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

0:21

that I was able to capture while I was

0:24

on a European tour with Brad Paisley as

0:27

his guest uh this is from backstage at

0:31

London's

0:32

O2 and this is with Albert Lee he was a

0:36

guest with Brad that night and while he

0:40

was backstage I started asking him about

0:43

the luxury liner album with Emy L Harris

0:46

that Albert played on that was his first

0:48

uh first time featured on there and it's

0:51

a all-time favorite of mine it really

0:54

this is this is the album that made me

0:55

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

1:07

is about a 15 16 minute uh little

1:10

interview but he drops all sorts of he

1:13

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

1:20

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

2:11

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

4:31

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

6:33

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