WEBVTT 1 00:00:11.040 --> 00:00:15.920 Mythology. Where's that from? 2 00:00:16.800 --> 00:00:19.760 What? The scale that I just used. It was Led Zeppelin scale. 3 00:00:19.760 --> 00:00:20.160 Was it? 4 00:00:20.160 --> 00:00:20.440 Yeah. 5 00:00:20.440 --> 00:00:21.600 Was it a minor scale? 6 00:00:21.600 --> 00:00:24.240 It knows both, actually. It had a major third and. And then. 7 00:00:24.240 --> 00:00:24.800 No way. 8 00:00:24.960 --> 00:00:25.960 Yeah, I did both at the same. 9 00:00:25.960 --> 00:00:26.840 I didn't know you could do that. 10 00:00:26.840 --> 00:00:28.560 Well. Well, you can because, you know. 11 00:00:28.560 --> 00:00:29.640 Are you allowed to do that? 12 00:00:29.640 --> 00:00:31.520 No, but I like that. 13 00:00:31.520 --> 00:00:33.240 I like that you're not allowed to. And you did it. 14 00:00:34.840 --> 00:00:36.680 No, there are no. People don't like it. 15 00:00:36.920 --> 00:00:37.640 Do they know. 16 00:00:38.120 --> 00:00:42.040 But it's all right, you see, because Led Zeppelin did things like that. 17 00:00:42.040 --> 00:01:15.750 They were bonkers, weren't they? Yeah, properly bonkers. They did. They did just stuff you. You. That you can't pin them down. This album we're going to cover Physical Graffiti and it's an album that is like four mini. I think. So it feels to me like four mini albums together. And you know the thing that hit me, This. I struggled with this. It's not like there are. There are big hitters on here that obviously I know the first four or five tracks I quite like. 18 00:01:15.750 --> 00:01:16.190 Yeah. 19 00:01:16.350 --> 00:01:18.950 And then the album like just meanders off for me. 20 00:01:18.950 --> 00:01:19.470 Yeah. 21 00:01:20.030 --> 00:01:26.940 And it's when you realize that this album was built around vinyl. 22 00:01:27.100 --> 00:01:27.500 Yeah. 23 00:01:27.500 --> 00:01:44.180 And it's a double vinyl. So that there are four sides. So there's the. You know, you flip your disc and. And as soon as that kind of the penny drops and you just. Like that. That's kind of what this is. It's. It's, you know, like Dark side of the Moon. 24 00:01:44.180 --> 00:01:44.620 Yeah. 25 00:01:44.780 --> 00:02:17.440 Is. Is meant. It's meant to fl. The fact that you've got to flip the record over is a pain in the ass because it feels like one whole piece. This feels like 4 smaller. And I think it was. This was a proper. It was a total melting pot of stuff. It wasn't. It wasn't like all recorded on the same time. I don't know. How do you know? The thing that hit me with this as well, doing the research. I don't know how they made it sound like. Because it sounds really coherent. It sounds production. Sounds like. It sounds like it was all recorded. Like, musically it doesn't. But production. It sounds like it was all recorded in one place by the same dudes. 26 00:02:17.440 --> 00:02:18.120 Yeah. Yeah. 27 00:02:19.330 --> 00:02:23.810 And. But it wasn't at all. It was. It was. This is over five years or so, wasn't it? 28 00:02:23.810 --> 00:02:33.570 Yeah, well, I think the initial sessions were actually. Well, I would say the fragments of the beginning of this album are the other albums. 29 00:02:33.570 --> 00:02:34.050 Yeah. 30 00:02:34.370 --> 00:02:48.530 It's like the little. The B sides or the jams that were recorded or the, you know, the seeds of this project were actually, you know, some of the things that didn't make it on the other projects. So, like. So, like, there's an album called Houses of the Holy. 31 00:02:48.530 --> 00:02:48.890 Yeah. 32 00:02:48.890 --> 00:02:50.210 With no song on it called Houses. 33 00:02:50.830 --> 00:02:54.110 It was supposed to be on it, wasn't it? It was supposed to be on it and then got cut. 34 00:02:54.270 --> 00:02:56.430 Yeah. And then he goes on this instead. 35 00:02:56.670 --> 00:02:57.550 And then. Yeah. 36 00:02:57.550 --> 00:03:06.949 I think that's the thing about Led Zeppelin, to me, is that. Is that they. That doesn't seem to be a, like, rules, you know, like, we're doing what we want to do. 37 00:03:06.949 --> 00:03:07.230 Yeah. 38 00:03:07.230 --> 00:03:16.110 And they. Well, we're going to put this out on our label now. We're going to put this out, like, in our way. Jimmy Page was just an absolute nerd when it came to recording techniques. 39 00:03:16.110 --> 00:03:16.790 Yeah, that's true. 40 00:03:16.790 --> 00:03:18.190 Multi tracking, layering. 41 00:03:18.910 --> 00:03:20.030 Yeah, yeah, yeah, yeah. 42 00:03:20.030 --> 00:03:20.910 That kind of approach. 43 00:03:21.070 --> 00:03:21.550 Yeah. 44 00:03:22.580 --> 00:03:30.980 And so, you know, he. He was just. He loved the archiving. He loved going through the archives, figuring out the things and then making new shapes from it. 45 00:03:30.980 --> 00:03:36.980 So that's what it's. I love the description of him where it said he's. He's. He's more like a painter than a musician. 46 00:03:36.980 --> 00:03:37.460 Yeah. 47 00:03:37.460 --> 00:04:15.110 In that he will. He's like painting and adding like. Like layers over the top of things. Like before, others were doing the similar in, you know, in the way that. In the way that he did it. But, yeah, he's. He's a. Yeah, so he's a really interesting guy, I think. And he's, you know, that. I don't know that with the band as a whole. I mean, like, there's no, like, no singles, no videos. The Atlantic in the uk. Atlantic forced the release of singles in the us. 48 00:04:15.430 --> 00:04:15.910 Yeah. 49 00:04:16.380 --> 00:04:20.700 But the band never did videos for them or anything that never did it. They were just like, what? You know, whatever. 50 00:04:20.700 --> 00:04:21.740 Yeah. It's an album. 51 00:04:22.140 --> 00:04:23.180 We're not doing anything here. 52 00:04:24.140 --> 00:04:26.540 You do what you do. You. But, yeah, we're sort of. 53 00:04:26.540 --> 00:04:30.380 And it was. It was bizarre. And this one, of course, was on their own label. 54 00:04:30.460 --> 00:04:33.300 Yeah. They licensed through because they control. 55 00:04:33.300 --> 00:04:36.860 So they had their own label, but then released it through the old record label. 56 00:04:37.260 --> 00:04:37.740 Yeah. 57 00:04:37.820 --> 00:04:39.020 You know, what is going on? 58 00:04:39.020 --> 00:04:44.900 Yeah, but I think it was more the idea that, like, we're. We're Led Zeppelin. We do Led Zeppelin stuff. 59 00:04:44.900 --> 00:04:45.260 Yeah. 60 00:04:45.260 --> 00:04:55.820 And you've started to sort of try and tell us what to do, and we're not going to do that. So if you want to put our records out, that's fine. But you're not telling us what to do, so we're. That's like. That's control. 61 00:04:55.820 --> 00:05:02.780 Yeah, yeah, yeah, yeah, it is. It is. Like, for me, this is. This is peak classic rock. 62 00:05:02.780 --> 00:05:03.380 Yeah, yeah. 63 00:05:03.380 --> 00:05:20.240 You know what I mean? I think this is getting to that point. 1975. This is getting to a point, I think, where. Yeah, I don't know. I mean, I think this is getting to a point where, like, the rock bands did not have much more sway than they had. 64 00:05:20.320 --> 00:05:20.840 Yeah. 65 00:05:20.840 --> 00:05:27.240 If you think about 1975, you had. You had the Rolling Stones. I mean, the Beatles had been split up for a while by this. 66 00:05:27.240 --> 00:05:29.440 Yeah, yeah. I think you've kind of gone through that and then. 67 00:05:29.440 --> 00:05:40.500 Yeah, and then. But you've got like, you. You got the. The who. You've got Pink Floyd, David Bowie. You know, this for me was like peak, like rock God. 68 00:05:40.500 --> 00:05:40.820 Yeah. 69 00:05:40.820 --> 00:05:41.300 Territory. 70 00:05:41.300 --> 00:05:41.540 Yeah. 71 00:05:41.540 --> 00:05:50.780 This is where. And. And I think, like, the influence of this era is still felt today. It was an interesting. 72 00:05:51.100 --> 00:05:54.780 Well, they're legends, aren't they? When you say those words, those names, those phrases. 73 00:05:54.780 --> 00:05:55.300 Yeah, yeah. 74 00:05:55.300 --> 00:06:03.660 Like you mentioned those names. And there's a certain amount of reverence that comes. Comes with that. Like, there was a period of time where if you'd say, oh, I like Led Zeppelin. 75 00:06:03.660 --> 00:06:03.940 Yeah. 76 00:06:03.940 --> 00:06:09.280 You'd have been. And be like, yeah, I like David Bowie. Oh, my God, you don'. Him do. 77 00:06:09.280 --> 00:06:09.840 Yeah, yeah. 78 00:06:09.840 --> 00:06:11.160 You know, like, he's like an old foot. 79 00:06:11.160 --> 00:06:17.760 Like old music, punk rock came along and made it. Because punk wasn't quite thing. 80 00:06:17.760 --> 00:06:18.800 Yeah. It hadn't landed yet. 81 00:06:18.800 --> 00:06:31.160 It was fitting together, it was bubbling, but it didn't. It didn't exist yet. So, like, this hadn't become like, pass yet. And it did like you say, it did for maybe 10, 15 years, didn't it? And then. And then people came back to it. Yeah. 82 00:06:31.320 --> 00:06:37.360 But even now, like, people are wearing Led Zeppelin shirts and it's a cool thing to wear. Yeah, people wear Bowie shirts. It's a cool thing to wear. 83 00:06:37.840 --> 00:06:54.640 There's a lovely bit with Maynard from Tool talking about the ballads in Tool songs being built on cashmere and taking that as the. The blueprint of what, how, you know, how a song can be. 84 00:06:54.800 --> 00:06:58.240 I mean, Kashmir. Kashmir in itself is just. It's the power of the riff. 85 00:06:58.320 --> 00:06:58.960 Oh, God. 86 00:06:58.960 --> 00:07:14.110 Isn't it? I mean, what a riff. And it's been used everywhere on so many different things. It's such a. It's like an iconic of all of all the great Led Zeppelin riffs that exist, you know, like Black Dog or like a whole lot of love Stairway. 87 00:07:14.190 --> 00:07:14.710 Stairway. 88 00:07:14.710 --> 00:07:14.910 Yeah. 89 00:07:14.910 --> 00:07:16.270 It's not really a riff, is it? Stairway? 90 00:07:16.270 --> 00:07:44.959 No. Yeah, No, I suppose it. Yeah. Yeah. A whole, whole lot of love and that, you know, one. Things like that. And then all of a sudden, you know, cashmere lands and it's. And it's a totally different feel. It's not that rock and roll feel. It's got a sort of different energy to it. In fact, the whole thing's got quite an Eastern sound to it. But it's got nothing to do with India because they wrote it when he was driving in North Africa. Yeah, yeah, yeah, yeah, yeah. 91 00:07:44.959 --> 00:20:34.300 I had a long piece of music that I'd been working on, and just on the tail end of it, I just was sort of just jamming and I. And I had that riff. I had the sort of cascade, which is the trumpet parts and brass parts, and then it goes into the riff and it was on the tail end of something. And I thought, uh, oh, this is something I really want to try. And I started working on the riff at home because it's around. It keeps going, you know, round and catching up with itself. And I just couldn't wait to get in Hedley Granger, John Bonham and do that. Let the sun beat down upon my face Stars to fill my dream I'm a traveler of all time and space to be where I am Me sit with elders of a generation this world seldom slee Top of days for which they sit away all will be revealed. Talking song from tongues of living Grace sounds caressed my ear Not a word I heard could I relate Story was quite clear Whoa. Ra. No, yeah Ain't no deny. Mama ma. All I see turns to brown. As the sun There is a brow. And my eyes fill it. As I scare this rap. Leaves no trace like shorts inside a dream he's the map that led me to that place Yellow desert stories Green My sh. Love Beneath the summer moon I will return again here and the des it looks I'm moving through me. Oh, farther up before winds fill my sails Cross the sea of fear with no provision but an open face Knowing the straits of fear W W Sam. Sa. When I see the way. Saving my baby Let me take you. I think it's important to sort of. To look at the whole phenomena of Led Zeppelin, because what it was was it was a touring touring vehicle, and it was touring, playing and including the music from each of the new albums. So we'd just gone through a real lengthy process of touring and we had a bit of a Break like, you know, time for people to go on holiday and that with their families. And then, then, then the, the recording date was put in. In the schedule and what, what it was was to actually return back to Headley Grange where we'd done the fourth album, and have a mobile recording truck, a multi track truck. So we could do exactly the same. We could do the exactly the same thing that we did before, which was be in residence, but, you know, just eat, breathe, almost sleep music and be able to push this whole idea that we did on the fourth album even further and in a really concentrated, focused way. I was so keen to be able to go back to, to Headley. It was our second, our second visit there. But. But from the first visit we'd got to really under. Well, I really understood what could be done there and how we could record there in what rooms and. And we had the. The benefit of the. Of the hallway which gave this massive drum sound. And I, and I wanted to return back to have all of these. These sonic options that you're at your disposable, you know, for the. For the recording, push it even further. So I actually had quite a number of songs, complete songs like ten Years Gone, but ideas that I wanted to try. And one of the things that I had was Kashmir and the riff of Kashmir, this sort of riff that would go round and round and round because literally musically it's called a rond round and that's what it would do. And this idea of having these interventions of the cascading. It was like electric 12 string I was doing at the time, but to be brass and cellos to replicate the riff. I had this idea in my head, but I was itching to get there with John Bonham and play this riff because I knew and he just loved it. And we just played it over and over and over and over because it was just the two of us working there at that point of time. And I. And with him I started bringing out all these ideas that I had, like the Sick Again and Wanton Song and all these things. And it was just. It was just really great, you know, it was really. It was really great because I knew that we. That we. That that alone. The stuff that I was bringing in was. It was a really good, substantial start to everything but the. The fact that numbers would come out of thin air like rock and roll had on the fourth album and like trampled underfoot. You know, the things that sort of just come from like an initial sort of John Paul Jones vamping on the electric Piano and it, you know, the whole thing starts growing and moving and Robert's on fire. And we got this. This sort of version on the companion disc without all the overdubs. Because the overdubs are really, really right and they're that. That they're really. They really work with it. But to hear just as raw force of that In My Time Of Dying and all these things are superb. Before going in there, you sort of instinctively knew in the pit of your stomach that it was going to be great, that wonderful things were going to happen. And in fact they did. It's quite a psychedelic sounding record. And for me it's like, I don't. It took me a while to figure out what was going on. Why? Because a rock album and what, like, why am I getting these psychedelic vibes from it? And I think it's that there's such a lot of repetition underneath in the rhythm section. There's a huge amount of repetition. Like. Like overly. 92 00:20:34.540 --> 00:20:34.940 Yeah. 93 00:20:34.940 --> 00:20:45.260 Which you probably wouldn't get from. I mean, I mean, David Bowie maybe, but you, you, you wouldn't. You wouldn't get that at this time quite as much. 94 00:20:45.420 --> 00:20:45.820 No. 95 00:20:47.340 --> 00:21:17.450 And it gives it. I don't know, it gives it this almost like. Like trance like feel, you know, it kind of pulls you in and you're not quite sure whereabouts in the song you are. You can get lost in the songs, if that makes sense. You know, you can kind of get a little bit lost in them. I don't know. There is just something really like. I can see why in the 70s people were like, you know, there's albums that you would put on there and just completely lose yourself to. And you can see why this would have been one of those records, you know what I mean? 96 00:21:17.450 --> 00:21:19.930 Well, isn't it? It's the best part of an hour and a half long, isn't it? 97 00:21:19.930 --> 00:21:21.050 It is something like that. 98 00:21:22.070 --> 00:21:32.230 Seven minutes. So, yeah, an hour, 20, whatever. And all the songs are like 10 minutes. They're not even, you know, they're not even like seven minutes or six minutes. There's some that are like 11. And. 99 00:21:32.470 --> 00:21:34.790 Well, they vary, don't they? Like Custard Pie. 100 00:21:35.030 --> 00:21:35.750 Quite like that. 101 00:21:35.750 --> 00:21:36.230 Four minutes. 102 00:21:36.230 --> 00:21:37.910 Yeah. Those first few of five. 103 00:21:38.310 --> 00:22:05.010 In my time of dying 11, that's the longest studio track they ever did. Yeah. Gets tagged as traditional gospel blues was also recorded by Bob Dylan. Now Houses of the Holy. Four minutes. Trampled Underfoot, five minutes. That's the end of the first chunk. Right. And that for me, that. I love those, that first. Those first five. I'm good. I'm in there. 104 00:22:05.010 --> 00:22:06.610 Even another 11 minute one, 105 00:22:08.370 --> 00:22:10.450 maybe. I might skip that one. 106 00:22:10.450 --> 00:22:10.970 Skip that. 107 00:22:10.970 --> 00:22:26.230 And then cashmere comes in like on the. You've just turned your record over and then you get Cashmere. Moroccan inspired, but just. Yeah, just bonkers. Then. Then you've got like. In the Light is eight minutes. 108 00:22:26.230 --> 00:22:27.070 Yeah, I like that one. 109 00:22:27.070 --> 00:22:28.630 I'm gonna say this wrong, but Bron 110 00:22:28.630 --> 00:22:32.630 E. Yeah, that's the bit where I start liking the album, actually. 111 00:22:32.950 --> 00:22:40.640 Oh, is it that kind of acoustic? It's funny. It sounds like it's been written on a beach. That does to me. It's got this lovely sound to it. Sa. 112 00:24:25.000 --> 00:24:34.280 The name of that song is the Shack that They Stayed in for three. Yeah, for three. And then that was part, that was part of those. That acoustic piece was recorded as part of that, I think. 113 00:24:34.600 --> 00:24:39.400 Apparently it's got, apparently it's got no electricity. Yeah, that, that, that shack, 1970. 114 00:24:39.800 --> 00:24:42.280 It wasn't recorded there. That's what was written. But yeah. 115 00:24:42.280 --> 00:24:43.160 Yeah. I don't know. 116 00:24:43.160 --> 00:24:57.650 Oh, unless they had his mobile, a mobile generator going. Yeah, no, it wasn't. Didn't they borrow one of the guys with the faces? Generator or generator? It was like a studio in a truck. 117 00:24:57.970 --> 00:25:00.130 Oh, is Rolling Stones have one of those? 118 00:25:00.130 --> 00:25:03.930 Yeah, I think it was the same one. I think it was, I think it was the. Yeah, it was, it was raw. 119 00:25:03.930 --> 00:25:04.570 Oh, God. 120 00:25:04.570 --> 00:25:08.130 What? Who was it? Ron Lane? 121 00:25:09.250 --> 00:25:09.890 I don't know. 122 00:25:10.290 --> 00:25:11.490 Ron Lane's truck. 123 00:25:11.650 --> 00:25:19.370 I don't know. This, this one was recorded at Headley Grange. Yeah. Oh, with Ronnie Lane's mobile studio. 124 00:25:19.370 --> 00:25:20.210 Yeah, yeah, yeah. 125 00:25:21.010 --> 00:25:28.650 Olympic Studios, Island Studios, all in London. And then it was mastered, I think at Electric Lady Studios. 126 00:25:28.650 --> 00:25:29.130 Yeah. 127 00:25:30.970 --> 00:35:41.980 Which is, I find it, I find it interesting because it sounds the, the, it doesn't sound like it's had any American production. No, this sounds like a very, this is what English rock music sounded like in the 70s. And I, I, I did not, I didn't know this was, this was done in the U.S. or, you know, mastered in the U.S. i'd kind of assume it would, would, would have had a slightly different sound to it, but especially in New York as well. It doesn't, it's, yeah, really interesting. I think that one, it's really, really complicated. And I was talking about this the other day and I said, well, there was a lot to remember. And person who's interviewing me sort of looked as though he didn't really understand that. Just how much you have to remember when you go 1, 2, 3, 4, and you start and you're going to get right through to the end of, as you say, 11 minutes. And it's got all these sort of different changes. And first time the pause will come, it might be six beats that you're gonna do in a pause. The next time that pause comes, it might be eight beats. Do you know what I mean? It's all this sort of thing and it's such a musical landscape to remember, but there was just this fusion of the four of us and it was just phenomenal. Satan, all I want for you to do Take my body. Is. Meet me, Jesus oh, meet me in the middle of the air in my wings should fail below Please meet me with another yeah. Oh did somebody so good I must say It's a mother some good day I believe I did. I see the smiling faces I know I'm eyes feeling. I see them in the field I hear. All the. I want to have some fun. Oh my Jesus oh my Jesus oh my Jesus oh my Jesus oh my Jesus oh my Jesus My Jesus oh my Jesus oh my Jesus oh my Jesus oh God be my tears. It's got to be, it's got to be my favorite. It's got to be, It's got to be my savior. Come on, come on I can hear the angel singing. 128 00:35:53.660 --> 00:36:03.580 My mind, my mind, my body, my mind. 129 00:36:11.960 --> 00:37:33.570 Jesus. Come on. I know. It's one that's really, really a favorite of fans because it, because it's a double album. There's just so much character work on it. And so one thing about Led Zeppelin was it wasn't a format band and it wasn't trying to replicate old singles of their. Of your own, you know, and being caught in that trap. We'd have rehearsals and all the rest. All the time we would be pushing and pushing ourselves. 130 00:37:34.210 --> 00:37:54.540 And I think that's the thing for me about Led Zeppelin that I didn't really ever understand. I think when I was learning about Led Zeppelin or things I'd heard about Led Zeppelin, it was always like rock and roll or you know, popular. The popular ones. The more. All the popular ones. 131 00:37:54.540 --> 00:37:55.100 Yeah. 132 00:37:57.020 --> 00:38:05.980 And, and what you forget is that actually that, you know, these guys were really hell bent on pushing boundaries. They were a really hard working touring band that were out on the road 133 00:38:05.980 --> 00:38:15.320 all the time, really super busy hard, didn't they. They're the run up to this record. They were, were totally burned out and, and, and, and just, just stopped. 134 00:38:15.400 --> 00:38:15.800 Yeah. 135 00:38:15.800 --> 00:38:17.920 They were just like, you know, we had a break. Yeah. 136 00:38:17.920 --> 00:38:18.360 From it. 137 00:38:18.360 --> 00:38:18.720 Yeah. 138 00:38:18.720 --> 00:38:30.520 Yeah. Collect themselves, then come back to it. But I think when it came, I think that it was almost like there were two sides to them. There was that. That, you know, absolute epitome of rock and roll live band, you know, rock stars and all that. 139 00:38:30.520 --> 00:38:30.920 Yeah. 140 00:38:31.080 --> 00:38:45.610 And then there's the studio version of the band, which is. They're constantly pushing the envelope. They're constantly trying new ideas that you. They're really embracing new technologies, recording techniques, you know, microphones. Unusual. Like the whole thing with Henley Grange and that drum kit. 141 00:38:45.610 --> 00:39:04.810 Yeah. Obviously it was the way the kit was recorded, wasn't it? So. So there was like, they were like a million microphones and they were. It was mic tight. It was miked far away. It was, it was. There were mics catching the reverb in different rooms and then. And then that was all kind of woven together to get the sound that they got from it. 142 00:39:05.290 --> 00:39:07.210 But the placement in the stairwell. 143 00:39:07.210 --> 00:39:15.670 Yeah. Of the kit itself. Yeah. The whole thing, just phenomenal, though. They, like, it's not like all of those things were pretty revolutionary. 144 00:39:15.670 --> 00:39:16.070 Yeah. 145 00:39:16.070 --> 00:39:33.990 And to do all. But to do all of them, not like just, oh, I know we're gonna put the kit in the stairwell. We're gonna do, you know, we. We're gonna use all these different mics to go and get all these different sounds. It was like, no, we're just gonna do all of it. And like, you know, you think, I don't know, like, many other bands would have done maybe one of those things and that would have been revolutionary. 146 00:39:33.990 --> 00:39:34.790 Yes. Yeah. 147 00:39:34.790 --> 00:39:39.110 But here, this is, this overflow of. Of creativity to. To some degree. 148 00:39:39.190 --> 00:39:42.970 But I think that comes with the technical advancements. 149 00:39:42.970 --> 00:39:43.410 Yeah. 150 00:39:43.410 --> 00:39:54.690 Because they, they were able to bounce multi tracks down. They were able to play with tape. They were able to, you know, do all that. But the, The. The crux of it appeared to be creativity. 151 00:39:55.730 --> 00:40:05.090 It's the competence, isn't it? Like, I think you just nailed it. There is this creative. There's this overflowing creativity throughout the whole of the band. 152 00:40:05.090 --> 00:40:05.570 Yeah. 153 00:40:05.650 --> 00:40:49.780 But this competence to go and execute where often you. That may, that may be where you're reliant on a producer or eng. Yeah, but I think here the band are capable of doing it. They, you know that within their, within themselves, they can, you know, bend and stretch things to do what they want. So it's not just as, as simple as you, you know, you can imagine. Many bands might have that creativity and then they're trying to describe to the engineer the sound that they want. Like, I've got this. I've got this vision And I want this sound. And the engineer's like, I don't really understand, you know, I don't know what you're telling me. Whereas here, that's in the same dude's head. So he's like, no, I know what I'm trying to. Trying to get. 154 00:40:49.780 --> 00:40:50.260 Yeah. 155 00:40:50.660 --> 00:40:51.940 So you know what I mean? 156 00:40:52.500 --> 00:40:53.780 And here's how you do it. 157 00:40:53.780 --> 00:41:03.460 Yeah. And then you, drum kits and your drum kids in the stairway, you've got, you know, 12 mics, you know, stretching down the road kind of thing, and. And till it. Till it gives you what you want. 158 00:41:03.460 --> 00:41:03.900 Yeah. 159 00:41:03.900 --> 00:41:21.560 And I think. And it's. It's the rarity of that, I think. I think that's incredibly. And you. I mean, a lot of bands think that they had it, I think, but not to the same level here. Not. Not to the same. That same competence, I think. Yeah. An ability to execute, I think, comes 160 00:41:21.560 --> 00:41:28.080 with a language, though, as well in that, you know, Jimmy Page, in particular always talks about Led Zeppelin as a project. 161 00:41:28.560 --> 00:41:29.040 Yeah. 162 00:41:29.280 --> 00:41:31.680 And he talks about, like, the music as an archive. 163 00:41:31.680 --> 00:41:32.080 Yeah. 164 00:41:32.080 --> 00:41:33.680 And he talks about, you know, 165 00:41:36.570 --> 00:41:36.690 the 166 00:41:36.690 --> 00:41:42.770 process of recording is construction. You know, like, the song craft is very. Is very engineered. It's very. 167 00:41:42.770 --> 00:41:45.410 Yeah, it's meticulous, isn't it? 168 00:41:45.410 --> 00:41:52.130 Yes, yes. That's the great. That's the right word for it, I think. And, you know, a lot of people were just like, oh, I just write the songs and play the songs. 169 00:41:52.130 --> 00:41:52.650 But it does. 170 00:41:52.650 --> 00:41:54.930 He's like, no, no, we're. We're excavating here. 171 00:41:54.930 --> 00:42:29.140 But it's got that fluid. It's got that fluidity to it where it feels. It's got a lovely feel and flow to it. So all of these songs got a lovely feel and flow to them. Them. And you wouldn't, like. Somebody told me that. That, you know, these were kind of almost jams to some degree. You'd be like, oh, okay. And. And. And I'm sure there is a massive amount of. Of jam in here to go and get the riffs and stuff. But then it's that meticulous, like, going over and over and over until it's where it was supposed to be, you know, to where it was. Where. Where it ended up. Yeah. 172 00:42:29.140 --> 00:42:33.450 And the other thing I'm thinking about is, like, there's that bit which Jimmy Page is. That's. 173 00:42:33.610 --> 00:42:34.810 He's a master of. Yeah. 174 00:42:34.810 --> 00:42:35.410 What he does. 175 00:42:35.410 --> 00:42:35.810 Yeah. 176 00:42:35.810 --> 00:42:38.570 But then. Then you think about, well, where do the other guys fit in? 177 00:42:38.570 --> 00:42:38.970 Yeah. 178 00:42:38.970 --> 00:42:44.570 You know, obviously, it feels a lot like Jimmy Page and John Bonham would Be the what? The first ones in the studio. 179 00:42:45.690 --> 00:42:46.650 The rhythm. Yeah. 180 00:42:46.650 --> 00:42:55.130 But actually, you know, and John. John Paul Jones was obviously a multi instrumental, as though he played Blaze. He played a lot of keyboard stuff, which I didn't know until we did the last one. 181 00:42:56.170 --> 00:43:14.630 The base here for me is just exquisite. I think it's easy to skip over the. The bass on. On. But it is for me. It's more of the high drums are just extraordinary. Yeah. But then. But one of the things I hadn't learned until we went and listened again for the show, I'd realized just how good the bass. 182 00:43:14.630 --> 00:43:15.030 Yeah. 183 00:43:15.030 --> 00:43:28.070 Oh, no, how good. But I guess how I turned. There are. There are. There are riffs in the bass. There are melodies in the bass line here that I don't think I'd ever heard before. They just. Exquisite. Really cool. 184 00:43:28.150 --> 00:43:53.480 Yeah, yeah. And then I always think about like, so what's Robert Plant doing? Yeah, you know, because he's obviously. He's like an absolute animal live, isn't he? Yeah, he's like. He is the. He is the. The ringmaster. You know, he's running the show. He's. That's his. His sort of arena and. And I just wonder whether he perhaps didn't get the same gratification out of the recording process as perhaps say. 185 00:43:54.760 --> 00:44:35.320 Yeah, yeah, that's. So Joe Elliott's interesting like that he. He talks about. About that. That he. He really loves being the frontman of Def Leppard and he does a lot of the writing as well. But actually like Phil Collin will do most of the writing. He'll do tons of the. The songwriting. And like you say. I think the same is. Is true here. I think the, the band, you know, are. They've all got their bit to play, all got their parts to play. You know, it's. It's. I don't know, it would like this. This one. This album particular. I mean, normally the albums are like a point in time. 186 00:44:35.320 --> 00:44:35.840 Yeah. 187 00:44:36.000 --> 00:44:53.720 You know, and it's kind of where everybody is. This one isn't this. This one is kind of. This spread out over kind of five years or so. Yeah. But the thing that is amazing, like if you took almost any other band and stretch them over five years, the. This. That wouldn't sound as cohesive as this does. 188 00:44:53.720 --> 00:44:54.000 Right. 189 00:44:54.000 --> 00:45:01.270 Like it. Yeah. The musical styles are like really broad across the album. 190 00:45:01.270 --> 00:45:14.870 Yeah. I remember listening going, well, that's like. That's a gossip on the beach. There's one that's like. Yeah, there's one that's like a massive, huge kind of like Blues Jam. 191 00:45:14.950 --> 00:45:16.230 No, it's Led Deppin. 192 00:45:16.390 --> 00:45:16.870 Yeah. 193 00:45:17.030 --> 00:45:52.590 Do you know what I mean? And like. Like, this is one of the things really hard to pin down for me. Like. Like. Like prong. Sound like prong. Because they play prong music and. And then. But. But. But it's not very broad, right. It's like, you know, if I think to myself sometimes I'll get in, I'll get to my desk and I'll think that I just want something massively industrial and riffy. And I grab prong and I put prong on. It doesn't matter which album I put on, it's gonna sound like prong. And I know it's prong because of that. Led Zeppelin isn't like that. Led Zeppelin is not the style of music that makes him sound like Led Zeppelin. It's the way the band plays. 194 00:45:53.060 --> 00:45:53.380 Yeah. 195 00:45:53.380 --> 00:45:59.940 Every style of music that makes you realize, like John Bonham's drums. I think you could hear John. But if John Bonham played for Slayer. 196 00:45:59.940 --> 00:46:00.420 Yeah. 197 00:46:00.500 --> 00:46:22.220 You'd be like, I just jump on him. But you can hear he's got that. He's got that style, inimitable style. It's one of the reasons, for me, that made Greta Van Fleet hard to cope with because they, like. I don't know how you haphazardly form a band that sounds exactly like Led Zeppelin. 198 00:46:22.220 --> 00:46:23.780 A particular branch of Led Zeppelin. 199 00:46:23.780 --> 00:46:35.360 Yeah, yeah, yeah, yeah, yeah, yeah. And it's got. And it. But it's. And for me, the thing was, like, the drumming and the vocals was like. So. Do you know what I mean? Like. Not copycat as the wrong word. No, I don't mean that. 200 00:46:35.520 --> 00:46:37.280 It was almost like a derivative of. Wasn't it? 201 00:46:37.280 --> 00:46:41.400 Yeah, it's so similar to it. It's a bit like Airborne and acdc. 202 00:46:41.400 --> 00:46:42.080 Yeah, yeah. 203 00:46:42.320 --> 00:47:08.340 You know, and they've got that. I don't know there. That similarity is. Is there. But I find it really, I don't know. Improbable. Right. Because. And I think because of the unique musicians that you've got in Led Zeppelin and. And. And the way that band came together and the way they write songs and everything about them made them just different from everybody. Like, you mentioned the rules. 204 00:47:08.340 --> 00:47:08.580 Right. 205 00:47:08.580 --> 00:47:21.280 They don't really follow. The way they. The way they wrote songs wasn't the same. You know, they weren't the first band to do a double album like this, but they. They seem to. This seemed to set them a benchmark. 206 00:47:21.280 --> 00:47:21.720 Yeah. 207 00:47:21.800 --> 00:47:23.880 For the use your illusions. 208 00:47:24.040 --> 00:47:24.520 Yeah. 209 00:47:24.600 --> 00:47:27.480 You know, the stuff that came. The stuff that Came after. 210 00:47:28.600 --> 00:47:37.320 I mean, the Wall, isn't it? Because it's all right looking at this now with the lens of history on it. But it's at the time, isn't it? And it's what, it's what it informed at the time. 211 00:47:37.320 --> 00:48:03.500 I mean, I wonder if the. I wonder if Roger Waters would have done the Wall and then. And you've got. Yeah, I mean, like I said, you use your illusion as well. Yeah, I, I've never heard Axel talk about Led Zeppelin as a influence. I'm sure it'd probably be, you know, we're too rock and roll to have influences. But, but, but I do wonder if like a lot of those big, Big kind of sprawling and melancholy maybe, you know, in those big kind of sprawling rock albums wouldn't have. 212 00:48:03.980 --> 00:48:04.540 Yeah. 213 00:48:05.100 --> 00:48:08.060 You know, because this sold incredibly well. 214 00:48:08.140 --> 00:48:15.820 I was thinking about like, you know, Queen kind of came out of the gate shortly around this time and then afterwards, didn't they? 215 00:48:15.820 --> 00:48:16.460 Yeah, yeah. 216 00:48:16.620 --> 00:48:20.220 And. And actually when you listen to early Queen. Yeah, it's not dis. 217 00:48:21.080 --> 00:48:21.440 It's. 218 00:48:21.440 --> 00:48:27.960 Yeah, you know, like the, the really early Pragia stuff, you know, isn't a million miles away. 219 00:48:28.040 --> 00:49:00.660 They were another band that was hard to pin down, weren't they? That was like. Yeah, utterly chaotic from it. Like, you can imagine, like, I can imagine the record label for Queen and Queen, like, you know, what you got this time when they turn up and they've got like, you know, like a drum and bass album. Do you know what I mean? You never know what, What Queen we're going to give you. I could imagine them just like bracing themselves, having some valley and just, oh, is it going to be like. You know what I mean? Is it going be like a mega rock album or is it going to be something else? And similarly. Not to the same degree, I don't think. I think. 220 00:49:00.740 --> 00:49:19.300 Well, it became. It was theatrical, wasn't it? And it was in many ways, but. But, you know, still great, you know, great songcraft and all that. But I was just really zooming in on that early period of Queen, before they became Queen Queen, before. Before they became the, you know, the thing. The monster they became. 221 00:49:20.260 --> 00:49:25.970 For me, a lot of. A lot of these. The debut albums for me are the ones that often mean the most. 222 00:49:25.970 --> 00:49:26.290 Yeah. 223 00:49:26.290 --> 00:49:48.730 You know, because that, that you. There's an honesty and an authenticity and I, I. There's a. I love reading biographies, especially musicians biographies, but one of the things I particularly enjoy is that that similarity across the board of, of artists who've had a successful debut. Yeah. 224 00:49:48.730 --> 00:49:49.130 Yeah. 225 00:49:49.130 --> 00:49:51.250 And then the. Oh, what do we do now? 226 00:49:51.250 --> 00:49:51.860 Yeah, yeah. 227 00:49:51.860 --> 00:50:16.620 You know, like that. That album didn't come from nowhere. That was an album that I've been writing Since I was 11, 12 years old, you know, and then it all came together perhaps in, you know, late teens or 20s or whatever. So there may be a decade's worth of experiences and songcraft and writing to go and pull that together. And then all of a sudden you're now a commodity and it's just like, right, you've got, you've got like 12 months. 228 00:50:16.620 --> 00:50:17.220 Yeah, yeah. 229 00:50:17.220 --> 00:50:23.260 I mean, going make, make that, make a record, make a follow up. Whatever will happen there, you need now need to be better. 230 00:50:23.430 --> 00:50:23.670 That. 231 00:50:25.270 --> 00:51:13.860 And I, I love that kind of, I don't know, like imagining what that was like because often the, the, you know, the, the follow on to a great tea and you just think how, like, how do you deal with that pressure? How do you. Do you cope with that? But I think it's interesting here though, because they like, they had so much money and power at this point. Led Zeppelin basically stuck two fingers up at the world and just kind of went, we'll do what we want and we'll do it when we want it. And then they just disappeared off into the. Disappeared Headley Grange pretty much and figured it out. It's not a recipe, I don't think, for great creativity, you know what I mean? It's not like no pressure. Dead relaxed. 232 00:51:13.860 --> 00:51:14.300 Yeah. 233 00:51:14.940 --> 00:51:35.160 Band all pretty much get on with each other, you know what I mean? It's like. And we've talked before about often these great albums come, come from conflict or pressure or some, you know, something. There's something driving the, the thing here and, and like there's none of that around. The band like this could have tanked. 234 00:51:35.320 --> 00:51:35.720 Yeah. 235 00:51:35.720 --> 00:51:42.480 And Led Zeppelin would have been absolutely fine. Yeah, whatever. Yeah. And I think the thing. 236 00:51:42.480 --> 00:51:43.960 Yeah, they had nothing to prove at this point. 237 00:51:43.960 --> 00:52:18.530 No, nothing to prove and nothing to gain, really. There was like, you know, they were already great. Everyone thought they were great. So there was like, you know, making another great album is just what's expected. So. So all that they can do here is fail. Right. They can't be. You know what I mean? It's like if you're the world champion at something, all you can do is be the world champion again. You can't. You know what I mean? It's like, like you just, you by, by, by kind of going and competing again. You're just inviting failure of not being able to do it again. And I Think a lot of it is down to Jimmy Page's drive. 238 00:52:18.770 --> 00:52:19.170 Yeah. 239 00:52:19.170 --> 00:52:31.230 To. But when you mentioned it's technical excellence of being able to push the M, it's like, how far can I push this? How, you know, what magic can I do in the studio? And that love of being able to do that stuff. 240 00:52:32.190 --> 00:52:35.830 He's very, he's very detail oriented when it comes to music, isn't he? 241 00:52:35.830 --> 00:52:40.110 He is, yes. You said it was a nerd earlier. It was just such a good. 242 00:52:41.070 --> 00:52:42.230 In an affectionate way, like. 243 00:52:42.230 --> 00:52:43.030 Oh, yeah, yeah, yeah. 244 00:52:43.030 --> 00:52:45.470 Quite a negative conversation. I didn't mean it at all negatively, 245 00:52:45.470 --> 00:52:53.850 but he, he, but he does. He comes across as being like this kind of. You can imagine him like properly nerding out in the dark in the studio. No one there. 246 00:52:53.850 --> 00:52:54.250 Yeah. 247 00:52:54.250 --> 00:53:08.930 You know, obsessing over some minutiae, you know, just. And not necessarily from a, you know, like, you know, like a. An Axl Rose kind of, you know, diva style, but just. I want to know how this works. 248 00:53:08.930 --> 00:53:09.170 Yeah. 249 00:53:09.170 --> 00:54:11.940 You know, you can imagine him going like down a complete rabbit hole of an instrument or recording technique and then just kind of going, oh, I'm not going to do that, and then go to the next one. You know, I could just imagine him just like obsessing over the detail in the studio and I don't know, he's. Yeah, he's a. Well, I think that. I mean, imagine him in today's world, but I'd be obsessed with plug ins. Wouldn't he have like, you know, all of the, all of the things going. But yeah, I. It's. It's funny, like, back. Back then, this would have all been physical, wouldn't it? Everything that he was doing was, was physical and mixed down. It was on tape. It was, you know, you only had four tracks, so you'd have had to mix down and get more tracks and then like, all of these things would have been like physical switches and knobs and cables that were. Were looped together. Like a mad scientist almost. Yeah, very, very, very cool time, I think. I mean, not that he was the only one that there was obviously a lot of Floyd were. Yeah, yeah, yeah, they were. 250 00:54:11.940 --> 00:54:16.020 But I think they were very much like in that Abbey Road world when they. There was like. 251 00:54:16.020 --> 00:54:16.500 Yep. 252 00:54:16.500 --> 00:54:19.360 Like the nerds and the geeks were kind of around them. 253 00:54:19.360 --> 00:54:19.680 Yeah. 254 00:54:19.680 --> 00:54:22.680 Oh, and they did their thing and then, and then. And then that was captured. 255 00:54:22.840 --> 00:54:30.440 Yeah, that is very true. They. They were. I think they were. They. Yeah. Like you say they would. They would experiment, tell the engineers what they wanted and Then. 256 00:54:30.440 --> 00:54:32.320 And then they would collaborate to get 257 00:54:32.320 --> 00:55:04.020 there, figure it out. Yeah, but. Yeah, I think you're right. I think Jimmy was doing this. It was on his terms, wasn't it? Yeah, he was doing. And this was his. His studio, wasn't he? So he did. He had his own studio as well at this point. And he had his own four tracks and stuff. We had a four track at school. Ye was. I'm sure it wasn't quite the same as this, but I remember it had rubber wheels that you. That you scrolled around and no one knew what any of them did. You know, it had like. Yeah, each track had like four or five of these rubber buttons. 258 00:55:04.180 --> 00:55:04.580 Yeah. 259 00:55:04.580 --> 00:59:51.370 And then. And I remember we would. And I remember there was one guy there called Neil Wy and he. He would, he would just come in and like, just like frown at us all and move them all back to the middle. There you go. That's what we did. I started annotating my own archive listing everything that went back to like the very earliest all. It was all analog tape that I was doing and it went back to like the early little sort of three and a quarter inch reels that were done at home when I did my parents. And it goes to a 5 inch reel and hit home demos. And I was going all the way through and it got through all the material that I had. I was logging it and collating it and making notes all through the Yardbirds. And then of course it gets to Led Zeppelin and I'd started to do some of that. But I must say that I'd had an idea that was along the lines of the project that we're all now familiar with the re releases. But somehow these sort of gems that were sitting around could come out. I had another little, you know, another plan. But this, this was far more ambitious and much lengthier and far more relevant I think to the. To the whole picture of what was needed to be sort of presented. An audible picture of what went on in the studio. When it comes to the Led Zeppelin aspect of it, it was hundreds of hours, literally hundreds of hours of listening to Take. Because you've got to listen to it in real time. And then you, you know, say you've selected a title and you're going listening to everything you've got around that title and there's copious notes being made and it's a lengthy project. But I knew it was worth. Sam. Then as it was. Then again it will be. Though the course may change sometimes Rivers always reach the sea. Blind skies of Fortune each have separate way on the wings of maybe down he burns some prey Kind of makes me feel Sometime didn't have to go but as the eagle leaves the nest Got so far to go. Changes fill my time Baby, that's all right with me in the midst of I think of you and how it used to be. Ram. Do you ever really need somebody? I really need them by did you ever really want somebody? 260 00:59:55.290 --> 00:59:56.570 Do you ever Remember. 261 01:00:23.710 --> 01:01:36.060 Sam. Machine Tasting love along the way See a feather spring Kind of makes you feel Sometime can help we are eagles all wonder the masters in our soul. Fixing in my dreams with great surprise to me Never thought I'd see your face the way it used to be Our darling 262 01:01:38.220 --> 01:01:39.420 Our darling. 263 01:01:43.530 --> 01:02:55.410 Sam. It was possible. It was possible, quite probable, that we arrive at a double album. But you couldn't just say, we're doing a double album. Let's just see how it all goes. But the way that the. The material was sort of pouring out and shaping up, it was clear that it was going to be. 264 01:02:55.410 --> 01:03:11.590 There are obviously all these remasters coming and, you know, companion disc, companion prod, like projects that, you know, were coming out with the original records and that's all Jimmy Page just getting lost in all the archives. 265 01:03:11.590 --> 01:03:12.070 Yeah. 266 01:03:12.550 --> 01:03:14.550 And just fight, you know, going back to what we. 267 01:03:14.550 --> 01:03:15.470 Finding more stuff. 268 01:03:15.470 --> 01:03:19.950 Yeah, yeah. And that. But then almost using that to tell the story of the development of the 269 01:03:19.950 --> 01:03:21.510 songs and that sort of thing. 270 01:03:21.590 --> 01:03:23.590 Ideas. And I think that's really good. 271 01:03:23.670 --> 01:03:37.240 Well, at the kind of the early demos and instrumentals and things, they just pulled through. Yeah. I think. But again, it's. To your point. He's, I think, think he loves it. Yeah. It's a recording nerd. Loves being in there. Loves doing that. 272 01:03:37.240 --> 01:03:45.400 Yeah. Because we. We went into the studio a few weeks ago with a guy called Mark Gardner, who was from Ride. 273 01:03:45.400 --> 01:03:45.880 Yeah. 274 01:03:46.520 --> 01:03:46.960 And he. 275 01:03:46.960 --> 01:03:47.680 I remember saying. 276 01:03:47.680 --> 01:03:57.760 Yeah, he loves it. Like, you can tell, like. Like he's. He's that in, you know, just. He's like. He's got some really good gear, like, really, like, you know, the name stuff, you know. 277 01:03:57.760 --> 01:03:58.000 Yeah. 278 01:03:58.000 --> 01:04:01.800 But it's. But it's not the plug in. It's the real boxes with the real twiddly knobs. 279 01:04:01.800 --> 01:04:04.040 The real twiddly knobs. There's something about twiddling a real. 280 01:04:04.040 --> 01:04:14.000 Yeah, I think. Yeah. And he. And. But you can sort of tell that, you know, he. He absolutely loves it. He's invested a huge amount of. Of. Of himself. 281 01:04:14.160 --> 01:04:14.560 Yeah. 282 01:04:14.560 --> 01:04:17.040 And finances, but also his own ability, you know. 283 01:04:17.120 --> 01:04:18.720 Yeah. It was time as well. 284 01:04:19.440 --> 01:04:29.610 And, you know, with a beautiful desk and stuff. And that sort of got me thinking that, you know, there is something in it. There is something in that. Getting lost in the tapes, getting lost in the desk. 285 01:04:29.610 --> 01:04:29.810 But. 286 01:04:29.810 --> 01:04:33.890 But having something physical around you. Because I've always been in as. You know, like in the box. 287 01:04:33.890 --> 01:04:34.210 Yeah. 288 01:04:34.210 --> 01:04:35.850 Everything. Everything's in the computer and. 289 01:04:35.850 --> 01:04:36.410 Yeah, yeah. 290 01:04:36.410 --> 01:04:37.330 All that sort of stuff for me. 291 01:04:37.330 --> 01:04:40.410 But that's what you. You. You. You're millennial. So you. 292 01:04:40.410 --> 01:04:43.490 Yeah, I grew up with that. You grew up with that stuff? 293 01:04:43.490 --> 01:04:48.730 Yeah. You were just. Just, I guess, ahead of the analog. 294 01:04:48.890 --> 01:04:49.930 Yeah. World. 295 01:04:49.930 --> 01:04:50.330 Right. 296 01:04:50.650 --> 01:04:57.250 Yeah. But. But, you know, know, having. And I think the wiring had. Drive me mad and having to keep. 297 01:04:57.330 --> 01:04:57.650 But. 298 01:04:57.650 --> 01:05:00.930 But I could see the value in having, you know, a few. 299 01:05:01.170 --> 01:05:01.610 Yeah. 300 01:05:01.610 --> 01:05:14.530 Tried and tested. Because the problem you get with recording when you do this sort of stuff, like with what. You know, what. What you do with Pro Tools or whatever, is you get options, fatigue. So you don't ever get anything done. 301 01:05:14.610 --> 01:05:15.010 Yeah. 302 01:05:15.010 --> 01:05:16.850 Because you're getting so lost in finding 303 01:05:17.010 --> 01:05:20.920 you've not got one compressor. You've got 10 compressors and you call it. Yeah, yeah, I know. Yeah. 304 01:05:21.550 --> 01:05:27.870 But one thing that I've. I've sort of got quite good at now is I have a go to. 305 01:05:28.270 --> 01:05:28.750 Yeah. 306 01:05:28.990 --> 01:05:48.190 Mic setting. I have a go to like, start point, if you like. Yeah. Like bass amp, I like. I love to use when I'm recording. Yeah. Rich or whatever. And there's like a guitar neve thing that I love. You know, I love that. And it's. And it's just interesting that once you've done gone through the options, but you have to spend hours and hours doing it. 307 01:05:48.190 --> 01:05:48.550 Yeah. 308 01:05:48.550 --> 01:05:53.730 That actually you find the thing that you like. Like. And I think that's the point I'm getting at with Jimmy. With Jimmy Page. 309 01:05:53.730 --> 01:05:54.090 Yeah. 310 01:05:54.090 --> 01:06:03.450 Is that he's obviously spent all of those hours, like tens and hundreds of hours. Yeah. Pouring through, finding to just find the moment, find the bit there is to be pulled out. 311 01:06:03.530 --> 01:07:26.730 It's funny when we've. We've talked about, you know, albums being a. A point in time. It's. It's. It's your. You know, to Jimmy Page's world, it's an archive. It's a. You're. You're committing that point in time to. To tape. Right. You're recording it like a time caps. Yeah. And then. And then if we look back at your. Some of. Some of the statements you've made over the years where it's like your mood, what you had for Breakfast. How you're feeling, that comes out in the way you play, in the way you, where you do things. And then I know, I also, I think that's down to the, the producer and engineers as well. They're having a good mood. Everybody's, you know, not necessarily a good mood, but the mood and the, you know, the, the feeling that everybody's kind of got. It's just blokes in a room and it's funny, it's that they're is there is something different about interacting tactically with something than, than, than using a computer screen. You know, if I compare, if I get in, if I get in our electric car, it's all screens. There's no physical buttons anywhere. And I feel really different than when I get in my old car and I feel like I'm in the Millennium Falcon and I've got switches, real switch, and I go and click thing. I click things. I don't need to. I go click, I click thing. I switch them off and I switch them back on again. Because I like how it makes me feel when a physical switch makes a click and it's not. Oh yeah, it's nice. 312 01:07:26.730 --> 01:07:27.170 Yeah. 313 01:07:27.170 --> 01:08:07.350 And I'm in a better mood. I'm like, this has made me in a better mood. And I swear that I'm not always going to know that the analog audio gear was for. I spent you a lot of years as a teenager swearing at analog audio gear. It's not always doing what you want, but there is definitely something about that, you know, do I mean like that connecting physically connecting with the thing? I, I don't know. I, there is, there's, I, like, I, I, I would not be surprised if we, we go back temper that. I, I don't think that we'll see that for live shows, you know, like the Kemper and the. Did you get your replacers with the quad? Have you? 314 01:08:07.350 --> 01:08:09.550 Yeah, well, the cortex now. Yeah. Yeah. 315 01:08:09.550 --> 01:08:21.399 And so I, I, I don't think they're going anywhere because they sound so good live. And sound engineers don't have to, you know, know faff about. I think they're awesome. But I do think in like a studio. 316 01:08:21.399 --> 01:08:21.839 Yeah. 317 01:08:21.839 --> 01:08:40.679 Having stuff you can poke at and smell and it gets hot and I don't know, for me there's just, I, I think there'll be a bit of a resurgence of that. Although having said that, I did read today that the kids of today don't, don't have like speakers anymore. 318 01:08:40.999 --> 01:08:42.759 No, they just do it on their phone. 319 01:08:42.759 --> 01:08:44.319 Yeah. Everything's done on your phone. 320 01:08:44.319 --> 01:08:44.719 Yeah. 321 01:08:44.719 --> 01:08:53.460 Or at most, yeah, you have a Bluetooth speaker. And that made me really sad. A little bit inside of me was just like, what? 322 01:08:53.540 --> 01:08:53.980 Yeah. 323 01:08:53.980 --> 01:09:01.220 And. And it's massive. It's not just a little. It's not like 60 of like gen. Gen Z do it. All of them do it. 324 01:09:01.220 --> 01:09:01.460 Yeah. 325 01:09:01.460 --> 01:09:21.050 Like none of them own two speakers. Well, they might have two Bluetooth speakers, one in each room, but they don't have. And, and everybody's, you know, stereo is dead. Yeah. They might have a Sonos speaker or something. And it's. And I was just like, oh God, God, my little heart's dying a little bit here. Not the Sonos is bad, but typically it's one speaker and it's. 326 01:09:21.050 --> 01:09:21.530 Yeah. 327 01:09:21.530 --> 01:09:27.170 You know. Yeah, just stop it. Go and buy. Do you know what you should do? 328 01:09:27.170 --> 01:09:27.530 Yeah. 329 01:09:27.530 --> 01:09:29.690 Just take your fancy Bluetooths. 330 01:09:29.690 --> 01:09:30.090 Yeah. 331 01:09:30.650 --> 01:09:34.970 Literally pick it up and put it in the bin and then go and find a second hand. 332 01:09:35.210 --> 01:09:35.690 Yeah. 333 01:09:35.770 --> 01:09:40.410 Audio shop and go in and buy like an old class A trio. 334 01:09:40.650 --> 01:09:41.010 Yeah. 335 01:09:41.010 --> 01:09:48.880 And some old leak speakers. Just take the moment. It will sound awful, but you'll like it. And it will smell. Smell it. 336 01:09:49.920 --> 01:09:50.800 It's not real. 337 01:09:51.280 --> 01:10:05.760 It just smells high smell. I love that kind of hot smell when you get like. It's nice and, and. Yeah. And every, all of the, all of the. Like you, you need to go back far enough, I think where you didn't have capacitative buttons. 338 01:10:05.760 --> 01:10:06.160 Yeah. 339 01:10:06.160 --> 01:10:09.680 Where you, if you press it and it doesn't clunk. 340 01:10:09.680 --> 01:10:10.080 Yeah. 341 01:10:10.080 --> 01:10:10.760 It's rubbish. 342 01:10:10.760 --> 01:10:13.880 Yeah, yeah, yeah, yeah. I agree with that. I like a good clunk. 343 01:10:13.880 --> 01:10:16.900 You got clunk and then you have a little spray of switch cleaner. 344 01:10:16.900 --> 01:10:17.220 Yeah. 345 01:10:17.220 --> 01:10:19.900 And you just waz it in. It's brilliant. 346 01:10:19.900 --> 01:10:21.100 Is that the technical language? 347 01:10:21.100 --> 01:10:27.100 Was it, was it, was it in Jimmy Page W A Z. 348 01:10:27.500 --> 01:10:28.820 Is it two Z or one? 349 01:10:28.820 --> 01:10:30.620 I don't know. You could use either. 350 01:10:31.500 --> 01:10:32.500 It depends on how hard. 351 01:10:32.500 --> 01:10:33.820 I bet it's like if it's. 352 01:10:33.820 --> 01:10:35.620 If it's the three Z's is like super hard. 353 01:10:35.620 --> 01:10:42.120 The British spelling is wa. Z. Yeah. And Americans, two zeds. Because they, they love a zed, don't they? 354 01:10:42.120 --> 01:10:42.560 Yeah. 355 01:10:42.560 --> 01:10:46.080 For our American listeners, we're pleased to give you another zed. Z. 356 01:10:46.240 --> 01:10:46.640 Z. 357 01:10:46.880 --> 01:10:47.280 Z. 358 01:10:47.520 --> 01:10:48.400 Two Z's. 359 01:10:48.640 --> 01:10:58.760 Two Z's. We have, there's a couple of companies that we, we do work with and they're American companies and, and their names are pronounced with the Z and I can't do it. I have to say zed. 360 01:10:58.760 --> 01:10:59.080 Yeah. 361 01:10:59.080 --> 01:11:06.760 And they, they're quite, they say no, no, no, no, you're saying it wrong. It's Z. And I go, okay, I'll do Z. And then the very next day, that's it. It's back to Z. 362 01:11:06.760 --> 01:11:07.360 Back to Z. 363 01:11:07.440 --> 01:11:10.030 And, and, and I will point you back to Paul. But Fiction. 364 01:11:10.030 --> 01:11:10.350 Yeah. 365 01:11:10.350 --> 01:11:14.630 Cuz Zed's dead, baby. Love. Pulp Fiction. 366 01:11:14.630 --> 01:11:15.350 Yeah, yeah, yeah. 367 01:11:15.350 --> 01:11:21.550 That's bonkers. Absolutely. Don't make movies like that anymore. No, they don't like nonsense like what is going on? Out of order. 368 01:11:21.630 --> 01:11:21.990 Yeah. 369 01:11:21.990 --> 01:11:29.630 And it's like. What? Why is it out of order? Yeah, well, and, and, and, and, and you can buy it in order. Somebody's chopped it up and put it in order. 370 01:11:29.630 --> 01:11:30.670 Have they? Yeah. 371 01:11:31.710 --> 01:11:39.850 Why would you do that? Why would you do that? It's better. But back then. Yeah, I think it was better back then. Things smelled better. 372 01:11:39.850 --> 01:11:43.610 Yeah, things were in the right order. The right wrong order. 373 01:11:44.330 --> 01:11:45.010 Exactly. 374 01:11:45.010 --> 01:11:45.450 Yeah. 375 01:11:45.930 --> 01:11:49.050 The right wrong order. I like. Yeah. 376 01:11:50.490 --> 01:11:51.770 Shall we do some facts? 377 01:11:52.250 --> 01:11:53.410 Shall I put my glasses on? 378 01:11:53.410 --> 01:11:55.930 Yeah. Because we are at 70 minutes. 379 01:11:56.250 --> 01:12:00.650 Well, it was only in keeping with the longest hour. It's not the longest album. 380 01:12:00.730 --> 01:12:04.060 Last week was mental. We did. Did have like seven longest ever. 381 01:12:04.140 --> 01:12:12.700 Mellow. Yeah. This is not the longest album we've recovered, but it is quite a long album. So this is physical graffiti. I can't spell it is the first fact. 382 01:12:12.940 --> 01:12:14.380 Graffiti is a hard word to spell. 383 01:12:14.380 --> 01:12:17.780 Two T's. It's not got two T's, it's got one T. I always spell it with two T's. 384 01:12:17.780 --> 01:12:18.780 So what is it? Two F's. 385 01:12:19.100 --> 01:12:21.020 It's two F's. Two T's. 386 01:12:21.100 --> 01:12:22.060 It's got two. 387 01:12:22.060 --> 01:12:28.300 Sorry, Two F's, one T. Two F's, one T. And I can't do that. I always put two T's. T. Graffiti. 388 01:12:28.300 --> 01:12:28.860 Graffiti. 389 01:12:29.180 --> 01:12:59.310 It feels like it should have two T's, but it's not. It's only got. Got one. That's not really a fact, but it is a fact. Release 24 February 1975 on Swansong Records. Although it wasn't really released on Swanson Records, it was released by Atlantic. Swansong Records was their vanity label so they could do what they wanted set up just for this. And they spent the year, the entire year prior to this with their management team unpicking their legal responsibilities to Atlantic and then re released it on Atlantic anyway. 390 01:12:59.310 --> 01:12:59.710 Yeah. 391 01:12:59.790 --> 01:13:14.580 Yeah. Produced by Jimmy Peck Page at Headley Grange in Hampshire with Ronnie Lane's mobile studio, Olympic Studios in London, Island Studios in London. And then it was. I don't think it was mixed. I think it was mastered at Electric Lady Studios. 392 01:13:14.580 --> 01:13:14.860 Yeah. 393 01:13:14.860 --> 01:13:19.740 Yeah. My notes here are vague. How many tracks was it? 394 01:13:20.540 --> 01:13:21.616 I don't know. 15. 395 01:13:21.704 --> 01:13:26.700 15, 15, which is too many. It's 82 minutes long. 396 01:13:26.700 --> 01:13:27.100 Yeah. 397 01:13:27.100 --> 01:13:37.400 And I think, like I struggle with this. I like the phone. First five tracks. I, I, I, I'm, I'm, I'm with it. I'm in. It's great. I think if it had been another two tracks, I'd have loved this. 398 01:13:37.400 --> 01:13:37.760 Yeah. 399 01:13:37.760 --> 01:13:40.680 And it's just. Then it just goes off into this void. 400 01:13:40.680 --> 01:13:41.080 Yeah. 401 01:13:41.080 --> 01:13:50.760 And I'm like, oh God, I'm lost now. And I'm really, I get absolutely lost with this. With this record. Peaked at number one on the UK albums. 402 01:13:50.920 --> 01:13:53.200 See, it's not the kind of album you expect to do that, is it? 403 01:13:53.200 --> 01:14:04.110 Well, not with no singles and no PR and no. Like they did. They, they didn't really like the media very much. So. Although Jimmy Page is extremely eloquent. Really, really good. 404 01:14:04.190 --> 01:14:04.670 Yeah. 405 01:14:05.390 --> 01:15:28.310 He didn't like go on the normal. Do the normal interviews and stuff, which I think is interesting. It was number one in Australia and Canada and top five across most of Western Europe and Japan. It's been 16 times ranked platinum in the and in the RIAA USA. Counted as double album platinum, multi platin. Canada, Australia, most European countries. Estimated sales roughly 8 million in the US alone, 16 million worldwide for an album that's seven hours long. Interestingly, Key Singles was Trampled Underfoot and Houses of the Holy only released in the US because the band famously would not allow singles released in the uk, which I think is interesting. Another interesting thing from this is they, they were five studio records in the four and a half years before he had Led Zeppelin. Two, three. There Untitled fourth album that everyone calls Led Zeppelin four and then Houses of the Holy. This album charted so hard that it brought the other albums back into the charts, which is almost unheard of. It brought the entire discography a couple of times with Led Zeppelin, the entire discography came back into the charts at the same time. 406 01:15:28.310 --> 01:15:37.750 I think if I remember rightly, I've got a feeling that I don't even think it was this album that came back. But you know when they use the cashmere riff on Godzilla? 407 01:15:37.750 --> 01:15:39.990 Oh, yeah. Who did that? Was that Puff Daddy? 408 01:15:39.990 --> 01:15:40.990 Yeah. Is that kind of thing. 409 01:15:40.990 --> 01:15:45.430 Wasn't it Sean Coombs? I don't know. Do we call him Sha or Puff? Sha. Sha or Daddy? 410 01:15:48.070 --> 01:15:56.730 Yeah, the. Yeah, I'm sure that brought. That brought it all back as well. There's like a huge Led Zeppelin resurgence from there as well. There's been a few, really. A few waves of it. 411 01:15:56.730 --> 01:16:01.530 Yeah. It's also in the movie Almost Famous. 412 01:16:01.770 --> 01:16:05.130 What. What I watched, I've watched it all the way through. 413 01:16:05.130 --> 01:16:37.790 I watched it this week and Lizzie got really grumpy because like I couldn't sleep. One of the cats would be in a. And anyway, he annoyed me like yowling around the house and stuff at 11 o'. Clock. So I, I, I got my tablet and just sat down in, in bed and put my headphones on and started to watch Almost Famous and then just watched it all the way through and it was just brilliant. Really, really cool about rock and roll. About like Black Sabbath are in. The music is, is awesome as it goes. 414 01:16:37.790 --> 01:16:38.350 It's very. 415 01:16:38.350 --> 01:16:39.190 Of this era. 416 01:16:39.270 --> 01:16:39.750 Yeah. 417 01:16:41.990 --> 01:16:47.190 Just, just a cool, It's a cool movie. Almost pointless. 418 01:16:47.190 --> 01:16:47.550 Yeah. 419 01:16:47.550 --> 01:16:52.550 Do you know the stories of these people? It doesn't, it's not landing like some kind of big message at you. 420 01:16:52.550 --> 01:16:53.030 Yeah. 421 01:16:53.030 --> 01:17:20.230 It's just that story of this band that were becoming popular and the people that went out on tour with them and a journalist that went on tour with them and the groupies that were around them and yeah, just how that meanders through the, through the world. And it was, it's just, just very, very cool movie. But it's got, it's got Led Zeppelin in it, which is interesting. I thought that they were very tight about who could use their music, but. 422 01:17:20.460 --> 01:17:23.980 Yeah, yeah, no, there's been a few things about that they weren't. 423 01:17:23.980 --> 01:17:25.580 Cashmere has certainly been used. 424 01:17:25.660 --> 01:17:26.140 Yeah. 425 01:17:26.140 --> 01:17:26.620 A lot. 426 01:17:27.260 --> 01:17:32.700 But I think there was just. Yeah, there was certain songs they let out the bag, I think, and then others that they didn't want used on it. 427 01:17:32.780 --> 01:17:49.630 You know, I wondered if some of this, I, I and I. I don't think this is the case, but I wondered if there's some of this was to do with Atlantic versus So the stuff that was recorded on their own label they kept artistic control over. But Kashmir was recorded on. On that and they still used it. 428 01:17:49.630 --> 01:17:50.110 Yeah. 429 01:17:51.470 --> 01:18:39.760 Right. More facts. The airplane heard at the start of Black Country Woman was real. The track was being recorded where? Outdoors in the garden of Mick Jagger's country house Star Groves In 1972, when a plane flew over. Engineer Eddie Kramer, you can hear him asking Plant if he wants to start again. And Plant exact words on the tape would now leave it. And then it was also kept in the mix. A whole lot was kept. John Paul Jones almost left the band before these sessions started in late 73. Told Peter Grant he was thinking of Accepting a job as a choir master at Winchester Cathedral. That's rock and roll. Grant took the request seriously, told the others Jones was simply ill and gave him a few weeks to think it over. 430 01:18:39.760 --> 01:18:40.160 Yeah. 431 01:18:40.160 --> 01:18:40.690 And he came back. 432 01:18:40.840 --> 01:18:41.160 Yeah. 433 01:18:42.840 --> 01:18:52.120 The album's cover. This is my. Did not know until I did the search for this. The album's building. You know the COVID of the. Of the building? Yeah, yeah. Do you know what's special about it? 434 01:18:52.440 --> 01:18:52.840 No. 435 01:18:53.640 --> 01:19:22.660 The. The actual building is six stories and they removed the top floor in the basement so it would fit on a square record sleeve. And the buildings in 96 and 98, St Mark's Place in New York's East Village still standing and remain one of the most photographed addresses in Manhattan. Manhattan. But they're quite clearly the wrong shape. So Boogie With Stew is partly credited to Mrs. Valens. 436 01:19:23.700 --> 01:19:26.980 Ah, now what's this again? Because it was. There was some rights thing, wasn't there? 437 01:19:27.060 --> 01:20:56.730 Yeah. Meaning Conception Valens, Valenzuela, the mother of Richie Valens. The credit was an attempt by the band to get royalties to her since the melody borrows from Richie Cheese. Oh, my head. The Valens estate sued anyway and the case was settled out of court. The album's release made Led Zeppelin the first band to have all six of their existing studio albums on the Billboard 200 in the same week in March 1975. Bron y ur all my Welsh friends will be throwing things at from the Valley, so my old Mac Loop buddies will be like, oh, you dickhead. The two minute solo guitar piece on side three was actually recorded in July 1970 during sessions for Led Zeppelin 3. It sat unused for almost five years before being included here on Physical Graffiti. The cottage of the same name in Gwynedd, Wales, has no electricity to this day. The song Houses of the Holy on side one A Physical Graffiti was recorded for the Houses of the Holy holy album in 1972. It was cut at the very last minute. Jimmy Page felt it sat oddly with the rest of that record's material. It's the only Zeppelin song to share its title with an entirely different album. I think that's fascinating. Like two thirds of this album doesn't sound like it fits on this album. And he's fine with it. It's. I think it's bizarre that he would have made that. 438 01:20:56.730 --> 01:20:57.170 Yeah. 439 01:20:57.170 --> 01:21:16.140 Especially with such an amazing song. In My Time of dying is 11 minutes, 4 seconds. It's the longest studio track Led Zeppelin have ever released. At the end of that you can hear John Bonham coughing and joking. Cough. Cough. That's got to be the one, hasn't it? And that was kept in again, Jimmy Page's request. 440 01:21:17.020 --> 01:21:20.140 I like that. I like little studio moments like that staying on record. 441 01:21:20.300 --> 01:21:25.220 Yeah, yeah, yeah. Rolling Stones do a lot of that as well. The early stuff that. I like it when you can hear that kind of. 442 01:21:25.450 --> 01:21:25.770 Yeah. 443 01:21:26.570 --> 01:21:51.050 Stuff. Studio stuff. Peter Corriston sleeve design. So he was the guy that designed the. The album's artwork won the 1976 Grammy for best Album Package. Coriston went on to design some girls Emotional Rescue and tattoo you for Rolling Stones. The trampled underfoot riff was directly inspired by Stevie Wonder superstition. 444 01:21:51.130 --> 01:21:52.570 Now Clavin over thing. 445 01:21:52.570 --> 01:21:55.690 Yeah. As soon as I read that, I was like, it totally does. 446 01:21:55.770 --> 01:21:56.330 Yeah, yeah. 447 01:21:57.370 --> 01:22:25.050 Which had been a US number one in January 1973. John Paul Jones plays the same honor D6 clavinet that wonder used in the original. The dad Gad tuning that Page uses on Kashmir is the same alternate tuning he used on Black Mountain side on the first album. He picked it up in the mid-60s from Davey Graham, a British folk guitarist who had used it to play Moroccan and Indian melodies. 448 01:22:25.050 --> 01:22:25.650 That's really interesting. 449 01:22:25.650 --> 01:22:27.600 I wonder if that's kind of what gives it some of this. 450 01:22:27.830 --> 01:22:30.950 It is as well. But also dad Gad is now used quite a lot in folk music. 451 01:22:31.270 --> 01:22:31.750 Yeah. 452 01:22:32.550 --> 01:22:35.150 Quite open, you know, open tunings and dad Gad and stuff. 453 01:22:35.150 --> 01:22:37.150 Frank Turner is a big fan of the dad Gad. 454 01:22:37.150 --> 01:22:37.590 Yeah. 455 01:22:38.550 --> 01:22:54.150 Despite being released on Zeppelin's own Swantong label, the album was distributed in the US and most of the world by Atlantic, the band's previous label. The Swan Song imprint was a vanity label rather than a fully independent operation. And that's it for facts. 456 01:22:54.150 --> 01:22:54.480 Good fact. 457 01:22:54.630 --> 01:22:55.030 Facts. 458 01:22:55.270 --> 01:22:57.510 Good facts. Yeah, Very good. 459 01:22:57.510 --> 01:22:59.910 Shall we be Beggar's Banquet next? 460 01:23:01.510 --> 01:23:02.470 Is that what we're doing? 461 01:23:02.550 --> 01:23:06.710 I don't know. I think we should. We can't knock him. Can we not. We. We got to do that next, haven't we? 462 01:23:06.710 --> 01:23:07.830 Yeah, yeah, yeah, yeah, yeah. 463 01:23:07.830 --> 01:23:09.350 While we're in this era. 464 01:23:09.350 --> 01:23:11.110 Yeah. Well, we'll play a song and you 465 01:23:11.110 --> 01:23:11.990 say error or era. 466 01:23:12.470 --> 01:23:13.030 Era. 467 01:23:13.110 --> 01:23:13.670 Era. 468 01:23:13.750 --> 01:23:14.550 You say error. 469 01:23:14.790 --> 01:23:18.830 No, that's like Z and Z. Some of my American friends say error. 470 01:23:18.830 --> 01:23:26.020 I wouldn't. I wouldn't. I do like their friends, mate. Honestly. 471 01:23:26.340 --> 01:23:35.060 I like American English for the most part. Like, they. They like, simplified the. The. The language when, you know the history behind it. 472 01:23:35.620 --> 01:23:36.420 Aluminum. 473 01:23:37.140 --> 01:23:51.820 The history behind the American language. So obviously we gave them that, right? So we. So here's the American language, right? Is the English language you can use. Can have it. Well, I think we. I don't know what we did. Didn't we invade whatever we did? Right. 474 01:23:51.820 --> 01:23:54.420 Yeah yeah. I know we properly like here's some. 475 01:23:54.420 --> 01:24:10.620 Is some English in that. And. And they said they used it when the colon. When the country was being Americanized. Right. So so kind of in the independence. You know the dictionary, the Maram. We have the English Oxford Dictionary. 476 01:24:10.620 --> 01:24:10.940 Yeah. 477 01:24:10.940 --> 01:24:11.580 Which is better. 478 01:24:11.740 --> 01:24:12.140 Yeah. 479 01:24:12.140 --> 01:24:14.060 They've got the Miriam Webster. 480 01:24:14.060 --> 01:24:14.820 That's an American one. 481 01:24:14.970 --> 01:24:38.490 Is it now? Right. And I always get these mixed up unless I've. Unless I've kind of prepared this. This is part of a talk that I used to give about language and. And stuff. But I think it was Webster anyway. One of them was tasked to simplify the language. So basically went through. And all of the stupid words that we have that are spelled totally differently. 482 01:24:38.490 --> 01:24:38.890 Yeah. 483 01:24:38.890 --> 01:24:47.780 From how they sound. They were like well we'll just change that. And that's what happened. And then we got invaded by the French and we. They put use in. 484 01:24:47.780 --> 01:24:48.180 Yeah. 485 01:24:48.180 --> 01:25:09.700 Our language. And then. But that's when the zeds came in and then we got. So they. They got their. Their. Their language got simpler and the S's turned into zeds and we got. We. We got Frenchified and use added into ours because we got. We got absolutely royally boogered by the French. So they came and did our language and then. And, and that's what. What happened. That's why they. A little bit bit different. 486 01:25:09.700 --> 01:25:10.460 Is that what it is? 487 01:25:10.460 --> 01:25:19.900 Yeah. So that. But it. But that. But for the most part American English is simpler and clearer and better than. Than our language. 488 01:25:19.900 --> 01:25:21.460 Because it's not right though, is it? 489 01:25:21.460 --> 01:25:22.340 We've still got the history. 490 01:25:22.820 --> 01:25:26.380 Yeah. No, I think it's. No, it's obviously better and simpler and 491 01:25:26.380 --> 01:25:27.420 more clearer in that. 492 01:25:27.420 --> 01:25:28.660 Clearer. But it's not right. 493 01:25:28.900 --> 01:25:34.140 They I listened to. This is going to go off piece a little bit. I listened to someone talking. 494 01:25:34.290 --> 01:25:36.050 You what though? Haven't we done well tonight? 495 01:25:36.050 --> 01:25:36.770 I think so. 496 01:25:36.930 --> 01:25:39.010 With off peace. We even started on task. 497 01:25:39.010 --> 01:25:42.610 On task. We didn't announce ourselves. We're rifology. 498 01:25:43.970 --> 01:25:44.690 I'm Chris. 499 01:25:45.250 --> 01:26:11.400 An hour and a half. I'm near about an hour and a half into the podcast. You've done really well to get here. So I was. I was reading this week about AI models. Like they. If. If. So the way AI models talk to each other is typically in English, not American English. Yeah. It would mostly be American. So they're trained on the Internet. So. So. So you think about the Internet is Mostly American English. 500 01:26:11.400 --> 01:26:11.800 Yeah. 501 01:26:12.440 --> 01:26:33.800 That's what they get trained on the zeds. Yeah. And anyway, this. One of the AI engineers is saying that there is this tiny next step where the models will start to talk to each other in. In a more efficient language. 502 01:26:33.800 --> 01:26:34.080 Yeah. 503 01:26:34.080 --> 01:26:37.320 You know, where it won't. They won't have to use English. 504 01:26:37.320 --> 01:26:40.240 Yeah. Be bleeps, bleeps and bloops. 505 01:26:40.320 --> 01:26:40.680 Yeah. 506 01:26:40.680 --> 01:26:42.480 Although you need to. Basically. 507 01:26:42.800 --> 01:27:08.570 I like R2D2. Yeah. Got a T shirt with R2D2 on. But that gets interesting for me. Do you know what gets interesting? So I'll tell you what gets interesting. It gets interesting because right now I use AI models all day to build stuff. Right. They're. They're. They're busy whizzing code out and doing all the bits and pieces. Is now I'm a. I'm a human, or rather aging human, but I'm a human and I can understand all this. I can done all the code. 508 01:27:08.570 --> 01:27:09.130 Yeah. 509 01:27:09.130 --> 01:27:14.010 And I can even understand the thought process that the AI model's going through. 510 01:27:14.010 --> 01:27:14.770 Yeah. Yeah. 511 01:27:14.770 --> 01:27:16.690 Once it starts using its own language. 512 01:27:16.690 --> 01:27:17.130 Yeah. 513 01:27:17.370 --> 01:27:19.130 I can't understand what it's saying anymore. 514 01:27:19.130 --> 01:27:19.530 Yeah. 515 01:27:19.530 --> 01:27:26.490 And the AI engineer was basically saying, look, that. That will be the. What, one of the next steps where the models will start to talk to each other using a completely different, Different. 516 01:27:26.570 --> 01:27:27.050 Yeah. 517 01:27:27.050 --> 01:27:27.530 Language. 518 01:27:27.530 --> 01:27:27.930 Yeah. 519 01:27:28.010 --> 01:27:32.170 And then also all of the programming languages that we use to build stuff with. 520 01:27:32.250 --> 01:27:32.810 Yeah. 521 01:27:33.610 --> 01:27:38.970 Without fail, were all written for humans. Like, you know, even the newest language like Rust and stuff like this. They're all. 522 01:27:38.970 --> 01:27:39.450 Yeah. 523 01:27:39.930 --> 01:27:41.210 Contextual human languages. 524 01:27:41.210 --> 01:27:42.090 Yeah, yeah, yeah, yeah. 525 01:27:42.090 --> 01:27:43.050 They would. 526 01:27:43.290 --> 01:27:44.250 They don't need that. 527 01:27:44.330 --> 01:27:54.900 Why would. Why would. Why would these AI models do that? Why not have a AI specific model. AI specific language that it was there. And once that happens, you. 528 01:27:54.900 --> 01:27:56.140 That way it goes Skynet. 529 01:27:56.140 --> 01:28:10.100 Well, once I've got that T shirt as well, once that happens. And I've got one that says, sorry, Dave, I can't do that. But then, but then, yeah, once that happen, once it happens, we would. We do. 530 01:28:10.100 --> 01:28:12.140 Yeah, yeah, yeah, yeah, yeah. There's no point. 531 01:28:12.140 --> 01:28:25.170 I'll tell you what we do. We go into a recording studio and we click big buttons. AI can't click buttons. It can't sniff an amp. A story about my friend. I'm going to go. My friend Russell. 532 01:28:27.570 --> 01:28:28.450 Amp sniffer. 533 01:28:28.930 --> 01:28:29.570 Oh, God. 534 01:28:29.570 --> 01:28:30.050 This just. 535 01:28:30.050 --> 01:30:09.790 It's just. Just making me think about this is making me laugh. So. So Rustle had these. He. He had these amazing monoblocks, these Krell monoblock amps. Absolutely gorgeous things, proper things. Of engineering beauty. Like, like 25 kilos each. And I remember in Bible they were all used. He bought one from one secondhand shop and then like couldn't afford it and then waited and bought the other one Anyway. So he had these two, two amps and you know this stereo setup was awesome. And his mom was mad cat lady. She had like 13 or 14 cats at one stage in the winter going around to his house and was sitting in his bedroom listening to Brian Adam's Reckless. And then one of his mom's cats came in and. And urinated into the amp vent cuz it was nice and warm. And then, and then he was like shing the cat out and his mom came in. You can't tell him off because you've got a warm. Like this, got a warm draft and he likes it on his undercarriage kind of thing. And then we had to take this amp apart and it was just full of cat. Cat way at the bottom. Like rusty cat was honestly. But these things, you know, these things were beautiful. They were like absolutely beautiful things. Big like big heat sinks and gorgeous things and it was. I remember feeling really sad. Yeah. AI can't do that. No, I ain't going to do that. No, no. Right. 536 01:30:09.790 --> 01:30:13.590 Should put tune on and then say the album we do next week which is already Zed Banks Banquet. 537 01:30:14.310 --> 01:35:12.020 Nailed it. And if you feel that you can go on. And your wheel. Sinking low. Just in me and you can go wrong. In the light. You will find the road. You will find the road. Did you ever believe that I could leave you standing on the cold? Hey, yeah. Fading I know how it feels. Cause I have slipped through to the very depths of my soul. Yeah. Oh oh baby I just want to show you what a clear view the kiss from every bend in the road. Now listen. Oh whoa. As I was believe it will be for you too. As you would for me. I will show your love. Let me share your love. In the night you will find the road. Hey. I hope the winds of change may blow around you. But that will always be so. Whoa whoa whoa whoa. When love is faint it can defile you with you are never alone. I will share your love. I will share your love. Baby, let me. In the light. 538 01:35:17.710 --> 01:35:27.150 Everybody needs a life. Baby. 539 01:35:39.960 --> 01:36:46.540 Sam. Light. Sam. 540 01:37:08.710 --> 01:37:10.230 That's my favorite one. That one. 541 01:37:10.230 --> 01:37:10.670 Is it? 542 01:37:10.670 --> 01:37:12.550 Yeah. Into the Light. Yeah. Favorite one on that record. 543 01:37:12.870 --> 01:37:17.630 What is that? The. It's got. It sounds Moroccany. So it's got that kind of. 544 01:37:17.630 --> 01:37:19.510 Yeah, yeah. The droney stuff at the start. 545 01:37:19.670 --> 01:37:21.750 Yeah. What's it What. What is that instrument? 546 01:37:22.260 --> 01:37:22.900 It's a synth. 547 01:37:22.980 --> 01:37:23.500 Is it? 548 01:37:23.500 --> 01:37:32.380 Yeah, yeah, yeah. So they were using synths. But. But the. But like what they're trying to get is like a very folky kind of drone with a top line. 549 01:37:32.380 --> 01:37:47.780 Do you know? I think. I think it's the folk influence here that I think I hadn't. It's been a long time since I've listened to this album all the way through and it was. It's. I hadn't remembered that. That kind of folky. 550 01:37:47.940 --> 01:37:49.700 But that comes in across all their records. 551 01:37:49.700 --> 01:37:51.860 I remember the bluesy aspect to it. 552 01:37:51.860 --> 01:38:07.040 But. But it was the folk where they went afterwards. You know, with Jimmy Page and Robert Plan doing their own sort of thing and teaming back up and doing a couple of bits. They were always really folky sounding things. Yes. Right. That's it then. Beggars Banquet. 553 01:38:07.280 --> 01:38:17.360 I like Beggars Banquet. It's shorter. No, I do. I like. Do you know one of the things I like about the Rolling Stones. They started as a covers band. 554 01:38:17.680 --> 01:38:18.480 Yeah. Yeah. 555 01:38:18.480 --> 01:38:19.280 And they couldn't play. 556 01:38:19.440 --> 01:38:19.920 Yeah. 557 01:38:19.920 --> 01:38:34.960 And then they learned how to do covers and then. And then use those. Fell into WR and I don't know. I like. I like the kind of almost haphazard. I don't know. I like the fact they're still recording. 558 01:38:34.960 --> 01:38:35.400 I like. 559 01:38:35.960 --> 01:38:37.880 There's something that's super cool about the Stones. 560 01:38:37.880 --> 01:38:38.200 Yeah. 561 01:38:38.200 --> 01:38:40.120 Yeah. Yeah. I don't like the Beatles. 562 01:38:40.280 --> 01:38:40.680 No. 563 01:38:40.680 --> 01:38:45.640 That's really weird, isn't it? It's probably going to get everyone screaming at me. But I love the Stones. 564 01:38:46.280 --> 01:38:46.640 Yeah. 565 01:38:46.640 --> 01:38:48.440 I like quite a lot of music around this time. 566 01:38:48.440 --> 01:38:52.840 Yeah. Yeah. I don't ever think I've had a proper listen to the Stones. 567 01:38:52.920 --> 01:38:53.480 You're not? 568 01:38:53.480 --> 01:38:53.880 No. 569 01:38:54.040 --> 01:38:56.580 I think people are kind of eye. Either I listen to. 570 01:38:56.580 --> 01:38:57.900 Listen to the songs. 571 01:38:57.900 --> 01:38:58.340 Yeah. 572 01:38:58.340 --> 01:38:59.580 The obvious ones do. 573 01:38:59.580 --> 01:39:01.580 I think people are either Beatlesy or Stones. 574 01:39:01.580 --> 01:39:02.300 Yeah. Yeah. 575 01:39:02.300 --> 01:39:07.020 And like Beatles to me are kind of that. The pop melodies. 576 01:39:07.020 --> 01:39:07.500 Yeah. 577 01:39:07.500 --> 01:39:13.460 That there's just. It's all. It's very singy. It's very kind of. Whereas the Rolling Stones is a little bit more. 578 01:39:13.780 --> 01:39:14.220 Yeah. 579 01:39:14.220 --> 01:39:16.740 Like darker. It's a little bit rock and roll. Yeah. 580 01:39:16.820 --> 01:39:19.780 The Beach. The boy bands, weren't they? 581 01:39:19.780 --> 01:39:22.660 Yeah. There's more attitude. I think from. 582 01:39:22.660 --> 01:39:28.620 I think Beatles kind of went somewhere. They went somewhere else. They went. And the Beach Boys did as well. To be fair. 583 01:39:29.340 --> 01:39:45.180 I read a lovely documentary about the Beatles and. And they said that they. And they were. They were that the first boy band. Really. Well, I say first boy. Kind of one of the Biggest bands on the planet. But they. But they. They were, I think, one of the very first that realized that they were a commodity. 584 01:39:45.340 --> 01:39:46.100 Yeah. Yeah. 585 01:39:46.100 --> 01:40:27.390 And it. The. The way that. Their image. And then there's Stones too, actually. But the image. Image and the way they portrayed themselves in the press. For the Beatles, it was this, you know, goody, goody. You know, they were. They were good boys. They were, you know, and the Rolling Stones, it was more about kind of drugs and girls and, you know, rock and roll. And it was interesting. That was kind of. I'm sure there were. I mean, I'm sure there was some of this previous. But they were the first two, like, huge occurrences of it where they were just like caricatures of themselves almost. You know, it was like they're obviously just normal people behind closed doors. 586 01:40:27.390 --> 01:40:27.870 Yeah. 587 01:40:29.150 --> 01:40:32.670 But in front of the press, they. They had these characters to play. 588 01:40:32.670 --> 01:40:33.070 Yeah. 589 01:40:33.070 --> 01:40:42.510 You know, and. And played their part and that. That. That was the product. That was. That was who they were. So. Yeah. Be cool that we've not. We've been threatening the Rolling Stones. 590 01:40:42.590 --> 01:40:43.030 Yeah. 591 01:40:43.030 --> 01:40:45.590 Forever in that. And so this will be. Get one in. 592 01:40:45.590 --> 01:40:46.550 Get one done, Bosch. 593 01:40:46.550 --> 01:40:51.330 Get one in. Do you know I wanted to buy an original Beggars Banquet on the vinyl. 594 01:40:51.330 --> 01:40:51.690 Yeah. 595 01:40:51.690 --> 01:40:54.450 I've got a re. Released version of it. 596 01:40:54.450 --> 01:40:54.730 Yeah. 597 01:40:54.730 --> 01:41:08.610 Which I like, but I don't. I. It's one of those where it's like. Like it's either rubbish and sounds like someone's vomited on it, or it's £1,000,000 and signed by Joe. To me, it's like. There doesn't seem to be much in the middle. So. 598 01:41:08.610 --> 01:41:09.010 Yeah. 599 01:41:09.010 --> 01:41:12.450 I'm like, I'm going to go while you're doing this next because Chris has to do some faffing. 600 01:41:12.450 --> 01:41:12.770 Yeah. 601 01:41:12.770 --> 01:41:18.610 And I get left to my own devices for 10 minutes, which is where I go on discogs and buy stuff. So I might go. 602 01:41:18.610 --> 01:41:23.100 And there we go. Oh, can we just say that we have bongo Cokes, we have bongo coats 603 01:41:23.340 --> 01:41:25.340 and we had Lindsey's Fruit Bass. 604 01:41:25.580 --> 01:41:27.020 One left, one left, one left. 605 01:41:27.020 --> 01:41:32.060 Lindsay. So they're good. I like. You know, I. I'm not a night owl. 606 01:41:32.140 --> 01:41:32.460 No. 607 01:41:32.460 --> 01:41:35.500 I don't like staying up late. And we do stay up late today. 608 01:41:35.500 --> 01:41:35.980 We do. 609 01:41:37.340 --> 01:41:45.780 And I. I find it really challenging. So we. I'll be smashed off my face on fruit pastels and Diet Coke. And then you go home to bed. 610 01:41:45.780 --> 01:41:46.180 Yeah. 611 01:41:46.180 --> 01:42:04.640 And I can't. I just stare at this. I'm like. I just stare at the ceiling. I can't. And one of my favorite YouTubers is Matt Armstrong. And so I'm in that routine now of getting back on a Sunday or a Monday, and I watch Matt Armstrong and then afterwards I watch. You're like, Bob from the machine shop. 612 01:42:04.640 --> 01:42:04.920 Yeah. 613 01:42:04.920 --> 01:42:14.200 And we'll send you a link to Bob from the machine shop. Does welding. He's welding. Hammering, angle grinding. And he's lovely. Long hair. 614 01:42:14.200 --> 01:42:14.720 Yeah. 615 01:42:14.960 --> 01:42:15.560 Rocker. 616 01:42:15.560 --> 01:42:15.920 Yeah. 617 01:42:15.920 --> 01:43:01.840 Lovely guy up. Yeah. But he has a little ponytail, which I was telling my kids how brutal it was at school and they don't believe. They really don't believe me how brutal it was. And then I remember one of my friends at school came to. He had long hair, came into school one day with a ponytail, Right. And his. His name was Anthony and he was called gay to Tony for the next 15 years. He's not gay. No, gay. He got called Gay Tony because he came to school with a ponytail for one day. For one day. It's just like that. That's just how I just. 618 01:43:01.840 --> 01:43:02.480 That's how it was. 619 01:43:02.480 --> 01:43:03.200 That's just how it was. 620 01:43:03.200 --> 01:43:03.760 That's how it was. 621 01:43:03.760 --> 01:43:07.440 And we all, like, just rolled with it, you know, Looking back 622 01:43:10.800 --> 01:43:17.350 to get to the point where his parents just go, oh, I'm Gay Tony. Oh, my gosh. 623 01:43:17.430 --> 01:43:21.910 That's exactly what used to happen, honestly. 624 01:43:22.230 --> 01:43:24.150 Just, just, just went with it. 625 01:43:24.310 --> 01:43:51.520 I mean, I'm sure I've told you before, my, my mad mayo. There's porno Chris. It was just all my mates had, like, really stupid to the point where you would, like, just not introduce. Because now they were. Their names. Yeah, yeah. That was what they were called. No one knew their actual names, you know. No, like, it was just, you know, no, who's coming go karting. And I knew you have to write down on the wave of porno Chris. Gay Tony. Yeah, you'd have to go and write that down. 626 01:43:51.520 --> 01:43:52.240 Yeah, yeah, yeah. 627 01:43:52.240 --> 01:43:53.240 It's mad, wasn't it? 628 01:43:53.240 --> 01:43:53.600 Yeah. 629 01:43:53.600 --> 01:44:08.440 There's a guy called Bob who had called Bob. His name wasn't Bob. They called him Bob because he spelled a po. Oh, my God. That was just. 630 01:44:09.230 --> 01:44:10.270 Yeah, so it was. 631 01:44:10.510 --> 01:44:11.390 Yeah, wow. 632 01:44:11.550 --> 01:44:12.110 Yeah. 633 01:44:13.150 --> 01:44:20.030 You'd just be. You'd just, I don't know, probably get to prison these days, wouldn't you, for that? Good God. 634 01:44:20.030 --> 01:44:23.470 Yeah, yeah, sorry, sorry.