So I still love playing live.
I noticed that John Maylesomething that he'd said
recently.
I used to go and see him when Iwas 16, when he was a grand old
man of 33.
We thought he was ancient atthat time.
(15:02):
How could he get up there atthat age and do that?
Isn't that marvelous?
He said something about youknow.
He said I really like being onthe road, he liked doing gigs,
and the joy of that I thinkcommunicated from those early
days right up to basically hisend.
You know he's cut of the samecloth as all the great blues men
(15:23):
of all time and what anincredible career he had.
Speaker 1 (15:27):
Absolutely.
Now.
One thing that I think happenedfor you is when you left
Genesis.
It allowed you to become a morecomplete player, because you
was allowed to do whatever youwanted to do and you embraced it
.
Speaker 2 (15:41):
Yes, it did.
It meant that I could work withother people.
I was ready to work with othersfrom different backgrounds and
cultures.
Almost immediately I befriendedRichie Havens.
He and I started to worktogether and that was wonderful
for me because all of the guysin Genesis revered Richie Havens
.
We'd done gigs with him, wewere the support act.
(16:03):
He was after we'd been talkingfor a while and I'd invited him
to my home, or what have you.
He suggested that we worktogether and I was thrilled with
that.
Again, you know, oh, the greatman wants to work.
And when we eventually did inCherokee Studios in Los Angeles,
he'd flown over from New Yorkand same day he wanted to go
(16:24):
straight in the studio, workedall night with me.
I was worried that he was goingto tire and I was going to
finish him off.
But he was just running onenthusiasm and everything and he
was truly great.
He sort of took overproceedings.
We did one song.
He told me how we should do itbecause I wasn't used to
recording with other people.
He said well, you come out onthe studio floor with me.
(16:45):
We got the backing track we'regoing to record.
Sure, and if you're a few feetaway from me, then you can tell
me when I'm getting it right andnot.
And he's learning it on thespot and he's looking to me for
approval and I've always thoughtit was a bit like God looking
to you for approval and I'mgoing, yeah, great, wonderful.
(17:06):
And then at the end of that songand he does an incredible
performance on Icarus Ascending,we, oh, please, don't touch him
.
He said have you got any othersongs?
And I had, oh, you know the Bside of a cassette that I was
embarrassed about playing him.
And I said, well, I've got thisone.
He said, well, let's have alisten.
Yeah, we should do that.
Okay.
He says what you do is you goout with the acoustic guitars,
(17:28):
with 12-string guitar?
He said I'll play percussion atthe same time.
He's got a cigarette in hismouth, he's got a Truby hat on,
he's playing maracas in one hand, tambourine in the other.
We just get into this grooveand it all went through.
He relaxed me, went through andhe did vocals immediately
afterwards and it sounded likewe'd been working on this stuff
(17:52):
for years.
It was just so good.
I have to say, out of all thevocalists I've ever worked with,
he had a power and a presenceand a focus to die for, because
all that guy ever needed was anacoustic guitar and sit down and
entertain half a million peopleas we well know?
Speaker 1 (18:08):
Yeah for sure.
Now you bring up acoustic.
You've done acoustic.
You've done electric yeah.
So you've got those settingswhere it's just an acoustic
laid-back situation andatmosphere.
Then you've got the electricwhich you can do with a band,
which gives you more power.
So do you have a favorite?
Speaker 2 (18:26):
Well, you know I like doing both.
When you're live with anacoustic guitar, there's nowhere
to hide, right?
So you screw up.
Everyone knows that's right.
With an electric guitar, you'vegot a whole band and one chord
and one note fill the auditorium, whatever it is.
There is safety in numbers, butthen there's also the aspect of
the power of the ensemble.
(18:47):
That can't be underestimated,because we always think in terms
of guitarists, lead guitarists,but part of the art of writing
is to convey things that willwork to the strengths of others
that you're working towards.
Collaboration yeah, that wassomething that I think that
(19:08):
struck me with King Crimson.
You know the precision but thepower of the ensemble all going
in a schizoid band like Manor.
That was hugely impressive.
A whole band soloing all atonce or so, it seemed, no
passengers, everyone a star.
And I think when I joinedGenesis I was really looking for
a band that would be able to dothat, and I think we managed to
(19:30):
attract their attentionsufficiently.
I befriended Robert, robertbefriended Peter, gabriel was to
work with him, and so I think,british bands at some point they
started to become each other,it seems to me I ended up
working with a lot of the KingCrimson guys over time, a lot of
the guys from yes over time.
So Genesis and yes and KingCrimson, all sort of meet up
(19:51):
with me somewhere in the middle,and many other bands, of course
, that I've played with since.
But I've been working withSteve Rothery of Merillion.
We've been doing a sort of twoguitar thing recently and a
couple of days ago we wereworking on that over the weekend
.
So that's been very interestingto see how that's shaping up
out of jams.
But it's becoming more and morecohesive as it runs.
Speaker 1 (20:14):
Yeah right, so you brought up songwriting here just
a short time ago.
Sure, these three things havedifferent emotions to it.
Sure, songwriting, recording orperforming which one is your
favorite to do?
Speaker 2 (20:27):
Well, they're all great for different reasons.
Yeah, sure, it's lovely towrite something that you think
is a really good song.
It's even better when you getit recorded and you hear it back
and you think, oh well, now ifyou can take that to the masses,
if you can perform that thingas well, that's something else.
Again, there's a responsibilitythat goes with it, of course,
(20:49):
right, the responsibility forbeing everyone else's night out
that thing.
So there's always the price topay.
So there's that.
Oh, I don't want to fall offthe horse and hit a bum note,
but it's inevitable that everynow and again there's going to
be a brown note or two.
It's inevitable, it justhappens.
(21:10):
But I mean, after a gig I'malways the first to admit when
I've screwed up something.
Speaker 1 (21:17):
Yeah, unfortunately we've all been there.
Speaker 2 (21:19):
We've all been there that feeling.
I think that Peter Green wasthe same.
A whole gig would be ruined forhim because he'd play one dumb
note.
Well, what about the notes hegot right?
You know that thing.
Yeah.
So you know, we can be veryunforgiving of each other, can't
we Of ourselves?
Speaker 1 (21:37):
Yeah, exactly Now, with everything that you've done
, you had another accolade, andthat was induction into the Rock
and Roll Hall of Fame, so thatmust have been a pretty exciting
night.
Speaker 2 (21:47):
When the evening started off, it seemed very
stiff and starchy and no one wasquite sure of anyone else and
what have you.
But as the night wore on andpeople were being honored, and
people were getting up and doingmarvelous performances and what
have you and writers were beingcelebrated, some of whom had
shuffled off this mortal coil, Irealized what a great
(22:09):
institution it was that doesn'tjust celebrate fashion and your
latest hit, but the people thatbrought you your childhood, the
people that wrote these greattunes when you weren't aware of
what was pop music certainly notas a pejorative.
You just thought, oh yes, thegreat songs that Roy Orbison
(22:31):
brought us, the great songs thatso many brought us.
So on the night, we were beinginducted, as Genesis, abba were
also being inducted, and therewere some great speeches from
people.
It became a very emotionalevening.
Genesis didn't perform, but Iknow that Phil was out of his
chair clapping along and he justwanted to be so much part of it
(22:53):
.
I could see it and he starteddancing.
It was a very, very emotionalaffair.
I was able to connect with somepeople who I thought were just
brilliant, and so it became acelebration.
Yeah, I think it's a greatAmerican institution.
It's a great internationalinstitution.
I don't think we've gotanything quite like that in
(23:15):
Britain, where we seem to beobsessed with the latest,
whatever it might be, ratherthan the best, whether they're
with us still or not.
And so I thought it was greatthat the Paul Butterfield Blues
Band was celebrated posthumouslyPaul Butterfield, great
harmonica mentor of mine, mikeBloomfield, who'd worked with
Dylan as well as the ButterfieldBand, you know, great, great
(23:38):
player, wonderful.
I'd seen them live in themid-60s.
Wonderful to see that they wereinducted.
And, yes, the British band, yes, were to be, unfortunately,
post-chris Squire were to be,unfortunately, post Chris Squire
.
He wanted to come along to thenight.
We were there and I couldn'tget him a ticket.
It was just, it was impossible.
And he got to go to the Hall ofFame in one way or another, but
unfortunately not in hislifetime.
Speaker 1 (23:59):
Yeah, yeah, so you're on tour now, right?
Speaker 2 (24:02):
That's right.
I'm going to be on tour withthe Jarby guys in Hungary.
I've just done some Europeanstuff.
I'm doing some more European.
Later in the year I'm going tobe doing British shows.
That's coming up soon November,october, yes.
So then I'm back to Italy andSpain and Portugal.
(24:22):
So it's a busy life.
I'm all over the show.
You coming to the States at all?
Yeah, I have been to the Statesearlier in the year.
We'll be going back.
I'm trying to remember whetherit's in the spring or the fall,
I'm not sure, but we're comingback.
We are coming back to theStates, yeah.
Yeah, I've seen some potentialdates.
I think we're doing about sixor seven weeks, I believe.
Speaker 1 (24:45):
Yeah, that's great.
Speaker 2 (24:46):
Yeah.
Speaker 1 (24:47):
So when you're not touring, yes, and you've got
some downtime, yeah.
What do you do?
Just to chill and just lay backand think of nothing.
Speaker 2 (24:56):
You know what?
There hasn't been time to havedowntime, and my wife and I were
saying this today.
Wouldn't it be nice, justbecause it's a glorious summer's
day here, be nice to sort of gowandering off?
But she's hurt her foot, sothat's not going to happen.
Speaker 1 (25:11):
Oh, that's too bad.
Speaker 2 (25:12):
It's too hot to sit in the garden, so it's another
day doing the other thing, so Idon't have too much time.
I'm usually, you know, here'sme, you know high-pressure
salesman.
This is it.
We don't have a lot of time off.
I do have books that I've read,written by pals.
(25:33):
I've got one or two friends whoare great, great writers and I
did a foreword for one of them,a book by Mike Barnes called A
New Day Yesterday.
It's about progressive rock.
Very, very good book, very wellwritten, very analytical, very
funny as well.
Really, really good.
Have you done your bio yet?
Yeah, I have.
I've done that.
That's been out there.
(25:53):
Yes, it has indeed.
Speaker 1 (25:55):
Yes, Okay, that's great, so let's lighten it up a
little bit here.
What's your favorite movie?
Speaker 2 (26:02):
Favorite movie, oh, I absolutely love.
There's a British black andwhite comedy from about 1950
called Year of my Birth.
It's called Kind Hearts andCoronets.
Okay, it's one of the Ealingcomedies.
Speaker 1 (26:16):
Oh.
Speaker 2 (26:16):
Very good.
It's like an Oscar Wilde play.
Speaker 1 (26:18):
Okay, it's very, very good, all right.
Favorite song.
Speaker 2 (26:23):
Favorite song?
Oh, I have to say probablyMacArthur Park.
I really love that, you know.
Speaker 1 (26:28):
Yeah, great song.
Jimmy Webb, yeah, yes, yeah,great guy, great writer, oh yeah
, he's very, very good.
Okay, favorite band Favoriteband?
Oh, probably it's.
Speaker 2 (26:38):
Beatles, why, why, why, ben's words, beatles.
I'll re-beat them you knowAbsolutely.
Speaker 1 (26:48):
So I have to say I really appreciate you coming on.
Thank you, it's been reallygood, great conversation and
just great talking to you.
You too, absolutely.
I appreciate it.
Time flies, Okay, all the best,thank you.
Yes, it's been great.
Thanks again, thanks forjoining us today.
(27:10):
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
My career in the entertainment industry has
enabled me to work with adiverse range of talent.
Through my years of experience,I've recognized two essential
aspects.
Industry professionals, whetherfamous stars or
behind-the-scenes staff, havefascinating stories to tell.
Secondly, audiences are eagerto listen to these stories,
(00:36):
which offer a glimpse into theirlives and the evolution of
their life stories.
This podcast aims to sharethese narratives, providing
information on how they evolvedinto their chosen career.
We will delve into theirjourney to stardom, discuss
their struggles and successesand hear from people who helped
them achieve their goals.
Get ready for intriguingbehind-the-scenes stories and
(00:58):
insights into the fascinatingworld of entertainment.
Hi, I'm Tony Mantor.
Welcome to Almost LiveNashville.
Steve Hackett joins us today,offering a unique opportunity to
explore his tenure with theiconic band Genesis and the
events that led him to become amember.
Additionally, we delve into hissolo career and current
(01:21):
endeavors, providing acomprehensive understanding of
his diverse experiences.
It's a great pleasure to havehim on our show and we extend
our gratitude for his time.
Thanks for joining us today.
Speaker 2 (01:33):
Yeah, yeah, very good , thank you yes.
Speaker 1 (01:36):
You've got such a body of work.
Do you ever sit back andreflect on all the things that
you've done and then just say toyourself, wow, I did all this.
Speaker 2 (01:45):
I've got a friend who makes films and he said
achievements seem so little inretrospect and I think it's a
very good adage to keep yourselfgrounded and not to think oh
well, I got to work with thegreat this, that and the other,
and I did this and I did that.
I reckon that, you know, withmost musicians and performers
(02:06):
there's always room forimprovement, so that's why we
keep doing another, one, another, one, another one.
I'm sure you know that yourself.
Yeah, absolutely.
Speaker 1 (02:16):
It's just sometimes you're sitting around rehashing
the old days and then you findthat, wow, look at all the
things that we've done together,yeah, keeps building.
And then you just that, wow,look at all the things that
we've done together, yeah, keepsbuilding.
And then you just never thoughtyou could ever do that when
he's young.
Speaker 2 (02:30):
Yeah, well, yeah, I mean when you're a kid, my God.
I mean I listened to Segovia,for instance, when I was 15 and
I thought, my God, this is aquantum leap, if I could have
used these words.
You know everything I'm hearingso far.
You know great guitarists playsingle line things you know,
never mind being able to knitextraordinarily with the right
(02:51):
hand.
Yeah, and when I saw him playingon TV I thought he's hardly
moving and all these notes arecoming out.
It's all from barre positions.
It seems measured and leisurely.
I'm sure it was.
I'm sure it was probablysweating, you know, for the life
of him, but so it seemed to me.
(03:12):
And so I don't know how we gotonto the subject of that, but
I've always thought when I was akid, listening to it, I thought
, oh, I'll never be able to playlike that Little, knowing that
many years later I was to recordprecisely some of the same
materials and some other Bachpieces that he hadn't touched.
Every now and again, if Irecord a Bach piece, you know
(03:36):
that it's going to put youthrough the wringer in many ways
and all you're doing is addinga footnote to the greats.
It's a bit like doing aShakespearean thing where all
those greats have preceded you.
Yeah, for sure, you just add afootnote to it and that's on the
classical side of things, nevermind rock.
So yeah, I mean, if you told meone day you're going to play
(03:58):
this, I would have said get outof here, Nah.
Speaker 1 (04:01):
Yeah.
So what was your early years?
Like I know, you started outfairly young, so how did you
evolve?
Speaker 2 (04:09):
so you could be what you are today.
Well, my dad played a number ofmusical instruments.
He wasn't a professionalmusician.
He eventually became aprofessional artist, painting
paintings.
You know the war years weren'tnecessarily kind to a lot of
very creative guys like himself,and he happened to have a very
high IQ.
He could play all theseinstruments.
And so, from the age of two, Iwas trying to play harmonica,
(04:31):
just like my dad, buying mecowboy tunes to listen to and
Slim Whitman records and DavidCrockett, roy Rogers yeah, you
know all those cowpokes outthere.
I loved all of that stuff, ofcourse.
So I was playing harmonica 10years before I touched guitar.
By the time I was 12, I wasjust about able to get my arms
(04:53):
around the guitar that he hadthat he brought back from Canada
.
And then, by the time I was 14,I gave up my summer holiday to
just do nothing but play guitar.
With this brutal action he saidyou'll get calluses.
I never got calluses with thatguitar.
I just had open wounds on myfingers.
I didn't know what was a greataction, what was heavy gauge,
(05:13):
what was light Early days.
You've got to suffer to getthere.
Speaker 1 (05:17):
What was that for his guitar?
Was that a name brand or justsomething he found?
Speaker 2 (05:21):
It looked like something the others might have
played.
You know it was a K, k-a-y OkayS cello hole guitar, big round
thing, all right, sort of thingthat country players would play.
I found it absolutely marvelous.
You know, once I was able tomaster a few chords on it.
Then a friend bought a nylonstring guitar, okay, and I
(05:43):
thought this is cheating.
This doesn't feel like barbedwire anymore, this is gentle on
the fingers.
So somewhere along the line thepenny dropped.
You didn't have to be in painfrom the word go.
You could actually enjoy thisthing.
Speaker 1 (05:56):
Yeah, yeah, that's great.
You mentioned a few people, sowho were some of the ones that
inspired you to evolve to whatyou have become today?
Speaker 2 (06:06):
Well, you know, I think Hank Marvin of the Shadows
was a big deal for all of usBritish guitarists from a
certain time.
Okay, I mean, he was alwaysfive years older than the guys
who were five years older thanme, so the Eric Clapton's and
Jeff Beck's and all of thosepeople you know he was that and
I got to meet him a few timesand have a get together with a
bunch of people we wished himwell off to when he was
(06:30):
relocating to Australia, and atthat do I was being introduced
to Eric Clapton, Jeff Becks,David Gilmour, Steve Howell I
was already working with becauseso it's a name drop.
Not at all.
That's great.
We were already having the bandGTR Right, We'd formed that and
that took off for us big timein the States.
Speaker 1 (06:50):
Yeah, that was really good.
Speaker 2 (06:51):
So that was interesting Just shortly after
I'd left Genesis.
That was something that tookoff, I'm glad to say.
Speaker 1 (06:58):
Yeah, for sure.
Now, how did you start writingsongs?
Did that happen over a periodof time?
So how did that transitionhappen for you?
Speaker 2 (07:09):
Well, I think I became aware that when I'd seen
King Crimson.
I saw them in 1969, just beforethey made in the court the
Crimson King Okay and the thingthat struck me about that was
they were coming up with songsthat had great long instrumental
passages, great singing butgreat long instrumental passages
(07:30):
.
And of course, to aninstrumentalist this was a
clarion call and I came to knowover time, most importantly Ian
MacDonald, who being really, Ithink, the prime writer with
them, along with Pete Sinfield.
I wouldn't say that he mentoredme, but he gave me one or two
ideas and he was veryencouraging and seemed to like
(07:52):
what I was doing.
That's nice.
Then he was about he'd leftCrimson.
He was just about to go off andform Foreigner.
Of course we kept up contact,my late great pal, and that was
really wonderful.
I was thrilled that he likedwhat I did, because I was so
impressed with what he could doand shortly I was to join
(08:13):
Genesis.
Speaker 1 (08:14):
Yeah, I heard that come from an ad in a paper or
something along that line.
Speaker 2 (08:19):
After five years of advertising the back pages of
Melody Maker, I got a call fromPeter Gabriel, who was the lead
singer of Genesis, and theywanted someone who could write
and I'd advertised myselfalready as a writer, so it was
aspirational rather thananything in concrete.
At that point I wanted to be awriter, but that was the whole
(08:40):
point.
Genesis wanted someone whocould play electric guitar 12
string and could write.
So I laid claim to all thosethree things.
Speaker 1 (08:49):
So that actually put the pressure on you and you had
to step up to the plate and dosome of the things that you said
you could do.
Speaker 2 (08:55):
Yes, that's right.
Yeah, that was important.
Phil Collins joined the bandthree months before I did.
They were up and running doinggigs with him.
Speaker 1 (09:04):
Yeah, that was good that you got a chance to join
them all together like that and,most importantly, they had some
work.
Speaker 2 (09:09):
Charisma Records our record company were putting
three acts on for the price offish and chips.
You could go and see Linda'sFun Vanagraph Generator and
Genesis.
We were the opening act of theopening act.
Speaker 1 (09:22):
Yeah, I've seen that happen many times.
Speaker 2 (09:25):
It was a kind of shock to me, because I've been a
legend in my own bedroom up tothat point and I'd done damn old
gigs and suddenly we wereplaying to full houses, town
halls throughout the UK, and itwas a kind of yes, had to step
up to the plate, as you sorightly put it.
Speaker 1 (09:43):
Yes, so once you joined Genesis and all the
dominoes started falling inplace like they did, what was
that experience like for you?
When we're young, we alwaysanticipate and dream upon what
we can do yes, and then we hopethat we can get there yes.
Then, all of a sudden, you arethere.
(10:03):
So what was that like for you?
Speaker 2 (10:06):
Yes, thrilling and terrifying in so many ways.
There's something about it,isn't there.
You know you want this thing,you want it, you want it, you
want it Exactly.
And then suddenly you're thereand there's going to be some
times when nerves are going toget the better of you and other
times when you think I can layimposter syndrome to one side
(10:29):
and say, yeah, no, I'm all rightEnough.
People were saying to me no,you're right for the band,
you're good for this, and I'dcome up with certain techniques.
And then John Lennon startedsaying nice things about the
band, which was absolutelylovely, but there was no social
media.
You couldn't make use of thatat the time, so closely guarded
secrets.
So you know, lennon would dothe odd interview and mention us
(10:53):
more than once, which was very,very nice, saying we were true
sons of the Beatles.
And I look back on some of theearly Genesis stuff and I can
see the influence.
Of course you know that'sfairly obvious.
In fact, our first hit singlewas based on a guitar riff that
I had and in 1972, some of theguys in the band were saying,
(11:16):
well, that sounds a little bittoo close to the Beatles, we
shouldn't use that.
The following year I'm stilljamming away on the same riff
with Phil.
Everyone jams together, a songcomes out of it and that's our
first hit single.
I Know what I Like.
So a kind of homage to theBeatles.
Very British in so many ways.
Speaker 1 (11:33):
Yeah, that makes sense.
So, as you grew with Genesisand then Genesis grew within
itself, it doesn't matter whatlevel you're at.
There's always going to be upsand downs, good and bad days.
Sure, everybody certainly hasthem.
Sure, what are a couple of thegood ones that you'll always
remember about being withGenesis in those years that you
(11:55):
performed with them?
Speaker 2 (11:56):
There are a couple of shows that I remember.
I do remember playing in LA forthe first time at the Roxy Club
, doing two shows a night andthree nights, and we weren't
selling out anywhere else butfor some reason LA really seemed
to get it with us.
Another time in America, againdoing Madison Square Garden in
77, where, from the very firstnote, the whole of the audience
(12:20):
stood up.
It was a great feeling.
You can't buy those moments,that's right.
Similar thing happened inGlasgow when we had equipment
problems and we couldn't put onour show and so we postponed it.
We came back a couple of weekslater and I thought, you know,
the Glasgow audience got to bereally angry and stoneless.
(12:41):
But no, it was again it's thisthing On Effie thrilled to have
us, and that was a great, greatfeeling.
Speaker 1 (12:49):
Not a lot better than that kind of feeling, for sure.
Speaker 2 (12:52):
Wonderful there.
So those feelings of you knowwhen you get the ultimate
sanction from the audience.
It's not the amount of recordsyou sell, it's not about the
numbers, it's about the realemotional impact of something
you know.
You find your aspirations findtheir echo within the response
of the audience and it allbecomes one and it's a wonderful
(13:15):
wonderful moment.
Speaker 1 (13:17):
It's about the music.
That's what sells it.
Speaker 2 (13:20):
That's it.
Yes, that's right.
It's about the music.
The music is its own currency,Even if I never earned another
penny from gigs or from selling.
It's about as I say.
It pays you back.
That's right.
The spirit of the music ispriceless.
Speaker 1 (13:36):
Absolutely.
Speaker 2 (13:37):
The spirit of the response, all of that.
These are things that no amountof marketing can replace that
direct contact.
Speaker 1 (13:44):
Yes for sure.
Now, you mentioned the elationof being on stage, but you also
mentioned the horror of being onstage.
Sure, so you must have hadthose same feelings when you
decided to embark on your solocareer.
Speaker 2 (14:01):
Well, I did an album when I was still with Genesis in
1975.
And then, by some point in 77,I decided to leave the band,
take the chance and doing myfirst show, which may have been
in Oslo I'm not sure if it wasOslo or Gothenburg, but
terrifying.
Speaker 1 (14:19):
I can just imagine.
Speaker 2 (14:20):
You know, either this show is going to go well or and
I'm going to have a career orit's going to be thumbs down.
Feed him to the lions.
Luckily it was thumbs up.
Yeah, that was great Because ithappened once.
On that show I realized wecould do it again multiple times
.
There was a great response tothe band at that time, a great
(14:41):
response to the subsequent albumthat we were going to do, which
was Spectral Mornings, and itjust seemed to go up and up and
up and that was an extraordinarything.
So I still love playing live.
I noticed that John Maylesomething that he'd said
recently.
I used to go and see him when Iwas 16, when he was a grand old
man of 33.
We thought he was ancient atthat time.
(15:02):
How could he get up there atthat age and do that?
Isn't that marvelous?
He said something about youknow.
He said I really like being onthe road, he liked doing gigs,
and the joy of that I thinkcommunicated from those early
days right up to basically hisend.
You know he's cut of the samecloth as all the great blues men
(15:23):
of all time and what anincredible career he had.
Speaker 1 (15:27):
Absolutely.
Now.
One thing that I think happenedfor you is when you left
Genesis.
It allowed you to become a morecomplete player, because you
was allowed to do whatever youwanted to do and you embraced it
.
Speaker 2 (15:41):
Yes, it did.
It meant that I could work withother people.
I was ready to work with othersfrom different backgrounds and
cultures.
Almost immediately I befriendedRichie Havens.
He and I started to worktogether and that was wonderful
for me because all of the guysin Genesis revered Richie Havens
.
We'd done gigs with him, wewere the support act.
(16:03):
He was after we'd been talkingfor a while and I'd invited him
to my home, or what have you.
He suggested that we worktogether and I was thrilled with
that.
Again, you know, oh, the greatman wants to work.
And when we eventually did inCherokee Studios in Los Angeles,
he'd flown over from New Yorkand same day he wanted to go
(16:24):
straight in the studio, workedall night with me.
I was worried that he was goingto tire and I was going to
finish him off.
But he was just running onenthusiasm and everything and he
was truly great.
He sort of took overproceedings.
We did one song.
He told me how we should do itbecause I wasn't used to
recording with other people.
He said well, you come out onthe studio floor with me.
(16:45):
We got the backing track we'regoing to record.
Sure, and if you're a few feetaway from me, then you can tell
me when I'm getting it right andnot.
And he's learning it on thespot and he's looking to me for
approval and I've always thoughtit was a bit like God looking
to you for approval and I'mgoing, yeah, great, wonderful.
(17:06):
And then at the end of that songand he does an incredible
performance on Icarus Ascending,we, oh, please, don't touch him
.
He said have you got any othersongs?
And I had, oh, you know the Bside of a cassette that I was
embarrassed about playing him.
And I said, well, I've got thisone.
He said, well, let's have alisten.
Yeah, we should do that.
Okay.
He says what you do is you goout with the acoustic guitars,
(17:28):
with 12-string guitar?
He said I'll play percussion atthe same time.
He's got a cigarette in hismouth, he's got a Truby hat on,
he's playing maracas in one hand, tambourine in the other.
We just get into this grooveand it all went through.
He relaxed me, went through andhe did vocals immediately
afterwards and it sounded likewe'd been working on this stuff
(17:52):
for years.
It was just so good.
I have to say, out of all thevocalists I've ever worked with,
he had a power and a presenceand a focus to die for, because
all that guy ever needed was anacoustic guitar and sit down and
entertain half a million peopleas we well know?
Speaker 1 (18:08):
Yeah for sure.
Now you bring up acoustic.
You've done acoustic.
You've done electric yeah.
So you've got those settingswhere it's just an acoustic
laid-back situation andatmosphere.
Then you've got the electricwhich you can do with a band,
which gives you more power.
So do you have a favorite?
Speaker 2 (18:26):
Well, you know I like doing both.
When you're live with anacoustic guitar, there's nowhere
to hide, right?
So you screw up.
Everyone knows that's right.
With an electric guitar, you'vegot a whole band and one chord
and one note fill the auditorium, whatever it is.
There is safety in numbers, butthen there's also the aspect of
the power of the ensemble.
(18:47):
That can't be underestimated,because we always think in terms
of guitarists, lead guitarists,but part of the art of writing
is to convey things that willwork to the strengths of others
that you're working towards.
Collaboration yeah, that wassomething that I think that
(19:08):
struck me with King Crimson.
You know the precision but thepower of the ensemble all going
in a schizoid band like Manor.
That was hugely impressive.
A whole band soloing all atonce or so, it seemed, no
passengers, everyone a star.
And I think when I joinedGenesis I was really looking for
a band that would be able to dothat, and I think we managed to
(19:30):
attract their attentionsufficiently.
I befriended Robert, robertbefriended Peter, gabriel was to
work with him, and so I think,british bands at some point they
started to become each other,it seems to me I ended up
working with a lot of the KingCrimson guys over time, a lot of
the guys from yes over time.
So Genesis and yes and KingCrimson, all sort of meet up
(19:51):
with me somewhere in the middle,and many other bands, of course
, that I've played with since.
But I've been working withSteve Rothery of Merillion.
We've been doing a sort of twoguitar thing recently and a
couple of days ago we wereworking on that over the weekend
.
So that's been very interestingto see how that's shaping up
out of jams.
But it's becoming more and morecohesive as it runs.
Speaker 1 (20:14):
Yeah right, so you brought up songwriting here just
a short time ago.
Sure, these three things havedifferent emotions to it.
Sure, songwriting, recording orperforming which one is your
favorite to do?
Speaker 2 (20:27):
Well, they're all great for different reasons.
Yeah, sure, it's lovely towrite something that you think
is a really good song.
It's even better when you getit recorded and you hear it back
and you think, oh well, now ifyou can take that to the masses,
if you can perform that thingas well, that's something else.
Again, there's a responsibilitythat goes with it, of course,
(20:49):
right, the responsibility forbeing everyone else's night out
that thing.
So there's always the price topay.
So there's that.
Oh, I don't want to fall offthe horse and hit a bum note,
but it's inevitable that everynow and again there's going to
be a brown note or two.
It's inevitable, it justhappens.
(21:10):
But I mean, after a gig I'malways the first to admit when
I've screwed up something.
Speaker 1 (21:17):
Yeah, unfortunately we've all been there.
Speaker 2 (21:19):
We've all been there that feeling.
I think that Peter Green wasthe same.
A whole gig would be ruined forhim because he'd play one dumb
note.
Well, what about the notes hegot right?
You know that thing.
Yeah.
So you know, we can be veryunforgiving of each other, can't
we Of ourselves?
Speaker 1 (21:37):
Yeah, exactly Now, with everything that you've done
, you had another accolade, andthat was induction into the Rock
and Roll Hall of Fame, so thatmust have been a pretty exciting
night.
Speaker 2 (21:47):
When the evening started off, it seemed very
stiff and starchy and no one wasquite sure of anyone else and
what have you.
But as the night wore on andpeople were being honored, and
people were getting up and doingmarvelous performances and what
have you and writers were beingcelebrated, some of whom had
shuffled off this mortal coil, Irealized what a great
(22:09):
institution it was that doesn'tjust celebrate fashion and your
latest hit, but the people thatbrought you your childhood, the
people that wrote these greattunes when you weren't aware of
what was pop music certainly notas a pejorative.
You just thought, oh yes, thegreat songs that Roy Orbison
(22:31):
brought us, the great songs thatso many brought us.
So on the night, we were beinginducted, as Genesis, abba were
also being inducted, and therewere some great speeches from
people.
It became a very emotionalevening.
Genesis didn't perform, but Iknow that Phil was out of his
chair clapping along and he justwanted to be so much part of it
(22:53):
.
I could see it and he starteddancing.
It was a very, very emotionalaffair.
I was able to connect with somepeople who I thought were just
brilliant, and so it became acelebration.
Yeah, I think it's a greatAmerican institution.
It's a great internationalinstitution.
I don't think we've gotanything quite like that in
(23:15):
Britain, where we seem to beobsessed with the latest,
whatever it might be, ratherthan the best, whether they're
with us still or not.
And so I thought it was greatthat the Paul Butterfield Blues
Band was celebrated posthumouslyPaul Butterfield, great
harmonica mentor of mine, mikeBloomfield, who'd worked with
Dylan as well as the ButterfieldBand, you know, great, great
(23:38):
player, wonderful.
I'd seen them live in themid-60s.
Wonderful to see that they wereinducted.
And, yes, the British band, yes, were to be, unfortunately,
post-chris Squire were to be,unfortunately, post Chris Squire
.
He wanted to come along to thenight.
We were there and I couldn'tget him a ticket.
It was just, it was impossible.
And he got to go to the Hall ofFame in one way or another, but
unfortunately not in hislifetime.
Speaker 1 (23:59):
Yeah, yeah, so you're on tour now, right?
Speaker 2 (24:02):
That's right.
I'm going to be on tour withthe Jarby guys in Hungary.
I've just done some Europeanstuff.
I'm doing some more European.
Later in the year I'm going tobe doing British shows.
That's coming up soon November,october, yes.
So then I'm back to Italy andSpain and Portugal.
(24:22):
So it's a busy life.
I'm all over the show.
You coming to the States at all?
Yeah, I have been to the Statesearlier in the year.
We'll be going back.
I'm trying to remember whetherit's in the spring or the fall,
I'm not sure, but we're comingback.
We are coming back to theStates, yeah.
Yeah, I've seen some potentialdates.
I think we're doing about sixor seven weeks, I believe.
Speaker 1 (24:45):
Yeah, that's great.
Speaker 2 (24:46):
Yeah.
Speaker 1 (24:47):
So when you're not touring, yes, and you've got
some downtime, yeah.
What do you do?
Just to chill and just lay backand think of nothing.
Speaker 2 (24:56):
You know what?
There hasn't been time to havedowntime, and my wife and I were
saying this today.
Wouldn't it be nice, justbecause it's a glorious summer's
day here, be nice to sort of gowandering off?
But she's hurt her foot, sothat's not going to happen.
Speaker 1 (25:11):
Oh, that's too bad.
Speaker 2 (25:12):
It's too hot to sit in the garden, so it's another
day doing the other thing, so Idon't have too much time.
I'm usually, you know, here'sme, you know high-pressure
salesman.
This is it.
We don't have a lot of time off.
I do have books that I've read,written by pals.
(25:33):
I've got one or two friends whoare great, great writers and I
did a foreword for one of them,a book by Mike Barnes called A
New Day Yesterday.
It's about progressive rock.
Very, very good book, very wellwritten, very analytical, very
funny as well.
Really, really good.
Have you done your bio yet?
Yeah, I have.
I've done that.
That's been out there.
(25:53):
Yes, it has indeed.
Speaker 1 (25:55):
Yes, Okay, that's great, so let's lighten it up a
little bit here.
What's your favorite movie?
Speaker 2 (26:02):
Favorite movie, oh, I absolutely love.
There's a British black andwhite comedy from about 1950
called Year of my Birth.
It's called Kind Hearts andCoronets.
Okay, it's one of the Ealingcomedies.
Speaker 1 (26:16):
Oh.
Speaker 2 (26:16):
Very good.
It's like an Oscar Wilde play.
Speaker 1 (26:18):
Okay, it's very, very good, all right.
Favorite song.
Speaker 2 (26:23):
Favorite song?
Oh, I have to say probablyMacArthur Park.
I really love that, you know.
Speaker 1 (26:28):
Yeah, great song.
Jimmy Webb, yeah, yes, yeah,great guy, great writer, oh yeah
, he's very, very good.
Okay, favorite band Favoriteband?
Oh, probably it's.
Speaker 2 (26:38):
Beatles, why, why, why, ben's words, beatles.
I'll re-beat them you knowAbsolutely.
Speaker 1 (26:48):
So I have to say I really appreciate you coming on.
Thank you, it's been reallygood, great conversation and
just great talking to you.
You too, absolutely.
I appreciate it.
Time flies, Okay, all the best,thank you.
Yes, it's been great.
Thanks again, thanks forjoining us today.
(27:10):
We hope you enjoyed the show.
This has been a Tony Mantorproduction.
For more information, contactmedia at platomusiccom.
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