:00:06. > :00:13.It's the early '60s. And a legion of British bands are ready for
:00:13. > :00:17.action. The Americans have been shooting rock 'n' roll at us over
:00:17. > :00:23.the Atlantic for years. And the mop-top troops of the UK are about
:00:23. > :00:26.to return fire. He said, "They're called the Beatles." But as the
:00:26. > :00:33.British invasion is about to be launched, where will the troops get
:00:33. > :00:36.the weapons? Most things that are worth doing are dangerous. Who will
:00:36. > :00:40.give them the tools to do the job? The distortion factor on it is very,
:00:40. > :00:44.very low indeed. We're about to do the story of one small company
:00:44. > :00:50.which took on the world. With a handful of valves in an old shed in
:00:50. > :00:55.Dartford. They broke the rules. told him no! And defined the sound
:00:55. > :01:00.of the '60s. It sounded like a rhino being killed! It's a story
:01:00. > :01:10.that begins with bombs... And ends in tears. He was crying and I've
:01:10. > :01:28.
:01:28. > :01:35.never seen a man cry before. He was ANGELIC MUSIC. I'm Iain Lee, and I
:01:35. > :01:39.can tell you that that isn't any old guitar amplifier. It is in fact
:01:39. > :01:45.a classic Vox AC30. Built by Jennings Musical Industries of
:01:45. > :01:54.Dartford in 1964. Many guitarists say that the AC30 was the best amp
:01:54. > :02:02.ever made. The AC30 really is kind of a gift from God. The sound was
:02:02. > :02:07.so sweet. It really sung. Just a wonderful sound. And that, with
:02:07. > :02:10.that Vox, the AC30, is the first time it all came together.
:02:10. > :02:16.time it all came together. time it all came together.
:02:16. > :02:19.music is my life's passion. But the story of how Dartford powered the
:02:19. > :02:23.British beat-boom in the '60s has long been forgotten. Even by the
:02:23. > :02:25.people of Dartford. This is how it happened. It was rock 'n' roll
:02:25. > :02:33.which brought us the electric guitar. Before that, things were
:02:33. > :02:39.very different. In the 1950s, there was only one thing better than an
:02:39. > :02:42.accordion. And that's two accordions. This TV show was
:02:42. > :02:50.extremely popular, and the squeezebox was all the rage over
:02:50. > :02:53.the world. Tom Jennings was an accordionist. During the war, he
:02:53. > :03:00.used to work at an armaments factory. There he met a guitar
:03:00. > :03:03.player called Dick Denny. They would play together in the air-raid
:03:03. > :03:10.shelters as the bombs dropped around them. And everyone used to
:03:10. > :03:13.have a singsong. So everyone was sort of calm during the air-raids.
:03:13. > :03:15.After the war, Tom opened up a music shop in Dartford where they
:03:15. > :03:24.specialised in refurbishing old accordions. But he wanted to get
:03:24. > :03:31.into manufacturing. Not accordions, but something a bit more space-age.
:03:31. > :03:41.What on earth is this? This is the UniVox. It was the first electronic
:03:41. > :03:41.
:03:41. > :03:45.CRACKLING. Steady on! Bear in mind it's 60-
:03:45. > :03:50.years-old. It was basically a kind of valve synthesiser. It may be on
:03:50. > :03:53.its last legs. We've killed it. Rest in peace! Many pop music geeks
:03:53. > :03:56.are convinced that the UniVox was the instrument used on the number-
:03:56. > :04:03.one single by The Tornados, Telstar. Others say it definitely wasn't.
:04:03. > :04:06.But that doesn't matter. The important thing is that Tom
:04:06. > :04:09.Jennings had started to make musical equipment. And his next
:04:09. > :04:19.move would define the sound of the '60s.
:04:19. > :04:23.
:04:23. > :04:29.Rock 'n' roll arrived from America. Suddenly, everyone wanted electric
:04:29. > :04:39.guitars. And when they got them, they'd need amplifiers as well. Tom
:04:39. > :04:40.
:04:40. > :04:43.saw his chance and cannibalised the UniVox. The UniVox had inside it an
:04:43. > :04:48.amplifier and from this the first rock sound, the G10, was developed.
:04:48. > :04:52.And it was basically a reworking of the UniVox amp. But it wasn't great.
:04:52. > :04:57.So Tom roped in his old wartime charm Dick Denny because Dick knew
:04:57. > :05:02.about electronics and he was also a guitarist. What he came up with
:05:02. > :05:08.used AC electricity and it put out 15 Watts of power. So it was called
:05:08. > :05:17.the AC15. And the sound that it made was seized upon by the guest
:05:17. > :05:23.band in Britain, The Shadows. don't know who contacted who, but
:05:23. > :05:25.don't know who contacted who, but we finished up with Vox AC15s.
:05:25. > :05:29.People who used to work for Jennings Musical Industries in
:05:29. > :05:33.Dartford will vouch for the fact that the AC15 was a major step
:05:33. > :05:38.forward. The company was doing OK with Dick Denny's electronic
:05:38. > :05:43.creations and Tom Jennings at the helm. He was a very motivated
:05:43. > :05:47.individual. Extremely hard-working. Good sense of humour. He was really
:05:47. > :05:52.nice man. Tom is a nice man, very approachable. When you come in, he
:05:52. > :05:56.was the boss. He was also quite volatile. He could go up like a
:05:56. > :06:03.volcano. If things weren't quite going how they should be, he could
:06:03. > :06:07.be... He would come down just as quick. Dick Denny, what was he
:06:07. > :06:10.like? Very nice man. Very, very nice man. He used to wear his
:06:10. > :06:13.cardies. And he would have pockets there, and he'd put his hands in
:06:13. > :06:17.his pockets and he used to do these puppets with the liners of this
:06:17. > :06:23.pocket. And tell stories with these puppets. An entertainer. Always an
:06:23. > :06:27.entertainer. But The Shadows came to Dick with a request about his
:06:27. > :06:31.AC15. Is there any chance of sort of making this amplifier bigger or
:06:31. > :06:37.louder? The kids were screaming at Cliff, you know, and we couldn't
:06:37. > :06:43.hear anything. So Dick wanted to make a kind of double amp, with two
:06:43. > :06:50.speakers in it. He went to see Tom. No no no, says Tom. Too heavy, too
:06:51. > :06:55.loud, too big. All the rest of it. Go away, forget about it. Dick
:06:55. > :07:02.wasn't taking no for an answer. He began knocking up some twin
:07:02. > :07:05.versions of the AC15 on the quiet. Just to help out bands like The
:07:05. > :07:09.Shadows who wanted more volume. But he got caught out when Tom spotted
:07:09. > :07:12.the paperwork for the parts. looked at it and went, "I told him
:07:12. > :07:19.no!" Unfortunately, Dick was walking past the office, the door
:07:19. > :07:26.opens, Tom comes out. "Dick, in my office, now!" Tom and Dick had a
:07:26. > :07:31.huge row. Eventually, the door opens and out comes Dick, white-
:07:31. > :07:37.faced. We expected him to have this P45 in his hand. And we said, "What
:07:37. > :07:42.happened, Dick?" He said, "He says we can make 10 and on my own head
:07:42. > :07:47.be it." And that was the birth of the AC30. Dick had come up with
:07:47. > :07:57.this. Recognised by many guitarists to this day as the classic of all
:07:57. > :08:00.
:08:00. > :08:09.They're just great amplifiers. We could suddenly hear the amps above
:08:09. > :08:17.all the screaming. Shake it, baby. Come on over.
:08:17. > :08:24.The main criteria was the sound had to be good. And the sound was good.
:08:24. > :08:28.It was a vast improvement on any British amp that had come before.
:08:28. > :08:31.Everything just seemed to come right in it. All the molecules of
:08:31. > :08:36.the whole amplifier and the guitars seemed to line up into this most
:08:36. > :08:46.beautiful kind of order. So what's the difference between the Vox
:08:46. > :08:50.sound and its main competitors? The Fender and the Marshall. The Fender
:08:50. > :08:59.sound is all clean, lots of treble and it's the sound of America in
:08:59. > :09:03.the '60s. Let's go over to the Marshall. What
:09:03. > :09:13.does that sound like? Bigger box. More power. More distortion. This
:09:13. > :09:14.
:09:14. > :09:24.is rock. The Vox, what's so distinctive
:09:24. > :09:24.
:09:24. > :09:34.about that sound? It's a very different kind of circuit. Clean,
:09:34. > :09:42.
:09:42. > :09:49.classy. For me, at least, the Vox Things were going quite well. But
:09:49. > :09:52.Vox had no idea what was about to hit them. It began when the manager
:09:52. > :09:57.of an unknown band walked into their retail shop in London. His
:09:57. > :10:01.band was a bit hard-up and he said he wanted some amplification.
:10:01. > :10:07.said, "Well, we can sell you that." He said, "No, I don't want to buy
:10:07. > :10:10.it. I want you to give it to them." "Oh. Who is this band?" He said,
:10:10. > :10:17."They're called the Beatles. They've been playing in the Star
:10:17. > :10:20.club in Hamburg." I said, "I see. Well, we don't give stuff away." So,
:10:20. > :10:28.he said, "Yeah, but the advertising that you'll get from this will be
:10:28. > :10:36.enormous." So Reg got on the phone to the governor, Tom Jennings, who
:10:36. > :10:44.didn't take kindly to the idea. "Do what?" he said, screaming over the
:10:44. > :10:48.phone? What's he think we are? Some philanthropic society?" He used a
:10:48. > :10:51.stronger word, but I censored that. He said, "Who is this band?" I said,
:10:51. > :10:54."They're called the Beatles." He said, "That's not a very good name
:10:54. > :10:56.for a start." Nevertheless, Reg did a part-exchange deal with the cash-
:10:56. > :10:59.strapped manager, Brian Epstein, who made him a promise. "Whilst I'm
:10:59. > :11:09.manager of the Beatles, they will never use anything else other than
:11:09. > :11:12.
:11:12. > :11:15.Vox." And they never did. She loves you, yeah, yeah.
:11:15. > :11:23.Within a year, Vox find themselves being promoted by the biggest band
:11:23. > :11:30.of all time. You know it's up to you.
:11:30. > :11:34.I think it's only fair. How much did that cost? Absolutely
:11:34. > :11:39.nothing. Apologise to her.
:11:39. > :11:42.Because she loves you. Back in Dartford, sometime in the
:11:42. > :11:46.mid-'60s, a potential customer was worried that the Vox valves would
:11:46. > :11:49.be too fragile to go on the road. Were they reliable? So we rolled it
:11:49. > :11:59.down three flights of stone steps. Took it back up on the lift,
:11:59. > :12:07.plugged it in and Dick could play it through perfectly. So we said,
:12:07. > :12:13."Is that reliable enough for you!?" Simultaneously, there was another
:12:13. > :12:17.product of Kent that was about to hit the big time.
:12:17. > :12:20.I was born in a crossfire hurricane...
:12:20. > :12:25.No, you weren't, Mick. You were born in Dartford. In fact, Mick
:12:25. > :12:32.Jagger was born here at the Livingstone Hospital in 1943. And
:12:32. > :12:41.so was Keith Richards. 19 years later, Mick and Keith met on the
:12:41. > :12:45.Dartford train. They got together with a bunch of other teenage
:12:45. > :12:50.musicians and they formed the Rolling Stones. The Stones then
:12:50. > :12:55.began a very close relationship with Vox. One of their early
:12:55. > :13:05.managers, Eric Easton, used to work at the company. Their early gigs
:13:05. > :13:20.
:13:20. > :13:22.So, Vox products were fully endorsed by the Beatles, the
:13:22. > :13:32.Rolling Stones, The Shadows and practically every big name you
:13:32. > :13:42.
:13:42. > :13:48.could mention. They were a hit. And That's how Dartford became the
:13:48. > :13:55.powerhouse of British rock 'n' roll. We went down to Dartford, I think,
:13:55. > :13:58.a couple of times. Obviously to meet Dick and see where they did it
:13:58. > :14:01.all. The switchboard put us straight through to this guy. He
:14:01. > :14:07.said, "Hi, Dick here." He was almost more enthusiastic than we
:14:07. > :14:10.were. We could go to Dartford and they'd literally say, "Yeah,
:14:10. > :14:14.whatever you want." All through the '60s, it was like Christmas every
:14:14. > :14:17.day. It just felt like Christmas. We had all the pop groups. The
:14:17. > :14:27.Hollies, The Searchers, you name it, The Animals. I mean, and some of
:14:27. > :14:30.
:14:30. > :14:33.We know that Vox sounds different. But what makes it sound different?
:14:33. > :14:39.Some say it's the Celestion Blue G12 speakers that some of the
:14:39. > :14:44.models had. Some say it's the EL84 valves.
:14:44. > :14:50.But many put it down to a thing called no negative feedback. This
:14:50. > :14:58.is how it works. If you have a hi- fi or producing equipment, the idea
:14:58. > :15:01.is you want a speaker just to produce what you put in.
:15:01. > :15:06.In other words, in a hi-fi, you must have as little distortion as
:15:06. > :15:08.must have as little distortion as possible. You must have one of
:15:08. > :15:11.these better class units which has ultra-linear output stages. The
:15:11. > :15:16.distortion factor on it is very, very low indeed. Now, any amplifier
:15:16. > :15:21.is going to have some distortion. But there is a good method of
:15:21. > :15:24.getting over that called negative feedback. Hi-fi systems have a lot
:15:24. > :15:27.of negative feedback. So they only produce what you give them.
:15:27. > :15:28.what Dick Denny realised was that if you take the negative feedback
:15:28. > :15:31.if you take the negative feedback out of the guitar amplifier and
:15:31. > :15:39.allow the amp and speakers to interact and distort, it actually
:15:39. > :15:42.makes an electric guitar sound better. What it does it is in fact
:15:42. > :15:52.emphasises the harmonics. The combination of the guitar and the
:15:52. > :15:59.
:15:59. > :16:02.emphasis of the extra harmonics gives you this fantastic AC30 sound.
:16:02. > :16:06.What the Vox guys very cleverly did was take off all the negative
:16:06. > :16:09.feedback. You get an arc which goes up in a straight line and then
:16:09. > :16:12.gradually goes into distortion. It's that gradual arc which is the
:16:12. > :16:15.sound that I was looking for. So Brian takes a Hank Marvin clear
:16:15. > :16:19.sound and pushes it into distortion. At low volume, it's very nice and
:16:19. > :16:23.clean like we were talking about. You can hear every note clearly but
:16:23. > :16:33.if you push it up a little bit you start going to that kind of creamy
:16:33. > :16:47.
:16:47. > :16:57.You try and get that out of a solid state amp. It's not going to happen.
:16:57. > :17:01.
:17:01. > :17:06.That's sort of halfway up. It gives A number of things happen. It gets
:17:06. > :17:11.more distorted. What a rich sound! It gives that lovely rich throaty
:17:11. > :17:13.sound which seems to come from here. And as Vox took off, their
:17:13. > :17:18.engineers would find themselves rubbing shoulders with the big
:17:18. > :17:22.stars. Alan Harding would go on tour with The Beatles to look after
:17:22. > :17:27.their amps. One day, he was in their dressing room on Paul
:17:27. > :17:31.McCartney's 21st birthday. We had two big security guards come
:17:31. > :17:34.staggering up with this giant box and it was in the outline of 21.
:17:34. > :17:38.They were big guys and they staggered with it and got it on the
:17:38. > :17:40.table and somehow they kind of unzipped it. It fell apart and this
:17:40. > :17:46.scantily-clad bird came wandering out, walking around the table top
:17:46. > :17:52.as a present for Paul. I don't know if he accepted it and took it home
:17:52. > :18:02.but it was certainly on the table. In the years since, guitarists with
:18:02. > :18:14.
:18:14. > :18:17.a whole range of styles have loved And that's where you can see the
:18:17. > :18:21.distortion just starts to hit. But it isn't enough because of course
:18:22. > :18:24.guitarists want the sound a bit longer. It's a sweet and natural
:18:25. > :18:34.sustain and after that we wanted more and more gain circuits and
:18:35. > :18:37.
:18:37. > :18:40.drive circuits to make - aaaah - These two pick ups are set against
:18:40. > :18:48.each other out of phase. The Bohemian Rhapsody sort of sound.
:18:48. > :18:58.Instead of this, which is my normal setting. It will go like this.
:18:58. > :19:00.
:19:00. > :19:05.PLAYS SOLO FROM BOHEMIAN RHAPSODY. It's got so much natural harmonics
:19:05. > :19:09.going for it. You made me so happy there. Thank you. And then it kind
:19:09. > :19:16.of brings it out. The whole system brings out those high harmonics and
:19:16. > :19:19.it sounds an octave higher than it really is. # When you wake up, when
:19:19. > :19:22.you wake up You will find me. Many young musicians today prefer the
:19:22. > :19:25.Vox sound. But sometimes find the amps to be a bit unreliable. What
:19:25. > :19:29.the hell's this? Recording, I turned it on and that made the most
:19:29. > :19:34.outrageous sound. It sounded like a rhino being killed. I turn it off
:19:34. > :19:37.Tell it to be good. Of course, Vox once did their special test to show
:19:37. > :19:40.their amps were reliable. But has Brian May ever had any problems?
:19:40. > :19:43.Nothing's ever gone wrong! I don't believe you for a second, Mr May.
:19:43. > :19:46.Valves don't travel well and that has been a problem. Valves are
:19:46. > :19:49.delicate and they will suddenly splutter and pig out on you without
:19:49. > :19:59.any warning. You just have to be prepared and have a couple of
:19:59. > :20:04.
:20:04. > :20:10.Valves do not travel well and that has been a problem. The valves are
:20:10. > :20:14.delicate and they can bug out anew without any warning. It is worth it.
:20:14. > :20:21.Most things that are worth doing a dangerous. There is an element of
:20:21. > :20:29.risk to the whole thing. Back in the early Sixties, Brian Jones and
:20:29. > :20:35.the rest of the lads were making a right song-and-dance about the amps.
:20:35. > :20:45.The Stones went one step further. They used their guitars as well.
:20:45. > :20:46.
:20:46. > :20:49.They were not just making that AC30. They produced a range of musical
:20:49. > :20:55.instruments such as the continental keyboard and lots and lots of
:20:55. > :20:58.guitars. This is the Fandom. The first
:20:58. > :21:08.original design. It was a radical design when it came out and it
:21:08. > :21:12.
:21:12. > :21:18.still is. Brian Jones club the next model. The Teardrop. The thing is,
:21:18. > :21:28.they were not very good. A lot of the early guitars where
:21:28. > :21:32.copies of Fender. By the mid- Sixties, they had set out to
:21:32. > :21:40.rectify the reputation. By then, they were making some good guitars.
:21:40. > :21:45.While all this was going on, they where in fact making history.
:21:45. > :21:51.The they were the sound of the British invasion. The sound of the
:21:52. > :21:55.Beatle Sander Rolling Stones. These bans were using not only their
:21:55. > :22:05.amplifiers but their guitars. Their guitars themselves were radical
:22:05. > :22:15.designs. Beautiful Pentagon shapes and teardrop shapes. They helped to
:22:15. > :22:17.
:22:17. > :22:22.create the new-look that the acts By now, they were breaking into
:22:22. > :22:27.America. They came to a deal with the Thomas organ Company to license
:22:27. > :22:37.making their amps in the States. To promote the brand, they did what
:22:37. > :22:45.
:22:45. > :22:48.only Americans would do. They built a car. The Voxmobile. It had 30 to
:22:48. > :22:50.get an pits and the ticket around the guitar stores around the
:22:50. > :22:54.country where kids can try out the favourite equipment.
:22:54. > :22:57.They were now so big that 20 Dec Benny came up with his maddest
:22:57. > :23:03.invention, the guitar organ, he was invited to go on American
:23:03. > :23:09.television. They wanted him to explain how it
:23:09. > :23:13.worked. The idea is to make a guitar sound like an organ. There
:23:14. > :23:19.are generators inside which when you press the notes down, makes
:23:19. > :23:21.electrical contact. # Way down upon the Swanee River,
:23:21. > :23:24.far, far away. When you find yourself singing on network
:23:24. > :23:28.television in the States, you know your company must be a success.
:23:28. > :23:31.This is the only known footage of Dick. Of course, Vox supplied The
:23:31. > :23:41.Beatles with equipment but they catered for other big stars as well,
:23:41. > :23:47.
:23:47. > :23:57.such as a custom keyboard for Sooty. Such as a custom keyboard for the
:23:57. > :23:58.
:23:58. > :24:02.cater for other big stars as well, such as accustom keyboard for Sooty.
:24:02. > :24:07.On the top keyboard, you pressed keys and springs came out and
:24:07. > :24:09.things blew up. Following the success of the amplifiers, Dick any
:24:09. > :24:19.started experimenting with gadgets which would further change the
:24:19. > :24:25.
:24:25. > :24:28.sound of the guitars. He came in with an Oxo Box. He
:24:28. > :24:32.plugged they apparently do terrible distorted guitar. He said we have
:24:32. > :24:37.been trying to get a clean sound and you have made this racket. He
:24:37. > :24:47.said trust me, it will go. Within four weeks, the Rolling Stones had
:24:47. > :24:47.
:24:47. > :24:50.made Satisfaction. So the fuzz box was born. Well dig any was in
:24:50. > :24:53.Dartford messing with the sound of the guitar, at the Rolling Stones
:24:53. > :24:58.were on the road Messing With Alan Harding's head.
:24:58. > :25:03.Tell me about breakfast with the Rolling Stones? They used to
:25:03. > :25:10.embarrass me. They quite often would come down, at least one or
:25:10. > :25:13.two of them, with a woman's dresses on. Long frocks or something. I
:25:13. > :25:19.used to be embarrassed and I used to drift to the other side of the
:25:19. > :25:24.restaurant. Why were they dressed in women's clothes? The drugs used
:25:24. > :25:28.to have an effect on the night before.
:25:28. > :25:34.Any of the employees in the Sixties could suddenly find themselves
:25:34. > :25:39.hanging out with superstars. Well I was a sales assistant in a shop at
:25:39. > :25:43.the time, Jimi Hendrix came in. He was trying it effects pedals and
:25:43. > :25:48.things and I asked him if he could show me how to play Purple haze.
:25:48. > :25:55.Next thing, he was showing how to play it. It is amazing, after the
:25:55. > :26:05.lesson of Jimi Hendrix. # Nothing you can do 'cause I'm
:26:05. > :26:05.
:26:06. > :26:10.stuck like glue to my guy. I went on tour with one of my friends and
:26:10. > :26:20.played on his Vox one night and I was like, this is so amazing. This
:26:20. > :26:23.
:26:23. > :26:33.is perfect. It has a warmth to it. There is that warmth which is
:26:33. > :26:34.
:26:34. > :26:37.similar to vinyl. At its peak, Vox were employing
:26:37. > :26:39.about 150 people and were sub- contracting out work to several
:26:39. > :26:41.other companies. Vox were flying high. They couldn't make their
:26:41. > :26:46.products fast enough. What could possibly go wrong?
:26:46. > :26:49.The business was so big, the factory here couldn't cope.
:26:49. > :26:54.Jennings desperately needed money to fund the manufacture and keep up
:26:54. > :26:59.with demand. He sold a controlling interest in his company to the
:26:59. > :27:02.Royston Group. They were a series of military electronics companies.
:27:02. > :27:12.One of their main products was the new black box which records what
:27:12. > :27:13.
:27:13. > :27:16.happens when a plane crashes. But it was a bad move. Instead of
:27:16. > :27:18.giving Vox money, and they were in fact draining money out of the
:27:18. > :27:22.company to help finance this research and development on the
:27:22. > :27:31.black box. Then they lost the black box contract altogether, and that
:27:31. > :27:34.was the end of the Royston Group. Royston went down and took Vox with
:27:34. > :27:38.them. The workers carried on, oblivious to the fact that the
:27:38. > :27:47.receivers were meeting with Tom. came literally from the boardroom
:27:47. > :27:53.and said, the adjective adjective guys have fired me. He had tears
:27:53. > :28:00.rolling down his cheeks. I'll never forget the day he left. He cried,
:28:00. > :28:04.he said I've lost my company. I said, I know. He was crying and I'd
:28:04. > :28:08.never seen a man cry before. He was so upset. And so the Jennings era
:28:08. > :28:11.of Vox came to an end. Tom Jennings took Dick Denny and a few other Vox
:28:11. > :28:14.employees and started all over again, with a new company, making
:28:14. > :28:20.the Jennings brand of amplifiers. But they weren't anywhere near as
:28:20. > :28:23.successful. Of course, Vox didn't disappear. Over the last 40 years,
:28:23. > :28:31.the brand was sold on through a series of companies and today is
:28:31. > :28:35.owned by Korg. The amplifiers are made in China. The people who used
:28:35. > :28:39.to work for Vox in the '60s have fond memories about their time in
:28:39. > :28:46.Dartford. I've never been in a job since I loved so much. We were all
:28:46. > :28:51.so excited. We all enjoyed our jobs. Going to work every day was a joy.
:28:51. > :28:58.Was a joy. Any guitarist worth his salt will kill to get his hands on