Australian country star Lee Kernaghan has always had country music running through his veins. With father Ray already an established and successful country artist in his own right as Lee was growing up – his sister Tania is also a country artist – it was just a natural progression then for Lee to follow his country music calling path. Lee’s career break came via 1992’s The Outback Club which firmly etched Lee’s name into the annals of Australian country music history. Since then, his career has flourished and this year Lee was also bestowed the prestigious Australian of the Year award. Recently Joe Matera caught up with Lee to talk about his career and his love for Maton guitars.

What made you pick up the guitar and choose to play country music?

My family was out on tour with Rick and Thel Carey's traveling country show back in 1978. There were some awesome players in the band, people like Eric and Steve Newton, Glen Green and Ken Ramsey. Those boys were pretty much the A-team in new country back then and they introduced me to the music of Hank Williams JR, David Allan Coe and Waylon Jennings. So from the age of 12 I was pretty much hooked on country.

How much of an effect did growing up with a Dad who was already a country star have on your life as a country artist?

Well Dad is still my hero. I've learnt so much from him. All those years of touring with him were a great apprenticeship in music.

You play and use Maton guitars so can you tell us about your Matons?

Over the years I have collected several Maton guitars and they all have something special when it comes to songwriting and live performance. For the stage, I love the Jumbo series. I've been playing a black jumbo which Mark Malmborg handcrafted for me back in 1997. Songs like “Hat Town”, “Electric Rodeo” and “The New Bush” were all written with a lot of help from that guitar. The Mini Maton is a little beauty especially when I'm traveling light and on a songwriting trip out in the bush. I can't believe how good that little guitar sounds, especially when she's plugged in.

Why do you choose the Maton and what do they bring, quality wise, to your music that another brand of acoustic may not?

I first started playing Maton Guitars back in 1995. I was playing a guitar that I thought was good but that was only until I plugged in the EA80C. I remember that first show too. I was down in Melbourne with the McCormack brothers and once I started strumming the Maton, and hearing this beautiful sound coming back at me in the in the wedges, I knew there could be no turning back. I was holding a far superior instrument in my hands and to make it even better, the guitar was handcrafted right here in Australia.

The release of “The Outback Club” in 1992 was your defining point in your music career. And it also showcased your co-writing partnership with Garth Porter (Sherbet). Can you tell us a bit about that period of your career and what it was like working with Garth and finally making it after years of slogging it on the circuit?

Well the defining moment for me was back at the beginning of our songwriting partnership when Garth said "you're a boy from the bush so be proud of that and sing about the life experiences that are real for you”. Garth’s advice gave birth to a string of songs beginning with “Boys From The Bush”, “The Outback Club”, “She's My Ute” and “Three Chain Road”. We've been working together now for about twenty years and it is still a hoot every time we get together to write a song or make a record.

Can you detail what the songwriting process is like between you and Garth?

We do a lot of talking before we start writing. And there's usually some drinking in there too but we like to get away up into the hills, away from all the normal distractions where we can just bunker down and write songs and drink.

Is the songwriting process different with each co-writer or have you a similar approach?

Garth and I have written a lot of songs with Colin Buchanan. In my opinion he is one of the finest singer songwriters Australia has ever produced. He's just a magnificent writer. The process is much the same with most people we co-write with. Usually we take in an idea and talk it through and then from there, we figure out what we want to do from a thematic point of view and the kind of treatment we're after at that point in time.

What's your most prized possession and why?

I don't think there is one possession that stands out above all others. For me, the things that matter the most in life are family, your mates, the people you get to work with and the legendary people who have given me the opportunity to play the music I love.

In one sentence give us your philosophy you live by?

It's all about love.

This year you were awarded the Australian of the Year Award for 2008. How did it feel to receive this award and what do you want to achieve as Australian of the Year?

It was an absolute shock, kind of surreal and a huge honour. With the award comes a responsibility to do something positive with it. I've dedicated this year to touring drought stricken towns around Australia and showing my support for the regional communities and our farming families. I reckon when we stand behind our farming families, we are standing behind Australia.  

Musically, what can we expect to hear from you next?

I'm hoping to make a fairly hi octane record next time around. There was a lot of ballads on the “Spirit Of The Bush” album, so I'm beginning to feel the need to let things loosen up a bit.

Finally, how would you like to be remembered?

If there are still a few old country boys who may recall a line or two from one of my songs after I have gone, then that'll be good enough for me.

By Joe Matera
www.joematera.com