October 6, 2025 • 37 mins
On this OFAF track, Les Claypool ponders what one of his heroes might do in numerous situations around a trip to London in which the airline loses Les's luggage, he's without UK currency, but he gets to screen a film with George Martin in the room and parties with George's son Giles until Les's pal Jason pukes on someone. It's certainly not your standard Claypool lyrical fare! Tune in to learn a bit about George Martin and why LC might hold him in such high regard, as does most everyone else in the music industry.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Josh freaky.
Speaker 2 (00:01):
What a couple of dump shits.
Speaker 1 (00:20):
Hello, prerib So you've found Primus Tracks. Congratulations, I am
named Josh. I am one of the hosts of Primus Tracks.
You've found the audio version, which usually is what podcasts are.
There are video versions over at Patreon dot com, forward
slash Primus Tracks. There's also Primus Tracks in social media
(00:44):
form at Primus Tracks on Instagram and threads and Facebook.
There's also an email address and that is Primus Tracks
Pod at gmail dot com. That pod is very important.
Once again, I am Josh. I don't deserve two introductions,
but he deserves one. He is on the thirty ninth
(01:05):
floor of Primus Trackstours in Mexico City, wondering about a
famous record producer. It's Frankie Berestein. Hey, Josh, Hi Frankie.
Today we are talking about a track from A Fungui
and Foe with a really long title and it asks
a question, what would Sir George Martin do. This is
(01:29):
track five from your A Fung Guy and Foe release.
We are starting to get into the tracks that I
don't remember at all, Frankie. The first four tracks I
had some memory of because I'd seen three of them live,
they were a bit more memorable. I suppose upon first
listen back in two thousand and nine, I shouldn't say
(01:50):
first listen, Frankie, I should say only listen as a reminder,
I have not heard this record since it was released
sixteen years ago. And I'm going back through a track
by track as you are listening to this album or podcast,
track by track, as we break down this record. What
(02:13):
would Sir George Martin do? Frankie? Track five, five minutes
and fifty seconds. Our credits, It's a long one. Our
credits are as follows Less Claypool on upright percussion and
a little bit of marimba. Mike Dillon is credited with
the marimba solo and Cage Claypool is on slide whistle.
(02:37):
What do you think of his slide whistling? Our pal
Cage interesting In the Mushroom Man episode, Frankie I had
quoted I had quoted Less discussing that Cage was hounded
him asking one of the Mushroom guys gonna call about
the video game. And it's kind of great that Cage
(02:57):
ended up playing slide whistle on a track that was
used in the video game George Martin is actually titled
belt Us March and was used in in full in
the Mushroom Men video game. Of course, it was provided
(03:17):
to the to the game without vocals and without the
Mike Dylan Marimba solo that was inserted at a later date,
but Cage got a guest slide whistle role, so he
is immortalized on the Mushroom Men video game. How great
is that that your your your dad is making music
(03:38):
for this video game. You're You're a kid who's really
interested in video games, and then all of a sudden
you're the perform it. You're whooping it up with a
slide whistle and then so.
Speaker 2 (03:48):
That's Hollywood for you right there.
Speaker 1 (03:49):
That's for you. Or imagine the party, you know when
Cage had his buddies over and they're playing the game
when it's first released, and I know, in in his shoes,
I when that track came on. What'd stop everybody and
say you have to listen? Do you hear that? That's me? Haha,
that's me playing the slide whistle. I don't know who's
(04:11):
playing all that other stuff, probably my dad, but that's
me on slide whistle, so you can, of course hear
the Mushroom Men tracks in their entirety on YouTube. I've
been dropping the link to that playlist in the show notes.
This is originally known as Belitist March, and once again
it's it is complete Sons vocals and the Mike d
(04:33):
Rimba solo this one, Frankie, I have no memory of
coming back to it, and it is very sparse. This
is an interesting track in that the the instrumentation is
certainly simpler than we would expect from a less Claypool
solo release. But excuse me, Less Claytool You're right, as
(04:58):
printed in the liner notes in the re release Your
Adversity box set, it's certainly more sparse and spaced out,
certainly than anything almost anything on of Wales and Woe.
Of course, the first four tracks of Fungi and Foe
certainly prepared us for this one. Would imagine you being
(05:21):
more familiar with this tune. How does it speak to you?
Speaker 2 (05:25):
I think I agree with you that it is a sparse,
and I think it's because Liz really wanted to highlight
the lyrics. I think he wanted the narrative of the
song to be the main focus.
Speaker 1 (05:37):
Of the track, and I wonder if his hand was
forced by the more simplistic instrumentation that is very slow paced,
that was used once again for a video game, and
then when it came time to write lyrics for it,
he had all the space in the world to fill
(05:58):
it up with vocals, Yeah, and and a marimba solo.
Because this one's almost six minutes, so you gotta you
gotta fill that time one way or another. Why not
have old Mike d lay it down a bit? So there.
He certainly uses this as a storytelling opportunity, more so
(06:20):
certainly than the first four tracks, which some of the
lyrics of and those are straightforward, some of them are
really small vignettes. Some of them are pretty out there
stories like Amanitas. This one is more of an elongated
narrative with a with a little lyrical twist at the
end of each verse or stanza. Before we get too far,
(06:42):
I wanted to ask you about live performances, because I
think we're starting to get into the tracks that have
very few.
Speaker 2 (06:50):
Actually always meant to tell you that when we record
and sample the live tracks of You Can't tell Ero anything.
We reached the end of the live cut samples.
Speaker 1 (07:01):
Oh my gosh, so we're already almost there.
Speaker 2 (07:05):
Yeah, So only the first half of the record was
performed live. The other half none of those songs were
ever approached in a live setting. So, starting with George Martin,
very few performances throughout two thousand and nine, it was
not performed that much.
Speaker 1 (07:23):
Do you have a number on that.
Speaker 2 (07:24):
One thirteen performances?
Speaker 1 (07:27):
Thirteen? Wow, over a couple of tour cycles. That's not
a lot.
Speaker 2 (07:33):
Nope.
Speaker 1 (07:34):
I would imagine since twenty ten, it's not been heard since.
Speaker 2 (07:38):
Two thousand and nine. It was not performed in.
Speaker 1 (07:40):
Twenty ten, not even in twenty ten.
Speaker 2 (07:42):
Nope.
Speaker 1 (07:44):
Now the Fun Guy Band went to London and the
UK for Crying Out Loud and they didn't play George
Martin there.
Speaker 2 (07:52):
It would have been too overt.
Speaker 1 (07:53):
I guess, well, I suppose that happens because you know,
Primus has played Kalamazoo in Kalamazoo, and then they're times
they have not played Kalamazoo in Kalamazoo. So I suppose
if people are expecting it, lets us want to do it.
I wonder if the fans in London felt slighted by
(08:14):
that our countrymen sing of our countrymen, probably not so
George Martin. For those of you unfamiliar, including Frankie, he
is often known as the fifth Beatle. He also called
himself more of an older brother to those guys. I believe.
(08:35):
George Martin, of course, as a record producer, had a
long and distinguished career, and I think he met the
Beatles when they were pretty young, lateeen's early twenties, and
he himself was entering his mid to late thirties, and
so he was able to bond with them, even though
they probably thought he was an old guy. And of
(08:58):
course he took them under his wing. And he's responsible
Frankie for a lot of the lush orchestral instrumentation that
you hear adjoining many Beatles tracks. Now, I can't give
you a rundown of all the tracks that he performed on,
or arranged strings for, or that kind of thing, but
I would imagine if you heard some kind of orchestration, strings,
(09:21):
or other instrumentation that would have sweetened the tune beyond
what the Beatles were performing, it was probably George Martin
on the records that he produced. So he is, but
he goes beyond the Beatles. He actually produced albums by
Peter Sellers. Comedy albums by Peter Sellers in the fifties
(09:44):
and sixties, I believe, and also of course worked extensively
as the Beatles and produced a bunch of records for
many other recognizable names, including the band America. I don't
know if we get to blame George Martin and for
a horse with no name, but.
Speaker 2 (10:02):
Didn't didn't Peter Sellers a star in the film being
there being that.
Speaker 1 (10:07):
I don't know that Peter Seller's filmography very well, other
than I happened upon some stream on my Roku that
was showing the Pink Panther films for hours on end,
so I was checking in on those and great physical
comedy from Peter Sellers throughout. He's a very good, clueless detective,
(10:31):
I would say. Now. I have not seen this documentary Frankie,
but I do plan to watch it after we have
spoken about him here, at least in general terms. Produced
by George Martin is probably a good starting point. It's
a more recent documentary about the man, and there is
tons of information on this guy out there, mostly due
(10:53):
to his association with the Beatles, but he beyond the Beatles,
he produced and recorded tons of number one hits throughout
his years and is widely regarded as one of the
greatest record producers of all time. I'm not going to
argue it, because I don't know that much about him.
I do remember, though, Frankie, there was this controversy around
(11:17):
when the Beatles mono recordings being remixed for stereo, because
stereo was really new when the Beatles were recording many
of their records, and George Martin preferred mono. I think
there's a quote from him, you haven't really heard Sergeant
Pepper's until you've heard it in mono. But he preferred mono,
(11:40):
and later on he did oversee some stereo remixes, but
he preferred mono for the longest time. But there was
controversy around Beatles albums being remixed in stereo, and the
purists hated them. As I recall reading years and years ago.
Speaker 2 (12:00):
Do you know who also preferred mono? Adam Gates Love
She saves a song called Mono from her one and
only solo record. It's about the vinyl.
Speaker 1 (12:12):
Yes, okay, interesting, I mean a lot of people do
prefer mono to this day. It's it's hard to quantify
sonic preferences, I suppose.
Speaker 2 (12:24):
So, I mean, we we know that George Martin is
a literary vehicle in this song, and I can see
why Liz would would choose him, partly being influenced by
the documentary he watched in London, but also because we
know that Liz is a huge, huge Beatles aficionado. I mean,
(12:46):
in an alternate universe, we we would have had Primus
touring a Beatles record instead of the Chocolate Factory one.
So yeah, we know, we know they have been very
close uh to to the to the Beatle catalog throughout
their their their their career. I mean, let's less as well.
Speaker 1 (13:06):
Yeah, and he cited Paul McCartney as one of the
greatest bass players he's ever heard, and certainly has I
think sublimated some mccartneyisms in his own playing over the years.
And and of course you know through his his jam banding.
We've heard all kinds of Beatles covers. Tomorrow never Knows,
(13:28):
tax Man probably the two most widely performed a little
help from my friends. I know I'm missing a few,
but they've they've certainly covered plenty of Beatles tunes throughout
the life span of the fro brigade, fancy Band, and
so on.
Speaker 2 (13:46):
It is confirmed Peter Seller's starred in the film Being
There in nineteen seventy nine.
Speaker 1 (13:53):
And what's the significance of that film.
Speaker 2 (13:56):
It's a really fantastic novel. Well, this is the adaptation.
I think I watched the film only once and it
was okay, But the novel is really incredible. It's about
a man that never received an education, and he grew
up obsessed with the television and he only worked as
(14:19):
a gardener for a very old rich man. When that
man passed away, he was kicked out of the mansion.
He found himself on the street, completely unable to cope
with the outside world, which he had never interacted with.
He accidentally gets run over by a limousine where the
president's wife is actually inside, and she feels so mortified
(14:41):
that she invites him to stay over for dinner at
their home after taking him to the hospital. So he
meets the president and the president asks him what he
thinks about the current economy, and the main character has
no idea what to say, so he just replies with
information about gardening, because that that's all he's familiar with,
(15:01):
and the president thinks that he's making an analogy about
the economy through gardening, and he quote him on his
speech the following day. So the main character becomes extremely
on demand in the political circles as a financial consultant.
Speaker 1 (15:19):
And then he just speaks in gardening metaphors the entirety.
Speaker 2 (15:22):
He just talks about gardening the entire time. Yes, they
have no idea that he can't even read or write.
Speaker 1 (15:29):
There's a little voltaira in that. Actually, you know, little Candide,
we must cultivate our garden. And I know I've talked
about my Beatles connection before Frankie, where my parents played
a lot of Beatles' music, mostly their their early records
like Help almost exclusively put that music on when we
were cleaning the house or doing chores, because my mom
(15:52):
would say time for some pep and she'd put on,
you know, those high energy Beatles records. And of course
I grew to loathe them because it meant sure time.
What's your Beatles experience do you have? Have you really
delved into them like you have other acts in bands.
Speaker 2 (16:11):
I find John Lennon very interesting as a solo artist.
I think he's he has some really great songs, and
I've heard his albums at least once. It's not something
I visited frequently, but I think out of all of them,
I think he was the most interesting musically. Not into
(16:34):
Paul McCartney at all. I've always found his I mean,
maybe this is like really controversial, but I've always found
his solo work, or wings work for that matter, very derivative, safe,
and really boring. And I think I've heard a couple
of George Harrison records. A few years ago on super
(16:58):
Deluxe Edition, they were discussing one of his albums that
was being really prepped up for a deluxe version, and
that's where I actually became familiar with one of his hits, My.
Speaker 3 (17:10):
Sweet Lord, which actually which actually turns out it was
a complete ripoff of another song, and he got sued
for death and he lost.
Speaker 1 (17:21):
George Harrison.
Speaker 2 (17:22):
Did George Harrison lost? Yeah, because it turns out that
that song was complete pleasiarism.
Speaker 1 (17:29):
I was unaware of that. Now we know who Year
the Parrot is about.
Speaker 2 (17:37):
Yeah, it's a nineteen sixty three hit called He's So Fine,
performed by the Chiffons, and apparently George Harrison subconsciously plagiarized
the song and even John Lennon called him out on that.
He said, if you had just tweaked a few notes,
you might have had a case, but it was so
(18:00):
blatant that, I mean, he had no defense.
Speaker 1 (18:04):
Yeah, plagiarism is hard to prove, so as as you
quoted there, just a few notes here and there gives
you plausible deniability. Wow, it's a bummer.
Speaker 2 (18:17):
Yeah. So that's a song from All Things Most Must Pass,
which I think is a very iconic, legendary album.
Speaker 1 (18:24):
But in general, you don't get down with the Beatles no.
Speaker 2 (18:28):
I mean, I know that the lenin Delirium of course
naturally will perform tomorrow, never knows any chance they have.
I know that Liss has been substantially influenced by the
Beatles throughout his career, but it's just not It's not
a group that I've ever felt attractive to.
Speaker 1 (18:49):
I'm going to toss out to our listeners a question,
which is, if I'm going to restart with the Beatles,
where should I do that? Given that I know most
of the hits because they're unavoidable. We know the tunes
that Frobrogate has covered multiple times, for example, and Claypool
(19:10):
len and Delirium a little help. So I'm asking for
a little help from our friends.
Speaker 2 (19:16):
Frankie, where should we start beyond the hits?
Speaker 1 (19:22):
You know? Give me an album, give me the you know,
give me the backside of an album that doesn't have
any big singles on it, or something like that, so
I can start fresh. I will take whatever advice anybody
can bring our way. Now, you did say something brave
yet controversial about Paul McCartney, and I will say the
(19:42):
one thing Wings gave us the two things I'm going
to revise my thinking mid thought. The two things Wings
gave us, Frankie, were the weird al parody of I
Got My Mind set on You just SI.
Speaker 4 (20:02):
Couldn't think of any lyrics. No one ever wrote the lyrics.
So while just saying any old lyrics did come to
my child.
Speaker 1 (20:14):
The song is six words long, and the Melvin's cover
of let Me Roll It, which is a sludge masterpiece
tim and the zip.
Speaker 4 (20:32):
I w It tim.
Speaker 2 (20:35):
On.
Speaker 1 (20:57):
Two great things came from Wings, So, George Martin, we
should probably talk about that. The once again sparse track
not a ton to talk about with the instrumentation, but
I do want to play a couple portions from the
studio cut because I do like the vocal delivery through
the storytelling here. I wish I were I like that
(21:39):
vocal delivery a lot Frankie. Once again, there's tons of
space there and I think he's feeling the need to
fill it and so he's hamming it up a bit
with the voice and there's a little bit of enjamment
at the end. There just a story of lost luggage
or late luggage. I don't know why that makes me laugh,
probably because it's so non Claypool. It's so you know,
(22:03):
it's just not what we would normally hear from him.
So once again, in small ways, he's defying expectations on
this record.
Speaker 2 (22:11):
By sharing Dee Hills about a trip which he had
never done before.
Speaker 1 (22:14):
I mean, name another song where he talks about the
modern perils of travel. I can't. It's mostly about people
on drugs. There are some interesting lyrics, and he does
tell a story here, and of course there's a twist
(22:35):
at the end of each verse and they all come
together at the end. So he's telling the story that
he flew into London, landed at Heathrow, as you heard,
and they couldn't find his luggage. He just stood there
and of course he used the metaphor with my pecker
in my hand is in just standing around? He says,
I wish I was a little more assertive like my
father always told me to be, as in try to
(22:58):
get this situation resolved. So he's actually admitting to being
a bit bashful in this situation or just not assertive
enough to get the problem solved. And then he's trying
to catch a cab. But I hadn't any sterling, he says,
he doesn't have any British pounds. The ATM was broken.
The hotel reluctantly advanced me on my AMEX. Well, first
(23:18):
of all, there's your problem, American Express. You're serious, bro.
But then the cash advance came with a twenty percent fee,
and he says, it's time like these I tend to
get overly assertive. Why can't I be just like my
mother always told me to be. My mom told me
to simmer down a bit. So we're seeing the opposites
at play here. So he overreacted to the twenty percent
(23:44):
cash advance fee on his card, underreacted, I suppose to
the luggage problem. And then we get that Sir George
Martin chorus, you know in between each of these verses,
asking what would George Martin do in this situation? Speaking
of him, we finally get to the subject of the
tune Frankie. In the third verse a film I saw,
(24:06):
I was introduced by Sir George Martin. He sat two
seats in front of me. And so, as you mentioned Frankie,
George Martin probably a hero to Less Claypool, And of
course George Martin probably has no idea who Less Claypool is.
So that could be a starstruck moment for our narrator,
(24:26):
which is pretty cool. Like, that's something I really like
hearing and reading about, is when our stars are starstruck
by somebody else. And so it's kind of cool here
that we're seeing that I don't tend to get starstruck
around people in the music or film or whatever world
who I admire.
Speaker 2 (24:48):
You were starstruck by Adam Gates.
Speaker 1 (24:50):
I will say that I was hypnotized by how handsome
and charming he was. How about that? Yeah, he's the exception. However, Yeah,
I tend not to be starstruck, and if I do
meet them, I will simply have a conversation or just
shoot the breeze. But here two seats behind and this
(25:14):
is something, this is fanboy stuff where you say I
was only two seats behind him. You know, I was
this close to George Martin. I filled my head with
veno and marveled in the darkness pondering his stellar legacy.
I wonder what the film was. We don't have any
information on that. Maybe it was George Martin introducing a
documentary about himself or a movie about his career. Not
(25:38):
certain on that front. I've put out the question to
people who might be in the know and have not
received a reply, and then we get it's times like these.
My memories are gloriously assertive. I try to be just
like my teacher always told me to be. I'm gonna
guess that teacher wasn't Missus Bailey or missus Blaylean Frankie,
(25:59):
because that teacher was not nice. But gloriously assertive is
a fun descriptor for his memories. And then in the
final verse, spent the rest of the night with friends
and Giles Martin, Giles Martin being the son of Sir
George Martin, and so at this point he's just telling
(26:20):
a story from a trip to London and seeing this film,
but also having, you know, luggage problems. Like everybody else,
stories in Tequila began to flow. Jason Mack. He vomited
into some poor bastard's pocket. That's when I knew it
was time to go. I would imagine Jason Mack is
our pal, Jason McHugh, Frankie very Well, Coothby, Yeah, that's
(26:43):
my guess. We'll confirm that. And he ends this with
it's times like these I have to stand up and
be assertive, try to be just like the doctor always
tells me to be. So the doctor says, be more assertive. So, uh, well,
you're puked, it's time to go. That's a pretty good
indication it's time to go. That's and that's it. That's
(27:05):
what we get. So mom, dad, teacher, doctor, all these
people who we would look up to as young youngsters.
I suppose even into our adulthood, we're going to listen
to doctors, mom's dads, teachers and so on. And he's
trying to do what they told him to, even though
these things come into conflict sometimes. And he got to
(27:26):
have fun and hang out with Giles Martin. So we
know this story now, although we don't know the entire context.
Now having running down these lyrics, Frankie, does that change
your interpretation or what you once thought of this?
Speaker 2 (27:42):
No, I think I'm on the same page.
Speaker 1 (27:45):
Well, you said something interesting before we pressed record, which
was and I don't think I made this connection because
this phrase was insanely popular for a while and then
it left kind of left the lexic for myself at
any rate. But the question what would sir George Martin do?
Is very similar to what would Jesus do? And so
(28:08):
you brought that up. So uh heard many times when
you're making that comparison or making that connection. What does
this song say to you?
Speaker 2 (28:20):
That Lisz holds George Martin in extremely high regard.
Speaker 1 (28:25):
Okay, so he's asking what would Sir George Martin do
about this luggage situation? This person I admire, this legendary
producer who's a hero of mine. Okay, I'll buy that. Yeah,
And of course to me, there's irony there. Less Claypool
asking a record producer for advice. Once again, Less Claypool,
(28:49):
who produces his own records. Less Claypool of Primus, who
famously produced their own records for years. Less Claypool of Primus,
who would never work with a producer unless it was
his idea. Interesting, now, you know, you know how remember
(29:10):
in the Antipop days that he said that they reached
out to guys like Brian Eno and a whole bunch
of their musical heroes to request their producing services. Did
they reach out to George Martin? Do you think?
Speaker 2 (29:23):
I don't know if they had the nerve to do that.
Speaker 1 (29:27):
Yeah, at that point, like like they're already asking Eno
and all these other guys who don't know who they are,
who don't know who Primus is. So I suppose George
Martin would be the moonshot at that point, especially in
the nineties when George Martin is still doing all kinds
of stuff. Yeah, it's it's really funny to me just
(29:47):
to think about the people for whom who are in
such rarefied air or in the musical world's stratosphere. Frankie,
that Primus it doesn't even register, or that the a blip.
Speaker 2 (30:01):
And I can. I can also picture perfectly Les being
within a few feet away from George Martin and not
actually interacting with him, right, because that takes me back
to to that interview where Les brings up Peter Gabriel,
(30:24):
And he said, what would I even say to Peter
Gabriel if I met him? Like his mind would be blank? So,
you know, I think I think there are some examples
of people that let's respect so much that perhaps he
would feel too intimidated to meet them. Perhaps George Martin
is one of them.
Speaker 1 (30:44):
Well, I don't think he'll get the chance, because George
Martin has left.
Speaker 2 (30:47):
What's one of them?
Speaker 1 (30:49):
There you go? But yeah, that's that's it's such an
interesting concept. But once again, I mean every every but
he has their heroes or people who they've lionized and
become even mythical figures in their own minds, to their
(31:11):
own minds, that is. And so we tend to do that.
And so the people we hold in the highest regard
for their artistic or other achievements could be very difficult
to talk to because we've built them up ourselves so much,
which is why it was so difficult for us, Frankie,
when we met Derek Greenberg and he, you know, we
(31:33):
had to speak to him through the limo window, the
tinted window, all the bodyguards and the women in the
fur coats. It was weird. Yes, yeah, good Man, good
luck trying to make contact with bean Pole. It's tough
(31:53):
that beautiful music can only mean one thing. It's time
for Primates takes. If you want your take on the
track up for this USh and read on this podcast,
all you have to do is go to Patreon dot
com fort slash Primus tracks. There are many ways of
support Josh and Frankie over there, but this is the
universal constant. Primates takes Our first take on what would
serve That? Our first take on the track what would
(32:16):
Sir George Martin Do? Is from Ethan from Kentucky, who
says slide whistle solo George is a fun song. I
love the stand up bas in the track. I never
really paid attention to it lyrically until recently. It's a
good thing you're listening to this podcast. Ethan, Eric in Australia,
Bright and Bubbly for this dirty Fungi Info record, says
(32:37):
George is high in the running for my least favorite
Primus Claypool track, A long, strange trip WTF with a
slide whistle? Well, we uncovered that mystery for you, Eric,
And finally, John Shreeves says George Martin is a fun one.
This album is not for everyone, but it's perfect for
driving a distance by yourself, if nothing else. The lyrics
(33:00):
are silly, like the shy kid is taking things too far,
like Paddington Bear esque. Interesting John, that's it for primate stakes.
Thank you.
Speaker 2 (33:15):
Live cuts from a Jam Vehicle.
Speaker 5 (33:17):
Live cuts for the Jam Vehicle, Live cuts from a
Jam Vehicle, live cuts.
Speaker 2 (33:23):
Free.
Speaker 1 (33:25):
A true Jam vehicle, Live.
Speaker 5 (33:27):
Cuts Fan a Gem Vehicle, Live cuts from the Jam Vehicle,
live Cutsman, what's.
Speaker 2 (33:33):
Going on here?
Speaker 1 (33:34):
Shards of bone in my penis, Adam Gates, Frankie, So
I had to play the long version?
Speaker 2 (33:42):
Sure?
Speaker 1 (33:43):
What would sir George Martin do? Of the thirteen performances,
we have one of them. This is March twenty seven,
two thousand and nine. No city in the metadata, Frankie.
Speaker 2 (33:57):
That takes us to the Electric Factory in Philadelphia.
Speaker 1 (34:01):
I think we've been there a time or two.
Speaker 2 (34:03):
Martin was the encore. This is the two prior to
Electric Funeral.
Speaker 1 (34:08):
Oh wow, that's quite a two punch right there. So
they they come out for the encore and played George Martin,
possibly befuddling the audience, and then they kicked their ass
with Electric Funeral, and they're out. It didn't get much
better than that. Let's hear some of what would Sir
(34:28):
George Martin do? Sam bassto and the slide whistle on
the cello. I don't know why those whole notes were
(35:17):
making me laugh, but it certainly was indicating a transition
was coming. So that sounds pretty straightforward. It's interesting to
hear the cello doing the slide whistle party and Mike
Dee doing the Lesclaypool composed Marion a part and then
embellishing upon it. I don't think I recall hearing a
(35:44):
Fung Guy band performance of Electric Funeral.
Speaker 2 (35:47):
Very cool.
Speaker 1 (35:48):
I'm gonna look that up. Speaking of English music legends
for crying out loud, well, I guess I can say this, Frankie,
what would Sir George Martin do? Well? He certainly wouldn't
remix this podcast in stereo. He's been tracked, although I
think he did oversee some stereo remixes down the line.
(36:11):
Uh so that was what would Sir George Martin do
next time? Frankie, We've tried, and we've tried, and we've
tried with Errol, but.
Speaker 2 (36:23):
He thinks he knows everything.
Speaker 1 (36:25):
Must be a teenager throw in shade, Primates, primatrons, people
of Earth. Thank you all so much for listening. Help
me out with the Beatles. I need your I need
your assistance. Frankie needs it too. He's he does his
yearly Primus Claypool Run, he does a yearly Prince Run,
he does a monthly Bowie run, so let's let's get
(36:48):
him another and of course his and of course David
brn in talking heads, so we need to give him
another obsession. Mm hmm. Later days, Boilly.
Speaker 2 (36:59):
Mace H, Sir Trige Martin, Sir for forton suchartin
Speaker 1 (37:09):
What would Sir George Martin do
It's Josh freaky.
Speaker 2 (00:01):
What a couple of dump shits.
Speaker 1 (00:20):
Hello, prerib So you've found Primus Tracks. Congratulations, I am
named Josh. I am one of the hosts of Primus Tracks.
You've found the audio version, which usually is what podcasts are.
There are video versions over at Patreon dot com, forward
slash Primus Tracks. There's also Primus Tracks in social media
(00:44):
form at Primus Tracks on Instagram and threads and Facebook.
There's also an email address and that is Primus Tracks
Pod at gmail dot com. That pod is very important.
Once again, I am Josh. I don't deserve two introductions,
but he deserves one. He is on the thirty ninth
(01:05):
floor of Primus Trackstours in Mexico City, wondering about a
famous record producer. It's Frankie Berestein. Hey, Josh, Hi Frankie.
Today we are talking about a track from A Fungui
and Foe with a really long title and it asks
a question, what would Sir George Martin do. This is
(01:29):
track five from your A Fung Guy and Foe release.
We are starting to get into the tracks that I
don't remember at all, Frankie. The first four tracks I
had some memory of because I'd seen three of them live,
they were a bit more memorable. I suppose upon first
listen back in two thousand and nine, I shouldn't say
(01:50):
first listen, Frankie, I should say only listen as a reminder,
I have not heard this record since it was released
sixteen years ago. And I'm going back through a track
by track as you are listening to this album or podcast,
track by track, as we break down this record. What
(02:13):
would Sir George Martin do? Frankie? Track five, five minutes
and fifty seconds. Our credits, It's a long one. Our
credits are as follows Less Claypool on upright percussion and
a little bit of marimba. Mike Dillon is credited with
the marimba solo and Cage Claypool is on slide whistle.
(02:37):
What do you think of his slide whistling? Our pal
Cage interesting In the Mushroom Man episode, Frankie I had
quoted I had quoted Less discussing that Cage was hounded
him asking one of the Mushroom guys gonna call about
the video game. And it's kind of great that Cage
(02:57):
ended up playing slide whistle on a track that was
used in the video game George Martin is actually titled
belt Us March and was used in in full in
the Mushroom Men video game. Of course, it was provided
(03:17):
to the to the game without vocals and without the
Mike Dylan Marimba solo that was inserted at a later date,
but Cage got a guest slide whistle role, so he
is immortalized on the Mushroom Men video game. How great
is that that your your your dad is making music
(03:38):
for this video game. You're You're a kid who's really
interested in video games, and then all of a sudden
you're the perform it. You're whooping it up with a
slide whistle and then so.
Speaker 2 (03:48):
That's Hollywood for you right there.
Speaker 1 (03:49):
That's for you. Or imagine the party, you know when
Cage had his buddies over and they're playing the game
when it's first released, and I know, in in his shoes,
I when that track came on. What'd stop everybody and
say you have to listen? Do you hear that? That's me? Haha,
that's me playing the slide whistle. I don't know who's
(04:11):
playing all that other stuff, probably my dad, but that's
me on slide whistle, so you can, of course hear
the Mushroom Men tracks in their entirety on YouTube. I've
been dropping the link to that playlist in the show notes.
This is originally known as Belitist March, and once again
it's it is complete Sons vocals and the Mike d
(04:33):
Rimba solo this one, Frankie, I have no memory of
coming back to it, and it is very sparse. This
is an interesting track in that the the instrumentation is
certainly simpler than we would expect from a less Claypool
solo release. But excuse me, Less Claytool You're right, as
(04:58):
printed in the liner notes in the re release Your
Adversity box set, it's certainly more sparse and spaced out,
certainly than anything almost anything on of Wales and Woe.
Of course, the first four tracks of Fungi and Foe
certainly prepared us for this one. Would imagine you being
(05:21):
more familiar with this tune. How does it speak to you?
Speaker 2 (05:25):
I think I agree with you that it is a sparse,
and I think it's because Liz really wanted to highlight
the lyrics. I think he wanted the narrative of the
song to be the main focus.
Speaker 1 (05:37):
Of the track, and I wonder if his hand was
forced by the more simplistic instrumentation that is very slow paced,
that was used once again for a video game, and
then when it came time to write lyrics for it,
he had all the space in the world to fill
(05:58):
it up with vocals, Yeah, and and a marimba solo.
Because this one's almost six minutes, so you gotta you
gotta fill that time one way or another. Why not
have old Mike d lay it down a bit? So there.
He certainly uses this as a storytelling opportunity, more so
(06:20):
certainly than the first four tracks, which some of the
lyrics of and those are straightforward, some of them are
really small vignettes. Some of them are pretty out there
stories like Amanitas. This one is more of an elongated
narrative with a with a little lyrical twist at the
end of each verse or stanza. Before we get too far,
(06:42):
I wanted to ask you about live performances, because I
think we're starting to get into the tracks that have
very few.
Speaker 2 (06:50):
Actually always meant to tell you that when we record
and sample the live tracks of You Can't tell Ero anything.
We reached the end of the live cut samples.
Speaker 1 (07:01):
Oh my gosh, so we're already almost there.
Speaker 2 (07:05):
Yeah, So only the first half of the record was
performed live. The other half none of those songs were
ever approached in a live setting. So, starting with George Martin,
very few performances throughout two thousand and nine, it was
not performed that much.
Speaker 1 (07:23):
Do you have a number on that.
Speaker 2 (07:24):
One thirteen performances?
Speaker 1 (07:27):
Thirteen? Wow, over a couple of tour cycles. That's not
a lot.
Speaker 2 (07:33):
Nope.
Speaker 1 (07:34):
I would imagine since twenty ten, it's not been heard since.
Speaker 2 (07:38):
Two thousand and nine. It was not performed in.
Speaker 1 (07:40):
Twenty ten, not even in twenty ten.
Speaker 2 (07:42):
Nope.
Speaker 1 (07:44):
Now the Fun Guy Band went to London and the
UK for Crying Out Loud and they didn't play George
Martin there.
Speaker 2 (07:52):
It would have been too overt.
Speaker 1 (07:53):
I guess, well, I suppose that happens because you know,
Primus has played Kalamazoo in Kalamazoo, and then they're times
they have not played Kalamazoo in Kalamazoo. So I suppose
if people are expecting it, lets us want to do it.
I wonder if the fans in London felt slighted by
(08:14):
that our countrymen sing of our countrymen, probably not so
George Martin. For those of you unfamiliar, including Frankie, he
is often known as the fifth Beatle. He also called
himself more of an older brother to those guys. I believe.
(08:35):
George Martin, of course, as a record producer, had a
long and distinguished career, and I think he met the
Beatles when they were pretty young, lateeen's early twenties, and
he himself was entering his mid to late thirties, and
so he was able to bond with them, even though
they probably thought he was an old guy. And of
(08:58):
course he took them under his wing. And he's responsible
Frankie for a lot of the lush orchestral instrumentation that
you hear adjoining many Beatles tracks. Now, I can't give
you a rundown of all the tracks that he performed on,
or arranged strings for, or that kind of thing, but
I would imagine if you heard some kind of orchestration, strings,
(09:21):
or other instrumentation that would have sweetened the tune beyond
what the Beatles were performing, it was probably George Martin
on the records that he produced. So he is, but
he goes beyond the Beatles. He actually produced albums by
Peter Sellers. Comedy albums by Peter Sellers in the fifties
(09:44):
and sixties, I believe, and also of course worked extensively
as the Beatles and produced a bunch of records for
many other recognizable names, including the band America. I don't
know if we get to blame George Martin and for
a horse with no name, but.
Speaker 2 (10:02):
Didn't didn't Peter Sellers a star in the film being
there being that.
Speaker 1 (10:07):
I don't know that Peter Seller's filmography very well, other
than I happened upon some stream on my Roku that
was showing the Pink Panther films for hours on end,
so I was checking in on those and great physical
comedy from Peter Sellers throughout. He's a very good, clueless detective,
(10:31):
I would say. Now. I have not seen this documentary Frankie,
but I do plan to watch it after we have
spoken about him here, at least in general terms. Produced
by George Martin is probably a good starting point. It's
a more recent documentary about the man, and there is
tons of information on this guy out there, mostly due
(10:53):
to his association with the Beatles, but he beyond the Beatles,
he produced and recorded tons of number one hits throughout
his years and is widely regarded as one of the
greatest record producers of all time. I'm not going to
argue it, because I don't know that much about him.
I do remember, though, Frankie, there was this controversy around
(11:17):
when the Beatles mono recordings being remixed for stereo, because
stereo was really new when the Beatles were recording many
of their records, and George Martin preferred mono. I think
there's a quote from him, you haven't really heard Sergeant
Pepper's until you've heard it in mono. But he preferred mono,
(11:40):
and later on he did oversee some stereo remixes, but
he preferred mono for the longest time. But there was
controversy around Beatles albums being remixed in stereo, and the
purists hated them. As I recall reading years and years ago.
Speaker 2 (12:00):
Do you know who also preferred mono? Adam Gates Love
She saves a song called Mono from her one and
only solo record. It's about the vinyl.
Speaker 1 (12:12):
Yes, okay, interesting, I mean a lot of people do
prefer mono to this day. It's it's hard to quantify
sonic preferences, I suppose.
Speaker 2 (12:24):
So, I mean, we we know that George Martin is
a literary vehicle in this song, and I can see
why Liz would would choose him, partly being influenced by
the documentary he watched in London, but also because we
know that Liz is a huge, huge Beatles aficionado. I mean,
(12:46):
in an alternate universe, we we would have had Primus
touring a Beatles record instead of the Chocolate Factory one.
So yeah, we know, we know they have been very
close uh to to the to the Beatle catalog throughout
their their their their career. I mean, let's less as well.
Speaker 1 (13:06):
Yeah, and he cited Paul McCartney as one of the
greatest bass players he's ever heard, and certainly has I
think sublimated some mccartneyisms in his own playing over the years.
And and of course you know through his his jam banding.
We've heard all kinds of Beatles covers. Tomorrow never Knows,
(13:28):
tax Man probably the two most widely performed a little
help from my friends. I know I'm missing a few,
but they've they've certainly covered plenty of Beatles tunes throughout
the life span of the fro brigade, fancy Band, and
so on.
Speaker 2 (13:46):
It is confirmed Peter Seller's starred in the film Being
There in nineteen seventy nine.
Speaker 1 (13:53):
And what's the significance of that film.
Speaker 2 (13:56):
It's a really fantastic novel. Well, this is the adaptation.
I think I watched the film only once and it
was okay, But the novel is really incredible. It's about
a man that never received an education, and he grew
up obsessed with the television and he only worked as
(14:19):
a gardener for a very old rich man. When that
man passed away, he was kicked out of the mansion.
He found himself on the street, completely unable to cope
with the outside world, which he had never interacted with.
He accidentally gets run over by a limousine where the
president's wife is actually inside, and she feels so mortified
(14:41):
that she invites him to stay over for dinner at
their home after taking him to the hospital. So he
meets the president and the president asks him what he
thinks about the current economy, and the main character has
no idea what to say, so he just replies with
information about gardening, because that that's all he's familiar with,
(15:01):
and the president thinks that he's making an analogy about
the economy through gardening, and he quote him on his
speech the following day. So the main character becomes extremely
on demand in the political circles as a financial consultant.
Speaker 1 (15:19):
And then he just speaks in gardening metaphors the entirety.
Speaker 2 (15:22):
He just talks about gardening the entire time. Yes, they
have no idea that he can't even read or write.
Speaker 1 (15:29):
There's a little voltaira in that. Actually, you know, little Candide,
we must cultivate our garden. And I know I've talked
about my Beatles connection before Frankie, where my parents played
a lot of Beatles' music, mostly their their early records
like Help almost exclusively put that music on when we
were cleaning the house or doing chores, because my mom
(15:52):
would say time for some pep and she'd put on,
you know, those high energy Beatles records. And of course
I grew to loathe them because it meant sure time.
What's your Beatles experience do you have? Have you really
delved into them like you have other acts in bands.
Speaker 2 (16:11):
I find John Lennon very interesting as a solo artist.
I think he's he has some really great songs, and
I've heard his albums at least once. It's not something
I visited frequently, but I think out of all of them,
I think he was the most interesting musically. Not into
(16:34):
Paul McCartney at all. I've always found his I mean,
maybe this is like really controversial, but I've always found
his solo work, or wings work for that matter, very derivative, safe,
and really boring. And I think I've heard a couple
of George Harrison records. A few years ago on super
(16:58):
Deluxe Edition, they were discussing one of his albums that
was being really prepped up for a deluxe version, and
that's where I actually became familiar with one of his hits, My.
Speaker 3 (17:10):
Sweet Lord, which actually which actually turns out it was
a complete ripoff of another song, and he got sued
for death and he lost.
Speaker 1 (17:21):
George Harrison.
Speaker 2 (17:22):
Did George Harrison lost? Yeah, because it turns out that
that song was complete pleasiarism.
Speaker 1 (17:29):
I was unaware of that. Now we know who Year
the Parrot is about.
Speaker 2 (17:37):
Yeah, it's a nineteen sixty three hit called He's So Fine,
performed by the Chiffons, and apparently George Harrison subconsciously plagiarized
the song and even John Lennon called him out on that.
He said, if you had just tweaked a few notes,
you might have had a case, but it was so
(18:00):
blatant that, I mean, he had no defense.
Speaker 1 (18:04):
Yeah, plagiarism is hard to prove, so as as you
quoted there, just a few notes here and there gives
you plausible deniability. Wow, it's a bummer.
Speaker 2 (18:17):
Yeah. So that's a song from All Things Most Must Pass,
which I think is a very iconic, legendary album.
Speaker 1 (18:24):
But in general, you don't get down with the Beatles no.
Speaker 2 (18:28):
I mean, I know that the lenin Delirium of course
naturally will perform tomorrow, never knows any chance they have.
I know that Liss has been substantially influenced by the
Beatles throughout his career, but it's just not It's not
a group that I've ever felt attractive to.
Speaker 1 (18:49):
I'm going to toss out to our listeners a question,
which is, if I'm going to restart with the Beatles,
where should I do that? Given that I know most
of the hits because they're unavoidable. We know the tunes
that Frobrogate has covered multiple times, for example, and Claypool
(19:10):
len and Delirium a little help. So I'm asking for
a little help from our friends.
Speaker 2 (19:16):
Frankie, where should we start beyond the hits?
Speaker 1 (19:22):
You know? Give me an album, give me the you know,
give me the backside of an album that doesn't have
any big singles on it, or something like that, so
I can start fresh. I will take whatever advice anybody
can bring our way. Now, you did say something brave
yet controversial about Paul McCartney, and I will say the
(19:42):
one thing Wings gave us the two things I'm going
to revise my thinking mid thought. The two things Wings
gave us, Frankie, were the weird al parody of I
Got My Mind set on You just SI.
Speaker 4 (20:02):
Couldn't think of any lyrics. No one ever wrote the lyrics.
So while just saying any old lyrics did come to
my child.
Speaker 1 (20:14):
The song is six words long, and the Melvin's cover
of let Me Roll It, which is a sludge masterpiece
tim and the zip.
Speaker 4 (20:32):
I w It tim.
Speaker 2 (20:35):
On.
Speaker 1 (20:57):
Two great things came from Wings, So, George Martin, we
should probably talk about that. The once again sparse track
not a ton to talk about with the instrumentation, but
I do want to play a couple portions from the
studio cut because I do like the vocal delivery through
the storytelling here. I wish I were I like that
(21:39):
vocal delivery a lot Frankie. Once again, there's tons of
space there and I think he's feeling the need to
fill it and so he's hamming it up a bit
with the voice and there's a little bit of enjamment
at the end. There just a story of lost luggage
or late luggage. I don't know why that makes me laugh,
probably because it's so non Claypool. It's so you know,
(22:03):
it's just not what we would normally hear from him.
So once again, in small ways, he's defying expectations on
this record.
Speaker 2 (22:11):
By sharing Dee Hills about a trip which he had
never done before.
Speaker 1 (22:14):
I mean, name another song where he talks about the
modern perils of travel. I can't. It's mostly about people
on drugs. There are some interesting lyrics, and he does
tell a story here, and of course there's a twist
(22:35):
at the end of each verse and they all come
together at the end. So he's telling the story that
he flew into London, landed at Heathrow, as you heard,
and they couldn't find his luggage. He just stood there
and of course he used the metaphor with my pecker
in my hand is in just standing around? He says,
I wish I was a little more assertive like my
father always told me to be, as in try to
(22:58):
get this situation resolved. So he's actually admitting to being
a bit bashful in this situation or just not assertive
enough to get the problem solved. And then he's trying
to catch a cab. But I hadn't any sterling, he says,
he doesn't have any British pounds. The ATM was broken.
The hotel reluctantly advanced me on my AMEX. Well, first
(23:18):
of all, there's your problem, American Express. You're serious, bro.
But then the cash advance came with a twenty percent fee,
and he says, it's time like these I tend to
get overly assertive. Why can't I be just like my
mother always told me to be. My mom told me
to simmer down a bit. So we're seeing the opposites
at play here. So he overreacted to the twenty percent
(23:44):
cash advance fee on his card, underreacted, I suppose to
the luggage problem. And then we get that Sir George
Martin chorus, you know in between each of these verses,
asking what would George Martin do in this situation? Speaking
of him, we finally get to the subject of the
tune Frankie. In the third verse a film I saw,
(24:06):
I was introduced by Sir George Martin. He sat two
seats in front of me. And so, as you mentioned Frankie,
George Martin probably a hero to Less Claypool, And of
course George Martin probably has no idea who Less Claypool is.
So that could be a starstruck moment for our narrator,
(24:26):
which is pretty cool. Like, that's something I really like
hearing and reading about, is when our stars are starstruck
by somebody else. And so it's kind of cool here
that we're seeing that I don't tend to get starstruck
around people in the music or film or whatever world
who I admire.
Speaker 2 (24:48):
You were starstruck by Adam Gates.
Speaker 1 (24:50):
I will say that I was hypnotized by how handsome
and charming he was. How about that? Yeah, he's the exception. However, Yeah,
I tend not to be starstruck, and if I do
meet them, I will simply have a conversation or just
shoot the breeze. But here two seats behind and this
(25:14):
is something, this is fanboy stuff where you say I
was only two seats behind him. You know, I was
this close to George Martin. I filled my head with
veno and marveled in the darkness pondering his stellar legacy.
I wonder what the film was. We don't have any
information on that. Maybe it was George Martin introducing a
documentary about himself or a movie about his career. Not
(25:38):
certain on that front. I've put out the question to
people who might be in the know and have not
received a reply, and then we get it's times like these.
My memories are gloriously assertive. I try to be just
like my teacher always told me to be. I'm gonna
guess that teacher wasn't Missus Bailey or missus Blaylean Frankie,
(25:59):
because that teacher was not nice. But gloriously assertive is
a fun descriptor for his memories. And then in the
final verse, spent the rest of the night with friends
and Giles Martin, Giles Martin being the son of Sir
George Martin, and so at this point he's just telling
(26:20):
a story from a trip to London and seeing this film,
but also having, you know, luggage problems. Like everybody else,
stories in Tequila began to flow. Jason Mack. He vomited
into some poor bastard's pocket. That's when I knew it
was time to go. I would imagine Jason Mack is
our pal, Jason McHugh, Frankie very Well, Coothby, Yeah, that's
(26:43):
my guess. We'll confirm that. And he ends this with
it's times like these I have to stand up and
be assertive, try to be just like the doctor always
tells me to be. So the doctor says, be more assertive. So, uh, well,
you're puked, it's time to go. That's a pretty good
indication it's time to go. That's and that's it. That's
(27:05):
what we get. So mom, dad, teacher, doctor, all these
people who we would look up to as young youngsters.
I suppose even into our adulthood, we're going to listen
to doctors, mom's dads, teachers and so on. And he's
trying to do what they told him to, even though
these things come into conflict sometimes. And he got to
(27:26):
have fun and hang out with Giles Martin. So we
know this story now, although we don't know the entire context.
Now having running down these lyrics, Frankie, does that change
your interpretation or what you once thought of this?
Speaker 2 (27:42):
No, I think I'm on the same page.
Speaker 1 (27:45):
Well, you said something interesting before we pressed record, which
was and I don't think I made this connection because
this phrase was insanely popular for a while and then
it left kind of left the lexic for myself at
any rate. But the question what would sir George Martin do?
Is very similar to what would Jesus do? And so
(28:08):
you brought that up. So uh heard many times when
you're making that comparison or making that connection. What does
this song say to you?
Speaker 2 (28:20):
That Lisz holds George Martin in extremely high regard.
Speaker 1 (28:25):
Okay, so he's asking what would Sir George Martin do
about this luggage situation? This person I admire, this legendary
producer who's a hero of mine. Okay, I'll buy that. Yeah,
And of course to me, there's irony there. Less Claypool
asking a record producer for advice. Once again, Less Claypool,
(28:49):
who produces his own records. Less Claypool of Primus, who
famously produced their own records for years. Less Claypool of Primus,
who would never work with a producer unless it was
his idea. Interesting, now, you know, you know how remember
(29:10):
in the Antipop days that he said that they reached
out to guys like Brian Eno and a whole bunch
of their musical heroes to request their producing services. Did
they reach out to George Martin? Do you think?
Speaker 2 (29:23):
I don't know if they had the nerve to do that.
Speaker 1 (29:27):
Yeah, at that point, like like they're already asking Eno
and all these other guys who don't know who they are,
who don't know who Primus is. So I suppose George
Martin would be the moonshot at that point, especially in
the nineties when George Martin is still doing all kinds
of stuff. Yeah, it's it's really funny to me just
(29:47):
to think about the people for whom who are in
such rarefied air or in the musical world's stratosphere. Frankie,
that Primus it doesn't even register, or that the a blip.
Speaker 2 (30:01):
And I can. I can also picture perfectly Les being
within a few feet away from George Martin and not
actually interacting with him, right, because that takes me back
to to that interview where Les brings up Peter Gabriel,
(30:24):
And he said, what would I even say to Peter
Gabriel if I met him? Like his mind would be blank? So,
you know, I think I think there are some examples
of people that let's respect so much that perhaps he
would feel too intimidated to meet them. Perhaps George Martin
is one of them.
Speaker 1 (30:44):
Well, I don't think he'll get the chance, because George
Martin has left.
Speaker 2 (30:47):
What's one of them?
Speaker 1 (30:49):
There you go? But yeah, that's that's it's such an
interesting concept. But once again, I mean every every but
he has their heroes or people who they've lionized and
become even mythical figures in their own minds, to their
(31:11):
own minds, that is. And so we tend to do that.
And so the people we hold in the highest regard
for their artistic or other achievements could be very difficult
to talk to because we've built them up ourselves so much,
which is why it was so difficult for us, Frankie,
when we met Derek Greenberg and he, you know, we
(31:33):
had to speak to him through the limo window, the
tinted window, all the bodyguards and the women in the
fur coats. It was weird. Yes, yeah, good Man, good
luck trying to make contact with bean Pole. It's tough
(31:53):
that beautiful music can only mean one thing. It's time
for Primates takes. If you want your take on the
track up for this USh and read on this podcast,
all you have to do is go to Patreon dot
com fort slash Primus tracks. There are many ways of
support Josh and Frankie over there, but this is the
universal constant. Primates takes Our first take on what would
serve That? Our first take on the track what would
(32:16):
Sir George Martin Do? Is from Ethan from Kentucky, who
says slide whistle solo George is a fun song. I
love the stand up bas in the track. I never
really paid attention to it lyrically until recently. It's a
good thing you're listening to this podcast. Ethan, Eric in Australia,
Bright and Bubbly for this dirty Fungi Info record, says
(32:37):
George is high in the running for my least favorite
Primus Claypool track, A long, strange trip WTF with a
slide whistle? Well, we uncovered that mystery for you, Eric,
And finally, John Shreeves says George Martin is a fun one.
This album is not for everyone, but it's perfect for
driving a distance by yourself, if nothing else. The lyrics
(33:00):
are silly, like the shy kid is taking things too far,
like Paddington Bear esque. Interesting John, that's it for primate stakes.
Thank you.
Speaker 2 (33:15):
Live cuts from a Jam Vehicle.
Speaker 5 (33:17):
Live cuts for the Jam Vehicle, Live cuts from a
Jam Vehicle, live cuts.
Speaker 2 (33:23):
Free.
Speaker 1 (33:25):
A true Jam vehicle, Live.
Speaker 5 (33:27):
Cuts Fan a Gem Vehicle, Live cuts from the Jam Vehicle,
live Cutsman, what's.
Speaker 2 (33:33):
Going on here?
Speaker 1 (33:34):
Shards of bone in my penis, Adam Gates, Frankie, So
I had to play the long version?
Speaker 2 (33:42):
Sure?
Speaker 1 (33:43):
What would sir George Martin do? Of the thirteen performances,
we have one of them. This is March twenty seven,
two thousand and nine. No city in the metadata, Frankie.
Speaker 2 (33:57):
That takes us to the Electric Factory in Philadelphia.
Speaker 1 (34:01):
I think we've been there a time or two.
Speaker 2 (34:03):
Martin was the encore. This is the two prior to
Electric Funeral.
Speaker 1 (34:08):
Oh wow, that's quite a two punch right there. So
they they come out for the encore and played George Martin,
possibly befuddling the audience, and then they kicked their ass
with Electric Funeral, and they're out. It didn't get much
better than that. Let's hear some of what would Sir
(34:28):
George Martin do? Sam bassto and the slide whistle on
the cello. I don't know why those whole notes were
(35:17):
making me laugh, but it certainly was indicating a transition
was coming. So that sounds pretty straightforward. It's interesting to
hear the cello doing the slide whistle party and Mike
Dee doing the Lesclaypool composed Marion a part and then
embellishing upon it. I don't think I recall hearing a
(35:44):
Fung Guy band performance of Electric Funeral.
Speaker 2 (35:47):
Very cool.
Speaker 1 (35:48):
I'm gonna look that up. Speaking of English music legends
for crying out loud, well, I guess I can say this, Frankie,
what would Sir George Martin do? Well? He certainly wouldn't
remix this podcast in stereo. He's been tracked, although I
think he did oversee some stereo remixes down the line.
(36:11):
Uh so that was what would Sir George Martin do
next time? Frankie, We've tried, and we've tried, and we've
tried with Errol, but.
Speaker 2 (36:23):
He thinks he knows everything.
Speaker 1 (36:25):
Must be a teenager throw in shade, Primates, primatrons, people
of Earth. Thank you all so much for listening. Help
me out with the Beatles. I need your I need
your assistance. Frankie needs it too. He's he does his
yearly Primus Claypool Run, he does a yearly Prince Run,
he does a monthly Bowie run, so let's let's get
(36:48):
him another and of course his and of course David
brn in talking heads, so we need to give him
another obsession. Mm hmm. Later days, Boilly.
Speaker 2 (36:59):
Mace H, Sir Trige Martin, Sir for forton suchartin
Speaker 1 (37:09):
What would Sir George Martin do
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