1 00:00:04,920 --> 00:00:07,960 Speaker 1: Welcome, Welcome, Welcome to the Bob Left Sets podcast. My 2 00:00:08,080 --> 00:00:13,920 Speaker 1: guest this week is Giles Martin, producer, mixer. Extraordinary Giles. 3 00:00:13,920 --> 00:00:16,800 Speaker 1: Good to have Bubbs, so nice to see you. Okay, 4 00:00:17,239 --> 00:00:19,360 Speaker 1: you know the elephant in the room, of course, is 5 00:00:19,360 --> 00:00:22,759 Speaker 1: your father is George Martin produced the Beatles records. What 6 00:00:22,880 --> 00:00:25,239 Speaker 1: year were you born? I was born in six nine. 7 00:00:25,280 --> 00:00:29,080 Speaker 1: I was actually born on on John Lennon's birthday, October nine. 8 00:00:31,080 --> 00:00:33,519 Speaker 1: I think my dad was doing Abbey Road when I 9 00:00:33,600 --> 00:00:36,559 Speaker 1: was born and John came to the studios and my 10 00:00:36,680 --> 00:00:38,960 Speaker 1: dad told him that I was born in the same 11 00:00:39,040 --> 00:00:42,800 Speaker 1: day as him as his birthday, and John said, Nana, 12 00:00:42,880 --> 00:00:45,000 Speaker 1: what sort of arsol? Hasn't sun out to be like Benny? 13 00:00:45,920 --> 00:00:48,479 Speaker 1: So that's how I came into the world. You know. 14 00:00:48,560 --> 00:00:50,040 Speaker 1: That was one of the great things in the Yon 15 00:00:50,120 --> 00:00:52,960 Speaker 1: Winner book. He was talking about meeting John Lennon and 16 00:00:53,000 --> 00:00:56,240 Speaker 1: going to dinner with her, lunch with him in San 17 00:00:56,280 --> 00:01:00,840 Speaker 1: Francisco with Yoko, and fans came up for autographs. John said, 18 00:01:01,000 --> 00:01:04,880 Speaker 1: fuck off, that was there. That was his thing. I mean, 19 00:01:04,880 --> 00:01:07,760 Speaker 1: he was he was. My dad always said about John 20 00:01:07,800 --> 00:01:12,679 Speaker 1: that he was one of those people that you wanted 21 00:01:12,720 --> 00:01:14,560 Speaker 1: to be close to. What you were scared of being 22 00:01:14,560 --> 00:01:16,480 Speaker 1: close to because you could be served serbic, you know, 23 00:01:16,560 --> 00:01:19,040 Speaker 1: like the cool kid at school. That's what what John 24 00:01:19,120 --> 00:01:22,959 Speaker 1: Lennon was like. Wow, So since you shared a birthday, 25 00:01:23,160 --> 00:01:25,440 Speaker 1: did that ever come up? As you know, obviously John 26 00:01:25,480 --> 00:01:28,080 Speaker 1: Lennon died eleven years after you were born, But did 27 00:01:28,080 --> 00:01:30,959 Speaker 1: you ever celebrate, you know and acknowledge it that there 28 00:01:31,040 --> 00:01:36,560 Speaker 1: was identical No, Um, it's it's it haunts me, you know, 29 00:01:36,600 --> 00:01:39,600 Speaker 1: It's it's one of those things that I mean, there's 30 00:01:39,640 --> 00:01:42,280 Speaker 1: been occasions. You know, we did the I did the 31 00:01:42,319 --> 00:01:44,800 Speaker 1: Love Show in Vegas and then they did they did 32 00:01:44,840 --> 00:01:47,560 Speaker 1: a documentary on it, and the screen of the documentary 33 00:01:47,680 --> 00:01:49,320 Speaker 1: is it was on my birthday because it was celebrating 34 00:01:49,400 --> 00:01:51,240 Speaker 1: John Evan's birthday. It's always that thing. It's like there's 35 00:01:51,240 --> 00:01:53,120 Speaker 1: something can you go to this as John Elen's birthday? 36 00:01:53,400 --> 00:01:56,280 Speaker 1: That's actually it's clashes my birthday as well. So there's 37 00:01:56,280 --> 00:01:58,000 Speaker 1: that it's a curse more than one. Well, it's like 38 00:01:58,000 --> 00:02:01,040 Speaker 1: someone who has a birthday, I'm smith we only get 39 00:02:01,040 --> 00:02:04,120 Speaker 1: one's not as bad as that, but it is like that. Okay, 40 00:02:04,280 --> 00:02:08,639 Speaker 1: so you're born in sixty nine, how long does it 41 00:02:08,680 --> 00:02:11,760 Speaker 1: take until you recognize what your father does for a living. 42 00:02:13,120 --> 00:02:15,480 Speaker 1: Oh A long time, A long time. Fun enough, it's 43 00:02:15,520 --> 00:02:18,320 Speaker 1: a you have to understand. It's I tell us to 44 00:02:18,400 --> 00:02:20,440 Speaker 1: people and they don't believe me. But my dad wasn't 45 00:02:20,440 --> 00:02:22,560 Speaker 1: at all cool because he did the Beatles when I 46 00:02:22,560 --> 00:02:24,560 Speaker 1: was growing up, not coll to you were called to 47 00:02:24,600 --> 00:02:26,320 Speaker 1: people in general, too cool to people in general. I 48 00:02:26,400 --> 00:02:27,919 Speaker 1: remember there was a time where he couldn't get he 49 00:02:27,919 --> 00:02:30,520 Speaker 1: couldn't get work because he'd done the Beatles, you know, 50 00:02:30,639 --> 00:02:33,840 Speaker 1: because the he went off. You know, my my period 51 00:02:33,840 --> 00:02:36,560 Speaker 1: of growing up was I um, he worked on We 52 00:02:36,600 --> 00:02:38,960 Speaker 1: actually I grew up and here in Los Angeles for 53 00:02:39,000 --> 00:02:42,160 Speaker 1: two years at the age of six, my father's working 54 00:02:42,160 --> 00:02:46,400 Speaker 1: with the band America. UM and he came back. We 55 00:02:46,400 --> 00:02:49,359 Speaker 1: came back from Los Angeles back in London again, and 56 00:02:49,440 --> 00:02:52,240 Speaker 1: you know, he found it hard to get worked. That's 57 00:02:52,280 --> 00:02:54,160 Speaker 1: kind of funny. A friend of mine's, Barbs, were another 58 00:02:54,200 --> 00:02:57,680 Speaker 1: legendary producer, and he did Pink Floyd the Wall, one 59 00:02:57,720 --> 00:03:00,519 Speaker 1: of the biggest albums of all time, and he came 60 00:03:00,560 --> 00:03:02,840 Speaker 1: back to Toronto where he and the phone didn't ring. 61 00:03:03,400 --> 00:03:06,240 Speaker 1: That's it's it's what it's funny. It's it's funny that 62 00:03:06,280 --> 00:03:09,200 Speaker 1: it's funny what what happens like that, and and so 63 00:03:09,680 --> 00:03:11,720 Speaker 1: you know, and also you know, I was really into 64 00:03:11,840 --> 00:03:14,080 Speaker 1: I played the guitars into like Humble Pie. I was 65 00:03:14,360 --> 00:03:17,120 Speaker 1: massive into Steve Ray Vaughan. You know, I think really yeah, 66 00:03:17,120 --> 00:03:19,639 Speaker 1: I was that that was blues blues guitarist. I was 67 00:03:19,680 --> 00:03:21,920 Speaker 1: going to be, you know, having having definitely not been 68 00:03:21,960 --> 00:03:24,000 Speaker 1: born in the ghetto, I thought it'd be blues guitarist 69 00:03:24,120 --> 00:03:26,839 Speaker 1: and that was my passion. Um. I was then really 70 00:03:26,840 --> 00:03:29,480 Speaker 1: into Free into Paul Kossof and Paul you know, there's 71 00:03:29,520 --> 00:03:31,880 Speaker 1: a two double album on A and M. It's called 72 00:03:31,919 --> 00:03:34,760 Speaker 1: Molten Gold or something. Not only do is have you know, 73 00:03:36,120 --> 00:03:38,480 Speaker 1: I'll be creeping in the steeler those you go back 74 00:03:38,520 --> 00:03:41,160 Speaker 1: and listen. That ship was unbelievable great and there's a 75 00:03:41,240 --> 00:03:43,760 Speaker 1: there's there's footage of them at the other White Festival 76 00:03:43,760 --> 00:03:45,960 Speaker 1: as if you've seen it with you know, it's funny 77 00:03:45,960 --> 00:03:47,720 Speaker 1: when you see the two microphones. I'm trying to work 78 00:03:47,720 --> 00:03:50,120 Speaker 1: out where Paul's has two microphones? Is it because one's 79 00:03:50,160 --> 00:03:52,240 Speaker 1: monitors and one's the p A. I mean, who knows, 80 00:03:52,600 --> 00:03:54,960 Speaker 1: but there's a but but you know there's footage of 81 00:03:55,000 --> 00:03:58,640 Speaker 1: that and it's it's beautiful, simple, economic and music. There's 82 00:03:58,640 --> 00:04:01,280 Speaker 1: any there's there's drums, bass, sing, guitar. It's like the 83 00:04:01,520 --> 00:04:04,440 Speaker 1: led Zeppelin is that format and you kind of missed 84 00:04:04,480 --> 00:04:06,560 Speaker 1: that these days to a certain extent. But but I 85 00:04:06,600 --> 00:04:08,920 Speaker 1: was into that, and it wasn't really I don't think 86 00:04:08,920 --> 00:04:12,360 Speaker 1: I've heard the White Album until I was about nineteen. Really, yeah, 87 00:04:12,360 --> 00:04:14,680 Speaker 1: I don't think. But I remember being on a plane 88 00:04:14,720 --> 00:04:18,120 Speaker 1: with my dad and and it was when I, you know, 89 00:04:18,240 --> 00:04:20,640 Speaker 1: I wanted to do music as a kid. Um to 90 00:04:20,800 --> 00:04:23,919 Speaker 1: what degree because your father worked in music? To what 91 00:04:24,000 --> 00:04:29,440 Speaker 1: degree was music playing in your household? You know? We 92 00:04:29,480 --> 00:04:34,360 Speaker 1: didn't have a high fire, you did not, We didn't room. No, No, 93 00:04:34,520 --> 00:04:36,600 Speaker 1: I mean is my sister and I have a sister 94 00:04:36,600 --> 00:04:38,440 Speaker 1: who's two years older, and we had one of those 95 00:04:38,560 --> 00:04:41,200 Speaker 1: um you know, we had a we had a plastic 96 00:04:41,240 --> 00:04:44,000 Speaker 1: kids turntable. And I remember the actually the first album 97 00:04:44,000 --> 00:04:45,560 Speaker 1: I remember having. I had a bunch of we had 98 00:04:45,600 --> 00:04:48,200 Speaker 1: a bunch of records, obviously, records that my dad had 99 00:04:48,240 --> 00:04:50,800 Speaker 1: at that time. One was Abbey Road, which in that 100 00:04:50,839 --> 00:04:53,800 Speaker 1: spot it would have only been at this stage about 101 00:04:53,839 --> 00:04:55,719 Speaker 1: six years old. And I thought, which is kind of 102 00:04:55,720 --> 00:04:58,240 Speaker 1: crazy thinking about kind of getting old six years old, 103 00:04:58,279 --> 00:04:59,839 Speaker 1: and then the other one was Living Let Die the 104 00:05:00,000 --> 00:05:02,159 Speaker 1: Ocean picture soundtrack and my father recorded. I remember having 105 00:05:02,240 --> 00:05:03,840 Speaker 1: the remember you remember the cover. This is the great 106 00:05:03,839 --> 00:05:06,080 Speaker 1: thing about albums, You remember the covers of album. Of course, 107 00:05:07,080 --> 00:05:10,680 Speaker 1: we had a Carol King album as well. It wasn't Tapestry, 108 00:05:10,720 --> 00:05:12,440 Speaker 1: it was it was a kids album as she made 109 00:05:13,160 --> 00:05:16,000 Speaker 1: um and we played and I remember that. But my 110 00:05:16,000 --> 00:05:19,480 Speaker 1: my father. The one thing is that as I had 111 00:05:19,520 --> 00:05:20,960 Speaker 1: as my father played the piano a lot. He was 112 00:05:21,000 --> 00:05:22,600 Speaker 1: doing a lot of arranging at that time. In fact, 113 00:05:22,880 --> 00:05:25,200 Speaker 1: when I was at play school sort of at the 114 00:05:25,240 --> 00:05:27,880 Speaker 1: age of four or five, they went around the class 115 00:05:27,920 --> 00:05:30,640 Speaker 1: asking what the parents did, and I said, my dad 116 00:05:30,640 --> 00:05:33,360 Speaker 1: just say his home played the piano. You know that 117 00:05:33,440 --> 00:05:35,680 Speaker 1: was because so there was music in the house. But 118 00:05:36,240 --> 00:05:38,680 Speaker 1: my parents are very careful, um, and I don't know what. 119 00:05:38,760 --> 00:05:41,479 Speaker 1: I've never really understood why they sort of kept music 120 00:05:41,480 --> 00:05:43,080 Speaker 1: away from me. To a certain reader, I went on 121 00:05:43,120 --> 00:05:45,840 Speaker 1: my own journey and then me and my dad met 122 00:05:45,920 --> 00:05:49,560 Speaker 1: up later for various reasons. But so just to go 123 00:05:49,640 --> 00:05:51,040 Speaker 1: to the end before we go back to the beginning, 124 00:05:51,200 --> 00:05:55,120 Speaker 1: at what point did you meet up later? Well, my 125 00:05:55,200 --> 00:05:58,400 Speaker 1: father which is known now, but we kept it secret. 126 00:05:58,560 --> 00:06:02,800 Speaker 1: Lost his lost his hearing um. Now was that attributable 127 00:06:03,080 --> 00:06:05,919 Speaker 1: to his work or was it just genetic? He always 128 00:06:05,920 --> 00:06:08,240 Speaker 1: blames it on his on his work. He used to say, 129 00:06:08,279 --> 00:06:10,720 Speaker 1: if you look at the photographs or the videos of 130 00:06:10,720 --> 00:06:13,000 Speaker 1: the Beatles, he would sit between the speakers. You know, 131 00:06:13,080 --> 00:06:15,919 Speaker 1: you see this famous such a studio to where the 132 00:06:15,960 --> 00:06:17,760 Speaker 1: band are performing there there's a couple of films you 133 00:06:17,800 --> 00:06:19,960 Speaker 1: see where my father stuck with his heavyteen the speakers. 134 00:06:20,400 --> 00:06:22,479 Speaker 1: And he also blamed on Jeff Beck. He worked on 135 00:06:22,600 --> 00:06:25,320 Speaker 1: Wide and Blow by Blow and which are the two best? 136 00:06:25,360 --> 00:06:27,600 Speaker 1: Jeff background? Which are the two best? And even Jeff 137 00:06:27,600 --> 00:06:29,919 Speaker 1: says there's two Jeff records? But then but yeah, he 138 00:06:30,120 --> 00:06:32,920 Speaker 1: and he and he blames Jeff for going death. I 139 00:06:32,920 --> 00:06:34,960 Speaker 1: mean it's that. You know, I know a lot about 140 00:06:35,000 --> 00:06:38,000 Speaker 1: it because my father. It was it was, it was, 141 00:06:38,440 --> 00:06:42,160 Speaker 1: you know, his one regretular life is his deafness. And 142 00:06:42,200 --> 00:06:43,680 Speaker 1: so he started going deaf and you didn't want to 143 00:06:43,720 --> 00:06:46,240 Speaker 1: tell anyone. And how old was he at that point? 144 00:06:46,920 --> 00:06:49,440 Speaker 1: Let me have a think he would have been It 145 00:06:49,480 --> 00:06:52,520 Speaker 1: would have been I would have been um sixteen, So 146 00:06:52,600 --> 00:06:57,039 Speaker 1: he's probably he's probably in his early fifties. And he 147 00:06:57,160 --> 00:07:00,080 Speaker 1: noticed it when they were he noticed it where and 148 00:07:01,000 --> 00:07:03,520 Speaker 1: we do we do different killer Hut cycles lining up 149 00:07:03,520 --> 00:07:05,800 Speaker 1: a tape machine and he went in the studio and 150 00:07:05,839 --> 00:07:08,080 Speaker 1: you could see the meters move and you couldn't hear it, 151 00:07:08,240 --> 00:07:10,440 Speaker 1: and it was like it was like fifteen cycles and 152 00:07:10,600 --> 00:07:13,040 Speaker 1: ten cycles or whatever it is. And he realized that 153 00:07:13,520 --> 00:07:15,760 Speaker 1: he couldn't, you know, He suddenly realized that there was 154 00:07:16,080 --> 00:07:17,760 Speaker 1: sound playing he wasn't hearing it. And he was a 155 00:07:17,800 --> 00:07:20,480 Speaker 1: person that was known for his ears, and he realized 156 00:07:20,520 --> 00:07:23,040 Speaker 1: it was the end of him. And so he brought 157 00:07:23,080 --> 00:07:25,520 Speaker 1: me in like almost like a seeing eye dog, and 158 00:07:25,560 --> 00:07:27,640 Speaker 1: that was my job. My job was to hear the 159 00:07:27,720 --> 00:07:31,440 Speaker 1: high frequencies, and he taught me. It was it's a 160 00:07:31,480 --> 00:07:35,040 Speaker 1: bizarre way of learning. He taught me hearing from a 161 00:07:35,120 --> 00:07:37,000 Speaker 1: high end down because I after a place what he 162 00:07:37,000 --> 00:07:38,840 Speaker 1: couldn't hear. I wouldn't talk to him about what he 163 00:07:38,880 --> 00:07:41,840 Speaker 1: could hear, but like high violins and symbols, and they 164 00:07:41,880 --> 00:07:44,240 Speaker 1: would move further down and we do test together on 165 00:07:44,280 --> 00:07:46,880 Speaker 1: a piano where his where the notes would start disappearing. 166 00:07:47,600 --> 00:07:50,200 Speaker 1: And so I learned about frequencies from that. Funny enough, 167 00:07:50,240 --> 00:07:53,120 Speaker 1: because I was aware I could hear what he wasn't hearing, 168 00:07:53,120 --> 00:07:55,720 Speaker 1: if that makes sense. And outside the studio and the horn, 169 00:07:55,760 --> 00:07:57,920 Speaker 1: would he wear the hearing aids. Yeah, he would wear 170 00:07:58,000 --> 00:08:00,440 Speaker 1: He would wear hearing aids. It came. It was a 171 00:08:00,960 --> 00:08:02,840 Speaker 1: it's a it was a big push for him. It 172 00:08:02,880 --> 00:08:05,280 Speaker 1: was he you know, he always said that, you know, 173 00:08:05,920 --> 00:08:07,720 Speaker 1: if you were hearing aids, you're death, but if you 174 00:08:07,680 --> 00:08:10,120 Speaker 1: wear glasses, you're not seen as being blind. And that 175 00:08:10,160 --> 00:08:13,440 Speaker 1: bothered him, the stigma of it. Actually, um, but yeah, 176 00:08:13,680 --> 00:08:16,200 Speaker 1: he wore hearing aids and he his hearing became. You know, 177 00:08:16,240 --> 00:08:19,200 Speaker 1: he was pretty He died actually two years ago on 178 00:08:19,240 --> 00:08:22,120 Speaker 1: March twenty eight or two years ago last week. I guess, um, 179 00:08:22,880 --> 00:08:25,680 Speaker 1: and he he was he you know, he was pretty 180 00:08:25,720 --> 00:08:27,760 Speaker 1: profoundly deaf when he died. He could hear me pretty 181 00:08:27,760 --> 00:08:30,600 Speaker 1: well because I've got a low voice and its frequencies. 182 00:08:31,240 --> 00:08:33,120 Speaker 1: But it's very funny stories. He worked with a man 183 00:08:33,240 --> 00:08:35,880 Speaker 1: Ultravox and in in the eighties. I remember I was 184 00:08:35,920 --> 00:08:40,120 Speaker 1: sixteen and he came out of the studio and the 185 00:08:40,120 --> 00:08:42,800 Speaker 1: bass player Criss Cross was going in and said, how's 186 00:08:42,800 --> 00:08:44,360 Speaker 1: it going in there? Georges are going okay? And my 187 00:08:44,440 --> 00:08:46,600 Speaker 1: dad held up his plate and said, two boiled eggs. 188 00:08:48,559 --> 00:08:50,080 Speaker 1: He thought he asked him what he had for lunch. 189 00:08:50,320 --> 00:08:52,800 Speaker 1: So you know, it's it's it's it's blots, you know. 190 00:08:52,880 --> 00:08:55,160 Speaker 1: And as as a kid, my my mom has a 191 00:08:55,200 --> 00:08:57,120 Speaker 1: who has still alive as a wicked sense of humor. 192 00:08:57,160 --> 00:08:59,360 Speaker 1: You know, there'd be things like, you know, she'd say 193 00:08:59,400 --> 00:09:01,120 Speaker 1: there's a nice in taxi and he go wears an 194 00:09:01,160 --> 00:09:03,520 Speaker 1: ice cream factory. You know, there was a constant in 195 00:09:03,600 --> 00:09:05,680 Speaker 1: the home. There was a constant things and it was 196 00:09:05,720 --> 00:09:08,319 Speaker 1: just the thing we grew up with. So you're growing up. 197 00:09:08,559 --> 00:09:10,480 Speaker 1: Your sister is two years older. What is she? What's 198 00:09:10,480 --> 00:09:14,680 Speaker 1: her life like now? She's she's she's amazing, she's sadly, 199 00:09:14,720 --> 00:09:16,960 Speaker 1: she her husband, her husband died six years ago. She 200 00:09:17,000 --> 00:09:19,440 Speaker 1: has three children which which I try and look after 201 00:09:19,440 --> 00:09:24,240 Speaker 1: as well. And she is a she's she runs two companies. 202 00:09:24,280 --> 00:09:26,760 Speaker 1: Actually now she's a she's a marketeer and does things 203 00:09:26,800 --> 00:09:28,880 Speaker 1: like that. Nothing to music and that is in London. 204 00:09:29,000 --> 00:09:31,640 Speaker 1: That's in London. Yeah, okay, So now you're in the house. 205 00:09:32,040 --> 00:09:35,760 Speaker 1: Your father's playing the piano. When he was working, could 206 00:09:35,800 --> 00:09:41,000 Speaker 1: you interrupt him? Yeah, I mean I remember being on 207 00:09:41,000 --> 00:09:44,160 Speaker 1: a skiing holiday. This is how my my dad, who 208 00:09:44,200 --> 00:09:45,800 Speaker 1: I loved dearly, and it was a very nice. Man 209 00:09:45,920 --> 00:09:48,440 Speaker 1: was pretty hard on me. I mean, you know, I 210 00:09:48,480 --> 00:09:50,439 Speaker 1: was okay at music. I was pretty I was better 211 00:09:50,480 --> 00:09:53,000 Speaker 1: than music than my friends. You know. It wasn't no genius, 212 00:09:53,040 --> 00:09:55,160 Speaker 1: but I was. I was. And I remember being being 213 00:09:55,200 --> 00:09:57,360 Speaker 1: fourteen years older, and you remember these things. And he 214 00:09:57,400 --> 00:09:58,959 Speaker 1: was he was doing an arrangement. I think he was 215 00:09:59,000 --> 00:10:02,800 Speaker 1: trying to work. He was. He nearly wrote the music 216 00:10:02,840 --> 00:10:05,280 Speaker 1: for the mission, the film. The mission he satadly got 217 00:10:05,320 --> 00:10:09,400 Speaker 1: fired by when they classic film style, and he was 218 00:10:09,400 --> 00:10:11,480 Speaker 1: trying to compose something. And we were on holiday and 219 00:10:11,520 --> 00:10:14,000 Speaker 1: he was using the hotel piano and I went up 220 00:10:14,040 --> 00:10:16,040 Speaker 1: to and he said, you know, hi, Giles. I said, 221 00:10:16,080 --> 00:10:18,560 Speaker 1: you know, because how are you doing? I said yeah. 222 00:10:18,600 --> 00:10:20,560 Speaker 1: He goes, because you know, what do you want to do? 223 00:10:20,600 --> 00:10:22,520 Speaker 1: I said, you know, I'd love to do what you do. Dad. 224 00:10:22,640 --> 00:10:24,400 Speaker 1: You know, I'm learning, you know, learning the piano stuff. 225 00:10:24,400 --> 00:10:26,240 Speaker 1: And he goes, you you won't be able to do that, 226 00:10:26,280 --> 00:10:28,559 Speaker 1: And I said, well why not? He goes, I don't think. 227 00:10:28,600 --> 00:10:32,960 Speaker 1: I don't think you're good enough. Wow, you can imagine. 228 00:10:33,320 --> 00:10:36,839 Speaker 1: Does that still hobble you today? God? It hobbles me. 229 00:10:37,160 --> 00:10:39,560 Speaker 1: It hobbles me. I mean, I I said to him 230 00:10:40,160 --> 00:10:43,760 Speaker 1: on his you know, on his on his deathbed. Um 231 00:10:44,320 --> 00:10:47,400 Speaker 1: My dad took a long time to die. It's a 232 00:10:47,480 --> 00:10:49,240 Speaker 1: terrible thing to say. But he'd find as funny as well. 233 00:10:49,280 --> 00:10:51,360 Speaker 1: We joke about it were very close. I'd say I'd 234 00:10:51,360 --> 00:10:53,480 Speaker 1: come in and you know, I ended up sleeping next 235 00:10:53,480 --> 00:10:56,120 Speaker 1: to him at a certain stages and I'd say in 236 00:10:56,160 --> 00:10:57,880 Speaker 1: the morning, and so you're still here, that are you 237 00:10:58,280 --> 00:11:00,440 Speaker 1: piss off? Jarles? How long did it take him? Well, 238 00:11:00,480 --> 00:11:02,640 Speaker 1: he was sick. He was sick, and he became very 239 00:11:02,679 --> 00:11:04,480 Speaker 1: sick in January. He died in March. But it was, 240 00:11:04,640 --> 00:11:07,520 Speaker 1: it was, it was a long process and and I know, 241 00:11:07,559 --> 00:11:10,400 Speaker 1: and it was that's nothing good about it, part from 242 00:11:10,400 --> 00:11:11,800 Speaker 1: the fact you get to say all things you want 243 00:11:11,840 --> 00:11:16,240 Speaker 1: to say. And I said to him, Dad, you ever 244 00:11:16,920 --> 00:11:19,360 Speaker 1: do you ever? Do you ever think you're not good 245 00:11:19,360 --> 00:11:22,480 Speaker 1: at music? And he was a mobile and he closed 246 00:11:22,480 --> 00:11:23,959 Speaker 1: his eyes. I was holding his hand. He said, that's 247 00:11:23,960 --> 00:11:26,360 Speaker 1: a strange thing to ask me. And I said, well, 248 00:11:26,360 --> 00:11:28,120 Speaker 1: not really, because I've just been asked to this film 249 00:11:28,160 --> 00:11:30,920 Speaker 1: and and I always think, you know, I can't do it, 250 00:11:31,080 --> 00:11:33,600 Speaker 1: you know, even you know I told your seeing Stephen 251 00:11:33,640 --> 00:11:35,640 Speaker 1: Tyler on Saturday, I feel nervous about you know, I'm 252 00:11:35,640 --> 00:11:38,400 Speaker 1: more constantly nervous about meeting people because but I think 253 00:11:38,400 --> 00:11:40,079 Speaker 1: you're great at what you do. I think you're amazing. 254 00:11:40,120 --> 00:11:42,200 Speaker 1: I think as I think better than I am. I said, well, 255 00:11:42,240 --> 00:11:44,560 Speaker 1: thanks Dad, but I'm not but thank you. I said, 256 00:11:44,559 --> 00:11:46,800 Speaker 1: do you ever feel like that? And he closed his 257 00:11:46,840 --> 00:11:50,160 Speaker 1: eyes and he thought, and he opened them and he said, no, No, 258 00:11:50,320 --> 00:11:53,840 Speaker 1: I always thought I was brilliant and it's and it's 259 00:11:53,960 --> 00:11:55,960 Speaker 1: it's you know, and he was and it was, it 260 00:11:56,040 --> 00:11:58,280 Speaker 1: was it's it's the it's the thing that, it's the 261 00:11:58,280 --> 00:12:00,599 Speaker 1: thing that that it was just envy felt envy, and 262 00:12:00,600 --> 00:12:02,320 Speaker 1: I think it's stemmed from that moment he said to me, 263 00:12:02,360 --> 00:12:04,280 Speaker 1: you know, I don't think you're good enough that it's 264 00:12:04,280 --> 00:12:06,559 Speaker 1: a constant battle. But by the same talk and when 265 00:12:06,559 --> 00:12:09,199 Speaker 1: he did say on his deathbed, how great you were, 266 00:12:09,240 --> 00:12:13,520 Speaker 1: did that compensate for him? No, it doesn't, because you 267 00:12:13,520 --> 00:12:16,520 Speaker 1: you you wear the clothes that you think motivate you. 268 00:12:16,520 --> 00:12:18,280 Speaker 1: You know, with that sounds like a therapy session, but 269 00:12:18,320 --> 00:12:20,440 Speaker 1: you do kind of it suits you to go through this, 270 00:12:20,520 --> 00:12:23,000 Speaker 1: you know, it's it's I'm quite a happy person and 271 00:12:23,440 --> 00:12:26,440 Speaker 1: I feel like I'm feel like I'm really nice to people. 272 00:12:26,480 --> 00:12:29,160 Speaker 1: But but you know, you you you kind of you 273 00:12:29,240 --> 00:12:31,840 Speaker 1: go through this air of desperation that people don't realize 274 00:12:31,840 --> 00:12:33,520 Speaker 1: that you do in your studios, and then you come 275 00:12:33,520 --> 00:12:35,280 Speaker 1: out the other side and you have to you have 276 00:12:35,320 --> 00:12:37,560 Speaker 1: to question everything you do and it's it's it's good 277 00:12:37,559 --> 00:12:39,280 Speaker 1: to have that in a way, and so it suits me. 278 00:12:39,480 --> 00:12:42,640 Speaker 1: So every time you do a project, it's like pushing 279 00:12:42,640 --> 00:12:44,400 Speaker 1: a boulder up a hill. You're not quite sure you 280 00:12:44,400 --> 00:12:46,280 Speaker 1: can do it. It's it's a mixture of pushing a 281 00:12:46,280 --> 00:12:48,199 Speaker 1: build up the hill and then the hill, then the 282 00:12:48,800 --> 00:12:52,600 Speaker 1: boulder will sail down uninterrupted until it hits the next mountain. Yeah, 283 00:12:52,679 --> 00:12:55,080 Speaker 1: I mean that's it. It's like a it's like it's 284 00:12:55,120 --> 00:12:57,240 Speaker 1: like a you know, I'm terrible and terrible and terrible 285 00:12:57,280 --> 00:12:59,200 Speaker 1: when a second I'm a genius. No, I'm terrible again. 286 00:12:59,240 --> 00:13:02,079 Speaker 1: That's what that's what like When people approach you for work, 287 00:13:02,600 --> 00:13:04,120 Speaker 1: do you ever say no, I don't think I can 288 00:13:04,200 --> 00:13:09,199 Speaker 1: do this. Um, that's a that's a that's a good no. 289 00:13:09,320 --> 00:13:11,040 Speaker 1: I don't really I think you know, if I've done 290 00:13:11,120 --> 00:13:12,760 Speaker 1: if I've done the other thing, I couldn't do, I 291 00:13:12,760 --> 00:13:15,520 Speaker 1: could probably not do this. In a strange way, I 292 00:13:15,640 --> 00:13:17,760 Speaker 1: just said, it's it's it's a nice way of conscious 293 00:13:17,760 --> 00:13:19,880 Speaker 1: surprised myself. I'm not saying that through any false modesty. 294 00:13:19,920 --> 00:13:22,199 Speaker 1: I just it's generally how I feel. So let's go back. 295 00:13:22,240 --> 00:13:25,000 Speaker 1: You're in the house, your father is playing the piano. 296 00:13:25,080 --> 00:13:27,520 Speaker 1: There's no stereo in the living room. You have the 297 00:13:27,600 --> 00:13:32,959 Speaker 1: kids record player? What kind of music are you listening to? Well, 298 00:13:33,000 --> 00:13:35,320 Speaker 1: I mean, I say, we're listening to I genuine the 299 00:13:35,320 --> 00:13:37,840 Speaker 1: records I had when I was varying on the records 300 00:13:37,840 --> 00:13:39,640 Speaker 1: I had, was with the with the records my father 301 00:13:39,720 --> 00:13:41,880 Speaker 1: was making, you know he was he was working on 302 00:13:41,920 --> 00:13:46,360 Speaker 1: Paul McCartney albums on America Where of America with Neil Saidarker, 303 00:13:46,440 --> 00:13:48,280 Speaker 1: you know there was a there was I knew all 304 00:13:48,320 --> 00:13:50,280 Speaker 1: of this stuff because it was on in the house 305 00:13:51,280 --> 00:13:52,680 Speaker 1: or he would be on the car. He would actually 306 00:13:52,720 --> 00:13:54,880 Speaker 1: listen to mixes in the car. You know, it would 307 00:13:54,920 --> 00:13:56,960 Speaker 1: be the I'd be where's dad and he'd be sitting 308 00:13:57,000 --> 00:14:00,000 Speaker 1: out to the car because we had no stereo at home. Um, 309 00:14:00,040 --> 00:14:02,640 Speaker 1: and then and then it's funny, I remember the best. 310 00:14:02,640 --> 00:14:04,840 Speaker 1: The first album I ever bought was a cassette because 311 00:14:04,840 --> 00:14:07,800 Speaker 1: I'm I'm you know, very bad, I'm a cassette area. 312 00:14:09,200 --> 00:14:13,040 Speaker 1: It was e l O Time? Yeah, which is? Which is? 313 00:14:13,200 --> 00:14:14,800 Speaker 1: I said to Jeffy I met jeff Lynn that you know, 314 00:14:14,840 --> 00:14:17,200 Speaker 1: I know jeff Lynn now, and I said, you was 315 00:14:17,240 --> 00:14:19,040 Speaker 1: the first album I ever ever board because you know, 316 00:14:19,080 --> 00:14:20,880 Speaker 1: what was that el O Time? It goes? Well, that 317 00:14:20,960 --> 00:14:24,200 Speaker 1: was a ship up because I'm a huge fan of Eldorado. 318 00:14:24,360 --> 00:14:27,040 Speaker 1: But yeah, I know it's not good, but you I mean, 319 00:14:27,320 --> 00:14:29,680 Speaker 1: you can't change history. That. It's like, you know, you 320 00:14:29,720 --> 00:14:31,760 Speaker 1: do interviews, you should you make up something really cool, 321 00:14:31,760 --> 00:14:34,080 Speaker 1: like you know it's rumors, you're honest. It's like, you know, 322 00:14:34,080 --> 00:14:36,760 Speaker 1: I read these interviews. What are your favorite books from 323 00:14:36,800 --> 00:14:38,800 Speaker 1: your favorite record? Yeah, and they're trying to look cool 324 00:14:39,000 --> 00:14:41,800 Speaker 1: and Stubbs what the truth? Yeah, there's no point. And 325 00:14:41,840 --> 00:14:43,880 Speaker 1: then and then it was you know there was you 326 00:14:43,920 --> 00:14:46,800 Speaker 1: know obviously there was. It's it's it's strange. I mean 327 00:14:46,800 --> 00:14:49,240 Speaker 1: there was. You know, there were bands around. I likes 328 00:14:49,280 --> 00:14:51,800 Speaker 1: a kid, I liked you know, I liked listening like 329 00:14:51,880 --> 00:14:54,280 Speaker 1: these by in Excess, which was I remember because Australian 330 00:14:54,320 --> 00:14:56,800 Speaker 1: friend of mine, I love Lloyd calling the Commotions or 331 00:14:57,360 --> 00:14:58,840 Speaker 1: you know, there was never made it over here, but 332 00:14:58,880 --> 00:15:00,320 Speaker 1: never made it. But you know there was, there was 333 00:15:00,320 --> 00:15:02,720 Speaker 1: a bunch of bands in that era. I didn't really. 334 00:15:03,800 --> 00:15:08,200 Speaker 1: It's funny, I didn't really. The eighties didn't really strike me, 335 00:15:08,600 --> 00:15:10,280 Speaker 1: you know, I was growing up in the eighties, I mean, 336 00:15:10,320 --> 00:15:12,920 Speaker 1: but I didn't really that whole. Well, that's interesting because 337 00:15:12,920 --> 00:15:14,600 Speaker 1: most of the sounds, certainly for the first half of 338 00:15:14,600 --> 00:15:18,200 Speaker 1: the eighties came from England. Yeah, but it didn't. It didn't. 339 00:15:18,240 --> 00:15:20,280 Speaker 1: It didn't touch me in the right way. It wasn't like, 340 00:15:20,360 --> 00:15:23,960 Speaker 1: you know, it wasn't a did you were a blues guy? Yeah, 341 00:15:24,760 --> 00:15:26,280 Speaker 1: as you can tell by my voice on the Blues 342 00:15:26,280 --> 00:15:28,360 Speaker 1: Guy through and through, But yeah, yeah, I was. I 343 00:15:28,400 --> 00:15:31,600 Speaker 1: was a blues guy. Liked I liked. I like, you know, 344 00:15:32,840 --> 00:15:35,080 Speaker 1: music pushing air through your ears, you know. I like 345 00:15:35,160 --> 00:15:36,600 Speaker 1: the sense I didn't want to didn't want to didn't 346 00:15:36,680 --> 00:15:40,600 Speaker 1: like the sense of Um, it didn't electronic. I hadn't him. 347 00:15:40,680 --> 00:15:43,360 Speaker 1: I appreciate it more now than I did then. UM 348 00:15:43,400 --> 00:15:45,640 Speaker 1: and then I went to you know for these through 349 00:15:46,000 --> 00:15:48,280 Speaker 1: you know, you learned without the guitar, and then and 350 00:15:48,360 --> 00:15:50,480 Speaker 1: the piano, and you get into guitar players. Basically you 351 00:15:50,520 --> 00:15:52,640 Speaker 1: start listening to guitar players. How did you become a 352 00:15:52,640 --> 00:15:56,040 Speaker 1: guitar player? Well, my parents, I was banned from the 353 00:15:56,280 --> 00:15:59,360 Speaker 1: guitar by my parents. Um literally yeah, they didn't want 354 00:15:59,360 --> 00:16:01,400 Speaker 1: to be the guitar. They thought I'd we have failed 355 00:16:01,520 --> 00:16:03,800 Speaker 1: rock star. I think there was an element in a 356 00:16:03,840 --> 00:16:07,840 Speaker 1: funny way with my father, and this sounds terrible, but 357 00:16:08,880 --> 00:16:11,800 Speaker 1: that he he there was one side he was worried 358 00:16:11,800 --> 00:16:13,720 Speaker 1: about me being a failure, and there was another side 359 00:16:13,720 --> 00:16:16,560 Speaker 1: he was worried about me making him look bad by 360 00:16:17,040 --> 00:16:18,720 Speaker 1: being this want to be rock star. I think there 361 00:16:18,720 --> 00:16:21,840 Speaker 1: was an element of that, totally definitely. But I but 362 00:16:21,960 --> 00:16:24,760 Speaker 1: I actually board a ukulele because I could afford a 363 00:16:24,840 --> 00:16:27,560 Speaker 1: ukulele um and learned about the ukulele, and the ukulele 364 00:16:27,680 --> 00:16:31,800 Speaker 1: has the the my my my sisters son to ukule 365 00:16:31,920 --> 00:16:34,040 Speaker 1: explained to him, it's you know that the four strings 366 00:16:34,040 --> 00:16:35,480 Speaker 1: are the same as the guitar. You just had fill 367 00:16:35,520 --> 00:16:37,280 Speaker 1: in the bass strings later when you learned prot the guitar. 368 00:16:37,360 --> 00:16:40,040 Speaker 1: So I did that, it became not about a ukulele plan. 369 00:16:40,040 --> 00:16:42,000 Speaker 1: And then then a borrowed at school. I was a 370 00:16:42,000 --> 00:16:44,440 Speaker 1: boarding school and a guy had a guitar, so I 371 00:16:44,520 --> 00:16:47,240 Speaker 1: used to use his guitar. And then for some reason, 372 00:16:47,280 --> 00:16:50,320 Speaker 1: I don't know whether this performance and came from myself 373 00:16:50,360 --> 00:16:52,840 Speaker 1: and actually still my best friend. We decided we'd go 374 00:16:52,960 --> 00:16:55,000 Speaker 1: busting and we end up playing in pubs and we 375 00:16:55,000 --> 00:16:57,440 Speaker 1: were about fifteen or sixteen. We played in pubs on 376 00:16:57,440 --> 00:17:00,160 Speaker 1: a new three songs and what were those three songs? 377 00:17:02,000 --> 00:17:05,040 Speaker 1: American Pie? I'd see, I should I see, I should 378 00:17:05,040 --> 00:17:07,280 Speaker 1: be making up something cooler. No, that's good for a bar. 379 00:17:07,359 --> 00:17:10,000 Speaker 1: You get people singing along if you really go out 380 00:17:10,000 --> 00:17:12,320 Speaker 1: with by Joe Jackson love that record, but not in 381 00:17:12,320 --> 00:17:15,359 Speaker 1: the middle section because we couldn't work it out. And 382 00:17:15,400 --> 00:17:17,159 Speaker 1: I think no woman will crying. I think with the 383 00:17:17,240 --> 00:17:19,280 Speaker 1: three songs we knew, wow, very good that you can 384 00:17:19,359 --> 00:17:21,200 Speaker 1: even remember. Yeah, well you know I can still play 385 00:17:21,240 --> 00:17:24,240 Speaker 1: them there And so okay, so you're playing in the pubs, 386 00:17:24,240 --> 00:17:26,720 Speaker 1: and what's the step after that playing the pubs? Then 387 00:17:26,720 --> 00:17:28,639 Speaker 1: we started playing and playing in bars and went to 388 00:17:28,760 --> 00:17:33,200 Speaker 1: university and then Manchester. Okay, so I gotta I gotta 389 00:17:33,200 --> 00:17:35,719 Speaker 1: place at Berkeley College of Music and my and it's 390 00:17:35,720 --> 00:17:37,400 Speaker 1: funny and my dad said, you know, and I don't 391 00:17:37,400 --> 00:17:38,800 Speaker 1: regret this at my dad say, I don't want you 392 00:17:38,800 --> 00:17:40,159 Speaker 1: to go to birth College of Music. You know, if 393 00:17:40,160 --> 00:17:41,760 Speaker 1: you if you really want to do this music thing, 394 00:17:41,760 --> 00:17:44,600 Speaker 1: I can, I can. I can teach you, but going 395 00:17:44,600 --> 00:17:46,600 Speaker 1: to a proper degree. And I was, you know, I 396 00:17:46,680 --> 00:17:48,560 Speaker 1: was good English, and I was good at I was 397 00:17:48,680 --> 00:17:50,800 Speaker 1: reasing me Ecanamic, and I did I did a degree 398 00:17:50,840 --> 00:17:53,680 Speaker 1: in American politics and literature, would you believe? So yeah, 399 00:17:53,720 --> 00:17:56,639 Speaker 1: I know, And and played music and and I was 400 00:17:56,840 --> 00:17:58,480 Speaker 1: managed to manage to head a whole you know, the 401 00:17:58,880 --> 00:18:01,560 Speaker 1: Stone Roses Happy Month. It was Tony Wilson era, the 402 00:18:01,560 --> 00:18:05,040 Speaker 1: Tony Wilson nine and it was great, it was it 403 00:18:05,080 --> 00:18:09,720 Speaker 1: was fantastic, was fantastic time. And why didn't almost none 404 00:18:09,720 --> 00:18:12,360 Speaker 1: of those bands make it up in the United States. 405 00:18:13,119 --> 00:18:15,920 Speaker 1: There was nothing slick about them. There was nothing slick 406 00:18:15,960 --> 00:18:18,600 Speaker 1: about any of those bands. And I think that in 407 00:18:18,680 --> 00:18:20,600 Speaker 1: that ear of Nights, of that ear in the in 408 00:18:20,640 --> 00:18:23,400 Speaker 1: the States, there was a slickness to the two year 409 00:18:23,480 --> 00:18:25,840 Speaker 1: music over here, and I think that's what it was. 410 00:18:26,040 --> 00:18:29,560 Speaker 1: I think they there was there's that undercurrent goth era 411 00:18:29,600 --> 00:18:31,680 Speaker 1: of you know, never Tear Us Apart and joy Division 412 00:18:31,680 --> 00:18:33,439 Speaker 1: and that sort of stuff. I think that that kind 413 00:18:33,480 --> 00:18:36,919 Speaker 1: of bubbled under forbidden in America. But but it wasn't really. 414 00:18:38,119 --> 00:18:40,440 Speaker 1: It was such a scene. And then and then funny 415 00:18:40,480 --> 00:18:42,280 Speaker 1: off things like the Chemical Brothers, which came. I was 416 00:18:42,320 --> 00:18:45,160 Speaker 1: at university with the Chemical Brothers and actually the guitarist 417 00:18:45,160 --> 00:18:47,679 Speaker 1: from radio Head was it was it? Ed? Was? Was 418 00:18:47,720 --> 00:18:51,040 Speaker 1: it master? With me? Um? There was there was, there 419 00:18:51,119 --> 00:18:53,600 Speaker 1: was this. There was a scene that broke into America 420 00:18:53,720 --> 00:18:56,200 Speaker 1: after that. So just after we were doing stuff here, 421 00:18:56,240 --> 00:18:58,640 Speaker 1: Now when you were in college university, as you say, 422 00:18:59,200 --> 00:19:02,280 Speaker 1: vass to all that stuff with those big things, did 423 00:19:02,280 --> 00:19:06,119 Speaker 1: you go yeah, I mean it's funny, I was choose 424 00:19:06,119 --> 00:19:09,520 Speaker 1: your weapon of choice. I was never really um, you 425 00:19:09,520 --> 00:19:11,840 Speaker 1: know the whole ext and and what we used to 426 00:19:11,840 --> 00:19:14,520 Speaker 1: call fast drug boom, Well what is what is that? 427 00:19:14,680 --> 00:19:16,280 Speaker 1: We know? Like you know that and fair to mean 428 00:19:16,480 --> 00:19:19,639 Speaker 1: ecstasy dance. I never really got into. I mean it 429 00:19:19,720 --> 00:19:23,679 Speaker 1: was crazy. I remember I remember my other the final 430 00:19:23,720 --> 00:19:25,520 Speaker 1: weis to call it, but we scoring balls whatever they're 431 00:19:25,520 --> 00:19:28,399 Speaker 1: called in America. You know, the the the the end 432 00:19:28,440 --> 00:19:31,120 Speaker 1: of term thing. It was a club called the Roxy, 433 00:19:31,119 --> 00:19:33,600 Speaker 1: which had a rubber dance floor that used to used 434 00:19:33,600 --> 00:19:37,359 Speaker 1: to throb in time of the music. That was intentional. 435 00:19:37,440 --> 00:19:40,080 Speaker 1: That was intentional. And I stood on the balcony and 436 00:19:41,000 --> 00:19:43,800 Speaker 1: everyone was like it was the acid days of the 437 00:19:43,840 --> 00:19:46,440 Speaker 1: Smiley Face and everyone's seeing free free your mind, well 438 00:19:46,520 --> 00:19:48,480 Speaker 1: must be free all that's stuff, but it was looking 439 00:19:48,560 --> 00:19:50,920 Speaker 1: like a German rally. Everyone's doing exactly the same thing, 440 00:19:51,480 --> 00:19:53,560 Speaker 1: and I thought, this isn't this isn't freeing on mind. 441 00:19:53,640 --> 00:19:55,639 Speaker 1: This is And I was more of a stoner culture 442 00:19:55,720 --> 00:19:57,919 Speaker 1: guitar player, you know, it wasn't really my scene, but 443 00:19:58,080 --> 00:19:59,400 Speaker 1: the has the end, it was very much a dance 444 00:19:59,480 --> 00:20:02,280 Speaker 1: driven culture. I kind of really I regret that I 445 00:20:02,320 --> 00:20:04,000 Speaker 1: didn't become more part of it because I think it's 446 00:20:04,040 --> 00:20:06,240 Speaker 1: very influential. But I mean, when when I did my 447 00:20:06,240 --> 00:20:08,320 Speaker 1: final example university, the guy next to me was sucking 448 00:20:08,359 --> 00:20:10,960 Speaker 1: a dummy. You know. It was. It was a pretty 449 00:20:11,000 --> 00:20:14,760 Speaker 1: crazy time. And but to what degree living in Manchester 450 00:20:14,800 --> 00:20:19,000 Speaker 1: at that time did that culture dominate or other people 451 00:20:19,080 --> 00:20:23,480 Speaker 1: were aware of it. It was pretty big. It reverberated 452 00:20:23,520 --> 00:20:26,080 Speaker 1: around certainly around the UK and Europe that that that 453 00:20:26,200 --> 00:20:29,360 Speaker 1: dance culture and those bands. Um, it was the biggest 454 00:20:29,440 --> 00:20:31,879 Speaker 1: music hub in it just by coincidence. It was the 455 00:20:31,880 --> 00:20:34,240 Speaker 1: biggest party town you know, there was. It was you know, 456 00:20:34,320 --> 00:20:36,560 Speaker 1: managed to have thirty six thousand students when I was there. 457 00:20:36,560 --> 00:20:39,440 Speaker 1: It was pretty big. You know, there's much bigger places now, 458 00:20:39,480 --> 00:20:41,639 Speaker 1: but it was and so it did. Yeah, it was. 459 00:20:41,720 --> 00:20:43,959 Speaker 1: It was pretty influential. And then add then out of 460 00:20:44,000 --> 00:20:49,600 Speaker 1: that obviously stemmed bands like Oasis, um, which was you 461 00:20:49,640 --> 00:20:52,399 Speaker 1: know when I left college, you know, Oasis started to 462 00:20:52,440 --> 00:20:55,320 Speaker 1: become very big and funny. They people get a pill 463 00:20:55,400 --> 00:20:57,919 Speaker 1: get quite upset when I say this. They did the 464 00:20:57,960 --> 00:21:01,760 Speaker 1: Beatles a lot of favors and what do you mean 465 00:21:01,800 --> 00:21:07,520 Speaker 1: by that? Well, I'm in the Beatles um in the 466 00:21:07,600 --> 00:21:10,080 Speaker 1: UK anyway, I can't talk about americausse I wasn't living that, 467 00:21:10,240 --> 00:21:12,960 Speaker 1: but in the UK you know probably, I think in 468 00:21:13,000 --> 00:21:14,719 Speaker 1: a funny way. Rightfully, So we're a band that had 469 00:21:14,760 --> 00:21:19,040 Speaker 1: happened an Oasis put them. They'll always be on a 470 00:21:19,040 --> 00:21:22,040 Speaker 1: pedal Star'm not saying that without Oasis, but they but 471 00:21:22,119 --> 00:21:26,800 Speaker 1: they certainly became a cultural cultural relevant band much quicker 472 00:21:27,359 --> 00:21:30,320 Speaker 1: or had that resurgence in the UK and stayed there 473 00:21:31,280 --> 00:21:35,520 Speaker 1: from the the Oasis period onward um because because that 474 00:21:35,560 --> 00:21:37,480 Speaker 1: was the it was, you know that, you know, we're 475 00:21:37,520 --> 00:21:39,320 Speaker 1: not as big as the Beatles, and then we're almost 476 00:21:39,320 --> 00:21:41,240 Speaker 1: like when Oasis said we're biggeran the Beatles, it was 477 00:21:41,280 --> 00:21:43,199 Speaker 1: the same as John lenn saying we're bigger than Jesus. 478 00:21:43,760 --> 00:21:46,560 Speaker 1: It was a strange kind of reflection on on what 479 00:21:46,600 --> 00:21:49,159 Speaker 1: went on before um And it was you know, it was, 480 00:21:49,320 --> 00:21:51,119 Speaker 1: it was. It was an amazing time. And I was 481 00:21:51,160 --> 00:21:54,120 Speaker 1: playing in a band, a deeply unsuccessful band, yes, sort 482 00:21:54,119 --> 00:21:57,119 Speaker 1: of indie indie rock band. That was. That was great 483 00:21:57,119 --> 00:21:59,520 Speaker 1: because I was with friends and we toured Germany and 484 00:21:59,520 --> 00:22:02,119 Speaker 1: went to Hannonda and did this sort of stuff and 485 00:22:02,119 --> 00:22:04,080 Speaker 1: and it was, you know, it was, it was. It 486 00:22:04,160 --> 00:22:06,280 Speaker 1: was a time where if you can be in a 487 00:22:06,359 --> 00:22:09,280 Speaker 1: van with a band and go on tours and sleep 488 00:22:09,320 --> 00:22:11,000 Speaker 1: in busses and sleep and you know, I slept in 489 00:22:11,000 --> 00:22:13,080 Speaker 1: a dog basket and Coventry and you know, and all 490 00:22:13,080 --> 00:22:15,639 Speaker 1: that sort of stuff you can do that you can 491 00:22:15,640 --> 00:22:17,119 Speaker 1: get on with people in a studio and you can 492 00:22:17,119 --> 00:22:18,840 Speaker 1: get on with people in life, and it's a you know, 493 00:22:18,840 --> 00:22:21,000 Speaker 1: if you you know that it taught me a huge amount. 494 00:22:22,000 --> 00:22:23,879 Speaker 1: Let's go back. You're talking about the club with the 495 00:22:23,920 --> 00:22:28,120 Speaker 1: rubber floor in your viewpoint on that your identity. Are 496 00:22:28,200 --> 00:22:30,560 Speaker 1: you a member of the group or you an outsider 497 00:22:30,640 --> 00:22:34,320 Speaker 1: judging the group. I've always felt like an outsider, not 498 00:22:34,400 --> 00:22:36,560 Speaker 1: judging in a bad way, but I've always been an outsider, 499 00:22:36,640 --> 00:22:39,800 Speaker 1: you know, I've always been always As a good rugby player, 500 00:22:39,840 --> 00:22:42,400 Speaker 1: I was in his team you know, and and and 501 00:22:42,440 --> 00:22:44,399 Speaker 1: played and it led to quite a high standard, but 502 00:22:44,480 --> 00:22:47,240 Speaker 1: always felt like an outsider. I was the only guitar player, 503 00:22:47,359 --> 00:22:49,919 Speaker 1: musician and a rugby team, you know obviously, but like 504 00:22:49,960 --> 00:22:54,600 Speaker 1: I was this there was this juxtaposition that that it 505 00:22:54,720 --> 00:22:57,480 Speaker 1: suited me. You know. It's funny and you're left. You know, 506 00:22:57,680 --> 00:22:59,359 Speaker 1: you have to understand that if you're if you're a 507 00:22:59,400 --> 00:23:02,520 Speaker 1: kid growing up where you're you know, I grew up 508 00:23:02,520 --> 00:23:04,840 Speaker 1: in studios. I grew up in Monster and the Caribbean 509 00:23:05,240 --> 00:23:06,800 Speaker 1: where there were these bands. I mean, you know, I'd 510 00:23:06,840 --> 00:23:09,239 Speaker 1: have to have dinner with Earth Wind and Fire or 511 00:23:09,280 --> 00:23:12,800 Speaker 1: with Stevie Wonder or with but it wasn't it sounds amazing, 512 00:23:12,880 --> 00:23:15,080 Speaker 1: But as a kid, you're just sold, sold to the 513 00:23:15,119 --> 00:23:17,440 Speaker 1: table and behave you know. That's that's how it is. 514 00:23:17,480 --> 00:23:19,040 Speaker 1: And you're on show all the time. It's and so 515 00:23:19,080 --> 00:23:21,880 Speaker 1: you become this observer, you've become by nature, this sort 516 00:23:21,920 --> 00:23:23,920 Speaker 1: of outside. It's a certain degree and I was the 517 00:23:23,920 --> 00:23:26,080 Speaker 1: same one as university. It doesn't leave you. Does it 518 00:23:26,160 --> 00:23:31,400 Speaker 1: make you more comfortable with famous, rich celebrities. Well, it's 519 00:23:31,480 --> 00:23:33,480 Speaker 1: it's one of those yes, it does. I never I 520 00:23:33,560 --> 00:23:37,040 Speaker 1: never take Yeah, I don't see them any anything, anything different. 521 00:23:37,160 --> 00:23:39,760 Speaker 1: I think that's what it is. And I see that 522 00:23:39,240 --> 00:23:42,600 Speaker 1: they can they can fire you fairly easily. But I 523 00:23:42,600 --> 00:23:44,080 Speaker 1: mean so can anyone else, you know. I mean it's 524 00:23:44,119 --> 00:23:46,600 Speaker 1: not like you know, it doesn't, it doesn't. I think. 525 00:23:46,760 --> 00:23:49,280 Speaker 1: I think I have a good relationship with famous, rich, 526 00:23:49,520 --> 00:23:52,720 Speaker 1: rich celebrities, if you like, because I'm always honest. And 527 00:23:53,040 --> 00:23:54,800 Speaker 1: that's the thing. Well, I just I went to college 528 00:23:54,840 --> 00:23:57,600 Speaker 1: where the people were from prep school and a lot 529 00:23:57,680 --> 00:24:00,080 Speaker 1: of them their parents literally ran household name come but 530 00:24:00,119 --> 00:24:02,920 Speaker 1: he's where I grew up. I didn't know anybody like that, 531 00:24:03,160 --> 00:24:05,000 Speaker 1: and it really taught me how to interact that they're 532 00:24:05,040 --> 00:24:07,000 Speaker 1: just formal people. But a lot of people don't have 533 00:24:07,040 --> 00:24:10,639 Speaker 1: that experience in their star struck even to this day. Yeah, 534 00:24:10,680 --> 00:24:14,800 Speaker 1: I mean it's it's it's you know, you meet people 535 00:24:14,840 --> 00:24:17,480 Speaker 1: are impressive and unimpressive. You know, you know, like you know, 536 00:24:17,720 --> 00:24:19,640 Speaker 1: as you know, you know a lot of people, you're 537 00:24:19,640 --> 00:24:22,160 Speaker 1: a huge influence and you know a lot of people 538 00:24:22,200 --> 00:24:24,720 Speaker 1: that are celebrities follow you. You know that people I 539 00:24:24,720 --> 00:24:27,040 Speaker 1: know getting something because you know Bobby's Bobby said this. 540 00:24:27,560 --> 00:24:29,480 Speaker 1: You know, it's it's it's it's which is which is? 541 00:24:29,600 --> 00:24:32,800 Speaker 1: It's it's a it's a responsibility, I suppose, but but 542 00:24:32,880 --> 00:24:36,680 Speaker 1: I think that I, um, you know, the funny about it, 543 00:24:36,720 --> 00:24:38,560 Speaker 1: like if you take Paul McCartney for instance, who I 544 00:24:38,600 --> 00:24:42,359 Speaker 1: know very well, um and as as and I actually 545 00:24:42,400 --> 00:24:44,800 Speaker 1: love him dearly. He's always been good to me. He's 546 00:24:44,840 --> 00:24:46,880 Speaker 1: a bit like Forest Gump in a way. There's something 547 00:24:46,960 --> 00:24:48,840 Speaker 1: very interesting about im parton the fact he's Paul McCarney, 548 00:24:48,880 --> 00:24:52,840 Speaker 1: but his his experiences, he said, it just extraordinary. You know. 549 00:24:52,880 --> 00:24:54,719 Speaker 1: It's like, you know, you're talking to me. You know. 550 00:24:55,119 --> 00:24:58,239 Speaker 1: He'll go from the time, you know, when recounting when 551 00:24:58,280 --> 00:25:01,680 Speaker 1: he met Elvis Too being in the same hotel as 552 00:25:01,720 --> 00:25:03,800 Speaker 1: the England World Cup football team when they won the 553 00:25:03,800 --> 00:25:06,000 Speaker 1: World Cup to you know, Mohammad Ali to what it 554 00:25:06,200 --> 00:25:08,439 Speaker 1: is that it's like Forrest Gump. It's that sort of thing. 555 00:25:08,480 --> 00:25:11,240 Speaker 1: I know. It's that, you know, it's trivializing something that's important. 556 00:25:11,240 --> 00:25:13,359 Speaker 1: But to me that's it's kind of like you have 557 00:25:13,440 --> 00:25:15,800 Speaker 1: to break it down to what you understand, right right, 558 00:25:15,880 --> 00:25:19,119 Speaker 1: the same thing like Quincy Jones or Quincy advertises a 559 00:25:19,160 --> 00:25:21,000 Speaker 1: little bit more. But you sit there when I was 560 00:25:21,040 --> 00:25:23,800 Speaker 1: with this king and I was out of blah blah blah. Well, yeah, 561 00:25:23,880 --> 00:25:26,919 Speaker 1: it's funny Quincy. I know Quincy because I've known him 562 00:25:26,920 --> 00:25:29,000 Speaker 1: growing up, because he was he was the contemporary of 563 00:25:29,000 --> 00:25:31,600 Speaker 1: my dad. And they were very close. In fact, even 564 00:25:31,600 --> 00:25:33,520 Speaker 1: though they're sort of like counter opposite, they were over 565 00:25:33,520 --> 00:25:36,119 Speaker 1: and there like yan Ye and Yang or the production 566 00:25:36,119 --> 00:25:38,600 Speaker 1: where they both have the same kind of backgrounds but 567 00:25:38,920 --> 00:25:41,000 Speaker 1: white and black. You know, I think I can say that. 568 00:25:41,040 --> 00:25:43,960 Speaker 1: It's like, you know, I don't think there's anything you know, Coince. 569 00:25:44,040 --> 00:25:47,199 Speaker 1: Quincy is a Quincy is a pure jazz artist. And 570 00:25:47,240 --> 00:25:50,080 Speaker 1: my dad was a baroque white you know, not actually 571 00:25:50,119 --> 00:25:53,200 Speaker 1: low class and not not you know, my dad transformed 572 00:25:53,240 --> 00:25:56,280 Speaker 1: himself to an upper class gen from from from from 573 00:25:56,320 --> 00:25:59,600 Speaker 1: a very humble background. And and they both work their 574 00:25:59,600 --> 00:26:03,119 Speaker 1: ways through had to navigate their way through society and 575 00:26:03,160 --> 00:26:05,080 Speaker 1: the rules of society to get where they got to. 576 00:26:05,280 --> 00:26:07,320 Speaker 1: And they did very well, and they and they were 577 00:26:07,400 --> 00:26:09,960 Speaker 1: very very close. They were incredibly close. And I still 578 00:26:10,560 --> 00:26:16,520 Speaker 1: tort Quincy. Okay, we'll return to this conversation with Jiles Martin, 579 00:26:16,960 --> 00:26:19,960 Speaker 1: sound experience leader for Sonos and son of George Martin 580 00:26:20,080 --> 00:26:23,000 Speaker 1: and producer and mixed her extraordinary in his own right 581 00:26:23,080 --> 00:26:26,520 Speaker 1: in a moment, this is Bob Leftson's. Do you like 582 00:26:26,640 --> 00:26:29,400 Speaker 1: the podcast? If so, come check out the one on 583 00:26:29,400 --> 00:26:32,159 Speaker 1: one interviews I'll be having with movers and shakers in 584 00:26:32,200 --> 00:26:34,639 Speaker 1: the music and media industries at the end of April 585 00:26:34,640 --> 00:26:38,440 Speaker 1: at my Music Media Summit in Santa Barbara. Not only 586 00:26:38,480 --> 00:26:40,520 Speaker 1: can you listen in to the conversations, but you can 587 00:26:40,560 --> 00:26:43,480 Speaker 1: meet the big wigs and hang. They have insight and 588 00:26:43,600 --> 00:26:46,720 Speaker 1: influence over where it's all going. Go to Music Media 589 00:26:46,800 --> 00:26:49,919 Speaker 1: Summit dot com for tickets and more information. See you 590 00:26:49,960 --> 00:26:53,920 Speaker 1: in Santa Barbara. Let's continue the conversation with a sound 591 00:26:53,920 --> 00:26:57,040 Speaker 1: experience leader for Sonos and son of the great Beatles engineer, 592 00:26:57,080 --> 00:27:02,080 Speaker 1: George Martin. Let's go back to Monster Rot because that's 593 00:27:02,080 --> 00:27:04,359 Speaker 1: one thing we noticed and reading the credit, which we 594 00:27:04,440 --> 00:27:07,560 Speaker 1: do inveterately in the seventies, and when we say air 595 00:27:07,760 --> 00:27:09,919 Speaker 1: studios in Mansra, how did that come together to the 596 00:27:09,960 --> 00:27:13,560 Speaker 1: degree you know, well, I know, I mean my my father. 597 00:27:13,840 --> 00:27:16,760 Speaker 1: My thought was my father. It was funny my my 598 00:27:16,760 --> 00:27:21,200 Speaker 1: my dad, um he he which I you know, we 599 00:27:21,200 --> 00:27:22,960 Speaker 1: we we talked about once poor and I said, you know, 600 00:27:23,000 --> 00:27:25,360 Speaker 1: we shouldn't talk about this, but my dad actually did. 601 00:27:27,080 --> 00:27:30,600 Speaker 1: He managed to sell his royalties to the Beetle stream 602 00:27:30,720 --> 00:27:33,560 Speaker 1: and UM and end up with a trade off which 603 00:27:33,560 --> 00:27:37,720 Speaker 1: which is part of this recomly chrysalis. And he ended 604 00:27:37,800 --> 00:27:41,159 Speaker 1: up building studios with the money he got and he 605 00:27:41,200 --> 00:27:43,199 Speaker 1: decided wouldn't be great. He wanted to build the studios. 606 00:27:43,240 --> 00:27:46,040 Speaker 1: It was unlike no other and he looked at building 607 00:27:46,040 --> 00:27:48,199 Speaker 1: a studios on a on a ship. That was his 608 00:27:48,240 --> 00:27:49,919 Speaker 1: first idea. And he actually was thinking about buying a 609 00:27:49,920 --> 00:27:53,280 Speaker 1: Scandinavian ferry and building studios there. And then he realized 610 00:27:53,320 --> 00:27:55,919 Speaker 1: the engine noise would be getting into the isolation on 611 00:27:55,920 --> 00:27:58,280 Speaker 1: a ferious night. So he end up looking for a 612 00:27:58,280 --> 00:28:00,960 Speaker 1: place and he chose Monsterrat which is not on the 613 00:28:01,000 --> 00:28:05,960 Speaker 1: Caribbean very um rugged no white sand beaches, black sand 614 00:28:06,000 --> 00:28:09,199 Speaker 1: beaches and an all volcano and it was you know, 615 00:28:09,240 --> 00:28:12,200 Speaker 1: it was a crazy idea UM and he built a 616 00:28:12,240 --> 00:28:14,399 Speaker 1: world class studios. He built his studios which was like 617 00:28:14,440 --> 00:28:19,000 Speaker 1: Abbey Road but in the Caribbean UM and it became 618 00:28:19,040 --> 00:28:21,359 Speaker 1: probably one of the most successful studios as far as 619 00:28:21,400 --> 00:28:25,919 Speaker 1: professionally goes in UM. You know, at that time, you 620 00:28:25,920 --> 00:28:29,280 Speaker 1: know everything from brothers and Arms to to Michael Jackson too, 621 00:28:29,600 --> 00:28:32,320 Speaker 1: you know the number of you know, to the police. 622 00:28:32,320 --> 00:28:35,919 Speaker 1: Obviously the police recorded everything out there Alton John recorded 623 00:28:35,960 --> 00:28:39,880 Speaker 1: out there. Just about everyone went to monsterral Um. It 624 00:28:39,960 --> 00:28:41,800 Speaker 1: never made any money, I mean because it was a 625 00:28:41,840 --> 00:28:45,600 Speaker 1: really bad idea because to have the studios, that's just 626 00:28:45,680 --> 00:28:49,240 Speaker 1: one studios with everything else, you know, with the with 627 00:28:49,280 --> 00:28:52,360 Speaker 1: the cost I think you know, it cost him on 628 00:28:52,480 --> 00:28:55,080 Speaker 1: top of it cost him half million dollars after he 629 00:28:55,120 --> 00:28:58,360 Speaker 1: built it. But it was great. You know. He was 630 00:28:58,400 --> 00:29:01,160 Speaker 1: one of those guys that didn't really he was a 631 00:29:01,200 --> 00:29:03,520 Speaker 1: proper artist, and I fact, he didn't do anything for 632 00:29:03,920 --> 00:29:06,320 Speaker 1: the reason why he did it because he thought it 633 00:29:06,320 --> 00:29:09,640 Speaker 1: was a good idea and it was fun. Okay, you 634 00:29:09,680 --> 00:29:13,080 Speaker 1: know in English or world travelers, I've never been to Manster, 635 00:29:13,240 --> 00:29:15,720 Speaker 1: we're literally where is it the currents next to Antigua. 636 00:29:16,080 --> 00:29:17,560 Speaker 1: It was next to Anting. You can see it because 637 00:29:17,680 --> 00:29:20,400 Speaker 1: because sadly with Monster at the volcano erupted this flocal, 638 00:29:20,440 --> 00:29:22,320 Speaker 1: this this place. We played to his kids and felt 639 00:29:22,320 --> 00:29:24,720 Speaker 1: I went up to I climbed the mountains with Elton 640 00:29:24,800 --> 00:29:27,840 Speaker 1: John's boyfriend at the time on the on the and 641 00:29:27,880 --> 00:29:29,560 Speaker 1: I came back to school and he married and then 642 00:29:29,560 --> 00:29:31,480 Speaker 1: he got engaged to Renata. He was two with the 643 00:29:31,480 --> 00:29:33,760 Speaker 1: tape ofp and it was like wait a second, and 644 00:29:34,000 --> 00:29:36,240 Speaker 1: you know, this bizarre life. You lead where I left, 645 00:29:36,640 --> 00:29:38,480 Speaker 1: and we climbed them, We climbed this. We used to 646 00:29:38,520 --> 00:29:42,320 Speaker 1: a climb to this waterfall. And all of that doesn't 647 00:29:42,320 --> 00:29:44,840 Speaker 1: exist anymore. It's now mountains because the volcano which was 648 00:29:44,880 --> 00:29:47,720 Speaker 1: just as hot springs but started to erupt after twenty 649 00:29:47,800 --> 00:29:50,080 Speaker 1: years and destroyed the island. So it's next to it's 650 00:29:50,080 --> 00:29:52,680 Speaker 1: next to Antigua, Okay. And when you were there, how 651 00:29:52,680 --> 00:29:55,360 Speaker 1: many people would live there? There were twelve thousand. Now 652 00:29:55,440 --> 00:29:57,640 Speaker 1: that's about three and a half thousand. And then how 653 00:29:57,720 --> 00:30:02,960 Speaker 1: big was the island? It's getting bigger? Answer the islands. 654 00:30:03,200 --> 00:30:04,880 Speaker 1: It's difficult, I bet said the ouselves of the other 655 00:30:04,960 --> 00:30:07,160 Speaker 1: white that would be nothing to anyone in America. It's 656 00:30:07,600 --> 00:30:10,200 Speaker 1: three miles by four miles, so sorry's seven miles by 657 00:30:10,200 --> 00:30:13,480 Speaker 1: four miles. Very small, small island, yeah, smallland there was 658 00:30:13,520 --> 00:30:16,080 Speaker 1: nothing really on it and that's what was, you know, 659 00:30:16,160 --> 00:30:19,400 Speaker 1: and you could only get to it by chartered small plan. 660 00:30:19,480 --> 00:30:22,520 Speaker 1: The runway was tiny. Um and that's why I think 661 00:30:22,560 --> 00:30:25,280 Speaker 1: my father chose it, because you know, that's Sting. Sting 662 00:30:25,280 --> 00:30:27,000 Speaker 1: had a house out there. Elton had a house out there. 663 00:30:27,040 --> 00:30:29,280 Speaker 1: Jeff Emrick, who was an engineer that my father. He 664 00:30:29,480 --> 00:30:32,040 Speaker 1: end up building a studio house over there. You know, 665 00:30:32,120 --> 00:30:33,800 Speaker 1: you could go there and you wouldn't people would not 666 00:30:33,840 --> 00:30:36,440 Speaker 1: get assholed because there was no there was no real 667 00:30:37,080 --> 00:30:41,080 Speaker 1: um white tourists on the island and you lived there 668 00:30:41,160 --> 00:30:44,760 Speaker 1: full time. No, we were we I spent because of 669 00:30:44,880 --> 00:30:47,240 Speaker 1: trying to run the studios. I was at boarding school, 670 00:30:47,240 --> 00:30:49,239 Speaker 1: and there was a period of time where myself my 671 00:30:49,240 --> 00:30:51,080 Speaker 1: sister would go there and we were pretty much lived 672 00:30:51,080 --> 00:30:52,680 Speaker 1: there because when we weren't at school, we'd be on 673 00:30:52,760 --> 00:30:56,440 Speaker 1: monserrat you know. I remember, I remember having hard feet 674 00:30:56,480 --> 00:30:59,080 Speaker 1: because we wouldn't wear shoes. You know, we'd run down 675 00:30:59,080 --> 00:31:00,960 Speaker 1: time back Rhods and off like that and my friends 676 00:31:00,960 --> 00:31:04,160 Speaker 1: with Monster Ashian's um. Now the studio was destroyed in 677 00:31:04,160 --> 00:31:07,440 Speaker 1: a storm. The student got here by I think Hurricane Hugo, 678 00:31:08,640 --> 00:31:10,960 Speaker 1: and it was a bit like the recent hurricane that 679 00:31:11,160 --> 00:31:14,560 Speaker 1: just hit the West Indies. And yeah, it was it 680 00:31:14,600 --> 00:31:18,640 Speaker 1: was pretty much you know, there was the Bosendorf for 681 00:31:18,680 --> 00:31:21,080 Speaker 1: grand piano. Actually at the end of it had was 682 00:31:21,120 --> 00:31:23,240 Speaker 1: a mold growing out of it, and the desk was ruined, 683 00:31:23,320 --> 00:31:26,360 Speaker 1: and you know, and and it was it was at 684 00:31:26,360 --> 00:31:29,680 Speaker 1: a stage, to be honest with you, where the studios. 685 00:31:29,720 --> 00:31:32,560 Speaker 1: Never made any money and it was a great thing 686 00:31:32,600 --> 00:31:37,200 Speaker 1: to have, but the hurricane was the final straw. He 687 00:31:37,280 --> 00:31:40,440 Speaker 1: still owned it. When the hurricane, He's learned it there 688 00:31:40,480 --> 00:31:42,800 Speaker 1: was it was an interesting story. So it had insurance 689 00:31:42,800 --> 00:31:45,160 Speaker 1: against hurricane and it was insured of with the company 690 00:31:45,160 --> 00:31:48,440 Speaker 1: called Lloyds of London, very famous insurance company. And they 691 00:31:48,440 --> 00:31:50,640 Speaker 1: sent a man out called Mr Hook. I always remember 692 00:31:50,720 --> 00:31:55,960 Speaker 1: this who arrived in Antigua and then disappeared. And he 693 00:31:56,040 --> 00:31:59,520 Speaker 1: had five thousand dollars and he disappeared and they found 694 00:31:59,560 --> 00:32:04,120 Speaker 1: him in sort of san He built an hotel and 695 00:32:04,440 --> 00:32:06,160 Speaker 1: it was one of those things where that Lloyd's London, 696 00:32:06,480 --> 00:32:09,280 Speaker 1: he's no longer our guy because he's with carib insurance. 697 00:32:09,320 --> 00:32:11,560 Speaker 1: So the Western Lands and Antique is one of those things. 698 00:32:11,640 --> 00:32:13,560 Speaker 1: And you know that the rules of the West Indians 699 00:32:13,600 --> 00:32:17,920 Speaker 1: can be slightly different to the other rules and so yeah, 700 00:32:17,960 --> 00:32:21,240 Speaker 1: and but it was the insurance ultimately, No, I don't 701 00:32:21,240 --> 00:32:24,080 Speaker 1: think completely, but I think listen, it's funny, you know 702 00:32:24,200 --> 00:32:27,600 Speaker 1: he was he didn't want for much. It didn't make 703 00:32:27,640 --> 00:32:29,760 Speaker 1: a difference, you know, it made a difference. But in 704 00:32:29,840 --> 00:32:32,120 Speaker 1: the end of it, the whole thing was the whole 705 00:32:32,200 --> 00:32:35,680 Speaker 1: the whole monster at thing was looking back on life 706 00:32:35,920 --> 00:32:38,479 Speaker 1: as as he did at the edge of ninety in Baiona. 707 00:32:38,560 --> 00:32:39,960 Speaker 1: You know, would he take it away from him? Would 708 00:32:39,960 --> 00:32:41,960 Speaker 1: he take that trip with the amount of records that 709 00:32:41,960 --> 00:32:43,880 Speaker 1: have made, the amount of fun that people had, you know, 710 00:32:44,640 --> 00:32:48,440 Speaker 1: from you know, from from the bands that recorded there, 711 00:32:48,440 --> 00:32:53,200 Speaker 1: from James Taylor to Jerry Rafferty to to just about 712 00:32:53,200 --> 00:32:55,760 Speaker 1: I mean it was destroying the range, I mean from 713 00:32:55,800 --> 00:32:58,080 Speaker 1: you know, Sailer's quote to Stevie Wonder was kind of 714 00:32:58,440 --> 00:33:00,640 Speaker 1: it was like, you know, everyone went there, I think 715 00:33:00,680 --> 00:33:03,440 Speaker 1: the Climax Blues Plan with the first person record over there, 716 00:33:03,880 --> 00:33:06,720 Speaker 1: and and so it was he he made something that 717 00:33:06,920 --> 00:33:08,720 Speaker 1: made things, and that was the thing, like, you know, 718 00:33:09,760 --> 00:33:11,480 Speaker 1: the true pleasure in life has to be coming up 719 00:33:11,480 --> 00:33:14,600 Speaker 1: with an idea and seeing it happen. So there was 720 00:33:14,640 --> 00:33:17,320 Speaker 1: another Air studio in London. There was another Students in 721 00:33:17,320 --> 00:33:19,560 Speaker 1: London which he sold to build mons Rat and then 722 00:33:19,880 --> 00:33:23,640 Speaker 1: he came back and persuaded Chrysalis, which the company that 723 00:33:23,720 --> 00:33:26,800 Speaker 1: he sort of sold out to, to build another studios 724 00:33:26,880 --> 00:33:30,800 Speaker 1: cilities called Air Studios Lyndhurst, which is a very good studios. Now. 725 00:33:31,320 --> 00:33:32,800 Speaker 1: It was funny he kind of got his own back 726 00:33:33,280 --> 00:33:35,920 Speaker 1: because having lost all his royalties. He built the studios 727 00:33:35,960 --> 00:33:38,480 Speaker 1: that was meant to cost I think I think a 728 00:33:38,560 --> 00:33:41,240 Speaker 1: million seven million pounds a cost twenty three million. You know, 729 00:33:41,240 --> 00:33:43,800 Speaker 1: it's like he built the cebuilders, you know, and it's 730 00:33:43,800 --> 00:33:45,720 Speaker 1: a beautiful you know, it's like Hans Zimmer. It's his 731 00:33:45,760 --> 00:33:48,719 Speaker 1: favorite students in the world. So you know, Coldplayer recorded there. 732 00:33:48,720 --> 00:33:50,400 Speaker 1: I mean a lot of people have been to air 733 00:33:50,480 --> 00:33:54,280 Speaker 1: so it's a it's a great place. Okay. So you 734 00:33:55,000 --> 00:33:58,520 Speaker 1: are in university, you're playing different gigs, you graduate, and 735 00:33:58,560 --> 00:34:01,160 Speaker 1: then what well, while I was playing, I had a 736 00:34:01,160 --> 00:34:04,040 Speaker 1: French girlfriend. And while I was playing to a French girlfriend, 737 00:34:04,040 --> 00:34:06,560 Speaker 1: she was and she was a university. I got a drunk. 738 00:34:06,560 --> 00:34:12,000 Speaker 1: I think she was at university and and she knew 739 00:34:12,000 --> 00:34:13,880 Speaker 1: a place in France. We're looking for a band to 740 00:34:13,960 --> 00:34:16,400 Speaker 1: play at New Year's Eve, and so this is this 741 00:34:16,480 --> 00:34:18,239 Speaker 1: is myself and my friend and a drum machine. We 742 00:34:18,280 --> 00:34:20,359 Speaker 1: were one of those bands, you know, you know, there's 743 00:34:20,600 --> 00:34:23,839 Speaker 1: the quality of the capital k and we go down. 744 00:34:23,960 --> 00:34:26,120 Speaker 1: We went down and and a guy saw us play 745 00:34:26,320 --> 00:34:28,759 Speaker 1: and and I played some of my own songs and 746 00:34:28,760 --> 00:34:30,920 Speaker 1: he said, you know, would you write some music for 747 00:34:31,040 --> 00:34:34,880 Speaker 1: my And I end up writing music for for commercials 748 00:34:35,000 --> 00:34:39,880 Speaker 1: end up writing music for Elf Aquitaine for the American audience. 749 00:34:40,360 --> 00:34:43,759 Speaker 1: It's it's they sell petrol gas. It's like it wasn't PC. 750 00:34:44,000 --> 00:34:46,320 Speaker 1: But I ended up doing seven commercials. I was university 751 00:34:46,320 --> 00:34:49,759 Speaker 1: and I sort of got a gig doing commercials and 752 00:34:49,840 --> 00:34:51,520 Speaker 1: it was great. It was good money, you know, and 753 00:34:51,560 --> 00:34:53,920 Speaker 1: I couldn't believe it. And then I left. When I 754 00:34:54,000 --> 00:34:55,960 Speaker 1: left university, I thought what am I going to do? 755 00:34:56,000 --> 00:34:59,160 Speaker 1: And I wanted to do music. Ended up working a 756 00:34:59,160 --> 00:35:01,879 Speaker 1: little bit of music. Yeah, I did PR for UB 757 00:35:02,040 --> 00:35:05,000 Speaker 1: forty and Tears for Fears. How did you get those gigs? 758 00:35:05,840 --> 00:35:09,560 Speaker 1: I was an intern I wanted to do At that stage, 759 00:35:09,600 --> 00:35:11,480 Speaker 1: I wanted to write music and I couldn't. I could 760 00:35:11,520 --> 00:35:13,719 Speaker 1: do commercials now, and I thought I'd learned everything. So 761 00:35:14,480 --> 00:35:17,000 Speaker 1: as I was working, to end up meeting someone getting 762 00:35:17,000 --> 00:35:19,360 Speaker 1: a job in a PR company. I think it's the 763 00:35:19,360 --> 00:35:21,120 Speaker 1: funny that they get The guy gave him the job 764 00:35:21,160 --> 00:35:24,520 Speaker 1: because he wanted the PR account for Air Studios in London, 765 00:35:24,800 --> 00:35:27,040 Speaker 1: which he didn't get given and then wanted to fire 766 00:35:27,080 --> 00:35:29,960 Speaker 1: me because you know it, you know. And then there 767 00:35:29,960 --> 00:35:31,799 Speaker 1: was a guy called Alan Awards who actually ended up 768 00:35:31,800 --> 00:35:35,359 Speaker 1: managing David Bowie. He liked me, and he goes, well 769 00:35:35,520 --> 00:35:37,640 Speaker 1: lit and I believe in you. And I only did 770 00:35:37,719 --> 00:35:42,439 Speaker 1: seven months and I saw a band they were called 771 00:35:42,440 --> 00:35:44,480 Speaker 1: My Life Story at the Marquis and I said to 772 00:35:44,480 --> 00:35:46,040 Speaker 1: you know, I think I'm really good and I'd like 773 00:35:46,080 --> 00:35:48,160 Speaker 1: to make a record with you having no and we 774 00:35:48,200 --> 00:35:49,879 Speaker 1: went to a studios in the evening, so I'd work 775 00:35:49,920 --> 00:35:52,000 Speaker 1: on the day and then go and work nights. And 776 00:35:52,040 --> 00:35:55,000 Speaker 1: they got singled the Weekend Enemy. Okay, well a little 777 00:35:55,040 --> 00:35:58,400 Speaker 1: bit slower. What made you think you could produce a record? 778 00:35:59,800 --> 00:36:04,160 Speaker 1: I don't know, Um, had you been into this? How 779 00:36:04,239 --> 00:36:06,320 Speaker 1: much time? Like? Oh yeah, sorry? When I when I 780 00:36:06,360 --> 00:36:09,320 Speaker 1: left school, I spent a year as a as a 781 00:36:09,360 --> 00:36:14,360 Speaker 1: runner in the studios. Actually hoofard vacuum sorry, I vacuumed carpets. 782 00:36:14,480 --> 00:36:17,040 Speaker 1: And whose studio was that? That was? That was? That 783 00:36:17,120 --> 00:36:20,160 Speaker 1: was Aaron London? Aaron London. Okay. How much time did 784 00:36:20,160 --> 00:36:23,120 Speaker 1: you spend in the room with your father? A lot 785 00:36:23,120 --> 00:36:25,360 Speaker 1: of time because whenever he had to go in the studios. 786 00:36:25,400 --> 00:36:27,839 Speaker 1: I went in from the age of sixteen. So when 787 00:36:27,880 --> 00:36:30,680 Speaker 1: you had my uh, the band that you wanted to 788 00:36:30,719 --> 00:36:33,360 Speaker 1: make a record with, you had experience of a sort. 789 00:36:33,560 --> 00:36:35,680 Speaker 1: I had been in the studios I knew with studios. 790 00:36:35,719 --> 00:36:38,520 Speaker 1: I knew, you know, this was what I wanted to do, 791 00:36:39,120 --> 00:36:40,840 Speaker 1: and I was determined I was gonna do it. And 792 00:36:40,880 --> 00:36:43,520 Speaker 1: I wasn't very good, but they managed to get you know, 793 00:36:43,560 --> 00:36:45,600 Speaker 1: the Enemy was a big magazine and the UK has 794 00:36:45,600 --> 00:36:48,200 Speaker 1: a new Music New Musical express it and they got 795 00:36:48,200 --> 00:36:51,640 Speaker 1: Singular Week there and someone put up my dad's desk 796 00:36:51,680 --> 00:36:53,160 Speaker 1: and said, you know your boys may not. I didn't 797 00:36:53,200 --> 00:36:55,080 Speaker 1: tell my father I was even doing it, and he goes, 798 00:36:55,200 --> 00:36:57,359 Speaker 1: really and he phoned me up and said, how come 799 00:36:57,400 --> 00:37:00,480 Speaker 1: you've got Record of the Week and New Musically Stress 800 00:37:01,160 --> 00:37:03,920 Speaker 1: And and that was It was a turning point in 801 00:37:03,960 --> 00:37:06,200 Speaker 1: my life because at the same time I was offered 802 00:37:06,239 --> 00:37:08,640 Speaker 1: a big job at headed Dance Press for Warners. I 803 00:37:08,680 --> 00:37:11,200 Speaker 1: was working this PR company and I went to go 804 00:37:11,239 --> 00:37:12,680 Speaker 1: and see this woman. I said, why are you offered 805 00:37:12,719 --> 00:37:14,600 Speaker 1: me this job? And because we've been recommended to you 806 00:37:14,640 --> 00:37:17,319 Speaker 1: by these journalists have said you should employ him, and 807 00:37:17,320 --> 00:37:21,600 Speaker 1: I said, an, I'm terrible at PR. And I found 808 00:37:21,600 --> 00:37:23,880 Speaker 1: out one of the journalists and he said, I always 809 00:37:23,920 --> 00:37:25,839 Speaker 1: remember him. He was a guy, Alan Jackson, who wrote 810 00:37:25,840 --> 00:37:28,200 Speaker 1: for The Times in London. He said, whenever we spoke 811 00:37:28,239 --> 00:37:30,360 Speaker 1: to on the phone, you didn't seem very happy, so 812 00:37:30,360 --> 00:37:33,880 Speaker 1: we decided to get you another job. So anyway, so 813 00:37:33,920 --> 00:37:36,239 Speaker 1: I had I had a choice twenty seven thousand pounds 814 00:37:36,239 --> 00:37:38,480 Speaker 1: a year plus car to work at Warner Brothers or 815 00:37:38,760 --> 00:37:40,200 Speaker 1: go off and do music for a living. So I 816 00:37:40,239 --> 00:37:42,160 Speaker 1: went off to music for a a living. By the same time, 817 00:37:42,200 --> 00:37:45,200 Speaker 1: there's no safety net. No, there was no safety net, 818 00:37:45,280 --> 00:37:48,560 Speaker 1: and and and I think I think, I well, like listen, 819 00:37:48,680 --> 00:37:53,279 Speaker 1: I was very lucky that I spent time then a 820 00:37:53,280 --> 00:37:56,600 Speaker 1: lot of time with my dad doing doing stuff. And 821 00:37:56,640 --> 00:38:00,600 Speaker 1: then when things I've always been incredibly lucky that when 822 00:38:00,680 --> 00:38:03,400 Speaker 1: things when I when I suddenly I remember I remember 823 00:38:05,200 --> 00:38:10,040 Speaker 1: thinking to myself, oh God, now now I'm broke. And 824 00:38:10,080 --> 00:38:12,760 Speaker 1: then the phone would ring and a guy called Rob Dickens, 825 00:38:12,800 --> 00:38:15,239 Speaker 1: who was he ran Warner Brothers had just had a 826 00:38:15,280 --> 00:38:17,560 Speaker 1: labeled Sunny because I've seen I saw you in a magazine. 827 00:38:17,560 --> 00:38:19,359 Speaker 1: I did a fashion shoot there we are, that's a 828 00:38:19,400 --> 00:38:22,920 Speaker 1: glamor and glitz. And he said, you know you want 829 00:38:22,920 --> 00:38:24,000 Speaker 1: to come work for me me. I'll pay you a few 830 00:38:24,040 --> 00:38:26,959 Speaker 1: two thousand pounds and you don't have to work full time. 831 00:38:27,000 --> 00:38:29,440 Speaker 1: And I was like, yeah, great. So yeah, I always 832 00:38:29,520 --> 00:38:32,800 Speaker 1: always managed to get some sort of situation where people 833 00:38:33,280 --> 00:38:35,000 Speaker 1: I've always been lucky that people go, you know, hey, 834 00:38:35,040 --> 00:38:36,640 Speaker 1: do you want to do this? And then and that 835 00:38:36,760 --> 00:38:39,440 Speaker 1: getting the opportunity to actually learn. And I made terrible 836 00:38:39,480 --> 00:38:41,640 Speaker 1: records and didn't know what I was doing. And then 837 00:38:41,960 --> 00:38:44,640 Speaker 1: I remember a friend of mine said to me, who 838 00:38:44,760 --> 00:38:46,719 Speaker 1: I was working the studios at Rack Studios and gone 839 00:38:46,760 --> 00:38:49,480 Speaker 1: to work on a band? Who are ok? Work on this? 840 00:38:49,560 --> 00:38:51,480 Speaker 1: Work on this band who were great? And I knew 841 00:38:51,520 --> 00:38:53,400 Speaker 1: I wasn't doing a very good job of them. And 842 00:38:53,440 --> 00:38:55,319 Speaker 1: he was working on this Bangled Shed seven, who were 843 00:38:55,320 --> 00:38:58,280 Speaker 1: a band in the nineties, and and and we became friends. 844 00:38:58,280 --> 00:38:59,640 Speaker 1: You guys, you know, once you learn how to make 845 00:38:59,640 --> 00:39:01,600 Speaker 1: a sound, it gets kind of boring, he said to me. 846 00:39:02,080 --> 00:39:04,120 Speaker 1: And I always take that because because it took me 847 00:39:04,120 --> 00:39:05,719 Speaker 1: a while to make to learn, and I know that 848 00:39:05,760 --> 00:39:07,520 Speaker 1: people may not like everything I can do, but I 849 00:39:07,560 --> 00:39:10,000 Speaker 1: know it will sound good. Does that make sense? Yes? 850 00:39:10,080 --> 00:39:12,799 Speaker 1: But if it's boring, does one continue to want to 851 00:39:12,800 --> 00:39:15,279 Speaker 1: do it? Where's the thrill? No? I think that's the thing. 852 00:39:15,320 --> 00:39:17,200 Speaker 1: You have to find the thrill, and that's the answer. 853 00:39:17,200 --> 00:39:19,120 Speaker 1: So you have to do different things. You have to 854 00:39:19,160 --> 00:39:22,080 Speaker 1: do approach things differently and do different things, which would 855 00:39:22,120 --> 00:39:24,680 Speaker 1: be like, what. Well, in my case, what I ended 856 00:39:24,760 --> 00:39:30,600 Speaker 1: up doing is so I I left. Um Um, I 857 00:39:30,719 --> 00:39:33,359 Speaker 1: ended up being asked I do music directions. I end 858 00:39:33,400 --> 00:39:36,000 Speaker 1: up music directing the jubile Leque, the first Queen's Jubilee 859 00:39:36,000 --> 00:39:38,719 Speaker 1: at bucking In Palace. Well, let's let's go back a 860 00:39:38,719 --> 00:39:42,279 Speaker 1: few steps here. You graduate from university. At what point 861 00:39:42,280 --> 00:39:45,800 Speaker 1: do you give up the dream of being a musician? Um? 862 00:39:45,840 --> 00:39:48,840 Speaker 1: I was. I did the band for about six years, 863 00:39:49,160 --> 00:39:51,160 Speaker 1: so I was always doing lots of different things at 864 00:39:51,200 --> 00:39:52,480 Speaker 1: the time, but I did the band six years. We 865 00:39:52,560 --> 00:39:57,760 Speaker 1: got signed by a label, we made a record. I didn't. 866 00:39:59,040 --> 00:40:02,320 Speaker 1: It was just it was it was sleeping on floors 867 00:40:02,400 --> 00:40:04,400 Speaker 1: for too long. And I think at the bay the 868 00:40:04,400 --> 00:40:06,360 Speaker 1: age of twenty six or seven, I thought, you know, 869 00:40:06,400 --> 00:40:08,560 Speaker 1: I can't. I don't want to sleep on floors anymore. 870 00:40:08,560 --> 00:40:10,360 Speaker 1: I've been I've been doing this. I've been playing in 871 00:40:10,360 --> 00:40:13,360 Speaker 1: pubs since I was fifteen years old. I still love playing, 872 00:40:13,960 --> 00:40:15,800 Speaker 1: but I realized that maybe I'm not going to be 873 00:40:15,840 --> 00:40:18,880 Speaker 1: the world's greatest singer songwriter or a songwriter, or you know, 874 00:40:19,000 --> 00:40:23,319 Speaker 1: maybe that's not that's not my destiny. Um. And your 875 00:40:23,400 --> 00:40:27,000 Speaker 1: parents were saying, what about when you were a peripatetic 876 00:40:27,120 --> 00:40:30,239 Speaker 1: singer songwriter. At that stage of my parents, you know, 877 00:40:30,280 --> 00:40:32,960 Speaker 1: I rebelled against my parents when I at the university. 878 00:40:33,000 --> 00:40:35,120 Speaker 1: I didn't care what they said at that stage, you know, 879 00:40:35,200 --> 00:40:36,640 Speaker 1: and where they give you any money or could you 880 00:40:36,640 --> 00:40:40,880 Speaker 1: make it? Uh No, they didn't give me any money. Um, 881 00:40:40,920 --> 00:40:42,839 Speaker 1: I mean I was very lucky they gave me. I said, 882 00:40:42,840 --> 00:40:45,399 Speaker 1: I didn't give any money. They gave me my my 883 00:40:46,080 --> 00:40:51,640 Speaker 1: mom's parents left me twenty pounds and when they passed away, 884 00:40:52,440 --> 00:40:56,200 Speaker 1: and so I bought a flat with a mortgage. You know, 885 00:40:56,320 --> 00:40:58,200 Speaker 1: it's amazing you could do that now. And that was 886 00:40:58,239 --> 00:41:00,640 Speaker 1: where that was a not ehall gate game. So that 887 00:41:00,719 --> 00:41:02,040 Speaker 1: was a good that was a good thing I put it. 888 00:41:02,400 --> 00:41:04,520 Speaker 1: It was cheap and then the guy then the guy 889 00:41:04,560 --> 00:41:07,040 Speaker 1: made the film and everything became expensive, which was super familiar. 890 00:41:07,120 --> 00:41:11,440 Speaker 1: But anyway, um yeah, I didn't. I I I realized 891 00:41:11,480 --> 00:41:15,480 Speaker 1: that the band wasn't you know it was? It was 892 00:41:15,560 --> 00:41:17,399 Speaker 1: I love the love the guys untill my best friends. 893 00:41:17,400 --> 00:41:19,439 Speaker 1: But it wasn't working. And what are they doing now? 894 00:41:21,000 --> 00:41:24,600 Speaker 1: On a one's a drummer in like he plays with. 895 00:41:25,160 --> 00:41:28,680 Speaker 1: He plays a lot of different bands but of a 896 00:41:28,680 --> 00:41:32,960 Speaker 1: different era, and the singer works in a bank the 897 00:41:33,000 --> 00:41:35,759 Speaker 1: guitarist ISTI a guitar player, you know, and so you 898 00:41:35,760 --> 00:41:37,759 Speaker 1: were really you know, you in the bank game with 899 00:41:37,760 --> 00:41:41,120 Speaker 1: the only people who escaped. Yeah, yeah, we it's and 900 00:41:41,160 --> 00:41:43,280 Speaker 1: it was it was I'm not sure if I escaped 901 00:41:43,320 --> 00:41:46,239 Speaker 1: in a way, but yeah, and I was at the 902 00:41:46,280 --> 00:41:48,439 Speaker 1: same time, I was in studios a lot of the time. 903 00:41:48,680 --> 00:41:53,800 Speaker 1: How how hard was it to give up the dream? 904 00:41:54,440 --> 00:41:55,840 Speaker 1: It was? It was, you know, it was it was 905 00:41:55,920 --> 00:41:57,960 Speaker 1: harder not making the record I wanted to make with 906 00:41:57,960 --> 00:42:00,480 Speaker 1: my friends. You know, I wanted to be like I 907 00:42:00,520 --> 00:42:02,239 Speaker 1: wanted to make pet Sounds, and they wanted to make 908 00:42:02,280 --> 00:42:05,279 Speaker 1: a Food Fighters album. So it was easier to give 909 00:42:05,320 --> 00:42:07,360 Speaker 1: it up. Yeah, So that was that made it easier 910 00:42:07,400 --> 00:42:09,000 Speaker 1: when it didn't, you know, I didn't like really what 911 00:42:09,040 --> 00:42:12,399 Speaker 1: we were doing. So um, I think when they say 912 00:42:12,440 --> 00:42:16,640 Speaker 1: when you quit. It was one of those things where 913 00:42:16,680 --> 00:42:18,480 Speaker 1: I was writing all the songs and doing everything, and 914 00:42:18,880 --> 00:42:21,080 Speaker 1: there was I remember coming to a rehearsal and they said, 915 00:42:21,120 --> 00:42:23,000 Speaker 1: you know, you know, how can you write? We want 916 00:42:23,000 --> 00:42:25,080 Speaker 1: to write the songs, And I went okay, and then 917 00:42:25,640 --> 00:42:27,680 Speaker 1: and then I'd wait two weeks and we wouldn't have 918 00:42:27,680 --> 00:42:30,520 Speaker 1: any songs, and I'd know it was it was. It 919 00:42:30,640 --> 00:42:33,920 Speaker 1: was fine, It was fine. Everyone. Everyone was broke everyone, 920 00:42:33,960 --> 00:42:36,920 Speaker 1: you know, you know, the keyboard player was eating broken 921 00:42:36,960 --> 00:42:39,120 Speaker 1: biscuits because that all that's all he could afford you buy. 922 00:42:39,320 --> 00:42:40,759 Speaker 1: I didn't even know they existed, you be able to 923 00:42:40,800 --> 00:42:44,240 Speaker 1: go to stores and buy biscuit rejects from cookie rejects 924 00:42:44,239 --> 00:42:46,640 Speaker 1: from factories. You know. It was not it was it 925 00:42:46,760 --> 00:42:49,120 Speaker 1: was that, you know, we lived that life, and it 926 00:42:49,239 --> 00:42:52,600 Speaker 1: was it was it was time, you know. And so 927 00:42:53,560 --> 00:42:56,239 Speaker 1: you also talk about your father losing his hearing. At 928 00:42:56,280 --> 00:42:58,239 Speaker 1: what point do you start working with him? When I 929 00:42:58,280 --> 00:43:00,680 Speaker 1: was sixteen. So that's the backdrop to everything, is I'm 930 00:43:00,800 --> 00:43:04,560 Speaker 1: doing that the whole time, and he's working on various records, 931 00:43:05,120 --> 00:43:10,920 Speaker 1: doing weird projects, and I'm I've always done more than 932 00:43:11,000 --> 00:43:13,799 Speaker 1: one job at the same time. That's what I'm used to. 933 00:43:13,960 --> 00:43:17,080 Speaker 1: And so I was doing that while and then I 934 00:43:17,160 --> 00:43:18,960 Speaker 1: do promo tours with him, and I'd go and do 935 00:43:19,680 --> 00:43:23,279 Speaker 1: music direction for concerts with him. What would there be 936 00:43:23,440 --> 00:43:25,560 Speaker 1: musical direction for a car? Well, funny if it was 937 00:43:25,600 --> 00:43:28,640 Speaker 1: dealing with it. It was actually quite often. We did 938 00:43:28,640 --> 00:43:32,520 Speaker 1: a thing in Japan where and it's it sounds ridiculous, 939 00:43:32,640 --> 00:43:35,960 Speaker 1: and it was ridiculous where a concert range with Una 940 00:43:36,040 --> 00:43:40,279 Speaker 1: Seth had a Japanese artists and the ideas they would 941 00:43:40,320 --> 00:43:43,919 Speaker 1: jam with everyone. It was Bob Dylan, John bon Jovi, 942 00:43:44,960 --> 00:43:52,640 Speaker 1: Joni Mitchell, Ray Kudah in excess um it was. And 943 00:43:52,719 --> 00:43:54,640 Speaker 1: it was like this big rehearsalant, the game let's jam, 944 00:43:54,920 --> 00:43:59,080 Speaker 1: you know, we dreadful ideas. And so I do things 945 00:43:59,120 --> 00:44:00,560 Speaker 1: like that. I go of thew and I'd be in 946 00:44:00,640 --> 00:44:02,319 Speaker 1: charge of the band. The band would be I mean 947 00:44:02,440 --> 00:44:06,760 Speaker 1: Jim Keltoner, Pino Paladino, Wicks wickends, Phil Palmer and guitar, 948 00:44:06,960 --> 00:44:09,640 Speaker 1: Ray Couper and percussion, you know, good and so and 949 00:44:09,719 --> 00:44:11,560 Speaker 1: so good. And so I teach them, you know, work 950 00:44:11,600 --> 00:44:15,000 Speaker 1: the songs out with him and work out arrangements and job. Yeah, yeah, 951 00:44:15,040 --> 00:44:17,640 Speaker 1: that was my job and organize things and and that's 952 00:44:17,640 --> 00:44:20,480 Speaker 1: so I you know, I always had confidence that I 953 00:44:20,520 --> 00:44:22,280 Speaker 1: always had a good you know, I think my father. 954 00:44:22,520 --> 00:44:24,800 Speaker 1: I learned from my father's Paul says, a good bedside 955 00:44:24,800 --> 00:44:30,399 Speaker 1: manner where you can steer musicians in the right way 956 00:44:30,440 --> 00:44:33,680 Speaker 1: without being pompous. I think. And do you know how 957 00:44:33,719 --> 00:44:35,920 Speaker 1: to read music and how to read music? Yeah, and 958 00:44:35,960 --> 00:44:38,239 Speaker 1: how did you learn that? I played the French horn 959 00:44:38,239 --> 00:44:40,400 Speaker 1: and orchestras when I was at school, And was that 960 00:44:40,480 --> 00:44:42,440 Speaker 1: your own instigation or your parents said you have to 961 00:44:42,480 --> 00:44:47,200 Speaker 1: learn an instrument. No, no, I learned the trombone first 962 00:44:47,719 --> 00:44:49,879 Speaker 1: because I saw someone play the trombone and I wanted 963 00:44:49,920 --> 00:44:51,960 Speaker 1: to go on the trombone, and I thought that'd be 964 00:44:51,960 --> 00:44:53,759 Speaker 1: a good thing to do. And then and then the 965 00:44:53,800 --> 00:44:55,640 Speaker 1: trombone teacher was kind of weird and wanted to play 966 00:44:55,640 --> 00:44:58,080 Speaker 1: my trombone. It was like kissing an old man. Yeah, 967 00:44:58,160 --> 00:45:00,799 Speaker 1: So so I moved to the French horn, and the 968 00:45:00,800 --> 00:45:03,520 Speaker 1: French one was a bit like the French one, you know, 969 00:45:04,160 --> 00:45:05,759 Speaker 1: I was. It was a good trouble cliff in the 970 00:45:05,840 --> 00:45:08,440 Speaker 1: ky off because the French ones in the kif um. 971 00:45:08,480 --> 00:45:13,239 Speaker 1: But but yeah, I got injured playing rugby and had 972 00:45:13,280 --> 00:45:15,600 Speaker 1: to stop the French horn, and I was a good 973 00:45:15,640 --> 00:45:17,560 Speaker 1: home player. Then you have to go back to because 974 00:45:17,760 --> 00:45:20,000 Speaker 1: if it was back in cushion, you can't You can't 975 00:45:20,000 --> 00:45:22,440 Speaker 1: play a wind instrument, especially blowing up a balloon like 976 00:45:22,480 --> 00:45:25,160 Speaker 1: a French horn. So I went back to It's like 977 00:45:25,840 --> 00:45:28,440 Speaker 1: giving birth to a cow, and I decided to guitar 978 00:45:28,480 --> 00:45:32,839 Speaker 1: and piano be easier. Stay right there, we'll be back 979 00:45:32,880 --> 00:45:36,600 Speaker 1: with more of my conversation with JOHNS Martin, producer extraordinary 980 00:45:36,719 --> 00:45:42,640 Speaker 1: here on the Bob Left That's podcast. You're listening to 981 00:45:42,680 --> 00:45:45,239 Speaker 1: The Bob Left Sets podcast recording at the tune In 982 00:45:45,280 --> 00:45:48,600 Speaker 1: Studios in Venice, California. Each week I interview a new 983 00:45:48,640 --> 00:45:50,960 Speaker 1: guest to get their story. I want to find out 984 00:45:50,960 --> 00:45:53,120 Speaker 1: what makes them tick and I hope listening to these 985 00:45:53,120 --> 00:45:57,759 Speaker 1: successful people makes you smarter. If you like the show, subscribe, 986 00:45:57,840 --> 00:46:00,880 Speaker 1: rate and review it. Also, please check out earlier episodes. 987 00:46:00,920 --> 00:46:03,440 Speaker 1: You can hear them all on tune in, Apple podcast 988 00:46:03,520 --> 00:46:08,239 Speaker 1: or wherever you get your podcasts. And now more with 989 00:46:08,360 --> 00:46:13,719 Speaker 1: Giles Martin, sound experienced leader for Saunas. So you said 990 00:46:13,719 --> 00:46:15,520 Speaker 1: you've got the gig being the musical director for the 991 00:46:15,600 --> 00:46:20,200 Speaker 1: Queen's Jubilee. Yeah, what year was that? That was in 992 00:46:20,520 --> 00:46:24,680 Speaker 1: nineteen sorry, two thousand two, Okay, But in the interim 993 00:46:24,719 --> 00:46:28,160 Speaker 1: you're producing records in the interim and Virginia Records and 994 00:46:28,360 --> 00:46:33,520 Speaker 1: working in in working as in house Bridger Sony unsuccessfully 995 00:46:33,920 --> 00:46:36,600 Speaker 1: I worked with worked on a sort of rip off bands, 996 00:46:36,600 --> 00:46:38,879 Speaker 1: like I worked on a girl band that were trying 997 00:46:38,920 --> 00:46:44,320 Speaker 1: to be like the Dixie Chicks, writing and producing various 998 00:46:44,480 --> 00:46:49,000 Speaker 1: artists under this guy Rob Dickens, who was a label boss, um, 999 00:46:49,000 --> 00:46:51,360 Speaker 1: and it was fascinating. I mean, I've never been inside 1000 00:46:51,360 --> 00:46:57,320 Speaker 1: a record label before, and my my greatest fears are realized. 1001 00:46:57,520 --> 00:46:59,640 Speaker 1: I think you know which or what. Well. I remember 1002 00:46:59,680 --> 00:47:02,160 Speaker 1: being an RM meeting and there was him and there, 1003 00:47:02,480 --> 00:47:04,160 Speaker 1: you know, and I love it's very nice, but I 1004 00:47:04,200 --> 00:47:07,120 Speaker 1: love him dearly is a very nice guy. Um. And 1005 00:47:07,120 --> 00:47:08,759 Speaker 1: and it really you know, he taught me a lot 1006 00:47:08,800 --> 00:47:12,080 Speaker 1: because I remember doing that working on this band, and 1007 00:47:12,080 --> 00:47:14,759 Speaker 1: and I'd be downstairs in the basement and he'd listened 1008 00:47:14,800 --> 00:47:16,480 Speaker 1: to and he goes, doesn't sound like this, and it 1009 00:47:16,480 --> 00:47:20,040 Speaker 1: would be no scrubs by TLC. And I go, but 1010 00:47:20,200 --> 00:47:22,040 Speaker 1: I've been in the basement doing this and this is 1011 00:47:22,080 --> 00:47:25,160 Speaker 1: a multimillion dollar production. And he looked at me like, oh, well, 1012 00:47:25,600 --> 00:47:28,160 Speaker 1: do you think anyone cares? And that's that. That taught 1013 00:47:28,160 --> 00:47:30,080 Speaker 1: me a lot? Is that taught me? There's no excuse 1014 00:47:30,200 --> 00:47:33,120 Speaker 1: I was saying to someone yesterday Atually, if anyone's making 1015 00:47:33,160 --> 00:47:35,880 Speaker 1: if you're making a record, if you're trying to make something, 1016 00:47:36,440 --> 00:47:38,400 Speaker 1: compare it to what you love or compare it to 1017 00:47:38,440 --> 00:47:40,200 Speaker 1: what you think is really really good and see whether 1018 00:47:40,280 --> 00:47:43,080 Speaker 1: you can beat it opposed to saying to someone, yeah, 1019 00:47:43,080 --> 00:47:45,480 Speaker 1: but it's my demo, you know that. That's and so 1020 00:47:45,600 --> 00:47:48,960 Speaker 1: that taught me a lot that people don't listen with empathy. 1021 00:47:49,880 --> 00:47:51,640 Speaker 1: They don't listen to the fact you've done it. They 1022 00:47:51,719 --> 00:47:57,360 Speaker 1: just listen. But yeah, I I realized that, you know, 1023 00:47:57,480 --> 00:48:00,239 Speaker 1: from being an artist and being a musician in the 1024 00:48:00,239 --> 00:48:03,239 Speaker 1: way decisions are made about roster and record labels. And 1025 00:48:03,360 --> 00:48:06,359 Speaker 1: it wasn't for me. I'm not I'm too soft for 1026 00:48:06,400 --> 00:48:09,120 Speaker 1: that in a way. And how you know, usually you 1027 00:48:09,160 --> 00:48:12,200 Speaker 1: have a certain number of unsuccessful projects and they fire you. 1028 00:48:13,160 --> 00:48:16,320 Speaker 1: Now what happened in this particular case, Well it be 1029 00:48:16,440 --> 00:48:20,799 Speaker 1: the case. It was his, Um, it wasn't necessarily my responsibility. 1030 00:48:20,800 --> 00:48:23,120 Speaker 1: They were unt successful. It wasn't going down to me. 1031 00:48:23,239 --> 00:48:27,440 Speaker 1: And it got to the stage where you know, um, 1032 00:48:27,600 --> 00:48:32,040 Speaker 1: i'd sort of was going a reputation for doing bigger projects. 1033 00:48:32,360 --> 00:48:36,560 Speaker 1: And the BBC approached me and saw whether I would 1034 00:48:36,560 --> 00:48:39,600 Speaker 1: record the first Queen's Jubilee Concert, which which they had 1035 00:48:39,600 --> 00:48:41,680 Speaker 1: a bunch of artists. Because I've worked on okay, is 1036 00:48:41,680 --> 00:48:44,200 Speaker 1: this the same two thousand two projects projects? So you're 1037 00:48:44,200 --> 00:48:47,120 Speaker 1: still working at Sony at and I left Sony because 1038 00:48:47,160 --> 00:48:50,759 Speaker 1: I realized that and there was undertones of At the 1039 00:48:50,880 --> 00:48:53,120 Speaker 1: same time, my father was talking to me about he 1040 00:48:53,160 --> 00:48:56,279 Speaker 1: wanted to do a Yellow Submarine ballet with a guy 1041 00:48:56,280 --> 00:49:00,520 Speaker 1: called Matthew Born, and I thought it was a bit 1042 00:49:00,719 --> 00:49:03,040 Speaker 1: camp for me. I didn't really know anything about ballet, 1043 00:49:03,080 --> 00:49:05,680 Speaker 1: and I and I had an idea that we could 1044 00:49:05,719 --> 00:49:08,000 Speaker 1: do a beatles sing with this company called De la Guada, 1045 00:49:08,120 --> 00:49:11,600 Speaker 1: who are a certain slay like and so there was 1046 00:49:11,640 --> 00:49:13,720 Speaker 1: a bunch of things bubbling under and I was unhappy 1047 00:49:13,760 --> 00:49:16,759 Speaker 1: with this position and the record label, and so I 1048 00:49:16,800 --> 00:49:19,319 Speaker 1: went off and did the jubilee concert. Okay, how long 1049 00:49:19,360 --> 00:49:21,640 Speaker 1: did you work at starting? A year and a half, 1050 00:49:22,160 --> 00:49:24,200 Speaker 1: so not really that long. I thought it was years 1051 00:49:24,360 --> 00:49:25,799 Speaker 1: because I was in a band. I was in a band, 1052 00:49:26,200 --> 00:49:28,200 Speaker 1: you know, and then did that and got when I 1053 00:49:28,200 --> 00:49:30,279 Speaker 1: was broke, the guy phoned me up. Did I thought 1054 00:49:30,280 --> 00:49:31,839 Speaker 1: it was like six or nine years. No, no no, no, 1055 00:49:31,880 --> 00:49:33,840 Speaker 1: I wouldn't be able to I'm not to stand on 1056 00:49:33,920 --> 00:49:35,800 Speaker 1: the turn out long. So they called you for the 1057 00:49:35,880 --> 00:49:38,120 Speaker 1: Queen's Jubilee. How did they call you? How did they 1058 00:49:38,160 --> 00:49:40,880 Speaker 1: find you? They called me because they wanted me, you know, 1059 00:49:40,880 --> 00:49:42,759 Speaker 1: because I was you know, it's nepotism. I was my 1060 00:49:42,800 --> 00:49:44,560 Speaker 1: father's son, and they thought I could do the job. 1061 00:49:44,600 --> 00:49:46,439 Speaker 1: They really they called me to see if I could 1062 00:49:46,440 --> 00:49:48,680 Speaker 1: record it. They wanted to release a DVD, and I 1063 00:49:48,719 --> 00:49:50,279 Speaker 1: kind of what I've done before, but I've done something 1064 00:49:50,320 --> 00:49:53,080 Speaker 1: like that before, and so you know, I decided how 1065 00:49:53,080 --> 00:49:55,000 Speaker 1: many trucks we should get in all this sort of stuff, 1066 00:49:55,440 --> 00:49:57,800 Speaker 1: and I turned up to the first meeting and Michael Cayman, 1067 00:49:57,840 --> 00:49:59,640 Speaker 1: I don't know Jim Michael. Well, the irony is is 1068 00:49:59,680 --> 00:50:01,960 Speaker 1: my girl friend runs a foundation that he started, Mr. 1069 00:50:02,040 --> 00:50:04,840 Speaker 1: Hollands Opus Foundation. The other thing I will say he 1070 00:50:04,920 --> 00:50:07,239 Speaker 1: was originally in a band called the New York Rock 1071 00:50:07,280 --> 00:50:09,759 Speaker 1: and Roll Ensemble and I saw them open for the 1072 00:50:09,800 --> 00:50:12,719 Speaker 1: Alban Brothers in nineteen three for other people that he 1073 00:50:12,760 --> 00:50:14,720 Speaker 1: went out to have a long career, you know, writing 1074 00:50:14,719 --> 00:50:17,560 Speaker 1: the Robin Hood, saw writing musical scores, working with Metallica, 1075 00:50:17,560 --> 00:50:20,239 Speaker 1: and I certainly don't Michael an amazing man, so amazing. 1076 00:50:20,440 --> 00:50:22,640 Speaker 1: Unfortunately died of them mex about ten years ago. So 1077 00:50:22,719 --> 00:50:26,600 Speaker 1: Michael Michael had met in Japan because he was involved 1078 00:50:26,600 --> 00:50:30,759 Speaker 1: in in this crazy Japanese concert I mentioned um and 1079 00:50:30,840 --> 00:50:33,719 Speaker 1: he was doing the Queens jupile e and what was 1080 00:50:33,760 --> 00:50:36,520 Speaker 1: his role he was now he was the music director, 1081 00:50:37,360 --> 00:50:40,040 Speaker 1: but he hadn't told anyone how ill he was, and 1082 00:50:40,120 --> 00:50:42,480 Speaker 1: he was, and so what how I turned up the meetings, 1083 00:50:42,520 --> 00:50:46,560 Speaker 1: mean being the recording person, and they said to me, um, 1084 00:50:46,680 --> 00:50:48,719 Speaker 1: would you be would you take on the role of 1085 00:50:48,760 --> 00:50:50,840 Speaker 1: doing these director for some of the artists for the 1086 00:50:50,880 --> 00:50:53,480 Speaker 1: Queens Jubilee And it was it was when it was 1087 00:50:53,520 --> 00:50:55,640 Speaker 1: a it was a fantastic They had these artists lined 1088 00:50:55,760 --> 00:50:58,279 Speaker 1: up and you know it was basically rehearsing the band, 1089 00:50:58,320 --> 00:51:00,680 Speaker 1: rehearsing the artist. That kind of stuff makes. And it 1090 00:51:00,800 --> 00:51:02,920 Speaker 1: was it was like, you know, they had Brian Wilson 1091 00:51:03,920 --> 00:51:05,840 Speaker 1: to Brian Wilson. I loved to work Brian Wilson. And 1092 00:51:05,840 --> 00:51:07,200 Speaker 1: they're going that be cause you have to do Ricky 1093 00:51:07,239 --> 00:51:10,200 Speaker 1: Martin and and I go, well, I'll do Ray Davies. 1094 00:51:10,239 --> 00:51:11,680 Speaker 1: He's doing lower that would be great. I'd love to 1095 00:51:11,680 --> 00:51:13,000 Speaker 1: do that. And they go okay, because you had to 1096 00:51:13,080 --> 00:51:15,799 Speaker 1: Cliff Richard and and s Club seven or you know, 1097 00:51:15,880 --> 00:51:18,160 Speaker 1: that was that was the way it would work. Um, 1098 00:51:18,200 --> 00:51:21,040 Speaker 1: So I did that and under the same So I 1099 00:51:21,120 --> 00:51:23,799 Speaker 1: understand for those people who were the amateurs if it's 1100 00:51:23,800 --> 00:51:26,600 Speaker 1: a band, like if it if a band comes and 1101 00:51:26,600 --> 00:51:29,759 Speaker 1: you're the musical director and they normally perform. What are 1102 00:51:29,760 --> 00:51:31,680 Speaker 1: you actually telling them to do? Well, it's not a 1103 00:51:31,719 --> 00:51:34,480 Speaker 1: band coming you have a well you you you talked 1104 00:51:34,520 --> 00:51:36,080 Speaker 1: them first and you say how do you want to 1105 00:51:36,120 --> 00:51:40,239 Speaker 1: do the song? And they go, well, you know, you 1106 00:51:40,239 --> 00:51:43,000 Speaker 1: know I did this gig once in you know whatever, 1107 00:51:43,040 --> 00:51:44,640 Speaker 1: and we did it like that because generally that they 1108 00:51:44,640 --> 00:51:46,320 Speaker 1: you have a houseman the house band that because was 1109 00:51:46,320 --> 00:51:49,200 Speaker 1: actually Philip Collins on drums, piano again on bass, so 1110 00:51:49,239 --> 00:51:51,080 Speaker 1: I knew the band anyway. I see. So you're not 1111 00:51:51,120 --> 00:51:53,040 Speaker 1: bringing your own band. They're not bring their own band, 1112 00:51:53,120 --> 00:51:55,560 Speaker 1: you know. I mean like I think we had you know, 1113 00:51:55,719 --> 00:52:00,000 Speaker 1: the Black Sabbath were was Tony Iamy and and and Ozzie. 1114 00:52:00,800 --> 00:52:03,520 Speaker 1: But the band with with Phil Constant drums, they still 1115 00:52:03,560 --> 00:52:06,440 Speaker 1: don't use the drummers. Yeah, there's so so so it 1116 00:52:06,520 --> 00:52:08,319 Speaker 1: was it was making sure that everyone knew their parts. 1117 00:52:08,320 --> 00:52:12,480 Speaker 1: And now just to go back because it's another interesting thing. Um, 1118 00:52:12,600 --> 00:52:16,000 Speaker 1: this is live. This is live yet? Okay question because 1119 00:52:16,000 --> 00:52:18,879 Speaker 1: I had some road dogs. I've gotten into this. Your 1120 00:52:18,960 --> 00:52:22,799 Speaker 1: act is playing the super Bowl? Would you ever do 1121 00:52:22,880 --> 00:52:29,440 Speaker 1: it live? Or too many risks? Yeah? You know it's funny. 1122 00:52:28,920 --> 00:52:33,160 Speaker 1: I I think that I would love to do it live, 1123 00:52:34,120 --> 00:52:36,200 Speaker 1: don't know, I just think it's funny. We did this thing. 1124 00:52:37,160 --> 00:52:40,440 Speaker 1: We made a huge mistake at the Olympic Games, the Olympic, 1125 00:52:40,760 --> 00:52:42,879 Speaker 1: the Open Olympic Games. It always haunts me. They were 1126 00:52:42,880 --> 00:52:47,360 Speaker 1: Paul McCartney performed and they wanted them to mind, and 1127 00:52:47,400 --> 00:52:49,600 Speaker 1: he can't mind because he doesn't use in their monitors. 1128 00:52:50,080 --> 00:52:51,759 Speaker 1: He doesn't use He refused to use it in a 1129 00:52:51,880 --> 00:52:54,360 Speaker 1: mond Oh I didn't know that. Yeah, he uses uses, 1130 00:52:54,600 --> 00:52:57,840 Speaker 1: you know, use regular market, doesn't use in their market. 1131 00:52:58,320 --> 00:53:00,600 Speaker 1: And I said, well maybe because still mine and I 1132 00:53:00,600 --> 00:53:02,239 Speaker 1: worked out this way which you could do it, and 1133 00:53:02,280 --> 00:53:04,960 Speaker 1: he forgot he was miming, and so there were two 1134 00:53:05,000 --> 00:53:07,960 Speaker 1: they were doing playback. I recorded the band playing live, 1135 00:53:08,719 --> 00:53:11,040 Speaker 1: and then he started too early, and there were two 1136 00:53:11,040 --> 00:53:13,360 Speaker 1: Paul McCartney's playing at the same time. And I pressed 1137 00:53:13,360 --> 00:53:14,640 Speaker 1: the button to go to live in front of a 1138 00:53:14,640 --> 00:53:17,240 Speaker 1: billion people, you know, I had to press his red button. 1139 00:53:17,719 --> 00:53:19,279 Speaker 1: And I said to my god, you know, yes, I 1140 00:53:19,280 --> 00:53:20,799 Speaker 1: didn't go very well, pout. I guess, yeah, but too 1141 00:53:20,840 --> 00:53:22,160 Speaker 1: mus if you gonna mess up doing in front of 1142 00:53:22,160 --> 00:53:26,520 Speaker 1: a billion people, yeah, so that's yeah. I don't know. 1143 00:53:26,640 --> 00:53:28,879 Speaker 1: I think that I love I love you know, I'm 1144 00:53:28,920 --> 00:53:31,239 Speaker 1: a natural risk taken it's like one of they said, yeah, yeah, 1145 00:53:31,239 --> 00:53:32,680 Speaker 1: well let's just go for it. You know what's going 1146 00:53:32,719 --> 00:53:34,480 Speaker 1: to happen. I mean there would listen. There are the 1147 00:53:34,520 --> 00:53:36,799 Speaker 1: worst things happened in the world every day. You know, 1148 00:53:36,880 --> 00:53:39,080 Speaker 1: I don't believe in you know, there's this you know 1149 00:53:39,200 --> 00:53:41,160 Speaker 1: you did Paul McCartney in the opening of the Olympics. 1150 00:53:41,160 --> 00:53:43,799 Speaker 1: Did you do the closing too? Okay, so you do 1151 00:53:43,840 --> 00:53:45,960 Speaker 1: the Queen's Jubilee and that works out great? Yeah, I 1152 00:53:46,000 --> 00:53:48,160 Speaker 1: do the creas And then I was like satain thinking, 1153 00:53:48,160 --> 00:53:50,359 Speaker 1: what right, what do I do now? Work with the Queen? 1154 00:53:50,760 --> 00:53:52,680 Speaker 1: That the what do I do now? And the phone's 1155 00:53:52,719 --> 00:53:54,920 Speaker 1: not ringing. My manager phone me up and said, you 1156 00:53:54,920 --> 00:53:57,800 Speaker 1: know the you know I've got I've got you a 1157 00:53:57,840 --> 00:53:59,520 Speaker 1: gig and I was like great. You know my working 1158 00:53:59,560 --> 00:54:01,560 Speaker 1: was super Grass. I loved Supergrass, and I'm like, no, 1159 00:54:01,680 --> 00:54:05,240 Speaker 1: you're working with I really did Supergrass not make it 1160 00:54:05,360 --> 00:54:08,360 Speaker 1: because the guys were so unattractive. I don't know. It 1161 00:54:08,440 --> 00:54:14,080 Speaker 1: made some nice record phenomenal exactly, And I bought those albums. 1162 00:54:14,880 --> 00:54:17,759 Speaker 1: Zero impacted, Yeah, none, I don't know. I don't know, 1163 00:54:18,160 --> 00:54:20,160 Speaker 1: but but you know, because you work on the fifteen 1164 00:54:20,239 --> 00:54:24,600 Speaker 1: year old classical singer I was like, right, and it 1165 00:54:24,640 --> 00:54:27,040 Speaker 1: doesn't you And he said, you haven't got anything else, 1166 00:54:27,760 --> 00:54:29,960 Speaker 1: You've got nothing, you know, this is it? And so 1167 00:54:30,000 --> 00:54:32,080 Speaker 1: I did this record with this girl called Haley western R. 1168 00:54:32,239 --> 00:54:35,160 Speaker 1: It was a New Zealand singer and it was an 1169 00:54:35,160 --> 00:54:37,759 Speaker 1: album that that I did by. It was like it 1170 00:54:37,800 --> 00:54:40,240 Speaker 1: was like painting my numbers. I was like, Okay, this track, 1171 00:54:40,360 --> 00:54:42,480 Speaker 1: we'll get onto Radio two in the UK, this track 1172 00:54:42,520 --> 00:54:45,440 Speaker 1: will get on to daytime television, this track or and 1173 00:54:45,480 --> 00:54:47,080 Speaker 1: she ended up selling she was that, she ended up 1174 00:54:47,080 --> 00:54:49,160 Speaker 1: but it ended up being the fastest selling classical record 1175 00:54:49,160 --> 00:54:51,480 Speaker 1: of all time in the UK and sold two million copies. 1176 00:54:51,680 --> 00:54:54,440 Speaker 1: Well did that? Did you ride along with that? That 1177 00:54:54,520 --> 00:54:57,480 Speaker 1: burnish your image? Yeah? It completed Butt a friend of 1178 00:54:57,480 --> 00:54:59,399 Speaker 1: mine when I was trying to be cool, and I said, 1179 00:54:59,400 --> 00:55:01,400 Speaker 1: I guess I'll never well only your bands again. He goes, no, 1180 00:55:02,239 --> 00:55:04,719 Speaker 1: it because it's amazing. Even Chris Martin. I said to 1181 00:55:04,760 --> 00:55:07,640 Speaker 1: Chris Chris Martin, Coldplay singer. We had luncheon and goes, 1182 00:55:07,719 --> 00:55:09,640 Speaker 1: it's amazing the success you've had. It's like, yeah, but 1183 00:55:09,680 --> 00:55:12,480 Speaker 1: I'll never work. That goes, No, You weren't, I mean 1184 00:55:12,520 --> 00:55:14,239 Speaker 1: I was, I was, And I was like, you know, 1185 00:55:14,800 --> 00:55:17,680 Speaker 1: it was I suddenly became the king of crossover classical, 1186 00:55:17,760 --> 00:55:20,040 Speaker 1: which is you know, you know, I'm not sure how 1187 00:55:20,560 --> 00:55:23,000 Speaker 1: how much you're allowed to use rude words on your No, 1188 00:55:23,120 --> 00:55:27,240 Speaker 1: we no problem, but the email correspondent was always goat shagging, 1189 00:55:27,880 --> 00:55:29,759 Speaker 1: you know, for some of it was it was tantamount 1190 00:55:29,760 --> 00:55:31,480 Speaker 1: to go checking. I don't know why we always said 1191 00:55:31,480 --> 00:55:34,080 Speaker 1: that was it was, it was, it was Anna's that. 1192 00:55:34,560 --> 00:55:37,160 Speaker 1: Then then I got busted for being rude about crossover 1193 00:55:37,200 --> 00:55:39,640 Speaker 1: classical by someone, you know, because I just it wasn't 1194 00:55:39,640 --> 00:55:42,120 Speaker 1: a world that I liked. It was that easy path. 1195 00:55:42,400 --> 00:55:44,400 Speaker 1: So you had, you know, the best times in the 1196 00:55:44,400 --> 00:55:46,080 Speaker 1: words of times you had success, but not in the 1197 00:55:46,120 --> 00:55:48,480 Speaker 1: field had success and I had yeah, And I could 1198 00:55:48,520 --> 00:55:52,400 Speaker 1: have then gone and done everything everything you know, crossover classical, 1199 00:55:52,440 --> 00:55:55,279 Speaker 1: whether you know it was you know that they were 1200 00:55:55,320 --> 00:55:58,279 Speaker 1: queuing up because I was, I opened that door to 1201 00:55:59,080 --> 00:56:02,600 Speaker 1: And it was then that with this undercurrent I mentioned before, 1202 00:56:02,640 --> 00:56:05,200 Speaker 1: my father wanted to Yellow Submarine and we had an 1203 00:56:05,239 --> 00:56:10,120 Speaker 1: idea that certain Lay and the Beatles signed their deal 1204 00:56:10,640 --> 00:56:14,200 Speaker 1: to do the Love Show and certains. Lay had got 1205 00:56:14,200 --> 00:56:16,759 Speaker 1: a DJ and to remix the Beatles songs and it 1206 00:56:16,800 --> 00:56:18,960 Speaker 1: was a disaster and I did. None of us knew this, 1207 00:56:19,120 --> 00:56:21,680 Speaker 1: knew about this. And I met Neil Aspinal, who was 1208 00:56:21,680 --> 00:56:24,000 Speaker 1: the head of Apple and my father at that time 1209 00:56:24,160 --> 00:56:26,640 Speaker 1: was actually quite seriously ill. He was in the hospital. 1210 00:56:27,560 --> 00:56:29,560 Speaker 1: And I just had this success with the people to 1211 00:56:29,600 --> 00:56:31,359 Speaker 1: saw it of success, they didn't handle as the rapper 1212 00:56:31,440 --> 00:56:35,279 Speaker 1: I've done, and and even Paul came up and going, well, 1213 00:56:35,280 --> 00:56:36,480 Speaker 1: I've done with that record. I was like, you know, 1214 00:56:36,520 --> 00:56:39,000 Speaker 1: obviously had to listen to it with a bad version 1215 00:56:39,000 --> 00:56:43,080 Speaker 1: of Harvey Maria on it. And I said to Neil, 1216 00:56:43,120 --> 00:56:45,799 Speaker 1: and I was into that chopping up stuff at that stage, 1217 00:56:45,800 --> 00:56:47,759 Speaker 1: and I said to that Neil Aspinal, it's one of 1218 00:56:47,800 --> 00:56:50,760 Speaker 1: those you know, I reckon I can credit Biddles concert 1219 00:56:50,800 --> 00:56:53,520 Speaker 1: that never happened by chopping up their tapes. He went really, 1220 00:56:53,560 --> 00:56:54,960 Speaker 1: I said, yeah, I've got an idea. I could do 1221 00:56:55,000 --> 00:56:57,520 Speaker 1: this drum introduction and and I can imagine, you know, 1222 00:56:57,840 --> 00:57:00,520 Speaker 1: like how the band would perform and Le's face they 1223 00:57:00,520 --> 00:57:02,160 Speaker 1: played live and all the tapes, so I could chop 1224 00:57:02,239 --> 00:57:04,719 Speaker 1: up the tapes and create a create a sound better 1225 00:57:04,719 --> 00:57:06,879 Speaker 1: for a show. And he said, okay, you've got three 1226 00:57:06,920 --> 00:57:09,480 Speaker 1: months and I'm not paying you. From from then, I 1227 00:57:09,520 --> 00:57:12,160 Speaker 1: went into a room at Abbey Road to begin with, 1228 00:57:12,200 --> 00:57:14,040 Speaker 1: I didn't even have any speakers. They just gave me 1229 00:57:14,080 --> 00:57:17,520 Speaker 1: headphones and I did like four or five different things 1230 00:57:17,560 --> 00:57:21,560 Speaker 1: for the show. Did he take three months? No? No, 1231 00:57:21,720 --> 00:57:23,360 Speaker 1: it took three months me to transfer a lot of 1232 00:57:23,360 --> 00:57:26,280 Speaker 1: the tapes. Because I'm just gonna ask that said the end, 1233 00:57:26,320 --> 00:57:32,040 Speaker 1: They they and and and then uh, you know, my 1234 00:57:32,120 --> 00:57:33,880 Speaker 1: dad came out of hospital. He was to be treated 1235 00:57:33,920 --> 00:57:37,400 Speaker 1: for cancer, and he didn't really like it very much. 1236 00:57:37,440 --> 00:57:40,120 Speaker 1: It was funny at the time. He was like, I think, 1237 00:57:40,120 --> 00:57:41,440 Speaker 1: you know, I think you pushed this a little bit 1238 00:57:41,440 --> 00:57:43,720 Speaker 1: too far. I don't think I like it. And Paul 1239 00:57:43,760 --> 00:57:46,240 Speaker 1: came in, and Ringer came in and living in Yoko 1240 00:57:46,400 --> 00:57:47,960 Speaker 1: and I played them some stuff and I did this 1241 00:57:48,320 --> 00:57:50,560 Speaker 1: this version of within You Without You on Tomorrow Never 1242 00:57:50,640 --> 00:57:53,640 Speaker 1: Knows I'd mixed together, and my dad banned me from 1243 00:57:53,680 --> 00:57:55,880 Speaker 1: playing it to them, and then Paul because you should 1244 00:57:55,880 --> 00:57:58,160 Speaker 1: push it farther further, and I went, I've got this thing, 1245 00:57:58,240 --> 00:58:00,640 Speaker 1: you know right right, I don't know I'm pretending, but 1246 00:58:00,800 --> 00:58:02,360 Speaker 1: for the listeners I'm hold putting to hold up a 1247 00:58:02,360 --> 00:58:06,240 Speaker 1: disc of course, would never and and I played to 1248 00:58:06,240 --> 00:58:07,880 Speaker 1: me because this is brilliant, this is what we should do. 1249 00:58:07,920 --> 00:58:11,640 Speaker 1: And it's sort of that then unlocked that door. Um, 1250 00:58:11,720 --> 00:58:14,920 Speaker 1: And I remember being in New York with I was, 1251 00:58:15,080 --> 00:58:17,320 Speaker 1: I was again, I was writing music with for a 1252 00:58:17,360 --> 00:58:22,120 Speaker 1: singer and and and I've got a phone call saying, yeah, 1253 00:58:22,240 --> 00:58:24,560 Speaker 1: you were in the contract. You're doing this show. You're 1254 00:58:24,560 --> 00:58:27,600 Speaker 1: doing this Beatles show. And remember a friend of mine saying, 1255 00:58:27,640 --> 00:58:29,520 Speaker 1: you know it was a producer and said, I'm not 1256 00:58:29,520 --> 00:58:31,200 Speaker 1: sure if I should do this because if I do this, 1257 00:58:31,200 --> 00:58:34,840 Speaker 1: this is what I'll be doing. It fits everyone's and 1258 00:58:34,840 --> 00:58:36,240 Speaker 1: and I said, I'm not sure if I want to 1259 00:58:36,280 --> 00:58:39,640 Speaker 1: do you know, I want to be the legacy guy. 1260 00:58:39,760 --> 00:58:42,200 Speaker 1: And he said to me, Um, you do know that 1261 00:58:42,200 --> 00:58:46,240 Speaker 1: if you don't do this, I'll do it, you know. 1262 00:58:47,680 --> 00:58:49,280 Speaker 1: And I thought to myself, you know, I've got a 1263 00:58:49,280 --> 00:58:51,680 Speaker 1: good point. And I actually remind myself when I'm working 1264 00:58:51,680 --> 00:58:53,960 Speaker 1: on this stuff, was like, you know, yeah, I'm pretty 1265 00:58:54,040 --> 00:58:57,200 Speaker 1: lucky to be to be trusted with this material. So yeah, 1266 00:58:57,480 --> 00:58:59,560 Speaker 1: that was and that was I did. I did the 1267 00:58:59,600 --> 00:59:02,360 Speaker 1: Love Show in Vegas and that open the door. Okay, 1268 00:59:02,800 --> 00:59:07,040 Speaker 1: it was built as a collaboration between yourself and your father. Yeah, 1269 00:59:07,040 --> 00:59:10,760 Speaker 1: and it was it was it was to have to missiety. 1270 00:59:10,840 --> 00:59:13,560 Speaker 1: He was he was producing me because he produced me 1271 00:59:13,600 --> 00:59:15,560 Speaker 1: as a child, but he was he was, he was 1272 00:59:15,600 --> 00:59:18,240 Speaker 1: producing me in respect. He would come in mainly on 1273 00:59:18,240 --> 00:59:20,000 Speaker 1: a Thursday, would always go to the same restaurant for 1274 00:59:20,040 --> 00:59:22,440 Speaker 1: lunchally come on Thursday because he lived out in London, 1275 00:59:23,160 --> 00:59:25,520 Speaker 1: and I would play him what I've done, and you go, no, 1276 00:59:25,680 --> 00:59:27,680 Speaker 1: this is you know, this is you know And even 1277 00:59:27,680 --> 00:59:29,720 Speaker 1: though his hearing wasn't that great, he would be able 1278 00:59:29,760 --> 00:59:34,040 Speaker 1: to judge it and give me advice. But I would create. 1279 00:59:34,080 --> 00:59:36,240 Speaker 1: I created the stuff and mixed it well. As I say, 1280 00:59:36,280 --> 00:59:38,240 Speaker 1: I didn't know till this day that it all started 1281 00:59:38,240 --> 00:59:42,520 Speaker 1: with you and Neon. Yeah. And then and then what happened. 1282 00:59:43,320 --> 00:59:48,440 Speaker 1: What happened was I got quite defensive because my my 1283 00:59:48,520 --> 00:59:50,400 Speaker 1: dad was a big influence. Obviously it's big. It's on 1284 00:59:50,480 --> 00:59:52,000 Speaker 1: me full stop. But he was a big and Ringo 1285 00:59:52,080 --> 00:59:54,000 Speaker 1: came once and said, you know, well, you know, I said, 1286 00:59:54,080 --> 00:59:56,160 Speaker 1: that's just getting well, you know I know that he 1287 00:59:56,200 --> 00:59:59,600 Speaker 1: hasn't not you know, said never lessn't he is he 1288 01:00:00,120 --> 01:00:04,320 Speaker 1: is my you know, my guidance on this. And then 1289 01:00:04,360 --> 01:00:05,760 Speaker 1: when I went out to Vegas and I did a 1290 01:00:05,800 --> 01:00:07,960 Speaker 1: lot of work out in the in the show itself, 1291 01:00:08,000 --> 01:00:12,560 Speaker 1: in the theater. We built the theater, designed the speaker system. Um. 1292 01:00:12,880 --> 01:00:14,600 Speaker 1: I remember I read it, here comes the Sun. I 1293 01:00:14,640 --> 01:00:18,360 Speaker 1: read it the interduction, Here comes the Sun, and and 1294 01:00:18,360 --> 01:00:21,000 Speaker 1: and I suddenly remeased. My dad wasn't there, and and 1295 01:00:21,000 --> 01:00:24,640 Speaker 1: it felt really dirty that that cerked the sligh would 1296 01:00:24,640 --> 01:00:27,800 Speaker 1: hear this before he heard it. And then you realize, 1297 01:00:27,800 --> 01:00:29,720 Speaker 1: you know it's then you know it's he's a tip. 1298 01:00:30,040 --> 01:00:35,040 Speaker 1: And then funny enough, you know when he felt slightly 1299 01:00:35,040 --> 01:00:37,320 Speaker 1: excluded because because I was just going off there and 1300 01:00:37,360 --> 01:00:39,560 Speaker 1: with a mouse, you know, and I computed in doing 1301 01:00:39,600 --> 01:00:42,200 Speaker 1: this stuff. And it was I remember saying, because it's amazing, Charles. 1302 01:00:42,320 --> 01:00:45,160 Speaker 1: You know, like audio, audio too is like putty, isn't 1303 01:00:45,200 --> 01:00:46,880 Speaker 1: it the way you can manipulate in all sorts of way. 1304 01:00:46,920 --> 01:00:48,720 Speaker 1: It's the way he would speak. Was he hip on 1305 01:00:48,760 --> 01:00:52,280 Speaker 1: all the new technologies? No, but he loved it. He 1306 01:00:52,400 --> 01:00:54,040 Speaker 1: you know, he was, he was hip as far as 1307 01:00:54,160 --> 01:00:56,680 Speaker 1: mind you. The fact the matter is is that I 1308 01:00:56,720 --> 01:00:58,920 Speaker 1: get assistance now that think I'm good on pro tools 1309 01:00:58,920 --> 01:01:00,800 Speaker 1: because I did love but I really have no idea 1310 01:01:00,880 --> 01:01:03,000 Speaker 1: at all. I mean, my sessions look like a Jackson 1311 01:01:03,040 --> 01:01:05,480 Speaker 1: Pollock painting. You know, nothing nothing tidy about the way 1312 01:01:05,520 --> 01:01:08,880 Speaker 1: I worked and and it's it's funny. I mean, I 1313 01:01:08,920 --> 01:01:10,640 Speaker 1: think if I had known my stuff, I would have 1314 01:01:10,680 --> 01:01:12,760 Speaker 1: done a worse job. I mean if I started off 1315 01:01:12,760 --> 01:01:15,840 Speaker 1: with those a drums, drums that there's a drum soto 1316 01:01:15,960 --> 01:01:18,640 Speaker 1: from the end which the song on Abbey Road and 1317 01:01:18,680 --> 01:01:21,280 Speaker 1: I and I decided to mix get Back as an 1318 01:01:21,320 --> 01:01:23,760 Speaker 1: introduction to it and put the piano called back to 1319 01:01:24,160 --> 01:01:26,640 Speaker 1: a bunch of stuff. And the way you do that, 1320 01:01:26,680 --> 01:01:28,680 Speaker 1: if you're a modern artist, is you put a grid 1321 01:01:28,720 --> 01:01:30,439 Speaker 1: and you put the drums in time, and you put 1322 01:01:30,480 --> 01:01:33,240 Speaker 1: everything and you lock everything together. And I started doing 1323 01:01:33,280 --> 01:01:35,640 Speaker 1: that and I put Ringo perfectly in time, and it 1324 01:01:35,680 --> 01:01:39,600 Speaker 1: completely killed the field of the band. And then I realized, Okay, 1325 01:01:39,960 --> 01:01:42,280 Speaker 1: it has to be the band dictating the heartbeat of 1326 01:01:42,280 --> 01:01:45,080 Speaker 1: this show and not me chopping the music up. That 1327 01:01:45,160 --> 01:01:47,880 Speaker 1: makes any sense, yes, So so I learned, you know, 1328 01:01:48,400 --> 01:01:51,200 Speaker 1: it's again you have to you to look know when 1329 01:01:51,240 --> 01:01:52,920 Speaker 1: you do things badly, is that is the is the 1330 01:01:52,960 --> 01:01:57,280 Speaker 1: key to key to good work. So he was. And 1331 01:01:57,320 --> 01:02:00,840 Speaker 1: then when it came to we a via, Harrison came 1332 01:02:00,880 --> 01:02:02,400 Speaker 1: to see me and said, you know, I don't want 1333 01:02:02,400 --> 01:02:04,200 Speaker 1: to use the demo to while my guitar Jenny he 1334 01:02:04,240 --> 01:02:05,640 Speaker 1: was the director of the show. Want to use the 1335 01:02:05,640 --> 01:02:08,480 Speaker 1: demo to wi my gutar Johnny Weeps, which is just 1336 01:02:08,520 --> 01:02:11,600 Speaker 1: a george An acoustic guitar. It was on Anthology and 1337 01:02:11,640 --> 01:02:13,600 Speaker 1: I said, well, you know, I had an idea. I said, 1338 01:02:13,600 --> 01:02:15,840 Speaker 1: you know, well I could get my dad to finish 1339 01:02:15,840 --> 01:02:19,560 Speaker 1: you could do a string arrangement. And and Danny Harrison 1340 01:02:19,560 --> 01:02:21,040 Speaker 1: was only because you think he could, I said, joanneal 1341 01:02:21,040 --> 01:02:23,160 Speaker 1: phone himut I phoned him up there, I said, and 1342 01:02:23,200 --> 01:02:24,760 Speaker 1: he said to me, and it's funny, you know, go 1343 01:02:24,840 --> 01:02:26,880 Speaker 1: back to that that conversation we had and when he 1344 01:02:26,960 --> 01:02:29,320 Speaker 1: was dying, he said, I said, Daddy, because I'm not 1345 01:02:29,320 --> 01:02:32,560 Speaker 1: sure I can do it anymore. I said, because I've 1346 01:02:32,560 --> 01:02:35,120 Speaker 1: done haven't done a stringent for ten years. I said, 1347 01:02:35,120 --> 01:02:37,040 Speaker 1: I'm sure you can, Dad. And I had actually done 1348 01:02:37,040 --> 01:02:39,840 Speaker 1: a there's the introduction which is on the record on 1349 01:02:39,880 --> 01:02:42,040 Speaker 1: the show I did. And I said, you know I 1350 01:02:42,320 --> 01:02:44,400 Speaker 1: I and we sat at the piano was really nice 1351 01:02:44,440 --> 01:02:46,560 Speaker 1: as that piano said, because that's nice, there's a g 1352 01:02:46,720 --> 01:02:49,640 Speaker 1: mine of progression ages even you know this is and 1353 01:02:49,720 --> 01:02:51,840 Speaker 1: he went off and then we went to the studios 1354 01:02:51,840 --> 01:02:55,160 Speaker 1: and recorded all It's on film. Actually a string section 1355 01:02:55,240 --> 01:02:58,720 Speaker 1: playing and everyone knew in the orchestra that this would 1356 01:02:58,720 --> 01:03:01,240 Speaker 1: be the last time that he would work. I knew 1357 01:03:01,360 --> 01:03:02,800 Speaker 1: the last time he to work. He was eighty years 1358 01:03:02,800 --> 01:03:05,240 Speaker 1: old or seventy nine years old. I couldn't hear anything, 1359 01:03:05,960 --> 01:03:07,920 Speaker 1: and we steered through and it was a beautiful it's 1360 01:03:07,960 --> 01:03:09,720 Speaker 1: a beautiful arrangement. If you ever hear it, it's a 1361 01:03:10,040 --> 01:03:13,400 Speaker 1: it's a really sympathetic arrangement. And actually his memorial service 1362 01:03:13,480 --> 01:03:17,240 Speaker 1: I m I had the guys, a singer songwriter who's 1363 01:03:17,280 --> 01:03:19,720 Speaker 1: very good called James James Bay, who's a friend of mine. 1364 01:03:19,920 --> 01:03:22,200 Speaker 1: He sang it. I wanted someone agnostic, and we had 1365 01:03:22,200 --> 01:03:25,120 Speaker 1: a string section player, and it's just it's just like 1366 01:03:25,200 --> 01:03:27,680 Speaker 1: my dad was really good. He was really good. It's 1367 01:03:27,720 --> 01:03:29,480 Speaker 1: that I couldn't do that. It was he was. He's 1368 01:03:29,520 --> 01:03:32,240 Speaker 1: really good. Okay, now you're doing the Beatles Love Show. 1369 01:03:33,040 --> 01:03:35,440 Speaker 1: You know it's going to be success, You're not sure. 1370 01:03:36,440 --> 01:03:38,520 Speaker 1: Had no idea, I thought, I, you know, I didn't 1371 01:03:38,560 --> 01:03:41,080 Speaker 1: want to do cross over classical music, and this was 1372 01:03:41,120 --> 01:03:43,080 Speaker 1: like a fun thing to do, and it was also 1373 01:03:43,160 --> 01:03:44,880 Speaker 1: a really good way game to know my dad and 1374 01:03:44,920 --> 01:03:46,840 Speaker 1: going through his closet and learning stuff. You know, I 1375 01:03:46,840 --> 01:03:50,400 Speaker 1: went through every single take and every single Beatles track, um, 1376 01:03:50,680 --> 01:03:52,640 Speaker 1: and made notes you know, because I thought I bet, 1377 01:03:52,960 --> 01:03:54,760 Speaker 1: and in fact, I thought I'd get fired. I I 1378 01:03:55,280 --> 01:03:56,960 Speaker 1: really thought, it's such a bad idea. The son of 1379 01:03:57,000 --> 01:03:59,840 Speaker 1: George Martin chops up the Beatles tapes for a show 1380 01:03:59,840 --> 01:04:02,160 Speaker 1: and asked, Vegas is discussing it, probably pay read about 1381 01:04:02,200 --> 01:04:04,520 Speaker 1: in your blog. It has to be a shocker, you know. 1382 01:04:04,600 --> 01:04:07,960 Speaker 1: It's It's like I, I disagree with the principle entirely, 1383 01:04:08,240 --> 01:04:10,760 Speaker 1: apart from the fact that for me it was better 1384 01:04:10,800 --> 01:04:15,200 Speaker 1: than doing the other thing I was doing and and um, 1385 01:04:15,240 --> 01:04:19,240 Speaker 1: and it came out and everyone liked it, and I 1386 01:04:19,280 --> 01:04:22,000 Speaker 1: was you know, I honestly thought, as I thought, if 1387 01:04:22,040 --> 01:04:23,560 Speaker 1: I could do one thing, I'll back up all the 1388 01:04:23,600 --> 01:04:26,160 Speaker 1: tapes because they hadn't been backed up. And then if 1389 01:04:26,200 --> 01:04:28,640 Speaker 1: I confins you were literally using the master tape. Yeah, 1390 01:04:28,720 --> 01:04:30,240 Speaker 1: you have to use the master tape. They sound great 1391 01:04:30,280 --> 01:04:32,160 Speaker 1: and so I but it is in there a limit, 1392 01:04:32,480 --> 01:04:34,240 Speaker 1: you know what kind of condition you only have to 1393 01:04:34,280 --> 01:04:35,800 Speaker 1: play them once to back to my point. But I'm 1394 01:04:35,840 --> 01:04:37,720 Speaker 1: surprised that no one had done that previously. They hadn't 1395 01:04:37,760 --> 01:04:39,720 Speaker 1: done it previously, and so I thought, you know, what 1396 01:04:39,920 --> 01:04:41,760 Speaker 1: if I can, if I get fired and leave one 1397 01:04:41,760 --> 01:04:43,480 Speaker 1: thing by. At least I backed up the tapes properly. 1398 01:04:43,640 --> 01:04:45,960 Speaker 1: And that's why that was my motivation. I thought, you know, 1399 01:04:45,960 --> 01:04:49,000 Speaker 1: at least I've done something great, and and it came out, 1400 01:04:49,080 --> 01:04:50,920 Speaker 1: and you know, it's still going now. I think it's 1401 01:04:50,920 --> 01:04:53,280 Speaker 1: been seen by seven half million people. Now there was 1402 01:04:53,320 --> 01:04:56,600 Speaker 1: recently redone. Yeah, I went back and redid it. And 1403 01:04:56,640 --> 01:05:00,600 Speaker 1: what did you change? There were there? The show was 1404 01:05:00,600 --> 01:05:02,680 Speaker 1: looking old. It was mainly a visual thing. The show 1405 01:05:02,760 --> 01:05:04,960 Speaker 1: was looking old and looking a bit tired. And myself 1406 01:05:04,960 --> 01:05:06,880 Speaker 1: and Dominic who's the guy did the show with whose 1407 01:05:06,960 --> 01:05:09,360 Speaker 1: lovely man? And she died his name of Dominic Champagne's 1408 01:05:09,440 --> 01:05:12,360 Speaker 1: great name. We went, we two together and we started 1409 01:05:12,400 --> 01:05:15,600 Speaker 1: looking old, and we persuaded Different to invest I remixed 1410 01:05:15,600 --> 01:05:17,880 Speaker 1: the entire show from start different because you know, if 1411 01:05:17,920 --> 01:05:19,560 Speaker 1: you think about it, when we did the show, we 1412 01:05:19,640 --> 01:05:21,800 Speaker 1: did it on computers. We had to do on computers. 1413 01:05:21,840 --> 01:05:24,480 Speaker 1: I couldn't bring Abby Road to and we're using plugins 1414 01:05:24,480 --> 01:05:26,959 Speaker 1: and all sorts of things, and they've got a lot better. 1415 01:05:27,720 --> 01:05:30,440 Speaker 1: And we transferred. I retransferred all tapes as well, and 1416 01:05:30,480 --> 01:05:33,600 Speaker 1: so we did. And then I bought new speakers, and 1417 01:05:33,960 --> 01:05:37,760 Speaker 1: and and and you know, we listened differently. That's the 1418 01:05:37,800 --> 01:05:41,560 Speaker 1: funny thing about music, as we listened differently. How music 1419 01:05:41,640 --> 01:05:43,520 Speaker 1: is when you remember and how music is when you 1420 01:05:43,600 --> 01:05:45,480 Speaker 1: listen to again. It can be, can be different, can 1421 01:05:45,520 --> 01:05:49,040 Speaker 1: be worse, a little deeper there. Well, it demands of 1422 01:05:49,160 --> 01:05:51,080 Speaker 1: you know, when when we did the show, it was 1423 01:05:51,120 --> 01:05:53,640 Speaker 1: the best selling show probably, I think one of the 1424 01:05:53,680 --> 01:05:55,240 Speaker 1: best selling shows in the world probably. I mean, it 1425 01:05:55,240 --> 01:05:57,560 Speaker 1: should be seven thou speakers in the room, even though 1426 01:05:57,600 --> 01:06:01,320 Speaker 1: we're in the round. And by the time three years ago, 1427 01:06:01,720 --> 01:06:06,560 Speaker 1: you know, Celine Dion sounded better because there's more weight 1428 01:06:06,600 --> 01:06:09,040 Speaker 1: in the base, there's more you know, there's more visceral 1429 01:06:09,080 --> 01:06:11,160 Speaker 1: presence in the in the not in the sound that's 1430 01:06:11,200 --> 01:06:13,320 Speaker 1: hitting you and all that sort of stuff. And the 1431 01:06:13,320 --> 01:06:17,880 Speaker 1: Beatles show sounded a light um. You know, we we 1432 01:06:17,880 --> 01:06:22,200 Speaker 1: we we demand, we expect this sort of this sort 1433 01:06:22,240 --> 01:06:24,600 Speaker 1: of thing to hit us in the chest now, which 1434 01:06:24,680 --> 01:06:27,840 Speaker 1: didn't happen thirteen years ago. And so and I was 1435 01:06:27,880 --> 01:06:31,280 Speaker 1: working in the in the theater and I said the guys, 1436 01:06:31,320 --> 01:06:34,320 Speaker 1: I said, I need to around about to two or 1437 01:06:34,360 --> 01:06:37,080 Speaker 1: fifty hurts. Is what thumbs you in the chest? You know, 1438 01:06:37,080 --> 01:06:39,560 Speaker 1: it's bizarre, it's not lower, it's around about that. They 1439 01:06:39,560 --> 01:06:42,120 Speaker 1: were like, you know, I want when you're breaking the system, 1440 01:06:42,560 --> 01:06:44,080 Speaker 1: you're breaking the system. I said, well, how do I 1441 01:06:44,080 --> 01:06:46,440 Speaker 1: not break the system? Because you need more speakers? So 1442 01:06:46,480 --> 01:06:49,280 Speaker 1: I got up, I walked across the casino, knocked on 1443 01:06:49,280 --> 01:06:50,920 Speaker 1: the casino and doing continue to buy me some more 1444 01:06:50,920 --> 01:06:54,320 Speaker 1: speakers please, And he said, yeah, there are hundred eighty 1445 01:06:54,320 --> 01:06:56,200 Speaker 1: thousand dollars. He goes, and they can make a difference 1446 01:06:56,200 --> 01:06:57,760 Speaker 1: to you. I said yeah, and he goes, okay, like 1447 01:06:57,840 --> 01:07:00,560 Speaker 1: spoiled child. And that's the way it works now. But 1448 01:07:00,560 --> 01:07:03,480 Speaker 1: then the casino were incredibly I've actually, it's funny you 1449 01:07:03,880 --> 01:07:08,040 Speaker 1: my previous if you'd asked me, and it's vague. I'm not, 1450 01:07:08,120 --> 01:07:11,200 Speaker 1: as you can tell. Probably I'm not Mr Vegas. But 1451 01:07:11,240 --> 01:07:14,520 Speaker 1: they're they're actually they're they're very supportive, and I like them. 1452 01:07:14,560 --> 01:07:17,080 Speaker 1: I like still like the people. They're a lot. And 1453 01:07:17,080 --> 01:07:18,840 Speaker 1: they were like this and if if you think it's 1454 01:07:18,840 --> 01:07:20,840 Speaker 1: gonna make a difference, then okay, we'll do it. So 1455 01:07:20,880 --> 01:07:24,320 Speaker 1: I I read it things. How did you end up 1456 01:07:24,360 --> 01:07:31,280 Speaker 1: remixing Sergeant Pepper? It was It wasn't something that I 1457 01:07:31,400 --> 01:07:36,200 Speaker 1: necessarily felt compelled to do. Um. A lot of this 1458 01:07:36,280 --> 01:07:42,040 Speaker 1: stuff comes from the the desire comes to it's the 1459 01:07:42,040 --> 01:07:44,320 Speaker 1: fiftieth anniversary, Well it's the fifth is what are we 1460 01:07:44,360 --> 01:07:47,120 Speaker 1: gonna do? You know, there's outtakes, there's there's this, And 1461 01:07:47,760 --> 01:07:52,240 Speaker 1: I've played around with privately, played around with remixing Beatles tracks. 1462 01:07:52,320 --> 01:07:54,840 Speaker 1: You know, I did it for love and they were 1463 01:07:54,880 --> 01:07:56,920 Speaker 1: The Love Album was very well received as far as 1464 01:07:56,920 --> 01:08:01,040 Speaker 1: an audio perspective goes. Um, I get given a lot 1465 01:08:01,080 --> 01:08:03,360 Speaker 1: of credit for things that I didn't do. You know, 1466 01:08:03,400 --> 01:08:05,200 Speaker 1: you put the tapes into a machine and you put 1467 01:08:05,240 --> 01:08:08,120 Speaker 1: the faders up and it sounds pretty good. And generally 1468 01:08:08,120 --> 01:08:11,200 Speaker 1: what happens to the processes that make a record in 1469 01:08:11,240 --> 01:08:14,040 Speaker 1: those days, they they continual. I mean like if you 1470 01:08:14,320 --> 01:08:17,880 Speaker 1: if you remaster and remaster a um, you know a 1471 01:08:17,960 --> 01:08:20,800 Speaker 1: quarter inch tape, that's that our half inch tables are mixed. 1472 01:08:20,840 --> 01:08:22,920 Speaker 1: It gets worn down so that the end the tapes 1473 01:08:22,960 --> 01:08:29,000 Speaker 1: get on now. Um. And with Sergeant Pepper apple Core, 1474 01:08:29,920 --> 01:08:31,639 Speaker 1: who are the Beatles Company, they wanted to do something 1475 01:08:31,680 --> 01:08:34,679 Speaker 1: by the fiftieth Anniverse you rerelease and we talked about 1476 01:08:34,680 --> 01:08:36,320 Speaker 1: it and they wanted to go through the outtakes and 1477 01:08:36,320 --> 01:08:38,640 Speaker 1: stuff like that and funny if my father had my 1478 01:08:38,720 --> 01:08:43,400 Speaker 1: father passed away. UM, so yeah, and and I took 1479 01:08:43,439 --> 01:08:45,240 Speaker 1: some time off, obviously, took two weeks off, and I 1480 01:08:45,320 --> 01:08:47,720 Speaker 1: went about the studios and the first voice I hope 1481 01:08:47,760 --> 01:08:50,559 Speaker 1: was his, which is kind of odd. And Yoko said 1482 01:08:50,560 --> 01:08:52,080 Speaker 1: to me, we were doing the Love Shows, sitting with 1483 01:08:52,120 --> 01:08:54,519 Speaker 1: the Love Show, and I use voices in the Love 1484 01:08:54,560 --> 01:08:56,599 Speaker 1: Show of the Beatles, and she said, it's funny. You know, 1485 01:08:57,439 --> 01:09:00,799 Speaker 1: John's just a voice now. And I know how she felt. 1486 01:09:00,920 --> 01:09:06,040 Speaker 1: And and we started remixing, um, Sergeant Pepper. You know that. 1487 01:09:06,160 --> 01:09:07,760 Speaker 1: You know, people want to do a surround you doing 1488 01:09:07,800 --> 01:09:11,160 Speaker 1: a stereo, and we got it wrong. It didn't sound right. 1489 01:09:11,200 --> 01:09:14,559 Speaker 1: And then after about four songs, I suddenly realized, actually, 1490 01:09:14,600 --> 01:09:19,200 Speaker 1: this this kind of sounds It sounds good. Um, not better, 1491 01:09:19,240 --> 01:09:23,640 Speaker 1: it just sounds good. And the monos had been you know, 1492 01:09:23,640 --> 01:09:25,880 Speaker 1: I listened. I never heard the mono version of Sergeant Pepper. 1493 01:09:25,920 --> 01:09:28,160 Speaker 1: I'm like, you know, I'm not that sort of persons. 1494 01:09:28,200 --> 01:09:30,120 Speaker 1: Terrible to say I should be, but I've never had 1495 01:09:30,120 --> 01:09:32,000 Speaker 1: the monos. And the mono mixes are different. I think 1496 01:09:32,040 --> 01:09:38,200 Speaker 1: they kind of they're more claustrophobic, they're more psychedelic in 1497 01:09:38,240 --> 01:09:40,280 Speaker 1: some ways, there's more effects on them because they could 1498 01:09:40,280 --> 01:09:43,240 Speaker 1: the Beatles couldn't put effects on the stereo. The technology 1499 01:09:43,280 --> 01:09:46,040 Speaker 1: wasn't there a d T voices with stereo the voice. 1500 01:09:46,120 --> 01:09:49,320 Speaker 1: You know, there's a bunch of things that just a 1501 01:09:49,479 --> 01:09:52,280 Speaker 1: very speed techniques they used weren't there, And so we 1502 01:09:52,600 --> 01:09:54,800 Speaker 1: started doing it. And again, you know, you do these 1503 01:09:54,840 --> 01:09:58,479 Speaker 1: things behind closed doors. And I actually said to Apple, well, 1504 01:09:58,520 --> 01:10:00,879 Speaker 1: how did you switch from surround to doing a stereo? 1505 01:10:01,040 --> 01:10:02,839 Speaker 1: You do a stereo first. You have to do a stereo. 1506 01:10:03,040 --> 01:10:06,600 Speaker 1: My pathway to surround his stereo because you have to 1507 01:10:06,600 --> 01:10:09,200 Speaker 1: get the stereo right before you do the surround. Otherwise 1508 01:10:09,200 --> 01:10:11,400 Speaker 1: that the weights not there on the surrounders becomes I 1509 01:10:11,400 --> 01:10:13,240 Speaker 1: don't know if you you hear some surround mixes, and 1510 01:10:13,240 --> 01:10:14,760 Speaker 1: I don't want to criticize us as the work, but 1511 01:10:14,800 --> 01:10:18,439 Speaker 1: some surround mixes sound too ambient. They sound you know 1512 01:10:18,479 --> 01:10:21,040 Speaker 1: that if you think about the cool thing about surrounds, 1513 01:10:21,040 --> 01:10:23,000 Speaker 1: you have a center, speaking of that mono thing that 1514 01:10:23,040 --> 01:10:25,120 Speaker 1: can hit you and it's like I see it like 1515 01:10:25,160 --> 01:10:27,439 Speaker 1: smashing toffee with a toffee hammer. We have that center 1516 01:10:27,479 --> 01:10:30,080 Speaker 1: and everything can explode around it, like when you listen 1517 01:10:30,080 --> 01:10:32,479 Speaker 1: to a great mono record and that happens in your head. Anyway, 1518 01:10:32,800 --> 01:10:35,000 Speaker 1: that's the way I see it, and so with with 1519 01:10:35,040 --> 01:10:38,720 Speaker 1: Sargeant Pepper, I m I said, if this isn't right, 1520 01:10:38,800 --> 01:10:41,000 Speaker 1: then and you have to and it's a brave thing 1521 01:10:41,080 --> 01:10:44,720 Speaker 1: to do. And then um they came out and and 1522 01:10:45,160 --> 01:10:48,080 Speaker 1: people people liked it. You know, it's funny. It's funny. 1523 01:10:48,120 --> 01:10:50,720 Speaker 1: It's someone wrote to me that day and said, we 1524 01:10:50,760 --> 01:10:52,280 Speaker 1: can't get hold of a couple of the vinyl mixes 1525 01:10:52,320 --> 01:10:54,080 Speaker 1: Huge and pepp you did last year because it's sold 1526 01:10:54,080 --> 01:10:56,800 Speaker 1: out to Universal. You know you can. You can buy 1527 01:10:56,800 --> 01:10:59,599 Speaker 1: the original one, which I should say, do buy that one. 1528 01:10:59,640 --> 01:11:02,719 Speaker 1: But you know, I don't think about the marketing aspects 1529 01:11:02,760 --> 01:11:04,200 Speaker 1: of it. When I do, I just think about, you 1530 01:11:04,240 --> 01:11:09,400 Speaker 1: know what bothers me. I suppose my motivation is that 1531 01:11:10,680 --> 01:11:14,479 Speaker 1: when you play a record that's important to you to 1532 01:11:14,920 --> 01:11:21,160 Speaker 1: a younger generation and they think it sounds old, I 1533 01:11:21,240 --> 01:11:23,800 Speaker 1: think it's an old because it may not be as loud, 1534 01:11:23,920 --> 01:11:26,000 Speaker 1: it may not be as stereo, it may not be 1535 01:11:26,040 --> 01:11:29,040 Speaker 1: as immersive as the tracks that are listening to. And 1536 01:11:29,160 --> 01:11:32,679 Speaker 1: we live in a world of a global jukebox where 1537 01:11:33,040 --> 01:11:36,160 Speaker 1: there's no reverence to when it's coming back, but there's 1538 01:11:36,200 --> 01:11:37,760 Speaker 1: no reverence to put you on a record. You can have, 1539 01:11:37,840 --> 01:11:40,320 Speaker 1: you know, Kendrick Lamar next to loosen sk with diamonds. 1540 01:11:40,320 --> 01:11:42,639 Speaker 1: It doesn't make any difference in it. And the thing 1541 01:11:42,640 --> 01:11:46,400 Speaker 1: about music and thinking about recording is that it doesn't. 1542 01:11:46,720 --> 01:11:50,240 Speaker 1: It's a recording is by that it is a capturing 1543 01:11:50,400 --> 01:11:54,920 Speaker 1: a five year old person at their prime, and I 1544 01:11:54,960 --> 01:11:57,639 Speaker 1: want them to be twenty five forever and I want 1545 01:11:57,680 --> 01:12:01,200 Speaker 1: them to be bursting. Any of your speakers, um not 1546 01:12:01,320 --> 01:12:05,400 Speaker 1: at an angry compressed you know, to the max way. 1547 01:12:05,439 --> 01:12:06,719 Speaker 1: But I just want to make sure that you feel 1548 01:12:06,720 --> 01:12:09,519 Speaker 1: like you're in the room with them, and so that 1549 01:12:09,640 --> 01:12:16,240 Speaker 1: was kind of the motivation. Okay, Well, return to this 1550 01:12:16,280 --> 01:12:20,000 Speaker 1: conversation with Jaws Martin, sound experience leader for Sonos and 1551 01:12:20,040 --> 01:12:23,519 Speaker 1: son of George Martin and producer and mixer extraordinary in 1552 01:12:23,600 --> 01:12:27,519 Speaker 1: his own right in a moment. You're listening to the 1553 01:12:27,560 --> 01:12:30,439 Speaker 1: Bob Left Sets podcast, recorded at the tune In Studios 1554 01:12:30,479 --> 01:12:33,599 Speaker 1: in Venice, California. Each week I interview a new guest 1555 01:12:33,680 --> 01:12:36,519 Speaker 1: to get their story. While they're here, we take photos 1556 01:12:36,520 --> 01:12:38,599 Speaker 1: and shoot some videos. You can see what they really 1557 01:12:38,640 --> 01:12:41,000 Speaker 1: look like. I want to see what Jiles looks like. 1558 01:12:41,600 --> 01:12:45,320 Speaker 1: Check us out on Twitter, Instagram, and Facebook. Follow at 1559 01:12:45,360 --> 01:12:49,160 Speaker 1: tune In. Let's dive right back in with my guest 1560 01:12:49,240 --> 01:12:53,600 Speaker 1: Giles Martin, producer extraordinary. Well, it's kind of interesting. I 1561 01:12:53,680 --> 01:12:56,479 Speaker 1: have no problem with what you will. At first, when 1562 01:12:56,479 --> 01:12:57,720 Speaker 1: I first heard about it's a little bit of a 1563 01:12:57,800 --> 01:13:00,960 Speaker 1: hump what you did with Love. That's a totally new work, 1564 01:13:01,960 --> 01:13:04,479 Speaker 1: remixing something that I know so well. It's all akin 1565 01:13:04,600 --> 01:13:07,680 Speaker 1: to owning a vinyl record and then getting the c 1566 01:13:07,960 --> 01:13:10,120 Speaker 1: D when you were listening for the Skips and the 1567 01:13:10,160 --> 01:13:13,519 Speaker 1: Pops that weren't there anymore. You know, the originals so well, 1568 01:13:14,280 --> 01:13:20,240 Speaker 1: so that do you have plans to remix anymore Beatles records? 1569 01:13:20,240 --> 01:13:22,000 Speaker 1: And then not at the moment. I mean, there's there's 1570 01:13:22,040 --> 01:13:25,559 Speaker 1: talking about it, but um, it's not you know. And 1571 01:13:25,600 --> 01:13:27,920 Speaker 1: I think to answer that, I I can, I completely, 1572 01:13:28,040 --> 01:13:30,320 Speaker 1: I completely understand what you're saying. I kind of, you know, 1573 01:13:30,439 --> 01:13:32,120 Speaker 1: part of me agrees. At the same time, I'm not 1574 01:13:32,160 --> 01:13:35,120 Speaker 1: doing it for you, Bob exactly. That's what I was thinking. Now, 1575 01:13:35,200 --> 01:13:38,519 Speaker 1: your your explanation is very good. First, I think that 1576 01:13:39,320 --> 01:13:41,679 Speaker 1: I think if if anyone who wants to, if I listen, 1577 01:13:42,040 --> 01:13:44,120 Speaker 1: if we get to the stage where people are loving 1578 01:13:44,120 --> 01:13:46,400 Speaker 1: the pops and the clicks, if we people listen that much. 1579 01:13:46,400 --> 01:13:50,600 Speaker 1: We live in a world where you know, um, we 1580 01:13:50,680 --> 01:13:53,680 Speaker 1: hear things that we don't listen. You know, it's ubiquitous 1581 01:13:53,720 --> 01:13:56,880 Speaker 1: wall of sound constantly going on. There's noise, constant going on. 1582 01:13:56,920 --> 01:13:59,400 Speaker 1: And and that time which you talk about where you 1583 01:13:59,439 --> 01:14:01,639 Speaker 1: have that record and you love that record, you put 1584 01:14:01,640 --> 01:14:04,479 Speaker 1: it on. You know, if there's a reason, if you know, 1585 01:14:04,920 --> 01:14:08,360 Speaker 1: there's there's two ways. You know, even if people don't 1586 01:14:08,400 --> 01:14:12,080 Speaker 1: like what I do, they're listening to it. And I 1587 01:14:12,120 --> 01:14:13,760 Speaker 1: don't have a problem with that. It's like, great, don't 1588 01:14:13,760 --> 01:14:15,240 Speaker 1: like it. Let's see, that's why I don't mind you. 1589 01:14:15,360 --> 01:14:16,640 Speaker 1: And when I wrote back to you, I said, I 1590 01:14:16,680 --> 01:14:18,280 Speaker 1: don't mind you saying this stuff. It's like, you know, 1591 01:14:18,880 --> 01:14:20,960 Speaker 1: the fact you have passion and opinion is what I like. 1592 01:14:21,120 --> 01:14:23,559 Speaker 1: That's the whole point. It's like, you know, great, you 1593 01:14:23,600 --> 01:14:26,439 Speaker 1: know that we're not we we live in a we 1594 01:14:26,520 --> 01:14:30,360 Speaker 1: live in a world where it's just a record, and 1595 01:14:30,920 --> 01:14:32,840 Speaker 1: and there's various moments in the lines, whether they're not 1596 01:14:32,920 --> 01:14:35,080 Speaker 1: just records, there are things that mean a great deal 1597 01:14:35,120 --> 01:14:37,240 Speaker 1: to us. Now I'm not trying to take that away 1598 01:14:37,240 --> 01:14:40,640 Speaker 1: from you in any way whatsoever. Absolutely not. But if 1599 01:14:40,680 --> 01:14:42,640 Speaker 1: I can stir things up to people, like slap you 1600 01:14:42,760 --> 01:14:45,160 Speaker 1: around the face, and go see I was wrong, I 1601 01:14:45,200 --> 01:14:47,360 Speaker 1: was right or whatever. At least it's getting attention. Un 1602 01:14:47,400 --> 01:14:49,640 Speaker 1: least you have an opinion. Now you also work with 1603 01:14:49,720 --> 01:14:51,599 Speaker 1: Sonos at this point, how did you end up coming 1604 01:14:51,640 --> 01:14:54,320 Speaker 1: to work with Well, that was a strange thing that 1605 01:14:54,400 --> 01:14:56,439 Speaker 1: happened about four years ago. I was actually working. I 1606 01:14:56,439 --> 01:14:59,479 Speaker 1: did Paul McCartney's album New This Is This is Back, 1607 01:14:59,520 --> 01:15:01,000 Speaker 1: and I was working over here in l A and 1608 01:15:01,040 --> 01:15:03,639 Speaker 1: Henson and a guy kind to see me and as 1609 01:15:03,680 --> 01:15:06,599 Speaker 1: with a great mixanage. They called Spike stant who Spike 1610 01:15:07,360 --> 01:15:10,560 Speaker 1: good friend of mine, lovely Spike, and they came to 1611 01:15:10,600 --> 01:15:13,640 Speaker 1: see us, and it was press how to speak all 1612 01:15:13,680 --> 01:15:19,240 Speaker 1: the play one and and they they they Thomas Mayer, 1613 01:15:19,280 --> 01:15:22,000 Speaker 1: who's came to see me. He said, you know, give me, 1614 01:15:22,120 --> 01:15:24,360 Speaker 1: give you some speakers. And there's about the fourth speaker 1615 01:15:24,479 --> 01:15:26,360 Speaker 1: that come up to me because since the Love record 1616 01:15:26,400 --> 01:15:29,360 Speaker 1: there was, you know, loves used for surround high fire. 1617 01:15:29,680 --> 01:15:32,559 Speaker 1: It's a now I the socks and sound of a brigade. 1618 01:15:32,560 --> 01:15:37,120 Speaker 1: I suit and and I kind of and I I 1619 01:15:37,160 --> 01:15:38,599 Speaker 1: got her. My wife goes, you know, what are these 1620 01:15:38,640 --> 01:15:41,200 Speaker 1: boxes doing? And they're speakers? And what do we want 1621 01:15:41,240 --> 01:15:44,400 Speaker 1: speakers for? Now that you might like these ones because 1622 01:15:44,400 --> 01:15:47,240 Speaker 1: they're small, you know, and I plugged them in night 1623 01:15:47,280 --> 01:15:49,519 Speaker 1: and I like, my attitude was like, I think, thank 1624 01:15:49,560 --> 01:15:51,519 Speaker 1: you very much. I thought the actually they sound pretty good. 1625 01:15:52,200 --> 01:15:54,519 Speaker 1: And then they sent me just for the record the 1626 01:15:55,000 --> 01:15:58,080 Speaker 1: song I was one is a small, This was Presoners one, 1627 01:15:58,080 --> 01:15:59,800 Speaker 1: this was up five and a three. Okay, I mean 1628 01:16:00,000 --> 01:16:01,400 Speaker 1: they sent me a play bar and I was like, wow, 1629 01:16:01,439 --> 01:16:03,000 Speaker 1: this is great. I've got free gear. You know, I'm 1630 01:16:03,040 --> 01:16:04,760 Speaker 1: a bloke, so I like, I like, you know, not 1631 01:16:04,800 --> 01:16:07,000 Speaker 1: gonna be sexist, but we tend to we tend to 1632 01:16:07,000 --> 01:16:11,040 Speaker 1: be slightly more obsessive over gear, you know, with sad individuals. 1633 01:16:12,160 --> 01:16:14,320 Speaker 1: I'm one of them. Okay, yeah, I know, I know. 1634 01:16:14,720 --> 01:16:16,920 Speaker 1: And then and then what happened was is they brought 1635 01:16:16,960 --> 01:16:19,320 Speaker 1: they showed me a one, and I had comments on it. 1636 01:16:19,360 --> 01:16:20,760 Speaker 1: I thought it was limiting too much, and there was 1637 01:16:20,800 --> 01:16:22,680 Speaker 1: various things I didn't like that was doing. And then 1638 01:16:22,800 --> 01:16:27,320 Speaker 1: this was before or afterwards manufacturing forwards manufacturing, and they 1639 01:16:27,360 --> 01:16:29,160 Speaker 1: realized I was engaged, and they asked me. They said, 1640 01:16:29,160 --> 01:16:31,200 Speaker 1: they have Rick Rubin on their soundboard and they have 1641 01:16:31,280 --> 01:16:33,320 Speaker 1: hand Zimmer. I said, will I join their sandboard? And 1642 01:16:33,320 --> 01:16:35,040 Speaker 1: I said yeah. And then I thought, well, if I'm 1643 01:16:35,240 --> 01:16:36,439 Speaker 1: It was one of the things they sort of get 1644 01:16:36,520 --> 01:16:37,800 Speaker 1: got me more involved to come and I think they 1645 01:16:37,840 --> 01:16:39,200 Speaker 1: give me some shares, and it was this thing I 1646 01:16:39,240 --> 01:16:41,680 Speaker 1: was like, you know, I should get I should And 1647 01:16:41,720 --> 01:16:43,559 Speaker 1: I liked them. You know, they were the first speak 1648 01:16:43,600 --> 01:16:46,280 Speaker 1: company people have come up to me before and said, 1649 01:16:46,280 --> 01:16:47,439 Speaker 1: you know, what do you think of our speakers? They 1650 01:16:47,439 --> 01:16:49,200 Speaker 1: come seem in the studios and I said, and I'd 1651 01:16:49,240 --> 01:16:51,719 Speaker 1: say what I thought, and then we'll go you're wrong, 1652 01:16:51,760 --> 01:16:55,080 Speaker 1: and I go, okay, you know what what that's But 1653 01:16:55,120 --> 01:16:57,240 Speaker 1: that's great. I don't mind being wrong and absolutely, but 1654 01:16:57,240 --> 01:16:59,120 Speaker 1: but don't get upset for me, just so I know. 1655 01:16:59,160 --> 01:17:01,880 Speaker 1: It used to be the standard in New Case studios 1656 01:17:01,880 --> 01:17:05,400 Speaker 1: were tan noise. Okay, it's all sorts now. Okay, So 1657 01:17:05,560 --> 01:17:07,880 Speaker 1: when you mix, what are you mixed? I'm mixing on 1658 01:17:08,200 --> 01:17:10,920 Speaker 1: I'm mixed using a t C S there a company 1659 01:17:10,560 --> 01:17:12,400 Speaker 1: for I'm living. I live in the country. There are 1660 01:17:12,560 --> 01:17:14,960 Speaker 1: twenty miles. I didn't know this until recently, but a 1661 01:17:15,000 --> 01:17:16,680 Speaker 1: lot of people now use eight is Nineer god Rich 1662 01:17:16,720 --> 01:17:19,000 Speaker 1: who actually also works with Sons, he uses he uses 1663 01:17:19,000 --> 01:17:21,639 Speaker 1: a TC. So I think, um, there and there there. 1664 01:17:21,640 --> 01:17:24,000 Speaker 1: It's a different world. I mean, I asked for to 1665 01:17:24,040 --> 01:17:26,240 Speaker 1: buy a new pair of A T C s and 1666 01:17:26,320 --> 01:17:27,880 Speaker 1: the guy said, you can you wait a month? We 1667 01:17:27,920 --> 01:17:29,920 Speaker 1: have to build them, you know. So it's a different, 1668 01:17:29,920 --> 01:17:32,599 Speaker 1: different world to the world. And so what they were 1669 01:17:32,600 --> 01:17:34,840 Speaker 1: the first coming that asked me what I didn't like 1670 01:17:35,640 --> 01:17:37,599 Speaker 1: and they and when I said, when I started giving 1671 01:17:37,600 --> 01:17:41,720 Speaker 1: them compliments, they switched off when uninterested. And then the 1672 01:17:41,800 --> 01:17:44,840 Speaker 1: head of the head of the company came to see 1673 01:17:44,880 --> 01:17:47,559 Speaker 1: me and said, you know, and said, you know, would 1674 01:17:47,560 --> 01:17:49,800 Speaker 1: you be our sound experience leader? And I mean that said, 1675 01:17:50,200 --> 01:17:53,280 Speaker 1: I said no. I said, for a start, for a start, 1676 01:17:53,280 --> 01:17:56,120 Speaker 1: it sounds too too American for me. I said, what 1677 01:17:56,120 --> 01:17:58,760 Speaker 1: does it mean he goes leading our sound experience. I 1678 01:17:58,800 --> 01:18:01,280 Speaker 1: was like, well, obviously that's but what does that right? Right? 1679 01:18:01,600 --> 01:18:03,920 Speaker 1: And it's kind of like my job is to it's 1680 01:18:03,960 --> 01:18:06,120 Speaker 1: almost like head of sound I supposed to company. Where 1681 01:18:06,439 --> 01:18:10,160 Speaker 1: the appealing that I like, I like breaking, I like 1682 01:18:10,320 --> 01:18:12,680 Speaker 1: pushing technology, pushing away we listen. That's what appealed to 1683 01:18:12,760 --> 01:18:15,439 Speaker 1: about the Love Show. It's like making people, locking people 1684 01:18:15,439 --> 01:18:17,120 Speaker 1: in a room in Vegas and make them listen to 1685 01:18:17,200 --> 01:18:21,240 Speaker 1: great music? Is was it? There's something in in my 1686 01:18:21,280 --> 01:18:24,200 Speaker 1: subversive mind that appeals to me about that and the fact, 1687 01:18:24,240 --> 01:18:25,760 Speaker 1: if you think about we can't get away from the 1688 01:18:25,760 --> 01:18:28,320 Speaker 1: fact we make files. Now we don't make records. We 1689 01:18:28,360 --> 01:18:31,320 Speaker 1: do make files. That's what happens. I know that, you know, 1690 01:18:31,439 --> 01:18:33,760 Speaker 1: viols cut from files all of the time exactly. That's 1691 01:18:33,760 --> 01:18:37,000 Speaker 1: why I don't understand it. So just to stop there 1692 01:18:37,040 --> 01:18:41,280 Speaker 1: for a second. If we're starting with the file, how 1693 01:18:41,280 --> 01:18:44,519 Speaker 1: can the vinyl records sound better than the file? That's 1694 01:18:44,560 --> 01:18:47,280 Speaker 1: a that's a really and and it's a very good question. 1695 01:18:47,400 --> 01:18:49,080 Speaker 1: And does that sound better? It does it not sound? 1696 01:18:49,080 --> 01:18:53,840 Speaker 1: But there's something about vinyl that takes away the top 1697 01:18:53,840 --> 01:18:57,760 Speaker 1: and the bottom and it does also it's you know, 1698 01:18:57,960 --> 01:19:01,719 Speaker 1: it's it's you know, I was. I'm I'm a really 1699 01:19:02,280 --> 01:19:05,160 Speaker 1: you know, deep technical person who comes to mixing and 1700 01:19:05,240 --> 01:19:08,200 Speaker 1: people you know may be mistakenly like what I do. 1701 01:19:08,760 --> 01:19:11,240 Speaker 1: But when I did search in Pepper, you know, I 1702 01:19:11,320 --> 01:19:14,360 Speaker 1: re must and remuston master with a guy in Abbey Road, 1703 01:19:14,360 --> 01:19:16,559 Speaker 1: and then I master myself. And and then we cut 1704 01:19:16,560 --> 01:19:19,080 Speaker 1: the violent a half speed vinyl cut, which is, you know, 1705 01:19:19,320 --> 01:19:23,400 Speaker 1: a deeper, more precise cut that doesn't the vinyl. It's like, wow, 1706 01:19:23,400 --> 01:19:25,840 Speaker 1: this sounds great and and it makes me feel in 1707 01:19:25,920 --> 01:19:28,479 Speaker 1: my sort of strange control freak way. It makes me 1708 01:19:28,520 --> 01:19:31,559 Speaker 1: slightly annoyed because I didn't do this. I didn't either. 1709 01:19:31,680 --> 01:19:34,120 Speaker 1: Vinyl was just a happenstance that went on Vinyl. I 1710 01:19:34,160 --> 01:19:36,559 Speaker 1: like the sound of it. That makes sense, I'm not 1711 01:19:36,720 --> 01:19:39,519 Speaker 1: totally sure. So we had the fires that they were 1712 01:19:39,640 --> 01:19:44,639 Speaker 1: losing something on the vinyl. So inherently vinyl has a sound. 1713 01:19:44,720 --> 01:19:47,840 Speaker 1: Are you saying that you like the vinyl sound or 1714 01:19:48,280 --> 01:19:50,479 Speaker 1: I like this? I like the Vinyl sound of the 1715 01:19:50,479 --> 01:19:53,360 Speaker 1: Serge and Pepper mix. I did it sounds nice? Basically, 1716 01:19:53,439 --> 01:19:56,400 Speaker 1: it sounds smooth. That sounds good. But I didn't. I'm 1717 01:19:56,439 --> 01:19:58,760 Speaker 1: not responsible for that. Vinyl did that, not me. And 1718 01:19:58,800 --> 01:20:01,280 Speaker 1: that's what that's what I it's a it's a it's 1719 01:20:01,320 --> 01:20:03,160 Speaker 1: a it's a thing. And that This is the other 1720 01:20:03,240 --> 01:20:07,920 Speaker 1: thing that appeals going back the process with with with 1721 01:20:07,920 --> 01:20:11,640 Speaker 1: with Sonas is the fact that they they if the 1722 01:20:11,800 --> 01:20:14,679 Speaker 1: dream really is to is to for whether it's myself 1723 01:20:14,760 --> 01:20:18,400 Speaker 1: or Spike or whoever. In a studios, you can make 1724 01:20:18,400 --> 01:20:20,800 Speaker 1: a decision on this is how it should sound, and 1725 01:20:20,880 --> 01:20:22,640 Speaker 1: you send it down a wire and it appears in 1726 01:20:22,680 --> 01:20:25,680 Speaker 1: your home exactly the same. That's what appealed to me 1727 01:20:25,760 --> 01:20:27,639 Speaker 1: with with something like sonas where you can go, okay, 1728 01:20:27,880 --> 01:20:30,400 Speaker 1: I can tweet the speaker. And I started doing this 1729 01:20:30,439 --> 01:20:32,600 Speaker 1: with people speakers they have in the marketplace, where I 1730 01:20:32,680 --> 01:20:34,760 Speaker 1: was like, so I can change that sound of that 1731 01:20:34,800 --> 01:20:37,960 Speaker 1: playbar and make it. And I did it three times 1732 01:20:37,960 --> 01:20:40,720 Speaker 1: to play bar without people knowing, you know, change the 1733 01:20:40,720 --> 01:20:43,040 Speaker 1: sound of it. But after you all bought it, I 1734 01:20:43,120 --> 01:20:45,559 Speaker 1: know you you did update and I'm aware of this. 1735 01:20:45,600 --> 01:20:48,800 Speaker 1: What did you actually change? Well, it's funny. Rick Rubin 1736 01:20:49,000 --> 01:20:51,519 Speaker 1: was unhappy with the playbar and and and this is 1737 01:20:51,560 --> 01:20:54,200 Speaker 1: before I was heavily involved in any phony about it, 1738 01:20:54,240 --> 01:20:56,599 Speaker 1: and and I said, yeah, it sounds a bit weird 1739 01:20:56,640 --> 01:20:59,320 Speaker 1: for stereo music. It doesn't sound sounds like it's doing 1740 01:20:59,400 --> 01:21:02,599 Speaker 1: something nasty. And it was doing pretty well. It was selling, 1741 01:21:02,600 --> 01:21:06,040 Speaker 1: it was getting good, good reviews. I've always been interested 1742 01:21:06,040 --> 01:21:08,120 Speaker 1: in bad reviews anyway, So it was getting good reviews. 1743 01:21:08,120 --> 01:21:11,080 Speaker 1: And we worked out a way of It's always tough 1744 01:21:11,080 --> 01:21:13,719 Speaker 1: when you have a speak like a lot of products 1745 01:21:13,720 --> 01:21:16,240 Speaker 1: now are more than two channel speakers. They do it. 1746 01:21:16,360 --> 01:21:19,080 Speaker 1: They have to create why w from that sort of stuff? 1747 01:21:19,360 --> 01:21:21,599 Speaker 1: You have to fake five point one. Yeah, it's actually 1748 01:21:21,640 --> 01:21:24,960 Speaker 1: fake stereo because you're if you imagine the way we 1749 01:21:25,000 --> 01:21:26,760 Speaker 1: do the way you and I, which just needs to 1750 01:21:26,800 --> 01:21:29,639 Speaker 1: listen to music, is with two speakers that to mono speakers. 1751 01:21:30,080 --> 01:21:31,640 Speaker 1: We're not going to techy here, but and you have 1752 01:21:31,680 --> 01:21:34,120 Speaker 1: a you have a you have a phantom center, so 1753 01:21:34,200 --> 01:21:36,160 Speaker 1: there's no center speaker, but you you were sit in 1754 01:21:36,200 --> 01:21:38,960 Speaker 1: the middle, and what's equal left and right is a 1755 01:21:39,040 --> 01:21:41,760 Speaker 1: mono and then the rest of the less left and 1756 01:21:41,920 --> 01:21:46,040 Speaker 1: right Monday speakers that pretty much everyone makes out a stereo. 1757 01:21:46,080 --> 01:21:48,559 Speaker 1: They have phantom left and right. They're trying to fire 1758 01:21:48,600 --> 01:21:51,120 Speaker 1: things out left and right, which means you can often 1759 01:21:51,120 --> 01:21:54,960 Speaker 1: have a hole in the center like a like a 1760 01:21:54,760 --> 01:21:57,400 Speaker 1: like like a lifesaver. Let me ask you a question. 1761 01:21:57,479 --> 01:22:01,679 Speaker 1: If we're talking specifically about sons product, the three, the five, 1762 01:22:01,840 --> 01:22:05,240 Speaker 1: the one, what happens then when I peer them and 1763 01:22:05,280 --> 01:22:08,280 Speaker 1: I get stereo? They work in a traditional way. Okay, 1764 01:22:08,280 --> 01:22:11,240 Speaker 1: so the software is such that if I'm using one 1765 01:22:11,320 --> 01:22:13,639 Speaker 1: or I'm using two, it makes an adjustment. Yeah. Yeah, 1766 01:22:13,680 --> 01:22:15,200 Speaker 1: they know where they are and they know what they're doing, 1767 01:22:15,240 --> 01:22:17,559 Speaker 1: and you know that's the that's the that's the beauty 1768 01:22:17,600 --> 01:22:19,280 Speaker 1: of it. So here with a play with we we 1769 01:22:19,400 --> 01:22:21,080 Speaker 1: changed the playbo because Rick say, it doesn't look like 1770 01:22:21,120 --> 01:22:22,639 Speaker 1: a stereo I was like, well, it's not a stereo, 1771 01:22:22,720 --> 01:22:24,040 Speaker 1: so how do you make a sound like a stereo? 1772 01:22:24,160 --> 01:22:26,880 Speaker 1: So I had a very clever team and we worked 1773 01:22:26,880 --> 01:22:29,360 Speaker 1: on that. But it's it's fun. It's like, it's a 1774 01:22:29,360 --> 01:22:30,960 Speaker 1: bit like it's in a funny way. It's a bit 1775 01:22:31,000 --> 01:22:34,599 Speaker 1: like the Love Show, where in in that theater there 1776 01:22:34,680 --> 01:22:36,800 Speaker 1: is in Vegas. I'm in control of the input and 1777 01:22:36,840 --> 01:22:39,040 Speaker 1: the output. So I'm in control. You go and sit 1778 01:22:39,080 --> 01:22:41,719 Speaker 1: there and you don't like it, then it's purely my fault, 1779 01:22:42,520 --> 01:22:47,120 Speaker 1: opposed to if you make a mix and then you, um, 1780 01:22:47,840 --> 01:22:50,920 Speaker 1: you know, you listen to. I'm not one of those 1781 01:22:50,920 --> 01:22:52,920 Speaker 1: people that has an opinion of whether you listen to. 1782 01:22:53,000 --> 01:22:55,000 Speaker 1: I mean, I fell in love with music listen to 1783 01:22:55,040 --> 01:22:57,640 Speaker 1: on AM radio, so so I think you could be 1784 01:22:57,680 --> 01:23:00,320 Speaker 1: with the loved one on a sunny day and comes 1785 01:23:00,320 --> 01:23:01,880 Speaker 1: on it because sound like the best has ever sounded, 1786 01:23:01,920 --> 01:23:03,920 Speaker 1: even though it doesn't sound like that. If that makes sense, 1787 01:23:03,960 --> 01:23:07,680 Speaker 1: you fill in the gaps at the same time, if 1788 01:23:07,720 --> 01:23:10,200 Speaker 1: you can facilitate if like, if there can be somewhere 1789 01:23:10,400 --> 01:23:13,000 Speaker 1: where where a bunch of us creators have an influence 1790 01:23:13,040 --> 01:23:15,280 Speaker 1: on the output side as well, then it can only 1791 01:23:15,280 --> 01:23:19,160 Speaker 1: be a good thing. Because very very clever audio people 1792 01:23:19,160 --> 01:23:21,479 Speaker 1: have no idea what a mixed you sound like. And 1793 01:23:21,520 --> 01:23:26,360 Speaker 1: then these speakers are just for the listening environment. Yeah, 1794 01:23:26,439 --> 01:23:29,320 Speaker 1: it's it's I mean I was. I've known friends that 1795 01:23:30,000 --> 01:23:33,519 Speaker 1: that a high five buffs. Now I'll spend thirty thousand 1796 01:23:33,520 --> 01:23:35,200 Speaker 1: dollars and speak and then put them next to a wall. 1797 01:23:35,280 --> 01:23:37,000 Speaker 1: And you think, well, you know, you must have spend 1798 01:23:38,280 --> 01:23:40,280 Speaker 1: five hundred dollars in a speaker then, because you're going 1799 01:23:40,320 --> 01:23:42,840 Speaker 1: to get the base residence you get from next mix 1800 01:23:42,880 --> 01:23:46,080 Speaker 1: to wall as a you know, you know, where you play. 1801 01:23:46,200 --> 01:23:49,559 Speaker 1: Something is really important in audio because of because of 1802 01:23:49,600 --> 01:23:53,120 Speaker 1: a room. And so I when I first start working US, 1803 01:23:53,200 --> 01:23:55,560 Speaker 1: I came across a guy called Tim Sheen, who is 1804 01:23:57,920 --> 01:24:00,360 Speaker 1: like a sort of a clever Bard at l wondering 1805 01:24:00,400 --> 01:24:02,760 Speaker 1: around with a microphone with a speaker in the corner 1806 01:24:02,800 --> 01:24:04,320 Speaker 1: of the the room and he was just on his own 1807 01:24:04,400 --> 01:24:05,720 Speaker 1: in this room. And I said, what's he doing? And 1808 01:24:05,760 --> 01:24:08,280 Speaker 1: they said, well, he's he thinks he can he thinks 1809 01:24:08,280 --> 01:24:09,920 Speaker 1: he can speak and tune itself, you know, or you 1810 01:24:09,920 --> 01:24:11,439 Speaker 1: can tune to a room. And so that's great, and 1811 01:24:12,320 --> 01:24:15,000 Speaker 1: no one else was that happy because the ethos of 1812 01:24:15,360 --> 01:24:19,920 Speaker 1: a product not having a constant and changing was something 1813 01:24:19,960 --> 01:24:23,240 Speaker 1: that speakers don't really do at that stage. Um, and 1814 01:24:23,640 --> 01:24:25,920 Speaker 1: Tim Sheen was you know, then the company got behind 1815 01:24:25,960 --> 01:24:27,680 Speaker 1: him and we got behind him, and it was a 1816 01:24:28,120 --> 01:24:30,280 Speaker 1: it would end up being a really cool thing where 1817 01:24:30,320 --> 01:24:33,720 Speaker 1: you can, you know, you could, you can you don't 1818 01:24:33,720 --> 01:24:35,920 Speaker 1: have to worry about what you put a speaker. So 1819 01:24:36,040 --> 01:24:41,120 Speaker 1: what's the future of home audio? Well, I think I 1820 01:24:41,200 --> 01:24:43,400 Speaker 1: think that we you know, we he and I need 1821 01:24:43,439 --> 01:24:45,200 Speaker 1: to talk about the future home audio in the future 1822 01:24:45,240 --> 01:24:49,800 Speaker 1: of music distribution as a picker question, the future of 1823 01:24:49,840 --> 01:24:53,720 Speaker 1: home adio, I think that I think we listen. I 1824 01:24:53,800 --> 01:24:56,800 Speaker 1: think that if we can, if we can make music 1825 01:24:56,840 --> 01:24:59,439 Speaker 1: as real as possible, I like the idea that I 1826 01:24:59,479 --> 01:25:01,519 Speaker 1: like that, and I was coming back. I like the 1827 01:25:01,560 --> 01:25:05,000 Speaker 1: fact that people have to make an effort to listen. Um. 1828 01:25:05,040 --> 01:25:07,559 Speaker 1: I also love the fact that with something like so nice, 1829 01:25:07,600 --> 01:25:09,920 Speaker 1: you can have all you know, I can. I sit 1830 01:25:09,960 --> 01:25:12,040 Speaker 1: with my kids in the kitchen and I have a 1831 01:25:12,080 --> 01:25:15,280 Speaker 1: bunch of pieces of paper which have reggae, funk, jazz, 1832 01:25:15,320 --> 01:25:18,240 Speaker 1: soul on them, and they get points if I put 1833 01:25:18,280 --> 01:25:19,639 Speaker 1: on a piece of music and they can guess which 1834 01:25:19,720 --> 01:25:23,080 Speaker 1: genre you know, just and then that they love doing it. 1835 01:25:23,360 --> 01:25:24,800 Speaker 1: You know, it's like, you know, I don't know why, 1836 01:25:24,880 --> 01:25:27,120 Speaker 1: we just it's just one of those things. And I 1837 01:25:27,200 --> 01:25:28,800 Speaker 1: love the fact that you can think of a song 1838 01:25:28,840 --> 01:25:31,080 Speaker 1: and play it. But I also and I think home 1839 01:25:31,120 --> 01:25:33,919 Speaker 1: audio is better than ever ever has been that respect 1840 01:25:33,920 --> 01:25:35,840 Speaker 1: where it's you know, you can listen out loud and 1841 01:25:35,880 --> 01:25:43,160 Speaker 1: listen collectively and it doesn't matter. But the future, the 1842 01:25:43,560 --> 01:25:46,519 Speaker 1: way that voices going and that speakers are becoming a 1843 01:25:46,800 --> 01:25:52,439 Speaker 1: portal is interesting. UM. I think that that speed of 1844 01:25:52,720 --> 01:25:54,760 Speaker 1: the speed of thought behind thinking of a song and 1845 01:25:54,840 --> 01:25:57,600 Speaker 1: playing it is very clever. It's very good. Well. I 1846 01:25:57,640 --> 01:26:00,200 Speaker 1: find a lot of times in my work area, you know, 1847 01:26:00,280 --> 01:26:03,559 Speaker 1: I have an amazing amount of stereo gear and I 1848 01:26:03,600 --> 01:26:06,719 Speaker 1: will call out to the voice activated speaker or a lecture, 1849 01:26:06,800 --> 01:26:09,120 Speaker 1: now the new sons, I'd rather do that, even though 1850 01:26:09,120 --> 01:26:11,479 Speaker 1: it's kind of out of one little speaker. Yeah, And 1851 01:26:11,479 --> 01:26:13,519 Speaker 1: it's getting that. The thing is that's getting that better 1852 01:26:13,520 --> 01:26:15,840 Speaker 1: and better. That's the thing. That's the thing I think 1853 01:26:15,840 --> 01:26:17,760 Speaker 1: that I think that I think the question is how 1854 01:26:17,800 --> 01:26:22,400 Speaker 1: do we I think, how do we improve search and discovery? 1855 01:26:22,640 --> 01:26:24,760 Speaker 1: You know, at one stage I spent a lot of 1856 01:26:24,760 --> 01:26:26,240 Speaker 1: what I spent a lot of my own money thinking 1857 01:26:26,240 --> 01:26:29,360 Speaker 1: of thinking of this, UM, this portal where you could 1858 01:26:29,360 --> 01:26:32,559 Speaker 1: travel through time like you know, you could you could 1859 01:26:32,840 --> 01:26:35,880 Speaker 1: find influences of music. So if you if you like this, 1860 01:26:36,000 --> 01:26:37,639 Speaker 1: then what went on before and what went on before? 1861 01:26:37,680 --> 01:26:40,320 Speaker 1: And you could you could you could you could search 1862 01:26:40,439 --> 01:26:43,160 Speaker 1: music through influences and stuff like that. And there's gonna 1863 01:26:43,160 --> 01:26:45,120 Speaker 1: be ways in which we can, you know, in the 1864 01:26:45,160 --> 01:26:48,200 Speaker 1: same way we missed the record sleeve. I missed the 1865 01:26:48,240 --> 01:26:50,240 Speaker 1: fact that you know that I knew that Jim Gordon 1866 01:26:50,320 --> 01:26:53,120 Speaker 1: played on Layla and you know all that kind of 1867 01:26:53,160 --> 01:26:56,120 Speaker 1: stuff that connection would be would be I think there's 1868 01:26:56,160 --> 01:26:58,840 Speaker 1: a there's a there's a there's it's that thing when 1869 01:26:58,840 --> 01:27:01,040 Speaker 1: you go into a record store. And I remember, actually 1870 01:27:01,080 --> 01:27:02,479 Speaker 1: I was gonna work on a show with Quincy at 1871 01:27:02,520 --> 01:27:04,559 Speaker 1: one stage, and I thought, I've got to learn about 1872 01:27:05,280 --> 01:27:07,160 Speaker 1: the heritage of black music. Where do you start. I 1873 01:27:07,160 --> 01:27:09,040 Speaker 1: went to a record school, Honest John's and port A 1874 01:27:09,040 --> 01:27:11,120 Speaker 1: Bitter Road, and I walked in there and sort of 1875 01:27:11,120 --> 01:27:12,400 Speaker 1: talking to this guy. I was there for six and 1876 01:27:12,439 --> 01:27:15,200 Speaker 1: a half hours, and you've played everything, you know, Ellaphis 1877 01:27:15,200 --> 01:27:18,559 Speaker 1: Sholder records, you know, you know, you know Wilson Pickett 1878 01:27:18,680 --> 01:27:21,120 Speaker 1: kind of rarities, and it was just it was it 1879 01:27:21,200 --> 01:27:23,240 Speaker 1: was it was like, this is, this is how do 1880 01:27:23,280 --> 01:27:26,840 Speaker 1: we get this? But I would certainly believe that music 1881 01:27:26,880 --> 01:27:30,720 Speaker 1: discovery is broken. I believe there's a result. It's like 1882 01:27:30,720 --> 01:27:33,599 Speaker 1: the Internet at large, there's so many messages coming if 1883 01:27:33,600 --> 01:27:36,920 Speaker 1: the average person is overwhelmed. But in the time you 1884 01:27:37,000 --> 01:27:40,040 Speaker 1: have left, which is pretty lengthy in terms of your life, hopefully, 1885 01:27:40,640 --> 01:27:46,080 Speaker 1: what would you like to achieve or see happen? I 1886 01:27:46,160 --> 01:27:51,440 Speaker 1: would like I I think that it's it's it's difficult 1887 01:27:51,479 --> 01:27:55,880 Speaker 1: to it's it's really easy to um to say it 1888 01:27:55,920 --> 01:27:59,200 Speaker 1: wasn't like it wasn't my day. But I would like 1889 01:28:00,160 --> 01:28:06,400 Speaker 1: generations to be as touched by music as I was, 1890 01:28:07,360 --> 01:28:11,400 Speaker 1: and and not reliant on visual as they seem as 1891 01:28:11,439 --> 01:28:13,360 Speaker 1: people seem to be. Now, I didn't know ll ever 1892 01:28:13,400 --> 01:28:15,639 Speaker 1: go because because visual always wins. I mean, I've worked 1893 01:28:15,640 --> 01:28:18,320 Speaker 1: on films, I've worked on It's an interesting thing. I'm 1894 01:28:18,320 --> 01:28:20,800 Speaker 1: talking to something are talking about how powerful Instagram is, 1895 01:28:21,320 --> 01:28:23,280 Speaker 1: which makes no sense to me because all you have 1896 01:28:23,400 --> 01:28:26,400 Speaker 1: is the picture. But and we may not be at 1897 01:28:26,439 --> 01:28:30,000 Speaker 1: the end of the stream here. Now I'm streaming services. 1898 01:28:30,360 --> 01:28:34,840 Speaker 1: The number of plays there exceeds YouTube, So maybe we 1899 01:28:34,920 --> 01:28:37,439 Speaker 1: have hope. Yeah, And I think and I think that 1900 01:28:37,600 --> 01:28:41,240 Speaker 1: it's it's so so I think that I think what 1901 01:28:41,240 --> 01:28:43,240 Speaker 1: what would I like to achieve? There are so many 1902 01:28:43,240 --> 01:28:44,600 Speaker 1: things that led to you. I'd like to say, you know, 1903 01:28:44,680 --> 01:28:49,040 Speaker 1: there's there's there's sort of shows and experiences and visceral 1904 01:28:49,120 --> 01:28:52,240 Speaker 1: things I'm working on that that involved music. So you 1905 01:28:52,240 --> 01:28:55,320 Speaker 1: you know, you know, you know, even you had one 1906 01:28:55,320 --> 01:28:58,200 Speaker 1: idea that they're like walking through you know, walking through 1907 01:28:58,200 --> 01:29:01,040 Speaker 1: a groove of a record. You know, so imagine they're 1908 01:29:01,080 --> 01:29:03,080 Speaker 1: being sure, you know, for kids to realize what the 1909 01:29:03,280 --> 01:29:05,559 Speaker 1: what the what the what? I can picture it. I've 1910 01:29:05,600 --> 01:29:07,840 Speaker 1: seen enough you know, blow up pictures. Yeah, you know, 1911 01:29:07,840 --> 01:29:10,320 Speaker 1: it's like it's like a giant mountain, which you know, 1912 01:29:10,479 --> 01:29:13,000 Speaker 1: there's there's there's fun stuff. You know, work on a 1913 01:29:13,040 --> 01:29:15,479 Speaker 1: couple of things with some creators where we where we where. 1914 01:29:15,520 --> 01:29:17,600 Speaker 1: I like the idea and he says, going against the 1915 01:29:17,680 --> 01:29:21,440 Speaker 1: visual world. I love the idea of their being. Um. 1916 01:29:21,479 --> 01:29:23,559 Speaker 1: You know the fun thing about the Love Show, it's 1917 01:29:23,600 --> 01:29:26,479 Speaker 1: like you're creating a you you know, it's by no 1918 01:29:26,600 --> 01:29:30,719 Speaker 1: means perfect, but you're you're getting kids to discover music 1919 01:29:30,880 --> 01:29:33,200 Speaker 1: and listen to connect music and listen to music in 1920 01:29:33,200 --> 01:29:36,400 Speaker 1: different ways, and they go up feeling different. If you 1921 01:29:36,439 --> 01:29:39,439 Speaker 1: can make people feel something different, then then that's great. 1922 01:29:39,479 --> 01:29:43,120 Speaker 1: So so what what appeals to me is um even 1923 01:29:43,120 --> 01:29:45,439 Speaker 1: the Sergeant Pepper. I did this ATMOS mix of Sergeant Pepper, 1924 01:29:45,439 --> 01:29:47,920 Speaker 1: which basically a room with fifty five speakers in it 1925 01:29:48,560 --> 01:29:50,439 Speaker 1: and a bunch of artists and creators have been in. 1926 01:29:50,479 --> 01:29:52,320 Speaker 1: Then they come out and floods of tears, you know, 1927 01:29:52,439 --> 01:29:54,400 Speaker 1: they come of floods teas. They feel like what you 1928 01:29:54,439 --> 01:29:57,120 Speaker 1: can do with with immersive wordies. You can put the 1929 01:29:57,200 --> 01:29:59,759 Speaker 1: band in the room with you. You can get reflections 1930 01:29:59,760 --> 01:30:02,080 Speaker 1: from studio too, which is what we do, and you 1931 01:30:02,120 --> 01:30:03,920 Speaker 1: can make you feel people feel like that you're in 1932 01:30:03,960 --> 01:30:06,880 Speaker 1: this space with with with the band, you know, and 1933 01:30:07,040 --> 01:30:11,320 Speaker 1: it's it's it's getting that if you can if in 1934 01:30:11,439 --> 01:30:14,720 Speaker 1: any work I do, if I can just stimulate that 1935 01:30:14,800 --> 01:30:16,519 Speaker 1: feeling in some way, if I can get people to 1936 01:30:16,520 --> 01:30:19,200 Speaker 1: take cause there's nothing better. I remember, even working on 1937 01:30:19,200 --> 01:30:22,439 Speaker 1: that Constant Japan all those years ago, Jony Mitchell sat 1938 01:30:22,439 --> 01:30:23,960 Speaker 1: in front of me and she played her gear on 1939 01:30:23,960 --> 01:30:25,920 Speaker 1: the quatar and she was sitting as far as away 1940 01:30:25,960 --> 01:30:28,400 Speaker 1: from you are. You know, we are about five ft 1941 01:30:28,439 --> 01:30:32,080 Speaker 1: five feet away from each other, and and I wasn't 1942 01:30:32,080 --> 01:30:34,280 Speaker 1: even a big Johnny Bitchell Fan. I didn't even know 1943 01:30:34,360 --> 01:30:35,760 Speaker 1: much about it, you know, I was I was a 1944 01:30:35,800 --> 01:30:39,560 Speaker 1: blues guy and and I couldn't work out whether the 1945 01:30:39,640 --> 01:30:42,479 Speaker 1: music was coming from it was coming from it was 1946 01:30:42,560 --> 01:30:45,360 Speaker 1: coming from I saw her mouth moving, and I could 1947 01:30:45,400 --> 01:30:46,920 Speaker 1: see her in the quaitar, but it was like the 1948 01:30:47,000 --> 01:30:51,120 Speaker 1: sort of this sort of ethereal noise that's kind of 1949 01:30:51,320 --> 01:30:54,000 Speaker 1: hitting me, and it was it's better than for me, 1950 01:30:54,080 --> 01:30:56,720 Speaker 1: It's better than anything else in life having that experience. 1951 01:30:57,240 --> 01:31:00,599 Speaker 1: And so I suppose that through the huge privilege I've 1952 01:31:00,600 --> 01:31:03,120 Speaker 1: had from me my father's son, I've experienced some things. 1953 01:31:03,160 --> 01:31:05,280 Speaker 1: I mean, like, you know, I remember being a tapop, 1954 01:31:05,280 --> 01:31:08,400 Speaker 1: which is an assistant engineering and working on a Martin 1955 01:31:08,439 --> 01:31:10,400 Speaker 1: of the session he played acoustic guitar, and I was like, 1956 01:31:10,800 --> 01:31:13,320 Speaker 1: is that him playing? Or I'm going listen to a record? 1957 01:31:13,640 --> 01:31:15,920 Speaker 1: You know, it's that weird thing. And you all being 1958 01:31:15,960 --> 01:31:17,639 Speaker 1: in the same room with Stevie Wonder when he's playing 1959 01:31:17,680 --> 01:31:20,800 Speaker 1: the piano or and if I can get people with 1960 01:31:20,920 --> 01:31:24,280 Speaker 1: its trough soon through mixing or doing shows or doing exhibits, 1961 01:31:24,680 --> 01:31:29,120 Speaker 1: if I can get that feeling of inspiration closer to 1962 01:31:29,200 --> 01:31:32,360 Speaker 1: the listener, then that would be an achievement. That's what 1963 01:31:32,400 --> 01:31:34,720 Speaker 1: we're trying to do. Well, you've just got out to 1964 01:31:34,800 --> 01:31:37,599 Speaker 1: the mountaintop there. I don't think I can add anything. Giles, 1965 01:31:37,640 --> 01:31:40,400 Speaker 1: You've been a fabulous guest, both telling the stories of yourself, 1966 01:31:40,640 --> 01:31:43,480 Speaker 1: the Beatles, and your father. Thanks so much for being pleasurable. 1967 01:31:43,560 --> 01:31:50,320 Speaker 1: Thank you so much. That wraps up this week's episode 1968 01:31:50,320 --> 01:31:52,600 Speaker 1: of the Bob Left X Podcast, recording here at the 1969 01:31:52,640 --> 01:31:56,000 Speaker 1: tune In Studios in Venice, California. I hope you like 1970 01:31:56,120 --> 01:32:00,759 Speaker 1: listening to this conversation with Giles Martin, producer extraordinary. Please 1971 01:32:00,840 --> 01:32:02,759 Speaker 1: let me know when you think of the show. Email 1972 01:32:02,800 --> 01:32:05,719 Speaker 1: me at Bob at Left said Sandcom. Until next time, 1973 01:32:05,800 --> 01:32:06,760 Speaker 1: I'm Bob Left Sid