well hello friends and I hope you're
0:15
doing well today today is a special
0:18
treat this is another uh little clip
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that I was able to capture while I was
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on a European tour with Brad Paisley as
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his guest uh this is from backstage at
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London's
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O2 and this is with Albert Lee he was a
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guest with Brad that night and while he
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was backstage I started asking him about
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the luxury liner album with Emy L Harris
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that Albert played on that was his first
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uh first time featured on there and it's
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a all-time favorite of mine it really
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this is this is the album that made me
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by a Telecaster so while I had Albert
0:58
back there in the uh
1:00
in the dressing room I uh set up my
1:03
iPhone and and asked him a couple
1:05
questions I just I kept it short so this
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is about a 15 16 minute uh little
1:10
interview but he drops all sorts of he
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talks about the gear that he used on the
1:15
album and he talks about using Bob
1:17
warford's Telecaster for the uh B Bender
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stuff cuz his b Bender guitar was stolen
1:23
and later retrieved and so much great
1:27
information so thank you Albert uh who
1:30
is 80 years old and uh still playing
1:33
great and a wonderful guy uh thank you
1:35
Albert for uh letting me kind of uh
1:39
impose on you while you were backstage
1:42
and thanks to Brad Paisley for uh having
1:45
me as a guest on the tour and thank you
1:49
so much to my patreon people that keep
1:51
the show going if you want to find out
1:53
about that uh go uh go down into the
1:56
description hit the link all right guys
1:58
so enjoy my little conversation with
2:01
albertt Lee Well Albert would you tell
2:04
me about what what kind of led up to the
2:08
creation of of the luxury liner album
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was there uh were youall working up
2:13
songs beforehand because it was the same
2:16
band that was touring with Emy that that
2:18
recorded on it yeah well no we didn't uh
2:21
rehearse anything um we did some stuff
2:25
that we were doing on
2:26
stage but uh you know I was a of that
2:30
song Because I had that International
2:32
submarine band you know right gr you of
2:36
course we did it a lot different yeah
2:39
that that's a good you how who came up
2:41
with the other Arrangement because even
2:43
the coure changes are
2:45
different I guess it's a long time since
2:48
I've Grandpa and Sh yeah um yeah I
2:52
remember at the first it was one of the
2:55
first things we recorded this this was
2:58
in 76
3:00
and
3:02
uh I thought we want know this song you
3:05
know and uh yeah they decide to decided
3:10
to let me just play out on the ending
3:13
you know yeah and uh who's who's playing
3:17
the the Digger Digger Digger part at the
3:19
beginning of the song is that you no
3:22
that's um that's probably um Emory Gordy
3:27
he played Tic Tac Bas a lot of time s on
3:30
on tracks you know and on stage too you
3:33
know because at the very top of the song
3:35
it starts with the
3:36
Dig and that's Emory I think it is yeah
3:39
I think it's yeah it's been a while yeah
3:42
no I think I think it's Emory yeah and
3:45
on the uh on the track uh was was that a
3:50
a one take was that an overdub as far as
3:52
a solo on Luxury Line well I have to oh
3:54
but the
3:56
so I think the solos was
4:00
live but uh the play out on the end I
4:04
did that as an
4:06
overdubs uh I did did it I think we did
4:09
it maybe three times yeah and uh if you
4:13
listen carefully I'm playing things
4:15
there that are almost imposs possible to
4:18
play because Brian was oh he was cutting
4:21
the tape he was yeah he was going from
4:23
one track to another you know okay well
4:25
like that bed follow it with that oh so
4:27
he was doing with different tracks it
4:29
was just he was switching out from one
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track to another yes he gave me a
4:32
recording one day he said uh I put I put
4:35
together a track here with all three of
4:37
them playing together if you want it you
4:40
know I've got it some yeah and what what
4:42
guitar and amp did you use on that oh
4:45
well that was my um that was my 53
4:49
Telly
4:51
um I think I I think I had a music man a
4:55
by that time because uh you know I was a
4:59
good friends with Sterling ball who was
5:01
uh who uh his his Godfather was Tom
5:05
Walker who designed the music man amps
5:07
you know so I ended up
5:10
with a couple of dozen Music Man amps
5:14
which I've still got you yeah so I think
5:17
I by that time I was using the
5:19
410 130 what you know and did you mainly
5:25
use the same amp in the studio as you
5:27
would live or yeah pretty much yeah yeah
5:31
I think
5:32
so I may maybe at L later dates maybe
5:35
I'll just use you know I ended up with a
5:38
couple of 100 W RPS you know with 112
5:42
yeah you know I've still got two or
5:44
three of those and uh you know take
5:47
those to the studio sometimes but they
5:50
they're all getting too heavy for me
5:52
well also they have the the old ones you
5:55
would put JBL speakers in them right uh
5:58
I did back then yeah jbl's yeah that
6:02
makes them very heavy yeah yeah of
6:05
course when you got a ro to carry it
6:07
around for you that's different yeah
6:08
they were they were in F fright cases
6:11
fight cases yeah so they they um you
6:15
know I didn't have to pull anything yeah
6:19
the pull string tracks like uh Poncho
6:23
and Lefty and sa V were uh were those
6:28
solos were did were they kind of made up
6:31
on the spot were they you know were they
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worked out they were kind of made up on
6:36
the spot but I have to tell you
6:38
something about that
6:39
track
6:42
um we had uh nearly all of our
6:45
instruments stolen prior to that yeah
6:48
someone hotwired the truck and uh I lost
6:51
my Butcher Block Tally with the pool
6:54
string and uh lost a 410 music man amp
6:59
but like Emory Gordy lost three three
7:02
bases and Rodney Crow lost his old Telly
7:05
you know but
7:07
um so I wanted to use a pul string on
7:11
that track and that was I didn't have
7:13
one at that time CU I had it stolen you
7:16
know so I borrowed one of the original
7:18
ones from Bob Warford yes yeah so that's
7:22
his guitar I'm using on left yeah is
7:26
that the same same guitar on S
7:30
probably yeah yeah because that's a pull
7:32
string also yeah
7:35
yeah
7:36
um then you know some some of the other
7:39
tracks like I'll be your San Antonio
7:42
Rose is that like the 50 your 53
7:45
whatever Telly yeah yeah were was there
7:48
any again was there any kind of
7:49
pre-production on these tracks or did
7:51
they just how did how were the songs
7:53
presented to you did they just play them
7:55
acoustically and you made charts how was
7:57
that done uh well um
8:00
most of the work was done with briann
8:02
and Emy they decide upon the song you
8:05
know and then they'd run it by Glendy
8:07
Harden and he would write out really
8:09
nice charts for them you know yeah so uh
8:14
you know we we were hearing some of
8:16
these songs for the first time you know
8:18
so that that was kind of like a you know
8:21
that was kind of the way a session man
8:23
would work yeah where you know somebody
8:26
comes in and and they they play the song
8:28
on an AC guitar or a piano and they hand
8:31
out the charts and then they say go play
8:33
it yeah yeah so that's interest I I
8:36
guess I would have thought that maybe
8:37
Emy had played some of those songs out
8:39
on the road
8:40
beforehand um she may have done I can't
8:45
remember every track that was on that
8:46
record but I'd have to look at it and
8:48
say well yeah we we were probably doing
8:51
it before we we' cut it you know so cuz
8:56
you know there are some old country
8:58
songs there yeah
9:00
and making believe is on there yeah and
9:03
there were songs that I was familiar
9:05
with before I joined the band you know
9:07
that's what I felt good about that I
9:09
felt so it felt so natural to into
9:13
that band because I was familiar with
9:15
that whole style you know yeah what
9:18
about the mandolin work you did on there
9:20
like on hello I guess hello stranger or
9:23
maybe yeah yeah I played quite a bit bit
9:26
of manl I did I didn't have one at that
9:29
time but uh Emmy Emmy and Brian had an
9:33
F2 an old
9:35
F2 so I I played that on on a lot of her
9:39
records actually before I actually got
9:42
one of my own yeah and uh and uh I I had
9:47
a chance of buying that and I I wish I I
9:51
wish I'd been able to get it but I think
9:53
they sold it to I think they gave it to
9:56
Fred Bo he had it hanging up in his
9:58
store you know but um it's just as well
10:02
anyway because when I bought my first I
10:05
bought an
10:06
F4 and um when I was with the Ely
10:09
Brothers we had our truck walk wide and
10:13
we lost we lost a few instruments on
10:16
that I lost
10:17
my I lost my butcher block
10:22
Telly and uh um which eventually came
10:26
back to me a guy called me up from
10:29
Chicago he said well you know I think
10:32
I've got your guitar and it sounded kind
10:33
of shady to me you know I'm going to get
10:36
it back to you I said oh that's nice of
10:38
you that's great you know and uh he said
10:42
but you know what I'd like to do he said
10:44
I want to do I I want to record a track
10:47
and I want you to play on it and I said
10:49
well yeah okay I'll do that you know but
10:53
uh he flew out to to La gave me the
10:57
guitar the case had already been sprayed
10:59
with black paint because he had a uh had
11:03
a name on him from the Joe cocka band
11:05
and Bull band you know
11:08
so but I did get that guitar back you
11:13
know what were the uh so what was the
11:17
gear that you used on that record so you
11:20
had your 53 Telly and and a music man
11:23
amp what other I mean do you remember
11:25
what other oh well by that time I I had
11:28
a
11:30
um an mxr 90 probably
11:33
yeah um and an Echoplex started using an
11:39
Echoplex and uh I got an
11:42
Echoplex when I first came out to LA
11:45
because i' played briefly with Jerry
11:48
Reid in London he you know we sat down
11:50
in his hotel room we were kind of
11:52
jamming away and you know that was that
11:55
was great fun you know yeah you can
11:58
imagine and and uh one day he said to me
12:00
have you got an Echoplex I said no I
12:03
said uh I used to have a tabago in the
12:06
early 60s they kind of went out of style
12:09
with the kind kind of bands I was
12:11
playing with at that time you know he
12:14
said oh yeah you got to get anle you
12:16
know so I did buy one with that first
12:18
trip to La that was one I got my 50s
12:21
retail I got a really nice uh Fender uh
12:26
Deluxe amp Tweed Deluxe which I I need
12:30
to rescue from from my son here
12:35
um what else did I get I I think I got a
12:39
couple of
12:41
pedals but uh no it was the it was a
12:45
Telly that really really happy to get
12:49
you know yeah yeah so on the luxury
12:51
liner album it's mainly that 53 Telly
12:54
and then the uh the uh uh Bob Warford
12:57
Warford white Telly with the yeah the B
12:59
Bender yeah
13:01
yeah and
13:04
uh I don't know did I play mandine on
13:06
that record maybe I did I think you did
13:10
yeah maybe I did but I know you did on
13:12
on later records yeah but that was
13:14
always um that was always Emmy in
13:17
Brian's F2 you know but
13:22
um yeah I as I said I I eventually got
13:26
an F4 and that was stolen when I was
13:28
with the every brothers and
13:31
um it was a black one and you know from
13:35
the the teens like a 1913 I think you
13:38
know and I'd love to get it back you
13:40
know I'm always looking on mandolin
13:42
sites or whatever you know see if it
13:45
shows up you know yeah it hasn't done
13:48
yet here's a non ULU question so you
13:51
mentioned Joe Cocker and I saw this
13:53
crazy picture of Joe Cocker's band and
13:56
it had Cornell Dupri and you
13:59
that's right yeah we went that was one
14:01
of the last things I did with him we
14:03
went off to Australia yeah that picture
14:06
was taken on randwick Race Course in
14:10
Sydney so it was uh yeah it was Cornell
14:14
it was the drummer from heads hands and
14:16
feet
14:18
yeah Pete Pete
14:21
Gavin and uh um Richard T of course what
14:26
a pleasure it was playing with him
14:29
amazing cybs you know so that yeah it
14:33
was it was good fun you
14:36
know I don't think I was bluy enough for
14:39
for Joe what Joe wanted really you
14:42
know I found that throughout the years
14:45
you know could I don't really like you
14:47
know loot of distortion and you know
14:50
with tremolos and whatever you know but
14:55
um um you know there there are people
14:59
like what I do you know so I try and
15:02
cattive for them you know
15:06
yeah all right guys hope you enjoyed
15:09
that um again I need to thank my uh
15:12
patreon members that really uh make the
15:15
show happen you guys are fantastic thank
15:17
you to Albert Lee thank you uh to his
15:20
son Wayne and his family who sat there
15:23
quietly as we uh as we talked and uh of
15:26
course thanks to Brad Paisley for uh
15:30
letting me tag along for this all right
15:32
I'll see you next time
15:35
[Music]
15:37
[Applause]
15:40
[Music]
15:54
bye-bye