WEBVTT - John Frusciante Returns, Part 2 0:00:15.436 --> 0:00:22.716 Pushkin. Today, we're excited to bring you the next installment 0:00:22.756 --> 0:00:26.316 of our John Fuschante interview series. John first came on 0:00:26.316 --> 0:00:29.676 the podcast back in April for the release of Unlimited Love. 0:00:30.396 --> 0:00:32.076 Then he was back a few weeks ago to pick 0:00:32.156 --> 0:00:35.356 up where they left off discussing Chili Pepper history one 0:00:35.396 --> 0:00:38.556 album at a time. This is part two of that 0:00:38.636 --> 0:00:41.756 conversation and it's shaping up to be a little bit 0:00:41.876 --> 0:00:44.876 different this time around. Instead of talking Chili Pepper history, 0:00:45.236 --> 0:00:47.676 John picks up his guitar to walk Rick through his 0:00:47.796 --> 0:00:50.996 pre show warm up. He also demonstrates how he came 0:00:51.076 --> 0:00:53.596 up with a now classic major to minor chord changes 0:00:53.836 --> 0:00:57.076 on Under the Bridge. They of course talk Return of 0:00:57.116 --> 0:01:00.676 the Dream Canteen, their second number one album in six months, 0:01:01.236 --> 0:01:03.796 and they also discussed how John was able to overcome 0:01:03.836 --> 0:01:07.076 his desire to impress others with his guitar plane while 0:01:07.076 --> 0:01:13.796 recording Stadium Arcadium. This is broken record line of notes 0:01:13.836 --> 0:01:17.596 for the digital age. I'm justin Mitchell, here's Rick Rubin 0:01:17.636 --> 0:01:21.556 and John Fuschante from Shangola. So there's a new Chili 0:01:21.556 --> 0:01:25.116 Pepper album that just came out. Yeah, second one in 0:01:25.436 --> 0:01:30.116 a year, Yeah, a second one. Six months. We really 0:01:30.116 --> 0:01:31.876 think of them as kind of two halves of the 0:01:32.036 --> 0:01:35.396 same thing, because we recorded them all at the same time. 0:01:35.476 --> 0:01:40.876 And I think the second ones probably like the more eccentric, 0:01:40.996 --> 0:01:44.036 kind of strange one, if I had to generalize. But 0:01:44.436 --> 0:01:45.996 I was looking at a list the other day that 0:01:46.036 --> 0:01:48.036 I've made when we were trying to figure out what 0:01:48.076 --> 0:01:50.196 songs are going to make it on, you know, and 0:01:50.236 --> 0:01:53.716 what songs aren't, And I had a list like, songs 0:01:53.756 --> 0:01:56.316 that feel like to me, like my image of the 0:01:56.356 --> 0:01:59.556 second album, you know, and songs that sound like what 0:01:59.676 --> 0:02:02.956 I'm picturing the first album feeling like. And while most 0:02:02.956 --> 0:02:05.236 of those songs were on the album that they were on, 0:02:05.276 --> 0:02:08.036 there were songs that were the second album Vibe that 0:02:08.076 --> 0:02:10.196 we wound up putting on the first album, and first 0:02:10.196 --> 0:02:12.596 album five that we wound up putting on the second album. 0:02:13.276 --> 0:02:17.516 So to me, they seem pretty balanced between the two things. 0:02:17.596 --> 0:02:20.476 But but I think the new one goes to further extremes, 0:02:20.476 --> 0:02:24.036 both in like heaviness and in softness and in like 0:02:24.516 --> 0:02:27.196 weirdness and all that. And the first some of my 0:02:27.236 --> 0:02:30.356 favorites were on the second one, but I like songs 0:02:30.396 --> 0:02:34.476 on both. Yeah, that was really the problem was was 0:02:34.516 --> 0:02:38.116 like seventeen songs just born enough to satisfy any of us, 0:02:38.116 --> 0:02:40.716 like like, and some of your favorite ones didn't even 0:02:40.756 --> 0:02:42.436 make it on the second one, and those were those 0:02:42.436 --> 0:02:46.516 were some of your very favorite ones. Yeah, so it 0:02:46.556 --> 0:02:49.996 was really it was really hard to like to satisfy everybody, 0:02:50.396 --> 0:02:52.836 you know. So so it seemed essential to us to 0:02:52.916 --> 0:02:55.916 at least have have the two records. Yeah, because the 0:02:56.036 --> 0:02:59.036 making is similar, it's same, it's they were all record 0:02:59.076 --> 0:03:01.516 at the same time. Yeah, it's hard to talk about 0:03:01.556 --> 0:03:04.396 and interviews when they're the when they were made at 0:03:04.436 --> 0:03:07.036 the same time. But as it turns out, the second 0:03:07.036 --> 0:03:08.916 one has a to me, has a sort of a 0:03:08.956 --> 0:03:11.036 few feeling in the sound that it could have been 0:03:11.076 --> 0:03:14.276 recorded at a completely separate time, Like it has a 0:03:15.196 --> 0:03:18.076 to me, it has a spirit of brightness and fun, 0:03:18.636 --> 0:03:23.876 where Unlimited Love has kind of a darkness and a seriousness. 0:03:24.876 --> 0:03:26.636 I think a lot of the tunes that stood out 0:03:26.636 --> 0:03:30.196 to us as being like important sounding songs were some 0:03:30.236 --> 0:03:32.876 of the darker, more serious ones, and some of the 0:03:32.876 --> 0:03:36.356 ones that we felt more comfortable We're saving have like 0:03:36.396 --> 0:03:40.596 a light vibe that's not absent of meaning or anything, 0:03:41.956 --> 0:03:45.396 but yeah, more playful. Yeah, I see the second one 0:03:45.516 --> 0:03:50.076 is I hear it as being a brighter vibe and 0:03:50.156 --> 0:03:54.356 a more fun vibe. I remember I was classifying songs 0:03:54.396 --> 0:03:59.036 as like I did. Think I just said pop, funk, art. 0:03:59.316 --> 0:04:01.196 I think I just made it as simple as that. 0:04:02.076 --> 0:04:04.156 And there was the most of pop, there was, the 0:04:04.196 --> 0:04:07.356 middle of was funk, and the smallest amount was art. 0:04:07.516 --> 0:04:10.756 But yeah, and I just think we even the distributed them. 0:04:10.796 --> 0:04:13.396 But I think we got better at the mixing process 0:04:13.516 --> 0:04:15.516 as time went by, and that sort of gave the 0:04:15.516 --> 0:04:18.956 second record to me, like production wise, sound wise, it's 0:04:19.436 --> 0:04:22.516 it's got a distinct sound to it. I would also 0:04:22.556 --> 0:04:25.756 say that if anyone liked the first album, they're gonna 0:04:25.756 --> 0:04:28.756 like the second album. It's like the same diary entry, 0:04:29.036 --> 0:04:32.036 you know that. That however long two years of writing. 0:04:32.116 --> 0:04:34.716 You guys are writing for about two years. Oh no, 0:04:34.796 --> 0:04:38.156 we wrote for nine months, only nine months, amazing. Yeah, 0:04:38.196 --> 0:04:43.036 and then the recording I think for like fifty tracks 0:04:43.156 --> 0:04:46.876 we did, we did the basic traction three weeks of 0:04:48.116 --> 0:04:51.116 everything we did pre production though in the studio before 0:04:51.156 --> 0:04:54.516 we started right recording for real, right, yeah, there was 0:04:54.596 --> 0:04:58.356 about a month of that. Yeah, yeah, because then by 0:04:58.356 --> 0:05:02.476 the time we did the real recording, it was more 0:05:02.516 --> 0:05:05.196 focused on just getting the performance. We weren't working, we 0:05:05.196 --> 0:05:07.276 weren't really working on the songs. It was just more 0:05:07.276 --> 0:05:10.036 of the feel in the performance. Yeah, it's true, and 0:05:10.116 --> 0:05:12.556 I think that's historically the way we've we've always done it. 0:05:12.556 --> 0:05:15.196 It's like, well, usually when we're recording, we kind of 0:05:15.236 --> 0:05:17.596 know what we're doing by then. Yeah, it was it 0:05:17.676 --> 0:05:19.716 was different in that we were for me and that 0:05:19.756 --> 0:05:22.676 we were in a studio, even though we were just 0:05:22.756 --> 0:05:25.756 basically there to work out arrangements with you, Like usually 0:05:25.796 --> 0:05:28.396 you would have been in the rehearsal studio with us, 0:05:28.396 --> 0:05:31.076 and instead we were here at Changer Law. Yeah. Yeah, 0:05:31.476 --> 0:05:36.436 How did you decide to release the second album so 0:05:36.436 --> 0:05:39.316 soon after the first album? Well, I think our our 0:05:39.316 --> 0:05:44.196 original idea just wasn't possible. I at Anthony and Fully 0:05:44.276 --> 0:05:48.076 really wanted to just release a giant album. It would 0:05:48.076 --> 0:05:51.556 have been like a four everything, four records set and 0:05:51.676 --> 0:05:55.316 to double CD, and they were really big on that idea, 0:05:55.356 --> 0:05:58.276 and it just turned out that wasn't going to be 0:05:58.316 --> 0:06:01.676 possible mixing wise, we didn't have enough time to get 0:06:01.716 --> 0:06:05.116 an album out before the tour was scheduled. In order 0:06:05.116 --> 0:06:07.716 to do that, not to mention the record company wasn't 0:06:07.716 --> 0:06:10.316 crazy about that idea. It seemed like a pretty wild 0:06:10.796 --> 0:06:12.916 thing to do, but I think they liked the idea 0:06:12.996 --> 0:06:16.916 just because nobody does that. So the second best idea, 0:06:17.076 --> 0:06:21.156 which I'm pretty sure Anthony even wanted. When he found 0:06:21.156 --> 0:06:22.676 out we couldn't do that, he was like, well, could 0:06:22.676 --> 0:06:24.716 we have any other album come out two months later? 0:06:25.156 --> 0:06:27.756 It was a big Basically as soon as possible was 0:06:27.796 --> 0:06:30.996 the yeah idea. So six months wound up being the 0:06:31.036 --> 0:06:35.236 reasonable thing and the possible thing because mixing wise, we 0:06:35.276 --> 0:06:37.996 needed that extra six months. Oh, let's talk about the covers. 0:06:38.116 --> 0:06:39.676 I don't know anything about this, but I know that 0:06:39.716 --> 0:06:43.316 the cover of the first album is one kind of 0:06:43.356 --> 0:06:45.956 image and the cover of the second album is a 0:06:46.076 --> 0:06:48.996 very different kind of image. Yeah, and I felt like 0:06:49.196 --> 0:06:51.636 that wound up being good at wound up reflecting the 0:06:52.036 --> 0:06:54.716 musical difference that I feel in the two albums as well, 0:06:54.796 --> 0:06:57.556 and kind kind of a heavy thing. Yeah. The first 0:06:57.556 --> 0:07:02.036 cover came from Anthony had an idea that the asterisk 0:07:02.516 --> 0:07:06.156 with a black background would be the basic idea in 0:07:06.196 --> 0:07:09.996 some kind of neon light. But what he was getting 0:07:10.036 --> 0:07:15.196 from the record company wasn't fulfilling his vision, and so 0:07:15.276 --> 0:07:19.276 he passed it on to Marcy, my wife, and they 0:07:19.396 --> 0:07:24.716 started talking about it and we started taking these references. 0:07:25.116 --> 0:07:28.836 There's this Christian church that you see from the freeway 0:07:29.076 --> 0:07:32.276 going into Hollywood from the valley. It's a it's a 0:07:32.276 --> 0:07:34.636 big sort of neon sign, and that wound up being 0:07:34.916 --> 0:07:37.756 kind of the basis. Then we Marcy got to help 0:07:37.836 --> 0:07:41.076 some help from somebody she knows, designing what the sign 0:07:41.116 --> 0:07:42.876 would look like, and then it got passed on to 0:07:43.036 --> 0:07:47.676 some other people who actually built the sign to be photographed. 0:07:47.676 --> 0:07:51.636 Then we had people to move the sign somewhere where 0:07:51.636 --> 0:07:54.636 it would be good to to shoot it. That might 0:07:54.676 --> 0:07:59.356 have been the top of the Roosevelt Hotel. So there's 0:07:59.356 --> 0:08:04.996 a physical there is a physical object exactly. So yeah, 0:08:05.036 --> 0:08:07.556 So that was the first that was the first cover, 0:08:07.756 --> 0:08:12.316 and then the one we had done a video with 0:08:12.356 --> 0:08:18.196 these animators that Marcy knows, these French animators Tammy and Julian, 0:08:18.796 --> 0:08:24.036 who did a video for poster Child and a song 0:08:24.116 --> 0:08:27.396 from the first record, and they didn't have much time 0:08:27.436 --> 0:08:29.796 to do it. It winds up looping at a certain point. 0:08:29.836 --> 0:08:33.756 It was because releasing two records and so quickly like 0:08:33.876 --> 0:08:37.276 this in succession, we've had to rush through several stages 0:08:37.316 --> 0:08:39.596 of the process, and I feel like we came up 0:08:39.636 --> 0:08:42.156 with good things under the pressure, but it was it's 0:08:42.156 --> 0:08:44.916 been hard. Like it's just now that this record is out, 0:08:44.996 --> 0:08:48.076 like starting to feel like lightning up, even though we've 0:08:48.076 --> 0:08:49.956 just got off five months of tour. But that whole time, 0:08:49.996 --> 0:08:54.716 there's been constant stuff going on other than is preparing 0:08:54.716 --> 0:08:57.716 the second Yeah, and her and Anthony had actually had 0:08:57.756 --> 0:09:01.756 the same idea independently of each other. Used the animators 0:09:01.876 --> 0:09:04.996 to make a cover that has a lot of different 0:09:05.676 --> 0:09:08.716 images and that's colorful, and that our main reference. We 0:09:08.876 --> 0:09:13.236 were thinking of covers like Funkadelic Cosmic Slop cover, but 0:09:13.596 --> 0:09:16.156 there's several covers that I can think of, ones we 0:09:16.156 --> 0:09:18.316 weren't even using but that I think have been in 0:09:18.356 --> 0:09:20.756 that same category. Like Frank Zapp and the Mothers of 0:09:20.756 --> 0:09:23.396 Invention had an album called One Size Fits All. It's 0:09:23.436 --> 0:09:25.516 got like a couch and it's got a cigar, and 0:09:25.556 --> 0:09:29.116 it's got you know, some outer space themes, like just 0:09:29.196 --> 0:09:31.916 these kind of cartoon like covers, and so yeah, it 0:09:32.516 --> 0:09:34.796 seemed like that idea fit in really well with what 0:09:34.836 --> 0:09:36.996 the vibe had turned out to be of the second album, 0:09:37.076 --> 0:09:40.116 kind of more colorful, so they put that together and 0:09:40.116 --> 0:09:42.836 we actually made two covers. There's one for the indie 0:09:42.876 --> 0:09:45.996 record stores that there's a limited amount of, and then 0:09:46.036 --> 0:09:50.156 there's the cover for the normal cover, and those are 0:09:50.156 --> 0:09:53.556 two completely different covers. How do you think about sequencing 0:09:53.556 --> 0:09:55.836 an album? Yes, I think of it on a lot 0:09:55.836 --> 0:09:57.716 of levels. Like it was. That's why we had to 0:09:57.756 --> 0:10:00.156 do the voting that we did, was just because like 0:10:00.596 --> 0:10:03.436 we'd recorded like forty eight songs that we had finished 0:10:03.916 --> 0:10:09.596 vocals too, and I knew that at the most, you know, 0:10:09.676 --> 0:10:11.836 only like thirty four we're going to be able to 0:10:11.876 --> 0:10:16.516 be released on two you know, double record sets. So 0:10:16.556 --> 0:10:18.356 that was really hard when you don't even know what 0:10:19.396 --> 0:10:21.716 songs the two albums are going to consist of, you know. 0:10:22.276 --> 0:10:25.716 But for sequencing an album, I have certain things like 0:10:25.756 --> 0:10:27.676 the first song has to sound like a first song, 0:10:27.796 --> 0:10:30.476 the last song has to sound like a last song, 0:10:31.036 --> 0:10:32.916 and you know, the middle of the album should feel 0:10:32.916 --> 0:10:34.876 like the middle of the you know, the it should 0:10:34.916 --> 0:10:37.956 feel like it's gradually revealing something. And it's always worked 0:10:37.996 --> 0:10:40.636 out working in collaboration with you and with the other 0:10:40.676 --> 0:10:43.116 guys that like, some of my favorite songs have gone 0:10:43.156 --> 0:10:46.156 towards the end of albums, even though we do try 0:10:46.196 --> 0:10:48.156 to stick some of the best songs in the front. 0:10:48.756 --> 0:10:50.796 Like I always feel like the end of an album 0:10:50.876 --> 0:10:53.716 should really be delivering things that you didn't expect from 0:10:53.756 --> 0:10:55.956 the whole rest of the album. There it should still 0:10:55.956 --> 0:10:59.436 be revealing itself on the fourth side. When you think 0:10:59.476 --> 0:11:01.156 of it in vinyl, when you think of it as 0:11:01.196 --> 0:11:04.716 four sides, it's not the end of the you know, yes, 0:11:04.756 --> 0:11:07.316 it's the end of the album, but it's the beginning 0:11:07.556 --> 0:11:11.556 of the last part. Because of the experience of the vinyl. Yeah, 0:11:12.276 --> 0:11:15.316 vinyl changes everything. Yeah, I always thought of you know, 0:11:15.436 --> 0:11:18.036 growing up with vinyl, I always thought of albums as 0:11:18.076 --> 0:11:21.436 two sides, and you know, there's the first side has 0:11:21.436 --> 0:11:23.996 an ending, and then the second side starts, and then 0:11:23.996 --> 0:11:28.316 that has an ending. And in streaming, it's not like that. 0:11:28.356 --> 0:11:31.036 It's just one lie album. Yeah, And it's just different. 0:11:31.036 --> 0:11:33.356 It's just a different way of thinking about it. And 0:11:33.396 --> 0:11:36.996 but the way most people digest it now is the 0:11:37.076 --> 0:11:40.756 streaming way. But there is something to the art of 0:11:41.316 --> 0:11:45.596 the sequence based on the vinyl. There's like a tried 0:11:45.676 --> 0:11:49.516 and true feeling about that. Most of the things that 0:11:49.596 --> 0:11:54.356 I stream that I originally heard on vinyl I don't 0:11:54.396 --> 0:11:57.316 mind that there's not a sidebreak, you know, from the 0:11:57.356 --> 0:12:00.356 A side to the B side of the album, but 0:12:00.396 --> 0:12:04.996 there's still things that help you sequence the digital version 0:12:05.996 --> 0:12:08.956 about vinyl, like the halfway point, Like the end of 0:12:08.956 --> 0:12:11.956 the second side is usually the end of the halfway point. Yeah, 0:12:12.076 --> 0:12:15.076 And so it's cool if the album sort of feels 0:12:15.116 --> 0:12:18.516 like it restarts halfway through. It's a good effect for 0:12:18.636 --> 0:12:22.476 the last song on the second side to feel like 0:12:22.996 --> 0:12:25.756 an ending and for the first song on the third 0:12:25.756 --> 0:12:29.076 side to feel like a beginning. And if it's a 0:12:29.116 --> 0:12:32.916 CD or a digital download version that you still sort 0:12:32.956 --> 0:12:35.436 of get that by the album just seems to rejuvenate 0:12:35.476 --> 0:12:39.756 itself about halfway through. Yeah. It's interesting for artists who've 0:12:39.796 --> 0:12:43.276 never worked on vinyl, they probably have a whole different 0:12:43.556 --> 0:12:46.116 relationship to a sequence. And I imagine some of them 0:12:46.116 --> 0:12:49.236 who really grew up on playlists don't even think of 0:12:49.236 --> 0:12:51.916 a sequence as anything. It's just a bunch of songs 0:12:51.996 --> 0:12:53.756 because you can kind of make your own you know, 0:12:53.836 --> 0:12:56.156 you can make your own version of it in any 0:12:56.156 --> 0:12:59.476 way you want. But there is some magic to it. 0:12:59.836 --> 0:13:02.596 When you hear songs in a certain order, you relate 0:13:02.636 --> 0:13:05.036 to them in a different way, and sometimes you know, 0:13:05.076 --> 0:13:08.836 the wrong song in gives you an impression of an 0:13:08.836 --> 0:13:11.916 album them that doesn't start you off on the right 0:13:11.916 --> 0:13:14.876 foot or the opposite. You can hear, you can hear 0:13:14.916 --> 0:13:16.876 a great song, then if you don't like the second song, 0:13:16.956 --> 0:13:19.156 then it's like a feeling of like, oh, maybe it's 0:13:19.156 --> 0:13:20.996 just one song that I like of this band. You know, 0:13:21.036 --> 0:13:23.076 that's the first thought that I would have if if 0:13:23.116 --> 0:13:24.756 I love the first song, then I don't like the 0:13:24.796 --> 0:13:28.036 second song. That's there's already a red flag of like 0:13:28.716 --> 0:13:32.876 I might not listen as open mindedly to the third song. Yeah, 0:13:32.996 --> 0:13:37.196 after not liking the second song. Yeah. Interesting. Just the 0:13:37.236 --> 0:13:40.996 psychology of the order of songs. How does that relate 0:13:41.036 --> 0:13:44.956 to doing it live? How does sequencing work live? And 0:13:45.076 --> 0:13:47.876 is there ever does it ever not work? Like do 0:13:47.916 --> 0:13:50.356 you ever decide on an order to play the songs 0:13:50.356 --> 0:13:52.356 and then you do it and it just doesn't feel right. 0:13:52.636 --> 0:13:55.156 I guess that's a big difference in our band is 0:13:55.196 --> 0:13:59.796 because live, Anthony's always been completely in control of the 0:13:59.836 --> 0:14:03.356 set list. The rest of us might make comments. He 0:14:03.476 --> 0:14:06.076 might even show it to me before we get the 0:14:06.076 --> 0:14:09.356 copies printed out, just to get approval or some thing, 0:14:09.996 --> 0:14:12.196 but we pretty much let him be the master of 0:14:12.316 --> 0:14:15.436 the set list, and that's just always been how it's been. 0:14:15.436 --> 0:14:19.916 Whereas when we're making a record it's more collaborative. It's 0:14:19.996 --> 0:14:22.276 kind of impossible for a large group of people to 0:14:22.396 --> 0:14:25.396 make a sequence because it kind of requires still more 0:14:25.636 --> 0:14:30.396 person A lot of my memories of doing it, like 0:14:30.636 --> 0:14:32.836 in the old days of me and you would would 0:14:32.876 --> 0:14:35.516 drive around and you would have me in control of 0:14:35.516 --> 0:14:39.996 the CD player going from this song this end. Yeah, 0:14:40.116 --> 0:14:44.276 feeling what works? Is the transition work? Does the feeling work? Yeah, 0:14:44.276 --> 0:14:46.076 there's so many things to keep on your mind. I 0:14:46.076 --> 0:14:48.396 feel like it's a real multi level thing. Yeah, the 0:14:48.516 --> 0:14:50.756 end of one song has to sound good going into 0:14:50.836 --> 0:14:53.396 the beginning of another. You might make a set list 0:14:53.436 --> 0:14:55.516 that on paper seems like it would work really well, 0:14:55.556 --> 0:14:56.876 and then as soon as you hear it, it's like 0:14:56.956 --> 0:14:59.596 none of these transitions are making any sense you. Yeah, 0:14:59.956 --> 0:15:02.716 that's an interesting thing about Anthony too, And it makes 0:15:02.716 --> 0:15:09.676 sense because of everyone's job. Because he's relying on his voice, 0:15:10.276 --> 0:15:13.756 there's probably a pacing that makes it able for him 0:15:13.796 --> 0:15:16.476 to get through a show that no one else has 0:15:16.516 --> 0:15:20.276 that same consideration. Yeah, I'm just thinking there's so many 0:15:20.316 --> 0:15:23.636 new songs to play. There's seventeen new songs that is 0:15:23.676 --> 0:15:26.276 new to the audience, there are the seventeen songs that 0:15:26.316 --> 0:15:29.516 the audience has heard six months ago, and then there's 0:15:30.756 --> 0:15:34.916 the forty years of music that the Chili Meppers have made. Yeah, 0:15:34.916 --> 0:15:39.276 how do you keep a balance of playing things that 0:15:39.356 --> 0:15:42.996 people are you know, expecting to hear and all the 0:15:42.996 --> 0:15:46.996 things you want to play? And how are new songs 0:15:47.316 --> 0:15:51.236 received compared to old songs live? How does that all work? 0:15:52.156 --> 0:15:54.596 I think compared to other bands who have a history 0:15:54.836 --> 0:15:57.756 like we have, the new songs get a really good response, 0:15:58.276 --> 0:16:02.236 but especially Black Summer, Like I can't always tell because 0:16:02.236 --> 0:16:04.916 in my in ears, I don't have the audience super 0:16:05.236 --> 0:16:08.516 loud like like they might be might be a large 0:16:08.556 --> 0:16:11.716 percentage audience plotting, And just because of where the mics 0:16:11.756 --> 0:16:15.196 are that I get the audience from, I might not 0:16:15.316 --> 0:16:17.156 even hear it, you know. I take the inn ears 0:16:17.196 --> 0:16:20.916 out and it's always like much more deafening screaming and 0:16:20.996 --> 0:16:23.876 stuff than than I can hear. But yeah, the new 0:16:23.916 --> 0:16:27.276 songs go over good. But like there's there's certain songs 0:16:27.316 --> 0:16:29.996 off Unlimited Love that I really wish we were playing 0:16:30.516 --> 0:16:33.756 that just were some of the more challenging ones to 0:16:33.916 --> 0:16:36.316 do when we were rehearsing, and we never took the 0:16:36.436 --> 0:16:38.716 risk to play them live. And there's other ones that 0:16:38.756 --> 0:16:41.396 we did take the risk to play live and only 0:16:41.396 --> 0:16:43.916 played them a couple of times and then gave up, 0:16:44.276 --> 0:16:47.116 sticking to the ones that were working better. You're not 0:16:47.156 --> 0:16:50.436 worried about mistakes live in front of people. I'm actually 0:16:50.436 --> 0:16:52.596 way more worried about mistakes when I'm in the studio 0:16:52.996 --> 0:16:56.996 or even when I'm rehearsing live. You're not super worried 0:16:57.036 --> 0:16:59.716 about mistakes. And at the same time, the feeling of 0:16:59.716 --> 0:17:03.436 a song not working is fine when you're at rehearsal 0:17:03.476 --> 0:17:06.516 because you know it's it's leading somewhere and you're everybody's 0:17:06.516 --> 0:17:09.036 figuring at Flice figuring this thing out, Chad's figuring that 0:17:09.196 --> 0:17:12.316 thing out. I'm figuring out another. But to have that 0:17:12.396 --> 0:17:15.956 experience live when the four elements aren't functioning as a 0:17:15.996 --> 0:17:19.356 single unit, it really stands out in a show and 0:17:19.396 --> 0:17:21.916 it makes you feel really crappy to be up there 0:17:22.636 --> 0:17:25.116 when they're not aligne when you're playing them next to 0:17:25.676 --> 0:17:28.996 these songs like Californication or other Side that you have 0:17:29.116 --> 0:17:30.836 played a lot, and you can really have fun with 0:17:31.036 --> 0:17:36.156 and everything's always locked together no matter what. So that's 0:17:36.156 --> 0:17:38.476 why it's good we have this week of rehearsal coming up, 0:17:38.516 --> 0:17:42.836 so we can start. We can work on things that 0:17:43.036 --> 0:17:46.676 we were not feeling up for taking the risk to play, 0:17:46.756 --> 0:17:49.716 but try to get them together from Unlimited Love and 0:17:50.556 --> 0:17:54.156 Return of the Dream Canteen and better and luckily we 0:17:54.196 --> 0:17:56.556 have a lot of hits. I guess that's what helps 0:17:56.556 --> 0:17:58.836 at this point is that you tend to want to 0:17:59.436 --> 0:18:02.116 mainly make it about playing the hits when you're playing 0:18:02.156 --> 0:18:05.236 the fifty thousand people a night and stuff. But the 0:18:05.316 --> 0:18:09.476 new songs are definitely accepted, and Black Summer gets pretty 0:18:09.516 --> 0:18:14.076 much equal response to any of the hits we've had before. 0:18:14.356 --> 0:18:17.836 So people who were there often common to me after 0:18:18.236 --> 0:18:21.276 the show, like, Wow, people are cheering for your new 0:18:21.316 --> 0:18:23.876 songs just as much as the old ones, And so 0:18:23.956 --> 0:18:26.396 I can't always tell, but but I have got that 0:18:26.556 --> 0:18:30.476 gotten that feedback from people. Cool. Yeah, did you play 0:18:30.516 --> 0:18:35.036 songs from the new album on the five month tour? No, 0:18:35.476 --> 0:18:39.716 we just started playing our first song from from Return 0:18:39.796 --> 0:18:43.716 of the Dream Canteen. We just started playing it just 0:18:43.756 --> 0:18:47.156 a few shows ago. We've played it like three times, Eddie, 0:18:47.516 --> 0:18:51.356 but we rehearsed those a lot when we were rehearsing 0:18:51.396 --> 0:18:55.076 before the tour started, But after five months of being 0:18:55.116 --> 0:18:58.756 on tour and not playing those songs, it just felt 0:18:58.756 --> 0:19:01.076 too risky to start playing them. We wanted to start 0:19:01.156 --> 0:19:05.356 playing them when the album was announced, but it just 0:19:05.516 --> 0:19:07.596 and when the first single came out and stuff, but 0:19:07.796 --> 0:19:09.516 it just felt like we would have been and taking 0:19:09.516 --> 0:19:12.116 too big of a risk for the energy flow. We 0:19:12.276 --> 0:19:13.996 just need to be as good as it could be. Yeah, 0:19:14.036 --> 0:19:16.876 we want we want them to sound good. So it 0:19:16.916 --> 0:19:18.676 won't take us a lot of rehearsing to get them 0:19:18.716 --> 0:19:21.236 back under our fingers. But we're going to take like 0:19:21.276 --> 0:19:24.716 a week before we go on tour again. Great makes sense, 0:19:24.796 --> 0:19:28.836 Just again the volume of material. There's so many songs. Yeah, 0:19:29.036 --> 0:19:32.516 it's hard to keep everything straight. It's impossible. Yeah, and 0:19:32.636 --> 0:19:35.556 just live, You've got to find your voice. When I'm 0:19:35.556 --> 0:19:40.116 singing harmonies on the record, that could be like twenty voices, 0:19:40.316 --> 0:19:42.356 and then I've got to do it live in one voice. 0:19:42.556 --> 0:19:45.276 You've got to figure out, Okay, what's which one do 0:19:45.356 --> 0:19:46.996 I do at this chorus? Which one do I do 0:19:47.076 --> 0:19:49.436 at the second choruse you know, you try what kind 0:19:49.476 --> 0:19:51.076 of voice do I sing and then maybe it's not. 0:19:51.236 --> 0:19:53.716 Maybe it's completely dissimilar voice to what I did on 0:19:53.756 --> 0:19:57.036 the record at all, just to make it make it 0:19:57.076 --> 0:20:00.676 work in the live context. So are there other things 0:20:00.716 --> 0:20:04.076 like that? Tell me about things that can happen on 0:20:04.156 --> 0:20:07.676 record that have to be rethought to be able to 0:20:07.716 --> 0:20:11.596 do it live. I guess for me, multiple guitar parts 0:20:11.676 --> 0:20:14.596 is often a thing. It's not usually too hard for 0:20:14.636 --> 0:20:18.276 me to figure out, but that's always something to consider, 0:20:18.476 --> 0:20:23.036 whether to duplicate the effects. Sometimes it's better live to 0:20:23.156 --> 0:20:25.876 just not have any effects. And maybe on the record 0:20:25.916 --> 0:20:29.276 I did some modular synth treatment to the guitar that 0:20:29.796 --> 0:20:31.916 worked really well for the recording but might not be 0:20:32.036 --> 0:20:34.876 necessary for live, Like it might not even be able 0:20:34.916 --> 0:20:36.916 to hear it through the nature of a big sound 0:20:36.996 --> 0:20:41.636 system outside. Yeah, it's like it's much it's louder, but 0:20:41.716 --> 0:20:45.116 it's lower resolution, I think, Yeah, and there's a lot 0:20:45.156 --> 0:20:48.316 more natural ambience, so things. Yeah, you know, on the 0:20:48.356 --> 0:20:51.476 record we're doing all kinds of fancy reverbs and things, 0:20:51.516 --> 0:20:54.996 and on the guitar and certain drum hits and little 0:20:54.996 --> 0:20:57.636 things like that. Like live, we've got so much natural 0:20:57.676 --> 0:21:02.596 reverberation playing generally, we're playing stadiums that I have reverb pedals, 0:21:02.636 --> 0:21:04.516 I don't even I think I turned them on like 0:21:04.556 --> 0:21:07.356 twice per show or something, and I would and I 0:21:07.756 --> 0:21:09.636 did a lot of like slap back because I was 0:21:09.676 --> 0:21:11.676 listening to a lot of fifties music when we made 0:21:11.716 --> 0:21:16.156 the two records, so good percentage of songs had slap 0:21:16.196 --> 0:21:19.756 back delay on the basic track of the guitar. But live, 0:21:19.836 --> 0:21:23.476 there's just no point, like, yeah, the arena creates a 0:21:23.516 --> 0:21:27.796 slap yeah, and you can't control the speed of it. Yeah, 0:21:27.916 --> 0:21:30.836 So I got real used to playing the songs dry, 0:21:31.236 --> 0:21:33.556 you know, and like I have a big pedal board, 0:21:33.756 --> 0:21:37.116 and it's generally because there are certain songs that I 0:21:37.156 --> 0:21:39.756 would like to have the option of using a certain 0:21:39.796 --> 0:21:41.676 pedal board if we would do that song. So I'll 0:21:41.676 --> 0:21:43.836 have a pedal that's just in case we play one 0:21:43.876 --> 0:21:47.996 particular song, but generally, like that's how Jimmy Hendricks was 0:21:48.036 --> 0:21:51.516 live on the records. There's all kinds of signal processing 0:21:51.596 --> 0:21:54.516 to the guitar and stuff and and to the whole 0:21:54.516 --> 0:21:59.596 band really and live it's just either distortion or semi 0:21:59.636 --> 0:22:03.436 distorted clean sound and the rest you do with your 0:22:03.556 --> 0:22:06.396