1 00:00:15,436 --> 00:00:22,956 Speaker 1: Pushkin. Hey, y'all, it's justin Richmond. Today on the show, 2 00:00:22,996 --> 00:00:26,596 Speaker 1: we have Robert Plant, someone whose voice I've probably listened 3 00:00:26,636 --> 00:00:30,516 Speaker 1: to on record more than anyone else ever. Think about 4 00:00:30,516 --> 00:00:32,676 Speaker 1: all the people in and around the UK in the 5 00:00:32,756 --> 00:00:36,116 Speaker 1: late sixties who probably could have easily become the singer 6 00:00:36,196 --> 00:00:39,476 Speaker 1: for Zeppelin, but of course just about any other singer 7 00:00:39,516 --> 00:00:44,036 Speaker 1: would have grounded that band sound. Instead, by some miracle, 8 00:00:44,316 --> 00:00:48,356 Speaker 1: they found Plant, who was able to expertly insert himself 9 00:00:48,356 --> 00:00:52,076 Speaker 1: into their soaring, loud and hard dynamic, creating some of 10 00:00:52,116 --> 00:00:55,996 Speaker 1: the last centuries best music. But naturally, we could only 11 00:00:55,996 --> 00:00:59,036 Speaker 1: be lucky for so long. Zeppelin broke up in nineteen 12 00:00:59,116 --> 00:01:02,836 Speaker 1: eighty after their powerhouse drummer John Bonham passed away. Afterwards, 13 00:01:03,076 --> 00:01:05,516 Speaker 1: Plant set out on his own, recording songs that drew 14 00:01:05,556 --> 00:01:09,916 Speaker 1: inspiration from North African music, The Blues and Foe the 15 00:01:09,996 --> 00:01:14,356 Speaker 1: perfect setup for his next music collaborations with a wonderful 16 00:01:14,356 --> 00:01:19,156 Speaker 1: fiddle player with an angelic voice named Alison Kraus. Producer 17 00:01:19,196 --> 00:01:21,716 Speaker 1: T Bone Burnett paired them in two thousand and seven 18 00:01:21,756 --> 00:01:25,516 Speaker 1: and recorded an album Raising Sand. That album sold over 19 00:01:25,556 --> 00:01:28,876 Speaker 1: a million copies in the US, won five Grammys, including 20 00:01:28,876 --> 00:01:31,076 Speaker 1: an album of the year, and if you're around at 21 00:01:31,116 --> 00:01:35,756 Speaker 1: that time, you remember it received an incredible amount of 22 00:01:35,876 --> 00:01:39,236 Speaker 1: praise and attention. A decade and a half later, the 23 00:01:39,316 --> 00:01:43,516 Speaker 1: two plus TBone again finally reunited and released a new album, 24 00:01:43,876 --> 00:01:46,516 Speaker 1: Raised the Roof. Let's hear some of the song Quatroll 25 00:01:46,556 --> 00:01:49,036 Speaker 1: World Drifts in from their new project that came out 26 00:01:49,156 --> 00:02:03,476 Speaker 1: last year. Robert Plant talks about this beautiful new collaboration 27 00:02:03,516 --> 00:02:07,276 Speaker 1: with Alison Krause with Rick Rubin on today's episode. They 28 00:02:07,316 --> 00:02:09,956 Speaker 1: also discussed Plant's life changing trip to the Sahara that 29 00:02:10,036 --> 00:02:13,436 Speaker 1: inspired the riff for led Zeppelin's Cashmere, and he remembers 30 00:02:13,476 --> 00:02:16,796 Speaker 1: Bonham declaring himself the best drummer in the world their 31 00:02:16,956 --> 00:02:23,436 Speaker 1: very first meeting. This is broken record liner notes for 32 00:02:23,556 --> 00:02:28,036 Speaker 1: the digital age. I'm justin Mischian. Here's Rick Rubin and 33 00:02:28,196 --> 00:02:31,236 Speaker 1: Robert Blant. I was listening to one of your pre 34 00:02:31,476 --> 00:02:34,516 Speaker 1: Zeppelin songs that I had not heard before, and I 35 00:02:34,556 --> 00:02:37,356 Speaker 1: wanted to ask you about what singers inspired you when 36 00:02:37,356 --> 00:02:40,316 Speaker 1: you were young, because what came to mind listening to 37 00:02:40,356 --> 00:02:42,596 Speaker 1: it was Tom Jones, which blew my mind because I 38 00:02:42,676 --> 00:02:45,156 Speaker 1: never made that. I never would have made that connection 39 00:02:45,396 --> 00:02:48,556 Speaker 1: or thought that ever before. Yeah, it was a funny. 40 00:02:48,676 --> 00:02:52,436 Speaker 1: It was like a kind of hefty tenor pitch that 41 00:02:52,556 --> 00:02:56,996 Speaker 1: I created. There. I was listening to a guy called 42 00:02:56,996 --> 00:03:03,316 Speaker 1: Otis Clay and another guy called Vernon Garrett, the Americans. Well, 43 00:03:03,356 --> 00:03:06,836 Speaker 1: Otis Clay obviously moved over into gospel later on, but 44 00:03:06,916 --> 00:03:09,756 Speaker 1: he cut some stuff on high records. As a kid, 45 00:03:09,956 --> 00:03:14,316 Speaker 1: I didn't really know much about the history of anybody, 46 00:03:14,836 --> 00:03:18,476 Speaker 1: and I was hugely inspired and could never get anywhere 47 00:03:18,516 --> 00:03:24,076 Speaker 1: near Steve Marriott. He animated his inner turmoil. You know, 48 00:03:24,156 --> 00:03:27,836 Speaker 1: he was like a wildcat really, but a great voice. 49 00:03:28,636 --> 00:03:31,836 Speaker 1: And I think if you use the voice enough, bit 50 00:03:31,876 --> 00:03:34,356 Speaker 1: by bit, you can expand the range. You can kick 51 00:03:34,396 --> 00:03:37,556 Speaker 1: it up a bit, push it. Your high notes get stronger, 52 00:03:37,556 --> 00:03:39,276 Speaker 1: and then you can move up the scale a little 53 00:03:39,276 --> 00:03:42,596 Speaker 1: bit more. The more you work, the more flexible everything becomes. 54 00:03:42,636 --> 00:03:46,076 Speaker 1: And so as a kid, I really love the guy 55 00:03:46,076 --> 00:03:48,436 Speaker 1: out of the Temptations as well. I mean, what a 56 00:03:48,476 --> 00:03:51,956 Speaker 1: great voice and smokey. But we you know, I was 57 00:03:51,996 --> 00:03:53,756 Speaker 1: taking a hammer to the pearl or really I was 58 00:03:53,876 --> 00:03:56,596 Speaker 1: just crashing everything around. But so my voice was very 59 00:03:57,836 --> 00:04:02,116 Speaker 1: oh you know, it was an adventure. Tell me about 60 00:04:02,116 --> 00:04:04,156 Speaker 1: the scene that you were born into. Tell me about 61 00:04:04,196 --> 00:04:06,236 Speaker 1: what was the music scene at that point in time. 62 00:04:06,276 --> 00:04:08,436 Speaker 1: What was on the radio. What would it be like 63 00:04:08,476 --> 00:04:11,116 Speaker 1: going to an eight club as a kid, Well, there 64 00:04:11,156 --> 00:04:15,996 Speaker 1: were no nightclubs. It's kind of really post Industrial Revolution 65 00:04:16,116 --> 00:04:20,436 Speaker 1: Black Country stuff. So there were dance halls, ballrooms, and 66 00:04:20,476 --> 00:04:26,676 Speaker 1: there was a very vibrant, very active gig scene going on. 67 00:04:26,836 --> 00:04:29,836 Speaker 1: So in the Black Country and around Birmingham there would 68 00:04:29,876 --> 00:04:33,396 Speaker 1: be three or four great rooms to go to with 69 00:04:33,476 --> 00:04:38,676 Speaker 1: the beautiful sprung maple dance floors and coming out of 70 00:04:38,676 --> 00:04:43,316 Speaker 1: the early sixties where everything was like imitation Chuck Berry, 71 00:04:44,116 --> 00:04:47,476 Speaker 1: so you know that sweet little sixteen type of stuff. 72 00:04:48,396 --> 00:04:51,196 Speaker 1: So the rhythms and the dance floor, the whole thing 73 00:04:51,436 --> 00:04:55,836 Speaker 1: was just this motion of four or four time through 74 00:04:55,876 --> 00:04:58,716 Speaker 1: those venues. I ended up getting a gig as a 75 00:04:58,756 --> 00:05:01,956 Speaker 1: master of ceremonies, so I wouldn't introduce the groups that 76 00:05:01,996 --> 00:05:06,156 Speaker 1: were coming on that night. Through those places came Wilson Pickett. 77 00:05:06,716 --> 00:05:10,476 Speaker 1: I introduced little Stevie Wonder with his orchestra when Fingertips 78 00:05:10,836 --> 00:05:14,916 Speaker 1: came out part one and two before the real explosion, 79 00:05:15,356 --> 00:05:21,596 Speaker 1: and yeah, there's everybody, Johnny Kidd in the Pirates, the Beatles, 80 00:05:22,276 --> 00:05:25,076 Speaker 1: and there was a town hall scene like here, I 81 00:05:25,116 --> 00:05:27,836 Speaker 1: guess where the guy who used to run the net 82 00:05:27,876 --> 00:05:31,316 Speaker 1: Worth concerts in the seventies. He captured the franchises of 83 00:05:31,356 --> 00:05:35,836 Speaker 1: the local town halls in England, so yeah, you'd see 84 00:05:35,876 --> 00:05:39,036 Speaker 1: some amazing artists come through, I mean, and the idea 85 00:05:39,076 --> 00:05:42,756 Speaker 1: of actually packing a town hall with five hundred people 86 00:05:42,876 --> 00:05:47,276 Speaker 1: dancing and a spot of fighting and pugilism in the 87 00:05:47,316 --> 00:05:52,436 Speaker 1: corners just for a bit of spice was incredible. So 88 00:05:53,236 --> 00:05:56,516 Speaker 1: it was a very active scene. But for me, I 89 00:05:56,556 --> 00:05:59,316 Speaker 1: was younger than those guys, so a little bit younger. 90 00:05:59,356 --> 00:06:04,396 Speaker 1: So I just used to stand in awe looking up 91 00:06:04,396 --> 00:06:09,356 Speaker 1: at the stage, you know, watching these people make it work. 92 00:06:09,556 --> 00:06:11,596 Speaker 1: How old were you at that time? Would you say? 93 00:06:11,916 --> 00:06:14,756 Speaker 1: About fifteen? I was already in a group then, and 94 00:06:16,076 --> 00:06:19,396 Speaker 1: we were murdering John Lee Hooker songs as only the 95 00:06:19,436 --> 00:06:21,596 Speaker 1: English could. Did you think that this would be your 96 00:06:21,596 --> 00:06:25,076 Speaker 1: professional life or was it just a passing fancy at 97 00:06:25,076 --> 00:06:27,396 Speaker 1: the time? What was your guests? Well, I didn't have 98 00:06:27,436 --> 00:06:29,956 Speaker 1: a guess, and I didn't I didn't see anything like 99 00:06:30,436 --> 00:06:34,876 Speaker 1: the whole idea of a futurism at all. I was 100 00:06:35,156 --> 00:06:39,516 Speaker 1: still in the cabins of learning, being educated at school 101 00:06:39,796 --> 00:06:43,396 Speaker 1: and then are at college, so I didn't have any 102 00:06:43,476 --> 00:06:46,276 Speaker 1: idea of anticipation. But I just knew that there were 103 00:06:46,356 --> 00:06:53,036 Speaker 1: certain voices and chord structures and scales that did something 104 00:06:53,036 --> 00:06:55,476 Speaker 1: to me that didn't have any nothing to do with 105 00:06:55,556 --> 00:06:57,596 Speaker 1: anything that came before. I just didn't know what was 106 00:06:57,636 --> 00:07:02,116 Speaker 1: happening to me when I heard particular musical notation, just 107 00:07:02,236 --> 00:07:05,796 Speaker 1: some sort of heraldry, something that promised something at the 108 00:07:05,836 --> 00:07:08,676 Speaker 1: beginning of a song that was like a kind of 109 00:07:09,396 --> 00:07:11,796 Speaker 1: was showing me that there was a key to something 110 00:07:11,836 --> 00:07:15,116 Speaker 1: that we didn't really have in England at all, but 111 00:07:15,316 --> 00:07:18,796 Speaker 1: it was still going into my into my system and 112 00:07:18,876 --> 00:07:23,516 Speaker 1: affecting my whole bloodstream with this kind of stuff. I 113 00:07:23,516 --> 00:07:25,956 Speaker 1: didn't know what it was. It could have been John 114 00:07:26,036 --> 00:07:29,676 Speaker 1: Lee Hooker just playing boogie chillen, you know, that kind 115 00:07:29,676 --> 00:07:36,596 Speaker 1: of incessant one chord thing, which was so contra to 116 00:07:36,716 --> 00:07:41,276 Speaker 1: the kind of sedate English popular themes in music. But 117 00:07:41,396 --> 00:07:44,116 Speaker 1: it was almost like a funny, how ridiculous At forty 118 00:07:44,196 --> 00:07:46,996 Speaker 1: fifty years later, I'd end up in West Africa with 119 00:07:47,076 --> 00:07:51,716 Speaker 1: a bunch of Tuareg north of Timbuctoo who were playing 120 00:07:51,756 --> 00:07:56,516 Speaker 1: that very deal. Unbeknown they had no idea about you know, 121 00:07:57,236 --> 00:07:59,996 Speaker 1: John Lee Hooker at all, but it was the same groove. Yes, 122 00:08:00,316 --> 00:08:02,756 Speaker 1: So as a kid, I just held these clarions of 123 00:08:03,876 --> 00:08:08,116 Speaker 1: sonic clarions that came and arrested me, you know, much 124 00:08:08,156 --> 00:08:10,516 Speaker 1: to the fear of my parents, who saw me as 125 00:08:10,516 --> 00:08:14,636 Speaker 1: an academic icon. Do you remember any particular songs from 126 00:08:14,716 --> 00:08:16,716 Speaker 1: that period that when you heard them, just sort of 127 00:08:16,756 --> 00:08:19,396 Speaker 1: like blew your mind or felt different than everything that 128 00:08:19,436 --> 00:08:23,756 Speaker 1: came before. Yeah. On a melodic level, I think it 129 00:08:23,796 --> 00:08:26,316 Speaker 1: must be Alan Toussaint who played the piano lick that 130 00:08:26,396 --> 00:08:29,876 Speaker 1: opened I like it like that by Chris Kenner. It's 131 00:08:29,916 --> 00:08:34,356 Speaker 1: just that very the whole Crescent City intro because no 132 00:08:34,476 --> 00:08:38,636 Speaker 1: sooner he created this introduction than the song kicked into 133 00:08:38,676 --> 00:08:42,676 Speaker 1: a groove, very polished groove. I mean Chris Kenner's records 134 00:08:43,076 --> 00:08:46,916 Speaker 1: really were well they were. It was a bad groove 135 00:08:46,956 --> 00:08:49,436 Speaker 1: and about this soul thing, but they really polished up 136 00:08:49,436 --> 00:08:52,756 Speaker 1: that track. But I didn't know anything about it really. 137 00:08:53,276 --> 00:08:55,676 Speaker 1: I mean some of the John Lee Hooker stuff that 138 00:08:55,996 --> 00:09:01,476 Speaker 1: I heard was, say, the opening of Boom Boom or 139 00:09:01,556 --> 00:09:05,516 Speaker 1: Dimples that, the swing on that and the fact that 140 00:09:05,556 --> 00:09:08,716 Speaker 1: the guitar I didn't know that at the time. I 141 00:09:08,716 --> 00:09:12,916 Speaker 1: couldn't actually, I didn't have any vision of what was right, 142 00:09:12,956 --> 00:09:15,116 Speaker 1: and what was wrong about people's playing But it just 143 00:09:15,156 --> 00:09:19,036 Speaker 1: seemed so sort of random. Yes, there was no sign 144 00:09:19,036 --> 00:09:21,836 Speaker 1: of Johnny Mathis. It was just this kind of wow, 145 00:09:22,516 --> 00:09:24,996 Speaker 1: you know. Yeah, I was moved by this stuff, and 146 00:09:25,036 --> 00:09:29,116 Speaker 1: I began to realize it was all black, you know 147 00:09:29,476 --> 00:09:32,876 Speaker 1: that I could hear I could hear these chimes or 148 00:09:32,876 --> 00:09:36,556 Speaker 1: whatever they were. But you know, so those were really 149 00:09:36,756 --> 00:09:40,636 Speaker 1: sort of the bells that started ringing. I mean, really, 150 00:09:40,676 --> 00:09:43,396 Speaker 1: it's a it's a that's a pretty profound question because 151 00:09:43,436 --> 00:09:46,316 Speaker 1: if I think about it, I could also say that 152 00:09:46,876 --> 00:09:50,956 Speaker 1: people like Snuff Garrett in La were producing for Liberty. 153 00:09:51,036 --> 00:09:53,436 Speaker 1: I know this now. I didn't know then, but you 154 00:09:53,476 --> 00:09:58,196 Speaker 1: could hear Johnny Bennett's Cincinnati Fireball on the flip side 155 00:09:58,196 --> 00:10:03,436 Speaker 1: of Dreaming, and it was just everything was there, chick vocals, 156 00:10:03,436 --> 00:10:08,716 Speaker 1: string parts, this guy who was somewhere near Elvis, you know, 157 00:10:09,156 --> 00:10:12,836 Speaker 1: and it was a ditty. Yeah. But the word play 158 00:10:13,036 --> 00:10:16,036 Speaker 1: in that kind of teen scene thing was right up 159 00:10:16,116 --> 00:10:18,196 Speaker 1: my street then, because I was in love with everybody, 160 00:10:18,876 --> 00:10:21,916 Speaker 1: you know, I had a dream about every girl on 161 00:10:21,956 --> 00:10:26,476 Speaker 1: the street, and these songs kind of they spoke for me. 162 00:10:26,996 --> 00:10:29,716 Speaker 1: So other than the bands that would come through, what 163 00:10:29,756 --> 00:10:32,156 Speaker 1: was the local scene, Like, were many kids making music 164 00:10:32,196 --> 00:10:36,396 Speaker 1: at that time? Yes, there were hundreds and hundreds of groups, 165 00:10:36,636 --> 00:10:42,036 Speaker 1: and everybody was playing Bye Bye Johnny wrong. I mean 166 00:10:42,076 --> 00:10:45,996 Speaker 1: the whole the chuck Berry rhythm sections, when we never 167 00:10:46,076 --> 00:10:48,476 Speaker 1: kind of worked out that one part of the band 168 00:10:48,636 --> 00:10:52,236 Speaker 1: was rocking and the other guys were swinging behind it 169 00:10:52,716 --> 00:10:56,436 Speaker 1: the rhythm sections, and we just couldn't read that. Yeah, 170 00:10:56,476 --> 00:10:59,196 Speaker 1: everyone was just playing the same part right. Yeah, it 171 00:10:59,276 --> 00:11:02,716 Speaker 1: was awful. It was just like what wow. But then again, 172 00:11:02,796 --> 00:11:05,316 Speaker 1: we were all making the same mistake. And people wore 173 00:11:05,356 --> 00:11:08,996 Speaker 1: those jackets like you see with the Safaris now, the 174 00:11:09,196 --> 00:11:13,116 Speaker 1: kind of surfbeat guys over here. So most people had 175 00:11:13,116 --> 00:11:15,876 Speaker 1: a kind of maroon suit on with a black velvet 176 00:11:15,916 --> 00:11:19,956 Speaker 1: collar and had those foot movements like Cliff Richard and 177 00:11:19,956 --> 00:11:24,836 Speaker 1: the Shadows, that sort of strange choreography, which is really 178 00:11:25,596 --> 00:11:29,836 Speaker 1: that's all we had. When did folk make its appearance, 179 00:11:30,636 --> 00:11:33,476 Speaker 1: Well around the same time, I guess. You know the 180 00:11:33,876 --> 00:11:37,636 Speaker 1: last clip in that Hairspray movie when the girl wins 181 00:11:37,636 --> 00:11:42,036 Speaker 1: the dance contest and they're walking home down the street 182 00:11:42,076 --> 00:11:45,716 Speaker 1: in Philly and some hipster beat nick knocks on the 183 00:11:45,756 --> 00:11:49,436 Speaker 1: door and as they're walking past, the door opens and 184 00:11:49,436 --> 00:11:52,716 Speaker 1: they're listening to Dylan and somebody hands them a spliff. 185 00:11:53,436 --> 00:11:58,796 Speaker 1: It's that changeover, that moment where the teen scene just 186 00:11:59,556 --> 00:12:03,516 Speaker 1: gave way because the generation half a generation older than 187 00:12:03,556 --> 00:12:10,236 Speaker 1: me were already in the folk clubs singing Irish mournful ballads. 188 00:12:10,276 --> 00:12:15,556 Speaker 1: And I was attracted to the whole deal because if 189 00:12:15,556 --> 00:12:19,596 Speaker 1: I liked Chris Kenner and Two Saints production and I 190 00:12:19,636 --> 00:12:22,716 Speaker 1: didn't know what it was, then I would go to 191 00:12:22,756 --> 00:12:24,756 Speaker 1: a folk club and I'd hear some guy playing an 192 00:12:24,756 --> 00:12:27,556 Speaker 1: eight string guitar. I didn't really recognize what it was 193 00:12:27,596 --> 00:12:30,036 Speaker 1: at the time, but it was because it was kind 194 00:12:30,036 --> 00:12:35,636 Speaker 1: of disheveled, was rough, and also it was an uncharted 195 00:12:35,756 --> 00:12:39,836 Speaker 1: land for us to hear this, to try and play 196 00:12:39,916 --> 00:12:45,036 Speaker 1: this music. So and the scene there, with that kind 197 00:12:45,076 --> 00:12:49,676 Speaker 1: of folk club thing led to a whole different intellect. 198 00:12:49,916 --> 00:12:53,596 Speaker 1: People were talking about wee free Kings, Roland Kirk and 199 00:12:54,876 --> 00:12:58,596 Speaker 1: you know all the good looking girls. Now suddenly they 200 00:12:58,596 --> 00:13:01,076 Speaker 1: didn't have a million petticoats, they had long hair, and 201 00:13:01,116 --> 00:13:04,396 Speaker 1: they were carrying a buck, a white LP or the 202 00:13:04,556 --> 00:13:08,796 Speaker 1: first Dylan album or whatever it was. So I suppose, really, 203 00:13:08,796 --> 00:13:13,676 Speaker 1: if you think about Dylan's very first venture that Columbia record. 204 00:13:13,876 --> 00:13:17,996 Speaker 1: It opened up for sure, all that buck a white 205 00:13:17,996 --> 00:13:21,716 Speaker 1: stuff and fixing to die and you know, and the 206 00:13:21,756 --> 00:13:25,476 Speaker 1: scene was amazing because that those people were again a 207 00:13:25,516 --> 00:13:28,116 Speaker 1: bit older than me, but they had a key to stuff. 208 00:13:28,756 --> 00:13:31,676 Speaker 1: They were employed, they had income so they could buy records. 209 00:13:31,916 --> 00:13:35,996 Speaker 1: There was an RCA label in Europe called RCA Jazz. 210 00:13:35,996 --> 00:13:38,396 Speaker 1: It was a French label that was putting out ten 211 00:13:38,436 --> 00:13:43,596 Speaker 1: inch albums and six track EPs, which opened up the 212 00:13:43,636 --> 00:13:47,356 Speaker 1: door to the original Sonny Boy Williamson, Elevated Woman and 213 00:13:47,396 --> 00:13:49,636 Speaker 1: all that stuff. I'd take it home. By this time, 214 00:13:49,676 --> 00:13:54,396 Speaker 1: my parents were really worried because it was all right, 215 00:13:54,476 --> 00:13:59,196 Speaker 1: Johnny Bennett was palatable perhaps, but the idea of the 216 00:13:59,236 --> 00:14:03,756 Speaker 1: blues thing must have been something else. Because I had 217 00:14:03,756 --> 00:14:05,636 Speaker 1: one of those record players where you could lift up 218 00:14:05,636 --> 00:14:07,516 Speaker 1: the central armor that you could just keep playing the 219 00:14:07,556 --> 00:14:12,236 Speaker 1: same forty five over and again that yes, the playback 220 00:14:12,316 --> 00:14:14,756 Speaker 1: arm would come back onto the where the stylus would 221 00:14:14,756 --> 00:14:18,876 Speaker 1: come back onto the record for five hours or something, 222 00:14:19,436 --> 00:14:24,716 Speaker 1: so you know, Spoonful or from the Howling Wolf that 223 00:14:24,756 --> 00:14:27,316 Speaker 1: I think that's maybe something like that was the final 224 00:14:28,276 --> 00:14:32,396 Speaker 1: frontier for my parents. And when I was when I 225 00:14:32,436 --> 00:14:34,956 Speaker 1: went to school or I was doing a paper around us. Something. 226 00:14:35,116 --> 00:14:36,676 Speaker 1: I came back and I cut the plug off the 227 00:14:36,716 --> 00:14:40,436 Speaker 1: record player. That was it. That was open war. It's 228 00:14:40,476 --> 00:14:43,196 Speaker 1: too much, too fine, too fine. Yeah, it was a 229 00:14:43,236 --> 00:14:47,236 Speaker 1: plug too far. Yes, So that was it. Then I 230 00:14:47,716 --> 00:14:51,036 Speaker 1: chose bohemia, you know, even though I could go home 231 00:14:51,076 --> 00:14:54,076 Speaker 1: and have a nice, warm bath, that was not really 232 00:14:54,676 --> 00:14:58,276 Speaker 1: And you know, people were carrying the literature the cam 233 00:14:58,516 --> 00:15:03,276 Speaker 1: Albert Camu and Shatter and Darma Bum. You know that 234 00:15:03,356 --> 00:15:07,316 Speaker 1: everybody suddenly was hip to this stuff. And then two 235 00:15:07,356 --> 00:15:11,836 Speaker 1: German promoters, Lippman and Rao, who had been operating pre 236 00:15:12,036 --> 00:15:17,516 Speaker 1: Second World War, representing well some of the main nightclub 237 00:15:17,836 --> 00:15:23,716 Speaker 1: personalities then in the old days, they realized this bohemian 238 00:15:23,796 --> 00:15:26,956 Speaker 1: scene was all over Europe, in all the main towns, 239 00:15:26,996 --> 00:15:34,156 Speaker 1: and spiraling into small, smaller communities because pop music really 240 00:15:34,196 --> 00:15:38,556 Speaker 1: in Europe didn't popular music was only the popular music 241 00:15:38,636 --> 00:15:43,036 Speaker 1: that the program planners were prepared to give you. Oh, 242 00:15:43,116 --> 00:15:45,396 Speaker 1: of course, that's how it always is. But it was 243 00:15:45,476 --> 00:15:50,356 Speaker 1: so narrow an option that we all knew that there 244 00:15:50,396 --> 00:15:53,156 Speaker 1: was something else, obviously, something else going on, you know. 245 00:15:55,236 --> 00:15:59,396 Speaker 1: So I think this whole movement was inspired by the 246 00:15:59,516 --> 00:16:03,796 Speaker 1: conservatism of our media and the fact that it seemed 247 00:16:03,796 --> 00:16:08,356 Speaker 1: to me like the upper echelons of broadcasting and the 248 00:16:08,396 --> 00:16:11,436 Speaker 1: British Board, I think, corporation whatever, we're waiting for this 249 00:16:11,476 --> 00:16:14,236 Speaker 1: thing to pass over so they could get back to 250 00:16:14,756 --> 00:16:17,956 Speaker 1: the audio volume that they knew and loved. So well, yeah, 251 00:16:18,156 --> 00:16:22,516 Speaker 1: it's funny really, because the mainstream in Europe was augmented 252 00:16:22,636 --> 00:16:26,316 Speaker 1: slowly by pirate radio that were ships out in the 253 00:16:26,356 --> 00:16:31,156 Speaker 1: British channel English Channel who were transmitting programs which were 254 00:16:31,636 --> 00:16:36,676 Speaker 1: sponsored by various record labels. So you know, when I 255 00:16:36,716 --> 00:16:39,516 Speaker 1: was doing my homework at my grandparents house on a Friday, 256 00:16:39,556 --> 00:16:42,356 Speaker 1: I could tune in to Tony Hall who had this 257 00:16:42,436 --> 00:16:46,116 Speaker 1: amazing called the American Hot Ten, and it would be 258 00:16:46,196 --> 00:16:50,636 Speaker 1: all London American Records, and London American as a record 259 00:16:50,716 --> 00:16:56,436 Speaker 1: label was basically a conglomerate channel and filter smaller labels 260 00:16:56,436 --> 00:17:01,236 Speaker 1: in the US who didn't have international deals. So it 261 00:17:01,316 --> 00:17:04,676 Speaker 1: would you'd go right the way through from Shop Around 262 00:17:04,716 --> 00:17:09,556 Speaker 1: by the Miracles to the Chimes or Dells, Alan or 263 00:17:10,636 --> 00:17:12,876 Speaker 1: Chuck Berry was there on London, you know, and the 264 00:17:12,956 --> 00:17:16,476 Speaker 1: whole Chess catalog from from Chicago came out through that label. 265 00:17:17,676 --> 00:17:20,716 Speaker 1: So there was jazz, and there was Diana Washington, and 266 00:17:20,796 --> 00:17:23,516 Speaker 1: there was that. So as time went on, more and 267 00:17:23,636 --> 00:17:27,076 Speaker 1: more as an English kid, I was becoming more and 268 00:17:27,116 --> 00:17:32,436 Speaker 1: more and more sort of engrossed and consumed by the 269 00:17:32,556 --> 00:17:35,956 Speaker 1: variety of music from America. I'm surprised to hear about 270 00:17:36,036 --> 00:17:38,996 Speaker 1: Dylan because I think of obviously, we all think of 271 00:17:39,036 --> 00:17:42,276 Speaker 1: the blues coming from the States and then the British 272 00:17:42,316 --> 00:17:45,596 Speaker 1: invasion kind of reacting to the American blues scene. But 273 00:17:45,676 --> 00:17:47,716 Speaker 1: I never thought about that with folk, because we think 274 00:17:47,716 --> 00:17:51,156 Speaker 1: of folk as being traditionally Irish music originally, so we 275 00:17:51,196 --> 00:17:54,876 Speaker 1: don't think of the American connection here. But it's interesting 276 00:17:54,916 --> 00:17:58,276 Speaker 1: to hear Dylan be the first name that you bring up. Yeah, well, 277 00:17:58,356 --> 00:18:02,076 Speaker 1: girl from the North Country, what is that really? Is 278 00:18:02,116 --> 00:18:06,076 Speaker 1: it Scarborough Fair or where does it come from? Of course, 279 00:18:06,156 --> 00:18:08,876 Speaker 1: now I know a lot more historically. Now I can 280 00:18:08,916 --> 00:18:12,156 Speaker 1: put people to sleep if they're feeling unsettled on an aeroplane, 281 00:18:12,396 --> 00:18:14,756 Speaker 1: I can just give him a quick three hours About 282 00:18:16,076 --> 00:18:20,876 Speaker 1: the conversation between the English Murder Ballad and Doc Bogs. 283 00:18:21,076 --> 00:18:26,116 Speaker 1: I don't know, but I just think that there was 284 00:18:26,156 --> 00:18:30,116 Speaker 1: so much romance about Dylan, so much enigma, and he 285 00:18:30,236 --> 00:18:32,076 Speaker 1: was not on his own of course, but for us 286 00:18:32,676 --> 00:18:36,316 Speaker 1: he was what he was the Dama bum. You know, 287 00:18:36,636 --> 00:18:39,116 Speaker 1: he was bringing this, he was opening the doors. And 288 00:18:39,116 --> 00:18:42,716 Speaker 1: then I suppose Leonard Cohen after him would be important 289 00:18:42,756 --> 00:18:45,036 Speaker 1: in the UK. Sure, well, I don't know, you know 290 00:18:45,116 --> 00:18:48,716 Speaker 1: I was. I think I could hear the sort of 291 00:18:49,436 --> 00:18:52,756 Speaker 1: what everybody's opinion about music, that this very the very 292 00:18:52,796 --> 00:18:56,116 Speaker 1: idea that we are doing this. You and I have 293 00:18:56,196 --> 00:18:58,196 Speaker 1: to be both been aware of each other for a 294 00:18:58,276 --> 00:19:02,396 Speaker 1: long long time, half a century. In my case, I 295 00:19:02,436 --> 00:19:05,196 Speaker 1: suppose really to talk about music now is a bit 296 00:19:05,796 --> 00:19:08,436 Speaker 1: It's a bit odd because I only know what I 297 00:19:08,436 --> 00:19:11,436 Speaker 1: can tell you in this flurry of energy and a 298 00:19:11,996 --> 00:19:15,396 Speaker 1: small coffee. But what's really happened to me all the 299 00:19:15,396 --> 00:19:19,276 Speaker 1: way through was the causing effect, and one thing leads 300 00:19:19,276 --> 00:19:22,676 Speaker 1: to another leads all the way through. Sir Dylan and 301 00:19:22,996 --> 00:19:29,196 Speaker 1: his adventures opened up so that we knew about Dave 302 00:19:29,276 --> 00:19:33,276 Speaker 1: van Ronk and you know Spider John Corner. I mean 303 00:19:33,316 --> 00:19:36,036 Speaker 1: Canned Heat. Never mind the British bringing the blues to America, 304 00:19:36,316 --> 00:19:39,436 Speaker 1: it was already that the young white kids were really doing, 305 00:19:39,556 --> 00:19:41,916 Speaker 1: making a great job of it with Mike Bloomfield and 306 00:19:43,196 --> 00:19:46,836 Speaker 1: Elvin Bishop and Canned Heat and seeing those clips of 307 00:19:46,876 --> 00:19:51,836 Speaker 1: Newport Folk Festival and stuff that now or in nineteen 308 00:19:51,996 --> 00:19:54,316 Speaker 1: seventy even looking back and see him our good friend 309 00:19:54,396 --> 00:19:58,676 Speaker 1: armat Urtic and in the crowd. You know, it's the links. 310 00:19:58,676 --> 00:20:02,916 Speaker 1: They are indelible parts of my DNA. They're fantastic in 311 00:20:02,956 --> 00:20:08,676 Speaker 1: the true sense of the word, channels of stimulus. We'll 312 00:20:08,716 --> 00:20:11,876 Speaker 1: be right back with more from Rick Rubin and Robert Plant. 313 00:20:11,916 --> 00:20:18,396 Speaker 1: After a quick break. We're back with more from Robert 314 00:20:18,476 --> 00:20:22,516 Speaker 1: Plant and Rick Rubin. When Zeppelin one first came out, 315 00:20:22,756 --> 00:20:25,076 Speaker 1: did it take off right away or what was the 316 00:20:25,116 --> 00:20:29,876 Speaker 1: reception right in the beginning, Well, we were playing before 317 00:20:29,876 --> 00:20:34,036 Speaker 1: he came out, so we got to La December sixty eight, 318 00:20:34,196 --> 00:20:38,356 Speaker 1: and it came out some time in January. And I 319 00:20:38,396 --> 00:20:42,996 Speaker 1: guess Jimmy's reputation from the Yardbirds was powerful, and he 320 00:20:43,156 --> 00:20:46,756 Speaker 1: threw some amazing shapes musically and physically. It was just 321 00:20:47,116 --> 00:20:52,956 Speaker 1: there was a whole cavalcade of energy. And you have 322 00:20:53,156 --> 00:20:57,156 Speaker 1: to be transmitting in the same on the same planet 323 00:20:57,236 --> 00:21:01,436 Speaker 1: as that, otherwise you don't have there's no gig for you. Yes, 324 00:21:01,956 --> 00:21:04,356 Speaker 1: and I really knew how to do that because John 325 00:21:04,396 --> 00:21:07,916 Speaker 1: Bonham and I we already had our own similar but 326 00:21:08,316 --> 00:21:13,436 Speaker 1: mysteriously obscure Band of Joy, which was nuts It was 327 00:21:13,476 --> 00:21:17,876 Speaker 1: really stretching within the limitations that we had as kids, 328 00:21:17,996 --> 00:21:19,876 Speaker 1: you know. I mean I was nineteen when I met 329 00:21:21,076 --> 00:21:25,636 Speaker 1: Jimmy and John Paul. But the energy, the fireball that 330 00:21:25,676 --> 00:21:29,996 Speaker 1: we developed and was created around us took no prisoners, 331 00:21:31,076 --> 00:21:33,196 Speaker 1: with or without a success of an album or what 332 00:21:33,236 --> 00:21:35,356 Speaker 1: everybody is. But it did kick in and it was 333 00:21:35,396 --> 00:21:42,476 Speaker 1: a very stimulating, incredible surge because with the advent of FM, 334 00:21:42,596 --> 00:21:46,636 Speaker 1: radio playlists were abandoned quite often. You know, it would 335 00:21:46,676 --> 00:21:51,596 Speaker 1: just you could go from Voorjac to Kaleidoscope speaking from 336 00:21:51,676 --> 00:21:54,196 Speaker 1: Mars or whatever it would be. It was just fantastic that, 337 00:21:54,756 --> 00:21:57,356 Speaker 1: you know, people were just going, yeah, man, this is music. 338 00:21:57,516 --> 00:22:00,556 Speaker 1: And then so we'd go places and they just put 339 00:22:00,556 --> 00:22:03,276 Speaker 1: our record on and play both sides of it and 340 00:22:03,316 --> 00:22:06,436 Speaker 1: then talk for a while and then they say, what 341 00:22:06,516 --> 00:22:08,436 Speaker 1: do you want to play? You know, So they'd let 342 00:22:08,476 --> 00:22:11,636 Speaker 1: us loose on the libraries in the radio stations, which 343 00:22:11,716 --> 00:22:14,476 Speaker 1: was the wrong thing to do. Incredible, yea, so great 344 00:22:14,516 --> 00:22:17,076 Speaker 1: though that you Yeah, so we were kind of passing 345 00:22:17,076 --> 00:22:21,196 Speaker 1: them out through the toilet window. Look quick, take this, 346 00:22:21,836 --> 00:22:26,196 Speaker 1: you know this thievery Yeah. Yeah, it was so much more, 347 00:22:26,356 --> 00:22:31,236 Speaker 1: so much more freedom in the whole delivery of music 348 00:22:31,316 --> 00:22:34,796 Speaker 1: to the people in those days. What was the feeling 349 00:22:35,276 --> 00:22:38,916 Speaker 1: after bottom passes. Was there any talk of continuing or 350 00:22:38,996 --> 00:22:41,596 Speaker 1: was it clear that that was not going to happen. Well, 351 00:22:41,636 --> 00:22:44,276 Speaker 1: you know, as a four piece band, what are you 352 00:22:44,276 --> 00:22:47,396 Speaker 1: going to do? I mean, I don't know how anybody could, ever, 353 00:22:47,636 --> 00:22:51,716 Speaker 1: any group of people could find when twenty five percent 354 00:22:51,756 --> 00:22:57,516 Speaker 1: of the driving wheel, which is so characteristic and really surges. 355 00:22:57,556 --> 00:23:00,596 Speaker 1: I mean, it wasn't just that he was a magnificent drummer. 356 00:23:01,436 --> 00:23:03,516 Speaker 1: It was just more of the point that he was. 357 00:23:04,556 --> 00:23:07,516 Speaker 1: He could telegraph the turns in the songs. Yeah, he 358 00:23:07,556 --> 00:23:11,476 Speaker 1: could make it all swear, and when he was tired 359 00:23:11,516 --> 00:23:14,756 Speaker 1: of an idiom within the song, he'd go into Wolf's 360 00:23:14,796 --> 00:23:17,996 Speaker 1: time for a minute and just look at me and laugh. Yeah. 361 00:23:18,236 --> 00:23:20,676 Speaker 1: He was playing jazz, yeah, yeah, and he got fed 362 00:23:20,716 --> 00:23:23,316 Speaker 1: up at one time. I remember in somewhere in New York, 363 00:23:23,436 --> 00:23:25,116 Speaker 1: he just got up and walked through his drum kit. 364 00:23:25,516 --> 00:23:26,956 Speaker 1: That's it. I don't want to do that. And we 365 00:23:27,036 --> 00:23:31,556 Speaker 1: switched quickly to going to California or so what somebody 366 00:23:31,716 --> 00:23:35,436 Speaker 1: lured him back onto the Riser. Well, it's funny, really, 367 00:23:35,436 --> 00:23:38,796 Speaker 1: because last night I spent the evening with Jason Bonham, 368 00:23:38,796 --> 00:23:41,956 Speaker 1: and it was fantastic. I mean, Jason's come a long 369 00:23:41,996 --> 00:23:44,636 Speaker 1: way and he's he's fifty five, and I think I've 370 00:23:44,676 --> 00:23:48,996 Speaker 1: known him since he was one. Yeah, so Bonham was crucial. 371 00:23:49,156 --> 00:23:52,436 Speaker 1: Couldn't nobody could consider moving on? Since you played with 372 00:23:52,476 --> 00:23:55,436 Speaker 1: so many great musicians over the years, would you say 373 00:23:55,836 --> 00:23:58,716 Speaker 1: that the nature of playing with him was a particular thing. 374 00:23:59,316 --> 00:24:02,116 Speaker 1: Was he unlike any drubber you've ever played with? Well? Yeah, 375 00:24:02,476 --> 00:24:05,156 Speaker 1: Bearing in mind that we started playing together in one 376 00:24:05,196 --> 00:24:08,636 Speaker 1: of those sprung maple leaf dance floors, and it's in 377 00:24:08,756 --> 00:24:12,036 Speaker 1: a hall when I had a group caller Crawling King Snakes, 378 00:24:12,036 --> 00:24:15,556 Speaker 1: And I mean we were too young to drive. We 379 00:24:15,636 --> 00:24:18,956 Speaker 1: hadn't got driving licenses. We were just kids. And he said, 380 00:24:18,956 --> 00:24:22,436 Speaker 1: you're okay, he said, you know, he said, but you'd 381 00:24:22,476 --> 00:24:24,116 Speaker 1: be a lot better if you had the best drummer 382 00:24:24,116 --> 00:24:26,676 Speaker 1: in the world behind you. I said, yeah, but I 383 00:24:26,676 --> 00:24:30,716 Speaker 1: already do. And I said, well, okay, I know that 384 00:24:30,756 --> 00:24:33,036 Speaker 1: you're good, but where do you live? And he told me. 385 00:24:33,076 --> 00:24:35,996 Speaker 1: I said, oh, you can't join our group. We can't 386 00:24:35,996 --> 00:24:38,356 Speaker 1: afford the gasoline to go and pick you up and 387 00:24:38,436 --> 00:24:41,756 Speaker 1: drop you off. So so we did a bit of 388 00:24:41,796 --> 00:24:45,596 Speaker 1: thievery and I got caught by the police for sucking 389 00:24:45,756 --> 00:24:47,876 Speaker 1: fuel out of a gas tank one night, just to 390 00:24:48,636 --> 00:24:51,756 Speaker 1: keep it going. I think most every drummer I've worked 391 00:24:51,756 --> 00:24:53,756 Speaker 1: with in their own way has had a huge effect 392 00:24:53,796 --> 00:24:57,236 Speaker 1: on me, really right up to right now, you know. 393 00:24:57,316 --> 00:25:00,796 Speaker 1: But yeah, I mean clive'sma who played with us in 394 00:25:00,836 --> 00:25:07,556 Speaker 1: the original post page plant times in strange sensations with Radiohead. 395 00:25:07,596 --> 00:25:10,756 Speaker 1: Now when I met him, was just finishing off the 396 00:25:10,876 --> 00:25:14,556 Speaker 1: Porter's Head era, and he in a totally different way. 397 00:25:14,596 --> 00:25:16,796 Speaker 1: He'd done all that stuff with Runny size, the drumming 398 00:25:16,836 --> 00:25:21,716 Speaker 1: bass stuffs from Bristol. He still is and at that 399 00:25:21,876 --> 00:25:27,236 Speaker 1: turnaround of drumming and the incidental polyrhythmic stuff that which 400 00:25:28,076 --> 00:25:31,036 Speaker 1: now you'd just get four good bars and loop it 401 00:25:31,156 --> 00:25:34,876 Speaker 1: up and then drop an incendiary into it after a minute. 402 00:25:35,356 --> 00:25:37,796 Speaker 1: It was brilliant. Let's talk about that for a good 403 00:25:37,836 --> 00:25:40,996 Speaker 1: bars idea, because I used to collect Zeppelin bootlegs of 404 00:25:41,036 --> 00:25:44,836 Speaker 1: live shows and they were so different from night to night, 405 00:25:45,156 --> 00:25:48,076 Speaker 1: the dynamics of the song, the length of the sections, 406 00:25:48,556 --> 00:25:52,196 Speaker 1: it was so improvisational. Was that unique to your band 407 00:25:52,316 --> 00:25:54,716 Speaker 1: or was that what everybody was doing at that time? 408 00:25:54,916 --> 00:25:57,956 Speaker 1: Because it seems so far and now, well, I think 409 00:25:57,996 --> 00:26:03,396 Speaker 1: the flexibility was very interesting because John, Paul Jones, and 410 00:26:03,876 --> 00:26:06,116 Speaker 1: in fact the three of them, I became just like 411 00:26:06,116 --> 00:26:09,316 Speaker 1: a passenger, realio voyeur. I'd bought the ticket, not most 412 00:26:09,356 --> 00:26:11,796 Speaker 1: of the time. Sometimes I could leave the stage and 413 00:26:11,796 --> 00:26:14,036 Speaker 1: talk to members of the audience and come back on again. 414 00:26:14,436 --> 00:26:17,916 Speaker 1: And I did start learning Welsh at one point at 415 00:26:17,956 --> 00:26:21,996 Speaker 1: a little textbook. But they get into grooves like Alphonse 416 00:26:22,076 --> 00:26:26,476 Speaker 1: Musan or Pretty Purdy. They just listened to stuff on 417 00:26:26,636 --> 00:26:29,276 Speaker 1: the way to the gigs. We all carried these big 418 00:26:29,316 --> 00:26:34,636 Speaker 1: record players with huge boxes of albums, and there would 419 00:26:34,676 --> 00:26:38,596 Speaker 1: be all that late Johnny guitar Watson, all that sort 420 00:26:38,596 --> 00:26:42,396 Speaker 1: of great groove stuff, and so that would make its 421 00:26:42,436 --> 00:26:47,196 Speaker 1: way into extended instrumentals. But everybody I think was doing 422 00:26:47,196 --> 00:26:50,276 Speaker 1: it the airplane in their way. We're doing it grateful 423 00:26:50,316 --> 00:26:52,356 Speaker 1: dead for sure, you know. But I think there was 424 00:26:52,396 --> 00:26:56,076 Speaker 1: something kind of unusual about the whole the three guys 425 00:26:56,076 --> 00:26:59,956 Speaker 1: in zeppelins, where it was that they kick in immediately 426 00:27:00,636 --> 00:27:03,196 Speaker 1: and we could write stuff like the Crunge on Houses, 427 00:27:03,276 --> 00:27:06,876 Speaker 1: the Holy you know, we go and see James Brown's 428 00:27:07,676 --> 00:27:13,396 Speaker 1: real hot bander Jay Bees, and just the stimulation and 429 00:27:13,476 --> 00:27:17,076 Speaker 1: the stimulants of the time just oh, just taking it 430 00:27:17,116 --> 00:27:19,236 Speaker 1: all in. I think that's the thing. I think it 431 00:27:19,356 --> 00:27:23,236 Speaker 1: was a wide open possibility in those periods in the 432 00:27:23,236 --> 00:27:28,316 Speaker 1: early seventies of writing, where we were leaning, borrowing, leaning, 433 00:27:28,436 --> 00:27:32,796 Speaker 1: and developing brand new stuff in a very beautiful, haphazard way. Yeah, 434 00:27:32,916 --> 00:27:36,076 Speaker 1: we didn't have a group chaplain, but it always came 435 00:27:36,076 --> 00:27:38,596 Speaker 1: out like new music. Like you would be inspired by 436 00:27:38,676 --> 00:27:41,156 Speaker 1: James Brown, but the theme that came out sounded like 437 00:27:41,236 --> 00:27:44,956 Speaker 1: led Zeppelin. You'd be inspired by reggae music, and the 438 00:27:44,956 --> 00:27:47,156 Speaker 1: theme that came out sounded like led Zeppelin. It never 439 00:27:47,236 --> 00:27:52,836 Speaker 1: sounded derivative ever, it always sounded like new music. Yeah, 440 00:27:52,356 --> 00:27:55,676 Speaker 1: I mean I used to take the stuff home. I 441 00:27:55,676 --> 00:27:57,956 Speaker 1: mean I didn't have a stereo system until the end 442 00:27:57,956 --> 00:28:00,956 Speaker 1: of led Zeppelin two. So the only time I ever 443 00:28:00,996 --> 00:28:05,436 Speaker 1: heard any stereo interesting their stereo stuff was when I 444 00:28:05,476 --> 00:28:07,756 Speaker 1: went in the studio and heard the panning on a 445 00:28:07,756 --> 00:28:09,396 Speaker 1: Whole Lot of Love or something like that. You know, 446 00:28:10,356 --> 00:28:14,516 Speaker 1: it's pretty primeval that my world. I had a simple 447 00:28:14,556 --> 00:28:17,396 Speaker 1: tape recorder and I was able to work with backing 448 00:28:17,396 --> 00:28:20,636 Speaker 1: tracks and stuff at home. But my contribution was really 449 00:28:20,716 --> 00:28:24,756 Speaker 1: tough because these guys were taking it somewhere nobody had 450 00:28:24,796 --> 00:28:29,596 Speaker 1: been before. And I had to make something melodically interesting. 451 00:28:29,756 --> 00:28:32,476 Speaker 1: And also by that time, I was twenty twenty one 452 00:28:32,556 --> 00:28:36,236 Speaker 1: years old, and I was still trite in my lyrical 453 00:28:36,676 --> 00:28:39,556 Speaker 1: wherever it was, But here and there it started. I 454 00:28:39,636 --> 00:28:42,356 Speaker 1: started shaping some opinions up. And having enough time as 455 00:28:42,396 --> 00:28:45,876 Speaker 1: a as a as a parent, and still being around 456 00:28:45,876 --> 00:28:48,956 Speaker 1: that bohemian scene I mentioned, and still living where I 457 00:28:48,956 --> 00:28:52,036 Speaker 1: came from as I still do now exactly the same. 458 00:28:52,916 --> 00:28:57,116 Speaker 1: Bonzo's houses like five miles from mine, still, Yeah, and 459 00:28:57,156 --> 00:29:00,036 Speaker 1: it's there's nothing antiquarian about any of it, you know. 460 00:29:00,156 --> 00:29:03,716 Speaker 1: We just blues rolls on, you know. So yeah, it was. 461 00:29:04,196 --> 00:29:07,116 Speaker 1: It was a prolific time and a time of a 462 00:29:07,236 --> 00:29:12,796 Speaker 1: great There was a great of mutual inspiration between the 463 00:29:12,836 --> 00:29:15,996 Speaker 1: four of us at that time, and there was a 464 00:29:16,076 --> 00:29:19,076 Speaker 1: lot of fun. Were there clicks within the band? Like, 465 00:29:19,356 --> 00:29:21,076 Speaker 1: were there any people who hung out with other people 466 00:29:21,196 --> 00:29:23,436 Speaker 1: more than other people? How did it work? The internal 467 00:29:23,516 --> 00:29:26,876 Speaker 1: dynamics of the band, It would change. I mean the 468 00:29:27,036 --> 00:29:32,276 Speaker 1: very very first times together was obviously Bonzo and I 469 00:29:32,476 --> 00:29:35,916 Speaker 1: borrowing his mom's car to go down to an audition 470 00:29:37,316 --> 00:29:39,956 Speaker 1: and siphoning the petrol out of somebody else's car while 471 00:29:39,956 --> 00:29:42,236 Speaker 1: they were asleep to get there, that sort of deal, 472 00:29:43,196 --> 00:29:47,036 Speaker 1: and it's time went on. I think really the sharing 473 00:29:47,076 --> 00:29:51,956 Speaker 1: of musicality was the kind of beacon so John Paul 474 00:29:52,036 --> 00:29:55,836 Speaker 1: and Bonzo made when we were working on stuff, when 475 00:29:55,876 --> 00:29:58,636 Speaker 1: we were staying in these sort of what you'd loosely 476 00:29:58,676 --> 00:30:03,196 Speaker 1: call residential places, which were basically houses with a staircase 477 00:30:03,236 --> 00:30:07,236 Speaker 1: of stairwell where we could get that sound that the 478 00:30:07,316 --> 00:30:12,916 Speaker 1: Beastie Boys borrowed. The whole deal was like we were there, 479 00:30:13,356 --> 00:30:17,196 Speaker 1: so sometimes somebody would go to bed, or somebody would 480 00:30:17,196 --> 00:30:21,116 Speaker 1: go somewhere, and some two guys might be left just 481 00:30:21,996 --> 00:30:26,876 Speaker 1: playing rhythm parts, just grooving two of them, you know, 482 00:30:26,956 --> 00:30:31,876 Speaker 1: and Jones's playing man, I mean, just huh. It was 483 00:30:31,996 --> 00:30:34,676 Speaker 1: very funny and it's still funny now with John Paul 484 00:30:34,796 --> 00:30:38,116 Speaker 1: because he used to say to me, well, yeah, it 485 00:30:38,156 --> 00:30:41,756 Speaker 1: seems like a good melody on that track, right. I said, 486 00:30:41,756 --> 00:30:43,636 Speaker 1: what do you think about the second verse of the lyrics? 487 00:30:43,756 --> 00:30:46,436 Speaker 1: He said, oh, no, sorry, I don't listen to the lyrics. 488 00:30:47,476 --> 00:30:53,276 Speaker 1: That was another brandishing of the war, you know, the tomahawk, right, Okay, 489 00:30:53,716 --> 00:30:57,236 Speaker 1: So I wrote a couple of songs about him shrouded 490 00:30:57,276 --> 00:31:00,636 Speaker 1: in some other character, and it's just just I said, 491 00:31:00,636 --> 00:31:05,036 Speaker 1: you may perhaps you may need to listen to this John. 492 00:31:05,276 --> 00:31:07,556 Speaker 1: So it was funny, you know, But Jimmy and I 493 00:31:07,596 --> 00:31:10,396 Speaker 1: had this pastoral thing that we we traveled back from 494 00:31:10,436 --> 00:31:14,356 Speaker 1: places through We had adventures in Thailand and India, and 495 00:31:15,236 --> 00:31:19,676 Speaker 1: Jimmy went on to Egypt. I spent so much time 496 00:31:19,676 --> 00:31:22,036 Speaker 1: in Morocco and got him to come down there and 497 00:31:23,036 --> 00:31:27,796 Speaker 1: seventy two. We traveled a lot just off the beaten track, 498 00:31:28,276 --> 00:31:31,676 Speaker 1: and we got pretty close to some times when we 499 00:31:31,676 --> 00:31:34,676 Speaker 1: were very lucky to get out of some of these places. Well, 500 00:31:34,716 --> 00:31:37,396 Speaker 1: we found ourselves in the wrong parts of nearly every 501 00:31:37,396 --> 00:31:41,956 Speaker 1: city we went to intentionally quite often. But it gave 502 00:31:42,036 --> 00:31:45,236 Speaker 1: us more savor for what we were writing and thinking 503 00:31:45,236 --> 00:31:48,396 Speaker 1: and feeling. I mean, there wouldn't be a Kashmir without 504 00:31:48,476 --> 00:31:52,516 Speaker 1: us traveling down to the pre Sahara in Morocco or whatever. 505 00:31:53,356 --> 00:31:57,156 Speaker 1: But then again, Jones's contribution to Kashmir was strong, and 506 00:31:57,236 --> 00:32:01,636 Speaker 1: he never went. Were the trips primarily designed for inspiration 507 00:32:01,876 --> 00:32:03,196 Speaker 1: or was it just what you were interested in the 508 00:32:03,236 --> 00:32:05,676 Speaker 1: time and the inspiration happened to happen now that we 509 00:32:05,796 --> 00:32:08,116 Speaker 1: just didn't want to go home, yea. So we played 510 00:32:08,156 --> 00:32:11,156 Speaker 1: in Japan and its ages to get home. No there 511 00:32:11,236 --> 00:32:13,436 Speaker 1: was no, it wasn't We didn't go out to find 512 00:32:13,476 --> 00:32:17,636 Speaker 1: the world for inspiration. It just we just went out 513 00:32:17,676 --> 00:32:24,076 Speaker 1: to find everything for everything amazing. Yeah, it's insane. Yeah, 514 00:32:24,276 --> 00:32:27,716 Speaker 1: interesting thing you said earlier about the jam band esthetic 515 00:32:27,916 --> 00:32:30,476 Speaker 1: like Grateful Dead, we're doing it. We think of the 516 00:32:30,476 --> 00:32:32,876 Speaker 1: Grateful Dead as a band that that's what they do, 517 00:32:33,396 --> 00:32:37,956 Speaker 1: whereas led Zeppelin, because of the success and the pristine 518 00:32:38,036 --> 00:32:41,876 Speaker 1: quality of the albums, we think of those songs as 519 00:32:41,956 --> 00:32:45,196 Speaker 1: carved in stone based on the album version. We don't 520 00:32:45,196 --> 00:32:47,476 Speaker 1: think about any Grateful Dead songs that way, do you 521 00:32:47,556 --> 00:32:50,276 Speaker 1: know what I'm saying. So it's it's an interesting thing. 522 00:32:51,156 --> 00:32:54,076 Speaker 1: You don't expect to see led Zeppelin on a good 523 00:32:54,196 --> 00:32:57,036 Speaker 1: night and it'd be different than the thing that you're 524 00:32:57,156 --> 00:32:59,596 Speaker 1: used to. Yeah, exactly. Yeah, so it's a kind of shock. 525 00:33:00,316 --> 00:33:03,276 Speaker 1: I think most irrelevance of that was it would be 526 00:33:03,756 --> 00:33:08,596 Speaker 1: pretty dull to follow structure. I mean, that's the thing 527 00:33:08,636 --> 00:33:13,036 Speaker 1: that takes We all know talking about music is like 528 00:33:13,156 --> 00:33:16,196 Speaker 1: dancing about architecture. That's a little bit of a tired 529 00:33:16,236 --> 00:33:18,676 Speaker 1: but here we are doing it. But the bottom line is, 530 00:33:18,716 --> 00:33:21,276 Speaker 1: if you had to, if you were stuck in the 531 00:33:22,196 --> 00:33:25,356 Speaker 1: Al Martino vibe, every night or whatever it is, and 532 00:33:25,916 --> 00:33:30,596 Speaker 1: you knew where it began and ended. Well, surely accountancy 533 00:33:30,676 --> 00:33:33,876 Speaker 1: wasn't such a bad idea. Perhaps it was. You know, 534 00:33:34,156 --> 00:33:37,636 Speaker 1: I could have been working in the Forestry Commission or 535 00:33:37,676 --> 00:33:41,436 Speaker 1: something like that, watching the changing of the seasons, and 536 00:33:41,556 --> 00:33:45,516 Speaker 1: that would have been way more rewarding. In fact, I'm 537 00:33:45,516 --> 00:33:49,916 Speaker 1: going now goodbye. Yea. So it was great, I mean, 538 00:33:49,956 --> 00:33:53,796 Speaker 1: and that claret. That call goes back to the folk clubs, 539 00:33:53,836 --> 00:33:58,636 Speaker 1: back to the guys singing the Irish murder ballads, unaccompanied 540 00:33:58,676 --> 00:34:03,236 Speaker 1: singers rambling on all over the place with old stories 541 00:34:03,236 --> 00:34:06,236 Speaker 1: and tales that had no end. And how many stanzas 542 00:34:06,276 --> 00:34:10,916 Speaker 1: of the Hangman's Beautiful Daughter can you remember? I mean, 543 00:34:11,156 --> 00:34:14,516 Speaker 1: it's almost like people quote from Monty Python and the 544 00:34:14,516 --> 00:34:16,996 Speaker 1: Holy Grail. Well, a lot of my friends we all 545 00:34:17,076 --> 00:34:19,596 Speaker 1: quote from the Incredible String Band, you know, that sort 546 00:34:19,636 --> 00:34:24,036 Speaker 1: of those places to go where it didn't matter about 547 00:34:24,076 --> 00:34:27,196 Speaker 1: so much about structure or form. Yes, which is kind 548 00:34:27,236 --> 00:34:29,476 Speaker 1: of interesting because look where I am now. How do 549 00:34:29,516 --> 00:34:32,116 Speaker 1: you compare your relationship with music now versus when you 550 00:34:32,116 --> 00:34:34,396 Speaker 1: were young? Well, when I was young, I knew nothing. 551 00:34:34,676 --> 00:34:37,716 Speaker 1: I was a stolen child. It's like music came and 552 00:34:37,756 --> 00:34:41,396 Speaker 1: swept me away in the Torrent and the flood, and 553 00:34:41,596 --> 00:34:45,036 Speaker 1: I knew nothing. I knew no indication of anything. I 554 00:34:45,036 --> 00:34:47,876 Speaker 1: could just as easily get excited about a colliery brass 555 00:34:47,876 --> 00:34:51,956 Speaker 1: band from Yorkshire as I could from almost from Sleepy 556 00:34:51,996 --> 00:34:57,116 Speaker 1: Gynestes until Sleepy Gynestes actually was Elvis. I could hear 557 00:34:57,156 --> 00:34:59,916 Speaker 1: that in his voice, and I could hear this mournful 558 00:34:59,996 --> 00:35:04,676 Speaker 1: thing come along. And I think my perspective, or the 559 00:35:04,836 --> 00:35:09,516 Speaker 1: information's highway into me just grew and grew and crew. 560 00:35:10,116 --> 00:35:14,396 Speaker 1: It's not my business to be opinionated, but I think 561 00:35:14,876 --> 00:35:17,956 Speaker 1: this has been the great escape, this whole deal of 562 00:35:18,076 --> 00:35:24,476 Speaker 1: my time to inquire into music. And yet, because you 563 00:35:24,516 --> 00:35:27,116 Speaker 1: know I'm from England, I still don't know too much 564 00:35:27,156 --> 00:35:32,996 Speaker 1: about certain departments of stuff, you know, certain categories, certain 565 00:35:33,516 --> 00:35:37,156 Speaker 1: colleges of music. I'm like a kind of naive collector 566 00:35:37,196 --> 00:35:40,956 Speaker 1: of beautiful sounds. We're going to take a quick break, 567 00:35:40,996 --> 00:35:43,516 Speaker 1: but we'll be right back with more from Robert Plant. 568 00:35:48,036 --> 00:35:50,596 Speaker 1: We're back with the rest of Rick Rubin's conversation with 569 00:35:50,716 --> 00:35:55,436 Speaker 1: Robert Plant. How did the first collaboration with Allison come about? 570 00:35:55,956 --> 00:35:59,396 Speaker 1: She if she was sitting normally, sits just next to 571 00:35:59,396 --> 00:36:02,156 Speaker 1: me over there when we do stuff together. And she 572 00:36:02,276 --> 00:36:04,956 Speaker 1: has a theory and I'm going to use this theory 573 00:36:04,996 --> 00:36:09,276 Speaker 1: as being it because it can't be hugely specific. I 574 00:36:09,356 --> 00:36:13,316 Speaker 1: got invited somehow by the guys who run the Rock 575 00:36:13,356 --> 00:36:16,996 Speaker 1: and Roll Hall of Fame Museum in Cleveland because of 576 00:36:17,756 --> 00:36:23,276 Speaker 1: my borrowing from Lead Belly to contribute to a night 577 00:36:23,516 --> 00:36:29,076 Speaker 1: a tribute to him at the Cleveland Concert Hall or 578 00:36:29,116 --> 00:36:32,396 Speaker 1: something some fancy hall which you'd have to approach with 579 00:36:32,476 --> 00:36:36,276 Speaker 1: hushed tones as you go in. There was Odetta, Harry Bellafonte, 580 00:36:36,356 --> 00:36:41,956 Speaker 1: Clarence Gatemouth Brown, and myself what would I do? And 581 00:36:42,036 --> 00:36:49,516 Speaker 1: I had a communication with Alison and there was this idea, 582 00:36:49,716 --> 00:36:52,236 Speaker 1: the whole idea of like, have you ever thought about 583 00:36:52,276 --> 00:36:56,116 Speaker 1: singing with somebody else? And I thought, well, how on 584 00:36:56,156 --> 00:36:58,436 Speaker 1: earth would I be able to sing alongside somebody else? 585 00:36:58,476 --> 00:37:01,116 Speaker 1: Because I really don't know what I'm going to sing next? 586 00:37:01,716 --> 00:37:04,156 Speaker 1: In the middle of a song that's got a melody, 587 00:37:04,596 --> 00:37:08,836 Speaker 1: I maneuver melodies around like crazy. But anyway, she came 588 00:37:08,876 --> 00:37:13,036 Speaker 1: to the rehearsals in Cleveland and it was a very 589 00:37:13,156 --> 00:37:18,876 Speaker 1: very warm and endearing moment of meeting this new person. 590 00:37:19,836 --> 00:37:22,516 Speaker 1: And she could play like a fiddle plane. I was 591 00:37:22,556 --> 00:37:25,636 Speaker 1: insane we had this idea. I had this idea. Justin 592 00:37:25,676 --> 00:37:29,596 Speaker 1: Adams was with me from the Space Shifters, and I 593 00:37:29,636 --> 00:37:32,236 Speaker 1: had a word with David Hidalgo and he brought Lost 594 00:37:32,236 --> 00:37:34,796 Speaker 1: Lobos with him and I asked him if he would 595 00:37:34,796 --> 00:37:37,596 Speaker 1: bring his Marry Archiesque instruments, the quadra and all that 596 00:37:37,676 --> 00:37:40,156 Speaker 1: sort of thing, so that we could do lead belly stuff. 597 00:37:40,156 --> 00:37:42,756 Speaker 1: But we weren't going to hammer it, because the worst 598 00:37:42,796 --> 00:37:45,916 Speaker 1: thing in the world, as British rock group can do, 599 00:37:45,956 --> 00:37:51,436 Speaker 1: is hammer the blues into submission. So we did and 600 00:37:51,476 --> 00:37:56,996 Speaker 1: Alison was very comical. We laughed a lot because she 601 00:37:57,236 --> 00:38:03,276 Speaker 1: kind of straightened me up and said, yes, she with 602 00:38:03,436 --> 00:38:05,996 Speaker 1: that sort of tone, of affected tone of boye, if 603 00:38:05,996 --> 00:38:08,716 Speaker 1: you want me to sing with you, how can I 604 00:38:08,796 --> 00:38:10,596 Speaker 1: sing with you if I don't know what the hell 605 00:38:10,636 --> 00:38:13,276 Speaker 1: you're going to sing next? How can I harmonize with 606 00:38:13,316 --> 00:38:16,316 Speaker 1: you when nobody knows what the hell you're doing, including you? 607 00:38:16,956 --> 00:38:19,396 Speaker 1: I said, yeah, that's a very good point. So that's 608 00:38:19,436 --> 00:38:21,316 Speaker 1: what happens in harmony, is then, is it? Because I 609 00:38:21,356 --> 00:38:23,996 Speaker 1: thought in Zeppelin I'd just sing and put a third 610 00:38:24,036 --> 00:38:27,636 Speaker 1: on top of it, or Jimmy would and John Bonham 611 00:38:27,636 --> 00:38:31,356 Speaker 1: had a great voice, would just do some trial our las, 612 00:38:31,396 --> 00:38:33,356 Speaker 1: but we were never going to be the Association or 613 00:38:33,396 --> 00:38:36,116 Speaker 1: something like that. Sadly I wish we had. So it 614 00:38:36,196 --> 00:38:40,116 Speaker 1: was a bit of a sort of roop, and I 615 00:38:40,156 --> 00:38:43,116 Speaker 1: think it frightened Allison to death. But it was funny 616 00:38:43,636 --> 00:38:47,716 Speaker 1: and it was a fantastic night. It was really really good, 617 00:38:47,956 --> 00:38:52,116 Speaker 1: and she thought that there was some carriage in it, 618 00:38:52,156 --> 00:38:56,756 Speaker 1: and I thought there was a possibility of moving along 619 00:38:56,836 --> 00:38:59,316 Speaker 1: together in some form or another, or even just singing. 620 00:38:59,996 --> 00:39:02,316 Speaker 1: And I was fully aware of the fact that because 621 00:39:02,316 --> 00:39:05,276 Speaker 1: she's that much younger than me, I think led Zeppelin 622 00:39:05,516 --> 00:39:08,556 Speaker 1: kind of. I wouldn't say it frightened her, but I 623 00:39:08,636 --> 00:39:12,316 Speaker 1: think because of her time as a young girl, she 624 00:39:12,396 --> 00:39:15,756 Speaker 1: was so diligent in her work and in her studies, 625 00:39:15,796 --> 00:39:19,436 Speaker 1: if you like that. If she ventured into rock at all, 626 00:39:19,436 --> 00:39:23,356 Speaker 1: it was that kind of eighties place where melody and 627 00:39:23,476 --> 00:39:27,196 Speaker 1: pop was disguised with big guitars. Yes, there was no 628 00:39:27,516 --> 00:39:32,316 Speaker 1: existential moments of spiraling into the vortex. So I don't 629 00:39:32,316 --> 00:39:35,516 Speaker 1: think she really had any idea about what I was 630 00:39:35,556 --> 00:39:38,716 Speaker 1: all about. Particularly, she probably did a better homework, but 631 00:39:39,516 --> 00:39:42,076 Speaker 1: and so why not try and see what we can do? 632 00:39:42,676 --> 00:39:44,596 Speaker 1: And I thought, what does that mean? I've got to 633 00:39:44,636 --> 00:39:47,236 Speaker 1: sing the same thing. How am I ever going to 634 00:39:47,276 --> 00:39:50,276 Speaker 1: actually hold a melody down? But so we came to 635 00:39:50,316 --> 00:39:56,836 Speaker 1: this very studio, met up and discussed the in advance, 636 00:39:57,236 --> 00:40:01,036 Speaker 1: the possibility of actually making some music together. And we 637 00:40:01,116 --> 00:40:06,116 Speaker 1: needed a master magician because we were so radically different 638 00:40:06,676 --> 00:40:10,356 Speaker 1: in how the way we bridge ejected, what we'd spent 639 00:40:10,396 --> 00:40:13,676 Speaker 1: our lives of listening to and how we thought of anything. 640 00:40:13,716 --> 00:40:16,116 Speaker 1: You know. We would just come from the other side 641 00:40:16,156 --> 00:40:19,316 Speaker 1: of the world and she'd worked with t Bone Bennette 642 00:40:19,796 --> 00:40:22,876 Speaker 1: on down from the Mountain and oh brother were art 643 00:40:22,916 --> 00:40:29,036 Speaker 1: out Bone. He's a remarkable pistol, He's a cannon. He's 644 00:40:29,036 --> 00:40:32,276 Speaker 1: got a head full of stars that fly out when 645 00:40:32,316 --> 00:40:35,676 Speaker 1: you least expect him. As some the great Glove Idea 646 00:40:35,716 --> 00:40:37,476 Speaker 1: and stuff like that, But I didn't know anything about 647 00:40:37,556 --> 00:40:39,236 Speaker 1: I just knew who he was and what he did. 648 00:40:39,996 --> 00:40:41,516 Speaker 1: I remember as a kid he was on the roll 649 00:40:41,556 --> 00:40:43,716 Speaker 1: in Thunder review that sort of thing, but I didn't 650 00:40:43,756 --> 00:40:47,476 Speaker 1: know what he was going to be all about. It 651 00:40:47,556 --> 00:40:52,316 Speaker 1: was quite startling. So we agreed that we would try 652 00:40:52,356 --> 00:40:55,756 Speaker 1: about four songs and if it didn't work, just give 653 00:40:55,836 --> 00:40:59,916 Speaker 1: it up and just move on. Because adventures adventure and 654 00:41:00,996 --> 00:41:03,396 Speaker 1: I got a load of songs off my jukebox. And 655 00:41:04,076 --> 00:41:06,916 Speaker 1: the deal was that I would go to her house 656 00:41:06,956 --> 00:41:10,676 Speaker 1: on the Sunday morning here in Ville and I would 657 00:41:10,716 --> 00:41:14,236 Speaker 1: meet him and her and the door opened, flung open, 658 00:41:14,276 --> 00:41:17,956 Speaker 1: and there's this sort of there's Allison being really charming, 659 00:41:17,996 --> 00:41:25,436 Speaker 1: and they're behind her, this great imposing shape of John 660 00:41:25,516 --> 00:41:30,036 Speaker 1: Henry Burnett. And I went, shit, So now I've got 661 00:41:30,036 --> 00:41:34,196 Speaker 1: a There's two of them. So they said, come in, 662 00:41:34,636 --> 00:41:36,956 Speaker 1: what key? I said what? I don't know what key? 663 00:41:37,036 --> 00:41:40,116 Speaker 1: I don't know what key anything is. Normally I had 664 00:41:40,116 --> 00:41:42,756 Speaker 1: to sing any so I had to go and train 665 00:41:42,836 --> 00:41:48,596 Speaker 1: to be a castrati in Naples. Is that true? I've 666 00:41:48,596 --> 00:41:52,676 Speaker 1: had children. I've had children since then at least I've 667 00:41:52,676 --> 00:41:56,436 Speaker 1: gone through the motions. But no, it was like, okay, 668 00:41:56,556 --> 00:42:00,196 Speaker 1: sit down and like a cup of tea and here's 669 00:42:00,196 --> 00:42:03,956 Speaker 1: the song. And I went, well, okay, where's the microphone, 670 00:42:03,996 --> 00:42:08,436 Speaker 1: where's the reverb, where's the slap back, where's that planty sound, 671 00:42:09,356 --> 00:42:13,516 Speaker 1: where's the forty five million second delay? Where's my stuff 672 00:42:14,156 --> 00:42:17,156 Speaker 1: that I lived on? You know, like a guitarist has 673 00:42:17,196 --> 00:42:18,796 Speaker 1: a pedal. And there was nothing. There was just two 674 00:42:18,876 --> 00:42:23,636 Speaker 1: couches and an acoustic and we just started muse him, 675 00:42:23,676 --> 00:42:28,596 Speaker 1: and I felt so exposed and vulnerable. We tried to 676 00:42:28,796 --> 00:42:31,636 Speaker 1: I think it was Doc Watson's Your Long Journey, and 677 00:42:32,556 --> 00:42:34,596 Speaker 1: I mean there were harmonies that crossed over and did 678 00:42:34,636 --> 00:42:38,476 Speaker 1: something else, like like you know, like the Living Brothers 679 00:42:38,556 --> 00:42:42,036 Speaker 1: or Everly's or whatever. Jesus Christ, how do I get 680 00:42:42,036 --> 00:42:44,796 Speaker 1: out of here? Now? There must be some burghers here 681 00:42:44,876 --> 00:42:48,596 Speaker 1: or something. Something's going on somewhere. I could feel the 682 00:42:48,676 --> 00:42:51,756 Speaker 1: moisture of my brow. But I's got to get out 683 00:42:51,796 --> 00:42:54,956 Speaker 1: of his place. Anyway, time went on and these guys 684 00:42:54,996 --> 00:42:58,396 Speaker 1: appeared at the studio. Who I mean. Allison says she 685 00:42:58,716 --> 00:43:03,116 Speaker 1: never met Jay Belleros before the drummer, and she knew 686 00:43:03,156 --> 00:43:08,556 Speaker 1: Dennis Crouch the bass player, and Marcaribo. I think these 687 00:43:08,556 --> 00:43:12,596 Speaker 1: are all sort of, I guess, or running in the 688 00:43:12,596 --> 00:43:16,316 Speaker 1: same posse as Tebow. And we just started kicking the 689 00:43:16,356 --> 00:43:19,996 Speaker 1: things around. And so the four tracks came, and the 690 00:43:20,036 --> 00:43:22,956 Speaker 1: four days came and went, and I got in the 691 00:43:22,956 --> 00:43:25,956 Speaker 1: car and drove from here down the Natchez Trace, Alabama 692 00:43:25,956 --> 00:43:29,956 Speaker 1: and through into Clarksdale, Mississippi, to see my friends. I 693 00:43:30,036 --> 00:43:33,316 Speaker 1: always thought that I had friends in Clarksdale who were 694 00:43:33,396 --> 00:43:36,676 Speaker 1: actually not there, but they were there because they'd helped 695 00:43:36,676 --> 00:43:38,996 Speaker 1: me all the way through my life, you know, the 696 00:43:39,156 --> 00:43:42,116 Speaker 1: musicians and singers and stuff. I wrote a song with 697 00:43:42,596 --> 00:43:46,596 Speaker 1: Jimmy Carl walking into Clarksdale and the whole litany of that. Lyrically, 698 00:43:46,716 --> 00:43:49,596 Speaker 1: it's all about that deal. And it's almost like I'd 699 00:43:49,636 --> 00:43:53,436 Speaker 1: go back to the womb, back to the real mother 700 00:43:53,996 --> 00:43:56,716 Speaker 1: of the whole thing for me. So I fled to 701 00:43:56,836 --> 00:44:00,756 Speaker 1: Clarksdale and all the way down I played this CDs 702 00:44:01,356 --> 00:44:05,916 Speaker 1: in the Crown vic I wow, this is really this 703 00:44:05,996 --> 00:44:09,996 Speaker 1: is really cooking. I mean, this is like it's sexy 704 00:44:10,196 --> 00:44:12,876 Speaker 1: in a kind of way that like it. It's not 705 00:44:12,956 --> 00:44:16,756 Speaker 1: wiggering itself around with flashing lights. It's just it's just good. 706 00:44:17,356 --> 00:44:19,996 Speaker 1: It's just good. Blew my mind when I heard it. 707 00:44:20,036 --> 00:44:24,876 Speaker 1: Blew my mind and mine too, because you know, you know, 708 00:44:25,516 --> 00:44:27,916 Speaker 1: more unlikely what kind of guy I am. This is like, 709 00:44:28,036 --> 00:44:30,996 Speaker 1: I'm just so excited a bad stuff. I can take 710 00:44:31,036 --> 00:44:36,316 Speaker 1: a spoonful of something and blow it into some other 711 00:44:36,996 --> 00:44:40,556 Speaker 1: element of genre, whether it's a piece of Moroccan berber 712 00:44:40,716 --> 00:44:44,116 Speaker 1: music or whatever it can be. And not being really 713 00:44:44,116 --> 00:44:47,316 Speaker 1: a musician has helped me in that, you know. But 714 00:44:47,476 --> 00:44:52,156 Speaker 1: here we are in the kind of font of groove 715 00:44:52,236 --> 00:44:55,676 Speaker 1: and good taste. And yet we're also in Nashville, which 716 00:44:55,676 --> 00:44:58,316 Speaker 1: is full of country music, which some of it needs 717 00:44:58,356 --> 00:45:01,236 Speaker 1: to be taken off and a corner and talk to 718 00:45:01,436 --> 00:45:05,196 Speaker 1: very severely. You know. Once the country guys started wearing 719 00:45:05,276 --> 00:45:07,876 Speaker 1: ripped jeans and growing the hairlong, I was able to 720 00:45:07,876 --> 00:45:12,476 Speaker 1: move around a little easier. But you know what I mean. 721 00:45:12,556 --> 00:45:15,676 Speaker 1: But it's like, oh, so this thing, this sound came 722 00:45:15,716 --> 00:45:19,156 Speaker 1: out and Alison and I looked at each other and went, poor, 723 00:45:19,916 --> 00:45:23,036 Speaker 1: this is unusual, isn't it. And when we started doing 724 00:45:23,076 --> 00:45:26,676 Speaker 1: things like that rich woman by little Millet, oh god, 725 00:45:26,676 --> 00:45:31,156 Speaker 1: A will plenty of my and she was right on it, 726 00:45:31,476 --> 00:45:34,076 Speaker 1: bang as if she'd spent all the time in the 727 00:45:34,076 --> 00:45:38,156 Speaker 1: French quarter gigging. You know. She was like incredible. I 728 00:45:38,236 --> 00:45:41,956 Speaker 1: was like, whoa a little boy lost on the hillside here. 729 00:45:42,476 --> 00:45:45,756 Speaker 1: So that's that's how it started off. The blend of 730 00:45:45,796 --> 00:45:48,436 Speaker 1: your voice is together. I would have never guessed it 731 00:45:48,436 --> 00:45:51,036 Speaker 1: would be as magical as it is. But I guess 732 00:45:51,076 --> 00:45:53,996 Speaker 1: you can never guess. You know, why certain voices blend 733 00:45:54,396 --> 00:45:57,796 Speaker 1: and it makes a sound that's so specific, and it 734 00:45:57,956 --> 00:46:00,756 Speaker 1: is so specific in the case of you guys. It's amazing, 735 00:46:01,276 --> 00:46:05,596 Speaker 1: I know, and there's nothing worse than generalizing about somebody's 736 00:46:05,596 --> 00:46:10,876 Speaker 1: gift and back there in nineteen seventy seventy one. If 737 00:46:10,876 --> 00:46:13,996 Speaker 1: I think about the other voice songs like That's the 738 00:46:14,076 --> 00:46:16,676 Speaker 1: Way or the Rain Song or wherever it might be there, 739 00:46:17,276 --> 00:46:20,356 Speaker 1: then that voice was always there. But it depends on 740 00:46:20,396 --> 00:46:24,756 Speaker 1: the melodic request of the song and how much space 741 00:46:24,796 --> 00:46:28,476 Speaker 1: you've got in within the structure of the lyrical thing 742 00:46:28,916 --> 00:46:34,716 Speaker 1: to let the voice have its character and put enough 743 00:46:34,796 --> 00:46:38,196 Speaker 1: compression on it and stuff to make it in your 744 00:46:38,276 --> 00:46:42,756 Speaker 1: ear rather than down your throat, you know. And I 745 00:46:42,796 --> 00:46:47,676 Speaker 1: think that these songs, the actual structure or architecture of them, 746 00:46:47,716 --> 00:46:52,316 Speaker 1: allows the personality of that other voice to work. Yes, 747 00:46:52,556 --> 00:46:56,476 Speaker 1: and it was time that I made a break. I 748 00:46:56,516 --> 00:46:59,196 Speaker 1: think you have to take leaps and again, especially as 749 00:46:59,196 --> 00:47:03,156 Speaker 1: you're not trading on any particular worry about. The only 750 00:47:03,196 --> 00:47:04,756 Speaker 1: bread you've got to put on the table is the 751 00:47:04,796 --> 00:47:08,436 Speaker 1: bread within your own spirit. Yes, that's why I'm jet lagged, 752 00:47:08,676 --> 00:47:14,276 Speaker 1: apau in sitting here talking a lot about I wanted 753 00:47:14,276 --> 00:47:17,036 Speaker 1: to say your last solo album was incredible as well. 754 00:47:17,196 --> 00:47:20,716 Speaker 1: It's a it's a beautiful album. And is there anything 755 00:47:20,756 --> 00:47:23,676 Speaker 1: you do for your voice to keep it? What are 756 00:47:23,716 --> 00:47:29,596 Speaker 1: the tricks because you consistently sound good. Well, first of all, 757 00:47:30,076 --> 00:47:32,156 Speaker 1: I have to mean when I'm singing, I write those 758 00:47:32,196 --> 00:47:37,436 Speaker 1: lyrics and I'm basically made errors. And I was, yeah, 759 00:47:37,476 --> 00:47:39,516 Speaker 1: I don't know what it was. Really the whole those 760 00:47:39,596 --> 00:47:43,276 Speaker 1: last two records were really just about basically coming back 761 00:47:43,276 --> 00:47:47,436 Speaker 1: to somewhere that is so in me, the whole Welsh 762 00:47:47,476 --> 00:47:49,876 Speaker 1: board of thing, the whole deal of It's not like 763 00:47:49,996 --> 00:47:53,236 Speaker 1: coming from la It's it's like I was born with 764 00:47:53,356 --> 00:47:56,396 Speaker 1: half of this history in me, this in my blood. 765 00:47:56,796 --> 00:48:01,676 Speaker 1: And I had to leave circumstances here in America that 766 00:48:02,396 --> 00:48:06,436 Speaker 1: was for my definitely for my betterment, and I didn't 767 00:48:06,436 --> 00:48:10,636 Speaker 1: have the balls to stay and go through the decompression 768 00:48:10,996 --> 00:48:15,236 Speaker 1: to change completely changed my time, so I went back. 769 00:48:15,636 --> 00:48:19,796 Speaker 1: So I wrote a lot about the struggle. And I 770 00:48:19,836 --> 00:48:22,396 Speaker 1: think when you write about something that's absolutely real and 771 00:48:22,476 --> 00:48:27,516 Speaker 1: affecting your life and affecting the way you sleep, affecting 772 00:48:27,556 --> 00:48:30,516 Speaker 1: the way that you think, that and your impression of 773 00:48:30,556 --> 00:48:33,196 Speaker 1: how you are to yourself, you can't be a disappointment 774 00:48:33,236 --> 00:48:36,436 Speaker 1: to yourself. As a contributor to other people's lives is 775 00:48:36,476 --> 00:48:39,836 Speaker 1: a tough one. So it was that's Blues in a 776 00:48:39,836 --> 00:48:43,396 Speaker 1: totally different form. Yes, tell me about your songwriting process. 777 00:48:43,476 --> 00:48:46,076 Speaker 1: Does it start with music and then melody and then 778 00:48:46,156 --> 00:48:49,276 Speaker 1: lyrics or is it different different ways? Well, I got 779 00:48:49,276 --> 00:48:52,196 Speaker 1: a book this morning. I wrote some stuff down. I 780 00:48:52,276 --> 00:48:57,196 Speaker 1: was listening to BBC Radio four this morning and the 781 00:48:57,236 --> 00:49:00,796 Speaker 1: guy who runs the British Museum, he has a program, 782 00:49:00,796 --> 00:49:04,236 Speaker 1: a fifteen minute program, and it's the World in a 783 00:49:04,356 --> 00:49:07,676 Speaker 1: Hundred Objects, It's called and he was talking about Martin 784 00:49:07,876 --> 00:49:10,796 Speaker 1: Luther and the Affirmation in Germany, and he was talking 785 00:49:10,836 --> 00:49:16,276 Speaker 1: about the whole idea of Luther's quill and the very 786 00:49:16,276 --> 00:49:22,036 Speaker 1: first sort of propaganda to renovate Christianity and get rid 787 00:49:22,076 --> 00:49:25,836 Speaker 1: of the whole idea of actually paying for absolution, you know, 788 00:49:26,316 --> 00:49:29,316 Speaker 1: like contributing to like you can skip purgatory if you 789 00:49:29,436 --> 00:49:32,116 Speaker 1: just put in a few more y yeah, yeah, and 790 00:49:32,236 --> 00:49:35,116 Speaker 1: all that stuff. And I just shut up immediately, whizz 791 00:49:35,196 --> 00:49:39,036 Speaker 1: to my book, flipped it over and started writing, because 792 00:49:39,956 --> 00:49:43,676 Speaker 1: how do I get absolution from my ridiculousness? You know, 793 00:49:44,476 --> 00:49:48,396 Speaker 1: I like me, you know, i'd actually think I'm really silly. 794 00:49:48,876 --> 00:49:50,956 Speaker 1: But at the same time, there's some other corners of 795 00:49:50,996 --> 00:49:54,036 Speaker 1: the to be sorted out, and I think writing, I 796 00:49:54,116 --> 00:49:58,556 Speaker 1: have this book and I can flip it over. Somebody 797 00:49:58,556 --> 00:50:01,916 Speaker 1: else's got a groove, I can join it, or I 798 00:50:01,956 --> 00:50:05,956 Speaker 1: can present a couple of couplets and see what people 799 00:50:05,996 --> 00:50:08,516 Speaker 1: can do for that. We spend a lot of time 800 00:50:08,556 --> 00:50:14,276 Speaker 1: in this space. Shifter is thinking about Goreski, the composer 801 00:50:14,356 --> 00:50:20,756 Speaker 1: from Poland that mournful music and then creating huge blocks 802 00:50:20,876 --> 00:50:25,356 Speaker 1: of guitar and all that. So, yeah, that's that world 803 00:50:25,396 --> 00:50:27,956 Speaker 1: over there. And it was good this time because with 804 00:50:27,996 --> 00:50:31,836 Speaker 1: t Bone I was able to extend that into a 805 00:50:32,636 --> 00:50:36,076 Speaker 1: what you'd loosely call an original song on the new record. 806 00:50:36,156 --> 00:50:39,196 Speaker 1: You know, it's just like, hey, that's good. This is 807 00:50:39,236 --> 00:50:42,596 Speaker 1: a new one, but it's an old theme. Yeah, but 808 00:50:42,676 --> 00:50:44,916 Speaker 1: maybe that's what Maybe the next Apple will be, all 809 00:50:44,996 --> 00:50:46,956 Speaker 1: new songs with you and Alison. We were talking about 810 00:50:46,996 --> 00:50:50,676 Speaker 1: it last night. Yeah, yeah, I think we've got some 811 00:50:50,756 --> 00:50:54,316 Speaker 1: time in another studio in the next couple of days, 812 00:50:55,236 --> 00:50:59,956 Speaker 1: and I think Alison might want to put on the 813 00:50:59,996 --> 00:51:04,556 Speaker 1: Wonder Jackson outfit and see how mean mean man sounds 814 00:51:04,676 --> 00:51:08,636 Speaker 1: or something like that. Yeah, she's ready to boom. Is 815 00:51:08,636 --> 00:51:11,756 Speaker 1: it different singing a cover song or singing your own words? 816 00:51:11,876 --> 00:51:14,436 Speaker 1: How does it feel different when you're singing of them? Oh? Yeah, 817 00:51:14,436 --> 00:51:17,116 Speaker 1: it's radically different. How do I feel. I feel like 818 00:51:17,516 --> 00:51:20,716 Speaker 1: if a song, if you can actually get into the 819 00:51:21,356 --> 00:51:24,916 Speaker 1: original song and into how it was working. Sometimes, if 820 00:51:24,956 --> 00:51:29,276 Speaker 1: they're ditties, you have to I consider that the best 821 00:51:29,276 --> 00:51:34,236 Speaker 1: thing to do is to make them, give them some brevity. Yes. So, 822 00:51:34,716 --> 00:51:37,276 Speaker 1: for example, a Mel Tillis song stick with Me Baby, 823 00:51:37,356 --> 00:51:42,916 Speaker 1: was the flip of a heavily track and it was 824 00:51:43,196 --> 00:51:47,996 Speaker 1: really great guitar sound on that original Warner's release. The 825 00:51:48,076 --> 00:51:51,156 Speaker 1: electric guitars were great, but by slowing it down and 826 00:51:51,236 --> 00:51:56,356 Speaker 1: turning it into this sort of love struck pastiche gave 827 00:51:56,436 --> 00:52:01,476 Speaker 1: it some hootspa, gave it some nerve. Yeah, yeah, gravitas 828 00:52:01,476 --> 00:52:04,396 Speaker 1: for sure, Yeah, which it didn't have, or which it 829 00:52:04,476 --> 00:52:07,236 Speaker 1: did have, but within another era. And I think it's 830 00:52:07,276 --> 00:52:10,076 Speaker 1: about making the journey across the ear with these songs. 831 00:52:10,116 --> 00:52:15,276 Speaker 1: Otherwise they could end up, you know, like Seannar live, 832 00:52:15,916 --> 00:52:17,876 Speaker 1: which is nothing wrong with that, that's great, but it's 833 00:52:18,116 --> 00:52:21,036 Speaker 1: it's had to be something, And especially when you've got 834 00:52:21,036 --> 00:52:24,476 Speaker 1: these guys grooving around you. Have you ever considered doing 835 00:52:24,516 --> 00:52:27,716 Speaker 1: an album of popular standards like Willie Nelson did with 836 00:52:27,836 --> 00:52:31,996 Speaker 1: Stardust anything like that. Definitely not, Although I love Stardust, 837 00:52:32,076 --> 00:52:35,396 Speaker 1: it's a beautiful song. It's incredible. Are you a Sinatra 838 00:52:35,436 --> 00:52:38,236 Speaker 1: fan or no? I like what he did, But at 839 00:52:38,276 --> 00:52:43,076 Speaker 1: the same time, that world there is, it's magnificent within itself. 840 00:52:43,156 --> 00:52:46,996 Speaker 1: I can't course, and that's phrasing and Nelson riddle and 841 00:52:47,036 --> 00:52:52,036 Speaker 1: the whole Yeah, but I'm afraid I can't. Really. I mean, 842 00:52:52,076 --> 00:52:56,116 Speaker 1: this really is the American songbook here, what we've been doing. 843 00:52:56,636 --> 00:52:58,956 Speaker 1: It's not the kind of schmooze and the stuff that 844 00:52:58,996 --> 00:53:02,156 Speaker 1: you might hear at you know, when your woman puts 845 00:53:02,156 --> 00:53:05,796 Speaker 1: on her stilettos, And it's not something where you'd be 846 00:53:05,876 --> 00:53:12,356 Speaker 1: sitting standing on a porch some fancy club in Chicago's 847 00:53:12,396 --> 00:53:16,316 Speaker 1: West Side. America has so many more sides to it, 848 00:53:16,356 --> 00:53:19,516 Speaker 1: and absolutely so I see some of these songs as 849 00:53:19,516 --> 00:53:24,476 Speaker 1: being the real America. Yes, for me, as an Englishman, 850 00:53:24,476 --> 00:53:26,676 Speaker 1: that's a bit of a rich thing to say. It's beautiful. 851 00:53:26,836 --> 00:53:30,116 Speaker 1: It's something beautiful about the romantic vision of a place 852 00:53:30,596 --> 00:53:34,516 Speaker 1: from an outside perspective that's different than if you grew 853 00:53:34,556 --> 00:53:37,716 Speaker 1: up in Mississippi. It's just different. You can love it 854 00:53:37,756 --> 00:53:40,236 Speaker 1: in a different way when you're looking at it from 855 00:53:40,276 --> 00:53:43,556 Speaker 1: the outside, and there's a romantic vision that doesn't come 856 00:53:43,796 --> 00:53:46,356 Speaker 1: when you grow up in. It's just a different thing. No, 857 00:53:46,476 --> 00:53:49,676 Speaker 1: there's a lot of people flinching down there. And I 858 00:53:49,756 --> 00:53:52,716 Speaker 1: must say that in all the years of traveling through 859 00:53:53,076 --> 00:53:57,956 Speaker 1: America as a rock and roll sing over the Moroccan Lean, 860 00:53:58,396 --> 00:54:02,156 Speaker 1: I never really knew any any acre of it at all. 861 00:54:02,716 --> 00:54:05,996 Speaker 1: I didn't. I thought I had it covered, but I 862 00:54:06,076 --> 00:54:10,196 Speaker 1: had no idea that every three miles you're another America, 863 00:54:10,476 --> 00:54:14,516 Speaker 1: or even three hundred yards. So there's no such thing 864 00:54:14,516 --> 00:54:18,476 Speaker 1: as generalizing. I've been reading travels with Charlie Steinbeck, and 865 00:54:18,516 --> 00:54:22,556 Speaker 1: of course his vision he was disturbed in nineteen sixty 866 00:54:22,716 --> 00:54:26,196 Speaker 1: right in that it's very humorous. But then I read 867 00:54:26,236 --> 00:54:30,356 Speaker 1: this William Leese heat Moon book, The Blue Highways, and 868 00:54:31,236 --> 00:54:36,836 Speaker 1: are just so impressed by the different cultures and peoples 869 00:54:36,876 --> 00:54:39,316 Speaker 1: that came through and parked up in different valleys in 870 00:54:39,556 --> 00:54:45,076 Speaker 1: Kentucky and the whole Appalachia thing. Amazing. Yeah, So the 871 00:54:45,316 --> 00:54:49,476 Speaker 1: start of playing the addiction, the phrasing of everything. Never 872 00:54:49,516 --> 00:54:51,436 Speaker 1: mind what happens when you walk down the street and 873 00:54:51,476 --> 00:54:55,756 Speaker 1: somebody's coming towards you, you know, and you're going but 874 00:54:55,876 --> 00:54:58,476 Speaker 1: I look at that, I would say that that guy 875 00:54:59,356 --> 00:55:03,796 Speaker 1: is Russian origin. So you start going wow, when you 876 00:55:03,796 --> 00:55:06,676 Speaker 1: get up into Oregon and places on that coastline. There 877 00:55:07,476 --> 00:55:09,756 Speaker 1: you see the effects of the all the people that 878 00:55:09,836 --> 00:55:13,356 Speaker 1: came around all those years from a different approach to this. 879 00:55:13,636 --> 00:55:17,516 Speaker 1: To this beautiful country friend who's from the Appalachia region 880 00:55:17,596 --> 00:55:20,676 Speaker 1: and he was learning to play banjo and they were 881 00:55:20,676 --> 00:55:23,916 Speaker 1: explaining to him, this is the way we play it here, 882 00:55:23,956 --> 00:55:26,996 Speaker 1: but if you go three miles that way, this is 883 00:55:27,036 --> 00:55:30,276 Speaker 1: the lick there. Yeah. And it's and all the songs 884 00:55:30,436 --> 00:55:33,796 Speaker 1: just like almost like you know, regional accents, right. The 885 00:55:33,796 --> 00:55:37,036 Speaker 1: same is true with the music community. By community, they 886 00:55:37,076 --> 00:55:40,956 Speaker 1: have their own sound. Yeah. Yeah, it's it's something else, 887 00:55:40,996 --> 00:55:43,556 Speaker 1: isn't it. Well, it's a pleasure speaking to you. Thank 888 00:55:43,556 --> 00:55:45,636 Speaker 1: you so much for doing this, and thank you for 889 00:55:45,676 --> 00:55:49,156 Speaker 1: making such a beautiful album again. Yeah, well, thank you 890 00:55:49,236 --> 00:55:52,996 Speaker 1: for getting me up so that I actually have a 891 00:55:53,036 --> 00:55:55,756 Speaker 1: function today. Otherwise I don't know what i'd do. Yeah, 892 00:55:55,796 --> 00:56:00,836 Speaker 1: but it's nice to see you. Same. Thanks the Robert 893 00:56:00,836 --> 00:56:03,516 Speaker 1: Plant for chatting with Rick about his days with Zeppelin 894 00:56:03,756 --> 00:56:06,756 Speaker 1: and more. You can hear his latest album with Dallison 895 00:56:06,836 --> 00:56:09,196 Speaker 1: Krauss and all of our favorite songs of his on 896 00:56:09,236 --> 00:56:13,316 Speaker 1: my playlist at Broken record podcast dot com. Be sure 897 00:56:13,316 --> 00:56:16,036 Speaker 1: to subscribe to our YouTube channel at YouTube dot com 898 00:56:16,076 --> 00:56:19,076 Speaker 1: slash Broken Record Podcast, where you can find all of 899 00:56:19,116 --> 00:56:21,956 Speaker 1: our new episodes. You can follow us on Twitter at 900 00:56:21,996 --> 00:56:25,356 Speaker 1: broken Record. Broken Record is produced of help from Lea Rose, 901 00:56:25,636 --> 00:56:30,356 Speaker 1: Jason Gambrel, Ben Taliday, Eric Sandler, and Jennifer Sanchez, with 902 00:56:30,436 --> 00:56:34,116 Speaker 1: engineering help from Nick Chafen. Our executive producer is Emil LaBelle. 903 00:56:34,436 --> 00:56:37,956 Speaker 1: Broken Record is a production of Pushkin Industries. If you 904 00:56:37,996 --> 00:56:40,876 Speaker 1: love this show and others from Pushkin, consider subscribing to 905 00:56:41,036 --> 00:56:45,036 Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription service that 906 00:56:45,076 --> 00:56:48,916 Speaker 1: offers bonus content and uninterrupted ad three listening for four 907 00:56:49,156 --> 00:56:51,876 Speaker 1: ninety nine a month. Look for Pushkin Plus on Apple 908 00:56:51,916 --> 00:56:55,116 Speaker 1: Podcasts subscriptions, and please remember to share, wait and review 909 00:56:55,196 --> 00:56:57,316 Speaker 1: us on your podcast that Our theme music's by the 910 00:56:57,356 --> 00:56:59,716 Speaker 1: Great Kenny Beats. I'm justin Richmond.