WEBVTT - Daniel Lanois: Live From On Air Fest 0:00:15.476 --> 0:00:21.676 Pushkin. Earlier this year, I was asked if I'd go 0:00:21.756 --> 0:00:24.116 to Brooklyn to interview Daniel Lanois in front of an 0:00:24.156 --> 0:00:28.036 intimate audience at on AirFest, And although my nerves don't 0:00:28.156 --> 0:00:31.036 love any form of public speaking, the answer was an 0:00:31.196 --> 0:00:35.836 unequivocal yes. Landa was made some of my favorite albums, 0:00:35.956 --> 0:00:39.156 Bob Dylan's Time out of Mind, the Neville Brothers Yellow Moon, 0:00:39.316 --> 0:00:44.076 and Neil Young's underappreciated twenty ten album Lenoise. Then, of 0:00:44.116 --> 0:00:47.236 course there's albums he made with You Two with Brian Eno, 0:00:47.356 --> 0:00:50.996 with Willie Nelson, the record with DeAngelo. There's just so much. 0:00:51.876 --> 0:00:54.276 We talk about many of these collaborations. During the course 0:00:54.316 --> 0:00:57.316 of our conversation. We also talk about some of Landoi's 0:00:57.356 --> 0:01:00.596 solo works that are just as beautiful, and in front 0:01:00.596 --> 0:01:04.796 of an audience featuring Prince guitarist Donna Grantis, Laraji and 0:01:04.996 --> 0:01:08.076 Laurie Anderson, land Wha plays us some music on his 0:01:08.236 --> 0:01:14.556 very first instrument, it the Petal Steal. This is broken record, 0:01:14.996 --> 0:01:24.916 real musicians, real conversations. Here's my conversation with Daniel Lanois, 0:01:25.276 --> 0:01:26.876 and if you'd like to watch, you can view this 0:01:26.996 --> 0:01:31.396 conversation at YouTube dot com. Slash Broken Record Podcast. 0:01:32.436 --> 0:01:43.956 Ladies and gentlemen and everyone else, Daniel Lannois and Justin Richmond. 0:01:44.076 --> 0:01:44.876 Oh where you go? 0:01:52.036 --> 0:01:52.436 Perfect? 0:01:52.436 --> 0:01:55.156 Would you just check and see if it's on? 0:01:55.276 --> 0:01:57.916 But it's not, maybe you can. Let's just start things 0:01:57.956 --> 0:02:01.556 off with like an invocation from from you. We want 0:02:01.556 --> 0:02:03.356 to do you want to play something? Just to start 0:02:03.396 --> 0:02:03.716 us off? 0:02:40.476 --> 0:07:54.156 Cashhock an up copy copy. 0:09:05.316 --> 0:09:07.716 As usual. I played it better at sound check, but 0:09:08.716 --> 0:09:10.116 it is no risk. Is brats here? 0:09:11.436 --> 0:09:14.156 Nice to see you, buddy, Kah. 0:09:16.236 --> 0:09:18.596 That was that was beautiful, Thank you, thank you. 0:09:18.716 --> 0:09:20.636 I got there a couple of spots, and once I 0:09:20.756 --> 0:09:23.116 slowed down, started breathing a little better, it got. 0:09:26.196 --> 0:09:31.876 What what is what's the history of your relationship with 0:09:32.076 --> 0:09:32.956 with the pedal steel? 0:09:33.876 --> 0:09:37.796 Uh? Well, for me, uh, I started on a penny 0:09:37.836 --> 0:09:42.876 whistle when I was nine, and I really enjoyed that. 0:09:42.996 --> 0:09:45.436 I was just a one dollar penny whistle. And what's 0:09:45.516 --> 0:09:47.996 nice about the penny whistle You can only play one 0:09:48.076 --> 0:09:52.516 note at a time. So I started developing my sense 0:09:52.556 --> 0:09:56.516 of melody quite early on. And then I found a 0:09:56.556 --> 0:10:01.076 way of keeping track of my melodies my inventing a 0:10:01.116 --> 0:10:03.596 little notation system. You know, the high notes up here, 0:10:03.636 --> 0:10:06.596 the notes over down here because I didn't know how 0:10:06.636 --> 0:10:11.596 to read music or anything. And and then, as the 0:10:11.676 --> 0:10:14.996 story goes, this wasn't in a time of door to 0:10:15.076 --> 0:10:18.196 door canvassing. So the man knocked at my mother's door 0:10:18.276 --> 0:10:20.036 and he said, you got any kids that like music? 0:10:21.356 --> 0:10:23.596 She didn't call me one mon, Yeah, she said at 0:10:23.676 --> 0:10:23.996 this guy. 0:10:24.116 --> 0:10:24.836 He likes music. 0:10:24.916 --> 0:10:27.556 He plays a penny whistle. And so that was the 0:10:27.636 --> 0:10:32.116 beginning of my music career. He said, well, we teach 0:10:32.156 --> 0:10:35.596 accordion and slide. Which one would you like? So I said, okay, 0:10:35.716 --> 0:10:37.556 let's go for the slide. So it's been with me 0:10:37.676 --> 0:10:42.196 since I was about ten or eleven, not this exactly, 0:10:42.596 --> 0:10:46.316 not this exact guitar, but the slide guitar. 0:10:46.956 --> 0:10:53.996 As a yes, what when you first started playing? What 0:10:54.156 --> 0:10:56.916 were the sorts of things you were? What sounds were 0:10:56.956 --> 0:10:57.796 you drawn to from it? 0:10:59.876 --> 0:11:02.796 We carried on with melody because I studied with a 0:11:02.916 --> 0:11:06.796 teacher who did the strumming of the chords, and I 0:11:07.636 --> 0:11:11.316 then played the maladies and I played things like a 0:11:11.396 --> 0:11:14.716 Red River Valley, you know, please come back to the 0:11:15.036 --> 0:11:20.196 Red River Valley again. Just stayed with melody, and then 0:11:21.116 --> 0:11:23.436 I fell in love with melody and it never left me. 0:11:23.756 --> 0:11:24.116 And so. 0:11:26.556 --> 0:11:29.956 I used to play guitar in a band in Toronto, 0:11:32.116 --> 0:11:36.356 a club called the Brown Derby, and around the corner 0:11:36.596 --> 0:11:39.556 was the cock Door and they had blues musicians in there, 0:11:40.036 --> 0:11:43.556 and then the Edison had country musicians. So I used 0:11:43.556 --> 0:11:46.756 to between my sets, I go to hear what those 0:11:46.796 --> 0:11:49.436 guys were up to. And I met a fellow by 0:11:49.476 --> 0:11:52.516 the name of Bob Lucier, also a frenchie like me, 0:11:53.276 --> 0:11:56.356 and he became my teacher. And that's it. He got 0:11:56.436 --> 0:11:57.356 me that guitar. 0:12:00.116 --> 0:12:07.396 You're known. I think one of the things that people 0:12:07.476 --> 0:12:09.436 talk about a lot when they talk about Daniel Law 0:12:09.676 --> 0:12:12.116 is the texture and the sounds and the tones you 0:12:12.236 --> 0:12:18.036 achieve in the studio. Often left out is your wonderful 0:12:18.076 --> 0:12:21.196 sense of melody and what you bring to that in 0:12:21.236 --> 0:12:23.116 your own work. And I'm sure you know your work 0:12:23.156 --> 0:12:25.956 when you work with other artists as well. But I 0:12:26.076 --> 0:12:29.076 noticed when we were in sound check and we were 0:12:29.116 --> 0:12:34.196 listening to something, immediately you got to tap in your foot. 0:12:34.716 --> 0:12:37.596 Oh yeah, yeah. I taped the heel because I can't 0:12:37.636 --> 0:12:40.476 talk with a toe on that. I'll show you in 0:12:40.516 --> 0:12:40.876 a minute. 0:12:41.516 --> 0:12:44.276 I think Miles Davis tap of this heel too. It 0:12:44.676 --> 0:12:49.196 was supposed to be cooler, but I taped myself. I'm 0:12:49.236 --> 0:12:54.316 not that cool, but I was really pleased to see 0:12:54.356 --> 0:12:58.276 that because one of the very underappreciated elements I feel 0:12:58.316 --> 0:13:03.876 like of your work is your sense of rhythm. Everyone 0:13:03.996 --> 0:13:06.356 has a unique rhythm, I think, probably whether they play 0:13:06.436 --> 0:13:09.636 music or not. Some of the great artists, if you wonder, 0:13:11.916 --> 0:13:14.556 just because I just said wonder, now, Michael Jackson stopped 0:13:14.556 --> 0:13:17.276 in my head. Those two people, very different people have 0:13:17.396 --> 0:13:21.036 their own very unique sense of rhythm, Okay, that it 0:13:21.076 --> 0:13:23.716 gets expressed to their work, and all of your stuff 0:13:23.956 --> 0:13:27.116 really does. Also. It seems to really have this really 0:13:27.316 --> 0:13:32.956 unique but deeply soulful rhythm under what is your. 0:13:34.556 --> 0:13:37.156 Well, that's a nice compliment, thank you, and all that. 0:13:37.756 --> 0:13:40.516 We all hope to have that as part of our 0:13:40.596 --> 0:13:45.876 paint box as musicians, you know, but it's always been 0:13:45.956 --> 0:13:49.556 that for me, you know, like that the piece I 0:13:49.716 --> 0:13:52.396 just played, you know, it's a six' eight and it 0:13:52.556 --> 0:13:56.036 reminds me of the Will dance Hall field THAT i 0:13:56.156 --> 0:13:58.236 remember as a, kid you, know cheek the, cheek the 0:13:58.396 --> 0:14:04.876 nigga digga sleepwalk and all that. Stuff AND i never 0:14:05.036 --> 0:14:08.076 forgot those the nights those you, know MAYBE i have 0:14:08.156 --> 0:14:10.876 a sweaty sweaty and you're holding her girl's, hand then 0:14:10.916 --> 0:14:13.076 you might ask her to dance and all. That it's 0:14:13.236 --> 0:14:17.516 very very kind of innocent times of attraction and, uh 0:14:17.836 --> 0:14:19.756 and it had a pulse to, it you, KNOW i 0:14:19.876 --> 0:14:22.716 have a romance pulse to. It and a lot of 0:14:22.796 --> 0:14:25.796 the doop of that era had a similar. 0:14:25.436 --> 0:14:29.796 Boom boo boom, boo bah boo, boom. 0:14:29.716 --> 0:14:31.956 You know that kind Of it's got a little love 0:14:32.036 --> 0:14:32.916 making in it all the. 0:14:32.996 --> 0:14:37.236 Time so that's the secret sorhythm. 0:14:36.876 --> 0:14:44.876 Is, yes, Exactly, donna would you? Agree, Yes donna came 0:14:44.916 --> 0:14:47.316 all the way down From toronto with her. Entourage. There 0:14:47.396 --> 0:14:51.316 who's that good looking guy With oh It's, trevor her. Husband. 0:14:53.276 --> 0:14:58.076 Uh But donna AND i are doing some work together right, 0:14:58.116 --> 0:14:59.636 now SO i get to roaster a little. 0:14:59.636 --> 0:15:08.156 Bit it's, Acceptable it's acceptable with the story the as 0:15:09.396 --> 0:15:15.316 as is when you worked with you, too that was With, 0:15:16.036 --> 0:15:20.716 brian you. Know is it true, that As i've Heard 0:15:20.756 --> 0:15:25.516 bono tell, it you And Larry Mullen. Jr were the 0:15:25.596 --> 0:15:28.356 first to sort of form a special kind of relationship 0:15:28.556 --> 0:15:32.036 WHICH i feel like maybe also as illustrative of your 0:15:32.156 --> 0:15:35.036 of your your your your sense of rhythm and maybe 0:15:35.156 --> 0:15:36.396 the fact that you're you're drawn to. 0:15:36.516 --> 0:15:42.916 It but, WELL i did recognize a special talent That 0:15:43.036 --> 0:15:44.916 larry had drummer for you. 0:15:45.036 --> 0:15:45.836 Too, larry. 0:15:47.676 --> 0:15:50.956 He had developed this wild action on the high. Hat 0:15:51.236 --> 0:15:55.316 he was a great high hat, player AND i, thought, 0:15:55.356 --> 0:16:00.836 well maybe he could apply that high hat technique onto another. 0:16:00.956 --> 0:16:05.276 Drum SO i brought a timballium for him and worked 0:16:05.276 --> 0:16:07.876 out some new patterns within the. Skills and he was 0:16:07.956 --> 0:16:11.356 already excellent at and he already appreciated that we were 0:16:11.396 --> 0:16:13.756 able to expand on what he was already good at 0:16:13.876 --> 0:16:15.196 into another dimension of. 0:16:15.716 --> 0:16:24.596 Expression so you had did did? Did Did timbalis that 0:16:24.636 --> 0:16:26.036 actually make it to the record or was that. 0:16:26.156 --> 0:16:28.516 Just, yeah, yeah there's A i think there's a song 0:16:28.596 --> 0:16:34.876 Called Unforgettable fire that has has that bad by Don't, 0:16:35.036 --> 0:16:38.876 Boone Don't, Boom don't don't bona the get the, boone don't. 0:16:39.036 --> 0:16:41.196 Bone SO i just had him to play the high hand, 0:16:41.236 --> 0:16:45.716 part but move from the high hat to the to THEM, timbali, 0:16:45.796 --> 0:16:47.156 YEAH i got on the. Album what. 0:16:49.476 --> 0:16:53.356 Had you did you often use timbalas in your work before? 0:16:53.396 --> 0:16:54.996 That or was it was that really just something you 0:16:55.156 --> 0:16:57.276 had heard in his playing THAT i. 0:16:57.356 --> 0:16:59.196 Just heard in his? PLAYING i mean it's what we 0:16:59.356 --> 0:17:02.516 do in, studios you, know we look for people's uh 0:17:02.596 --> 0:17:06.396 special gifts and moments of. Expression you, know maybe we 0:17:06.516 --> 0:17:09.156 hit on something that belongs to someone rather than and 0:17:10.916 --> 0:17:13.156 discarded OR i think it's not part of the. Recipe 0:17:13.276 --> 0:17:18.556 we welcome a fresh. Ingredient it's always the. Case we're 0:17:18.596 --> 0:17:26.116 only ever mining from, magic and magic will come in surprising, 0:17:26.196 --> 0:17:29.396 ways you, know in the. Studio and we're lucky because 0:17:30.316 --> 0:17:32.956 architects don't get to have this kind of. Flexibility you, 0:17:33.036 --> 0:17:35.836 know a bridge gets designed or a beautiful building like, 0:17:35.916 --> 0:17:37.996 this and you've got to stick with the. Plan but 0:17:38.156 --> 0:17:42.676 we in the, studio we could, say, well there's something 0:17:42.836 --> 0:17:45.676 very special, here so let's abandon the plan that we 0:17:45.876 --> 0:17:48.436 had and put our effort into. THIS i just went 0:17:48.516 --> 0:17:50.716 through this With. Donna you. Know she had a demo 0:17:50.796 --> 0:17:53.836 of something from home THAT i thought had a little 0:17:53.876 --> 0:17:55.716 something to it that we didn't quite capture in the, 0:17:55.796 --> 0:17:57.756 studio AND i, said he we'll bring that in and 0:17:57.916 --> 0:17:59.596 let me have a go at what you started at. 0:17:59.636 --> 0:18:04.796 Home And i'm pretty. Good it's all fixed electro, timing 0:18:05.036 --> 0:18:07.476 And i'm good at, that SO i can just take 0:18:07.556 --> 0:18:11.436 What donna's started and surprise hear with the whole orchestra 0:18:11.676 --> 0:18:16.956 stuff that she can't imagine just. Yet all, right that'll 0:18:16.956 --> 0:18:18.196 be enough, now DON i don't want. 0:18:18.116 --> 0:18:18.196 To. 0:18:21.636 --> 0:18:21.836 But you. 0:18:21.956 --> 0:18:25.596 Do you, said there's magic comes in all sorts of 0:18:25.636 --> 0:18:29.556 surprising ways in the studio and often unplanned on ways 0:18:29.716 --> 0:18:33.276 you're unprepared. For but you do prepare still on at 0:18:33.316 --> 0:18:35.636 the beginning of projects for. Something. 0:18:36.196 --> 0:18:39.756 Oh, absolutely preparation for sound is a very big thing for. 0:18:39.916 --> 0:18:44.516 ME i Referenced Neil. Young WHEN i worked With, NEIL 0:18:44.556 --> 0:18:48.476 i spent a good few weeks preparing, sounds guitar sounds 0:18:48.556 --> 0:18:51.556 Before neil got. There AND i have a nice collection 0:18:51.676 --> 0:18:53.996 of old, amps And neil loves as, well and SO 0:18:54.116 --> 0:18:57.636 i pulled out all my best stuff and built some 0:18:57.836 --> 0:19:02.916 sounds and introduced a what they call a sub harmonic. 0:19:02.996 --> 0:19:06.516 Synthesizer it's just a device made BY, dbx and it 0:19:07.556 --> 0:19:10.516 allows an octave below would come through from the guitar 0:19:10.676 --> 0:19:13.356 from se on. Down and so he really got hooked 0:19:13.396 --> 0:19:16.516 on and he, said, whoa this is. Fantastic and then 0:19:16.596 --> 0:19:20.476 whatever notes the guitar wouldn't quite tracked that, WAY i. 0:19:20.796 --> 0:19:23.756 Reinforce After neil would go, Home i'd get in there 0:19:23.796 --> 0:19:27.516 and put in My taurus pedals and just whatever notes 0:19:27.556 --> 0:19:30.556 were not quite, SPEAKING i would just do an overdub 0:19:31.076 --> 0:19:34.796 of Mog taurus. Pedals and BUT i didn't Tell. Neil 0:19:36.316 --> 0:19:36.716 it was All. 0:19:36.836 --> 0:19:40.396 NEIL i hope he knows about. Now that's not WHAT 0:19:40.516 --> 0:19:41.796 i don't want him to find out. 0:19:41.836 --> 0:19:44.236 Here now he, knows he, knows he KNOWS i can 0:19:44.316 --> 0:19:45.156 mess with him a little. 0:19:45.196 --> 0:19:47.356 Bit did you did you? That? Love that is The 0:19:48.316 --> 0:19:53.396 neil is held an adventurous, artist and that is a 0:19:53.556 --> 0:19:57.156 really adventurous. Record did you Know neil before? 0:19:57.236 --> 0:20:04.756 That, Yes i've Known neil since uh? That, uh, Yeah 0:20:04.956 --> 0:20:06.556 i've known him since the late. 0:20:06.596 --> 0:20:12.316 Eighties, Okay and had you discussed working together Before? 0:20:12.396 --> 0:20:12.756 Lenois? 0:20:12.876 --> 0:20:12.916 No. 0:20:13.236 --> 0:20:17.516 NO i saw him In england WHEN i was music 0:20:17.596 --> 0:20:20.756 director for the release Of Nelson mandela and there was 0:20:20.796 --> 0:20:24.316 a big festival and big show was put on AND 0:20:24.436 --> 0:20:26.436 i was a music director for a portion of, it 0:20:26.556 --> 0:20:29.196 And neil turned up for that and we had a 0:20:29.276 --> 0:20:32.756 nice long conversation AND i asked him if he Missed, 0:20:32.796 --> 0:20:37.396 canada and he, said of course he. Does you, know 0:20:37.996 --> 0:20:42.036 but life sometimes just takes its own chorus and you 0:20:42.196 --> 0:20:49.236 follow that that. Path but he he understood that we 0:20:49.516 --> 0:20:51.876 were we were both operating by devoted. 0:20:51.916 --> 0:20:55.636 Hearts it's a big. 0:20:55.716 --> 0:20:57.236 Part devoted. Heart it's a big. 0:20:57.276 --> 0:21:00.916 Thing and That neil record was supposed to be acoustic 0:21:01.916 --> 0:21:02.596 to start, Right but. 0:21:02.996 --> 0:21:05.676 Yes he, said he called me and asked me IF 0:21:05.716 --> 0:21:08.756 i would record ten acoustic songs and film him as. 0:21:08.796 --> 0:21:11.876 WELL i was making films in those days with my 0:21:11.996 --> 0:21:16.556 Friend Adam, vallack and we had made some very nice, 0:21:16.636 --> 0:21:19.036 films AND i think that caught his eye and he, thought, 0:21:19.076 --> 0:21:20.996 well that could be a one stop, shop you, know 0:21:21.116 --> 0:21:24.396 to come out with a film as well as a music. 0:21:24.476 --> 0:21:27.236 Performance AND i tried to talk to filmmakers about this 0:21:27.396 --> 0:21:32.756 agen she's sitting right. There we. Were we recorded in 0:21:32.876 --> 0:21:37.036 the front room of my beautiful villa In Los, angeles 0:21:37.556 --> 0:21:40.156 fabulous old place as IF i built, it it's nineteen twenty. 0:21:40.196 --> 0:21:45.356 Five and if we thought we had a, TAKE i 0:21:45.396 --> 0:21:48.156 would immediately knock out a mix and give it To 0:21:48.236 --> 0:21:51.556 adam and he would run upstairs and. Synchronize this a 0:21:51.676 --> 0:21:54.236 one camera, shoot so it was not you didn't have 0:21:54.276 --> 0:21:56.116 to go from camera to. Cameras just a one camera, 0:21:56.196 --> 0:22:00.396 shoot as the performance has seen through the eyes of 0:22:00.516 --> 0:22:04.156 one individual and not an editing. Room that was the. 0:22:04.196 --> 0:22:08.876 Philosophy SO i would run, upstairs give him a mix 0:22:08.956 --> 0:22:11.996 and he'd find the locking. Point in a matter of twenty, 0:22:12.076 --> 0:22:14.716 minutes we had a playback of a film and a 0:22:14.876 --> 0:22:18.836 nice music, mix and it was we were like a 0:22:19.356 --> 0:22:23.876 great machine and we have fast. Results and we would, say, 0:22:23.916 --> 0:22:26.956 okay well let's try another. Take we'd go, down do another, 0:22:27.076 --> 0:22:29.516 take do a, mix take it upstairs And, adam let's, 0:22:29.516 --> 0:22:31.756 say we had a finished film right on the spot 0:22:31.796 --> 0:22:32.476 and it was really. 0:22:32.516 --> 0:22:34.956 Great that's incredible to. 0:22:35.036 --> 0:22:38.356 WORK i tried to Convince jenner. 0:22:38.436 --> 0:22:40.276 That she, said, well that's a bit too cowboy for. 0:22:40.436 --> 0:22:42.196 Us you want to see cowboy you're looking at. 0:22:42.276 --> 0:22:46.636 IT i mean that's fast by record making, standards let 0:22:46.676 --> 0:22:47.836 alone film Standing. 0:22:47.916 --> 0:22:51.396 Yeah, well the there's been some fast. Ones AND i 0:22:51.476 --> 0:22:53.636 worked fast With Willie. Nelson we made a record With, 0:22:53.756 --> 0:22:58.676 willie a nice record Called. Teatro made it in four. Days, yeah, man. 0:22:59.156 --> 0:23:02.156 Fast it's a big sounding. 0:23:02.196 --> 0:23:04.676 Record it's a great sounding, record but a lot of 0:23:04.716 --> 0:23:06.916 preparation went into it for it to be. 0:23:07.436 --> 0:23:15.716 Fast we'll be back with more after the. Break what 0:23:16.076 --> 0:23:19.636 kind of preparation do you do for a record like? 0:23:19.676 --> 0:23:21.036 That and then we can maybe listen to somes of 0:23:21.076 --> 0:23:21.836 people can hear. 0:23:22.076 --> 0:23:25.956 Okay well for the for The William nelson. RECORD i 0:23:26.076 --> 0:23:30.036 met him In Las vegas and we drove in To 0:23:30.196 --> 0:23:37.916 california With Emmy Loof and as we were crossing To, 0:23:38.036 --> 0:23:40.636 CALIFORNIA i called my crew AND i, said, okay you 0:23:40.756 --> 0:23:43.516 got to make the place look like a. Club BECAUSE 0:23:43.556 --> 0:23:45.076 i Asked willie what was it like when you were 0:23:45.116 --> 0:23:47.076 a kid, man when you were getting. Started he, said, 0:23:47.116 --> 0:23:49.716 well we were just a dance. Band we played these 0:23:49.756 --> 0:23:53.356 really nice clubs Around, austin and we had a, responsibility you, 0:23:54.476 --> 0:23:57.036 know cheek to Cheek dan saying two step you, know 0:23:57.196 --> 0:23:59.116 so we that's what we. Were we were a dance 0:23:59.196 --> 0:24:02.516 band and the clubs were. BEAUTIFUL i, thought, well why 0:24:02.516 --> 0:24:06.796 don't we recreate this this environment For. Willy so my 0:24:06.996 --> 0:24:10.316 crew there was A mexican runt across the street that 0:24:10.476 --> 0:24:12.876 just had refurbished and they had the old benches and, 0:24:12.956 --> 0:24:15.476 boots so they gave them to. Us so we set 0:24:15.556 --> 0:24:17.716 up the benches and booths all over the place and 0:24:17.836 --> 0:24:20.556 dimmed the. LIGHTS i had little risers and you wouldn't 0:24:20.556 --> 0:24:22.036 even think it was because it was in an old 0:24:22.076 --> 0:24:25.596 theater my studio at the. Time And willie walked and he, said, wow, 0:24:25.796 --> 0:24:28.116 man what is? THIS i, said, well this is your new. 0:24:28.196 --> 0:24:32.876 Club and we made that record with no. Headphones the 0:24:32.956 --> 0:24:37.116 drummers wore, headphones but nobody else, did and we just 0:24:37.556 --> 0:24:40.756 knocked them. Out AND i had a good relationship with 0:24:40.836 --> 0:24:43.796 the police department in those, days AND i said to, them, 0:24:43.836 --> 0:24:46.356 listen will he's in the parking, lot please don't bother. 0:24:46.476 --> 0:24:48.956 Him you see any smoke? Signals turned the blind? 0:24:49.036 --> 0:24:52.356 Eye AND i guess in case we forgot to, mention 0:24:52.476 --> 0:24:53.436 do was In? Ventura? 0:24:54.316 --> 0:24:57.916 Yeah, yeah which is, right ox start, actually which is. 0:24:58.076 --> 0:25:03.316 Uh it's an agricultural area for THE us in a 0:25:03.476 --> 0:25:07.516 very incredible, place and it was an abandoned theater THAT 0:25:07.596 --> 0:25:10.716 i rented for four years with a friend and we 0:25:10.836 --> 0:25:14.436 made a lot of. Music i'm Recorded Billy bob Thornton 0:25:14.596 --> 0:25:17.036 Sling blade soundtrack in that theater as. 0:25:17.076 --> 0:25:22.716 Well it's good you recorded that with him, there and 0:25:22.796 --> 0:25:24.636 he spent a lot of time there with you while 0:25:24.676 --> 0:25:25.236 you were doing. 0:25:25.116 --> 0:25:29.156 It right With? Billy oh, yeah, yeah this is before cell. 0:25:29.196 --> 0:25:33.116 PHONES i believe it's hard to imagine before cell, Phones 0:25:33.916 --> 0:25:37.196 Like i'm one hundred years. Old he used to call 0:25:37.316 --> 0:25:41.236 me from a phone booth and you, say how's it looking? 0:25:41.276 --> 0:25:42.916 DOWN i, said, Well i've got a couple of things to, 0:25:42.956 --> 0:25:45.196 play and he'd come down and we'd listen to things 0:25:45.276 --> 0:25:47.196 together and he, say, oh that's, great let's try and 0:25:47.276 --> 0:25:49.956 put it over, here and we Use, Okay, jen you're 0:25:49.996 --> 0:25:54.236 gonna laugh at, this because our synchronization system was, okay 0:25:54.276 --> 0:25:58.956 you're watching scene and then, right you, know somebody touches the. 0:25:59.076 --> 0:26:03.676 Doorknob that's when you start. Playing and we do a, 0:26:03.756 --> 0:26:05.996 take and they saw that's, great let's hear it. Back 0:26:06.076 --> 0:26:08.716 so we'd queue up And i'd put a chalk mark 0:26:08.836 --> 0:26:11.116 on it was analog, table that WAS i just put 0:26:11.156 --> 0:26:13.556 a chalk mark on the playback, head you, KNOW i, 0:26:13.636 --> 0:26:18.396 said here comes the door, knob and then we would 0:26:18.436 --> 0:26:21.436 make him a vachy THE vhs pardon me of, that 0:26:22.196 --> 0:26:24.476 and then his editor would just copy what we had 0:26:24.556 --> 0:26:25.716 done to synchronize. 0:26:25.796 --> 0:26:25.836 It. 0:26:29.596 --> 0:26:31.396 Uh but we should play some of That willie record 0:26:31.436 --> 0:26:33.356 because just so people get a sense that, this you, 0:26:33.436 --> 0:26:36.396 know in four days to make this kind of a 0:26:36.476 --> 0:26:42.036 sounding record in a in a makeshift club in sleepy you, Know, Oxford. 0:26:42.116 --> 0:26:46.196 California i'll play this is the maker from from that. 0:26:46.276 --> 0:27:28.356 Album THEN i look at the. 0:27:28.436 --> 0:27:30.196 Drummers you guys, ready. 0:27:43.636 --> 0:28:08.876 Ooh ooh De Wa fly Cool, bly the nice stand Little. 0:28:11.756 --> 0:28:16.796 Iron i'm. 0:28:16.876 --> 0:28:23.876 Strange i'm. Sorry that's a trying to trying to improvise 0:28:23.956 --> 0:28:26.596 along with the music And i'm Really i'm trying to 0:28:26.596 --> 0:28:27.516 contribute and actually. 0:28:27.596 --> 0:28:28.876 NOT i quite liked. 0:28:28.876 --> 0:28:31.276 It it was like A dj, set, yeah. 0:28:30.876 --> 0:28:32.956 Because the WORST dj set you've ever, Heard. 0:28:34.276 --> 0:28:36.596 Laragie is that you right. 0:28:38.076 --> 0:28:39.836 STILL i haven't seen it in such a long. 0:28:39.956 --> 0:28:42.556 Time we were on the same label for a, while 0:28:42.636 --> 0:28:44.636 me And. Laragi nice to see your. 0:28:44.676 --> 0:28:47.916 Brother oh, MAN i, really you, know stepped right On 0:28:47.996 --> 0:28:53.196 willie's beautiful all this, okay you know Something willie sings 0:28:53.236 --> 0:28:54.716 like A i, mean and then that's your. Song and 0:28:54.796 --> 0:28:56.476 what was it like to Hear willie sing a song 0:28:56.556 --> 0:28:57.756 that you. 0:28:57.956 --> 0:29:02.556 Wrote that's quite an honor when somebody sings one of my. 0:29:02.716 --> 0:29:08.556 Songs it's happened a few. Times willie sang another. ONE 0:29:08.676 --> 0:29:13.476 i wrote one Called Cruel world for The red for 0:29:13.916 --> 0:29:20.036 a video. Game we were meant to write it, together 0:29:20.556 --> 0:29:23.796 But willie was In hawaii and there was some kind 0:29:23.796 --> 0:29:25.676 of a. Storm he couldn't make it back To Los, 0:29:25.716 --> 0:29:30.276 angeles and he, said, well you write, it, man and you, 0:29:30.356 --> 0:29:32.036 know come and see me when you got it, done 0:29:32.756 --> 0:29:36.556 and SO i finished, it AND i, thought how are 0:29:36.596 --> 0:29:37.516 we going to get willing to do? 0:29:37.676 --> 0:29:37.716 It? 0:29:38.276 --> 0:29:44.876 Jesus SO i call his, Son, micah Because, rothbaum his, manager, said, 0:29:44.996 --> 0:29:47.556 listen IF i mentioned, anything he won't do. 0:29:47.676 --> 0:29:48.436 It so you do. 0:29:48.556 --> 0:29:49.636 It you call? 0:29:49.756 --> 0:29:49.916 Him. 0:29:50.636 --> 0:29:53.796 CAN i talked To, micah his. SON i, said, well, 0:29:53.836 --> 0:29:56.676 listen if we show, up can we set up in 0:29:56.716 --> 0:29:58.916 the garage or it's got a little side room that 0:29:58.996 --> 0:30:01.036 can we set it up and Then i'll have all 0:30:01.116 --> 0:30:03.236 the sounds ready and then we'll get the lyrics on 0:30:03.316 --> 0:30:05.356 the wall and see if you can sing. It he 0:30:05.556 --> 0:30:07.316 rolled out of bed and came down and looked at. 0:30:07.356 --> 0:30:11.956 It he, said who wrote the? SONG i, Said? 0:30:11.996 --> 0:30:12.396 WILLIE i. 0:30:12.516 --> 0:30:16.356 Did we're supposed to write it. Together, anyhow we did 0:30:16.396 --> 0:30:18.316 a little take right on the, spot and that's the 0:30:18.396 --> 0:30:20.836 one that made us way into the video. 0:30:20.956 --> 0:30:22.516 Game, well let me play a little of that as 0:30:22.556 --> 0:30:26.716 SINCE i stepped On willie. Earlier it's also a really great. 0:30:26.756 --> 0:30:42.396 Song cool, cool almost cool cool. World i'm moving. 0:30:42.556 --> 0:30:49.716 All i've been living too fast And i'll be living too. 0:30:50.156 --> 0:30:52.876 Wrong cruel cool. 0:30:53.036 --> 0:30:54.996 World i'm gone. 0:30:57.036 --> 0:31:04.196 Miss big old. World sure got me running, around arvous 0:31:04.636 --> 0:31:05.876 said just st. 0:31:08.516 --> 0:31:11.796 And with them light as my, guide and with his 0:31:11.956 --> 0:31:18.356 feeling deep, INSIDE i know now THAT i am homeward bow. 0:31:20.716 --> 0:31:23.876 Cool, cool mcle. 0:31:26.476 --> 0:31:26.876 Cool. 0:31:27.516 --> 0:31:34.436 Cool i'm moving. On i've been living too fast And 0:31:34.596 --> 0:31:41.476 i've been living too. Wrong cool, Cool i'm gone. 0:31:44.196 --> 0:31:58.236 Let it. So look it's that. Crazy That's. 0:31:58.316 --> 0:32:09.236 WILLIE i mean, again like there's no drums on, that 0:32:09.356 --> 0:32:13.396 but it's also imbued with like just a wonderful sense of. 0:32:13.476 --> 0:32:17.436 Rhythm it's just me And micah And willie sitting in his. 0:32:17.556 --> 0:32:20.236 Garage he sounds like a. 0:32:20.356 --> 0:32:24.316