takin' a walkClassic Replay with Progressive Rock Pioneer Steve Howe-Guitarist for Yes
Join @thebuzzknight for this Classic Replay with Steve Howe, guitarist for the progressive rock band Yes. Listen to this musician interview podcast to hear one of the true great guitarists share the inside story behind his music.
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Taking a Walk that roll, He says, it was just a diferal sort of band. I mean it was more where I'd been, you know, I'd been in the band playing blues, you know, so they were influenced by blues. So they didn't interest me very much. Well that I wanted to gig when bless his heart, Brian jonstart, I mean I was looking for that gig. I would have jumped in there and said hang on, you know, but I just couldn't get through it with anybody.
Welcome to the Taking a Walk Podcast hosted by Buzznight. Buzz talks with musicians about the inside story on their legacy, their process, and so much more. On this episode, Buzz's guest is Steve Howe, classic rock fans on No Steve from Yes. He was also part of Asia, gtr and Anderson Bruford, Wakeman and Howe. He's had a tremendous solo career and he's a legendary progressive rock guitarist who continues to make his mark with inspired music. Steve Howe joins Buzz Night next on Taking a Walk.
Well, it's an honor to have a returning guest to the Taken a Walk Podcast. As we were going to take a virtual walk down memory Lane with the great Steve Howe from Yes, Hello Steve, Hi boss, it's nice to talk to you again, sir.
That's the guys up with you too? Good. I hope you will.
Doing very well. I'm talking to you. I couldn't be any better. So let's go back in time here and talk about the first concert experience that you experienced in your life.
Okay, all right. I was about fourteen, I was maybe I was thirteen. Anyway, I was still word beyond the AARs thirteen or fourteen, a school band, a bit of a school musicians. We went on stage at a youth club and we didn't practice well, chune up or talk about anything. We just said, let's play Shadows, you know the Shadows. So we played Apache and you know, the famous guitar instrumental. So basically it was pretty awful, and after that I didn't play on stage for about a year and a half. It was dreadful. Really, I could tell it wasn't that good, but I thought, well, it didn't put me off completely. So when I met Kevin Driscoll, bass player in the group called the Syndicats. Basically we formed the Syndicates together when I met him, and that's when I started playing in pubs and things like that. But that first concert was I was toned deaf to it. You know, it just didn't make sense. But that's because you know, there was no preparation.
And did you actually play to prison also.
Well, that's what happened when I got together with Kevin. We formed a group and we got we've got a Tuesday Evening or something, a youth club and it was connected to what's called Pentonville Prison in no great shakes but anyway, so that was in the area of North London we lived in and basically yeah, yeah, every week for a while we played there and the only thing we knew that I didn't do in the prison was as we packed up the gear, some prisoners came in and tied it up the venue. So yeah, it was kind of weird.
It sounds a little spinal tap ish.
Yeah, yeah, yeah, Johnny Cash at thoughts.
Yes exactly. I love your appreciation for all diverse styles of music, and I think, if I if I'm correct on this, one of the first concerts you experienced as a fan was heavily roots oriented around like Chuck Berry. Does that sound right?
Yeah, that's right. Yeah. Yeah. The first major, kind of proper major console I went to was what they called the Package too. You know, there was most probably five names. I think Eric Burton and the Animals. Paul Perkins was actually top of the bill, but we didn't know him anywhere near as well as we knew Chuck Berry. So chap Berry was like the pre thing. Yeah, so that was my I mean i'd seem like people founding clubs obviously and things like that, but this was like sit down, lights out show. And Chuck Berry was absolutely magical, you know. I mean he did things, you know, well, he was the package, you know, singer, guitarist, songwriter, performer, you know, so he leapt about the stage during his duck walk and things like this, and he was absolutely great. And I think that's that's a major contribution. You know, we knew Chuck's music, Bill Haley, Little Richard and other people, but that was when it was all happening in that direction.
Did you have an aspiration at that point to do a duck walk?
Well, well, I mean I did do them occasionally. Yeah, if I did one at the Rock and Roll Hall of fame when I was playing bass on Owner of a Lonely Heart with Yes, because I just sort of thought it was getting a bit kitch, so why not get Kitcher?
I love that. Now I know you have great admiration also for the work of Chad Atkins. Did you ever get to experience him play live?
Yeah? Yeah, I saw him a few times, and then I met him a few times as well. It was absolutely great. Yeah. I tak him to a concert in London and me and a guy called Doug Turner, who was a great picker himself, went to see him, and because Doug was in the chedd Atkins Appreciation Society, we got to meet Chet and I actually gave him the music to clap, although I'm not sure he ever played it or even looked at it. But later, when I developed my career a lot more, I saw him. Well. We played together on the same bill in Germany for two nights with Larry Larry Pulton, I think Larry Coriel, that's right, Larry Coyel, Me and Chet did our own spots and there was a sort of a jam at the end. But as I never thought Chetwood, he didn't. He didn't join in, and I joined in a little at that concert, and you know, I had a little ride about Germany with Chet to and from the shows. He was very nice, very sweet, very very relaxed, and his company has told me that Chet did take a shine to me.
So that's awesome. You mentioned Larry Coriel. I got to tell you a funny story. I briefly, while I was in college at the University of Dayton, held the esteemed position there of the concert director for the university and Steve. I was terrible at it because I was working on the radio and going to college, so I really was bad at the job. But I did succeed in booking Larry Coriel at the University of Dayton. And once the show was over, and I guess maybe this happened with a lot of artists, he decided to come over to our house and party by college buddies. It was so nice.
Oh was it good? Okay? Good? Well, that's sweet.
Yeah. I know.
You have tremendous admiration as well for obviously the Beatles in terms of what they represented in you know, your sort of influences and everything. Can you talk about what the Beatles meant as you were a musician sort of coming through the ranks and developing your style.
Well, they were quintessentially central, you know, to that era. It was only Bob Dylan's free wheeling that had any kind of a comparable weight, you know, in effect opening the door. So when the Beatles came out and you know that Please Please Me album, I mean, they were just literally a sensation. You know, you just can't imagine what you know, what effect it was. It was a bit like the pandemic. But to say something nice about the pandemic it's kind of hard really, but basically it was like that, like that that it spread across the world, and you know, we were so proud, you know that this was not only you know, a brit band, it was Liverpool band. It's a brit band. And there was like total like wipeout, you know, this band. There was no competition. There was no band that was as good as that anywhere in the world. Of course they came, you know, the Birds and you know all the great bands you know that were going on. Of course we're going on, but I mean the Beatles were just like just there they were, you know, so anyway to wind it down then, basically when when they came out. The first thing I didn't I didn't I didn't read music, but I bought sheet music because it had the chord symbols on it, you know. So anyway I'd buy the you know, the Beatles sheep music to understand better the chords that they were using. Sometimes stupidly, the colld chart was in a different g Can you imagine it buys got a guitar, It buys the call chart, right, you know the song please please miss a different key? What use is that? So anyway you work out the chords, and they were just harmonious, you know, And of course George was great guitarists, and they're all great, you know, they all had I mean, you know, and Ringo was just as great as all the guys. They had that so much individual style that it took her away from the fact that a lot of other music, well they had George Martin. I mean, come on, let's admit that they had tremendous guidance. So in fact, it was a perfect chemistry for about a bit like yes with Eddie offered you know, we had a run where it was great working with Eddie and the Beatles. George was a companion They must have just enjoyed having him there so much because he was so talented, you.
Know, and impressions through your development of the Rolling Stones and what they meant to you.
Well, the Rolling Stones it was just a difficult sort of band. I mean, it was more where I'd been you know, I'd been in the band playing blues, you know, so they were influenced by blues, and they didn't interest me very much. Although I wanted to gig when bless his heart, Brian Jones started, I mean I was looking for that gig. I would have jumped in there and said hang on, you know, but I just couldn't get through to anybody, and that had, you know, the marvelous replacement lined up anyway, in Mick Taylor. So basically, I when I go off the point, I can forget what the question is. So basically, where were we?
Oh, well, you're just talking about the Stones, and you just threw me for a loop on that. I want to go back to the notion of Okay, So Brian Jones passes away and your eyes light up and you say, I think I could join that band. So that's that's amazing to hear that. What do you think would have happened if you did.
But they might have thrown me out, of course, they might have been a bad influence on me. Now what I would say is, look, they've got so much to offer. I mean, they're still going, you know, and I love them, you know, I really really love them, especially after that television program where they featured one of the members for a whole program. It was so inside that's a great band, like Queen, you know, like other bands. So basically there's a lot of harmonium, their harmoniousness, and you know, it's just they're just a different animal altogether, you know. I mean, although they did actually play a Lemon and Cartney song, it did help them along their way. But basically the Stones were the sort of opposite of the Beatles in a way because they were finding a way of developing what I'd become tired of, which was the blues. You know, I'd done the blues and I love them still, but I didn't want to play the blues. So the Stones were like the parallel universe going on that said, no, we can play the blues, but we're playing this, you know. And I think they're a great band and everything about them too is great, but they weren't as much my thing. And there's much my development along with Les, Paul Chairback inst the Beatles, you know, and then you know, maybe Frank Zappa or you know, other people came along that you were knocked out with Paul Signon and basically the Birds and all these other band great bands from America. So it was awful lot happening. But that but the Beatles stood out in a different way because the Rolling Stones had notoriety, sort of bad notoriety, great fun. I mean, you know, the poor guys got targeted by these idiot policemen in London who thought that you know, smoking marijuana was was was like smoking like taking hard drugs. So they were fixated with that idea. This wasn't fun and they were going to stop it, so that the Stones and the Beetles got targeted, and that's a dreadful thing. But there again, before that, there were greater crimes against you know, homosexuals, and you know, I mean the world's been a very cruel place. So going back to what isn't cruel is that the Beatles were great. The Stones were great, but not as much my thing.
Yeah, I got it, And so let's just go a couple of more of the great bands and what they meant? The Who and led Zeppelin? What do they mean?
Well, I can't really do this, you know, How can I review a band as big as led Zeppelin in a sentence? You know? I adm Jimmy and I remember leading him in Denmark Street. I wonder if he remembers, and he said to me, I just formed a new band. It's going to be called led Zeppelin. I said, really, oh yeah, great, good luck? And like led Zeppelin was like what enormous band and who? You know they had their pop hits as well. You know, well I would say, you know, I'll take the as well out of that. They had their pop hits and they were great bands, you know, and you know there was great strength in their writing of course they had Like the similarity is that both had a very wild drama. You know, but a lot of dramas are very wild. Yeah.
Well, what's amazing about, yes, is you created music that really previously didn't exist in a whole category, that really didn't exist in terms of you know, the style and what it led to in terms of other bands. Tell me how it feels to have had that sort of impact on a whole new genre.
Well, I think it started, you know, nineteen sixty seven, you know, when when the in Crowd became Tomorrow and we played my work Bicycle and there was a whole new like New Year to move up to. But there was a bit of a lull, you know after that. London was a very dark and cold place. And then suddenly, you know, I joined Yes, and basically progressive rock was already happening and Yes when I joined, and I didn't know they were playing that. Really they were playing their own songs, you know, and that's what was vital to me, that the band wanted to play their own songs. So basically that that meant that my opportunities, you know, as a guitar is primarily first and foremost really was that, Okay, I could get in here and play some you know, really good guitar. These guys can you know, they understand the provisation, they want structure, improvisation, harmonies. You know. It was like the whole canon, the whole wall of sound was going to come from Yes, you know, we could do everything. And you know when you see Yes songs or something like that, you know that film I mean the band plays so sort of magnetically close, you know that it's quite surprising, you know, it surprises me. We're playing the same notes that we wrote, but they came from the studio and went on stage and yes, grew, you know, Yes, that was the test. So the albums that we didn't play much on stage were for good reason because they didn't work on stage so much and we didn't enjoy them, and there were arguments about who plays what or why this doesn't you know, if we improvised, you know, it had to be a structure because on stage you need structure, as Chris always said, you know, so anywhere that was a bit too jammy. We could never reproduce on stage, and we we we had to think of something else to do. And so yeah, I mean watching everybody else absorb, you know, the electronic development of keyboards and then what was possible for the guitar, and then in GTR, I was doing like some midi guitar and there was a lot of synth stuff going on like there was on Drama. But basically, you know, Asia was a kind of interesting diversion for me to get more sort of like pop oriented rock, you know, and I love that too. That was great fun. So it kept developing. You know, sension with Yes in the mid nineties was another attempt to find the pulse. You know. We did a lot of things great, and we did other things not so great. And then you know, by two thousand and four, I mean Yes, it'd come back to Rogitine stage and we were playing big venues. It was all very exciting, and we stopped, and then we had a long gap of three years. So when we re group with Chris and Iron Allen, primarily getting my benmar David and Oliver Waitbinion, we basically just had to forge a new way on fores that wasn't restricted and had a full commitment from people. Although I was in Asia as well at the same time, which eventually wore out, and I left Asia in twenty twelve because I wanted to concentrate on Yes and my own solo music and I couldn't do all these things at once if I had Asia in there as well. So basically I think it's developed, and I think merrit to the sky and any future records we made the quest. The things we're doing now is to show that we're partly got one foot like really with much respect for all the old maturial another foot in the idea that to do that, to play the old music really well, the group's got to be a real group. It's it's got to have music going right now. And that's what Marrit and the Sky is, you know, and that's what we thrive on, is a balance of yeah, we've we've we love playing Starship Trooper. Nobody can take that enjoyment from us. It's a great feeling. But there again, you know, it's not so much that we need to play all this new music on stage. That would be you know, a challenge and an interesting one, and but I think we just balance it more minimally so that we don't appear to be sort of like, you know, comparing the music some of it. You know, we need more time on to to play new music on stage. So maybe there's a reason why that should happen. But at the most point, we are enjoying the credibility of the music that I had. Part of that, you know, a lot a lot of it was John Andson and all the other guys in the What Patrin Mariz did from you know, for Elea was sensational, so the progginess has just kind of like evolved and become accepted, you know, and hopefully we can influence.
We'll be right back with more the Taken a Walk Podcast. Welcome back to the Taken a Walk Podcast.
What's the first band after Yes in the progressive movement that you were really wowed by?
Well, I mean I used to listen to Soft Machine a lot, you know, in the early days, and now of course you know, they've got John Etheridge as well, so that kind of work is interesting. I saw that we were part of a pool, you know, and it wasn't really about pop records, you know, at all. You know, it was about albums. But of course Genesis took that lead like Yes did in the eighties, which I'm no part of with the owner of a Lonely Heart saga. So basically that kind of era of the band isn't very proggy, you know, but it's it can be very useful, and in many ways Genesis showed that how very powerfully, not only you know, but also it highlights that, you know, people like Peter Gabriel, you know, their talents were missed in Genesis, but he could develop his talent. But also Genesis could turn without him. So that that's the story of, you know, having a team of people that like working together.
One of the things when I first saw Yes back in the mid seventies that wowed me was the incredible sound at the concert, just the amazing sonic nature of it. Tell me how that ultimately became such an important part of Yes. That that amazing sound in the concerts.
Well, if you're talking, I mean really partly that's Claire brother sound, you know, Claire Claire. It's called now but clear Brother sound audio. Claire audio was We heard that on the Jethra Tolta and we said, when we come back, we want Claire, you know, because we heard the sound. But a similar thing happened like a few years earlier than that, because that was like nineteen seventy one, seventy two. But of course in nineteen seventy we bought Iron Butterflies PA because we wanted a sound like we did on their tour. You know, they wanted to sell, we wanted to buy. So we bought the w bin's mid range horns and high high horns, and we bought this system and we started to really care about how we sounded because we didn't really like the sound of the pas that were available in England generally, so we had our own PA. Then we went to America and we said, Claire Brothers is it and we we swore blind that we never played without Claire. Sometimes we've had to certain things have changed, but whenever we can, we still want to play with that sound because their top notch, you know, at the top of the game. But the way it was in the beginning of the seventies was that Eddie started mixed. Eddie has started mixing the show and that was wonderful, you know, that was very exciting. He got a bit carried away unfortunately lost the plot, so we had to find somebody great like Dave Natel. So for a lot of the time, Dave Latel was our front of house and he does the rolling stones. And basically we had a great team of people who were going like we were. Our career was going forwards and so was there and they were part of our polish, you know, like Roger Dean. You know, the fact that we started using his designs with his brother Martin Dean for our staging was a big development. We started mitails from Gravication Tour, so basically we were messing with all that quality stuff that we could have made, but a lot of it was to make our show better. You know. He started with a mirror ball. Micky Tate thought of that and he, yeah, I went on to become our light designers. So we had great lights. We had a team of people who really cared about making a mark themselves, not just os working for Yes, you know, just like being a slave. No. No, They came with creativity and there was always things developing and that was what was exciting, and we tried to keep that going today, you know, and we've recently just changed from doing video and lots of moving things. We got fed up with that. So now we just got like really quite intense lighting. Now that's more theatrical, and we have a set, but it's very kind of simple. It's a few screens, but they're not used, you know, to show somebody tapping their foot on. It's just the best thing about it is that we want to focus on the band, the players, the music.
You know.
One of the great things about Yes is the beauty of collaboration with you know, all the band members. What's the key to that great collaboration that's been so much part of Yes through the career.
Well, it's joint willingness, you know. I mean it's like you can't go you know, we can't go in opposite directions. We've got to be willing to go the same way. And that to find that willingness is in the belief, you know, in the band, in the music, the love of the band. But also it's about getting on with the guys, you know, and finding a way of working professionally with each other. That's the first thing. But the second is to have the harmony, understanding that that there is closeness if it needs to be. You know, there is a discussion between two people if it needs to be. And basically you can work as much out as you can and make it a happy environment. That's what I said when I put my name forward to produce the quest. I said, it's got I don't want to do unless it's fun, you know, because there is a fun element that you need. That doesn't mean, you know, we've got a comedian in the group. No, I don't want to committing the group. But fun is enjoying your art, you know, enjoying your opportunity to make your art even better. You know, to have a pool of pain, not just you, but to have a pool of people who they've got to get if they like it, it means a lot, you know. And so if you do something and they that acts nice, Yeah, then in a way all the music starts coming together, flowing together, and there's no opposition, you know there. In other words, there's no bad stuff left there stew you know, there isn't any bad stuff.
Can you take me back to the creation of the Fragile album. How was that collaboration in terms of creating that, How long did it take? Any specific memories of that which ultimately produced a masterpiece in my opinion?
Well, thanks, I mean there's only so many and now are the same ones. I have to say whenever I'm asked this question, because I do remember some things about Fragile, it's not very broad. I remember that although the Yes album was worked on as a very collaborative you know unit, John and I had just managed to formulate the idea aroundabout together during tours. In fact, we were in Scotland and I think we both remember somehow that it was it was on one of my cassette tapes that John and I were like jamming stuff and say and he'd say, what if you got that's a bit like this, or if you got any chords, you know, or you know, just kind of throwing in around and suddenly we got roundabout, you know. And so when we started Fragile, John and I started the thing we did quite often in the seventies Coast the edge tails awaken. We were able to jointly put the foot the idea forward. So that song was built like that, if you like, from the understanding that John and I had a song, we'd do it, and we'd range it and blah blah blah, we'd record bits and we come back the next day at a rehearsal room for three or four weeks, three weeks. But in that time, of course, Tony Kay had left the band. It was it was very sad. It was not really that anybody ever fired him. He said to her, do you want to do multi keyboards? He says, no, no, I don't want to do that at all. I want to play piano or kind of thing. And that made him appear to us, and it may not have been hundred percent true that, you know, we were just going to stay there, you know, with those sounds, and we had this imaginary idea that other people were like doing stuff, you know with new synthesizer, you know, new kind of keeper's coming and that was Rick. So we found Rick, and before we knew we were, he was popping in. He wasn't at the writing so much of the album, but he came in and did things with us as much as he could, you know, because he had some sessions and you know, he was kind of a busy guy and we'd snatched him and he was going to work with us and you're going to make the album. So but we had to write the stuff first of war, but he was there when we wrote Heart the Sunrise and things, and there was music flowing around. We didn't have a lot of South Side of the Sky that was pretty much written in the studio. So and the idea of us having our own solo pieces was great, you know Bill's idea. I think after I had Clap on this album, I suppose he thought, well, why don't we all have a solo and he was perfectly right. So Fragile was a unique album where we all had a solo piece. So that that was a nice distraction because musically, you go off and do that yourself and decide what it was yourself, and some people use the band. Bill's idea was that we all used the band we always but of course Rick and I didn't, John didn't a lot, but Chris did on the Fish. So basically the album was unique in that sense. Roundabout is one of the sounds I'm most impressed with that. Eddie helped us get the tightness and somewhat simplicity of it, the rock factor in there. Yes must never forget they're a rock band. The worst thing we ever do and we do it sometimes it is because actually a rock band, I mean noodle around, you know, with some nerdy stuff sometimes and spire what is and has been some great pieces of music. I'm thinking partly what was on Keys two Cention studio recording. They're very good, but they pull down here and there. So basically there is a continuity needed that that's the teamwork, and that's production also, because like Time in the words is a great album if it had been really properly produced, you know, so it's great performances thrown together, you know, in a big sound. You know that isn't as clear as the Yes album. You can hear the space in the music. Of course you do in actually tell a lie, I mean in no opportunity necessary. There's marvelous yes arranging. Why we're not playing that every night? Don't you know what I mean? That stuff. I'm going to write it down. We're going to have to play that somewhere. I love it.
I got a big smile on my face, Steve, with you taking me back on that. I absolutely love love that story. Oh my god, that's amazing. So let's talk about the current the current lineup, and I think what's fascinating about the current lineup is there's so many players in the group who really are students of the group. So talk about the lineup and how you love playing with this band.
Well, of course, John's been a key to the going forwards of this band since permart David left and he joined about eleven twelve years ago. I think it's ten eleven twelve, I mean Time Flies, Tempest Future. But basically John John was a very solid person come in the band, and we share some views about how to play on stage, how to work. We kind of feel at ease with each other because we're both simple. So roughly state of mind where we're clear about what's going on. We're excited, we're ready. We haven't compromised the date, we haven't composed the show by anything we've done in the day. So we were there. We're really there one hundred percent. So but Jay of course had joining in part. At first he was doing some drumming, and then he was doing a lot of the drumming as Alan White was starting to find the whole set was too much for him to play, and we felt it was too much for him to play and the intricacies and everything. We didn't want to keep demanding that Alan plays for like two and a half hours or something. So it was a beautiful experience to have Alan do the last set in the music, the encore stuff. Several years so when Jay took over, when Alan Sadley passed away from time back, well, then Jay has brought with him that previous experience of being you know, like the helper and the provider and the solid assistant. But now he's got the whole flaw, you know, so we're finding out what that means, you know, and it should be marvelous. Of course, Jeff has had you know, like Billy a revisit experience coming back to Yes after Fly from Here, and so he brings all that drama experience as well, and that era of course not forgetting we were in Asia together. So like Jeff and I have a particularly trained, if you like, unusual multi connections with musical styles. And so Jeff's really good and Jeff's never said anything different than he is in Yes to play every keyboard part that Yes ever played, you know, if required. So Billy is an exceptional person too, because a multi instrumentalist, you know, talented writer produce all those things. He has to do is home it down into his admiration of Chris really, you know, and taking on the role of Chris with the base battles with the vocals. Chris was not just a bass player by any means. So it's a big demanding job and he's doing really well and we are we are rarely determined to keep the ship tightly you know, not controlled, but tightly agreeably run, you know, between us.
So Yes is going to be going out on the summer tour playing with the Deep Purple. Tell me how excited you are for that experience?
Yeah, I mean, you know, last year we did our sort of that normal tour. Yeah, mainly if they had a tour, and you know, we did about seven weekends. I think it was across seven weekends, so it's about six and a half or seven weeks. So we were wondering as the year you know, started up, you know, we're we're going to target another tour like that, and we were virtually going to do that, and then this offer came along where it fitted in between going to Japan you know, and leave and leaving the UK and Japan. It's a big, big two month gap there. So yeah, so it's marvelous to think that finally we got to play with the Purple. It's been it's been talked about before, and we've always been very, very excited about the idea. And there's a group I mean what I mean he talked about the sixties. I mean they were going before before. Yes, I'm absolutely sure, am I sure? Anyway, there's a long, beautiful history and now, of course, sadly Steve Mors isn't with them this tour, but they've got a remarkable guitarist in Simon McBride. He's really a fine player and I'm privileged to be, you know, working along with him. He's wonderful player.
That's awesome. Well, in closing, as someone who was so dedicated to his craft, how do you stay curious and how do you stay always with a thirst for learning something new?
Well, I stay alive. Yeah, it is just that simple. I mean what I do is what I do. You know, I haven't got a side job, like you know, I fix motorbikes or something. You know, benmar David did have a really profitable hobby or partly profitable, you know, you like fixing boats, you know. So I mean people do have some other things they want to get on with, but no, I haven't got you know, all the things that see the guitar collection. Having the guitars I want is very very important for me. And I just bought a new pedal steel guitar because my old ones were too tired. I had to get rid of them. They were they were out of my face, you know. But now my Williams pedal steel is just so. I get things like that, and it's remarkable how they as if I don't need it, they kind of stimulate my interest in using particularly different kinds of sound. I bought a guitar last year called Gibson Tennessee, and which was designed by Chad Atkins with Gibson. And I saw Chat playing this on stage in some videos, you know, in his later years, and he always sounded great. I thought, guitar sounds great. Of course it's action, it's black, so I get one and I go, yeah, but these good stars are great. This is a great guitar, so of course you can. You can excel. So I think that, you know, it's a bit like you know, it's just refreshing to be able to do that, and thank god I can do that. And you know, basically music still excites me, you know, from bark to well, I don't know, I'm trying to think of another Bee, but Barkers aren't anyway. Bulk is a big is a big player. But of course, you walk music is primarily, you know, what got me off the sofa.
It is so joyous to talk to you again. Your music means so much to so many fans, including me, And you're one of the gentlemen in the business and one of the nice people and the most talented people. And I'm so grateful Steve how that we got to talk again on the Taking a Walk podcast. Thank you.
That's very nice buzz. Thanks so much for saying that that means a lot to eat too.
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