WEBVTT - Danny Brown and Johnny Echols on Love's Forever Changes 0:00:15.436 --> 0:00:23.476 Pushkin. Hey everyone, today we're closing out Black Music Month 0:00:23.636 --> 0:00:27.396 by celebrating one of Rick Rubin's favorite albums of all time, 0:00:28.036 --> 0:00:32.716 Forever Changes, by the band Love. Love was a groundbreaking 0:00:32.716 --> 0:00:36.356 in LA group formed in nineteen sixty five. While their 0:00:36.396 --> 0:00:40.516 name isn't usually mentioned alongside popular California psychedelic bands like 0:00:40.636 --> 0:00:44.676 The Birds or The Grateful Dead, Love's influence is vast. 0:00:45.396 --> 0:00:48.556 They were the first interracial rock band, predating even signing 0:00:48.596 --> 0:00:52.356 the Family Stone up in San Francisco. Their charismatic, fashion 0:00:52.436 --> 0:00:56.916 forward black frontman Arthur Lee inspired Jimmy Hendricks's look, and 0:00:56.956 --> 0:00:59.796 in the mid sixties, Love was the hottest band in 0:00:59.876 --> 0:01:02.876 a Hollywood. They lived together in a castle and played 0:01:02.916 --> 0:01:06.116 sold out shows on the Sunset Strip, where diehard fans 0:01:06.156 --> 0:01:09.596 like Jim Morrison came to see them play. In nineteen 0:01:09.676 --> 0:01:13.076 sixty seven, the band recorded their third album, Forever Changes. 0:01:13.596 --> 0:01:15.636 It was the last album for the original core of 0:01:15.676 --> 0:01:19.076 the group, with guitarist Johnny Ecles and co writer Brian McLean. 0:01:19.676 --> 0:01:22.516 The album ushered in an entirely new sound for the band, 0:01:22.676 --> 0:01:26.956 combining baroque sounding instruments and horns with folky instrumentation and 0:01:27.036 --> 0:01:30.596 poetic lyrics. On today's episode, we'll hear some of Rick 0:01:30.636 --> 0:01:35.156 Rubin's conversation with Detroit rapper Danny Brown, who, like Rick, 0:01:35.516 --> 0:01:39.236 places Love's album Forever Changes at the very top of 0:01:39.276 --> 0:01:43.396 his greatest albums ever. Then we'll hear Rick in conversation 0:01:43.436 --> 0:01:47.676 with Loveslely guitarist Johnny eccles about the intense turmoil surrounding 0:01:47.716 --> 0:01:51.836 the recording of Forever Changes. Ecoles, who grew up straddling 0:01:51.876 --> 0:01:55.636 both black lay and the psychedelic Strip, explains how Love 0:01:55.716 --> 0:01:58.796 was responsible for getting The Doors the record deal, only 0:01:58.836 --> 0:02:03.356 to be quickly overshadowed by The Door's mainstream success. Echoes 0:02:03.436 --> 0:02:05.996 also recalls first meeting the Beatles when they were an 0:02:05.996 --> 0:02:12.676 opening act for a Little Richard. This is broken record 0:02:13.036 --> 0:02:15.676 line of notes for the digital age. I'm just commission 0:02:16.836 --> 0:02:20.076 before we jump into Rick's conversation with Johnny Echos, Let's 0:02:20.156 --> 0:02:23.996 first hear from the one and only Danny Brown. Of 0:02:24.116 --> 0:02:26.076 all the music you listen to, where do you put 0:02:26.156 --> 0:02:28.996 Forever Changes in your very change? My favorite album? I've heard? 0:02:29.476 --> 0:02:31.676 Number one album? Yeah, because I still, like I told you, 0:02:31.756 --> 0:02:34.956 I still hear, I still hear new things to this day, 0:02:34.996 --> 0:02:37.756 and I still haven't understand I don't understand still what 0:02:37.796 --> 0:02:40.036 I'm listening to. I just know I'm not listening to 0:02:40.076 --> 0:02:41.916 it with my brain, like because I know a lot 0:02:41.956 --> 0:02:43.836 of time I hear music and I love it, and 0:02:43.956 --> 0:02:46.196 then three months later it's like your brain tricked you 0:02:46.196 --> 0:02:48.076 to like that. You know what I'm saying, because feeling wise, 0:02:48.116 --> 0:02:49.596 it does nothing for me, you know what I'm saying, 0:02:51.196 --> 0:02:53.876 But forever changes, no matter like how much a lot 0:02:53.876 --> 0:02:56.036 of the shit I don't even understand, some reason to 0:02:56.076 --> 0:02:58.676 just stick with me emotionally beautiful. But I guess the 0:02:59.436 --> 0:03:01.356 first thing that caught me about the album was that 0:03:01.716 --> 0:03:05.636 I didn't know it was black, like hearing some music 0:03:05.676 --> 0:03:08.236 like that, because it was like I don't never want 0:03:08.276 --> 0:03:10.716 to put race to music and stuff, but you know, 0:03:10.756 --> 0:03:14.516 growing up in Detroit almost have like a Motown feel 0:03:15.236 --> 0:03:17.996 to me in some sense to it. But he was 0:03:18.076 --> 0:03:20.956 like doing stuff other like black artists wasn't doing at 0:03:20.956 --> 0:03:23.876 the time, you know what I'm saying as of his 0:03:24.116 --> 0:03:27.476 ram in some sense, but even listening to it nine 0:03:27.516 --> 0:03:30.236 like coming on my way over here is so California too, 0:03:30.316 --> 0:03:33.676 like like I get that viab like I know that's 0:03:33.676 --> 0:03:36.196 meaning the sixties, but it's like it's like a sound 0:03:36.276 --> 0:03:40.236 tractor here almost and and and I know music plays 0:03:40.276 --> 0:03:44.116 a big part for me when environments like me like 0:03:44.196 --> 0:03:46.556 growing up and being like a big Naves fan and 0:03:46.596 --> 0:03:49.436 like Illmatic was like, but my first time, you know, 0:03:49.516 --> 0:03:52.916 seeing Queensbridge projects like this is the and do you 0:03:52.956 --> 0:03:55.276 know this is the scene that this ship was painted 0:03:55.276 --> 0:03:57.316 to you know what I'm saying, absolutely? And I guess 0:03:57.356 --> 0:04:00.596 you know drugs too, because there's a lot of Like 0:04:00.596 --> 0:04:02.756 I said, I got questions too about the album, Like 0:04:02.796 --> 0:04:05.636 the only song I can figure out that means something 0:04:05.796 --> 0:04:08.036 is the And the titles too, are so all over 0:04:08.076 --> 0:04:11.276 the place, the one about them, you know, the snot 0:04:11.356 --> 0:04:13.116 drying up on these pans and stuff and all that, 0:04:13.236 --> 0:04:15.396 Like I feel like that song is about war obviously, 0:04:15.516 --> 0:04:18.316 you know, about going into service and stuff. But after that, 0:04:18.556 --> 0:04:21.116 like all the songs are like open for interpretation for 0:04:21.276 --> 0:04:22.796 I think a lot of different people. You know what 0:04:22.836 --> 0:04:25.596 I'm saying, absolutely, How does the music of it strike you? 0:04:25.796 --> 0:04:27.836 That's the one thing that I think is the big 0:04:27.876 --> 0:04:30.796 deal too about it. Like as good as the songwriter 0:04:30.916 --> 0:04:33.036 Arthur Lee was, I think everybody was like at the 0:04:33.076 --> 0:04:35.956 top of the game far as the instrumentation, and then 0:04:35.996 --> 0:04:38.236 other thing too. They did it in four months, Like 0:04:39.196 --> 0:04:41.356 like you talk about me, someone that take years and 0:04:41.356 --> 0:04:43.636 stuff making albums, Like what the fuck am I bullshit? 0:04:45.516 --> 0:04:47.756 Like how did they do this four months? And didn't 0:04:47.756 --> 0:04:50.876 with they working on the reels and stuff like that, 0:04:50.916 --> 0:04:52.836 and we have pro too, He's just pressing the button 0:04:52.876 --> 0:04:55.596 he could just do know, So it's like they had 0:04:55.676 --> 0:04:59.156 no room for error, especially when you're dealing with Okay, 0:04:59.156 --> 0:05:01.516 you already have a full band, you know, and then 0:05:01.556 --> 0:05:03.796 you want to add in horns and you want to 0:05:03.836 --> 0:05:06.356 add in string arrangements and stuff like that. It's like 0:05:06.636 --> 0:05:08.956 it's so hard to make them make stuff like that 0:05:09.156 --> 0:05:11.396 fluttered like you know what I'm saying. So it was 0:05:11.516 --> 0:05:15.316 like certain parts like he didn't have drums or but 0:05:15.356 --> 0:05:17.636 when he did, it was always like kick ass. Though 0:05:17.636 --> 0:05:20.396 it wasn't like nothing that just set there to just 0:05:20.476 --> 0:05:22.716 hold the tone, you know what I'm saying. Everything was 0:05:22.756 --> 0:05:25.676 there to stick out, which is so cool about you know, 0:05:26.196 --> 0:05:28.276 production and ship too, because a lot of times, you know, 0:05:28.316 --> 0:05:30.516 you can just fall back on the song writing. And 0:05:30.556 --> 0:05:33.796 as strong as those songs was that he's writing, it's like, yeah, 0:05:33.836 --> 0:05:37.996 you could have just never really been that shit could 0:05:38.036 --> 0:05:40.076 have just been acoustic guitar. Next year, we still would 0:05:40.076 --> 0:05:42.036 have knew those were amazing songs and the like, But 0:05:42.156 --> 0:05:46.796 the go that fucking her production wise is like what 0:05:47.796 --> 0:05:50.116 And then it just to hear like the cost of 0:05:50.116 --> 0:05:52.956 the album at that time, it's like fuck man, Like 0:05:53.116 --> 0:05:55.596 for that album to come out, it didn't sell any records. 0:05:55.596 --> 0:05:57.916 It wasn't like a fucking big deal or anything, like 0:05:57.916 --> 0:05:59.316 you know what I'm saying. But now we're sitting here 0:05:59.356 --> 0:06:02.196 in twenty nineteen and talking about it, you know, so 0:06:02.276 --> 0:06:05.356 that gives me, Yeah, it gives me hope, Like you 0:06:05.356 --> 0:06:07.796 know what I'm saying, Like, good music never dies no 0:06:07.836 --> 0:06:10.516 matter what you know, how long ago was it that 0:06:10.556 --> 0:06:13.876 you first heard it. I always judge stuff by, um, 0:06:14.236 --> 0:06:15.556 what I was listening to at the time. I was 0:06:15.596 --> 0:06:19.396 listening to Jay Dillar Donuts. So when Donuts came out 0:06:19.756 --> 0:06:22.276 two thousand and six, yeah, that's a long time for 0:06:22.316 --> 0:06:25.356 an album to hold you. And same for me. I 0:06:25.396 --> 0:06:28.236 probably started listening to it in the early two thousands 0:06:28.396 --> 0:06:32.116 and still anytime I fly, that's what I listened to 0:06:32.156 --> 0:06:35.076 on an airplane always because it has a subtleness to 0:06:35.156 --> 0:06:37.036 it too, because like you know, playing music, it's a 0:06:37.036 --> 0:06:39.276 different thing you want something you can sleep too and 0:06:39.396 --> 0:06:43.396 still wake up and not freak you out, you know 0:06:43.476 --> 0:06:46.956 what I'm saying. So I think for Every Change is 0:06:46.956 --> 0:06:50.756 a subtle album that has that, but I get so 0:06:50.796 --> 0:06:52.716 caught up in the lyrics of it, like the only 0:06:52.796 --> 0:06:55.276 other album I can like compare Forever Changes too for 0:06:55.316 --> 0:06:57.916 me and some sense it's like a mad Villain like 0:06:58.196 --> 0:06:59.956 to me, like I can just take the album just 0:06:59.996 --> 0:07:02.796 read it, and I think I would still feel a 0:07:03.436 --> 0:07:05.996 personal connection just from the lyrics, just from reading it. 0:07:06.636 --> 0:07:08.556 And that's why I can compare it to him. It 0:07:08.596 --> 0:07:11.236 because like I had went to m I had did 0:07:11.316 --> 0:07:13.716 like a year in county jail, and you know, with 0:07:13.916 --> 0:07:15.676 being in jail, you don't have no music or nothing. 0:07:15.716 --> 0:07:17.396 So I would have my brother like praying out and 0:07:17.676 --> 0:07:19.836 doom lyrics for me. Yeah, and that was the way 0:07:19.916 --> 0:07:24.196 And like I connected with Mad Villain just reading words. 0:07:24.836 --> 0:07:27.276 So and I feel like Forever Change, It's genuitely has 0:07:27.356 --> 0:07:28.836 that same type of peal because I had to read 0:07:28.836 --> 0:07:31.996 those lyrics too. Make sure to keep an eye out 0:07:31.996 --> 0:07:34.876 for Danny Brown's new joint album with rapper producer Jay 0:07:34.956 --> 0:07:38.836 Peg Mafia when it drops later this year. Now, let's 0:07:38.836 --> 0:07:41.796 see Rick and Johnny eccles talk through the making of 0:07:41.876 --> 0:07:47.756 Loves Forever Changes. I want to understand why this beautiful 0:07:47.796 --> 0:07:52.956 album is so unique. Okay, should we go through song 0:07:53.036 --> 0:07:55.556 by song? Sure, we can do that. Whichever was I'll 0:07:55.596 --> 0:07:57.476 put them, I'll bring them up and we can listen 0:07:57.516 --> 0:07:58.876 to a little bit of each song and you can 0:07:58.956 --> 0:08:01.156 just tell me who did what, or what was going 0:08:01.156 --> 0:08:03.636 on at time or what what? What memories come up 0:08:03.636 --> 0:08:06.316 when you hear it. Okay, let me let's start with 0:08:06.676 --> 0:08:22.716 this all the time. What do you think about? What 0:08:22.956 --> 0:08:25.876 do you remember about? Okay? This was a song that 0:08:25.996 --> 0:08:30.596 Brian wrote, call Alone Again. Arthur added the oar to it. Yes. Now, 0:08:30.996 --> 0:08:34.316 when we first started working on this song, it the 0:08:34.436 --> 0:08:37.796 introduction on him doing the fingerpick of Spanish guitar. Yeah, 0:08:37.916 --> 0:08:40.356 it was meant to be a banjo so the song 0:08:40.476 --> 0:08:42.916 was a different song. It was a blue grassy kind 0:08:42.916 --> 0:08:46.236 of song when he first wrote it, and we were 0:08:46.356 --> 0:08:49.236 young and naive and thought, well, we play guitar, we 0:08:49.316 --> 0:08:54.196 can play banjo too. So we rented banjo's and we 0:08:54.236 --> 0:08:57.636 came into the studio and we tried doing the introduction 0:08:57.636 --> 0:09:01.876 and playing banjos. Well, banjo's entirely different instrument instruments, yeah, 0:09:01.956 --> 0:09:03.716 and so if you don't know how to play it, 0:09:03.876 --> 0:09:06.956 you can't play it. So we were at the verge 0:09:06.956 --> 0:09:10.916 of just nixing that song altogether. And I was sitting 0:09:10.956 --> 0:09:12.996 in a corner warming up. So I'm just playing that. 0:09:12.996 --> 0:09:15.996 They're not flamenco. There's just Spanish riffs, you know, and 0:09:16.196 --> 0:09:19.076 David Angel here's that. So why don't we just kind 0:09:19.116 --> 0:09:22.476 of transfer those kinds of riffs to Brian's song and 0:09:22.556 --> 0:09:24.836 do it that way. And so he went over and 0:09:24.836 --> 0:09:28.996 talked to Brian. First, Brian was against it, but he says, well, 0:09:29.036 --> 0:09:31.036 if you want the song on the album, from what 0:09:31.276 --> 0:09:33.636 I understand, you're going to have to do something. And 0:09:33.676 --> 0:09:36.116 so Brian said, okay, let's do it that way. And 0:09:36.156 --> 0:09:38.796 so we changed the feel of the song to a 0:09:38.876 --> 0:09:43.396 Spanish song, and the mariachi trumpet in the middle of 0:09:43.396 --> 0:09:46.436 the song was done by David ANGELI came up with 0:09:46.516 --> 0:09:51.316 that part because initially I was doing just Spanish runs 0:09:51.316 --> 0:09:54.756 and nets. What you hear playing behind the trumpet is 0:09:54.796 --> 0:09:57.356 what would have been there. But then I was playing 0:09:57.756 --> 0:10:01.876 certain runs and the trumpet basically followed those runs, and 0:10:01.916 --> 0:10:04.116 so he played what I had played on my guitar 0:10:04.516 --> 0:10:09.116 as a trumpet solo. Amazing. Yeah, it is really fantastic 0:10:09.276 --> 0:10:11.956 the way it turned out. I listened to that and thought, boil, 0:10:12.116 --> 0:10:14.556 this is really a good song where it's really good. 0:10:14.676 --> 0:10:17.036 Before it was kind of a you know, a so 0:10:17.196 --> 0:10:21.196 so song, a throwaway song basically because you know, we 0:10:21.196 --> 0:10:25.036 were basically trying to put the song together with a 0:10:25.156 --> 0:10:28.876 totally different feel, and this was it was just perfect 0:10:28.956 --> 0:10:31.116 for the song, the Spanish feel. How did it end 0:10:31.196 --> 0:10:32.836 up being the first track on the album? That was 0:10:32.956 --> 0:10:36.676 done by the record company. They put together and mastered 0:10:36.716 --> 0:10:40.836 and the order of the songs I was totally done 0:10:40.876 --> 0:10:45.116 by Jack Holsman. It was a bold decision because based 0:10:45.156 --> 0:10:47.556 on everything we know about love at that moment, and 0:10:47.636 --> 0:10:49.316 now here's the new album and you put that on, 0:10:50.236 --> 0:10:52.796 you wouldn't know it was the same group. No, you wouldn't. 0:10:52.836 --> 0:10:56.396 And the fact that Brian's song is opening the album. 0:10:56.556 --> 0:11:00.156 Had Arthur been involved in that, it wouldn't have been 0:11:00.196 --> 0:11:03.276 that way understood. And if you notice on this song 0:11:03.316 --> 0:11:06.876 there are different versions of this the same music, but 0:11:06.956 --> 0:11:09.836 there are different versions and some Arthur his voice because 0:11:09.836 --> 0:11:12.196 he see Arthur wasn't even at the studio when we 0:11:12.316 --> 0:11:16.156 recorded alone again, and he comes in later and he 0:11:16.156 --> 0:11:18.636 hears it and he likes it, and so he sings 0:11:18.636 --> 0:11:22.716 harmony with Brian, all of us sing harmony, and later 0:11:22.836 --> 0:11:26.116 on Arthur he says he didn't do it, but I 0:11:26.116 --> 0:11:28.196 don't see who else would have done it. He put 0:11:28.276 --> 0:11:31.476 his voice ahead of Brian, so you hear more of 0:11:31.596 --> 0:11:35.396 Arthur than you do with Brian on some of the releases. 0:11:35.836 --> 0:11:41.076 They re released the album just recently and they remastered 0:11:41.116 --> 0:11:42.876 and then you can hear the way it's opposed to 0:11:42.956 --> 0:11:46.756 with Brian's voice more prominent. It still sounds almost the same, 0:11:47.036 --> 0:11:49.916 but you just hear Bran. It's different. Balance. Yeah, okay, 0:11:50.036 --> 0:12:00.316 next song, You're just a thought that someone somewhe somehome 0:12:00.436 --> 0:12:05.596 fields you should be And so basically acoustic songs again, 0:12:05.596 --> 0:12:10.036 which is coming from what we've heard before from Love shocking. Yeah, 0:12:10.036 --> 0:12:13.716 it is shocking. This song has a very interesting backstory. 0:12:14.076 --> 0:12:17.116 We were playing up in San Francisco. The place at 0:12:17.116 --> 0:12:21.596 the time was called the Warehouse, wh our house, and 0:12:23.036 --> 0:12:26.916 Janis Joplin was build with us, and she is really 0:12:26.956 --> 0:12:30.756 really loud, and our dressing room would have been right 0:12:30.836 --> 0:12:35.196 behind the stage, and so we decide that there's back 0:12:35.236 --> 0:12:38.036 Then they would break up clubs, and there would be 0:12:38.116 --> 0:12:41.436 section where people that are under eighteen could go that 0:12:41.556 --> 0:12:44.716 they didn't serve alcohol and they could be there. And 0:12:44.796 --> 0:12:47.116 on the other part of it is where the adults 0:12:47.156 --> 0:12:51.756 went and naked buy alcohol. So we went to the 0:12:51.796 --> 0:12:54.036 adult part, even though at that point I was still, 0:12:54.196 --> 0:12:56.756 you know, probably nineteen or something. Wasn't supposed to be 0:12:56.796 --> 0:12:59.356 in there, but we go over to that section just 0:12:59.356 --> 0:13:02.996 to get away from the screaming of Janice. I'd loved her. 0:13:03.156 --> 0:13:04.956 She was a good friend of mine, but she could 0:13:05.036 --> 0:13:09.516 really really get your ears vibrating. So we're sitting in 0:13:10.036 --> 0:13:13.116 this place and some guy just walks up and he 0:13:13.196 --> 0:13:16.636 sits down at the table where Arthur and me and 0:13:16.676 --> 0:13:19.716 Brian are sitting, and he puts a big, huge gun 0:13:19.756 --> 0:13:23.756 on the table, and so he's what's going on, and 0:13:23.836 --> 0:13:26.236 he starts to telling us about he was an a 0:13:26.396 --> 0:13:31.516 wall soldier from Vietnam, and he tells us about blood 0:13:32.196 --> 0:13:36.236 mixing with mud, turning gray, and he's talking about all 0:13:36.236 --> 0:13:39.796 these things. You can call my name is where one 0:13:39.796 --> 0:13:43.676 of the soldiers would be hit and the Vietnam or 0:13:43.676 --> 0:13:47.316 whatever would booby trap that soldier and so he would 0:13:47.356 --> 0:13:52.076 be screaming all night long, and the people couldn't, his comrades, 0:13:52.156 --> 0:13:54.276 his buddies couldn't come and get him and rescue him 0:13:54.276 --> 0:13:57.636 because he had been booby trapped. And so he's telling 0:13:57.756 --> 0:14:00.596 us all of these stories and all of that, and 0:14:00.956 --> 0:14:03.636 you know Arthur's mind, we're listening to it, fascinating. His 0:14:03.716 --> 0:14:07.756 mind's working entirely differently. He's got those lyrics and he's 0:14:07.796 --> 0:14:13.356 doing poetry with this Vietnam vets and that turned into 0:14:13.556 --> 0:14:16.516 a house as not a motel. Incredible, And did the 0:14:16.716 --> 0:14:19.476 did the music come first or did the words come first? 0:14:19.476 --> 0:14:21.516 And then you put music to the words came first? 0:14:21.556 --> 0:14:25.356 This was basically poetry, and then Arthur would sing it 0:14:25.396 --> 0:14:28.476 and he started Arthur not only did he write the words, 0:14:28.476 --> 0:14:30.436 but he wrote the melodies to his son that he 0:14:30.516 --> 0:14:33.596 just didn't have the ability to put music to it. 0:14:33.636 --> 0:14:36.076 But and when he would say if he would sing 0:14:36.116 --> 0:14:38.276 you a song, would it all be in one key? Like? 0:14:38.356 --> 0:14:40.796 He would he sing it like as if there was 0:14:40.876 --> 0:14:44.716 music to it already. Sort of sometimes he would meander 0:14:44.756 --> 0:14:47.596 as far as the key is concerned. But and sometimes 0:14:47.716 --> 0:14:51.036 as once we started putting music to it and actually 0:14:51.036 --> 0:14:54.956 playing it would change a bit. You know, the melody 0:14:55.156 --> 0:14:58.116 phrasing and to work with the music. Yeah, so he 0:14:58.156 --> 0:15:01.196 would do that. But this started out, as I said, 0:15:01.196 --> 0:15:03.756 as poetry. So would you say all the songs started 0:15:03.796 --> 0:15:06.996 as poetry before the music. Yeah, basically all of them 0:15:07.036 --> 0:15:10.836 as a rule. Yeah, fascinating. Yes, I would say less 0:15:10.956 --> 0:15:13.596 music is made that way as well. Yeah, that's why 0:15:13.596 --> 0:15:18.676 it sounds different because the music kind of compliments because 0:15:18.716 --> 0:15:21.316 we got to hear how the poetry went in here. 0:15:21.396 --> 0:15:24.516 So it's almost like you're scoring the poem basically. Yes, 0:15:24.676 --> 0:15:28.516 that's what we're doing, and it means you know, any 0:15:28.516 --> 0:15:30.756 thoughts about the music and that one the direction of 0:15:30.796 --> 0:15:33.676 the music, how it how it evolved. Again, that was 0:15:33.796 --> 0:15:37.796 interesting because there's two guitar solos. Yes, when I'm playing 0:15:37.796 --> 0:15:40.276 the first one the ear phones, the head phones are 0:15:40.316 --> 0:15:42.596 working great and I can hear the backing track and 0:15:42.716 --> 0:15:46.356 I'm laying down the solos. When I'm ready to do 0:15:46.396 --> 0:15:49.036 the second one, something goes wrong and there's a glitch 0:15:49.076 --> 0:15:51.756 and I can't hear the first guitar solo. So there 0:15:51.836 --> 0:15:53.796 was a plan to do the two guitar solos. Yeah, 0:15:53.836 --> 0:15:55.316 they were going to play off each other. I would 0:15:55.356 --> 0:16:00.356 play off myself and when we were playing backing track 0:16:00.396 --> 0:16:02.636 back in the first guitar solo, I couldn't hear it, 0:16:02.956 --> 0:16:06.156 and so we're gonna nix that song too, because well, 0:16:06.196 --> 0:16:08.196 you know, maybe you're not gonna do the second solo. 0:16:08.596 --> 0:16:11.556 But we figured out. Arthur and me talked and Arthur 0:16:11.636 --> 0:16:14.636 was in the booth and we thought of me going 0:16:14.676 --> 0:16:16.796 in the booth and playing it. But I needed the 0:16:16.916 --> 0:16:19.316 amp to be really loud in order to get the 0:16:19.636 --> 0:16:22.476 sounded it because I didn't use pedals. Everything he saw 0:16:22.716 --> 0:16:24.676 was the amp, or you heard from me was what 0:16:24.916 --> 0:16:27.676 was there, and so what was the equipment just so 0:16:27.916 --> 0:16:32.116 that was a vox Ac thirty yes. And then I'm 0:16:32.116 --> 0:16:35.036 playing a give some Less Paul nineteen fifty two goal 0:16:35.156 --> 0:16:40.996 top with p ninety pickups. So I'm trying to do it, 0:16:41.036 --> 0:16:43.676 and Arthur comes up with an idea. He says, I 0:16:43.716 --> 0:16:46.996 will give you signals from the booth. So I'm there 0:16:46.996 --> 0:16:48.996 and I can't hear it. I can hear the backing track, 0:16:49.036 --> 0:16:51.636 but I can't hear my other guitar, and so he's 0:16:51.676 --> 0:16:53.916 tells me when to go up and when to go down. 0:16:54.036 --> 0:16:56.436 And that's what basically how I did the second part 0:16:56.476 --> 0:16:59.436 of it, and it fits amazingly when I listened to it, 0:16:59.516 --> 0:17:01.916 but I'm trying to follow him, and so I'm not 0:17:02.076 --> 0:17:07.196 really concentrating on playing. I'm more concentrated on what he's doing. Yes, 0:17:07.236 --> 0:17:10.236 and that's why that probably made it more. Yeah, it's 0:17:10.276 --> 0:17:13.756 probably some of the best guitar I've ever done. And 0:17:13.756 --> 0:17:16.956 it's amazing how that works now and amazing also how 0:17:16.996 --> 0:17:22.436 it works not by planning but almost by working around 0:17:22.436 --> 0:17:25.116 a problem. That's exactly what happened there was like the 0:17:25.236 --> 0:17:29.276 universe wanted that song done, beautiful way right, Yeah, let's 0:17:29.276 --> 0:17:45.836 do the next one, and you don't know much. It's 0:17:45.876 --> 0:17:50.796 fascinating and it sounds so again, unlike anything else, even 0:17:50.876 --> 0:17:53.876 guitar stylistically, it just feels like another It's coming from 0:17:53.876 --> 0:17:57.156 another world. And that was another song. Aren't many of 0:17:57.276 --> 0:18:01.636 other songs are about this particular lady Anita Billings. He 0:18:01.716 --> 0:18:05.236 called her pretty and the song and More and the 0:18:05.316 --> 0:18:09.476 first album this is and More again, so speaking about 0:18:09.516 --> 0:18:15.156 the same lady Nita Billings and Arthur I think his 0:18:15.276 --> 0:18:20.236 whole life because he really loved her and she was 0:18:20.276 --> 0:18:25.676 his high school sweetheart, and her mother found her diary 0:18:25.916 --> 0:18:31.796 and she had obviously bared her soul in the diary. 0:18:32.236 --> 0:18:37.116 And the mother made her not see Arthur anymore, and 0:18:37.796 --> 0:18:41.076 so basically the rest of his life he's pining for really, 0:18:41.156 --> 0:18:45.036 for real, for this lady. And he got to see 0:18:45.036 --> 0:18:46.956 her one more time when we're at the castle. She 0:18:47.036 --> 0:18:50.796 comes there and he had that's the song I See 0:18:50.836 --> 0:18:52.876 your pictures in the same old for him speaking of 0:18:52.876 --> 0:18:56.556 her again. Wow, you know at the Castle. So many 0:18:56.596 --> 0:19:00.996 of our songs are about this lady. Amazing. Anything else 0:19:00.996 --> 0:19:03.356 you could think of about the song. This one of 0:19:03.476 --> 0:19:07.396 Billy Strange is that there's the guys on the Reagan Crew. 0:19:07.396 --> 0:19:12.276 Remember they played on two songs on Daily Planet. That's 0:19:12.316 --> 0:19:15.156 Hal Blaying playing drums and Billy playing the guitar with 0:19:15.236 --> 0:19:19.316 me and Brian, So Billy's playing with us. That's Brian, 0:19:19.476 --> 0:19:22.556 Me and Billy Strange playing the guitar parts on that. 0:19:22.636 --> 0:19:26.276 And the arrangement that David Angel did is just really, 0:19:26.276 --> 0:19:31.436 really beautiful. The song sounded great without because he showed 0:19:31.516 --> 0:19:35.116 us the arrangement after we had played, because we're initially 0:19:35.116 --> 0:19:37.276 going to leave it alone and just leave it without 0:19:37.316 --> 0:19:41.316 the strings, but then when we heard what his arrangement. Yeah, 0:19:41.356 --> 0:19:44.236 it's so interesting that that little guitar moment right where 0:19:44.276 --> 0:19:48.636 we stopped. I think of it as a string solo, 0:19:48.876 --> 0:19:51.196 even though it's not. You know, it's just this, but 0:19:51.236 --> 0:19:54.556 the strings make their entrance and it feels like, oh, 0:19:54.596 --> 0:20:00.796 that's what's happening, but it's really just a backup report part. Yeah, 0:20:00.876 --> 0:20:04.396 that's he really doesn't get the credit he deserves, David Angel, 0:20:04.476 --> 0:20:07.956 but he would was able to insinuate the violin strings 0:20:07.996 --> 0:20:26.276 into that. Yeah, yeah, really great. Okay, watching Dieu Magnificent, 0:20:26.676 --> 0:20:30.476 that's a very dark song, you know, speaking of the 0:20:30.596 --> 0:20:34.156 times in which we lived back then. But again that's 0:20:34.276 --> 0:20:37.116 poetry put to music. You can just listen to the poetic. 0:20:37.156 --> 0:20:41.356 And then we went to see a was at the 0:20:41.556 --> 0:20:45.116 Art House because Murat saw it. It was about the 0:20:45.156 --> 0:20:49.276 people in the mental institution. They're locking them up today. 0:20:49.596 --> 0:20:54.316 There was a line from that that film, and so 0:20:54.556 --> 0:20:57.636 Arthur was able to put that together into this song. 0:20:57.676 --> 0:21:00.596 And it also makes sense now that talking about the 0:21:00.596 --> 0:21:04.196 way the songs came about why the Doors would have 0:21:04.196 --> 0:21:08.436 been so influenced by love because Jim basically a poet, yes, 0:21:08.716 --> 0:21:13.036 a poet with a band. Yes, now we were you 0:21:13.076 --> 0:21:16.156 know we still because we couldn't blame them for their success. 0:21:16.196 --> 0:21:19.076 Of course, we that upset with the record company. But 0:21:19.476 --> 0:21:22.716 we were always tight with them, and we you know, 0:21:22.756 --> 0:21:25.916 even after not playing anymore, Jim and I often talked, 0:21:26.036 --> 0:21:28.876 We're going to put together, you know, group and stuff. 0:21:28.916 --> 0:21:33.316 Of course we never did, but we were good friends 0:21:33.356 --> 0:21:36.996 and always really we felt kind of proud of them 0:21:37.036 --> 0:21:39.476 because we knew had it not been for our just 0:21:40.276 --> 0:21:47.156 tenacity rather and the doing the things the way we 0:21:47.236 --> 0:21:49.756 did with Jack, there probably would have been no doors 0:21:49.796 --> 0:21:51.916 because they were on the verge of going their separate 0:21:51.916 --> 0:21:56.556 ways until they got a record contract. And also I 0:21:56.636 --> 0:21:59.116 had spoken to him, and I think one of the 0:21:59.196 --> 0:22:03.756 things that helped keep them together is rather than having 0:22:03.756 --> 0:22:07.276 to continually want to receive credit I did this or 0:22:07.356 --> 0:22:11.636 I did this, and people loggerheads, they decided that if 0:22:12.436 --> 0:22:15.516 whoever wrote the song, they would all split, would always 0:22:15.516 --> 0:22:20.636 be yes so. And that worked perfectly for them because 0:22:20.636 --> 0:22:23.476 they didn't have to argue with each other who got 0:22:23.476 --> 0:22:26.796 credit for what, you know, they all got credit. It's beautiful. 0:22:28.596 --> 0:22:33.796 Oh the snot has caked again, small pens, it has 0:22:33.836 --> 0:22:41.876 turned into crystal. There's a blue but ranch. Anything about 0:22:41.876 --> 0:22:45.076 the lyrics or the poetry again, it was poetry, and 0:22:45.116 --> 0:22:47.516 it was shocking poetry in the beginning the snot has 0:22:47.596 --> 0:22:49.996 caked against my pants. You know, you can get the 0:22:50.116 --> 0:22:53.996 image of that. That one is jarring in that the 0:22:54.156 --> 0:22:57.676 lead guitar player lead guitar is rather out of place. 0:22:57.756 --> 0:23:01.196 That's you got a soft, really orchestral song and all 0:23:01.236 --> 0:23:04.836 of a sudden you've got to kind of really rock 0:23:04.956 --> 0:23:08.076 us a guitar. And that even the style of the 0:23:08.276 --> 0:23:13.116 vocals seems like old English, you know, like, h do 0:23:13.116 --> 0:23:15.436 you know what I mean? Yeah, yeah, some of the songs, 0:23:15.436 --> 0:23:18.636