Roderick on the Line

Ep. 247: "George Martin's Butt"


00:00:00   [Music] [TS]

00:00:05   hello hi John hi Merlin how's it going [TS]

00:00:11   John John John John so you had a yet a [TS]

00:00:15   big big morning oh yeah huge morning [TS]

00:00:18   yeah yeah [TS]

00:00:20   whoopsie-daisy oopsie-doopsie lots of [TS]

00:00:22   big announcements from Apple and so I [TS]

00:00:25   was kind of on the hook to watch that [TS]

00:00:27   yeah did you live a live blog it oh you [TS]

00:00:32   know just just you know in texting the [TS]

00:00:34   people it's not unseemly to do that [TS]

00:00:37   stuff in public you know to live [TS]

00:00:38   bloggers live like science I see why [TS]

00:00:41   people do it but you know it's uh [TS]

00:00:43   we're already watching it we can see it [TS]

00:00:44   cuz it's there uh you know I just what [TS]

00:00:47   about your hotcakes [TS]

00:00:48   oh my dears hotcakes I got steamy hot [TS]

00:00:50   takes you kidding me [TS]

00:00:51   what what about you know fix my um I [TS]

00:00:55   don't know every bite [TS]

00:00:57   yeah fixable yeah you know they're gonna [TS]

00:01:00   they're working on the App Store the app [TS]

00:01:01   store is gonna look like it's too much [TS]

00:01:02   to cover it's too much to cover with the [TS]

00:01:04   stick we already have today but that's [TS]

00:01:06   exciting [TS]

00:01:07   sorry I PI pads you get computers uh you [TS]

00:01:10   can drag things it's exciting [TS]

00:01:13   get this guy over here got this ah fuck [TS]

00:01:15   it that's a for cock to arab o king [TS]

00:01:18   caboodle and over here is Lonnie and [TS]

00:01:21   jugdish you're you're way more awake [TS]

00:01:23   than me it's uh it's one it's a little [TS]

00:01:26   after 1:00 p.m. and in your yeah it's so [TS]

00:01:29   good there's a good time of day I woke [TS]

00:01:30   up at a natural time when I my body [TS]

00:01:32   naturally rose to awakeness and then I [TS]

00:01:37   had some time to just you know play a [TS]

00:01:40   little game of threes or two let's think [TS]

00:01:42   about the think about the day looking at [TS]

00:01:45   look at Wikipedia for a while oh yeah I [TS]

00:01:48   gotta watch modules I got morning [TS]

00:01:50   rituals along those lines yes I as a [TS]

00:01:53   good older and and seriously my brain is [TS]

00:01:56   seriously going like R it's really going [TS]

00:01:58   so one of the things I do is I do a very [TS]

00:02:01   old man thing which is when my family is [TS]

00:02:03   you know getting ready to go places [TS]

00:02:05   everybody's getting ready and I'll say [TS]

00:02:06   good morning and I'll say today is [TS]

00:02:10   Monday I'll say Monday we have drop-off [TS]

00:02:14   at camp we have victim but camp [TS]

00:02:17   we have preparing for the trip and they [TS]

00:02:19   kind of make kind of they kind of look [TS]

00:02:22   at me a little bit weird cuz I'm like [TS]

00:02:23   you know I'd like to think this is for [TS]

00:02:26   all of the all of us but you know let's [TS]

00:02:27   be honest it's mostly for me mm-hmm [TS]

00:02:29   because if I don't don't think about it [TS]

00:02:31   you know I may not do it well you know [TS]

00:02:34   there are um there are these miraculous [TS]

00:02:37   vitamins that just by coincidence I [TS]

00:02:40   happen to be a authorized dealer mm and [TS]

00:02:43   I'm gonna hook you up with a whole set [TS]

00:02:46   of supplements and dietary additives [TS]

00:02:52   just like those brain crystals that make [TS]

00:02:54   you smart yeah and they're get what it [TS]

00:02:56   also does Marilyn is it builds muscle [TS]

00:02:58   mass builds muscle in us and it burns [TS]

00:03:01   fat huh so uh pretty much I've got the [TS]

00:03:06   secret right here for you and don't [TS]

00:03:09   worry about how much it cost you let me [TS]

00:03:10   in on that today only I would just [TS]

00:03:14   because we're friends [TS]

00:03:15   oh my god thank you man I I could [TS]

00:03:17   definitely use that so tomorrow morning [TS]

00:03:19   I'll say it's Tuesday and I'm going to [TS]

00:03:20   take some new powders hey yeah you get a [TS]

00:03:25   little hammer and pestle and you just [TS]

00:03:27   sitting and grind them up and I'll bring [TS]

00:03:29   it into the of the family stand up [TS]

00:03:30   meeting the morning stand up ha ha oh [TS]

00:03:34   and you think you guys have an all-hands [TS]

00:03:36   meeting every we do we do uh yeah well [TS]

00:03:40   you know we have we have an ad hoc [TS]

00:03:41   format I mean this is not interesting to [TS]

00:03:42   our audience but sure yeah well we'll [TS]

00:03:44   comes with us anybody is empowered to [TS]

00:03:46   call a family meeting and really you [TS]

00:03:49   yell out family meeting and then one [TS]

00:03:51   other person says ok stand by and then [TS]

00:03:54   and then everybody gathers and you have [TS]

00:03:55   a huddle you talk about whatever family [TS]

00:03:57   meeting mm-hmm [TS]

00:03:59   you know that's nice that's really nice [TS]

00:04:01   that feels really nice [TS]

00:04:03   it's you know what it is it's that I in [TS]

00:04:05   addition to my brain becoming a less [TS]

00:04:07   powerful organ it's also that like one [TS]

00:04:10   way I keep the Diamond Dogs at bay is to [TS]

00:04:12   make sure that we've thought through [TS]

00:04:14   things we need to think through mm-hmm [TS]

00:04:17   because I hate being upended by not [TS]

00:04:19   having thought through something that [TS]

00:04:21   should be thought through you do like to [TS]

00:04:23   think through things I confirm that for [TS]

00:04:26   our listeners you know it's stuff like I [TS]

00:04:29   feel like it's inexcus-- [TS]

00:04:30   in some ways it's it's personally [TS]

00:04:33   inexcusable for me if I just space [TS]

00:04:34   something I really should have [TS]

00:04:35   remembered like if I don't bring the [TS]

00:04:37   tickets to something like that's silly [TS]

00:04:38   like why would I you know but the thing [TS]

00:04:41   is that you're not thinking through the [TS]

00:04:42   thing that you're going to do it's very [TS]

00:04:43   easy to do that and so you have to have [TS]

00:04:45   you know sort of compensatory muscles in [TS]

00:04:47   a real-world sense that like help you [TS]

00:04:50   from being a dumbass do you idiot check [TS]

00:04:53   mm-hmm how extensive is your idiot check [TS]

00:04:56   program compulsive yeah yeah no I mean [TS]

00:04:59   it's all kinds of things like like when [TS]

00:05:02   I'm traveling I have a whole list of [TS]

00:05:03   like things that I'm really neurotic [TS]

00:05:05   about like make sure that the pilot [TS]

00:05:08   light is on make sure that the heat is [TS]

00:05:11   turned down and and yeah it gives me a [TS]

00:05:14   lot of pleasure to take that off of a [TS]

00:05:15   list but even when leaving the house I [TS]

00:05:17   have learned to like sort of check [TS]

00:05:20   myself before I wreck myself and I still [TS]

00:05:22   screw it up I forgot to wear coupons for [TS]

00:05:24   the book store that we were going to and [TS]

00:05:25   I forgot to bring them cuz I got through [TS]

00:05:27   I hadn't thought through that kind of [TS]

00:05:29   trip now I remembered to bring the [TS]

00:05:30   refill cup because we're going to the [TS]

00:05:32   cinema I'm right on I oh that's a that's [TS]

00:05:36   a major boat I mean that's a big [TS]

00:05:37   discount oh you kidding me it's like [TS]

00:05:38   half price yeah shit shit dog and no [TS]

00:05:42   what about you what's your would you [TS]

00:05:43   call the idiot check well yeah let me [TS]

00:05:45   ask your if you're leaving a hotel room [TS]

00:05:47   do you check drawers that you are [TS]

00:05:50   certain you've never even opened yes if [TS]

00:05:53   you go around the room and tried to [TS]

00:05:55   drawers even though you never opened [TS]

00:05:57   them when yeah the whole time you've [TS]

00:05:58   been in there no I do way more than that [TS]

00:05:59   a big one for me is and I've gotten [TS]

00:06:02   better about this over time but like I [TS]

00:06:04   used to be I would always leave a phone [TS]

00:06:05   charger or some kind of plug thing like [TS]

00:06:08   oh I'll utilize this area behind the [TS]

00:06:10   chair and put that there [TS]

00:06:12   the first thing I do is look for all of [TS]

00:06:13   those things if I can solid eight [TS]

00:06:15   everything that needs to go into one or [TS]

00:06:17   two areas that's one thing so like [TS]

00:06:20   anything it's extraneous goes into the [TS]

00:06:21   area of things that have to go and then [TS]

00:06:23   yes I will check every outlet and then [TS]

00:06:25   as far as the drawers [TS]

00:06:26   I will not only check all the drawers [TS]

00:06:28   but I will leave them open in a [TS]

00:06:30   staggered way as though they've been [TS]

00:06:32   burglarized so that I'll remember I'll [TS]

00:06:34   have a visual visual cue you've already [TS]

00:06:37   checked this area you've checked this [TS]

00:06:38   yeah terrible well I mean you know I the [TS]

00:06:42   only reason I ask is that it's [TS]

00:06:44   it's a familiar feeling but being on [TS]

00:06:47   tour with four guys in a rock band you [TS]

00:06:49   know what what a tour is is basically 40 [TS]

00:06:52   opportunities in a day to leave [TS]

00:06:53   something behind I show some ways yeah [TS]

00:06:56   yeah yeah you open the back of the van [TS]

00:06:58   and you start staging stuff to load it [TS]

00:07:01   in and if you don't if you're not [TS]

00:07:03   careful you'll leave something sitting [TS]

00:07:05   out there and then you move it into the [TS]

00:07:07   hallway and then you move it into the [TS]

00:07:09   backstage and they move it onto the [TS]

00:07:11   stage and each one of those [TS]

00:07:12   opportunities is a new you know a new [TS]

00:07:15   chance to like forget something key and [TS]

00:07:18   then backstage and then you do it you [TS]

00:07:21   you run it all out at the end of the [TS]

00:07:23   night but plus the merch and plus the [TS]

00:07:26   money and then you get to a hotel and in [TS]

00:07:28   a lot of cases you have to move some of [TS]

00:07:30   that stuff into the hotel because you [TS]

00:07:32   don't want to leave it outside yes and [TS]

00:07:34   then back and forth and so we got into [TS]

00:07:36   the habit of just shouting idiot check [TS]

00:07:39   at each other anytime we any time it [TS]

00:07:41   seemed like we were all comfortably [TS]

00:07:43   seated in a place like ah we're there [TS]

00:07:47   everybody sits down it's like idiot [TS]

00:07:49   check uh and you know you have to go [TS]

00:07:51   back and retrace all your steps and [TS]

00:07:53   invariably like the most expensive [TS]

00:07:55   guitar is leaning up against the fire [TS]

00:07:59   door I thought that's not the way your [TS]

00:08:01   brain is really is working at the time [TS]

00:08:03   and you don't want to be the one guy in [TS]

00:08:05   your platoon who forgot his helmet like [TS]

00:08:07   that like everybody has to have their [TS]

00:08:09   stuff and especially if like I figure [TS]

00:08:11   like if you're staying in a hotel [TS]

00:08:13   you're probably mostly living out of a [TS]

00:08:14   bag you're not like unpacking but even [TS]

00:08:17   then I feel like this is just a good [TS]

00:08:18   rule of thumb in general is always act [TS]

00:08:20   like Europe you're about to be called [TS]

00:08:22   into service you're going to have to go [TS]

00:08:23   run maybe it's an earthquake [TS]

00:08:25   maybe it's Dom bees or vampires but [TS]

00:08:27   always keep stuff close enough to you [TS]

00:08:29   that to the extent possible you could [TS]

00:08:30   know you have everything important [TS]

00:08:32   without having to think about it so [TS]

00:08:33   don't take stuff don't spread out at [TS]

00:08:35   Starbucks like keep it in your bag take [TS]

00:08:38   out one thing at a time I don't know [TS]

00:08:40   it's just one way I another bulwark [TS]

00:08:41   against madness for me keep it in your [TS]

00:08:44   bag man keep keep it together well do [TS]

00:08:46   you know the famous story that I'm not [TS]

00:08:49   talking out of school here this was [TS]

00:08:51   years ago this was decades ago but one [TS]

00:08:53   of Death Cab for Cutie's earliest tours [TS]

00:08:57   that they took with us the western state [TS]

00:09:00   hurricanes my band at the time we went [TS]

00:09:02   down to Austin and back and I don't know [TS]

00:09:05   if you are familiar with the story of [TS]

00:09:06   Nathan death cabs original drummer [TS]

00:09:09   mm-hmm but Nathan was and is a genius [TS]

00:09:14   like everyone who ever saw him play what [TS]

00:09:18   and it was it was hard in it when you [TS]

00:09:20   saw Death Cab for Cutie when they were [TS]

00:09:22   really young they were so on fire they [TS]

00:09:24   were such an incredible band but [TS]

00:09:26   everyone walked away saying my god that [TS]

00:09:29   drummer he really was he was just like [TS]

00:09:31   you know been wrote a lot of the drum [TS]

00:09:33   parts but Nathan just transformed them [TS]

00:09:36   he was he was otherworldly but he was [TS]

00:09:40   one of those otherworldly musicians that [TS]

00:09:41   kind of just didn't appear to a like [TS]

00:09:45   drumming was kind of a not really the [TS]

00:09:49   most important thing in his life you [TS]

00:09:51   know and and when you we have somebody [TS]

00:09:53   that has that kind of talent and all of [TS]

00:09:56   us at the time were just you know [TS]

00:09:58   struggling so hard and desperate to have [TS]

00:10:01   that kind of gift and well then you meet [TS]

00:10:05   somebody that has that kind of gift and [TS]

00:10:06   they sort of feel like oh yeah I mean [TS]

00:10:08   you know I drum but it's not really you [TS]

00:10:11   know it's not really what I want to do [TS]

00:10:13   it's just it kind of it's devastating I [TS]

00:10:17   mean it's you feel offended because it's [TS]

00:10:20   because he has such a gift [TS]

00:10:23   I met a kid a couple of years ago I [TS]

00:10:25   judged a contest like a teenage band a [TS]

00:10:29   songwriting contest thing teen band [TS]

00:10:31   contest and there was one band that was [TS]

00:10:34   just head and shoulders not only above [TS]

00:10:37   all the other teen bands who were great [TS]

00:10:40   all the best bands in the town but these [TS]

00:10:43   guys were just like they could they were [TS]

00:10:46   ready right they were 20 years old and [TS]

00:10:50   they had the songs and the vibe and you [TS]

00:10:54   know this wonderful lead singer and [TS]

00:10:56   these incredible tunes and it was just [TS]

00:10:58   like their there's these guys are gonna [TS]

00:11:00   be the biggest band in America like they [TS]

00:11:04   had it and their guitar player who was [TS]

00:11:07   phenomenal and who wrote all the songs [TS]

00:11:10   uh considered the band just kind of a [TS]

00:11:13   thing he was doing because on the side [TS]

00:11:17   because what he really wanted to do was [TS]

00:11:18   like go to college and get a degree in [TS]

00:11:21   chemistry and work in a lab and the [TS]

00:11:26   other kids in the band all of them knew [TS]

00:11:28   what all of them felt what they had and [TS]

00:11:31   they all wanted it so desperately and I [TS]

00:11:34   was the so they won the contest right [TS]

00:11:36   and then I did a thing that I never do [TS]

00:11:38   which is I went to them and said let me [TS]

00:11:40   help you through this next stage like [TS]

00:11:43   let me advise you because you're [TS]

00:11:46   incredibly gifted and I see that your [TS]

00:11:49   loss is good enough to not screw up yeah [TS]

00:11:52   just let me sit with you and like I'll [TS]

00:11:54   hear you out and then let me just make [TS]

00:11:56   some couple of recommendations about [TS]

00:11:57   where did what to do next and we got [TS]

00:12:00   together and you know this guy kind of [TS]

00:12:02   was just looking at his fingernails like [TS]

00:12:03   yes isn't really what I want to do with [TS]

00:12:05   my life you know and what can you say [TS]

00:12:09   all you can say is like great I mean I'm [TS]

00:12:13   happy that you have something that you [TS]

00:12:15   want to do more but you're this is like [TS]

00:12:17   the thing everybody wants you have it [TS]

00:12:20   yeah I mean I guess and part of it is [TS]

00:12:23   being young and you just don't you know [TS]

00:12:25   you feel like well I'm good at this I'll [TS]

00:12:27   be good at everything but Nathan I mean [TS]

00:12:31   just such an extraordinary guy and yet [TS]

00:12:33   in the end he just didn't want a music [TS]

00:12:35   wasn't his thing he wanted to work in [TS]

00:12:37   social services and he does he live in [TS]

00:12:39   San Francisco now and and and helps [TS]

00:12:42   people but on this famous tour we we [TS]

00:12:47   left Seattle we drove for 3-4 days or [TS]

00:12:50   whatever to get down to Austin we [TS]

00:12:52   arrived in Austin they were loading into [TS]

00:12:54   their showcase and Nathan said did he [TS]

00:13:00   any you guys remember to get my snare [TS]

00:13:05   and they all they all like stood up and [TS]

00:13:08   they were like what do you mean did we [TS]

00:13:11   remember to get your snare and he was [TS]

00:13:13   like well I mean it was there in the [TS]

00:13:15   practice space nobody grabbed it [TS]

00:13:19   and when they got back home like three [TS]

00:13:24   weeks later after this extremely long [TS]

00:13:26   tour that we did with a succession of [TS]

00:13:28   completely borrowed snares in there come [TS]

00:13:31   in there totally empty practice base [TS]

00:13:33   right in the center of the room there [TS]

00:13:35   was the snare in its little snare chaise [TS]

00:13:37   sitting just in the center of the room [TS]

00:13:38   it was like wow you know this was this [TS]

00:13:41   was maybe the second time they'd ever [TS]

00:13:43   left town it was like forgot the got the [TS]

00:13:47   snare that's an important drum that's a [TS]

00:13:50   key element I mean if you didn't have [TS]

00:13:57   one of your particular like your your [TS]

00:13:59   third favorite Zildjian crash that you [TS]

00:14:02   could survive you didn't remember your [TS]

00:14:03   mallets you know and I'd see the corner [TS]

00:14:06   that's you that's one of the two [TS]

00:14:07   critical drops that's um so anyway [TS]

00:14:12   that's that's a line we still use on [TS]

00:14:13   each other all the time hey did any of [TS]

00:14:15   you guys oh god remember my snare maybe [TS]

00:14:18   guys and you guys see my snare oh I'm [TS]

00:14:21   sure I've told you this one before but I [TS]

00:14:22   learned this from a pal of mine in high [TS]

00:14:24   school who as it happens was was the guy [TS]

00:14:27   who drove us to concerts a lot and he [TS]

00:14:31   started this I don't know if he invented [TS]

00:14:33   this he's the first person I never ever [TS]

00:14:34   knew ever knew to do it is that when you [TS]

00:14:36   got in the car once everyone was in the [TS]

00:14:38   car you had to take your ticket out of [TS]

00:14:40   your pocket [TS]

00:14:41   and you had to hold it to your forehead [TS]

00:14:42   and then everybody had to do it at the [TS]

00:14:45   same time everyone looked at each other [TS]

00:14:47   and everyone acknowledged that you could [TS]

00:14:49   see a ticket on every single person's [TS]

00:14:50   forehead and you know of course you're [TS]

00:14:53   reluctant at first but he knows where he [TS]

00:14:55   speaks he's driven to Tampa and had and [TS]

00:14:58   realized one person forgot their ticket [TS]

00:15:00   well you know kind of scotches the [TS]

00:15:02   evening for everybody that's that's not [TS]

00:15:03   fun and as stupid as that is there were [TS]

00:15:07   ample times that the the challenge [TS]

00:15:09   ticket was demanded and there was at [TS]

00:15:13   least one person that did not have works [TS]

00:15:16   it's like stop trusting your brain to be [TS]

00:15:18   a brain you know yeah yeah duh so yeah [TS]

00:15:23   we idiot check all the time and I'm I'm [TS]

00:15:25   I'm pretty good at you know and then [TS]

00:15:27   that includes like under the bed [TS]

00:15:29   under the behind the shower curtain it's [TS]

00:15:32   it's always where you least think behind [TS]

00:15:35   the door you know is where stuff ends up [TS]

00:15:38   you just have to go yeah and you have to [TS]

00:15:40   shout it right like idiot check and [TS]

00:15:43   sometimes you'll idiot check and then [TS]

00:15:45   someone else will come through behind [TS]

00:15:47   you and find your iPhone charger that [TS]

00:15:49   you left behind the chair what happens [TS]

00:15:51   by the time you get you get blind or [TS]

00:15:52   whatever it is that you're looking for [TS]

00:15:53   you're looking for that yeah your brains [TS]

00:15:54   looking for the wrong pattern or [TS]

00:15:56   something yeah and there's I mean that [TS]

00:15:58   feel like there must be a balance to be [TS]

00:15:59   struck that's somewhere between like and [TS]

00:16:02   like our like constantly like fretting [TS]

00:16:04   and neurotic about there must be [TS]

00:16:06   somewhere in between and yeah like [TS]

00:16:07   opening the drawers of things that [TS]

00:16:09   you've never even you never even looked [TS]

00:16:10   at until you started searching in [TS]

00:16:12   different stuff you did exactly but I'm [TS]

00:16:14   telling you this once stuff like you [TS]

00:16:16   know look behind the chair look under [TS]

00:16:19   the desk look in oh you forgot when you [TS]

00:16:22   were in a good mood and arrived you put [TS]

00:16:23   stuff on the top shelf of the closet [TS]

00:16:25   like you're gonna be there for one night [TS]

00:16:27   and you're putting stuff here in a good [TS]

00:16:29   mood yeah [TS]

00:16:30   hey I'm unpacking guy one time move it's [TS]

00:16:35   stressful must be stressful too [TS]

00:16:37   occurring I just can't even imagine it's [TS]

00:16:39   crazy [TS]

00:16:40   I one night in Montreal we went after [TS]

00:16:43   the show to some you know cafe and sat [TS]

00:16:49   there and had a good old time and got up [TS]

00:16:51   and went for a long walk and walked I [TS]

00:16:53   mean Montreal is a huge city much much [TS]

00:16:56   bigger than then anyone gives her credit [TS]

00:16:58   for and we walked and walked and walked [TS]

00:17:00   all the way across town and I suddenly [TS]

00:17:03   realized that I had left the bag with [TS]

00:17:05   all of the money we'd made on the tour [TS]

00:17:10   just sitting next to my chair in the [TS]

00:17:13   cafe just left it there [TS]

00:17:15   oh no and so I sprinted and you know I'm [TS]

00:17:20   not much of a sprinter I'm more of a you [TS]

00:17:24   know I'm more of a walk down there and [TS]

00:17:26   fuck all those cows than I am like a run [TS]

00:17:30   across Montreal kind of guy and ran and [TS]

00:17:34   ran and ran and ran and ran pant pant [TS]

00:17:37   pant pant pant finally and this was [TS]

00:17:42   before [TS]

00:17:43   you know there was any kind of call a [TS]

00:17:45   car service and I think I stopped on a [TS]

00:17:47   couple of street corners and tried to [TS]

00:17:49   help cabs and then I was like that won't [TS]

00:17:51   work you know the all these cabs are [TS]

00:17:53   going the wrong direction ran and ran [TS]

00:17:55   around finally roll into this place and [TS]

00:18:01   there's the back just just sitting there [TS]

00:18:04   sitting there nobody nobody messed with [TS]

00:18:07   it [TS]

00:18:07   Wow nice cafe I thanked everyone in the [TS]

00:18:10   place they all applauded so it was it [TS]

00:18:14   was good luck in that instance but I'm [TS]

00:18:17   pretty good about pretty good I don't [TS]

00:18:20   want jinx myself but I mean I had a [TS]

00:18:22   similar this is not interesting but one [TS]

00:18:23   time I remember I was camped out [TS]

00:18:25   somewhere I was reading something I was [TS]

00:18:26   writing something and I went about my [TS]

00:18:29   business and I think it was about an [TS]

00:18:31   hour later I went where's my backpack [TS]

00:18:36   and it was actually outdoors it was like [TS]

00:18:38   near a busy street I had left my [TS]

00:18:40   backpack like on the street pant pant [TS]

00:18:43   pant pant pant running running running [TS]

00:18:44   running running running and I was [TS]

00:18:45   totally just sitting there totally [TS]

00:18:47   undisturbed which is pretty crazy [TS]

00:18:48   because I mean we have people going [TS]

00:18:50   through our trash six times a day so [TS]

00:18:51   like I'm used to the idea that very few [TS]

00:18:53   things are left undisturbed in this city [TS]

00:18:55   right everything's disturbed here uh [TS]

00:18:58   yeah but but a you know it's amazing [TS]

00:19:00   like hiding in plain sight I just [TS]

00:19:02   thought about this this morning because [TS]

00:19:04   I often leave my barn door open and this [TS]

00:19:09   isn't ceases like this is the euphemism [TS]

00:19:12   the beginning of a dirty joke I just [TS]

00:19:15   mind you got touch my doctor I have a [TS]

00:19:19   barn door mm-hmm that's part of my barn [TS]

00:19:22   and and sometimes I just leave it wide [TS]

00:19:26   open and it's counterintuitive because [TS]

00:19:29   the barn is full of tools and full of [TS]

00:19:31   other things that you wouldn't want [TS]

00:19:32   people to steal but it is I think like [TS]

00:19:38   things get broken into in in my [TS]

00:19:40   neighborhood like the my next-door [TS]

00:19:43   neighbor had a boat on a trailer and [TS]

00:19:45   some kids broke into the boat like when [TS]

00:19:47   you think you're gonna find in a boat I [TS]

00:19:49   mean I guess a flare gun uh [TS]

00:19:54   here be the are but I just leave my barn [TS]

00:19:59   door wide open sometimes for weeks at a [TS]

00:20:03   time and I think it just sends the [TS]

00:20:06   message there's nothing in here there's [TS]

00:20:07   nothing in here even worth closing the [TS]

00:20:10   door and as far as I know the only thing [TS]

00:20:13   the only people that go in that barn and [TS]

00:20:16   molest anything are the raccoons that go [TS]

00:20:18   in and eat all the cardboard boxes doors [TS]

00:20:20   not gonna stop them well that's true too [TS]

00:20:22   but yeah it's the hiding in plain sight [TS]

00:20:25   thing I guess or if you're if you're if [TS]

00:20:28   you're walking through the neighborhood [TS]

00:20:29   you're like should we should we go under [TS]

00:20:31   that tarp and break into that boat or [TS]

00:20:33   should we walk into that barn I think [TS]

00:20:35   this is it [TS]

00:20:36   this is not gonna go for lots of things [TS]

00:20:38   in life but one thing I've learned I [TS]

00:20:41   feel like a little bit from having a kid [TS]

00:20:43   my kids pretty good with remembering [TS]

00:20:44   well she's not gonna remembering things [TS]

00:20:45   but she's pretty good at not losing [TS]

00:20:47   things mostly we lose a lot of jackets [TS]

00:20:49   that she takes off at recess and forgets [TS]

00:20:51   about um right but I think in some ways [TS]

00:20:54   I think it's when you're traveling it's [TS]

00:20:56   a little bit like planning to go to the [TS]

00:20:58   beach [TS]

00:20:58   we're like whatever you bring to the [TS]

00:21:00   beach and this is a little extreme but [TS]

00:21:01   when you go to the beach you'd figure [TS]

00:21:03   there's gonna be Sun there's gonna be [TS]

00:21:06   sand there's going to be a lot of water [TS]

00:21:07   you know don't bring anything with you [TS]

00:21:11   to the beach that would not stand up [TS]

00:21:13   well to sun sand and or water because [TS]

00:21:16   that's why you're going to the beach [TS]

00:21:17   you're going to the beach because those [TS]

00:21:19   are the performance characteristics of a [TS]

00:21:20   beach and I think it's kind of like that [TS]

00:21:22   would travel to like don't bring [TS]

00:21:23   heirlooms in a packed suitcase if you [TS]

00:21:25   can if you can possibly avoid it because [TS]

00:21:28   you know I mean it's a way of just [TS]

00:21:29   asking yourself like what could I afford [TS]

00:21:30   to lose and then like kind of plan [TS]

00:21:32   around that nice in that Beatles book I [TS]

00:21:36   was reading there's a story when they're [TS]

00:21:38   beginning the book in late 65 and I [TS]

00:21:40   guess they were they were doing a gig I [TS]

00:21:43   think in northern England and one of the [TS]

00:21:46   guitars was poorly secured it was like I [TS]

00:21:48   think George is like favourite old [TS]

00:21:49   Gretsch and just went flying off back [TS]

00:21:52   and got run over and it's like ah it [TS]

00:21:55   just breaks your heart to think about [TS]

00:21:56   that well think about all the great [TS]

00:21:59   instruments of all the great players [TS]

00:22:00   that have been stolen and lost and you [TS]

00:22:04   know I think [TS]

00:22:06   what is it like uh [TS]

00:22:09   jaco pastorius --is most famous bass [TS]

00:22:12   just got was just missing and they're [TS]

00:22:15   all these they're all these instruments [TS]

00:22:16   like key instruments in the moments of [TS]

00:22:20   of music that gets stolen on the back of [TS]

00:22:23   a ventilator or something Brian May [TS]

00:22:25   takes his original guitar on the road [TS]

00:22:28   but probably not there are there are [TS]

00:22:31   people who do and the thing about Brian [TS]

00:22:34   May right is that what if he does take [TS]

00:22:36   that guitar on the road it's not like [TS]

00:22:38   he's throwing it in the trunk of his car [TS]

00:22:40   there he's probably there probably three [TS]

00:22:41   people that their only job is to make [TS]

00:22:44   sure that that guitar is fine at all [TS]

00:22:45   times yes but all is not gonna space you [TS]

00:22:48   know tying it down right yeah it's um [TS]

00:22:52   you know I think that I think right like [TS]

00:22:54   Clapton took Blacky and Billy Gibbons [TS]

00:22:58   takes you know golden slumbers or [TS]

00:23:00   whatever the fuck his guitar is called [TS]

00:23:02   and golden showers hmm uh like those [TS]

00:23:07   guys do Wow how they do use those [TS]

00:23:11   instruments still yeah um sting and his [TS]

00:23:16   52 uh talk to your base he's got a [TS]

00:23:20   fender yoga base a yoga base uh so I [TS]

00:23:24   think you do kind of still get used [TS]

00:23:27   I mean Prince's fav famis Telecaster [TS]

00:23:31   with the with the leopard spot pit [TS]

00:23:34   guards still he still would trot that [TS]

00:23:35   thing now yeah yeah I mean I don't know [TS]

00:23:38   even at that level like Keith Richards [TS]

00:23:40   probably can bring pretty much whatever [TS]

00:23:41   he wants cuz he's got a whole like you [TS]

00:23:43   know force around him yeah but Keith [TS]

00:23:46   Richards could also throw a 59 Les Paul [TS]

00:23:48   into a bandsaw because who the fuck [TS]

00:23:52   cares there's a lot of great roles [TS]

00:23:54   particular fret that I think that this [TS]

00:23:59   you know the stones I think their [TS]

00:24:01   instruments kind of came and went you [TS]

00:24:03   know their guitars out there and this is [TS]

00:24:05   the crazy thing that that there are [TS]

00:24:08   people that I mean I was just looking [TS]

00:24:11   online not very long ago at guys that [TS]

00:24:14   collected old whoo amplifiers [TS]

00:24:18   like smash you know that no no like like [TS]

00:24:21   the a company called Sound City made [TS]

00:24:25   some custom heads for Pete Townsend and [TS]

00:24:28   that company became hiwatt and hiwatt [TS]

00:24:31   continued to make sort of custom heads [TS]

00:24:33   for Pete all through the early to mid [TS]

00:24:37   70s and I think as he I mean as those [TS]

00:24:41   amps I mean they kind of just got garage [TS]

00:24:44   sales [TS]

00:24:45   sort of like what happened at Abbey Road [TS]

00:24:46   right they had a garage sale and they [TS]

00:24:50   sold like the Mellotron the Abbey Road [TS]

00:24:55   Mellotron and they sold all the all the [TS]

00:24:58   custom-built like red six desks or [TS]

00:25:02   whatever lenny kravitz has one of the [TS]

00:25:04   desks from a view Abbey Road because he [TS]

00:25:06   just owns like I don't know if they were [TS]

00:25:08   exaggerating but Matt from Oringer said [TS]

00:25:09   they had the board from I think the the [TS]

00:25:13   brothers board from like Pet Sounds yeah [TS]

00:25:16   but we'll see there's a lot of that [TS]

00:25:17   stuff right because how many really [TS]

00:25:20   great recording desks are there there [TS]

00:25:24   are a lot but if you're on that played [TS]

00:25:28   on you know Sergeant Pepper it's kind of [TS]

00:25:30   a big deal [TS]

00:25:31   it's kind of a big deal but but even [TS]

00:25:34   that's that little stuff of like you [TS]

00:25:36   know the desk that we used to record the [TS]

00:25:40   first couple of long winters records was [TS]

00:25:43   the desk from Hollywood Bowl and so you [TS]

00:25:47   get this kind of feeling of like wow [TS]

00:25:50   think of all the music that went through [TS]

00:25:51   this board and that's a real that's a [TS]

00:25:53   thing [TS]

00:25:53   it's a Hall of Justice all of justice [TS]

00:25:56   yeah it was a it was a quad eight desk [TS]

00:25:59   which is you know kind of a they're a [TS]

00:26:02   boutique II uh onion a boutique II [TS]

00:26:04   they're an unusual kind of of the era [TS]

00:26:07   kind of board but I've recorded through [TS]

00:26:09   the board where uh Bob Marley recorded [TS]

00:26:15   uh one of his early records in London [TS]

00:26:20   Wow um you know that it's a thing that [TS]

00:26:23   gets talked about when you sit down in a [TS]

00:26:25   recording studio like oh this board was [TS]

00:26:27   the one from [TS]

00:26:29   you know from Sausalito or from Ocean [TS]

00:26:32   Way or whatever but when you think about [TS]

00:26:34   God the Oh so there's these websites of [TS]

00:26:38   these people that are like I bought this [TS]

00:26:40   amp at a pawn shop and I turned it over [TS]

00:26:43   and had the who stenciled on it and so I [TS]

00:26:47   looked it up it turns out that this was [TS]

00:26:50   one of like nine amps that Pete Townsend [TS]

00:26:53   used in the course of you know the [TS]

00:26:57   seventies who that kind of thing happens [TS]

00:26:59   all the time I guess I find I can't find [TS]

00:27:03   a use shirt that fits me it's not yellow [TS]

00:27:05   and people find on fucking Pete [TS]

00:27:07   Townsend's amp yeah I guess you just you [TS]

00:27:10   you just have to be shopping in the pawn [TS]

00:27:12   shops that it's that Pete Townsend's amp [TS]

00:27:14   is likely to show up in I mean I don't [TS]

00:27:16   think that person found it in Ames Iowa [TS]

00:27:19   yeah right yeah probably were in London [TS]

00:27:22   or something but still pretty hot [TS]

00:27:26   because things didn't matter to people [TS]

00:27:28   then you know when they when they when [TS]

00:27:31   they broke the sink didn't have well [TS]

00:27:33   they didn't have the same mythology and [TS]

00:27:34   reverence about the same things that we [TS]

00:27:37   do today they might have reverence for [TS]

00:27:38   for quite different things back then [TS]

00:27:40   yeah I'm not sure I do I think you're [TS]

00:27:43   right and I remember when radio stations [TS]

00:27:47   in the United States were transforming [TS]

00:27:52   themselves into digital because CDs had [TS]

00:27:56   supplanted not only LPS but also carts [TS]

00:28:02   right like carts were a thing that we're [TS]

00:28:05   used in radio that we're like an 8-track [TS]

00:28:07   tape player basically they were totally [TS]

00:28:09   using those in the 90's and ours yeah [TS]

00:28:11   right only local music they play with [TS]

00:28:13   they were just put on carts as well as [TS]

00:28:15   the you know PSAs and stuff like that [TS]

00:28:17   well and right around the time that I [TS]

00:28:20   started touring like late 90s early [TS]

00:28:24   2000s radio stations were kind of all [TS]

00:28:29   changing their their build so that it [TS]

00:28:33   was all got kind of going to computers [TS]

00:28:34   and it was going to be digital hither [TS]

00:28:36   thither and a lot of these radio [TS]

00:28:38   stations had custom built [TS]

00:28:42   amplifiers and compressors like you know [TS]

00:28:45   stuff made by ampeg in the 50s like all [TS]

00:28:48   walls of these beautiful uh Universal [TS]

00:28:55   Audio and and other like really really [TS]

00:28:58   now really valuable outboard gear and [TS]

00:29:03   they were just pulling that stuff out [TS]

00:29:05   and tossing it in the dumpster [TS]

00:29:07   because they were going to they were [TS]

00:29:10   going digital and and that stuff was it [TS]

00:29:13   was already valuable but on a very kind [TS]

00:29:15   of low [TS]

00:29:16   secondary market of people that were [TS]

00:29:18   trading 1176 --is they cost money but [TS]

00:29:22   the people that were working in these [TS]

00:29:24   radio stations weren't in weren't part [TS]

00:29:27   of that community and so it just seemed [TS]

00:29:29   like I was walking through the college [TS]

00:29:32   radio station in Davis UC Davis and they [TS]

00:29:38   had their whole hallway it was full of [TS]

00:29:40   what had been their old studio all these [TS]

00:29:42   like tape machines and stuff and and [TS]

00:29:46   they were just it just kind of was out [TS]

00:29:47   there under tarps and I think they were [TS]

00:29:49   just wheeling it they were just somebody [TS]

00:29:51   was going to come in a dump truck er or [TS]

00:29:53   in a pickup and take it all away it was [TS]

00:29:57   there's an element of our nominal topic [TS]

00:30:01   this week that comes up in some of this [TS]

00:30:02   which is that I don't know quite how to [TS]

00:30:06   phrase this it takes it takes a while [TS]

00:30:09   and it takes some it takes some changes [TS]

00:30:11   and take some quality takes a while for [TS]

00:30:12   stuff to become art or for stuff to seem [TS]

00:30:15   precious and so that's one reason I [TS]

00:30:18   think we get so interested in the which [TS]

00:30:20   you might call ephemera of previous eras [TS]

00:30:23   so like you know we've all seen you know [TS]

00:30:26   this famous painting or we've all seen [TS]

00:30:28   like you know there's a first edition of [TS]

00:30:30   this book stuff anybody could see was [TS]

00:30:32   really valuable but like to see like the [TS]

00:30:35   personal effects of someone like you [TS]

00:30:37   know on lines of your dad right where [TS]

00:30:38   you can see their receipts and you could [TS]

00:30:39   see all this little stuff where you can [TS]

00:30:40   see this is a maquette of what became a [TS]

00:30:42   very famous statue or this is you know [TS]

00:30:44   I'm saying like this is one of the [TS]

00:30:46   various copies of this document that [TS]

00:30:48   existed it's you know I I wonder how [TS]

00:30:51   much people had that same sense of [TS]

00:30:53   reverence because that really feels like [TS]

00:30:54   something [TS]

00:30:55   with rock music that was more common [TS]

00:30:57   starting in like the 70s and it would be [TS]

00:31:00   the the nostalgia in reverence was not [TS]

00:31:02   for the current generation necessarily [TS]

00:31:04   was not for the previous generate be [TS]

00:31:06   like two generations ago so that's why [TS]

00:31:08   like in the 70s you might want a fifties [TS]

00:31:11   rock-and-roll poster it's an original [TS]

00:31:13   but I mean even then like you know there [TS]

00:31:15   weren't as many Paul Allen type people [TS]

00:31:17   around at that time to gobble up all [TS]

00:31:19   that ephemera and want to put it [TS]

00:31:21   somewhere I feel like that is like an [TS]

00:31:23   80s and Beyond kind of thing I think it [TS]

00:31:25   is I mean there was always that there [TS]

00:31:28   was always someone who recognized that [TS]

00:31:30   this was George Washington's sword and [TS]

00:31:33   that that meant something right because [TS]

00:31:35   we have George Washington's sword [TS]

00:31:36   several of them still and whoever when [TS]

00:31:41   George Washington died whoever had that [TS]

00:31:42   sword definitely told their grandkids [TS]

00:31:45   that they couldn't play with it you know [TS]

00:31:48   like that way George Washington's sword [TS]

00:31:50   but if if if people had always thought [TS]

00:31:56   the way we think now we would have every [TS]

00:31:59   single pair of John Adams as socks you [TS]

00:32:02   know like they're we we play such a [TS]

00:32:05   tremendous value on all that ephemera [TS]

00:32:09   and most of it throughout history is [TS]

00:32:12   lost a time right we don't have Genghis [TS]

00:32:14   Khan's stirrups and I do think it [TS]

00:32:20   started and I do think it started in the [TS]

00:32:21   80s I don't think in the 70s of 1950s [TS]

00:32:24   rock poster probably meant that much [TS]

00:32:27   well you know I'm even thinking like us [TS]

00:32:30   obviously people collected records and [TS]

00:32:32   you might be really proud of your [TS]

00:32:34   collection but the real the purpose was [TS]

00:32:37   still to have records that you could [TS]

00:32:38   play and you wanted all the records you [TS]

00:32:40   might want rare records but maybe [TS]

00:32:41   there's some you didn't play so much but [TS]

00:32:43   you know it's very different from I mean [TS]

00:32:45   perhaps an extreme example is like in [TS]

00:32:48   the world of comics where you can do [TS]

00:32:49   this thing called grading where there's [TS]

00:32:51   this this one organization where you [TS]

00:32:53   send your comic they evaluate the the [TS]

00:32:56   quality of it in this really rigid way [TS]

00:33:00   and then they put it inside they encase [TS]

00:33:02   it in plastic which is called blocking [TS]

00:33:03   so and so you know the thing is though I [TS]

00:33:07   mean if you sure if you [TS]

00:33:09   you know like for Superman comic and so [TS]

00:33:12   something like that like obviously you [TS]

00:33:13   want to really take care of it but like [TS]

00:33:14   how many of your comics do you really [TS]

00:33:16   want in a slab of plastic kind of [TS]

00:33:19   defeats the purpose of having the [TS]

00:33:20   comment there and I think albeit in an [TS]

00:33:23   extreme way therein lies the distinction [TS]

00:33:24   you know if this is Pearl Jam's van like [TS]

00:33:27   are we supposed to look at it are we [TS]

00:33:28   supposed to drive around in it you know [TS]

00:33:30   yeah well there have always been right [TS]

00:33:33   the what were the classic things to [TS]

00:33:34   collect coins stamps yeah art people [TS]

00:33:39   kept a hold of Stradivarius instruments [TS]

00:33:42   so was stopped driving their ideas para [TS]

00:33:50   ver I um people you know uh there have [TS]

00:33:54   always been things that were held in [TS]

00:33:56   high regard such that they were passed [TS]

00:34:00   down antiques if you will right but yeah [TS]

00:34:05   this other thing that you're talking [TS]

00:34:06   about the it becomes a not a deliberate [TS]

00:34:10   object like this is not to be what was [TS]

00:34:12   intended to be and now it's just an [TS]

00:34:14   object to be collected and looked at and [TS]

00:34:17   traded exactly Chris Baloo's gold [TS]

00:34:21   spray-painted boots on display at the [TS]

00:34:25   experience music project are a great [TS]

00:34:27   example grant Huff of a time when uh [TS]

00:34:32   when it you know we really I think [TS]

00:34:34   around here thought that it was a weird [TS]

00:34:37   moment right because we recognize that [TS]

00:34:39   Jerry Garcia's finger if you had it in a [TS]

00:34:44   box it was worth money now and here we [TS]

00:34:48   were sort of feeling like in the in the [TS]

00:34:50   early 90s that we were replicating San [TS]

00:34:53   Francisco in the late 60s for the [TS]

00:34:55   midsi's we were replicating that whole [TS]

00:34:57   experience and therefore we had better [TS]

00:34:59   grab all of this stuff like Chris [TS]

00:35:03   Baloo's boots and put him under glass [TS]

00:35:05   because one day they would be worth [TS]

00:35:07   something and it's funny because times [TS]

00:35:10   have changed I mean I think probably [TS]

00:35:12   Chris Baloo's boots under glass were [TS]

00:35:14   worth a lot more [TS]

00:35:15   in 1998 than they are now because people [TS]

00:35:20   were there was a market for the men and [TS]

00:35:22   now [TS]

00:35:22   like oh yeah doing Chris police boots I [TS]

00:35:24   know you get those you're here basically [TS]

00:35:26   cause um yeah you wear that you know [TS]

00:35:30   he's going through a pair every year [TS]

00:35:32   he's got all stack of them beanie babies [TS]

00:35:34   fidget spinners don't catch them all but [TS]

00:35:37   listening to Sergeant Pepper hmm uh this [TS]

00:35:40   this brand new remix of Sergeant Pepper [TS]

00:35:44   that you might have heard about right at [TS]

00:35:48   the end of the day in a life a day in [TS]

00:35:51   the life the day in a life there's um [TS]

00:35:55   you know they hit that enormous piano [TS]

00:35:56   cord and the cord rings out and we all [TS]

00:36:01   know the story right there when we can [TS]

00:36:02   picture them all sitting there you know [TS]

00:36:04   three to a bench on these grand pianos [TS]

00:36:06   yeah I was like three three three guys [TS]

00:36:08   three pianos and you hit the chair [TS]

00:36:09   squeak at the end I'd you hear the chair [TS]

00:36:11   squeaks what I'm that's exactly what I'm [TS]

00:36:13   saying [TS]

00:36:13   and the thing is there's no way that you [TS]

00:36:16   can't hear it because as they were remix [TS]

00:36:19   in this they I mean every compressor in [TS]

00:36:23   the country was pointed at that chair [TS]

00:36:26   squeak so that we would so that it was [TS]

00:36:29   there you know what I mean like that [TS]

00:36:31   fucking chair squeak is the whole game [TS]

00:36:34   because it it scratches that itch for [TS]

00:36:37   all of us like oh the chairs we whose [TS]

00:36:40   whose butt wasn't Ringo's but was it [TS]

00:36:43   George's but there was George Martin's [TS]

00:36:44   but it was George Martin's but squeak [TS]

00:36:47   and and the end and the way it plays [TS]

00:36:50   into the whole thing like alright you [TS]

00:36:51   guys you know everybody quiet [TS]

00:36:53   we're gonna hit this chord and then just [TS]

00:36:55   be quiet let it ring out and then [TS]

00:36:57   somebody fucking squeaks I in that sense [TS]

00:36:59   I bet it was Paul oh man you got a heart [TS]

00:37:05   of a Paul but but but at any other time [TS]

00:37:10   you know that would have been any other [TS]

00:37:12   time pre Beatles I think that absolutely [TS]

00:37:16   would have been edited out that the the [TS]

00:37:18   mix would have they would have said even [TS]

00:37:20   if they've been trying to do the thing [TS]

00:37:21   they would have said well that will mix [TS]

00:37:23   it out at the chair squeak right and [TS]

00:37:25   even now when you're when you're [TS]

00:37:27   recording it's a big it's a big question [TS]

00:37:30   whether or not to leave those things in [TS]

00:37:32   because I think [TS]

00:37:36   in the days of foreign 8-track recording [TS]

00:37:39   if a mistake got made and got left in it [TS]

00:37:43   just got left in and didn't have options [TS]

00:37:46   yeah and that is part of the sound that [TS]

00:37:48   we love about old records and now that [TS]

00:37:52   you have the option I mean you can go in [TS]

00:37:54   and and monkey with the waveform and [TS]

00:37:57   take chair squeaks out while leaving the [TS]

00:38:00   the main sound you know you could keep [TS]

00:38:03   the cord in and take the chair squeak [TS]

00:38:05   out because you could pinpoint what it [TS]

00:38:07   was so now the question is do we leave [TS]

00:38:11   that mistake in in order to you know as [TS]

00:38:14   an effect almost do we leave it in to [TS]

00:38:16   make it sound like it's Rohrer than than [TS]

00:38:20   it is there's some things where if you [TS]

00:38:21   fixed it you'd mess it up a little bit [TS]

00:38:23   like going back and listen to the raw [TS]

00:38:24   tracks on I don't know the word for it [TS]

00:38:26   is but the the take that they use the [TS]

00:38:29   basic tracks you hear flubs what happens [TS]

00:38:32   and like you know do you want that taken [TS]

00:38:34   out that's part of how the song sounds [TS]

00:38:36   or when Paul this is not even on one of [TS]

00:38:39   the stony ones but on if I fell the [TS]

00:38:42   second time he sings the bridge his [TS]

00:38:44   voice cracks a little bit and you can [TS]

00:38:45   hear him laugh just a little bit on the [TS]

00:38:47   second bridge like blow my god don't [TS]

00:38:49   take that out because I sure that I [TS]

00:38:50   point that out to my daughter every time [TS]

00:38:52   it comes on like don't take that out [TS]

00:38:53   that's that's part of the song well so [TS]

00:38:56   that I think is a nice segue into the [TS]

00:38:59   question of whether or not you remix Sgt [TS]

00:39:01   pepper's Lonely Hearts Club Band that's [TS]

00:39:03   right yeah and I mean we don't need to [TS]

00:39:07   turn this into yet another you know long [TS]

00:39:10   article or video about this but the [TS]

00:39:12   basic idea was 50th anniversary George [TS]

00:39:15   Martin's son and if you have more [TS]

00:39:18   information you can correct me do that [TS]

00:39:19   but my understanding is they went in [TS]

00:39:20   they got the to the extent possible the [TS]

00:39:23   original tracks meaning like the [TS]

00:39:25   Unbounce down unspeak erected like [TS]

00:39:29   original tracks from Sergeant Pepper and [TS]

00:39:31   then wanted to reconstruct it for mainly [TS]

00:39:34   around sound quality to keep make it [TS]

00:39:36   still the versions that you're familiar [TS]

00:39:39   with but but again the stereo and the [TS]

00:39:43   mono mixes of these things were so [TS]

00:39:44   different and they wanted to create a [TS]

00:39:46   really good sounding stereo mix that [TS]

00:39:49   still honored [TS]

00:39:50   you know the way it was put together but [TS]

00:39:53   also bringing out sounds that you just [TS]

00:39:55   couldn't hear uh in the various versions [TS]

00:39:57   in the past right and now we have it now [TS]

00:40:05   we have it and I have listened to it and [TS]

00:40:09   the old stereo mixes not exactly [TS]

00:40:13   back-to-back but I listen to one and [TS]

00:40:15   then you know listen to the other and [TS]

00:40:18   was just kind of thinking about the two [TS]

00:40:20   things and they're markedly different [TS]

00:40:26   listening experiences from the [TS]

00:40:29   pre-existing stereo in particular the [TS]

00:40:31   original stereo mix and the and this [TS]

00:40:35   latest mix you know there they are [TS]

00:40:39   they're very different it's a very [TS]

00:40:42   different song to song and the whole [TS]

00:40:45   experience of the album is very [TS]

00:40:46   different and I'm I went into it I think [TS]

00:40:49   with the with the assumption that I was [TS]

00:40:53   going to be down on it they're going [TS]

00:40:59   what why tinker with this right well [TS]

00:41:01   yeah it's the George Lucas thing again [TS]

00:41:03   you know like yeah we have the [TS]

00:41:04   technology y-you know we have the [TS]

00:41:06   technology to to have the original [TS]

00:41:09   tracks but with the chipmunk singing [TS]

00:41:10   over it but why you know like why put a [TS]

00:41:15   CGI Jabba the Hutt in it uh that's kind [TS]

00:41:20   of a deep deep deep reference I don't [TS]

00:41:22   know I'm sure some some listeners will [TS]

00:41:24   get it but you were you're prepared to [TS]

00:41:28   go into thinking maybe this isn't a good [TS]

00:41:31   idea and you were kind of little bit [TS]

00:41:32   pre-loaded to not be into what you heard [TS]

00:41:35   well what did you think it was going to [TS]

00:41:36   be did you think it was gonna be too [TS]

00:41:39   refreshed to modern wouldn't respect the [TS]

00:41:42   old sound like what were you what were [TS]

00:41:43   you worried it would be the thing is the [TS]

00:41:49   the stereo mixes of those records were [TS]

00:41:51   bad and we all know that they were bad [TS]

00:41:57   they've always been bad they like you [TS]

00:41:59   like you said last week they were and [TS]

00:42:01   after [TS]

00:42:01   thought the band was all there for the [TS]

00:42:03   mono mixes and then there was this new [TS]

00:42:05   fad stereo and everybody went home and [TS]

00:42:08   left it to the skeleton crew to kind of [TS]

00:42:12   like well you know what you that point [TS]

00:42:13   was a little bit like turning your [TS]

00:42:14   existing movie into 3d you were gonna be [TS]

00:42:17   trying to cater to this specialized [TS]

00:42:19   market that was actually actually not [TS]

00:42:22   your primary channel that you were [TS]

00:42:24   selling into but there were also I mean [TS]

00:42:26   there are pretty big differences in some [TS]

00:42:28   cases of the speed of it in some cases a [TS]

00:42:29   little bit of arrangement and and I mean [TS]

00:42:31   famously like Ringo's drums did not [TS]

00:42:34   sound good in stereo he's a very nuanced [TS]

00:42:37   player and a lot of that was really lost [TS]

00:42:40   um especially in the stereo mix oh well [TS]

00:42:43   the reason that it was lost is that they [TS]

00:42:46   didn't yet know I mean this dawn of [TS]

00:42:48   stereo right they didn't know how to mix [TS]

00:42:50   so ring goes ring goes drums aren't it's [TS]

00:42:54   not stereo that doesn't serve them it's [TS]

00:42:57   that at the time it wasn't clear to them [TS]

00:43:00   like here's the standard that we all use [TS]

00:43:02   now right when you're still when you [TS]

00:43:04   bring up a mix a stereo mix of a song [TS]

00:43:07   the drums are right up the middle and so [TS]

00:43:12   what right up the middle means is you've [TS]

00:43:13   got you've got these knobs that are [TS]

00:43:14   called pan knobs and you can pan a sound [TS]

00:43:18   all the way into the left headphone or [TS]

00:43:20   all the way into the right headphone or [TS]

00:43:22   you can bring them sort of there it's [TS]

00:43:25   60% in the right headphone and 40% in [TS]

00:43:29   the left headphone and what that does is [TS]

00:43:31   in your mind when you're listening to it [TS]

00:43:33   it makes it sound like the instrument is [TS]

00:43:35   kind of over in it's in that side of the [TS]

00:43:39   room but it's not all the way over you [TS]

00:43:41   know in that case the entire drum set [TS]

00:43:42   it's the entire you're trying to emulate [TS]

00:43:46   the the part about that seems so crazy [TS]

00:43:48   in retrospect is you wouldn't think to [TS]

00:43:49   mix each weight didn't have the ability [TS]

00:43:51   to mix each drum differently different [TS]

00:43:53   effects different panning different gate [TS]

00:43:55   different everything on each drum to [TS]

00:43:57   create a new drum sound [TS]

00:43:59   it was more like emulating where the [TS]

00:44:01   drums were in a room and often it's not [TS]

00:44:03   it was almost all the way hard right or [TS]

00:44:05   hard left for most of the instruments [TS]

00:44:06   right which does not emulate the sound [TS]

00:44:09   of drums in a room that's the crazy [TS]

00:44:11   thing like so much of mixing is is to [TS]

00:44:14   trick [TS]

00:44:15   your brain yeah so if both if an [TS]

00:44:19   instrument is equal in both headphones [TS]

00:44:21   it sounds like it's straight ahead it [TS]

00:44:23   sounds like it's right in front of you I [TS]

00:44:25   mean it's really a peer it sounds like [TS]

00:44:27   it's appearing right inside your mind in [TS]

00:44:29   a way and when we mix records now it's [TS]

00:44:31   understood in the main that the drums [TS]

00:44:35   are mixed right in the middle and the [TS]

00:44:38   bass is mixed right in the middle and [TS]

00:44:40   the lead vocals are mixed right in the [TS]

00:44:42   middle that's where you want them and [TS]

00:44:44   then all the other stuff your pianos [TS]

00:44:46   your reverbs your backing vocals your [TS]

00:44:49   guitars your strings everything else is [TS]

00:44:52   kind of panned around the the sphere so [TS]

00:44:56   you know you you put a you put your lead [TS]

00:44:58   guitar over here you put the tambourine [TS]

00:45:00   over there and that's how you get that [TS]

00:45:02   stereo field but you don't want an [TS]

00:45:05   entire drum kit with all of its going [TS]

00:45:09   all that's going on in a drum kit you [TS]

00:45:10   don't want it mixed hard left because it [TS]

00:45:12   just and and if you do put something [TS]

00:45:15   there you can't put anything else there [TS]

00:45:16   like the drums take a lot of they take [TS]

00:45:20   informational space right so what made [TS]

00:45:23   Sergeant Pepper with what made those [TS]

00:45:26   mixes terrible is that on a lot of songs [TS]

00:45:28   and the thing is every song they did it [TS]

00:45:30   different they did a different thing but [TS]

00:45:33   like there were quite a few songs where [TS]

00:45:37   the entire kit like you're saying is [TS]

00:45:39   just all the way over there it is living [TS]

00:45:43   like fixing a hole the drums are up [TS]

00:45:46   completely completely left and the piano [TS]

00:45:49   is completely left and the base is [TS]

00:45:52   completely left and so the rest of the [TS]

00:45:55   song it's all over here on the right you [TS]

00:45:59   know all they like bing bangs and jink [TS]

00:46:01   tanks and and the singing and the vocals [TS]

00:46:03   and it's like that is crazy [TS]

00:46:05   that's what's such a strange decision [TS]

00:46:08   and the to me a classic example with the [TS]

00:46:10   Ramones it's kind of funny and I don't [TS]

00:46:12   mind it that it's all based over here [TS]

00:46:15   all guitar over there if you listen to [TS]

00:46:17   it with one speaker you can hear one or [TS]

00:46:18   the other full-stop but that's what [TS]

00:46:20   that's what three instruments and vocals [TS]

00:46:22   yeah and it's kind of cute but like I'm [TS]

00:46:24   kind of surprised that passed the sniff [TS]

00:46:26   test [TS]

00:46:27   even for the early days of stereo it's [TS]

00:46:31   such an odd decision because it's not if [TS]

00:46:32   you have headphones on it's not fun to [TS]

00:46:34   listen to well and I don't I think one [TS]

00:46:36   of the things was people didn't really [TS]

00:46:38   they weren't mixing with headphones they [TS]

00:46:41   had speakers in the room and they set it [TS]

00:46:43   up like that and it's like yeah I mean [TS]

00:46:46   it's so different when you're mixing a [TS]

00:46:47   song to listen to it in headphones all [TS]

00:46:50   that and it's it's why things now most [TS]

00:46:54   music now that people are making at home [TS]

00:46:56   or stuff like that it's all mixed in [TS]

00:46:58   headphones and when you're when you're [TS]

00:47:00   in a studio and you're making an album [TS]

00:47:02   you listen to it through the big [TS]

00:47:04   speakers and then you switch and you [TS]

00:47:06   listen to it through the little speakers [TS]

00:47:07   and then you listen to it in headphones [TS]

00:47:09   and then you listen to it and the cheap [TS]

00:47:11   little dime-store speakers and every [TS]

00:47:14   time you hear different things poking [TS]

00:47:16   out you know you put headphones on [TS]

00:47:19   you're like oh no we're complete but [TS]

00:47:21   working on this all day and it sounds [TS]

00:47:22   like shit and you have to go back and [TS]

00:47:25   start over but if you do it on the [TS]

00:47:26   headphones it's the same thing you [TS]

00:47:28   listen to it on the speakers it's like [TS]

00:47:29   oh no that's not right and it's so so [TS]

00:47:33   what they were doing is sitting in this [TS]

00:47:35   room listening to it on speakers and I [TS]

00:47:36   think they thought well let's make it [TS]

00:47:38   sound like the band is over here and [TS]

00:47:42   that singers over there that makes good [TS]

00:47:44   sense we're gonna do a stereo you might [TS]

00:47:46   as well really do it so people can [TS]

00:47:47   really hear the definition and I and I [TS]

00:47:51   think if you're sitting in your living [TS]

00:47:52   room if you're like in a Mac Mac cell a [TS]

00:47:55   magazine ad in your black your black [TS]

00:47:59   sunglasses sitting in your chair with [TS]

00:48:01   your glass of wine about to spill [TS]

00:48:04   listening to you music coming out of [TS]

00:48:06   your big hot speakers it probably [TS]

00:48:08   doesn't sound as unusual because it just [TS]

00:48:11   it's you're getting room reverb your [TS]

00:48:13   ears are picking up stuff it's the it's [TS]

00:48:17   the isolation of headphones where if [TS]

00:48:20   it's not in your right speaker your [TS]

00:48:22   right ear isn't going to hear it and [TS]

00:48:24   that's what makes it sound so trippy so [TS]

00:48:28   so to say that those stereo mixes of [TS]

00:48:31   Sergeant Pepper are like sacred somehow [TS]

00:48:34   I guess it's not defensible [TS]

00:48:37   because there's there's they were such [TS]

00:48:41   some of them were were just like well [TS]

00:48:44   that was a that was a mistake I mean you [TS]

00:48:46   were you were right at the you were [TS]

00:48:48   right at the gate of mixing in stereo [TS]

00:48:50   and that's not how we ended up doing it [TS]

00:48:52   right [TS]

00:48:53   um and it's and and also it um for this [TS]

00:48:59   for this new and very ambitious and very [TS]

00:49:01   I can't use that word nuanced material [TS]

00:49:03   um you know it's it's a shame that it [TS]

00:49:09   came across sounding a little thin you [TS]

00:49:12   don't really hear a rock band in there [TS]

00:49:14   it's it's very difficult I mean first of [TS]

00:49:17   all just the magic of what they are [TS]

00:49:18   doing with bouncing this stuff down on [TS]

00:49:19   the equipment they had it's incredible [TS]

00:49:21   it's absolutely incredible and it really [TS]

00:49:23   was the they were helping create the [TS]

00:49:25   future of music that we're still living [TS]

00:49:27   with today with what they were the hacks [TS]

00:49:28   that they were doing to try and like [TS]

00:49:30   change the tapes fees and get this under [TS]

00:49:31   there and bounce these down to this it's [TS]

00:49:33   all great but mean but the thing is the [TS]

00:49:34   material it always seemed like the [TS]

00:49:36   material was thin because the sound was [TS]

00:49:39   thin in some ways did you know I mean [TS]

00:49:41   yeah although although being for the [TS]

00:49:45   benefit of mr. kite is pretty thin yeah [TS]

00:49:47   well that's just in terms of disclosure [TS]

00:49:49   and getting this out of the way like I [TS]

00:49:51   said last week I would still count [TS]

00:49:52   sergeant Pepper's probably my maybe my [TS]

00:49:54   fourth favorite Beatles record yeah but [TS]

00:49:56   it's not it's never been because of the [TS]

00:49:58   production it's just because I there's [TS]

00:50:00   not as many songs that I adore on here [TS]

00:50:03   there's a handful of songs I really [TS]

00:50:05   really like I'm glad they were getting [TS]

00:50:06   ambitious I'm glad they were trying [TS]

00:50:08   stuff I think it's a very successful [TS]

00:50:09   very good record is the greatest album [TS]

00:50:11   of all time I don't think it is I don't [TS]

00:50:13   think the material is is is their [TS]

00:50:17   strongest and so I'm yeah I don't mean [TS]

00:50:19   to be rate the Beatles I mean I don't [TS]

00:50:21   mean to punch down to the Beatles here [TS]

00:50:22   but I checked my privilege and but uh [TS]

00:50:29   but but you know that's that's the thing [TS]

00:50:31   though but I guess what I'm putting this [TS]

00:50:32   so poorly but the problem is that the [TS]

00:50:34   material is is unusual it's light it's [TS]

00:50:37   got weird instrumentation and yeah so [TS]

00:50:40   obviously if they were trying to put out [TS]

00:50:41   like a thrash metal album and it sounded [TS]

00:50:43   like that it would be an abject failure [TS]

00:50:45   from the very beginning it some of the [TS]

00:50:46   songs I mean they're very there picks [TS]

00:50:48   there can be very strong songs with good [TS]

00:50:51   parts but I [TS]

00:50:51   just I'm saying like for the past 50 [TS]

00:50:53   years it is not benefited from the fact [TS]

00:50:56   that it really it didn't you couldn't [TS]

00:50:59   hear the rock music in it you know even [TS]

00:51:01   when it was like a vaudeville song [TS]

00:51:02   you couldn't appreciate like how Paul's [TS]

00:51:03   bass sounds like every note he hits and [TS]

00:51:06   this is before we even get into Ringo's [TS]

00:51:08   drums which is gonna be like three hours [TS]

00:51:09   of this podcast for me yeah but that's [TS]

00:51:12   that's where it's been and if you if you [TS]

00:51:14   wanted a robust great sounding mix you [TS]

00:51:15   could still go back and listen to mono [TS]

00:51:17   but mono is like black and white it's [TS]

00:51:19   like when I show apart from the movie [TS]

00:51:20   duck soup my daughter does not want to [TS]

00:51:22   watch anything in black and white it [TS]

00:51:23   feels it's a castrated color movie to [TS]

00:51:26   her that's her words didn't sound like [TS]

00:51:32   her gonna take on that one um you know I [TS]

00:51:36   agree about the record and listening to [TS]

00:51:38   it you listening to it like I did uh the [TS]

00:51:43   last couple of days thinking about it [TS]

00:51:44   you know it's really clear that [TS]

00:51:48   something in Paul really wanted to write [TS]

00:51:53   this musical music he wanted to write [TS]

00:51:55   music for his mom he wanted to write [TS]

00:51:58   this sort of Edwardian link dinky [TS]

00:52:03   lickety kadai hey you know kind of like [TS]

00:52:05   music that you would hear it on the [TS]

00:52:07   boardwalk in Brighton in 1912 and like [TS]

00:52:12   egos old-timey showbizzy music yeah and [TS]

00:52:15   and music that was I mean it those songs [TS]

00:52:18   that Paul writes in that Music Hall [TS]

00:52:20   style are really for all ages you know [TS]

00:52:24   from from nine to ninety anybody is [TS]

00:52:27   going to be able to enjoy it it's not [TS]

00:52:29   it's not those songs are not dark [TS]

00:52:32   they're fun and they're old-timey [TS]

00:52:35   and he really really wanted to explore [TS]

00:52:39   that sound and what I've always loved [TS]

00:52:42   about the Beatles and what scared me [TS]

00:52:44   about them when I was ten and really [TS]

00:52:46   wanted to be scared by the Beatles was [TS]

00:52:49   that those songs in the context of the [TS]

00:52:52   Beatles were terrifying because what the [TS]

00:52:56   fuck are these people on you know it [TS]

00:53:01   compared to I mean you have one of these [TS]

00:53:03   Paul songs like la [TS]

00:53:05   not that out of that' and then right [TS]

00:53:07   next to it is like why don't we do it in [TS]

00:53:09   the road or something and and taken [TS]

00:53:13   together it's wonderful it's a wonderful [TS]

00:53:16   part of the Beatles but imagining as I [TS]

00:53:20   so often do what it was like to be John [TS]

00:53:23   Lennon and sitting there thinking that [TS]

00:53:26   you are an avant-garde artist and then [TS]

00:53:30   Paul comes in with it's getting better [TS]

00:53:33   all the time or lovely Rita and John [TS]

00:53:37   just like had to be feeling the had to [TS]

00:53:42   be I mean we all know he was he was just [TS]

00:53:44   feeling this resentfulness at what he [TS]

00:53:47   perceived to be Paul's corniness so [TS]

00:53:49   Sergeant Pepper the whole vibe of the [TS]

00:53:51   record was Paul saying I've got it why [TS]

00:53:55   don't we pretend to be a band and if we [TS]

00:53:59   pretend to be a band than all my [TS]

00:54:01   cornball uh musical stuff won't be us [TS]

00:54:06   will it it'll be a fun me band and the [TS]

00:54:10   end he's presented it in in that way [TS]

00:54:13   that Paul loves to sort of revise just [TS]

00:54:16   yes yes here we go he's presented it as [TS]

00:54:20   like no you know it was my attempt to [TS]

00:54:23   beYOU know be very alter you wouldn't in [TS]

00:54:26   it Brewer and but really what was [TS]

00:54:29   motivating him was he wanted to do that [TS]

00:54:31   he wanted to do a kids record almost and [TS]

00:54:33   he had to contend then and then the the [TS]

00:54:37   weird arty stuff he had to contend with [TS]

00:54:41   George who was like you know writing a [TS]

00:54:44   magic carpet around and Lennon who was [TS]

00:54:48   already starting to come unglued [TS]

00:54:50   you know Lennon was almost a hard time [TS]

00:54:52   yeah he was he was hitting a rough patch [TS]

00:54:55   yeah and so then and then you get the [TS]

00:54:57   magic of them all together and you throw [TS]

00:54:59   it together and here's this [TS]

00:54:59   extraordinary record but I was you know [TS]

00:55:02   the famous story right about here comes [TS]

00:55:05   Paul with it's getting better all the [TS]

00:55:06   time and then Lennon comes in with good [TS]

00:55:09   much was and it's like oh that's the [TS]

00:55:12   there it is right there the Lennon [TS]

00:55:15   McCartney Frisian [TS]

00:55:17   but what really stands out is that [TS]

00:55:21   Lenin's backing vocals in that tune are [TS]

00:55:26   so much of a fuck you to the song like [TS]

00:55:32   his backing all of his life sounds like [TS]

00:55:34   he's singing along on the radio with a [TS]

00:55:36   song that he doesn't like and so he does [TS]

00:55:37   a sweet grandma [TS]

00:55:38   falsetto his is his tone his choice of [TS]

00:55:48   the way he sings his his intentional out [TS]

00:55:50   of tunis are like a contemptuous [TS]

00:55:55   contribution to the song he's actively [TS]

00:55:57   hating it as he performs it and it's [TS]

00:56:00   amazing that he got away with it that [TS]

00:56:03   whatever their dynamic at the time and [TS]

00:56:05   their dynamic with George Martin was [TS]

00:56:06   that he could do that and I think [TS]

00:56:10   probably Paul was gritting his teeth and [TS]

00:56:13   saying like oh yeah that's very good you [TS]

00:56:16   know that's very creative and somehow it [TS]

00:56:19   got through somehow Lennon managed to [TS]

00:56:22   say like no that's what this tune needs [TS]

00:56:23   it needs me like mocking it throughout [TS]

00:56:27   and it's not just the you know it's not [TS]

00:56:29   just can't get much worse it's like [TS]

00:56:30   every note out of his mouth and then [TS]

00:56:33   when Paul's harmonies come in they're [TS]

00:56:35   beautiful and perfect so you know like [TS]

00:56:40   that that that ugliness didn't extend to [TS]

00:56:44   the harmonies that Paul put on right he [TS]

00:56:46   Paul was still trying to keep it fun uh [TS]

00:56:50   and that's that you hear that throughout [TS]

00:56:53   this record when you really like zoom in [TS]

00:56:55   on it but they were still nominally [TS]

00:56:57   friends at that point they had yeah the [TS]

00:56:59   thing hadn't decayed but the signs were [TS]

00:57:02   there yeah yeah absolutely and but it is [TS]

00:57:06   funny how they you the more you learn [TS]

00:57:07   it's with when you apply some genetic [TS]

00:57:10   criticism to this and you know things [TS]

00:57:11   you hear stories and you read things but [TS]

00:57:13   it's strange though that like it's [TS]

00:57:15   strange and it's fortunate that they [TS]

00:57:18   were able to hold it together as long as [TS]

00:57:19   they did - you get something like [TS]

00:57:22   strawberry fields and and Penny Lane [TS]

00:57:24   that you know such such different songs [TS]

00:57:27   such different approaches but like we [TS]

00:57:28   can't we as the audience can appreciate [TS]

00:57:30   those [TS]

00:57:30   as those first right does afford it yeah [TS]

00:57:34   but I think Strawberry Fields is the [TS]

00:57:36   very first thing can you imagine how [TS]

00:57:38   much better this record would be if it [TS]

00:57:41   had those two songs on it and just those [TS]

00:57:45   two songs right [TS]

00:57:47   but as this let alone like yeah well and [TS]

00:57:50   you know they're both like they're both [TS]

00:57:52   total peak Beatles right the the total [TS]

00:57:55   triumph and Penny Lane is a classic Paul [TS]

00:57:58   like song for all ages and Strawberry [TS]

00:58:02   Fields is Lennon on his drug his drug [TS]

00:58:05   thing and and yet they're not on that [TS]

00:58:10   record and so so you get you know you [TS]

00:58:13   get a little bit of like the subpar [TS]

00:58:15   Beatles and yeah and still it's [TS]

00:58:18   considered the greatest record in [TS]

00:58:19   history right if we had those two songs [TS]

00:58:22   on that record it would be I don't know [TS]

00:58:24   God's such a much better record yeah I [TS]

00:58:29   don't understand that whole I think well [TS]

00:58:32   I did a little bit of reading about this [TS]

00:58:34   it sounds like they did they felt like [TS]

00:58:35   they were cheating if they were [TS]

00:58:36   releasing singles off of an album that [TS]

00:58:38   their their typical set was you know you [TS]

00:58:41   get these 10 usually 10 songs plus a [TS]

00:58:44   single and in this case the four not the [TS]

00:58:47   is it technically the first double [TS]

00:58:49   a-side what about don't be cruel and [TS]

00:58:51   pound dog I mean isn't that a double a [TS]

00:58:53   sign that is some record record talk [TS]

00:58:57   that I'd I can't join in I have no idea [TS]

00:58:59   sounds like a double a-side but I think [TS]

00:59:01   back then I think hound dog era they [TS]

00:59:05   weren't released as double-a sides they [TS]

00:59:07   were released as a B and then then the [TS]

00:59:10   DJ's flipped it over and they were like [TS]

00:59:12   whoa right I mean came a double a but [TS]

00:59:15   the Beatles released it intentionally as [TS]

00:59:17   a double a-side right right right [TS]

00:59:19   totally I mean it just seems like so I'm [TS]

00:59:21   gonna get mail about this did I get that [TS]

00:59:22   right is it hound dog and don't be cruel [TS]

00:59:24   I don't know about that it seems like [TS]

00:59:28   such a squandered opportunity but then [TS]

00:59:31   I'm the guy that put commander thanks [TS]

00:59:32   allowed on an EP yeah yeah [TS]

00:59:35   so look at you yeah look at me um okay [TS]

00:59:39   it's weird though I mean like I want to [TS]

00:59:40   listen to it I go I like that song I [TS]

00:59:42   like that song I like this other song [TS]

00:59:44   but you know it's it isn't it's it's for [TS]

00:59:48   me as an album and I look like I'd like [TS]

00:59:50   to get to the sound stuff because I [TS]

00:59:51   think that's that's where the story is [TS]

00:59:53   for me on this one but I mean there are [TS]

00:59:57   even more chamblee things [TS]

00:59:57   even more chamblee things [TS]

01:00:00   like like I would buy think oh we prefer [TS]

01:00:01   the white album to this that there's [TS]

01:00:03   only about a shamble on there and it's [TS]

01:00:05   really sad that they only play on like [TS]

01:00:06   what one or two songs on that whole [TS]

01:00:08   album together other than that like [TS]

01:00:10   there they never were recording at the [TS]

01:00:11   same time apart from like happiness is a [TS]

01:00:13   warm gun supposedly but yeah I mean this [TS]

01:00:17   is I started listening to this when I [TS]

01:00:19   was about 13 and yes I mean I've been [TS]

01:00:23   told my whole life I'd heard this was [TS]

01:00:24   like the greatest album of all time and [TS]

01:00:26   I really liked it I think at that time [TS]

01:00:27   even at that time I think there were [TS]

01:00:29   others I liked a little more but yeah [TS]

01:00:32   well revolvers and Rubber Soul are both [TS]

01:00:35   way better albums let's discover [TS]

01:00:36   revolver after Sergeant Pepper so I had [TS]

01:00:40   the the blue album the red album as [TS]

01:00:42   they're now called and that's that's [TS]

01:00:44   what I really kind of thumb cut my teeth [TS]

01:00:47   on was listening to those over and over [TS]

01:00:48   and skipping lady Madonna but like those [TS]

01:00:51   those albums were huge for me [TS]

01:00:53   and yeah I don't know I might have an [TS]

01:00:55   abbey road cuz I I really got into the [TS]

01:00:57   Beatles through my cousins there were [TS]

01:01:00   five and ten years older respectively [TS]

01:01:02   and so Abbey Road I think was the first [TS]

01:01:04   album of theirs I really loved because [TS]

01:01:06   I'd heard it a lot and then I kind of [TS]

01:01:08   backed into it by sample but it wasn't [TS]

01:01:09   until college I don't think it was until [TS]

01:01:10   I had a CD player my second year of [TS]

01:01:12   college that I really heard revolvers [TS]

01:01:14   and I didn't pretty quickly became my [TS]

01:01:17   favorite I didn't listen to the White [TS]

01:01:20   Album until I was in high school but [TS]

01:01:21   revolver was the first Beatles record I [TS]

01:01:24   had because when I moved to Alaska to [TS]

01:01:28   live with my dad I think one of my older [TS]

01:01:33   siblings had been up there to visit in [TS]

01:01:35   the in the early 70s or something and [TS]

01:01:40   there were three no wait what was it [TS]

01:01:45   there was revolver these were 8-track [TS]

01:01:48   tapes that were at my dad's house that I [TS]

01:01:50   discovered Wow [TS]

01:01:51   hidden among the Count Basie tapes there [TS]

01:01:55   was revolver there was Jackson five [TS]

01:01:59   there was bridge over troubled water um [TS]

01:02:05   that may have been it but those three [TS]

01:02:08   records I immediately collected and put [TS]

01:02:10   into my dad's car which had an [TS]

01:02:13   eight-track tape player and we listened [TS]

01:02:15   to them because he you know he had a [TS]

01:02:17   friend this is what's crazy about the [TS]

01:02:20   time he had a friend that owned a record [TS]

01:02:22   store that was capable of making his own [TS]

01:02:25   8-track tapes like mix tapes on 8-track [TS]

01:02:30   and so he would make mixtapes for my dad [TS]

01:02:32   of all this Glenn Miller stuff and so my [TS]

01:02:36   dad had all these like Private Reserve 8 [TS]

01:02:39   tracks of his favorite you know his [TS]

01:02:42   favorite jazz stuff and then I had these [TS]

01:02:45   three pop records and any chance I got I [TS]

01:02:49   would slip my pop record in and he would [TS]

01:02:52   listen to it you know and kind of like [TS]

01:02:53   no it's good let you know he'd let me [TS]

01:02:56   listen to it for a while but so revolver [TS]

01:02:59   was the my first and only Beatles record [TS]

01:03:01   for a long time before I did what a lot [TS]

01:03:05   of early Beatles fans from the from the [TS]

01:03:09   70s and 80s did which was I got the Blue [TS]

01:03:11   Album mm-hmm and then I got the red [TS]

01:03:14   album that's the same order I got him in [TS]

01:03:16   the backwards order yeah blue and then [TS]

01:03:18   red and between the blue and the red I [TS]

01:03:22   mean I was covered Beatles wise mm-hmm [TS]

01:03:25   and was kind of scared to listen to the [TS]

01:03:29   records themselves until probably yeah [TS]

01:03:33   junior junior year in high school maybe [TS]

01:03:36   it's not a fake it's not something I'm [TS]

01:03:37   proud of but given my budget and my [TS]

01:03:39   interest a lot of my entrees into bands [TS]

01:03:42   that became my favorites were through [TS]

01:03:44   best odds of greatest hits just because [TS]

01:03:45   it was the most economically viable way [TS]

01:03:47   well that was the time mm-hmm [TS]

01:03:50   you know what I think I don't know if [TS]

01:03:51   I've ever listened to an Eagles record [TS]

01:03:53   but I've listened to the Eagles Greatest [TS]

01:03:55   Hits I mean it's got it he's got a [TS]

01:03:57   popular album of all time yeah that's [TS]

01:03:59   all you need really huh but so so so [TS]

01:04:04   revolver isn't just I mean I it's I [TS]

01:04:06   think the best Beatles record but also [TS]

01:04:08   its burned into me like burned into my [TS]

01:04:11   young emotions so powerfully [TS]

01:04:14   that I can't separate it from from being [TS]

01:04:20   ten or being 14 or you know it's like [TS]

01:04:22   it's been with me my whole life [TS]

01:04:23   basically but this record was one of the [TS]

01:04:27   ones I was scared to listen to on its [TS]

01:04:29   own and when I listened to it finally on [TS]

01:04:32   its own that fear was confirmed because [TS]

01:04:36   I was like so many things when you love [TS]

01:04:38   them I was scared to be disappointed [TS]

01:04:40   really the thing that I loved yeah I'm [TS]

01:04:43   oh no if I hear if I hear a perfect work [TS]

01:04:46   like I love my bloody Valentines a [TS]

01:04:51   record flawless one Lovelace I love it I [TS]

01:04:55   love it I love it I loved every minute [TS]

01:04:56   of it and I am very resistant to [TS]

01:04:59   listening to the other music made by My [TS]

01:05:03   Bloody Valentine I just don't want to [TS]

01:05:06   tarnish the thing that I love with [TS]

01:05:08   missed with any missteps I don't want to [TS]

01:05:11   hear his folk record you know I just [TS]

01:05:14   want to hear I just want to keep the [TS]

01:05:17   perfect thing and the Beatles were so [TS]

01:05:19   perfect through so much have you ever [TS]

01:05:23   have you ever heard their that the the [TS]

01:05:25   other Greatest Hits um [TS]

01:05:26   the brown one called love songs oh yes [TS]

01:05:30   young like the seventies yeah yeah I [TS]

01:05:33   feel like that that was that was uh that [TS]

01:05:36   was a popular one yet looks like them in [TS]

01:05:39   like a kind of leather cupboard yeah [TS]

01:05:40   exactly it's a it's an incredible [TS]

01:05:44   mixtape is what it is it's a very [TS]

01:05:46   unusual combination of those songs and [TS]

01:05:48   it's it's just like a weird it's a very [TS]

01:05:53   weird listen and a an emotional listen [TS]

01:05:57   it's it's their it's their sappy tunes I [TS]

01:06:00   guess for lack of a better term and and [TS]

01:06:04   taken out of their context and put into [TS]

01:06:06   this record it so it also was on my [TS]

01:06:10   turntable a lot growing up [TS]

01:06:14   I'm seeing 1977 yeah yeah I still have [TS]

01:06:20   all that stuff to all those vinyls [TS]

01:06:23   so I should get good though I should [TS]

01:06:27   just say I should have gotten my [TS]

01:06:29   Sergeant Pepper out and listen to it on [TS]

01:06:30   the record player Amazon Prime [TS]

01:06:38   so this thing came along and I I learned [TS]

01:06:43   about it from think guys I'm already [TS]

01:06:47   forgetting but I think I heard about it [TS]

01:06:48   from an interview with them Giles Martin [TS]

01:06:51   on All Songs Considered the MPR show and [TS]

01:06:55   I just hadn't realize it was out yet I'd [TS]

01:06:58   heard it was coming but again why am I [TS]

01:07:00   gonna pay attention to that uh it's not [TS]

01:07:01   my favorite you're talking about this [TS]

01:07:03   remix [TS]

01:07:03   yeah the remix I mean I it had been out [TS]

01:07:05   for I guess a week or two when I heard [TS]

01:07:07   this interview and the nice thing in [TS]

01:07:09   this interview is it's uh they basically [TS]

01:07:12   he jaws will like he'll talk about some [TS]

01:07:15   part of a song he plays usually plays [TS]

01:07:17   the I think he usually starts with the [TS]

01:07:21   stereo mix then plays the mono mix might [TS]

01:07:23   have been backwards and then third plays [TS]

01:07:25   the new one and I could I could really [TS]

01:07:29   really hear the difference and you know [TS]

01:07:32   again dead rock-and-roll ears but but I [TS]

01:07:34   mean I heard stuff on there I just [TS]

01:07:36   didn't I don't remember ever hearing or [TS]

01:07:38   even knowing was on there and I [TS]

01:07:40   instantly as soon as it was over I [TS]

01:07:41   jumped over to music Apple music where [TS]

01:07:43   it was already up and like I said I [TS]

01:07:46   listened to it three times Saturday [TS]

01:07:47   before last yeah so I was I you know I [TS]

01:07:50   went into it before my first listen I [TS]

01:07:52   went into it ready to like it [TS]

01:07:53   so you went into it ready to be sort of [TS]

01:07:56   man and then how did you I still don't [TS]

01:07:58   have a guess what your feeling is I bet [TS]

01:08:00   it's complicated but mostly positive [TS]

01:08:03   well yeah so the bass sounds amazing but [TS]

01:08:08   it sounds modern you know like the way [TS]

01:08:11   that the bass is compressed and the I [TS]

01:08:15   mean what you hear in the bass is this [TS]

01:08:17   incredible like a palm Paul took a lot [TS]

01:08:22   from Carol Kaye you hear his bugle have [TS]

01:08:26   you can totally you can tell [TS]

01:08:28   totally here uh was it would it be pet [TS]

01:08:31   sounds at this point but there's so much [TS]

01:08:32   he does that's very Beach Boys he's [TS]

01:08:35   really he's really into it you know he's [TS]

01:08:37   into that tone especially something like [TS]

01:08:40   I have a little help from my friends I [TS]

01:08:41   mean it almost sounds like he's [TS]

01:08:42   deliberately aping a Beach Boys yeah [TS]

01:08:44   yeah this vibe right and and it's so [TS]

01:08:47   cool to hear it given a modern treatment [TS]

01:08:51   because now the base for so for most of [TS]

01:08:55   the tunes now there are some tunes where [TS]

01:08:58   the original mix kind of already sounded [TS]

01:09:03   like like a modern mix just because as [TS]

01:09:07   they were as they were throwing frogs at [TS]

01:09:10   a wall like one of them stuck every once [TS]

01:09:12   in a while but but the so the bass and [TS]

01:09:17   the drums are just so much more well [TS]

01:09:21   they're just in the mix final right [TS]

01:09:22   there I mean I just there did sounds it [TS]

01:09:24   sounds like it that sounds like a bass [TS]

01:09:26   these sound like real drums and you can [TS]

01:09:28   hear them and if you if you put them [TS]

01:09:30   side to side if you if you just listen [TS]

01:09:32   to you know if you listen to fixing a [TS]

01:09:38   hole and the drums are completely said [TS]

01:09:42   they sound like they're squashed into a [TS]

01:09:43   can on the left-hand side and then you [TS]

01:09:46   you listen to the new version of it and [TS]

01:09:49   the drums are just where they belong [TS]

01:09:50   they're in the room there they're there [TS]

01:09:52   they are you hear them and you're able [TS]

01:09:53   to hear them and it sounds like a band [TS]

01:09:55   like you're saying and it sounds like [TS]

01:09:57   rock music [TS]

01:09:58   mm-hm um there's just no there's no way [TS]

01:10:02   you can go back to the to that other mix [TS]

01:10:04   and defend it as anything other than [TS]

01:10:07   like what it was which is the historical [TS]

01:10:10   that's the artifact right this is if you [TS]

01:10:13   had a choice between listening to the [TS]

01:10:14   Tuesday oh you kind of can't unhear that [TS]

01:10:16   difference yeah but I would choose the [TS]

01:10:20   new one if I was gonna if I was if I was [TS]

01:10:22   washing the dishes and wanted to turn on [TS]

01:10:24   my Sonos and play one of the two I would [TS]

01:10:26   play the new one it just sounds amazing [TS]

01:10:28   but the but the treatment of the bass [TS]

01:10:31   and the and it's less true I think in [TS]

01:10:35   the treatment of the drums which kind of [TS]

01:10:36   just sound they're just there but the [TS]

01:10:39   base is really tree [TS]

01:10:41   did like a modern base and so you get [TS]

01:10:44   you get the you get all the sound of it [TS]

01:10:47   and it feels very just like well it's [TS]

01:10:51   it's warm and punchy let's just call it [TS]

01:10:53   I think in this at that at that time [TS]

01:10:56   I'm gonna guess you were really supposed [TS]

01:10:57   to notice the bass you weren't supposed [TS]

01:11:00   to really hear the bass as an instrument [TS]

01:11:02   I mean maybe a little different with [TS]

01:11:03   something like John Entwistle where he's [TS]

01:11:04   you know like a marquee player but as [TS]

01:11:06   great as Paul's parts were I mean you [TS]

01:11:11   might lose it along side the left left [TS]

01:11:14   hand of the piano playing or something [TS]

01:11:15   if you're not listening carefully it [TS]

01:11:16   wasn't meant to stand out in the way [TS]

01:11:18   that by the time he's in wings it feels [TS]

01:11:21   like it's getting a little bit louder [TS]

01:11:22   every album and well and then do do [TS]

01:11:25   what's what's funny is that even in the [TS]

01:11:27   original mix of lovely Rita the bass and [TS]

01:11:31   the vocals are so front like the bass is [TS]

01:11:35   absolutely the only thing going on in [TS]

01:11:37   that track because the entire rest of [TS]

01:11:39   the band [TS]

01:11:40   everything is mashed over in the left [TS]

01:11:44   channel like the right channel is and [TS]

01:11:47   this is what's crazy I didn't ever [TS]

01:11:49   realize this about lovely Rita but all [TS]

01:11:50   the shaker sounds the eggshaker in that [TS]

01:11:53   tune yeah it's a lot of percussion well [TS]

01:11:56   except the eggshaker is all voice it's [TS]

01:11:59   them going [TS]

01:12:00   chicka chicka chicka chicka chicka [TS]

01:12:02   chicka chicka chicka and I never heard [TS]

01:12:06   it before this before I listen to this [TS]

01:12:08   new mix and then I went back in listen [TS]

01:12:09   bill mix it's even more evident in the [TS]

01:12:12   old mix they're they're seriously like I [TS]

01:12:15   can't believe they're not laughing I [TS]

01:12:16   think I hear them laughing I mean [TS]

01:12:18   they're just like Shh [TS]

01:12:20   lovely Rita chicka chicka chicka they [TS]

01:12:23   did they do that was super Saiya for [TS]

01:12:26   like you wonder like will I not listen [TS]

01:12:27   carefully before like how tonight like I [TS]

01:12:29   was listening on um when I'm 64 I almost [TS]

01:12:32   thought they used a different vocal cuz [TS]

01:12:33   when he says uh grand children on your [TS]

01:12:37   knee and like wait a minute [TS]

01:12:38   what was that has he always done a jokey [TS]

01:12:41   rolling at the arse on that song and I [TS]

01:12:43   just never heard it before [TS]

01:12:44   was I not listening carefully or is this [TS]

01:12:46   really that much clearer cuz it's [TS]

01:12:47   unavoidable when you listen to it on [TS]

01:12:49   headphones he's doing a funny English [TS]

01:12:50   guy voice isn't that crazy I mean you [TS]

01:12:53   know how'd you notice that [TS]

01:12:54   for I knew that because that because I'm [TS]

01:12:56   on the because I am so on the hunt for [TS]

01:13:00   his camp any any bit of his camp eNOS [TS]

01:13:04   III put a little a little crime-scene [TS]

01:13:07   flag like bullets after a drive-by [TS]

01:13:11   little flashes and there here's some [TS]

01:13:13   blood splatter over here he's rolling [TS]

01:13:16   his arse here and you know I say this [TS]

01:13:19   with the utmost love I don't believe [TS]

01:13:22   this really is not that I don't believe [TS]

01:13:24   that they could be what they are without [TS]

01:13:26   it without him doing that but he just [TS]

01:13:30   but I'd I won't let it go by you know [TS]

01:13:32   what I mean like but so if you listen to [TS]

01:13:36   lovely Rita and start and hear that shit [TS]

01:13:38   in the voice then you realize almost all [TS]

01:13:41   the percussion is them making mouth [TS]

01:13:44   sounds Wow except for there's one [TS]

01:13:47   percussion part that I really think is [TS]

01:13:50   just Lennon going like this just tapping [TS]

01:13:52   the mic with his finger Wow ah and [TS]

01:13:56   you're going like you guys you know you [TS]

01:13:59   have drums there too like you have to be [TS]

01:14:02   doing that so weird yeah I just did say [TS]

01:14:06   enough about the drums though I mean in [TS]

01:14:08   this the point I was trying to make [TS]

01:14:09   earlier about like well you got got the [TS]

01:14:11   material and whether you like or not but [TS]

01:14:13   like you know did you mean it to sound [TS]

01:14:15   this thin and you know probably not [TS]

01:14:17   probably not but with with Franco's [TS]

01:14:19   drums he is he is very talented and but [TS]

01:14:22   very subtle very understated player but [TS]

01:14:25   the difference is when you can really [TS]

01:14:27   hear the drums in Dan'l life it's [TS]

01:14:29   profound we exactly his floor toms [TS]

01:14:32   change the way it's floor toms sound on [TS]

01:14:35   this remix change this album for me [TS]

01:14:37   I'm actually not exaggerating that any [TS]

01:14:40   sound I noticed more than any other it's [TS]

01:14:42   the incredible amount of personality in [TS]

01:14:45   his very understated fills especially on [TS]

01:14:47   the floor Tom it's a revelation it's a [TS]

01:14:50   different album [TS]

01:14:50   he's just any but his part in day and [TS]

01:14:53   the life is it just basically fills he's [TS]

01:14:55   just it's just fills the bass track is [TS]

01:14:58   him doing a chicken shaker and I just [TS]

01:15:00   think he went back and just added fills [TS]

01:15:01   but do [TS]

01:15:03   - so here's what I so listening [TS]

01:15:08   carefully to the original mix of [TS]

01:15:10   day-in-the-life [TS]

01:15:11   I heard all this stuff I had never heard [TS]

01:15:14   before that I God that I couldn't [TS]

01:15:18   believe I had never heard before that is [TS]

01:15:20   for the most part completely strained [TS]

01:15:23   out in the in the this redo in the [TS]

01:15:26   modern mix so at the start of day in the [TS]

01:15:29   life the vocals the lead vocals are hard [TS]

01:15:31   right the bass and the drums are Center [TS]

01:15:35   and then as the first verse goes the [TS]

01:15:39   lead vocals slowly pan to the center [TS]

01:15:44   so you're they're way way right at the [TS]

01:15:47   top of the tune and then all of a sudden [TS]

01:15:48   you're kind of like wait a minute what [TS]

01:15:49   are they and they're doing it slowly an [TS]

01:15:51   update that in my whole life I never [TS]

01:15:53   noticed they did it yeah I remember then [TS]

01:15:55   and then they're in the center at the [TS]

01:15:57   end of the first verse and then love to [TS]

01:16:01   turn you on [TS]

01:16:02   I'd love to the first time turn [TS]

01:16:05   that's that starts hard left love to [TS]

01:16:09   turn you on and then Paul's voice in the [TS]

01:16:14   middle of the tune in the bridge comes [TS]

01:16:16   in hard right again he's he's like [TS]

01:16:21   singing that whole thing out in your [TS]

01:16:23   right channel and then stuck woke up got [TS]

01:16:26   out of bed yeah and then the AH they're [TS]

01:16:32   sitting in the studio turning the pan [TS]

01:16:35   knobs back and forth the the odds are [TS]

01:16:38   swimming around in the stereo mix ah and [TS]

01:16:42   then this when it comes out of the that [TS]

01:16:46   part so at the top of the tune the [TS]

01:16:48   vocals are hard right the the second [TS]

01:16:53   half of the to the folk will start hard [TS]

01:16:55   left and the band is mixed hard right [TS]

01:16:59   and it's just like they they must have [TS]

01:17:02   they were sitting in this area like what [TS]

01:17:03   do we do next now I know that's what I [TS]

01:17:05   would do twenty years later on a four [TS]

01:17:08   track when I was high yeah yeah like oh [TS]

01:17:11   I know [TS]

01:17:12   second verse let's do let's do a [TS]

01:17:14   complete reversal of what we've done the [TS]

01:17:16   first [TS]

01:17:16   look at me and axis bold is love if you [TS]

01:17:20   and if you live if you listen to the new [TS]

01:17:22   mix the drums are in the middle the bass [TS]

01:17:24   is in the middle vocals are in the [TS]

01:17:25   middle it's like it sounds a hundred [TS]

01:17:28   times better mm-hmm but it's a [TS]

01:17:31   completely different listening [TS]

01:17:33   experience like it's not it's not any [TS]

01:17:36   it's not even the same just a couple [TS]

01:17:39   songs did some of the songs in the [TS]

01:17:41   middle um you know I don't even have the [TS]

01:17:44   listing in front of me but you know it [TS]

01:17:45   starts out being at this first three [TS]

01:17:46   songs which are such a such a rock block [TS]

01:17:48   and then you know I think things really [TS]

01:17:52   pick up toward the end but gets a little [TS]

01:17:54   you know hmm my little slows down a [TS]

01:17:56   little bit this little sagging in the [TS]

01:17:57   middle but like I said like I think I [TS]

01:17:59   specifically we talked about this last [TS]

01:18:00   week like in another age with a mile or [TS]

01:18:04   stereo mix just about the last thing [TS]

01:18:06   that I would put on after working at [TS]

01:18:08   McDonald's would be let's say good [TS]

01:18:09   morning good morning [TS]

01:18:11   whereas now there's so many of these [TS]

01:18:14   songs that are so much more menacing and [TS]

01:18:17   weird and like and like a objectionably [TS]

01:18:20   weird like Oh what is going on in this [TS]

01:18:22   song you can now you can hear how weird [TS]

01:18:24   the song is and now so now I listen to [TS]

01:18:26   good morning good morning first of all [TS]

01:18:27   the horns the tamra of the horns it has [TS]

01:18:31   that it has that you're in the room honk [TS]

01:18:34   eNOS that you only hear on a real horn [TS]

01:18:36   and to hear bump up that big opening to [TS]

01:18:39   hear that yeah it's it's shocking to me [TS]

01:18:42   but the parts of blew me away if I ever [TS]

01:18:45   knew or remember that Ringo has two [TS]

01:18:47   parts on there that he does in really [TS]

01:18:50   fucked up triplets I don't remember it I [TS]

01:18:51   what he done this time [TS]

01:18:53   it sounds like this death metal end of [TS]

01:18:55   the universe yeah yeah do you I mean I [TS]

01:19:01   don't remember that being on there but [TS]

01:19:03   like you listen to it now and of like it [TS]

01:19:04   sounds like the Huns are invading it's [TS]

01:19:06   crazy well and Paul's bass is is right [TS]

01:19:10   in there with him doing his you know a [TS]

01:19:11   year plucky like conk conka-chonk sound [TS]

01:19:13   right yeah yeah yeah is strange like [TS]

01:19:15   maybe high up like near the tailpiece [TS]

01:19:17   he's doing something really offensive it [TS]

01:19:19   sounds great it is it's offensive in it [TS]

01:19:21   and and there are a couple of times when [TS]

01:19:23   you're like is that how did that even [TS]

01:19:25   make it into the take like that it is [TS]

01:19:28   because it's muted but like [TS]

01:19:30   it I think it's going to be near the [TS]

01:19:31   tailpiece with a very hard pick is what [TS]

01:19:33   it sounds like [TS]

01:19:34   it's very very percussive it's a [TS]

01:19:36   two-hour or I don't know I was [TS]

01:19:39   remembering the right one yeah I was [TS]

01:19:41   thinking that it was a that it was sort [TS]

01:19:42   of a felt pick but that he was he does [TS]

01:19:45   this thing where he's almost out of he's [TS]

01:19:49   he's syncopated but he gets out of [TS]

01:19:51   syncopation but it still is in rhythm [TS]

01:19:54   there are a couple of things in that [TS]

01:19:56   bassline that are like yeah they write [TS]

01:19:57   it has a sinister vibe yeah yes it's a [TS]

01:20:00   sinister sounding tune and that's [TS]

01:20:02   another one the original mix of that um [TS]

01:20:05   the entire band was just crammed into [TS]

01:20:08   the left channel mm-hmm [TS]

01:20:10   there was so there's no way you would [TS]

01:20:11   have heard it you wouldn't have heard [TS]

01:20:12   any of this that we can hear now because [TS]

01:20:15   it's just like it was like completely [TS]

01:20:18   thrown thrown left and then the horns [TS]

01:20:21   were thrown right [TS]

01:20:23   okay I'm closing iTunes because I had on [TS]

01:20:25   for a second it was very scary I closed [TS]

01:20:26   it here oh my god it sounds so good [TS]

01:20:28   that's really great so then the only [TS]

01:20:32   thing I was the only thing I the only [TS]

01:20:34   stand I make on Good Morning up from [TS]

01:20:37   either version is that it starts with a [TS]

01:20:39   fucking rooster crows which is like no [TS]

01:20:43   but it was may have been the first time [TS]

01:20:46   that ever happened like I know let's put [TS]

01:20:48   barnyard song sounds in it and then all [TS]

01:20:50   the barnyard sounds at the end where [TS]

01:20:52   you're like no don't do that you're this [TS]

01:20:54   isn't a Pink Floyd record not yet and [TS]

01:20:57   then but the best the best part of it is [TS]

01:21:00   speaking of Pink Floyd right at the end [TS]

01:21:02   of good morning there's a chicken that [TS]

01:21:05   hands off to the lead guitar of Sergeant [TS]

01:21:07   Pepper and that's so Pink Floyd yeah [TS]

01:21:11   there's that there's that tune on it you [TS]

01:21:15   know what I mean like in movies you get [TS]

01:21:16   a match cut like the the ape guy throws [TS]

01:21:18   the bone up into the sky and it turns [TS]

01:21:20   into the spaceship in 2001 it's a [TS]

01:21:22   musical match cut there's there's one in [TS]

01:21:24   in final cut where there's a saxophone [TS]

01:21:27   solo oh no the like Roger Waters sings a [TS]

01:21:31   note and holds it and then it turns into [TS]

01:21:33   a saxophone and there's no there's no [TS]

01:21:36   way list I've listened to it a hundred [TS]

01:21:37   times in the headphones you could just [TS]

01:21:39   cannot decide when his voice [TS]

01:21:43   and the sacks where this where the blend [TS]

01:21:45   is you know just it just is seamless he [TS]

01:21:48   just sings this note and it just turns [TS]

01:21:51   into a sack soul and it's really like [TS]

01:21:53   well done Pink Floyd supposedly John's [TS]

01:21:55   well man was supposed Johnston man was [TS]

01:21:57   each animal had to be followed by an [TS]

01:22:00   animal that would either eat or terrify [TS]

01:22:02   the preceding animal really yes totally [TS]

01:22:08   uh there's one there's one thing there's [TS]

01:22:12   one thing in the stereo mix that I [TS]

01:22:14   missed or another thing that that when [TS]

01:22:17   they redid it they they didn't do and I [TS]

01:22:21   was surprised that they didn't do it in [TS]

01:22:24   when I'm 64 there's a thing in the old [TS]

01:22:27   mix because because it's so screwed up [TS]

01:22:31   because the vocals are all left and the [TS]

01:22:34   band is kind of in the middle and then [TS]

01:22:36   Lennon's voice is hard right and the [TS]

01:22:38   horns are coming in and all this stuff [TS]

01:22:39   the because the stereo field is so crazy [TS]

01:22:43   there's a little moment where you know [TS]

01:22:46   where the bell goes ding bomb ding bonk [TS]

01:22:49   'don't denna you know that little [TS]

01:22:52   section do ya and the Bell is on one [TS]

01:22:57   side and the reply the band replies on [TS]

01:23:02   the other oh that's nice and it's that [TS]

01:23:03   that's good use yeah it's a very brief [TS]

01:23:05   like bamp ba bamp pompe bop you know and [TS]

01:23:09   it it's it's cute and it's cool and they [TS]

01:23:12   didn't do it [TS]

01:23:13   in the in the redo and I missed it it [TS]

01:23:17   was a small little detail that they [TS]

01:23:19   could have done you know the bell didn't [TS]

01:23:21   have to be the bell didn't have to have [TS]

01:23:23   be drenched in reverb and be up the [TS]

01:23:25   middle you know it could have been [TS]

01:23:26   they couldn't ricans but but because the [TS]

01:23:28   band was in the center it they didn't [TS]

01:23:31   maybe have the option to do that [TS]

01:23:32   trade-off man I'm a small thing uh-huh [TS]

01:23:36   yeah but you get very personal about [TS]

01:23:38   these things [TS]

01:23:38   I honestly don't have that much really [TS]

01:23:40   intelligent stuff to say as ever it's [TS]

01:23:42   just it's mainly that I was I was really [TS]

01:23:44   surprised and delighted by what how much [TS]

01:23:49   more I enjoy listening to this [TS]

01:23:50   particular album this way it is so much [TS]

01:23:54   better you hear you hear [TS]

01:23:56   beat this to death but you know it's [TS]

01:23:58   it's less cockamamie like when you can [TS]

01:24:00   and there's something about going back [TS]

01:24:02   and listen to those original tracks and [TS]

01:24:03   how they recorded them you're like [TS]

01:24:04   there's totally a rock band inside here [TS]

01:24:06   not that everything has to be like over [TS]

01:24:07   over the top but like on the one hand [TS]

01:24:10   you don't appreciate the forcefulness of [TS]

01:24:12   the band arrangement of the Sergeant [TS]

01:24:14   Pepper or pries there's no way you will [TS]

01:24:16   never hear that song the same after [TS]

01:24:18   hearing this new version because you [TS]

01:24:19   realize what fuckin like Led Zeppelin [TS]

01:24:21   song it is it's it sounds like the [TS]

01:24:23   immigrant song like years before the [TS]

01:24:24   immigrant song it's just pounding [TS]

01:24:26   whereas at the same time on even [TS]

01:24:28   something something like she's leaving [TS]

01:24:29   home you may not totally appreciate the [TS]

01:24:31   delicacy that's there or the subtlety [TS]

01:24:33   that's there so it's it's opened up the [TS]

01:24:35   entire spectrum of the way that this [TS]

01:24:36   album can be appreciated by letting you [TS]

01:24:39   hear so much more of what's actually [TS]

01:24:40   being played but but so this is where I [TS]

01:24:43   this is where I get back to my initial [TS]

01:24:46   worry or my initial hot take yeah which [TS]

01:24:50   is that as I was listening to it I I [TS]

01:24:55   don't know why I was not being I wasn't [TS]

01:24:58   being a brat I was not sitting here [TS]

01:25:00   looking for a reason to be a brat I was [TS]

01:25:02   just just listening to it with my mind [TS]

01:25:05   empty and then a thought came into my [TS]

01:25:08   head which was oh this will sound much [TS]

01:25:11   better in the lobby of the Ace Hotel in [TS]

01:25:14   Palm Springs and I was right you know [TS]

01:25:19   what I mean like like this record you [TS]

01:25:22   couldn't really have played in the lobby [TS]

01:25:25   of a hotel a cool hotel before because [TS]

01:25:27   it was too cooky it was if you did play [TS]

01:25:30   it it was like if you're standing over [TS]

01:25:31   by the elevators all you hear is the [TS]

01:25:32   tambourine and and John Lennon making a [TS]

01:25:35   mouse like this yeah mouth sounds [TS]

01:25:37   and now this record which is which we [TS]

01:25:40   all acknowledge is a classic now we can [TS]

01:25:42   play it all the modern places that we [TS]

01:25:44   play music in the elevator in the lobby [TS]

01:25:47   in the car in the OIC [TS]

01:25:50   this is a secondary tertiary concern [TS]

01:25:53   they're going to take this record you [TS]

01:25:54   want to listen to with headphones and [TS]

01:25:55   they're gonna start sticking your face [TS]

01:25:56   well not not just not that but that the [TS]

01:25:59   intention of this is that we listen to [TS]

01:26:01   music differently now and part of the [TS]

01:26:03   reason that that we needed this was that [TS]

01:26:05   we couldn't listen to this record in our [TS]

01:26:07   contemporary way it was just on [TS]

01:26:10   intelligible and so it has been it has [TS]

01:26:13   been made to conform to the way that we [TS]

01:26:17   hear music now right and so there are [TS]

01:26:19   two I think that this record is for two [TS]

01:26:23   groups of people and one of them is one [TS]

01:26:27   of the groups of people is everybody [TS]

01:26:29   here's a record now that is for [TS]

01:26:32   everybody and all the people that have [TS]

01:26:33   never listened to sergeant pepper before [TS]

01:26:35   will get a chance to hear it it will be [TS]

01:26:37   everywhere again I just before we [TS]

01:26:40   started the show I looked briefly and [TS]

01:26:42   it's it's like in the top five on the [TS]

01:26:45   charts right now oh wow wow um you know [TS]

01:26:48   like like here it is world the thing [TS]

01:26:51   you've always been waiting for this is [TS]

01:26:53   the birth this is the the new version of [TS]

01:26:56   episode 4 except it didn't ruin it right [TS]

01:27:00   right it didn't put a Jabba the Hutt in [TS]

01:27:03   it it's real it's good this thing and [TS]

01:27:05   the other group of people that this is [TS]

01:27:07   for is Beatles historians like you and [TS]

01:27:09   me who will sit for two hours and talk [TS]

01:27:11   about fucking the what picked Paul [TS]

01:27:14   McCartney used right because it's fast [TS]

01:27:17   it's another one of a hundred [TS]

01:27:19   fascinating glimpses into what the [TS]

01:27:22   Beatles did and what they were but [TS]

01:27:27   but it does fall into the category of [TS]

01:27:30   not the Beatles in the sense that it [TS]

01:27:33   isn't this isn't what they did this [TS]

01:27:36   isn't I mean even even when they made [TS]

01:27:37   mistakes even when they made a big a bad [TS]

01:27:39   bad mix of it understandable like it's [TS]

01:27:42   not it's not canonical that it's that [TS]

01:27:45   it's something where like because other [TS]

01:27:46   people were working on this in the [TS]

01:27:48   absence of them and George Martin well [TS]

01:27:51   yeah and it's just like you get what you [TS]

01:27:54   get and don't be upset [TS]

01:27:55   yeah we got the Beatles and they were [TS]

01:27:57   great we can and I think now will [TS]

01:28:00   endlessly dissect them and it is great [TS]

01:28:04   it's fascinating I love it every time I [TS]

01:28:07   hear an isolated track or I mean they [TS]

01:28:10   could have mixed this a hundred [TS]

01:28:11   different ways they could have just put [TS]

01:28:13   all the drums to the right this time [TS]

01:28:16   instead of to the left and I would have [TS]

01:28:17   listened to it and cackles well is this [TS]

01:28:20   something there's a similar thing that [TS]

01:28:21   happens in like the Star Wars [TS]

01:28:23   and community where there's several [TS]

01:28:25   different kinds of things that people [TS]

01:28:26   will release but two general kinds of [TS]

01:28:28   things that I've looked at on the one [TS]

01:28:30   hand you have people who are doing [TS]

01:28:31   what's called a fan at it which is like [TS]

01:28:33   they do their own version with source [TS]

01:28:36   material with other material with CGI [TS]

01:28:38   material they'll go in and basically [TS]

01:28:39   make the movie the way they would like [TS]

01:28:41   it to be or some creative remix of their [TS]

01:28:43   own design you know this is how they [TS]

01:28:46   want it to be and then at another end of [TS]

01:28:48   that spectrum is people who were trying [TS]

01:28:49   to like basically do a the most faithful [TS]

01:28:51   reconstruction of the highest quality [TS]

01:28:53   version of the original Star Wars movie [TS]

01:28:56   that you could get the highest non [TS]

01:28:58   tinkered with highest quality non [TS]

01:29:00   tinkered with material and then put [TS]

01:29:01   together a movie based on that and [TS]

01:29:03   there's all kinds of other stuff in [TS]

01:29:04   between I have a friend who did [TS]

01:29:05   something called The Phantom Edit where [TS]

01:29:06   he went and he did it's not exactly a [TS]

01:29:08   fan at it's not like fan fiction but he [TS]

01:29:11   liked minimize the amount of times that [TS]

01:29:13   the the rasta guy talks like George are [TS]

01:29:17   being charged Thank You Jar Jar Binks [TS]

01:29:18   but but that that's did so does this [TS]

01:29:22   risk falling into that kind of like fan [TS]

01:29:25   fiction territory the thing is that the [TS]

01:29:28   the involvement of George Martin and his [TS]

01:29:32   son is like this is the last thing right [TS]

01:29:37   that can be given that imprimatur of [TS]

01:29:41   like George Martin touched this with his [TS]

01:29:44   finger on his way out the door right and [TS]

01:29:48   so like if this record had come out and [TS]

01:29:51   it was Danger Mouse got ahold of the [TS]

01:29:55   original tracks and remixed Sergeant [TS]

01:29:58   Pepper I don't know what I would be [TS]

01:30:01   sitting here thinking about it or saying [TS]

01:30:03   well this probably would not exist if it [TS]

01:30:04   weren't for love which you know loved it [TS]

01:30:06   or not is it's a very interesting idea I [TS]

01:30:09   think well implemented for what it is [TS]

01:30:10   not really something I would want to [TS]

01:30:12   return to a lot but it's interesting [TS]

01:30:13   that his so much his trial run for this [TS]

01:30:15   was helping his dad to do this mashup [TS]

01:30:17   album right which I didn't listen to and [TS]

01:30:20   what and the parts of it that I've heard [TS]

01:30:22   out in the wild I've always been kind of [TS]

01:30:25   astonished by and like whoa that's weird [TS]

01:30:28   and cool and then I realized oh it's [TS]

01:30:30   love and then I meet at least I'm like I [TS]

01:30:33   don't want to listen [TS]

01:30:34   I don't know what that is I don't you [TS]

01:30:36   know ah yeah it's like I'm like a six [TS]

01:30:40   year old when there's a piece of parsley [TS]

01:30:42   in their foods what is that you didn't [TS]

01:30:44   notice it for five bites and it was a [TS]

01:30:47   good ah [TS]

01:30:48   there's green stuff in this anything [TS]

01:30:50   parsley but um but so so George gave [TS]

01:30:59   this his blessing and it's like okay it [TS]

01:31:05   is it then is within what we'll call the [TS]

01:31:10   the cannon the larger cannon and I and [TS]

01:31:15   like his string arrangements [TS]

01:31:18   are you know are so extraordinary and [TS]

01:31:29   like she's leaving home which was always [TS]

01:31:33   a song that that affected me very [TS]

01:31:36   emotional as a kid I was a sentimental [TS]

01:31:39   kid I'll meet and that that whole idea [TS]

01:31:42   of Daddy baby's gone when he wouldn't [TS]

01:31:45   even seen that line I just feel like ah [TS]

01:31:46   it's very sentimental and schmaltzy in [TS]

01:31:48   some ways even now with a kid but like [TS]

01:31:51   at the time I was like oh god this isn't [TS]

01:31:52   one of us feel like to be a parent yeah [TS]

01:31:54   yeah yeah supe super small t you know [TS]

01:31:57   just like cat's in the cradle and the [TS]

01:31:59   silver spoon I would sit and weep at the [TS]

01:32:01   radio it's it when that song come on um [TS]

01:32:04   s friend you know rolling I miss you and [TS]

01:32:07   I'm being good I'd love to be with you [TS]

01:32:10   if only I could I know all these [TS]

01:32:15   emotions I didn't even know what I was [TS]

01:32:16   crying about you know but but now when I [TS]

01:32:19   listen when I listen - she's leaving [TS]

01:32:21   home there's something about the [TS]

01:32:24   sentiment now that I feel is really [TS]

01:32:27   callow that's really you know 27 year [TS]

01:32:30   olds trying to interject themselves into [TS]

01:32:36   a dynamic like I'm assuming that the [TS]

01:32:41   girl who's leaving home is like [TS]

01:32:46   I I don't think that she's going with [TS]

01:32:48   you know she's not like 18 I think that [TS]

01:32:51   she's I think she's 1 to 16 she's gonna [TS]

01:32:53   sew her Wild Oats in swing in London oh [TS]

01:32:55   no I [TS]

01:32:56   I always heard it as that she was 24 and [TS]

01:32:59   hey Liam [TS]

01:33:00   yeah and had committed she's a Livi yeah [TS]

01:33:03   she'd committed to being the spinster [TS]

01:33:05   daughter living with her parents that's [TS]

01:33:08   why they're so I like yours so strangely [TS]

01:33:12   over connected to her mm-hmm [TS]

01:33:14   you know how could she do this to me [TS]

01:33:16   like if she's 15 it's just like our [TS]

01:33:18   daughter ran away but this this feeling [TS]

01:33:21   that that she had that she was a part of [TS]

01:33:25   that nuclear family that you know that [TS]

01:33:27   her mother was codependent it was it and [TS]

01:33:30   it felt like she had been released [TS]

01:33:32   somehow she'd finally and maybe through [TS]

01:33:35   rock music had had felt like I've got to [TS]

01:33:39   get out here and had gone and gotten her [TS]

01:33:41   first job so that part of it is is what [TS]

01:33:48   I always got so emotional about but Paul [TS]

01:33:51   and John both make these lyrical choices [TS]

01:33:55   that are snide that are snide toward the [TS]

01:33:59   parents and yeah never a thought for [TS]

01:34:03   ourselves when in fact it's only [TS]

01:34:04   themselves really that they're thinking [TS]

01:34:05   about yeah right they are they're their [TS]

01:34:07   sarcastic and contemptuous of of the [TS]

01:34:10   parents standing there like having [TS]

01:34:12   there's this boohoo and I never heard [TS]

01:34:15   that as I never heard it as boldly [TS]

01:34:18   before and it took me out of the tune [TS]

01:34:20   for the first time in my life this time [TS]

01:34:22   listening to it carefully and I was like [TS]

01:34:24   you know what you guys you don't fucking [TS]

01:34:26   know everything right but taller [TS]

01:34:28   slow your roll all right also you also [TS]

01:34:32   to quote friend of the show bill Janov [TS]

01:34:33   it's um you know actually fun is one of [TS]

01:34:35   the easiest things to buy one of the few [TS]

01:34:37   things it's actually pretty easy to buy [TS]

01:34:38   interesting interesting good point [TS]

01:34:41   because you seen the fun of the one [TS]

01:34:42   thing when he can't buy but no actually [TS]

01:34:44   no no no that's way harder to buy than [TS]

01:34:47   fun fun and you know and she's having [TS]

01:34:50   fun definitely no way didn't have an [TS]

01:34:54   appointment with a man from the motor [TS]

01:34:55   trade that doesn't really sound like [TS]

01:34:56   she's having fun [TS]

01:34:57   it sounds like she's [TS]

01:34:59   you know she's starting her life but [TS]

01:35:01   it's not it's not gonna be fun my friend [TS]

01:35:03   oh let the crushing begin how the other [TS]

01:35:10   thing I have funds daily the council I [TS]

01:35:12   was like I would like to call attention [TS]

01:35:13   to that I'd never really really heard [TS]

01:35:16   before was in getting better [TS]

01:35:21   a song that that even though it sounds [TS]

01:35:23   so much better in this mix I feel is [TS]

01:35:25   more and more reprehensible all the time [TS]

01:35:28   it really feels like something that [TS]

01:35:29   should have been consigned to magical [TS]

01:35:31   mystery tour or Yellow Submarine that [TS]

01:35:33   soundtrack yeah I mean getting better [TS]

01:35:35   and being for the benefit of mr. kite [TS]

01:35:36   both could have could have gone on to [TS]

01:35:38   magical mystery tour and made that a [TS]

01:35:40   whole album a whole album that I didn't [TS]

01:35:43   like um but but Paul's lyric me hiding [TS]

01:35:48   me head in the sand [TS]

01:35:50   hmm its Jar Jar Binks I used to be out [TS]

01:35:55   of young man he's fucking me Josh out of [TS]

01:35:59   me head in the sand ah I wanted to I [TS]

01:36:02   wanted to go back in time and take a [TS]

01:36:04   plane abandoned children push open the [TS]

01:36:11   door walk down in there grab it by the [TS]

01:36:13   mayor collar and shake him yeah from the [TS]

01:36:18   future come with me if you want to live [TS]

01:36:19   oh I guess I'll be coming along then no [TS]

01:36:26   children but your uncle [TS]