Chords for Strunz & Farah on Building Technique in the McLaughlin and de Lucia Era

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[F#] _ _ [Gm] got a call from Ardisher's friend one day saying, we'd love to say hello, _ stop by your place.
I'm a musician, my friend plays guitar very well, he was referring to Ardisher.
I said sure, by all means, come on over.
So you're saying you did not put an ad on the internet?
No, I didn't.
I don't understand.
There was no internet at that point.
It was [N] 1979.
The only thing was, you know, there was the musician's connection, I think.
You're saying people spoke to one another?
I don't get this.
They made phone calls?
What are you talking about?
There was only one phone per house.
Yeah, right, party lines, remember those?
Yeah, no washing machines.
Yes.
Yeah, if you weren't there, you weren't there.
They couldn't talk to you.
No.
So it was more or less a coincidence that he showed up and he had a very compatible technical formation. That's right.
It's a similar approach in the sense that we were both fans of John McLaughlin's at the time.
John had been, you know, blazing a trail of some fascinating music.
_ Which was, you know, _ very compelling to me and to Artie Shearer.
And then, harking back to the flamenco guys, I never mastered the picado like that.
Right.
But I knew the picado was very fast.
And I said, well, that remained also as an echo in my mind for the acoustic guitar.
There weren't a whole lot of other players to look, to listen to that were doing that
kind of stuff at the time.
Pablo Lucia came out, you know, very young at that time, too.
He made his first records when he was 14, 15.
He had an amazingly fast picado at that time.
Brilliantly played.
It was a finger thing that I wasn't going to get.
Right.
Because I'd kind of given that up for a bad job sometime before.
I'd been playing pic at that time.
So that's when McLaughlin came out and was doing it with a pic, I thought, well, this
is the new standard.
Right.
I also heard John McLaughlin in the early 70s in London and did exactly the same thing to me.
He just told me, okay, this is the new standard guitar.
Got it.
And it completely went out of my head.
I thought, well, how do I deal with this? Right.
And you have one guy who's a fingerstyle expert and then you got McLaughlin who might just
be a savant and impossible to emulate.
Right.
And he's it.
Right.
How do you even, what even makes you think it's possible?
Well, I mean, at that time there was also Pablo Lucia who was playing fingerstyle and
then they got together and Al Dimiola came and they got together.
So now there's three.
So there's a third guy.
Now there's three, okay.
And we actually recorded our first album, Mosaico, before Pablo Lucia.
And that's when Friday Night in San Francisco came out.
And we were doing that stuff in a Latin way, in a more exotic way, in Middle Eastern in some cases. _
In other words, our blending of elements, ethnic elements were different.
Yeah.
But the fast [C] stuff was in there.
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