00:00:00
Speaker 1: So rock icons Backman, Turner, Overdrive have announced their very first Australian tour. It is the No Speed Limit Tour. Rock fans have been waiting for decades. They're here in Adelaide on Tuesday, the 9th of February next year at Thebby Theatre. Tickets have just been released at DestroyAllLines.com. He joins me from Canada, the legend, Randy Backman. Lovely to have you on.
00:00:23
Speaker 2: Randy, welcome. Hi, and thank you for having me on. And hello to everybody out there.
00:00:29
Speaker 1: Thank you so much for seeing us. How on earth, Randy, did you never tour Australia?
00:00:35
Speaker 2: We had the rest of the world to tour. And a record label and manager saying, you can't go home. All you want to do is go home. When BTO started, we did 300 gigs a year for three years. So we did 900 gigs. And all you want to do in between is go home. And they say, would you want to go to Australia for a week? It takes three days to get there. And then you're on the other side of the world and you wake up when you should be asleep and you're going to get 200 bucks and you might as well go home. So now it's worked out that I'm done touring with the Guess Who, my first band, which was my high school band. Did a whole year with that. Now I'm back with BTO with my family band, with my son Tal. So we do an evening of BTO hits. I do my five hits, six hits from the Guess Who. Tal does She's So High, which brings us into the 90s. And it's a really great evening of Canadian music. Rock and roll. Decades of Canadian rock and roll.
00:01:30
Speaker 1: Well, we are thrilled to see you. We've waited a while, but we don't mind. The fact that you'll be joining us on our shores, I think about you a lot, Rainey, where you've defined a generation. And I've heard you say this in interviews. Thank God for Elvis Presley, because if it wasn't for Elvis, you would have never seen us as a classical violinist.
00:01:48
Speaker 2: That's right. He changed my life.
00:01:53
Speaker 1: Mm-hmm.
00:01:55
Speaker 2: Well, I'd realized that I've been playing classical violin by ear. The teacher would put in front of me like eight pages of Chopin or something, but she made the mistake of playing it first. So she'd play it. I'd hear it. I'd look at the note. They went up and down. I didn't know that an A was an A or D was a D. I knew it went up and down. That was a clue in my head. So I'd play it perfectly. She would say, okay, take this home and practice it for a week. I'd say, well, why? I already know it. Okay, here's another one. Here's another one. So I would learn these classical pieces one after another. And all you play on violin is melody. It's like a flute at the top line. And then she said, I think you're good enough to be in the Winnipeg junior symphony. I want you to go and try out for second violin. Wow. So I go and try out for second violin, this piece, they put this piece on in front of me. We start to play. There's 85 kids there. This is on the other side of Winnipeg where I grew up in Neil Young's high school, Crescent high school. And, um, The conductor stops in the middle. He taps. Everybody stops playing. He says, second violin, bar 32. It's an E flat, not an E natural. I don't know what he's talking about.
00:03:09
Speaker 1: He's just playing by ear.
00:03:11
Speaker 2: Let's take it from the top. We start from the top. We get to the same spot. I play the same note. Tap, tap, tap. Second violin. Can you play an E natural? Yes. It's an open string. Can you play an E-flat? I can't go any lower. It's an open string. I don't realize at that moment, leading up to that, this is a scale going up and down your string. At that moment, I can't think of how do I play an E-flat. I have 83 kids laughing at me. I pack up my violin. It's Saturday at noon. I get home. My mother says, are you in the symphony? I said, no, I'm quitting. What do you mean you're quitting? You're not even driving through. I'm quitting a violin. What do you mean? I said, I don't know what I'm doing. I'm playing by ear. The teacher plays everything first. I get it in my head. So if I hear it, I can play. But I can't read the music. And all the other kids are reading music. And he's talking about bar 32 and bar 42. I don't even know what he's talking about.
00:04:10
Speaker 1: Wow.
00:04:12
Speaker 2: I said, I'm never going to play again. The next day, Sunday, my wife, my mother then was maybe, I don't know, 34, 35. Her younger sister, who's 12 years younger, comes over with a little black 12-inch black and white TV with rabbit ears on top. They put it on and they start screaming. And it's Elvis. And I go, what is that? Because I've been playing classical music. That's called rock and roll. That's called the guitar. And that's called Elvis Presley. I want to do that. It's wild. Because in classical music, when you're a little kid, it's all real conservatory. You have to stand a certain way. Your upstroke and your downstroke are all on the paper, you play it different, you flunk. And they adjudicate you twice a year. You're in a tuxedo. Somebody's playing a piano and they grade you. It's terrible. It's torture for a little kid. I wanted the freedom of just going crazy. Like Elvis was going nuts. He was doing Hound Dog and Tutti Frutti. Holy cow, what is that? And I had some cousins who played guitar. Like, can I borrow your guitar? I want to learn to play. He said, well, we're going fishing for the weekend. You can have it Saturday and Sunday. We'll come and get it Sunday night. I said, great, I'm going to learn everything on the radio. They said, what? You can't do that. They came back two days later. I knew everything on the radio. How do you do that? I said, when I hear it in my head, which my violin teacher had done ahead of time, played the song ahead of time, I just find the notes and play them. And because violin is the lead instrument, I played lead guitar. So right off the bat, my cousins come home with their guitar, which I have on my wall here, a very special guitar to me. And I could play Johnny Cash, I Walk the Line. I could play Merle Travis, 16 Ton. I could play Hound Dog, Don't Be Cruel. But everything that's on the radio, They go, how do you play this? How do you know what you're playing? I said, I don't know what I'm playing, but it sounds right, and I'm playing to the record. And from that, I got a gig playing the guitar and the guess who, and here I am decades later. Oh, my Lord.
00:06:10
Speaker 1: So you're like this child prodigy. Well, it's no wonder then that you've given us your gift over the decades, Rennie. I think about, so the iconic You Ain't Seen Nothing Yet, number one song in over 20 countries. And Taking Care of Business, which is my favorite of your songs. Every time I hear the start of that, I think that's just one of the greatest classical riffs of all time. And again, I've heard you talk about this, a fortunate accident where you bump that guitar, you slightly put it out of tune to give us that iconic riff.
00:06:41
Speaker 2: Yeah, everybody who thinks they can play Taking Care of Business plays it wrong. I started out to play the Chuck Berry, which is the one note. The five and the six. Chuck Berry did every song. Johnny B. Goode, every song. I banged the tuner on the guitar. So when I went to play it, it wasn't a one and a five and a six. It was a one and a four and a five. So it went. And everybody looked at me and said, what is that? I said, oh, just a minute. I tuned the guitar up and I said, I like the other beginning. It's a variation of Chuck Berry. So I play it that way all the time. And it's so funny that that became the signature beginning. Yeah. Starting the song with a mistake, you know.
00:07:30
Speaker 1: Now you've got music students everywhere just banging guitars, trying to knock them out of tune so that they come up. Are you someone who looks at your stats? Are you someone who sort of revels in the career that you've had? Like 120 golden platinum album singles, number one, as I mentioned, across 20 countries, 40 million plus. How you're not in the Rock and Roll Hall of Fame, Randy, is a disgrace, but that's a whole nother conversation. TV shows, films, commercials, and that's just BTO and the Guess Who? Like, it's just extraordinary.
00:08:00
Speaker 2: Well, thank you. And I have no explanation for the Rock and Roll Hall of Fame, except I'm in it every night when we play with the fans and they come out. That's my Rock and Roll Hall of Fame. There are 20 of them or 200 or 2,000 or 20,000. That's my Hall of Fame. That's everybody up there singing, playing, crying, laughing. Some people are hugging each other. It's the high school dance. It's the prom dancer dancing to these eyes or American Woman or something like that. That's all I need. That's my Hall of Fame. And playing with my family in the band, BTL, it's just like playing with my brothers growing up. It's amazing.
00:08:35
Speaker 1: Do you know the songs? So you've had so many hits, but the ones that go like massively global, like You're American Woman, like Ain't Seen Nothing Yet, like Taking Care of Business. Do you have a sense when you hear the recording when it's finished that Do you have a sense that it's going to be this monster hit? Or as an artist, you don't care? You just put it out there for people to enjoy?
00:08:54
Speaker 2: No, because when you're a songwriter, every song you write is a hit. You're trying to write a hit. In your mind for that lunchtime, if you want to call it that, you're a legend in your own lunchtime. It's a hit song. You play it for somebody and they go, eh, so it's not a hit song. You save it. You pull it a little bit later. This part was, when I would write with Burton Cummings, I'd play him a song. He'd go, great, great, great. Okay, let's take my ah part. You play me one here. Let's put your great greats with my great greats. Mine will be the verse. Yours will be the chorus. We'll throw away the crap. We wrote songs together. We took the best of each idea. Now I've learned to do that with myself, to take a song that I wrote that might have had a great line in it that I might have stolen from Bob Dylan or Stephen Stills, some great lyrical line, instead of making Line two rhymed with line four. I switched them around so line four becomes line two. So I'm not really directly cooperating. I love you and the sky is blue. If the sky is blue and I love you, that kind of reversal. And I haven't been sued on that. And so you get a great joy out of. growing up and wanting to be Lennon and McCartney and wanting to be Jagger and Richards who wrote a little bit more ragged, the rootsy rock and roll are wanting to be the one man, Brian Wilson. You know what I mean? Just under the beach voice stuff. It's just, Really amazing. So you grow up and you want to be those guys. I had a really great guitar teacher when I was 15 who said something very important to me. You're now one of the best guitar players in Winnipeg. Right behind you is Neil Young. But there'll always be a faster gunfighter. If you're the fastest in town, a young punk's going to come, just like the old Westerns. And have a shootout on the main street. You're going to get shot down. So here's what you got to do. Write good songs.
00:10:54
Speaker 1: Yeah.
00:10:55
Speaker 2: I said, what do you mean? He said, every night when I play a gig, I do Misty, My Funny Valentine, Cry Me a River, Autumn Leaves. There's a standard book. If you can write something that fits in the standard book, And luckily, I've written a dozen of them. Yes. Six were the Guess Who and six were BTO. Tal's written one, She's So High. We've got songs that– this is the Bachman songbook that you're going to be getting. I feel very blessed and very fortunate that– people say, how do you write a hit song? I say, it's easy. You write 100. I've written hundreds of songs. Out of that, you might remember 10 or 12. That's not bad. It's a 10% average. Yeah, yep. But those 10% are known by everybody in the whole world. In every language. Law of averages, yeah.
00:11:39
Speaker 1: So in 1970, when you're with the Guess Who, you outsell the Beatles. Can we talk about this? So Paul McCartney was here a couple of years ago. You're in your 80th year of life now. Paul's in his 80th year. I want to thank you because as we thought with Paul McCartney, you don't have to be doing this, Randy. You've had such an extraordinary career. You could easily just be kicking back in Canada, doing whatever it is that you do that you enjoy. But the fact that you still want to get out and tour and share your gift and your music with us, like that's such a blessing for us.
00:12:10
Speaker 2: Well, it's also a blessing for me because it's still my childhood dream. It's still Neil Young's childhood dream. It's still Bon Jovi. We just toured a whole year with Don Felder who wrote Hotel California. It's still his dream to be a little kid from Florida and then join the Eagles and write Hotel California and Witchy Woman and stuff like that. How often do you dream of having an evening with Pamela Anderson, Beyonce, whoever your fantasy lady is? Can you imagine having that dream every night for decades and it becomes real? That's what it's like when you're in a rock band. You dream of having a song on the radio and then you get one on the radio.
00:12:52
Speaker 1: Yeah.
00:12:53
Speaker 2: And then you get another one on the radio. And 10 years later, they're still playing the first song and they're playing the 10th song. And it is, we're basically, we joke about it. because you get really tired on the road and really pissed off and really worn out. We look at each other and go, live in the dream. We're living the dream. We're living the dream. Wow.
00:13:12
Speaker 1: And to do that with your family too, that's got to be the best.
00:13:17
Speaker 2: That's the blessing because you're not homesick. After a gig, I go and play with my granddaughter. We're in a different time zone. She's wide awake. I'm wide awake. I read her books. She plays drums. She plays guitar. She's not even two years old yet, but She's been across Canada twice. She's been in 11, 12 states. She's been in Tokyo twice. She's coming on the road with us to New Zealand and Australia next year.
00:13:39
Speaker 1: Well, when I got the notification that we were going to chat, I just went on a deep dive. I listened to everything. I watched all your interviews because... As you know, Australia has been huge fans of you and your bands.
00:13:51
Speaker 2: Over the years.
00:13:52
Speaker 1: For us to get to see you live, your voice sounds as great as ever. The band is as tight as ever. Just extraordinary. So we get to see you here on the No Speed Limit Tour. It is Tuesday the 9th of February at the Thebby Theatre. You can get tickets now, folks, at DestroyAllLines.com and get in early because this is an absolute chance of a lifetime to see rock icons, Backman Turner Overdrive, the legendary Randy Backman, And we'll do what we can from our end, Randy, to get you in that Hall of Fame because you deserve to be there. The whole world should celebrate you forever.
00:14:22
Speaker 2: Running behind us for the full show is full video of everything from the path. There's decades and decades of old videos and photos. So people are getting an audiovisual experience that's really a wonderful experience.
00:14:35
Speaker 1: So the old fans who saw it the first time around, the new fans that have come on, generational fans, what a treat that'll be. An honor to speak to you, Randy. Congratulations on everything you've achieved, and we look forward to seeing you here in the new year.
00:14:47
Speaker 2: See you soon. Bye-bye. Good day.
00:14:49
Speaker 1: Randy Backman, my guest. Go to DestroyAllLines.com, folks. Get your tickets Tuesday, the 9th of Feb at the Thebby Theatre.
Speaker 1: So rock icons Backman, Turner, Overdrive have announced their very first Australian tour. It is the No Speed Limit Tour. Rock fans have been waiting for decades. They're here in Adelaide on Tuesday, the 9th of February next year at Thebby Theatre. Tickets have just been released at DestroyAllLines.com. He joins me from Canada, the legend, Randy Backman. Lovely to have you on.
00:00:23
Speaker 2: Randy, welcome. Hi, and thank you for having me on. And hello to everybody out there.
00:00:29
Speaker 1: Thank you so much for seeing us. How on earth, Randy, did you never tour Australia?
00:00:35
Speaker 2: We had the rest of the world to tour. And a record label and manager saying, you can't go home. All you want to do is go home. When BTO started, we did 300 gigs a year for three years. So we did 900 gigs. And all you want to do in between is go home. And they say, would you want to go to Australia for a week? It takes three days to get there. And then you're on the other side of the world and you wake up when you should be asleep and you're going to get 200 bucks and you might as well go home. So now it's worked out that I'm done touring with the Guess Who, my first band, which was my high school band. Did a whole year with that. Now I'm back with BTO with my family band, with my son Tal. So we do an evening of BTO hits. I do my five hits, six hits from the Guess Who. Tal does She's So High, which brings us into the 90s. And it's a really great evening of Canadian music. Rock and roll. Decades of Canadian rock and roll.
00:01:30
Speaker 1: Well, we are thrilled to see you. We've waited a while, but we don't mind. The fact that you'll be joining us on our shores, I think about you a lot, Rainey, where you've defined a generation. And I've heard you say this in interviews. Thank God for Elvis Presley, because if it wasn't for Elvis, you would have never seen us as a classical violinist.
00:01:48
Speaker 2: That's right. He changed my life.
00:01:53
Speaker 1: Mm-hmm.
00:01:55
Speaker 2: Well, I'd realized that I've been playing classical violin by ear. The teacher would put in front of me like eight pages of Chopin or something, but she made the mistake of playing it first. So she'd play it. I'd hear it. I'd look at the note. They went up and down. I didn't know that an A was an A or D was a D. I knew it went up and down. That was a clue in my head. So I'd play it perfectly. She would say, okay, take this home and practice it for a week. I'd say, well, why? I already know it. Okay, here's another one. Here's another one. So I would learn these classical pieces one after another. And all you play on violin is melody. It's like a flute at the top line. And then she said, I think you're good enough to be in the Winnipeg junior symphony. I want you to go and try out for second violin. Wow. So I go and try out for second violin, this piece, they put this piece on in front of me. We start to play. There's 85 kids there. This is on the other side of Winnipeg where I grew up in Neil Young's high school, Crescent high school. And, um, The conductor stops in the middle. He taps. Everybody stops playing. He says, second violin, bar 32. It's an E flat, not an E natural. I don't know what he's talking about.
00:03:09
Speaker 1: He's just playing by ear.
00:03:11
Speaker 2: Let's take it from the top. We start from the top. We get to the same spot. I play the same note. Tap, tap, tap. Second violin. Can you play an E natural? Yes. It's an open string. Can you play an E-flat? I can't go any lower. It's an open string. I don't realize at that moment, leading up to that, this is a scale going up and down your string. At that moment, I can't think of how do I play an E-flat. I have 83 kids laughing at me. I pack up my violin. It's Saturday at noon. I get home. My mother says, are you in the symphony? I said, no, I'm quitting. What do you mean you're quitting? You're not even driving through. I'm quitting a violin. What do you mean? I said, I don't know what I'm doing. I'm playing by ear. The teacher plays everything first. I get it in my head. So if I hear it, I can play. But I can't read the music. And all the other kids are reading music. And he's talking about bar 32 and bar 42. I don't even know what he's talking about.
00:04:10
Speaker 1: Wow.
00:04:12
Speaker 2: I said, I'm never going to play again. The next day, Sunday, my wife, my mother then was maybe, I don't know, 34, 35. Her younger sister, who's 12 years younger, comes over with a little black 12-inch black and white TV with rabbit ears on top. They put it on and they start screaming. And it's Elvis. And I go, what is that? Because I've been playing classical music. That's called rock and roll. That's called the guitar. And that's called Elvis Presley. I want to do that. It's wild. Because in classical music, when you're a little kid, it's all real conservatory. You have to stand a certain way. Your upstroke and your downstroke are all on the paper, you play it different, you flunk. And they adjudicate you twice a year. You're in a tuxedo. Somebody's playing a piano and they grade you. It's terrible. It's torture for a little kid. I wanted the freedom of just going crazy. Like Elvis was going nuts. He was doing Hound Dog and Tutti Frutti. Holy cow, what is that? And I had some cousins who played guitar. Like, can I borrow your guitar? I want to learn to play. He said, well, we're going fishing for the weekend. You can have it Saturday and Sunday. We'll come and get it Sunday night. I said, great, I'm going to learn everything on the radio. They said, what? You can't do that. They came back two days later. I knew everything on the radio. How do you do that? I said, when I hear it in my head, which my violin teacher had done ahead of time, played the song ahead of time, I just find the notes and play them. And because violin is the lead instrument, I played lead guitar. So right off the bat, my cousins come home with their guitar, which I have on my wall here, a very special guitar to me. And I could play Johnny Cash, I Walk the Line. I could play Merle Travis, 16 Ton. I could play Hound Dog, Don't Be Cruel. But everything that's on the radio, They go, how do you play this? How do you know what you're playing? I said, I don't know what I'm playing, but it sounds right, and I'm playing to the record. And from that, I got a gig playing the guitar and the guess who, and here I am decades later. Oh, my Lord.
00:06:10
Speaker 1: So you're like this child prodigy. Well, it's no wonder then that you've given us your gift over the decades, Rennie. I think about, so the iconic You Ain't Seen Nothing Yet, number one song in over 20 countries. And Taking Care of Business, which is my favorite of your songs. Every time I hear the start of that, I think that's just one of the greatest classical riffs of all time. And again, I've heard you talk about this, a fortunate accident where you bump that guitar, you slightly put it out of tune to give us that iconic riff.
00:06:41
Speaker 2: Yeah, everybody who thinks they can play Taking Care of Business plays it wrong. I started out to play the Chuck Berry, which is the one note. The five and the six. Chuck Berry did every song. Johnny B. Goode, every song. I banged the tuner on the guitar. So when I went to play it, it wasn't a one and a five and a six. It was a one and a four and a five. So it went. And everybody looked at me and said, what is that? I said, oh, just a minute. I tuned the guitar up and I said, I like the other beginning. It's a variation of Chuck Berry. So I play it that way all the time. And it's so funny that that became the signature beginning. Yeah. Starting the song with a mistake, you know.
00:07:30
Speaker 1: Now you've got music students everywhere just banging guitars, trying to knock them out of tune so that they come up. Are you someone who looks at your stats? Are you someone who sort of revels in the career that you've had? Like 120 golden platinum album singles, number one, as I mentioned, across 20 countries, 40 million plus. How you're not in the Rock and Roll Hall of Fame, Randy, is a disgrace, but that's a whole nother conversation. TV shows, films, commercials, and that's just BTO and the Guess Who? Like, it's just extraordinary.
00:08:00
Speaker 2: Well, thank you. And I have no explanation for the Rock and Roll Hall of Fame, except I'm in it every night when we play with the fans and they come out. That's my Rock and Roll Hall of Fame. There are 20 of them or 200 or 2,000 or 20,000. That's my Hall of Fame. That's everybody up there singing, playing, crying, laughing. Some people are hugging each other. It's the high school dance. It's the prom dancer dancing to these eyes or American Woman or something like that. That's all I need. That's my Hall of Fame. And playing with my family in the band, BTL, it's just like playing with my brothers growing up. It's amazing.
00:08:35
Speaker 1: Do you know the songs? So you've had so many hits, but the ones that go like massively global, like You're American Woman, like Ain't Seen Nothing Yet, like Taking Care of Business. Do you have a sense when you hear the recording when it's finished that Do you have a sense that it's going to be this monster hit? Or as an artist, you don't care? You just put it out there for people to enjoy?
00:08:54
Speaker 2: No, because when you're a songwriter, every song you write is a hit. You're trying to write a hit. In your mind for that lunchtime, if you want to call it that, you're a legend in your own lunchtime. It's a hit song. You play it for somebody and they go, eh, so it's not a hit song. You save it. You pull it a little bit later. This part was, when I would write with Burton Cummings, I'd play him a song. He'd go, great, great, great. Okay, let's take my ah part. You play me one here. Let's put your great greats with my great greats. Mine will be the verse. Yours will be the chorus. We'll throw away the crap. We wrote songs together. We took the best of each idea. Now I've learned to do that with myself, to take a song that I wrote that might have had a great line in it that I might have stolen from Bob Dylan or Stephen Stills, some great lyrical line, instead of making Line two rhymed with line four. I switched them around so line four becomes line two. So I'm not really directly cooperating. I love you and the sky is blue. If the sky is blue and I love you, that kind of reversal. And I haven't been sued on that. And so you get a great joy out of. growing up and wanting to be Lennon and McCartney and wanting to be Jagger and Richards who wrote a little bit more ragged, the rootsy rock and roll are wanting to be the one man, Brian Wilson. You know what I mean? Just under the beach voice stuff. It's just, Really amazing. So you grow up and you want to be those guys. I had a really great guitar teacher when I was 15 who said something very important to me. You're now one of the best guitar players in Winnipeg. Right behind you is Neil Young. But there'll always be a faster gunfighter. If you're the fastest in town, a young punk's going to come, just like the old Westerns. And have a shootout on the main street. You're going to get shot down. So here's what you got to do. Write good songs.
00:10:54
Speaker 1: Yeah.
00:10:55
Speaker 2: I said, what do you mean? He said, every night when I play a gig, I do Misty, My Funny Valentine, Cry Me a River, Autumn Leaves. There's a standard book. If you can write something that fits in the standard book, And luckily, I've written a dozen of them. Yes. Six were the Guess Who and six were BTO. Tal's written one, She's So High. We've got songs that– this is the Bachman songbook that you're going to be getting. I feel very blessed and very fortunate that– people say, how do you write a hit song? I say, it's easy. You write 100. I've written hundreds of songs. Out of that, you might remember 10 or 12. That's not bad. It's a 10% average. Yeah, yep. But those 10% are known by everybody in the whole world. In every language. Law of averages, yeah.
00:11:39
Speaker 1: So in 1970, when you're with the Guess Who, you outsell the Beatles. Can we talk about this? So Paul McCartney was here a couple of years ago. You're in your 80th year of life now. Paul's in his 80th year. I want to thank you because as we thought with Paul McCartney, you don't have to be doing this, Randy. You've had such an extraordinary career. You could easily just be kicking back in Canada, doing whatever it is that you do that you enjoy. But the fact that you still want to get out and tour and share your gift and your music with us, like that's such a blessing for us.
00:12:10
Speaker 2: Well, it's also a blessing for me because it's still my childhood dream. It's still Neil Young's childhood dream. It's still Bon Jovi. We just toured a whole year with Don Felder who wrote Hotel California. It's still his dream to be a little kid from Florida and then join the Eagles and write Hotel California and Witchy Woman and stuff like that. How often do you dream of having an evening with Pamela Anderson, Beyonce, whoever your fantasy lady is? Can you imagine having that dream every night for decades and it becomes real? That's what it's like when you're in a rock band. You dream of having a song on the radio and then you get one on the radio.
00:12:52
Speaker 1: Yeah.
00:12:53
Speaker 2: And then you get another one on the radio. And 10 years later, they're still playing the first song and they're playing the 10th song. And it is, we're basically, we joke about it. because you get really tired on the road and really pissed off and really worn out. We look at each other and go, live in the dream. We're living the dream. We're living the dream. Wow.
00:13:12
Speaker 1: And to do that with your family too, that's got to be the best.
00:13:17
Speaker 2: That's the blessing because you're not homesick. After a gig, I go and play with my granddaughter. We're in a different time zone. She's wide awake. I'm wide awake. I read her books. She plays drums. She plays guitar. She's not even two years old yet, but She's been across Canada twice. She's been in 11, 12 states. She's been in Tokyo twice. She's coming on the road with us to New Zealand and Australia next year.
00:13:39
Speaker 1: Well, when I got the notification that we were going to chat, I just went on a deep dive. I listened to everything. I watched all your interviews because... As you know, Australia has been huge fans of you and your bands.
00:13:51
Speaker 2: Over the years.
00:13:52
Speaker 1: For us to get to see you live, your voice sounds as great as ever. The band is as tight as ever. Just extraordinary. So we get to see you here on the No Speed Limit Tour. It is Tuesday the 9th of February at the Thebby Theatre. You can get tickets now, folks, at DestroyAllLines.com and get in early because this is an absolute chance of a lifetime to see rock icons, Backman Turner Overdrive, the legendary Randy Backman, And we'll do what we can from our end, Randy, to get you in that Hall of Fame because you deserve to be there. The whole world should celebrate you forever.
00:14:22
Speaker 2: Running behind us for the full show is full video of everything from the path. There's decades and decades of old videos and photos. So people are getting an audiovisual experience that's really a wonderful experience.
00:14:35
Speaker 1: So the old fans who saw it the first time around, the new fans that have come on, generational fans, what a treat that'll be. An honor to speak to you, Randy. Congratulations on everything you've achieved, and we look forward to seeing you here in the new year.
00:14:47
Speaker 2: See you soon. Bye-bye. Good day.
00:14:49
Speaker 1: Randy Backman, my guest. Go to DestroyAllLines.com, folks. Get your tickets Tuesday, the 9th of Feb at the Thebby Theatre.
