Giles Martin

I think my dad was doing Abbey Road when I was born and John came to the studios and my dad told him that I was born in the same day as him as his birthday, and John said, Nana, what sort of arsol? Hasn't sun out to be like Benny? So that's how I came into the world. You know. That was one of the great things in the Yon Winner book. He was talking about meeting John Lennon and going to dinner with her, lunch with him in San Francisco with Yoko, and fans came up for autographs. John said,

fuck off, that was there. That was his thing. I mean, he was he was. My dad always said about John that he was one of those people that you wanted to be close to. What you were scared of being close to because you could be served serbic, you know, like the cool kid at school. That's what what John Lennon was like. Wow, So since you shared a birthday,

did that ever come up? As you know, obviously John Lennon died eleven years after you were born, But did you ever celebrate, you know and acknowledge it that there was identical No, Um, it's it's it haunts me, you know, It's it's one of those things that I mean, there's been occasions. You know, we did the I did the Love Show in Vegas and then they did they did a documentary on it, and the screen of the documentary is it was on my birthday because it was celebrating

John Evan's birthday. It's always that thing. It's like there's something can you go to this as John Elen's birthday? That's actually it's clashes my birthday as well. So there's that it's a curse more than one. Well, it's like someone who has a birthday, I'm smith we only get one's not as bad as that, but it is like that. Okay, so you're born in sixty nine, how long does it take until you recognize what your father does for a living. Oh A long time, A long time. Fun enough, it's

a you have to understand. It's I tell us to people and they don't believe me. But my dad wasn't at all cool because he did the Beatles when I was growing up, not coll to you were called to people in general, too cool to people in general. I remember there was a time where he couldn't get he couldn't get work because he'd done the Beatles, you know,

because the he went off. You know, my my period of growing up was I um, he worked on We actually I grew up and here in Los Angeles for two years at the age of six, my father's working with the band America. UM and he came back. We came back from Los Angeles back in London again, and you know, he found it hard to get worked. That's

kind of funny. A friend of mine's, Barbs, were another legendary producer, and he did Pink Floyd the Wall, one of the biggest albums of all time, and he came back to Toronto where he and the phone didn't ring. That's it's it's what it's funny. It's it's funny that it's funny what what happens like that, and and so you know, and also you know, I was really into I played the guitars into like Humble Pie. I was massive into Steve Ray Vaughan. You know, I think really yeah,

I was that that was blues blues guitarist. I was going to be, you know, having having definitely not been born in the ghetto, I thought it'd be blues guitarist and that was my passion. Um. I was then really into Free into Paul Kossof and Paul you know, there's a two double album on A and M. It's called Molten Gold or something. Not only do is have you know, I'll be creeping in the steeler those you go back

and listen. That ship was unbelievable great and there's a there's there's footage of them at the other White Festival as if you've seen it with you know, it's funny when you see the two microphones. I'm trying to work out where Paul's has two microphones? Is it because one's monitors and one's the p A. I mean, who knows, but there's a but but you know there's footage of that and it's it's beautiful, simple, economic and music. There's

any there's there's drums, bass, sing, guitar. It's like the led Zeppelin is that format and you kind of missed that these days to a certain extent. But but I was into that, and it wasn't really I don't think I've heard the White Album until I was about nineteen. Really, yeah, I don't think. But I remember being on a plane with my dad and and it was when I, you know, I wanted to do music as a kid. Um to what degree because your father worked in music? To what

degree was music playing in your household? You know? We didn't have a high fire, you did not, We didn't room. No, No, I mean is my sister and I have a sister who's two years older, and we had one of those um you know, we had a we had a plastic kids turntable. And I remember the actually the first album I remember having. I had a bunch of we had a bunch of records, obviously, records that my dad had at that time. One was Abbey Road, which in that spot it would have only been at this stage about

six years old. And I thought, which is kind of crazy thinking about kind of getting old six years old, and then the other one was Living Let Die the Ocean picture soundtrack and my father recorded. I remember having the remember you remember the cover. This is the great thing about albums, You remember the covers of album. Of course, we had a Carol King album as well. It wasn't Tapestry, it was it was a kids album as she made um and we played and I remember that. But my

my father. The one thing is that as I had as my father played the piano a lot. He was doing a lot of arranging at that time. In fact, when I was at play school sort of at the age of four or five, they went around the class asking what the parents did, and I said, my dad just say his home played the piano. You know that was because so there was music in the house. But my parents are very careful, um, and I don't know what. I've never really understood why they sort of kept music

away from me. To a certain reader, I went on my own journey and then me and my dad met up later for various reasons. But so just to go to the end before we go back to the beginning, at what point did you meet up later? Well, my father which is known now, but we kept it secret. Lost his lost his hearing um. Now was that attributable to his work or was it just genetic? He always blames it on his on his work. He used to say, if you look at the photographs or the videos of

the Beatles, he would sit between the speakers. You know, you see this famous such a studio to where the band are performing there there's a couple of films you see where my father stuck with his heavyteen the speakers. And he also blamed on Jeff Beck. He worked on Wide and Blow by Blow and which are the two best? Jeff background? Which are the two best? And even Jeff says there's two Jeff records? But then but yeah, he and he and he blames Jeff for going death. I

mean it's that. You know, I know a lot about it because my father. It was it was, it was, you know, his one regretular life is his deafness. And so he started going deaf and you didn't want to tell anyone. And how old was he at that point? Let me have a think he would have been It would have been I would have been um sixteen, So

he's probably he's probably in his early fifties. And he noticed it when they were he noticed it where and we do we do different killer Hut cycles lining up a tape machine and he went in the studio and you could see the meters move and you couldn't hear it, and it was like it was like fifteen cycles and ten cycles or whatever it is. And he realized that he couldn't, you know, He suddenly realized that there was

sound playing he wasn't hearing it. And he was a person that was known for his ears, and he realized it was the end of him. And so he brought me in like almost like a seeing eye dog, and that was my job. My job was to hear the high frequencies, and he taught me. It was it's a bizarre way of learning. He taught me hearing from a high end down because I after a place what he

couldn't hear. I wouldn't talk to him about what he could hear, but like high violins and symbols, and they would move further down and we do test together on a piano where his where the notes would start disappearing. And so I learned about frequencies from that. Funny enough, because I was aware I could hear what he wasn't hearing, if that makes sense. And outside the studio and the horn, would he wear the hearing aids. Yeah, he would wear He would wear hearing aids. It came. It was a

it's a it was a big push for him. It was he you know, he always said that, you know, if you were hearing aids, you're death, but if you wear glasses, you're not seen as being blind. And that bothered him, the stigma of it. Actually, um, but yeah, he wore hearing aids and he his hearing became. You know, he was pretty He died actually two years ago on March twenty eight or two years ago last week. I guess, um, and he he was he you know, he was pretty

profoundly deaf when he died. He could hear me pretty well because I've got a low voice and its frequencies. But it's very funny stories. He worked with a man Ultravox and in in the eighties. I remember I was sixteen and he came out of the studio and the bass player Criss Cross was going in and said, how's it going in there? Georges are going okay? And my dad held up his plate and said, two boiled eggs. He thought he asked him what he had for lunch.

So you know, it's it's it's it's blots, you know. And as as a kid, my my mom has a who has still alive as a wicked sense of humor. You know, there'd be things like, you know, she'd say there's a nice in taxi and he go wears an ice cream factory. You know, there was a constant in the home. There was a constant things and it was just the thing we grew up with. So you're growing up. Your sister is two years older. What is she? What's her life like now? She's she's she's amazing, she's sadly,

she her husband, her husband died six years ago. She has three children which which I try and look after as well. And she is a she's she runs two companies. Actually now she's a she's a marketeer and does things like that. Nothing to music and that is in London. That's in London. Yeah, okay, So now you're in the house. Your father's playing the piano. When he was working, could you interrupt him? Yeah, I mean I remember being on a skiing holiday. This is how my my dad, who

I loved dearly, and it was a very nice. Man was pretty hard on me. I mean, you know, I was okay at music. I was pretty I was better than music than my friends. You know. It wasn't no genius, but I was. I was. And I remember being being fourteen years older, and you remember these things. And he was he was doing an arrangement. I think he was trying to work. He was. He nearly wrote the music for the mission, the film. The mission he satadly got fired by when they classic film style, and he was

trying to compose something. And we were on holiday and he was using the hotel piano and I went up to and he said, you know, hi, Giles. I said, you know, because how are you doing? I said yeah. He goes, because you know, what do you want to do? I said, you know, I'd love to do what you do. Dad. You know, I'm learning, you know, learning the piano stuff. And he goes, you you won't be able to do that, And I said, well why not? He goes, I don't think.

I don't think you're good enough. Wow, you can imagine. Does that still hobble you today? God? It hobbles me. It hobbles me. I mean, I I said to him on his you know, on his on his deathbed. Um My dad took a long time to die. It's a terrible thing to say. But he'd find as funny as well. We joke about it were very close. I'd say I'd come in and you know, I ended up sleeping next to him at a certain stages and I'd say in the morning, and so you're still here, that are you

piss off? Jarles? How long did it take him? Well, he was sick. He was sick, and he became very sick in January. He died in March. But it was, it was, it was a long process and and I know, and it was that's nothing good about it, part from the fact you get to say all things you want to say. And I said to him, Dad, you ever do you ever? Do you ever think you're not good at music? And he was a mobile and he closed his eyes. I was holding his hand. He said, that's

a strange thing to ask me. And I said, well, not really, because I've just been asked to this film and and I always think, you know, I can't do it, you know, even you know I told your seeing Stephen Tyler on Saturday, I feel nervous about you know, I'm more constantly nervous about meeting people because but I think you're great at what you do. I think you're amazing. I think as I think better than I am. I said, well, thanks Dad, but I'm not but thank you. I said,

do you ever feel like that? And he closed his eyes and he thought, and he opened them and he said, no, No, I always thought I was brilliant and it's and it's it's you know, and he was and it was, it was it's it's the it's the thing that, it's the thing that that it was just envy felt envy, and I think it's stemmed from that moment he said to me, you know, I don't think you're good enough that it's a constant battle. But by the same talk and when he did say on his deathbed, how great you were,

did that compensate for him? No, it doesn't, because you you you wear the clothes that you think motivate you. You know, with that sounds like a therapy session, but you do kind of it suits you to go through this, you know, it's it's I'm quite a happy person and I feel like I'm feel like I'm really nice to people.

But but you know, you you you kind of you go through this air of desperation that people don't realize that you do in your studios, and then you come out the other side and you have to you have to question everything you do and it's it's it's good to have that in a way, and so it suits me. So every time you do a project, it's like pushing a boulder up a hill. You're not quite sure you can do it. It's it's a mixture of pushing a build up the hill and then the hill, then the

boulder will sail down uninterrupted until it hits the next mountain. Yeah, I mean that's it. It's like a it's like it's like a you know, I'm terrible and terrible and terrible when a second I'm a genius. No, I'm terrible again. That's what that's what like When people approach you for work, do you ever say no, I don't think I can do this. Um, that's a that's a that's a good no. I don't really I think you know, if I've done if I've done the other thing, I couldn't do, I

could probably not do this. In a strange way, I just said, it's it's it's a nice way of conscious surprised myself. I'm not saying that through any false modesty. I just it's generally how I feel. So let's go back. You're in the house, your father is playing the piano. There's no stereo in the living room. You have the

kids record player? What kind of music are you listening to? Well, I mean, I say, we're listening to I genuine the records I had when I was varying on the records I had, was with the with the records my father was making, you know he was he was working on Paul McCartney albums on America Where of America with Neil Saidarker, you know there was a there was I knew all of this stuff because it was on in the house or he would be on the car. He would actually

listen to mixes in the car. You know, it would be the I'd be where's dad and he'd be sitting out to the car because we had no stereo at home. Um, and then and then it's funny, I remember the best. The first album I ever bought was a cassette because I'm I'm you know, very bad, I'm a cassette area. It was e l O Time? Yeah, which is? Which is? I said to Jeffy I met jeff Lynn that you know, I know jeff Lynn now, and I said, you was the first album I ever ever board because you know,

what was that el O Time? It goes? Well, that was a ship up because I'm a huge fan of Eldorado. But yeah, I know it's not good, but you I mean, you can't change history. That. It's like, you know, you do interviews, you should you make up something really cool, like you know it's rumors, you're honest. It's like, you know, I read these interviews. What are your favorite books from your favorite record? Yeah, and they're trying to look cool

and Stubbs what the truth? Yeah, there's no point. And then and then it was you know there was you know obviously there was. It's it's it's strange. I mean there was. You know, there were bands around. I likes a kid, I liked you know, I liked listening like these by in Excess, which was I remember because Australian friend of mine, I love Lloyd calling the Commotions or you know, there was never made it over here, but never made it. But you know there was, there was

a bunch of bands in that era. I didn't really. It's funny, I didn't really. The eighties didn't really strike me, you know, I was growing up in the eighties, I mean, but I didn't really that whole. Well, that's interesting because most of the sounds, certainly for the first half of the eighties came from England. Yeah, but it didn't. It didn't. It didn't touch me in the right way. It wasn't like, you know, it wasn't a did you were a blues guy? Yeah, as you can tell by my voice on the Blues

Guy through and through, But yeah, yeah, I was. I was a blues guy. Liked I liked. I like, you know, music pushing air through your ears, you know. I like the sense I didn't want to didn't want to didn't like the sense of Um, it didn't electronic. I hadn't him. I appreciate it more now than I did then. UM and then I went to you know for these through you know, you learned without the guitar, and then and the piano, and you get into guitar players. Basically you

start listening to guitar players. How did you become a guitar player? Well, my parents, I was banned from the guitar by my parents. Um literally yeah, they didn't want to be the guitar. They thought I'd we have failed rock star. I think there was an element in a funny way with my father, and this sounds terrible, but that he he there was one side he was worried about me being a failure, and there was another side he was worried about me making him look bad by

being this want to be rock star. I think there was an element of that, totally definitely. But I but I actually board a ukulele because I could afford a ukulele um and learned about the ukulele, and the ukulele has the the my my my sisters son to ukule explained to him, it's you know that the four strings are the same as the guitar. You just had fill in the bass strings later when you learned prot the guitar. So I did that, it became not about a ukulele plan.

And then then a borrowed at school. I was a boarding school and a guy had a guitar, so I used to use his guitar. And then for some reason, I don't know whether this performance and came from myself and actually still my best friend. We decided we'd go busting and we end up playing in pubs and we were about fifteen or sixteen. We played in pubs on a new three songs and what were those three songs? American Pie? I'd see, I should I see, I should

be making up something cooler. No, that's good for a bar. You get people singing along if you really go out with by Joe Jackson love that record, but not in the middle section because we couldn't work it out. And I think no woman will crying. I think with the three songs we knew, wow, very good that you can even remember. Yeah, well you know I can still play them there And so okay, so you're playing in the pubs,

and what's the step after that playing the pubs? Then we started playing and playing in bars and went to university and then Manchester. Okay, so I gotta I gotta place at Berkeley College of Music and my and it's funny and my dad said, you know, and I don't regret this at my dad say, I don't want you to go to birth College of Music. You know, if you if you really want to do this music thing, I can, I can. I can teach you, but going

to a proper degree. And I was, you know, I was good English, and I was good at I was reasing me Ecanamic, and I did I did a degree in American politics and literature, would you believe? So yeah, I know, And and played music and and I was managed to manage to head a whole you know, the Stone Roses Happy Month. It was Tony Wilson era, the Tony Wilson nine and it was great, it was it was fantastic, was fantastic time. And why didn't almost none of those bands make it up in the United States.

There was nothing slick about them. There was nothing slick about any of those bands. And I think that in that ear of Nights, of that ear in the in the States, there was a slickness to the two year music over here, and I think that's what it was. I think they there was there's that undercurrent goth era of you know, never Tear Us Apart and joy Division and that sort of stuff. I think that that kind of bubbled under forbidden in America. But but it wasn't really.

It was such a scene. And then and then funny off things like the Chemical Brothers, which came. I was at university with the Chemical Brothers and actually the guitarist from radio Head was it was it? Ed? Was? Was it master? With me? Um? There was there was, there was this. There was a scene that broke into America

after that. So just after we were doing stuff here, Now when you were in college university, as you say, vass to all that stuff with those big things, did you go yeah, I mean it's funny, I was choose your weapon of choice. I was never really um, you know the whole ext and and what we used to call fast drug boom, Well what is what is that? We know? Like you know that and fair to mean ecstasy dance. I never really got into. I mean it

was crazy. I remember I remember my other the final weis to call it, but we scoring balls whatever they're called in America. You know, the the the the end of term thing. It was a club called the Roxy, which had a rubber dance floor that used to used to throb in time of the music. That was intentional.

That was intentional. And I stood on the balcony and everyone was like it was the acid days of the Smiley Face and everyone's seeing free free your mind, well must be free all that's stuff, but it was looking like a German rally. Everyone's doing exactly the same thing, and I thought, this isn't this isn't freeing on mind. This is And I was more of a stoner culture guitar player, you know, it wasn't really my scene, but the has the end, it was very much a dance

driven culture. I kind of really I regret that I didn't become more part of it because I think it's very influential. But I mean, when when I did my final example university, the guy next to me was sucking a dummy. You know. It was. It was a pretty crazy time. And but to what degree living in Manchester at that time did that culture dominate or other people were aware of it. It was pretty big. It reverberated around certainly around the UK and Europe that that that

dance culture and those bands. Um, it was the biggest music hub in it just by coincidence. It was the biggest party town you know, there was. It was you know, managed to have thirty six thousand students when I was there. It was pretty big. You know, there's much bigger places now, but it was and so it did. Yeah, it was. It was pretty influential. And then add then out of that obviously stemmed bands like Oasis, um, which was you know when I left college, you know, Oasis started to

become very big and funny. They people get a pill get quite upset when I say this. They did the Beatles a lot of favors and what do you mean by that? Well, I'm in the Beatles um in the UK anyway, I can't talk about americausse I wasn't living that, but in the UK you know probably, I think in a funny way. Rightfully, So we're a band that had

happened an Oasis put them. They'll always be on a pedal Star'm not saying that without Oasis, but they but they certainly became a cultural cultural relevant band much quicker or had that resurgence in the UK and stayed there from the the Oasis period onward um because because that was the it was, you know that, you know, we're not as big as the Beatles, and then we're almost like when Oasis said we're biggeran the Beatles, it was the same as John lenn saying we're bigger than Jesus.

It was a strange kind of reflection on on what went on before um And it was you know, it was, it was. It was an amazing time. And I was playing in a band, a deeply unsuccessful band, yes, sort of indie indie rock band. That was. That was great because I was with friends and we toured Germany and went to Hannonda and did this sort of stuff and

and it was, you know, it was, it was. It was a time where if you can be in a van with a band and go on tours and sleep in busses and sleep and you know, I slept in a dog basket and Coventry and you know, and all that sort of stuff you can do that you can get on with people in a studio and you can get on with people in life, and it's a you know, if you you know that it taught me a huge amount. Let's go back. You're talking about the club with the

rubber floor in your viewpoint on that your identity. Are you a member of the group or you an outsider judging the group. I've always felt like an outsider, not judging in a bad way, but I've always been an outsider, you know, I've always been always As a good rugby player, I was in his team you know, and and and played and it led to quite a high standard, but

always felt like an outsider. I was the only guitar player, musician and a rugby team, you know obviously, but like I was this there was this juxtaposition that that it suited me. You know. It's funny and you're left. You know, you have to understand that if you're if you're a kid growing up where you're you know, I grew up in studios. I grew up in Monster and the Caribbean

where there were these bands. I mean, you know, I'd have to have dinner with Earth Wind and Fire or with Stevie Wonder or with but it wasn't it sounds amazing, But as a kid, you're just sold, sold to the table and behave you know. That's that's how it is. And you're on show all the time. It's and so you become this observer, you've become by nature, this sort of outside. It's a certain degree and I was the same one as university. It doesn't leave you. Does it

make you more comfortable with famous, rich celebrities. Well, it's it's one of those yes, it does. I never I never take Yeah, I don't see them any anything, anything different. I think that's what it is. And I see that they can they can fire you fairly easily. But I mean so can anyone else, you know. I mean it's not like you know, it doesn't, it doesn't. I think. I think I have a good relationship with famous, rich, rich celebrities, if you like, because I'm always honest. And

that's the thing. Well, I just I went to college where the people were from prep school and a lot of them their parents literally ran household name come but he's where I grew up. I didn't know anybody like that, and it really taught me how to interact that they're just formal people. But a lot of people don't have that experience in their star struck even to this day. Yeah, I mean it's it's it's you know, you meet people

are impressive and unimpressive. You know, you know, like you know, as you know, you know a lot of people, you're a huge influence and you know a lot of people that are celebrities follow you. You know that people I know getting something because you know Bobby's Bobby said this. You know, it's it's it's it's which is which is?

It's it's a it's a responsibility, I suppose, but but I think that I, um, you know, the funny about it, like if you take Paul McCartney for instance, who I know very well, um and as as and I actually love him dearly. He's always been good to me. He's a bit like Forest Gump in a way. There's something very interesting about im parton the fact he's Paul McCarney, but his his experiences, he said, it just extraordinary. You know. It's like, you know, you're talking to me. You know.

He'll go from the time, you know, when recounting when he met Elvis Too being in the same hotel as the England World Cup football team when they won the World Cup to you know, Mohammad Ali to what it is that it's like Forrest Gump. It's that sort of thing. I know. It's that, you know, it's trivializing something that's important. But to me that's it's kind of like you have to break it down to what you understand, right right, the same thing like Quincy Jones or Quincy advertises a

little bit more. But you sit there when I was with this king and I was out of blah blah blah. Well, yeah, it's funny Quincy. I know Quincy because I've known him growing up, because he was he was the contemporary of my dad. And they were very close. In fact, even though they're sort of like counter opposite, they were over and there like yan Ye and Yang or the production where they both have the same kind of backgrounds but white and black. You know, I think I can say that.

It's like, you know, I don't think there's anything you know, Coince. Quincy is a Quincy is a pure jazz artist. And my dad was a baroque white you know, not actually low class and not not you know, my dad transformed himself to an upper class gen from from from from a very humble background. And and they both work their ways through had to navigate their way through society and the rules of society to get where they got to. And they did very well, and they and they were

very very close. They were incredibly close. And I still tort Quincy. Okay, we'll return to this conversation with Jiles Martin, sound experience leader for Sonos and son of George Martin and producer and mixed her extraordinary in his own right in a moment, this is Bob Leftson's. Do you like the podcast? If so, come check out the one on one interviews I'll be having with movers and shakers in the music and media industries at the end of April

at my Music Media Summit in Santa Barbara. Not only can you listen in to the conversations, but you can meet the big wigs and hang. They have insight and influence over where it's all going. Go to Music Media Summit dot com for tickets and more information. See you in Santa Barbara. Let's continue the conversation with a sound experience leader for Sonos and son of the great Beatles engineer,

George Martin. Let's go back to Monster Rot because that's one thing we noticed and reading the credit, which we do inveterately in the seventies, and when we say air studios in Mansra, how did that come together to the degree you know, well, I know, I mean my my father. My thought was my father. It was funny my my my dad, um he he which I you know, we we we talked about once poor and I said, you know, we shouldn't talk about this, but my dad actually did.

He managed to sell his royalties to the Beetle stream and UM and end up with a trade off which which is part of this recomly chrysalis. And he ended up building studios with the money he got and he decided wouldn't be great. He wanted to build the studios. It was unlike no other and he looked at building a studios on a on a ship. That was his first idea. And he actually was thinking about buying a

Scandinavian ferry and building studios there. And then he realized the engine noise would be getting into the isolation on a ferious night. So he end up looking for a place and he chose Monsterrat which is not on the Caribbean very um rugged no white sand beaches, black sand beaches and an all volcano and it was you know, it was a crazy idea UM and he built a

world class studios. He built his studios which was like Abbey Road but in the Caribbean UM and it became probably one of the most successful studios as far as professionally goes in UM. You know, at that time, you know everything from brothers and Arms to to Michael Jackson too, you know the number of you know, to the police. Obviously the police recorded everything out there Alton John recorded

out there. Just about everyone went to monsterral Um. It never made any money, I mean because it was a really bad idea because to have the studios, that's just one studios with everything else, you know, with the with the cost I think you know, it cost him on top of it cost him half million dollars after he built it. But it was great. You know. He was one of those guys that didn't really he was a proper artist, and I fact, he didn't do anything for the reason why he did it because he thought it

was a good idea and it was fun. Okay, you know in English or world travelers, I've never been to Manster, we're literally where is it the currents next to Antigua. It was next to Anting. You can see it because because sadly with Monster at the volcano erupted this flocal, this this place. We played to his kids and felt I went up to I climbed the mountains with Elton John's boyfriend at the time on the on the and I came back to school and he married and then

he got engaged to Renata. He was two with the tape ofp and it was like wait a second, and you know, this bizarre life. You lead where I left, and we climbed them, We climbed this. We used to a climb to this waterfall. And all of that doesn't exist anymore. It's now mountains because the volcano which was just as hot springs but started to erupt after twenty years and destroyed the island. So it's next to it's next to Antigua, Okay. And when you were there, how

many people would live there? There were twelve thousand. Now that's about three and a half thousand. And then how big was the island? It's getting bigger? Answer the islands. It's difficult, I bet said the ouselves of the other white that would be nothing to anyone in America. It's three miles by four miles, so sorry's seven miles by

four miles. Very small, small island, yeah, smallland there was nothing really on it and that's what was, you know, and you could only get to it by chartered small plan. The runway was tiny. Um and that's why I think my father chose it, because you know, that's Sting. Sting had a house out there. Elton had a house out there. Jeff Emrick, who was an engineer that my father. He

end up building a studio house over there. You know, you could go there and you wouldn't people would not get assholed because there was no there was no real um white tourists on the island and you lived there full time. No, we were we I spent because of trying to run the studios. I was at boarding school, and there was a period of time where myself my sister would go there and we were pretty much lived there because when we weren't at school, we'd be on

monserrat you know. I remember, I remember having hard feet because we wouldn't wear shoes. You know, we'd run down time back Rhods and off like that and my friends with Monster Ashian's um. Now the studio was destroyed in a storm. The student got here by I think Hurricane Hugo, and it was a bit like the recent hurricane that just hit the West Indies. And yeah, it was it was pretty much you know, there was the Bosendorf for

grand piano. Actually at the end of it had was a mold growing out of it, and the desk was ruined, and you know, and and it was it was at a stage, to be honest with you, where the studios. Never made any money and it was a great thing to have, but the hurricane was the final straw. He still owned it. When the hurricane, He's learned it there was it was an interesting story. So it had insurance against hurricane and it was insured of with the company

called Lloyds of London, very famous insurance company. And they sent a man out called Mr Hook. I always remember this who arrived in Antigua and then disappeared. And he had five thousand dollars and he disappeared and they found him in sort of san He built an hotel and it was one of those things where that Lloyd's London, he's no longer our guy because he's with carib insurance. So the Western Lands and Antique is one of those things.

And you know that the rules of the West Indians can be slightly different to the other rules and so yeah, and but it was the insurance ultimately, No, I don't think completely, but I think listen, it's funny, you know he was he didn't want for much. It didn't make a difference, you know, it made a difference. But in the end of it, the whole thing was the whole the whole monster at thing was looking back on life as as he did at the edge of ninety in Baiona.

You know, would he take it away from him? Would he take that trip with the amount of records that have made, the amount of fun that people had, you know, from you know, from from the bands that recorded there, from James Taylor to Jerry Rafferty to to just about I mean it was destroying the range, I mean from you know, Sailer's quote to Stevie Wonder was kind of it was like, you know, everyone went there, I think the Climax Blues Plan with the first person record over there,

and and so it was he he made something that made things, and that was the thing, like, you know, the true pleasure in life has to be coming up with an idea and seeing it happen. So there was another Air studio in London. There was another Students in London which he sold to build mons Rat and then he came back and persuaded Chrysalis, which the company that he sort of sold out to, to build another studios cilities called Air Studios Lyndhurst, which is a very good studios. Now.

It was funny he kind of got his own back because having lost all his royalties. He built the studios that was meant to cost I think I think a million seven million pounds a cost twenty three million. You know, it's like he built the cebuilders, you know, and it's a beautiful you know, it's like Hans Zimmer. It's his favorite students in the world. So you know, Coldplayer recorded there. I mean a lot of people have been to air

so it's a it's a great place. Okay. So you are in university, you're playing different gigs, you graduate, and then what well, while I was playing, I had a French girlfriend. And while I was playing to a French girlfriend, she was and she was a university. I got a drunk. I think she was at university and and she knew a place in France. We're looking for a band to play at New Year's Eve, and so this is this

is myself and my friend and a drum machine. We were one of those bands, you know, you know, there's the quality of the capital k and we go down. We went down and and a guy saw us play and and I played some of my own songs and he said, you know, would you write some music for my And I end up writing music for for commercials end up writing music for Elf Aquitaine for the American audience. It's it's they sell petrol gas. It's like it wasn't PC.

But I ended up doing seven commercials. I was university and I sort of got a gig doing commercials and it was great. It was good money, you know, and I couldn't believe it. And then I left. When I left university, I thought what am I going to do? And I wanted to do music. Ended up working a little bit of music. Yeah, I did PR for UB forty and Tears for Fears. How did you get those gigs? I was an intern I wanted to do At that stage, I wanted to write music and I couldn't. I could

do commercials now, and I thought I'd learned everything. So as I was working, to end up meeting someone getting a job in a PR company. I think it's the funny that they get The guy gave him the job because he wanted the PR account for Air Studios in London, which he didn't get given and then wanted to fire me because you know it, you know. And then there was a guy called Alan Awards who actually ended up managing David Bowie. He liked me, and he goes, well

lit and I believe in you. And I only did seven months and I saw a band they were called My Life Story at the Marquis and I said to you know, I think I'm really good and I'd like to make a record with you having no and we went to a studios in the evening, so I'd work on the day and then go and work nights. And they got singled the Weekend Enemy. Okay, well a little bit slower. What made you think you could produce a record? I don't know, Um, had you been into this? How

much time? Like? Oh yeah, sorry? When I when I left school, I spent a year as a as a runner in the studios. Actually hoofard vacuum sorry, I vacuumed carpets. And whose studio was that? That was? That was? That was Aaron London? Aaron London. Okay. How much time did you spend in the room with your father? A lot of time because whenever he had to go in the studios.

I went in from the age of sixteen. So when you had my uh, the band that you wanted to make a record with, you had experience of a sort. I had been in the studios I knew with studios. I knew, you know, this was what I wanted to do, and I was determined I was gonna do it. And I wasn't very good, but they managed to get you know, the Enemy was a big magazine and the UK has a new Music New Musical express it and they got Singular Week there and someone put up my dad's desk

and said, you know your boys may not. I didn't tell my father I was even doing it, and he goes, really and he phoned me up and said, how come you've got Record of the Week and New Musically Stress And and that was It was a turning point in my life because at the same time I was offered a big job at headed Dance Press for Warners. I was working this PR company and I went to go and see this woman. I said, why are you offered

me this job? And because we've been recommended to you by these journalists have said you should employ him, and I said, an, I'm terrible at PR. And I found out one of the journalists and he said, I always remember him. He was a guy, Alan Jackson, who wrote for The Times in London. He said, whenever we spoke to on the phone, you didn't seem very happy, so

we decided to get you another job. So anyway, so I had I had a choice twenty seven thousand pounds a year plus car to work at Warner Brothers or go off and do music for a living. So I went off to music for a a living. By the same time, there's no safety net. No, there was no safety net, and and and I think I think, I well, like listen, I was very lucky that I spent time then a

lot of time with my dad doing doing stuff. And then when things I've always been incredibly lucky that when things when I when I suddenly I remember I remember thinking to myself, oh God, now now I'm broke. And then the phone would ring and a guy called Rob Dickens, who was he ran Warner Brothers had just had a labeled Sunny because I've seen I saw you in a magazine. I did a fashion shoot there we are, that's a glamor and glitz. And he said, you know you want

to come work for me me. I'll pay you a few two thousand pounds and you don't have to work full time. And I was like, yeah, great. So yeah, I always always managed to get some sort of situation where people I've always been lucky that people go, you know, hey, do you want to do this? And then and that getting the opportunity to actually learn. And I made terrible

records and didn't know what I was doing. And then I remember a friend of mine said to me, who I was working the studios at Rack Studios and gone to work on a band? Who are ok? Work on this? Work on this band who were great? And I knew I wasn't doing a very good job of them. And he was working on this Bangled Shed seven, who were a band in the nineties, and and and we became friends. You guys, you know, once you learn how to make a sound, it gets kind of boring, he said to me.

And I always take that because because it took me a while to make to learn, and I know that people may not like everything I can do, but I know it will sound good. Does that make sense? Yes? But if it's boring, does one continue to want to do it? Where's the thrill? No? I think that's the thing. You have to find the thrill, and that's the answer. So you have to do different things. You have to do approach things differently and do different things, which would

be like, what. Well, in my case, what I ended up doing is so I I left. Um Um, I ended up being asked I do music directions. I end up music directing the jubile Leque, the first Queen's Jubilee at bucking In Palace. Well, let's let's go back a few steps here. You graduate from university. At what point do you give up the dream of being a musician? Um? I was. I did the band for about six years, so I was always doing lots of different things at the time, but I did the band six years. We

got signed by a label, we made a record. I didn't. It was just it was it was sleeping on floors for too long. And I think at the bay the age of twenty six or seven, I thought, you know, I can't. I don't want to sleep on floors anymore. I've been I've been doing this. I've been playing in pubs since I was fifteen years old. I still love playing, but I realized that maybe I'm not going to be the world's greatest singer songwriter or a songwriter, or you know,

maybe that's not that's not my destiny. Um. And your parents were saying, what about when you were a peripatetic singer songwriter. At that stage of my parents, you know, I rebelled against my parents when I at the university. I didn't care what they said at that stage, you know, and where they give you any money or could you make it? Uh No, they didn't give me any money. Um, I mean I was very lucky they gave me. I said,

I didn't give any money. They gave me my my mom's parents left me twenty pounds and when they passed away, and so I bought a flat with a mortgage. You know, it's amazing you could do that now. And that was where that was a not ehall gate game. So that was a good that was a good thing I put it. It was cheap and then the guy then the guy made the film and everything became expensive, which was super familiar. But anyway, um yeah, I didn't. I I I realized

that the band wasn't you know it was? It was I love the love the guys untill my best friends. But it wasn't working. And what are they doing now? On a one's a drummer in like he plays with. He plays a lot of different bands but of a different era, and the singer works in a bank the guitarist ISTI a guitar player, you know, and so you were really you know, you in the bank game with

the only people who escaped. Yeah, yeah, we it's and it was it was I'm not sure if I escaped in a way, but yeah, and I was at the same time, I was in studios a lot of the time. How how hard was it to give up the dream? It was? It was, you know, it was it was harder not making the record I wanted to make with my friends. You know, I wanted to be like I wanted to make pet Sounds, and they wanted to make a Food Fighters album. So it was easier to give

it up. Yeah, So that was that made it easier when it didn't, you know, I didn't like really what we were doing. So um, I think when they say when you quit. It was one of those things where I was writing all the songs and doing everything, and there was I remember coming to a rehearsal and they said, you know, you know, how can you write? We want to write the songs, And I went okay, and then and then I'd wait two weeks and we wouldn't have any songs, and I'd know it was it was. It

was fine, It was fine. Everyone. Everyone was broke everyone, you know, you know, the keyboard player was eating broken biscuits because that all that's all he could afford you buy. I didn't even know they existed, you be able to go to stores and buy biscuit rejects from cookie rejects from factories. You know. It was not it was it was that, you know, we lived that life, and it was it was it was time, you know. And so you also talk about your father losing his hearing. At

what point do you start working with him? When I was sixteen. So that's the backdrop to everything, is I'm doing that the whole time, and he's working on various records, doing weird projects, and I'm I've always done more than one job at the same time. That's what I'm used to. And so I was doing that while and then I do promo tours with him, and I'd go and do music direction for concerts with him. What would there be musical direction for a car? Well, funny if it was

dealing with it. It was actually quite often. We did a thing in Japan where and it's it sounds ridiculous, and it was ridiculous where a concert range with Una Seth had a Japanese artists and the ideas they would jam with everyone. It was Bob Dylan, John bon Jovi, Joni Mitchell, Ray Kudah in excess um it was. And it was like this big rehearsalant, the game let's jam, you know, we dreadful ideas. And so I do things like that. I go of thew and I'd be in

charge of the band. The band would be I mean Jim Keltoner, Pino Paladino, Wicks wickends, Phil Palmer and guitar, Ray Couper and percussion, you know, good and so and so good. And so I teach them, you know, work the songs out with him and work out arrangements and job. Yeah, yeah, that was my job and organize things and and that's so I you know, I always had confidence that I always had a good you know, I think my father.

I learned from my father's Paul says, a good bedside manner where you can steer musicians in the right way without being pompous. I think. And do you know how to read music and how to read music? Yeah, and how did you learn that? I played the French horn and orchestras when I was at school, And was that your own instigation or your parents said you have to

learn an instrument. No, no, I learned the trombone first because I saw someone play the trombone and I wanted to go on the trombone, and I thought that'd be a good thing to do. And then and then the trombone teacher was kind of weird and wanted to play my trombone. It was like kissing an old man. Yeah, So so I moved to the French horn, and the French one was a bit like the French one, you know, I was. It was a good trouble cliff in the ky off because the French ones in the kif um.

But but yeah, I got injured playing rugby and had to stop the French horn, and I was a good home player. Then you have to go back to because if it was back in cushion, you can't You can't play a wind instrument, especially blowing up a balloon like a French horn. So I went back to It's like giving birth to a cow, and I decided to guitar and piano be easier. Stay right there, we'll be back with more of my conversation with JOHNS Martin, producer extraordinary

here on the Bob Left That's podcast. You're listening to The Bob Left Sets podcast recording at the tune In Studios in Venice, California. Each week I interview a new guest to get their story. I want to find out what makes them tick and I hope listening to these successful people makes you smarter. If you like the show, subscribe, rate and review it. Also, please check out earlier episodes. You can hear them all on tune in, Apple podcast or wherever you get your podcasts. And now more with

Giles Martin, sound experienced leader for Saunas. So you said you've got the gig being the musical director for the

Queen's Jubilee. Yeah, what year was that? That was in nineteen sorry, two thousand two, Okay, But in the interim you're producing records in the interim and Virginia Records and working in in working as in house Bridger Sony unsuccessfully I worked with worked on a sort of rip off bands, like I worked on a girl band that were trying to be like the Dixie Chicks, writing and producing various artists under this guy Rob Dickens, who was a label boss, um,

and it was fascinating. I mean, I've never been inside a record label before, and my my greatest fears are realized. I think you know which or what. Well. I remember being an RM meeting and there was him and there, you know, and I love it's very nice, but I

love him dearly is a very nice guy. Um. And and it really you know, he taught me a lot because I remember doing that working on this band, and and I'd be downstairs in the basement and he'd listened to and he goes, doesn't sound like this, and it would be no scrubs by TLC. And I go, but I've been in the basement doing this and this is a multimillion dollar production. And he looked at me like, oh, well, do you think anyone cares? And that's that. That taught

me a lot? Is that taught me? There's no excuse I was saying to someone yesterday Atually, if anyone's making if you're making a record, if you're trying to make something, compare it to what you love or compare it to what you think is really really good and see whether you can beat it opposed to saying to someone, yeah, but it's my demo, you know that. That's and so that taught me a lot that people don't listen with empathy. They don't listen to the fact you've done it. They

just listen. But yeah, I I realized that, you know, from being an artist and being a musician in the way decisions are made about roster and record labels. And it wasn't for me. I'm not I'm too soft for that in a way. And how you know, usually you have a certain number of unsuccessful projects and they fire you. Now what happened in this particular case, Well it be the case. It was his, Um, it wasn't necessarily my responsibility. They were unt successful. It wasn't going down to me.

And it got to the stage where you know, um, i'd sort of was going a reputation for doing bigger projects. And the BBC approached me and saw whether I would record the first Queen's Jubilee Concert, which which they had a bunch of artists. Because I've worked on okay, is

this the same two thousand two projects projects? So you're still working at Sony at and I left Sony because I realized that and there was undertones of At the same time, my father was talking to me about he wanted to do a Yellow Submarine ballet with a guy called Matthew Born, and I thought it was a bit

camp for me. I didn't really know anything about ballet, and I and I had an idea that we could do a beatles sing with this company called De la Guada, who are a certain slay like and so there was a bunch of things bubbling under and I was unhappy with this position and the record label, and so I went off and did the jubilee concert. Okay, how long did you work at starting? A year and a half, so not really that long. I thought it was years

because I was in a band. I was in a band, you know, and then did that and got when I was broke, the guy phoned me up. Did I thought it was like six or nine years. No, no no, no, I wouldn't be able to I'm not to stand on the turn out long. So they called you for the Queen's Jubilee. How did they call you? How did they find you? They called me because they wanted me, you know, because I was you know, it's nepotism. I was my father's son, and they thought I could do the job.

They really they called me to see if I could record it. They wanted to release a DVD, and I kind of what I've done before, but I've done something like that before, and so you know, I decided how many trucks we should get in all this sort of stuff, and I turned up to the first meeting and Michael Cayman, I don't know Jim Michael. Well, the irony is is my girl friend runs a foundation that he started, Mr.

Hollands Opus Foundation. The other thing I will say he was originally in a band called the New York Rock and Roll Ensemble and I saw them open for the Alban Brothers in nineteen three for other people that he went out to have a long career, you know, writing the Robin Hood, saw writing musical scores, working with Metallica, and I certainly don't Michael an amazing man, so amazing.

Unfortunately died of them mex about ten years ago. So Michael Michael had met in Japan because he was involved in in this crazy Japanese concert I mentioned um and he was doing the Queens jupile e and what was his role he was now he was the music director, but he hadn't told anyone how ill he was, and he was, and so what how I turned up the meetings, mean being the recording person, and they said to me, um, would you be would you take on the role of

doing these director for some of the artists for the Queens Jubilee And it was it was when it was a it was a fantastic They had these artists lined up and you know it was basically rehearsing the band, rehearsing the artist. That kind of stuff makes. And it was it was like, you know, they had Brian Wilson to Brian Wilson. I loved to work Brian Wilson. And they're going that be cause you have to do Ricky Martin and and I go, well, I'll do Ray Davies.

He's doing lower that would be great. I'd love to do that. And they go okay, because you had to Cliff Richard and and s Club seven or you know, that was that was the way it would work. Um, So I did that and under the same So I understand for those people who were the amateurs if it's a band, like if it if a band comes and you're the musical director and they normally perform. What are

you actually telling them to do? Well, it's not a band coming you have a well you you you talked them first and you say how do you want to do the song? And they go, well, you know, you know I did this gig once in you know whatever, and we did it like that because generally that they you have a houseman the house band that because was actually Philip Collins on drums, piano again on bass, so I knew the band anyway. I see. So you're not bringing your own band. They're not bring their own band,

you know. I mean like I think we had you know, the Black Sabbath were was Tony Iamy and and and Ozzie. But the band with with Phil Constant drums, they still don't use the drummers. Yeah, there's so so so it was it was making sure that everyone knew their parts. And now just to go back because it's another interesting thing. Um, this is live. This is live yet? Okay question because I had some road dogs. I've gotten into this. Your act is playing the super Bowl? Would you ever do

it live? Or too many risks? Yeah? You know it's funny. I I think that I would love to do it live, don't know, I just think it's funny. We did this thing. We made a huge mistake at the Olympic Games, the Olympic, the Open Olympic Games. It always haunts me. They were Paul McCartney performed and they wanted them to mind, and he can't mind because he doesn't use in their monitors. He doesn't use He refused to use it in a

mond Oh I didn't know that. Yeah, he uses uses, you know, use regular market, doesn't use in their market. And I said, well maybe because still mine and I worked out this way which you could do it, and he forgot he was miming, and so there were two they were doing playback. I recorded the band playing live, and then he started too early, and there were two

Paul McCartney's playing at the same time. And I pressed the button to go to live in front of a billion people, you know, I had to press his red button. And I said to my god, you know, yes, I didn't go very well, pout. I guess, yeah, but too mus if you gonna mess up doing in front of a billion people, yeah, so that's yeah. I don't know. I think that I love I love you know, I'm a natural risk taken it's like one of they said, yeah, yeah, well let's just go for it. You know what's going

to happen. I mean there would listen. There are the worst things happened in the world every day. You know, I don't believe in you know, there's this you know you did Paul McCartney in the opening of the Olympics. Did you do the closing too? Okay, so you do the Queen's Jubilee and that works out great? Yeah, I do the creas And then I was like satain thinking, what right, what do I do now? Work with the Queen? That the what do I do now? And the phone's

not ringing. My manager phone me up and said, you know the you know I've got I've got you a gig and I was like great. You know my working was super Grass. I loved Supergrass, and I'm like, no, you're working with I really did Supergrass not make it because the guys were so unattractive. I don't know. It made some nice record phenomenal exactly, And I bought those albums.

Zero impacted, Yeah, none, I don't know. I don't know, but but you know, because you work on the fifteen year old classical singer I was like, right, and it doesn't you And he said, you haven't got anything else, You've got nothing, you know, this is it? And so I did this record with this girl called Haley western R. It was a New Zealand singer and it was an album that that I did by. It was like it

was like painting my numbers. I was like, Okay, this track, we'll get onto Radio two in the UK, this track will get on to daytime television, this track or and she ended up selling she was that, she ended up but it ended up being the fastest selling classical record of all time in the UK and sold two million copies. Well did that? Did you ride along with that? That burnish your image? Yeah? It completed Butt a friend of mine when I was trying to be cool, and I said,

I guess I'll never well only your bands again. He goes, no, it because it's amazing. Even Chris Martin. I said to Chris Chris Martin, Coldplay singer. We had luncheon and goes, it's amazing the success you've had. It's like, yeah, but

I'll never work. That goes, No, You weren't, I mean I was, I was, And I was like, you know, it was I suddenly became the king of crossover classical, which is you know, you know, I'm not sure how how much you're allowed to use rude words on your No, we no problem, but the email correspondent was always goat shagging, you know, for some of it was it was tantamount to go checking. I don't know why we always said that was it was, it was, it was Anna's that.

Then then I got busted for being rude about crossover classical by someone, you know, because I just it wasn't a world that I liked. It was that easy path.

So you had, you know, the best times in the words of times you had success, but not in the field had success and I had yeah, And I could have then gone and done everything everything you know, crossover classical, whether you know it was you know that they were queuing up because I was, I opened that door to And it was then that with this undercurrent I mentioned before, my father wanted to Yellow Submarine and we had an idea that certain Lay and the Beatles signed their deal

to do the Love Show and certains. Lay had got a DJ and to remix the Beatles songs and it was a disaster and I did. None of us knew this, knew about this. And I met Neil Aspinal, who was the head of Apple and my father at that time was actually quite seriously ill. He was in the hospital. And I just had this success with the people to saw it of success, they didn't handle as the rapper I've done, and and even Paul came up and going, well,

I've done with that record. I was like, you know, obviously had to listen to it with a bad version of Harvey Maria on it. And I said to Neil, and I was into that chopping up stuff at that stage, and I said to that Neil Aspinal, it's one of those you know, I reckon I can credit Biddles concert that never happened by chopping up their tapes. He went really,

I said, yeah, I've got an idea. I could do this drum introduction and and I can imagine, you know, like how the band would perform and Le's face they played live and all the tapes, so I could chop up the tapes and create a create a sound better for a show. And he said, okay, you've got three months and I'm not paying you. From from then, I went into a room at Abbey Road to begin with, I didn't even have any speakers. They just gave me headphones and I did like four or five different things

for the show. Did he take three months? No? No, it took three months me to transfer a lot of the tapes. Because I'm just gonna ask that said the end, They they and and and then uh, you know, my dad came out of hospital. He was to be treated for cancer, and he didn't really like it very much. It was funny at the time. He was like, I think, you know, I think you pushed this a little bit

too far. I don't think I like it. And Paul came in, and Ringer came in and living in Yoko and I played them some stuff and I did this this version of within You Without You on Tomorrow Never Knows I'd mixed together, and my dad banned me from playing it to them, and then Paul because you should push it farther further, and I went, I've got this thing, you know right right, I don't know I'm pretending, but for the listeners I'm hold putting to hold up a

disc of course, would never and and I played to me because this is brilliant, this is what we should do. And it's sort of that then unlocked that door. Um, And I remember being in New York with I was, I was again, I was writing music with for a singer and and and I've got a phone call saying, yeah, you were in the contract. You're doing this show. You're

doing this Beatles show. And remember a friend of mine saying, you know it was a producer and said, I'm not sure if I should do this because if I do this, this is what I'll be doing. It fits everyone's and and I said, I'm not sure if I want to do you know, I want to be the legacy guy. And he said to me, Um, you do know that if you don't do this, I'll do it, you know. And I thought to myself, you know, I've got a

good point. And I actually remind myself when I'm working on this stuff, was like, you know, yeah, I'm pretty lucky to be to be trusted with this material. So yeah, that was and that was I did. I did the Love Show in Vegas and that open the door. Okay, it was built as a collaboration between yourself and your father. Yeah, and it was it was it was to have to missiety. He was he was producing me because he produced me as a child, but he was he was, he was

producing me in respect. He would come in mainly on a Thursday, would always go to the same restaurant for lunchally come on Thursday because he lived out in London, and I would play him what I've done, and you go, no, this is you know, this is you know And even though his hearing wasn't that great, he would be able to judge it and give me advice. But I would create. I created the stuff and mixed it well. As I say, I didn't know till this day that it all started

with you and Neon. Yeah. And then and then what happened. What happened was I got quite defensive because my my dad was a big influence. Obviously it's big. It's on me full stop. But he was a big and Ringo came once and said, you know, well, you know, I said, that's just getting well, you know I know that he hasn't not you know, said never lessn't he is he is my you know, my guidance on this. And then when I went out to Vegas and I did a lot of work out in the in the show itself,

in the theater. We built the theater, designed the speaker system. Um. I remember I read it, here comes the Sun. I read it the interduction, Here comes the Sun, and and and I suddenly remeased. My dad wasn't there, and and it felt really dirty that that cerked the sligh would hear this before he heard it. And then you realize, you know it's then you know it's he's a tip.

And then funny enough, you know when he felt slightly excluded because because I was just going off there and with a mouse, you know, and I computed in doing this stuff. And it was I remember saying, because it's amazing, Charles. You know, like audio, audio too is like putty, isn't it the way you can manipulate in all sorts of way. It's the way he would speak. Was he hip on all the new technologies? No, but he loved it. He you know, he was, he was hip as far as

mind you. The fact the matter is is that I get assistance now that think I'm good on pro tools because I did love but I really have no idea at all. I mean, my sessions look like a Jackson Pollock painting. You know, nothing nothing tidy about the way I worked and and it's it's funny. I mean, I think if I had known my stuff, I would have

done a worse job. I mean if I started off with those a drums, drums that there's a drum soto from the end which the song on Abbey Road and I and I decided to mix get Back as an introduction to it and put the piano called back to a bunch of stuff. And the way you do that, if you're a modern artist, is you put a grid and you put the drums in time, and you put everything and you lock everything together. And I started doing that and I put Ringo perfectly in time, and it

completely killed the field of the band. And then I realized, Okay, it has to be the band dictating the heartbeat of this show and not me chopping the music up. That makes any sense, yes, So so I learned, you know, it's again you have to you to look know when you do things badly, is that is the is the key to key to good work. So he was. And then when it came to we a via, Harrison came to see me and said, you know, I don't want to use the demo to while my guitar Jenny he

was the director of the show. Want to use the demo to wi my gutar Johnny Weeps, which is just a george An acoustic guitar. It was on Anthology and I said, well, you know, I had an idea. I said, you know, well I could get my dad to finish

you could do a string arrangement. And and Danny Harrison was only because you think he could, I said, joanneal phone himut I phoned him up there, I said, and he said to me, and it's funny, you know, go back to that that conversation we had and when he was dying, he said, I said, Daddy, because I'm not sure I can do it anymore. I said, because I've done haven't done a stringent for ten years. I said,

I'm sure you can, Dad. And I had actually done a there's the introduction which is on the record on the show I did. And I said, you know I I and we sat at the piano was really nice as that piano said, because that's nice, there's a g mine of progression ages even you know this is and he went off and then we went to the studios and recorded all It's on film. Actually a string section playing and everyone knew in the orchestra that this would be the last time that he would work. I knew

the last time he to work. He was eighty years old or seventy nine years old. I couldn't hear anything, and we steered through and it was a beautiful it's a beautiful arrangement. If you ever hear it, it's a it's a really sympathetic arrangement. And actually his memorial service I m I had the guys, a singer songwriter who's very good called James James Bay, who's a friend of mine. He sang it. I wanted someone agnostic, and we had a string section player, and it's just it's just like

my dad was really good. He was really good. It's that I couldn't do that. It was he was. He's really good. Okay, now you're doing the Beatles Love Show. You know it's going to be success, You're not sure. Had no idea, I thought, I, you know, I didn't want to do cross over classical music, and this was like a fun thing to do, and it was also a really good way game to know my dad and

going through his closet and learning stuff. You know, I went through every single take and every single Beatles track, um, and made notes you know, because I thought I bet, and in fact, I thought I'd get fired. I I really thought, it's such a bad idea. The son of George Martin chops up the Beatles tapes for a show and asked, Vegas is discussing it, probably pay read about in your blog. It has to be a shocker, you know.

It's It's like I, I disagree with the principle entirely, apart from the fact that for me it was better than doing the other thing I was doing and and um, and it came out and everyone liked it, and I was you know, I honestly thought, as I thought, if I could do one thing, I'll back up all the tapes because they hadn't been backed up. And then if I confins you were literally using the master tape. Yeah,

you have to use the master tape. They sound great and so I but it is in there a limit, you know what kind of condition you only have to play them once to back to my point. But I'm surprised that no one had done that previously. They hadn't done it previously, and so I thought, you know, what if I can, if I get fired and leave one thing by. At least I backed up the tapes properly. And that's why that was my motivation. I thought, you know, at least I've done something great, and and it came out,

and you know, it's still going now. I think it's been seen by seven half million people. Now there was recently redone. Yeah, I went back and redid it. And what did you change? There were there? The show was looking old. It was mainly a visual thing. The show was looking old and looking a bit tired. And myself and Dominic who's the guy did the show with whose lovely man? And she died his name of Dominic Champagne's

great name. We went, we two together and we started looking old, and we persuaded Different to invest I remixed the entire show from start different because you know, if you think about it, when we did the show, we did it on computers. We had to do on computers. I couldn't bring Abby Road to and we're using plugins and all sorts of things, and they've got a lot better. And we transferred. I retransferred all tapes as well, and so we did. And then I bought new speakers, and

and and and you know, we listened differently. That's the funny thing about music, as we listened differently. How music is when you remember and how music is when you listen to again. It can be, can be different, can be worse, a little deeper there. Well, it demands of you know, when when we did the show, it was the best selling show probably, I think one of the best selling shows in the world probably. I mean, it should be seven thou speakers in the room, even though

we're in the round. And by the time three years ago, you know, Celine Dion sounded better because there's more weight in the base, there's more you know, there's more visceral presence in the in the not in the sound that's hitting you and all that sort of stuff. And the Beatles show sounded a light um. You know, we we we we demand, we expect this sort of this sort of thing to hit us in the chest now, which

didn't happen thirteen years ago. And so and I was working in the in the theater and I said the guys, I said, I need to around about to two or fifty hurts. Is what thumbs you in the chest? You know, it's bizarre, it's not lower, it's around about that. They were like, you know, I want when you're breaking the system, you're breaking the system. I said, well, how do I

not break the system? Because you need more speakers? So I got up, I walked across the casino, knocked on the casino and doing continue to buy me some more speakers please, And he said, yeah, there are hundred eighty thousand dollars. He goes, and they can make a difference to you. I said yeah, and he goes, okay, like spoiled child. And that's the way it works now. But then the casino were incredibly I've actually, it's funny you my previous if you'd asked me, and it's vague. I'm not,

as you can tell. Probably I'm not Mr Vegas. But they're they're actually they're they're very supportive, and I like them. I like still like the people. They're a lot. And they were like this and if if you think it's gonna make a difference, then okay, we'll do it. So I I read it things. How did you end up remixing Sergeant Pepper? It was It wasn't something that I

necessarily felt compelled to do. Um. A lot of this stuff comes from the the desire comes to it's the fiftieth anniversary, Well it's the fifth is what are we gonna do? You know, there's outtakes, there's there's this, And I've played around with privately, played around with remixing Beatles tracks. You know, I did it for love and they were The Love Album was very well received as far as an audio perspective goes. Um, I get given a lot

of credit for things that I didn't do. You know, you put the tapes into a machine and you put the faders up and it sounds pretty good. And generally what happens to the processes that make a record in those days, they they continual. I mean like if you if you remaster and remaster a um, you know a quarter inch tape, that's that our half inch tables are mixed. It gets worn down so that the end the tapes

get on now. Um. And with Sergeant Pepper apple Core, who are the Beatles Company, they wanted to do something by the fiftieth Anniverse you rerelease and we talked about it and they wanted to go through the outtakes and stuff like that and funny if my father had my father passed away. UM, so yeah, and and I took some time off, obviously, took two weeks off, and I went about the studios and the first voice I hope

was his, which is kind of odd. And Yoko said to me, we were doing the Love Shows, sitting with the Love Show, and I use voices in the Love Show of the Beatles, and she said, it's funny. You know, John's just a voice now. And I know how she felt. And and we started remixing, um, Sergeant Pepper. You know that. You know, people want to do a surround you doing a stereo, and we got it wrong. It didn't sound right. And then after about four songs, I suddenly realized, actually,

this this kind of sounds It sounds good. Um, not better, it just sounds good. And the monos had been you know, I listened. I never heard the mono version of Sergeant Pepper. I'm like, you know, I'm not that sort of persons. Terrible to say I should be, but I've never had the monos. And the mono mixes are different. I think they kind of they're more claustrophobic, they're more psychedelic in some ways, there's more effects on them because they could

the Beatles couldn't put effects on the stereo. The technology wasn't there a d T voices with stereo the voice. You know, there's a bunch of things that just a very speed techniques they used weren't there, And so we started doing it. And again, you know, you do these things behind closed doors. And I actually said to Apple, well, how did you switch from surround to doing a stereo? You do a stereo first. You have to do a stereo. My pathway to surround his stereo because you have to

get the stereo right before you do the surround. Otherwise that the weights not there on the surrounders becomes I don't know if you you hear some surround mixes, and I don't want to criticize us as the work, but some surround mixes sound too ambient. They sound you know that if you think about the cool thing about surrounds, you have a center, speaking of that mono thing that can hit you and it's like I see it like

smashing toffee with a toffee hammer. We have that center and everything can explode around it, like when you listen to a great mono record and that happens in your head. Anyway, that's the way I see it, and so with with Sargeant Pepper, I m I said, if this isn't right, then and you have to and it's a brave thing to do. And then um they came out and and people people liked it. You know, it's funny. It's funny.

It's someone wrote to me that day and said, we can't get hold of a couple of the vinyl mixes Huge and pepp you did last year because it's sold out to Universal. You know you can. You can buy the original one, which I should say, do buy that one. But you know, I don't think about the marketing aspects of it. When I do, I just think about, you

know what bothers me. I suppose my motivation is that when you play a record that's important to you to a younger generation and they think it sounds old, I think it's an old because it may not be as loud, it may not be as stereo, it may not be as immersive as the tracks that are listening to. And we live in a world of a global jukebox where there's no reverence to when it's coming back, but there's

no reverence to put you on a record. You can have, you know, Kendrick Lamar next to loosen sk with diamonds. It doesn't make any difference in it. And the thing about music and thinking about recording is that it doesn't. It's a recording is by that it is a capturing a five year old person at their prime, and I want them to be twenty five forever and I want them to be bursting. Any of your speakers, um not at an angry compressed you know, to the max way.

But I just want to make sure that you feel like you're in the room with them, and so that was kind of the motivation. Okay, Well, return to this conversation with Jaws Martin, sound experience leader for Sonos and son of George Martin and producer and mixer extraordinary in his own right in a moment. You're listening to the Bob Left Sets podcast, recorded at the tune In Studios in Venice, California. Each week I interview a new guest to get their story. While they're here, we take photos

and shoot some videos. You can see what they really look like. I want to see what Jiles looks like. Check us out on Twitter, Instagram, and Facebook. Follow at tune In. Let's dive right back in with my guest Giles Martin, producer extraordinary. Well, it's kind of interesting. I have no problem with what you will. At first, when I first heard about it's a little bit of a hump what you did with Love. That's a totally new work,

remixing something that I know so well. It's all akin to owning a vinyl record and then getting the c D when you were listening for the Skips and the Pops that weren't there anymore. You know, the originals so well, so that do you have plans to remix anymore Beatles records? And then not at the moment. I mean, there's there's talking about it, but um, it's not you know. And I think to answer that, I I can, I completely, I completely understand what you're saying. I kind of, you know,

part of me agrees. At the same time, I'm not doing it for you, Bob exactly. That's what I was thinking. Now, your your explanation is very good. First, I think that I think if if anyone who wants to, if I listen, if we get to the stage where people are loving the pops and the clicks, if we people listen that much. We live in a world where you know, um, we hear things that we don't listen. You know, it's ubiquitous wall of sound constantly going on. There's noise, constant going on.

And and that time which you talk about where you have that record and you love that record, you put it on. You know, if there's a reason, if you know, there's there's two ways. You know, even if people don't like what I do, they're listening to it. And I don't have a problem with that. It's like, great, don't like it. Let's see, that's why I don't mind you. And when I wrote back to you, I said, I

don't mind you saying this stuff. It's like, you know, the fact you have passion and opinion is what I like. That's the whole point. It's like, you know, great, you know that we're not we we live in a we live in a world where it's just a record, and and there's various moments in the lines, whether they're not just records, there are things that mean a great deal to us. Now I'm not trying to take that away

from you in any way whatsoever. Absolutely not. But if I can stir things up to people, like slap you around the face, and go see I was wrong, I was right or whatever. At least it's getting attention. Un least you have an opinion. Now you also work with Sonos at this point, how did you end up coming to work with Well, that was a strange thing that

happened about four years ago. I was actually working. I did Paul McCartney's album New This Is This is Back, and I was working over here in l A and Henson and a guy kind to see me and as with a great mixanage. They called Spike stant who Spike good friend of mine, lovely Spike, and they came to see us, and it was press how to speak all the play one and and they they they Thomas Mayer, who's came to see me. He said, you know, give me,

give you some speakers. And there's about the fourth speaker that come up to me because since the Love record there was, you know, loves used for surround high fire. It's a now I the socks and sound of a brigade. I suit and and I kind of and I I got her. My wife goes, you know, what are these boxes doing? And they're speakers? And what do we want

speakers for? Now that you might like these ones because they're small, you know, and I plugged them in night and I like, my attitude was like, I think, thank you very much. I thought the actually they sound pretty good. And then they sent me just for the record the song I was one is a small, This was Presoners one, this was up five and a three. Okay, I mean they sent me a play bar and I was like, wow,

this is great. I've got free gear. You know, I'm a bloke, so I like, I like, you know, not gonna be sexist, but we tend to we tend to be slightly more obsessive over gear, you know, with sad individuals. I'm one of them. Okay, yeah, I know, I know. And then and then what happened was is they brought they showed me a one, and I had comments on it. I thought it was limiting too much, and there was

various things I didn't like that was doing. And then this was before or afterwards manufacturing forwards manufacturing, and they realized I was engaged, and they asked me. They said, they have Rick Rubin on their soundboard and they have hand Zimmer. I said, will I join their sandboard? And

I said yeah. And then I thought, well, if I'm It was one of the things they sort of get got me more involved to come and I think they give me some shares, and it was this thing I was like, you know, I should get I should And I liked them. You know, they were the first speak company people have come up to me before and said,

you know, what do you think of our speakers? They come seem in the studios and I said, and I'd say what I thought, and then we'll go you're wrong, and I go, okay, you know what what that's But that's great. I don't mind being wrong and absolutely, but but don't get upset for me, just so I know. It used to be the standard in New Case studios were tan noise. Okay, it's all sorts now. Okay, So when you mix, what are you mixed? I'm mixing on I'm mixed using a t C S there a company

for I'm living. I live in the country. There are twenty miles. I didn't know this until recently, but a lot of people now use eight is Nineer god Rich who actually also works with Sons, he uses he uses a TC. So I think, um, there and there there. It's a different world. I mean, I asked for to buy a new pair of A T C s and the guy said, you can you wait a month? We have to build them, you know. So it's a different,

different world to the world. And so what they were the first coming that asked me what I didn't like and they and when I said, when I started giving them compliments, they switched off when uninterested. And then the head of the head of the company came to see me and said, you know, and said, you know, would you be our sound experience leader? And I mean that said, I said no. I said, for a start, for a start, it sounds too too American for me. I said, what

does it mean he goes leading our sound experience. I was like, well, obviously that's but what does that right? Right? And it's kind of like my job is to it's almost like head of sound I supposed to company. Where the appealing that I like, I like breaking, I like pushing technology, pushing away we listen. That's what appealed to about the Love Show. It's like making people, locking people in a room in Vegas and make them listen to

great music? Is was it? There's something in in my subversive mind that appeals to me about that and the fact, if you think about we can't get away from the fact we make files. Now we don't make records. We do make files. That's what happens. I know that, you know, viols cut from files all of the time exactly. That's why I don't understand it. So just to stop there for a second. If we're starting with the file, how

can the vinyl records sound better than the file? That's a that's a really and and it's a very good question. And does that sound better? It does it not sound? But there's something about vinyl that takes away the top and the bottom and it does also it's you know, it's it's you know, I was. I'm I'm a really you know, deep technical person who comes to mixing and people you know may be mistakenly like what I do.

But when I did search in Pepper, you know, I re must and remuston master with a guy in Abbey Road, and then I master myself. And and then we cut the violent a half speed vinyl cut, which is, you know, a deeper, more precise cut that doesn't the vinyl. It's like, wow, this sounds great and and it makes me feel in my sort of strange control freak way. It makes me slightly annoyed because I didn't do this. I didn't either. Vinyl was just a happenstance that went on Vinyl. I

like the sound of it. That makes sense, I'm not totally sure. So we had the fires that they were losing something on the vinyl. So inherently vinyl has a sound. Are you saying that you like the vinyl sound or I like this? I like the Vinyl sound of the Serge and Pepper mix. I did it sounds nice? Basically, it sounds smooth. That sounds good. But I didn't. I'm not responsible for that. Vinyl did that, not me. And that's what that's what I it's a it's a it's

a it's a thing. And that This is the other thing that appeals going back the process with with with with Sonas is the fact that they they if the dream really is to is to for whether it's myself or Spike or whoever. In a studios, you can make a decision on this is how it should sound, and you send it down a wire and it appears in your home exactly the same. That's what appealed to me with with something like sonas where you can go, okay,

I can tweet the speaker. And I started doing this with people speakers they have in the marketplace, where I was like, so I can change that sound of that playbar and make it. And I did it three times to play bar without people knowing, you know, change the sound of it. But after you all bought it, I know you you did update and I'm aware of this.

What did you actually change? Well, it's funny. Rick Rubin was unhappy with the playbar and and and this is before I was heavily involved in any phony about it, and and I said, yeah, it sounds a bit weird for stereo music. It doesn't sound sounds like it's doing something nasty. And it was doing pretty well. It was selling, it was getting good, good reviews. I've always been interested in bad reviews anyway, So it was getting good reviews.

And we worked out a way of It's always tough when you have a speak like a lot of products now are more than two channel speakers. They do it. They have to create why w from that sort of stuff? You have to fake five point one. Yeah, it's actually fake stereo because you're if you imagine the way we do the way you and I, which just needs to listen to music, is with two speakers that to mono speakers.

We're not going to techy here, but and you have a you have a you have a phantom center, so there's no center speaker, but you you were sit in the middle, and what's equal left and right is a mono and then the rest of the less left and right Monday speakers that pretty much everyone makes out a stereo. They have phantom left and right. They're trying to fire things out left and right, which means you can often have a hole in the center like a like a

like like a lifesaver. Let me ask you a question. If we're talking specifically about sons product, the three, the five, the one, what happens then when I peer them and I get stereo? They work in a traditional way. Okay, so the software is such that if I'm using one or I'm using two, it makes an adjustment. Yeah. Yeah, they know where they are and they know what they're doing, and you know that's the that's the that's the beauty

of it. So here with a play with we we changed the playbo because Rick say, it doesn't look like a stereo I was like, well, it's not a stereo, so how do you make a sound like a stereo? So I had a very clever team and we worked on that. But it's it's fun. It's like, it's a bit like it's in a funny way. It's a bit like the Love Show, where in in that theater there is in Vegas. I'm in control of the input and

the output. So I'm in control. You go and sit there and you don't like it, then it's purely my fault, opposed to if you make a mix and then you, um, you know, you listen to. I'm not one of those people that has an opinion of whether you listen to. I mean, I fell in love with music listen to on AM radio, so so I think you could be with the loved one on a sunny day and comes on it because sound like the best has ever sounded,

even though it doesn't sound like that. If that makes sense, you fill in the gaps at the same time, if you can facilitate if like, if there can be somewhere where where a bunch of us creators have an influence on the output side as well, then it can only be a good thing. Because very very clever audio people have no idea what a mixed you sound like. And then these speakers are just for the listening environment. Yeah, it's it's I mean I was. I've known friends that

that a high five buffs. Now I'll spend thirty thousand dollars and speak and then put them next to a wall. And you think, well, you know, you must have spend five hundred dollars in a speaker then, because you're going to get the base residence you get from next mix to wall as a you know, you know, where you play. Something is really important in audio because of because of

a room. And so I when I first start working US, I came across a guy called Tim Sheen, who is like a sort of a clever Bard at l wondering around with a microphone with a speaker in the corner of the the room and he was just on his own in this room. And I said, what's he doing? And they said, well, he's he thinks he can he thinks he can speak and tune itself, you know, or you

can tune to a room. And so that's great, and no one else was that happy because the ethos of a product not having a constant and changing was something that speakers don't really do at that stage. Um, and Tim Sheen was you know, then the company got behind him and we got behind him, and it was a it would end up being a really cool thing where you can, you know, you could, you can you don't have to worry about what you put a speaker. So

what's the future of home audio? Well, I think I think that we you know, we he and I need to talk about the future home audio in the future of music distribution as a picker question, the future of home adio, I think that I think we listen. I think that if we can, if we can make music as real as possible, I like the idea that I like that, and I was coming back. I like the fact that people have to make an effort to listen. Um. I also love the fact that with something like so nice,

you can have all you know, I can. I sit with my kids in the kitchen and I have a bunch of pieces of paper which have reggae, funk, jazz, soul on them, and they get points if I put on a piece of music and they can guess which genre you know, just and then that they love doing it. You know, it's like, you know, I don't know why, we just it's just one of those things. And I love the fact that you can think of a song

and play it. But I also and I think home audio is better than ever ever has been that respect where it's you know, you can listen out loud and listen collectively and it doesn't matter. But the future, the way that voices going and that speakers are becoming a portal is interesting. UM. I think that that speed of the speed of thought behind thinking of a song and

playing it is very clever. It's very good. Well. I find a lot of times in my work area, you know, I have an amazing amount of stereo gear and I will call out to the voice activated speaker or a lecture, now the new sons, I'd rather do that, even though it's kind of out of one little speaker. Yeah, And it's getting that. The thing is that's getting that better

and better. That's the thing. That's the thing I think that I think that I think the question is how do we I think, how do we improve search and discovery? You know, at one stage I spent a lot of what I spent a lot of my own money thinking of thinking of this, UM, this portal where you could travel through time like you know, you could you could find influences of music. So if you if you like this, then what went on before and what went on before?

And you could you could you could you could search music through influences and stuff like that. And there's gonna be ways in which we can, you know, in the same way we missed the record sleeve. I missed the fact that you know that I knew that Jim Gordon played on Layla and you know all that kind of stuff that connection would be would be I think there's a there's a there's a there's it's that thing when

you go into a record store. And I remember, actually I was gonna work on a show with Quincy at one stage, and I thought, I've got to learn about the heritage of black music. Where do you start. I went to a record school, Honest John's and port A Bitter Road, and I walked in there and sort of

talking to this guy. I was there for six and a half hours, and you've played everything, you know, Ellaphis Sholder records, you know, you know, you know Wilson Pickett kind of rarities, and it was just it was it was it was like, this is, this is how do we get this? But I would certainly believe that music discovery is broken. I believe there's a result. It's like the Internet at large, there's so many messages coming if

the average person is overwhelmed. But in the time you have left, which is pretty lengthy in terms of your life, hopefully, what would you like to achieve or see happen? I would like I I think that it's it's it's difficult to it's it's really easy to um to say it wasn't like it wasn't my day. But I would like generations to be as touched by music as I was, and and not reliant on visual as they seem as people seem to be. Now, I didn't know ll ever

go because because visual always wins. I mean, I've worked on films, I've worked on It's an interesting thing. I'm talking to something are talking about how powerful Instagram is, which makes no sense to me because all you have is the picture. But and we may not be at the end of the stream here. Now I'm streaming services. The number of plays there exceeds YouTube, So maybe we have hope. Yeah, And I think and I think that it's it's so so I think that I think what

what would I like to achieve? There are so many things that led to you. I'd like to say, you know, there's there's there's sort of shows and experiences and visceral things I'm working on that that involved music. So you you know, you know, you know, even you had one idea that they're like walking through you know, walking through a groove of a record. You know, so imagine they're being sure, you know, for kids to realize what the what the what the what? I can picture it. I've

seen enough you know, blow up pictures. Yeah, you know, it's like it's like a giant mountain, which you know, there's there's there's fun stuff. You know, work on a couple of things with some creators where we where we where. I like the idea and he says, going against the

visual world. I love the idea of their being. Um. You know the fun thing about the Love Show, it's like you're creating a you you know, it's by no means perfect, but you're you're getting kids to discover music and listen to connect music and listen to music in different ways, and they go up feeling different. If you can make people feel something different, then then that's great. So so what what appeals to me is um even

the Sergeant Pepper. I did this ATMOS mix of Sergeant Pepper, which basically a room with fifty five speakers in it and a bunch of artists and creators have been in. Then they come out and floods of tears, you know, they come of floods teas. They feel like what you can do with with immersive wordies. You can put the

band in the room with you. You can get reflections from studio too, which is what we do, and you can make you feel people feel like that you're in this space with with with the band, you know, and it's it's it's getting that if you can if in any work I do, if I can just stimulate that feeling in some way, if I can get people to

take cause there's nothing better. I remember, even working on that Constant Japan all those years ago, Jony Mitchell sat in front of me and she played her gear on the quatar and she was sitting as far as away from you are. You know, we are about five ft five feet away from each other, and and I wasn't

even a big Johnny Bitchell Fan. I didn't even know much about it, you know, I was I was a blues guy and and I couldn't work out whether the music was coming from it was coming from it was coming from I saw her mouth moving, and I could see her in the quaitar, but it was like the sort of this sort of ethereal noise that's kind of hitting me, and it was it's better than for me, It's better than anything else in life having that experience.

And so I suppose that through the huge privilege I've had from me my father's son, I've experienced some things. I mean, like, you know, I remember being a tapop, which is an assistant engineering and working on a Martin of the session he played acoustic guitar, and I was like, is that him playing? Or I'm going listen to a record?

You know, it's that weird thing. And you all being in the same room with Stevie Wonder when he's playing the piano or and if I can get people with its trough soon through mixing or doing shows or doing exhibits, if I can get that feeling of inspiration closer to the listener, then that would be an achievement. That's what we're trying to do. Well, you've just got out to

the mountaintop there. I don't think I can add anything. Giles, You've been a fabulous guest, both telling the stories of yourself, the Beatles, and your father. Thanks so much for being pleasurable. Thank you so much. That wraps up this week's episode of the Bob Left X Podcast, recording here at the tune In Studios in Venice, California. I hope you like listening to this conversation with Giles Martin, producer extraordinary. Please let me know when you think of the show. Email

me at Bob at Left said Sandcom. Until next time, I'm Bob Left Sid