WEBVTT - Giles Martin 0:00:04.920 --> 0:00:07.960 Welcome, Welcome, Welcome to the Bob Left Sets podcast. My 0:00:08.080 --> 0:00:13.920 guest this week is Giles Martin, producer, mixer. Extraordinary Giles. 0:00:13.920 --> 0:00:16.800 Good to have Bubbs, so nice to see you. Okay, 0:00:17.239 --> 0:00:19.360 you know the elephant in the room, of course, is 0:00:19.360 --> 0:00:22.759 your father is George Martin produced the Beatles records. What 0:00:22.880 --> 0:00:25.239 year were you born? I was born in six nine. 0:00:25.280 --> 0:00:29.080 I was actually born on on John Lennon's birthday, October nine. 0:00:31.080 --> 0:00:33.519 I think my dad was doing Abbey Road when I 0:00:33.600 --> 0:00:36.559 was born and John came to the studios and my 0:00:36.680 --> 0:00:38.960 dad told him that I was born in the same 0:00:39.040 --> 0:00:42.800 day as him as his birthday, and John said, Nana, 0:00:42.880 --> 0:00:45.000 what sort of arsol? Hasn't sun out to be like Benny? 0:00:45.920 --> 0:00:48.479 So that's how I came into the world. You know. 0:00:48.560 --> 0:00:50.040 That was one of the great things in the Yon 0:00:50.120 --> 0:00:52.960 Winner book. He was talking about meeting John Lennon and 0:00:53.000 --> 0:00:56.240 going to dinner with her, lunch with him in San 0:00:56.280 --> 0:01:00.840 Francisco with Yoko, and fans came up for autographs. John said, 0:01:01.000 --> 0:01:04.880 fuck off, that was there. That was his thing. I mean, 0:01:04.880 --> 0:01:07.760 he was he was. My dad always said about John 0:01:07.800 --> 0:01:12.679 that he was one of those people that you wanted 0:01:12.720 --> 0:01:14.560 to be close to. What you were scared of being 0:01:14.560 --> 0:01:16.480 close to because you could be served serbic, you know, 0:01:16.560 --> 0:01:19.040 like the cool kid at school. That's what what John 0:01:19.120 --> 0:01:22.959 Lennon was like. Wow, So since you shared a birthday, 0:01:23.160 --> 0:01:25.440 did that ever come up? As you know, obviously John 0:01:25.480 --> 0:01:28.080 Lennon died eleven years after you were born, But did 0:01:28.080 --> 0:01:30.959 you ever celebrate, you know and acknowledge it that there 0:01:31.040 --> 0:01:36.560 was identical No, Um, it's it's it haunts me, you know, 0:01:36.600 --> 0:01:39.600 It's it's one of those things that I mean, there's 0:01:39.640 --> 0:01:42.280 been occasions. You know, we did the I did the 0:01:42.319 --> 0:01:44.800 Love Show in Vegas and then they did they did 0:01:44.840 --> 0:01:47.560 a documentary on it, and the screen of the documentary 0:01:47.680 --> 0:01:49.320 is it was on my birthday because it was celebrating 0:01:49.400 --> 0:01:51.240 John Evan's birthday. It's always that thing. It's like there's 0:01:51.240 --> 0:01:53.120 something can you go to this as John Elen's birthday? 0:01:53.400 --> 0:01:56.280 That's actually it's clashes my birthday as well. So there's 0:01:56.280 --> 0:01:58.000 that it's a curse more than one. Well, it's like 0:01:58.000 --> 0:02:01.040 someone who has a birthday, I'm smith we only get 0:02:01.040 --> 0:02:04.120 one's not as bad as that, but it is like that. Okay, 0:02:04.280 --> 0:02:08.639 so you're born in sixty nine, how long does it 0:02:08.680 --> 0:02:11.760 take until you recognize what your father does for a living. 0:02:13.120 --> 0:02:15.480 Oh A long time, A long time. Fun enough, it's 0:02:15.520 --> 0:02:18.320 a you have to understand. It's I tell us to 0:02:18.400 --> 0:02:20.440 people and they don't believe me. But my dad wasn't 0:02:20.440 --> 0:02:22.560 at all cool because he did the Beatles when I 0:02:22.560 --> 0:02:24.560 was growing up, not coll to you were called to 0:02:24.600 --> 0:02:26.320 people in general, too cool to people in general. I 0:02:26.400 --> 0:02:27.919 remember there was a time where he couldn't get he 0:02:27.919 --> 0:02:30.520 couldn't get work because he'd done the Beatles, you know, 0:02:30.639 --> 0:02:33.840 because the he went off. You know, my my period 0:02:33.840 --> 0:02:36.560 of growing up was I um, he worked on We 0:02:36.600 --> 0:02:38.960 actually I grew up and here in Los Angeles for 0:02:39.000 --> 0:02:42.160 two years at the age of six, my father's working 0:02:42.160 --> 0:02:46.400 with the band America. UM and he came back. We 0:02:46.400 --> 0:02:49.359 came back from Los Angeles back in London again, and 0:02:49.440 --> 0:02:52.240 you know, he found it hard to get worked. That's 0:02:52.280 --> 0:02:54.160 kind of funny. A friend of mine's, Barbs, were another 0:02:54.200 --> 0:02:57.680 legendary producer, and he did Pink Floyd the Wall, one 0:02:57.720 --> 0:03:00.519 of the biggest albums of all time, and he came 0:03:00.560 --> 0:03:02.840 back to Toronto where he and the phone didn't ring. 0:03:03.400 --> 0:03:06.240 That's it's it's what it's funny. It's it's funny that 0:03:06.280 --> 0:03:09.200 it's funny what what happens like that, and and so 0:03:09.680 --> 0:03:11.720 you know, and also you know, I was really into 0:03:11.840 --> 0:03:14.080 I played the guitars into like Humble Pie. I was 0:03:14.360 --> 0:03:17.120 massive into Steve Ray Vaughan. You know, I think really yeah, 0:03:17.120 --> 0:03:19.639 I was that that was blues blues guitarist. I was 0:03:19.680 --> 0:03:21.920 going to be, you know, having having definitely not been 0:03:21.960 --> 0:03:24.000 born in the ghetto, I thought it'd be blues guitarist 0:03:24.120 --> 0:03:26.839 and that was my passion. Um. I was then really 0:03:26.840 --> 0:03:29.480 into Free into Paul Kossof and Paul you know, there's 0:03:29.520 --> 0:03:31.880 a two double album on A and M. It's called 0:03:31.919 --> 0:03:34.760 Molten Gold or something. Not only do is have you know, 0:03:36.120 --> 0:03:38.480 I'll be creeping in the steeler those you go back 0:03:38.520 --> 0:03:41.160 and listen. That ship was unbelievable great and there's a 0:03:41.240 --> 0:03:43.760 there's there's footage of them at the other White Festival 0:03:43.760 --> 0:03:45.960 as if you've seen it with you know, it's funny 0:03:45.960 --> 0:03:47.720 when you see the two microphones. I'm trying to work 0:03:47.720 --> 0:03:50.120 out where Paul's has two microphones? Is it because one's 0:03:50.160 --> 0:03:52.240 monitors and one's the p A. I mean, who knows, 0:03:52.600 --> 0:03:54.960 but there's a but but you know there's footage of 0:03:55.000 --> 0:03:58.640 that and it's it's beautiful, simple, economic and music. There's 0:03:58.640 --> 0:04:01.280 any there's there's drums, bass, sing, guitar. It's like the 0:04:01.520 --> 0:04:04.440 led Zeppelin is that format and you kind of missed 0:04:04.480 --> 0:04:06.560 that these days to a certain extent. But but I 0:04:06.600 --> 0:04:08.920 was into that, and it wasn't really I don't think 0:04:08.920 --> 0:04:12.360 I've heard the White Album until I was about nineteen. Really, yeah, 0:04:12.360 --> 0:04:14.680 I don't think. But I remember being on a plane 0:04:14.720 --> 0:04:18.120 with my dad and and it was when I, you know, 0:04:18.240 --> 0:04:20.640 I wanted to do music as a kid. Um to 0:04:20.800 --> 0:04:23.919 what degree because your father worked in music? To what 0:04:24.000 --> 0:04:29.440 degree was music playing in your household? You know? We 0:04:29.480 --> 0:04:34.360 didn't have a high fire, you did not, We didn't room. No, No, 0:04:34.520 --> 0:04:36.600 I mean is my sister and I have a sister 0:04:36.600 --> 0:04:38.440 who's two years older, and we had one of those 0:04:38.560 --> 0:04:41.200 um you know, we had a we had a plastic 0:04:41.240 --> 0:04:44.000 kids turntable. And I remember the actually the first album 0:04:44.000 --> 0:04:45.560 I remember having. I had a bunch of we had 0:04:45.600 --> 0:04:48.200 a bunch of records, obviously, records that my dad had 0:04:48.240 --> 0:04:50.800 at that time. One was Abbey Road, which in that 0:04:50.839 --> 0:04:53.800 spot it would have only been at this stage about 0:04:53.839 --> 0:04:55.719 six years old. And I thought, which is kind of 0:04:55.720 --> 0:04:58.240 crazy thinking about kind of getting old six years old, 0:04:58.279 --> 0:04:59.839 and then the other one was Living Let Die the 0:05:00.000 --> 0:05:02.159 Ocean picture soundtrack and my father recorded. I remember having 0:05:02.240 --> 0:05:03.840 the remember you remember the cover. This is the great 0:05:03.839 --> 0:05:06.080 thing about albums, You remember the covers of album. Of course, 0:05:07.080 --> 0:05:10.680 we had a Carol King album as well. It wasn't Tapestry, 0:05:10.720 --> 0:05:12.440 it was it was a kids album as she made 0:05:13.160 --> 0:05:16.000 um and we played and I remember that. But my 0:05:16.000 --> 0:05:19.480 my father. The one thing is that as I had 0:05:19.520 --> 0:05:20.960 as my father played the piano a lot. He was 0:05:21.000 --> 0:05:22.600 doing a lot of arranging at that time. In fact, 0:05:22.880 --> 0:05:25.200 when I was at play school sort of at the 0:05:25.240 --> 0:05:27.880 age of four or five, they went around the class 0:05:27.920 --> 0:05:30.640 asking what the parents did, and I said, my dad 0:05:30.640 --> 0:05:33.360 just say his home played the piano. You know that 0:05:33.440 --> 0:05:35.680 was because so there was music in the house. But 0:05:36.240 --> 0:05:38.680 my parents are very careful, um, and I don't know what. 0:05:38.760 --> 0:05:41.479 I've never really understood why they sort of kept music 0:05:41.480 --> 0:05:43.080 away from me. To a certain reader, I went on 0:05:43.120 --> 0:05:45.840 my own journey and then me and my dad met 0:05:45.920 --> 0:05:49.560 up later for various reasons. But so just to go 0:05:49.640 --> 0:05:51.040 to the end before we go back to the beginning, 0:05:51.200 --> 0:05:55.120 at what point did you meet up later? Well, my 0:05:55.200 --> 0:05:58.400 father which is known now, but we kept it secret. 0:05:58.560 --> 0:06:02.800 Lost his lost his hearing um. Now was that attributable 0:06:03.080 --> 0:06:05.919 to his work or was it just genetic? He always 0:06:05.920 --> 0:06:08.240 blames it on his on his work. He used to say, 0:06:08.279 --> 0:06:10.720 if you look at the photographs or the videos of 0:06:10.720 --> 0:06:13.000 the Beatles, he would sit between the speakers. You know, 0:06:13.080 --> 0:06:15.919 you see this famous such a studio to where the 0:06:15.960 --> 0:06:17.760 band are performing there there's a couple of films you 0:06:17.800 --> 0:06:19.960 see where my father stuck with his heavyteen the speakers. 0:06:20.400 --> 0:06:22.479 And he also blamed on Jeff Beck. He worked on 0:06:22.600 --> 0:06:25.320 Wide and Blow by Blow and which are the two best? 0:06:25.360 --> 0:06:27.600 Jeff background? Which are the two best? And even Jeff 0:06:27.600 --> 0:06:29.919 says there's two Jeff records? But then but yeah, he 0:06:30.120 --> 0:06:32.920 and he and he blames Jeff for going death. I 0:06:32.920 --> 0:06:34.960 mean it's that. You know, I know a lot about 0:06:35.000 --> 0:06:38.000 it because my father. It was it was, it was, 0:06:38.440 --> 0:06:42.160 you know, his one regretular life is his deafness. And 0:06:42.200 --> 0:06:43.680 so he started going deaf and you didn't want to 0:06:43.720 --> 0:06:46.240 tell anyone. And how old was he at that point? 0:06:46.920 --> 0:06:49.440 Let me have a think he would have been It 0:06:49.480 --> 0:06:52.520 would have been I would have been um sixteen, So 0:06:52.600 --> 0:06:57.039 he's probably he's probably in his early fifties. And he 0:06:57.160 --> 0:07:00.080 noticed it when they were he noticed it where and 0:07:01.000 --> 0:07:03.520 we do we do different killer Hut cycles lining up 0:07:03.520 --> 0:07:05.800 a tape machine and he went in the studio and 0:07:05.839 --> 0:07:08.080 you could see the meters move and you couldn't hear it, 0:07:08.240 --> 0:07:10.440 and it was like it was like fifteen cycles and 0:07:10.600 --> 0:07:13.040 ten cycles or whatever it is. And he realized that 0:07:13.520 --> 0:07:15.760 he couldn't, you know, He suddenly realized that there was 0:07:16.080 --> 0:07:17.760 sound playing he wasn't hearing it. And he was a 0:07:17.800 --> 0:07:20.480 person that was known for his ears, and he realized 0:07:20.520 --> 0:07:23.040 it was the end of him. And so he brought 0:07:23.080 --> 0:07:25.520 me in like almost like a seeing eye dog, and 0:07:25.560 --> 0:07:27.640 that was my job. My job was to hear the 0:07:27.720 --> 0:07:31.440 high frequencies, and he taught me. It was it's a 0:07:31.480 --> 0:07:35.040 bizarre way of learning. He taught me hearing from a 0:07:35.120 --> 0:07:37.000 high end down because I after a place what he 0:07:37.000 --> 0:07:38.840 couldn't hear. I wouldn't talk to him about what he 0:07:38.880 --> 0:07:41.840 could hear, but like high violins and symbols, and they 0:07:41.880 --> 0:07:44.240 would move further down and we do test together on 0:07:44.280 --> 0:07:46.880 a piano where his where the notes would start disappearing. 0:07:47.600 --> 0:07:50.200 And so I learned about frequencies from that. Funny enough, 0:07:50.240 --> 0:07:53.120 because I was aware I could hear what he wasn't hearing, 0:07:53.120 --> 0:07:55.720 if that makes sense. And outside the studio and the horn, 0:07:55.760 --> 0:07:57.920 would he wear the hearing aids. Yeah, he would wear 0:07:58.000 --> 0:08:00.440 He would wear hearing aids. It came. It was a 0:08:00.960 --> 0:08:02.840 it's a it was a big push for him. It 0:08:02.880 --> 0:08:05.280 was he you know, he always said that, you know, 0:08:05.920 --> 0:08:07.720 if you were hearing aids, you're death, but if you 0:08:07.680 --> 0:08:10.120 wear glasses, you're not seen as being blind. And that 0:08:10.160 --> 0:08:13.440 bothered him, the stigma of it. Actually, um, but yeah, 0:08:13.680 --> 0:08:16.200 he wore hearing aids and he his hearing became. You know, 0:08:16.240 --> 0:08:19.200 he was pretty He died actually two years ago on 0:08:19.240 --> 0:08:22.120 March twenty eight or two years ago last week. I guess, um, 0:08:22.880 --> 0:08:25.680 and he he was he you know, he was pretty 0:08:25.720 --> 0:08:27.760 profoundly deaf when he died. He could hear me pretty 0:08:27.760 --> 0:08:30.600 well because I've got a low voice and its frequencies. 0:08:31.240 --> 0:08:33.120 But it's very funny stories. He worked with a man 0:08:33.240 --> 0:08:35.880 Ultravox and in in the eighties. I remember I was 0:08:35.920 --> 0:08:40.120 sixteen and he came out of the studio and the 0:08:40.120 --> 0:08:42.800 bass player Criss Cross was going in and said, how's 0:08:42.800 --> 0:08:44.360 it going in there? Georges are going okay? And my 0:08:44.440 --> 0:08:46.600 dad held up his plate and said, two boiled eggs. 0:08:48.559 --> 0:08:50.080 He thought he asked him what he had for lunch. 0:08:50.320 --> 0:08:52.800 So you know, it's it's it's it's blots, you know. 0:08:52.880 --> 0:08:55.160 And as as a kid, my my mom has a 0:08:55.200 --> 0:08:57.120 who has still alive as a wicked sense of humor. 0:08:57.160 --> 0:08:59.360 You know, there'd be things like, you know, she'd say 0:08:59.400 --> 0:09:01.120 there's a nice in taxi and he go wears an 0:09:01.160 --> 0:09:03.520 ice cream factory. You know, there was a constant in 0:09:03.600 --> 0:09:05.680 the home. There was a constant things and it was 0:09:05.720 --> 0:09:08.319 just the thing we grew up with. So you're growing up. 0:09:08.559 --> 0:09:10.480 Your sister is two years older. What is she? What's 0:09:10.480 --> 0:09:14.680 her life like now? She's she's she's amazing, she's sadly, 0:09:14.720 --> 0:09:16.960 she her husband, her husband died six years ago. She 0:09:17.000 --> 0:09:19.440 has three children which which I try and look after 0:09:19.440 --> 0:09:24.240 as well. And she is a she's she runs two companies. 0:09:24.280 --> 0:09:26.760 Actually now she's a she's a marketeer and does things 0:09:26.800 --> 0:09:28.880 like that. Nothing to music and that is in London. 0:09:29.000 --> 0:09:31.640 That's in London. Yeah, okay, So now you're in the house. 0:09:32.040 --> 0:09:35.760 Your father's playing the piano. When he was working, could 0:09:35.800 --> 0:09:41.000 you interrupt him? Yeah, I mean I remember being on 0:09:41.000 --> 0:09:44.160 a skiing holiday. This is how my my dad, who 0:09:44.200 --> 0:09:45.800 I loved dearly, and it was a very nice. Man 0:09:45.920 --> 0:09:48.440 was pretty hard on me. I mean, you know, I 0:09:48.480 --> 0:09:50.439 was okay at music. I was pretty I was better 0:09:50.480 --> 0:09:53.000 than music than my friends. You know. It wasn't no genius, 0:09:53.040 --> 0:09:55.160 but I was. I was. And I remember being being 0:09:55.200 --> 0:09:57.360 fourteen years older, and you remember these things. And he 0:09:57.400 --> 0:09:58.959 was he was doing an arrangement. I think he was 0:09:59.000 --> 0:10:02.800 trying to work. He was. He nearly wrote the music 0:10:02.840 --> 0:10:05.280 for the mission, the film. The mission he satadly got 0:10:05.320 --> 0:10:09.400 fired by when they classic film style, and he was 0:10:09.400 --> 0:10:11.480 trying to compose something. And we were on holiday and 0:10:11.520 --> 0:10:14.000 he was using the hotel piano and I went up 0:10:14.040 --> 0:10:16.040 to and he said, you know, hi, Giles. I said, 0:10:16.080 --> 0:10:18.560 you know, because how are you doing? I said yeah. 0:10:18.600 --> 0:10:20.560 He goes, because you know, what do you want to do? 0:10:20.600 --> 0:10:22.520 I said, you know, I'd love to do what you do. Dad. 0:10:22.640 --> 0:10:24.400 You know, I'm learning, you know, learning the piano stuff. 0:10:24.400 --> 0:10:26.240 And he goes, you you won't be able to do that, 0:10:26.280 --> 0:10:28.559 And I said, well why not? He goes, I don't think. 0:10:28.600 --> 0:10:32.960 I don't think you're good enough. Wow, you can imagine. 0:10:33.320 --> 0:10:36.839 Does that still hobble you today? God? It hobbles me. 0:10:37.160 --> 0:10:39.560 It hobbles me. I mean, I I said to him 0:10:40.160 --> 0:10:43.760 on his you know, on his on his deathbed. Um 0:10:44.320 --> 0:10:47.400 My dad took a long time to die. It's a 0:10:47.480 --> 0:10:49.240 terrible thing to say. But he'd find as funny as well. 0:10:49.280 --> 0:10:51.360 We joke about it were very close. I'd say I'd 0:10:51.360 --> 0:10:53.480 come in and you know, I ended up sleeping next 0:10:53.480 --> 0:10:56.120 to him at a certain stages and I'd say in 0:10:56.160 --> 0:10:57.880 the morning, and so you're still here, that are you 0:10:58.280 --> 0:11:00.440 piss off? Jarles? How long did it take him? Well, 0:11:00.480 --> 0:11:02.640 he was sick. He was sick, and he became very 0:11:02.679 --> 0:11:04.480 sick in January. He died in March. But it was, 0:11:04.640 --> 0:11:07.520 it was, it was a long process and and I know, 0:11:07.559 --> 0:11:10.400 and it was that's nothing good about it, part from 0:11:10.400 --> 0:11:11.800 the fact you get to say all things you want 0:11:11.840 --> 0:11:16.240 to say. And I said to him, Dad, you ever 0:11:16.920 --> 0:11:19.360 do you ever? Do you ever think you're not good 0:11:19.360 --> 0:11:22.480 at music? And he was a mobile and he closed 0:11:22.480 --> 0:11:23.959 his eyes. I was holding his hand. He said, that's 0:11:23.960 --> 0:11:26.360 a strange thing to ask me. And I said, well, 0:11:26.360 --> 0:11:28.120 not really, because I've just been asked to this film 0:11:28.160 --> 0:11:30.920 and and I always think, you know, I can't do it, 0:11:31.080 --> 0:11:33.600 you know, even you know I told your seeing Stephen 0:11:33.640 --> 0:11:35.640 Tyler on Saturday, I feel nervous about you know, I'm 0:11:35.640 --> 0:11:38.400 more constantly nervous about meeting people because but I think 0:11:38.400 --> 0:11:40.079 you're great at what you do. I think you're amazing. 0:11:40.120 --> 0:11:42.200 I think as I think better than I am. I said, well, 0:11:42.240 --> 0:11:44.560 thanks Dad, but I'm not but thank you. I said, 0:11:44.559 --> 0:11:46.800 do you ever feel like that? And he closed his 0:11:46.840 --> 0:11:50.160 eyes and he thought, and he opened them and he said, no, No, 0:11:50.320 --> 0:11:53.840 I always thought I was brilliant and it's and it's 0:11:53.960 --> 0:11:55.960 it's you know, and he was and it was, it 0:11:56.040 --> 0:11:58.280 was it's it's the it's the thing that, it's the 0:11:58.280 --> 0:12:00.599 thing that that it was just envy felt envy, and 0:12:00.600 --> 0:12:02.320 I think it's stemmed from that moment he said to me, 0:12:02.360 --> 0:12:04.280 you know, I don't think you're good enough that it's 0:12:04.280 --> 0:12:06.559 a constant battle. But by the same talk and when 0:12:06.559 --> 0:12:09.199 he did say on his deathbed, how great you were, 0:12:09.240 --> 0:12:13.520 did that compensate for him? No, it doesn't, because you 0:12:13.520 --> 0:12:16.520 you you wear the clothes that you think motivate you. 0:12:16.520 --> 0:12:18.280 You know, with that sounds like a therapy session, but 0:12:18.320 --> 0:12:20.440 you do kind of it suits you to go through this, 0:12:20.520 --> 0:12:23.000 you know, it's it's I'm quite a happy person and 0:12:23.440 --> 0:12:26.440 I feel like I'm feel like I'm really nice to people. 0:12:26.480 --> 0:12:29.160 But but you know, you you you kind of you 0:12:29.240 --> 0:12:31.840 go through this air of desperation that people don't realize 0:12:31.840 --> 0:12:33.520 that you do in your studios, and then you come 0:12:33.520 --> 0:12:35.280 out the other side and you have to you have 0:12:35.320 --> 0:12:37.560 to question everything you do and it's it's it's good 0:12:37.559 --> 0:12:39.280 to have that in a way, and so it suits me. 0:12:39.480 --> 0:12:42.640 So every time you do a project, it's like pushing 0:12:42.640 --> 0:12:44.400 a boulder up a hill. You're not quite sure you 0:12:44.400 --> 0:12:46.280 can do it. It's it's a mixture of pushing a 0:12:46.280 --> 0:12:48.199 build up the hill and then the hill, then the 0:12:48.800 --> 0:12:52.600 boulder will sail down uninterrupted until it hits the next mountain. Yeah, 0:12:52.679 --> 0:12:55.080 I mean that's it. It's like a it's like it's 0:12:55.120 --> 0:12:57.240 like a you know, I'm terrible and terrible and terrible 0:12:57.280 --> 0:12:59.200 when a second I'm a genius. No, I'm terrible again. 0:12:59.240 --> 0:13:02.079 That's what that's what like When people approach you for work, 0:13:02.600 --> 0:13:04.120 do you ever say no, I don't think I can 0:13:04.200 --> 0:13:09.199 do this. Um, that's a that's a that's a good no. 0:13:09.320 --> 0:13:11.040 I don't really I think you know, if I've done 0:13:11.120 --> 0:13:12.760 if I've done the other thing, I couldn't do, I 0:13:12.760 --> 0:13:15.520 could probably not do this. In a strange way, I 0:13:15.640 --> 0:13:17.760 just said, it's it's it's a nice way of conscious 0:13:17.760 --> 0:13:19.880 surprised myself. I'm not saying that through any false modesty. 0:13:19.920 --> 0:13:22.199 I just it's generally how I feel. So let's go back. 0:13:22.240 --> 0:13:25.000 You're in the house, your father is playing the piano. 0:13:25.080 --> 0:13:27.520 There's no stereo in the living room. You have the 0:13:27.600 --> 0:13:32.959 kids record player? What kind of music are you listening to? Well, 0:13:33.000 --> 0:13:35.320 I mean, I say, we're listening to I genuine the 0:13:35.320 --> 0:13:37.840 records I had when I was varying on the records 0:13:37.840 --> 0:13:39.640 I had, was with the with the records my father 0:13:39.720 --> 0:13:41.880 was making, you know he was he was working on 0:13:41.920 --> 0:13:46.360 Paul McCartney albums on America Where of America with Neil Saidarker, 0:13:46.440 --> 0:13:48.280 you know there was a there was I knew all 0:13:48.320 --> 0:13:50.280 of this stuff because it was on in the house 0:13:51.280 --> 0:13:52.680 or he would be on the car. He would actually 0:13:52.720 --> 0:13:54.880 listen to mixes in the car. You know, it would 0:13:54.920 --> 0:13:56.960 be the I'd be where's dad and he'd be sitting 0:13:57.000 --> 0:14:00.000 out to the car because we had no stereo at home. Um, 0:14:00.040 --> 0:14:02.640 and then and then it's funny, I remember the best. 0:14:02.640 --> 0:14:04.840 The first album I ever bought was a cassette because 0:14:04.840 --> 0:14:07.800 I'm I'm you know, very bad, I'm a cassette area. 0:14:09.200 --> 0:14:13.040 It was e l O Time? Yeah, which is? Which is? 0:14:13.200 --> 0:14:14.800 I said to Jeffy I met jeff Lynn that you know, 0:14:14.840 --> 0:14:17.200 I know jeff Lynn now, and I said, you was 0:14:17.240 --> 0:14:19.040 the first album I ever ever board because you know, 0:14:19.080 --> 0:14:20.880 what was that el O Time? It goes? Well, that 0:14:20.960 --> 0:14:24.200 was a ship up because I'm a huge fan of Eldorado. 0:14:24.360 --> 0:14:27.040 But yeah, I know it's not good, but you I mean, 0:14:27.320 --> 0:14:29.680 you can't change history. That. It's like, you know, you 0:14:29.720 --> 0:14:31.760 do interviews, you should you make up something really cool, 0:14:31.760 --> 0:14:34.080 like you know it's rumors, you're honest. It's like, you know, 0:14:34.080 --> 0:14:36.760 I read these interviews. What are your favorite books from 0:14:36.800 --> 0:14:38.800 your favorite record? Yeah, and they're trying to look cool 0:14:39.000 --> 0:14:41.800 and Stubbs what the truth? Yeah, there's no point. And 0:14:41.840 --> 0:14:43.880 then and then it was you know there was you 0:14:43.920 --> 0:14:46.800 know obviously there was. It's it's it's strange. I mean 0:14:46.800 --> 0:14:49.240 there was. You know, there were bands around. I likes 0:14:49.280 --> 0:14:51.800 a kid, I liked you know, I liked listening like 0:14:51.880 --> 0:14:54.280 these by in Excess, which was I remember because Australian 0:14:54.320 --> 0:14:56.800 friend of mine, I love Lloyd calling the Commotions or 0:14:57.360 --> 0:14:58.840 you know, there was never made it over here, but 0:14:58.880 --> 0:15:00.320 never made it. But you know there was, there was 0:15:00.320 --> 0:15:02.720 a bunch of bands in that era. I didn't really. 0:15:03.800 --> 0:15:08.200 It's funny, I didn't really. The eighties didn't really strike me, 0:15:08.600 --> 0:15:10.280 you know, I was growing up in the eighties, I mean, 0:15:10.320 --> 0:15:12.920 but I didn't really that whole. Well, that's interesting because 0:15:12.920 --> 0:15:14.600 most of the sounds, certainly for the first half of 0:15:14.600 --> 0:15:18.200 the eighties came from England. Yeah, but it didn't. It didn't. 0:15:18.240 --> 0:15:20.280 It didn't touch me in the right way. It wasn't like, 0:15:20.360 --> 0:15:23.960 you know, it wasn't a did you were a blues guy? Yeah, 0:15:24.760 --> 0:15:26.280 as you can tell by my voice on the Blues 0:15:26.280 --> 0:15:28.360 Guy through and through, But yeah, yeah, I was. I 0:15:28.400 --> 0:15:31.600 was a blues guy. Liked I liked. I like, you know, 0:15:32.840 --> 0:15:35.080 music pushing air through your ears, you know. I like 0:15:35.160 --> 0:15:36.600 the sense I didn't want to didn't want to didn't 0:15:36.680 --> 0:15:40.600 like the sense of Um, it didn't electronic. I hadn't him. 0:15:40.680 --> 0:15:43.360 I appreciate it more now than I did then. UM 0:15:43.400 --> 0:15:45.640 and then I went to you know for these through 0:15:46.000 --> 0:15:48.280 you know, you learned without the guitar, and then and 0:15:48.360 --> 0:15:50.480 the piano, and you get into guitar players. Basically you 0:15:50.520 --> 0:15:52.640 start listening to guitar players. How did you become a 0:15:52.640 --> 0:15:56.040 guitar player? Well, my parents, I was banned from the 0:15:56.280 --> 0:15:59.360 guitar by my parents. Um literally yeah, they didn't want 0:15:59.360 --> 0:16:01.400 to be the guitar. They thought I'd we have failed 0:16:01.520 --> 0:16:03.800 rock star. I think there was an element in a 0:16:03.840 --> 0:16:07.840 funny way with my father, and this sounds terrible, but 0:16:08.880 --> 0:16:11.800 that he he there was one side he was worried 0:16:11.800 --> 0:16:13.720 about me being a failure, and there was another side 0:16:13.720 --> 0:16:16.560 he was worried about me making him look bad by 0:16:17.040 --> 0:16:18.720 being this want to be rock star. I think there 0:16:18.720 --> 0:16:21.840 was an element of that, totally definitely. But I but 0:16:21.960 --> 0:16:24.760 I actually board a ukulele because I could afford a 0:16:24.840 --> 0:16:27.560 ukulele um and learned about the ukulele, and the ukulele 0:16:27.680 --> 0:16:31.800 has the the my my my sisters son to ukule 0:16:31.920 --> 0:16:34.040 explained to him, it's you know that the four strings 0:16:34.040 --> 0:16:35.480 are the same as the guitar. You just had fill 0:16:35.520 --> 0:16:37.280 in the bass strings later when you learned prot the guitar. 0:16:37.360 --> 0:16:40.040 So I did that, it became not about a ukulele plan. 0:16:40.040 --> 0:16:42.000 And then then a borrowed at school. I was a 0:16:42.000 --> 0:16:44.440 boarding school and a guy had a guitar, so I 0:16:44.520 --> 0:16:47.240 used to use his guitar. And then for some reason, 0:16:47.280 --> 0:16:50.320 I don't know whether this performance and came from myself 0:16:50.360 --> 0:16:52.840 and actually still my best friend. We decided we'd go 0:16:52.960 --> 0:16:55.000 busting and we end up playing in pubs and we 0:16:55.000 --> 0:16:57.440 were about fifteen or sixteen. We played in pubs on 0:16:57.440 --> 0:17:00.160 a new three songs and what were those three songs? 0:17:02.000 --> 0:17:05.040 American Pie? I'd see, I should I see, I should 0:17:05.040 --> 0:17:07.280 be making up something cooler. No, that's good for a bar. 0:17:07.359 --> 0:17:10.000 You get people singing along if you really go out 0:17:10.000 --> 0:17:12.320 with by Joe Jackson love that record, but not in 0:17:12.320 --> 0:17:15.359 the middle section because we couldn't work it out. And 0:17:15.400 --> 0:17:17.159 I think no woman will crying. I think with the 0:17:17.240 --> 0:17:19.280 three songs we knew, wow, very good that you can 0:17:19.359 --> 0:17:21.200 even remember. Yeah, well you know I can still play 0:17:21.240 --> 0:17:24.240 them there And so okay, so you're playing in the pubs, 0:17:24.240 --> 0:17:26.720 and what's the step after that playing the pubs? Then 0:17:26.720 --> 0:17:28.639 we started playing and playing in bars and went to 0:17:28.760 --> 0:17:33.200 university and then Manchester. Okay, so I gotta I gotta 0:17:33.200 --> 0:17:35.719 place at Berkeley College of Music and my and it's 0:17:35.720 --> 0:17:37.400 funny and my dad said, you know, and I don't 0:17:37.400 --> 0:17:38.800 regret this at my dad say, I don't want you 0:17:38.800 --> 0:17:40.159 to go to birth College of Music. You know, if 0:17:40.160 --> 0:17:41.760 you if you really want to do this music thing, 0:17:41.760 --> 0:17:44.600 I can, I can. I can teach you, but going 0:17:44.600 --> 0:17:46.600 to a proper degree. And I was, you know, I 0:17:46.680 --> 0:17:48.560 was good English, and I was good at I was 0:17:48.680 --> 0:17:50.800 reasing me Ecanamic, and I did I did a degree 0:17:50.840 --> 0:17:53.680 in American politics and literature, would you believe? So yeah, 0:17:53.720 --> 0:17:56.639 I know, And and played music and and I was 0:17:56.840 --> 0:17:58.480 managed to manage to head a whole you know, the 0:17:58.880 --> 0:18:01.560 Stone Roses Happy Month. It was Tony Wilson era, the 0:18:01.560 --> 0:18:05.040 Tony Wilson nine and it was great, it was it 0:18:05.080 --> 0:18:09.720 was fantastic, was fantastic time. And why didn't almost none 0:18:09.720 --> 0:18:12.360 of those bands make it up in the United States. 0:18:13.119 --> 0:18:15.920 There was nothing slick about them. There was nothing slick 0:18:15.960 --> 0:18:18.600 about any of those bands. And I think that in 0:18:18.680 --> 0:18:20.600 that ear of Nights, of that ear in the in 0:18:20.640 --> 0:18:23.400 the States, there was a slickness to the two year 0:18:23.480 --> 0:18:25.840 music over here, and I think that's what it was. 0:18:26.040 --> 0:18:29.560 I think they there was there's that undercurrent goth era 0:18:29.600 --> 0:18:31.680 of you know, never Tear Us Apart and joy Division 0:18:31.680 --> 0:18:33.439 and that sort of stuff. I think that that kind 0:18:33.480 --> 0:18:36.919 of bubbled under forbidden in America. But but it wasn't really. 0:18:38.119 --> 0:18:40.440 It was such a scene. And then and then funny 0:18:40.480 --> 0:18:42.280 off things like the Chemical Brothers, which came. I was 0:18:42.320 --> 0:18:45.160 at university with the Chemical Brothers and actually the guitarist 0:18:45.160 --> 0:18:47.679 from radio Head was it was it? Ed? Was? Was 0:18:47.720 --> 0:18:51.040 it master? With me? Um? There was there was, there 0:18:51.119 --> 0:18:53.600 was this. There was a scene that broke into America 0:18:53.720 --> 0:18:56.200 after that. So just after we were doing stuff here, 0:18:56.240 --> 0:18:58.640 Now when you were in college university, as you say, 0:18:59.200 --> 0:19:02.280 vass to all that stuff with those big things, did 0:19:02.280 --> 0:19:06.119 you go yeah, I mean it's funny, I was choose 0:19:06.119 --> 0:19:09.520 your weapon of choice. I was never really um, you 0:19:09.520 --> 0:19:11.840 know the whole ext and and what we used to 0:19:11.840 --> 0:19:14.520 call fast drug boom, Well what is what is that? 0:19:14.680 --> 0:19:16.280 We know? Like you know that and fair to mean 0:19:16.480 --> 0:19:19.639 ecstasy dance. I never really got into. I mean it 0:19:19.720 --> 0:19:23.679 was crazy. I remember I remember my other the final 0:19:23.720 --> 0:19:25.520 weis to call it, but we scoring balls whatever they're 0:19:25.520 --> 0:19:28.399 called in America. You know, the the the the end 0:19:28.440 --> 0:19:31.120 of term thing. It was a club called the Roxy, 0:19:31.119 --> 0:19:33.600 which had a rubber dance floor that used to used 0:19:33.600 --> 0:19:37.359 to throb in time of the music. That was intentional. 0:19:37.440 --> 0:19:40.080 That was intentional. And I stood on the balcony and 0:19:41.000 --> 0:19:43.800 everyone was like it was the acid days of the 0:19:43.840 --> 0:19:46.440 Smiley Face and everyone's seeing free free your mind, well 0:19:46.520 --> 0:19:48.480 must be free all that's stuff, but it was looking 0:19:48.560 --> 0:19:50.920 like a German rally. Everyone's doing exactly the same thing, 0:19:51.480 --> 0:19:53.560 and I thought, this isn't this isn't freeing on mind. 0:19:53.640 --> 0:19:55.639 This is And I was more of a stoner culture 0:19:55.720 --> 0:19:57.919 guitar player, you know, it wasn't really my scene, but 0:19:58.080 --> 0:19:59.400 the has the end, it was very much a dance 0:19:59.480 --> 0:20:02.280 driven culture. I kind of really I regret that I 0:20:02.320 --> 0:20:04.000 didn't become more part of it because I think it's 0:20:04.040 --> 0:20:06.240 very influential. But I mean, when when I did my 0:20:06.240 --> 0:20:08.320 final example university, the guy next to me was sucking 0:20:08.359 --> 0:20:10.960 a dummy. You know. It was. It was a pretty 0:20:11.000 --> 0:20:14.760 crazy time. And but to what degree living in Manchester 0:20:14.800 --> 0:20:19.000 at that time did that culture dominate or other people 0:20:19.080 --> 0:20:23.480 were aware of it. It was pretty big. It reverberated 0:20:23.520 --> 0:20:26.080 around certainly around the UK and Europe that that that 0:20:26.200 --> 0:20:29.360 dance culture and those bands. Um, it was the biggest 0:20:29.440 --> 0:20:31.879 music hub in it just by coincidence. It was the 0:20:31.880 --> 0:20:34.240 biggest party town you know, there was. It was you know, 0:20:34.320 --> 0:20:36.560 managed to have thirty six thousand students when I was there. 0:20:36.560 --> 0:20:39.440 It was pretty big. You know, there's much bigger places now, 0:20:39.480 --> 0:20:41.639 but it was and so it did. Yeah, it was. 0:20:41.720 --> 0:20:43.959 It was pretty influential. And then add then out of 0:20:44.000 --> 0:20:49.600 that obviously stemmed bands like Oasis, um, which was you 0:20:49.640 --> 0:20:52.399 know when I left college, you know, Oasis started to 0:20:52.440 --> 0:20:55.320 become very big and funny. They people get a pill 0:20:55.400 --> 0:20:57.919 get quite upset when I say this. They did the 0:20:57.960 --> 0:21:01.760 Beatles a lot of favors and what do you mean 0:21:01.800 --> 0:21:07.520 by that? Well, I'm in the Beatles um in the 0:21:07.600 --> 0:21:10.080 UK anyway, I can't talk about americausse I wasn't living that, 0:21:10.240 --> 0:21:12.960 but in the UK you know probably, I think in 0:21:13.000 --> 0:21:14.719 a funny way. Rightfully, So we're a band that had 0:21:14.760 --> 0:21:19.040 happened an Oasis put them. They'll always be on a 0:21:19.040 --> 0:21:22.040 pedal Star'm not saying that without Oasis, but they but 0:21:22.119 --> 0:21:26.800 they certainly became a cultural cultural relevant band much quicker 0:21:27.359 --> 0:21:30.320 or had that resurgence in the UK and stayed there 0:21:31.280 --> 0:21:35.520 from the the Oasis period onward um because because that 0:21:35.560 --> 0:21:37.480 was the it was, you know that, you know, we're 0:21:37.520 --> 0:21:39.320 not as big as the Beatles, and then we're almost 0:21:39.320 --> 0:21:41.240 like when Oasis said we're biggeran the Beatles, it was 0:21:41.280 --> 0:21:43.199 the same as John lenn saying we're bigger than Jesus. 0:21:43.760 --> 0:21:46.560 It was a strange kind of reflection on on what 0:21:46.600 --> 0:21:49.159 went on before um And it was you know, it was, 0:21:49.320 --> 0:21:51.119 it was. It was an amazing time. And I was 0:21:51.160 --> 0:21:54.120 playing in a band, a deeply unsuccessful band, yes, sort 0:21:54.119 --> 0:21:57.119 of indie indie rock band. That was. That was great 0:21:57.119 --> 0:21:59.520 because I was with friends and we toured Germany and 0:21:59.520 --> 0:22:02.119 went to Hannonda and did this sort of stuff and 0:22:02.119 --> 0:22:04.080 and it was, you know, it was, it was. It 0:22:04.160 --> 0:22:06.280 was a time where if you can be in a 0:22:06.359 --> 0:22:09.280 van with a band and go on tours and sleep 0:22:09.320 --> 0:22:11.000 in busses and sleep and you know, I slept in 0:22:11.000 --> 0:22:13.080 a dog basket and Coventry and you know, and all 0:22:13.080 --> 0:22:15.639 that sort of stuff you can do that you can 0:22:15.640 --> 0:22:17.119 get on with people in a studio and you can 0:22:17.119 --> 0:22:18.840 get on with people in life, and it's a you know, 0:22:18.840 --> 0:22:21.000 if you you know that it taught me a huge amount. 0:22:22.000 --> 0:22:23.879 Let's go back. You're talking about the club with the 0:22:23.920 --> 0:22:28.120 rubber floor in your viewpoint on that your identity. Are 0:22:28.200 --> 0:22:30.560 you a member of the group or you an outsider 0:22:30.640 --> 0:22:34.320 judging the group. I've always felt like an outsider, not 0:22:34.400 --> 0:22:36.560 judging in a bad way, but I've always been an outsider, 0:22:36.640 --> 0:22:39.800 you know, I've always been always As a good rugby player, 0:22:39.840 --> 0:22:42.400 I was in his team you know, and and and 0:22:42.440 --> 0:22:44.399 played and it led to quite a high standard, but 0:22:44.480 --> 0:22:47.240 always felt like an outsider. I was the only guitar player, 0:22:47.359 --> 0:22:49.919 musician and a rugby team, you know obviously, but like 0:22:49.960 --> 0:22:54.600 I was this there was this juxtaposition that that it 0:22:54.720 --> 0:22:57.480 suited me. You know. It's funny and you're left. You know, 0:22:57.680 --> 0:22:59.359 you have to understand that if you're if you're a 0:22:59.400 --> 0:23:02.520 kid growing up where you're you know, I grew up 0:23:02.520 --> 0:23:04.840 in studios. I grew up in Monster and the Caribbean 0:23:05.240 --> 0:23:06.800 where there were these bands. I mean, you know, I'd 0:23:06.840 --> 0:23:09.239 have to have dinner with Earth Wind and Fire or 0:23:09.280 --> 0:23:12.800 with Stevie Wonder or with but it wasn't it sounds amazing, 0:23:12.880 --> 0:23:15.080 But as a kid, you're just sold, sold to the 0:23:15.119 --> 0:23:17.440 table and behave you know. That's that's how it is. 0:23:17.480 --> 0:23:19.040 And you're on show all the time. It's and so 0:23:19.080 --> 0:23:21.880 you become this observer, you've become by nature, this sort 0:23:21.920 --> 0:23:23.920 of outside. It's a certain degree and I was the 0:23:23.920 --> 0:23:26.080 same one as university. It doesn't leave you. Does it 0:23:26.160 --> 0:23:31.400 make you more comfortable with famous, rich celebrities. Well, it's 0:23:31.480 --> 0:23:33.480 it's one of those yes, it does. I never I 0:23:33.560 --> 0:23:37.040 never take Yeah, I don't see them any anything, anything different. 0:23:37.160 --> 0:23:39.760 I think that's what it is. And I see that 0:23:39.240 --> 0:23:42.600 they can they can fire you fairly easily. But I 0:23:42.600 --> 0:23:44.080 mean so can anyone else, you know. I mean it's 0:23:44.119 --> 0:23:46.600 not like you know, it doesn't, it doesn't. I think. 0:23:46.760 --> 0:23:49.280 I think I have a good relationship with famous, rich, 0:23:49.520 --> 0:23:52.720 rich celebrities, if you like, because I'm always honest. And 0:23:53.040 --> 0:23:54.800 that's the thing. Well, I just I went to college 0:23:54.840 --> 0:23:57.600 where the people were from prep school and a lot 0:23:57.680 --> 0:24:00.080 of them their parents literally ran household name come but 0:24:00.119 --> 0:24:02.920 he's where I grew up. I didn't know anybody like that, 0:24:03.160 --> 0:24:05.000 and it really taught me how to interact that they're 0:24:05.040 --> 0:24:07.000 just formal people. But a lot of people don't have 0:24:07.040 --> 0:24:10.639 that experience in their star struck even to this day. Yeah, 0:24:10.680 --> 0:24:14.800 I mean it's it's it's you know, you meet people 0:24:14.840 --> 0:24:17.480 are impressive and unimpressive. You know, you know, like you know, 0:24:17.720 --> 0:24:19.640 as you know, you know a lot of people, you're 0:24:19.640 --> 0:24:22.160 a huge influence and you know a lot of people 0:24:22.200 --> 0:24:24.720 that are celebrities follow you. You know that people I 0:24:24.720 --> 0:24:27.040 know getting something because you know Bobby's Bobby said this. 0:24:27.560 --> 0:24:29.480 You know, it's it's it's it's which is which is? 0:24:29.600 --> 0:24:32.800 It's it's a it's a responsibility, I suppose, but but 0:24:32.880 --> 0:24:36.680 I think that I, um, you know, the funny about it, 0:24:36.720 --> 0:24:38.560 like if you take Paul McCartney for instance, who I 0:24:38.600 --> 0:24:42.359 know very well, um and as as and I actually 0:24:42.400 --> 0:24:44.800 love him dearly. He's always been good to me. He's 0:24:44.840 --> 0:24:46.880 a bit like Forest Gump in a way. There's something 0:24:46.960 --> 0:24:48.840 very interesting about im parton the fact he's Paul McCarney, 0:24:48.880 --> 0:24:52.840 but his his experiences, he said, it just extraordinary. You know. 0:24:52.880 --> 0:24:54.719 It's like, you know, you're talking to me. You know. 0:24:55.119 --> 0:24:58.239 He'll go from the time, you know, when recounting when 0:24:58.280 --> 0:25:01.680 he met Elvis Too being in the same hotel as 0:25:01.720 --> 0:25:03.800 the England World Cup football team when they won the 0:25:03.800 --> 0:25:06.000 World Cup to you know, Mohammad Ali to what it 0:25:06.200 --> 0:25:08.439 is that it's like Forrest Gump. It's that sort of thing. 0:25:08.480 --> 0:25:11.240 I know. It's that, you know, it's trivializing something that's important. 0:25:11.240 --> 0:25:13.359 But to me that's it's kind of like you have 0:25:13.440 --> 0:25:15.800 to break it down to what you understand, right right, 0:25:15.880 --> 0:25:19.119 the same thing like Quincy Jones or Quincy advertises a 0:25:19.160 --> 0:25:21.000 little bit more. But you sit there when I was 0:25:21.040 --> 0:25:23.800 with this king and I was out of blah blah blah. Well, yeah, 0:25:23.880 --> 0:25:26.919 it's funny Quincy. I know Quincy because I've known him 0:25:26.920 --> 0:25:29.000 growing up, because he was he was the contemporary of 0:25:29.000 --> 0:25:31.600 my dad. And they were very close. In fact, even 0:25:31.600 --> 0:25:33.520 though they're sort of like counter opposite, they were over 0:25:33.520 --> 0:25:36.119 and there like yan Ye and Yang or the production 0:25:36.119 --> 0:25:38.600 where they both have the same kind of backgrounds but 0:25:38.920 --> 0:25:41.000 white and black. You know, I think I can say that. 0:25:41.040 --> 0:25:43.960 It's like, you know, I don't think there's anything you know, Coince. 0:25:44.040 --> 0:25:47.199 Quincy is a Quincy is a pure jazz artist. And 0:25:47.240 --> 0:25:50.080 my dad was a baroque white you know, not actually 0:25:50.119 --> 0:25:53.200 low class and not not you know, my dad transformed 0:25:53.240 --> 0:25:56.280 himself to an upper class gen from from from from 0:25:56.320 --> 0:25:59.600 a very humble background. And and they both work their 0:25:59.600 --> 0:26:03.119 ways through had to navigate their way through society and 0:26:03.160 --> 0:26:05.080 the rules of society to get where they got to. 0:26:05.280 --> 0:26:07.320 And they did very well, and they and they were 0:26:07.400 --> 0:26:09.960 very very close. They were incredibly close. And I still 0:26:10.560 --> 0:26:16.520 tort Quincy. Okay, we'll return to this conversation with Jiles Martin, 0:26:16.960 --> 0:26:19.960 sound experience leader for Sonos and son of George Martin 0:26:20.080 --> 0:26:23.000 and producer and mixed her extraordinary in his own right 0:26:23.080 --> 0:26:26.520 in a moment, this is Bob Leftson's. Do you like 0:26:26.640 --> 0:26:29.400 the podcast? If so, come check out the one on 0:26:29.400 --> 0:26:32.159 one interviews I'll be having with movers and shakers in 0:26:32.200 --> 0:26:34.639 the music and media industries at the end of April 0:26:34.640 --> 0:26:38.440 at my Music Media Summit in Santa Barbara. Not only 0:26:38.480 --> 0:26:40.520 can you listen in to the conversations, but you can 0:26:40.560 --> 0:26:43.480 meet the big wigs and hang. They have insight and 0:26:43.600 --> 0:26:46.720 influence over where it's all going. Go to Music Media 0:26:46.800 --> 0:26:49.919 Summit dot com for tickets and more information. See you 0:26:49.960 --> 0:26:53.920 in Santa Barbara. Let's continue the conversation with a sound 0:26:53.920 --> 0:26:57.040 experience leader for Sonos and son of the great Beatles engineer, 0:26:57.080 --> 0:27:02.080 George Martin. Let's go back to Monster Rot because that's 0:27:02.080 --> 0:27:04.359 one thing we noticed and reading the credit, which we 0:27:04.440 --> 0:27:07.560 do inveterately in the seventies, and when we say air 0:27:07.760 --> 0:27:09.919 studios in Mansra, how did that come together to the 0:27:09.960 --> 0:27:13.560 degree you know, well, I know, I mean my my father. 0:27:13.840 --> 0:27:16.760 My thought was my father. It was funny my my 0:27:16.760 --> 0:27:21.200 my dad, um he he which I you know, we 0:27:21.200 --> 0:27:22.960 we we talked about once poor and I said, you know, 0:27:23.000 --> 0:27:25.360 we shouldn't talk about this, but my dad actually did. 0:27:27.080 --> 0:27:30.600 He managed to sell his royalties to the Beetle stream 0:27:30.720 --> 0:27:33.560 and UM and end up with a trade off which 0:27:33.560 --> 0:27:37.720 which is part of this recomly chrysalis. And he ended 0:27:37.800 --> 0:27:41.159 up building studios with the money he got and he 0:27:41.200 --> 0:27:43.199 decided wouldn't be great. He wanted to build the studios. 0:27:43.240 --> 0:27:46.040 It was unlike no other and he looked at building 0:27:46.040 --> 0:27:48.199 a studios on a on a ship. That was his 0:27:48.240 --> 0:27:49.919 first idea. And he actually was thinking about buying a 0:27:49.920 --> 0:27:53.280 Scandinavian ferry and building studios there. And then he realized 0:27:53.320 --> 0:27:55.919 the engine noise would be getting into the isolation on 0:27:55.920 --> 0:27:58.280 a ferious night. So he end up looking for a 0:27:58.280 --> 0:28:00.960 place and he chose Monsterrat which is not on the 0:28:01.000 --> 0:28:05.960 Caribbean very um rugged no white sand beaches, black sand 0:28:06.000 --> 0:28:09.199 beaches and an all volcano and it was you know, 0:28:09.240 --> 0:28:12.200 it was a crazy idea UM and he built a 0:28:12.240 --> 0:28:14.399 world class studios. He built his studios which was like 0:28:14.440 --> 0:28:19.000 Abbey Road but in the Caribbean UM and it became 0:28:19.040 --> 0:28:21.359 probably one of the most successful studios as far as 0:28:21.400 --> 0:28:25.919 professionally goes in UM. You know, at that time, you 0:28:25.920 --> 0:28:29.280 know everything from brothers and Arms to to Michael Jackson too, 0:28:29.600 --> 0:28:32.320 you know the number of you know, to the police. 0:28:32.320 --> 0:28:35.919 Obviously the police recorded everything out there Alton John recorded 0:28:35.960 --> 0:28:39.880 out there. Just about everyone went to monsterral Um. It 0:28:39.960 --> 0:28:41.800 never made any money, I mean because it was a 0:28:41.840 --> 0:28:45.600 really bad idea because to have the studios, that's just 0:28:45.680 --> 0:28:49.240 one studios with everything else, you know, with the with 0:28:49.280 --> 0:28:52.360 the cost I think you know, it cost him on 0:28:52.480 --> 0:28:55.080 top of it cost him half million dollars after he 0:28:55.120 --> 0:28:58.360 built it. But it was great. You know. He was 0:28:58.400 --> 0:29:01.160 one of those guys that didn't really he was a 0:29:01.200 --> 0:29:03.520 proper artist, and I fact, he didn't do anything for 0:29:03.920 --> 0:29:06.320 the reason why he did it because he thought it 0:29:06.320 --> 0:29:09.640 was a good idea and it was fun. Okay, you 0:29:09.680 --> 0:29:13.080 know in English or world travelers, I've never been to Manster, 0:29:13.240 --> 0:29:15.720 we're literally where is it the currents next to Antigua. 0:29:16.080 --> 0:29:17.560 It was next to Anting. You can see it because 0:29:17.680 --> 0:29:20.400 because sadly with Monster at the volcano erupted this flocal, 0:29:20.440 --> 0:29:22.320 this this place. We played to his kids and felt 0:29:22.320 --> 0:29:24.720 I went up to I climbed the mountains with Elton 0:29:24.800 --> 0:29:27.840 John's boyfriend at the time on the on the and 0:29:27.880 --> 0:29:29.560 I came back to school and he married and then 0:29:29.560 --> 0:29:31.480 he got engaged to Renata. He was two with the 0:29:31.480 --> 0:29:33.760 tape ofp and it was like wait a second, and 0:29:34.000 --> 0:29:36.240 you know, this bizarre life. You lead where I left, 0:29:36.640 --> 0:29:38.480 and we climbed them, We climbed this. We used to 0:29:38.520 --> 0:29:42.320 a climb to this waterfall. And all of that doesn't 0:29:42.320 --> 0:29:44.840 exist anymore. It's now mountains because the volcano which was 0:29:44.880 --> 0:29:47.720 just as hot springs but started to erupt after twenty 0:29:47.800 --> 0:29:50.080 years and destroyed the island. So it's next to it's 0:29:50.080 --> 0:29:52.680 next to Antigua, Okay. And when you were there, how 0:29:52.680 --> 0:29:55.360 many people would live there? There were twelve thousand. Now 0:29:55.440 --> 0:29:57.640 that's about three and a half thousand. And then how 0:29:57.720 --> 0:30:02.960 big was the island? It's getting bigger? Answer the islands. 0:30:03.200 --> 0:30:04.880 It's difficult, I bet said the ouselves of the other 0:30:04.960 --> 0:30:07.160 white that would be nothing to anyone in America. It's 0:30:07.600 --> 0:30:10.200 three miles by four miles, so sorry's seven miles by 0:30:10.200 --> 0:30:13.480 four miles. Very small, small island, yeah, smallland there was 0:30:13.520 --> 0:30:16.080 nothing really on it and that's what was, you know, 0:30:16.160 --> 0:30:19.400 and you could only get to it by chartered small plan. 0:30:19.480 --> 0:30:22.520 The runway was tiny. Um and that's why I think 0:30:22.560 --> 0:30:25.280 my father chose it, because you know, that's Sting. Sting 0:30:25.280 --> 0:30:27.000 had a house out there. Elton had a house out there. 0:30:27.040 --> 0:30:29.280 Jeff Emrick, who was an engineer that my father. He 0:30:29.480 --> 0:30:32.040 end up building a studio house over there. You know, 0:30:32.120 --> 0:30:33.800 you could go there and you wouldn't people would not 0:30:33.840 --> 0:30:36.440 get assholed because there was no there was no real 0:30:37.080 --> 0:30:41.080 um white tourists on the island and you lived there 0:30:41.160 --> 0:30:44.760 full time. No, we were we I spent because of 0:30:44.880 --> 0:30:47.240 trying to run the studios. I was at boarding school, 0:30:47.240 --> 0:30:49.239 and there was a period of time where myself my 0:30:49.240 --> 0:30:51.080 sister would go there and we were pretty much lived 0:30:51.080 --> 0:30:52.680 there because when we weren't at school, we'd be on 0:30:52.760 --> 0:30:56.440 monserrat you know. I remember, I remember having hard feet 0:30:56.480 --> 0:30:59.080 because we wouldn't wear shoes. You know, we'd run down 0:30:59.080 --> 0:31:00.960 time back Rhods and off like that and my friends 0:31:00.960 --> 0:31:04.160 with Monster Ashian's um. Now the studio was destroyed in 0:31:04.160 --> 0:31:07.440 a storm. The student got here by I think Hurricane Hugo, 0:31:08.640 --> 0:31:10.960 and it was a bit like the recent hurricane that 0:31:11.160 --> 0:31:14.560 just hit the West Indies. And yeah, it was it 0:31:14.600 --> 0:31:18.640 was pretty much you know, there was the Bosendorf for 0:31:18.680 --> 0:31:21.080 grand piano. Actually at the end of it had was 0:31:21.120 --> 0:31:23.240 a mold growing out of it, and the desk was ruined, 0:31:23.320 --> 0:31:26.360 and you know, and and it was it was at 0:31:26.360 --> 0:31:29.680 a stage, to be honest with you, where the studios. 0:31:29.720 --> 0:31:32.560 Never made any money and it was a great thing 0:31:32.600 --> 0:31:37.200 to have, but the hurricane was the final straw. He 0:31:37.280 --> 0:31:40.440 still owned it. When the hurricane, He's learned it there 0:31:40.480 --> 0:31:42.800 was it was an interesting story. So it had insurance 0:31:42.800 --> 0:31:45.160 against hurricane and it was insured of with the company 0:31:45.160 --> 0:31:48.440 called Lloyds of London, very famous insurance company. And they 0:31:48.440 --> 0:31:50.640 sent a man out called Mr Hook. I always remember 0:31:50.720 --> 0:31:55.960 this who arrived in Antigua and then disappeared. And he 0:31:56.040 --> 0:31:59.520 had five thousand dollars and he disappeared and they found 0:31:59.560 --> 0:32:04.120 him in sort of san He built an hotel and 0:32:04.440 --> 0:32:06.160 it was one of those things where that Lloyd's London, 0:32:06.480 --> 0:32:09.280 he's no longer our guy because he's with carib insurance. 0:32:09.320 --> 0:32:11.560 So the Western Lands and Antique is one of those things. 0:32:11.640 --> 0:32:13.560 And you know that the rules of the West Indians 0:32:13.600 --> 0:32:17.920 can be slightly different to the other rules and so yeah, 0:32:17.960 --> 0:32:21.240 and but it was the insurance ultimately, No, I don't 0:32:21.240 --> 0:32:24.080 think completely, but I think listen, it's funny, you know 0:32:24.200 --> 0:32:27.600 he was he didn't want for much. It didn't make 0:32:27.640 --> 0:32:29.760 a difference, you know, it made a difference. But in 0:32:29.840 --> 0:32:32.120 the end of it, the whole thing was the whole 0:32:32.200 --> 0:32:35.680 the whole monster at thing was looking back on life 0:32:35.920 --> 0:32:38.479 as as he did at the edge of ninety in Baiona. 0:32:38.560 --> 0:32:39.960 You know, would he take it away from him? Would 0:32:39.960 --> 0:32:41.960 he take that trip with the amount of records that 0:32:41.960 --> 0:32:43.880 have made, the amount of fun that people had, you know, 0:32:44.640 --> 0:32:48.440 from you know, from from the bands that recorded there, 0:32:48.440 --> 0:32:53.200 from James Taylor to Jerry Rafferty to to just about 0:32:53.200 --> 0:32:55.760 I mean it was destroying the range, I mean from 0:32:55.800 --> 0:32:58.080 you know, Sailer's quote to Stevie Wonder was kind of 0:32:58.440 --> 0:33:00.640 it was like, you know, everyone went there, I think 0:33:00.680 --> 0:33:03.440 the Climax Blues Plan with the first person record over there, 0:33:03.880 --> 0:33:06.720 and and so it was he he made something that 0:33:06.920 --> 0:33:08.720 made things, and that was the thing, like, you know, 0:33:09.760 --> 0:33:11.480 the true pleasure in life has to be coming up 0:33:11.480 --> 0:33:14.600 with an idea and seeing it happen. So there was 0:33:14.640 --> 0:33:17.320 another Air studio in London. There was another Students in 0:33:17.320 --> 0:33:19.560 London which he sold to build mons Rat and then 0:33:19.880 --> 0:33:23.640 he came back and persuaded Chrysalis, which the company that 0:33:23.720 --> 0:33:26.800 he sort of sold out to, to build another studios 0:33:26.880 --> 0:33:30.800 cilities called Air Studios Lyndhurst, which is a very good studios. Now. 0:33:31.320 --> 0:33:32.800 It was funny he kind of got his own back 0:33:33.280 --> 0:33:35.920 because having lost all his royalties. He built the studios 0:33:35.960 --> 0:33:38.480 that was meant to cost I think I think a 0:33:38.560 --> 0:33:41.240 million seven million pounds a cost twenty three million. You know, 0:33:41.240 --> 0:33:43.800 it's like he built the cebuilders, you know, and it's 0:33:43.800 --> 0:33:45.720 a beautiful you know, it's like Hans Zimmer. It's his 0:33:45.760 --> 0:33:48.719 favorite students in the world. So you know, Coldplayer recorded there. 0:33:48.720 --> 0:33:50.400 I mean a lot of people have been to air 0:33:50.480 --> 0:33:54.280 so it's a it's a great place. Okay. So you 0:33:55.000 --> 0:33:58.520 are in university, you're playing different gigs, you graduate, and 0:33:58.560 --> 0:34:01.160 then what well, while I was playing, I had a 0:34:01.160 --> 0:34:04.040 French girlfriend. And while I was playing to a French girlfriend, 0:34:04.040 --> 0:34:06.560 she was and she was a university. I got a drunk. 0:34:06.560 --> 0:34:12.000 I think she was at university and and she knew 0:34:12.000 --> 0:34:13.880 a place in France. We're looking for a band to 0:34:13.960 --> 0:34:16.400 play at New Year's Eve, and so this is this 0:34:16.480 --> 0:34:18.239 is myself and my friend and a drum machine. We 0:34:18.280 --> 0:34:20.359 were one of those bands, you know, you know, there's 0:34:20.600 --> 0:34:23.839 the quality of the capital k and we go down. 0:34:23.960 --> 0:34:26.120 We went down and and a guy saw us play 0:34:26.320 --> 0:34:28.759 and and I played some of my own songs and 0:34:28.760 --> 0:34:30.920 he said, you know, would you write some music for 0:34:31.040 --> 0:34:34.880 my And I end up writing music for for commercials 0:34:35.000 --> 0:34:39.880 end up writing music for Elf Aquitaine for the American audience. 0:34:40.360 --> 0:34:43.759 It's it's they sell petrol gas. It's like it wasn't PC. 0:34:44.000 --> 0:34:46.320 But I ended up doing seven commercials. I was university 0:34:46.320 --> 0:34:49.759 and I sort of got a gig doing commercials and 0:34:49.840 --> 0:34:51.520 it was great. It was good money, you know, and 0:34:51.560 --> 0:34:53.920 I couldn't believe it. And then I left. When I 0:34:54.000 --> 0:34:55.960 left university, I thought what am I going to do? 0:34:56.000 --> 0:34:59.160 And I wanted to do music. Ended up working a 0:34:59.160 --> 0:35:01.879 little bit of music. Yeah, I did PR for UB 0:35:02.040 --> 0:35:05.000 forty and Tears for Fears. How did you get those gigs? 0:35:05.840 --> 0:35:09.560 I was an intern I wanted to do At that stage, 0:35:09.600 --> 0:35:11.480 I wanted to write music and I couldn't. I could 0:35:11.520 --> 0:35:13.719 do commercials now, and I thought I'd learned everything. So 0:35:14.480 --> 0:35:17.000 as I was working, to end up meeting someone getting 0:35:17.000 --> 0:35:19.360 a job in a PR company. I think it's the 0:35:19.360 --> 0:35:21.120 funny that they get The guy gave him the job 0:35:21.160 --> 0:35:24.520 because he wanted the PR account for Air Studios in London, 0:35:24.800 --> 0:35:27.040 which he didn't get given and then wanted to fire 0:35:27.080 --> 0:35:29.960 me because you know it, you know. And then there 0:35:29.960 --> 0:35:31.799 was a guy called Alan Awards who actually ended up 0:35:31.800 --> 0:35:35.359 managing David Bowie. He liked me, and he goes, well 0:35:35.520 --> 0:35:37.640 lit and I believe in you. And I only did 0:35:37.719 --> 0:35:42.439 seven months and I saw a band they were called 0:35:42.440 --> 0:35:44.480 My Life Story at the Marquis and I said to 0:35:44.480 --> 0:35:46.040 you know, I think I'm really good and I'd like 0:35:46.080 --> 0:35:48.160 to make a record with you having no and we 0:35:48.200 --> 0:35:49.879 went to a studios in the evening, so I'd work 0:35:49.920 --> 0:35:52.000 on the day and then go and work nights. And 0:35:52.040 --> 0:35:55.000 they got singled the Weekend Enemy. Okay, well a little 0:35:55.040 --> 0:35:58.400 bit slower. What made you think you could produce a record? 0:35:59.800 --> 0:36:04.160 I don't know, Um, had you been into this? How 0:36:04.239 --> 0:36:06.320 much time? Like? Oh yeah, sorry? When I when I 0:36:06.360 --> 0:36:09.320 left school, I spent a year as a as a 0:36:09.360 --> 0:36:14.360 runner in the studios. Actually hoofard vacuum sorry, I vacuumed carpets. 0:36:14.480 --> 0:36:17.040 And whose studio was that? That was? That was? That 0:36:17.120 --> 0:36:20.160 was Aaron London? Aaron London. Okay. How much time did 0:36:20.160 --> 0:36:23.120 you spend in the room with your father? A lot 0:36:23.120 --> 0:36:25.360 of time because whenever he had to go in the studios. 0:36:25.400 --> 0:36:27.839 I went in from the age of sixteen. So when 0:36:27.880 --> 0:36:30.680 you had my uh, the band that you wanted to 0:36:30.719 --> 0:36:33.360 make a record with, you had experience of a sort. 0:36:33.560 --> 0:36:35.680 I had been in the studios I knew with studios. 0:36:35.719 --> 0:36:38.520 I knew, you know, this was what I wanted to do, 0:36:39.120 --> 0:36:40.840 and I was determined I was gonna do it. And 0:36:40.880 --> 0:36:43.520 I wasn't very good, but they managed to get you know, 0:36:43.560 --> 0:36:45.600 the Enemy was a big magazine and the UK has 0:36:45.600 --> 0:36:48.200 a new Music New Musical express it and they got 0:36:48.200 --> 0:36:51.640 Singular Week there and someone put up my dad's desk 0:36:51.680 --> 0:36:53.160 and said, you know your boys may not. I didn't 0:36:53.200 --> 0:36:55.080 tell my father I was even doing it, and he goes, 0:36:55.200 --> 0:36:57.359 really and he phoned me up and said, how come 0:36:57.400 --> 0:37:00.480 you've got Record of the Week and New Musically Stress 0:37:01.160 --> 0:37:03.920 And and that was It was a turning point in 0:37:03.960 --> 0:37:06.200 my life because at the same time I was offered 0:37:06.239 --> 0:37:08.640 a big job at headed Dance Press for Warners. I 0:37:08.680 --> 0:37:11.200 was working this PR company and I went to go 0:37:11.239 --> 0:37:12.680 and see this woman. I said, why are you offered 0:37:12.719 --> 0:37:14.600 me this job? And because we've been recommended to you 0:37:14.640 --> 0:37:17.319 by these journalists have said you should employ him, and 0:37:17.320 --> 0:37:21.600 I said, an, I'm terrible at PR. And I found 0:37:21.600 --> 0:37:23.880 out one of the journalists and he said, I always 0:37:23.920 --> 0:37:25.839 remember him. He was a guy, Alan Jackson, who wrote 0:37:25.840 --> 0:37:28.200 for The Times in London. He said, whenever we spoke 0:37:28.239 --> 0:37:30.360 to on the phone, you didn't seem very happy, so 0:37:30.360 --> 0:37:33.880 we decided to get you another job. So anyway, so 0:37:33.920 --> 0:37:36.239 I had I had a choice twenty seven thousand pounds 0:37:36.239 --> 0:37:38.480 a year plus car to work at Warner Brothers or 0:37:38.760 --> 0:37:40.200 go off and do music for a living. So I 0:37:40.239 --> 0:37:42.160 went off to music for a a living. By the same time, 0:37:42.200 --> 0:37:45.200 there's no safety net. No, there was no safety net, 0:37:45.280 --> 0:37:48.560 and and and I think I think, I well, like listen, 0:37:48.680 --> 0:37:53.279 I was very lucky that I spent time then a 0:37:53.280 --> 0:37:56.600 lot of time with my dad doing doing stuff. And 0:37:56.640 --> 0:38:00.600 then when things I've always been incredibly lucky that when 0:38:00.680 --> 0:38:03.400 things when I when I suddenly I remember I remember 0:38:05.200 --> 0:38:10.040 thinking to myself, oh God, now now I'm broke. And 0:38:10.080 --> 0:38:12.760 then the phone would ring and a guy called Rob Dickens, 0:38:12.800 --> 0:38:15.239 who was he ran Warner Brothers had just had a 0:38:15.280 --> 0:38:17.560 labeled Sunny because I've seen I saw you in a magazine. 0:38:17.560 --> 0:38:19.359 I did a fashion shoot there we are, that's a 0:38:19.400 --> 0:38:22.920 glamor and glitz. And he said, you know you want 0:38:22.920 --> 0:38:24.000 to come work for me me. I'll pay you a few 0:38:24.040 --> 0:38:26.959 two thousand pounds and you don't have to work full time. 0:38:27.000 --> 0:38:29.440 And I was like, yeah, great. So yeah, I always 0:38:29.520 --> 0:38:32.800 always managed to get some sort of situation where people 0:38:33.280 --> 0:38:35.000 I've always been lucky that people go, you know, hey, 0:38:35.040 --> 0:38:36.640 do you want to do this? And then and that 0:38:36.760 --> 0:38:39.440 getting the opportunity to actually learn. And I made terrible 0:38:39.480 --> 0:38:41.640 records and didn't know what I was doing. And then 0:38:41.960 --> 0:38:44.640 I remember a friend of mine said to me, who 0:38:44.760 --> 0:38:46.719 I was working the studios at Rack Studios and gone 0:38:46.760 --> 0:38:49.480 to work on a band? Who are ok? Work on this? 0:38:49.560 --> 0:38:51.480 Work on this band who were great? And I knew 0:38:51.520 --> 0:38:53.400 I wasn't doing a very good job of them. And 0:38:53.440 --> 0:38:55.319 he was working on this Bangled Shed seven, who were 0:38:55.320 --> 0:38:58.280 a band in the nineties, and and and we became friends. 0:38:58.280 --> 0:38:59.640 You guys, you know, once you learn how to make 0:38:59.640 --> 0:39:01.600 a sound, it gets kind of boring, he said to me. 0:39:02.080 --> 0:39:04.120 And I always take that because because it took me 0:39:04.120 --> 0:39:05.719 a while to make to learn, and I know that 0:39:05.760 --> 0:39:07.520 people may not like everything I can do, but I 0:39:07.560 --> 0:39:10.000 know it will sound good. Does that make sense? Yes? 0:39:10.080 --> 0:39:12.799 But if it's boring, does one continue to want to 0:39:12.800 --> 0:39:15.279 do it? Where's the thrill? No? I think that's the thing. 0:39:15.320 --> 0:39:17.200 You have to find the thrill, and that's the answer. 0:39:17.200 --> 0:39:19.120 So you have to do different things. You have to 0:39:19.160 --> 0:39:22.080 do approach things differently and do different things, which would 0:39:22.120 --> 0:39:24.680 be like, what. Well, in my case, what I ended 0:39:24.760 --> 0:39:30.600 up doing is so I I left. Um Um, I 0:39:30.719 --> 0:39:33.359 ended up being asked I do music directions. I end 0:39:33.400 --> 0:39:36.000 up music directing the jubile Leque, the first Queen's Jubilee 0:39:36.000 --> 0:39:38.719 at bucking In Palace. Well, let's let's go back a 0:39:38.719 --> 0:39:42.279 few steps here. You graduate from university. At what point 0:39:42.280 --> 0:39:45.800 do you give up the dream of being a musician? Um? 0:39:45.840 --> 0:39:48.840 I was. I did the band for about six years, 0:39:49.160 --> 0:39:51.160 so I was always doing lots of different things at 0:39:51.200 --> 0:39:52.480 the time, but I did the band six years. We 0:39:52.560 --> 0:39:57.760 got signed by a label, we made a record. I didn't. 0:39:59.040 --> 0:40:02.320 It was just it was it was sleeping on floors 0:40:02.400 --> 0:40:04.400 for too long. And I think at the bay the 0:40:04.400 --> 0:40:06.360 age of twenty six or seven, I thought, you know, 0:40:06.400 --> 0:40:08.560 I can't. I don't want to sleep on floors anymore. 0:40:08.560 --> 0:40:10.360 I've been I've been doing this. I've been playing in 0:40:10.360 --> 0:40:13.360 pubs since I was fifteen years old. I still love playing, 0:40:13.960 --> 0:40:15.800 but I realized that maybe I'm not going to be 0:40:15.840 --> 0:40:18.880 the world's greatest singer songwriter or a songwriter, or you know, 0:40:19.000 --> 0:40:23.319 maybe that's not that's not my destiny. Um. And your 0:40:23.400 --> 0:40:27.000 parents were saying, what about when you were a peripatetic 0:40:27.120 --> 0:40:30.239 singer songwriter. At that stage of my parents, you know, 0:40:30.280 --> 0:40:32.960 I rebelled against my parents when I at the university. 0:40:33.000 --> 0:40:35.120 I didn't care what they said at that stage, you know, 0:40:35.200 --> 0:40:36.640 and where they give you any money or could you 0:40:36.640 --> 0:40:40.880 make it? Uh No, they didn't give me any money. Um, 0:40:40.920 --> 0:40:42.839 I mean I was very lucky they gave me. I said, 0:40:42.840 --> 0:40:45.399 I didn't give any money. They gave me my my 0:40:46.080 --> 0:40:51.640 mom's parents left me twenty pounds and when they passed away, 0:40:52.440 --> 0:40:56.200 and so I bought a flat with a mortgage. You know, 0:40:56.320 --> 0:40:58.200 it's amazing you could do that now. And that was 0:40:58.239 --> 0:41:00.640 where that was a not ehall gate game. So that 0:41:00.719 --> 0:41:02.040 was a good that was a good thing I put it. 0:41:02.400 --> 0:41:04.520 It was cheap and then the guy then the guy 0:41:04.560 --> 0:41:07.040 made the film and everything became expensive, which was super familiar. 0:41:07.120 --> 0:41:11.440 But anyway, um yeah, I didn't. I I I realized 0:41:11.480 --> 0:41:15.480 that the band wasn't you know it was? It was 0:41:15.560 --> 0:41:17.399 I love the love the guys untill my best friends. 0:41:17.400 --> 0:41:19.439 But it wasn't working. And what are they doing now? 0:41:21.000 --> 0:41:24.600 On a one's a drummer in like he plays with. 0:41:25.160 --> 0:41:28.680 He plays a lot of different bands but of a 0:41:28.680 --> 0:41:32.960 different era, and the singer works in a bank the 0:41:33.000 --> 0:41:35.759 guitarist ISTI a guitar player, you know, and so you 0:41:35.760 --> 0:41:37.759 were really you know, you in the bank game with 0:41:37.760 --> 0:41:41.120 the only people who escaped. Yeah, yeah, we it's and 0:41:41.160 --> 0:41:43.280 it was it was I'm not sure if I escaped 0:41:43.320 --> 0:41:46.239 in a way, but yeah, and I was at the 0:41:46.280 --> 0:41:48.439 same time, I was in studios a lot of the time. 0:41:48.680 --> 0:41:53.800 How how hard was it to give up the dream? 0:41:54.440 --> 0:41:55.840 It was? It was, you know, it was it was 0:41:55.920 --> 0:41:57.960 harder not making the record I wanted to make with 0:41:57.960 --> 0:42:00.480 my friends. You know, I wanted to be like I 0:42:00.520 --> 0:42:02.239 wanted to make pet Sounds, and they wanted to make 0:42:02.280 --> 0:42:05.279 a Food Fighters album. So it was easier to give 0:42:05.320 --> 0:42:07.360 it up. Yeah, So that was that made it easier 0:42:07.400 --> 0:42:09.000 when it didn't, you know, I didn't like really what 0:42:09.040 --> 0:42:12.399 we were doing. So um, I think when they say 0:42:12.440 --> 0:42:16.640 when you quit. It was one of those things where 0:42:16.680 --> 0:42:18.480 I was writing all the songs and doing everything, and 0:42:18.880 --> 0:42:21.080 there was I remember coming to a rehearsal and they said, 0:42:21.120 --> 0:42:23.000 you know, you know, how can you write? We want 0:42:23.000 --> 0:42:25.080 to write the songs, And I went okay, and then 0:42:25.640 --> 0:42:27.680 and then I'd wait two weeks and we wouldn't have 0:42:27.680 --> 0:42:30.520 any songs, and I'd know it was it was. It 0:42:30.640 --> 0:42:33.920 was fine, It was fine. Everyone. Everyone was broke everyone, 0:42:33.960 --> 0:42:36.920 you know, you know, the keyboard player was eating broken 0:42:36.960 --> 0:42:39.120 biscuits because that all that's all he could afford you buy. 0:42:39.320 --> 0:42:40.759 I didn't even know they existed, you be able to 0:42:40.800 --> 0:42:44.240 go to stores and buy biscuit rejects from cookie rejects 0:42:44.239 --> 0:42:46.640 from factories. You know. It was not it was it 0:42:46.760 --> 0:42:49.120 was that, you know, we lived that life, and it 0:42:49.239 --> 0:42:52.600 was it was it was time, you know. And so 0:42:53.560 --> 0:42:56.239 you also talk about your father losing his hearing. At 0:42:56.280 --> 0:42:58.239 what point do you start working with him? When I 0:42:58.280 --> 0:43:00.680 was sixteen. So that's the backdrop to everything, is I'm 0:43:00.800 --> 0:43:04.560 doing that the whole time, and he's working on various records, 0:43:05.120 --> 0:43:10.920 doing weird projects, and I'm I've always done more than 0:43:11.000 --> 0:43:13.799 one job at the same time. That's what I'm used to. 0:43:13.960 --> 0:43:17.080 And so I was doing that while and then I 0:43:17.160 --> 0:43:18.960 do promo tours with him, and I'd go and do 0:43:19.680 --> 0:43:23.279 music direction for concerts with him. What would there be 0:43:23.440 --> 0:43:25.560 musical direction for a car? Well, funny if it was 0:43:25.600 --> 0:43:28.640 dealing with it. It was actually quite often. We did 0:43:28.640 --> 0:43:32.520 a thing in Japan where and it's it sounds ridiculous, 0:43:32.640 --> 0:43:35.960 and it was ridiculous where a concert range with Una 0:43:36.040 --> 0:43:40.279 Seth had a Japanese artists and the ideas they would 0:43:40.320 --> 0:43:43.919 jam with everyone. It was Bob Dylan, John bon Jovi, 0:43:44.960 --> 0:43:52.640 Joni Mitchell, Ray Kudah in excess um it was. And 0:43:52.719 --> 0:43:54.640 it was like this big rehearsalant, the game let's jam, 0:43:54.920 --> 0:43:59.080 you know, we dreadful ideas. And so I do things 0:43:59.120 --> 0:44:00.560 like that. I go of thew and I'd be in 0:44:00.640 --> 0:44:02.319 charge of the band. The band would be I mean 0:44:02.440 --> 0:44:06.760 Jim Keltoner, Pino Paladino, Wicks wickends, Phil Palmer and guitar, 0:44:06.960 --> 0:44:09.640 Ray Couper and percussion, you know, good and so and 0:44:09.719 --> 0:44:11.560 so good. And so I teach them, you know, work 0:44:11.600 --> 0:44:15.000 the songs out with him and work out arrangements and job. Yeah, yeah, 0:44:15.040 --> 0:44:17.640 that was my job and organize things and and that's 0:44:17.640 --> 0:44:20.480 so I you know, I always had confidence that I 0:44:20.520 --> 0:44:22.280 always had a good you know, I think my father. 0:44:22.520 --> 0:44:24.800 I learned from my father's Paul says, a good bedside 0:44:24.800 --> 0:44:30.399 manner where you can steer musicians in the right way 0:44:30.440 --> 0:44:33.680 without being pompous. I think. And do you know how 0:44:33.719 --> 0:44:35.920 to read music and how to read music? Yeah, and 0:44:35.960 --> 0:44:38.239 how did you learn that? I played the French horn 0:44:38.239 --> 0:44:40.400 and orchestras when I was at school, And was that 0:44:40.480 --> 0:44:42.440 your own instigation or your parents said you have to 0:44:42.480 --> 0:44:47.200 learn an instrument. No, no, I learned the trombone first 0:44:47.719 --> 0:44:49.879 because I saw someone play the trombone and I wanted 0:44:49.920 --> 0:44:51.960 to go on the trombone, and I thought that'd be 0:44:51.960 --> 0:44:53.759 a good thing to do. And then and then the 0:44:53.800 --> 0:44:55.640 trombone teacher was kind of weird and wanted to play 0:44:55.640 --> 0:44:58.080 my trombone. It was like kissing an old man. Yeah, 0:44:58.160 --> 0:45:00.799 So so I moved to the French horn, and the 0:45:00.800 --> 0:45:03.520 French one was a bit like the French one, you know, 0:45:04.160 --> 0:45:05.759 I was. It was a good trouble cliff in the 0:45:05.840 --> 0:45:08.440 ky off because the French ones in the kif um. 0:45:08.480 --> 0:45:13.239 But but yeah, I got injured playing rugby and had 0:45:13.280 --> 0:45:15.600 to stop the French horn, and I was a good 0:45:15.640 --> 0:45:17.560 home player. Then you have to go back to because 0:45:17.760 --> 0:45:20.000 if it was back in cushion, you can't You can't 0:45:20.000 --> 0:45:22.440 play a wind instrument, especially blowing up a balloon like 0:45:22.480 --> 0:45:25.160 a French horn. So I went back to It's like 0:45:25.840 --> 0:45:28.440 giving birth to a cow, and I decided to guitar 0:45:28.480 --> 0:45:32.839 and piano be easier. Stay right there, we'll be back 0:45:32.880 --> 0:45:36.600 with more of my conversation with JOHNS Martin, producer extraordinary 0:45:36.719 --> 0:45:42.640 here on the Bob Left That's podcast. You're listening to 0:45:42.680 --> 0:45:45.239 The Bob Left Sets podcast recording at the tune In 0:45:45.280 --> 0:45:48.600 Studios in Venice, California. Each week I interview a new 0:45:48.640 --> 0:45:50.960 guest to get their story. I want to find out 0:45:50.960 --> 0:45:53.120 what makes them tick and I hope listening to these 0:45:53.120 --> 0:45:57.759 successful people makes you smarter. If you like the show, subscribe, 0:45:57.840 --> 0:46:00.880 rate and review it. Also, please check out earlier episodes. 0:46:00.920 --> 0:46:03.440 You can hear them all on tune in, Apple podcast 0:46:03.520 --> 0:46:08.239 or wherever you get your podcasts. And now more with 0:46:08.360 --> 0:46:13.719 Giles Martin, sound experienced leader for Saunas. So you said 0:46:13.719 --> 0:46:15.520 you've got the gig being the musical director for the 0:46:15.600 --> 0:46:20.200 Queen's Jubilee. Yeah, what year was that? That was in 0:46:20.520 --> 0:46:24.680 nineteen sorry, two thousand two, Okay, But in the interim 0:46:24.719 --> 0:46:28.160 you're producing records in the interim and Virginia Records and 0:46:28.360 --> 0:46:33.520 working in in working as in house Bridger Sony unsuccessfully 0:46:33.920 --> 0:46:36.600 I worked with worked on a sort of rip off bands, 0:46:36.600 --> 0:46:38.879 like I worked on a girl band that were trying 0:46:38.920 --> 0:46:44.320 to be like the Dixie Chicks, writing and producing various 0:46:44.480 --> 0:46:49.000 artists under this guy Rob Dickens, who was a label boss, um, 0:46:49.000 --> 0:46:51.360 and it was fascinating. I mean, I've never been inside 0:46:51.360 --> 0:46:57.320 a record label before, and my my greatest fears are realized. 0:46:57.520 --> 0:46:59.640 I think you know which or what. Well. I remember 0:46:59.680 --> 0:47:02.160 being an RM meeting and there was him and there, 0:47:02.480 --> 0:47:04.160 you know, and I love it's very nice, but I 0:47:04.200 --> 0:47:07.120 love him dearly is a very nice guy. Um. And 0:47:07.120 --> 0:47:08.759 and it really you know, he taught me a lot 0:47:08.800 --> 0:47:12.080 because I remember doing that working on this band, and 0:47:12.080 --> 0:47:14.759 and I'd be downstairs in the basement and he'd listened 0:47:14.800 --> 0:47:16.480 to and he goes, doesn't sound like this, and it 0:47:16.480 --> 0:47:20.040 would be no scrubs by TLC. And I go, but 0:47:20.200 --> 0:47:22.040 I've been in the basement doing this and this is 0:47:22.080 --> 0:47:25.160 a multimillion dollar production. And he looked at me like, oh, well, 0:47:25.600 --> 0:47:28.160 do you think anyone cares? And that's that. That taught 0:47:28.160 --> 0:47:30.080 me a lot? Is that taught me? There's no excuse 0:47:30.200 --> 0:47:33.120 I was saying to someone yesterday Atually, if anyone's making 0:47:33.160 --> 0:47:35.880 if you're making a record, if you're trying to make something, 0:47:36.440 --> 0:47:38.400 compare it to what you love or compare it to 0:47:38.440 --> 0:47:40.200 what you think is really really good and see whether 0:47:40.280 --> 0:47:43.080 you can beat it opposed to saying to someone, yeah, 0:47:43.080 --> 0:47:45.480 but it's my demo, you know that. That's and so 0:47:45.600 --> 0:47:48.960 that taught me a lot that people don't listen with empathy. 0:47:49.880 --> 0:47:51.640 They don't listen to the fact you've done it. They 0:47:51.719 --> 0:47:57.360 just listen. But yeah, I I realized that, you know, 0:47:57.480 --> 0:48:00.239 from being an artist and being a musician in the 0:48:00.239 --> 0:48:03.239 way decisions are made about roster and record labels. And 0:48:03.360 --> 0:48:06.359 it wasn't for me. I'm not I'm too soft for 0:48:06.400 --> 0:48:09.120 that in a way. And how you know, usually you 0:48:09.160 --> 0:48:12.200 have a certain number of unsuccessful projects and they fire you. 0:48:13.160 --> 0:48:16.320 Now what happened in this particular case, Well it be 0:48:16.440 --> 0:48:20.799 the case. It was his, Um, it wasn't necessarily my responsibility. 0:48:20.800 --> 0:48:23.120 They were unt successful. It wasn't going down to me. 0:48:23.239 --> 0:48:27.440 And it got to the stage where you know, um, 0:48:27.600 --> 0:48:32.040 i'd sort of was going a reputation for doing bigger projects. 0:48:32.360 --> 0:48:36.560 And the BBC approached me and saw whether I would 0:48:36.560 --> 0:48:39.600 record the first Queen's Jubilee Concert, which which they had 0:48:39.600 --> 0:48:41.680 a bunch of artists. Because I've worked on okay, is 0:48:41.680 --> 0:48:44.200 this the same two thousand two projects projects? So you're 0:48:44.200 --> 0:48:47.120 still working at Sony at and I left Sony because 0:48:47.160 --> 0:48:50.759 I realized that and there was undertones of At the 0:48:50.880 --> 0:48:53.120 same time, my father was talking to me about he 0:48:53.160 --> 0:48:56.279 wanted to do a Yellow Submarine ballet with a guy 0:48:56.280 --> 0:49:00.520 called Matthew Born, and I thought it was a bit 0:49:00.719 --> 0:49:03.040 camp for me. I didn't really know anything about ballet, 0:49:03.080 --> 0:49:05.680 and I and I had an idea that we could 0:49:05.719 --> 0:49:08.000 do a beatles sing with this company called De la Guada, 0:49:08.120 --> 0:49:11.600 who are a certain slay like and so there was 0:49:11.640 --> 0:49:13.720 a bunch of things bubbling under and I was unhappy 0:49:13.760 --> 0:49:16.759 with this position and the record label, and so I 0:49:16.800 --> 0:49:19.319 went off and did the jubilee concert. Okay, how long 0:49:19.360 --> 0:49:21.640 did you work at starting? A year and a half, 0:49:22.160 --> 0:49:24.200 so not really that long. I thought it was years 0:49:24.360 --> 0:49:25.799 because I was in a band. I was in a band, 0:49:26.200 --> 0:49:28.200 you know, and then did that and got when I 0:49:28.200 --> 0:49:30.279 was broke, the guy phoned me up. Did I thought 0:49:30.280 --> 0:49:31.839 it was like six or nine years. No, no no, no, 0:49:31.880 --> 0:49:33.840 I wouldn't be able to I'm not to stand on 0:49:33.920 --> 0:49:35.800 the turn out long. So they called you for the 0:49:35.880 --> 0:49:38.120 Queen's Jubilee. How did they call you? How did they 0:49:38.160 --> 0:49:40.880 find you? They called me because they wanted me, you know, 0:49:40.880 --> 0:49:42.759 because I was you know, it's nepotism. I was my 0:49:42.800 --> 0:49:44.560 father's son, and they thought I could do the job. 0:49:44.600 --> 0:49:46.439 They really they called me to see if I could 0:49:46.440 --> 0:49:48.680 record it. They wanted to release a DVD, and I 0:49:48.719 --> 0:49:50.279 kind of what I've done before, but I've done something 0:49:50.320 --> 0:49:53.080 like that before, and so you know, I decided how 0:49:53.080 --> 0:49:55.000 many trucks we should get in all this sort of stuff, 0:49:55.440 --> 0:49:57.800 and I turned up to the first meeting and Michael Cayman, 0:49:57.840 --> 0:49:59.640 I don't know Jim Michael. Well, the irony is is 0:49:59.680 --> 0:50:01.960 my girl friend runs a foundation that he started, Mr. 0:50:02.040 --> 0:50:04.840 Hollands Opus Foundation. The other thing I will say he 0:50:04.920 --> 0:50:07.239 was originally in a band called the New York Rock 0:50:07.280 --> 0:50:09.759 and Roll Ensemble and I saw them open for the 0:50:09.800 --> 0:50:12.719 Alban Brothers in nineteen three for other people that he 0:50:12.760 --> 0:50:14.720 went out to have a long career, you know, writing 0:50:14.719 --> 0:50:17.560 the Robin Hood, saw writing musical scores, working with Metallica, 0:50:17.560 --> 0:50:20.239 and I certainly don't Michael an amazing man, so amazing. 0:50:20.440 --> 0:50:22.640 Unfortunately died of them mex about ten years ago. So 0:50:22.719 --> 0:50:26.600 Michael Michael had met in Japan because he was involved 0:50:26.600 --> 0:50:30.759 in in this crazy Japanese concert I mentioned um and 0:50:30.840 --> 0:50:33.719 he was doing the Queens jupile e and what was 0:50:33.760 --> 0:50:36.520 his role he was now he was the music director, 0:50:37.360 --> 0:50:40.040 but he hadn't told anyone how ill he was, and 0:50:40.120 --> 0:50:42.480 he was, and so what how I turned up the meetings, 0:50:42.520 --> 0:50:46.560 mean being the recording person, and they said to me, um, 0:50:46.680 --> 0:50:48.719 would you be would you take on the role of 0:50:48.760 --> 0:50:50.840 doing these director for some of the artists for the 0:50:50.880 --> 0:50:53.480 Queens Jubilee And it was it was when it was 0:50:53.520 --> 0:50:55.640 a it was a fantastic They had these artists lined 0:50:55.760 --> 0:50:58.279 up and you know it was basically rehearsing the band, 0:50:58.320 --> 0:51:00.680 rehearsing the artist. That kind of stuff makes. And it 0:51:00.800 --> 0:51:02.920 was it was like, you know, they had Brian Wilson 0:51:03.920 --> 0:51:05.840 to Brian Wilson. I loved to work Brian Wilson. And 0:51:05.840 --> 0:51:07.200 they're going that be cause you have to do Ricky 0:51:07.239 --> 0:51:10.200 Martin and and I go, well, I'll do Ray Davies. 0:51:10.239 --> 0:51:11.680 He's doing lower that would be great. I'd love to 0:51:11.680 --> 0:51:13.000 do that. And they go okay, because you had to 0:51:13.080 --> 0:51:15.799 Cliff Richard and and s Club seven or you know, 0:51:15.880 --> 0:51:18.160 that was that was the way it would work. Um, 0:51:18.200 --> 0:51:21.040 So I did that and under the same So I 0:51:21.120 --> 0:51:23.799 understand for those people who were the amateurs if it's 0:51:23.800 --> 0:51:26.600 a band, like if it if a band comes and 0:51:26.600 --> 0:51:29.759 you're the musical director and they normally perform. What are 0:51:29.760 --> 0:51:31.680 you actually telling them to do? Well, it's not a 0:51:31.719 --> 0:51:34.480 band coming you have a well you you you talked 0:51:34.520 --> 0:51:36.080 them first and you say how do you want to 0:51:36.120 --> 0:51:40.239 do the song? And they go, well, you know, you 0:51:40.239 --> 0:51:43.000 know I did this gig once in you know whatever, 0:51:43.040 --> 0:51:44.640 and we did it like that because generally that they 0:51:44.640 --> 0:51:46.320 you have a houseman the house band that because was 0:51:46.320 --> 0:51:49.200 actually Philip Collins on drums, piano again on bass, so 0:51:49.239 --> 0:51:51.080 I knew the band anyway. I see. So you're not 0:51:51.120 --> 0:51:53.040 bringing your own band. They're not bring their own band, 0:51:53.120 --> 0:51:55.560 you know. I mean like I think we had you know, 0:51:55.719 --> 0:52:00.000 the Black Sabbath were was Tony Iamy and and and Ozzie. 0:52:00.800 --> 0:52:03.520 But the band with with Phil Constant drums, they still 0:52:03.560 --> 0:52:06.440 don't use the drummers. Yeah, there's so so so it 0:52:06.520 --> 0:52:08.319 was it was making sure that everyone knew their parts. 0:52:08.320 --> 0:52:12.480 And now just to go back because it's another interesting thing. Um, 0:52:12.600 --> 0:52:16.000 this is live. This is live yet? Okay question because 0:52:16.000 --> 0:52:18.879 I had some road dogs. I've gotten into this. Your 0:52:18.960 --> 0:52:22.799 act is playing the super Bowl? Would you ever do 0:52:22.880 --> 0:52:29.440 it live? Or too many risks? Yeah? You know it's funny. 0:52:28.920 --> 0:52:33.160 I I think that I would love to do it live, 0:52:34.120 --> 0:52:36.200 don't know, I just think it's funny. We did this thing. 0:52:37.160 --> 0:52:40.440 We made a huge mistake at the Olympic Games, the Olympic, 0:52:40.760 --> 0:52:42.879 the Open Olympic Games. It always haunts me. They were 0:52:42.880 --> 0:52:47.360 Paul McCartney performed and they wanted them to mind, and 0:52:47.400 --> 0:52:49.600 he can't mind because he doesn't use in their monitors. 0:52:50.080 --> 0:52:51.759 He doesn't use He refused to use it in a 0:52:51.880 --> 0:52:54.360 mond Oh I didn't know that. Yeah, he uses uses, 0:52:54.600 --> 0:52:57.840 you know, use regular market, doesn't use in their market. 0:52:58.320 --> 0:53:00.600 And I said, well maybe because still mine and I 0:53:00.600 --> 0:53:02.239 worked out this way which you could do it, and 0:53:02.280 --> 0:53:04.960 he forgot he was miming, and so there were two 0:53:05.000 --> 0:53:07.960 they were doing playback. I recorded the band playing live, 0:53:08.719 --> 0:53:11.040 and then he started too early, and there were two 0:53:11.040 --> 0:53:13.360 Paul McCartney's playing at the same time. And I pressed 0:53:13.360 --> 0:53:14.640 the button to go to live in front of a 0:53:14.640 --> 0:53:17.240 billion people, you know, I had to press his red button. 0:53:17.719 --> 0:53:19.279 And I said to my god, you know, yes, I 0:53:19.280 --> 0:53:20.799 didn't go very well, pout. I guess, yeah, but too 0:53:20.840 --> 0:53:22.160 mus if you gonna mess up doing in front of 0:53:22.160 --> 0:53:26.520 a billion people, yeah, so that's yeah. I don't know. 0:53:26.640 --> 0:53:28.879 I think that I love I love you know, I'm 0:53:28.920 --> 0:53:31.239 a natural risk taken it's like one of they said, yeah, yeah, 0:53:31.239 --> 0:53:32.680 well let's just go for it. You know what's going 0:53:32.719 --> 0:53:34.480 to happen. I mean there would listen. There are the 0:53:34.520 --> 0:53:36.799 worst things happened in the world every day. You know, 0:53:36.880 --> 0:53:39.080 I don't believe in you know, there's this you know 0:53:39.200 --> 0:53:41.160 you did Paul McCartney in the opening of the Olympics. 0:53:41.160 --> 0:53:43.799 Did you do the closing too? Okay, so you do 0:53:43.840 --> 0:53:45.960 the Queen's Jubilee and that works out great? Yeah, I 0:53:46.000 --> 0:53:48.160 do the creas And then I was like satain thinking, 0:53:48.160 --> 0:53:50.359 what right, what do I do now? Work with the Queen? 0:53:50.760 --> 0:53:52.680 That the what do I do now? And the phone's 0:53:52.719 --> 0:53:54.920 not ringing. My manager phone me up and said, you 0:53:54.920 --> 0:53:57.800 know the you know I've got I've got you a 0:53:57.840 --> 0:53:59.520 gig and I was like great. You know my working 0:53:59.560 --> 0:54:01.560 was super Grass. I loved Supergrass, and I'm like, no, 0:54:01.680 --> 0:54:05.240 you're working with I really did Supergrass not make it 0:54:05.360 --> 0:54:08.360 because the guys were so unattractive. I don't know. It 0:54:08.440 --> 0:54:14.080 made some nice record phenomenal exactly, And I bought those albums. 0:54:14.880 --> 0:54:17.759 Zero impacted, Yeah, none, I don't know. I don't know, 0:54:18.160 --> 0:54:20.160 but but you know, because you work on the fifteen 0:54:20.239 --> 0:54:24.600 year old classical singer I was like, right, and it 0:54:24.640 --> 0:54:27.040 doesn't you And he said, you haven't got anything else, 0:54:27.760 --> 0:54:29.960 You've got nothing, you know, this is it? And so 0:54:30.000 --> 0:54:32.080 I did this record with this girl called Haley western R. 0:54:32.239 --> 0:54:35.160 It was a New Zealand singer and it was an 0:54:35.160 --> 0:54:37.759 album that that I did by. It was like it 0:54:37.800 --> 0:54:40.240 was like painting my numbers. I was like, Okay, this track, 0:54:40.360 --> 0:54:42.480 we'll get onto Radio two in the UK, this track 0:54:42.520 --> 0:54:45.440 will get on to daytime television, this track or and 0:54:45.480 --> 0:54:47.080 she ended up selling she was that, she ended up 0:54:47.080 --> 0:54:49.160 but it ended up being the fastest selling classical record 0:54:49.160 --> 0:54:51.480 of all time in the UK and sold two million copies. 0:54:51.680 --> 0:54:54.440 Well did that? Did you ride along with that? That 0:54:54.520 --> 0:54:57.480 burnish your image? Yeah? It completed Butt a friend of 0:54:57.480 --> 0:54:59.399 mine when I was trying to be cool, and I said, 0:54:59.400 --> 0:55:01.400 I guess I'll never well only your bands again. He goes, no, 0:55:02.239 --> 0:55:04.719 it because it's amazing. Even Chris Martin. I said to 0:55:04.760 --> 0:55:07.640 Chris Chris Martin, Coldplay singer. We had luncheon and goes, 0:55:07.719 --> 0:55:09.640 it's amazing the success you've had. It's like, yeah, but 0:55:09.680 --> 0:55:12.480 I'll never work. That goes, No, You weren't, I mean 0:55:12.520 --> 0:55:14.239 I was, I was, And I was like, you know, 0:55:14.800 --> 0:55:17.680 it was I suddenly became the king of crossover classical, 0:55:17.760 --> 0:55:20.040 which is you know, you know, I'm not sure how 0:55:20.560 --> 0:55:23.000 how much you're allowed to use rude words on your No, 0:55:23.120 --> 0:55:27.240 we no problem, but the email correspondent was always goat shagging, 0:55:27.880 --> 0:55:29.759 you know, for some of it was it was tantamount 0:55:29.760 --> 0:55:31.480 to go checking. I don't know why we always said 0:55:31.480 --> 0:55:34.080 that was it was, it was, it was Anna's that. 0:55:34.560 --> 0:55:37.160 Then then I got busted for being rude about crossover 0:55:37.200 --> 0:55:39.640 classical by someone, you know, because I just it wasn't 0:55:39.640 --> 0:55:42.120 a world that I liked. It was that easy path. 0:55:42.400 --> 0:55:44.400 So you had, you know, the best times in the 0:55:44.400 --> 0:55:46.080 words of times you had success, but not in the 0:55:46.120 --> 0:55:48.480 field had success and I had yeah, And I could 0:55:48.520 --> 0:55:52.400 have then gone and done everything everything you know, crossover classical, 0:55:52.440 --> 0:55:55.279 whether you know it was you know that they were 0:55:55.320 --> 0:55:58.279 queuing up because I was, I opened that door to 0:55:59.080 --> 0:56:02.600 And it was then that with this undercurrent I mentioned before, 0:56:02.640 --> 0:56:05.200 my father wanted to Yellow Submarine and we had an 0:56:05.239 --> 0:56:10.120 idea that certain Lay and the Beatles signed their deal 0:56:10.640 --> 0:56:14.200 to do the Love Show and certains. Lay had got 0:56:14.200 --> 0:56:16.759 a DJ and to remix the Beatles songs and it 0:56:16.800 --> 0:56:18.960 was a disaster and I did. None of us knew this, 0:56:19.120 --> 0:56:21.680 knew about this. And I met Neil Aspinal, who was 0:56:21.680 --> 0:56:24.000 the head of Apple and my father at that time 0:56:24.160 --> 0:56:26.640 was actually quite seriously ill. He was in the hospital. 0:56:27.560 --> 0:56:29.560 And I just had this success with the people to 0:56:29.600 --> 0:56:31.359 saw it of success, they didn't handle as the rapper 0:56:31.440 --> 0:56:35.279 I've done, and and even Paul came up and going, well, 0:56:35.280 --> 0:56:36.480 I've done with that record. I was like, you know, 0:56:36.520 --> 0:56:39.000 obviously had to listen to it with a bad version 0:56:39.000 --> 0:56:43.080 of Harvey Maria on it. And I said to Neil, 0:56:43.120 --> 0:56:45.799 and I was into that chopping up stuff at that stage, 0:56:45.800 --> 0:56:47.759 and I said to that Neil Aspinal, it's one of 0:56:47.800 --> 0:56:50.760 those you know, I reckon I can credit Biddles concert 0:56:50.800 --> 0:56:53.520 that never happened by chopping up their tapes. He went really, 0:56:53.560 --> 0:56:54.960 I said, yeah, I've got an idea. I could do 0:56:55.000 --> 0:56:57.520 this drum introduction and and I can imagine, you know, 0:56:57.840 --> 0:57:00.520 like how the band would perform and Le's face they 0:57:00.520 --> 0:57:02.160 played live and all the tapes, so I could chop 0:57:02.239 --> 0:57:04.719 up the tapes and create a create a sound better 0:57:04.719 --> 0:57:06.879 for a show. And he said, okay, you've got three 0:57:06.920 --> 0:57:09.480 months and I'm not paying you. From from then, I 0:57:09.520 --> 0:57:12.160 went into a room at Abbey Road to begin with, 0:57:12.200 --> 0:57:14.040 I didn't even have any speakers. They just gave me 0:57:14.080 --> 0:57:17.520 headphones and I did like four or five different things 0:57:17.560 --> 0:57:21.560 for the show. Did he take three months? No? No, 0:57:21.720 --> 0:57:23.360 it took three months me to transfer a lot of 0:57:23.360 --> 0:57:26.280 the tapes. Because I'm just gonna ask that said the end, 0:57:26.320 --> 0:57:32.040 They they and and and then uh, you know, my 0:57:32.120 --> 0:57:33.880 dad came out of hospital. He was to be treated 0:57:33.920 --> 0:57:37.400 for cancer, and he didn't really like it very much. 0:57:37.440 --> 0:57:40.120 It was funny at the time. He was like, I think, 0:57:40.120 --> 0:57:41.440 you know, I think you pushed this a little bit 0:57:41.440 --> 0:57:43.720 too far. I don't think I like it. And Paul 0:57:43.760 --> 0:57:46.240 came in, and Ringer came in and living in Yoko 0:57:46.400 --> 0:57:47.960 and I played them some stuff and I did this 0:57:48.320 --> 0:57:50.560 this version of within You Without You on Tomorrow Never 0:57:50.640 --> 0:57:53.640 Knows I'd mixed together, and my dad banned me from 0:57:53.680 --> 0:57:55.880 playing it to them, and then Paul because you should 0:57:55.880 --> 0:57:58.160 push it farther further, and I went, I've got this thing, 0:57:58.240 --> 0:58:00.640 you know right right, I don't know I'm pretending, but 0:58:00.800 --> 0:58:02.360 for the listeners I'm hold putting to hold up a 0:58:02.360 --> 0:58:06.240 disc of course, would never and and I played to 0:58:06.240 --> 0:58:07.880 me because this is brilliant, this is what we should do. 0:58:07.920 --> 0:58:11.640 And it's sort of that then unlocked that door. Um, 0:58:11.720 --> 0:58:14.920 And I remember being in New York with I was, 0:58:15.080 --> 0:58:17.320 I was again, I was writing music with for a 0:58:17.360 --> 0:58:22.120 singer and and and I've got a phone call saying, yeah, 0:58:22.240 --> 0:58:24.560 you were in the contract. You're doing this show. You're 0:58:24.560 --> 0:58:27.600 doing this Beatles show. And remember a friend of mine saying, 0:58:27.640 --> 0:58:29.520 you know it was a producer and said, I'm not 0:58:29.520 --> 0:58:31.200 sure if I should do this because if I do this, 0:58:31.200 --> 0:58:34.840 this is what I'll be doing. It fits everyone's and 0:58:34.840 --> 0:58:36.240 and I said, I'm not sure if I want to 0:58:36.280 --> 0:58:39.640 do you know, I want to be the legacy guy. 0:58:39.760 --> 0:58:42.200 And he said to me, Um, you do know that 0:58:42.200 --> 0:58:46.240 if you don't do this, I'll do it, you know. 0:58:47.680 --> 0:58:49.280 And I thought to myself, you know, I've got a 0:58:49.280 --> 0:58:51.680 good point. And I actually remind myself when I'm working 0:58:51.680 --> 0:58:53.960 on this stuff, was like, you know, yeah, I'm pretty 0:58:54.040 --> 0:58:57.200 lucky to be to be trusted with this material. So yeah, 0:58:57.480 --> 0:58:59.560 that was and that was I did. I did the 0:58:59.600 --> 0:59:02.360 Love Show in Vegas and that open the door. Okay, 0:59:02.800 --> 0:59:07.040 it was built as a collaboration between yourself and your father. Yeah, 0:59:07.040 --> 0:59:10.760 and it was it was it was to have to missiety. 0:59:10.840 --> 0:59:13.560 He was he was producing me because he produced me 0:59:13.600 --> 0:59:15.560 as a child, but he was he was, he was 0:59:15.600 --> 0:59:18.240 producing me in respect. He would come in mainly on 0:59:18.240 --> 0:59:20.000 a Thursday, would always go to the same restaurant for 0:59:20.040 --> 0:59:22.440 lunchally come on Thursday because he lived out in London, 0:59:23.160 --> 0:59:25.520 and I would play him what I've done, and you go, no, 0:59:25.680 --> 0:59:27.680 this is you know, this is you know And even 0:59:27.680 --> 0:59:29.720 though his hearing wasn't that great, he would be able 0:59:29.760 --> 0:59:34.040 to judge it and give me advice. But I would create. 0:59:34.080 --> 0:59:36.240 I created the stuff and mixed it well. As I say, 0:59:36.280 --> 0:59:38.240 I didn't know till this day that it all started 0:59:38.240 --> 0:59:42.520 with you and Neon. Yeah. And then and then what happened. 0:59:43.320 --> 0:59:48.440 What happened was I got quite defensive because my my 0:59:48.520 --> 0:59:50.400 dad was a big influence. Obviously it's big. It's on 0:59:50.480 --> 0:59:52.000 me full stop. But he was a big and Ringo 0:59:52.080 --> 0:59:54.000 came once and said, you know, well, you know, I said, 0:59:54.080 --> 0:59:56.160 that's just getting well, you know I know that he 0:59:56.200 --> 0:59:59.600 hasn't not you know, said never lessn't he is he 1:00:00.120 --> 1:00:04.320 is my you know, my guidance on this. And then 1:00:04.360 --> 1:00:05.760 when I went out to Vegas and I did a 1:00:05.800 --> 1:00:07.960 lot of work out in the in the show itself, 1:00:08.000 --> 1:00:12.560 in the theater. We built the theater, designed the speaker system. Um. 1:00:12.880 --> 1:00:14.600 I remember I read it, here comes the Sun. I 1:00:14.640 --> 1:00:18.360 read it the interduction, Here comes the Sun, and and 1:00:18.360 --> 1:00:21.000 and I suddenly remeased. My dad wasn't there, and and 1:00:21.000 --> 1:00:24.640 it felt really dirty that that cerked the sligh would 1:00:24.640 --> 1:00:27.800 hear this before he heard it. And then you realize, 1:00:27.800 --> 1:00:29.720 you know it's then you know it's he's a tip. 1:00:30.040 --> 1:00:35.040 And then funny enough, you know when he felt slightly 1:00:35.040 --> 1:00:37.320 excluded because because I was just going off there and 1:00:37.360 --> 1:00:39.560 with a mouse, you know, and I computed in doing 1:00:39.600 --> 1:00:42.200 this stuff. And it was I remember saying, because it's amazing, Charles. 1:00:42.320 --> 1:00:45.160 You know, like audio, audio too is like putty, isn't 1:00:45.200 --> 1:00:46.880 it the way you can manipulate in all sorts of way. 1:00:46.920 --> 1:00:48.720 It's the way he would speak. Was he hip on 1:00:48.760 --> 1:00:52.280 all the new technologies? No, but he loved it. He 1:00:52.400 --> 1:00:54.040 you know, he was, he was hip as far as 1:00:54.160 --> 1:00:56.680 mind you. The fact the matter is is that I 1:00:56.720 --> 1:00:58.920 get assistance now that think I'm good on pro tools 1:00:58.920 --> 1:01:00.800 because I did love but I really have no idea 1:01:00.880 --> 1:01:03.000 at all. I mean, my sessions look like a Jackson 1:01:03.040 --> 1:01:05.480 Pollock painting. You know, nothing nothing tidy about the way 1:01:05.520 --> 1:01:08.880 I worked and and it's it's funny. I mean, I 1:01:08.920 --> 1:01:10.640 think if I had known my stuff, I would have 1:01:10.680 --> 1:01:12.760 done a worse job. I mean if I started off 1:01:12.760 --> 1:01:15.840 with those a drums, drums that there's a drum soto 1:01:15.960 --> 1:01:18.640 from the end which the song on Abbey Road and 1:01:18.680 --> 1:01:21.280 I and I decided to mix get Back as an 1:01:21.320 --> 1:01:23.760 introduction to it and put the piano called back to 1:01:24.160 --> 1:01:26.640 a bunch of stuff. And the way you do that, 1:01:26.680 --> 1:01:28.680 if you're a modern artist, is you put a grid 1:01:28.720 --> 1:01:30.439 and you put the drums in time, and you put 1:01:30.480 --> 1:01:33.240 everything and you lock everything together. And I started doing 1:01:33.280 --> 1:01:35.640 that and I put Ringo perfectly in time, and it 1:01:35.680 --> 1:01:39.600 completely killed the field of the band. And then I realized, Okay, 1:01:39.960 --> 1:01:42.280 it has to be the band dictating the heartbeat of 1:01:42.280 --> 1:01:45.080 this show and not me chopping the music up. That 1:01:45.160 --> 1:01:47.880 makes any sense, yes, So so I learned, you know, 1:01:48.400 --> 1:01:51.200 it's again you have to you to look know when 1:01:51.240 --> 1:01:52.920 you do things badly, is that is the is the 1:01:52.960 --> 1:01:57.280 key to key to good work. So he was. And 1:01:57.320 --> 1:02:00.840 then when it came to we a via, Harrison came 1:02:00.880 --> 1:02:02.400 to see me and said, you know, I don't want 1:02:02.400 --> 1:02:04.200 to use the demo to while my guitar Jenny he 1:02:04.240 --> 1:02:05.640 was the director of the show. Want to use the 1:02:05.640 --> 1:02:08.480 demo to wi my gutar Johnny Weeps, which is just 1:02:08.520 --> 1:02:11.600 a george An acoustic guitar. It was on Anthology and 1:02:11.640 --> 1:02:13.600 I said, well, you know, I had an idea. I said, 1:02:13.600 --> 1:02:15.840 you know, well I could get my dad to finish 1:02:15.840 --> 1:02:19.560 you could do a string arrangement. And and Danny Harrison 1:02:19.560 --> 1:02:21.040 was only because you think he could, I said, joanneal 1:02:21.040 --> 1:02:23.160 phone himut I phoned him up there, I said, and 1:02:23.200 --> 1:02:24.760 he said to me, and it's funny, you know, go 1:02:24.840 --> 1:02:26.880 back to that that conversation we had and when he 1:02:26.960 --> 1:02:29.320 was dying, he said, I said, Daddy, because I'm not 1:02:29.320 --> 1:02:32.560 sure I can do it anymore. I said, because I've 1:02:32.560 --> 1:02:35.120 done haven't done a stringent for ten years. I said, 1:02:35.120 --> 1:02:37.040 I'm sure you can, Dad. And I had actually done 1:02:37.040 --> 1:02:39.840 a there's the introduction which is on the record on 1:02:39.880 --> 1:02:42.040 the show I did. And I said, you know I 1:02:42.320 --> 1:02:44.400 I and we sat at the piano was really nice 1:02:44.440 --> 1:02:46.560 as that piano said, because that's nice, there's a g 1:02:46.720 --> 1:02:49.640 mine of progression ages even you know this is and 1:02:49.720 --> 1:02:51.840 he went off and then we went to the studios 1:02:51.840 --> 1:02:55.160 and recorded all It's on film. Actually a string section 1:02:55.240 --> 1:02:58.720 playing and everyone knew in the orchestra that this would 1:02:58.720 --> 1:03:01.240 be the last time that he would work. I knew 1:03:01.360 --> 1:03:02.800 the last time he to work. He was eighty years 1:03:02.800 --> 1:03:05.240 old or seventy nine years old. I couldn't hear anything, 1:03:05.960 --> 1:03:07.920 and we steered through and it was a beautiful it's 1:03:07.960 --> 1:03:09.720 a beautiful arrangement. If you ever hear it, it's a 1:03:10.040 --> 1:03:13.400 it's a really sympathetic arrangement. And actually his memorial service 1:03:13.480 --> 1:03:17.240 I m I had the guys, a singer songwriter who's 1:03:17.280 --> 1:03:19.720 very good called James James Bay, who's a friend of mine. 1:03:19.920 --> 1:03:22.200 He sang it. I wanted someone agnostic, and we had 1:03:22.200 --> 1:03:25.120 a string section player, and it's just it's just like 1:03:25.200 --> 1:03:27.680 my dad was really good. He was really good. It's 1:03:27.720 --> 1:03:29.480 that I couldn't do that. It was he was. He's 1:03:29.520 --> 1:03:32.240 really good. Okay, now you're doing the Beatles Love Show. 1:03:33.040 --> 1:03:35.440 You know it's going to be success, You're not sure. 1:03:36.440 --> 1:03:38.520 Had no idea, I thought, I, you know, I didn't 1:03:38.560 --> 1:03:41.080 want to do cross over classical music, and this was 1:03:41.120 --> 1:03:43.080 like a fun thing to do, and it was also 1:03:43.160 --> 1:03:44.880 a really good way game to know my dad and 1:03:44.920 --> 1:03:46.840 going through his closet and learning stuff. You know, I 1:03:46.840 --> 1:03:50.400 went through every single take and every single Beatles track, um, 1:03:50.680 --> 1:03:52.640 and made notes you know, because I thought I bet, 1:03:52.960 --> 1:03:54.760 and in fact, I thought I'd get fired. I I 1:03:55.280 --> 1:03:56.960 really thought, it's such a bad idea. The son of 1:03:57.000 --> 1:03:59.840 George Martin chops up the Beatles tapes for a show 1:03:59.840 --> 1:04:02.160 and asked, Vegas is discussing it, probably pay read about 1:04:02.200 --> 1:04:04.520 in your blog. It has to be a shocker, you know. 1:04:04.600 --> 1:04:07.960 It's It's like I, I disagree with the principle entirely, 1:04:08.240 --> 1:04:10.760 apart from the fact that for me it was better 1:04:10.800 --> 1:04:15.200 than doing the other thing I was doing and and um, 1:04:15.240 --> 1:04:19.240 and it came out and everyone liked it, and I 1:04:19.280 --> 1:04:22.000 was you know, I honestly thought, as I thought, if 1:04:22.040 --> 1:04:23.560 I could do one thing, I'll back up all the 1:04:23.600 --> 1:04:26.160 tapes because they hadn't been backed up. And then if 1:04:26.200 --> 1:04:28.640 I confins you were literally using the master tape. Yeah, 1:04:28.720 --> 1:04:30.240 you have to use the master tape. They sound great 1:04:30.280 --> 1:04:32.160 and so I but it is in there a limit, 1:04:32.480 --> 1:04:34.240 you know what kind of condition you only have to 1:04:34.280 --> 1:04:35.800 play them once to back to my point. But I'm 1:04:35.840 --> 1:04:37.720 surprised that no one had done that previously. They hadn't 1:04:37.760 --> 1:04:39.720 done it previously, and so I thought, you know, what 1:04:39.920 --> 1:04:41.760 if I can, if I get fired and leave one 1:04:41.760 --> 1:04:43.480 thing by. At least I backed up the tapes properly. 1:04:43.640 --> 1:04:45.960 And that's why that was my motivation. I thought, you know, 1:04:45.960 --> 1:04:49.000 at least I've done something great, and and it came out, 1:04:49.080 --> 1:04:50.920 and you know, it's still going now. I think it's 1:04:50.920 --> 1:04:53.280 been seen by seven half million people. Now there was 1:04:53.320 --> 1:04:56.600 recently redone. Yeah, I went back and redid it. And 1:04:56.640 --> 1:05:00.600 what did you change? There were there? The show was 1:05:00.600 --> 1:05:02.680 looking old. It was mainly a visual thing. The show 1:05:02.760 --> 1:05:04.960 was looking old and looking a bit tired. And myself 1:05:04.960 --> 1:05:06.880 and Dominic who's the guy did the show with whose 1:05:06.960 --> 1:05:09.360 lovely man? And she died his name of Dominic Champagne's 1:05:09.440 --> 1:05:12.360 great name. We went, we two together and we started 1:05:12.400 --> 1:05:15.600 looking old, and we persuaded Different to invest I remixed 1:05:15.600 --> 1:05:17.880 the entire show from start different because you know, if 1:05:17.920 --> 1:05:19.560 you think about it, when we did the show, we 1:05:19.640 --> 1:05:21.800 did it on computers. We had to do on computers. 1:05:21.840 --> 1:05:24.480 I couldn't bring Abby Road to and we're using plugins 1:05:24.480 --> 1:05:26.959 and all sorts of things, and they've got a lot better. 1:05:27.720 --> 1:05:30.440 And we transferred. I retransferred all tapes as well, and 1:05:30.480 --> 1:05:33.600 so we did. And then I bought new speakers, and 1:05:33.960 --> 1:05:37.760 and and and you know, we listened differently. That's the 1:05:37.800 --> 1:05:41.560 funny thing about music, as we listened differently. How music 1:05:41.640 --> 1:05:43.520 is when you remember and how music is when you 1:05:43.600 --> 1:05:45.480 listen to again. It can be, can be different, can 1:05:45.520 --> 1:05:49.040 be worse, a little deeper there. Well, it demands of 1:05:49.160 --> 1:05:51.080 you know, when when we did the show, it was 1:05:51.120 --> 1:05:53.640 the best selling show probably, I think one of the 1:05:53.680 --> 1:05:55.240 best selling shows in the world probably. I mean, it 1:05:55.240 --> 1:05:57.560 should be seven thou speakers in the room, even though 1:05:57.600 --> 1:06:01.320 we're in the round. And by the time three years ago, 1:06:01.720 --> 1:06:06.560 you know, Celine Dion sounded better because there's more weight 1:06:06.600 --> 1:06:09.040 in the base, there's more you know, there's more visceral 1:06:09.080 --> 1:06:11.160 presence in the in the not in the sound that's 1:06:11.200 --> 1:06:13.320 hitting you and all that sort of stuff. And the 1:06:13.320 --> 1:06:17.880 Beatles show sounded a light um. You know, we we 1:06:17.880 --> 1:06:22.200 we we demand, we expect this sort of this sort 1:06:22.240 --> 1:06:24.600 of thing to hit us in the chest now, which 1:06:24.680 --> 1:06:27.840 didn't happen thirteen years ago. And so and I was 1:06:27.880 --> 1:06:31.280 working in the in the theater and I said the guys, 1:06:31.320 --> 1:06:34.320 I said, I need to around about to two or 1:06:34.360 --> 1:06:37.080 fifty hurts. Is what thumbs you in the chest? You know, 1:06:37.080 --> 1:06:39.560 it's bizarre, it's not lower, it's around about that. They 1:06:39.560 --> 1:06:42.120 were like, you know, I want when you're breaking the system, 1:06:42.560 --> 1:06:44.080 you're breaking the system. I said, well, how do I 1:06:44.080 --> 1:06:46.440 not break the system? Because you need more speakers? So 1:06:46.480 --> 1:06:49.280 I got up, I walked across the casino, knocked on 1:06:49.280 --> 1:06:50.920 the casino and doing continue to buy me some more 1:06:50.920 --> 1:06:54.320 speakers please, And he said, yeah, there are hundred eighty 1:06:54.320 --> 1:06:56.200 thousand dollars. He goes, and they can make a difference 1:06:56.200 --> 1:06:57.760 to you. I said yeah, and he goes, okay, like 1:06:57.840 --> 1:07:00.560 spoiled child. And that's the way it works now. But 1:07:00.560 --> 1:07:03.480 then the casino were incredibly I've actually, it's funny you 1:07:03.880 --> 1:07:08.040 my previous if you'd asked me, and it's vague. I'm not, 1:07:08.120 --> 1:07:11.200 as you can tell. Probably I'm not Mr Vegas. But 1:07:11.240 --> 1:07:14.520 they're they're actually they're they're very supportive, and I like them. 1:07:14.560 --> 1:07:17.080 I like still like the people. They're a lot. And 1:07:17.080 --> 1:07:18.840 they were like this and if if you think it's 1:07:18.840 --> 1:07:20.840 gonna make a difference, then okay, we'll do it. So 1:07:20.880 --> 1:07:24.320 I I read it things. How did you end up 1:07:24.360 --> 1:07:31.280 remixing Sergeant Pepper? It was It wasn't something that I 1:07:31.400 --> 1:07:36.200 necessarily felt compelled to do. Um. A lot of this 1:07:36.280 --> 1:07:42.040 stuff comes from the the desire comes to it's the 1:07:42.040 --> 1:07:44.320 fiftieth anniversary, Well it's the fifth is what are we 1:07:44.360 --> 1:07:47.120 gonna do? You know, there's outtakes, there's there's this, And 1:07:47.760 --> 1:07:52.240 I've played around with privately, played around with remixing Beatles tracks. 1:07:52.320 --> 1:07:54.840 You know, I did it for love and they were 1:07:54.880 --> 1:07:56.920 The Love Album was very well received as far as 1:07:56.920 --> 1:08:01.040 an audio perspective goes. Um, I get given a lot 1:08:01.080 --> 1:08:03.360 of credit for things that I didn't do. You know, 1:08:03.400 --> 1:08:05.200 you put the tapes into a machine and you put 1:08:05.240 --> 1:08:08.120 the faders up and it sounds pretty good. And generally 1:08:08.120 --> 1:08:11.200 what happens to the processes that make a record in 1:08:11.240 --> 1:08:14.040 those days, they they continual. I mean like if you 1:08:14.320 --> 1:08:17.880 if you remaster and remaster a um, you know a 1:08:17.960 --> 1:08:20.800 quarter inch tape, that's that our half inch tables are mixed. 1:08:20.840 --> 1:08:22.920 It gets worn down so that the end the tapes 1:08:22.960 --> 1:08:29.000 get on now. Um. And with Sergeant Pepper apple Core, 1:08:29.920 --> 1:08:31.639 who are the Beatles Company, they wanted to do something 1:08:31.680 --> 1:08:34.679 by the fiftieth Anniverse you rerelease and we talked about 1:08:34.680 --> 1:08:36.320 it and they wanted to go through the outtakes and 1:08:36.320 --> 1:08:38.640 stuff like that and funny if my father had my 1:08:38.720 --> 1:08:43.400 father passed away. UM, so yeah, and and I took 1:08:43.439 --> 1:08:45.240 some time off, obviously, took two weeks off, and I 1:08:45.320 --> 1:08:47.720 went about the studios and the first voice I hope 1:08:47.760 --> 1:08:50.559 was his, which is kind of odd. And Yoko said 1:08:50.560 --> 1:08:52.080 to me, we were doing the Love Shows, sitting with 1:08:52.120 --> 1:08:54.519 the Love Show, and I use voices in the Love 1:08:54.560 --> 1:08:56.599 Show of the Beatles, and she said, it's funny. You know, 1:08:57.439 --> 1:09:00.799 John's just a voice now. And I know how she felt. 1:09:00.920 --> 1:09:06.040 And and we started remixing, um, Sergeant Pepper. You know that. 1:09:06.160 --> 1:09:07.760 You know, people want to do a surround you doing 1:09:07.800 --> 1:09:11.160 a stereo, and we got it wrong. It didn't sound right. 1:09:11.200 --> 1:09:14.559 And then after about four songs, I suddenly realized, actually, 1:09:14.600 --> 1:09:19.200 this this kind of sounds It sounds good. Um, not better, 1:09:19.240 --> 1:09:23.640 it just sounds good. And the monos had been you know, 1:09:23.640 --> 1:09:25.880 I listened. I never heard the mono version of Sergeant Pepper. 1:09:25.920 --> 1:09:28.160 I'm like, you know, I'm not that sort of persons. 1:09:28.200 --> 1:09:30.120 Terrible to say I should be, but I've never had 1:09:30.120 --> 1:09:32.000 the monos. And the mono mixes are different. I think 1:09:32.040 --> 1:09:38.200 they kind of they're more claustrophobic, they're more psychedelic in 1:09:38.240 --> 1:09:40.280 some ways, there's more effects on them because they could 1:09:40.280 --> 1:09:43.240 the Beatles couldn't put effects on the stereo. The technology 1:09:43.280 --> 1:09:46.040 wasn't there a d T voices with stereo the voice. 1:09:46.120 --> 1:09:49.320 You know, there's a bunch of things that just a 1:09:49.479 --> 1:09:52.280 very speed techniques they used weren't there, And so we 1:09:52.600 --> 1:09:54.800 started doing it. And again, you know, you do these 1:09:54.840 --> 1:09:58.479 things behind closed doors. And I actually said to Apple, well, 1:09:58.520 --> 1:10:00.879 how did you switch from surround to doing a stereo? 1:10:01.040 --> 1:10:02.839 You do a stereo first. You have to do a stereo. 1:10:03.040 --> 1:10:06.600 My pathway to surround his stereo because you have to 1:10:06.600 --> 1:10:09.200 get the stereo right before you do the surround. Otherwise 1:10:09.200 --> 1:10:11.400 that the weights not there on the surrounders becomes I 1:10:11.400 --> 1:10:13.240 don't know if you you hear some surround mixes, and 1:10:13.240 --> 1:10:14.760 I don't want to criticize us as the work, but 1:10:14.800 --> 1:10:18.439 some surround mixes sound too ambient. They sound you know 1:10:18.479 --> 1:10:21.040 that if you think about the cool thing about surrounds, 1:10:21.040 --> 1:10:23.000 you have a center, speaking of that mono thing that 1:10:23.040 --> 1:10:25.120 can hit you and it's like I see it like 1:10:25.160 --> 1:10:27.439 smashing toffee with a toffee hammer. We have that center 1:10:27.479 --> 1:10:30.080 and everything can explode around it, like when you listen 1:10:30.080 --> 1:10:32.479 to a great mono record and that happens in your head. Anyway, 1:10:32.800 --> 1:10:35.000 that's the way I see it, and so with with 1:10:35.040 --> 1:10:38.720 Sargeant Pepper, I m I said, if this isn't right, 1:10:38.800 --> 1:10:41.000 then and you have to and it's a brave thing 1:10:41.080 --> 1:10:44.720 to do. And then um they came out and and 1:10:45.160 --> 1:10:48.080 people people liked it. You know, it's funny. It's funny. 1:10:48.120 --> 1:10:50.720 It's someone wrote to me that day and said, we 1:10:50.760 --> 1:10:52.280 can't get hold of a couple of the vinyl mixes 1:10:52.320 --> 1:10:54.080 Huge and pepp you did last year because it's sold 1:10:54.080 --> 1:10:56.800 out to Universal. You know you can. You can buy 1:10:56.800 --> 1:10:59.599 the original one, which I should say, do buy that one. 1:10:59.640 --> 1:11:02.719 But you know, I don't think about the marketing aspects 1:11:02.760 --> 1:11:04.200 of it. When I do, I just think about, you 1:11:04.240 --> 1:11:09.400 know what bothers me. I suppose my motivation is that 1:11:10.680 --> 1:11:14.479 when you play a record that's important to you to 1:11:14.920 --> 1:11:21.160 a younger generation and they think it sounds old, I 1:11:21.240 --> 1:11:23.800 think it's an old because it may not be as loud, 1:11:23.920 --> 1:11:26.000 it may not be as stereo, it may not be 1:11:26.040 --> 1:11:29.040 as immersive as the tracks that are listening to. And 1:11:29.160 --> 1:11:32.679 we live in a world of a global jukebox where 1:11:33.040 --> 1:11:36.160 there's no reverence to when it's coming back, but there's 1:11:36.200 --> 1:11:37.760 no reverence to put you on a record. You can have, 1:11:37.840 --> 1:11:40.320 you know, Kendrick Lamar next to loosen sk with diamonds. 1:11:40.320 --> 1:11:42.639 It doesn't make any difference in it. And the thing 1:11:42.640 --> 1:11:46.400 about music and thinking about recording is that it doesn't. 1:11:46.720 --> 1:11:50.240 It's a recording is by that it is a capturing 1:11:50.400 --> 1:11:54.920 a five year old person at their prime, and I 1:11:54.960 --> 1:11:57.639 want them to be twenty five forever and I want 1:11:57.680 --> 1:12:01.200 them to be bursting. Any of your speakers, um not 1:12:01.320 --> 1:12:05.400 at an angry compressed you know, to the max way. 1:12:05.439 --> 1:12:06.719 But I just want to make sure that you feel 1:12:06.720 --> 1:12:09.519 like you're in the room with them, and so that 1:12:09.640 --> 1:12:16.240 was kind of the motivation. Okay, Well, return to this 1:12:16.280 --> 1:12:20.000 conversation with Jaws Martin, sound experience leader for Sonos and 1:12:20.040 --> 1:12:23.519 son of George Martin and producer and mixer extraordinary in 1:12:23.600 --> 1:12:27.519 his own right in a moment. You're listening to the 1:12:27.560 --> 1:12:30.439 Bob Left Sets podcast, recorded at the tune In Studios 1:12:30.479 --> 1:12:33.599 in Venice, California. Each week I interview a new guest 1:12:33.680 --> 1:12:36.519 to get their story. While they're here, we take photos 1:12:36.520 --> 1:12:38.599 and shoot some videos. You can see what they really 1:12:38.640 --> 1:12:41.000 look like. I want to see what Jiles looks like. 1:12:41.600 --> 1:12:45.320 Check us out on Twitter, Instagram, and Facebook. Follow at 1:12:45.360 --> 1:12:49.160 tune In. Let's dive right back in with my guest 1:12:49.240 --> 1:12:53.600 Giles Martin, producer extraordinary. Well, it's kind of interesting. I 1:12:53.680 --> 1:12:56.479 have no problem with what you will. At first, when 1:12:56.479 --> 1:12:57.720 I first heard about it's a little bit of a 1:12:57.800 --> 1:13:00.960 hump what you did with Love. That's a totally new work, 1:13:01.960 --> 1:13:04.479 remixing something that I know so well. It's all akin 1:13:04.600 --> 1:13:07.680 to owning a vinyl record and then getting the c 1:13:07.960 --> 1:13:10.120 D when you were listening for the Skips and the 1:13:10.160 --> 1:13:13.519 Pops that weren't there anymore. You know, the originals so well, 1:13:14.280 --> 1:13:20.240 so that do you have plans to remix anymore Beatles records? 1:13:20.240 --> 1:13:22.000 And then not at the moment. I mean, there's there's 1:13:22.040 --> 1:13:25.559 talking about it, but um, it's not you know. And 1:13:25.600 --> 1:13:27.920 I think to answer that, I I can, I completely, 1:13:28.040 --> 1:13:30.320 I completely understand what you're saying. I kind of, you know, 1:13:30.439 --> 1:13:32.120 part of me agrees. At the same time, I'm not 1:13:32.160 --> 1:13:35.120 doing it for you, Bob exactly. That's what I was thinking. Now, 1:13:35.200 --> 1:13:38.519 your your explanation is very good. First, I think that 1:13:39.320 --> 1:13:41.679 I think if if anyone who wants to, if I listen, 1:13:42.040 --> 1:13:44.120 if we get to the stage where people are loving 1:13:44.120 --> 1:13:46.400 the pops and the clicks, if we people listen that much. 1:13:46.400 --> 1:13:50.600 We live in a world where you know, um, we 1:13:50.680 --> 1:13:53.680 hear things that we don't listen. You know, it's ubiquitous 1:13:53.720 --> 1:13:56.880 wall of sound constantly going on. There's noise, constant going on. 1:13:56.920 --> 1:13:59.400 And and that time which you talk about where you 1:13:59.439 --> 1:14:01.639 have that record and you love that record, you put 1:14:01.640 --> 1:14:04.479 it on. You know, if there's a reason, if you know, 1:14:04.920 --> 1:14:08.360 there's there's two ways. You know, even if people don't 1:14:08.400 --> 1:14:12.080 like what I do, they're listening to it. And I 1:14:12.120 --> 1:14:13.760 don't have a problem with that. It's like, great, don't 1:14:13.760 --> 1:14:15.240 like it. Let's see, that's why I don't mind you. 1:14:15.360 --> 1:14:16.640 And when I wrote back to you, I said, I 1:14:16.680 --> 1:14:18.280 don't mind you saying this stuff. It's like, you know, 1:14:18.880 --> 1:14:20.960 the fact you have passion and opinion is what I like. 1:14:21.120 --> 1:14:23.559 That's the whole point. It's like, you know, great, you 1:14:23.600 --> 1:14:26.439 know that we're not we we live in a we 1:14:26.520 --> 1:14:30.360 live in a world where it's just a record, and 1:14:30.920 --> 1:14:32.840 and there's various moments in the lines, whether they're not 1:14:32.920 --> 1:14:35.080 just records, there are things that mean a great deal 1:14:35.120 --> 1:14:37.240 to us. Now I'm not trying to take that away 1:14:37.240 --> 1:14:40.640 from you in any way whatsoever. Absolutely not. But if 1:14:40.680 --> 1:14:42.640 I can stir things up to people, like slap you 1:14:42.760 --> 1:14:45.160 around the face, and go see I was wrong, I 1:14:45.200 --> 1:14:47.360 was right or whatever. At least it's getting attention. Un 1:14:47.400 --> 1:14:49.640 least you have an opinion. Now you also work with 1:14:49.720 --> 1:14:51.599 Sonos at this point, how did you end up coming 1:14:51.640 --> 1:14:54.320 to work with Well, that was a strange thing that 1:14:54.400 --> 1:14:56.439 happened about four years ago. I was actually working. I 1:14:56.439 --> 1:14:59.479 did Paul McCartney's album New This Is This is Back, 1:14:59.520 --> 1:15:01.000 and I was working over here in l A and 1:15:01.040 --> 1:15:03.639 Henson and a guy kind to see me and as 1:15:03.680 --> 1:15:06.599 with a great mixanage. They called Spike stant who Spike 1:15:07.360 --> 1:15:10.560 good friend of mine, lovely Spike, and they came to 1:15:10.600 --> 1:15:13.640 see us, and it was press how to speak all 1:15:13.680 --> 1:15:19.240 the play one and and they they they Thomas Mayer, 1:15:19.280 --> 1:15:22.000 who's came to see me. He said, you know, give me, 1:15:22.120 --> 1:15:24.360 give you some speakers. And there's about the fourth speaker 1:15:24.479 --> 1:15:26.360 that come up to me because since the Love record 1:15:26.400 --> 1:15:29.360 there was, you know, loves used for surround high fire. 1:15:29.680 --> 1:15:32.559 It's a now I the socks and sound of a brigade. 1:15:32.560 --> 1:15:37.120 I suit and and I kind of and I I 1:15:37.160 --> 1:15:38.599 got her. My wife goes, you know, what are these 1:15:38.640 --> 1:15:41.200 boxes doing? And they're speakers? And what do we want 1:15:41.240 --> 1:15:44.400 speakers for? Now that you might like these ones because 1:15:44.400 --> 1:15:47.240 they're small, you know, and I plugged them in night 1:15:47.280 --> 1:15:49.519 and I like, my attitude was like, I think, thank 1:15:49.560 --> 1:15:51.519 you very much. I thought the actually they sound pretty good. 1:15:52.200 --> 1:15:54.519 And then they sent me just for the record the 1:15:55.000 --> 1:15:58.080 song I was one is a small, This was Presoners one, 1:15:58.080 --> 1:15:59.800 this was up five and a three. Okay, I mean 1:16:00.000 --> 1:16:01.400 they sent me a play bar and I was like, wow, 1:16:01.439 --> 1:16:03.000 this is great. I've got free gear. You know, I'm 1:16:03.040 --> 1:16:04.760 a bloke, so I like, I like, you know, not 1:16:04.800 --> 1:16:07.000 gonna be sexist, but we tend to we tend to 1:16:07.000 --> 1:16:11.040 be slightly more obsessive over gear, you know, with sad individuals. 1:16:12.160 --> 1:16:14.320 I'm one of them. Okay, yeah, I know, I know. 1:16:14.720 --> 1:16:16.920 And then and then what happened was is they brought 1:16:16.960 --> 1:16:19.320 they showed me a one, and I had comments on it. 1:16:19.360 --> 1:16:20.760 I thought it was limiting too much, and there was 1:16:20.800 --> 1:16:22.680 various things I didn't like that was doing. And then 1:16:22.800 --> 1:16:27.320 this was before or afterwards manufacturing forwards manufacturing, and they 1:16:27.360 --> 1:16:29.160 realized I was engaged, and they asked me. They said, 1:16:29.160 --> 1:16:31.200 they have Rick Rubin on their soundboard and they have 1:16:31.280 --> 1:16:33.320 hand Zimmer. I said, will I join their sandboard? And 1:16:33.320 --> 1:16:35.040 I said yeah. And then I thought, well, if I'm 1:16:35.240 --> 1:16:36.439 It was one of the things they sort of get 1:16:36.520 --> 1:16:37.800 got me more involved to come and I think they 1:16:37.840 --> 1:16:39.200 give me some shares, and it was this thing I 1:16:39.240 --> 1:16:41.680 was like, you know, I should get I should And 1:16:41.720 --> 1:16:43.559 I liked them. You know, they were the first speak 1:16:43.600 --> 1:16:46.280 company people have come up to me before and said, 1:16:46.280 --> 1:16:47.439 you know, what do you think of our speakers? They 1:16:47.439 --> 1:16:49.200 come seem in the studios and I said, and I'd 1:16:49.240 --> 1:16:51.719 say what I thought, and then we'll go you're wrong, 1:16:51.760 --> 1:16:55.080 and I go, okay, you know what what that's But 1:16:55.120 --> 1:16:57.240 that's great. I don't mind being wrong and absolutely, but 1:16:57.240 --> 1:16:59.120 but don't get upset for me, just so I know. 1:16:59.160 --> 1:17:01.880 It used to be the standard in New Case studios 1:17:01.880 --> 1:17:05.400 were tan noise. Okay, it's all sorts now. Okay, So 1:17:05.560 --> 1:17:07.880 when you mix, what are you mixed? I'm mixing on 1:17:08.200 --> 1:17:10.920 I'm mixed using a t C S there a company 1:17:10.560 --> 1:17:12.400 for I'm living. I live in the country. There are 1:17:12.560 --> 1:17:14.960 twenty miles. I didn't know this until recently, but a 1:17:15.000 --> 1:17:16.680 lot of people now use eight is Nineer god Rich 1:17:16.720 --> 1:17:19.000 who actually also works with Sons, he uses he uses 1:17:19.000 --> 1:17:21.639 a TC. So I think, um, there and there there. 1:17:21.640 --> 1:17:24.000 It's a different world. I mean, I asked for to 1:17:24.040 --> 1:17:26.240 buy a new pair of A T C s and 1:17:26.320 --> 1:17:27.880 the guy said, you can you wait a month? We 1:17:27.920 --> 1:17:29.920 have to build them, you know. So it's a different, 1:17:29.920 --> 1:17:32.599 different world to the world. And so what they were 1:17:32.600 --> 1:17:34.840 the first coming that asked me what I didn't like 1:17:35.640 --> 1:17:37.599 and they and when I said, when I started giving 1:17:37.600 --> 1:17:41.720 them compliments, they switched off when uninterested. And then the 1:17:41.800 --> 1:17:44.840 head of the head of the company came to see 1:17:44.880 --> 1:17:47.559 me and said, you know, and said, you know, would 1:17:47.560 --> 1:17:49.800 you be our sound experience leader? And I mean that said, 1:17:50.200 --> 1:17:53.280 I said no. I said, for a start, for a start, 1:17:53.280 --> 1:17:56.120 it sounds too too American for me. I said, what 1:17:56.120 --> 1:17:58.760 does it mean he goes leading our sound experience. I 1:17:58.800 --> 1:18:01.280 was like, well, obviously that's but what does that right? Right? 1:18:01.600 --> 1:18:03.920 And it's kind of like my job is to it's 1:18:03.960 --> 1:18:06.120 almost like head of sound I supposed to company. Where 1:18:06.439 --> 1:18:10.160 the appealing that I like, I like breaking, I like 1:18:10.320 --> 1:18:12.680 pushing technology, pushing away we listen. That's what appealed to 1:18:12.760 --> 1:18:15.439 about the Love Show. It's like making people, locking people 1:18:15.439 --> 1:18:17.120 in a room in Vegas and make them listen to 1:18:17.200 --> 1:18:21.240 great music? Is was it? There's something in in my 1:18:21.280 --> 1:18:24.200 subversive mind that appeals to me about that and the fact, 1:18:24.240 --> 1:18:25.760 if you think about we can't get away from the 1:18:25.760 --> 1:18:28.320 fact we make files. Now we don't make records. We 1:18:28.360 --> 1:18:31.320 do make files. That's what happens. I know that, you know, 1:18:31.439 --> 1:18:33.760 viols cut from files all of the time exactly. That's 1:18:33.760 --> 1:18:37.000 why I don't understand it. So just to stop there 1:18:37.040 --> 1:18:41.280 for a second. If we're starting with the file, how 1:18:41.280 --> 1:18:44.519 can the vinyl records sound better than the file? That's 1:18:44.560 --> 1:18:47.280 a that's a really and and it's a very good question. 1:18:47.400 --> 1:18:49.080 And does that sound better? It does it not sound? 1:18:49.080 --> 1:18:53.840 But there's something about vinyl that takes away the top 1:18:53.840 --> 1:18:57.760 and the bottom and it does also it's you know, 1:18:57.960 --> 1:19:01.719 it's it's you know, I was. I'm I'm a really 1:19:02.280 --> 1:19:05.160 you know, deep technical person who comes to mixing and 1:19:05.240 --> 1:19:08.200 people you know may be mistakenly like what I do. 1:19:08.760 --> 1:19:11.240 But when I did search in Pepper, you know, I 1:19:11.320 --> 1:19:14.360 re must and remuston master with a guy in Abbey Road, 1:19:14.360 --> 1:19:16.559 and then I master myself. And and then we cut 1:19:16.560 --> 1:19:19.080 the violent a half speed vinyl cut, which is, you know, 1:19:19.320 --> 1:19:23.400 a deeper, more precise cut that doesn't the vinyl. It's like, wow, 1:19:23.400 --> 1:19:25.840 this sounds great and and it makes me feel in 1:19:25.920 --> 1:19:28.479 my sort of strange control freak way. It makes me 1:19:28.520 --> 1:19:31.559 slightly annoyed because I didn't do this. I didn't either. 1:19:31.680 --> 1:19:34.120 Vinyl was just a happenstance that went on Vinyl. I 1:19:34.160 --> 1:19:36.559 like the sound of it. That makes sense, I'm not 1:19:36.720 --> 1:19:39.519 totally sure. So we had the fires that they were 1:19:39.640 --> 1:19:44.639 losing something on the vinyl. So inherently vinyl has a sound. 1:19:44.720 --> 1:19:47.840 Are you saying that you like the vinyl sound or 1:19:48.280 --> 1:19:50.479 I like this? I like the Vinyl sound of the 1:19:50.479 --> 1:19:53.360 Serge and Pepper mix. I did it sounds nice? Basically, 1:19:53.439 --> 1:19:56.400 it sounds smooth. That sounds good. But I didn't. I'm 1:19:56.439 --> 1:19:58.760 not responsible for that. Vinyl did that, not me. And 1:19:58.800 --> 1:20:01.280 that's what that's what I it's a it's a it's 1:20:01.320 --> 1:20:03.160 a it's a thing. And that This is the other 1:20:03.240 --> 1:20:07.920 thing that appeals going back the process with with with 1:20:07.920 --> 1:20:11.640 with Sonas is the fact that they they if the 1:20:11.800 --> 1:20:14.679 dream really is to is to for whether it's myself 1:20:14.760 --> 1:20:18.400 or Spike or whoever. In a studios, you can make 1:20:18.400 --> 1:20:20.800 a decision on this is how it should sound, and 1:20:20.880 --> 1:20:22.640 you send it down a wire and it appears in 1:20:22.680 --> 1:20:25.680 your home exactly the same. That's what appealed to me 1:20:25.760 --> 1:20:27.639 with with something like sonas where you can go, okay, 1:20:27.880 --> 1:20:30.400 I can tweet the speaker. And I started doing this 1:20:30.439 --> 1:20:32.600 with people speakers they have in the marketplace, where I 1:20:32.680 --> 1:20:34.760 was like, so I can change that sound of that 1:20:34.800 --> 1:20:37.960 playbar and make it. And I did it three times 1:20:37.960 --> 1:20:40.720 to play bar without people knowing, you know, change the 1:20:40.720 --> 1:20:43.040 sound of it. But after you all bought it, I 1:20:43.120 --> 1:20:45.559 know you you did update and I'm aware of this. 1:20:45.600 --> 1:20:48.800 What did you actually change? Well, it's funny. Rick Rubin 1:20:49.000 --> 1:20:51.519 was unhappy with the playbar and and and this is 1:20:51.560 --> 1:20:54.200 before I was heavily involved in any phony about it, 1:20:54.240 --> 1:20:56.599 and and I said, yeah, it sounds a bit weird 1:20:56.640 --> 1:20:59.320 for stereo music. It doesn't sound sounds like it's doing 1:20:59.400 --> 1:21:02.599 something nasty. And it was doing pretty well. It was selling, 1:21:02.600 --> 1:21:06.040 it was getting good, good reviews. I've always been interested 1:21:06.040 --> 1:21:08.120 in bad reviews anyway, So it was getting good reviews. 1:21:08.120 --> 1:21:11.080 And we worked out a way of It's always tough 1:21:11.080 --> 1:21:13.719 when you have a speak like a lot of products 1:21:13.720 --> 1:21:16.240 now are more than two channel speakers. They do it. 1:21:16.360 --> 1:21:19.080 They have to create why w from that sort of stuff? 1:21:19.360 --> 1:21:21.599 You have to fake five point one. Yeah, it's actually 1:21:21.640 --> 1:21:24.960 fake stereo because you're if you imagine the way we 1:21:25.000 --> 1:21:26.760 do the way you and I, which just needs to 1:21:26.800 --> 1:21:29.639 listen to music, is with two speakers that to mono speakers. 1:21:30.080 --> 1:21:31.640 We're not going to techy here, but and you have 1:21:31.680 --> 1:21:34.120 a you have a you have a phantom center, so 1:21:34.200 --> 1:21:36.160 there's no center speaker, but you you were sit in 1:21:36.200 --> 1:21:38.960 the middle, and what's equal left and right is a 1:21:39.040 --> 1:21:41.760 mono and then the rest of the less left and 1:21:41.920 --> 1:21:46.040 right Monday speakers that pretty much everyone makes out a stereo. 1:21:46.080 --> 1:21:48.559 They have phantom left and right. They're trying to fire 1:21:48.600 --> 1:21:51.120 things out left and right, which means you can often 1:21:51.120 --> 1:21:54.960 have a hole in the center like a like a 1:21:54.760 --> 1:21:57.400 like like a lifesaver. Let me ask you a question. 1:21:57.479 --> 1:22:01.679 If we're talking specifically about sons product, the three, the five, 1:22:01.840 --> 1:22:05.240 the one, what happens then when I peer them and 1:22:05.280 --> 1:22:08.280 I get stereo? They work in a traditional way. Okay, 1:22:08.280 --> 1:22:11.240 so the software is such that if I'm using one 1:22:11.320 --> 1:22:13.639 or I'm using two, it makes an adjustment. Yeah. Yeah, 1:22:13.680 --> 1:22:15.200 they know where they are and they know what they're doing, 1:22:15.240 --> 1:22:17.559 and you know that's the that's the that's the beauty 1:22:17.600 --> 1:22:19.280 of it. So here with a play with we we 1:22:19.400 --> 1:22:21.080 changed the playbo because Rick say, it doesn't look like 1:22:21.120 --> 1:22:22.639 a stereo I was like, well, it's not a stereo, 1:22:22.720 --> 1:22:24.040 so how do you make a sound like a stereo? 1:22:24.160 --> 1:22:26.880 So I had a very clever team and we worked 1:22:26.880 --> 1:22:29.360 on that. But it's it's fun. It's like, it's a 1:22:29.360 --> 1:22:30.960 bit like it's in a funny way. It's a bit 1:22:31.000 --> 1:22:34.599 like the Love Show, where in in that theater there 1:22:34.680 --> 1:22:36.800 is in Vegas. I'm in control of the input and 1:22:36.840 --> 1:22:39.040 the output. So I'm in control. You go and sit 1:22:39.080 --> 1:22:41.719 there and you don't like it, then it's purely my fault, 1:22:42.520 --> 1:22:47.120 opposed to if you make a mix and then you, um, 1:22:47.840 --> 1:22:50.920 you know, you listen to. I'm not one of those 1:22:50.920 --> 1:22:52.920 people that has an opinion of whether you listen to. 1:22:53.000 --> 1:22:55.000 I mean, I fell in love with music listen to 1:22:55.040 --> 1:22:57.640 on AM radio, so so I think you could be 1:22:57.680 --> 1:23:00.320 with the loved one on a sunny day and comes 1:23:00.320 --> 1:23:01.880 on it because sound like the best has ever sounded, 1:23:01.920 --> 1:23:03.920 even though it doesn't sound like that. If that makes sense, 1:23:03.960 --> 1:23:07.680 you fill in the gaps at the same time, if 1:23:07.720 --> 1:23:10.200 you can facilitate if like, if there can be somewhere 1:23:10.400 --> 1:23:13.000 where where a bunch of us creators have an influence 1:23:13.040 --> 1:23:15.280 on the output side as well, then it can only 1:23:15.280 --> 1:23:19.160 be a good thing. Because very very clever audio people 1:23:19.160 --> 1:23:21.479 have no idea what a mixed you sound like. And 1:23:21.520 --> 1:23:26.360 then these speakers are just for the listening environment. Yeah, 1:23:26.439 --> 1:23:29.320 it's it's I mean I was. I've known friends that 1:23:30.000 --> 1:23:33.519 that a high five buffs. Now I'll spend thirty thousand 1:23:33.520 --> 1:23:35.200 dollars and speak and then put them next to a wall. 1:23:35.280 --> 1:23:37.000 And you think, well, you know, you must have spend 1:23:38.280 --> 1:23:40.280 five hundred dollars in a speaker then, because you're going 1:23:40.320 --> 1:23:42.840 to get the base residence you get from next mix 1:23:42.880 --> 1:23:46.080 to wall as a you know, you know, where you play. 1:23:46.200 --> 1:23:49.559 Something is really important in audio because of because of 1:23:49.600 --> 1:23:53.120 a room. And so I when I first start working US, 1:23:53.200 --> 1:23:55.560 I came across a guy called Tim Sheen, who is 1:23:57.920 --> 1:24:00.360 like a sort of a clever Bard at l wondering 1:24:00.400 --> 1:24:02.760 around with a microphone with a speaker in the corner 1:24:02.800 --> 1:24:04.320 of the the room and he was just on his own 1:24:04.400 --> 1:24:05.720 in this room. And I said, what's he doing? And 1:24:05.760 --> 1:24:08.280 they said, well, he's he thinks he can he thinks 1:24:08.280 --> 1:24:09.920 he can speak and tune itself, you know, or you 1:24:09.920 --> 1:24:11.439 can tune to a room. And so that's great, and 1:24:12.320 --> 1:24:15.000 no one else was that happy because the ethos of 1:24:15.360 --> 1:24:19.920 a product not having a constant and changing was something 1:24:19.960 --> 1:24:23.240 that speakers don't really do at that stage. Um, and 1:24:23.640 --> 1:24:25.920 Tim Sheen was you know, then the company got behind 1:24:25.960 --> 1:24:27.680 him and we got behind him, and it was a 1:24:28.120 --> 1:24:30.280 it would end up being a really cool thing where 1:24:30.320 --> 1:24:33.720 you can, you know, you could, you can you don't 1:24:33.720 --> 1:24:35.920 have to worry about what you put a speaker. So 1:24:36.040 --> 1:24:41.120 what's the future of home audio? Well, I think I 1:24:41.200 --> 1:24:43.400 think that we you know, we he and I need 1:24:43.439 --> 1:24:45.200 to talk about the future home audio in the future 1:24:45.240 --> 1:24:49.800 of music distribution as a picker question, the future of 1:24:49.840 --> 1:24:53.720 home adio, I think that I think we listen. I 1:24:53.800 --> 1:24:56.800 think that if we can, if we can make music 1:24:56.840 --> 1:24:59.439 as real as possible, I like the idea that I 1:24:59.479 --> 1:25:01.519 like that, and I was coming back. I like the 1:25:01.560 --> 1:25:05.000 fact that people have to make an effort to listen. Um. 1:25:05.040 --> 1:25:07.559 I also love the fact that with something like so nice, 1:25:07.600 --> 1:25:09.920 you can have all you know, I can. I sit 1:25:09.960 --> 1:25:12.040 with my kids in the kitchen and I have a 1:25:12.080 --> 1:25:15.280 bunch of pieces of paper which have reggae, funk, jazz, 1:25:15.320 --> 1:25:18.240 soul on them, and they get points if I put 1:25:18.280 --> 1:25:19.639 on a piece of music and they can guess which 1:25:19.720 --> 1:25:23.080 genre you know, just and then that they love doing it. 1:25:23.360 --> 1:25:24.800 You know, it's like, you know, I don't know why, 1:25:24.880 --> 1:25:27.120 we just it's just one of those things. And I 1:25:27.200 --> 1:25:28.800 love the fact that you can think of a song 1:25:28.840 --> 1:25:31.080 and play it. But I also and I think home 1:25:31.120 --> 1:25:33.919 audio is better than ever ever has been that respect 1:25:33.920 --> 1:25:35.840 where it's you know, you can listen out loud and 1:25:35.880 --> 1:25:43.160 listen collectively and it doesn't matter. But the future, the 1:25:43.560 --> 1:25:46.519 way that voices going and that speakers are becoming a 1:25:46.800 --> 1:25:52.439 portal is interesting. UM. I think that that speed of 1:25:52.720 --> 1:25:54.760 the speed of thought behind thinking of a song and 1:25:54.840 --> 1:25:57.600 playing it is very clever. It's very good. Well. I 1:25:57.640 --> 1:26:00.200 find a lot of times in my work area, you know, 1:26:00.280 --> 1:26:03.559 I have an amazing amount of stereo gear and I 1:26:03.600 --> 1:26:06.719 will call out to the voice activated speaker or a lecture, 1:26:06.800 --> 1:26:09.120 now the new sons, I'd rather do that, even though 1:26:09.120 --> 1:26:11.479 it's kind of out of one little speaker. Yeah, And 1:26:11.479 --> 1:26:13.519 it's getting that. The thing is that's getting that better 1:26:13.520 --> 1:26:15.840 and better. That's the thing. That's the thing I think 1:26:15.840 --> 1:26:17.760 that I think that I think the question is how 1:26:17.800 --> 1:26:22.400 do we I think, how do we improve search and discovery? 1:26:22.640 --> 1:26:24.760 You know, at one stage I spent a lot of 1:26:24.760 --> 1:26:26.240 what I spent a lot of my own money thinking 1:26:26.240 --> 1:26:29.360 of thinking of this, UM, this portal where you could 1:26:29.360 --> 1:26:32.559 travel through time like you know, you could you could 1:26:32.840 --> 1:26:35.880 find influences of music. So if you if you like this, 1:26:36.000 --> 1:26:37.639 then what went on before and what went on before? 1:26:37.680 --> 1:26:40.320 And you could you could you could you could search 1:26:40.439 --> 1:26:43.160 music through influences and stuff like that. And there's gonna 1:26:43.160 --> 1:26:45.120 be ways in which we can, you know, in the 1:26:45.160 --> 1:26:48.200 same way we missed the record sleeve. I missed the 1:26:48.240 --> 1:26:50.240 fact that you know that I knew that Jim Gordon 1:26:50.320 --> 1:26:53.120 played on Layla and you know all that kind of 1:26:53.160 --> 1:26:56.120 stuff that connection would be would be I think there's 1:26:56.160 --> 1:26:58.840 a there's a there's a there's it's that thing when 1:26:58.840 --> 1:27:01.040 you go into a record store. And I remember, actually 1:27:01.080 --> 1:27:02.479 I was gonna work on a show with Quincy at 1:27:02.520 --> 1:27:04.559 one stage, and I thought, I've got to learn about 1:27:05.280 --> 1:27:07.160 the heritage of black music. Where do you start. I 1:27:07.160 --> 1:27:09.040 went to a record school, Honest John's and port A 1:27:09.040 --> 1:27:11.120 Bitter Road, and I walked in there and sort of 1:27:11.120 --> 1:27:12.400 talking to this guy. I was there for six and 1:27:12.439 --> 1:27:15.200 a half hours, and you've played everything, you know, Ellaphis 1:27:15.200 --> 1:27:18.559 Sholder records, you know, you know, you know Wilson Pickett 1:27:18.680 --> 1:27:21.120 kind of rarities, and it was just it was it 1:27:21.200 --> 1:27:23.240 was it was like, this is, this is how do 1:27:23.280 --> 1:27:26.840 we get this? But I would certainly believe that music 1:27:26.880 --> 1:27:30.720 discovery is broken. I believe there's a result. It's like 1:27:30.720 --> 1:27:33.599 the Internet at large, there's so many messages coming if 1:27:33.600 --> 1:27:36.920 the average person is overwhelmed. But in the time you 1:27:37.000 --> 1:27:40.040 have left, which is pretty lengthy in terms of your life, hopefully, 1:27:40.640 --> 1:27:46.080 what would you like to achieve or see happen? I 1:27:46.160 --> 1:27:51.440 would like I I think that it's it's it's difficult 1:27:51.479 --> 1:27:55.880 to it's it's really easy to um to say it 1:27:55.920 --> 1:27:59.200 wasn't like it wasn't my day. But I would like 1:28:00.160 --> 1:28:06.400 generations to be as touched by music as I was, 1:28:07.360 --> 1:28:11.400 and and not reliant on visual as they seem as 1:28:11.439 --> 1:28:13.360 people seem to be. Now, I didn't know ll ever 1:28:13.400 --> 1:28:15.639 go because because visual always wins. I mean, I've worked 1:28:15.640 --> 1:28:18.320 on films, I've worked on It's an interesting thing. I'm 1:28:18.320 --> 1:28:20.800 talking to something are talking about how powerful Instagram is, 1:28:21.320 --> 1:28:23.280 which makes no sense to me because all you have 1:28:23.400 --> 1:28:26.400 is the picture. But and we may not be at 1:28:26.439 --> 1:28:30.000 the end of the stream here. Now I'm streaming services. 1:28:30.360 --> 1:28:34.840 The number of plays there exceeds YouTube, So maybe we 1:28:34.920 --> 1:28:37.439 have hope. Yeah, And I think and I think that 1:28:37.600 --> 1:28:41.240 it's it's so so I think that I think what 1:28:41.240 --> 1:28:43.240 what would I like to achieve? There are so many 1:28:43.240 --> 1:28:44.600 things that led to you. I'd like to say, you know, 1:28:44.680 --> 1:28:49.040 there's there's there's sort of shows and experiences and visceral 1:28:49.120 --> 1:28:52.240 things I'm working on that that involved music. So you 1:28:52.240 --> 1:28:55.320 you know, you know, you know, even you had one 1:28:55.320 --> 1:28:58.200 idea that they're like walking through you know, walking through 1:28:58.200 --> 1:29:01.040 a groove of a record. You know, so imagine they're 1:29:01.080 --> 1:29:03.080 being sure, you know, for kids to realize what the 1:29:03.280 --> 1:29:05.559 what the what the what? I can picture it. I've 1:29:05.600 --> 1:29:07.840 seen enough you know, blow up pictures. Yeah, you know, 1:29:07.840 --> 1:29:10.320 it's like it's like a giant mountain, which you know, 1:29:10.479 --> 1:29:13.000 there's there's there's fun stuff. You know, work on a 1:29:13.040 --> 1:29:15.479 couple of things with some creators where we where we where. 1:29:15.520 --> 1:29:17.600 I like the idea and he says, going against the 1:29:17.680 --> 1:29:21.440 visual world. I love the idea of their being. Um. 1:29:21.479 --> 1:29:23.559 You know the fun thing about the Love Show, it's 1:29:23.600 --> 1:29:26.479 like you're creating a you you know, it's by no 1:29:26.600 --> 1:29:30.719 means perfect, but you're you're getting kids to discover music 1:29:30.880 --> 1:29:33.200 and listen to connect music and listen to music in 1:29:33.200 --> 1:29:36.400 different ways, and they go up feeling different. If you 1:29:36.439 --> 1:29:39.439 can make people feel something different, then then that's great. 1:29:39.479 --> 1:29:43.120 So so what what appeals to me is um even 1:29:43.120 --> 1:29:45.439 the Sergeant Pepper. I did this ATMOS mix of Sergeant Pepper, 1:29:45.439 --> 1:29:47.920 which basically a room with fifty five speakers in it 1:29:48.560 --> 1:29:50.439 and a bunch of artists and creators have been in. 1:29:50.479 --> 1:29:52.320 Then they come out and floods of tears, you know, 1:29:52.439 --> 1:29:54.400 they come of floods teas. They feel like what you 1:29:54.439 --> 1:29:57.120 can do with with immersive wordies. You can put the 1:29:57.200 --> 1:29:59.759 band in the room with you. You can get reflections 1:29:59.760 --> 1:30:02.080 from studio too, which is what we do, and you 1:30:02.120 --> 1:30:03.920 can make you feel people feel like that you're in 1:30:03.960 --> 1:30:06.880 this space with with with the band, you know, and 1:30:07.040 --> 1:30:11.320 it's it's it's getting that if you can if in 1:30:11.439 --> 1:30:14.720 any work I do, if I can just stimulate that 1:30:14.800 --> 1:30:16.519 feeling in some way, if I can get people to 1:30:16.520 --> 1:30:19.200 take cause there's nothing better. I remember, even working on 1:30:19.200 --> 1:30:22.439 that Constant Japan all those years ago, Jony Mitchell sat 1:30:22.439 --> 1:30:23.960 in front of me and she played her gear on 1:30:23.960 --> 1:30:25.920 the quatar and she was sitting as far as away 1:30:25.960 --> 1:30:28.400 from you are. You know, we are about five ft 1:30:28.439 --> 1:30:32.080 five feet away from each other, and and I wasn't 1:30:32.080 --> 1:30:34.280 even a big Johnny Bitchell Fan. I didn't even know 1:30:34.360 --> 1:30:35.760 much about it, you know, I was I was a 1:30:35.800 --> 1:30:39.560 blues guy and and I couldn't work out whether the 1:30:39.640 --> 1:30:42.479 music was coming from it was coming from it was 1:30:42.560 --> 1:30:45.360 coming from I saw her mouth moving, and I could 1:30:45.400 --> 1:30:46.920 see her in the quaitar, but it was like the 1:30:47.000 --> 1:30:51.120 sort of this sort of ethereal noise that's kind of 1:30:51.320 --> 1:30:54.000 hitting me, and it was it's better than for me, 1:30:54.080 --> 1:30:56.720 It's better than anything else in life having that experience. 1:30:57.240 --> 1:31:00.599 And so I suppose that through the huge privilege I've 1:31:00.600 --> 1:31:03.120 had from me my father's son, I've experienced some things. 1:31:03.160 --> 1:31:05.280 I mean, like, you know, I remember being a tapop, 1:31:05.280 --> 1:31:08.400 which is an assistant engineering and working on a Martin 1:31:08.439 --> 1:31:10.400 of the session he played acoustic guitar, and I was like, 1:31:10.800 --> 1:31:13.320 is that him playing? Or I'm going listen to a record? 1:31:13.640 --> 1:31:15.920 You know, it's that weird thing. And you all being 1:31:15.960 --> 1:31:17.639 in the same room with Stevie Wonder when he's playing 1:31:17.680 --> 1:31:20.800 the piano or and if I can get people with 1:31:20.920 --> 1:31:24.280 its trough soon through mixing or doing shows or doing exhibits, 1:31:24.680 --> 1:31:29.120 if I can get that feeling of inspiration closer to 1:31:29.200 --> 1:31:32.360 the listener, then that would be an achievement. That's what 1:31:32.400 --> 1:31:34.720 we're trying to do. Well, you've just got out to 1:31:34.800 --> 1:31:37.599 the mountaintop there. I don't think I can add anything. Giles, 1:31:37.640 --> 1:31:40.400 You've been a fabulous guest, both telling the stories of yourself, 1:31:40.640 --> 1:31:43.480 the Beatles, and your father. Thanks so much for being pleasurable. 1:31:43.560 --> 1:31:50.320 Thank you so much. That wraps up this week's episode 1:31:50.320 --> 1:31:52.600 of the Bob Left X Podcast, recording here at the 1:31:52.640 --> 1:31:56.000 tune In Studios in Venice, California. I hope you like 1:31:56.120 --> 1:32:00.759 listening to this conversation with Giles Martin, producer extraordinary. Please 1:32:00.840 --> 1:32:02.759 let me know when you think of the show. Email 1:32:02.800 --> 1:32:05.719 me at Bob at Left said Sandcom. Until next time, 1:32:05.800 --> 1:32:06.760 I'm Bob Left Sid