Insights In Sound 194 “Buzz Me In” with Martin Porter & Mr Bonzai, Live at AES 2025 – S20 E4

Welcome to Insights and Sound, where we talk to the people behind the scenes, behind the technology, and behind the
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music. People you may not know, but you should. And please check out insights and
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sound.com for a full list of our podcasts and YouTube series. And big thanks to our sponsors, Mackie, Roland,
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Mojave Audio, Ozbot. Thank you all for coming. My name is
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Daniel Listen, Keller. I am the chair of AES LA and the host of the Insights and
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Sound podcast. And my guests today are the authors of Buzzme,
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Mr. Martin Porter and Mr. David Gogggin. Hi.
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Very nice to see some friendly faces out there again. Thank you. And the rest of you, too.
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All right. Thanks. I’m here all week. Let the show begin. Yes. First of all, let’s get let’s get a little bit of background on this book
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because you’ve done a hell of a lot of research on this book. 10 years took us 10 years. Yeah.
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It started it started about, you know, Stone, those of you who know me know I I’ve been in this business and so has he
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been in the business forever, right? And uh 1978 I was an editor of a magazine
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some of you may remember called Proan News. Oh my god. Remember Proan News? Proound News.
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All you young, there’s no young people in this room anyway. Is there any young people in this room, raise your hand? Okay.
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Yeah. Robbie. Okay. Yeah. So, you young and don’t remember. So, Stone, this guy was my editor. Chris Stone in those days was like, if
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those of you who may remember Chris was one of the, you know, he was one of the dons of the business, right? There was
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there was a little mafia running around those days called Spars in the in the recording studio business, right?
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student and and Stone and and Joe Tarzia and Mammman and those guys and they had
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they they had the they had the town the whole country wrapped up right at that rate. Right. And but Stone was a great
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storyteller and he knew how to mix drinks and we would drink and he would tell stories and I would say Stone Stone
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you got to write a book. You got to let me write this book. And he said Porter Porter I’m never going to write let you
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write this book. This book is going to the grave with me. This story is going to the grave. And you know what? I every time I’d see him, I would say it. And
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then then about 10 years ago, I started working out here a lot. I’m a New Yorker, as you could tell, right? And uh
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and I started coming out and I’ I’d stop over, see Stone, he’d tell stories we would drink. And I could see him sort of
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softening a little bit. And then one day I end up in his backyard in Hancock Park and Bonsai shows up. Now you and Bonds
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can tell we all know who the famous Bonsai is, right? All right. He besides being columnist and a man about town in
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the studios, he was he was Stone’s concierity, right? He was like he was
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his buddy. And he one trip I came in and said, “Stone, you got to let me write the story.” And he said, “I’ll let you
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write the story if if Bonsai is involved.” All right? And that was because Bonsai, he trusted Bonsai. He
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didn’t really trust me, right? So he trusted him to just tell the story, right? And once we cut the deal, you
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know, 10 years, it’s probably 11 years ago now, right? He start we started recording, we started taping and Stone
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had three caveats. He said, “Listen, Porter, this is the deal.” First of all, this is not the Chris Stone story,
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right? First of all, this is the record plan story. Two, um, I have there’s
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something really important to me. I want to make sure that people remember who Gary Kellgrren was. All right? And
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that’s really important. Does anybody out here know who Gary Kellgrren was? All right. Very few of you. All right.
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That’s because Gary Kell was intentional on Gary’s part, though. Well, no, not really. Gary died in 77.
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He drowned in his pool, right? And it was before the media, before the studio
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business was hot. Gary Kelling was the genius behind Record Plan. He was the visionary. He was the engineer. He was
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the He was the voice. He was the He had the picture of what recording could become. And he was Chris’s partner.
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Chris was the business guy. Uh Gary was the creative guy. So, he said, “I want people to remember
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who Gary Kellg was.” So that was a big port. And then the other thing was it you there you got to remember these
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places didn’t run because Gary didn’t run because of Chris. They ran because of hundreds of kids who worked for a
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buck an hour who busted their ass who who made we made no money and who made
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magic happen. It was it was really a family. It was an ecosystem that happened. So you here’s a list of everybody I want you to rec you and
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Bonsai to record to interview. And he gave us a list and uh and that’s how the
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book happened. and uh Bonsai worked together put interviewing those people and reading virtually everything
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possible about Record Plant which was immense once you start digging into it. Yeah. I met Stone um when the original
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record plant on Third Street uh was um nearing its end days. He explained to me
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that this is like an old sports car. We’ve tried to fix it up too many times. It’s just time to get a new car. And uh
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my job was to convince the um years and
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years of clients that the new studio which was going to open the in ‘ 86.
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This was in the early 80s working up to this um needed to reassure the the
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audience that the I mean RER Plant was so [ __ ] legendary. It was uh it was
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like a mystery place. Why is this one place responsible for so many hits? Uh
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it was incredible how that happened. So about two years uh uh before we really
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seriously started the book, uh Marty and I rallied to get a uh hall of fame tech
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award for um for Stone Kelgrren. Again, hardly anybody knew who Kellg was. It
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had been too long. Uh so we started the research and uh we’ve got a uh and we we
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did it. We were able to it was kind of one of the last Hall of Fame awards and
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that was kind of like the uh the springboard for the book. Little did we
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know it was going to take this this long to for the book to come out. came out in July and um and endless cocktail martini
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lunches where I learned how to make a martini from stone. He used to be a bartender. He worked his way through uh
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business school as a bartender at Trader Vicks in Berkeley. Y
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which was was legendary because it was the last place where the Korea
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guys went off. If they could have a drink there, they might they would come back. Mhm. And uh so we had our drinks in the
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backyard and um you know there’s so many stories that are not in the book. Um but
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there’s plenty of stories there that have never been told before and um to be
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you get a better accurate story actually from the people who were working at the
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studio. the the second engineers, the first engineers, techs, the tech people, the the maintenance
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room. It was a legendary studio because it had the latest equipment always. And
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again, Marty mentioned the Spars group. These guys were really like their own homegrown mafia. Uh they banded together
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and we’re going to uh talk to the manufacturers about what we want and what we want to pay. and uh they they
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kind of controlled things in a weird way. So it was an organization
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uh and Stone was kind of the uh figurehead in some in many ways. He was just so ballsy and uh and in his
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ambitions and um I guess that’s it. Well, but one one other thing to add and
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before we is that uh there were three record plants. All right. They were two businesses. All right. Stone and
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Kellgrren owned LA and started New York in ‘ 68 for for Jimmyi Hendricks and
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recorded Electric Lady Land there. Okay. They went off 14 months later. They sold
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it to uh to a cable company that became Warner Communications and they split
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town and they moved out to the West Coast. They started LA on Third Street and then they bu then a couple years
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later they built up in Saucelo by the Bay which is still operating. the only one of the studios that’s still
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operating now. 2200, it’s called 2200 Studios. Um, so they ran the West Coast.
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When they split the West Coast, they needed somebody to operate the East Coast. Tom Hidley, people know who Tom
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Hidley was because he’s another character in the in the leg, another legendary character there. Tom Hidley was their chief engineer. Um, and he’s a
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big part of the story and we hope we can get into him because he passed away a couple of months ago. Um uh but they
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needed somebody to run New York because New York was still operating on 44th Street and it was busy. So they hired a
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guy named Roy Sakala. All right. Uh Roy Sala was his own legend. He ran New York
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which was his own separate company. Uh and people didn’t realize it. John Lennon used to call who worked in uh in
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New York. He used to call LA Record Plant West even though they’re two separate corporations. So we when we dug
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into this there were we it was we decided we can’t write a book around all about three people three studios six
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trucks too big but we figured what the [ __ ] we’ll do it anyway right and uh but
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we didn’t we we had stone to really help us out on the west coast operation we
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didn’t really weren’t as connected with the east coast and so we really needed to to and Roy had passed away it was it
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was because of Royy’s son Jay and his nephew uh Craig Alberino who can who
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allowed us to do massive interviews with Royy’s wife Lorie Burton the songwriter Lorie Burton. It was because of Lori uh
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that we got much of the stories and and Royy’s legend and Royy’s real
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contribution besides the being John Lennon’s post Beatles engineer and owning record planes was he was the
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mentor to some of the greatest engineers of our time. Amen. Jack Douglas, uh, you
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know, Jimmy Ivine, uh, who else? Uh, Tom Penzio, uh, you know, Bob, you know, um,
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you know, it’s endless. And he is, you know, he’s our next project. Just like Bond said that we got, uh, we got, uh,
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Chris and Gary, a tech award, the person who deserves, uh, tremendous accolades
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and and frankly, I’m doing a signing with Jack Douglas in New York next week on the book. It’ll be a tribute to Roy
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because Roy deserves his own his own recognition. Yeah. Yeah. Well,
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New York rough trade on Tuesday night at 6:00. Rough trade below in in uh at uh Radio
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City. Marty hangs out in the in the leather bars. So, it’s sort of fitting.
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So, let let’s just start out with with a little premise here because the thing about the record plant that was so
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unique at the time, the whole industry was changing. the whole way that
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recording studios was uh operated was changing and that’s I think the big the
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big headline here was that this was the first studio that was really an artists catered to the artist catered to the you
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know I mean the same the same kind of change was happening in in England at that point you know you had studios that
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were basically owned by networks they were clinical you had guys in white coats and smoks and stuff like that the
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record plant was the first place where it was really it was a hotel it was a place where you could be creative,
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right? Absolutely. You know, the story starts this our books is the story. It’s all
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it’s listen, the record plan went out of business in in LA what two years ago now, you know, in Sycamore, right? Yeah.
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About two years ago. Um, so the story lasts and it’s still operating under the name a different name in Salcelo. The
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original Royy’s mix room on the 10th floor of of 321 West 44th Street is
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still operating as Sony Music. So there are some remnants of the studio round but the entity is gone. Um you know but
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our story arc starts in summer of summer of ‘ 67 in New York when Gary Kelgren
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was an assistant engineer in a studio called Mayfair Studios. He was working during the summer. Think about this
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right he had three clients working simultaneously. He was working with Jimmyi Hendris. All right. At Mayfair,
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he was working with Velv Reed and Velvet Underground on White Light White Heat.
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And he was working with Frank Zappa on We were only in it for the money all at one time. Burning his brains out. We’re
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going crazy, right? 200 bucks a week. And then he meets Chris Stone
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and Chris says, “You’re not making any money.” Right? And so Stone goes off and says, “You know what? Uh, you know, I
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can get money.” He was connected through his through his college roommate with a
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woman named Anky Revson. She was divorced from Charles Revson, the owner of Revlon, right? She had also made it
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big in the hippie stuff, right? And the hippie hippie culture scene because she funded hair, right?
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The first Broadway show to have full frontal nudity. So it was it was a summer of love. It
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was ‘ 67. It was hippies. It was And you know what? If you were into technology in those days, you didn’t have a
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computer, you weren’t into AI, you weren’t into social media, you weren’t into video. The only thing that was out
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there and you know, we have some great, you know, what were you if you were in ‘ 67 and audio, you were a tech bro, what
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were you into? You were into audio, right? Right. Audio was what you building speaker systems, building Yeah.
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So it, you know, the the counterculture entered the technology scene, entered the studio scene. And you know what? If
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you were, you didn’t want a union tape operator who would say, “I’m go stop a session mid mid take. I gotta go for
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lunch.” You needed to serve the artist. So Gary Kellgrren, who was busting his ass in Mayfair, got that right. And he
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realized one thing. Jimmyi Hendricks fell in love with Gary Kelgren. Jimmyi Hendricks, who you know, who had come
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over from England with some tapes he had done, you know, an Olympic, I guess, on from Electra Lady. And he said, “I got
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to finish an album.” Gary said, “I’ll build you a studio.” So he went to Stone. Stone got the money. They by the
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next spring, Record Plan was was was up and running. And the whole culture was
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that it was to serve Jimmy. Right. That’s Gary with the chains. And Gary had another vision. All right. Gary. And
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there was another studio in New York. Record Planet, believe it or not, was not the first studio in New York to
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serve the artist like that. There was another one uh in in the East Village called Apostolic. Of course, people
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remember Apostolic. All right. Apostolic. Zappa worked on there. It was the first really hippie studio in New
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York. But it was Apostolic because it was named after the apost the apostles, right? Because the was it 12 apostles.
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All right. Based on 12 tracks of that skully tape machine in the background
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there, right? and and you know Eddie Kramer who who Chris and Gary hired to
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come and work and got him got Eddie his green card got his green card you know he’s he’s comes to New York
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because you know Gary’s burning out now they built the rec uh record plan and he’s got this 12 track tape recorder
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which was not the you know was maybe was a little finicky like any tape machine of those days but it had four extra
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tracks four more tracks to do four more tracks and Jimmy walks into the studio And Jimmy says to get to Eddie Kramer, you
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know what? What? He he was freaked out that he could have four more tracks and he could put the eight tracks on it and
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he can still keep working. So, it was that 12 track in the corner that and Gary Kellgrren, all right, that really
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turned on Jimmy to to working at at Record Plan. Uh, also there was there was another thing. It was Gary had a
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slogan in those days. He wanted a studio to be more a living room than a lab. Look at the drapery, right? Like a
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living room, right? It was not exactly the best studio in the world. It, you know, the the uh control room was funky
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but big. The room, you know, I’ve seen pictures of the room wasn’t great, but it was dressed up to look cool and to
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look casual. You know, those those drap those drapes, you know, denote the living room. And
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that 12 track was what it was all about. The console, by the way, was a data mix. And it was that data mix that was that
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was replaced uh that when Jimmy built his own studio with Eddie and uh and
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John Stok downtown, they had they had a similar console. But that relationship
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between Gary Kellg and Jimmyi Hendricks made the made the studios reputation and the rest is history and there were no
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clocks at record plant. That was one of the rules. So you never were worried
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about how much time you were spending because time is money for a recording studio owner. You know, uh if the
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session tends to go on longer, you don’t mind the guys could have to stay awake,
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but uh uh more money comes in. Hris was working sometimes almost 24 hours a day.
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Uh tape was another commodity that was uh part of the profit scheme for a
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recording studio and they were burning 2-in tape uh night and day at at the
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time that it was being done. Uh Kramer sort of felt that maybe the studio was just taking advantage of Jimmy a little
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bit by making it easy for him to work work work. But as time has gone by and
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all of those postumous albums come out, uh Eddie’s kind of grateful that that’s
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the way Record Plant worked. And that um that creed of uh no clocks carried over
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when the movement was made to LA and um and then to Saucelo.
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Of course, the move to to Los Angeles uh
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made the studio a little bit stranger than there’s a different culture. There was always a different culture in LA versus
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New York. Before we get there, just so everybody understands, let’s talk about this. That’s uh that’s the invitation to the opening party. This is one of the you
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know, fortunately having access to Chris Stone’s archives, we were able to find things and there are and and the
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publisher was really great in uh producing a really high quality photo
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photographs of that we came out of the archive. I put this up because I wanted you to talk about the opening because the opening itself was an event.
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Well, you know, well, the opening was opening parties were always a big thing for Gary and Chris, right? This was the
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first one. It was a poppy party, right? And now we know what poppies denoted at the time. And and uh but also look at
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the style. This was not your average recording studio. This was this was psychedelic hippie- dippy stuff, right?
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This is the ’60s. This was the ‘ 60s. and March 19th uh 1968 that was the opening of Record
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Plan. Uh there would be equally interesting invitations at the studio opening in LA which was a brick uh which
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I hope we have a picture of. Yeah, we have a picture of that here. Um and we and also in Saucelo, if you go
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up to 2200 studio, you’ll see uh and hold that picture in a minute there in Oh, there’s the brick. You know, tell
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you can tell the story about the brick. Yeah, the story of the brick. Uh this is again stone. He’s trying to rock the
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boat. The post office really didn’t like people mailing bricks, but I think there’s a rule that you can you can mail
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a coconut. You go in Hawaii, you know, it’s a thing. So they couldn’t stop that.
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Well, there’s a stample stick on it, right? Yeah. And uh so this became this brick
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became a status symbol all across LA and probably many places else. You got a
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brick in the mail and uh you kept it on your desk until the party. And then when
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you got to the party, this was the way you got into the party. And there was a brick layer in a tuxedo who built the
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wall that remained at record plant on Third Street until it was torn down in
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85. I have a couple bricks. Oh, I in fact Stone’s wife gave me Gary
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Kelgren’s brick and I gave it to his widow at a book signing we had in in
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Hollywood. It was it was it was a big thrill for her too. Uh so this is just
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you know and then then it happened again in Salelo uh which you can still visit I guess if
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or you can book to see if you go in the lobby at Salelo you’ll see you’ll see the invitations there on the wall still still on the wall. It was
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like a yin yin-yang, the half half of a yin-yang it made out of redwood and uh those invitations were always a big part
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of the uh the whole scene and it was a way of making noise marketing and listen
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what made record plan it was casual. It gave the it served the artist. Uh always had the latest technology like I see
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over there like even tides. All right. So we can uh congratulations to you. You maybe tell some stories right about
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that. But the even ti they were always were the first uh they were first with the 12 track. Then then Jimmy then Jimmy
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wanted a 16 track. They got the 16 track then Hley came into the picture. And let’s talk a little bit about Hitley and
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uh because I think Hidley is an for this for this group is an important figure but he was also critical to the success
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of record plan. uh and moved that it was they were they’re working Chris and Gary are thinking about moving to New York.
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They got a they got a bike. They’re going to Gary’s going to become a millionaire. Um you know, and uh but he
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they’re ready to move out move out to to to uh LA in 1969. And Hrix comes back
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from LA. He’d worked in a studio off Highland called TTG. Anybody know about TTG? Right. Another historic studio.
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You’ve been there? You were there? No. But uh but but Hitley was Hitley was the chief engineer. Hitley had moved out of
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there from from ANR. He and he was he was building a 24 track machine and he
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had a he had a idea for a studio monitor that blew away Hris. Right. So Hrix
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comes to New York. He tells Chris and Gary, you got to go out there and meet this guy Hley. They get on a plane. They go out there and and in fact they
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they’re blown away. They hear these monitors. They’re amazing. They see the monitor that that Hendrick couldn’t
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blow out. Well, not yet. We’ll get to that story, but it was but in a minute. But, you know, but so they hire they
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they can’t afford him, but they hire Hidley right away. Hidley’s hired. Hidley comes Hidley starts building uh
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Studio A on Third Street in in in LA. And um and the the rest is history. He
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introduces several things that are unique, you know, studio designs. But most significantly for this room was the
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was the invention of the what became known as the Hley monitor. And there’s an interesting story about or in the
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early days of LA of how that uh how that monitor was came about. And maybe you can tell the story, Bonds.
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Yeah. Well, this takes us back to um Bill Sims. Now, he’s the producer of the
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Eagles, most people know, but he went way back with Joe Walsh, too. Um, and
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they were working on an album, the James Gang record, and uh, they had a song
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called The Bomber, uh, that was causing problems with the
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monitors. I think they had really expensive, gigantic, top-of-the-line canoise. And almost every day, it’s
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Simzic and Joe Walsh. And, uh, they want to play loud. I mean, they’re getting
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some extra juice out of the equipment, and it’s loud. It’s it’s that’s the way
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they worked. And every day they would damage speakers. They would actually
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start smoking and blow up and fall off the walls. And um they’d call Stone and
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say, “Stone, we you know,” he said, “Don’t worry about it. Don’t worry about the record company will pay for it.”
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This was kind of another typical type of economic arrangement. The
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Cristian days when they had big budgets. Yes. Big budgets. And um so finally they
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they they they said we got to we got to stop this. Not every day do we have to blow up speakers. So they called in
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Hidley and Hidley designed and built a studio.
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I think they tried it out on the roof so they didn’t blow the walls. He built it on the roof of Yeah. built it on the roof and finally
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developed a um a monitor that Joe Walsh and Bill Sims couldn’t blow up. Uh and
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now we can listen to the bomber in full volume but a thousand studios studios worldwide later. Um uh that was Hitler’s Hitley’s
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contribution and uh and I would assume we’d all agree they were the reference
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monitor for the period period of the time and for many throughout the world.
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That’s it. There you go. So, you know, but that was only one of the many contributions that that Hitley
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is known for. The the the compression ceiling over over the in the control room. his his control rooms um sounded
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amazing with not only were the monitors, but they were built to really direct the sounds to the to the years of the of the
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artist, you know, uh sitting behind the console. Uh Hitley understood how to
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make good sound and Stone knew how to get it paid for and Stone also knew how
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to market it because he knew that what what better experience for an artist
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than to hear a playback that blew an artist’s mind, right? you know, you put an artist in behind that a cool uh
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console in a great sounding room, you know, they’re going to come back for more. And that was the unique balance
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between those three guys. It was Hitley was Hitley was the technical genius. Uh Gary was the flare, the artist, the
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creative visionary, and Stone was the guy who figured out how to pay for it. And uh they got very successful in LA
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pretty pretty fast. Uh they had the magic touch again. and and and Gary soon bought a uh his first Rolls-Royce uh
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purple rolls with with license plates that were very unique and noted around the music business in LA. They were the
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license plate read greed, right? So Stone Stone, you know, and they had they
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parked it in the parking lot and and everybody in LA knew knew what Kellg was rolling around in this purple rolls
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called story about so now Kellgrren’s got his rolls which became pretty famous. George
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Harrison loved borrowing it. I mean, you could see these guys driving around town. It was all uh promotion for the
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studio, too. Where the hell are those guys? And this old record plant. And of
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course, the artists, they looked at the liner notes and and tried to find out
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which studios and almost every top record was done at record plant. Not everyone, but so many were done. New
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York, LA. Um, so Stone go Stone’s rich getting rich, too. So he goes to the
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Mercedes uh dealership to get, you know, the top-of-the-line Mercedes and he
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picks out, you know, the one he wants. We’ll tell you what his license plate said in a minute. Um, and the uh the
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salesman said something very interesting to Stone that appealed to Stones. He had
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an MBA in business. um why don’t you you could lease this equipment? You don’t I
27:58
mean you could lease the car. Uh you don’t have to buy it. And Stone went,
28:04
“Oh, that’s pretty cool.” Well, the next thing he do does is he starts leasing
28:10
equipment for the studio. You know, tape recorders then cost 100 grand maybe or a
28:15
console. Consund up. I mean they were hugely expensive
28:21
and leasing the equipment really made a lot of sense for the business model that Stone and Kelgren had developed
28:28
actually because equipment would then get outdated and you’d want the next big thing and you know so you had a you had
28:34
a replacement cycle which made a lot of sense and Stone’s license plate read greed
28:39
no deduct deduct deduct sorry so it was it was greed I always get those two things it was greed and deduct and it was
28:46
Stones when we interviewed him uh uh Phil R Phil Ryan was Stone’s lawyer for many years. Greet and deduct who said
28:52
greet he said greed and deduct. You ever wonder who ended up with all the money. So uh that was that was Stone was a
28:59
great very smart businessman and leasing equipment was was became the trend you know years later who was that who did
29:06
all the leasing on the SSLs in New York? Was it Sandy Schneider? Was that I can’t remember but leasing became the
29:12
way you you you finance the studio. So how are we doing Jan? Good. Good.
29:19
You know, I I’m I’m thinking about we Marty and I have been doing the uh the
29:24
podcast circuit. Uh we’ve been interviewed by tons well scores of
29:30
people since since the summer and that’s why we’re have become this vaudeville
29:35
act. Marty, come on. I knew this already. I was like, I just got to put a nickel in you guys and I can sit back. All right, Daniel, go let’s earn earn
29:43
your nickel. Let’s go hit us with a question. Well, I think songs is is one of Yeah. I want to talk about some of the
29:49
artists that worked there. Yeah. The BBC asked us what, you know, can you pick eight songs? So,
29:54
yes. Yes. Well, and the pictures you gave me are in completely disarrayed order and everything, but here’s one.
30:00
All right. So, that’s talk about this one. Okay. That’s uh that’s a So, we talked about the three studios, right? But we
30:07
didn’t talk about the the mobile units, right? Because the record plant was known for its trucks. Uh it was an era
30:14
it was also an era of of concerts and concert recording and live albums and
30:20
Stone loved the business. He said, “Hey, you know, you get a truck, you roll it in, the artist gets an get puts on a
30:25
concert and you get a you get a album out of it.” Well, the first album that
30:30
was recorded by a record plant truck was the Concert for Bangladesh. Um and
30:36
Concert for Bangladesh was a fascinating story because uh Stone and Kellgrren were out in LA. They didn’t own a truck.
30:43
The only truck of around was Wally Haidider. And Wally Haidider had this small white truck that was a piece of
30:49
crap that he wanted on load, right? And uh and he figured he would uh he’d cut a deal with Stone. He he’d lease it to
30:57
lease it to Stone. He cut a deal with Stone. And Wally and Stone had an understanding, right? Wally Haidider had
31:03
said, “Okay, you can do all the concerts uh on the on the east side.” And this was talk about the mob. They were
31:09
splitting up the country, right? Stone had the record plan had the east coast, Haidider had the west coast, right? And
31:15
so the so the it was became legendary, but the white truck the white truck in New York was was legendary and and and
31:23
its first concert was the concert for Bangladesh, right? So Kelgrren they they
31:28
roll the truck to New York. They park they pl they park it at Madison Square Garden and there and and Phil Spectre
31:36
wants to party who’s producing it for George Harrison wants to wants to party in the truck. He wants to drink. He
31:43
wants to smoke. He wants to bring his his posi. There’s no room in this play in in that tiny truck for anything more
31:48
than a couple of engineers and with two and a two tape machines because Haidider taught Stone a really good lesson that
31:54
he never forgot which is you always roll a backup because you you can you know because you Yeah, there’s you can you
32:01
can sell that idea to to any producer that this is live. You always want to run two machines that two machines twice
32:08
as much tape, twice as much gear, but you have two you can’t two machines. So So Kellg had an idea. We’ll put the put
32:15
the second uh ampex on the on the lift in the back, right? Put they roll it out
32:20
on the lift. The tape machines falls off the back and crashes. I see some shaking
32:26
your head. Right. Well, Kelvin goes to his staff, go back up to 44th Street, roll another truck, roll another machine
32:32
down. And they did they did run it. They did make it happen. But they, you know, but but they had never done they had
32:38
never done a live concert before. Okay. They never done a live concert before. Kelgroom never did a live concert
32:44
before, right? So, uh, so it didn’t really exactly sound so good, but they
32:50
had they had Tom Scott who worked for for Haidider. They had Tom Fly, another great engineer who worked for Gary and
32:56
and Chris for many years and fame should get recognition himself for what he accomplished. But but but when they went
33:03
back to the studio to to the mix, didn’t sound so good, right? Well, they, you know, and everybody and and everybody
33:10
was freaking out because, you know, this was this was an this was more than an album. This was going to feed starving.
33:16
This album was going to feed starving children, right? This was this had this had cultural, economic, human
33:22
implications. If it was a shitty album and it didn’t sell, you know what? Uh, well, they decided to get on a plane and
33:29
and work at work and and Phil Spectre and get Phil Spectre to fix the tapes.
33:35
And you everybody knows the the legends of Phil Spectre and everybody knows the latter the uh what’s happened in his
33:41
later career. But one thing we have to remember of Phil Spectre in his heyday. He had amazing skills. He was a genius.
33:47
He was a freaking genius. He was a genius. And this picture was Spectre with with Harrison in I think it
33:53
I think it was&m. I’m not sure. I don’t know where the location is, but this basically they they brought the tapes to
33:59
Spectre. Spectre threw everybody out of the studio but him and his engineer and he fixed the tapes and uh and the result
34:06
is history. Um so that’s that’s the background on that picture. I think we have something with Stevie.
34:14
Let’s see. Okay. Wait a second. Yeah. Yeah. Let’s go back to this one. Hang on. Hang on. This is This is This is Yeah. Let’s talk
34:20
about Let’s talk about Oh my god. There’s mirrors on the ceiling. Yeah. and and and the whole idea of
34:27
creating a space where the artists could get comfortable. Let’s talk about that a
34:33
little bit. Creative. Yes. You’d have to take a break. Of course, the clock to procreative. Yeah.
34:38
The clock is running even if you’re in your bedroom. Exactly.
34:44
Uh but the there were three rooms kind of three and a half. Uh there was the uh
34:50
the [ __ ] room uh that was all frilly and you know like a a real budoir but
34:58
very feminine and everything. And then there was the rack room uh which they of course only used for get making sound
35:04
effects. Uh but uh that was a unique room too. And then there was the boat
35:11
room which had port holes within the studio. you could go into another world
35:17
uh to summon up your gods and demons of creativity. Um and there was a secret
35:24
room underneath there that you could you could hide in. It was called the Anne Frank room. The Anne Frank room. Uh which reminds me
35:32
of Salelo because Sly Stone had um a special room built for him.
35:39
Exactly. Get that. But but I think the important thing was that Kelgren went beyond uh when he went to LA he had
35:45
space. Remember New York is tight. You got an elevator, you got small hallways, you have studios. You can’t really
35:50
there’s not much room. Everything is vertical and cramped, right? It’s vertical and cramped. It’s New York, right? In LA you have space.
35:56
All right. So this he took over this old space on Third Street. He could grow it. He could build it. He could come up with
36:02
all these wackiest ideas that he wanted. The studio on Third Street used to be a film studio where Tarzan movies were
36:07
made. And uh and in the back in the back he had room for the for the bedrooms.
36:13
Now Kellgrren had a kinky side. All right. And I won’t go into too many details, but they definitely had a kinky
36:19
side. While in New York used to hang out down in the meatacking district and at a club called the Hellfire Club, and
36:25
Hellfire Club had had rooms for every fetish. So this was the inspiration between behind the the the hotel rooms
36:33
in the back of of of uh of Third Street and Record Plan. Now, the thing about
36:39
these rooms were they served a purpose. The art, you know, if you were a session musician, you needed to crash, you could have it. If you needed, if you were the
36:45
Eagles working on a song called Hotel California, you need a place to write, you could do it there, too. If you had
36:50
girlfriends, whatever, you could do it, too. But it but they it they reflected a culture where, like Daniel said, we
36:58
served the artists. You you served every served every creature comfort. and uh and it was and and and it it really
37:05
defined sex, drugs, and rock and roll of the period. And yes, drugs were a big part of it. No question about it. Uh the
37:11
the consoles at Record Plant, the APIs had small little mirrors uh embedded on
37:17
the in the consoles and and it was up to the assistants every morning to make sure that there were sharp razor blades
37:23
uh uh left on on the for every if if they wanted tape. Yeah.
37:29
Not to splice the tape. So it was, listen, it was a, you know, it was definitely it was sex, drugs, and rock
37:34
and roll to the to the nth degree. And they cut some great records. I mean,
37:41
oh, we forgot about that. Yeah. Somehow, too. Yeah. By the way, it worked, right? Whatever they whatever the formula, it worked.
37:47
Yep. And what do we have here? Okay. So, let’s stone. And and this is proud papa.
37:54
That’s stone. Yeah. I think those are bell bottoms. Uh that that door didn’t really operate. That was on Third
38:01
Street. Okay. Oh, here we go. Here we go. So that’s that’s Saucelo. All right. And Saucelo was
38:08
hippie. It was more hippie than San Francisco. Expensive hippie. Yeah. The woodwork was done by the guys who
38:14
built the Trident, which was a hangout in those days. Uh we went went to visit and the
38:20
woodwork is like it would be impossible to do now. would be so you’d need craftsmen, you would need expensive
38:27
wood, all sorts of things that were done. But I think Saucelo being the third
38:32
studio, there were also aspects there that they were almost getting a little big for their britches at that.
38:37
Well, I think part of it, listen, it was a business I think it was a business move. All right. Not only there were a couple of reasons it was a good business
38:43
move. One, the only other big studio was happening in those days was Haidider and it was a dump in Salelo, right? and it
38:48
was right next door to a methodone clinic and it was not not it was not up to Gary Kellgrren style, right? Um the
38:56
the second thing though that we have to understand is record plan on Third Street got a little crazy. It could get
39:02
crazy. It could be a party scene. You know, you had to be buzzed in. Thus, the name of our book, Buzz Me in, you had to
39:07
be buzzed in. And it and they had a jacuzzi. Not only the back rooms, it had a jacuzzi, which he’s famous for. So, it
39:14
got too crazy for people. Well, I think it was Graham Nash who said, you know, uh he they worked at Haiders because
39:20
they needed to get away from the craziness of a record plan. So, Stone was miss losing business uh to people
39:26
who work wanted to work in in in uh studios in LA that were a little less crazy, a little more private, a little
39:31
less and and it was also a period when there was Caribou Ranch was happening and and and some of the the vacation
39:39
resort studios were becoming the thing. Matt Emerman had a had a hotel had a had a hotel on motion for or or bedrooms on
39:47
ocean for the people working criteria. So um you know it was a thing. So so
39:52
they built they built uh Salcelo as a getaway and there was defin although I
39:58
said there was really three studios in a in a sense there was really two businesses. One New York which we haven’t really talked enough about we
40:04
should talk about it more. Um, but LA and Saucel were basically part the same business and they were they were artists
40:10
were going back and forth up and down depending on whether they wanted to get away. Equipment was was moved back and
40:16
forth and uh they were the same they were pretty much the same business and and and this was Gary if you ever get a
40:24
chance to go up there and and I really encourage everybody to try to get in there because a lot of it is preserved. It is it’s it’s a work of art.
40:31
Rock wall too. You can see the rock wall in the in the background there that the And very few modern studios have a rock
40:38
wall. But back in the 70s, 80s, so many almost every studio, the front wall was
40:44
rock. Yeah. Yeah. Exactly. That was one of his touches.
40:50
Well, a lot of that was also Kellgrren. There’s there was a line, you know, Kelgren wanted wanted natural materials,
40:56
the wood, rock, Yeah. stoneact. And there was a uh, you know, there was a a
41:03
comment when when they when they were building LA, everybody came said, you know, this is crazy. And uh, but nobody
41:10
nobody thought it was going to work, but Hidley Hidley and Calg figured out how to make it work. So, this is Tanto. This is Stevie with
41:17
Bob Margoliff and Malcolm Ceil. Yes. Yeah. This is studio B. A little bit. This is studio B
41:24
and this was LA. In LA which was designed this was stone
41:29
again. Okay. You we want you to come to the studio. We want you to work in the studio. So we’re
41:35
going to build you a room. We’ll build you a studio. We’ll accommodate Tanto by the way for anybody who doesn’t know was the
41:41
original neotimbral orchestra. And it was basically a hodgepodge of
41:47
synthesizers that was built by Malcolm Ceil and Bob Margoliff to essentially
41:54
accommodate Stevie. Well, it was it was built before Stevie and it was an orchestra. It basically
41:59
assembled Moog and and Arp and and various and made all of these synthesizers that
42:05
were from different manufacturers, ran on different voltages and everything. Somehow or another, made them all run
42:11
together. Yes. In a in a quad room. in a quad room. Yes. Exactly.
42:16
So when Stevie got into the middle of that room, uh he was surrounded by sound, by the
42:22
music. And with these two mad scientists, he could come up with ideas
42:30
uh that he’d never been able to materialize. And these guys would noodle around and unplug and do this. And it
42:37
was the kind of situation where it really was hands-on for everybody in the studio. And this was Steviey’s three
42:43
biggest albums really. I mean the talking city and and I mean all of all
42:48
of the the epic tunes that came out of Stevie Wonder’s career that really when he graduated from being little Stevie
42:55
Wonder to being Stevie Wonder. I mean these were the songs that really launched all this created.
43:01
The they they recorded 300 songs in studio B. uh made three three albums and
43:07
and many of those songs although it wasn’t recorded exclusively at record plan songs in the key of life would I’d
43:13
include some of those songs as well in that album so it was it was a it was a historic period of time tanto played a
43:19
significant role in that as did Malcolm and Bob Margliff superstition was recorded superstition electronic music got funky
43:28
yeah yeah and this was all based around the fact that he built him a studio to accommodate
43:34
date what he what well there was a little problem you know if you ever get to it’s up in B I think right is it Calgary
43:41
it’s in Calgary Calgary yeah so it’s up in Calgary now it’s huge and if you couldn’t you know
43:47
you needed a room to accommodate it right you need you couldn’t move it a room and you couldn’t rent that room so
43:52
you had to block book a studio now Stone had made a fortune and got they both got
43:57
rich by by by having a Jimmyi Hendricks as a client right they knew you if you have a stu if you have a client who can
44:03
book book a room, you can build a second room and a third room and you know you can you can make a living, right? You
44:09
can make a good good amount of money. So, uh getting getting a deal with Margoliff Cecile and Stevie Wonder for
44:15
they booked booked Studio B for for a year and in fact
44:21
you done. I’m just telling Martha there’s a picture. All right. Hi, Bob.
44:26
Yeah. Yeah. Hi, Bob. Hey, Bobby. Bob, we miss you. So, anyway, the uh
44:35
Okay. All right. Anyway, we’re well connected. We’re connected. All right. So, anyway, just to finish the story, the
44:42
supposed to be here today, you know, Studio B and uh in record plan was built by John Stok who had who had built
44:49
Electric Lady and Stone uh hired him to bring him out and it was not a big room.
44:55
It was not a fancy room, but it gave that gave Bob and Malcolm room for Tanto
45:00
and it gave uh gave Stevie a home that he could could he could work for uh for
45:05
three and a half, four years. Yeah. And I actually um Bob was supposed to be
45:10
here today and I have his PowerPoint uh including other pictures of Tanto and
45:16
everything in there. Uh but you know, Bob’s busy talking on the phone right now, so you know. Uh yeah. Anyway, let’s
45:22
see what else we got here. Oh, here’s a nice one. Actually, that didn’t This was taken
45:27
later. This is This is from a later edition of uh Well, I I I
45:33
got some famous photographers in the book, including me. Uh this is my photo
45:38
of Kelner and uh we’re pretty good friends after all these years. This was in 1986.
45:45
I was trying to get an interview with uh with Jim uh and he he just kept evading
45:51
me and he and he says, “Well, I have to go down to Pasty a symbol company in
45:56
Orange County uh today.” I said, “Can I go?” So, I interviewed him in his
46:02
Mercedes as we went down there. But we went to great lengths with uh with
46:08
Kelner and with um Cooch Cooch. Yeah. Danny Korchmar to factch
46:16
checkck what we had written because we you know there’s there’s an one example
46:23
of the different stories that people remember. That’s why it’s it’s valuable really to get the stories nailed down uh
46:30
as early as possible because memories all of your memories uh the more you
46:36
talk about it the more you’re embellishing it each time you want. But uh we spent days uh and zooming with uh
46:44
uh Kelner and Cooch uh to make sure that our story cuz we were talking about a
46:50
night at record plant. Sunday nights at recorder plant was uh the u Jim Kelner
46:58
fan club hour which was uh was named by George Harrison
47:03
as kind of a joke uh referring to Paul’s first album which had joined the Wings
47:09
fan club. Why don’t we have you know the Jim Kelner fan club? So this became a
47:16
notorious Sunday night thing and anybody uh well not anybody could get in. you
47:21
got had to really get had to get buzzed in and uh some crazy crazy [ __ ]
47:27
happened. One or two good records came out of it. One ended up on a a uh a MC
47:34
Jagger. It was probably the only time uh Too Many Cooks, if you Too Many Cooks is
47:39
a great great song that came out of one of those sessions and it was not only a MC Jagger vocal, but it was produced by
47:45
John Lennon and uh amazing amazing uh super session so to speak, a record
47:51
plan, but so Kelner was was also not, you know, having a drummer around like
47:56
Kelner brought the artists, right? and having having a house band with David
48:02
Foster and and you know that was the house band at record plan you know the attitudes who else was in you know so
48:09
but just to finish before we go there I think I want to follow up on David’s point about and it’s not about Kelner as
48:15
much about Phil Spectre because we found that there’s some legends about record plant that we really need to dig into
48:21
and when you’re dealing with stories that are you know 50 plus years old you know you hear a lot of different angles
48:27
so there’s a famous story about the night that uh supposedly
48:32
um Phil Spectre almost killed John Lennon in the studio with a gun. Now we
48:38
we know what happened with guns and Phil Spectre years later but and there you know if you watch the HBO bio biopic on
48:44
Spectre you do see a scene which was at&m of a gun going off in the studio and there were guns in those days you
48:50
know people were packing a lot particularly in New York but there is this legendary story that uh that we
48:56
heard dozens of different ways and we weren’t even sure it really happened um
49:01
but but we you know but we so what we did is we if you read the book you’ll see that we tell everybody’s different
49:06
variation on the story, but we weren’t quite sure that it really did happen. All right. Until we talked to one of the
49:13
engineers who said years later when when they were tearing down Third Street, uh
49:18
Chris Stone had this beautiful wood um paneling in his office. And he took took
49:24
the wood paneling and put it back because he thought he’d need it for some future project. And that future project
49:30
came up about 10 years later. And he started shaving the wood and shaping the wood and cleaning up the wood. And he’s
49:35
shaving he’s he’s shaving the wood and he hits something. Right. And he hits something and he digs he he digs out he
49:42
digs out a bullet. Two, right? Two bullets. It was two bullets. So those clearly those and those
49:48
gunshots supposedly happened outside Stone’s Stone’s office. All right. In the canteen and so that we so those
49:56
bullets were in fact found. They were found, but still the stories about everybody else had different
50:02
ideas. Uh some said that it happened in the jacuzzi. It went went off in the jacuzzi. Also, uh Spectre uh was in the
50:11
crapper and he dropped the gun and the gun went off. Of course. So that it’s we’re referencing kind of a
50:19
a Korasawa movie, Rashimon, which is told from three only three different
50:24
standpoints. But everybody’s view uh your each one of you your view of what’s going on here today is different from
50:31
the other guy next to you. Yeah. So that’s and and 50 years from now it’ll be even more so.
50:36
And that’s one of the things we explored. We had to um be be uh true to
50:42
the studio um as best as we could possibly find out. And that would
50:49
depended on hundreds and hundreds of people that told us our stories.
50:54
uh that you can read about. This is a nice one here. You want to talk a little bit about that? Well, this is obviously that’s Gary
51:01
Calgary many years later with with his biggest customer biggest customer Stevie Wonder we just talked about. But this is
51:06
this is an interesting photo because it’s from a series that was uh from a photo that um essay in People magazine.
51:15
All right. 1975. And it’s an interesting and it was all about the article if you read it was
51:22
about uh Kellgrren and Stone had a concept those days uh for of rock and
51:27
roll hotels. They were they not not only wanted to be in the studio business but they wanted to create long before Hard
51:34
Rock they wanted to do build a chain of rock and roll hotels around the country where rock stars could go and hang out
51:40
and crash while they were on tour. So this photo was from that session and there are a lot of other photos that you
51:45
may see later but it was an important important for a lot of reasons and when we talk about the legend of rock of of
51:52
uh of legends at at record plant the uh
51:57
was rec the big question is was record plant the real hotel California right
52:03
now that’s that’s that’s a big question and we don’t make a stand we would never say it’s the real hotel California but
52:09
this picture was taken from an article and People magazine, okay? So, mass market magazine in those days, uh, that
52:16
basically talked about how Stone and Kelgrren had all these great artists that were making all these great records. They were making all these
52:22
hits. They were making all this money. And their next idea was to build a chain of hotels. That that that
52:29
article was in every studio in at Record Plan and was in throughout the studio
52:35
even when the Eagles moved in to record the album that became Hotel California. Now, let’s let me address a couple
52:42
things. One, uh, Rolling Stone magazine and My Urging interviewed Don Henley
52:47
once and said, “Don, was Record Plan the Real Hotel California?” And he said,
52:53
“Absolutely not.” We recorded there. It you know, we uh we did some but but truthfully, they the, you know, the
52:59
guitar solo and much of it actually happened down in Criteria, although it was written at the studio and they
53:05
worked there for nine months on that album. All right. So he said that um but there’s so many so many similarities. Uh
53:12
the we showed you the mirrors on the ceiling. Kelgren loved pink uh corbell uh champagne. There was uh it was
53:18
started in ‘ 69 which is there was a very uh um tempting young uh uh young
53:26
lady in the uh in the front who who greeted them and took them down some long hallways. There was a there was a
53:33
courtyard uh there was a courtyard outside. So, there were so many similarities. Was it the real Hotel
53:40
California? I wouldn’t say it, but was did it inspire the lyrics? Um, there was a night man uh who had to buzz you in,
53:48
right? That, you know, that was, you know, there was too many similarities to be ignored. Let’s leave it at that. But
53:55
this that was from the People magazine. And we have apparently we have five minutes. Yeah, we have five minutes. So,
54:01
see, are you going to throw us out? made this a we should have made this like a twohour thing, you know, but uh and here’s another illustration
54:08
of that. That’s that’s Gary Kelgren’s wife, Marta, in the uh in in one of the other
54:13
hotel rooms. That’s the rack room. That’s the rack room. And noted for its SNM details.
54:19
Let’s see. Ah, there’s a nice one. The Zappa thing. Zappa plays a really important role in in the in the
54:25
narrative in in the story arc because G not only was he working with Gary and we’re only in it for the money uh in the
54:31
summer of ‘ 67 but he was a constant he was a constant customer and he was there throughout the
54:37
uh throughout the period he was there when Gary Gary died with his girlfriend in in in a drown double drowning in
54:44
summer of 77 uh in his his mansion off Sunset uh and uh and as Apple was in the studio
54:52
that night as well. So, uh, Zap is an important figure and he he plays a
54:57
significant role in the story. He, you know, Michael Bronstein, who some of you may know was a a big engineer in record
55:04
plan, u, you know, defined the term studio tan. Have you heard the studio
55:09
tan? Well, that was that was there was a joke between Frank and Michael Bronstein that took place at Record Plan. That’s
55:15
where that’s where that came from. Yeah. You’re looking at a photograph now and the we spent a lot of time on like
55:23
finding photos and getting permission to use them. So, it’s a really handsome
55:28
book with about how many 300 photos. Yeah. And and we can leaf through a few of these while you’re talking.
55:35
And also we we created a a Spotify list. Hold it. Don’t throw. This is important
55:40
because as I said the story arc just to take you through it. Gary died in the summer of 77 and everybody thought there
55:47
was a ghost at Record Plan. The day the day after he died, the studio in New
55:52
York, Fritz, every studio went crazy. Machines broke, everything went wrong.
55:57
And uh and several months later in January 77, Studio C, which was the
56:02
premier room at on Third Street, burned to the ground. So that’s for that’s the uh that’s that’s that story.
56:09
Yep. And we’ve talked a lot about LA. I just want to I just want to tell one favorite
56:14
story that we can’t we can’t can’t and because it took place in New York and it’s important to it’s important to note
56:21
that the studio is not only its own little claustrophobic world unto itself you know no clocks no windows but it was
56:28
but people had to go out to restaurants they had a drive there so it was very much part of the environment um New York
56:35
was part of time square uh LA was part of it was down the hill from Sunset
56:40
Strip uh Salelito was right on the bay in Marane County, right? But but Times Square played a significant role in uh
56:48
in the story of New York. It was Time Square was a lot different back then. It was a seedy funky druggy uh sex sex
56:55
drugs and rock and roll play. Very funky. It was funky. And uh Aerosmith was working with Jack Douglas there on
57:01
Toys in the Attic in in 70 in 75. 75.
57:06
Yeah. And um and they’re working on trying to get a hit. They’re working upstairs on the
57:12
10th floor studio which had had been built for for Jimmyi Hendricks to keep his business. And uh they say, “You know
57:17
what? We can’t get this.” They have a lick. Joe Perry has a lick and they can’t get a lyrics. So they said, “Let’s get the hell out of here.” So they go
57:23
for a walk and they go to it’s Time Square. Not only does it is it, you know, porno places and drug addicts, but
57:30
it’s firstr run movie theaters. And one of the movies that’s playing playing in Time Square that that day was uh Young
57:36
Frankenstein, Mel Brooks. So they go in, they go, they go in there, they watch the movie, and there’s a scene, if
57:42
you’ve ever seen it, with Marty Feldman as the hunchback, right? And they say, uh, they say to him, you know, let’s go.
57:48
And he says, okay, walk this way. And he does the the shuffle, right? You can tell, you know, where this is going,
57:54
right? So they the band cracks up and and and they walk back through Time Square back to record plan upstairs to
58:01
the 10th floor, and they’re doing the they’re doing the hunchback shuffle, and Steve Tyler says, “Give me a minute.” and he goes into the stairwell. He
58:08
writes the lyrics to Walk This Way and that that’s this that song was born and it was a product of Time Square and a
58:16
product of that era and the studio really. Yeah. And I I think precursor to to hip to
58:22
hiphop too. Yes. You know, and since we’re talking 50 years ago in New York, one other album
58:27
happened that a couple months later, Born to Run and uh Springsteen uh moved
58:33
in. Lenin was was it was Lennin’s home. It’s important to remember that it was Lennin’s home and uh Lennin did all his
58:41
post Beatles work starting with Imagine uh through Mind Games, Walls and Bridges and uh the Rock and Roll album and
58:49
finally the sum of of of Double Fantasy at Record Plant New York. And you recognize this photo here.
58:55
That’s Well, that’s Darkness. That’s on the 10th floor. Thank you very much, Mr. Porter.
59:01
It’s really been fun and I thank all of you for being here. Thank all of you for
59:06
the story. But but basically the only reason Bruce Springsteen was able to move into Record Plant New York and this
59:13
is really important is because John Lennon retired and moved out of the studio. Y studio was available and Bruce
59:20
moved in and he didn’t get the A-list people either. No, he got the bargain. He didn’t get Royce. He didn’t get Shelley Yakis. He
59:26
didn’t get James Msina who were the A-list guys. He got the assistants. He got Jimmy Jimmy Jimmy I and Tom Penzio
59:33
that all the assistants he didn’t he didn’t rape. Yep. And and this album this there was a roof
59:38
on the 10th floor that’s famous for a couple of photos or sessions. This is from darkness but it’s also famous for
59:45
uh par parallel lines bonding. And thank you Mr. Keller.
59:51
Thank you all for coming. Thank you to Mr. Porter and Mr. Gogggin here. I hope you enjoyed it. Thank you. And
59:58
I’m sorry we didn’t book this for two hours. Anybody want one of these? We got these
1:00:03
signed for you guys. Yeah. Yeah. Here we are.
1:00:10
Hey, I’m Daniel Keller. Don’t forget to hit the subscribe button and join us each week for Insights and Sound.