Original subtitles

[waves crashing]

Downloaded from YTS.BZ

Official YIFY movies site: YTS.BZ

[Steve Howe playing "All's a Chord]

[Steve Howe continues playing "All's a Chord]

I would have liked a guitar when I was ten years old,

but it took me a couple of years to convince my parents

that a guitar was a good idea.

I think that was also quite good,

waiting a little time and getting some preconception

of what I wanted to do.

But of course, once I had it I made the mistake most people do

of thinking immediately that I could play it.

But certainly it wasn't really until I was ten

that I was so committed to own a guitar and want to play it.

And that was a great deal to do.

In fact with my parent's musical choice at the time,

the records and the music they had, wasn't strictly, of course, guitar,

but, funnily enough, Les Paul and Mary Ford

and "How High the Moon" and those songs

were actually in the collection.

And that kind of guitar was one of the first...

First guitar styles that I heard, that I got very excited about.

This guitar is a special Les Paul.

It started life in 1955

with just two pickups, black pickups,

and I bought the guitar many years later

and had it modified to no less than four humbuckers.

But at the time,

there was a quadraphonic sound being talked about, so...

This idea was that it's going to be a quadraphonic guitar.

All these pickups go out individually

or they go out as a mono send.

So we've got four volumes and the tone control,

but this is a Les Paul.

He signed it.

And it's a Les Paul that he didn't really conceive of

because it's been modified.

But I'll play a piece that Les Paul used to play, and then...

A piece called "Cactus Boogie."

[Steve Howe playing "Cactus Boogie"]

[Steve Howe continues playing "Cactus Boogie"]

My first gig was when I was fourteen.

So I was a bit of a slow performer at that point.

Well, I even wasn't sure after the first concert

that I ever wanted to play on stage again.

The first concert was such a disaster.

I don't think we tuned up together.

We didn't rehearse together.

We just went on and named a song out of the hit parade and played it.

But then the idea of getting committed was to earn a good guitar,

and fortunately I think I felt that that was

their first big commitment behind me,

it was to set up a high purchase.

And the commitment was that I should pay the instalments,

but they would pay the deposits.

So it was a very sweet thing to do.

And I got a fantastic guitar,

this Gibson guitar that I still love

and play very much now that

it has seen me through all my years on the guitar professionally,

not exclusively, but for a while it was the only guitar

that I played, really, on stage, and...

eventually I broadened out to become a collector.

Well, fundamentally the Les Paul period was very important for me,

but once I had a guitar,

the people at the time who were

having tremendous success on the guitar,

it was a marvellous period to start playing the guitar

because of course, this was the guitar heyday,

the boom,

and guitar instrumentals were all over the place

and this was...

For me, very easy to draw a reference and influence from.

So there was, from America, you know, there was "Duane Eddy."

[Howe] From England we had our own Shadows.

Hi, Hank!

And in the 60s,

besides the influence of popular music,

which is obviously greatly influenced by The Beatles

when they came out, it was like...

They were a saving grace.

And all of a sudden I had George Harrison

to admire as a guitarist who worked on the music in a part idea.

There was a structure, there was a part that the guitarist played.

It wasn't just a question of strumming through the number

or doing those

slightly naive guitar solos that existed in the 60s.

So I was drawing, I started to draw from

the great American guitarist called Chet Atkins,

who's one of my big heroes.

The heroes in jazz guitar, like Tad Farlow and Kenny Burrell,

and Barney Kessel, Wes Montgomery,

Charlie Christian, Django Reinhardt,

I mean, it's a very big list of people that I listened to.

I didn't really...

consider at that time that they were going to influence me

because, in my mind, they were so much better than I,

that all I could do was sort of be subservient to them

and enjoy them, really.

I remember getting a Fender,

the first Fender amplifier I bought was a Fender Tremolux,

and I remember plugging in my room at home with my parents,

and I really felt I could sound like Kenny Burrell now,

'cause Kenny Burrell had one of the great jazz guitar sounds.

It was limited, heavily limited,

but it was a...

I was a beautiful, it's a beautiful sound that he makes.

You know, there was a lot to take in,

there was probably too much to take in at that time.

Besides, my main sort of forte and working role

was to be a rock guitarist,

which was quite different from...

A lot of my influences weren't so rock guitar.

I almost could have not been a rock guitarist at all

if I'd looked any deeper

into all the other avenues that the guitar offered.

Well, that started from the group, The In Crowd.

We were playing really, we were playing the popular music of the day,

which was very much soul, Otis Redding.

We had a marvellous friend in the EMI,

who kept giving us unreleased records.

So some of our material was unknown to England,

and we were playing in the soul circuit.

But suddenly, I don't know really, to be honest,

I don't know where it really started,

but suddenly Keith West sort of looked at me and said,

"I think, you know, we should start playing our own material."

I think we'd done one or two of our own songs.

So at this time, Keith came forward as a songwriter.

I started saying, "Well, I've got some songs."

"They need a few bits in them, and we'll have to arrange it."

So we started to play this new music.

And by the time

we'd got half an hour or 45 minutes of this new music rehearse...

We were a new group. The direction had changed totally.

Tomorrow was a great vehicle for me to...

be a sort of new guitarist,

where I helped to invent psychedelic guitar.

Of course, we listened to American groups

as they were doing the same thing.

From the Grateful Dead, particularly The Byrds.

I think The Byrds were my--

and they still are from the mid-60s and possibly...

besides The Beatles, our own.

But The Byrds were a formidable group

because their music today...

Not only was it recorded impeccably,

which, of course, the Americans were rather good at.

George Martin did it wonderfully for The Beatles,

but few other people could get that sort of sound onto tape.

♪ Three miles high ♪

♪ And when you touch down ♪

We played at the Savoy Theatre,

which was a regular psychedelic show with The Vanilla Fudge,

Uh, Jimi Hendrix.

I saw Jimi's guitar being caught behind his Marshall amps

on quite a few occasions.

Because he did like his guitar.

This was at a time when, funny enough,

my approach to guitar was so alien to everybody else's.

Because Jimi...

threw his guitar around and stuck it between his legs and things.

But at the same time, you had people, you know,

like Pete Townsend breaking them up.

And everybody basically had dirty guitars,

fingerprints over and maybe even a band or bump sticker on them.

But my guitar was shining clean.

And I cleaned it every night, you know?

And I was very proud to do this.

So...

this is the Fender Telecaster.

This is a 1955 Fender Telecaster.

And I didn't start playing these guitars

until I did the "Relayer" album.

What was it, '75, '74?

No, '76.

So...

I started playing this guitar on "Gates of Delirium"

because I felt that I wanted a really different sound.

And yet...

for me, it was a different sound. But of course,

it was very much part of rock history

that the Telecaster has been mainstay, really,

while there's been fads on all other guitars.

The Telecaster is always there.

It's one of the original rock guitars.

And I do think of James Burton

because he was the first guitarist to really portray this sound.

And he did it very well with Rick Nelson.

And later, for a while, with Elvis Presley.

But there's a Rick Nelson thing that comes to mind.

I'll combine it with a little bit of picking too.

[Steve Howe playing guitar]

And when Tomorrow finished,

Keith West and I had already written--

I think just one or two songs together.

One of them was called "Revolution."

And I sort of started work

with a group called Bodast,

which its record didn't come out for a further ten years.

In '79 this record was remixed by myself

and put out on a small label called Cherry Red.

And that was called the Bodast Tapes.

But that group was the group that, in a way,

made me turn down all the other offers.

Not because they didn't want me to leave. They didn't.

But the main reason was that

I was becoming a loyal sort of person.

And I was loyal to them. And also I was--

The reason I was loyal was because the group was inherently

developing into a songwriting group.

That's probably the first one besides

the small amount of writing that I did in Tomorrow.

But this was becoming a songwriting group, and this...

was bringing out a new side of me that I could see that...

I could sort of stylise my guitar,

just to suit each song and...

Meantime I was getting calls

and The Nice called me up,

and Keith Emerson was saying, "Come and join The Nice."

And I went and played with them,

and I thought I was going to join them

because Keith was such a fine player

that I thought, "No, I should work with these."

but by the time I got home and saw the guys in Bodast

I felt this loyalty again.

Jethro Tull was sort of easier to turn down

because when I had the call, the initial call,

there were certain conditions thrown at me straight away

about what I would be required to do

and what I wouldn't be required to do.

And I think in some ways there were certain auditions I didn't go to,

but I did audition also for Atomic Rooster which, funny enough,

had Karl Palmer in it which I later played with...

Karl in Asia.

And then when Yes called me, I was sort of ready.

I was sort of ready to get serious about something

and not to, like...

you know, too many interim projects,

but get something that really could house me,

and that I could use as a vehicle.

And also that I could appreciate the other players

because it was becoming more and more evident

that failing in a songwriting style band is lack of musicianship,

and I wanted both.

I wanted to get in a writing situation

with very, very fine musicians,

which Yes could offer me.

Fortunately, when I joined the group,

they were very willing to take on board ideas that I had,

and, of course,

they were already a unit working together,

and Chris and John were writing quite a few of the songs.

And to use it as an example,

a song like "Yours Is No Disgrace,"

which is credited to Yes collectively,

the...

It was very, very, very convenient that we were together working on it,

because that meant that the ideas could be experimented with,

and things thrown out and things brought in as and when they needed.

But to try and give you some sort of example...

Take a tune like, uh...

Say, "Yours Is No Disgrace."

And the ideas that we got for that song

were really from a very broad

spectrum of places.

And the introduction,

which goes a bit like this.

[Steve Howe playing "Yours Is No Disgrace"]

That particular framework was rhythmically...

taken from an introduction to a famous television series.

We put our own chords into it and sort of arranged it as a group.

And from that point, the idea of an intro,

we developed that and then we went into a theme.

[Steve Howe continues playing "Yours Is No Disgrace"]

[Yes continue playing "Yours Is No Disgrace"]

That was given as a keyboard tune

because it's just the nature of what we felt we needed at that time.

And...

So this is different members just putting in little bits

and then having it altered by other members to say,

"Well, let's have this chord longer,

let's have that chord for a shorter time."

And then there was a plateau once that tune had been established.

And the plateau for me as a guitarist,

was to put the icing on.

So, while the...

[humming "Yours Is No Disgrace"]

...tune is going on,

The guitar then enters with an idea I had which was this.

[Steve Howe playing "Yours Is No Disgrace" riff]

[Yes playing "Yours Is No Disgrace"]

So this was all building up, and this was all...

Really, for the first time with me present in the group

was formulating the actual scale of what we were working on.

What an intro was to this group was something quite colossal.

And it would last minutes and minutes, you know?

It would go by.

And then, eventually, of course that intro would stop

and we'd come into the main key part of the song.

Now, John had some lyrics that he was working on,

I think David Foster, a friend of his,

who he wrote with on

the "Time and the Word" album before I joined.

So in comes,

"Yesterday morning came, a smile upon my face,"

which was the sort of opening lines to the song.

♪ Yesterday a morning came ♪

♪ A smile upon your face ♪

♪ Caesar's palace, morning glory ♪

♪ Silly human race ♪

♪ On a sailing ship to nowhere ♪

♪ Leaving any place ♪

♪ If the summer changed to winter ♪

♪ Yours is no disgrace ♪

♪ Battleships confide in me ♪

♪ And tell me where you are ♪

♪ Shining, flying, purple wolfhound ♪

♪ Show me where you are ♪

♪ Lost in summer, morning, winter ♪

♪ Travel very far ♪

♪ Lost in losing circumstances ♪

♪ That's just where you are ♪

And what we started to do was to treat the music,

each part of the music that it came,

we would try to treat it differently.

So when another verse came in,

we maybe had the strumming guitar,

and we had a walking bass, and we had a hit hat.

So the inventiveness of the group

because of its musical potential started to show.

♪ Caesar's palace, morning glory ♪

♪ Silly human Silly human race ♪

And then a great moment came when

they kind of threw the door open

and said, "Well, how about a guitar solo?"

And with the old wah-wah pedal I went...

[Steve Howe playing "Yours Is No Disgrace" solo]

[Yes continue playing "Yours Is No Disgrace"]

Then once we come back to that tune,

the keyboard tune,

the guitar had to develop.

We would keep on moving the music along.

So by the time you get the last verse,

then you've got a real--

The full powerhouse of the group. All churning away.

You've got the vocals back in.

And this time you've got the the full rhythm drive.

So in a way we were sparing using sparingly

the ordinariness of what groups were doing at the time.

And we were just trying to formulate

as much as we could our own style.

♪ Battleships confide in me ♪

♪ And tell me where you are ♪

♪ Shining, flying, purple wolfhound ♪

♪ Show me where you are ♪

♪ Lost in summer, morning, winter ♪

♪ Travel very far ♪

♪ Lost in losing circumstances ♪

♪ That's just where you are ♪

[cheering, applause]

So when I look back on the song,

the way we treated it, songwriting-credit wise

was pretty fair.

We wrote it to the group, because although we all had

different ingredients that we brought along...

Me in that song, mainly the instrumental part,

and John with his lyrical idea,

The melodies kept getting changed

because we were singing in three-part harmony most of the song.

And...

So it was a very complete song

And that's why I think we started the Yes album with that song.

So I hope that gives you some idea of the...

In one way, vagueness.

Because of working closely together,

who did what kind of evaporates

because you might think of doing something

and other people affect that.

So no two songs are ever written the same.

They're really, I believe, besides...

the very hard line of pop.

There are very few formulas, certainly,

that Yes as a group could use.

So each song got treated highly individually.

And come songs like "Your Move," "I've Seen All Good People,"

gave me opportunities to play different sorts of acoustic guitars,

twelve strings.

♪ Take a straight and stronger course ♪

♪ To the corner of your life ♪

♪ Make the white queen run so fast ♪

The idea that we were playing symphonic rock

quite appealed to us, or--

In America they eventually called it cinemagraphic, of course.

And...

I think we felt that the...

the colours that we were going to use,

and the contrasting influences that we all had

were going to make an individual form of music.

To call it an art form,

can sound presumptuous.

But there again, in the 70s,

most of the groups were doing music that,

you know, had that progressiveness about it.

And...

I was...

becoming affected by my classical listenings.

And by the time we did "Fragile," of course I was incorporating...

Say, on "Roundabout" I was incorporating

very happily for me,

the idea of acoustic guitar in the rock group context,

which I like very much.

So "Roundabout" kicked off with this very mournful,

quiet sort of guitar part.

And it sort of rocked in two or four on the floor, you know.

[Steve Howe playing "Roundabout"]

♪ I'll be the roundabout ♪

♪ The words will make you out-and-out ♪

♪ I spend the day your way ♪

♪ Call it morning driving through the sound ♪

♪ And in and out the valley ♪

♪ The music dance and sing ♪

♪ They make the children really ring ♪

♪ I spend the day your way ♪

♪ Call it morning driving through the sound ♪

♪ And in and out the valley ♪

♪ In and around the lake ♪

♪ Mountains come out of the sky ♪

♪ And they stand there ♪

On "Fragile" of course we had Rick Wakeman.

And he was very hotted up being in the band the first time,

much like I was with "The Yes Album."

So we had an intensity

that meant we broke out

from a previous success level

into, if you like,

conquering various areas of America

with our touring and then our records.

So we were...

"Fragile" also offered us the option

which we all took up, of doing an individual track

John did "We Have Heaven,"

Chris did "The Fish,"

Bill did a piece which--

[laughing] I'm always playing little bits of and he...

He can't bare it because it was

for him very immature sort of writing.

Bill's got very marvellous ideas about his own writing,

and I think "Five Per Cent for Nothing"

was rather simple for him.

But I wrote "Mood for a Day" and played it on Spanish guitar.

And that much--

I mean I'd played "Clap" on "The Yes Album,"

which was a great opening for me

because it really was a Chet Atkins-style piece,

suddenly launched and landed into "The Yes Album."

So already I could sense the group gave me tremendous opportunity

[Steve Howe playing "Clap"]

[Steve Howe continues playing "Clap"]

[cheering, applause]

There's a great ability for those who mould you

and help you also to become destructive elements.

And I think that the press found that once--

I think once we got past "Close To the Edge,"

we started doing a lot of twenty-minute pieces,

which was really one of our own specialities.

They decided to tear us apart

and accuse us of great, great pretensions.

But this was quite inappropriate to us.

We could have been hurt, but our determination said,

"Oh, just ignore this, just ignore it."

I've always believed to the credit of a critic

that there's always elements of truth

in any critical opinion on something.

We'd tested the unity and it was pretty strong.

And I think then we felt that

not just one of us was going to do a solo record,

but we should all do one.

And then it's a sign of the times

that Atlantic wore all of those records.

And they were all in their own way

totally different from one another.

But the common goal was that we were

exploring things that we felt couldn't be done within the group

Certainly for Alan White with his album,

he got together with some friends

and did a sort of slightly jazzy funky album.

And then Chris went the whole hog

and did a very song orientated album.

And John likewise did a record

where he recorded almost all of it himself in his own studio.

I did a solo album where I sung.

I kind of wished a friend of mine had sung for me.

At the time I was quite inexperienced, but I was brave.

And it was a challenge worth pursuing.

And going back to the 70s

and being able to step back into Yes.

Of course all we didn't know is

what would Yes be like when we got back together.

And...

There was, for a while, a fragmented feeling

that we'd all tasted our own freedom

a little bit too much, you know?

And how were we going to compromise again.

♪ I awoke this morning ♪

♪ Love laid me down by the river ♪

♪ Drifting I turned on up stream ♪

♪ Bound for my forgiver ♪

♪ In the giving of my eyes ♪

♪ To see your face ♪

♪ Sound did silence me ♪

♪ Leaving no trace ♪

♪ I beg to leave ♪

♪ To hear your wonderous stories ♪

♪ Beg to hear your wonderous stories ♪

♪ La-la-la-la ♪

♪ He spoke of lands not far ♪

The breaking of contact was the main reason why--

And I'm talking geographically now,

the fact that we were geographically in different places for too long.

Separated the dream a little bit.

Separated what we would agree on.

I mean, John did-- John would go back--

I think he started to live in Barbados at that time,

so he would come back--

Or he'd holiday in Barbados and write lots of lyrics.

And yet, Chris and I felt much more down to earth

about what the lyrical approach to Yes would be at that time.

It would be more hard-hitting,

more simple.

Well.

What we were trying to do was start working on the next album,

which became "Drama."

Prior to that, we did some recording unsuccessfully in Paris

with the producer Roy Thomas Baker,

which we never finished

and we'll never be released due to its...

mediocre sort of...

Reasonably mediocre quality that we reached there.

Mainly because we weren't united enough.

So Chris and I knew that we needed a united Yes.

You know, otherwise there was no Yes.

So...

When we...

went ahead and booked some rehearsal time

Rick and John didn't show up, so...

We called and said, "Well look, we're here."

"We've got this little place. It's not costing very much.

It's very low-key. We just play and talk about songs."

And eventually John came in and had some ideas.

And...

Rick was still evasive and not coming in.

So...

What I would like to premise the next statement is that

I understand why musicians-- This happens to musicians.

You know, it's not a bad thing.

Nobody's evil or doing anything wrong.

It's just that people go their separate ways

and they get entrenched in their own...

selfness of wanting to do things in their own particular way.

So there's been always been a lot of power plays in Yes

about who would have the final say at any one time.

But the collective numbers,

I think Alan, Chris and myself felt now that

we had to move away from John and Rick wasn't coming anyway.

So we had to move away from that sort of a group.

Well...

That was really...

It was more complicated than that, unfortunately.

But they're the sort of basic...

bones of the split.

[Howes] We did find that the combination, the chemistry,

was backing Yes for us.

Certainly on record we could...

do pieces, big pieces like "Machine Messiah,"

and "Tempest Fugit."

And we did the album "Drama,"

and then went off in tour almost as if nobody had left.

Almost with the same bravado that, well, this is Yes.

It doesn't really matter who's in it,

as long as there's five people and they play well.

♪ Born in the night, she would run ♪

♪ Like a leopard that freaks at the sight ♪

♪ Of a mind close beside herself ♪

♪ And the nearer I came ♪

♪ How the country would change ♪

♪ She was using the landscape to hide herself ♪

♪ More in the mind than the body, this feeling ♪

♪ A sense at the end like a circular line ♪

♪ That is drawn at an angle ♪

♪ I see when I'm with you ♪

♪ To navigate waters and finally answer to yes ♪

This was a new phase for the group.

Well, I mean, it phased us out.

[laughs]

And by the time we'd finished touring,

America went very well.

We did the 16th sell-out of Madison Square Garden for Yes.

But when we came to England,

I will say the English audience didn't, uh...

chew over their words too well.

And quite upset the applecart

because admittedly, Trevor...

was more self-conscious in England

about being there instead of John Anderson than he was in America

because of the whole rush, the enthusiasm and...

out-there-ness of the name "Yes."

But in England, of course, there was a few,

"Oh, we want John. Where's John?"

And not that they shouldn't have done that,

but there was a sudden maliceness about it.

It did hurt, hurt Trevor.

And therefore,

if we're moving on this quickly, then...

With "Drama," we saw the demise of Yes.

It ended up that...

only Jeff Downs and myself were really in the group,

and the other three guys were all going to go off and do something else,

a bit like the solo album period.

But at that time, I couldn't see holding onto Yes,

reforming it with three new people.

And I almost thought I'd had enough of holding together a group

that was very difficult to keep together anyway.

♪ Wildest dreams ♪

♪ Wildest dreams ♪

It's possible that Asia was the last

in a trail of supergroups.

I don't know.

In a way, when we came out in America in 1982,

When we came out in America in 1982,

they kind of treated us like the first supergroups of the 80s.

Those sort of things aren't the sort of things I dream up.

You know, I dream up guitar riffs and things like that, and songs.

But there...

There was a lot of push that we got

which helped us to launch Asia.

I think the danger was that we were so new together

that we were also fragmented by this success.

We all felt sort of different about it.

And it meant that the second album

wasn't as colourful, really. That's the first.

And yet it was more painful to make.

And at the time it seemed worth it and really get a good result.

Steve Hackett and I started on GTR,

and that was one of the high spots really of that...

short career in that group.

Because the three months we did the writing,

we sort of mapped out, really, the musical style of the group,

lyrical style of the group.

We had it all home down.

And although we'd had both been in groups of the 70s,

we did share the view that

the forward-thinking idea was to have

have younger players and new vitality around us

so that our professionalism would feed off them

and we'd be doing something for each other.

[Steve Howe playing guitar]

A bit from GTR there.

This is a new guitar, Steinberger, a [indistinct] twelve string,

And I think it carries on from where the Rickenbackers left of,

with The Byrds and, you know, Roger McGuinn and everybody playing.

And there's a nice revival of electric twelve strings,

and the Rickenbackers are a great instrument.

You have to fine-tune it a lot, and it's very unpredictable,

and the heat, it doesn't like the studio lights,

and they're awful to tune,

and there's a hundred reasons why they're hell, but they're worth it.

But this comes along,

and it's got fantastically simple one-stage tuning,

and this really great sound.

[Steve Howe continues playing guitar]

There's been talk, and it's very preliminary,

about the possibility of reuniting.

Maybe there'd be about eight of us working together

under the banner of Yes for a tour.

I mean, I see it that simple as a one-off project.

But that's the only way I can see it.

I quite like the idea of a tour,

and some concentrated

retro playing, but...

That's why it can't be a big part of my life,

because in a way I've got to look forward.

I've got to think about what I have prepared up my sleeve

what I have plans for next year about...

I've never really formed my own band around me,

and I'm thinking more and more that that's what I'd like to do.

Basically, it's a clean guitar sound.

Unlike a lot of other guitarists who--

I mean, I use distortion.

I use, you know, tube distortion and all sorts of things--

I use every gadget in the book,

but I don't actually use them all the time.

I do--I think my main star relies on a pure guitar,

reasonably loud in a-- Usually a Fender amp.

And that's...

a compressed picture of how I see the sound.

It is an equipment,

But what I do with that equipment is really what makes the sound.

It isn't the equipment that gives me the opportunity to make the sound.

I have to have some level of fantasy or imagination

to think that anybody's going to buy,

not in a sense pay money for,

but live with and enjoy just the way I do it.

It takes incredible confidence, because in a way,

it's very easy to undermine that confidence.

By listening to other guitarists

who've got absolutely beautiful sounds.

And you think, "Wow, that's a beautiful sound."

You know, and you think about your own sound.

You think, "It's not that beautiful."

But in a way, it's because we can't see our own sound.

We only use it.

When I first heard the first copy of "The Yes Album,"

I mean, I was almost in hysterics the way that record sounded,

but that was another example of how quirky Yes was,

but also how quirky my sound was.

How reasonably pure, and...

You know, not exactly a big, shining, raving wailing sound,

but a sort of a delicate, subtle sound.

And I think that's why I've moved into

Spanish guitar and other guitar, because in a way,

the electric guitar is the primal thing that I do,

but it's also the history of the guitar.

I'm very interested in the drawing from other periods of guitar,

or other countries where the guitars had tremendous acceptance.

And something you called a lute earlier

was really a Portuguese 12-string.

And I didn't even know those things came from Portugal.

And that's the sheer colour and breadth of the guitar.

It's more than just playing one instrument.

It's like playing an orchestra, because really,

it's a very broad palette.

[Interviewer] I think you're a very modest fella. Thank you.

All right. I'll buy that.

[laughing]

[Steve Howe playing guitar]