1 00:00:15,436 --> 00:00:22,876 Speaker 1: Pushkin. Today we have part two of Rick Rubin's conversation 2 00:00:23,116 --> 00:00:25,676 Speaker 1: with Giles Martin, and before we get too far, I 3 00:00:25,716 --> 00:00:27,156 Speaker 1: want to let you know that Rick has a new 4 00:00:27,196 --> 00:00:31,356 Speaker 1: podcast called Tetragrammaton. After about four to five years of 5 00:00:31,356 --> 00:00:34,196 Speaker 1: recording Broken Record, Rick decided he wanted to talk to 6 00:00:34,396 --> 00:00:37,356 Speaker 1: more than just musicians, So on his new podcast, he'll 7 00:00:37,396 --> 00:00:43,236 Speaker 1: be talking to actors, directors, wrestlers, business people, anyone that 8 00:00:43,356 --> 00:00:46,996 Speaker 1: Rick finds interesting. So make sure to subscribe to Tetragrammaton 9 00:00:47,236 --> 00:00:51,516 Speaker 1: wherever you listen to podcasts. Now back to Giles. In 10 00:00:51,556 --> 00:00:54,276 Speaker 1: part one a few weeks ago, Giles talked about his 11 00:00:54,316 --> 00:00:59,116 Speaker 1: delicate work remastering classic Beatles albums. He also explained how 12 00:00:59,156 --> 00:01:02,596 Speaker 1: we collaborated with Peter Jackson's audio team and used AI 13 00:01:02,716 --> 00:01:06,796 Speaker 1: while remastering Revolver. Definitely go check out that episode if 14 00:01:06,836 --> 00:01:10,716 Speaker 1: you haven't already. In part two, we'll hear Giles talk 15 00:01:10,716 --> 00:01:13,876 Speaker 1: about his dad, Sir George Martin, who never second guessed 16 00:01:13,916 --> 00:01:17,796 Speaker 1: his own genius. Giles also shares hilarious stories from his 17 00:01:17,876 --> 00:01:20,716 Speaker 1: time as a teenager living at his father's storied studio 18 00:01:20,876 --> 00:01:25,196 Speaker 1: that was destroyed by volcano and the Caribbean Plus Giles 19 00:01:25,196 --> 00:01:28,436 Speaker 1: talks about the time he was fired and then rehired 20 00:01:28,476 --> 00:01:35,716 Speaker 1: by the legend Martin Scorsese. This is broken record liner 21 00:01:35,756 --> 00:01:39,516 Speaker 1: notes for the digital age. I'm justin Mitchman. Here's Rick 22 00:01:39,596 --> 00:01:42,876 Speaker 1: Rubin with Giles Martin from Shango La. We're jumping right 23 00:01:42,876 --> 00:01:46,556 Speaker 1: back into the conversation about the sensitivity around working with 24 00:01:46,596 --> 00:01:50,676 Speaker 1: the Beatles original recordings. Have you ever had an issue 25 00:01:50,756 --> 00:01:56,676 Speaker 1: with over time sometimes the sound on the tape changes, 26 00:01:56,796 --> 00:01:59,156 Speaker 1: like the like the top end. I've had that happen 27 00:01:59,276 --> 00:02:02,356 Speaker 1: even during the making of an album like now it 28 00:02:02,396 --> 00:02:04,676 Speaker 1: takes two years to make from the time he cut 29 00:02:04,716 --> 00:02:07,116 Speaker 1: the tracks till the time you're ready to mix it, 30 00:02:07,116 --> 00:02:10,556 Speaker 1: it doesn't sound the same. Yeah, what's this bizarre kind 31 00:02:10,556 --> 00:02:14,116 Speaker 1: of like you know, Holy Grail type thing is that 32 00:02:14,156 --> 00:02:18,436 Speaker 1: the Beatles record on EMY tape and EMY tape was 33 00:02:18,516 --> 00:02:21,476 Speaker 1: higher quality than other tape, and so there's yeah, there's 34 00:02:21,556 --> 00:02:27,116 Speaker 1: there's there's tape from the seventies, especially eighties actually where 35 00:02:27,156 --> 00:02:30,956 Speaker 1: everything the oxides are falling off the tape and all 36 00:02:30,956 --> 00:02:33,236 Speaker 1: the things happening, especially the twenty four tract tapes we 37 00:02:33,316 --> 00:02:35,156 Speaker 1: used to have, and what exactly what we're talking about. 38 00:02:35,356 --> 00:02:37,516 Speaker 1: You play at once you can see the tape heads 39 00:02:38,076 --> 00:02:40,916 Speaker 1: getting darker and dark as you're playing, and you're losing 40 00:02:40,956 --> 00:02:43,156 Speaker 1: that music and that information as you're playing that you're 41 00:02:43,236 --> 00:02:46,396 Speaker 1: watching your work disappear in front of your eyes and 42 00:02:46,476 --> 00:02:48,116 Speaker 1: your rise in you. And then you bake the tape 43 00:02:48,116 --> 00:02:50,116 Speaker 1: so it seals your sides back on and then you 44 00:02:50,156 --> 00:02:52,796 Speaker 1: get to play at once, and then that's it. The 45 00:02:52,836 --> 00:02:55,076 Speaker 1: Beatles doesn't happen. Bizarrely, it just doesn't have. We have 46 00:02:55,236 --> 00:02:57,836 Speaker 1: never had to bake a tape. I mean we we've 47 00:02:57,876 --> 00:03:00,436 Speaker 1: now transferred I think in super high resolution and everything 48 00:03:00,556 --> 00:03:02,716 Speaker 1: backed up, et cetera. Escially, we don't. You know, I'm 49 00:03:02,756 --> 00:03:07,116 Speaker 1: not sitting there listeners and pressing play. You know, maybe 50 00:03:07,436 --> 00:03:09,476 Speaker 1: people would like me to be doing but I'm not 51 00:03:09,516 --> 00:03:11,876 Speaker 1: doing that. I'm actually pressing a space bar when I'm mixing. 52 00:03:12,716 --> 00:03:18,156 Speaker 1: That's cool, It's well, it adds to the miraculous nature 53 00:03:16,636 --> 00:03:20,476 Speaker 1: it is. It is. It is very strange, and even 54 00:03:20,756 --> 00:03:23,156 Speaker 1: you know, I suppose I'm one of the closest people 55 00:03:23,156 --> 00:03:24,676 Speaker 1: in the world to it, and in a way which 56 00:03:24,716 --> 00:03:27,396 Speaker 1: I never thought I would be planned on being. But 57 00:03:27,556 --> 00:03:30,636 Speaker 1: I still find it miraculous. I still find miraculous that 58 00:03:30,956 --> 00:03:33,956 Speaker 1: all of these tapes, I mean, there's only there's two 59 00:03:34,036 --> 00:03:38,196 Speaker 1: songs which don't have the original original multi tracks, of 60 00:03:38,916 --> 00:03:41,036 Speaker 1: which there's no other band like that in the world. 61 00:03:41,596 --> 00:03:43,436 Speaker 1: And this is a band that studden ninety sixty three 62 00:03:43,476 --> 00:03:47,076 Speaker 1: and finished in sixty nine seventeen. Everything is there and 63 00:03:47,156 --> 00:03:49,316 Speaker 1: everything is everything is in the same place, and it's 64 00:03:49,356 --> 00:03:51,916 Speaker 1: in really concondition. It's like it's like, I suppose they 65 00:03:51,916 --> 00:03:54,436 Speaker 1: were lucky as they were successful, but there was something. 66 00:03:54,436 --> 00:03:57,076 Speaker 1: There's something about the Beatles, even talking to them, and 67 00:03:57,116 --> 00:03:59,196 Speaker 1: even talking to my dad. I said to my dad, 68 00:04:00,196 --> 00:04:02,156 Speaker 1: I was working I do these I do films when 69 00:04:02,156 --> 00:04:03,796 Speaker 1: I'm not doing blad Juts films. I was working this 70 00:04:03,956 --> 00:04:08,116 Speaker 1: Kinsman film, sort of spy capers, and I said to him, 71 00:04:08,116 --> 00:04:09,356 Speaker 1: I was I was trying to work on a scene. 72 00:04:09,396 --> 00:04:11,156 Speaker 1: I was struggling, and it's doing with film companies and 73 00:04:11,236 --> 00:04:13,076 Speaker 1: know what they're like, They're like, I said, were you 74 00:04:13,116 --> 00:04:15,116 Speaker 1: ever do you ever think you were bad at music? Dad? 75 00:04:15,636 --> 00:04:18,516 Speaker 1: He has a strange question to ask me, and he 76 00:04:18,596 --> 00:04:21,876 Speaker 1: was very sick at the time. I said, because I'm 77 00:04:21,956 --> 00:04:24,596 Speaker 1: struggling with this. You know, I always think I can't 78 00:04:24,636 --> 00:04:26,476 Speaker 1: do something and then I end up doing it. I've 79 00:04:26,476 --> 00:04:28,156 Speaker 1: done it, and then I feel like I haven't done it. 80 00:04:28,236 --> 00:04:30,956 Speaker 1: And there's sort of like this gallm like mentality of 81 00:04:31,036 --> 00:04:32,596 Speaker 1: someone going, you can't do this, and then of course 82 00:04:32,636 --> 00:04:35,036 Speaker 1: you can, and this I fight with my I fight. 83 00:04:35,196 --> 00:04:37,396 Speaker 1: He goes and he closed his eyes and he and 84 00:04:37,476 --> 00:04:39,916 Speaker 1: he opened them. He said, nine, No, I always thought 85 00:04:39,916 --> 00:04:44,996 Speaker 1: I was brilliant and and and I too, reacts to that. 86 00:04:45,036 --> 00:04:47,836 Speaker 1: It's like one is you total bastard, because like I 87 00:04:47,876 --> 00:04:51,116 Speaker 1: wish I felt like that, and the other one was, yeah, 88 00:04:51,156 --> 00:04:53,716 Speaker 1: you were you know. They were like, and I've used 89 00:04:53,756 --> 00:04:56,676 Speaker 1: analogy before. It's like surfing. You know, I know I've 90 00:04:56,716 --> 00:04:58,396 Speaker 1: done good things in my life. I know that, but 91 00:04:58,516 --> 00:05:00,436 Speaker 1: most of the time, and that's surfing. I've been on 92 00:05:00,476 --> 00:05:02,756 Speaker 1: a wave and it's like this is this is great, 93 00:05:02,916 --> 00:05:05,236 Speaker 1: But most time, you know, you've surfed way more than 94 00:05:05,276 --> 00:05:09,956 Speaker 1: I have, but physically and spiritually. But most of the 95 00:05:09,956 --> 00:05:12,276 Speaker 1: time I'm treading water, I'm paddling getting hit by waves 96 00:05:12,316 --> 00:05:14,516 Speaker 1: an occasionally might catch one. They were on a wave 97 00:05:14,516 --> 00:05:16,796 Speaker 1: of the whole time, like they were doing revolvers, like 98 00:05:16,876 --> 00:05:18,756 Speaker 1: we've got this idea, let's do this, let's do this, 99 00:05:19,116 --> 00:05:21,436 Speaker 1: and it all worked for them. It was like it's 100 00:05:21,476 --> 00:05:24,716 Speaker 1: amazing and they knew that. And then other people knew that, 101 00:05:24,756 --> 00:05:26,516 Speaker 1: so they preserved what they were doing. There was this 102 00:05:26,836 --> 00:05:29,636 Speaker 1: momentum that happened with the Beatles that has never been 103 00:05:29,676 --> 00:05:32,916 Speaker 1: seen since. It's the sort of energy they had. And 104 00:05:32,996 --> 00:05:35,116 Speaker 1: that's the thing that if I talked to Paul or 105 00:05:35,116 --> 00:05:37,716 Speaker 1: took to Ringo when I when I like mix an arbor, 106 00:05:37,836 --> 00:05:40,756 Speaker 1: you know, sit with the capital. We're a capital with 107 00:05:40,796 --> 00:05:44,316 Speaker 1: Paul and we listened to a revolver together. What he senses, 108 00:05:44,476 --> 00:05:48,476 Speaker 1: what he misses in his life is that bandy because 109 00:05:48,516 --> 00:05:50,516 Speaker 1: it was and you know this used they're that brilliant 110 00:05:50,516 --> 00:05:53,316 Speaker 1: television program with him. Yes, and you're the other person 111 00:05:53,356 --> 00:05:55,236 Speaker 1: that spent the time with Paul talking about us. It 112 00:05:55,276 --> 00:05:59,036 Speaker 1: was interesting. It's going back to we're talking about making 113 00:05:59,076 --> 00:06:02,396 Speaker 1: great records and do with equipments about people. They don't 114 00:06:02,436 --> 00:06:05,996 Speaker 1: know how they had what they had. They don't know 115 00:06:06,036 --> 00:06:09,836 Speaker 1: how the four of them managed to create this surfing 116 00:06:09,876 --> 00:06:12,676 Speaker 1: the wave all the time, and if one of them 117 00:06:12,716 --> 00:06:14,676 Speaker 1: was going to fall off, they pulled them back on 118 00:06:15,316 --> 00:06:18,276 Speaker 1: and carried on surfing. And that's what that's what being 119 00:06:18,276 --> 00:06:20,836 Speaker 1: a that's what being a great band is that some 120 00:06:20,996 --> 00:06:23,156 Speaker 1: of the parts is way bigger than the individuals. It's 121 00:06:23,156 --> 00:06:25,276 Speaker 1: one of the great things I remember that Paul said 122 00:06:25,396 --> 00:06:28,556 Speaker 1: in the in the three two one series was he 123 00:06:28,676 --> 00:06:32,596 Speaker 1: talked about the first time that Ringo filled in for 124 00:06:32,636 --> 00:06:35,036 Speaker 1: their drummer who wasn't doing who wasn't able to do 125 00:06:35,076 --> 00:06:39,556 Speaker 1: a show, and the feeling he said he looked at 126 00:06:39,636 --> 00:06:42,196 Speaker 1: John right away and it's like, I hope we could 127 00:06:42,316 --> 00:06:44,956 Speaker 1: keep doing this, Like like again, they didn't know that 128 00:06:44,996 --> 00:06:48,516 Speaker 1: in advance. It happened, and then it's like, oh, this 129 00:06:48,636 --> 00:06:51,716 Speaker 1: is what it's this is it? Yeah, And it's an 130 00:06:51,756 --> 00:06:53,756 Speaker 1: amazing feeling. And we and we have that experience in 131 00:06:53,796 --> 00:06:55,476 Speaker 1: the studio when we're working on things that we don't 132 00:06:55,476 --> 00:06:57,476 Speaker 1: really know what we're doing ever, yeah, and then you 133 00:06:58,036 --> 00:07:01,276 Speaker 1: hear something it's like whoa, there it is yeah, and 134 00:07:01,316 --> 00:07:05,436 Speaker 1: it's like not because we did anything, but luckily we're 135 00:07:05,476 --> 00:07:08,076 Speaker 1: able to say there it is when it is yeah. 136 00:07:08,116 --> 00:07:10,156 Speaker 1: I mean I was doing this. I did this Alton 137 00:07:10,276 --> 00:07:12,876 Speaker 1: Rocketman film and and we had I got a bandon 138 00:07:12,996 --> 00:07:15,436 Speaker 1: for that, and it's a film, so you have money 139 00:07:15,436 --> 00:07:17,756 Speaker 1: and you have opportunities and answer stuff. And I had 140 00:07:17,796 --> 00:07:19,996 Speaker 1: to record a bunch of Alton stuff and I got 141 00:07:19,996 --> 00:07:22,116 Speaker 1: this band and some of his some of his early work, 142 00:07:22,996 --> 00:07:24,956 Speaker 1: some of his records and the band are great. He's 143 00:07:24,996 --> 00:07:28,036 Speaker 1: got an amazing, amazing musicians. I got this band. It 144 00:07:28,076 --> 00:07:30,276 Speaker 1: was two young guys and two old guys. This guy 145 00:07:30,356 --> 00:07:32,396 Speaker 1: robbing back in touches, the main minds, a great guitar player, 146 00:07:32,396 --> 00:07:35,116 Speaker 1: and these two young guys draw and bass player and 147 00:07:34,756 --> 00:07:38,796 Speaker 1: the piano player. I used Dave Hartley, and there was 148 00:07:38,836 --> 00:07:42,876 Speaker 1: this chemistry on that day in the studios, just plowed 149 00:07:42,876 --> 00:07:45,236 Speaker 1: through like six or seven songs, not even a click track, 150 00:07:45,356 --> 00:07:48,316 Speaker 1: just like I sat there and going, well, this is easy. 151 00:07:48,556 --> 00:07:50,356 Speaker 1: And you have those days and you remember those days. 152 00:07:50,356 --> 00:07:52,356 Speaker 1: We remember those days and you go, you know what, 153 00:07:52,636 --> 00:07:55,236 Speaker 1: whether it's recording Joni Mitchell or or you know those things, 154 00:07:55,316 --> 00:07:57,956 Speaker 1: you just go, well, this is what am I doing here? 155 00:07:57,956 --> 00:08:00,996 Speaker 1: And that's actually that's one of the things that You've 156 00:08:00,996 --> 00:08:04,196 Speaker 1: always been inspirational, amazing at Rick is sitting back and 157 00:08:04,396 --> 00:08:06,796 Speaker 1: letting it happen. And that's I always said it people, 158 00:08:06,796 --> 00:08:08,196 Speaker 1: what's it like working the artists? And I work with 159 00:08:08,276 --> 00:08:10,356 Speaker 1: actors more now what were singers? But it's that thing 160 00:08:10,356 --> 00:08:12,676 Speaker 1: where you go, you need to tell someone they can 161 00:08:12,756 --> 00:08:14,396 Speaker 1: jump out of a plane without a parachute and they're 162 00:08:14,396 --> 00:08:16,636 Speaker 1: going to land safely, because that's what it is. You 163 00:08:16,676 --> 00:08:20,076 Speaker 1: need to have that ability to go okay, you're in 164 00:08:20,116 --> 00:08:22,796 Speaker 1: a safe space, you know, and the last thing you 165 00:08:22,836 --> 00:08:26,276 Speaker 1: want And this is what your work has shown is 166 00:08:26,316 --> 00:08:29,196 Speaker 1: that I I don't want to work with someone and 167 00:08:29,236 --> 00:08:30,876 Speaker 1: then put to go back and sing the song in 168 00:08:30,916 --> 00:08:33,116 Speaker 1: the bath better that night, do you know what I mean? 169 00:08:33,316 --> 00:08:35,516 Speaker 1: That's the fear. It's like, this is your and that's 170 00:08:35,556 --> 00:08:38,676 Speaker 1: what's actually that's one thing that studios do, or occasions do. 171 00:08:38,756 --> 00:08:42,796 Speaker 1: That's what's changed. And you can record anywhere. Now if 172 00:08:42,836 --> 00:08:45,556 Speaker 1: someone comes to your place here, they're going to want 173 00:08:45,556 --> 00:08:47,836 Speaker 1: to perform. It's brick rubin, for God's sake, and this 174 00:08:47,916 --> 00:08:49,876 Speaker 1: studio is I'm gonna want to perform. And that's part 175 00:08:49,876 --> 00:08:53,076 Speaker 1: of the that's bigger than any piece of equipment as well. 176 00:08:53,396 --> 00:08:55,636 Speaker 1: That's so important to be able to have that. And 177 00:08:56,836 --> 00:08:59,076 Speaker 1: and I suppose the Beatles had Abbey Road and that's 178 00:08:59,076 --> 00:09:00,916 Speaker 1: why whenever they went anywhere else, and they did, and 179 00:09:01,076 --> 00:09:03,596 Speaker 1: they made great records. And Dear Prudence was done in Trident, 180 00:09:03,716 --> 00:09:05,436 Speaker 1: you know, and so was I Want Issue so heavy, 181 00:09:05,476 --> 00:09:07,796 Speaker 1: and you know, you know, the rooftop concert is pretty good, 182 00:09:07,916 --> 00:09:11,076 Speaker 1: you know, But I love that about Abby a Road, 183 00:09:11,116 --> 00:09:14,396 Speaker 1: which you know, you we've into it. It's like it 184 00:09:14,396 --> 00:09:18,556 Speaker 1: can be. It's it's an interesting building. But Studio too 185 00:09:19,316 --> 00:09:22,116 Speaker 1: is drab. I hate to say it, folks, but it's not. 186 00:09:22,236 --> 00:09:25,116 Speaker 1: It's got a stairwall staircase, but it shouldn't be. It's like, 187 00:09:25,236 --> 00:09:26,756 Speaker 1: and what happened to pink flow in the beels? They 188 00:09:26,796 --> 00:09:29,716 Speaker 1: painted the walls with color. Yeah, they didn't need to 189 00:09:29,876 --> 00:09:32,116 Speaker 1: the music, but the music they were like, had they 190 00:09:32,156 --> 00:09:34,756 Speaker 1: been surrounded by everything, the records would pretty sounded different, 191 00:09:35,316 --> 00:09:36,796 Speaker 1: do you know what I mean? It's kind of interesting. 192 00:09:37,436 --> 00:09:40,516 Speaker 1: And they have those big soft things on the walls. 193 00:09:40,716 --> 00:09:44,556 Speaker 1: It's almost like a room in and Singe asylum a 194 00:09:44,636 --> 00:09:47,156 Speaker 1: little bit. It's a very big room, not almost it 195 00:09:47,196 --> 00:09:52,316 Speaker 1: is a room. Yeah, it's a big room, like a 196 00:09:52,396 --> 00:09:55,836 Speaker 1: big padded white padded room. But it has a magic 197 00:09:55,876 --> 00:09:58,116 Speaker 1: to it. And you know though, when you walk into 198 00:09:58,116 --> 00:10:00,716 Speaker 1: that room and you talked, so when your voice changes, Yeah, 199 00:10:00,716 --> 00:10:04,476 Speaker 1: and there is some again, whether it's physically the space 200 00:10:05,116 --> 00:10:08,676 Speaker 1: or psychologically in that we know what's happened in this room. 201 00:10:09,116 --> 00:10:12,276 Speaker 1: It doesn't matter you show up to Abbey Road Studio two. 202 00:10:13,396 --> 00:10:15,796 Speaker 1: You're gonna you're gonna do your very best. Yeah. And 203 00:10:15,836 --> 00:10:18,996 Speaker 1: I always think there's something about you know, walking this 204 00:10:19,236 --> 00:10:22,396 Speaker 1: walking in the shadows of giants. It's that Glenn Miller 205 00:10:22,396 --> 00:10:25,836 Speaker 1: and Ella Fitzgerald and like the voices are. I think 206 00:10:25,876 --> 00:10:29,276 Speaker 1: about sound wave, sound waves never dying out, Yeah, and 207 00:10:29,716 --> 00:10:32,516 Speaker 1: as reflections of music from the past in that room 208 00:10:33,396 --> 00:10:36,156 Speaker 1: and in a way, you know, without being too hippie, 209 00:10:36,196 --> 00:10:39,156 Speaker 1: like a posh hippie. I think that's I think that's true. 210 00:10:39,316 --> 00:10:41,836 Speaker 1: I just think it's true. I think you walk into 211 00:10:41,836 --> 00:10:44,516 Speaker 1: a space and you're a musician, and you go, I 212 00:10:44,556 --> 00:10:46,716 Speaker 1: can tell that something special has happened in this room. 213 00:10:46,716 --> 00:10:49,476 Speaker 1: It's like a church. Yeah. No, it's true, and it's true, 214 00:10:49,516 --> 00:10:51,356 Speaker 1: and you can feel you can you can feel it 215 00:10:51,396 --> 00:10:54,516 Speaker 1: when you're there. And artists are not so different from 216 00:10:54,516 --> 00:10:58,076 Speaker 1: each other. The reason that artists resonate in a space 217 00:10:58,316 --> 00:11:01,156 Speaker 1: is because that's a good space to resonate it. Yeah, 218 00:11:01,156 --> 00:11:04,796 Speaker 1: it's true. It's true, and it's different from it's different 219 00:11:04,836 --> 00:11:08,036 Speaker 1: from being at home. It really is. That's the thing, 220 00:11:08,076 --> 00:11:12,316 Speaker 1: it really is. Tell me about you mentioned earlier being 221 00:11:12,356 --> 00:11:15,636 Speaker 1: your dad's ears. Talk about that. That's a that's an 222 00:11:15,676 --> 00:11:18,516 Speaker 1: interesting thing, and I know about it, but I don't 223 00:11:18,516 --> 00:11:21,716 Speaker 1: really know what it entailed. The nature of music is 224 00:11:21,796 --> 00:11:27,316 Speaker 1: so language doesn't do it justice. Yeah, so tell me 225 00:11:27,356 --> 00:11:29,356 Speaker 1: about that. How did it start and what was it like? 226 00:11:29,596 --> 00:11:31,196 Speaker 1: It was interesting because I wanted to do music. I 227 00:11:31,236 --> 00:11:33,196 Speaker 1: want to see music. I remember being on a skiing holiday. 228 00:11:33,196 --> 00:11:34,996 Speaker 1: I was fourteen and my dad was playing the piano 229 00:11:35,036 --> 00:11:37,676 Speaker 1: in the hotels. He had to do an arrangement for someone. 230 00:11:37,916 --> 00:11:41,196 Speaker 1: My dad was a brilliant arranger. It was snowing. I 231 00:11:41,236 --> 00:11:43,236 Speaker 1: think I didn't want to go skiing. We're in Austria, 232 00:11:43,476 --> 00:11:44,876 Speaker 1: and I wanted to hang out with him. And I 233 00:11:45,236 --> 00:11:47,756 Speaker 1: was sitting there and I was watching him, and he 234 00:11:47,796 --> 00:11:49,436 Speaker 1: turned to go, So, Charles, what do you want to do? 235 00:11:50,236 --> 00:11:52,796 Speaker 1: I said, I want to do music that He goes, well, 236 00:11:52,796 --> 00:11:55,036 Speaker 1: I didn't think you can. I said, why not? He goes, 237 00:11:55,316 --> 00:11:57,516 Speaker 1: I don't think you're good enough? And I was like, 238 00:11:57,676 --> 00:12:00,676 Speaker 1: I was heartbroken, and but I think I was like 239 00:12:01,036 --> 00:12:03,076 Speaker 1: I was said a slight punk mentality of you know what, 240 00:12:03,236 --> 00:12:05,436 Speaker 1: F you? I want to do it anyway. So I started. 241 00:12:06,036 --> 00:12:08,756 Speaker 1: I started busking, and I started busking in the underground 242 00:12:08,756 --> 00:12:10,836 Speaker 1: when I was fifteen. You know, I was playing guitar 243 00:12:10,876 --> 00:12:12,596 Speaker 1: and playing him. I was playing pubs actually when I 244 00:12:12,636 --> 00:12:15,396 Speaker 1: was fifteen or sixteen, even though on he knew four songs. 245 00:12:15,396 --> 00:12:18,116 Speaker 1: Me and my makes to go and playing pubs. Us 246 00:12:18,396 --> 00:12:20,716 Speaker 1: played Issue really going Out with by Joe Jackson, but 247 00:12:20,876 --> 00:12:22,156 Speaker 1: not in the middle bit because it was too We 248 00:12:22,196 --> 00:12:25,316 Speaker 1: didn't know the chords, you know, it was like you 249 00:12:25,356 --> 00:12:29,236 Speaker 1: know American Pie. It was just the songs we played anyway. 250 00:12:30,516 --> 00:12:33,196 Speaker 1: And then what happens my dad? You know, when I 251 00:12:33,236 --> 00:12:35,556 Speaker 1: was about a year after he started realizing, and it 252 00:12:35,596 --> 00:12:37,276 Speaker 1: was when they were larning a tape machine. They started 253 00:12:37,316 --> 00:12:40,556 Speaker 1: playing like fifteen nips to fifteen k He was he 254 00:12:40,636 --> 00:12:43,476 Speaker 1: sort of meters moving and he realized that he wasn't 255 00:12:43,836 --> 00:12:47,516 Speaker 1: he wasn't hearing it anymore, and he asked the engineer. 256 00:12:47,516 --> 00:12:49,436 Speaker 1: He goes, what's you know what what the frequencies at 257 00:12:49,476 --> 00:12:51,436 Speaker 1: ten kularts like I can't hear that anymore, And he 258 00:12:51,436 --> 00:12:53,596 Speaker 1: started realizing that he had. He was suffering from hearing 259 00:12:53,676 --> 00:12:56,596 Speaker 1: loss and hearing damage and it was quite fast. But 260 00:12:56,756 --> 00:12:59,836 Speaker 1: you know, my dad was a brilliant man, lovely man, 261 00:12:59,876 --> 00:13:02,236 Speaker 1: but he's a terrible businessman. And he didn't he signed 262 00:13:02,236 --> 00:13:06,236 Speaker 1: a world as royalties from the records, so he needs 263 00:13:06,236 --> 00:13:08,316 Speaker 1: to carry on working, you know, he didn't working to 264 00:13:08,396 --> 00:13:10,676 Speaker 1: live like most people do. And he didn't want to 265 00:13:10,716 --> 00:13:14,356 Speaker 1: lose his job, so he didn't tell anyone. When photographs 266 00:13:14,396 --> 00:13:16,196 Speaker 1: of my dad does he had long hair, like a 267 00:13:16,196 --> 00:13:18,316 Speaker 1: long hair wet beyond his ears because he didn't want 268 00:13:18,316 --> 00:13:20,196 Speaker 1: to hide it. He hid his hearing enge from people. 269 00:13:21,276 --> 00:13:24,756 Speaker 1: And I started becoming his ears. And I don't know 270 00:13:24,756 --> 00:13:29,276 Speaker 1: how it happened. There wasn't a progressive decision. It happened organically. 271 00:13:29,316 --> 00:13:31,436 Speaker 1: He would play me stuff and I would then listen 272 00:13:31,476 --> 00:13:33,876 Speaker 1: to it. And here I remember when the first CDs 273 00:13:33,916 --> 00:13:35,596 Speaker 1: came out, the Beatles and Red Blue albums. He goes, 274 00:13:35,636 --> 00:13:37,396 Speaker 1: I don't think they sound right. And they didn't sound right. 275 00:13:37,756 --> 00:13:40,156 Speaker 1: They sound too bright, they sound digital, they sound I 276 00:13:40,156 --> 00:13:42,076 Speaker 1: went into have your Own and had a massive argument 277 00:13:42,116 --> 00:13:44,316 Speaker 1: as a seveneen year old with a mastery engineer and 278 00:13:44,316 --> 00:13:47,676 Speaker 1: old marsh engineer who also probably couldn't hear as well. 279 00:13:49,916 --> 00:13:52,036 Speaker 1: That's probably the only person who could hear at that stage. 280 00:13:52,396 --> 00:13:54,636 Speaker 1: So that's what happened. He would work on records and 281 00:13:54,676 --> 00:13:56,876 Speaker 1: I would and he would explain to me. Would sit 282 00:13:56,876 --> 00:13:59,836 Speaker 1: at the piano and he would play. We would play 283 00:13:59,916 --> 00:14:01,316 Speaker 1: scale on the piano. He would tell me where the 284 00:14:01,356 --> 00:14:03,156 Speaker 1: notes would run out for him. He got to the 285 00:14:03,196 --> 00:14:05,076 Speaker 1: stage where he couldn't at the end, he couldn't hear 286 00:14:05,116 --> 00:14:08,596 Speaker 1: anything above a middle C on a piano, which is 287 00:14:08,676 --> 00:14:10,476 Speaker 1: quite low. It's like I can't. I can remember. I 288 00:14:10,556 --> 00:14:11,796 Speaker 1: used to think as a killer hurts, but it's not. 289 00:14:11,796 --> 00:14:15,076 Speaker 1: It's below that. To begin with, It'd be like I'd 290 00:14:15,076 --> 00:14:17,116 Speaker 1: be able to read his arrangements and nobody's trying to 291 00:14:17,156 --> 00:14:19,996 Speaker 1: do and then we'd go and record and he wouldn't 292 00:14:19,996 --> 00:14:23,036 Speaker 1: never hear the top string lines. And so I knew 293 00:14:23,036 --> 00:14:27,276 Speaker 1: what frequencies were really and we've sat like doing stuff 294 00:14:27,276 --> 00:14:28,396 Speaker 1: and I said, you know him is if you know 295 00:14:28,436 --> 00:14:30,876 Speaker 1: this is, and I can go, this is seven K, 296 00:14:30,996 --> 00:14:33,156 Speaker 1: this is this is what. I don't solo stuff on 297 00:14:33,276 --> 00:14:34,996 Speaker 1: a mix at all. It doesn't make any sense to 298 00:14:35,036 --> 00:14:37,516 Speaker 1: me to do. So it's interesting because because I find that, 299 00:14:37,996 --> 00:14:40,436 Speaker 1: like I'm doing Beetles stuff, I won't work on John's 300 00:14:40,516 --> 00:14:44,516 Speaker 1: voice and get John's voice sounding good. I'll work on 301 00:14:44,596 --> 00:14:47,876 Speaker 1: John's voice in the song in the kind always because yeah, 302 00:14:47,876 --> 00:14:51,236 Speaker 1: because I find that, you know, it changes, like like 303 00:14:51,636 --> 00:14:55,396 Speaker 1: for instance, current it was I think a little healthier friends. 304 00:14:55,396 --> 00:14:57,996 Speaker 1: I mean where Ringo's voice was in the mix, and 305 00:14:58,036 --> 00:15:01,956 Speaker 1: also how Paul's bass was dramatically affected the sound of 306 00:15:02,196 --> 00:15:04,756 Speaker 1: ringos voice. Actually, sorry, where's Paul's bass was in the mix? 307 00:15:04,836 --> 00:15:06,836 Speaker 1: If it was central? I think it's left hand side. 308 00:15:06,836 --> 00:15:08,756 Speaker 1: It's not like that. I can't remember. But if I 309 00:15:08,796 --> 00:15:11,956 Speaker 1: put it central, Ringo's voice would change. And it's that thing. 310 00:15:11,956 --> 00:15:15,436 Speaker 1: So why would I soloway wild solo and then the 311 00:15:15,476 --> 00:15:17,636 Speaker 1: base changes the voice anyway? All the sort of stuff. 312 00:15:18,996 --> 00:15:21,596 Speaker 1: So I learned about frequencies and became his ears and 313 00:15:21,676 --> 00:15:24,916 Speaker 1: became we did We did a project at Pete Townshend 314 00:15:25,116 --> 00:15:28,556 Speaker 1: at hit Factor in New York, and Pete, who to 315 00:15:28,636 --> 00:15:32,836 Speaker 1: his own omission, has hearing issues. Why should we be surprised, 316 00:15:34,636 --> 00:15:37,196 Speaker 1: he said to me. I mean recently he gave me 317 00:15:37,236 --> 00:15:39,636 Speaker 1: his book and he's one of the few people that 318 00:15:40,276 --> 00:15:42,476 Speaker 1: he mentioned me in his book. Like because I was hidden, 319 00:15:42,596 --> 00:15:44,596 Speaker 1: I was I was the person that didn't exist, and 320 00:15:44,676 --> 00:15:47,396 Speaker 1: no one wanted not everyone wanted George Martin. No one 321 00:15:47,396 --> 00:15:51,996 Speaker 1: wanted George Martin's son, which is listen, I wouldn't. So 322 00:15:52,036 --> 00:15:54,836 Speaker 1: I was seeing as this precocious kind of like I 323 00:15:54,916 --> 00:15:57,396 Speaker 1: want to be hanging around a studio person. I had 324 00:15:57,436 --> 00:16:01,036 Speaker 1: to be very careful not to you know, not to interfere. 325 00:16:01,076 --> 00:16:05,236 Speaker 1: At the same time, I would have to be responsible 326 00:16:05,356 --> 00:16:07,676 Speaker 1: to protect my dad. And there was a time where 327 00:16:07,716 --> 00:16:09,596 Speaker 1: where bands he was working, I mean, I spent a 328 00:16:09,636 --> 00:16:11,636 Speaker 1: lot of time mons around the Caribbean. He was working 329 00:16:11,636 --> 00:16:14,756 Speaker 1: on an eighties band called Ultravox, who are very nice guys. 330 00:16:15,196 --> 00:16:17,676 Speaker 1: And the bass player count of the studios as he 331 00:16:17,796 --> 00:16:22,716 Speaker 1: was going into the studios, and the basse player goes, basically, 332 00:16:22,796 --> 00:16:24,316 Speaker 1: how's it going in there? Georges are going okay? And 333 00:16:24,316 --> 00:16:28,316 Speaker 1: he went two boiled eggs? He thought, what do you 334 00:16:28,356 --> 00:16:30,196 Speaker 1: have for lunch? You thought was the question? The base 335 00:16:30,276 --> 00:16:32,036 Speaker 1: lay realized that maybe you couldn't hear as well as 336 00:16:32,036 --> 00:16:34,316 Speaker 1: he thought. You know, but the thing about hearing, and 337 00:16:34,316 --> 00:16:37,316 Speaker 1: I've talked to people about this, is that your hearing 338 00:16:37,356 --> 00:16:40,636 Speaker 1: ability doesn't mean you can make good records of bad 339 00:16:40,676 --> 00:16:44,236 Speaker 1: records for sure. And even though when my dad lost 340 00:16:44,276 --> 00:16:47,996 Speaker 1: his hearing, he could sense things and yeah, you can 341 00:16:48,116 --> 00:16:50,596 Speaker 1: feel it. I spent to Bob Claymount that this last week. 342 00:16:50,596 --> 00:16:54,676 Speaker 1: Actually we're talking about he's an amazing mixed engineering. He 343 00:16:54,716 --> 00:16:57,716 Speaker 1: knows that he may not have not not much top 344 00:16:57,796 --> 00:16:59,116 Speaker 1: end as he had before, but he knows he doesn't 345 00:16:59,116 --> 00:17:01,396 Speaker 1: make bright reds brights any records. He's trying to work 346 00:17:01,436 --> 00:17:04,676 Speaker 1: out why that is. Yeah, I think that it's more 347 00:17:05,636 --> 00:17:07,836 Speaker 1: we hear it not just with our ears, we hear 348 00:17:07,836 --> 00:17:10,516 Speaker 1: it in a different way. Yeah, yeah, we did. I did. 349 00:17:10,756 --> 00:17:15,236 Speaker 1: I did a forum actually with Andrew Shep's and for 350 00:17:15,356 --> 00:17:18,636 Speaker 1: kids actually saying yeah, even if you're worried about your hearing, 351 00:17:18,716 --> 00:17:21,396 Speaker 1: it doesn't mean shouldn't inhibit you from making doing this 352 00:17:21,436 --> 00:17:24,196 Speaker 1: for a living. Like just because you might have perfect 353 00:17:24,276 --> 00:17:27,076 Speaker 1: hearing or perfect pitch doesn't mean you're make great records. 354 00:17:27,156 --> 00:17:28,676 Speaker 1: We know that, you know what I mean, Like Chris 355 00:17:28,756 --> 00:17:31,196 Speaker 1: Thomas going to hear out of one ear, yeah, you know, 356 00:17:31,236 --> 00:17:33,716 Speaker 1: and he's made great records. Yeah, and they are a 357 00:17:33,716 --> 00:17:36,956 Speaker 1: great um. You know, Chuck Close is a great artist 358 00:17:36,956 --> 00:17:41,596 Speaker 1: and he's blind. Yeah, yeah, a great visual artist. Yeah, exactly, yeah, exactly. 359 00:17:41,636 --> 00:17:44,876 Speaker 1: So it's yeah, it's a it's an interesting thing. We 360 00:17:44,956 --> 00:17:46,756 Speaker 1: have to take a quick break here and then we'll 361 00:17:46,796 --> 00:17:49,356 Speaker 1: be back with more from Rick Rubin and Giles Martin. 362 00:17:53,916 --> 00:17:56,796 Speaker 1: We're back with more from Rick Rubin and Giles Martin. 363 00:17:57,756 --> 00:18:02,796 Speaker 1: Tell me about Monserrat, Well, Monserrat, Monsrat is my dad's dream, 364 00:18:03,076 --> 00:18:05,636 Speaker 1: Like it's that thing. It's like my dad always did 365 00:18:05,676 --> 00:18:08,556 Speaker 1: this thing, unless he did he build the studios, He 366 00:18:08,596 --> 00:18:11,476 Speaker 1: tell me about well, he wanted to build a studio, 367 00:18:11,556 --> 00:18:14,276 Speaker 1: so he my dad's always wanted to build places where 368 00:18:14,276 --> 00:18:16,556 Speaker 1: things happened, so he wasn't he was. He was at 369 00:18:16,596 --> 00:18:19,796 Speaker 1: Abbey Road. I was to start working at fifty. He 370 00:18:19,916 --> 00:18:22,356 Speaker 1: left in sixty six, I think he was still in 371 00:18:22,396 --> 00:18:24,236 Speaker 1: the Beatles and he built Air Studios, which is a 372 00:18:24,316 --> 00:18:27,596 Speaker 1: place in Oxa Circus, which I visited and it was incredible. 373 00:18:27,636 --> 00:18:29,876 Speaker 1: It was a great studio. It was a fantastic studio. 374 00:18:29,996 --> 00:18:33,156 Speaker 1: Was it formerly a church? No? No, okay, Air Studios 375 00:18:33,396 --> 00:18:35,716 Speaker 1: now as a church. And that was one of the nineties. 376 00:18:36,036 --> 00:18:39,516 Speaker 1: The first one was in ox of Circus, right, So 377 00:18:39,596 --> 00:18:42,636 Speaker 1: that's that's another one of his legacy studios. During the 378 00:18:42,676 --> 00:18:45,956 Speaker 1: London time, he decided he had some money, which he thought. 379 00:18:45,996 --> 00:18:48,396 Speaker 1: This was very uncomfortable for my dad any money, so 380 00:18:48,636 --> 00:18:50,076 Speaker 1: he went, he went, you know, I'm going to go 381 00:18:50,116 --> 00:18:52,916 Speaker 1: and build. He was gonna building students on a ship. 382 00:18:52,956 --> 00:18:55,076 Speaker 1: At one stage he bought a Norwegian even to buy 383 00:18:55,116 --> 00:18:57,716 Speaker 1: a Norwegian ferry and build the studios on that. That 384 00:18:57,796 --> 00:19:00,116 Speaker 1: sounds incredible, but then he realized the engine noise again, 385 00:19:00,196 --> 00:19:01,996 Speaker 1: that wouldn't give him what he wanted. So then he 386 00:19:02,196 --> 00:19:04,556 Speaker 1: looked in the Caribbean Monster at wasn't it was an 387 00:19:04,636 --> 00:19:06,916 Speaker 1: island which no one went to because it was a 388 00:19:06,996 --> 00:19:10,756 Speaker 1: volcanic island. It wasn't very tourist and he went perfect okay, 389 00:19:10,956 --> 00:19:13,636 Speaker 1: difficult to get to and he built the studios and 390 00:19:13,676 --> 00:19:16,396 Speaker 1: he built the studios which was what became was one 391 00:19:16,396 --> 00:19:17,796 Speaker 1: of the best studios in the world at the time. 392 00:19:17,796 --> 00:19:20,236 Speaker 1: I hadn't need desk. Then later on SSL just when 393 00:19:20,276 --> 00:19:22,996 Speaker 1: that came in, put in an SSLG series what you'd 394 00:19:23,076 --> 00:19:24,956 Speaker 1: he built it, you know, nineteen seventy seven was when 395 00:19:24,956 --> 00:19:28,476 Speaker 1: it started being built open maybe seventy eight seventy nine, 396 00:19:28,516 --> 00:19:30,436 Speaker 1: and it was a studios the same as the studios 397 00:19:30,476 --> 00:19:33,436 Speaker 1: he had in London, and it became a matched the 398 00:19:33,476 --> 00:19:37,756 Speaker 1: footprint or same same same idea, yes, so same, but 399 00:19:37,876 --> 00:19:40,556 Speaker 1: it was living there were living there. There were villas 400 00:19:40,556 --> 00:19:42,396 Speaker 1: being rented and we had a house that people stayed 401 00:19:42,436 --> 00:19:46,236 Speaker 1: in residential studios. The Neve desk was a customed need desk. 402 00:19:46,276 --> 00:19:47,956 Speaker 1: I think they're only three built. One went to air 403 00:19:47,956 --> 00:19:50,076 Speaker 1: and m onement to air and one went to one stool. 404 00:19:50,076 --> 00:19:53,556 Speaker 1: A air at Lyndhurst has has one desk, amazing desk 405 00:19:54,276 --> 00:19:59,276 Speaker 1: and it became a destination for eighties recordings. Yes, so 406 00:19:59,756 --> 00:20:01,716 Speaker 1: most of the police records were made there. You know 407 00:20:01,756 --> 00:20:05,236 Speaker 1: famously that if you look at the video for I Can't, 408 00:20:05,516 --> 00:20:07,436 Speaker 1: I Can't, there's there a few of their videos you 409 00:20:07,516 --> 00:20:09,956 Speaker 1: see you seem distinct dancing on the desk or you 410 00:20:09,956 --> 00:20:12,596 Speaker 1: know there's that, there's that or outside. You know, in 411 00:20:12,636 --> 00:20:15,316 Speaker 1: the West Indies, it's all ill, Monsterrat, Alton John recorded their, 412 00:20:16,116 --> 00:20:18,596 Speaker 1: Michael Jackson when they're Stevie Wonder was the Earth Wind 413 00:20:18,636 --> 00:20:24,076 Speaker 1: and Fire, lou Reid, Duran Duran, Iron Maiden, Jimmy Buffett 414 00:20:24,076 --> 00:20:28,356 Speaker 1: did Volcano did about Monsterrat? You know, every single lastiment 415 00:20:28,396 --> 00:20:29,676 Speaker 1: de monstrat And this is the inter this thing I 416 00:20:29,756 --> 00:20:32,516 Speaker 1: talked to Universal about. Now, I go, okay, you've got 417 00:20:32,516 --> 00:20:35,596 Speaker 1: Adds studios. You've got these studios. You don't have to 418 00:20:35,596 --> 00:20:37,956 Speaker 1: make money out of studios. You have enough money anyway. 419 00:20:37,996 --> 00:20:39,516 Speaker 1: I don't just come back to the kid that wants 420 00:20:39,556 --> 00:20:41,916 Speaker 1: to feed the birds and not going to studios. Is 421 00:20:41,956 --> 00:20:45,036 Speaker 1: where people make make music, not where we make money. 422 00:20:45,396 --> 00:20:48,316 Speaker 1: You can make money out of music, but let's make 423 00:20:48,356 --> 00:20:50,516 Speaker 1: them create a spaces that artists want to go to 424 00:20:51,436 --> 00:20:54,236 Speaker 1: inspire people. And that's what my dad did. My dad 425 00:20:54,276 --> 00:20:59,476 Speaker 1: probably lost about it was eventually destroyed by volcano. You know, 426 00:20:59,836 --> 00:21:02,676 Speaker 1: don't build next out active volcano would be one of 427 00:21:02,676 --> 00:21:07,996 Speaker 1: the rules. And he probably lost about two million dollars 428 00:21:08,076 --> 00:21:13,436 Speaker 1: on Monserrat, and it was it became the destination of record. 429 00:21:13,516 --> 00:21:15,476 Speaker 1: I think there were tax breaks. I think funny enough. 430 00:21:15,796 --> 00:21:17,836 Speaker 1: I think when you were in those days, if you 431 00:21:17,876 --> 00:21:21,396 Speaker 1: were recording elsewhere, it's when people sold records, and so 432 00:21:21,516 --> 00:21:25,956 Speaker 1: every artist went there. And as a kid, I kind 433 00:21:25,956 --> 00:21:27,836 Speaker 1: of lived on Monserrat, you know, me and my sister, 434 00:21:28,076 --> 00:21:29,956 Speaker 1: Me and my sister. It was strange, you know what 435 00:21:29,956 --> 00:21:31,756 Speaker 1: it was. It was really interesting when I was at 436 00:21:31,796 --> 00:21:34,516 Speaker 1: boarding school. I went to it. I was a teenager, 437 00:21:35,236 --> 00:21:36,796 Speaker 1: and they would fly me and my sister would fla 438 00:21:36,876 --> 00:21:39,836 Speaker 1: out on a plane, you know, as as I saw 439 00:21:39,876 --> 00:21:42,516 Speaker 1: card was an undercompanied minors and you changed Antigua and 440 00:21:42,516 --> 00:21:44,116 Speaker 1: then get the plane. My parents would meet me and 441 00:21:44,156 --> 00:21:47,596 Speaker 1: Antigua and then we'd we'd got a Monserrat and it 442 00:21:47,596 --> 00:21:49,716 Speaker 1: was kind of funny, also kind of lonely as well, 443 00:21:49,796 --> 00:21:53,156 Speaker 1: because you know, everyone was with their mates, but we 444 00:21:53,156 --> 00:21:55,436 Speaker 1: were with Earthwood and Fire. You know, we'd have been 445 00:21:55,476 --> 00:21:59,076 Speaker 1: having dinner with these like you know, you remember these 446 00:21:59,116 --> 00:22:01,876 Speaker 1: like Little River Band Australian band. I remember spent a 447 00:22:01,916 --> 00:22:04,156 Speaker 1: lot of time with dinners with them, or or Ultravox 448 00:22:04,196 --> 00:22:07,996 Speaker 1: as I mentioned, or you know, Paul McCartney came out there. 449 00:22:08,796 --> 00:22:10,436 Speaker 1: You know, we knew the police really well because they 450 00:22:10,476 --> 00:22:13,236 Speaker 1: were there and you kind of were. I was always 451 00:22:13,236 --> 00:22:15,276 Speaker 1: on duty on the studio. But for me, a studios 452 00:22:15,396 --> 00:22:18,236 Speaker 1: was were there with your whole family, yeah, my mom, 453 00:22:18,356 --> 00:22:21,876 Speaker 1: my sister. For us, it was kind of interesting because 454 00:22:22,196 --> 00:22:24,436 Speaker 1: I always remember like i'd go, I'd be able to 455 00:22:24,436 --> 00:22:26,116 Speaker 1: go into control on the studios when there was no 456 00:22:26,196 --> 00:22:30,916 Speaker 1: one there, and there was like a Fender stratocaster on 457 00:22:30,996 --> 00:22:33,676 Speaker 1: a stand in the live room, and then I knew 458 00:22:33,716 --> 00:22:35,956 Speaker 1: what I was allowed to touch it, and I like, 459 00:22:36,036 --> 00:22:38,116 Speaker 1: you know, one day I'll have a Fender Stratic. One 460 00:22:38,156 --> 00:22:40,276 Speaker 1: day I might have a guitar at this And I 461 00:22:40,316 --> 00:22:42,356 Speaker 1: found out years later it wasn't actually was it was 462 00:22:42,396 --> 00:22:45,836 Speaker 1: a copy. It was so just stuck a Fender stratocast 463 00:22:45,996 --> 00:22:48,636 Speaker 1: like a Japanese thing, But it was. It was an 464 00:22:48,676 --> 00:22:52,756 Speaker 1: amazing experience that I think the thing for me, it's 465 00:22:52,796 --> 00:22:55,836 Speaker 1: funny looking back at it, you know, because we're hearing 466 00:22:55,836 --> 00:22:59,156 Speaker 1: your wonderful studios Lightnary monsrat wasn't like that. The control 467 00:22:59,276 --> 00:23:01,116 Speaker 1: had a window in it which overlooked the sea, which 468 00:23:01,116 --> 00:23:02,796 Speaker 1: is beautiful. It was the monster was the top of 469 00:23:02,836 --> 00:23:05,956 Speaker 1: the hill next to the volcano which then erupted and 470 00:23:06,036 --> 00:23:07,836 Speaker 1: you could look down the mountain, see the sea and 471 00:23:07,876 --> 00:23:10,236 Speaker 1: see the sunset if that Stevie Wonder was there and 472 00:23:10,276 --> 00:23:12,436 Speaker 1: said to my dad, this is a beautiful sunset. My dad, 473 00:23:12,516 --> 00:23:14,676 Speaker 1: yes it is, and then realized that Steve Wonder was 474 00:23:14,676 --> 00:23:16,236 Speaker 1: just making her jokes and you what time it was? 475 00:23:18,036 --> 00:23:20,636 Speaker 1: It's just really but it was. But then the live 476 00:23:20,716 --> 00:23:22,996 Speaker 1: room had no windows at all, you know, like a 477 00:23:23,116 --> 00:23:25,196 Speaker 1: seventy studios and they got the whole vibe a bit 478 00:23:25,236 --> 00:23:27,236 Speaker 1: like casinos. The whole idea about studios there is no 479 00:23:27,236 --> 00:23:29,436 Speaker 1: one want to know what time it was. Yeah. So 480 00:23:29,476 --> 00:23:31,316 Speaker 1: then in the Stones, the Stones did a couple of 481 00:23:31,316 --> 00:23:33,516 Speaker 1: albums there, I think, and they would go there and 482 00:23:33,556 --> 00:23:35,436 Speaker 1: like they would be up till four in the morning. 483 00:23:35,916 --> 00:23:37,916 Speaker 1: But then all there's a kid on the interesting that 484 00:23:37,956 --> 00:23:42,476 Speaker 1: happens about because it's residential people that like the drugs. 485 00:23:42,516 --> 00:23:46,076 Speaker 1: And you know, me and my sister was we were 486 00:23:46,116 --> 00:23:48,636 Speaker 1: staying in our house, which whether we had a house 487 00:23:48,636 --> 00:23:51,236 Speaker 1: which was which was a guesthouse, an old guesthouse has 488 00:23:51,276 --> 00:23:53,916 Speaker 1: six bedrooms going down a corridor, and that's where mainly 489 00:23:53,956 --> 00:23:56,956 Speaker 1: the Rhodes and extra because it wasn't that posh and 490 00:23:57,276 --> 00:24:00,156 Speaker 1: artist would stay in villas that were rented. And I 491 00:24:00,156 --> 00:24:01,676 Speaker 1: said to my sister, do you want to get a 492 00:24:01,716 --> 00:24:03,636 Speaker 1: backcamm And her name was Lucy, and she's great, and 493 00:24:03,716 --> 00:24:06,356 Speaker 1: she's she's two years old than me, and and she 494 00:24:06,396 --> 00:24:07,996 Speaker 1: goes yeah, And so we haven't got the backcama case. 495 00:24:07,996 --> 00:24:10,796 Speaker 1: And I swear rick half of this quite large backgame 496 00:24:10,796 --> 00:24:14,116 Speaker 1: in case had a big bag of white powder in it. Okay, 497 00:24:14,436 --> 00:24:16,836 Speaker 1: I'm like a like a big bag of white powder. 498 00:24:17,196 --> 00:24:20,676 Speaker 1: And I went to my sitomen, that's drugs I must 499 00:24:20,676 --> 00:24:22,276 Speaker 1: see in an out eleven years old. And I stopped 500 00:24:22,276 --> 00:24:24,476 Speaker 1: my finger because that's what in the cop shows, you remember, 501 00:24:24,516 --> 00:24:26,196 Speaker 1: that's what you like to see. You see your finger 502 00:24:26,236 --> 00:24:30,076 Speaker 1: and you start like I was obviously dabbing cocaine. My 503 00:24:30,116 --> 00:24:31,596 Speaker 1: parents came down there. What do you do? When I 504 00:24:31,596 --> 00:24:33,636 Speaker 1: found some drugs? They were like for us, it was 505 00:24:33,676 --> 00:24:35,796 Speaker 1: like a cop show, and they're like, oh my god, 506 00:24:35,916 --> 00:24:38,796 Speaker 1: you know this is And my dad was like grabbed 507 00:24:38,796 --> 00:24:42,156 Speaker 1: it and and iban the tossed this bag into the garden. 508 00:24:42,276 --> 00:24:44,196 Speaker 1: You had all these humming birds flying around and looks 509 00:24:44,236 --> 00:24:47,036 Speaker 1: like smoking cigarettes And actually I used to be having 510 00:24:47,116 --> 00:24:51,076 Speaker 1: right now I'm an actor or whatever. But that's you know, 511 00:24:51,116 --> 00:24:52,876 Speaker 1: this is that it was for us. It was kind 512 00:24:52,876 --> 00:24:55,116 Speaker 1: of it was kind of normal. It was a weird thing, 513 00:24:55,156 --> 00:24:57,636 Speaker 1: you know. We were we were very kind of British 514 00:24:57,876 --> 00:25:00,876 Speaker 1: as I am a kid and in an unusual circumstances. 515 00:25:01,156 --> 00:25:03,236 Speaker 1: And tell me about the place. Was there a little 516 00:25:03,236 --> 00:25:05,956 Speaker 1: town close there was that there was a month rat 517 00:25:06,036 --> 00:25:08,436 Speaker 1: had had eleven thousand people on it at the time, 518 00:25:08,836 --> 00:25:11,276 Speaker 1: as most people out now find because because the eruption 519 00:25:11,316 --> 00:25:14,716 Speaker 1: had has a town called Plymouth, which was the main town, 520 00:25:15,156 --> 00:25:18,156 Speaker 1: which was down the road if you like a British 521 00:25:18,156 --> 00:25:20,676 Speaker 1: film of the colonial British town. Interesting. I went back 522 00:25:20,756 --> 00:25:23,916 Speaker 1: Arthur volcan erupted and I was loud back in because 523 00:25:23,916 --> 00:25:26,476 Speaker 1: we owned the studios. And I went there with the 524 00:25:26,476 --> 00:25:28,956 Speaker 1: head of police and where the chip where there was 525 00:25:28,996 --> 00:25:32,476 Speaker 1: a clock tower in the town square, a bit like 526 00:25:33,076 --> 00:25:36,276 Speaker 1: back to the future. Yeah, and you could stand next 527 00:25:36,316 --> 00:25:37,916 Speaker 1: to the face of the clock because the whole of 528 00:25:37,956 --> 00:25:42,196 Speaker 1: the volcanic ash piled up. Wow, it's an amazing It 529 00:25:42,236 --> 00:25:44,756 Speaker 1: was an amazing thing, you know, there's a great there's 530 00:25:44,756 --> 00:25:47,356 Speaker 1: a great film actually on that, this great woman directors 531 00:25:47,396 --> 00:25:50,156 Speaker 1: made on Monserrat and the legacy of Monserrat and my dad. 532 00:25:50,236 --> 00:25:52,076 Speaker 1: I found it very sound. My dad's stand at the end. 533 00:25:52,116 --> 00:25:53,796 Speaker 1: It was his dream and he made the great thing 534 00:25:53,876 --> 00:25:56,396 Speaker 1: about my dad. He made his dreams so beautiful, you 535 00:25:56,436 --> 00:25:57,836 Speaker 1: know he did. He was and you met him. He 536 00:25:57,876 --> 00:26:00,756 Speaker 1: was a lovely guy. And he stands at the end. 537 00:26:00,796 --> 00:26:02,756 Speaker 1: He's very very old. He's like, you know, he's not 538 00:26:02,796 --> 00:26:05,676 Speaker 1: the George Mounty people remember. And he's there standing on 539 00:26:05,716 --> 00:26:08,556 Speaker 1: the drylic side of what was his dream, the studios, 540 00:26:09,116 --> 00:26:10,316 Speaker 1: and he goes, well, the thing is, you know we 541 00:26:10,436 --> 00:26:12,756 Speaker 1: all turned to dust in the end, Yes, you know, 542 00:26:12,836 --> 00:26:14,716 Speaker 1: we all that's the thing we all to And it's like, 543 00:26:14,796 --> 00:26:17,396 Speaker 1: he's fine, it's fine. I found a point of sad. 544 00:26:17,476 --> 00:26:19,716 Speaker 1: But going to monster at and we still, you know, 545 00:26:19,836 --> 00:26:21,756 Speaker 1: have the studios there for what it's worth it. He 546 00:26:21,796 --> 00:26:23,796 Speaker 1: wants to buy a studio as a monster. Let me know, 547 00:26:23,876 --> 00:26:25,996 Speaker 1: we ever start a studios there. It's a derelict. No, 548 00:26:26,036 --> 00:26:29,236 Speaker 1: it's a derelict property, I understand, with things falling through it. 549 00:26:29,956 --> 00:26:32,036 Speaker 1: But it was a dream. It was a it was 550 00:26:32,156 --> 00:26:35,156 Speaker 1: it was this dream that happened, and and people say 551 00:26:35,196 --> 00:26:36,676 Speaker 1: to me, would you do it again? I go when 552 00:26:36,716 --> 00:26:38,796 Speaker 1: there's times different. Now you don't need to We can 553 00:26:38,916 --> 00:26:41,276 Speaker 1: go with these microphones we have and go to a 554 00:26:41,276 --> 00:26:44,236 Speaker 1: place and record something now without having to build a 555 00:26:44,636 --> 00:26:48,196 Speaker 1: build a place, you know, because it was very tough 556 00:26:48,276 --> 00:26:52,196 Speaker 1: to do for him. And so many people have so 557 00:26:52,236 --> 00:26:57,036 Speaker 1: many amazing memories of their time, they're beautiful. Do you 558 00:26:57,076 --> 00:27:00,596 Speaker 1: know what sparked the idea for your dad to build 559 00:27:00,636 --> 00:27:03,196 Speaker 1: a studio in that place? He wanted to build the 560 00:27:03,236 --> 00:27:06,796 Speaker 1: studios which was somewhere completely different. He wanted to build 561 00:27:06,876 --> 00:27:10,476 Speaker 1: somewhere where artists could go and be away from everything else. 562 00:27:10,836 --> 00:27:13,196 Speaker 1: And you think that's because he had spent so much 563 00:27:13,236 --> 00:27:17,636 Speaker 1: time in London making music that the idea of doing 564 00:27:17,636 --> 00:27:21,156 Speaker 1: it elsewhere was it would be inspiring to him, and 565 00:27:21,236 --> 00:27:23,636 Speaker 1: thus he assumed it would be inspiring to other people 566 00:27:23,676 --> 00:27:25,796 Speaker 1: who've been doing it for a long time as well. Yeah, 567 00:27:25,796 --> 00:27:27,236 Speaker 1: I think there's that, and I think there's also My 568 00:27:27,316 --> 00:27:29,276 Speaker 1: dad had an element of plunking about him as well, 569 00:27:29,276 --> 00:27:32,436 Speaker 1: funny enough that despite his stature and the fact he 570 00:27:32,476 --> 00:27:34,556 Speaker 1: looked a bit like Prince Philip and the fact he 571 00:27:34,596 --> 00:27:36,556 Speaker 1: spoke like he did like mean I sound like my 572 00:27:36,676 --> 00:27:40,196 Speaker 1: dad and I'm the same. There's an anarchy that lies 573 00:27:40,236 --> 00:27:42,836 Speaker 1: beneath us. Yeah, well you can tell from the comedy 574 00:27:42,836 --> 00:27:45,996 Speaker 1: albums he worked, you can see there's more there. So 575 00:27:46,116 --> 00:27:49,156 Speaker 1: with EMI, forst my dad, his voice wasn't his voice. 576 00:27:49,156 --> 00:27:51,156 Speaker 1: He changed. My dad was a Cockney when he grew up, 577 00:27:51,156 --> 00:27:53,956 Speaker 1: he was liked, and he changed his voice because he 578 00:27:53,996 --> 00:27:55,436 Speaker 1: couldn't get it. He wouldn't have got ahead of the 579 00:27:55,476 --> 00:27:58,276 Speaker 1: music and see without being an English gentleman, and became 580 00:27:58,956 --> 00:28:01,836 Speaker 1: almost changed his persona. He was actually more working class 581 00:28:01,836 --> 00:28:04,836 Speaker 1: than at least two of the Beatles were amazing. That's 582 00:28:04,876 --> 00:28:10,156 Speaker 1: people don't realize about it. So he went against em I, 583 00:28:10,556 --> 00:28:12,876 Speaker 1: you know, even on on so many different levels. He 584 00:28:12,916 --> 00:28:15,996 Speaker 1: didn't believe and he didn't like the corporate world. Yes, 585 00:28:16,436 --> 00:28:18,836 Speaker 1: he liked the artistic world. Yes, you know. So you're 586 00:28:18,836 --> 00:28:21,756 Speaker 1: rebelled against Abbey Road built air st under food for 587 00:28:22,116 --> 00:28:26,436 Speaker 1: associated independent recorders. He wanted to be independent. There's even 588 00:28:26,476 --> 00:28:30,596 Speaker 1: a Beatles Christmas message where they go George has got independent, 589 00:28:31,356 --> 00:28:33,196 Speaker 1: you know, because he wanted to be away from that 590 00:28:33,356 --> 00:28:37,076 Speaker 1: system of the factory, if you like. And then he 591 00:28:37,116 --> 00:28:40,636 Speaker 1: wanted to build a place where artists could go and 592 00:28:40,676 --> 00:28:43,396 Speaker 1: be away from the record label and be free and 593 00:28:43,516 --> 00:28:46,196 Speaker 1: be free and make and it worked for him. I 594 00:28:46,236 --> 00:28:48,356 Speaker 1: think the records that were made a monster probably have 595 00:28:48,436 --> 00:28:51,396 Speaker 1: made a you know what, one half billion dollars worth 596 00:28:51,396 --> 00:28:53,516 Speaker 1: of you whatever it is, I mean like a Brothers 597 00:28:53,516 --> 00:28:55,996 Speaker 1: and Arms loan was you know it was? Did he 598 00:28:56,076 --> 00:29:00,796 Speaker 1: produce all of the music? Adams the artists worked there, 599 00:29:00,876 --> 00:29:03,236 Speaker 1: you know, And it's and it's funny meeting people from 600 00:29:03,236 --> 00:29:05,996 Speaker 1: that era, Like there's a bunch of engineers and producers, 601 00:29:05,996 --> 00:29:08,156 Speaker 1: so I like Hugh Pagam and Neil Drseman and that 602 00:29:08,316 --> 00:29:11,916 Speaker 1: era of and they couldn't believe in those days and 603 00:29:11,956 --> 00:29:14,756 Speaker 1: it sounds so hard. They would go somewhere where you'd 604 00:29:14,756 --> 00:29:17,476 Speaker 1: have to get a plane to Antigua, get either a 605 00:29:17,556 --> 00:29:20,116 Speaker 1: charter plane or a small boat to get to this place, 606 00:29:20,716 --> 00:29:23,116 Speaker 1: and they'd walk into this room and it would be 607 00:29:23,196 --> 00:29:24,916 Speaker 1: like walking into one of the best studios in the world. 608 00:29:24,916 --> 00:29:27,396 Speaker 1: And my dad loved that. He loved the idea. I mean, 609 00:29:27,436 --> 00:29:30,116 Speaker 1: there's the stories that have been in monstrat I mean 610 00:29:30,116 --> 00:29:32,596 Speaker 1: there were drivers, for instance, they would drive the band 611 00:29:32,636 --> 00:29:34,836 Speaker 1: around and one of the there was always bell falling 612 00:29:34,836 --> 00:29:36,556 Speaker 1: out with one of the drivers fill out with another 613 00:29:36,596 --> 00:29:39,876 Speaker 1: driver or fill out with a band member probably probably 614 00:29:39,876 --> 00:29:42,156 Speaker 1: one of the musicians was route to him. He stole 615 00:29:42,156 --> 00:29:44,236 Speaker 1: the pool but the white pool ball from the pool 616 00:29:44,276 --> 00:29:46,676 Speaker 1: table in the studios because because he knew the band 617 00:29:46,756 --> 00:29:49,236 Speaker 1: like playing pool, and they couldn't get another white pool 618 00:29:49,236 --> 00:29:53,676 Speaker 1: ball because it was you can't get anything on the island. 619 00:29:54,116 --> 00:29:55,996 Speaker 1: How long would it take to get supplies of any 620 00:29:56,076 --> 00:29:58,396 Speaker 1: kind if you needed something? A couple of weeks? Yeah, 621 00:29:58,836 --> 00:30:01,236 Speaker 1: so so like just equipment and stuff like that. And 622 00:30:01,316 --> 00:30:04,276 Speaker 1: you know, they just imagine the logistics of bands going 623 00:30:04,276 --> 00:30:07,436 Speaker 1: out there and flying flight case of stuff. And I've 624 00:30:07,476 --> 00:30:11,716 Speaker 1: been making albums different places in the world and it's 625 00:30:11,796 --> 00:30:16,076 Speaker 1: still uh yeah, it's still a challenge. Yeah, and and 626 00:30:16,076 --> 00:30:20,396 Speaker 1: and and in those days it was more because also, yes, 627 00:30:20,876 --> 00:30:22,876 Speaker 1: the scale of what was needed was some tape bigger 628 00:30:22,916 --> 00:30:27,236 Speaker 1: than it is now define define shift from the tapes back. Yeah, 629 00:30:27,276 --> 00:30:29,356 Speaker 1: it's it was, but it was it was, it was 630 00:30:29,396 --> 00:30:31,596 Speaker 1: worth it, do you know what I mean? Absolutely? I 631 00:30:31,716 --> 00:30:34,196 Speaker 1: love it. Yeah, I love it. It does sound like 632 00:30:34,196 --> 00:30:37,196 Speaker 1: a dream come true. Yeah, And like most of these 633 00:30:37,236 --> 00:30:39,756 Speaker 1: love the main problem is that weren't actually the bands. 634 00:30:39,796 --> 00:30:43,476 Speaker 1: It was like problems the band's girlfriends and managers and 635 00:30:43,916 --> 00:30:46,396 Speaker 1: you know, people getting bored and getting drunk and fall 636 00:30:46,436 --> 00:30:48,836 Speaker 1: into swimming pools. And I remember that as a kid. 637 00:30:48,876 --> 00:30:50,836 Speaker 1: That was always there was always a drama happening with 638 00:30:50,956 --> 00:30:53,436 Speaker 1: someone getting drunk and crashing a car or it was 639 00:30:53,436 --> 00:30:56,396 Speaker 1: always that kind of thing that would happen. But I 640 00:30:56,436 --> 00:30:58,556 Speaker 1: think what artists liked about it. I mean I spoke 641 00:30:58,596 --> 00:31:01,036 Speaker 1: to Elton about it. He liked the fact that he 642 00:31:01,156 --> 00:31:04,556 Speaker 1: wasn't It was such a he wasn't anyone there. Yes, 643 00:31:04,756 --> 00:31:07,396 Speaker 1: because that's why my dad chose it, because which was 644 00:31:07,916 --> 00:31:11,836 Speaker 1: really very rural, if you like, and also because it 645 00:31:11,876 --> 00:31:14,236 Speaker 1: was a very black art and that sortimes ridiculous because 646 00:31:14,236 --> 00:31:15,516 Speaker 1: the Western Indians, but you have to bear him on 647 00:31:15,556 --> 00:31:19,156 Speaker 1: the Westerns has a huge sense of colonialism. And it 648 00:31:19,196 --> 00:31:22,796 Speaker 1: wasn't touristy. So only if like if Stevie Wonder came here, 649 00:31:22,876 --> 00:31:24,876 Speaker 1: that was that would be interesting. But if Alton John 650 00:31:24,876 --> 00:31:26,076 Speaker 1: was one of the streets or Stinger was one of 651 00:31:26,076 --> 00:31:28,116 Speaker 1: the shot, if they knew he was, they didn't care 652 00:31:28,156 --> 00:31:31,036 Speaker 1: about who he was. So Alton John, there's a chicken shack, 653 00:31:31,156 --> 00:31:33,276 Speaker 1: you know. Everything was like they're doing enough of restaurants. 654 00:31:33,556 --> 00:31:36,516 Speaker 1: Alan used to love this chicken shack, you know, I 655 00:31:36,596 --> 00:31:38,836 Speaker 1: used to go down there and it was bizarre. I 656 00:31:38,836 --> 00:31:41,316 Speaker 1: mean I remember was a kid. There was one boat. 657 00:31:42,156 --> 00:31:44,116 Speaker 1: There was one of like it's like a thirty five 658 00:31:44,356 --> 00:31:47,236 Speaker 1: sailing boat that a guy called Ken used to take 659 00:31:47,276 --> 00:31:50,316 Speaker 1: people around to a beach on and we went with 660 00:31:50,356 --> 00:31:54,076 Speaker 1: Alton and Ronata was the tapop was she was the 661 00:31:54,076 --> 00:31:55,916 Speaker 1: assistant engineer. And then I got back to school and 662 00:31:55,956 --> 00:31:59,276 Speaker 1: then it was like Alton's marrying Ronata and I was 663 00:31:59,316 --> 00:32:03,276 Speaker 1: like they weren't even together. Yeah, it's funny, like as 664 00:32:03,276 --> 00:32:06,156 Speaker 1: a kid, you lived this kind a weird, you know, 665 00:32:06,196 --> 00:32:08,436 Speaker 1: and now you know things that I ended up working 666 00:32:08,476 --> 00:32:11,596 Speaker 1: on Alton john Life story film. You go and see that, 667 00:32:11,756 --> 00:32:13,756 Speaker 1: see his version of the events. But it's kind of 668 00:32:14,316 --> 00:32:17,076 Speaker 1: and she was great and still actually still hear from her, 669 00:32:17,116 --> 00:32:21,396 Speaker 1: but it's so strange. As a kid, you I think, 670 00:32:21,436 --> 00:32:23,196 Speaker 1: one thing you realize you work around musicians with great 671 00:32:23,196 --> 00:32:25,876 Speaker 1: around the musicians, you realize that adults really are as 672 00:32:26,476 --> 00:32:32,556 Speaker 1: as bright as you think. It's something I stand by today. Yeah, 673 00:32:32,556 --> 00:32:34,676 Speaker 1: I think in general that's the case. It's not it's 674 00:32:34,716 --> 00:32:38,116 Speaker 1: not we don't really get that. To musicians. People are 675 00:32:38,116 --> 00:32:41,516 Speaker 1: just crazy, yeah, exactly, and a little crazy goes a 676 00:32:41,556 --> 00:32:43,876 Speaker 1: long way. That's the other thing. Yeah, that's the other thing. 677 00:32:43,876 --> 00:32:47,716 Speaker 1: You know, that's there's an acceptance and and that's why 678 00:32:47,716 --> 00:32:50,236 Speaker 1: my father had he was he had acceptance and liberalism 679 00:32:50,276 --> 00:32:52,596 Speaker 1: to his approach. And yes, and he didn't you know 680 00:32:53,156 --> 00:32:57,676 Speaker 1: that the preconceived ideas of George Martin and the reality 681 00:32:57,716 --> 00:33:00,596 Speaker 1: were two very different things, like you know, and you know, 682 00:33:00,676 --> 00:33:02,636 Speaker 1: he just loved music. You know, it's like, you know, 683 00:33:03,396 --> 00:33:07,356 Speaker 1: his closest ally was Quincy Jones, because there were two 684 00:33:07,396 --> 00:33:10,676 Speaker 1: sides of the same coin. Yes, interesting enough, we have 685 00:33:10,716 --> 00:33:12,836 Speaker 1: to pause for another quick break, but we'll be right 686 00:33:12,836 --> 00:33:15,636 Speaker 1: back with the rest of Rick's conversation with Giles Martin. 687 00:33:20,316 --> 00:33:22,996 Speaker 1: We're back with the rest of Rick Rubin's conversation with 688 00:33:23,076 --> 00:33:26,676 Speaker 1: Giles Martin. Can we listen to something from from the 689 00:33:26,676 --> 00:33:31,156 Speaker 1: new album? Yeah, absolutely, due to mix or you want 690 00:33:31,196 --> 00:33:33,836 Speaker 1: to hear the sessions, whatever you recommend. I want to 691 00:33:33,836 --> 00:33:35,676 Speaker 1: hear what you think is going to be most interesting. 692 00:33:39,116 --> 00:33:41,236 Speaker 1: It depends with like a new mix or a session 693 00:33:41,276 --> 00:33:44,156 Speaker 1: of two different things. What's your favorite song for Bolva? 694 00:33:44,396 --> 00:33:46,596 Speaker 1: I like them all. I like the albums. I don't. 695 00:33:46,596 --> 00:33:49,076 Speaker 1: I don't listen to songs that way. I listened to Bold, 696 00:33:49,396 --> 00:33:52,276 Speaker 1: I listened to whole projects typically. Yeah, well that's how 697 00:33:52,316 --> 00:33:55,436 Speaker 1: to play one track. Listen to. She said, because I 698 00:33:55,476 --> 00:33:57,476 Speaker 1: think it's quite a great this is quite interesting. This. 699 00:33:57,676 --> 00:33:59,996 Speaker 1: I think it's just it's one of those songs that 700 00:33:59,996 --> 00:34:12,916 Speaker 1: you forget about, but it's cooler. Yeah, she said, I 701 00:34:13,116 --> 00:34:18,036 Speaker 1: know what it's like to be done. I don't want 702 00:34:18,076 --> 00:34:23,996 Speaker 1: it is to be sad. And she's making me feel 703 00:34:24,116 --> 00:34:35,716 Speaker 1: like I've never been born. I said, I put all 704 00:34:35,716 --> 00:34:40,836 Speaker 1: those things in your hand, things that made me feel 705 00:34:40,876 --> 00:34:46,956 Speaker 1: that I mind, and then making me feel like I've 706 00:34:47,036 --> 00:34:57,236 Speaker 1: never been born. She said, you don't understand what I said. 707 00:34:57,516 --> 00:35:01,316 Speaker 1: I said, now, no, no, you're wrong. When I was 708 00:35:01,436 --> 00:35:15,716 Speaker 1: a boy, everything was a line, everything was right. I said, 709 00:35:17,156 --> 00:35:22,316 Speaker 1: even let you know what you know? I know that 710 00:35:22,516 --> 00:35:28,836 Speaker 1: I'm ready to me because you're making me feel like 711 00:35:29,196 --> 00:35:39,236 Speaker 1: I've never been born. She said, me, don't understand why 712 00:35:39,316 --> 00:35:43,236 Speaker 1: I said. I said, now I know you're wrong. And 713 00:35:43,516 --> 00:35:54,836 Speaker 1: I was a boy, everything was a right, everything was right. 714 00:35:56,476 --> 00:36:04,596 Speaker 1: I said, even let you know, watch you know, I 715 00:36:04,636 --> 00:36:39,356 Speaker 1: know that I'm ready to me. You match the fades, yeah, yeah, yeah, yeah, yeah, yeah, 716 00:36:39,396 --> 00:36:41,556 Speaker 1: that's important. What would it be like if you left 717 00:36:41,556 --> 00:36:44,996 Speaker 1: them longer? Or or you think that's also part of 718 00:36:45,276 --> 00:36:47,636 Speaker 1: maintaining what it is. That's part of that's part of 719 00:36:47,636 --> 00:36:49,676 Speaker 1: what the band wanted. Yeah, do you know, I mean 720 00:36:49,676 --> 00:36:53,996 Speaker 1: it's part of that. Yeah, yeah, that's where the song ends. Yeah. Yeah. 721 00:36:54,036 --> 00:36:55,716 Speaker 1: A lot of people ask me about that, and quite 722 00:36:55,716 --> 00:36:57,476 Speaker 1: often they're right as well, do you know what I mean? 723 00:36:57,516 --> 00:37:01,076 Speaker 1: That's thing is there's a reason why the fade happens there, 724 00:37:01,356 --> 00:37:04,156 Speaker 1: and hope people go to what happens after that? You go? Well, 725 00:37:04,196 --> 00:37:07,316 Speaker 1: to be honest with you, not much yea. Yeah. And 726 00:37:07,316 --> 00:37:09,716 Speaker 1: and you know, on the out techs and stuff. I 727 00:37:09,716 --> 00:37:12,516 Speaker 1: mean I never put out takes on that. We should 728 00:37:12,556 --> 00:37:15,596 Speaker 1: just like, here's the song with just no fade on it, 729 00:37:15,636 --> 00:37:17,276 Speaker 1: because then it's like you have to have the horse 730 00:37:17,316 --> 00:37:18,676 Speaker 1: on to get to the bit they want to hear. 731 00:37:19,596 --> 00:37:22,156 Speaker 1: I try and match all of that stuff, So I 732 00:37:22,596 --> 00:37:24,236 Speaker 1: didn't want in a bizarre way, I kind of like 733 00:37:24,276 --> 00:37:26,676 Speaker 1: the idea of people not noticing I've done nothing. Yes, 734 00:37:26,836 --> 00:37:29,196 Speaker 1: I always have this theory. I worked on this George 735 00:37:29,196 --> 00:37:33,876 Speaker 1: Harrison film Living the Material World with Scorsese and Martin Scorsese. 736 00:37:34,116 --> 00:37:35,756 Speaker 1: Like a lot of people rightfully will say, you know, 737 00:37:35,876 --> 00:37:37,316 Speaker 1: what the hell is this guy doing? Why is he 738 00:37:37,356 --> 00:37:39,996 Speaker 1: remix and stuff? You know, don't And after four weeks 739 00:37:40,036 --> 00:37:42,476 Speaker 1: they fired me from the project. I was like, okay, cool, 740 00:37:42,516 --> 00:37:44,156 Speaker 1: I don't mind. I mean, you know, that's what you know. 741 00:37:45,116 --> 00:37:48,836 Speaker 1: And then Olivia Harrison foam and said, we listened to 742 00:37:48,836 --> 00:37:51,436 Speaker 1: the stuff and it sounds really bad in the cinema 743 00:37:52,036 --> 00:37:54,956 Speaker 1: in our playbacks. What I said, well you did fire me, 744 00:37:55,036 --> 00:37:57,636 Speaker 1: and they went, okay, well you and Martin needs to 745 00:37:57,636 --> 00:38:00,556 Speaker 1: meet and we met in Delane Lee was the film 746 00:38:00,596 --> 00:38:04,556 Speaker 1: studios in Soho in London, and I played him all 747 00:38:04,596 --> 00:38:06,316 Speaker 1: things must passed there was. He had a button on 748 00:38:06,316 --> 00:38:08,076 Speaker 1: the desk of the amba in the room and he went, 749 00:38:08,116 --> 00:38:09,396 Speaker 1: this is the one I remember. I went, this is 750 00:38:09,396 --> 00:38:11,636 Speaker 1: the one that we've mixed with the film, and he went, 751 00:38:11,636 --> 00:38:13,396 Speaker 1: why I don't unerstand it as well, because music isn't 752 00:38:13,436 --> 00:38:16,076 Speaker 1: necessarily always the way you remember it to be, and 753 00:38:16,116 --> 00:38:17,556 Speaker 1: that kind of weird. I kind of like the idea 754 00:38:17,556 --> 00:38:19,476 Speaker 1: of mixing it how you remember it to be. Yeah, 755 00:38:19,636 --> 00:38:21,356 Speaker 1: you know what I mean? Oh absolutely, And that's like 756 00:38:21,396 --> 00:38:23,036 Speaker 1: I want you to listen to while this is I 757 00:38:23,156 --> 00:38:25,956 Speaker 1: remember it being in my perfect world and not some 758 00:38:26,036 --> 00:38:29,556 Speaker 1: fandango modern remix of it. Yes, I mean, that's that's 759 00:38:29,596 --> 00:38:32,356 Speaker 1: kind of there's an arrogance that comes with that, I suppose, 760 00:38:32,716 --> 00:38:34,876 Speaker 1: because it's like, well, maybe it's how I remember it being, 761 00:38:34,916 --> 00:38:37,636 Speaker 1: but but there is the thing where you go it's 762 00:38:37,716 --> 00:38:39,596 Speaker 1: never quite how you remember it, and sometimes it's better 763 00:38:39,596 --> 00:38:41,996 Speaker 1: and sometimes it's worse. But as long as it makes 764 00:38:41,996 --> 00:38:43,796 Speaker 1: you feel the same thing, as long as you get 765 00:38:43,796 --> 00:38:46,836 Speaker 1: the same that's the key. It's like, listening to that, 766 00:38:46,916 --> 00:38:49,836 Speaker 1: it felt I felt a rhythm. It almost felt like 767 00:38:49,836 --> 00:38:52,556 Speaker 1: it was faster. I know it's not faster, but there 768 00:38:52,596 --> 00:38:57,676 Speaker 1: was something something I was hearing, something that gave it 769 00:38:57,756 --> 00:39:01,556 Speaker 1: the feeling of forward motion that I don't remember being 770 00:39:01,556 --> 00:39:04,396 Speaker 1: in the original. And it felt good. Yeah, nobody's But 771 00:39:04,436 --> 00:39:08,076 Speaker 1: also the other thing is like it sounds younger, and 772 00:39:08,076 --> 00:39:11,516 Speaker 1: Ian sounds younger. It sounds like the band's younger. Yes, 773 00:39:12,116 --> 00:39:14,116 Speaker 1: you kind of what I want to get. These are 774 00:39:14,156 --> 00:39:16,516 Speaker 1: twenty five year ols planing room, and they'll always be 775 00:39:16,556 --> 00:39:18,796 Speaker 1: twenty five years playing a room. Yes, then they are. 776 00:39:18,956 --> 00:39:22,716 Speaker 1: They are younger than Harry Styles is now. Okay, and so, 777 00:39:22,916 --> 00:39:24,756 Speaker 1: and that's the thing about records and recording what I 778 00:39:24,836 --> 00:39:26,956 Speaker 1: do is like it is time travel. You're going back 779 00:39:26,996 --> 00:39:29,356 Speaker 1: to that time when we're listening to a twenty bunch 780 00:39:29,396 --> 00:39:30,676 Speaker 1: and twenty five rods in a room in the same 781 00:39:30,716 --> 00:39:32,716 Speaker 1: way that we recorded them. Now they'd be bunch twenty 782 00:39:32,956 --> 00:39:36,756 Speaker 1: you know, twenty five rolds. It's timeless, that's the whole point. 783 00:39:37,116 --> 00:39:38,956 Speaker 1: And so if you can go with a second, these 784 00:39:38,956 --> 00:39:41,276 Speaker 1: guys are really like pumping and hitting their instruments, and 785 00:39:41,876 --> 00:39:44,516 Speaker 1: yes they are. That's because they're a great band, and 786 00:39:44,516 --> 00:39:46,836 Speaker 1: that's what you want to hear. Yes, that's the exciting bit. 787 00:39:46,996 --> 00:39:49,836 Speaker 1: And I was really lucky because the first thing I 788 00:39:49,876 --> 00:39:54,596 Speaker 1: did really was the Love Project. And I'm good at 789 00:39:54,876 --> 00:39:57,796 Speaker 1: if I'm good at one thing, I'm good at combining 790 00:39:57,796 --> 00:40:00,956 Speaker 1: things in my head, like in that sort of process. 791 00:40:00,996 --> 00:40:04,356 Speaker 1: But this, this will work with this, and the Love 792 00:40:04,396 --> 00:40:08,556 Speaker 1: Shows kind of starts with the drum solo from the 793 00:40:08,676 --> 00:40:11,236 Speaker 1: end she goes into get Back. It's like there's his drums, 794 00:40:11,236 --> 00:40:12,916 Speaker 1: the drums, ringos drums. So it goes in the end 795 00:40:12,916 --> 00:40:15,636 Speaker 1: to get back and there's a string crescendo, and I 796 00:40:15,676 --> 00:40:17,756 Speaker 1: knew in my head this was to work. But then 797 00:40:17,796 --> 00:40:20,036 Speaker 1: I did what people would do, right, I put a 798 00:40:20,076 --> 00:40:22,396 Speaker 1: grid out and so there's like one twenty two point 799 00:40:22,396 --> 00:40:26,436 Speaker 1: five bpm and it had like and really that was 800 00:40:26,476 --> 00:40:29,596 Speaker 1: the first year and it sounded terrible. It's like Ringo 801 00:40:29,716 --> 00:40:32,316 Speaker 1: was in time and he never and Ringo is a 802 00:40:32,396 --> 00:40:35,716 Speaker 1: great drummer, but he should never be put No, it's 803 00:40:35,796 --> 00:40:38,036 Speaker 1: his feel. Is that the thing? That's the thing In 804 00:40:38,076 --> 00:40:39,956 Speaker 1: the same way that people go, you know, did you 805 00:40:39,956 --> 00:40:43,036 Speaker 1: ever chin the vocals or I was like no, no, 806 00:40:43,236 --> 00:40:45,916 Speaker 1: not not fair. It's not not for any moral standpoint, 807 00:40:45,956 --> 00:40:47,916 Speaker 1: just the fact it's not going to sound as good. Yeah, 808 00:40:48,076 --> 00:40:49,676 Speaker 1: it's not going to be as good. It's not gonna 809 00:40:49,756 --> 00:40:53,276 Speaker 1: it's not going to be it'll be less believable. Yeah. Yeah. 810 00:40:53,436 --> 00:40:55,556 Speaker 1: And there's things like, you know, when I did Let 811 00:40:55,556 --> 00:40:57,036 Speaker 1: It Be and when we did the Get Back, I 812 00:40:57,236 --> 00:40:59,196 Speaker 1: mixt let it be. And there's the thing on the 813 00:40:59,196 --> 00:41:00,916 Speaker 1: piano as a mistake on the piano I heard for 814 00:41:00,956 --> 00:41:02,956 Speaker 1: the first time, it's like great. I mean, if it's 815 00:41:02,996 --> 00:41:05,716 Speaker 1: been there, you know, that's that's that's a human playing 816 00:41:05,756 --> 00:41:09,436 Speaker 1: the piano. Yeah. You know, have you ever DJed, because 817 00:41:09,556 --> 00:41:12,796 Speaker 1: what you're describing in knowing what works with what, that's 818 00:41:12,836 --> 00:41:16,716 Speaker 1: really what it DJ does does. I've always thought about it. 819 00:41:16,676 --> 00:41:19,076 Speaker 1: It's fun. Yeah, it's that and it's and I was 820 00:41:19,116 --> 00:41:20,596 Speaker 1: in a place the other then that's a great djai. 821 00:41:20,596 --> 00:41:24,596 Speaker 1: I was thinking the ability to. I just think my 822 00:41:24,636 --> 00:41:30,156 Speaker 1: brain works fast enough. Have you seen Aba Voyage? No 823 00:41:30,516 --> 00:41:34,036 Speaker 1: oh worth seeing because it's truly like time traveling. Yeah yeah, 824 00:41:34,076 --> 00:41:36,316 Speaker 1: I mean they come out on stage and it's nineteen 825 00:41:36,476 --> 00:41:40,516 Speaker 1: seventy nine minutes ago. It's surreal. Yeah, a few minutes 826 00:41:40,556 --> 00:41:42,476 Speaker 1: ago and see it. I just haven't haven't gone to 827 00:41:42,516 --> 00:41:44,916 Speaker 1: see it yet. I kind of like it's funny. It's that. 828 00:41:45,836 --> 00:41:47,716 Speaker 1: And obviously because the Beatles, like I asked about this 829 00:41:47,796 --> 00:41:50,556 Speaker 1: kind of stuff all the time. I think we can't 830 00:41:50,676 --> 00:41:52,836 Speaker 1: cheat time, but we can travel time. Yeah, you know 831 00:41:52,876 --> 00:41:55,876 Speaker 1: what I mean. Yeah, you can visit and anything anything 832 00:41:55,956 --> 00:41:58,956 Speaker 1: makes anythink anyone like you got Aba Voyage and if 833 00:41:58,996 --> 00:42:01,636 Speaker 1: it makes you feel elated and you're there with them, 834 00:42:01,756 --> 00:42:04,956 Speaker 1: that anything makes people feel stuff is great. But you 835 00:42:04,996 --> 00:42:06,956 Speaker 1: know what I mean, that doesn't harm you. No, no, no, 836 00:42:07,036 --> 00:42:09,516 Speaker 1: it's fun. Yeah, it's fun. Yes, I I don't think 837 00:42:09,516 --> 00:42:13,676 Speaker 1: it's sacrilegious at all. No, no, no. And also what 838 00:42:13,836 --> 00:42:16,596 Speaker 1: we can be the most people sort of have pretentious 839 00:42:16,636 --> 00:42:20,396 Speaker 1: views in this People aren't people that on there there 840 00:42:20,596 --> 00:42:24,156 Speaker 1: are preservations of discovery and learning doing what I mean 841 00:42:24,196 --> 00:42:26,956 Speaker 1: by that, it's like it's like, you know, my kids 842 00:42:27,476 --> 00:42:30,196 Speaker 1: listen to music in a complete different way that I did. 843 00:42:30,676 --> 00:42:34,196 Speaker 1: I have two teenage daughters and they'll go, hey, have 844 00:42:34,236 --> 00:42:36,276 Speaker 1: you heard this band? They're really good. They're called Fleetwood 845 00:42:36,276 --> 00:42:39,196 Speaker 1: Mac And you go, yeah, I have. How can you've 846 00:42:39,196 --> 00:42:41,076 Speaker 1: heard of them? Think well, and you don't want to 847 00:42:41,116 --> 00:42:43,796 Speaker 1: kind of say because they've been around. Yeah, but it's 848 00:42:43,836 --> 00:42:47,636 Speaker 1: like that's great, that's great. You know, it's like yes, 849 00:42:47,916 --> 00:42:50,876 Speaker 1: you know. I remember my daughter saying listen to the 850 00:42:50,956 --> 00:42:54,756 Speaker 1: chain and like going this this, you know, the breakdown, 851 00:42:54,796 --> 00:42:57,076 Speaker 1: the baseline, the base section. This should be used for 852 00:42:57,116 --> 00:42:59,836 Speaker 1: television programs like this was used for the beginning of 853 00:42:59,876 --> 00:43:02,716 Speaker 1: Grand Prix in Britain formul one. But all of my 854 00:43:02,756 --> 00:43:06,596 Speaker 1: life that was and it's that you just go. And 855 00:43:06,636 --> 00:43:09,716 Speaker 1: it's the same way if the Revolver comes on, you know. 856 00:43:09,756 --> 00:43:11,996 Speaker 1: I remember we listened to Liverya Rodriguez. I mean, that's 857 00:43:12,036 --> 00:43:15,716 Speaker 1: a good album, and then we're listening to Arctic Monkeys 858 00:43:16,116 --> 00:43:18,796 Speaker 1: and then Yes Yesterday comes on in the car and 859 00:43:18,876 --> 00:43:21,836 Speaker 1: I go Yesterday and my daughter guess it's a good song, Dad, 860 00:43:22,196 --> 00:43:25,956 Speaker 1: and you go, yeah, it is. It's timeless. That's the point. Yeah. 861 00:43:25,996 --> 00:43:27,516 Speaker 1: I can remember when I was a little kid going 862 00:43:27,556 --> 00:43:29,116 Speaker 1: to the record store at that time, I was only 863 00:43:29,116 --> 00:43:33,236 Speaker 1: buying seven inch singles. There were albums obviously in the store, 864 00:43:33,276 --> 00:43:36,156 Speaker 1: but I was buying songs. So all of the things 865 00:43:36,156 --> 00:43:37,556 Speaker 1: that I were buying were things that I heard on 866 00:43:37,596 --> 00:43:40,356 Speaker 1: the radio, and they were just like they were the 867 00:43:40,396 --> 00:43:43,196 Speaker 1: songs of the moment. Yeah, And I didn't really understand 868 00:43:43,236 --> 00:43:45,876 Speaker 1: what all the other records were. And I remember I 869 00:43:45,916 --> 00:43:48,556 Speaker 1: heard a Chuck Berry song on the radio, and then 870 00:43:48,596 --> 00:43:51,076 Speaker 1: I went to the store and I got the chuck 871 00:43:51,116 --> 00:43:52,996 Speaker 1: Berry single and I went to the front and I said, 872 00:43:53,556 --> 00:43:56,796 Speaker 1: as Chuck Berry made an album yet, yeah, And they 873 00:43:56,836 --> 00:43:59,476 Speaker 1: walked me over to this section and chuck Berry had 874 00:43:59,516 --> 00:44:02,996 Speaker 1: fifty albums. I was like, that was my first experience, like, 875 00:44:03,076 --> 00:44:07,076 Speaker 1: oh oh so this it's not only just the single now, 876 00:44:08,836 --> 00:44:11,436 Speaker 1: but that's the thing. It's like, but that's you know, 877 00:44:12,196 --> 00:44:15,836 Speaker 1: it's great. It's great, like even now discovering new stuff 878 00:44:15,956 --> 00:44:18,916 Speaker 1: or I love when someone puts on music yeah, opposed 879 00:44:18,956 --> 00:44:21,036 Speaker 1: to be being freed from it or then you go 880 00:44:21,156 --> 00:44:23,956 Speaker 1: what's this yeah, and just being open. So it's best. Yeah, 881 00:44:23,956 --> 00:44:25,676 Speaker 1: it's the best thing. It's like, I want is this? 882 00:44:25,676 --> 00:44:28,796 Speaker 1: This is great? Yeah. I also I get mixed up 883 00:44:28,836 --> 00:44:31,516 Speaker 1: between records that I've worked on and not worked on 884 00:44:31,596 --> 00:44:33,676 Speaker 1: just because I listened to so much most of them. 885 00:44:34,596 --> 00:44:37,316 Speaker 1: Usually yes, but sometimes I'll be somewhere and I'll hear 886 00:44:37,396 --> 00:44:40,876 Speaker 1: something it's like, wow, where do we make this? And 887 00:44:40,876 --> 00:44:43,476 Speaker 1: then I'm listen thinking it's like and then I'm listening 888 00:44:43,516 --> 00:44:46,116 Speaker 1: closer and it's like, no, no, that's Led Zeppelin. I 889 00:44:46,156 --> 00:44:48,716 Speaker 1: wasn't there. It's like, it's so weird. And then the 890 00:44:48,756 --> 00:44:51,156 Speaker 1: other side, I was at this hi fi convention. I 891 00:44:51,196 --> 00:44:53,396 Speaker 1: heard the song that was incredible and I had no 892 00:44:53,476 --> 00:44:54,956 Speaker 1: idea what it was and I she zammed it and 893 00:44:54,996 --> 00:44:58,596 Speaker 1: it was something that I produced and just completely blocked 894 00:44:58,636 --> 00:45:01,036 Speaker 1: it out. Yeah, or you get I get told about 895 00:45:01,076 --> 00:45:04,876 Speaker 1: something I've done. Yeah, I don't, well go oh, you know, 896 00:45:05,156 --> 00:45:07,356 Speaker 1: you know when you're just like, I don't know, but 897 00:45:07,396 --> 00:45:09,756 Speaker 1: you don't. You just move on. You make stuff and 898 00:45:09,756 --> 00:45:11,876 Speaker 1: you move on, and exactly, there's a big volume of 899 00:45:11,876 --> 00:45:14,036 Speaker 1: stuff going by. Yeah, it's it's just it's just a fact. 900 00:45:14,116 --> 00:45:16,276 Speaker 1: Just to be in work is nice. I mean, you know, 901 00:45:16,796 --> 00:45:19,316 Speaker 1: there's the thing you can't forget that. Yeah, thank you 902 00:45:19,356 --> 00:45:21,596 Speaker 1: so much for doing this. Thank you, Rick A pleasure. 903 00:45:21,596 --> 00:45:23,636 Speaker 1: I hope it was okay with you were fantastic. Yeah, 904 00:45:23,636 --> 00:45:25,316 Speaker 1: it was fantastic and I look forward to us doing 905 00:45:25,356 --> 00:45:28,436 Speaker 1: this again whenever where, whenever the stars listen, listen, I 906 00:45:28,476 --> 00:45:31,516 Speaker 1: will be happy to talk to you, recorded or not recorded, 907 00:45:31,556 --> 00:45:33,236 Speaker 1: Actually the same thing for you. Now. It's might tend 908 00:45:33,236 --> 00:45:35,356 Speaker 1: to ask you questions I would love to do. We'll 909 00:45:35,396 --> 00:45:40,356 Speaker 1: do that. Thanks again to Giles Martin for sharing some 910 00:45:40,436 --> 00:45:45,076 Speaker 1: stories and the process behind remixing the Beatles Revolver. You 911 00:45:45,076 --> 00:45:47,996 Speaker 1: can hear that new Revolver mix along with other songs 912 00:45:48,076 --> 00:45:51,636 Speaker 1: he's produced at broken Record podcast dot com. You can 913 00:45:51,636 --> 00:45:54,516 Speaker 1: subscribe to our YouTube channel at YouTube dot com slash 914 00:45:54,596 --> 00:45:57,196 Speaker 1: Broken Record Podcast, where you can find all of our 915 00:45:57,236 --> 00:46:01,036 Speaker 1: new episodes. You can follow us on Twitter at broken Record. 916 00:46:01,516 --> 00:46:05,716 Speaker 1: Broken Record is produced with helpful Lea Rose, Jason Gambrel, Ventaladay, 917 00:46:05,916 --> 00:46:10,436 Speaker 1: and Eric Sammon. Our editor is Sophie Crane. Broken Record 918 00:46:10,516 --> 00:46:13,036 Speaker 1: is a production of Pushkin Industries. If you love this 919 00:46:13,076 --> 00:46:16,396 Speaker 1: show and others from Pushkin, consider subscribing to Pushkin Plus. 920 00:46:17,036 --> 00:46:20,636 Speaker 1: Pushkin Plus is a podcast subscription that offers bonus content 921 00:46:20,716 --> 00:46:23,996 Speaker 1: and uninterrupted ad free listening for four ninety nine a month. 922 00:46:24,396 --> 00:46:27,836 Speaker 1: Look for Pushkin Plus on Apple podcast subscriptions, and if 923 00:46:27,876 --> 00:46:30,036 Speaker 1: you like the show, please remember to share rate and 924 00:46:30,076 --> 00:46:33,156 Speaker 1: review us on your podcast. App Our theme musics by 925 00:46:33,236 --> 00:46:35,276 Speaker 1: Kenny Beats, Justin Rishmin,