Roderick on the Line

Ep. 247: "George Martin's Butt"

 

  [Music] [TS]

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

  John John John John so you had a yet a [TS]

  big big morning oh yeah huge morning [TS]

  yeah yeah [TS]

  whoopsie-daisy oopsie-doopsie lots of [TS]

  big announcements from Apple and so I [TS]

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

  yeah did you live a live blog it oh you [TS]

  know just just you know in texting the [TS]

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

  stuff in public you know to live [TS]

  bloggers live like science I see why [TS]

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

  we're already watching it we can see it [TS]

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

  about your hotcakes [TS]

  oh my dears hotcakes I got steamy hot [TS]

  takes you kidding me [TS]

  what what about you know fix my um I [TS]

  don't know every bite [TS]

  yeah fixable yeah you know they're gonna [TS]

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

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

  to cover it's too much to cover with the [TS]

  stick we already have today but that's [TS]

  exciting [TS]

  sorry I PI pads you get computers uh you [TS]

  can drag things it's exciting [TS]

  get this guy over here got this ah fuck [TS]

  it that's a for cock to arab o king [TS]

  caboodle and over here is Lonnie and [TS]

  jugdish you're you're way more awake [TS]

  than me it's uh it's one it's a little [TS]

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

  good there's a good time of day I woke [TS]

  up at a natural time when I my body [TS]

  naturally rose to awakeness and then I [TS]

  had some time to just you know play a [TS]

  little game of threes or two let's think [TS]

  about the think about the day looking at [TS]

  look at Wikipedia for a while oh yeah I [TS]

  gotta watch modules I got morning [TS]

  rituals along those lines yes I as a [TS]

  good older and and seriously my brain is [TS]

  seriously going like R it's really going [TS]

  so one of the things I do is I do a very [TS]

  old man thing which is when my family is [TS]

  you know getting ready to go places [TS]

  everybody's getting ready and I'll say [TS]

  good morning and I'll say today is [TS]

  Monday I'll say Monday we have drop-off [TS]

  at camp we have victim but camp [TS]

  we have preparing for the trip and they [TS]

  kind of make kind of they kind of look [TS]

  at me a little bit weird cuz I'm like [TS]

  you know I'd like to think this is for [TS]

  all of the all of us but you know let's [TS]

  be honest it's mostly for me mm-hmm [TS]

  because if I don't don't think about it [TS]

  you know I may not do it well you know [TS]

  there are um there are these miraculous [TS]

  vitamins that just by coincidence I [TS]

  happen to be a authorized dealer mm and [TS]

  I'm gonna hook you up with a whole set [TS]

  of supplements and dietary additives [TS]

  just like those brain crystals that make [TS]

  you smart yeah and they're get what it [TS]

  also does Marilyn is it builds muscle [TS]

  mass builds muscle in us and it burns [TS]

  fat huh so uh pretty much I've got the [TS]

  secret right here for you and don't [TS]

  worry about how much it cost you let me [TS]

  in on that today only I would just [TS]

  because we're friends [TS]

  oh my god thank you man I I could [TS]

  definitely use that so tomorrow morning [TS]

  I'll say it's Tuesday and I'm going to [TS]

  take some new powders hey yeah you get a [TS]

  little hammer and pestle and you just [TS]

  sitting and grind them up and I'll bring [TS]

  it into the of the family stand up [TS]

  meeting the morning stand up ha ha oh [TS]

  and you think you guys have an all-hands [TS]

  meeting every we do we do uh yeah well [TS]

  you know we have we have an ad hoc [TS]

  format I mean this is not interesting to [TS]

  our audience but sure yeah well we'll [TS]

  comes with us anybody is empowered to [TS]

  call a family meeting and really you [TS]

  yell out family meeting and then one [TS]

  other person says ok stand by and then [TS]

  and then everybody gathers and you have [TS]

  a huddle you talk about whatever family [TS]

  meeting mm-hmm [TS]

  you know that's nice that's really nice [TS]

  that feels really nice [TS]

  it's you know what it is it's that I in [TS]

  addition to my brain becoming a less [TS]

  powerful organ it's also that like one [TS]

  way I keep the Diamond Dogs at bay is to [TS]

  make sure that we've thought through [TS]

  things we need to think through mm-hmm [TS]

  because I hate being upended by not [TS]

  having thought through something that [TS]

  should be thought through you do like to [TS]

  think through things I confirm that for [TS]

  our listeners you know it's stuff like I [TS]

  feel like it's inexcus-- [TS]

  in some ways it's it's personally [TS]

  inexcusable for me if I just space [TS]

  something I really should have [TS]

  remembered like if I don't bring the [TS]

  tickets to something like that's silly [TS]

  like why would I you know but the thing [TS]

  is that you're not thinking through the [TS]

  thing that you're going to do it's very [TS]

  easy to do that and so you have to have [TS]

  you know sort of compensatory muscles in [TS]

  a real-world sense that like help you [TS]

  from being a dumbass do you idiot check [TS]

  mm-hmm how extensive is your idiot check [TS]

  program compulsive yeah yeah no I mean [TS]

  it's all kinds of things like like when [TS]

  I'm traveling I have a whole list of [TS]

  like things that I'm really neurotic [TS]

  about like make sure that the pilot [TS]

  light is on make sure that the heat is [TS]

  turned down and and yeah it gives me a [TS]

  lot of pleasure to take that off of a [TS]

  list but even when leaving the house I [TS]

  have learned to like sort of check [TS]

  myself before I wreck myself and I still [TS]

  screw it up I forgot to wear coupons for [TS]

  the book store that we were going to and [TS]

  I forgot to bring them cuz I got through [TS]

  I hadn't thought through that kind of [TS]

  trip now I remembered to bring the [TS]

  refill cup because we're going to the [TS]

  cinema I'm right on I oh that's a that's [TS]

  a major boat I mean that's a big [TS]

  discount oh you kidding me it's like [TS]

  half price yeah shit shit dog and no [TS]

  what about you what's your would you [TS]

  call the idiot check well yeah let me [TS]

  ask your if you're leaving a hotel room [TS]

  do you check drawers that you are [TS]

  certain you've never even opened yes if [TS]

  you go around the room and tried to [TS]

  drawers even though you never opened [TS]

  them when yeah the whole time you've [TS]

  been in there no I do way more than that [TS]

  a big one for me is and I've gotten [TS]

  better about this over time but like I [TS]

  used to be I would always leave a phone [TS]

  charger or some kind of plug thing like [TS]

  oh I'll utilize this area behind the [TS]

  chair and put that there [TS]

  the first thing I do is look for all of [TS]

  those things if I can solid eight [TS]

  everything that needs to go into one or [TS]

  two areas that's one thing so like [TS]

  anything it's extraneous goes into the [TS]

  area of things that have to go and then [TS]

  yes I will check every outlet and then [TS]

  as far as the drawers [TS]

  I will not only check all the drawers [TS]

  but I will leave them open in a [TS]

  staggered way as though they've been [TS]

  burglarized so that I'll remember I'll [TS]

  have a visual visual cue you've already [TS]

  checked this area you've checked this [TS]

  yeah terrible well I mean you know I the [TS]

  only reason I ask is that it's [TS]

  it's a familiar feeling but being on [TS]

  tour with four guys in a rock band you [TS]

  know what what a tour is is basically 40 [TS]

  opportunities in a day to leave [TS]

  something behind I show some ways yeah [TS]

  yeah yeah you open the back of the van [TS]

  and you start staging stuff to load it [TS]

  in and if you don't if you're not [TS]

  careful you'll leave something sitting [TS]

  out there and then you move it into the [TS]

  hallway and then you move it into the [TS]

  backstage and they move it onto the [TS]

  stage and each one of those [TS]

  opportunities is a new you know a new [TS]

  chance to like forget something key and [TS]

  then backstage and then you do it you [TS]

  you run it all out at the end of the [TS]

  night but plus the merch and plus the [TS]

  money and then you get to a hotel and in [TS]

  a lot of cases you have to move some of [TS]

  that stuff into the hotel because you [TS]

  don't want to leave it outside yes and [TS]

  then back and forth and so we got into [TS]

  the habit of just shouting idiot check [TS]

  at each other anytime we any time it [TS]

  seemed like we were all comfortably [TS]

  seated in a place like ah we're there [TS]

  everybody sits down it's like idiot [TS]

  check uh and you know you have to go [TS]

  back and retrace all your steps and [TS]

  invariably like the most expensive [TS]

  guitar is leaning up against the fire [TS]

  door I thought that's not the way your [TS]

  brain is really is working at the time [TS]

  and you don't want to be the one guy in [TS]

  your platoon who forgot his helmet like [TS]

  that like everybody has to have their [TS]

  stuff and especially if like I figure [TS]

  like if you're staying in a hotel [TS]

  you're probably mostly living out of a [TS]

  bag you're not like unpacking but even [TS]

  then I feel like this is just a good [TS]

  rule of thumb in general is always act [TS]

  like Europe you're about to be called [TS]

  into service you're going to have to go [TS]

  run maybe it's an earthquake [TS]

  maybe it's Dom bees or vampires but [TS]

  always keep stuff close enough to you [TS]

  that to the extent possible you could [TS]

  know you have everything important [TS]

  without having to think about it so [TS]

  don't take stuff don't spread out at [TS]

  Starbucks like keep it in your bag take [TS]

  out one thing at a time I don't know [TS]

  it's just one way I another bulwark [TS]

  against madness for me keep it in your [TS]

  bag man keep keep it together well do [TS]

  you know the famous story that I'm not [TS]

  talking out of school here this was [TS]

  years ago this was decades ago but one [TS]

  of Death Cab for Cutie's earliest tours [TS]

  that they took with us the western state [TS]

  hurricanes my band at the time we went [TS]

  down to Austin and back and I don't know [TS]

  if you are familiar with the story of [TS]

  Nathan death cabs original drummer [TS]

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

  like everyone who ever saw him play what [TS]

  and it was it was hard in it when you [TS]

  saw Death Cab for Cutie when they were [TS]

  really young they were so on fire they [TS]

  were such an incredible band but [TS]

  everyone walked away saying my god that [TS]

  drummer he really was he was just like [TS]

  you know been wrote a lot of the drum [TS]

  parts but Nathan just transformed them [TS]

  he was he was otherworldly but he was [TS]

  one of those otherworldly musicians that [TS]

  kind of just didn't appear to a like [TS]

  drumming was kind of a not really the [TS]

  most important thing in his life you [TS]

  know and and when you we have somebody [TS]

  that has that kind of talent and all of [TS]

  us at the time were just you know [TS]

  struggling so hard and desperate to have [TS]

  that kind of gift and well then you meet [TS]

  somebody that has that kind of gift and [TS]

  they sort of feel like oh yeah I mean [TS]

  you know I drum but it's not really you [TS]

  know it's not really what I want to do [TS]

  it's just it kind of it's devastating I [TS]

  mean it's you feel offended because it's [TS]

  because he has such a gift [TS]

  I met a kid a couple of years ago I [TS]

  judged a contest like a teenage band a [TS]

  songwriting contest thing teen band [TS]

  contest and there was one band that was [TS]

  just head and shoulders not only above [TS]

  all the other teen bands who were great [TS]

  all the best bands in the town but these [TS]

  guys were just like they could they were [TS]

  ready right they were 20 years old and [TS]

  they had the songs and the vibe and you [TS]

  know this wonderful lead singer and [TS]

  these incredible tunes and it was just [TS]

  like their there's these guys are gonna [TS]

  be the biggest band in America like they [TS]

  had it and their guitar player who was [TS]

  phenomenal and who wrote all the songs [TS]

  uh considered the band just kind of a [TS]

  thing he was doing because on the side [TS]

  because what he really wanted to do was [TS]

  like go to college and get a degree in [TS]

  chemistry and work in a lab and the [TS]

  other kids in the band all of them knew [TS]

  what all of them felt what they had and [TS]

  they all wanted it so desperately and I [TS]

  was the so they won the contest right [TS]

  and then I did a thing that I never do [TS]

  which is I went to them and said let me [TS]

  help you through this next stage like [TS]

  let me advise you because you're [TS]

  incredibly gifted and I see that your [TS]

  loss is good enough to not screw up yeah [TS]

  just let me sit with you and like I'll [TS]

  hear you out and then let me just make [TS]

  some couple of recommendations about [TS]

  where did what to do next and we got [TS]

  together and you know this guy kind of [TS]

  was just looking at his fingernails like [TS]

  yes isn't really what I want to do with [TS]

  my life you know and what can you say [TS]

  all you can say is like great I mean I'm [TS]

  happy that you have something that you [TS]

  want to do more but you're this is like [TS]

  the thing everybody wants you have it [TS]

  yeah I mean I guess and part of it is [TS]

  being young and you just don't you know [TS]

  you feel like well I'm good at this I'll [TS]

  be good at everything but Nathan I mean [TS]

  just such an extraordinary guy and yet [TS]

  in the end he just didn't want a music [TS]

  wasn't his thing he wanted to work in [TS]

  social services and he does he live in [TS]

  San Francisco now and and and helps [TS]

  people but on this famous tour we we [TS]

  left Seattle we drove for 3-4 days or [TS]

  whatever to get down to Austin we [TS]

  arrived in Austin they were loading into [TS]

  their showcase and Nathan said did he [TS]

  any you guys remember to get my snare [TS]

  and they all they all like stood up and [TS]

  they were like what do you mean did we [TS]

  remember to get your snare and he was [TS]

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

  practice space nobody grabbed it [TS]

  and when they got back home like three [TS]

  weeks later after this extremely long [TS]

  tour that we did with a succession of [TS]

  completely borrowed snares in there come [TS]

  in there totally empty practice base [TS]

  right in the center of the room there [TS]

  was the snare in its little snare chaise [TS]

  sitting just in the center of the room [TS]

  it was like wow you know this was this [TS]

  was maybe the second time they'd ever [TS]

  left town it was like forgot the got the [TS]

  snare that's an important drum that's a [TS]

  key element I mean if you didn't have [TS]

  one of your particular like your your [TS]

  third favorite Zildjian crash that you [TS]

  could survive you didn't remember your [TS]

  mallets you know and I'd see the corner [TS]

  that's you that's one of the two [TS]

  critical drops that's um so anyway [TS]

  that's that's a line we still use on [TS]

  each other all the time hey did any of [TS]

  you guys oh god remember my snare maybe [TS]

  guys and you guys see my snare oh I'm [TS]

  sure I've told you this one before but I [TS]

  learned this from a pal of mine in high [TS]

  school who as it happens was was the guy [TS]

  who drove us to concerts a lot and he [TS]

  started this I don't know if he invented [TS]

  this he's the first person I never ever [TS]

  knew ever knew to do it is that when you [TS]

  got in the car once everyone was in the [TS]

  car you had to take your ticket out of [TS]

  your pocket [TS]

  and you had to hold it to your forehead [TS]

  and then everybody had to do it at the [TS]

  same time everyone looked at each other [TS]

  and everyone acknowledged that you could [TS]

  see a ticket on every single person's [TS]

  forehead and you know of course you're [TS]

  reluctant at first but he knows where he [TS]

  speaks he's driven to Tampa and had and [TS]

  realized one person forgot their ticket [TS]

  well you know kind of scotches the [TS]

  evening for everybody that's that's not [TS]

  fun and as stupid as that is there were [TS]

  ample times that the the challenge [TS]

  ticket was demanded and there was at [TS]

  least one person that did not have works [TS]

  it's like stop trusting your brain to be [TS]

  a brain you know yeah yeah duh so yeah [TS]

  we idiot check all the time and I'm I'm [TS]

  I'm pretty good at you know and then [TS]

  that includes like under the bed [TS]

  under the behind the shower curtain it's [TS]

  it's always where you least think behind [TS]

  the door you know is where stuff ends up [TS]

  you just have to go yeah and you have to [TS]

  shout it right like idiot check and [TS]

  sometimes you'll idiot check and then [TS]

  someone else will come through behind [TS]

  you and find your iPhone charger that [TS]

  you left behind the chair what happens [TS]

  by the time you get you get blind or [TS]

  whatever it is that you're looking for [TS]

  you're looking for that yeah your brains [TS]

  looking for the wrong pattern or [TS]

  something yeah and there's I mean that [TS]

  feel like there must be a balance to be [TS]

  struck that's somewhere between like and [TS]

  like our like constantly like fretting [TS]

  and neurotic about there must be [TS]

  somewhere in between and yeah like [TS]

  opening the drawers of things that [TS]

  you've never even you never even looked [TS]

  at until you started searching in [TS]

  different stuff you did exactly but I'm [TS]

  telling you this once stuff like you [TS]

  know look behind the chair look under [TS]

  the desk look in oh you forgot when you [TS]

  were in a good mood and arrived you put [TS]

  stuff on the top shelf of the closet [TS]

  like you're gonna be there for one night [TS]

  and you're putting stuff here in a good [TS]

  mood yeah [TS]

  hey I'm unpacking guy one time move it's [TS]

  stressful must be stressful too [TS]

  occurring I just can't even imagine it's [TS]

  crazy [TS]

  I one night in Montreal we went after [TS]

  the show to some you know cafe and sat [TS]

  there and had a good old time and got up [TS]

  and went for a long walk and walked I [TS]

  mean Montreal is a huge city much much [TS]

  bigger than then anyone gives her credit [TS]

  for and we walked and walked and walked [TS]

  all the way across town and I suddenly [TS]

  realized that I had left the bag with [TS]

  all of the money we'd made on the tour [TS]

  just sitting next to my chair in the [TS]

  cafe just left it there [TS]

  oh no and so I sprinted and you know I'm [TS]

  not much of a sprinter I'm more of a you [TS]

  know I'm more of a walk down there and [TS]

  fuck all those cows than I am like a run [TS]

  across Montreal kind of guy and ran and [TS]

  ran and ran and ran and ran pant pant [TS]

  pant pant pant finally and this was [TS]

  before [TS]

  you know there was any kind of call a [TS]

  car service and I think I stopped on a [TS]

  couple of street corners and tried to [TS]

  help cabs and then I was like that won't [TS]

  work you know the all these cabs are [TS]

  going the wrong direction ran and ran [TS]

  around finally roll into this place and [TS]

  there's the back just just sitting there [TS]

  sitting there nobody nobody messed with [TS]

  it [TS]

  Wow nice cafe I thanked everyone in the [TS]

  place they all applauded so it was it [TS]

  was good luck in that instance but I'm [TS]

  pretty good about pretty good I don't [TS]

  want jinx myself but I mean I had a [TS]

  similar this is not interesting but one [TS]

  time I remember I was camped out [TS]

  somewhere I was reading something I was [TS]

  writing something and I went about my [TS]

  business and I think it was about an [TS]

  hour later I went where's my backpack [TS]

  and it was actually outdoors it was like [TS]

  near a busy street I had left my [TS]

  backpack like on the street pant pant [TS]

  pant pant pant running running running [TS]

  running running running and I was [TS]

  totally just sitting there totally [TS]

  undisturbed which is pretty crazy [TS]

  because I mean we have people going [TS]

  through our trash six times a day so [TS]

  like I'm used to the idea that very few [TS]

  things are left undisturbed in this city [TS]

  right everything's disturbed here uh [TS]

  yeah but but a you know it's amazing [TS]

  like hiding in plain sight I just [TS]

  thought about this this morning because [TS]

  I often leave my barn door open and this [TS]

  isn't ceases like this is the euphemism [TS]

  the beginning of a dirty joke I just [TS]

  mind you got touch my doctor I have a [TS]

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

  and and sometimes I just leave it wide [TS]

  open and it's counterintuitive because [TS]

  the barn is full of tools and full of [TS]

  other things that you wouldn't want [TS]

  people to steal but it is I think like [TS]

  things get broken into in in my [TS]

  neighborhood like the my next-door [TS]

  neighbor had a boat on a trailer and [TS]

  some kids broke into the boat like when [TS]

  you think you're gonna find in a boat I [TS]

  mean I guess a flare gun uh [TS]

  here be the are but I just leave my barn [TS]

  door wide open sometimes for weeks at a [TS]

  time and I think it just sends the [TS]

  message there's nothing in here there's [TS]

  nothing in here even worth closing the [TS]

  door and as far as I know the only thing [TS]

  the only people that go in that barn and [TS]

  molest anything are the raccoons that go [TS]

  in and eat all the cardboard boxes doors [TS]

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

  but yeah it's the hiding in plain sight [TS]

  thing I guess or if you're if you're if [TS]

  you're walking through the neighborhood [TS]

  you're like should we should we go under [TS]

  that tarp and break into that boat or [TS]

  should we walk into that barn I think [TS]

  this is it [TS]

  this is not gonna go for lots of things [TS]

  in life but one thing I've learned I [TS]

  feel like a little bit from having a kid [TS]

  my kids pretty good with remembering [TS]

  well she's not gonna remembering things [TS]

  but she's pretty good at not losing [TS]

  things mostly we lose a lot of jackets [TS]

  that she takes off at recess and forgets [TS]

  about um right but I think in some ways [TS]

  I think it's when you're traveling it's [TS]

  a little bit like planning to go to the [TS]

  beach [TS]

  we're like whatever you bring to the [TS]

  beach and this is a little extreme but [TS]

  when you go to the beach you'd figure [TS]

  there's gonna be Sun there's gonna be [TS]

  sand there's going to be a lot of water [TS]

  you know don't bring anything with you [TS]

  to the beach that would not stand up [TS]

  well to sun sand and or water because [TS]

  that's why you're going to the beach [TS]

  you're going to the beach because those [TS]

  are the performance characteristics of a [TS]

  beach and I think it's kind of like that [TS]

  would travel to like don't bring [TS]

  heirlooms in a packed suitcase if you [TS]

  can if you can possibly avoid it because [TS]

  you know I mean it's a way of just [TS]

  asking yourself like what could I afford [TS]

  to lose and then like kind of plan [TS]

  around that nice in that Beatles book I [TS]

  was reading there's a story when they're [TS]

  beginning the book in late 65 and I [TS]

  guess they were they were doing a gig I [TS]

  think in northern England and one of the [TS]

  guitars was poorly secured it was like I [TS]

  think George is like favourite old [TS]

  Gretsch and just went flying off back [TS]

  and got run over and it's like ah it [TS]

  just breaks your heart to think about [TS]

  that well think about all the great [TS]

  instruments of all the great players [TS]

  that have been stolen and lost and you [TS]

  know I think [TS]

  what is it like uh [TS]

  jaco pastorius --is most famous bass [TS]

  just got was just missing and they're [TS]

  all these they're all these instruments [TS]

  like key instruments in the moments of [TS]

  of music that gets stolen on the back of [TS]

  a ventilator or something Brian May [TS]

  takes his original guitar on the road [TS]

  but probably not there are there are [TS]

  people who do and the thing about Brian [TS]

  May right is that what if he does take [TS]

  that guitar on the road it's not like [TS]

  he's throwing it in the trunk of his car [TS]

  there he's probably there probably three [TS]

  people that their only job is to make [TS]

  sure that that guitar is fine at all [TS]

  times yes but all is not gonna space you [TS]

  know tying it down right yeah it's um [TS]

  you know I think that I think right like [TS]

  Clapton took Blacky and Billy Gibbons [TS]

  takes you know golden slumbers or [TS]

  whatever the fuck his guitar is called [TS]

  and golden showers hmm uh like those [TS]

  guys do Wow how they do use those [TS]

  instruments still yeah um sting and his [TS]

  52 uh talk to your base he's got a [TS]

  fender yoga base a yoga base uh so I [TS]

  think you do kind of still get used [TS]

  I mean Prince's fav famis Telecaster [TS]

  with the with the leopard spot pit [TS]

  guards still he still would trot that [TS]

  thing now yeah yeah I mean I don't know [TS]

  even at that level like Keith Richards [TS]

  probably can bring pretty much whatever [TS]

  he wants cuz he's got a whole like you [TS]

  know force around him yeah but Keith [TS]

  Richards could also throw a 59 Les Paul [TS]

  into a bandsaw because who the fuck [TS]

  cares there's a lot of great roles [TS]

  particular fret that I think that this [TS]

  you know the stones I think their [TS]

  instruments kind of came and went you [TS]

  know their guitars out there and this is [TS]

  the crazy thing that that there are [TS]

  people that I mean I was just looking [TS]

  online not very long ago at guys that [TS]

  collected old whoo amplifiers [TS]

  like smash you know that no no like like [TS]

  the a company called Sound City made [TS]

  some custom heads for Pete Townsend and [TS]

  that company became hiwatt and hiwatt [TS]

  continued to make sort of custom heads [TS]

  for Pete all through the early to mid [TS]

  70s and I think as he I mean as those [TS]

  amps I mean they kind of just got garage [TS]

  sales [TS]

  sort of like what happened at Abbey Road [TS]

  right they had a garage sale and they [TS]

  sold like the Mellotron the Abbey Road [TS]

  Mellotron and they sold all the all the [TS]

  custom-built like red six desks or [TS]

  whatever lenny kravitz has one of the [TS]

  desks from a view Abbey Road because he [TS]

  just owns like I don't know if they were [TS]

  exaggerating but Matt from Oringer said [TS]

  they had the board from I think the the [TS]

  brothers board from like Pet Sounds yeah [TS]

  but we'll see there's a lot of that [TS]

  stuff right because how many really [TS]

  great recording desks are there there [TS]

  are a lot but if you're on that played [TS]

  on you know Sergeant Pepper it's kind of [TS]

  a big deal [TS]

  it's kind of a big deal but but even [TS]

  that's that little stuff of like you [TS]

  know the desk that we used to record the [TS]

  first couple of long winters records was [TS]

  the desk from Hollywood Bowl and so you [TS]

  get this kind of feeling of like wow [TS]

  think of all the music that went through [TS]

  this board and that's a real that's a [TS]

  thing [TS]

  it's a Hall of Justice all of justice [TS]

  yeah it was a it was a quad eight desk [TS]

  which is you know kind of a they're a [TS]

  boutique II uh onion a boutique II [TS]

  they're an unusual kind of of the era [TS]

  kind of board but I've recorded through [TS]

  the board where uh Bob Marley recorded [TS]

  uh one of his early records in London [TS]

  Wow um you know that it's a thing that [TS]

  gets talked about when you sit down in a [TS]

  recording studio like oh this board was [TS]

  the one from [TS]

  you know from Sausalito or from Ocean [TS]

  Way or whatever but when you think about [TS]

  God the Oh so there's these websites of [TS]

  these people that are like I bought this [TS]

  amp at a pawn shop and I turned it over [TS]

  and had the who stenciled on it and so I [TS]

  looked it up it turns out that this was [TS]

  one of like nine amps that Pete Townsend [TS]

  used in the course of you know the [TS]

  seventies who that kind of thing happens [TS]

  all the time I guess I find I can't find [TS]

  a use shirt that fits me it's not yellow [TS]

  and people find on fucking Pete [TS]

  Townsend's amp yeah I guess you just you [TS]

  you just have to be shopping in the pawn [TS]

  shops that it's that Pete Townsend's amp [TS]

  is likely to show up in I mean I don't [TS]

  think that person found it in Ames Iowa [TS]

  yeah right yeah probably were in London [TS]

  or something but still pretty hot [TS]

  because things didn't matter to people [TS]

  then you know when they when they when [TS]

  they broke the sink didn't have well [TS]

  they didn't have the same mythology and [TS]

  reverence about the same things that we [TS]

  do today they might have reverence for [TS]

  for quite different things back then [TS]

  yeah I'm not sure I do I think you're [TS]

  right and I remember when radio stations [TS]

  in the United States were transforming [TS]

  themselves into digital because CDs had [TS]

  supplanted not only LPS but also carts [TS]

  right like carts were a thing that we're [TS]

  used in radio that we're like an 8-track [TS]

  tape player basically they were totally [TS]

  using those in the 90's and ours yeah [TS]

  right only local music they play with [TS]

  they were just put on carts as well as [TS]

  the you know PSAs and stuff like that [TS]

  well and right around the time that I [TS]

  started touring like late 90s early [TS]

  2000s radio stations were kind of all [TS]

  changing their their build so that it [TS]

  was all got kind of going to computers [TS]

  and it was going to be digital hither [TS]

  thither and a lot of these radio [TS]

  stations had custom built [TS]

  amplifiers and compressors like you know [TS]

  stuff made by ampeg in the 50s like all [TS]

  walls of these beautiful uh Universal [TS]

  Audio and and other like really really [TS]

  now really valuable outboard gear and [TS]

  they were just pulling that stuff out [TS]

  and tossing it in the dumpster [TS]

  because they were going to they were [TS]

  going digital and and that stuff was it [TS]

  was already valuable but on a very kind [TS]

  of low [TS]

  secondary market of people that were [TS]

  trading 1176 --is they cost money but [TS]

  the people that were working in these [TS]

  radio stations weren't in weren't part [TS]

  of that community and so it just seemed [TS]

  like I was walking through the college [TS]

  radio station in Davis UC Davis and they [TS]

  had their whole hallway it was full of [TS]

  what had been their old studio all these [TS]

  like tape machines and stuff and and [TS]

  they were just it just kind of was out [TS]

  there under tarps and I think they were [TS]

  just wheeling it they were just somebody [TS]

  was going to come in a dump truck er or [TS]

  in a pickup and take it all away it was [TS]

  there's an element of our nominal topic [TS]

  this week that comes up in some of this [TS]

  which is that I don't know quite how to [TS]

  phrase this it takes it takes a while [TS]

  and it takes some it takes some changes [TS]

  and take some quality takes a while for [TS]

  stuff to become art or for stuff to seem [TS]

  precious and so that's one reason I [TS]

  think we get so interested in the which [TS]

  you might call ephemera of previous eras [TS]

  so like you know we've all seen you know [TS]

  this famous painting or we've all seen [TS]

  like you know there's a first edition of [TS]

  this book stuff anybody could see was [TS]

  really valuable but like to see like the [TS]

  personal effects of someone like you [TS]

  know on lines of your dad right where [TS]

  you can see their receipts and you could [TS]

  see all this little stuff where you can [TS]

  see this is a maquette of what became a [TS]

  very famous statue or this is you know [TS]

  I'm saying like this is one of the [TS]

  various copies of this document that [TS]

  existed it's you know I I wonder how [TS]

  much people had that same sense of [TS]

  reverence because that really feels like [TS]

  something [TS]

  with rock music that was more common [TS]

  starting in like the 70s and it would be [TS]

  the the nostalgia in reverence was not [TS]

  for the current generation necessarily [TS]

  was not for the previous generate be [TS]

  like two generations ago so that's why [TS]

  like in the 70s you might want a fifties [TS]

  rock-and-roll poster it's an original [TS]

  but I mean even then like you know there [TS]

  weren't as many Paul Allen type people [TS]

  around at that time to gobble up all [TS]

  that ephemera and want to put it [TS]

  somewhere I feel like that is like an [TS]

  80s and Beyond kind of thing I think it [TS]

  is I mean there was always that there [TS]

  was always someone who recognized that [TS]

  this was George Washington's sword and [TS]

  that that meant something right because [TS]

  we have George Washington's sword [TS]

  several of them still and whoever when [TS]

  George Washington died whoever had that [TS]

  sword definitely told their grandkids [TS]

  that they couldn't play with it you know [TS]

  like that way George Washington's sword [TS]

  but if if if people had always thought [TS]

  the way we think now we would have every [TS]

  single pair of John Adams as socks you [TS]

  know like they're we we play such a [TS]

  tremendous value on all that ephemera [TS]

  and most of it throughout history is [TS]

  lost a time right we don't have Genghis [TS]

  Khan's stirrups and I do think it [TS]

  started and I do think it started in the [TS]

  80s I don't think in the 70s of 1950s [TS]

  rock poster probably meant that much [TS]

  well you know I'm even thinking like us [TS]

  obviously people collected records and [TS]

  you might be really proud of your [TS]

  collection but the real the purpose was [TS]

  still to have records that you could [TS]

  play and you wanted all the records you [TS]

  might want rare records but maybe [TS]

  there's some you didn't play so much but [TS]

  you know it's very different from I mean [TS]

  perhaps an extreme example is like in [TS]

  the world of comics where you can do [TS]

  this thing called grading where there's [TS]

  this this one organization where you [TS]

  send your comic they evaluate the the [TS]

  quality of it in this really rigid way [TS]

  and then they put it inside they encase [TS]

  it in plastic which is called blocking [TS]

  so and so you know the thing is though I [TS]

  mean if you sure if you [TS]

  you know like for Superman comic and so [TS]

  something like that like obviously you [TS]

  want to really take care of it but like [TS]

  how many of your comics do you really [TS]

  want in a slab of plastic kind of [TS]

  defeats the purpose of having the [TS]

  comment there and I think albeit in an [TS]

  extreme way therein lies the distinction [TS]

  you know if this is Pearl Jam's van like [TS]

  are we supposed to look at it are we [TS]

  supposed to drive around in it you know [TS]

  yeah well there have always been right [TS]

  the what were the classic things to [TS]

  collect coins stamps yeah art people [TS]

  kept a hold of Stradivarius instruments [TS]

  so was stopped driving their ideas para [TS]

  ver I um people you know uh there have [TS]

  always been things that were held in [TS]

  high regard such that they were passed [TS]

  down antiques if you will right but yeah [TS]

  this other thing that you're talking [TS]

  about the it becomes a not a deliberate [TS]

  object like this is not to be what was [TS]

  intended to be and now it's just an [TS]

  object to be collected and looked at and [TS]

  traded exactly Chris Baloo's gold [TS]

  spray-painted boots on display at the [TS]

  experience music project are a great [TS]

  example grant Huff of a time when uh [TS]

  when it you know we really I think [TS]

  around here thought that it was a weird [TS]

  moment right because we recognize that [TS]

  Jerry Garcia's finger if you had it in a [TS]

  box it was worth money now and here we [TS]

  were sort of feeling like in the in the [TS]

  early 90s that we were replicating San [TS]

  Francisco in the late 60s for the [TS]

  midsi's we were replicating that whole [TS]

  experience and therefore we had better [TS]

  grab all of this stuff like Chris [TS]

  Baloo's boots and put him under glass [TS]

  because one day they would be worth [TS]

  something and it's funny because times [TS]

  have changed I mean I think probably [TS]

  Chris Baloo's boots under glass were [TS]

  worth a lot more [TS]

  in 1998 than they are now because people [TS]

  were there was a market for the men and [TS]

  now [TS]

  like oh yeah doing Chris police boots I [TS]

  know you get those you're here basically [TS]

  cause um yeah you wear that you know [TS]

  he's going through a pair every year [TS]

  he's got all stack of them beanie babies [TS]

  fidget spinners don't catch them all but [TS]

  listening to Sergeant Pepper hmm uh this [TS]

  this brand new remix of Sergeant Pepper [TS]

  that you might have heard about right at [TS]

  the end of the day in a life a day in [TS]

  the life the day in a life there's um [TS]

  you know they hit that enormous piano [TS]

  cord and the cord rings out and we all [TS]

  know the story right there when we can [TS]

  picture them all sitting there you know [TS]

  three to a bench on these grand pianos [TS]

  yeah I was like three three three guys [TS]

  three pianos and you hit the chair [TS]

  squeak at the end I'd you hear the chair [TS]

  squeaks what I'm that's exactly what I'm [TS]

  saying [TS]

  and the thing is there's no way that you [TS]

  can't hear it because as they were remix [TS]

  in this they I mean every compressor in [TS]

  the country was pointed at that chair [TS]

  squeak so that we would so that it was [TS]

  there you know what I mean like that [TS]

  fucking chair squeak is the whole game [TS]

  because it it scratches that itch for [TS]

  all of us like oh the chairs we whose [TS]

  whose butt wasn't Ringo's but was it [TS]

  George's but there was George Martin's [TS]

  but it was George Martin's but squeak [TS]

  and and the end and the way it plays [TS]

  into the whole thing like alright you [TS]

  guys you know everybody quiet [TS]

  we're gonna hit this chord and then just [TS]

  be quiet let it ring out and then [TS]

  somebody fucking squeaks I in that sense [TS]

  I bet it was Paul oh man you got a heart [TS]

  of a Paul but but but at any other time [TS]

  you know that would have been any other [TS]

  time pre Beatles I think that absolutely [TS]

  would have been edited out that the the [TS]

  mix would have they would have said even [TS]

  if they've been trying to do the thing [TS]

  they would have said well that will mix [TS]

  it out at the chair squeak right and [TS]

  even now when you're when you're [TS]

  recording it's a big it's a big question [TS]

  whether or not to leave those things in [TS]

  because I think [TS]

  in the days of foreign 8-track recording [TS]

  if a mistake got made and got left in it [TS]

  just got left in and didn't have options [TS]

  yeah and that is part of the sound that [TS]

  we love about old records and now that [TS]

  you have the option I mean you can go in [TS]

  and and monkey with the waveform and [TS]

  take chair squeaks out while leaving the [TS]

  the main sound you know you could keep [TS]

  the cord in and take the chair squeak [TS]

  out because you could pinpoint what it [TS]

  was so now the question is do we leave [TS]

  that mistake in in order to you know as [TS]

  an effect almost do we leave it in to [TS]

  make it sound like it's Rohrer than than [TS]

  it is there's some things where if you [TS]

  fixed it you'd mess it up a little bit [TS]

  like going back and listen to the raw [TS]

  tracks on I don't know the word for it [TS]

  is but the the take that they use the [TS]

  basic tracks you hear flubs what happens [TS]

  and like you know do you want that taken [TS]

  out that's part of how the song sounds [TS]

  or when Paul this is not even on one of [TS]

  the stony ones but on if I fell the [TS]

  second time he sings the bridge his [TS]

  voice cracks a little bit and you can [TS]

  hear him laugh just a little bit on the [TS]

  second bridge like blow my god don't [TS]

  take that out because I sure that I [TS]

  point that out to my daughter every time [TS]

  it comes on like don't take that out [TS]

  that's that's part of the song well so [TS]

  that I think is a nice segue into the [TS]

  question of whether or not you remix Sgt [TS]

  pepper's Lonely Hearts Club Band that's [TS]

  right yeah and I mean we don't need to [TS]

  turn this into yet another you know long [TS]

  article or video about this but the [TS]

  basic idea was 50th anniversary George [TS]

  Martin's son and if you have more [TS]

  information you can correct me do that [TS]

  but my understanding is they went in [TS]

  they got the to the extent possible the [TS]

  original tracks meaning like the [TS]

  Unbounce down unspeak erected like [TS]

  original tracks from Sergeant Pepper and [TS]

  then wanted to reconstruct it for mainly [TS]

  around sound quality to keep make it [TS]

  still the versions that you're familiar [TS]

  with but but again the stereo and the [TS]

  mono mixes of these things were so [TS]

  different and they wanted to create a [TS]

  really good sounding stereo mix that [TS]

  still honored [TS]

  you know the way it was put together but [TS]

  also bringing out sounds that you just [TS]

  couldn't hear uh in the various versions [TS]

  in the past right and now we have it now [TS]

  we have it and I have listened to it and [TS]

  the old stereo mixes not exactly [TS]

  back-to-back but I listen to one and [TS]

  then you know listen to the other and [TS]

  was just kind of thinking about the two [TS]

  things and they're markedly different [TS]

  listening experiences from the [TS]

  pre-existing stereo in particular the [TS]

  original stereo mix and the and this [TS]

  latest mix you know there they are [TS]

  they're very different it's a very [TS]

  different song to song and the whole [TS]

  experience of the album is very [TS]

  different and I'm I went into it I think [TS]

  with the with the assumption that I was [TS]

  going to be down on it they're going [TS]

  what why tinker with this right well [TS]

  yeah it's the George Lucas thing again [TS]

  you know like yeah we have the [TS]

  technology y-you know we have the [TS]

  technology to to have the original [TS]

  tracks but with the chipmunk singing [TS]

  over it but why you know like why put a [TS]

  CGI Jabba the Hutt in it uh that's kind [TS]

  of a deep deep deep reference I don't [TS]

  know I'm sure some some listeners will [TS]

  get it but you were you're prepared to [TS]

  go into thinking maybe this isn't a good [TS]

  idea and you were kind of little bit [TS]

  pre-loaded to not be into what you heard [TS]

  well what did you think it was going to [TS]

  be did you think it was gonna be too [TS]

  refreshed to modern wouldn't respect the [TS]

  old sound like what were you what were [TS]

  you worried it would be the thing is the [TS]

  the stereo mixes of those records were [TS]

  bad and we all know that they were bad [TS]

  they've always been bad they like you [TS]

  like you said last week they were and [TS]

  after [TS]

  thought the band was all there for the [TS]

  mono mixes and then there was this new [TS]

  fad stereo and everybody went home and [TS]

  left it to the skeleton crew to kind of [TS]

  like well you know what you that point [TS]

  was a little bit like turning your [TS]

  existing movie into 3d you were gonna be [TS]

  trying to cater to this specialized [TS]

  market that was actually actually not [TS]

  your primary channel that you were [TS]

  selling into but there were also I mean [TS]

  there are pretty big differences in some [TS]

  cases of the speed of it in some cases a [TS]

  little bit of arrangement and and I mean [TS]

  famously like Ringo's drums did not [TS]

  sound good in stereo he's a very nuanced [TS]

  player and a lot of that was really lost [TS]

  um especially in the stereo mix oh well [TS]

  the reason that it was lost is that they [TS]

  didn't yet know I mean this dawn of [TS]

  stereo right they didn't know how to mix [TS]

  so ring goes ring goes drums aren't it's [TS]

  not stereo that doesn't serve them it's [TS]

  that at the time it wasn't clear to them [TS]

  like here's the standard that we all use [TS]

  now right when you're still when you [TS]

  bring up a mix a stereo mix of a song [TS]

  the drums are right up the middle and so [TS]

  what right up the middle means is you've [TS]

  got you've got these knobs that are [TS]

  called pan knobs and you can pan a sound [TS]

  all the way into the left headphone or [TS]

  all the way into the right headphone or [TS]

  you can bring them sort of there it's [TS]

  60% in the right headphone and 40% in [TS]

  the left headphone and what that does is [TS]

  in your mind when you're listening to it [TS]

  it makes it sound like the instrument is [TS]

  kind of over in it's in that side of the [TS]

  room but it's not all the way over you [TS]

  know in that case the entire drum set [TS]

  it's the entire you're trying to emulate [TS]

  the the part about that seems so crazy [TS]

  in retrospect is you wouldn't think to [TS]

  mix each weight didn't have the ability [TS]

  to mix each drum differently different [TS]

  effects different panning different gate [TS]

  different everything on each drum to [TS]

  create a new drum sound [TS]

  it was more like emulating where the [TS]

  drums were in a room and often it's not [TS]

  it was almost all the way hard right or [TS]

  hard left for most of the instruments [TS]

  right which does not emulate the sound [TS]

  of drums in a room that's the crazy [TS]

  thing like so much of mixing is is to [TS]

  trick [TS]

  your brain yeah so if both if an [TS]

  instrument is equal in both headphones [TS]

  it sounds like it's straight ahead it [TS]

  sounds like it's right in front of you I [TS]

  mean it's really a peer it sounds like [TS]

  it's appearing right inside your mind in [TS]

  a way and when we mix records now it's [TS]

  understood in the main that the drums [TS]

  are mixed right in the middle and the [TS]

  bass is mixed right in the middle and [TS]

  the lead vocals are mixed right in the [TS]

  middle that's where you want them and [TS]

  then all the other stuff your pianos [TS]

  your reverbs your backing vocals your [TS]

  guitars your strings everything else is [TS]

  kind of panned around the the sphere so [TS]

  you know you you put a you put your lead [TS]

  guitar over here you put the tambourine [TS]

  over there and that's how you get that [TS]

  stereo field but you don't want an [TS]

  entire drum kit with all of its going [TS]

  all that's going on in a drum kit you [TS]

  don't want it mixed hard left because it [TS]

  just and and if you do put something [TS]

  there you can't put anything else there [TS]

  like the drums take a lot of they take [TS]

  informational space right so what made [TS]

  Sergeant Pepper with what made those [TS]

  mixes terrible is that on a lot of songs [TS]

  and the thing is every song they did it [TS]

  different they did a different thing but [TS]

  like there were quite a few songs where [TS]

  the entire kit like you're saying is [TS]

  just all the way over there it is living [TS]

  like fixing a hole the drums are up [TS]

  completely completely left and the piano [TS]

  is completely left and the base is [TS]

  completely left and so the rest of the [TS]

  song it's all over here on the right you [TS]

  know all they like bing bangs and jink [TS]

  tanks and and the singing and the vocals [TS]

  and it's like that is crazy [TS]

  that's what's such a strange decision [TS]

  and the to me a classic example with the [TS]

  Ramones it's kind of funny and I don't [TS]

  mind it that it's all based over here [TS]

  all guitar over there if you listen to [TS]

  it with one speaker you can hear one or [TS]

  the other full-stop but that's what [TS]

  that's what three instruments and vocals [TS]

  yeah and it's kind of cute but like I'm [TS]

  kind of surprised that passed the sniff [TS]

  test [TS]

  even for the early days of stereo it's [TS]

  such an odd decision because it's not if [TS]

  you have headphones on it's not fun to [TS]

  listen to well and I don't I think one [TS]

  of the things was people didn't really [TS]

  they weren't mixing with headphones they [TS]

  had speakers in the room and they set it [TS]

  up like that and it's like yeah I mean [TS]

  it's so different when you're mixing a [TS]

  song to listen to it in headphones all [TS]

  that and it's it's why things now most [TS]

  music now that people are making at home [TS]

  or stuff like that it's all mixed in [TS]

  headphones and when you're when you're [TS]

  in a studio and you're making an album [TS]

  you listen to it through the big [TS]

  speakers and then you switch and you [TS]

  listen to it through the little speakers [TS]

  and then you listen to it in headphones [TS]

  and then you listen to it and the cheap [TS]

  little dime-store speakers and every [TS]

  time you hear different things poking [TS]

  out you know you put headphones on [TS]

  you're like oh no we're complete but [TS]

  working on this all day and it sounds [TS]

  like shit and you have to go back and [TS]

  start over but if you do it on the [TS]

  headphones it's the same thing you [TS]

  listen to it on the speakers it's like [TS]

  oh no that's not right and it's so so [TS]

  what they were doing is sitting in this [TS]

  room listening to it on speakers and I [TS]

  think they thought well let's make it [TS]

  sound like the band is over here and [TS]

  that singers over there that makes good [TS]

  sense we're gonna do a stereo you might [TS]

  as well really do it so people can [TS]

  really hear the definition and I and I [TS]

  think if you're sitting in your living [TS]

  room if you're like in a Mac Mac cell a [TS]

  magazine ad in your black your black [TS]

  sunglasses sitting in your chair with [TS]

  your glass of wine about to spill [TS]

  listening to you music coming out of [TS]

  your big hot speakers it probably [TS]

  doesn't sound as unusual because it just [TS]

  it's you're getting room reverb your [TS]

  ears are picking up stuff it's the it's [TS]

  the isolation of headphones where if [TS]

  it's not in your right speaker your [TS]

  right ear isn't going to hear it and [TS]

  that's what makes it sound so trippy so [TS]

  so to say that those stereo mixes of [TS]

  Sergeant Pepper are like sacred somehow [TS]

  I guess it's not defensible [TS]

  because there's there's they were such [TS]

  some of them were were just like well [TS]

  that was a that was a mistake I mean you [TS]

  were you were right at the you were [TS]

  right at the gate of mixing in stereo [TS]

  and that's not how we ended up doing it [TS]

  right [TS]

  um and it's and and also it um for this [TS]

  for this new and very ambitious and very [TS]

  I can't use that word nuanced material [TS]

  um you know it's it's a shame that it [TS]

  came across sounding a little thin you [TS]

  don't really hear a rock band in there [TS]

  it's it's very difficult I mean first of [TS]

  all just the magic of what they are [TS]

  doing with bouncing this stuff down on [TS]

  the equipment they had it's incredible [TS]

  it's absolutely incredible and it really [TS]

  was the they were helping create the [TS]

  future of music that we're still living [TS]

  with today with what they were the hacks [TS]

  that they were doing to try and like [TS]

  change the tapes fees and get this under [TS]

  there and bounce these down to this it's [TS]

  all great but mean but the thing is the [TS]

  material it always seemed like the [TS]

  material was thin because the sound was [TS]

  thin in some ways did you know I mean [TS]

  yeah although although being for the [TS]

  benefit of mr. kite is pretty thin yeah [TS]

  well that's just in terms of disclosure [TS]

  and getting this out of the way like I [TS]

  said last week I would still count [TS]

  sergeant Pepper's probably my maybe my [TS]

  fourth favorite Beatles record yeah but [TS]

  it's not it's never been because of the [TS]

  production it's just because I there's [TS]

  not as many songs that I adore on here [TS]

  there's a handful of songs I really [TS]

  really like I'm glad they were getting [TS]

  ambitious I'm glad they were trying [TS]

  stuff I think it's a very successful [TS]

  very good record is the greatest album [TS]

  of all time I don't think it is I don't [TS]

  think the material is is is their [TS]

  strongest and so I'm yeah I don't mean [TS]

  to be rate the Beatles I mean I don't [TS]

  mean to punch down to the Beatles here [TS]

  but I checked my privilege and but uh [TS]

  but but you know that's that's the thing [TS]

  though but I guess what I'm putting this [TS]

  so poorly but the problem is that the [TS]

  material is is unusual it's light it's [TS]

  got weird instrumentation and yeah so [TS]

  obviously if they were trying to put out [TS]

  like a thrash metal album and it sounded [TS]

  like that it would be an abject failure [TS]

  from the very beginning it some of the [TS]

  songs I mean they're very there picks [TS]

  there can be very strong songs with good [TS]

  parts but I [TS]

  just I'm saying like for the past 50 [TS]

  years it is not benefited from the fact [TS]

  that it really it didn't you couldn't [TS]

  hear the rock music in it you know even [TS]

  when it was like a vaudeville song [TS]

  you couldn't appreciate like how Paul's [TS]

  bass sounds like every note he hits and [TS]

  this is before we even get into Ringo's [TS]

  drums which is gonna be like three hours [TS]

  of this podcast for me yeah but that's [TS]

  that's where it's been and if you if you [TS]

  wanted a robust great sounding mix you [TS]

  could still go back and listen to mono [TS]

  but mono is like black and white it's [TS]

  like when I show apart from the movie [TS]

  duck soup my daughter does not want to [TS]

  watch anything in black and white it [TS]

  feels it's a castrated color movie to [TS]

  her that's her words didn't sound like [TS]

  her gonna take on that one um you know I [TS]

  agree about the record and listening to [TS]

  it you listening to it like I did uh the [TS]

  last couple of days thinking about it [TS]

  you know it's really clear that [TS]

  something in Paul really wanted to write [TS]

  this musical music he wanted to write [TS]

  music for his mom he wanted to write [TS]

  this sort of Edwardian link dinky [TS]

  lickety kadai hey you know kind of like [TS]

  music that you would hear it on the [TS]

  boardwalk in Brighton in 1912 and like [TS]

  egos old-timey showbizzy music yeah and [TS]

  and music that was I mean it those songs [TS]

  that Paul writes in that Music Hall [TS]

  style are really for all ages you know [TS]

  from from nine to ninety anybody is [TS]

  going to be able to enjoy it it's not [TS]

  it's not those songs are not dark [TS]

  they're fun and they're old-timey [TS]

  and he really really wanted to explore [TS]

  that sound and what I've always loved [TS]

  about the Beatles and what scared me [TS]

  about them when I was ten and really [TS]

  wanted to be scared by the Beatles was [TS]

  that those songs in the context of the [TS]

  Beatles were terrifying because what the [TS]

  fuck are these people on you know it [TS]

  compared to I mean you have one of these [TS]

  Paul songs like la [TS]

  not that out of that' and then right [TS]

  next to it is like why don't we do it in [TS]

  the road or something and and taken [TS]

  together it's wonderful it's a wonderful [TS]

  part of the Beatles but imagining as I [TS]

  so often do what it was like to be John [TS]

  Lennon and sitting there thinking that [TS]

  you are an avant-garde artist and then [TS]

  Paul comes in with it's getting better [TS]

  all the time or lovely Rita and John [TS]

  just like had to be feeling the had to [TS]

  be I mean we all know he was he was just [TS]

  feeling this resentfulness at what he [TS]

  perceived to be Paul's corniness so [TS]

  Sergeant Pepper the whole vibe of the [TS]

  record was Paul saying I've got it why [TS]

  don't we pretend to be a band and if we [TS]

  pretend to be a band than all my [TS]

  cornball uh musical stuff won't be us [TS]

  will it it'll be a fun me band and the [TS]

  end he's presented it in in that way [TS]

  that Paul loves to sort of revise just [TS]

  yes yes here we go he's presented it as [TS]

  like no you know it was my attempt to [TS]

  beYOU know be very alter you wouldn't in [TS]

  it Brewer and but really what was [TS]

  motivating him was he wanted to do that [TS]

  he wanted to do a kids record almost and [TS]

  he had to contend then and then the the [TS]

  weird arty stuff he had to contend with [TS]

  George who was like you know writing a [TS]

  magic carpet around and Lennon who was [TS]

  already starting to come unglued [TS]

  you know Lennon was almost a hard time [TS]

  yeah he was he was hitting a rough patch [TS]

  yeah and so then and then you get the [TS]

  magic of them all together and you throw [TS]

  it together and here's this [TS]

  extraordinary record but I was you know [TS]

  the famous story right about here comes [TS]

  Paul with it's getting better all the [TS]

  time and then Lennon comes in with good [TS]

  much was and it's like oh that's the [TS]

  there it is right there the Lennon [TS]

  McCartney Frisian [TS]

  but what really stands out is that [TS]

  Lenin's backing vocals in that tune are [TS]

  so much of a fuck you to the song like [TS]

  his backing all of his life sounds like [TS]

  he's singing along on the radio with a [TS]

  song that he doesn't like and so he does [TS]

  a sweet grandma [TS]

  falsetto his is his tone his choice of [TS]

  the way he sings his his intentional out [TS]

  of tunis are like a contemptuous [TS]

  contribution to the song he's actively [TS]

  hating it as he performs it and it's [TS]

  amazing that he got away with it that [TS]

  whatever their dynamic at the time and [TS]

  their dynamic with George Martin was [TS]

  that he could do that and I think [TS]

  probably Paul was gritting his teeth and [TS]

  saying like oh yeah that's very good you [TS]

  know that's very creative and somehow it [TS]

  got through somehow Lennon managed to [TS]

  say like no that's what this tune needs [TS]

  it needs me like mocking it throughout [TS]

  and it's not just the you know it's not [TS]

  just can't get much worse it's like [TS]

  every note out of his mouth and then [TS]

  when Paul's harmonies come in they're [TS]

  beautiful and perfect so you know like [TS]

  that that that ugliness didn't extend to [TS]

  the harmonies that Paul put on right he [TS]

  Paul was still trying to keep it fun uh [TS]

  and that's that you hear that throughout [TS]

  this record when you really like zoom in [TS]

  on it but they were still nominally [TS]

  friends at that point they had yeah the [TS]

  thing hadn't decayed but the signs were [TS]

  there yeah yeah absolutely and but it is [TS]

  funny how they you the more you learn [TS]

  it's with when you apply some genetic [TS]

  criticism to this and you know things [TS]

  you hear stories and you read things but [TS]

  it's strange though that like it's [TS]

  strange and it's fortunate that they [TS]

  were able to hold it together as long as [TS]

  they did - you get something like [TS]

  strawberry fields and and Penny Lane [TS]

  that you know such such different songs [TS]

  such different approaches but like we [TS]

  can't we as the audience can appreciate [TS]

  those [TS]

  as those first right does afford it yeah [TS]

  but I think Strawberry Fields is the [TS]

  very first thing can you imagine how [TS]

  much better this record would be if it [TS]

  had those two songs on it and just those [TS]

  two songs right [TS]

  but as this let alone like yeah well and [TS]

  you know they're both like they're both [TS]

  total peak Beatles right the the total [TS]

  triumph and Penny Lane is a classic Paul [TS]

  like song for all ages and Strawberry [TS]

  Fields is Lennon on his drug his drug [TS]

  thing and and yet they're not on that [TS]

  record and so so you get you know you [TS]

  get a little bit of like the subpar [TS]

  Beatles and yeah and still it's [TS]

  considered the greatest record in [TS]

  history right if we had those two songs [TS]

  on that record it would be I don't know [TS]

  God's such a much better record yeah I [TS]

  don't understand that whole I think well [TS]

  I did a little bit of reading about this [TS]

  it sounds like they did they felt like [TS]

  they were cheating if they were [TS]

  releasing singles off of an album that [TS]

  their their typical set was you know you [TS]

  get these 10 usually 10 songs plus a [TS]

  single and in this case the four not the [TS]

  is it technically the first double [TS]

  a-side what about don't be cruel and [TS]

  pound dog I mean isn't that a double a [TS]

  sign that is some record record talk [TS]

  that I'd I can't join in I have no idea [TS]

  sounds like a double a-side but I think [TS]

  back then I think hound dog era they [TS]

  weren't released as double-a sides they [TS]

  were released as a B and then then the [TS]

  DJ's flipped it over and they were like [TS]

  whoa right I mean came a double a but [TS]

  the Beatles released it intentionally as [TS]

  a double a-side right right right [TS]

  totally I mean it just seems like so I'm [TS]

  gonna get mail about this did I get that [TS]

  right is it hound dog and don't be cruel [TS]

  I don't know about that it seems like [TS]

  such a squandered opportunity but then [TS]

  I'm the guy that put commander thanks [TS]

  allowed on an EP yeah yeah [TS]

  so look at you yeah look at me um okay [TS]

  it's weird though I mean like I want to [TS]

  listen to it I go I like that song I [TS]

  like that song I like this other song [TS]

  but you know it's it isn't it's it's for [TS]

  me as an album and I look like I'd like [TS]

  to get to the sound stuff because I [TS]

  think that's that's where the story is [TS]

  for me on this one but I mean there are [TS]

  even more chamblee things [TS]

  even more chamblee things [TS]

  like like I would buy think oh we prefer [TS]

  the white album to this that there's [TS]

  only about a shamble on there and it's [TS]

  really sad that they only play on like [TS]

  what one or two songs on that whole [TS]

  album together other than that like [TS]

  there they never were recording at the [TS]

  same time apart from like happiness is a [TS]

  warm gun supposedly but yeah I mean this [TS]

  is I started listening to this when I [TS]

  was about 13 and yes I mean I've been [TS]

  told my whole life I'd heard this was [TS]

  like the greatest album of all time and [TS]

  I really liked it I think at that time [TS]

  even at that time I think there were [TS]

  others I liked a little more but yeah [TS]

  well revolvers and Rubber Soul are both [TS]

  way better albums let's discover [TS]

  revolver after Sergeant Pepper so I had [TS]

  the the blue album the red album as [TS]

  they're now called and that's that's [TS]

  what I really kind of thumb cut my teeth [TS]

  on was listening to those over and over [TS]

  and skipping lady Madonna but like those [TS]

  those albums were huge for me [TS]

  and yeah I don't know I might have an [TS]

  abbey road cuz I I really got into the [TS]

  Beatles through my cousins there were [TS]

  five and ten years older respectively [TS]

  and so Abbey Road I think was the first [TS]

  album of theirs I really loved because [TS]

  I'd heard it a lot and then I kind of [TS]

  backed into it by sample but it wasn't [TS]

  until college I don't think it was until [TS]

  I had a CD player my second year of [TS]

  college that I really heard revolvers [TS]

  and I didn't pretty quickly became my [TS]

  favorite I didn't listen to the White [TS]

  Album until I was in high school but [TS]

  revolver was the first Beatles record I [TS]

  had because when I moved to Alaska to [TS]

  live with my dad I think one of my older [TS]

  siblings had been up there to visit in [TS]

  the in the early 70s or something and [TS]

  there were three no wait what was it [TS]

  there was revolver these were 8-track [TS]

  tapes that were at my dad's house that I [TS]

  discovered Wow [TS]

  hidden among the Count Basie tapes there [TS]

  was revolver there was Jackson five [TS]

  there was bridge over troubled water um [TS]

  that may have been it but those three [TS]

  records I immediately collected and put [TS]

  into my dad's car which had an [TS]

  eight-track tape player and we listened [TS]

  to them because he you know he had a [TS]

  friend this is what's crazy about the [TS]

  time he had a friend that owned a record [TS]

  store that was capable of making his own [TS]

  8-track tapes like mix tapes on 8-track [TS]

  and so he would make mixtapes for my dad [TS]

  of all this Glenn Miller stuff and so my [TS]

  dad had all these like Private Reserve 8 [TS]

  tracks of his favorite you know his [TS]

  favorite jazz stuff and then I had these [TS]

  three pop records and any chance I got I [TS]

  would slip my pop record in and he would [TS]

  listen to it you know and kind of like [TS]

  no it's good let you know he'd let me [TS]

  listen to it for a while but so revolver [TS]

  was the my first and only Beatles record [TS]

  for a long time before I did what a lot [TS]

  of early Beatles fans from the from the [TS]

  70s and 80s did which was I got the Blue [TS]

  Album mm-hmm and then I got the red [TS]

  album that's the same order I got him in [TS]

  the backwards order yeah blue and then [TS]

  red and between the blue and the red I [TS]

  mean I was covered Beatles wise mm-hmm [TS]

  and was kind of scared to listen to the [TS]

  records themselves until probably yeah [TS]

  junior junior year in high school maybe [TS]

  it's not a fake it's not something I'm [TS]

  proud of but given my budget and my [TS]

  interest a lot of my entrees into bands [TS]

  that became my favorites were through [TS]

  best odds of greatest hits just because [TS]

  it was the most economically viable way [TS]

  well that was the time mm-hmm [TS]

  you know what I think I don't know if [TS]

  I've ever listened to an Eagles record [TS]

  but I've listened to the Eagles Greatest [TS]

  Hits I mean it's got it he's got a [TS]

  popular album of all time yeah that's [TS]

  all you need really huh but so so so [TS]

  revolver isn't just I mean I it's I [TS]

  think the best Beatles record but also [TS]

  its burned into me like burned into my [TS]

  young emotions so powerfully [TS]

  that I can't separate it from from being [TS]

  ten or being 14 or you know it's like [TS]

  it's been with me my whole life [TS]

  basically but this record was one of the [TS]

  ones I was scared to listen to on its [TS]

  own and when I listened to it finally on [TS]

  its own that fear was confirmed because [TS]

  I was like so many things when you love [TS]

  them I was scared to be disappointed [TS]

  really the thing that I loved yeah I'm [TS]

  oh no if I hear if I hear a perfect work [TS]

  like I love my bloody Valentines a [TS]

  record flawless one Lovelace I love it I [TS]

  love it I love it I loved every minute [TS]

  of it and I am very resistant to [TS]

  listening to the other music made by My [TS]

  Bloody Valentine I just don't want to [TS]

  tarnish the thing that I love with [TS]

  missed with any missteps I don't want to [TS]

  hear his folk record you know I just [TS]

  want to hear I just want to keep the [TS]

  perfect thing and the Beatles were so [TS]

  perfect through so much have you ever [TS]

  have you ever heard their that the the [TS]

  other Greatest Hits um [TS]

  the brown one called love songs oh yes [TS]

  young like the seventies yeah yeah I [TS]

  feel like that that was that was uh that [TS]

  was a popular one yet looks like them in [TS]

  like a kind of leather cupboard yeah [TS]

  exactly it's a it's an incredible [TS]

  mixtape is what it is it's a very [TS]

  unusual combination of those songs and [TS]

  it's it's just like a weird it's a very [TS]

  weird listen and a an emotional listen [TS]

  it's it's their it's their sappy tunes I [TS]

  guess for lack of a better term and and [TS]

  taken out of their context and put into [TS]

  this record it so it also was on my [TS]

  turntable a lot growing up [TS]

  I'm seeing 1977 yeah yeah I still have [TS]

  all that stuff to all those vinyls [TS]

  so I should get good though I should [TS]

  just say I should have gotten my [TS]

  Sergeant Pepper out and listen to it on [TS]

  the record player Amazon Prime [TS]

  so this thing came along and I I learned [TS]

  about it from think guys I'm already [TS]

  forgetting but I think I heard about it [TS]

  from an interview with them Giles Martin [TS]

  on All Songs Considered the MPR show and [TS]

  I just hadn't realize it was out yet I'd [TS]

  heard it was coming but again why am I [TS]

  gonna pay attention to that uh it's not [TS]

  my favorite you're talking about this [TS]

  remix [TS]

  yeah the remix I mean I it had been out [TS]

  for I guess a week or two when I heard [TS]

  this interview and the nice thing in [TS]

  this interview is it's uh they basically [TS]

  he jaws will like he'll talk about some [TS]

  part of a song he plays usually plays [TS]

  the I think he usually starts with the [TS]

  stereo mix then plays the mono mix might [TS]

  have been backwards and then third plays [TS]

  the new one and I could I could really [TS]

  really hear the difference and you know [TS]

  again dead rock-and-roll ears but but I [TS]

  mean I heard stuff on there I just [TS]

  didn't I don't remember ever hearing or [TS]

  even knowing was on there and I [TS]

  instantly as soon as it was over I [TS]

  jumped over to music Apple music where [TS]

  it was already up and like I said I [TS]

  listened to it three times Saturday [TS]

  before last yeah so I was I you know I [TS]

  went into it before my first listen I [TS]

  went into it ready to like it [TS]

  so you went into it ready to be sort of [TS]

  man and then how did you I still don't [TS]

  have a guess what your feeling is I bet [TS]

  it's complicated but mostly positive [TS]

  well yeah so the bass sounds amazing but [TS]

  it sounds modern you know like the way [TS]

  that the bass is compressed and the I [TS]

  mean what you hear in the bass is this [TS]

  incredible like a palm Paul took a lot [TS]

  from Carol Kaye you hear his bugle have [TS]

  you can totally you can tell [TS]

  totally here uh was it would it be pet [TS]

  sounds at this point but there's so much [TS]

  he does that's very Beach Boys he's [TS]

  really he's really into it you know he's [TS]

  into that tone especially something like [TS]

  I have a little help from my friends I [TS]

  mean it almost sounds like he's [TS]

  deliberately aping a Beach Boys yeah [TS]

  yeah this vibe right and and it's so [TS]

  cool to hear it given a modern treatment [TS]

  because now the base for so for most of [TS]

  the tunes now there are some tunes where [TS]

  the original mix kind of already sounded [TS]

  like like a modern mix just because as [TS]

  they were as they were throwing frogs at [TS]

  a wall like one of them stuck every once [TS]

  in a while but but the so the bass and [TS]

  the drums are just so much more well [TS]

  they're just in the mix final right [TS]

  there I mean I just there did sounds it [TS]

  sounds like it that sounds like a bass [TS]

  these sound like real drums and you can [TS]

  hear them and if you if you put them [TS]

  side to side if you if you just listen [TS]

  to you know if you listen to fixing a [TS]

  hole and the drums are completely said [TS]

  they sound like they're squashed into a [TS]

  can on the left-hand side and then you [TS]

  you listen to the new version of it and [TS]

  the drums are just where they belong [TS]

  they're in the room there they're there [TS]

  they are you hear them and you're able [TS]

  to hear them and it sounds like a band [TS]

  like you're saying and it sounds like [TS]

  rock music [TS]

  mm-hm um there's just no there's no way [TS]

  you can go back to the to that other mix [TS]

  and defend it as anything other than [TS]

  like what it was which is the historical [TS]

  that's the artifact right this is if you [TS]

  had a choice between listening to the [TS]

  Tuesday oh you kind of can't unhear that [TS]

  difference yeah but I would choose the [TS]

  new one if I was gonna if I was if I was [TS]

  washing the dishes and wanted to turn on [TS]

  my Sonos and play one of the two I would [TS]

  play the new one it just sounds amazing [TS]

  but the but the treatment of the bass [TS]

  and the and it's less true I think in [TS]

  the treatment of the drums which kind of [TS]

  just sound they're just there but the [TS]

  base is really tree [TS]

  did like a modern base and so you get [TS]

  you get the you get all the sound of it [TS]

  and it feels very just like well it's [TS]

  it's warm and punchy let's just call it [TS]

  I think in this at that at that time [TS]

  I'm gonna guess you were really supposed [TS]

  to notice the bass you weren't supposed [TS]

  to really hear the bass as an instrument [TS]

  I mean maybe a little different with [TS]

  something like John Entwistle where he's [TS]

  you know like a marquee player but as [TS]

  great as Paul's parts were I mean you [TS]

  might lose it along side the left left [TS]

  hand of the piano playing or something [TS]

  if you're not listening carefully it [TS]

  wasn't meant to stand out in the way [TS]

  that by the time he's in wings it feels [TS]

  like it's getting a little bit louder [TS]

  every album and well and then do do [TS]

  what's what's funny is that even in the [TS]

  original mix of lovely Rita the bass and [TS]

  the vocals are so front like the bass is [TS]

  absolutely the only thing going on in [TS]

  that track because the entire rest of [TS]

  the band [TS]

  everything is mashed over in the left [TS]

  channel like the right channel is and [TS]

  this is what's crazy I didn't ever [TS]

  realize this about lovely Rita but all [TS]

  the shaker sounds the eggshaker in that [TS]

  tune yeah it's a lot of percussion well [TS]

  except the eggshaker is all voice it's [TS]

  them going [TS]

  chicka chicka chicka chicka chicka [TS]

  chicka chicka chicka and I never heard [TS]

  it before this before I listen to this [TS]

  new mix and then I went back in listen [TS]

  bill mix it's even more evident in the [TS]

  old mix they're they're seriously like I [TS]

  can't believe they're not laughing I [TS]

  think I hear them laughing I mean [TS]

  they're just like Shh [TS]

  lovely Rita chicka chicka chicka they [TS]

  did they do that was super Saiya for [TS]

  like you wonder like will I not listen [TS]

  carefully before like how tonight like I [TS]

  was listening on um when I'm 64 I almost [TS]

  thought they used a different vocal cuz [TS]

  when he says uh grand children on your [TS]

  knee and like wait a minute [TS]

  what was that has he always done a jokey [TS]

  rolling at the arse on that song and I [TS]

  just never heard it before [TS]

  was I not listening carefully or is this [TS]

  really that much clearer cuz it's [TS]

  unavoidable when you listen to it on [TS]

  headphones he's doing a funny English [TS]

  guy voice isn't that crazy I mean you [TS]

  know how'd you notice that [TS]

  for I knew that because that because I'm [TS]

  on the because I am so on the hunt for [TS]

  his camp any any bit of his camp eNOS [TS]

  III put a little a little crime-scene [TS]

  flag like bullets after a drive-by [TS]

  little flashes and there here's some [TS]

  blood splatter over here he's rolling [TS]

  his arse here and you know I say this [TS]

  with the utmost love I don't believe [TS]

  this really is not that I don't believe [TS]

  that they could be what they are without [TS]

  it without him doing that but he just [TS]

  but I'd I won't let it go by you know [TS]

  what I mean like but so if you listen to [TS]

  lovely Rita and start and hear that shit [TS]

  in the voice then you realize almost all [TS]

  the percussion is them making mouth [TS]

  sounds Wow except for there's one [TS]

  percussion part that I really think is [TS]

  just Lennon going like this just tapping [TS]

  the mic with his finger Wow ah and [TS]

  you're going like you guys you know you [TS]

  have drums there too like you have to be [TS]

  doing that so weird yeah I just did say [TS]

  enough about the drums though I mean in [TS]

  this the point I was trying to make [TS]

  earlier about like well you got got the [TS]

  material and whether you like or not but [TS]

  like you know did you mean it to sound [TS]

  this thin and you know probably not [TS]

  probably not but with with Franco's [TS]

  drums he is he is very talented and but [TS]

  very subtle very understated player but [TS]

  the difference is when you can really [TS]

  hear the drums in Dan'l life it's [TS]

  profound we exactly his floor toms [TS]

  change the way it's floor toms sound on [TS]

  this remix change this album for me [TS]

  I'm actually not exaggerating that any [TS]

  sound I noticed more than any other it's [TS]

  the incredible amount of personality in [TS]

  his very understated fills especially on [TS]

  the floor Tom it's a revelation it's a [TS]

  different album [TS]

  he's just any but his part in day and [TS]

  the life is it just basically fills he's [TS]

  just it's just fills the bass track is [TS]

  him doing a chicken shaker and I just [TS]

  think he went back and just added fills [TS]

  but do [TS]

  - so here's what I so listening [TS]

  carefully to the original mix of [TS]

  day-in-the-life [TS]

  I heard all this stuff I had never heard [TS]

  before that I God that I couldn't [TS]

  believe I had never heard before that is [TS]

  for the most part completely strained [TS]

  out in the in the this redo in the [TS]

  modern mix so at the start of day in the [TS]

  life the vocals the lead vocals are hard [TS]

  right the bass and the drums are Center [TS]

  and then as the first verse goes the [TS]

  lead vocals slowly pan to the center [TS]

  so you're they're way way right at the [TS]

  top of the tune and then all of a sudden [TS]

  you're kind of like wait a minute what [TS]

  are they and they're doing it slowly an [TS]

  update that in my whole life I never [TS]

  noticed they did it yeah I remember then [TS]

  and then they're in the center at the [TS]

  end of the first verse and then love to [TS]

  turn you on [TS]

  I'd love to the first time turn [TS]

  that's that starts hard left love to [TS]

  turn you on and then Paul's voice in the [TS]

  middle of the tune in the bridge comes [TS]

  in hard right again he's he's like [TS]

  singing that whole thing out in your [TS]

  right channel and then stuck woke up got [TS]

  out of bed yeah and then the AH they're [TS]

  sitting in the studio turning the pan [TS]

  knobs back and forth the the odds are [TS]

  swimming around in the stereo mix ah and [TS]

  then this when it comes out of the that [TS]

  part so at the top of the tune the [TS]

  vocals are hard right the the second [TS]

  half of the to the folk will start hard [TS]

  left and the band is mixed hard right [TS]

  and it's just like they they must have [TS]

  they were sitting in this area like what [TS]

  do we do next now I know that's what I [TS]

  would do twenty years later on a four [TS]

  track when I was high yeah yeah like oh [TS]

  I know [TS]

  second verse let's do let's do a [TS]

  complete reversal of what we've done the [TS]

  first [TS]

  look at me and axis bold is love if you [TS]

  and if you live if you listen to the new [TS]

  mix the drums are in the middle the bass [TS]

  is in the middle vocals are in the [TS]

  middle it's like it sounds a hundred [TS]

  times better mm-hmm but it's a [TS]

  completely different listening [TS]

  experience like it's not it's not any [TS]

  it's not even the same just a couple [TS]

  songs did some of the songs in the [TS]

  middle um you know I don't even have the [TS]

  listing in front of me but you know it [TS]

  starts out being at this first three [TS]

  songs which are such a such a rock block [TS]

  and then you know I think things really [TS]

  pick up toward the end but gets a little [TS]

  you know hmm my little slows down a [TS]

  little bit this little sagging in the [TS]

  middle but like I said like I think I [TS]

  specifically we talked about this last [TS]

  week like in another age with a mile or [TS]

  stereo mix just about the last thing [TS]

  that I would put on after working at [TS]

  McDonald's would be let's say good [TS]

  morning good morning [TS]

  whereas now there's so many of these [TS]

  songs that are so much more menacing and [TS]

  weird and like and like a objectionably [TS]

  weird like Oh what is going on in this [TS]

  song you can now you can hear how weird [TS]

  the song is and now so now I listen to [TS]

  good morning good morning first of all [TS]

  the horns the tamra of the horns it has [TS]

  that it has that you're in the room honk [TS]

  eNOS that you only hear on a real horn [TS]

  and to hear bump up that big opening to [TS]

  hear that yeah it's it's shocking to me [TS]

  but the parts of blew me away if I ever [TS]

  knew or remember that Ringo has two [TS]

  parts on there that he does in really [TS]

  fucked up triplets I don't remember it I [TS]

  what he done this time [TS]

  it sounds like this death metal end of [TS]

  the universe yeah yeah do you I mean I [TS]

  don't remember that being on there but [TS]

  like you listen to it now and of like it [TS]

  sounds like the Huns are invading it's [TS]

  crazy well and Paul's bass is is right [TS]

  in there with him doing his you know a [TS]

  year plucky like conk conka-chonk sound [TS]

  right yeah yeah yeah is strange like [TS]

  maybe high up like near the tailpiece [TS]

  he's doing something really offensive it [TS]

  sounds great it is it's offensive in it [TS]

  and and there are a couple of times when [TS]

  you're like is that how did that even [TS]

  make it into the take like that it is [TS]

  because it's muted but like [TS]

  it I think it's going to be near the [TS]

  tailpiece with a very hard pick is what [TS]

  it sounds like [TS]

  it's very very percussive it's a [TS]

  two-hour or I don't know I was [TS]

  remembering the right one yeah I was [TS]

  thinking that it was a that it was sort [TS]

  of a felt pick but that he was he does [TS]

  this thing where he's almost out of he's [TS]

  he's syncopated but he gets out of [TS]

  syncopation but it still is in rhythm [TS]

  there are a couple of things in that [TS]

  bassline that are like yeah they write [TS]

  it has a sinister vibe yeah yes it's a [TS]

  sinister sounding tune and that's [TS]

  another one the original mix of that um [TS]

  the entire band was just crammed into [TS]

  the left channel mm-hmm [TS]

  there was so there's no way you would [TS]

  have heard it you wouldn't have heard [TS]

  any of this that we can hear now because [TS]

  it's just like it was like completely [TS]

  thrown thrown left and then the horns [TS]

  were thrown right [TS]

  okay I'm closing iTunes because I had on [TS]

  for a second it was very scary I closed [TS]

  it here oh my god it sounds so good [TS]

  that's really great so then the only [TS]

  thing I was the only thing I the only [TS]

  stand I make on Good Morning up from [TS]

  either version is that it starts with a [TS]

  fucking rooster crows which is like no [TS]

  but it was may have been the first time [TS]

  that ever happened like I know let's put [TS]

  barnyard song sounds in it and then all [TS]

  the barnyard sounds at the end where [TS]

  you're like no don't do that you're this [TS]

  isn't a Pink Floyd record not yet and [TS]

  then but the best the best part of it is [TS]

  speaking of Pink Floyd right at the end [TS]

  of good morning there's a chicken that [TS]

  hands off to the lead guitar of Sergeant [TS]

  Pepper and that's so Pink Floyd yeah [TS]

  there's that there's that tune on it you [TS]

  know what I mean like in movies you get [TS]

  a match cut like the the ape guy throws [TS]

  the bone up into the sky and it turns [TS]

  into the spaceship in 2001 it's a [TS]

  musical match cut there's there's one in [TS]

  in final cut where there's a saxophone [TS]

  solo oh no the like Roger Waters sings a [TS]

  note and holds it and then it turns into [TS]

  a saxophone and there's no there's no [TS]

  way list I've listened to it a hundred [TS]

  times in the headphones you could just [TS]

  cannot decide when his voice [TS]

  and the sacks where this where the blend [TS]

  is you know just it just is seamless he [TS]

  just sings this note and it just turns [TS]

  into a sack soul and it's really like [TS]

  well done Pink Floyd supposedly John's [TS]

  well man was supposed Johnston man was [TS]

  each animal had to be followed by an [TS]

  animal that would either eat or terrify [TS]

  the preceding animal really yes totally [TS]

  uh there's one there's one thing there's [TS]

  one thing in the stereo mix that I [TS]

  missed or another thing that that when [TS]

  they redid it they they didn't do and I [TS]

  was surprised that they didn't do it in [TS]

  when I'm 64 there's a thing in the old [TS]

  mix because because it's so screwed up [TS]

  because the vocals are all left and the [TS]

  band is kind of in the middle and then [TS]

  Lennon's voice is hard right and the [TS]

  horns are coming in and all this stuff [TS]

  the because the stereo field is so crazy [TS]

  there's a little moment where you know [TS]

  where the bell goes ding bomb ding bonk [TS]

  'don't denna you know that little [TS]

  section do ya and the Bell is on one [TS]

  side and the reply the band replies on [TS]

  the other oh that's nice and it's that [TS]

  that's good use yeah it's a very brief [TS]

  like bamp ba bamp pompe bop you know and [TS]

  it it's it's cute and it's cool and they [TS]

  didn't do it [TS]

  in the in the redo and I missed it it [TS]

  was a small little detail that they [TS]

  could have done you know the bell didn't [TS]

  have to be the bell didn't have to have [TS]

  be drenched in reverb and be up the [TS]

  middle you know it could have been [TS]

  they couldn't ricans but but because the [TS]

  band was in the center it they didn't [TS]

  maybe have the option to do that [TS]

  trade-off man I'm a small thing uh-huh [TS]

  yeah but you get very personal about [TS]

  these things [TS]

  I honestly don't have that much really [TS]

  intelligent stuff to say as ever it's [TS]

  just it's mainly that I was I was really [TS]

  surprised and delighted by what how much [TS]

  more I enjoy listening to this [TS]

  particular album this way it is so much [TS]

  better you hear you hear [TS]

  beat this to death but you know it's [TS]

  it's less cockamamie like when you can [TS]

  and there's something about going back [TS]

  and listen to those original tracks and [TS]

  how they recorded them you're like [TS]

  there's totally a rock band inside here [TS]

  not that everything has to be like over [TS]

  over the top but like on the one hand [TS]

  you don't appreciate the forcefulness of [TS]

  the band arrangement of the Sergeant [TS]

  Pepper or pries there's no way you will [TS]

  never hear that song the same after [TS]

  hearing this new version because you [TS]

  realize what fuckin like Led Zeppelin [TS]

  song it is it's it sounds like the [TS]

  immigrant song like years before the [TS]

  immigrant song it's just pounding [TS]

  whereas at the same time on even [TS]

  something something like she's leaving [TS]

  home you may not totally appreciate the [TS]

  delicacy that's there or the subtlety [TS]

  that's there so it's it's opened up the [TS]

  entire spectrum of the way that this [TS]

  album can be appreciated by letting you [TS]

  hear so much more of what's actually [TS]

  being played but but so this is where I [TS]

  this is where I get back to my initial [TS]

  worry or my initial hot take yeah which [TS]

  is that as I was listening to it I I [TS]

  don't know why I was not being I wasn't [TS]

  being a brat I was not sitting here [TS]

  looking for a reason to be a brat I was [TS]

  just just listening to it with my mind [TS]

  empty and then a thought came into my [TS]

  head which was oh this will sound much [TS]

  better in the lobby of the Ace Hotel in [TS]

  Palm Springs and I was right you know [TS]

  what I mean like like this record you [TS]

  couldn't really have played in the lobby [TS]

  of a hotel a cool hotel before because [TS]

  it was too cooky it was if you did play [TS]

  it it was like if you're standing over [TS]

  by the elevators all you hear is the [TS]

  tambourine and and John Lennon making a [TS]

  mouse like this yeah mouth sounds [TS]

  and now this record which is which we [TS]

  all acknowledge is a classic now we can [TS]

  play it all the modern places that we [TS]

  play music in the elevator in the lobby [TS]

  in the car in the OIC [TS]

  this is a secondary tertiary concern [TS]

  they're going to take this record you [TS]

  want to listen to with headphones and [TS]

  they're gonna start sticking your face [TS]

  well not not just not that but that the [TS]

  intention of this is that we listen to [TS]

  music differently now and part of the [TS]

  reason that that we needed this was that [TS]

  we couldn't listen to this record in our [TS]

  contemporary way it was just on [TS]

  intelligible and so it has been it has [TS]

  been made to conform to the way that we [TS]

  hear music now right and so there are [TS]

  two I think that this record is for two [TS]

  groups of people and one of them is one [TS]

  of the groups of people is everybody [TS]

  here's a record now that is for [TS]

  everybody and all the people that have [TS]

  never listened to sergeant pepper before [TS]

  will get a chance to hear it it will be [TS]

  everywhere again I just before we [TS]

  started the show I looked briefly and [TS]

  it's it's like in the top five on the [TS]

  charts right now oh wow wow um you know [TS]

  like like here it is world the thing [TS]

  you've always been waiting for this is [TS]

  the birth this is the the new version of [TS]

  episode 4 except it didn't ruin it right [TS]

  right it didn't put a Jabba the Hutt in [TS]

  it it's real it's good this thing and [TS]

  the other group of people that this is [TS]

  for is Beatles historians like you and [TS]

  me who will sit for two hours and talk [TS]

  about fucking the what picked Paul [TS]

  McCartney used right because it's fast [TS]

  it's another one of a hundred [TS]

  fascinating glimpses into what the [TS]

  Beatles did and what they were but [TS]

  but it does fall into the category of [TS]

  not the Beatles in the sense that it [TS]

  isn't this isn't what they did this [TS]

  isn't I mean even even when they made [TS]

  mistakes even when they made a big a bad [TS]

  bad mix of it understandable like it's [TS]

  not it's not canonical that it's that [TS]

  it's something where like because other [TS]

  people were working on this in the [TS]

  absence of them and George Martin well [TS]

  yeah and it's just like you get what you [TS]

  get and don't be upset [TS]

  yeah we got the Beatles and they were [TS]

  great we can and I think now will [TS]

  endlessly dissect them and it is great [TS]

  it's fascinating I love it every time I [TS]

  hear an isolated track or I mean they [TS]

  could have mixed this a hundred [TS]

  different ways they could have just put [TS]

  all the drums to the right this time [TS]

  instead of to the left and I would have [TS]

  listened to it and cackles well is this [TS]

  something there's a similar thing that [TS]

  happens in like the Star Wars [TS]

  and community where there's several [TS]

  different kinds of things that people [TS]

  will release but two general kinds of [TS]

  things that I've looked at on the one [TS]

  hand you have people who are doing [TS]

  what's called a fan at it which is like [TS]

  they do their own version with source [TS]

  material with other material with CGI [TS]

  material they'll go in and basically [TS]

  make the movie the way they would like [TS]

  it to be or some creative remix of their [TS]

  own design you know this is how they [TS]

  want it to be and then at another end of [TS]

  that spectrum is people who were trying [TS]

  to like basically do a the most faithful [TS]

  reconstruction of the highest quality [TS]

  version of the original Star Wars movie [TS]

  that you could get the highest non [TS]

  tinkered with highest quality non [TS]

  tinkered with material and then put [TS]

  together a movie based on that and [TS]

  there's all kinds of other stuff in [TS]

  between I have a friend who did [TS]

  something called The Phantom Edit where [TS]

  he went and he did it's not exactly a [TS]

  fan at it's not like fan fiction but he [TS]

  liked minimize the amount of times that [TS]

  the the rasta guy talks like George are [TS]

  being charged Thank You Jar Jar Binks [TS]

  but but that that's did so does this [TS]

  risk falling into that kind of like fan [TS]

  fiction territory the thing is that the [TS]

  the involvement of George Martin and his [TS]

  son is like this is the last thing right [TS]

  that can be given that imprimatur of [TS]

  like George Martin touched this with his [TS]

  finger on his way out the door right and [TS]

  so like if this record had come out and [TS]

  it was Danger Mouse got ahold of the [TS]

  original tracks and remixed Sergeant [TS]

  Pepper I don't know what I would be [TS]

  sitting here thinking about it or saying [TS]

  well this probably would not exist if it [TS]

  weren't for love which you know loved it [TS]

  or not is it's a very interesting idea I [TS]

  think well implemented for what it is [TS]

  not really something I would want to [TS]

  return to a lot but it's interesting [TS]

  that his so much his trial run for this [TS]

  was helping his dad to do this mashup [TS]

  album right which I didn't listen to and [TS]

  what and the parts of it that I've heard [TS]

  out in the wild I've always been kind of [TS]

  astonished by and like whoa that's weird [TS]

  and cool and then I realized oh it's [TS]

  love and then I meet at least I'm like I [TS]

  don't want to listen [TS]

  I don't know what that is I don't you [TS]

  know ah yeah it's like I'm like a six [TS]

  year old when there's a piece of parsley [TS]

  in their foods what is that you didn't [TS]

  notice it for five bites and it was a [TS]

  good ah [TS]

  there's green stuff in this anything [TS]

  parsley but um but so so George gave [TS]

  this his blessing and it's like okay it [TS]

  is it then is within what we'll call the [TS]

  the cannon the larger cannon and I and [TS]

  like his string arrangements [TS]

  are you know are so extraordinary and [TS]

  like she's leaving home which was always [TS]

  a song that that affected me very [TS]

  emotional as a kid I was a sentimental [TS]

  kid I'll meet and that that whole idea [TS]

  of Daddy baby's gone when he wouldn't [TS]

  even seen that line I just feel like ah [TS]

  it's very sentimental and schmaltzy in [TS]

  some ways even now with a kid but like [TS]

  at the time I was like oh god this isn't [TS]

  one of us feel like to be a parent yeah [TS]

  yeah yeah supe super small t you know [TS]

  just like cat's in the cradle and the [TS]

  silver spoon I would sit and weep at the [TS]

  radio it's it when that song come on um [TS]

  s friend you know rolling I miss you and [TS]

  I'm being good I'd love to be with you [TS]

  if only I could I know all these [TS]

  emotions I didn't even know what I was [TS]

  crying about you know but but now when I [TS]

  listen when I listen - she's leaving [TS]

  home there's something about the [TS]

  sentiment now that I feel is really [TS]

  callow that's really you know 27 year [TS]

  olds trying to interject themselves into [TS]

  a dynamic like I'm assuming that the [TS]

  girl who's leaving home is like [TS]

  I I don't think that she's going with [TS]

  you know she's not like 18 I think that [TS]

  she's I think she's 1 to 16 she's gonna [TS]

  sew her Wild Oats in swing in London oh [TS]

  no I [TS]

  I always heard it as that she was 24 and [TS]

  hey Liam [TS]

  yeah and had committed she's a Livi yeah [TS]

  she'd committed to being the spinster [TS]

  daughter living with her parents that's [TS]

  why they're so I like yours so strangely [TS]

  over connected to her mm-hmm [TS]

  you know how could she do this to me [TS]

  like if she's 15 it's just like our [TS]

  daughter ran away but this this feeling [TS]

  that that she had that she was a part of [TS]

  that nuclear family that you know that [TS]

  her mother was codependent it was it and [TS]

  it felt like she had been released [TS]

  somehow she'd finally and maybe through [TS]

  rock music had had felt like I've got to [TS]

  get out here and had gone and gotten her [TS]

  first job so that part of it is is what [TS]

  I always got so emotional about but Paul [TS]

  and John both make these lyrical choices [TS]

  that are snide that are snide toward the [TS]

  parents and yeah never a thought for [TS]

  ourselves when in fact it's only [TS]

  themselves really that they're thinking [TS]

  about yeah right they are they're their [TS]

  sarcastic and contemptuous of of the [TS]

  parents standing there like having [TS]

  there's this boohoo and I never heard [TS]

  that as I never heard it as boldly [TS]

  before and it took me out of the tune [TS]

  for the first time in my life this time [TS]

  listening to it carefully and I was like [TS]

  you know what you guys you don't fucking [TS]

  know everything right but taller [TS]

  slow your roll all right also you also [TS]

  to quote friend of the show bill Janov [TS]

  it's um you know actually fun is one of [TS]

  the easiest things to buy one of the few [TS]

  things it's actually pretty easy to buy [TS]

  interesting interesting good point [TS]

  because you seen the fun of the one [TS]

  thing when he can't buy but no actually [TS]

  no no no that's way harder to buy than [TS]

  fun fun and you know and she's having [TS]

  fun definitely no way didn't have an [TS]

  appointment with a man from the motor [TS]

  trade that doesn't really sound like [TS]

  she's having fun [TS]

  it sounds like she's [TS]

  you know she's starting her life but [TS]

  it's not it's not gonna be fun my friend [TS]

  oh let the crushing begin how the other [TS]

  thing I have funds daily the council I [TS]

  was like I would like to call attention [TS]

  to that I'd never really really heard [TS]

  before was in getting better [TS]

  a song that that even though it sounds [TS]

  so much better in this mix I feel is [TS]

  more and more reprehensible all the time [TS]

  it really feels like something that [TS]

  should have been consigned to magical [TS]

  mystery tour or Yellow Submarine that [TS]

  soundtrack yeah I mean getting better [TS]

  and being for the benefit of mr. kite [TS]

  both could have could have gone on to [TS]

  magical mystery tour and made that a [TS]

  whole album a whole album that I didn't [TS]

  like um but but Paul's lyric me hiding [TS]

  me head in the sand [TS]

  hmm its Jar Jar Binks I used to be out [TS]

  of young man he's fucking me Josh out of [TS]

  me head in the sand ah I wanted to I [TS]

  wanted to go back in time and take a [TS]

  plane abandoned children push open the [TS]

  door walk down in there grab it by the [TS]

  mayor collar and shake him yeah from the [TS]

  future come with me if you want to live [TS]

  oh I guess I'll be coming along then no [TS]

  children but your uncle [TS]