In the winter of 1417, a young man named Poggio Braciolini was searching through a library when it found an odd manuscript sitting on a shelf…it was a thousand years old—the last surviving copy of a poem by a roman philosopher named Lucretius…

What Lucretius said in this poem was radical—heretical, in fact…what it contained was against all the teachings of God and men…it was called “On The Nature of Things”…

First, he posited that the universe operated without Gods and that matter was made of tiny, tiny, particles that were in constant motion…

Despite the danger—this was explosive stuff in 1417—Bracciolini translated the poem…copies were carefully distributed over the next couple of hundred years…and the intellectual impact on Europe was incalculable…

Lucretius’ notions inspired new ways of thinking, leading to the renaissance, the enlightenment and all that followed…Bracciolini’s translation of “On The Nature of Things” quite literally changed the course of humanity…

Scholars have argued that because of him, the world became modern…that everything we take for granted today in terms of culture and thought happened because Bracciolini happened to find that one-and-only manuscript…

Yet have you ever heard of Poggio Bracciolini?...probably not…he is one of the great unsung heroes of history…

Now let’s apply the same sort of thinking to the history of rock…are there similar such people—people who did something that altered the course of this music yet we don’t know about them?...absolutely…and it’s time to give them some credit…this is part two of great unsung heroes of rock…

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Not everyone who managed to change the world is famous…it is possible to do something absolutely, monumentally world-shaking and not receive any recognition for it…

I’ll give you a name: Vasyli Arkipov…it’s possible that this guy is the only reason any of us are still alive…seriously…

October 27, 1962…it’s the height of the Cuban missile crisis…the soviets had nukes in Cuba aimed at the u.s. and more were on the way…John Kennedy responded by setting up a blockade around the island…

The USS Randolph was one of the ships in charge of enforcing the blockade…they spotted a Soviet sub that was sent to protect the flotilla of Russian ships approaching the island with more missiles on board…this one particular sub—a Foxtrot class b-59—was armed with nuclear missiles…Arkhipov was the second in command…

The Randolph began dropping depth charges in an effort to get the sub to surface…b-59 suffered damage…the crew couldn’t breathe…they wanted to fight back…the sub commander tried to raise soviet command for permission to fire—but he couldn’t reach them…

Because they’d been cruising submerged for days, they hadn’t heard anything from Soviet high command…but they had been monitoring American civil broadcasts which offered non-stop coverage of the crisis…and now they were under attack…maybe the war had finally begun…if that was the case, shouldn’t they launch their missiles?...

Captain Valentín Savitsky was in favour of an attack…so was political officer Ivan Maslennikov…but in order to launch the nukes, Stavisky and Maslennikov also needed agreement from Arkhipov…“what do you say, Vasyli?...do we engage the Americans with our special weapon?”…

Vasyli took a breath and replied “nyet…we do not fire…we have no proof that we are at war…what if we’re wrong?...if we launch, we risk starting an all-our nuclear war and  wipe out all life on the planet”…

The commander wasn’t happy with that, but rules were rules and he ordered that the crew stand down…no nuke would be fired that day…and when the sub did surface, it was confirmed that hostilities had not broken out…this is why Vasyli Arkipov is widely regarded as the man who single-handedly prevented a global nuclear war on October 27, 1962…yet how many people know his name?...

Now let’s take a big pivot into music…what kind of unsung heroes might we find there?...

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When a movie is successful, someone somewhere wants more…that’s when we get a sequel…if that follow-up does well, then the sequel gets a sequel…and if that film has traction, well, then you reach the level of franchise…

We’ve seen many movie franchises over the decades, Star Wars and Star Trek being among the most famous…but then we have all the Fast and the Furious films, Harry Potter, Rocky, Mission Impossible, Planet of the Apes, Toy Story, Lord of the Rings, and so on…

And I haven’t even mentioned the marvel cinematic universe, which has something like three dozen movies and the dc extended universe, which has almost 30…

Studios and producers love movie franchises because they’re reliable sources of revenue forever…fans will flock to any new release while they’re still bingeing on all the older movies…and don’t even get me started on things like merchandising…

What’s the oldest movie franchise?...that would probably be King Kong…the first Kong movie came out in 1933…the first Alice in Wonderland movie came out the same year…

The Wizard of Oz fits our definition…there have been four films since 1939…that counts…Godzilla…first one was 1954…and then we finally get to James Bond…

There have been 27 Bond films, starting with Dr. No in 1962…box office grosses are now around $14 billion U.S. dollars…that is just the movies…

Then we have the music…there are few crossover points between music and film that are more prestigious than being tapped to do the theme for a James Bond movie…

Every time a new chapter in the franchise is announced, tenders go out for someone to do the theme…and the competition is furious…

Sounds like there’s some interesting music history here—and there is…

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There are three moments when I remember looking at something in my hands and realizing that this was going to change my life…

The first time was on my sixth birthday when my grandmother gave me a portable transistor radio…I was still awfully young, but I somehow knew that I could now control not only what I listened to but where and when…

The second time was in 1999 when I was given a prototype of a device called an RCA Lyra…it was an early digital music player, capable of holding up to an hour’s worth of music…no matter how hard I shook it, the music would not skip…for someone who liked to go running to music, that was a big deal…

And the third time was when I searched for—and found! —an obscure song on my iPhone…I had just installed the long-gone Rdio app and was still very skeptical about this whole new streaming thing…the idea that you just paid for access and not to own the music?...rubbish—until that day when I figured it out…

We’ve come such a long way when it comes to making music portable, especially in the 21st century…what was once science fiction is now reality…taking our music with us is so easy right now, we forget how long it took to get us to this point—and how much technology we had to go through to get here…

This is the history of portable music, part 2…

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One of the many great things about music is that we can enjoy it anywhere…I’m talking about the recorded kind…everyone has a smartphone, and every smartphone has the capability of playing music, whether you’re listening to tracks stored in its memory or streaming something from a service like Spotify or apple music…as long as your device has juice, you can enjoy listening to music anywhere you are…

Take this program, for example…in its radio show form, it’s being heard in homes, cars, offices, and workplaces either over the air or through a stream…if you’re listening to the podcast, you might have downloaded it to a phone, a tablet or a laptop which you can fire up anywhere at your convenience…

But imagine for moment that you couldn’t take your music with you…if you wanted to listen to your favourite songs, you had to be present in a specific place and you couldn’t move from it…and that usually meant music inside the home—or perhaps someplace with something like a jukebox…

This might sound absolutely awful to you…I mean, we’re so used to conjuring up music whenever we want and wherever we are…we take it with us everywhere…it’s hard to imagine life without that ability…

That’s the way it was for most of human history, though…for centuries and centuries, the only way to make music portable was to bring a musical instrument with you and play it yourself…

The idea of making recorded music portable—at least in a way that is convenient, cheap, and reliable—is more recent than you might think…and it went through way more incarnations than you may realize…

What do you say we take a look at the history of portable music?...

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Long before I started doing this for a living, I had the notion that I was going to be a record producer…after all, I loved music and the idea of being able to help record it would be a great job…

So as high school wound down, I started to look around for schools that taught music production…and that’s when reality set it…all of them asked for a portfolio of past work…I was 18 years old and from a small prairie town…how was I supposed to have a portfolio of past work?...

They also made it clear that I had to be musically adept…I was a pretty good drummer, but that wasn’t enough…and I had seven years of accordion lessons, but that didn’t really cut it…I couldn’t play guitar or any other type of keyboard…

Long story short, I gave up on that dream after a few rejection letters and here we are…but I’m still fascinated by the talent and equipment that goes into making records—which is why anytime I get a chance to talk to anyone who does that, I’m in…

David Botrill is one of those guys…he’s a Canadian record producer who has worked with took, muse, peter Gabriel, the smashing pumpkins, rush, and a ton of others…he’s got three Grammy’s and has worked in some of the most famous recording studios from here to the UK.

And I’ve got a chance to talk to him about being a record producer?...let’s go…

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When it comes to music, not all years are created equal…listen, every year features some great new songs from great new bands…but over the long term, this music isn’t equally distributed…sometimes—maybe once a decade, but usually less—we run into what can only be described as an embarrassment of riches…

What i mean by that is that we go through a period where every week—even every day—seems to bring something amazing…

Like when?...1955, maybe…Elvis…Chuck Berry…Little Richard….Bo Diddley…Bill Haley and the Comets…they all exploded into public consciousness…it was the birth of rock’n’roll…

1965…The Beatles and everything they were doing…the rise of The Rolling Stones with “Satisfaction”…Bob Dylan releases “Like A Rolling Stone” for “Highway 61 Revisited” after going electric…

Actually, rock’s most prolific years—at least when it came to being an agent for social change and a driver of western culture—were 65, 66, 67, 68 and 69…

After that, we might consider 1977…punk, the beginning of new wave, the era of post-punk and all that came with it…

But then there was a long fallow period…lots of disco, lots of pop, lots of hair metal—which was great if you were into that, but not exactly music that changed the world…

But then came one particular year…if you look back on it, it’s astounding at what happened, what was released and the music we’re still talking about…by the time the calendar turned, everything—and i mean everything—was different…

This is the amazing year that was 1991…

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Whenever an artist goes into the studio, they hope for the best but expect the worst…you want it the album to sell and turn you into a global superstar with all the rights and privileges thereto…but there is no way to predict how the public will react to what you release…

You can throw all the money you want a song, an album, a band and there is zero guarantee that it will be successful…yet people will always try because every once in a while, something remarkable happens…

An album is a critical success…it turns into a commercial smash…and every once in a long, long while, it turns into a cultural phenomenon with an impact that lasts years, maybe decades…

This is what happened to U2 and “The Joshua Tree”…before the record came out, everyone expected that the band was going to deliver the goods on a very good album…they did that…

But then the record went on to sell somewhere beyond 25 million albums and is now considered to be one of the most significant rock releases of all time…

This is beyond just lightning in a bottle...how did they do it?...for some of the answers, i turned to one of the people who co-produced the album…that would be Daniel Lanois…this is U2 and The Joshua Tree, thirty years later, part 2…

Whenever an artist goes into the studio, they hope for the best but expect the worst…you want it the album to sell and turn you into a global superstar with all the rights and privileges thereto…but there is no way to predict how the public will react to what you release…

You can throw all the money you want a song, an album, a band and there is zero guarantee that it will be successful…yet people will always try because every once in a while, something remarkable happens…

An album is a critical success…it turns into a commercial smash…and every once in a long, long while, it turns into a cultural phenomenon with an impact that lasts years, maybe decades…

This is what happened to U2 and “The Joshua Tree”…before the record came out, everyone expected that the band was going to deliver the goods on a very good album…they did that…

But then the record went on to sell somewhere beyond 25 million albums and is now considered to be one of the most significant rock releases of all time…

This is beyond just lightning in a bottle...how did they do it?...for some of the answers, i turned to one of the people who co-produced the album…that would be Daniel Lanois…this is U2 and The Joshua Tree, thirty years later, part 2…

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On March 9, 1987—a little more than ten years after a bunch of kids met up in a Dublin kitchen—U2 released their fifth album…expectations were running pretty high…after establishing themselves with their first two albums, there was a leap ahead with the “War” album in 1983…

But then came “The Unforgettable Fire” in 1984…that represented another leap forward…things seemed more sophisticated, stronger, bigger, better…much of the credit has to go to the new production team of Brian Eno and Daniel Lanois, guys who found new ways to bring new things from the band…

The partnership worked so well that everyone agreed that they should work together on the next record, too…maybe they could take things even further, built up the band even bigger…

The result was “The Joshua Tree”…it has sold somewhere north of 25 million copies, making one of best-selling albums of all time…it became a number one album in two dozen countries…five of the eleven songs were released as singles, several of which sold more than a million copies on their own…

The tour in support of the record had to grow from arenas to stadiums…it resulted in a live record called “Live From Paris” and a documentary film called “Rattle and Hum”…and it earned U2 two Grammys: album of the year and group of the year…

“The Joshua Tree” set the band up as one of the biggest in the world…and over the coming decade, they would become the biggest band in the world….the album has been studied at all levels of academia…its songs covered thousands of times…the material has even been adopted as hymns for modern church services…

And later, in 2014, the album was added to the us library of congress as a recording considered to be “culturally, historically and aesthetically significant” …

Wow…that’s a lot stuff to think about when it comes to just one single album…. doesn’t it make you curious about what went into making it?...that’s how I felt…so I thought I’d talk to one of the guys who was there with the band the whole time…let’s get his story on the making of “The Joshua Tree”….

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“Even though it was the middle of summer, it was cold and wet,” Rob Baker remembers, “and after a full day in the studio, there was nothing to do but go back to where we were staying and watch the Olympics that were happening in Barcelona…and they were still talking about Canada and what happened with Ben Johnson four years earlier.”

The Tragically Hip were in the UK, recording what would be their third full studio album at Battery Studios, a facility protected from the rest of the surrounding grimy north west London neighborhood of Willesden Green by a big metal gate…after recording the last two albums away from home—Up To Here was done in Memphis and Road Apples required to move to New Orleans—a trip to London had seemed like a good idea, a chance to get away from all the distractions back home in Kingston, Ontario.

It may have been dreary on the outside, but the building itself was full of history…Pink Floyd, Paul McCartney, Black Sabbath, Rod Stewart, The Cure, The Who and dozens more had all made classic albums here. 

And when The Hip wrapped up the sessions for the album that would be called “Fully Completely,” they had an idea that they had created something extraordinary.  But what they didn’t know is they were about to enter the imperial phase of their career, a time when almost everything went right….

The album would eventually sell a million copies in Canada alone…and here’s how it happened.

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