Rick Wakeman The Final On Vinyl Interview

It was my honor to interview music legend Rick Wakeman today! Thank you Rick for your time and discussing your most recent project The Red Planet album.

Keith "MuzikMan" Hannaleck

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Transcript

Speaker 0:03

Hello everybody, this is Keith "MuzikMan" Hannnaleck with The Final on Vinyl Podcast and today we're with Rick Wakeman. Hello, Rick.

Speaker 3 0:11

Hi then.

Speaker 0:13

So I just recently um listened to your latest release, The Red Planet, and wrote a review on it. Yeah, and I thought it was absolutely superb.

Speaker 2 0:26

Thank you very much. So the check I said you must have cleared then. Thank you.

Speaker 0:33

That's something I love about you, your sense of humor, I tell you.

Speaker 2 0:36

Oh I'm glad you like it, thank you.

Speaker 0:42

Uh it was absolutely refreshing, I thought. And uh I ordered up the the red vinyl, the signed version, and uh I love the little pop-up in the middle.

Speaker 3 0:54

Um sorry, go on.

Speaker 0:59

Oh, I was just wondering what um what was the driving force behind all that, the whole concept of it and your all this interest that you have in Mars and so forth.

Speaker 3 1:09

Yeah, well, uh I've I've always had an interest in space. This might sound silly, ever since I was eight years old, and for my birthday my father and mother bought me a plastic space suit, um, which lasted about a week before it fell apart. It was cheaper plus very proud of this. And of course in nineteen fifty-nine and I was ten, uh was when the first man went into space, and that was really exciting. I it was it was big news in in England then, and even more so when uh uh when more and more missions started to go up, and then of course in uh in 69 first man on the moon, I mean, that was just all that all us kids ever talked about. Um I mean it was just phenomenal. I mean I was what twenty years old uh and it was just massive, massive news and uh you know I did albums uh later on like out there, like um No Earthly Connection and it just all fascinated me and and another one called 2000 AD into the future and then I met uh uh some astronauts from NASA who became really great friends and uh they they sent some of my music up in space which was great. Uh the out there album went up twenty th 2000 AD into the future went up. And I've got wonderful photographs inside uh inside uh uh the uh Apollo missions where the the C Ds and the floating around and they're it's just fantastic and I got they all got to become really, really good friends. And they used to come to my concerts and yes concerts, uh and this c this continued my my interest in in space and then I I was introduced by my great friend Brian May uh to Professor Stephen Hawkins and also to another man called Garrick Israelian, who is uh the guy who helped prove and discover black holes. I mean real rocket scientists, these guys, uh, because Brian knew I had a love of space, and Brad Brian, of course, is a is a professor he's an astro he's a doctor, professor of astro uh uh physics, and he said, Look, we do a festival every year called the Starmus Festival, he said, which is a mixture of all things star, there's lectures, all things that go on uh with great physicists and astronauts, uh and he said we have music at the end of it. He said, How about bringing a band and coming and um and playing? So this was held in Tenerife in twenty oh Cracky seventeen, I think it was, uh and um uh I took my band down, Brian joined in with my my band. We had a fantastic time and I I went to some of the lectures, I went to one of Stephen Hawking's lectures, and it was fantastic because I didn't understand a word. Uh not one word. And and uh but I was just riveted. It was just fantastic. There was all these diagrams and things and I just got to love all these guys, and then Garrick introduced me to Alexei uh Leonov, who was the first Russian to walk in space, and I went to a lecture of his in London, um, and and and again I I thought after Stephen Hawking I might understand something, but no, I didn't, I didn't understand a word. But it was just fascinating to be there. And then uh I went in twenty nineteen in Zurich, as we had the celebration of fifty years of the of uh of uh man on the moon, and uh they had every single astronaut who was still alive that had walked on the moon there, and it was one of the most amazing events I've ever seen. Um Brian May, as Brian May, a big orchestra, myself, uh um uh uh what's his name? Um of course my great friend uh uh Steve Vai, uh there was um Hans Zimmer uh and we played We Are the Champions with a huge symphony orchestra and choir and on the stage on the stage walked all the surviving members led by Buzz Aldrin onto the stage. I've been doing concerts for fifty plus years and I've heard deafening sounds come from an audience. I have never heard uh uh an ovation like these astronauts got when they walked on the stage. They drowned us out, and trust me, we were not quiet. Uh I mean um Brian May does not play quiet, nor does myself has and the orchestra and the choir. It was just phenomenal. Um and so I'm I'm heavily involved with with the whole Star Mass thing, and I wrote their theme to and that kind of and it was about a year before that I was talking to Garrick and we were talking about music and I said I I'm I want to do a new pro rock and instrumental album and he said, Oh great, that'd be really good now. And he said, Um, what's stopping you? I said, a subject. I need a concept uh and th th that is genuinely going to inspire me uh that music will come to me because of it. I said, I can't just write music and throw a title at it. It has to come to me. And he said, Well, thought for you. He said in twenty twenty one is the fiftieth anniversary of the first successful uh trip to reach Mars. I said, Is it? He said, Yeah. He said there's been about fifty odd missions and he said some of the new pictures of Mars at a surface are phenomenal. He said they've not all been published yet. He said, But I can let you have some. Uh he said, What what do you know about Mars? I said, Well I know a I know a fair bit, you know. Um um i I said, in as much as that you know, it's very strongly believed that two million years ago, roughly, it was very similar to Earth. It had oceans and rivers and uh had an atmosphere but nowhere near as much oxygen as the Earth has, so whether it could support life or not, who knows, but if there's water there it must have done, I suppose. And he said, Yeah, and we're finding out more and more and more and more. There's so many more missions planned because it's this is this is gonna answer so many questions for us all. And he said, Let me send you some pictures. There's a lot online already, but he said there'll be a lot more that I can send you that you won't see anywhere else. I also got hold of my friends at NASA because I just found this really exciting. They sent me stuff and I just and I this might sound stupid, but the moment I started looking at these pictures, I s I started to get ideas, musical ideas come and I wrote some down almost almost straight away. So I did a lot of research, uh tons of research. I printed out oh heaven knows how many photos, and and whenever I sat at the piano to do my writing, because I still write everything on the piano, uh I had these photos and things scattered everywhere, and and that's where all the ideas came from. So basically, um you know I almost believed I was there and writing the music, and that's the only way I can do things in a in a concert properly. And uh I was also made loads of notes about ideas of sounds that I wanted to use. I also went back over some earlier albums, even though uh Noersea Connection was not um uh uh an instrumental album, there were sounds on that album that I really liked, and what was really good was I was able to listen to some of the tracks and go, Oh, oh, I like the one I did that. That's a nice nice. Why didn't I ever use that sound again? I think it's like using the Melatron flute purely as as theme does against uh any cord work. And so uh there were certain pieces as I was writing, I go, hey, listen, that would really work there. So I just made loads and loads and loads and loads of notes. Uh then spoke to um the band, the guys I wanted to use, Lee Pomeroy, Dave Cohoon and Ash Stone, told them about it, uh what I wanted to do, uh and they were well up for it. And I chose those guys because of something that David Bowie, who also knew that there was life on Mars, who said to me um many years ago, he said, Rick, when you're doing your you're doing your own music and he said, make sure you pick musicians uh who you think understand what you want to achieve. He said, if you pick musicians who don't understand what you want to do, it'll never come out right. Uh so I picked these guys 'cause I felt that they would be really understand uh and and be able to really contribute as well, you know, which they did. And then with my engineer co-producer Eric Jordan, who is great because he is um not frightened to say what he thinks. So uh you know, if I did a for example a solo or something and I'd I'd come in into the control room and I'd go, Hey, that was pretty good. Yeah, do you like that? And he go, So you think that's the best you can do, do you? And I go, Well, I I thought it was really good, Eric. Okay, if you're happy, you're happy. And I go, come on, Eric, what do you mean? He said, Well, he said, personally, I think you can do a lot better than that. And I said, Okay, I'll tell you what, I'll go in again. He said, No, no, wait a couple of hours and we'll come back to it. So I'd wait a couple of hours and they'd say go on in it, so I'd go in and do it again, I'd come back and he was ninety-nine percent of the time he was right, and he'd go, That was better, in it. Bet you're glad you did it again now, aren't you? And I'd go, Oh piss, piss off, Eric. Uh so it was great to have and and and also I had um you know the same with the guys, you know, with uh in in the band they go, Listen, we've just done this on that track. Um, you know, w we think you should extend that organ thing there because it just feels like it now. And you go, Yeah, that's right. So it was there was a lot of um I I think the in the word enthusiasm about the album with everybody who was involved, uh, which which really, really helped and gave it a lot of life and momentum.

Speaker 11:23

Is it doing well? Is it selling well for you?

Speaker 3 11:26

It is. I mean, um it is certain I I mean it was hit hard by the the dreaded lockdown, the coronavirus, because we had concerts planned, tours planned, all sorts of things, and special launches at the Space Centre in the UK. That of course was kicked into touch, so all the initial sales were uh were obviously initially online um until the distributor came on board um for America and other countries around the world, which was great. Um you know, I I have to say I really threw the reviews have been uh sensational. The first two pressings um sold out in the first week. And it's uh it's just it's just uh what's helped an awful lot is um is people talking to one another. It's it's the old it's almost gone back to the seventies as it was where you you found out about a uh uh an album by somebody telling you. And there just seems to be an an awful lot of word of mouth that's gone around. So it's it's it's um I'm I'm thrilled to be 'cause I'll be honest, I'm I'm immensely proud of the album. Um I I think it works in every respect. Uh we're going to do it live at the Starmers Festival in Armenia next year. That's gonna be fun of ghost because it means that all it'll be a lot of practice. Um so we're gonna be gonna be doing it live in Armenia and I think uh there'll be a couple of guests who'll join me as w as well as having my band, my son Adam will join the band, um and undoubtedly Brahme will sit in and and play some stuff with me on the thing. It's it's uh so it's it's gonna be great to play the Red Planet on the 50th anniversary at the Stammers Festival in Armenia. It's gonna be lovely.

Speaker 13:14

Oh boy, you've got to make a DVD for that one, Rick, huh?

Speaker 3 13:18

Do you know what? You I think you're you're absolutely right. My wife said exactly the same. She said that if that's not on film, then you're stupid. And uh yeah, we will we we we I'm I think almost certainly we will make a a film, yeah, uh no doubt about it.

Speaker 13:33

You know what's interesting, I've always had a tremendous interest in space since I was a little guy, and I used to fake um I used to fake being sick to stay home to watch the lunar landings and the locks and all of that. So I've always good for you.

Speaker 3 13:47

I I I I doubt whether you're the only one who did that.

Speaker 13:51

Probably true, right? So um it was an interesting experience for me, you know, visually and um with the audio that you presented on the album and the you know, the gatefold sleeves and the pop-up, and then it really captured my interest, and while I was writing the review, I decided to look things up while all the titles met. So I got a very good education about Mars by doing that, and I thought providing that in my interview would help the fans whoever wrote it, you know.

Speaker 3 14:22

Yeah. Well it the whole album cover and everything came about because um back in the seventies when it was all vinyl, um the cover was all important because it was your first journey into what was gonna happen when you put the needle on the vinyl. It was it was your f uh and that's why with yes we had such great stuff from Roger Dean who who I think visually told the story of Yes very much. And we sat down and Yeah, and we we sat down and uh in in fact we sat down in a little cafe in the northwest of England while I was on tour last year during a piano tour and uh we started uh remembering old old covers and I said, you know, at one time they were really, really different. I said C D's ruined album covers to some extent because A, you couldn't see them and you know you couldn't really enjoy the artwork and and the writing was so minuscule, you know, you needed uh the Hubble telescope to read everything. And um and he went, Yeah, you know, you're not far wrong. And he said, So what do you think? So um I I said, Well obviously being the red planet, red's got to be the be the predominant colour, and he said he agreed. And uh so we got um and uh the the artist involved, Martin Cook, who I've worked with before, who's who comes up with some really good ideas, and he said, Well he said, I hate to be plainly obvious, but you've got to have the planet in there somewhere on the cover. And we said, Yeah, okay. So uh we then come up with the idea of uh of having an uh a spaceman on the f on the front cover as well. I thought yeah, that would work. And I said uh and I said, Well, surely you should be playing something. So we got the idea of putting the mini moak in there which which we really loved, and then we noticed all the buttons on the space. We said, let's put things on the buttons to see how many people notice the things on the buttons. So we put David Bowie's uh symbol on and a few other bits and pieces. Um uh and i it was just absolutely brilliant. The only thing I wanted to do, I wish we tried to do, but it it it um it didn't work. Uh i I didn't want anything to stand out so much that that was all you noticed about the cover, uh except for when you opened it up and you got the pop-up. Um and we did look at putting a spider from Mars on there. Um because I you know I because I did bits and pieces with the band on that uh and the album but it was it it didn't it didn't actually work um because it was i it it it sort of it it it sort of stood out too much so so the spider from Mars fell down the hole in the middle. He went. Um but uh we were really, really, really pleased with it and the pop-up idea, we did various different pop-ups to see what would work, um and many, many, many weeks went into producing that that cover because we wanted it to be memorable and also uh something that really what we felt associated itself with uh the music, which meant that it had to be really quite seventies in lots of ways, which uh un unashamedly we did.

Speaker 17:57

Definitely. Yeah, it's it's uh retro, definitely. And you know, um just thinking I have a lot of your music and one of my favorites is uh your performance in the Lincoln Cathedral, and I often wondered how that whole thing happened.

Speaker 3 18:14

Oh, that was funny. It was great to do as far as it's uh a lovely you're talking of are you you are you talking about the piano one I did in Lincoln Cathedral or the or the organ one?

Speaker 18:26

Well actually both.

Speaker 3 18:28

Oh I discovered that the organ one, um uh uh uh there's there's uh there's a there's a rude word in this story which you will obviously will not be able to use or bleep out whatever, um, which was um I was asked if I would like to play the organ at or uh uh at Lincoln Cathedral um and and make an album of it. And I thought yeah, I I thought that would be a lot of fun. So I arrived at Lincoln Cathedral on early in the morning, very early, because I wanted to have a good practice and get to know the organ before we started recording. And uh the organ was up um in an organ loft overlooking down into the cathedral itself. And uh I arrived there and there was somebody who worked at the church who was beaving around and he said, Oh, you're you're very early, and I said, Yeah, I've come there to have a practice. He said, Ah, right. Um he said uh he said we've we've got a bit of a problem here and and I said uh okay, what's that? He said, Well, he said, one of the senior um um members of the of the cathedral actually sacked uh one of the lesser uh workers in the cathedral last night and I said, Well wh why is that m my problem? And he looked at me, he said, Look, I'm just about to sort the problem out but come on, come with me. So I went with him and we went up to the up to where the organ loft was and he said, Look down and I looked down and all of the seats were there and they all had cushions on them of uh of uh uh either white cushions or red cushions and the guy who'd been sacked had obviously wanted to leave a little message uh for the hierarchy, and when you looked down he'd moved the cushions around and that just read fuck off and I just fell about laughing. He said, I've got to sort this out before the dean arrives. I said, Would you mind if I play the organ while you do it? He went no. He said, I've just got to move all the cushions so they were all the same colour or at least a bit different from that. So that was how the cathedral organ went, and whenever I you know anybody brings me one of those CDs to decide or whatever, I have to chuckle because I that's that's all I remember really. The Lincoln Cathedral uh concert, the piano concert, was um because I did the the piano tour that I did, a lot of people said we we can't get we'd love a live version of this. And I wanted to do something different from just filming a live show and then putting it out, putting it out, and and also because sometimes the performances weren't quite to the standard that you know every piece that I wanted it to be. So came up with the idea of taking it into Lincoln Cathedral, not doing all the chat in between, but recording beforehand little bits about why each piece was as it was, to slot in and then then play the pieces. And also, if a couple of the pieces by the end of the concert um I didn't think were were good enough, or there'd been a noise or something like that, a bit like you do in the TV studio, we did retakes. We we did them again. Um which the audience love. They love all all retakes and things like that. So we had a lot of fun. It was about took us about four hours to do the the whole concert. The only downside of that was it was minus two degrees in the cathedral. It was freezing cold. My hands were so I mean I mean it was uh it's quite interesting because some of the pieces like Eleanor Rigby and things uh um are not as fast as they normally are because uh my hands were f were frozen. I had uh I had a f uh a fan heater uh at off to one side, so in between the traffic I would go over, switch it on, and try and get some warmth back into my hands for the next next piece. Um I think I think I think some of it was so cold, I think probably some of the audience died, but I can't be absolutely sure. Uh but it was cold. It was really horrendous. But it was just great fun to do. The cathedral were very, very helpful. We had a lot of fun, and uh it was a good way to do a live concert, um, but also different from just sticking cameras in front of a stage.

Speaker 23:20

Right. Now were you someone that went to church when you were uh growing up and that's why you had a love of the organ in the church or was there another way?

Speaker 3 23:31

Yeah, I mean I I was I was um uh I went to South Harrow Baptist Church uh from the age of about five. And if I wa I was baptized there in nineteen sixty-eight, and that church was a big part of my life at the at the at the time, and uh you know I still have amazingly happy memories and still keep in touch with some of the people you know who were there at the time, um uh those uh a lot of them no longer with us who are much older than me. Yeah, so that that that church and I played the organ there. I also played the organ at my my father's church, which was a Baptist church in in London, which is was knocked down to build a block of flats, which is a shame. Uh that was an old tracker organ. And then when I was at school they had an organ in the hall, uh, so I took organ lessons from the age of eleven. Um, but uh it's it's a great instrument. Uh I I love the power in the church organ. My problem is is that to play the church organ really well, you need small feet because of the the pedals so close together. Um I have uh double E width size size twelve, which is uh uh not ideal for an organ. Uh I mean I'm the only person who can play a chord with my feet. It's uh it it's so there are a lot of pieces that you just couldn't play and couldn't do. So I had to adapt my own way of playing in order to to do that. But I I I love the church organ, it's just got such a an amazingly powerful sound. And one of the things that I was always pleased with that uh that uh in the early days of y of yes, in the in the seventies, um I I I had no difficulty in um persuading the uh the the lads that church organ would be great on certain tracks uh such as Close to the Edge and then later on in in in Awake and and Parallels. And uh and I think that the church organ it became a very um important part of of of of of prog rock as as certainly as far as yes were concerned.

Speaker 25:47

Have you listened to the Stephen Wilson remasters? You have a Yeah.

Speaker 3 25:52

I ha I have, yeah. I mean he's a he's a he he's very good at what he does. I mean he I mean I think obviously being a guitarist, um you know, the people's uh and I would like them l louder, that's for sure. Uh certainly on certain bits. But he's very good at what he does, Stephen, there's no doubt about it.

Speaker 26:15

That's for sure. I picked up that box uh, the LP box, uh, and I was uh I was amazed at how it just popped out and and just I every detail I was hearing that was never.

Speaker 3 26:27

Very quite I mean I got mine uh because of course the record company never sent you anything, so I went out and bought mine. Um oh it is it's very good, Steam, no doubt about it.

Speaker 26:40

Isn't that something? The uh the record company wouldn't send it to you, you have to go out and buy it. Wow. I can't believe that.

Speaker 3 26:46

I mean that's happened pretty much with um everything that uh yes has released the live pin on oh over the last oh cracky um twenty years.

Speaker 27:00

Wow. Well I did notice that uh I'm sorry.

Speaker 2 27:06

I was just saying that's the nature of the business, I'm afraid.

Speaker 27:12

Yeah, unfortunately. It's changed a lot over the years thanks to the internet, that's for sure. But uh Yeah, it certainly has. It really has, Chase. I was looking at all the um equipment you use on the Red Planet. A lot of vintage equipment there. Probably you've had for some time then.

Speaker 3 27:28

Um yeah, it's um it's a real it's a uh yeah, it it's that's interesting because it is a real it's a real mixture of uh of of stuff. We I wanted authentic sounds um the best way of describing this really. I want I wanted authentic sounds, but um I wanted to use um it's hard to I w I wanted to use as much um uh what do you say modern technology as possible so that I call I got the best from um yeah, do you know what I mean? So I got the best um possible uh uh sounds and the best possible um uh I don't try trying to try to I wanted it to s I wanted it to have a seventies um feel if that makes sense. But I wanted um but I wanted it to to not have, shall we say, all the faults that used to be uh around in in those early days, the problems that we had. D does that sort of make sense?

Speaker 1 28:55

Uh yeah technologically.

Speaker 3 28:59

I'm sorry?

Speaker 29:01

I was thinking of technology and and how more how more much more advanced it is today. So you got that.

Speaker 3 29:07

Yeah, I wanna I wanted to I wanted to make use of the technology to achieve perhaps some of the things that I couldn't achieve achieve with the old stuff um way back. Um that's that's probably the best way I can I can dis describe it really. It's um uh it's I I don't know, it's um yeah, it's it's it's um that's what I'm looking for. It was very hard. We use a lot of original uh it's I mean obviously the mini moges in there, the retro with uh the um the Hammonds, what we used, they were they were um uh some were taken from uh keyboards I had some some were soft since um d deliberately, uh because what we wanted to what I wanted to do uh was um how can I put it where sometimes on an on an album you can get a great um organ sound for a track but you but it doesn't work all the way through. It needs little tweaks and things here and there to make it uh still sound like the same organ, shall we say, but um i it uh other bits and pieces in order to make it what it should be. If does that make sense?

unknown 30:42

Yeah.

Speaker 30:45

I'm I'm just thinking, you're referring to the um volume levels and things like like that.

Speaker 3 30:49

Well, it's a mix of it's just even certain things like um you know, some of the some of the sounds that uh that we used, um, there might be if somebody I don't know, if it's got a very low end, something like that, uh um um and certain sounds and things that were that were happening with that, then if if um my bass player, if Lee had had put something on that I really liked and and the sounds interfered, then what I would do, we would say, okay, let's listen to the organ sound, let's take out and let's change the sound so that it it it's it still sounds not well it is, but um what we can do is um we can make it so that it still sounds out and sounds as strong as it is, but we can also hear the the bass line that has been crowded out as clear as as clear as a bell. But it will sound like the original organ, but we'll hear all the the bass coming through or the guitar or whatever it might be. And we and we did it like that, if that sort of makes sense.

Speaker 32:04

Um in layers, yeah, that makes that makes sense totally. Yeah.

Speaker 3 32:09

And it it w it um you know, we've oh we did fiddle around with it a uh a lot. That took a a lot of time, you know, t to do all of that. You know, um I I mean w w one of the things that I ask, because a lot of people asked about what we used, um we actually when we do the next cover repressing, which is coming up soon, we're actually gonna put on all the things that I used. Um because it's I it it is interesting, um when I look back I'm uh I'm just having let me just have a quick look here on the no no no no. Yeah, I mean I u always used to use the real piano for stuff there was no real piano on this at all. I used um piano and stuff from uh from the uh uh Synthogy's Ivory Library. Um uh we used uh loads of other it's the mini mogue obviously. Um now this is interesting as well. I used three different mini moges. Because they're not all the same. The great thing about mini moges is they all have a a little character of their own. So I used different ones um depending on what I was trying to achieve. Uh yeah, they may all look the same, but they're not. And I brought it some some new instruments uh that um uh are what I call wonderfully retro, like the Studio Logic Sledge. I mean the Sledge is great fun. Um I mean it's it could have been made in nineteen seventy-six, uh so we brought in things like that. We we we did a lot of work on the sounds, and we did a lot of work on um on how we edited them all to work work properly. Now that we could not have done in the seventies, but with the aid of technology we could do that now. So this album musically I could have written it, and musically I could have recorded it, um, but it would not have been in the seventies, but it would not have been um to the the quality that we're able to do now.

Speaker 34:25

Well, the end result definitely shows, and uh it's such a wonderful thing these days to be able to take older equipment and um with new age music, for instance, which I cover a lot, they take a lot of the world ancient, you know, flutes and things like that and use the new technology and it all falls together so beautifully.

Speaker 3 34:45

Oh, it does, you know. And that and we're getting the joy out of all those uh uh th those instruments and that that those that kind of music as well, because um you could never really uh appreciate it properly with old recordings and things. You know, they were uh they I mean they w it was good and great to have them, but now we can we can really hear stuff properly.

Speaker 35:08

That's for sure. Well, Rick, I really appreciate all of your time today. Uh thank you so much for the same.

Speaker 3 35:14

You're most welcome anytime you like, but well great.

Speaker 35:18

I hope we can uh meet once again and I I look forward to the big concert in Armenia and the DVD. I'll definitely be looking for that. And um great.

Speaker 3 35:27

Well I'm just hoping that the albums I'm hoping that the album sells a few in America because I would love to to to do a tour of America plan out. I really would. That that that would be that would be special. Oh, that would be wonderful.

Speaker 1 35:39

But uh That would be great.

Speaker 35:40

Maybe I can meet you.

Speaker 3 35:42

Yeah, oh that would be great, absolutely. Brilliant.

Speaker 35:47

All right, sir. Thank you so much for your time. I'll get on this right away. Let's uh add to your review on my site as well, and uh thank you so much.

Speaker 3 35:57

Thank you very much. It'd be great talking to you, thanks a lot.

Speaker 36:00

You too, Rick, take care.

Speaker 3 36:02

Bye.

Speaker 36:03

Bye bye.