{
  "schemaVersion": "v1",
  "slug": "the-beatles-break-up-prog-rock-is-born-the-history-of-rock-music-part-5",
  "title": "The Beatles Break Up / Prog Rock Is Born - The History of Rock Music (Part 5)",
  "kind": "solo",
  "listenUrl": "https://podcasters.spotify.com/pod/show/lovemusicmore/episodes/The-Beatles-Break-Up--Prog-Rock-Is-Born---The-History-of-Rock-Music-Part-5-e2pbs3q",
  "contentStartSec": 82.99,
  "publishedAt": "2026-10-14",
  "source": {
    "provider": "whisper",
    "model": "faster-whisper:base",
    "normalizedSchema": "v1",
    "transcribedAt": "2026-06-09T10:13:19.347Z"
  },
  "paragraphs": [
    {
      "startSec": 82.99,
      "endSec": 109.91,
      "text": "What's good, everybody?Scoobert Doobert here really excitedto dive into another history of rock and roll podcast.So this one is going to cover another oneof those hinge moments, a turning of the page.And that is the Beatles breaking up.And not just the Beatles break up, but kind of that late stage,that last era of what the Beatles sounded likeand how they were influencing the general populationof rock musicians."
    },
    {
      "startSec": 109.91,
      "endSec": 136.03,
      "text": "And the Beatles are so important to talk aboutbecause everyone listened to them.Like they were the band, they still are.But like everybody, like they're literallythese awesome, and you should look them up,these collections of quotes from all of the rock starsat the time for reactions on the latest record.So you have people like Pete Townshend of The Whobeing like, yeah, you know, Sgt. Pepper's is pretty cool."
    },
    {
      "startSec": 136.03,
      "endSec": 163.71,
      "text": "You know, like Jeff Beck being like,I don't even bother listening to it.And then he ends up covering day in the lifeand playing it 1,000 times in his live sets.But these live honest reactions of everybody in the industrybecause the Beatles were the thing.And that's why them breaking up is kindof another one of those moments where the page gets turned.Where an era of rock ends"
    },
    {
      "startSec": 163.71,
      "endSec": 183.79,
      "text": "because everyone just looked to the Beatlesand were like, what are they doing?Or they would use the Beatles like the Beach Boys didas a measuring stick and be like, hey, I want to,I want to make a record that's as good as whatever.And then the Beatles say, hey, I want to make a recordas good as whatever.And it just kind of bounces back and forthin the same way that Pet Sounds and Sgt. Pepper's"
    },
    {
      "startSec": 183.79,
      "endSec": 204.47,
      "text": "are like a conversation with each other.You can go deeper.And it actually, you know, it's stressed outa bunch of bands because they're like, wow,like Pete Townshend for example,heard Sgt. Pepper's and he's like,you know, I've always wanted to do a very narrative record.It's great to see that out in the world.I want to do that too.And he came out with Tommy, which is the first rock opera."
    },
    {
      "startSec": 204.47,
      "endSec": 232.15,
      "text": "And it's like, the Beatles gave everyonesomebody to pace against.They were like the Usain Bolt or the, you know,like LeBron James or Michael Jordan or Kobe Bryant.They're like, the person that's like,okay, that's top dog, how close am I to top dog?How can I change?How do I adapt?How do I take something from that secret sauce?So then when you lose that, you have to turn inward.You have to change on your own."
    },
    {
      "startSec": 232.15,
      "endSec": 266.51,
      "text": "And I also think that the story of the Beatles breaking upand kind of their late stage,their late stage Beatles stuff, their later areas,their later works, they show a bandin conflict, but I also think a genre in conflict.In a really cool way.In a way that points to the music of the 70s in large part,a lot of the different subgenres and different splinteringand ideas that rock and pop music ended up exploring"
    },
    {
      "startSec": 266.51,
      "endSec": 293.31,
      "text": "are present in records like The White Album.So how do we get to The White Album?I think it's really important to stress Brian Epstein,the Beatles manager and his death of overdose in 1967.You don't get The White Album without that singular event.And also, you probably don't get The Beatlesbreaking up without that, too.So here's a quote from John Lennon.I knew we were in trouble then."
    },
    {
      "startSec": 293.31,
      "endSec": 322.63,
      "text": "I didn't really have any misconceptions about our abilityto do anything other than play music I was scared.The whole band felt that way.So what do they do?They agreed to go on a yogurt retreat.George Harrison was asking them to go to India.So they went to India and they meditated,but it's not for everybody.And also, you just gotta go from zero to 60.Now you're meditating all day in India."
    },
    {
      "startSec": 322.63,
      "endSec": 350.39,
      "text": "That there's a tension there.And you can hear it in The White Albumbecause a whole bunch, I think two thirds of the recordwas written in India on this retreat.And yes, it's 19 of the 30 songs, The White Album.They, you know, they're going through itand your mind is wandering.And so when you put some of the best songwritersin all of human history into that kind of state,I think it's a very interesting work comes out."
    },
    {
      "startSec": 350.39,
      "endSec": 375.83,
      "text": "But also something that's interestingis a lot of them were writing on their own.And rather than the early kind of cooperativeand Lennon-McCartney, like the historic songwriting partnership,this starts to splinter where now Johnis just like kind of writing on his own,Paul's writing on his own.Everybody's kind of like doing their own thing,George and Ringo of course as well.And one of my favorite songs, I think,"
    },
    {
      "startSec": 375.83,
      "endSec": 404.51,
      "text": "that kind of reflects that meditation yearsis The I'm So Tired Song by John on The White Album.It is an interesting look.It just pure exhaustion.And it sounds like it, it feels like it.And there's a exhaustion not of just,I didn't sleep in there.It's an exhaustion of what is my life?How did I get here?What am I doing?And I think that's what makes it such a timeless,relatable song."
    },
    {
      "startSec": 404.51,
      "endSec": 429.31,
      "text": "One other thing that I think is interestingis as they come back from Indiaand they start to demo out these songs,they do not find that transcendental state,that zen state that they can all inhabit.Instead, their emotions are higherand they also have more individual outlookson what the songs should be.So where there were different eros of the Beatles,that first era was definitely John Lennon driven,"
    },
    {
      "startSec": 429.31,
      "endSec": 456.07,
      "text": "just like I covered.He was doing the Skiffle band,cover band, he pulled in the other guys, it was his group.But then over time, it became Paul's groupwhere Paul was having the artistic visionafter hearing pet sounds to do somethinglike Sergeant Pepper's Lonely Hearts Club Band.And it became his thing,where John was certainly contributing and doing stuff,but Paul was kind of like the driver, the pusher."
    },
    {
      "startSec": 456.07,
      "endSec": 482.79,
      "text": "When they returned from India,John tries to take that up again.And there's conflict because Paul has grown a lotand so John and Paul are startingto kind of go head to head.And at the same time,George has really established his musical identityand his songwriting identity as well.And so that's kind of like this extra weird dynamicthat ends up getting pushed in there where before,it was clear who the number one was"
    },
    {
      "startSec": 482.79,
      "endSec": 511.59,
      "text": "and who the number two was.And now George who was always the youngest personof the group was always kind of abused by the groupor were, you know, talked down to.Now all of a sudden, he's as good of a songwriteras anybody else in the room.And the sad thing is,it ends up being such a toxic environmentthat Ringo quits.Like the nicest guy when he's like,I'm out.So Ringo goes and Paul ends up playing drums"
    },
    {
      "startSec": 511.59,
      "endSec": 539.15,
      "text": "on some of the songs,but definitely back in the USSR that is confirmed.And the Beatles ended up feeling really badabout kind of the anger and the angstthat was swirling around the groupand invited Ringo backand he came back to the studio with flowers on his drums.Also at this time, as John is redefining himselfas an artist, he also meets Yoko Ono.And Yoko Ono, and I feel like part of this is connected."
    },
    {
      "startSec": 539.15,
      "endSec": 567.07,
      "text": "So the people that just hate on Yoko,I think that that is, that's only part of the story, right?Like, oh, Yoko broke up the Beatles.It's like, Yoko also helped John Lennonrediscover his artistic identity.And from that, John Lennon wrote some of the best songsin all of human history.So like, it's a mixed bag.I do think that yes, they were very co-dependentand Yoko became present in like every aspect"
    },
    {
      "startSec": 567.07,
      "endSec": 594.79,
      "text": "of John Lennon's life.And she's just like always there in the studioand I understand from a band's perspectivethat that could be frustrating, absolutely.But she also awoken something in himthat I think all of humanity should be grateful for.So you know, Paul gets a little jealous of this tooand the vibe is shifting.And so kind of all of this stuff melded in together,you see this shift from the Paul led"
    },
    {
      "startSec": 594.79,
      "endSec": 613.27,
      "text": "like artistic vision to no artistic vision.But there is an artistic visionbut it doesn't seem like there's one.And the easiest way to like conceptualize thatis just look at the two albums,look at Sergeant Pepper'sand then look at the White Album back-to-back.The White Album just says the Beatles on it.There's a reason why it's called the White Albums.They didn't really have a name"
    },
    {
      "startSec": 613.27,
      "endSec": 631.5098009950249,
      "text": "and they're like, is this the eponymous album?And it's just the White Album.Pretty cool.And the music's awesome.Like that's the hardest thing.It's a very long record.There's 30 songs.And one of the weirdest songs is Revolution No."
    },
    {
      "startSec": 631.5098009950249,
      "endSec": 661.71,
      "text": "9.It is a good indicator of kind of where the band's heads were atand also where Psychedelic Rock kind of was evolvingwhere it goes from just being like interesting lyrics and fun like phase-y guitar tones and long solos.And it starts to dip into true avant-gardeand truly experimental.Obviously, this is not going to keep everybody.But I think that the Revolution series, there are three songs,"
    },
    {
      "startSec": 661.71,
      "endSec": 687.15,
      "text": "is kind of tells the story of where the Beatles were atwhere John Lennon's head was atand also some of the struggle and strife within.So three different versions of Revolution.There's one that's the fast version.That's the single.And it was pumped up in terms of tempo and intensityat the request of Paul and George.John wrote the song.And then John got his way for the album version,which is like a slower."
    },
    {
      "startSec": 687.15,
      "endSec": 715.31,
      "text": "And it's very interesting kind of like to think abouthow fast versus slow changes intentand like the ways that lyrics and meaning land.So like when you have a, so you want a revolution,like it's like, oh, I do want a revolution.Like, oh, that's me.And then you have like a really slow,so you want a revolution.It feels just totally different.Like there's an irony.There's a sarcasm.It's sardonic."
    },
    {
      "startSec": 715.31,
      "endSec": 741.71,
      "text": "It's John Lennon version versus fast single version,like radio-friendly-ish version.And then they jammed on this for a while.They did an 11 minute version that actually got released.That's pretty awesome.If you're into that, you can find that on my sub-stack lovemusicmore.substack.com.You can listen to that 11 minute version.But then what ended up happeningis they created a sound collage"
    },
    {
      "startSec": 741.71,
      "endSec": 770.27,
      "text": "where John did not invite Paul,but John, George, Ringo, and Yoko,chopped up the audio and did a bunch of tape loopsand found a bunch of like random sound sounds,like somebody saying number nine and number nine.And created this like weird eight minute experimental song.But it's on a rock album by the biggest rock bandin all of human history.And so that's what I'm really trying to stress here"
    },
    {
      "startSec": 770.27,
      "endSec": 800.33,
      "text": "is that it's not just anybody doing this.It's this is deep cultural impactand deep impact for rock musicians to say what is possible.How long can a song be?What will people and fans expect?What excites them?And I guarantee you, some people heard Revolution number nineand that was the first experimental songthey ever heard in their livesand it changed where they were gonna go."
    },
    {
      "startSec": 800.33,
      "endSec": 833.14,
      "text": "And those people, you know, it's like I'm talking,like does In-A-Gadda-Da-Vida happen without those kind of songs?It's like the longest rock song everor it does a dark side of the moon.You know, the white album is Art Rock.And I think by having the biggest band do Art Rockit opens the door for other people to try it.To try and paint with sound and loops.To make their answer where the Beatles, like you can think of it,"
    },
    {
      "startSec": 833.14,
      "endSec": 865.39,
      "text": "it's just like somebody does somethingat the top of the game that no one's done beforeand then now it's your time to respond.There's a reason why people were able to breaklike the four-minute mile after someone elsebroke the four-minute milebecause now the wall is shattered.Now you know it's possible, so go do it.Speaking of that, let's talk about Abbey Road.So we can talk about all the Beatles albums"
    },
    {
      "startSec": 865.39,
      "endSec": 883.11,
      "text": "I could do entire Pods on all of that and I would love tobut we gotta keep moving.We gotta a whole history of rock that I wanna get toand I don't wanna be like those classesthat I had in high school that's just like,yeah, yeah, yeah, yeah, I'm a present day, whatever.Like they just always ended in like World War Oneand it's like, man, there's a lot more history going on."
    },
    {
      "startSec": 883.11,
      "endSec": 907.47,
      "text": "So I'm trying to get all the way up to modern day.So let's talk Abbey Road.It's my favorite Beatles album because it's awesome, you know?Like it's not the necessarily the most hipstercool Beatles album but it is the Beatles albumbecause it is that final, like everybody in the studio knew,like we're gonna do it like we used to, this is it.And yes, there's a little debate whether or not"
    },
    {
      "startSec": 907.47,
      "endSec": 932.95,
      "text": "let it be is actually the final albumyou should count it as an album you probably should.But in my mind, the intention and the perspectiveof making Abbey Road was everybody in the studio sayingwe're gonna do one last Beatles record like we used to.Geoff Emerick, the engineer who quit during the white albumbecause again, like Ringo was like, hate the vibes.He came back, George Martin came back."
    },
    {
      "startSec": 932.95,
      "endSec": 961.39,
      "text": "But I think that that needs to be stressed really heavily.George Martin was always kind of their like father figure,not father figure, they're like figure of authority.Older and kept them more in line.And I think that the Beatles actually did their best workwhen they were pushing off against that authority figurerather than not having any, obviously both the school.But when you have somebody like George Martin"
    },
    {
      "startSec": 961.39,
      "endSec": 988.27,
      "text": "that kind of like brings some order to the chaosgives a little bit of boundaries.Sometimes the best art can be made within those specificationsor within those more cramped narrow spaces.I want to specifically talk about I want you,she's so heavy because it is a songthat features a moog synthesizer,another innovation in technologythat is going to change the face of rock music,"
    },
    {
      "startSec": 988.27,
      "endSec": 1020.47,
      "text": "the synthesizer, it's not a piano anymore, like early Beatles.We have something new, something foreign, something alien.It's awesome.And so these synthesizers are starting to make their way in.There's a white noise filter.And being able to generate soundis just what a innovation.It's on par with the electric guitar.It's that big.And it's on par with like the stadium rockthat I was talking about in the last episode"
    },
    {
      "startSec": 1020.51,
      "endSec": 1043.39,
      "text": "and on the sub-stack is you get these line arrays,you get these big speakers that are able to now make it sound good.So yes, the Beatles were playing stadiumsbut it sounded like crap because the technology wasn't there.But because the Beatles did, again, everyone said,oh, I guess we can have music shows in stadiums,how do we figure out how to amplify that?Instead of just running it through like the stadium PA"
    },
    {
      "startSec": 1043.39,
      "endSec": 1067.15,
      "text": "that the ballpark people useand it just sounds like that the entire time,like how do we actually make it sound good?And technologists, they helped figure it outwith line arrays with these big old speakersthat are calibrated so they can emit soundand with the appropriate delay compensationso that you can have lots and lots of speakers.And then from there, because the technology is there,"
    },
    {
      "startSec": 1067.15,
      "endSec": 1095.31,
      "text": "you can have these big stadium shows.You add on top of that now,synthesized technology based sound,not just amplification, but actual sound generation.So that's in a few, like Here Comes the Sun's,got a Moog synthesizer, they're sick.Still used all the time.One of the coolest things ever inventedand remains to this day, one of the coolest things ever invented.So that's Eeking in."
    },
    {
      "startSec": 1095.31,
      "endSec": 1120.67,
      "text": "I feel like that's a nice little kind of bookend.It's like a push into where musical future is goingwithout fully being there.It's like a one toe into where the futureof the synthesizer is going.And I like that I want you is only 14 words in eight minutes.Cause John was talking about how, you know,like if you're drowning, you don't say,oh, I'm drowning, what a shame.All of these, he just goes,"
    },
    {
      "startSec": 1120.67,
      "endSec": 1148.91,
      "text": "ah, I'm drowning, you know.And he was trying to take that same energyand that same emotion of just like desireand put it into a song.There's another really cool thingin the way that this song ends.It just has a cut of the tape.And that again, it's like the permission that now you haveit's not going to be a nice smooth fade out.The biggest band in the world is going to take the tapeand go, shoot, done."
    },
    {
      "startSec": 1148.91,
      "endSec": 1175.39,
      "text": "You're in and you're out of that world.That universe is just destroyed in an instant.That has broad and, you know, all the way to the modern day.The reason why people still say like,oh, the Beatles are my biggest influence is stuff like thatbecause it allows you to.You can say, hey, the biggest band in the world did it.I can too.It doesn't all have to be little teeny-bopper hits.It doesn't all have to be smooth."
    },
    {
      "startSec": 1175.39,
      "endSec": 1198.3,
      "text": "I can challenge the listener because, you know,what the Beatles did too.And the pushback is people go, yeah, put it into the Beatles.But it's like a chicken or egg thing.Like sure, yeah, the Beatles in the beginningwere the biggest rock bandbecause they wrote nice pleasant songs,but they were the biggest band in the endbecause they were willing to take the riskand they were willing to follow their muses"
    },
    {
      "startSec": 1198.3,
      "endSec": 1223.54,
      "text": "wherever they took them.And then like you've got George Harrison and obviously I was talking about how he's grownso much as a songwriter, you know,he had awesome tracks like long, long, longon the White Album, one of my favorite Beatles songs.And now he's got somethingand here comes the sun, you know.I feel like to this day, like I think if you checkthe Spotify streaming numbers"
    },
    {
      "startSec": 1223.54,
      "endSec": 1250.06,
      "text": "and pretty sure those are two of the top oneswhich is such an awesome testamentto his growth and his perspectivebecause again, he was always like kind of looked down onand treated poorly by the bandand by Geoff Emerick as well, by George Martinbecause he was the young one.He was kind of like the add on.It's like, oh, do we need a filler song?Like maybe George has got one.For him to come around and be like,"
    },
    {
      "startSec": 1250.06,
      "endSec": 1283.7,
      "text": "hey, here's one of the greatest songs of all time.You're welcome.Last album, cool.And then Paul McCartney, you know,he's got great songs on here.The one that I want to focus on is the end,which is a really great bow.It's a acknowledgement of where they areand then Paul because he has that kitchygrangios perspective, you know, think like Sergeant Pepper's.He's able to shift all of thatand compile all of that"
    },
    {
      "startSec": 1283.7,
      "endSec": 1316.94,
      "text": "and create his little ode to what the Beatles were.And with the beautiful line of end in the end,the love you take is equal to the love you make.It's just, it's very nice.So the Beatles depart and at that,now there's no one left to pace everyone.And we have all these virtuosity musicians.We've got the John Bonham's, Eric Clapton's,the Jimi Hendrix's.And they're stretching out more and more"
    },
    {
      "startSec": 1316.94,
      "endSec": 1340.74,
      "text": "because they realized, you know,the Beatles are doing it, we're doing it.Everybody can play like long songs now.And part of the reason why they were actually able tois, again, technology, radio changed.So going from AM to FM radio was such a big deal.And like another thing that I just don't think it's enoughcredit for the way that the actual music changedbecause AM really prioritizes like mid-range"
    },
    {
      "startSec": 1341.7,
      "endSec": 1367.42,
      "text": "just by the way that it works, FM is much broader.It's kind of like black and white versus color.So let's talk about how it even works.AM radio, amplitude modulation,that is changes in amplitude.So like changes in, you can think of it like volumeor strength or power.And then you have frequency modulation,which is changes in actual frequencies.So you can think about music.There's a lot more frequency focus"
    },
    {
      "startSec": 1367.42,
      "endSec": 1394.34,
      "text": "rather than spoken word like what I'm doing right now.A lot of it's just how much am I pushing out.And so that that's part of the reason why today,most of what you hear on AM radio is in talk,lower fidelity stuff.And then most of what you hear on FM is broad spectrum music.Sometimes some talk and sometimes like talkvery high quality talk radio that has musical underscoreor like sports talk radio will still be on FM"
    },
    {
      "startSec": 1394.34,
      "endSec": 1417.3,
      "text": "because they want the highest highest qualityand they've got the budget for it.Another thing that we get to do is on FM,we have stereo audio.We're able to broadcast the left and right channel.And because of that, now we can use stereo audio effects.So if you think about kind of like the changegoing from mono music to stereo musicor going from music that had a bunch of effects"
    },
    {
      "startSec": 1417.3,
      "endSec": 1438.78,
      "text": "to music that didn't have effects to music that had effectsthat shift in mentality from likeI am capturing a live performanceto I am creating something newthat's never been heard before.AM versus FM helps facilitate that.Helps turn that into somethingthat can even be perceived on the radioand the radio was top dog.Like that's where most people were finding music.And I know it's not like that today,"
    },
    {
      "startSec": 1438.78,
      "endSec": 1465.58,
      "text": "but like when you're mixing your record,you wanted to sound good on the radio even today.And so because of that, because that's like a thingthat you do in the same way that todayprobably the most important thing to dois make stuff sound good on a phone speakeror like AirPods earbuds.Getting things to sound good on the radiowas kind of goal number onebecause that's where most people heard it"
    },
    {
      "startSec": 1465.58,
      "endSec": 1490.3,
      "text": "and evaluated it and decided whether or not to buy.So if you listen to old records like Buddy Hollyversus listening to like Pink Floyd,there's clearly a difference in goal.And Buddy Holly's music sounds the way that it doesbecause it sounded good on AM radio.Pink Floyd sounds the way that it doesbecause it sounds good on FM radio.Part of the energy and excitement of this change toowas pirate radio."
    },
    {
      "startSec": 1490.3,
      "endSec": 1514.9,
      "text": "There were literally people that would buy boatsand put FM towers on it and then stream illegallyinto different countries so they could playlike really cool underground counter-cultural music.Some of these people called their radioformat's progressive radio.And so let's talk a little bit about prog rock. So prog rock is progressive rock.And the way that I like to think about prog rock"
    },
    {
      "startSec": 1514.9,
      "endSec": 1548.46,
      "text": "is just like, it's the mature rock.There was a quote of Steve Lukather from Totoand he was talking about adult chords.Ah, you have the adult chords.And he was talking about, you know, jazzy chords.Stuff that borrows from that type of harmonykind of like music head stuff.The stuff that's beyond just like the chord shapes.And a lot of these musicians,they end up coming up in a way that's not just likeI learned by ear."
    },
    {
      "startSec": 1548.46,
      "endSec": 1571.42,
      "text": "A lot of them are like textbook great musicians.Like, and this is kind of the pointthat I think is really interesting.A lot of genres, jazz kind of did this too wherethere's an early phase, a phase that's happening by earand there's a later phase, a phase that's happening by mind.And part of the reason why that happensis that you kind of exhaust a lot of the easier stuffor you kind of get tired of it."
    },
    {
      "startSec": 1571.42,
      "endSec": 1589.9,
      "text": "You kind of go like, ah, you know, likewe've been doing the same thing.You can kind of hear that in the Beatles, right?Where they'll have these doo-wop-y sectionslike happiness is a warm gunthat harken back to early rock.But it also is so different now.It's only been like five years since we started, right?When they did the white album,but you can hear that they are now referencing"
    },
    {
      "startSec": 1589.9,
      "endSec": 1614.42,
      "text": "musical history rather than being a partof that musical history.They've turned the page there on the next chapter.And every time you do that,you add a little bit of complexitybecause now you have a larger vocabulary to draw from.It's just like proto-language versus language.Or if you listen to old Englishand then kind of listen to modern Englishwhere we borrowed all this stufffrom the French language and from German"
    },
    {
      "startSec": 1614.42,
      "endSec": 1641.98,
      "text": "and from Japanese, Sayonara, karaoke.And it creates like a broader set of things.You can just make sentences out of,and music is the same waywhere people can wink, wink, nudge, nudge.I'm quoting this old jazz standard,where I am doing a little momentthat sounds like early rock and rollto make that next section even more impactful.Same thing with prog music.They have more stuff that they can reference."
    },
    {
      "startSec": 1641.98,
      "endSec": 1666.7,
      "text": "They have more effects, and they also have more fidelity.They have this FM spectrum.They have stereo audio from the jump.You know, like some of these bands, they started earlier,but most of them kind of like began their careerin earnest after stereo was already invented.A lot of them start after like the synthesizersbeen around for a little while.So they're kind of like their ground upis not built on like,"
    },
    {
      "startSec": 1666.7,
      "endSec": 1688.5,
      "text": "wow, the new thing is electric guitar.It's like no, electric guitar has been around for a while.The new thing is the synthesizer.And like all the new thing is stereo audio.It's like no, like everything I do is in stereo.Like I mix for stereo.I don't even think about mono anymore.That changing of the guard is so impactful.It happens in the modern day where you know,I talked to people on my podcast,"
    },
    {
      "startSec": 1688.5,
      "endSec": 1717.18,
      "text": "and they'll talk about, yeah, I was using tapeand then I moved over to digital.Inherent in that mentality.And it's not, like people can break out of it.But like inherent in it is I look at digitalas an extension of analog,or I have to take time to relearnand redevelop my processes.There's a style of digital mixing called Brauerizing,where you're trying to pull outas much analog sizzle out of the digital audio realm."
    },
    {
      "startSec": 1717.18,
      "endSec": 1744.74,
      "text": "It's kind of a weird way to think about it to me.It's not a bad way,but if you always came up on digital,you have a different workflow.You have a different idea of what music is and how it's made.Versus somebody that came up on tape and big studios,there's like a different idea of what the ideal isand how you do it.And so by starting at a different point technologically,the music necessarily will be different."
    },
    {
      "startSec": 1744.74,
      "endSec": 1776.06,
      "text": "I think that's part of the things that when people say,I don't like modern music,part of what they don't like is actually the workflowand the influence of technologyin the conceptualization of music.But I digress.Let's talk about Pink Floyd.Pink Floyd starts off Syd Barrett, Roger Waters,Richard Wright and Nick Mason.Syd Barrett has his mental health declines.It's very sad and David Gilmour gets brought in."
    },
    {
      "startSec": 1776.06,
      "endSec": 1804.98,
      "text": "It's a second guitarist and eventually replaces Syd.Dark Side of the Moon, I think is a really incredible recordbecause it's grappling in part with that idea of mental illness.And in the same way that the record, the white album,is grappling with the death of the Beatles manager.There's this added element of just angst and sadnessthat is just built into the dark side."
    },
    {
      "startSec": 1804.98,
      "endSec": 1838.7,
      "text": "And it is the kind of album that is just such an albumand it was written as an album.It wasn't a collection of singles.It wasn't a loosely tied together story.It is a, the entire thing is its poem.And that's the reason why I think when people listento the Dark Side of the Moon, it is a lot of people's momentwhere they go, ah, I get it.I understand the LP.I know that I had a moment like that too."
    },
    {
      "startSec": 1838.7,
      "endSec": 1864.98,
      "text": "One of the things that I did was I watched Dark Sidewith Wizard of Oz at a friend's house.I was young, like nine years old.And it was fun.It was a fun way to force yourself to listento the whole record and try and like, ah, that connectsor whatever, but then later on to sit downand just listen to the record and the darkwith headphones on.It's one that helps you just, I think, gather"
    },
    {
      "startSec": 1864.98,
      "endSec": 1893.42,
      "text": "and digest what musicians are going forwhen they're making a record.And there's that element of newness,the newness of the synthesizer, the taking of the best ideasfrom the Beatles, like tone poemand looping these sonic collages.And then also just the incredible through lines,these moments that pervade the entire albumthat ties them together.And there's one song I really want to shout out."
    },
    {
      "startSec": 1893.42,
      "endSec": 1934.97,
      "text": "It's the great gig in the sky.Clare Torry, she sings this wordless, improvised vocalthat is just so haunting and so beautiful.She got paid 30 pounds.She did get a settlement though, undisclosed.But yeah, it's an interesting thing.The history of authorship, the history of like,who gets paid when you play on a record.And there are a lot of stories of talented, incrediblesession musicians that die penniless,"
    },
    {
      "startSec": 1937.09,
      "endSec": 1965.87,
      "text": "which is one of the reasons why it's greatto have a little bit of the song if you can,especially if you're making something with friends,where if you're paying you 30 pounds,maybe you can negotiate a little bit of songwriting creditfor your amelody that you wrote.But her work and the band's work in Alan Parsons, who was doing the audio recording at EMIslash Abbey Road Studios,it takes the recording studio"
    },
    {
      "startSec": 1965.87,
      "endSec": 1992.87,
      "text": "and turns the recording studio itself into an instrument.I actually got to work with Alan Parsons for a recording session in L.A.And it was an incredible thing of just talking to someonebeing, you know, momentarily connected with somebodythat made like one of the best things ever.The recording that we did is not one of the best things ever.So, you know, he only has so much power."
    },
    {
      "startSec": 1992.87,
      "endSec": 2019.31,
      "text": "A lot of it has to come from the music itself,the songwriting and the musicians and the budget and the time.But I did learn a lot about how to create widthin the classic way, where you would pan one guitarto all the way to the left channel, another guitarall the way to the right channeland then intentionally detune them from each other.We do this now with effects on the computer,but it's fun to do it for real."
    },
    {
      "startSec": 2019.31,
      "endSec": 2045.95,
      "text": "And it was a really, really informative sessionto watch him working in a mix down,looking at how he analyzes and identifies problemsand then fixes them.Because I think that so much of recording engineeringis the identification of what's wrong.You're like, ah, this thing's not warm enough.Oh, this thing is clipping a little bit.Like, do I lean into it?Do I fix it?Do I push it into a new place?Do I add a reverb?"
    },
    {
      "startSec": 2045.95,
      "endSec": 2070.07,
      "text": "Like, you have to identify the problemin order to find a solution.And sometimes the problem ends up beingthe coolest part of the entire recording.And so watching him kind of like go through that decision-makingtree, I think, was the most informative,even though the thing that we made was fine.The, the, I was just playing guitar on it, wasn't my song.It was, it was just a cool thing"
    },
    {
      "startSec": 2070.07,
      "endSec": 2094.95,
      "text": "to just be in the presence of somebodythat has that high level of executive functioningof hearing things and applying things.And also doing it in a fully analog, you know,and a real board.It's great to have those little experiencesbecause like I was saying earlier,if you come up an only digital,sometimes you'll have these analog modulationsor things that are in your computerand you won't actually know what they do,"
    },
    {
      "startSec": 2094.95,
      "endSec": 2123.39,
      "text": "but getting to see them in personsometimes that helps you understandwhat the coders were trying to do onto the digital.So you can kind of apply some of that analog knowledgeto the, the fake version, which is always fun.It's fun to broaden your horizons to look at,look at other people and how they do things.So beyond Pink Floyd,I think that there are a few otherprog kind of acts that I think are really important."
    },
    {
      "startSec": 2123.39,
      "endSec": 2151.91,
      "text": "Genesis led by Peter Gabrieland then finally Phil Collins.They added kind of this theatrical elementand intricate musical arrangements.And then you have yes,with just super virtualistic performances,layered keyboards.And I think that yes,is a good example of how the keyboard,the synthesizer really comes to fruition.As is Emerson, Lake & Palmer,they have like this symphonic approach"
    },
    {
      "startSec": 2151.91,
      "endSec": 2176.51,
      "text": "where they add in these elaborate stage shodes.And again, like these stages,these performances are getting bigger,partially enabled by that line array technology.And so now when you're on a bigger stage,you gotta be a little bit larger than life.And you see these musiciansI'm speaking of which, let's talk Jethro Tull.Jethro Tull, Ian Anderson has, he's a flute player.And he'd play on one leg."
    },
    {
      "startSec": 2176.51,
      "endSec": 2203.79,
      "text": "I actually have a song on myMasks and Monsters record if you wanna check that out,that talks about Flip Flop Phil,who's greatest hero in the world was Ian Anderson.And he went to a San Diego open mic nightand tried to put on his bestIan Anderson performance.I loved it.I'm not hating it the guy.It was awesome.And it was just, it's a funny moment in my lifelike to live performance because Jethro Tull"
    },
    {
      "startSec": 2203.79,
      "endSec": 2229.07,
      "text": "is designed for the biggest stages.Amphitheater isn't above, right?And to see somebody in a tiny breweryin an open mic night trying to do all the same moves.It's just a fascinating thinghow music has evolved in the history of itand kind of different venues for different scenes.Rush from Canada, progressive rock with hard rockand using things like complex time signatures."
    },
    {
      "startSec": 2229.07,
      "endSec": 2253.71,
      "text": "So a lot of rock is either like waltz time signature,especially in like the earlier doo-wop kind of stuff,or just straight ahead for four common time.Toot, toot, toot, toot, toot, toot, toot, toot, toot.You know, rock beats.Rush started to add in, again, is progressive.This is, we're pushing, we're going farther.We're in the mature stage of rock.They started to add in all of these time signature changes."
    },
    {
      "startSec": 2253.71,
      "endSec": 2284.63,
      "text": "So these weird, herky jerky.And by doing that, you open up these like rhythmic pathwaysthat didn't exist before.So Neil Peart, you might have seen himwith the million drums.You know, he used, he used the like theatrical elementof rock music.And this is a three piece band, this is a trio.And so the drummer's got to, the drummer's got to pull his weightwhen you only have three people going on."
    },
    {
      "startSec": 2284.63,
      "endSec": 2308.43,
      "text": "But Neil Peart, he, he'd have a million drumsand he would showcase kind of all the different tonal changes,as well as time signature changes,all of which added to that just virtuosity.When you're doing different things rhythmically,now everybody else in the band has a different palette to play withwhen you're doing things harmonically.Like one of the reasons why jazz has rich harmonic textures"
    },
    {
      "startSec": 2308.43,
      "endSec": 2332.71,
      "text": "is to give the soloist stuff to do.Like when you have really boring chords,it kind of locked into a lot of the same ideas, not necessarily,but it's, it closes down certain pathways.And then when you open up more chords,so say, for example, you're playing a chordthat's got six notes in it instead of three, six different notes.Now as the soloist, now you have six home basesthat you can play with or play against."
    },
    {
      "startSec": 2332.71,
      "endSec": 2357.43,
      "text": "When you have a three note chord,you really have those three notesand then some passing notes in between.You can play out, you can add in all of these tensionsand textures on top of it, but it sounds a little weirderthan if you have rich harmonic texture.Rich harmonic texture allows, it's like,it's like you add in the complexity in the harmony and the chordsand now it's easier to add the complexity in the melody"
    },
    {
      "startSec": 2357.43,
      "endSec": 2382.35,
      "text": "or in the improvisation.When the two are at odds with each other, it can sound weird.It can sound good, but it can sound weird.And when you have more complexity on one end,it's easier to dip into complexity on the other.So that's what prog is doing.And in later bands like Toto, we see that too,just like I was talking Steve Lukather,where these musicians end up loving musicfor the sake of music."
    },
    {
      "startSec": 2382.35,
      "endSec": 2408.59,
      "text": "And sometimes people call it musoor they use these derogatory terms for it,but I think it's cool too.I think both are good.Simple music's good, complex music's good,and the best music and the best musicians can do both.And progressive music and progressive radio, FM radio,pirate radio, stereo music, the synthesizer,all of that stuff just opens up new channels to explore.And the musicians will explore because that's"
    },
    {
      "startSec": 2408.59,
      "endSec": 2429.91,
      "text": "what musicians do.Whether fans like it or not, we're gonna go exploring.We're gonna find new sounds because somebody's got to.If you just want the same thing,just listen to the old records.That's what a lot of people do.But musicians are here to push us.So let's be pushed.I hope you enjoyed this episode.If you did, I'd love to invite you to subscribeand give it a five stars here on"
    },
    {
      "startSec": 2429.91,
      "endSec": 2452.31,
      "text": "if you're listening on Spotify, Apple Music,wherever you're getting your pods.See if you can do that little five star for us.You can also follow us on YouTubeand check out the sub-stack.You can find all of my links at scoobertdoobert.pizza.The sub-stack specifically though,because it's cool, there's a lot of good music on there.Lovemusicmore.substack.com.All one word, lovemusicmore.substack.com."
    },
    {
      "startSec": 2452.31,
      "endSec": 2475.67,
      "text": "That's where you can find the accompanying blogsto these solo pods, as well as just, you know,some extra cool stuff, some guest posts.It's just a fun way to love music moreand it comes to your email inbox and it's totally freefor the basic tier.What else?Oh yeah, I've got a new recordthat I think you might enjoy.They're gonna sell out,because we did not print very many of them."
    },
    {
      "startSec": 2475.67,
      "endSec": 2499.27,
      "text": "But my Scoobert Doobert LP, the letter I, is out nowand it's a beautiful colored vinyl.And I think you'd really dig it.So, if you want that, scoobertdoobert.pizza,you can find it, you can pick up your copybefore it sells out.And I would really appreciate it.It's a great way to support your local musician,local on the internet.Thanks for listening, everybody.I will see you next week."
    }
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