Original subtitles

# ..you'll get along

# Going out the door!

# Things you don't understand

# You suffer

# Hey, hey... #

I meanI there's a certain amount of "fuck you"-ness

to everything jeff does.

And I think there's a big dose of that in that song.

But, unfortunately, we couldn't match any song to that level,

that quality. So there was never really a proper album.

We toured, and we were knocking people out the park. it was great.

We played Crystal PalaCe, and there were girls swimming across this

pond to get to the front of the stage. It was great!

I thought, "We"re on our way."

And we were getting a ridiculously good response.

And then along Comes the mental writers" blocks.

We weren't writing very good songs.

They were making a second album, and itjust kind of petered out.

The managersI they had to get together and affeCt a divorce.

The record company didn't have a whole lot to do with it.

We were observers, speCtators.

It just exploded, you know? Sadly, it did.

He"s not as wrapped up in being a rock star, that whole thing.

He can be true to his aet and still...

And then he leaves it there and then he goes home,

works on his cars, lives out in the country,

and so i think he's found a really good balance between the two.

I was working on the wrecked rod of a "69 accident,

and i had a transistor radio playing.

I was lying on the ground doing something to this back axle

or whatever, rainwater was streaming past me,

and i thought, "'I'm in the gutter. I've ended up baCk in the gutter!"

And it almost washed the radio away.

And it was McLaughlin playing on jack johnson, that amazing album.

Miles. i mean, please, it"s a wonderful thing.

And then you hear McLaughlin going in there.

And it was a moment where i just stopped work, went in there

made a Cup of tea... Continued listening.

And that was it. ijust thought, "There's a door open now.

"This is what I want to do."

It's more foCused on guitar only

and it negates the necessity for a vocalist.

There's no point in going round the world

trying to find another Rod Stewart.

What a great line-up of musicians -

the brilliant Max Middleton playing keyboards...

Richard Bailey and Phil Chenn on drums and bass.

..and produced by George Martin at Air Studios!

GEORGE MARTIN: i came to the album title, Blow By Blow,

because the word "blow"" means many things.

But I was using it in the sense of a jazz thing.

When you do an extempore bit, you are giving it a blow.

To look at the joy on George's face

when he discovered that we were going to have fun...

jeff and I met up, and he invited me to the studio,

and he was telling me how George was really just letting him

play and stretch, and he was recording all the things

and then making the finished version.

It was somebody who would reaily understand

the precision of Jeff"s playing

and just how different and how separate it was from anybody else's.

George Martin really understood that Jeff was a serious musician.

He wasn't a producer with a singular vision of how

he thought it would be that he would want to impose.

And I don"t suppose anyone would have much luck

imposing their vision on Jeff.

GEORGE MARTIN: Well, jeff Could be temperamental

but never a big problem.

I mean if he felt frustrated

because he wouldn't be getting what he wanted,

sometimes he would get very upset, and in faCt

he did fling his guitar right across the studio at one point.

But, you know, people are temperamental.

That's all right, they can blow off steam.

So long as they don't throw it at me, i'm all right.

We didn't have any problems. We got on very well.

He loves exploring the guitar, and when he does hear

something that catches his ear or gives him a new idea,

he gets deeply into it.

John McLaughlin was kicking my butt at the time.

The Mahavishnu Orchestra, that played a big paet.

jeff's always said the Mahavishnu Orchestra is like his one -

he still holds it as like a Holy Grail.

"This is what inspired me to staet pushing things to the next level."

One tune that has some of that Mahavishnu feei is Scatterbrain.

It staeted as a schizophrenic run that i did

when i was nervous in a dressing room.

Two seconds before going on, I went...

And Max being the calculating SOB that he is, he said,

"You know that annoying scale you play?

"I've written some chords underneath it."

He said, "If you move it up a semitone,

"I Can make a track out of it."

And before we knew it we had this song.

Yeah, it's... That's a really... It's a Chop buster, that song.

He really was getting away from the straight rock stuff that he

was doing, and he wanted to open it up to a more melodic

and a little softer and jazzier angle.

George loved it and staeted putting the string arrangements to it,

just bare-bones creativity on the spot.

STUDiO VERSION OF TRACK PLAYS

When i suggested to him that we use an orchestra with it,

he was a little bit taken aback, i think.

And, for me, it was a fairly risky thing,

because Jeff had never done this before,

and i wondered whether the audience would accept the fact that

Jeff Beck was working with a string sound.

George was open to anything

and the most encouraging and most kindest person.

And, boy, did he get a great sound.

Cause We've Ended As Lovers is the standout track of ali time, for me.

I mean I just think that is jeff at his most beautiful, lyrical.

It's a Stevie Wonder song, of course, which must be pointed out.

When i heard that album, I just thought, "Oh, wow."

Her voice was like a Crystal stream flowing.

And I staeted playing Cause We Ended As Lovers,

playing the melody that Syreeta sang.

Max Middleton said, "That's beautiful. What is it?"

And I played him the Syreeta version.

He went, "Why don't we do that as an instrumental?"

GEORGE MARTIN: jeff's an amazing person,

because he Can get the most incredible sounds

out of an electric guitar.

Even after he's flung it across the studio,

he will still pick it up, wiggle it a bit and make great sounds.

And he uses the guitar as his voice. He sings with his guitar.

And I don't know any other guitar player like him.

Blow By Blow was an instantaneous success upon release.

I mean it really took off like a rocket. it shot up the Charts.

It turns out that lots of jeff Beck fans out there were just

waiting for an album in which they Could hear him play maximum guitar.

Max and George the two of them just were like two peas in a pod

because of their musicianship, the keyboard.

Max would come up with these twisted Chords.

Pork Pie Hat, you know, with the Charlie Mingus stuff.

Goodbye Pork Pie Hat, written by Charles Mingus, is an ode,

really, to the great sax player Lester Young.

It really stands out as being something very special

and different, something unexpected from jeff.

And after we finished, there was dead silence. I went, "Oh."

And George went... You could hear the button go.

He said, "jeff, that was very tasteful."

ALBUM VERSiON

To this day, i tell people, "Boy, if you want to learn guitar,

"there's all the scales and arpeggios and all this,

"but you need to learn two solos,

"and they're both relatively easy to learn, beCause they"re slow -

"Goodbye Pork Pie Hat on Wired and Cause We Ended As Lovers."

Cos that's... that's where the feel is!

TRACK CONTIN U ES

I got a letter from Charlie Mingus, and it said,

"Dear Jeff, i was so knocked out with your version of Pork Pie Hat."

And that's when we had the world at our feet you know?

We could do anything we wanted.

Jeff is like a roCk and roll musician who understands jazz.

So, that's a very rare animal.

We went to see Mahavishnu OrChestra in Zurich.

And we were playing in the same week,

so we ended up being at a paety in the same hotel.

We had the greatest time, you know?

I got to know the Mahavishnu Orchestra - McLaughIin,

Jan Hammer, BilIy Cobham, Jerry Goodman - and it was just amazing.

And I ended up, you know, really, really getting a great contaCt

and talking, because we really had very much in common.

And Jan knew me. He said, "Course I know you! Out of the Yardbirds.

"I know all the stuff."

So this was the great bonding session that took place.

This was before Wired. He was pretty much finished, i think.

He had some rough mixes. The album was virtually done but not finished.

George Martin had to leave. He was committed to do an album by America.

George left without

the finishing touches being applied to the album.

There were still some overdubs, Certainly some mixing.

So i had to say goodbye to George.

jan was interested, in that I would fly over there

and watch this magician do his stuff on this record.

And I just did quick mixes of this,

and basically all those mixes ended up being the masters for the album!

So more than half of the album was mixed here.

And then also we did one tune from scratch, which was called Blue Wind.

And he said, "Play this riff."

The two notes. HE HUMS THE MELODY

I said, "Oh, come on, Jan. This kiddie stuff." He went, "'Trust me."

And I didn't like it at all.

It was a very simple riff and a combination of things,

and by the time i added drums to it and my keyboard synthesisers...

And he got these Auratones and stuck them on his mantelpiece

and cranked it, and the speakers were shaking!

I went, "OK. i get it now!"

It gave a great platform for solos.

And it was all about, you know, embellishing

and showing off and taking flight with your solos.

It just turned out to be a great, great tune that soet of

has been living on decades now!

It was incredible to play with Jan Hammer

with jeff Beck at the Hollywood Bowl.

Jeff had always talked about Jan before.

Jeff loves Jan. And vice versa. They have a great relationship.

I'm sitting there and i'm looking at both of them

and watching them interaCting.

You can see the years of friendship and mutual respect

and adoration that they have for one another.

Star Cycle was interesting, because, again,

what I did was I recorded the whole track here...

..in the old studio, again with the sequencer, and I played drums.

And then i took the tape to Ramport, the Who's studio, in London,

and we added all the lead parts on top of it.

That song has a very paeticular melody.

And, again, the whole thing is about the trade-off between Jan and Jeff.

How their minds work together is incredible.

They can really bounce off of each other,

and it's just... It"s like fireworks.

He"s just inspired, you know, by whatever the dynamic is

that's on the stage. That's what he"s looking for.

He's looking for inspiration, you know,

a reason to strike that string and pull, make that next sound.

That's the reason I love playing with him,

because it's going to be so fresh and he's going to pull

something out of his sleeve that you say, ""How did you do that?"

You think that guitar is so limited,

and people sometimes even demonstrate how limited guitar

is by playing basiCally a couple of riffs and that"s the whole career.

jeff is opening it up to so many,

many areas that it's really hard to keep up.

I came back to Epic in 1 980, after the There And Back album during

which time I failed to convince jeff to do even one aIbum for EpiC.

Years had gone by, and i didn't want to go along with that,

the "80s push-button music and all that.

I certainly visited jeff at his home.

He was a most gracious host, showed me his cars in the garage,

which he was spending a signifiCant

amount of his time working on, very happily.

There was no place for me, so I just buried myseif in my workshop.

And it got to the point

where I think they forgot I was even on the Epic label!

And I ended up driving to different sessions.

Any aetist would be thrilled to have Jeff contribute to their work,

so the fact that over the years he"s guested on albums from suCh

a diverse array of acts, from Stevie Wonder to Stanley Clarke to

Diana Ross to Mick Jagger to Tina Turner, on and on and on...

And I loved guesting with them. I loved every minute of that.

He has kinda guided his career the way he wanted,

and there's something to be said for taking time off

and regrouping rather than having a record company

breathing down your neck for a new record every year.

Epic Records thought it would be a great idea to get an aetist

to drop me a broad hint by painting this surreai garage with

a guitar up on the ramp instead of a car.

I loved it. i love that cover.

It was me. i mean, that was it. They Couldn't have hit it... Bull's-eye.

You know? That was me!

Without a doubt, Guitar Shop, I think was a real return to form.

And that was their job, you know?

I put my back into the album with Tony Hymas and Terry Bozzio.

The results were really ground-breaking, in a way,

for a three-piece to put out so much power.

You know, it was a power trio with keyboards instead of bass.

His approach is super, super rhythmic, so in order for that

to work you have to have a back line that gets it.

I think Terry Bozzio had a lot to do with that.

He"s worked with amazingly great drummers, you know?

So, I mean, I've stood in some tall company.

When you hear the song, it lives up to its name of Big Block,

which obviously refers to a large-size engine in an automobile.

His playing is amazing. That Big Block riff is fucking awesome!

The heavy kind of sexy riff in the middle, that was all my stuff.

Big Block, it's great. What a classic. What a classiC.

Powerhouse tune.

That"s a pure example, I think of a lot of power

and energy that's in Jeff's show.

It"s full of aggression and spirit.

It"s got a nasty, nasty oveetone to it.

There's this underlying reoccurring riff that"s happening

the whole time the main riff on the bass that"s low enough to

give space for the guitar to do absolutely anything.

So he just goes mental!

The sounds he gets out of that instrument still shocks me.

It"s so definite,

and he so definitely sounds like he knows where he's going

and exactly what he wants to do, and he's going to execute it perfeCtly.

It's always got melody,

but it's also got great attaCk and sort of aggressive fire to it.

Brilliant.

TRACK CONTIN U ES

Jeff not using a piCk, I learned a lot from that.

So i actually alternate between using a pick and not using a pick,

because you're just that much more connected

and there's an emotional thing that happens when you do it that way

that sings and soars above and beyond using a guitar pick.

The early days in the Yardbirds, he was still playing with a pick,

but then he developed playing without a pick.

And then he soet of concentrated more on the Stratocaster,

and he had the guitar

so fine-tuned to every nuance

and the tonality of it, the tension of it, that he

developed a style that was totally unique.

And that"s pretty magical.

Where Were You basically is impossible.

It's just an impossible tune!

That song, where he plays the melody with harmonics, he's got such

a sensitive ear to know exactly when things are in pitch.

The way he has his Strat set up

for whammy-bar stuff is quite extraordinary.

He"s playing whole melodies on harmoniCs

which are pulled through two or three tones

in perfect pitch all the time.

And believe me, i've tried it. It's... He makes it sound easy.

He was invited to come along and play it at a memorial

service for Richard Wright after he died. I mean, Rick loved that track.

Rick often said that he was his favourite guitar player,

much to my chagrin. He came and played it live,

and it was just like the record and perfect.

just to know that that piece, which I wrote reached people,

that was very satisfying.

And Elton told me that he

and Freddie Mercury used to sit and listen to it.

I went, "Oh, right!" HE LAUGHS

It"s amazing, isn't it, that some idea ends up on a record

and then people's lives are affeCted in some way?

Jeff's always tried to, you know, challenge what

the stereotype of guitar playing is or the stereotype of music or just

find new ways of, you know,

expressing his take on what's happening on music right now,

whether it's collaborating with different people or finding

new sounds.

He's always got something in his mind that he wants to do and change.

He will listen to EVERYTHiNG!

I mean he will intake anything from Ornette Coleman to the Spice Girls

and anything in-between and is able to filter it into something usabIe.

Me and Jennifer got on quite well doing this crazy stuff.

I"ve always got a big sound system in the car, and Nadia started up.

# Nadia, bair bhai

# Nadia... #

This is the most amazing thing I"ve ever heard.

And I played it again and again on the way to the studio.

And I said, ""Listen to this. I'm going to mimiC that singer.""

And, man, it was the most difficult thing I"ve ever done.

Those indian singers, they twist and turn,

and it's almost like beyond belief what they can do,

leaping from note to note and the scales that they sing.

The Indian vocals are very hard to emulate.

There are such subtle nuances and little tiny bends.

I actually made him loops of eaCh little Chunk of melody

and looped it maybe ten or fifteen times so he could

focus on just that, which I don't think he ever did before,

to break it down so sCientifically like that.

But, of course, he's going to make it his own.

It's a perfect example of expanding the instrument beyond anybody's

imagination, you know, that it took his hands

and his brain to be able to take it that far.

When i talk to other guitar players about him, there's no question.

I mean there's everybody else and then there's Jeff BeCk.

I don't even know how he's doing it half the time.

He's combining the tremolo arm with bending and with volume.

There's so much going on between his left hand and his right hand

and what the right hand is doing, all the independence that it has.

It's all about making that voice.

Playing five nights at Ronnie SCott's, I think

jeff always wanted to play at Ronnie's, you know?

The faCt that we pulled that off was pretty amazing,

because it's just a little jazz club.

Everybody's been there - you know, Rollins...

I saw Art Blakey there, i saw Elvin Jones. These people belong in there.

And there's Jeff Beck up there. No, no, no.

How wrong was I? Amazing.

CHEERiNG AND APPLAUSE I can't believe this.

You know, you people.

But on top of this, i'd like to welcome to the stage somebody

who knows their way around a Stratocaster.

It was an honour, you know, I mean, to get up with him in that venue.

And the fact that he asked me to play, i mean, tremendously

touching that he would want me to get up and play with him, you know?

Mr Eric Clapton is here tonight.

LOUD CHEERING

I may as well fuck off home, then!

They were trying to figure out what to play, and Clapton said,

"Well, why don't we play You Need Love?""

# Baby, you look so sweet and kind

# Baby, way down inside

# Baby, you need love

# Oh, you need love... #

We had basically all of Led Zeppelin there,

all the surviving members, and it was funny playing You Need Love,

because it was where they got Whole Lotta Love from.

That was their influence for writing that song.

jeff and I, we go back to really early teens.

And let me tell you, that was a long while ago.

HE LAUGHS

But we must have been about 1 3, 1 4, when we first met,

and we stayed friends all the way through...

That was a surprise, the Rock & Roll Hall of Fame,

to have jimmy go up there and call me up to present me with the award.

I was really flattered. And what he said really brought me to tears.

You'd soet of listen to Jeff along the way, and you'd go,

"Wow, it's getting really, really good, jeff."

And you'd hear him a few years later,

and he'd just keep getting better and better and better,

and he still has, all the way through.

And he Ieaves us mere moetals, believe me, you know,

just wondering and having so much respect for him.

And I tell you, i'm really honoured to be here to induct

Jeff into the Rock & Roll Hall of Fame,

because he's done so much for rock and roll and he always will.

The plan was at sound check that we play Beck's Bolero.

And I thought, "Oh, yeah, OK, I'll bring over the original guitar that

"I played it on," whiCh is a Fender 12-string, eleCtric 12-string.

And so I took it over there, and we had a rehearsal.

Somehow, I think me and Tal called up Jeff.

And I said, "Y'know, it"s really a shame

"that we're not playing a Zeppelin song.

"I mean, we're going to play with Jimmy Page."

And I got a phone call just before we were due to go, and he said,

"I've been having a chat with the band,

"and they thought it might be a good idea

"if we, instead of just doing Bolero, if we did Immigrant Song."

And I said, "Oh, yeah? Well, this is really going to be interesting,

"because we haven't had a rehearsal."

Right here, Jimmy Page!

The tech behind the stage apparently were freaking out.

The sound guys, the light... Nobody knows what"s going on.

But the audience went berserk!

I mean he was just soloing over it,

and he'd throw the vocal lead in just to show, you know,

just to show everybody just how on top of it he was.

I still get goose bumps when i think about that right now.

The band are having great fun doing this riff,

and then we segue through into Bolero, and it"s absolutely amazing!

These people that came out of that same year with the same

influences, and look at the voices that emerged.

Jimmy Page and Jeff Beck.

And then there was Clapton and Hendrix.

I mean these guys all took that same raw material

and did that - just distinct, different branches.

Every time I think of it, it's mind-numbing,

and Jeff really is just totally a voiCe like no other.

I love his big, vast swing, you know? He'll go from something

so rocking and so aggressive

down to something so tender and so sweet and everything in-between,

and it really is a perfect mirror on all the emotions

of being a human being and being alive.

It just kinda covers the gamut of human emotion.

You can recognise Gilmour and Hendrix the same way you

Could recognise jeff within a phrase, a note.

They wouldn't be icons of guitar playing

if they didn"t have their stamp.

And that's what I think, every aspiring guitarist,

including myself, wants to achieve one day.

So i think they're all unique,

but jeff's is a little bit more out there.

He was doing his set, and then I had to go on after Nessun Dorma!

It was like, "You must be kidding, man! This is it.

"This is a show stopper. I can't follow that."

There's not too many musicians who can do that.

That's a vocal tune for a reason.

It's really about just his soet of two hands and a piece of wood

and with the things that he"s able to do with it,

but he does it with a lot of emotion and a lot of soul and expression.

All those years ago, you had a band that featured

Rod Stewaet as your voCalist.

It"s always seemed somewhat self-defeating to me

to attempt to replace Rod with another male vocalist.

Jeff has a really cool knaCk for piCking female singers

with his Choices like imelda May, Joss Stone and Beth Hart.

There's a perfect example of three absolutely amazing females

that go with his style

and the type of energy that he wants to portray and

the type of energy that he wants his band to poetray at that

paeticular time, the type of fire that he wants to have.

# Something told me

# That it was over

# Baby, yeah... #

I had an opportunity to go write with Jeff.

We wrote a couple of beautiful songs together.

And I thought that was it.

And then he called me and asked me if I would be his singer.

That was incredible. I didn't get to sing a lot of songs,

but i did get to sit on the side of the stage and watCh him play

and understand why he's the most innovative guitarist of ali time.

# ..in my soul said, ""Gone"... #

Jeff really appreciates singers.

You know, he's always listening to singers

and the way that they articulate.

Beth Hart is somebody I"ve actually worked with before,

and she's great, and she's very soulful.

As a singer, he knows what is the kind of song that wili best

be for you. And he turned me on to that song, and i loved it.

# I'd rather, baby

# Be blind

# Yeah

# Than to see you

# Walk away, walk away from me

# Baby, don't leave me... #

Here he is, 50 years later, after his girlfriend takes him

out on that stage and he looks out and he says, ""God, I want

"to play here so bad," and 50 years later, he plays there, sold out.

Gorgeous. Kills it. It's just wonderful.

MUSIC: The Revolution Will Be Televised

One of my favourite records that he's done is Loud Hailer,

and that"s...

I mean it"s incredibly modern,

and having a singer like that to work off of, he"s chosen well.

# The revolution will be televised

# You can watch it in HD

# You can talk like a weekend warrior

# From the safety of your settee... #

There's a lot of pressure opening jeff's show.

This is, like, The 50 Years Of Jeff Beck.

Rosie stomping around the Hollywood Bowl,

and all these top-of-the-heap kind of rich guys down the front...

..not knowing what's going on.

He always decides to do something which no-one would expect him

to do - working with us, this unknown band from Camden.

Jeff's always suppoeted young aetists and especially women.

He"s had a history of having really great female musicians with him -

female singers, guitar players, bass players.

And not only the point of just the criteria of someone being

a female, but somebody being female and very talented

and that get along great with him - and his wife.

What time do you call this? SHE LAUGHS

I met Jeff at Roger Taylor's birthday party.

It was a friendly encounter, because it was like Roger said,

"Here, come and meet Jeff."

And then i turned around and realised who i was talking to, and I

think the first thing I said to him was, "Oh, fuck, you're jeff Beck."

I've installed the engine in your absence, so that bit"s now done.

"Who do you like?" She said, "Oh, Albeet Collins." Ding!

Light went on, and I thought, "That's unusual,

"to have a female young guitarist that likes Albert Collins.""

So then she said, "Well, if you want to see me play, my band,

"I'm playing in this pub." So we go up there. Totally blown away.

He's always trying something new. The most recent album Loud Hailer,

is not like any album he"s done before.

He's collaborating with people who are, like himself,

venturing forward into new musical territory.

That'li keep you young. The whole point is that Jeff's

still, at his age, trying to pioneer things and do things differently,

not just playing the same stuff that he always plays.

He"s pushing it a bit, getting excited about new people

and making new music.

Looking back on it, it feels like fairy land.

"How the hell did that happen?" Just sitting around a fireplace,

drinking Prosecco and writing music with a legend.

There was a lot of chatting about things that were interesting him

in the world, and then after that

everything kind of Came quite easily.

It was done under this roof, and it was a beautiful,

very natural experience.

# Billy skipped school again Looking like a fool again

# What a little waste For a taste of a big boy's life

# I'm scared for the children... #

That was Carmen"s Chord sequence, i think,

and then I came up with the little fills and stuff.

I wasn't expecting that, the depth of that song.

I love the sentiment behind Scared For The Children.

It's something that we all felt quite close to.

# This is the end of the age of the innocent

# One more game before they go... #

I play the least amount of notes that actually mean

something, I suppose.

If there was any game plan, that would be it, really.

I mean the chords are so niCe.

Just to sit on the chord and do it, that"s what i do.

jeff's solo on Scared For The Children,

suave at first and then explodes in the second half,

that hint of Jimi Hendrix kind of, like, quote.

The best time is on a really nice-sounding stage, live.

You can really pour it on.

Jeff is probably one of the most

influential guitar players alive today.

And whenever i get to play with him, it"s an experience that affects

my drumming and my musicianship. He makes me play better.

Every time I see him, his averages are so high,

but every performance is one place where he just transcends it

and i go, "Oh. OK. You know?

"Better go home and pick that guitar up again."

He's just naturally interested in making music,

and he has enough faith in his music to know that all that

stuff about the business just doesn't matter.

To have the attitude that he has where he's always

ready for something new and he doesn't know it all -

even though he does! - I think that's magical.

There's a differenCe between playing music and being music,

and that's how he is set apart, Cos he IS music.

jeff seems to embody the sound that he produces, and I've watChed him

take someone else's guitar who was just playing a moment before,

pick it up with no effects, no nothing, and staet playing,

and the sound of that same instrument

is just Completely different.

This unique talent, this unique musical sensibility,

vocabulary, inspiration and willingness to take risks,

jumping off cliffs, y'know, and that aIl shows up in his music.

People do need to...

..up their awareness about him. I mean where have they been?

There is no-one else that has been as consistently good

exciting, out there, Looking for new things, adventurous, maveriCk,

since he staeted in the "605.

He just loves music. I think...

..if you stop wanting to play, if you're not inspired by what

you hear, then you might as well sit at home by the fire and watch TV.

But obviously he's still got something left to say.

I haven't given up hope, Jeff, y'know. THE voiCe, THE guitar.

The good thing about guitarists

is that everyone's got their own character playing.

That"s something which we all do understand.

But we could all be talking for hours and hours

and years and years, decades and decades,

but the most impoetant thing, the thing that you can't actually

put into words, is what you actually hear in that music.

And that is the key to all of this, of Jeff's playing

and why Jeff is so brilliant,

because it's what he manages to convey with his guitar.

And that has to be heard to be believed.

I always keep a guitar in nearly every place in the house to

remind me that I should be doing that.

HE LAUGHS

And the guitar is always a Constant challenge.

Every time I pick it up, i pretend that i've just started playing.

And it seems to work.