1
00:00:15,436 --> 00:00:22,716
Speaker 1: Pushkin. Today we have part four of our John Freshante

2
00:00:22,836 --> 00:00:26,876
Speaker 1: Returns series. This is the latest installment of Rick Rubin's

3
00:00:26,956 --> 00:00:29,596
Speaker 1: ongoing series of in depth interviews with the Red Hot

4
00:00:29,636 --> 00:00:32,476
Speaker 1: Chili Peppers guitarist, and if this is the first interview

5
00:00:32,476 --> 00:00:34,236
Speaker 1: you're hearing, make sure to go back and check out

6
00:00:34,276 --> 00:00:37,316
Speaker 1: the first three parts and also John's appearance from earlier

7
00:00:37,316 --> 00:00:40,756
Speaker 1: in the year promoting Unlimited Love. Today we'll hear John

8
00:00:40,756 --> 00:00:43,596
Speaker 1: Fuschante played through some more of his guitar parts. Then

9
00:00:43,596 --> 00:00:45,436
Speaker 1: he'll explain how we came up with some of the

10
00:00:45,476 --> 00:00:49,236
Speaker 1: best guitar melodies and modern rock history. John also talks

11
00:00:49,236 --> 00:00:51,836
Speaker 1: about how playing along to classic heavy metal albums from

12
00:00:51,836 --> 00:00:54,676
Speaker 1: Black Sabbath and Van Halen, along with dancing all night

13
00:00:54,756 --> 00:00:57,516
Speaker 1: at Drum and Bass Clubs, helped shape his style on

14
00:00:57,516 --> 00:01:00,556
Speaker 1: the two thousand and two albums. By the Way, he

15
00:01:00,556 --> 00:01:04,396
Speaker 1: also explains how listening to Brandy Destiny's Child the Wound

16
00:01:04,436 --> 00:01:10,956
Speaker 1: tang Clan helped influence his playing on Stadium Arcadium. This

17
00:01:11,196 --> 00:01:13,996
Speaker 1: is broken record line of notes for the digital age.

18
00:01:14,196 --> 00:01:17,476
Speaker 1: I'm justin Mitchman. Here's part four of Rick Rubin with

19
00:01:17,556 --> 00:01:22,196
Speaker 1: John Fraschante from Shangola So over the course of touring

20
00:01:22,236 --> 00:01:25,556
Speaker 1: for Californication, did you feel like you came back guitar

21
00:01:25,636 --> 00:01:27,836
Speaker 1: wise to where you could play like you could before

22
00:01:27,916 --> 00:01:32,756
Speaker 1: in terms of your strength and skill. I did, But

23
00:01:33,596 --> 00:01:36,356
Speaker 1: when it came time to record, by the way, I

24
00:01:36,476 --> 00:01:38,276
Speaker 1: didn't want to go back to that kind of Jimmy

25
00:01:38,356 --> 00:01:42,276
Speaker 1: Hendricksy way of playing File Change. Yeah, like I wanted

26
00:01:42,316 --> 00:01:44,716
Speaker 1: to go even further with what I felt were the

27
00:01:44,756 --> 00:01:49,396
Speaker 1: real developments on Californication. I was really into sixties music

28
00:01:49,436 --> 00:01:52,516
Speaker 1: at the time. I was really into surf guitar style,

29
00:01:53,396 --> 00:01:56,196
Speaker 1: like I'd learned about certain things because I played a

30
00:01:56,196 --> 00:02:01,036
Speaker 1: bit that way on Californication, mainly being inspired by by

31
00:02:01,036 --> 00:02:03,916
Speaker 1: the guy from Bow Bah Wow and stuff. But I

32
00:02:03,956 --> 00:02:06,556
Speaker 1: guess Johnny had shown me the Ventures and stuff, and

33
00:02:06,596 --> 00:02:13,076
Speaker 1: then Jerry from Fugazi showed me the Shadows, which I

34
00:02:13,076 --> 00:02:16,636
Speaker 1: didn't know about, and Johnny wasn't super familiar with either,

35
00:02:17,076 --> 00:02:20,316
Speaker 1: and they were really good. It was just like an

36
00:02:20,356 --> 00:02:23,836
Speaker 1: English version of surf guitar music, and they were really

37
00:02:23,876 --> 00:02:26,716
Speaker 1: popular in England from you know all the Beatles stories

38
00:02:26,716 --> 00:02:29,316
Speaker 1: I hear, yeah, well, especially because they were Cliff Richard's

39
00:02:29,356 --> 00:02:31,516
Speaker 1: backing band and he was the biggest rock I didn't

40
00:02:31,516 --> 00:02:34,236
Speaker 1: know that. Yeah, he was the biggest English rock and

41
00:02:34,316 --> 00:02:37,516
Speaker 1: roll thing before the Beatles. So that was just Hank Marvin,

42
00:02:37,596 --> 00:02:40,596
Speaker 1: his guitar player sort of had his side thing was

43
00:02:40,876 --> 00:02:44,036
Speaker 1: Hank Marvin and the Shadows and they were huge, like

44
00:02:44,036 --> 00:02:46,716
Speaker 1: they were an instrumental band and they were like they

45
00:02:46,716 --> 00:02:49,236
Speaker 1: were one of the biggest things in England with the

46
00:02:49,316 --> 00:02:52,236
Speaker 1: kids before the Beatles. So I got really into learning

47
00:02:52,436 --> 00:02:54,876
Speaker 1: while we were touring for Californication. I got really into

48
00:02:54,956 --> 00:02:57,236
Speaker 1: learning how to play all the Shadows stuff and playing

49
00:02:57,236 --> 00:03:00,356
Speaker 1: along with the Ventures all the time, and I was

50
00:03:00,396 --> 00:03:04,436
Speaker 1: seeing the commonality between that surf guitar sense of melody

51
00:03:04,636 --> 00:03:07,476
Speaker 1: and synthpop sense of melody. To me, they have something

52
00:03:07,516 --> 00:03:11,676
Speaker 1: in common. And so for when when we started writing

53
00:03:11,716 --> 00:03:14,716
Speaker 1: for By the Way, I think I just I didn't

54
00:03:14,756 --> 00:03:17,236
Speaker 1: want to have any blues in my playing. Like if

55
00:03:17,236 --> 00:03:19,956
Speaker 1: Fleet Block brought in something that seemed bluesy to me,

56
00:03:20,436 --> 00:03:22,756
Speaker 1: even in a funk way, I didn't like it. Like

57
00:03:23,356 --> 00:03:25,396
Speaker 1: it wasn't so much I was trying to control flee

58
00:03:25,476 --> 00:03:29,116
Speaker 1: or anything. I just really didn't like, yeah, anything that

59
00:03:29,636 --> 00:03:32,636
Speaker 1: had that feeling. It was like just at that time

60
00:03:32,676 --> 00:03:35,316
Speaker 1: where I had landed really great blue song on the

61
00:03:35,356 --> 00:03:40,156
Speaker 1: new album by the way, right, yeah, carrying Me Home,

62
00:03:40,476 --> 00:03:44,316
Speaker 1: Yeah yeah. A working title was New Blues as you Remember,

63
00:03:44,916 --> 00:03:47,716
Speaker 1: but yeah, like you know, right after that on Stadium Arcadium,

64
00:03:47,876 --> 00:03:50,796
Speaker 1: I was really into blues and I had a new

65
00:03:50,836 --> 00:03:53,716
Speaker 1: take on it by that time. Like by that time,

66
00:03:54,316 --> 00:03:56,436
Speaker 1: I was playing along with Jimmy Hendricks a lot and

67
00:03:56,516 --> 00:03:59,716
Speaker 1: learn learning his improvised solos a lot, like in a

68
00:03:59,756 --> 00:04:01,836
Speaker 1: more detailed way than I'd ever learned them in my

69
00:04:01,876 --> 00:04:04,156
Speaker 1: whole life. I was listening to a lot of modern

70
00:04:04,236 --> 00:04:05,676
Speaker 1: R and B at the time, so I was listening

71
00:04:05,716 --> 00:04:10,636
Speaker 1: like Destiny's Child and Brandy, Brandy was my favorite, and

72
00:04:10,916 --> 00:04:15,476
Speaker 1: her sense of rhythm and her sense of melody that blues,

73
00:04:15,636 --> 00:04:18,716
Speaker 1: the blues that's in that I felt like I want

74
00:04:18,716 --> 00:04:22,156
Speaker 1: to take that feeling and combine it with Jimmy Hendrix's

75
00:04:22,756 --> 00:04:27,396
Speaker 1: guitar playing style, like to have Brandy be my basic

76
00:04:27,476 --> 00:04:31,556
Speaker 1: reference rather than like you know, Elmore James or whatever

77
00:04:31,636 --> 00:04:34,756
Speaker 1: the old things. You know. It made it feel fresh

78
00:04:34,796 --> 00:04:36,636
Speaker 1: to me, like and I was doing a lot of

79
00:04:37,436 --> 00:04:40,036
Speaker 1: what we were talking about last time, where you're you're

80
00:04:40,076 --> 00:04:43,636
Speaker 1: not playing straight across the bar, You're not you're not

81
00:04:43,716 --> 00:04:45,636
Speaker 1: on a gridge, you're not on a sixteenth note gridge,

82
00:04:45,636 --> 00:04:47,716
Speaker 1: you're kind of speeding up and slowing down and playing

83
00:04:47,876 --> 00:04:50,676
Speaker 1: because she was singing like that and really good, and

84
00:04:50,756 --> 00:04:54,076
Speaker 1: method Man was Woutang in general was rapping like that,

85
00:04:54,276 --> 00:04:57,836
Speaker 1: especially on their first couple of records, and so like

86
00:04:58,436 --> 00:05:01,196
Speaker 1: I was like obsessing on all that music and feeling

87
00:05:01,196 --> 00:05:03,476
Speaker 1: like I got to put this kind of rhythm in

88
00:05:03,596 --> 00:05:07,676
Speaker 1: my solos, in my playing and stuff. So like there

89
00:05:07,676 --> 00:05:10,516
Speaker 1: were times where I was like, because of the Frank Zappa,

90
00:05:11,316 --> 00:05:15,876
Speaker 1: you know, education, like there's one song we believe on

91
00:05:15,996 --> 00:05:19,196
Speaker 1: that album stage and Marcadium, and like I'm for a

92
00:05:19,196 --> 00:05:21,956
Speaker 1: lot of the reverse guitar part. I'm playing quintuplets, I'm

93
00:05:21,956 --> 00:05:25,116
Speaker 1: playing five against four, but I'm doing it in this

94
00:05:25,156 --> 00:05:27,836
Speaker 1: way that I'm hearing on rap records because when they're

95
00:05:27,876 --> 00:05:30,636
Speaker 1: doing it, they just have five words and they're going

96
00:05:30,676 --> 00:05:35,316
Speaker 1: to land on the one on the next bar, sixth word,

97
00:05:35,556 --> 00:05:39,076
Speaker 1: yeah and so and so like as long as you land,

98
00:05:39,556 --> 00:05:42,276
Speaker 1: as long as you punctuate what you're doing on the one,

99
00:05:42,836 --> 00:05:45,396
Speaker 1: you can fit any any amount of notes in between.

100
00:05:45,436 --> 00:05:46,876
Speaker 1: And that's what I was hearing in a lot of

101
00:05:46,876 --> 00:05:49,516
Speaker 1: this R and B and rap. So that's what sort

102
00:05:49,556 --> 00:05:54,356
Speaker 1: of got my excitement about incorporating blues into the band again,

103
00:05:55,036 --> 00:05:58,716
Speaker 1: that a new version of the blues, Yeah, a way

104
00:05:58,716 --> 00:06:01,836
Speaker 1: that it hadn't been played before. Yeah, So that started

105
00:06:01,876 --> 00:06:03,476
Speaker 1: with By the Way, where like and when By the

106
00:06:03,516 --> 00:06:08,236
Speaker 1: Way started, I had all these ideas for these certain

107
00:06:08,236 --> 00:06:10,156
Speaker 1: types of melodic things. And I was learning more about

108
00:06:10,196 --> 00:06:13,636
Speaker 1: chords than ever because I'm practicing piano for the first

109
00:06:13,636 --> 00:06:16,436
Speaker 1: time in my life out of songbooks. So and that

110
00:06:16,476 --> 00:06:19,076
Speaker 1: was affecting the way that I played guitar because I'm

111
00:06:19,276 --> 00:06:22,236
Speaker 1: seeing chords more clearly than I'd ever seen them before,

112
00:06:22,676 --> 00:06:26,316
Speaker 1: understanding the Beatles music better than I'd ever understood it before.

113
00:06:27,356 --> 00:06:31,356
Speaker 1: And Yeah, continuing to listen to the synthpop, also going

114
00:06:31,436 --> 00:06:34,756
Speaker 1: out to drum and bass clubs to dance every week.

115
00:06:35,156 --> 00:06:38,676
Speaker 1: So the song by the Way was the result of

116
00:06:39,236 --> 00:06:42,396
Speaker 1: having been a club the night before playing drum and

117
00:06:42,396 --> 00:06:48,036
Speaker 1: bass and sometimes jungle. Would going out dancing inspire the

118
00:06:48,076 --> 00:06:51,196
Speaker 1: way you played guitar, Yeah, exactly, Like how would that

119
00:06:51,236 --> 00:06:53,636
Speaker 1: work well the song at the end of that album

120
00:06:53,996 --> 00:06:56,836
Speaker 1: Venice Queen. Yeah, the way I'm just trying to play

121
00:06:56,836 --> 00:06:58,756
Speaker 1: get I mean, it's it's it's not like it's a

122
00:06:58,796 --> 00:07:01,556
Speaker 1: way that nobody ever played the guitar. I don't know

123
00:07:01,596 --> 00:07:03,236
Speaker 1: if I can do it justice right now. I'm not

124
00:07:03,356 --> 00:07:08,196
Speaker 1: super warmed up, but for the idea. But the song

125
00:07:08,276 --> 00:07:10,436
Speaker 1: has a whole intro it's slower, but then it has

126
00:07:10,436 --> 00:07:13,316
Speaker 1: a fast part that comes in and the rhythms I'm

127
00:07:13,356 --> 00:07:15,516
Speaker 1: doing on the guitar, if you listen to it, it

128
00:07:15,556 --> 00:07:19,396
Speaker 1: sounds like a jungle drummer, like improvising, Like it sounds

129
00:07:19,436 --> 00:07:23,196
Speaker 1: like the kind of stuff people were programming than like.

130
00:07:42,596 --> 00:07:44,796
Speaker 1: So it's particularly interesting about that, is the right hand,

131
00:07:44,836 --> 00:07:48,356
Speaker 1: I imagine it's right unusual, Yeah, the right hand I'm trying.

132
00:07:48,356 --> 00:07:51,956
Speaker 1: I'm I'm I'm basically there's more parts to it than

133
00:07:51,996 --> 00:07:54,396
Speaker 1: that where and see if I remember the chords where

134
00:07:54,396 --> 00:08:28,596
Speaker 1: I'm going even mart So like the way I'm playing

135
00:08:28,636 --> 00:08:31,276
Speaker 1: there is definitely I'm trying to play the way I

136
00:08:31,356 --> 00:08:34,556
Speaker 1: hear the drums at the drum and Bass Club. Yeah,

137
00:08:34,996 --> 00:08:39,116
Speaker 1: Chad's kind of just going. He's not really doing a

138
00:08:39,116 --> 00:08:42,316
Speaker 1: lot of ghost snares that I can tell. But but

139
00:08:42,356 --> 00:08:45,516
Speaker 1: I'm trying to play all those all those kind of

140
00:08:45,596 --> 00:08:51,156
Speaker 1: rhythms that because it's the chords are I can say

141
00:08:51,236 --> 00:08:54,276
Speaker 1: it's an ordinary chord progression. It's cool. It's a cool

142
00:08:54,476 --> 00:08:58,396
Speaker 1: ordinary chord progression, but the rhythm makes it sound like

143
00:09:00,036 --> 00:09:03,596
Speaker 1: very new, very different, right, and like it has a

144
00:09:03,716 --> 00:09:07,436
Speaker 1: who like energy. But you never hear beat Townsend playing

145
00:09:07,436 --> 00:09:10,756
Speaker 1: a rhythm like that, right, Yeah, like that's that that

146
00:09:11,076 --> 00:09:13,916
Speaker 1: would be a good comparison. But yeah, not that precise rhythm.

147
00:09:13,916 --> 00:09:16,276
Speaker 1: It wouldn't be that. No, it sounds almost like a

148
00:09:16,316 --> 00:09:20,716
Speaker 1: programmed rhythm, right yeah. So so yeah, so so that

149
00:09:20,836 --> 00:09:23,836
Speaker 1: was a big influence on it. And what's cool about that?

150
00:09:23,876 --> 00:09:26,916
Speaker 1: Like I never knew that, right, but it always sounded

151
00:09:26,996 --> 00:09:29,876
Speaker 1: interesting to me. I never knew why, right, But it's

152
00:09:29,916 --> 00:09:33,316
Speaker 1: like this doesn't sound like the who you know, there's

153
00:09:33,356 --> 00:09:35,956
Speaker 1: something else going on. I never stopped to analyze what

154
00:09:36,036 --> 00:09:40,396
Speaker 1: it was. Yeah, but hearing how it happened, it's fascinating. Yeah,

155
00:09:40,476 --> 00:09:42,596
Speaker 1: because I would go it was on Thursday nights. There

156
00:09:42,676 --> 00:09:45,796
Speaker 1: was this club, Concrete Jungle in Silver Lake, so I

157
00:09:45,836 --> 00:09:48,076
Speaker 1: would go there and dance all night. There was this

158
00:09:48,156 --> 00:09:50,756
Speaker 1: girl who used to go there with me, and yeah,

159
00:09:50,756 --> 00:09:52,956
Speaker 1: I'd just be dancing. So when I get to rehearsal, like,

160
00:09:52,956 --> 00:09:55,236
Speaker 1: I'd want to put that kind of energy into the

161
00:09:56,316 --> 00:09:57,876
Speaker 1: into the band. A lot of the time that was

162
00:09:57,916 --> 00:09:59,876
Speaker 1: just the rhythms that were going through my head. And

163
00:10:01,276 --> 00:10:04,676
Speaker 1: but when we started the record, as you remember, I

164
00:10:04,956 --> 00:10:07,916
Speaker 1: had to there was another side to it, like like

165
00:10:07,956 --> 00:10:10,836
Speaker 1: I wanted to do like I was really into The

166
00:10:10,916 --> 00:10:13,516
Speaker 1: Damned at the time, and I wanted to do like

167
00:10:14,556 --> 00:10:16,836
Speaker 1: I wanted to do punk, like in a way that

168
00:10:17,036 --> 00:10:19,636
Speaker 1: the band hadn't done it, you know, like I wanted

169
00:10:19,676 --> 00:10:23,516
Speaker 1: to do real punk, you know, like inspired by like

170
00:10:23,556 --> 00:10:26,636
Speaker 1: early English punk and stuff, and so I thought we

171
00:10:26,636 --> 00:10:29,756
Speaker 1: would do the My original concept was that we would

172
00:10:29,756 --> 00:10:35,116
Speaker 1: have like these sixties inspired melodic songs I was. I

173
00:10:35,116 --> 00:10:37,476
Speaker 1: was really into Discharge as well, I remember, and I

174
00:10:37,556 --> 00:10:41,516
Speaker 1: just that we would have like sort of straight punk,

175
00:10:41,836 --> 00:10:43,316
Speaker 1: not straight I don't know what you call it, but

176
00:10:43,396 --> 00:10:46,916
Speaker 1: just like real punk is opposed to punk inspired pop,

177
00:10:46,996 --> 00:10:49,676
Speaker 1: like I wanted to do like actual I was writing

178
00:10:49,676 --> 00:10:53,196
Speaker 1: songs that to me sounded like like actual punk. So

179
00:10:53,236 --> 00:10:55,916
Speaker 1: I thought the album would have this like you know,

180
00:10:56,396 --> 00:11:00,596
Speaker 1: start contrast between really pretty things and these punk things.

181
00:11:00,836 --> 00:11:03,276
Speaker 1: And at a certain point you said to me, the

182
00:11:04,396 --> 00:11:08,276
Speaker 1: punk things that you're bringing in, they're good, but it

183
00:11:08,356 --> 00:11:11,316
Speaker 1: sounds like I've it's I feel like I've heard it before.

184
00:11:11,676 --> 00:11:14,676
Speaker 1: These melodic things that you're bringing in. I feel like

185
00:11:14,716 --> 00:11:17,116
Speaker 1: I've never heard anything like it in my life. Yeah,

186
00:11:17,316 --> 00:11:22,836
Speaker 1: you know, so you definitely like guided me away from

187
00:11:22,876 --> 00:11:25,796
Speaker 1: from continuing in the pretty early on as I remember it.

188
00:11:25,836 --> 00:11:28,196
Speaker 1: But we had made we had written a bunch of stuff,

189
00:11:28,236 --> 00:11:31,036
Speaker 1: like there was there was a certain amount of Yeah,

190
00:11:31,036 --> 00:11:32,956
Speaker 1: I really loved the Damned, and maybe it was just

191
00:11:32,996 --> 00:11:34,556
Speaker 1: like I feel like I've heard this before, but I

192
00:11:34,636 --> 00:11:37,276
Speaker 1: had that feeling before, you know, like I didn't really

193
00:11:37,276 --> 00:11:39,076
Speaker 1: get gun some roses because I felt like I really

194
00:11:39,076 --> 00:11:42,756
Speaker 1: experienced this. This doesn't feel new to me. But a

195
00:11:42,836 --> 00:11:45,996
Speaker 1: neat thing to me about that album is that kind

196
00:11:45,996 --> 00:11:48,356
Speaker 1: of what we were talking about about the chords or

197
00:11:48,396 --> 00:11:51,316
Speaker 1: this implied thing that's underneath, but what Flee and I

198
00:11:51,356 --> 00:11:55,356
Speaker 1: are playing over them is something that that's separate from that.

199
00:11:55,356 --> 00:11:57,916
Speaker 1: That's how it was with musical styles for that album.

200
00:11:57,956 --> 00:12:01,196
Speaker 1: Like to me, there is a punk energy there in

201
00:12:01,236 --> 00:12:04,436
Speaker 1: the record despite that we never we're never going in

202
00:12:04,516 --> 00:12:08,716
Speaker 1: that sort of distorted you know, like obviously punk direction.

203
00:12:09,276 --> 00:12:13,956
Speaker 1: And at the same time, another sort of underlying aspect

204
00:12:14,036 --> 00:12:16,356
Speaker 1: was that every time there was a day of rehearsal

205
00:12:16,716 --> 00:12:20,116
Speaker 1: that Flee and Anthony couldn't go for whatever reason, maybe

206
00:12:20,116 --> 00:12:22,516
Speaker 1: there was a game or one of them was busy

207
00:12:22,556 --> 00:12:24,996
Speaker 1: with something, so we were supposed to not rehearse that day.

208
00:12:25,276 --> 00:12:28,836
Speaker 1: Chad was always up for rehearsing anyways. So me and Chad,

209
00:12:29,476 --> 00:12:31,556
Speaker 1: from time to time throughout the writing of that record

210
00:12:31,556 --> 00:12:34,636
Speaker 1: would get together. I'd just say to him, let's play

211
00:12:34,716 --> 00:12:37,396
Speaker 1: the whole first Black Sabbath album, and me and him

212
00:12:37,436 --> 00:12:40,316
Speaker 1: would just go there. And all he needs to do

213
00:12:40,356 --> 00:12:42,636
Speaker 1: to learn how to play a record is listen to

214
00:12:42,676 --> 00:12:44,356
Speaker 1: it while he's driving in his car on the way.

215
00:12:44,716 --> 00:12:48,756
Speaker 1: You know, he can just play it that. It's the

216
00:12:48,796 --> 00:12:50,996
Speaker 1: fact that it's drums. There's only so many drums. He

217
00:12:51,076 --> 00:12:52,596
Speaker 1: all he has to do is listen to it to

218
00:12:52,636 --> 00:12:54,956
Speaker 1: be able to play it. Like for guitar, you have

219
00:12:55,036 --> 00:12:57,756
Speaker 1: to do a little more like work. So we would

220
00:12:57,796 --> 00:13:04,236
Speaker 1: play whole albums of Black Sabbath, Van Halen and Ozzy Osbourne.

221
00:13:04,476 --> 00:13:08,116
Speaker 1: We were doing Diver, Madman and Or at least we

222
00:13:08,116 --> 00:13:09,636
Speaker 1: were doing a bunch of the songs from that and

223
00:13:09,716 --> 00:13:12,396
Speaker 1: Blizzard of Oz, but it was just guitar and drums.

224
00:13:12,476 --> 00:13:16,716
Speaker 1: But we were doing these heavy metal rehearsals of Deep

225
00:13:16,756 --> 00:13:18,676
Speaker 1: Purple as well. We were doing whole We did the

226
00:13:18,716 --> 00:13:21,716
Speaker 1: whole album of Machine Head, whole album in rock like

227
00:13:21,796 --> 00:13:23,916
Speaker 1: so we were just pick an album and we'd show

228
00:13:23,996 --> 00:13:27,676
Speaker 1: up and we'd just play that whole album, not straight through,

229
00:13:27,716 --> 00:13:30,556
Speaker 1: like sometimes we'd have to stop so I could explain

230
00:13:30,636 --> 00:13:32,916
Speaker 1: that the arrangement, No, it does this part for this

231
00:13:32,996 --> 00:13:35,276
Speaker 1: long or whatever it is, because he hasn't focused on

232
00:13:35,316 --> 00:13:37,956
Speaker 1: it how I have. But like, but we'd get through

233
00:13:37,996 --> 00:13:41,556
Speaker 1: the whole album of all those things, and when I

234
00:13:41,596 --> 00:13:44,716
Speaker 1: hear that album, I hear that in the connection of

235
00:13:44,876 --> 00:13:48,316
Speaker 1: Chad and Mice playing like it's in there. It's not.

236
00:13:49,316 --> 00:13:51,636
Speaker 1: There's no there's no real heavy metal on the album,

237
00:13:52,116 --> 00:13:55,676
Speaker 1: but it's not an album by people who can't play

238
00:13:55,716 --> 00:13:58,636
Speaker 1: heavy metal, you know what I mean. Yeah, Like Chad

239
00:13:58,676 --> 00:14:01,076
Speaker 1: and I were really dialed into it at the time.

240
00:14:01,516 --> 00:14:03,756
Speaker 1: I always feel like it's cool to have things like that.

241
00:14:03,836 --> 00:14:05,796
Speaker 1: I feel like it seems like if you're good at

242
00:14:05,836 --> 00:14:10,236
Speaker 1: any aspect, even if it's not being demonstrated, it makes

243
00:14:10,276 --> 00:14:13,036
Speaker 1: what you're doing better. It has to, right, it has to,

244
00:14:13,116 --> 00:14:14,676
Speaker 1: and it has not only does it have to make

245
00:14:14,676 --> 00:14:17,636
Speaker 1: it better, but it it informs it in some way

246
00:14:18,276 --> 00:14:22,636
Speaker 1: that that can't be explained. Right. Yeah, No, totally. I

247
00:14:22,716 --> 00:14:25,236
Speaker 1: feel like it's it's magical to have things that you

248
00:14:25,276 --> 00:14:29,156
Speaker 1: can do that you're not throwing on the surface for

249
00:14:29,196 --> 00:14:31,916
Speaker 1: people to see. The way I play on that album,

250
00:14:32,956 --> 00:14:37,196
Speaker 1: it's it's a real synthpop based, a new wave based,

251
00:14:37,636 --> 00:14:43,036
Speaker 1: surf guitar based style. Yet at home I was playing

252
00:14:43,036 --> 00:14:45,596
Speaker 1: along with Van Halen and playing those solos like I

253
00:14:45,996 --> 00:14:49,756
Speaker 1: was probably never as good at playing Eddie van Halen

254
00:14:49,836 --> 00:14:52,076
Speaker 1: stuff as I was at the time of by the way,

255
00:14:52,236 --> 00:14:55,436
Speaker 1: and nothing, nothing like that. There's not a hint of

256
00:14:55,516 --> 00:14:57,916
Speaker 1: that in the way that I play. I feel like

257
00:14:57,956 --> 00:15:01,596
Speaker 1: it's in there still. There's a certain confidence between the

258
00:15:01,636 --> 00:15:04,756
Speaker 1: way that I'm playing those simple things that I'm playing

259
00:15:04,756 --> 00:15:09,196
Speaker 1: in a certain precision, in the accenting of things, and

260
00:15:08,836 --> 00:15:12,516
Speaker 1: in the rhythm playing. It's it's a lot of things

261
00:15:12,516 --> 00:15:16,196
Speaker 1: that I got from his style that just aren't the obvious,

262
00:15:16,916 --> 00:15:21,956
Speaker 1: you know, frontal parts of his style. So yeah, I

263
00:15:21,996 --> 00:15:23,996
Speaker 1: think I think it adds a magic to things when

264
00:15:23,996 --> 00:15:26,956
Speaker 1: there's something hidden. Yeah. What I don't remember is my

265
00:15:26,956 --> 00:15:28,836
Speaker 1: favorite song on that album, although I don't remember and

266
00:15:28,836 --> 00:15:32,716
Speaker 1: I haven't listened in a while, is that universally Speakings

267
00:15:32,716 --> 00:15:35,956
Speaker 1: on that album, isn't it. I like that one a lot, Yeah,

268
00:15:35,996 --> 00:15:38,076
Speaker 1: And that one has just a it doesn't sound like

269
00:15:38,076 --> 00:15:40,676
Speaker 1: any other chili pepper song, and it definitely sounds like

270
00:15:40,716 --> 00:15:45,276
Speaker 1: it's rooted in you know, maybe early sixties music more

271
00:15:45,316 --> 00:15:49,476
Speaker 1: than late fifties music. Yeah. I was just watching something

272
00:15:49,476 --> 00:15:53,436
Speaker 1: that made a comparison between two things that universally fits

273
00:15:53,476 --> 00:16:01,996
Speaker 1: into Oh okay, So they were talking about the first

274
00:16:02,036 --> 00:16:06,236
Speaker 1: song on Brianians. It's an album Here come the warm Jets.

275
00:16:07,116 --> 00:16:19,356
Speaker 1: It goes those you know, don't let it show, and

276
00:16:19,476 --> 00:16:27,036
Speaker 1: the drums are going and then waiting for my man. Uh,

277
00:16:40,316 --> 00:16:43,116
Speaker 1: it's the same rhythm basically when you put that. I

278
00:16:43,156 --> 00:16:45,396
Speaker 1: saw it on YouTube. Somebody had put those two things

279
00:16:45,436 --> 00:16:47,836
Speaker 1: next to each other and they said, look, the the

280
00:16:47,956 --> 00:16:51,476
Speaker 1: Ino song is obviously inspired by the Velvet Underground song,

281
00:16:52,156 --> 00:16:55,636
Speaker 1: and universally speaking, I don't know if I made the

282
00:16:55,636 --> 00:16:57,356
Speaker 1: connection the you know thing, but I was trying to

283
00:16:57,356 --> 00:16:59,716
Speaker 1: do something like Velvet Underground. I thought we should have

284
00:16:59,756 --> 00:17:02,636
Speaker 1: something that's just like a straight rhythm. All our songs

285
00:17:02,716 --> 00:17:07,276
Speaker 1: have these funky, kind of syncopated kind of rhythms to them,

286
00:17:07,396 --> 00:17:09,516
Speaker 1: like that would be cool if we had a song

287
00:17:10,196 --> 00:17:13,796
Speaker 1: that just had a real straight rhythm to it like that.

288
00:17:14,196 --> 00:17:17,236
Speaker 1: So I don't, you know, I don't remember specifically what song,

289
00:17:17,316 --> 00:17:19,756
Speaker 1: but it is the same type of rhythm as waiting

290
00:17:19,876 --> 00:17:23,636
Speaker 1: really interesting, So I don't I don't hear Velvet undergrounding

291
00:17:23,716 --> 00:17:27,076
Speaker 1: it at all, right, at all? Yeah, but yeah, for

292
00:17:27,436 --> 00:17:47,716
Speaker 1: in ours, it was a so that's partially like coming. Yeah,

293
00:17:47,996 --> 00:17:49,956
Speaker 1: I was definitely trying to do something that was a

294
00:17:50,036 --> 00:17:52,836
Speaker 1: Velvet Underground type groove what I saw as being their

295
00:17:52,916 --> 00:17:56,356
Speaker 1: type of groove. Yeah, and it's also the drumbeat if

296
00:17:56,356 --> 00:17:58,596
Speaker 1: I remember correctly, it's more like a motown. It's like

297
00:17:58,636 --> 00:18:01,076
Speaker 1: a I think you might have added a drum bot

298
00:18:01,476 --> 00:18:04,476
Speaker 1: might have, but it's definitely different than everything else we

299
00:18:04,516 --> 00:18:07,356
Speaker 1: ever did. It was. It's a really unique song, right,

300
00:18:07,476 --> 00:18:11,716
Speaker 1: and I think we might have obos on it too, Yeah, yeah, yeah,

301
00:18:11,716 --> 00:18:14,756
Speaker 1: there's really cool orchestra stuff. Yeah. That was inspired by

302
00:18:15,236 --> 00:18:18,036
Speaker 1: Sunny and Share. Right from my perspective, is just like,

303
00:18:18,036 --> 00:18:19,636
Speaker 1: oh there's a sound on Sunny and Share, So I

304
00:18:19,756 --> 00:18:21,596
Speaker 1: never heard on anything else, Like maybe we can get

305
00:18:21,636 --> 00:18:24,276
Speaker 1: that instrument. That's so cool because I remember I remember

306
00:18:24,276 --> 00:18:27,236
Speaker 1: specifically trying to do a velvet like like thinking it

307
00:18:27,636 --> 00:18:30,676
Speaker 1: should be a straight rhythm like the Velvet Underground. But

308
00:18:30,756 --> 00:18:33,476
Speaker 1: I also remember you being the one who suggested that

309
00:18:33,596 --> 00:18:36,556
Speaker 1: drum beat. Yeah. Yeah, if I would have known we

310
00:18:36,556 --> 00:18:39,916
Speaker 1: were going for Velvet Undergroud. I wouldn't suggest that that's

311
00:18:39,956 --> 00:18:42,556
Speaker 1: what's so cool about it as well. That's what I

312
00:18:42,636 --> 00:18:44,556
Speaker 1: was saying, is that the EUMO song has that drum

313
00:18:44,596 --> 00:18:47,596
Speaker 1: beat of universally speaking, wow, Waiting for the Man has

314
00:18:47,636 --> 00:18:51,636
Speaker 1: that drum beat wow. Yeah. So so all three of

315
00:18:51,636 --> 00:18:53,876
Speaker 1: those songs have that beat. Yeah. I have a feeling

316
00:18:53,956 --> 00:18:56,996
Speaker 1: everyone got it from Motown. Yeah, I guess. Yeah, you're right.

317
00:18:57,276 --> 00:19:00,396
Speaker 1: Even though everything comes from the Velvet Underground, everything else

318
00:19:00,476 --> 00:19:04,516
Speaker 1: comes from the Motown comes before that probably comes from Motown. Yeah,

319
00:19:04,556 --> 00:19:08,076
Speaker 1: you know, totally. And that's really what Louid wished he was,

320
00:19:08,076 --> 00:19:12,436
Speaker 1: was a soul singer. I think I remember Anthony sang

321
00:19:12,516 --> 00:19:15,316
Speaker 1: that song different than all the other songs too. Yeah,

322
00:19:15,436 --> 00:19:18,276
Speaker 1: he's sang in a lower in a lower key than

323
00:19:18,356 --> 00:19:24,076
Speaker 1: he normally sings, like like a bassy voice. Yeah. So cool. Yeah,

324
00:19:24,276 --> 00:19:27,516
Speaker 1: such an interesting record. I know, there's so many there's

325
00:19:27,556 --> 00:19:30,156
Speaker 1: so many surprises when I listen to that record, like

326
00:19:30,236 --> 00:19:33,156
Speaker 1: after having not heard it from like, WHOA, how the

327
00:19:33,196 --> 00:19:35,756
Speaker 1: fuck did I do that? I didn't know anything about synthesizers?

328
00:19:35,796 --> 00:19:38,916
Speaker 1: How did I do that? That's so cool. Yeah, we'll

329
00:19:38,916 --> 00:19:41,556
Speaker 1: be back with more from Rick and John. After the break,

330
00:19:44,996 --> 00:19:47,596
Speaker 1: we're back with more from Rick Rubin and John from Chante.

331
00:19:48,516 --> 00:19:53,116
Speaker 1: I think there's something really fun about putting on instruments

332
00:19:53,196 --> 00:19:55,436
Speaker 1: you don't know how to play. Yeah, do you know, Like,

333
00:19:55,436 --> 00:19:58,316
Speaker 1: like it's the same reason that the first version of

334
00:19:59,236 --> 00:20:01,596
Speaker 1: a new style of music is interesting. It's because the

335
00:20:01,636 --> 00:20:03,476
Speaker 1: person who's making it doesn't even really know what it

336
00:20:03,556 --> 00:20:05,956
Speaker 1: is yet. Yeah, you're in the process of figuring it out.

337
00:20:05,996 --> 00:20:08,276
Speaker 1: You kind of you can never beat that, No, it's

338
00:20:08,396 --> 00:20:11,676
Speaker 1: so excited. Yeah, Yeah, it's a good argument to always

339
00:20:11,716 --> 00:20:14,076
Speaker 1: like pick up a different instrument and just get sounds

340
00:20:14,116 --> 00:20:17,436
Speaker 1: out of it. Yeah, it's my understanding. David Bowie when

341
00:20:17,476 --> 00:20:21,516
Speaker 1: he record records, he'd have the person still trying to

342
00:20:21,556 --> 00:20:25,356
Speaker 1: figure this out what to play, and he'd stopped them

343
00:20:25,396 --> 00:20:28,556
Speaker 1: at the point where they were just about to figure

344
00:20:28,596 --> 00:20:31,596
Speaker 1: it out. That's when he'd stop him. Like he'd be like,

345
00:20:31,716 --> 00:20:34,076
Speaker 1: that's when he caught what he wanted to catch. He

346
00:20:34,116 --> 00:20:37,356
Speaker 1: doesn't want to right before they figured it out, Like,

347
00:20:37,436 --> 00:20:39,996
Speaker 1: he doesn't. He didn't want the sound of it once

348
00:20:40,036 --> 00:20:42,396
Speaker 1: they're confident with it. He wants it just as they're

349
00:20:42,436 --> 00:20:44,996
Speaker 1: as it's just becoming clear to them. Yeah, that's the

350
00:20:45,116 --> 00:20:48,356
Speaker 1: group that he wanted to hear, you know, so he'd

351
00:20:48,356 --> 00:20:51,156
Speaker 1: often stop people like before they felt I think they've

352
00:20:51,156 --> 00:20:54,876
Speaker 1: only done takes. Would often would play a song once

353
00:20:54,996 --> 00:20:57,756
Speaker 1: or maybe twice before, and no one else in the

354
00:20:58,156 --> 00:21:00,196
Speaker 1: room had ever heard the song before. Yeah, so like

355
00:21:00,316 --> 00:21:04,436
Speaker 1: you played along whatever sounded right and that would be it. Yeah.

356
00:21:04,476 --> 00:21:09,516
Speaker 1: But again, like aside from the Velvet Underground, like that

357
00:21:09,596 --> 00:21:13,236
Speaker 1: that group where that the car is generally doing for

358
00:21:13,276 --> 00:21:18,676
Speaker 1: a lot of that song, like where where you're going

359
00:21:18,796 --> 00:21:28,196
Speaker 1: hard soft The Ramones like they have that in their music,

360
00:21:28,276 --> 00:21:30,796
Speaker 1: like over and over. It's a lot of fast down strokes,

361
00:21:30,796 --> 00:21:33,236
Speaker 1: but a lot of the time where these chords coming from,

362
00:21:33,276 --> 00:21:40,516
Speaker 1: because these are really interesting chords though, you know, you

363
00:21:40,996 --> 00:21:52,436
Speaker 1: tell me about the chords that universe is. Yeah, you know,

364
00:21:52,476 --> 00:21:54,436
Speaker 1: I was just playing along with the Beatles a lot

365
00:21:54,476 --> 00:21:58,076
Speaker 1: and learning all their songs and feeling more free with

366
00:21:58,156 --> 00:22:02,196
Speaker 1: chord progressions, and I'd ever felt like previously the stuff

367
00:22:02,236 --> 00:22:06,436
Speaker 1: that I've done on like Blood Sugar and Californication, it

368
00:22:06,556 --> 00:22:11,676
Speaker 1: felt more like formulas that I knew that progression works.

369
00:22:11,676 --> 00:22:13,916
Speaker 1: It's in a lot of songs. This chord progression works.

370
00:22:13,916 --> 00:22:15,476
Speaker 1: It's in a lot of songs. You know what I

371
00:22:15,516 --> 00:22:19,996
Speaker 1: mean this was where by the way, I'm starting to

372
00:22:20,036 --> 00:22:23,916
Speaker 1: sort of create chord progressions from scratch sort of, there's

373
00:22:23,996 --> 00:22:27,916
Speaker 1: not a yeah, it's not a it's not a formally,

374
00:22:27,956 --> 00:22:33,716
Speaker 1: it's almost like I started seeing chords as harmonies rather

375
00:22:33,756 --> 00:22:37,636
Speaker 1: than chord progressions, per say, So I'm I'm seeing it

376
00:22:37,716 --> 00:22:41,756
Speaker 1: as a certain kind of harmonic movement, and I'm starting

377
00:22:41,756 --> 00:22:47,556
Speaker 1: to do interesting what's called modulations, where like when when

378
00:22:47,556 --> 00:22:50,836
Speaker 1: I'm doing this, you're basically like in an A major thing.

379
00:22:51,236 --> 00:22:53,876
Speaker 1: We're still in an A major thing, but when I

380
00:22:53,956 --> 00:23:02,756
Speaker 1: go that chord is unexpected, that's all of a sudden

381
00:23:02,756 --> 00:23:05,996
Speaker 1: it has a B minor feel to it. When I

382
00:23:06,036 --> 00:23:07,716
Speaker 1: go to that G chord, I haven't even gone to

383
00:23:07,716 --> 00:23:09,556
Speaker 1: the B minor chord, but all of the sudden, you

384
00:23:09,596 --> 00:23:11,876
Speaker 1: get a minor even though it's a major chord that

385
00:23:11,916 --> 00:23:14,636
Speaker 1: I've gone to, you get a minor feeling when it

386
00:23:14,676 --> 00:23:17,196
Speaker 1: goes to that Gee. I'm starting to figure out things

387
00:23:17,236 --> 00:23:26,276
Speaker 1: like that that doing these kind of I was starting

388
00:23:26,276 --> 00:23:29,556
Speaker 1: to see these patterns that they used in classical music

389
00:23:29,556 --> 00:23:34,036
Speaker 1: and stuff, but comprehending what the idea was. Not taking

390
00:23:34,076 --> 00:23:37,476
Speaker 1: somebody else's pattern, but seeing, oh I see I can

391
00:23:38,036 --> 00:23:40,116
Speaker 1: instead of thinking of it as chords, I can think

392
00:23:40,156 --> 00:23:44,196
Speaker 1: of it as just general harmonic movement. The first two

393
00:23:44,196 --> 00:23:48,516
Speaker 1: of the chords of the Bram Bram is um also

394
00:23:48,676 --> 00:23:50,636
Speaker 1: I never again, I never heard it in the song,

395
00:23:50,756 --> 00:23:54,356
Speaker 1: but hearing it just like that played slowly, it reminds

396
00:23:54,396 --> 00:23:56,956
Speaker 1: me of the chords and the led Zeppelin song. I

397
00:23:56,996 --> 00:24:09,556
Speaker 1: don't know the name of the song, Bran Branne. I

398
00:24:09,556 --> 00:24:11,356
Speaker 1: think he's in a different tuning in that song, so

399
00:24:11,396 --> 00:24:13,596
Speaker 1: I can't play it. But like I was just playing

400
00:24:13,596 --> 00:24:15,356
Speaker 1: along with a couple of Beatles songs that I would

401
00:24:15,356 --> 00:24:20,556
Speaker 1: put in this category, like like um okay and you're

402
00:24:26,476 --> 00:24:33,036
Speaker 1: you know that and your bird can say, like it

403
00:24:33,156 --> 00:24:35,716
Speaker 1: sounds like it's gonna be one of those you hear

404
00:24:35,756 --> 00:24:38,476
Speaker 1: the first two chords, it sounds like it's going it's

405
00:24:38,516 --> 00:24:41,716
Speaker 1: not the same two chords exactly, that idea of where

406
00:24:41,436 --> 00:24:44,396
Speaker 1: where where you feel it's moving down, sending it in

407
00:24:44,436 --> 00:24:48,036
Speaker 1: a form that we're expecting. Yeah, and then but then

408
00:24:48,076 --> 00:24:50,876
Speaker 1: that g to be minor changes it. So but yeah,

409
00:24:50,876 --> 00:24:57,556
Speaker 1: that that that led Zeppelin song. Oh. I remember seeing

410
00:24:57,996 --> 00:25:00,916
Speaker 1: a YouTube video where a guy is taking apart one

411
00:25:00,956 --> 00:25:05,436
Speaker 1: of your guitar parts and he's saying that you purposely

412
00:25:05,596 --> 00:25:10,236
Speaker 1: detuned one of not not not that you changed the tuning,

413
00:25:10,396 --> 00:25:13,396
Speaker 1: but you de tuned one string slightly. And that's the

414
00:25:13,436 --> 00:25:15,636
Speaker 1: only way to play the song. That anyone who plays

415
00:25:15,636 --> 00:25:18,396
Speaker 1: a song and plays it wrong because the secret is

416
00:25:18,636 --> 00:25:22,596
Speaker 1: de tuning. Is that possible? That true? It wasn't unconsciously,

417
00:25:22,676 --> 00:25:26,916
Speaker 1: I just was out of tune. Yeah, like like it's

418
00:25:26,996 --> 00:25:30,396
Speaker 1: scar tissue that that's about. My guitar tech told me

419
00:25:30,436 --> 00:25:33,196
Speaker 1: about that, like like, uh, it was. It was a

420
00:25:33,236 --> 00:25:38,276
Speaker 1: fascinating video, right, yeah. Like like I guess you're gonna

421
00:25:38,356 --> 00:25:40,676
Speaker 1: you're gonna sound a little I get that all the

422
00:25:40,716 --> 00:25:43,516
Speaker 1: time when I play along with old blues records. Yeah,

423
00:25:43,556 --> 00:25:46,476
Speaker 1: a lot of the time. Like electric blues players, you

424
00:25:46,476 --> 00:25:50,076
Speaker 1: think that think they're playing different sixties. No, you just

425
00:25:50,116 --> 00:25:52,356
Speaker 1: have to tune your guitar to it because each one

426
00:25:52,396 --> 00:25:55,196
Speaker 1: of their strings has tuned a little a little different,

427
00:25:55,316 --> 00:25:59,036
Speaker 1: like Albert King and stuff like that. When you're learning

428
00:25:59,036 --> 00:26:02,996
Speaker 1: a song, you gradually figure out, Okay, his string is here.

429
00:26:03,036 --> 00:26:06,396
Speaker 1: You just try to match the strings for it to

430
00:26:06,516 --> 00:26:10,836
Speaker 1: sound like it's not for it to not rub. Yeah yeah, yeah.

431
00:26:10,836 --> 00:26:12,996
Speaker 1: So in that case, I guess one of my strings

432
00:26:13,036 --> 00:26:15,716
Speaker 1: was a little out of tune and it sounded good.

433
00:26:15,836 --> 00:26:17,876
Speaker 1: So nobody ever said like you would have been said

434
00:26:17,916 --> 00:26:20,276
Speaker 1: if it hadn't sounded good, you would have been the

435
00:26:20,356 --> 00:26:23,396
Speaker 1: first one. Yeah, but like clearly like it sounded good

436
00:26:23,796 --> 00:26:27,116
Speaker 1: because you know, like on synthesizers, like on the d

437
00:26:27,236 --> 00:26:29,556
Speaker 1: X seven, you can do these micro tunings where you

438
00:26:29,556 --> 00:26:33,316
Speaker 1: can have like a different amount of notes to the octave.

439
00:26:33,836 --> 00:26:36,716
Speaker 1: You know, you can have you know whatever, nineteen notes

440
00:26:36,756 --> 00:26:39,956
Speaker 1: to the octave or something, and so you have you

441
00:26:39,996 --> 00:26:43,356
Speaker 1: have notes in between what the normal twelve notes that

442
00:26:43,396 --> 00:26:47,156
Speaker 1: we all use, and there's a lot of good expression

443
00:26:47,436 --> 00:26:49,716
Speaker 1: in there by using these notes there in between, if

444
00:26:49,756 --> 00:26:53,556
Speaker 1: they're exactly in between in a precise kind of way.

445
00:26:53,756 --> 00:26:56,436
Speaker 1: And so I guess I was out of tune in

446
00:26:56,476 --> 00:26:59,236
Speaker 1: a way that really worked, you know, because that doesn't

447
00:26:59,236 --> 00:27:01,156
Speaker 1: sound out of tune to me. But yeah, it doesn't

448
00:27:01,156 --> 00:27:04,636
Speaker 1: sound out a tune to me either. Interesting, And next

449
00:27:04,636 --> 00:27:07,076
Speaker 1: time I listened to the Scar tissue, I'll listen for that. Yeah.

450
00:27:07,156 --> 00:27:09,836
Speaker 1: I couldn't remember what song it was, but the the

451
00:27:09,996 --> 00:27:12,116
Speaker 1: guy really went in depth. It was good. It was

452
00:27:12,156 --> 00:27:15,676
Speaker 1: a good Uh. It's so interesting people who get into stuff,

453
00:27:15,676 --> 00:27:18,036
Speaker 1: who can look at it in a much deeper way

454
00:27:18,076 --> 00:27:20,956
Speaker 1: from the outside than you know you weren't aware of

455
00:27:20,996 --> 00:27:23,996
Speaker 1: you made it, and you weren't aware of it, you know. Yeah.

456
00:27:24,316 --> 00:27:26,276
Speaker 1: I wanted to point out that. A lot of the time,

457
00:27:26,316 --> 00:27:28,676
Speaker 1: like because as we're talking about these things where something

458
00:27:29,076 --> 00:27:32,036
Speaker 1: was the source of I remember it as being the

459
00:27:32,036 --> 00:27:35,596
Speaker 1: source of something. A lot of the time it was

460
00:27:35,676 --> 00:27:38,756
Speaker 1: usually because I'm playing along with so many different things

461
00:27:38,836 --> 00:27:42,036
Speaker 1: at the time. I'll see a few songs that have

462
00:27:42,076 --> 00:27:44,636
Speaker 1: all the same thing in it in some way. Maybe

463
00:27:44,636 --> 00:27:47,436
Speaker 1: it's in a different key, maybe it's you know, but

464
00:27:47,836 --> 00:27:52,036
Speaker 1: I'll see some theoretical sort of theme that a couple

465
00:27:52,036 --> 00:27:55,596
Speaker 1: of songs have in common, and I'll just be like, oh,

466
00:27:55,596 --> 00:27:57,996
Speaker 1: that's cool, those have that in common. I'm gonna write one, Yeah,

467
00:27:58,036 --> 00:28:00,156
Speaker 1: you know what I mean. It's a lot of the

468
00:28:00,156 --> 00:28:03,796
Speaker 1: time and I might remember it as one being one,

469
00:28:03,916 --> 00:28:06,116
Speaker 1: but a lot of the time it's more in three

470
00:28:06,116 --> 00:28:08,196
Speaker 1: different songs like oh, I wonder what Yeah, And a

471
00:28:08,236 --> 00:28:10,036
Speaker 1: lot of the time because I notice it, like that

472
00:28:10,076 --> 00:28:12,996
Speaker 1: thing you're talking about where you're going, Like I'm noticing,

473
00:28:13,116 --> 00:28:15,476
Speaker 1: I start thinking like I must be noticing it for

474
00:28:15,476 --> 00:28:18,596
Speaker 1: a reason. I must be supposed to write something like that. Yeah, yeah, yeah,

475
00:28:18,636 --> 00:28:21,916
Speaker 1: Because it's generally the way my brain works. Yeah, me too,

476
00:28:21,956 --> 00:28:24,636
Speaker 1: Like I feel like if you hear the same thing

477
00:28:24,716 --> 00:28:29,196
Speaker 1: three times, it's like, hmm, yeah, something somebody wants me

478
00:28:29,236 --> 00:28:33,676
Speaker 1: to notice. Yeah, exactly, exactly. Should we look at some

479
00:28:33,756 --> 00:28:38,516
Speaker 1: guitar parts and some songs from the new albums? Sure? Fun, Sure,

480
00:28:38,916 --> 00:28:44,276
Speaker 1: let's do newest album first. We'll work backwards, okay, hopefully.

481
00:28:45,276 --> 00:28:48,596
Speaker 1: The first one I noticed was on my little list

482
00:28:48,716 --> 00:28:57,116
Speaker 1: was Eddie Well Eddie just Fleet came in. Fleet Fleet

483
00:28:57,196 --> 00:29:03,476
Speaker 1: came in with the bass bassline and and uh, and

484
00:29:03,516 --> 00:29:07,716
Speaker 1: I just started playing that melody. The part I wrote

485
00:29:07,716 --> 00:29:10,596
Speaker 1: in that song is the bridge. It's still interesting to

486
00:29:10,636 --> 00:29:14,396
Speaker 1: talk about how you hear what Flee's playing and what

487
00:29:14,436 --> 00:29:16,996
Speaker 1: you choose to play. It's fascinating because I don't think

488
00:29:17,036 --> 00:29:20,076
Speaker 1: anyone else would play what you played, right, It's just yeah,

489
00:29:20,076 --> 00:29:22,316
Speaker 1: he came in with that, with that bass line, and

490
00:29:22,396 --> 00:29:24,556
Speaker 1: I came in with the melody that remember do you

491
00:29:24,556 --> 00:29:28,196
Speaker 1: remember what you remember? What the bass line does? I know,

492
00:29:28,516 --> 00:29:42,436
Speaker 1: I know what the tonality of it is, yeah, but

493
00:29:42,516 --> 00:29:45,596
Speaker 1: I don't know. And basin, but that's the bass also

494
00:29:45,636 --> 00:29:47,836
Speaker 1: sounds more like a guitar part than a bass line,

495
00:29:47,916 --> 00:29:50,116
Speaker 1: because I'm playing I'm making up a guitar part that's

496
00:29:50,116 --> 00:29:53,076
Speaker 1: the chord. I know what he's doing basically implies in

497
00:29:53,236 --> 00:29:56,796
Speaker 1: F seven A G six and like I don't know

498
00:29:56,876 --> 00:29:59,836
Speaker 1: what he's playing. IM stand. One time we did a

499
00:29:59,956 --> 00:30:03,436
Speaker 1: sound check where Flee played guitar and I played bass. Yeah,

500
00:30:03,636 --> 00:30:06,476
Speaker 1: and we played Chili Pepper's songs. Yeah, it was so funny.

501
00:30:06,556 --> 00:30:09,236
Speaker 1: I bet it was great. It were completely different songs.

502
00:30:09,236 --> 00:30:11,276
Speaker 1: We you know, we didn't know. We didn't know. No,

503
00:30:11,476 --> 00:30:13,796
Speaker 1: Like we tried to play each other's parts based on

504
00:30:13,836 --> 00:30:18,796
Speaker 1: our conception conceptions, and neither of us had any idea

505
00:30:18,836 --> 00:30:22,116
Speaker 1: what enjoying. It was really comical. It's kind of cool though,

506
00:30:22,636 --> 00:30:25,196
Speaker 1: you know. I for it's my understanding that in the

507
00:30:25,236 --> 00:30:28,356
Speaker 1: Police they all knew how to play all the parts.

508
00:30:28,396 --> 00:30:32,076
Speaker 1: They could have switched instruments and done a show that

509
00:30:32,196 --> 00:30:34,996
Speaker 1: maybe that's just a fake. I don't know if that's

510
00:30:34,996 --> 00:30:36,716
Speaker 1: a good or a bad thing. I thought it was

511
00:30:36,716 --> 00:30:40,316
Speaker 1: pretty neat, just that they're that inside the songs are

512
00:30:40,796 --> 00:30:43,076
Speaker 1: I don't know, just weave together in this way. That

513
00:30:43,676 --> 00:30:46,596
Speaker 1: they're simpler than our songs for sure. But but like

514
00:30:47,276 --> 00:30:49,436
Speaker 1: I thought that was cool that somebody would would know it.

515
00:30:49,476 --> 00:30:52,276
Speaker 1: But like I'm incapable of playing bass, like Fleas. Fleas

516
00:30:52,276 --> 00:30:55,676
Speaker 1: are capable of playing guitar like me, so it's we

517
00:30:55,916 --> 00:30:57,796
Speaker 1: have a sort of a vague idea of what the

518
00:30:57,836 --> 00:31:01,276
Speaker 1: other one's doing. You know, we're good at listening to

519
00:31:01,316 --> 00:31:04,196
Speaker 1: each other, but yeah, I can't play like each other. Yeah,

520
00:31:04,196 --> 00:31:07,316
Speaker 1: and I love the way you can complete each other's

521
00:31:07,396 --> 00:31:10,596
Speaker 1: thoughts in like an this example, Flee came in with

522
00:31:10,636 --> 00:31:14,276
Speaker 1: the bass line and what you played with it is

523
00:31:15,116 --> 00:31:17,436
Speaker 1: not again, I don't believe it would be what anyone

524
00:31:17,436 --> 00:31:20,676
Speaker 1: else would play, and that combination is what makes it

525
00:31:20,756 --> 00:31:22,596
Speaker 1: sound like the Chili Peppers, you know. Yeah, and the

526
00:31:22,636 --> 00:31:25,556
Speaker 1: same when you come in with something what he chooses

527
00:31:25,596 --> 00:31:32,036
Speaker 1: to do, it never seems like the regular thing. Yeah. Yeah,

528
00:31:32,076 --> 00:31:35,556
Speaker 1: So Eddie van Halen, we we just found out that

529
00:31:35,596 --> 00:31:37,836
Speaker 1: he died, I guess that morning or the night before

530
00:31:37,916 --> 00:31:40,796
Speaker 1: or something. And then that was our first rehearsal and

531
00:31:41,196 --> 00:31:45,036
Speaker 1: that was something Fleet happened to have written. So that

532
00:31:45,116 --> 00:31:47,356
Speaker 1: was what was on all. If you write it on

533
00:31:47,396 --> 00:31:50,996
Speaker 1: bass or did you write it on piano bass? And yeah,

534
00:31:51,036 --> 00:31:54,316
Speaker 1: again the verse I think I was. We're again doing

535
00:31:54,356 --> 00:31:57,396
Speaker 1: that kind of thing where where we're in harmony to

536
00:31:57,476 --> 00:31:59,116
Speaker 1: each other. If you heard just my guitar part, it

537
00:31:59,116 --> 00:32:02,236
Speaker 1: wouldn't sound like the song the song, right, but but

538
00:32:02,556 --> 00:32:04,316
Speaker 1: it sounds like I was kind of thinking of part

539
00:32:04,356 --> 00:32:09,596
Speaker 1: of so part of the orchestration of the song. Yeah, yeah,

540
00:32:09,636 --> 00:32:11,476
Speaker 1: And I guess for Gods you must have had a

541
00:32:11,516 --> 00:32:14,036
Speaker 1: certain amount of things like that, because because that first

542
00:32:14,036 --> 00:32:16,396
Speaker 1: part it reminds me of for Godsy just when they

543
00:32:16,396 --> 00:32:21,156
Speaker 1: would sometimes do these sort of soft sections. I don't

544
00:32:21,156 --> 00:32:22,716
Speaker 1: know that's what I was thinking of when I was

545
00:32:22,876 --> 00:32:25,836
Speaker 1: making the guitar part to that, but I guess I'm

546
00:32:25,876 --> 00:32:27,556
Speaker 1: just doing that same thing that Plea and I've done

547
00:32:27,596 --> 00:32:29,716
Speaker 1: a bunch, you know. Well, I feel like it's part

548
00:32:29,716 --> 00:32:33,396
Speaker 1: of It's like, in some ways, it's become thus sound

549
00:32:33,396 --> 00:32:36,116
Speaker 1: of the band, even though it's still something to it's

550
00:32:36,156 --> 00:32:38,156
Speaker 1: a jump off point for it to do a lot

551
00:32:38,196 --> 00:32:41,036
Speaker 1: of other things. But it's a specific thing that you

552
00:32:41,076 --> 00:32:43,076
Speaker 1: guys do that I don't hear anyone else do. Right

553
00:32:43,276 --> 00:32:45,756
Speaker 1: In the same way, like Depeche Mode has a sound

554
00:32:46,316 --> 00:32:48,596
Speaker 1: that could be part of the Chili Pepper sound is

555
00:32:49,516 --> 00:32:52,636
Speaker 1: the way that the bass notes and the guitar notes

556
00:32:52,756 --> 00:32:56,796
Speaker 1: harmonized together to create a chord that is implied but

557
00:32:56,956 --> 00:33:00,516
Speaker 1: nobody's playing it. Yeah. Yeah, so that's what we're doing there,

558
00:33:00,516 --> 00:33:02,356
Speaker 1: and we just needed a bridge. So I think there

559
00:33:02,436 --> 00:33:04,836
Speaker 1: was a face off for a bridge, and do you

560
00:33:04,836 --> 00:33:07,796
Speaker 1: remember what it was? No, I just I just it's

561
00:33:07,836 --> 00:33:09,956
Speaker 1: the bridge to the song. Just had that idea, I

562
00:33:09,996 --> 00:33:12,516
Speaker 1: don't remember what. We would just all start by doing

563
00:33:12,636 --> 00:33:39,716
Speaker 1: hits all together go yeah. So do you have any

564
00:33:39,716 --> 00:33:42,516
Speaker 1: idea of why that occurred to you coming out of

565
00:33:42,516 --> 00:33:45,116
Speaker 1: what it's coming out of. Yeah, it just seemed like

566
00:33:45,116 --> 00:33:48,076
Speaker 1: the song had such a nice flowy thing, So I thought,

567
00:33:48,116 --> 00:33:51,076
Speaker 1: what would what would be good for a bridge? I

568
00:33:51,116 --> 00:33:54,396
Speaker 1: was thinking of Black Sabbath, even though there's no distortion

569
00:33:54,476 --> 00:34:00,636
Speaker 1: or anything obviously, but the contrast. But to have the

570
00:34:00,676 --> 00:34:03,836
Speaker 1: whole band do those hits together and leave these big spaces.

571
00:34:04,836 --> 00:34:07,636
Speaker 1: I just thought that was like a Sabbathy kind of

572
00:34:07,676 --> 00:34:09,836
Speaker 1: thing to do, which is we're that. That That was what

573
00:34:09,916 --> 00:34:12,516
Speaker 1: I was thinking because because I really wasn't listening to

574
00:34:12,556 --> 00:34:15,756
Speaker 1: Sabbath while we were for some reason. That's like all

575
00:34:15,796 --> 00:34:18,316
Speaker 1: the records in the Californication, I was always listening to Sabbath,

576
00:34:18,396 --> 00:34:21,236
Speaker 1: like this album, these two albums, I wasn't listening to them,

577
00:34:22,356 --> 00:34:25,356
Speaker 1: just as I was playing along with sometimes the first

578
00:34:25,356 --> 00:34:28,356
Speaker 1: two AUSI albums. But like I can't think of what

579
00:34:28,476 --> 00:34:31,556
Speaker 1: song or there is that that does that. But but yeah,

580
00:34:31,596 --> 00:34:34,356
Speaker 1: I just thought, like, have something where the whole band

581
00:34:34,436 --> 00:34:40,676
Speaker 1: is punctuating this chord progression, doing them as stabs altogether,

582
00:34:41,196 --> 00:34:43,396
Speaker 1: and then for the second half of the bridge play

583
00:34:43,436 --> 00:34:46,076
Speaker 1: it as a groove instead of stabs. Cool. And it's

584
00:34:46,116 --> 00:34:50,476
Speaker 1: cool that it the idea of looking for contrast in

585
00:34:50,556 --> 00:34:53,476
Speaker 1: a song that the most interesting thing that you can

586
00:34:53,516 --> 00:34:56,116
Speaker 1: do in the middle of a song that needs another

587
00:34:56,156 --> 00:35:01,396
Speaker 1: part is not necessarily the thing that obviously goes with

588
00:35:01,396 --> 00:35:04,596
Speaker 1: what came before it, right, Yeah, yeah, to do something

589
00:35:04,676 --> 00:35:09,436
Speaker 1: different like and it's also as I listen into these

590
00:35:09,516 --> 00:35:13,476
Speaker 1: chords by themselves, like I knew that if Fleet was

591
00:35:13,836 --> 00:35:17,596
Speaker 1: playing the roots of those chords like like that these

592
00:35:17,676 --> 00:35:21,396
Speaker 1: chords would sound good. They're they're they sound pretty like

593
00:35:21,516 --> 00:35:25,636
Speaker 1: partial like it sounds strange to have that open string there,

594
00:35:25,676 --> 00:35:29,556
Speaker 1: but but with the bass it ties it all together,

595
00:35:29,756 --> 00:35:32,116
Speaker 1: you know, like I and I had I had a

596
00:35:32,116 --> 00:35:35,156
Speaker 1: feeling that it would you know, also probably sounds weird

597
00:35:35,156 --> 00:35:39,836
Speaker 1: on acoustic but um bella, So yeah, there's a there's

598
00:35:39,836 --> 00:35:43,356
Speaker 1: a song. Um well, basically Fleet came in with the

599
00:35:43,476 --> 00:35:49,436
Speaker 1: verse to Bella and course I could find this, but

600
00:35:50,516 --> 00:36:01,236
Speaker 1: um hm, so this this is a song by a

601
00:36:01,236 --> 00:36:09,876
Speaker 1: group called Black Heat in two three four, five seven

602
00:36:10,156 --> 00:36:16,516
Speaker 1: one two three four, five six seven one two three four,

603
00:36:16,916 --> 00:36:21,436
Speaker 1: five six seven the it's a really cool funk groove

604
00:36:21,476 --> 00:36:23,836
Speaker 1: and it's in seven four, which is like and Fleet

605
00:36:23,876 --> 00:36:25,956
Speaker 1: came in when and that's just something that I'm into

606
00:36:25,996 --> 00:36:28,276
Speaker 1: because I collect that kind of music, and like, I

607
00:36:28,316 --> 00:36:30,396
Speaker 1: really I thought that was, you know, a cool song.

608
00:36:31,276 --> 00:36:34,196
Speaker 1: But Fleet came in with a funk groove and he

609
00:36:34,236 --> 00:36:37,076
Speaker 1: didn't realize it was in seven four. I was gonna say,

610
00:36:37,116 --> 00:36:38,916
Speaker 1: if you didn't count it, I wouldn't have realized that

611
00:36:38,956 --> 00:36:41,476
Speaker 1: was in seven Yes, yeah, yeah, exactly, such a good yeah,

612
00:36:41,476 --> 00:36:44,076
Speaker 1: it's such a good groove. Yeah. And so Fleet came

613
00:36:44,116 --> 00:36:46,276
Speaker 1: in with something in seven four, and I immediately thought

614
00:36:46,316 --> 00:36:48,236
Speaker 1: of that song. I was like, oh, this is great,

615
00:36:48,276 --> 00:36:50,436
Speaker 1: Like we can do a funk song in seven and

616
00:36:51,076 --> 00:36:55,036
Speaker 1: so work that out with the with the drums. Like

617
00:36:55,276 --> 00:36:57,836
Speaker 1: I've made a lot of my electronic music in seven four,

618
00:36:57,996 --> 00:37:02,556
Speaker 1: and my friend Aaron has made who I make electronic

619
00:37:02,636 --> 00:37:05,116
Speaker 1: music with, has made a ton of music in seven four.

620
00:37:05,556 --> 00:37:07,756
Speaker 1: So it's real familiar to me at this point. Like,

621
00:37:07,916 --> 00:37:10,156
Speaker 1: aside from the being into aggressive rock when I was

622
00:37:10,196 --> 00:37:13,596
Speaker 1: growing up, Like in the last twelve years, I've spent

623
00:37:13,756 --> 00:37:17,076
Speaker 1: a lot of time in that time signature. So I

624
00:37:17,156 --> 00:37:19,676
Speaker 1: was showing I was showing flee, like we'll see. There's

625
00:37:19,716 --> 00:37:21,796
Speaker 1: there's two main ways that you can break this up.

626
00:37:21,836 --> 00:37:23,916
Speaker 1: It can be a bar of four and a bar

627
00:37:23,956 --> 00:37:26,316
Speaker 1: of three, but how I hear this group is that

628
00:37:26,636 --> 00:37:28,476
Speaker 1: it should be a bar of three and a bar

629
00:37:28,556 --> 00:37:33,556
Speaker 1: of four, like, uh, the drums like being like one.

630
00:37:35,076 --> 00:37:36,476
Speaker 1: I don't know if I can play it and say it,

631
00:37:36,516 --> 00:37:43,796
Speaker 1: but one two three, two three four one two three

632
00:37:44,236 --> 00:38:06,436
Speaker 1: one two three four three four so cool. Yeah, So

633
00:38:06,476 --> 00:38:09,276
Speaker 1: it's just it's just that's why I like, nothing's it's

634
00:38:09,276 --> 00:38:11,796
Speaker 1: weird about it because three sounds pretty natural to people.

635
00:38:11,876 --> 00:38:14,036
Speaker 1: Four sounds pretty natural to people. It's just the two

636
00:38:14,036 --> 00:38:15,756
Speaker 1: ones next to each other. They just happened to add

637
00:38:15,796 --> 00:38:18,196
Speaker 1: up to seven, you know. Yeah, so we had that

638
00:38:18,236 --> 00:38:23,156
Speaker 1: groove and then the chorus came from just doing a

639
00:38:23,196 --> 00:38:26,236
Speaker 1: faceoff and yeah, I just went in the other room.

640
00:38:26,276 --> 00:38:28,276
Speaker 1: This maybe one of the ones. They's somewhere like I

641
00:38:28,316 --> 00:38:34,156
Speaker 1: don't understand the underpinning musical underpinnings, Like I don't know

642
00:38:34,196 --> 00:38:36,556
Speaker 1: that I didn't know that it was seven four and

643
00:38:36,596 --> 00:38:38,596
Speaker 1: I know then when I was working with Anthony on

644
00:38:38,636 --> 00:38:40,796
Speaker 1: the vocals, there were some cases where it's like, for

645
00:38:40,836 --> 00:38:44,836
Speaker 1: the sake of the vocal, we would try to shorten something,

646
00:38:45,716 --> 00:38:48,036
Speaker 1: and when you try to do an edit and it's

647
00:38:48,156 --> 00:38:52,436
Speaker 1: not the way you think it is, it creates havoc.

648
00:38:53,716 --> 00:38:55,636
Speaker 1: But we didn't. We didn't know it going in because

649
00:38:55,636 --> 00:38:58,236
Speaker 1: it doesn't sound like it doesn't sound like a weird groove.

650
00:38:58,276 --> 00:39:02,436
Speaker 1: It sounds like very straightforward. Yeah, until you try editing

651
00:39:02,436 --> 00:39:04,396
Speaker 1: it based on oh, the vocal is going to continue

652
00:39:04,396 --> 00:39:06,836
Speaker 1: hanging and it pauses. Then we come into the chorus.

653
00:39:07,356 --> 00:39:09,756
Speaker 1: Can't do it, you know, like it just it it

654
00:39:09,836 --> 00:39:12,996
Speaker 1: goes crazy. Yeah, And it doesn't make sense because it

655
00:39:13,076 --> 00:39:17,396
Speaker 1: seems so normal right until you try changing it. Right.

656
00:39:18,276 --> 00:39:21,516
Speaker 1: So yeah, and that's the same way that that Black

657
00:39:21,556 --> 00:39:25,156
Speaker 1: Heat song is. Their chorus is in four four, like

658
00:39:25,356 --> 00:39:27,156
Speaker 1: the rest of their songs in four four. It's just

659
00:39:27,196 --> 00:39:30,196
Speaker 1: that verse groove that's in seven And that's the way

660
00:39:30,196 --> 00:39:33,316
Speaker 1: our song wound up being as well. So really, you know,

661
00:39:33,996 --> 00:39:36,316
Speaker 1: Fleet hadn't heard the Black Heat song. I just knew

662
00:39:36,316 --> 00:39:38,476
Speaker 1: it it just the second I heard him come in

663
00:39:38,476 --> 00:39:41,036
Speaker 1: with a funk thing in seven four. I just thought

664
00:39:41,076 --> 00:39:48,396
Speaker 1: of that song and yeah, so it might be kind

665
00:39:48,396 --> 00:40:14,036
Speaker 1: of hard to play him this guitar, But yeah, was

666
00:40:14,076 --> 00:40:18,916
Speaker 1: it obvious to you that the in the chorus there's

667
00:40:18,956 --> 00:40:22,676
Speaker 1: an a half and a behalf, that the behalf would

668
00:40:22,676 --> 00:40:25,356
Speaker 1: be the lower half instead of starting with the behalf

669
00:40:25,356 --> 00:40:28,236
Speaker 1: and men doing me vocal. No, in what you just played,

670
00:40:29,036 --> 00:40:43,516
Speaker 1: not just an intonations that great, but oh yeah, that's

671
00:40:43,556 --> 00:40:54,596
Speaker 1: the way I do it. It's like, is that what

672
00:40:54,636 --> 00:40:58,076
Speaker 1: you're talking about? I think so right. I'm just you know,

673
00:40:58,956 --> 00:41:01,556
Speaker 1: I think ever since, by the way, time, like when

674
00:41:01,556 --> 00:41:06,556
Speaker 1: I write chord progressions, I'm thinking of it as almost

675
00:41:06,596 --> 00:41:10,116
Speaker 1: as if it were voices in harmony. Like so it's

676
00:41:10,316 --> 00:41:13,156
Speaker 1: it's there's a melody a lot of the time in

677
00:41:13,196 --> 00:41:16,196
Speaker 1: there that's being implied, you know, like when I play

678
00:41:16,276 --> 00:41:19,556
Speaker 1: that solo at the end, Yeah, I'm just playing what

679
00:41:19,676 --> 00:41:22,356
Speaker 1: I hear is being the melody that's already implied in

680
00:41:22,396 --> 00:41:25,676
Speaker 1: the chord progression. It's just you're hearing it with other notes,

681
00:41:25,716 --> 00:41:27,796
Speaker 1: so it so you don't hear it the same way.

682
00:41:28,436 --> 00:41:32,076
Speaker 1: But one of the ways that that heavy metal, you know,

683
00:41:32,156 --> 00:41:34,676
Speaker 1: Eddie van Halen playing wound up influencing, by the way,

684
00:41:35,116 --> 00:41:37,836
Speaker 1: was because there's a lot of chords on there where

685
00:41:37,836 --> 00:41:41,516
Speaker 1: I'm doing really difficult stretches to do everything I'm trying

686
00:41:41,516 --> 00:41:44,076
Speaker 1: to do between the chord and the melody that's weaving

687
00:41:44,156 --> 00:41:47,316
Speaker 1: in and out of the chord, and so there's a

688
00:41:47,316 --> 00:41:50,836
Speaker 1: lot of stuff that's like challenging guitar. Wise, if somebody

689
00:41:50,916 --> 00:41:53,876
Speaker 1: who doesn't play guitar hurt it, they or even somebody

690
00:41:53,876 --> 00:41:55,756
Speaker 1: who does play guitar, you might not think of it

691
00:41:55,756 --> 00:41:58,156
Speaker 1: as something that sounds difficult to play, but it's actually

692
00:41:58,156 --> 00:42:01,236
Speaker 1: a really awkward stretch, which edievan Halen was known for.

693
00:42:01,356 --> 00:42:03,436
Speaker 1: But it sounds like he's doing a big stretch because

694
00:42:03,436 --> 00:42:06,596
Speaker 1: he's doing sort of fancy lead playing and stuff. But

695
00:42:07,156 --> 00:42:09,796
Speaker 1: so to me that that chord progression is just sort

696
00:42:09,836 --> 00:42:14,396
Speaker 1: of me hearing chords more like a group of melodies

697
00:42:14,436 --> 00:42:18,276
Speaker 1: as opposed to a chord progression. So like if you

698
00:42:18,356 --> 00:42:23,076
Speaker 1: broke it down, it's a pretty simple common chord progression.

699
00:42:23,676 --> 00:42:27,516
Speaker 1: But between the ways that I'm inverting the chords and

700
00:42:28,076 --> 00:42:30,396
Speaker 1: the fact that Flees playing notes in the bass that

701
00:42:30,516 --> 00:42:33,756
Speaker 1: aren't that wouldn't normally be the notes that the bass

702
00:42:33,836 --> 00:42:37,956
Speaker 1: would do on those chords, a person with a good

703
00:42:37,956 --> 00:42:41,796
Speaker 1: ear for chords like me wouldn't necessarily know what they're

704
00:42:41,796 --> 00:42:46,516
Speaker 1: hearing because inversions are the thing that sort of an inversion,

705
00:42:46,556 --> 00:42:49,596
Speaker 1: meaning you turn the chord around. The lowest note in

706
00:42:49,676 --> 00:42:51,596
Speaker 1: the name of the chord isn't the lowest note in

707
00:42:51,636 --> 00:42:54,556
Speaker 1: the chord anymore. Some other note is the lowest note.

708
00:42:54,676 --> 00:42:57,276
Speaker 1: So it throws your ear off because it's like it's

709
00:42:57,316 --> 00:43:00,636
Speaker 1: like sliding let's say half an octave. If you could

710
00:43:00,636 --> 00:43:02,116
Speaker 1: play a chord in one octave, or you could play

711
00:43:02,156 --> 00:43:04,796
Speaker 1: it in an octave up, you're playing it in between

712
00:43:04,836 --> 00:43:08,956
Speaker 1: those two in between exactly. So like and so consequently,

713
00:43:09,276 --> 00:43:13,516
Speaker 1: with that kind of thinking, you can do you can

714
00:43:13,596 --> 00:43:18,196
Speaker 1: play chords that are actually far apart, but play them

715
00:43:18,556 --> 00:43:20,396
Speaker 1: so they sound like they're right next to each other.

716
00:43:20,516 --> 00:43:31,436
Speaker 1: So like if I went that actual if you went

717
00:43:31,516 --> 00:43:34,836
Speaker 1: by the chord name and just played the roots in

718
00:43:34,956 --> 00:43:48,636
Speaker 1: the right way, that would be like that's with no inversion,

719
00:43:48,716 --> 00:43:54,556
Speaker 1: but doing an inversion right next to each other. Yeah,

720
00:43:54,556 --> 00:43:57,276
Speaker 1: they're right next to each other. So you play little

721
00:43:57,276 --> 00:44:00,956
Speaker 1: games with that between. You can often do things like

722
00:44:00,996 --> 00:44:03,396
Speaker 1: the base stays on one note, but the chord is

723
00:44:03,436 --> 00:44:05,916
Speaker 1: moving because those two chords happen to have a note

724
00:44:05,956 --> 00:44:07,876
Speaker 1: in common, and it works for the base to stay

725
00:44:07,876 --> 00:44:10,276
Speaker 1: on one note. Even though the chord you're changing, just

726
00:44:10,436 --> 00:44:13,516
Speaker 1: little like tricks like that. That's what I noticed. The

727
00:44:13,556 --> 00:44:15,636
Speaker 1: Beatles did that a lot when we were making by

728
00:44:15,676 --> 00:44:17,916
Speaker 1: the Way, and so I just started getting really into

729
00:44:17,996 --> 00:44:21,036
Speaker 1: like sort of tricking the ear of the listener by

730
00:44:22,196 --> 00:44:26,076
Speaker 1: being clever with inversions and stuff. Super cool. I can't

731
00:44:26,116 --> 00:44:28,556
Speaker 1: remember the working title, but there's song on the record

732
00:44:28,556 --> 00:44:35,756
Speaker 1: called Roulette. Do you remember what the working title was? Yeah? Yeah,

733
00:44:35,756 --> 00:44:38,836
Speaker 1: So Roulette was that one that started here in the

734
00:44:38,996 --> 00:44:41,956
Speaker 1: studio in the other room where me and Chad and

735
00:44:42,356 --> 00:44:46,116
Speaker 1: Flee were playing and Flee's just playing like a funk baseline,

736
00:44:46,196 --> 00:44:52,836
Speaker 1: like he's playing some kind of funk groove, and then

737
00:44:52,876 --> 00:45:12,236
Speaker 1: I was going, yeah, so this one came out of

738
00:45:12,236 --> 00:45:14,436
Speaker 1: a jam in the room. Yeah. So we were jamming

739
00:45:14,436 --> 00:45:15,996
Speaker 1: and Anthony came up to me and he was like,

740
00:45:16,236 --> 00:45:18,436
Speaker 1: what are those chords that you're doing, And I said,

741
00:45:19,596 --> 00:45:24,356
Speaker 1: just Genesis type chords because that chord sequence that I'm doing.

742
00:45:25,636 --> 00:45:27,556
Speaker 1: The reason I'm able to write something like that is

743
00:45:27,556 --> 00:45:30,636
Speaker 1: because I've done a thorough study of Tony Bank's keyboard

744
00:45:30,676 --> 00:45:34,796
Speaker 1: playing in Genesis, and I know his style pretty well.

745
00:45:35,196 --> 00:45:39,956
Speaker 1: And so anytime I want, if somebody's playing, if the

746
00:45:39,956 --> 00:45:43,436
Speaker 1: bass is just staying in one basic tonality. If the

747
00:45:43,436 --> 00:45:47,076
Speaker 1: bass is just playing in one mode one key, I

748
00:45:47,116 --> 00:45:50,156
Speaker 1: can improvise chords all over the place really fast, and

749
00:45:50,276 --> 00:45:54,596
Speaker 1: stuff that modulate and that most guitar players wouldn't play

750
00:45:54,596 --> 00:45:57,116
Speaker 1: because it really is a keyboard technique. It's a keyboard. Yeah,

751
00:45:57,116 --> 00:45:59,676
Speaker 1: it's it's the mind of somebody who knows classical music

752
00:45:59,756 --> 00:46:05,596
Speaker 1: really well and understands that like like most guitar players,

753
00:46:05,756 --> 00:46:08,476
Speaker 1: you would never think if the bass players playing because

754
00:46:08,596 --> 00:46:11,356
Speaker 1: that chord regression actually has a G major chord in it,

755
00:46:11,876 --> 00:46:13,916
Speaker 1: you just wouldn't think if the bass players centered on

756
00:46:14,036 --> 00:46:17,676
Speaker 1: F sharp, you just wouldn't think that it's one of

757
00:46:17,716 --> 00:46:20,236
Speaker 1: the chords that you could play. But if it's got

758
00:46:20,236 --> 00:46:27,596
Speaker 1: a flow to it and it resolves in the right way,

759
00:46:28,036 --> 00:46:30,756
Speaker 1: you can, you know. And that's what Tony Banks playing

760
00:46:30,796 --> 00:46:33,596
Speaker 1: has taught me that. You know. That's even cooler is

761
00:46:33,596 --> 00:46:40,276
Speaker 1: that it's classical knowledge through a keyboard player transposed into guitar. Yeah.

762
00:46:40,316 --> 00:46:43,676
Speaker 1: I understand classical music better from learning Tony Banks stuff

763
00:46:43,676 --> 00:46:47,076
Speaker 1: than I do from any others. So it's amazing. Yeah,

764
00:46:47,596 --> 00:46:52,636
Speaker 1: he makes those types of modulations so apparently simple sounding,

765
00:46:52,756 --> 00:46:55,596
Speaker 1: you know, And do you think he's doing it if

766
00:46:55,596 --> 00:47:00,236
Speaker 1: you're guessing that it's an intellectual thought or it's just

767
00:47:01,116 --> 00:47:03,276
Speaker 1: this sounds good, Like I just know how to play,

768
00:47:03,276 --> 00:47:04,916
Speaker 1: and this is what I would play. What do you

769
00:47:04,956 --> 00:47:08,996
Speaker 1: think it's like a computation. Well, he definitely developed the

770
00:47:09,276 --> 00:47:12,876
Speaker 1: style gradually. Like the very first Genesis singles, he's not

771
00:47:12,996 --> 00:47:16,196
Speaker 1: playing that way yet. He was really into Keith Emerson

772
00:47:16,316 --> 00:47:19,916
Speaker 1: from The Nice who was doing classical things the in

773
00:47:19,996 --> 00:47:23,116
Speaker 1: like sixty six, he was starting to incord sixty seven.

774
00:47:23,116 --> 00:47:26,476
Speaker 1: He was starting to incorporate like classical ideas into a

775
00:47:26,556 --> 00:47:29,596
Speaker 1: rock framework, and Tony Banks just wound up with his

776
00:47:29,636 --> 00:47:33,356
Speaker 1: own way of doing it. But they Genesis had like

777
00:47:33,996 --> 00:47:36,596
Speaker 1: for a while they're progressive band, but then they had

778
00:47:36,676 --> 00:47:39,676
Speaker 1: hits where he's still playing in that kind of style.

779
00:47:39,956 --> 00:47:42,916
Speaker 1: He just really figured out how to Of all the

780
00:47:42,956 --> 00:47:47,236
Speaker 1: progressive bands, Genesis I think made the best pop music

781
00:47:47,276 --> 00:47:50,596
Speaker 1: when they decided to go pop, you know, And he

782
00:47:50,716 --> 00:47:53,316
Speaker 1: just had a really good mind for figuring out how

783
00:47:53,316 --> 00:47:56,356
Speaker 1: to simplify things. They're very complicated, you know, or that

784
00:47:57,116 --> 00:47:59,276
Speaker 1: used to be complicated before he did what he did

785
00:47:59,276 --> 00:48:01,756
Speaker 1: to them, you know, like something like they had to

786
00:48:01,836 --> 00:48:04,036
Speaker 1: hit this song called Turn It On Again that goes,

787
00:48:10,196 --> 00:48:12,996
Speaker 1: he's changing keys, but the bass isn't changing keys. It's

788
00:48:13,036 --> 00:48:16,596
Speaker 1: so fucking cool and and uh yeah, it's just an

789
00:48:16,596 --> 00:48:19,036
Speaker 1: example when you that songs in an odd time signature,

790
00:48:19,956 --> 00:48:23,316
Speaker 1: the keyboards modulating the bass is not. This is a

791
00:48:23,356 --> 00:48:24,836
Speaker 1: huge hit. When I was a kid, when I was

792
00:48:24,876 --> 00:48:26,516
Speaker 1: like twelve years old, I heard it on the radio.

793
00:48:26,556 --> 00:48:29,276
Speaker 1: I was like, whoa, what is that feeling? You know,

794
00:48:29,316 --> 00:48:31,596
Speaker 1: I never heard that feeling in a song before. At

795
00:48:31,596 --> 00:48:33,756
Speaker 1: the same time, my dad was a classical pianist, so

796
00:48:33,876 --> 00:48:36,956
Speaker 1: like I had a reference point for it, you know.

797
00:48:37,796 --> 00:48:41,316
Speaker 1: But that music spoke to just everybody. You know. It's

798
00:48:41,396 --> 00:48:45,956
Speaker 1: interesting when the complex can be presented in a simple

799
00:48:45,996 --> 00:48:50,756
Speaker 1: form and compete with something simple. Yeah, do you know

800
00:48:50,796 --> 00:48:54,716
Speaker 1: what I mean? It's it's it's interesting. And I again,

801
00:48:54,756 --> 00:48:56,876
Speaker 1: I don't I wonder if the people who are making

802
00:48:56,916 --> 00:49:01,876
Speaker 1: this are trying to make something complex sounds simple, or

803
00:49:01,916 --> 00:49:03,716
Speaker 1: if they're just playing music the way they hear it. No,

804
00:49:03,836 --> 00:49:07,396
Speaker 1: because he was Janesis made an effort to simplify, like

805
00:49:07,556 --> 00:49:10,156
Speaker 1: because because when Peter Gabriel was in the group, and

806
00:49:10,196 --> 00:49:12,636
Speaker 1: for the first couple albums after Peter Gabriel left the group,

807
00:49:13,076 --> 00:49:16,596
Speaker 1: their music is intentionally complex. And the songs are long

808
00:49:16,716 --> 00:49:21,716
Speaker 1: and and there's no there's no verse chorus verse type things.

809
00:49:21,956 --> 00:49:24,596
Speaker 1: Very rarely is there. And they just made an effort

810
00:49:24,636 --> 00:49:29,796
Speaker 1: to simplify. But he retained a lot of these aspects

811
00:49:29,836 --> 00:49:33,556
Speaker 1: of the essence of his style and he just made

812
00:49:33,556 --> 00:49:36,236
Speaker 1: it work as pop music. But there was definitely a

813
00:49:36,316 --> 00:49:39,196
Speaker 1: clear it was definitely clear that he at that point

814
00:49:39,196 --> 00:49:41,316
Speaker 1: he made an effort to simplify. But even in the

815
00:49:41,356 --> 00:49:46,116
Speaker 1: progressive stuff, compared to Beethoven or something, it's it's simple.

816
00:49:46,596 --> 00:49:49,156
Speaker 1: And he probably doesn't I get the impression he doesn't

817
00:49:49,156 --> 00:49:52,476
Speaker 1: think of his knowledge of classical music as being particularly broad.

818
00:49:52,596 --> 00:49:55,276
Speaker 1: But I think, you know, compared to someone like me,

819
00:49:55,316 --> 00:50:00,236
Speaker 1: it is so. Yeah, all through that early Genesis and

820
00:50:00,356 --> 00:50:03,116
Speaker 1: I say early, I mean Peter Gabriel era Genesis stuff,

821
00:50:03,796 --> 00:50:06,076
Speaker 1: he's doing things in that same style as he does

822
00:50:06,076 --> 00:50:08,876
Speaker 1: on that Turned It On Again song. It's just but

823
00:50:09,556 --> 00:50:13,396
Speaker 1: more long winded. It's not not as repetitive. It goes further.

824
00:50:14,116 --> 00:50:16,076
Speaker 1: We'll be back with the rest of Rix conversation with

825
00:50:16,156 --> 00:50:21,636
Speaker 1: John for Shante after the break. We're back with the

826
00:50:21,676 --> 00:50:24,916
Speaker 1: rest of Rix Conversation with John for Shante. We'll just

827
00:50:24,916 --> 00:50:26,756
Speaker 1: do one more song and it's not it's not a

828
00:50:26,796 --> 00:50:29,476
Speaker 1: recent song, but it's so I always loved of yours.

829
00:50:30,076 --> 00:50:36,396
Speaker 1: I don't even know where it is that well, we

830
00:50:36,396 --> 00:50:37,916
Speaker 1: don't have to go over the chorus of that, but

831
00:50:37,956 --> 00:50:41,556
Speaker 1: that Roulette is Lett has that chorus, but show me,

832
00:50:41,596 --> 00:51:17,636
Speaker 1: show me um. That's another kind of modulation thing. So

833
00:51:18,196 --> 00:51:22,836
Speaker 1: like the chorus, both halves of it and differently, but

834
00:51:23,076 --> 00:51:27,356
Speaker 1: both feel like modulations. You think you're just doing a

835
00:51:27,916 --> 00:51:31,276
Speaker 1: real simple chord progression that you've heard a zillion times,

836
00:51:32,476 --> 00:51:37,516
Speaker 1: but you don't expect this chord to come in and

837
00:51:37,636 --> 00:51:39,756
Speaker 1: that takes it somewhere else. That also you've heard a

838
00:51:39,756 --> 00:51:44,476
Speaker 1: million times and then and then, but you don't expect

839
00:51:44,516 --> 00:51:48,716
Speaker 1: them to be together, you know, and then and then

840
00:51:48,716 --> 00:51:57,516
Speaker 1: this time it ends differently. So again it's because modulation

841
00:51:57,916 --> 00:52:01,396
Speaker 1: is just when I'm writing chord progressions, it's what's interesting

842
00:52:01,436 --> 00:52:03,276
Speaker 1: to me, and especially that you can do it in

843
00:52:03,276 --> 00:52:06,436
Speaker 1: a way that doesn't sound like you're trying to be fancy.

844
00:52:06,556 --> 00:52:08,156
Speaker 1: David Bowie used to do it all the time and

845
00:52:08,276 --> 00:52:11,316
Speaker 1: really in ways we're really simple, and so a lot

846
00:52:11,356 --> 00:52:13,676
Speaker 1: of the time when I write songs, that's what's going

847
00:52:13,756 --> 00:52:18,156
Speaker 1: to make me think that something's interesting. It adds a

848
00:52:18,236 --> 00:52:23,076
Speaker 1: dramatic layer to it. Right, that's really interesting. Reminds me

849
00:52:23,156 --> 00:52:28,316
Speaker 1: of like sixties instrumental music. Yeah, and at the same time,

850
00:52:28,596 --> 00:52:32,196
Speaker 1: like punk songs because they're all major chords a lot

851
00:52:32,236 --> 00:52:36,756
Speaker 1: of the time, they're often doing modulations within themselves just

852
00:52:36,796 --> 00:52:39,356
Speaker 1: because of which major chords they're sticking next to each other.

853
00:52:39,436 --> 00:52:41,996
Speaker 1: Like it's not like it's just a thing coming from

854
00:52:42,036 --> 00:52:46,196
Speaker 1: progressive rock, and people who understand classical music like like

855
00:52:46,196 --> 00:52:57,356
Speaker 1: like that has a modulation. You would expect the like that,

856
00:52:58,556 --> 00:53:00,236
Speaker 1: you would expect the G to be a natural G.

857
00:53:00,636 --> 00:53:05,956
Speaker 1: But because it goes that's a modulation right there. It's

858
00:53:06,156 --> 00:53:08,916
Speaker 1: that last chord is a little like unexpected just because

859
00:53:09,476 --> 00:53:12,916
Speaker 1: that's a remote song there. But I'm just showing how

860
00:53:12,956 --> 00:53:17,796
Speaker 1: like three simple punk chords still have have the modulation

861
00:53:19,516 --> 00:53:22,356
Speaker 1: and then you can do it in really simple ways. Yeah.

862
00:53:22,396 --> 00:53:24,316
Speaker 1: The other song I wanted to ask you about was

863
00:53:24,396 --> 00:53:28,836
Speaker 1: the death song. Oh my song, dying song. Yeah right,

864
00:53:29,516 --> 00:53:47,796
Speaker 1: it's so good. Uh yeah, again, it's because I'm listening

865
00:53:47,836 --> 00:53:51,076
Speaker 1: to the Beatles. I'll yeah that that I'm that I'm

866
00:53:51,116 --> 00:53:57,596
Speaker 1: seeing how to go take these these chords that were

867
00:53:57,636 --> 00:54:00,556
Speaker 1: strange that I might not have understood, how to find

868
00:54:00,556 --> 00:54:03,196
Speaker 1: a context for Before that, I was starting to like

869
00:54:04,036 --> 00:54:06,676
Speaker 1: see how to use them. They sound normal when you

870
00:54:06,756 --> 00:54:09,716
Speaker 1: hear the flow of them. But there was a time

871
00:54:09,756 --> 00:54:12,236
Speaker 1: when I would just be like, I don't know what

872
00:54:12,276 --> 00:54:15,356
Speaker 1: to do with that chord. You know, After a while

873
00:54:15,396 --> 00:54:17,756
Speaker 1: I understood, Oh, okay, if if you're in a key

874
00:54:18,076 --> 00:54:21,036
Speaker 1: the whole step lower than that and you're just playing

875
00:54:21,036 --> 00:54:24,516
Speaker 1: a minor kind of predictable thing, that chord can work,

876
00:54:25,756 --> 00:54:30,436
Speaker 1: and then augmented chord can be. Yeah. I don't know.

877
00:54:30,516 --> 00:54:33,996
Speaker 1: I just that's that's written at the same time, I

878
00:54:34,036 --> 00:54:37,156
Speaker 1: guess is By the Way. It was like a four

879
00:54:37,196 --> 00:54:39,956
Speaker 1: track recording I'd made at that time, and you tried

880
00:54:39,956 --> 00:54:42,756
Speaker 1: to get the Chili Peppers to do it, and I

881
00:54:42,756 --> 00:54:45,836
Speaker 1: would and I wouldn't do it. Yeah. Yeah, So we

882
00:54:45,836 --> 00:54:48,476
Speaker 1: were so Yeah, we were in the studio for By

883
00:54:48,516 --> 00:54:51,436
Speaker 1: the Way, and you were like, why don't we do

884
00:54:51,476 --> 00:54:53,956
Speaker 1: it in the band? And I told you, like, no,

885
00:54:54,076 --> 00:54:58,716
Speaker 1: I have to keep my solo music separate from the band. Yeah,

886
00:54:58,756 --> 00:55:01,196
Speaker 1: like like yeah, because it was like, you wrote this

887
00:55:01,236 --> 00:55:04,436
Speaker 1: beautiful song, you write beautiful songs for the band. I

888
00:55:04,476 --> 00:55:08,796
Speaker 1: don't understand. Yeah no, But I, for some reason, I

889
00:55:08,836 --> 00:55:11,036
Speaker 1: had a clear in my head that when I when

890
00:55:11,036 --> 00:55:14,316
Speaker 1: I rejoined that, Like, once I realized that I could

891
00:55:14,396 --> 00:55:17,316
Speaker 1: write songs again, I was like, I'm going to keep

892
00:55:17,636 --> 00:55:21,036
Speaker 1: my solo music separate, like stuff that I write for

893
00:55:21,036 --> 00:55:24,916
Speaker 1: the band, Like basically it was anything I wrote lyrics

894
00:55:24,956 --> 00:55:29,356
Speaker 1: to was me my music, I see. So if I

895
00:55:29,436 --> 00:55:33,356
Speaker 1: was inspired to write lyrics to something, I considered that

896
00:55:33,436 --> 00:55:36,516
Speaker 1: my music. And if the idea was basically just a

897
00:55:36,596 --> 00:55:39,116
Speaker 1: chord progression or just a melody or just a riff

898
00:55:39,236 --> 00:55:42,716
Speaker 1: or whatever, then that was for the band. And if

899
00:55:42,716 --> 00:55:46,916
Speaker 1: the band was writing a record, I generally wasn't writing lyrics,

900
00:55:47,116 --> 00:55:49,836
Speaker 1: Like lyrics were something I more did on tour, right,

901
00:55:50,116 --> 00:55:53,476
Speaker 1: like like because I wanted to make sure that the

902
00:55:53,476 --> 00:55:56,996
Speaker 1: band got my best stuff, you know, while we were

903
00:55:57,076 --> 00:56:01,956
Speaker 1: writing a record. So but that was written prior to

904
00:56:02,516 --> 00:56:05,276
Speaker 1: having written, by the way I guess, or I was

905
00:56:05,316 --> 00:56:07,236
Speaker 1: also curious to see what the band version would sound like,

906
00:56:07,276 --> 00:56:08,916
Speaker 1: which I never got to hear. Yeah, I mean I

907
00:56:09,636 --> 00:56:11,076
Speaker 1: would be. It was sung in a kind of a

908
00:56:11,156 --> 00:56:13,636
Speaker 1: high falsetto voice, so it didn't really seem like something

909
00:56:13,636 --> 00:56:15,596
Speaker 1: that would be natural for Anthony and you were saying,

910
00:56:15,596 --> 00:56:18,436
Speaker 1: like switching to a different key, But it wasn't just

911
00:56:18,436 --> 00:56:20,356
Speaker 1: just like how I told you there was those certain

912
00:56:20,956 --> 00:56:24,836
Speaker 1: bands that I didn't play along with their stuff that

913
00:56:24,916 --> 00:56:26,596
Speaker 1: wasn't so much that I thought it would be a

914
00:56:26,596 --> 00:56:29,236
Speaker 1: good idea, to be honest, I was superstitious about it,

915
00:56:29,796 --> 00:56:32,996
Speaker 1: like like it came to me that it would be

916
00:56:33,076 --> 00:56:35,076
Speaker 1: a good idea to have a couple of things that

917
00:56:35,516 --> 00:56:37,756
Speaker 1: that you never play along with, since you play along

918
00:56:37,796 --> 00:56:41,276
Speaker 1: with everything that you like, just just leave that breathing

919
00:56:41,356 --> 00:56:45,316
Speaker 1: room for And it just felt like something inside me

920
00:56:45,436 --> 00:56:47,956
Speaker 1: was telling me to do that completely. And it was

921
00:56:47,996 --> 00:56:50,116
Speaker 1: the same with my solo music. It was like, to

922
00:56:50,236 --> 00:56:52,836
Speaker 1: keep your head on straight. You should have this music

923
00:56:52,916 --> 00:56:55,556
Speaker 1: that you do that's not a part of this machine.

924
00:56:55,756 --> 00:56:59,516
Speaker 1: You know, that's not a part of this personality, these personalities,

925
00:56:59,556 --> 00:57:01,636
Speaker 1: that's not a part of their career, that's not a

926
00:57:01,676 --> 00:57:03,596
Speaker 1: part of you know that you should have a side

927
00:57:03,596 --> 00:57:09,796
Speaker 1: of your musicality that's separate from all that. And I

928
00:57:09,836 --> 00:57:12,756
Speaker 1: think like in retrospect, it turned out to be a

929
00:57:12,796 --> 00:57:15,556
Speaker 1: good thing because I had I had a writing path

930
00:57:16,236 --> 00:57:19,716
Speaker 1: that never got it never got like mushed up with

931
00:57:19,756 --> 00:57:22,636
Speaker 1: the band and the way like it's like some people

932
00:57:23,316 --> 00:57:26,716
Speaker 1: like when the when the songwriter sort of is the band, Yeah,

933
00:57:26,556 --> 00:57:30,876
Speaker 1: you never you never got lost in the band. Yeah, exactly.

934
00:57:30,876 --> 00:57:32,676
Speaker 1: I think there was a fear of that, and there

935
00:57:32,756 --> 00:57:34,596
Speaker 1: was the desire to always know that I had a

936
00:57:34,636 --> 00:57:37,156
Speaker 1: place that I could go that didn't have anything to

937
00:57:37,156 --> 00:57:40,076
Speaker 1: do with with all the things around being in a

938
00:57:40,076 --> 00:57:42,596
Speaker 1: popular band. It was like a it was like having

939
00:57:42,596 --> 00:57:44,996
Speaker 1: a having a little sacred temple or something, you know,

940
00:57:45,196 --> 00:57:47,996
Speaker 1: just and so like you could you could have never

941
00:57:48,076 --> 00:57:50,316
Speaker 1: talked like you tried, but like you would have never

942
00:57:50,356 --> 00:57:52,796
Speaker 1: no matter how much you tried, no matter how good

943
00:57:52,796 --> 00:57:55,596
Speaker 1: your arguments would have been, nothing would have overridden. No,

944
00:57:55,716 --> 00:57:58,316
Speaker 1: I'm glad, No, I'm glad that that's the case. Yeah,

945
00:57:58,316 --> 00:58:00,476
Speaker 1: because I've been able to you know, not everybody who's

946
00:58:00,476 --> 00:58:02,156
Speaker 1: in a band's able to do that. I've been able

947
00:58:02,196 --> 00:58:05,276
Speaker 1: to have a sort of a musical several musical lives

948
00:58:05,276 --> 00:58:10,636
Speaker 1: completely separate from the band, without that ever interfere with

949
00:58:10,716 --> 00:58:12,436
Speaker 1: what I do with the band. I'm always able to

950
00:58:12,876 --> 00:58:15,756
Speaker 1: when I am playing with the band, I'm completely like

951
00:58:16,236 --> 00:58:18,276
Speaker 1: immersed in it. And it feels like now there have

952
00:58:18,356 --> 00:58:22,596
Speaker 1: been cases where like my Cigarette is a song that

953
00:58:22,716 --> 00:58:27,676
Speaker 1: started as a solo piece of music. I think that's

954
00:58:27,716 --> 00:58:31,516
Speaker 1: actually flee song it is. Yeah, so how did that start?

955
00:58:32,076 --> 00:58:34,076
Speaker 1: You remember the story of that. Flee made a drum

956
00:58:34,116 --> 00:58:36,876
Speaker 1: beat on his phone and then he played bass to it,

957
00:58:37,116 --> 00:58:41,196
Speaker 1: and he played a SyncE. He played a synthesizer over it,

958
00:58:42,076 --> 00:58:46,316
Speaker 1: and so cool and so yeah. Because my plan was

959
00:58:46,356 --> 00:58:49,436
Speaker 1: to have no drum machines, no synthesizers, I just wanted

960
00:58:49,476 --> 00:58:52,956
Speaker 1: to play guitar. Fleet brought that in and when we

961
00:58:52,996 --> 00:58:56,196
Speaker 1: did in the studio, I programmed all the drum machines

962
00:58:56,196 --> 00:59:00,676
Speaker 1: and synths and stuff. But I'm basically doing just the

963
00:59:00,756 --> 00:59:03,276
Speaker 1: better sounding version of what fleas doing, kind of like

964
00:59:03,276 --> 00:59:06,516
Speaker 1: what we were saying about Depeche Modes earlier demos. It's

965
00:59:06,556 --> 00:59:10,996
Speaker 1: just like I just programmed it more skillfully, like like, uh,

966
00:59:11,236 --> 00:59:14,836
Speaker 1: made better sense sounds and stuff. But Flee fully played

967
00:59:14,876 --> 00:59:17,236
Speaker 1: it on my d X seven, and I was turning

968
00:59:17,236 --> 00:59:19,436
Speaker 1: the sliders because I had I had made a sound

969
00:59:19,476 --> 00:59:22,516
Speaker 1: that I could sort of modulate in subtle ways while

970
00:59:22,596 --> 00:59:25,356
Speaker 1: while he was playing, so we were actually like both

971
00:59:25,396 --> 00:59:27,196
Speaker 1: at the keyboard at the same time, him playing it

972
00:59:27,236 --> 00:59:30,196
Speaker 1: and removing the sliders. When he did the basic U,

973
00:59:31,316 --> 00:59:33,516
Speaker 1: what is it that's my son's favorite solo on the

974
00:59:33,516 --> 00:59:51,156
Speaker 1: album something like that. Yeah, and so so yeah, so

975
00:59:51,276 --> 00:59:55,316
Speaker 1: like it's such a funny song. It's such an unusual song. Yeah,

976
00:59:55,356 --> 00:59:57,516
Speaker 1: some of the sense overdubs were things I thought of,

977
00:59:57,596 --> 00:59:59,676
Speaker 1: But even some of the overdubs were things like Flee

978
00:59:59,796 --> 01:00:01,796
Speaker 1: was sitting here and he was like, what if you

979
01:00:01,876 --> 01:00:05,876
Speaker 1: just have a part that does straight rhythm just one note?

980
01:00:06,676 --> 01:00:09,476
Speaker 1: And then I converted that into a into a synth

981
01:00:09,516 --> 01:00:12,996
Speaker 1: part on the modular. But yeah, there were other drum

982
01:00:12,996 --> 01:00:18,116
Speaker 1: machine things like Drown or the drummer started. It used

983
01:00:18,116 --> 01:00:21,036
Speaker 1: to be called Drown, and that started with drum machines

984
01:00:21,196 --> 01:00:23,956
Speaker 1: with at my house with me doing it and the

985
01:00:24,076 --> 01:00:26,876
Speaker 1: slow Rodeo song, and the Slow Rodeo one also was

986
01:00:26,996 --> 01:00:29,316
Speaker 1: drum machine at my house. But my studio got torn

987
01:00:29,356 --> 01:00:31,076
Speaker 1: apart because I had to move out of my house

988
01:00:31,516 --> 01:00:33,596
Speaker 1: just a couple of months into the writing. So I

989
01:00:33,636 --> 01:00:35,356
Speaker 1: thought we would do a lot more of that, like

990
01:00:35,476 --> 01:00:39,276
Speaker 1: do like weird electronic even after we'd written songs. My

991
01:00:39,356 --> 01:00:42,276
Speaker 1: idea was that we would do a weird electronic version

992
01:00:42,316 --> 01:00:44,476
Speaker 1: of it just to see what happens. Yeah, and it

993
01:00:44,516 --> 01:00:46,756
Speaker 1: could even be a part of the song. Yeah, that

994
01:00:47,076 --> 01:00:49,116
Speaker 1: you never know what you could wind up doing with

995
01:00:49,236 --> 01:00:52,796
Speaker 1: make weird electronic demos. But we wound up. I wound

996
01:00:52,876 --> 01:00:55,436
Speaker 1: up being basically homeless for the whole time we were

997
01:00:55,476 --> 01:00:58,236
Speaker 1: making the records, so I didn't really have a studio.

998
01:00:58,276 --> 01:01:01,516
Speaker 1: So I think those are the only songs that Black

999
01:01:01,556 --> 01:01:05,556
Speaker 1: Summer had a demo with a breakbeat did. Yeah, well,

1000
01:01:06,156 --> 01:01:07,716
Speaker 1: I don't think I ever heard that. Yeah, you heard

1001
01:01:07,756 --> 01:01:10,796
Speaker 1: it when we were recording it. We listened to it

1002
01:01:10,836 --> 01:01:13,316
Speaker 1: and you talked to Chat. We were talking. You talked

1003
01:01:13,356 --> 01:01:15,596
Speaker 1: to Chat about how to get the drums groove to

1004
01:01:15,716 --> 01:01:19,836
Speaker 1: be more like the break being cool. Yeah, no, no recollection.

1005
01:01:20,316 --> 01:01:23,036
Speaker 1: It's so funny. It's like it literally happens in the

1006
01:01:23,116 --> 01:01:25,196
Speaker 1: moment and then it's like it never happened. I think

1007
01:01:25,236 --> 01:01:27,956
Speaker 1: we realized we were playing it too fast. I think

1008
01:01:27,996 --> 01:01:30,316
Speaker 1: the demo made us realize that we had to get

1009
01:01:30,356 --> 01:01:33,156
Speaker 1: into a funkier groove with it. And it's not a

1010
01:01:33,196 --> 01:01:35,436
Speaker 1: funk song, but it needs to have a sort of

1011
01:01:35,436 --> 01:01:38,676
Speaker 1: a funk groove at the core of it. And I

1012
01:01:38,756 --> 01:01:41,996
Speaker 1: think also because we recorded like fifty songs, yeah, it

1013
01:01:42,036 --> 01:01:44,836
Speaker 1: was all blur. Yeah. Yeah. For me, I have these

1014
01:01:44,836 --> 01:01:47,676
Speaker 1: memories because I'd been living with them for longer than you. Like,

1015
01:01:47,676 --> 01:01:49,596
Speaker 1: Black Summer was the first thing I wrote for the

1016
01:01:50,476 --> 01:01:54,716
Speaker 1: but still, like fifty new songs, it's impossible to grasp. No,

1017
01:01:54,836 --> 01:01:56,836
Speaker 1: I couldn't get my head around each other. It was

1018
01:01:56,876 --> 01:02:01,156
Speaker 1: so weird because like normally making a record, even when

1019
01:02:01,156 --> 01:02:04,076
Speaker 1: we made Stadium where we had, you know, maybe thirty

1020
01:02:04,116 --> 01:02:06,636
Speaker 1: songs or something, I was able when I was playing

1021
01:02:06,636 --> 01:02:09,076
Speaker 1: guitar solos and overdubs to go, Okay, this will be

1022
01:02:09,196 --> 01:02:11,356
Speaker 1: the one that I do this little trick on. This

1023
01:02:11,396 --> 01:02:13,756
Speaker 1: will be the one that I play in this style on.

1024
01:02:13,956 --> 01:02:17,756
Speaker 1: You know, when when you have less songs, you can

1025
01:02:17,796 --> 01:02:20,196
Speaker 1: cover all your basses and you know, like, okay, I've

1026
01:02:20,236 --> 01:02:22,756
Speaker 1: I've done I've done this thing that I do on

1027
01:02:22,796 --> 01:02:24,556
Speaker 1: this one, I've done that thing that I do on

1028
01:02:24,596 --> 01:02:27,876
Speaker 1: this one. When with this album, there was no way

1029
01:02:27,916 --> 01:02:30,276
Speaker 1: for me to know what I had done. I couldn't

1030
01:02:30,276 --> 01:02:34,276
Speaker 1: tell if I'd even repeated myself, like I had to know.

1031
01:02:34,396 --> 01:02:38,956
Speaker 1: It's list so much information. Yeah, it's so much information. Yeah.

1032
01:02:38,996 --> 01:02:41,276
Speaker 1: I was really relieved when I realized I hadn't played

1033
01:02:41,276 --> 01:02:44,116
Speaker 1: the same solo on two songs, you know, or done

1034
01:02:44,156 --> 01:02:47,636
Speaker 1: the same riffs on two songs, because it's it's a

1035
01:02:48,716 --> 01:02:50,516
Speaker 1: It was just too many to have your head around

1036
01:02:50,516 --> 01:02:54,316
Speaker 1: it once. Yeah, it's amazing. I still can't believe Anthony

1037
01:02:54,356 --> 01:02:57,956
Speaker 1: wrote all those words. I know, I know. It was

1038
01:02:57,996 --> 01:03:04,076
Speaker 1: like forty eight tunes. Yeah, yeah, four or five normal albums. Yeah, yeah,

1039
01:03:04,116 --> 01:03:06,956
Speaker 1: that was done so much work and the words are great.

1040
01:03:07,076 --> 01:03:10,676
Speaker 1: He did so good. I kept acting him to stop,

1041
01:03:10,716 --> 01:03:15,156
Speaker 1: and I kept wanting to stop the writing process earlier. Yea,

1042
01:03:15,596 --> 01:03:18,196
Speaker 1: like thinking, I don't want to overwhelm and these are

1043
01:03:18,196 --> 01:03:20,476
Speaker 1: good songs. I want them to I want them to

1044
01:03:20,516 --> 01:03:22,916
Speaker 1: write lyrics to them. I don't want them to get overwhelmed.

1045
01:03:23,516 --> 01:03:26,236
Speaker 1: But we just kept writing more and more. Yeah. Yeah,

1046
01:03:26,276 --> 01:03:28,596
Speaker 1: I'm I'm a big proponent of keep writing because you

1047
01:03:28,676 --> 01:03:30,436
Speaker 1: never know, like you never know when the best song

1048
01:03:30,516 --> 01:03:33,556
Speaker 1: is going to come. So if you stop, it's like

1049
01:03:33,996 --> 01:03:37,236
Speaker 1: they don't always come. You know, you've never written this

1050
01:03:37,356 --> 01:03:40,836
Speaker 1: many songs before, right, so it's we know it doesn't

1051
01:03:40,836 --> 01:03:43,796
Speaker 1: always happen because it's never happened before. Yeah, but if

1052
01:03:43,836 --> 01:03:47,316
Speaker 1: they're coming, you gotta get them. Yeah. Whether you decide

1053
01:03:47,356 --> 01:03:50,076
Speaker 1: to use them now or not, it's fine, but when

1054
01:03:50,076 --> 01:03:53,516
Speaker 1: they're coming, you gotta get them. Yeah, you won't write

1055
01:03:53,556 --> 01:03:57,156
Speaker 1: the same songs that at another time. It's true, you'll

1056
01:03:57,196 --> 01:04:00,036
Speaker 1: never write those songs again. Yeah, it's something that's come

1057
01:04:00,076 --> 01:04:03,276
Speaker 1: from electronic music for me though, Like I used to

1058
01:04:03,356 --> 01:04:06,036
Speaker 1: think of it like you're talking about, you know, And

1059
01:04:06,116 --> 01:04:09,876
Speaker 1: now I just I think of it like kind of

1060
01:04:09,876 --> 01:04:11,876
Speaker 1: like what we started talking about, Like I can make

1061
01:04:11,916 --> 01:04:15,316
Speaker 1: songs to order, you know, like when Anthony liked that

1062
01:04:15,316 --> 01:04:19,156
Speaker 1: that one chord progression that we used for Roulette, just

1063
01:04:19,916 --> 01:04:21,956
Speaker 1: went my room that night and wrote a chorus to it,

1064
01:04:22,116 --> 01:04:24,796
Speaker 1: or you know, or or when when I was thinking,

1065
01:04:25,076 --> 01:04:27,676
Speaker 1: I think we need another heavy song and I wrote

1066
01:04:27,716 --> 01:04:34,556
Speaker 1: that nerve flip, like like I just felt like that

1067
01:04:34,956 --> 01:04:37,716
Speaker 1: sludgy kind of feel. I was like thinking about what

1068
01:04:37,716 --> 01:04:39,316
Speaker 1: we had and I was like, we don't have anything

1069
01:04:39,356 --> 01:04:41,636
Speaker 1: like that. And I was listening to Flipper and stuff,

1070
01:04:42,316 --> 01:04:45,236
Speaker 1: and just like like, uh, I just listened to Flipper

1071
01:04:45,276 --> 01:04:46,796
Speaker 1: the other day on my beat twalk. It was so

1072
01:04:46,876 --> 01:04:50,956
Speaker 1: much fun. Yeah, So electronic music, the fact that I

1073
01:04:50,996 --> 01:04:53,796
Speaker 1: can sit down and just start making breakbeats or just

1074
01:04:53,836 --> 01:04:58,356
Speaker 1: start programming a drum pattern, just start making synthesizers, sounds,

1075
01:04:58,556 --> 01:05:04,196
Speaker 1: not parts necessarily. Pretty soon a song just comes. I

1076
01:05:04,796 --> 01:05:07,236
Speaker 1: just sort of I think of the guitar the same way,

1077
01:05:07,436 --> 01:05:10,756
Speaker 1: you know, Like like when I stopped writing, I honestly

1078
01:05:10,796 --> 01:05:12,916
Speaker 1: thought I was doing the best because I stopped writing

1079
01:05:12,956 --> 01:05:16,116
Speaker 1: songs like three times when we were writing these songs, remember,

1080
01:05:16,316 --> 01:05:18,836
Speaker 1: and it was and it was just like I just

1081
01:05:18,876 --> 01:05:21,836
Speaker 1: felt that I was doing the best thing for Anthony

1082
01:05:21,956 --> 01:05:24,676
Speaker 1: to have the best to give, to give the songs

1083
01:05:24,716 --> 01:05:27,396
Speaker 1: the best chance of Anthony writing over them. Yes, and

1084
01:05:27,596 --> 01:05:30,596
Speaker 1: I had no idea that he would, you know, write

1085
01:05:31,036 --> 01:05:34,676
Speaker 1: forty eight full sets. I thought it would beware. They

1086
01:05:34,676 --> 01:05:37,796
Speaker 1: were one or two left, and he's just like, I

1087
01:05:37,836 --> 01:05:40,436
Speaker 1: gotta get him, Like I don't, he would say, He's like,

1088
01:05:40,556 --> 01:05:42,396
Speaker 1: I don't really have an idea, but but he was

1089
01:05:42,476 --> 01:05:46,556
Speaker 1: so wanted to get everyone because he loved them. It

1090
01:05:46,636 --> 01:05:48,556
Speaker 1: was so beautiful and it was so it was such

1091
01:05:48,556 --> 01:05:51,356
Speaker 1: a beautiful like outpouring from him, and the lyrics were

1092
01:05:51,396 --> 01:05:54,356
Speaker 1: so good, like like it wasn't like he'd done an

1093
01:05:54,356 --> 01:05:57,636
Speaker 1: assignment or something. There was so much heart, so much

1094
01:05:57,716 --> 01:06:00,956
Speaker 1: self Like That's something for me as a rock songwriter,

1095
01:06:01,196 --> 01:06:05,516
Speaker 1: like I've never been able to put my heart out

1096
01:06:05,516 --> 01:06:09,916
Speaker 1: there so much as Anthony does, to put myself out there,

1097
01:06:10,076 --> 01:06:14,356
Speaker 1: to make myself vulnerable to that degree. Some people might disagree,

1098
01:06:14,356 --> 01:06:17,756
Speaker 1: but that's that's that's where I feel like my shortcomings

1099
01:06:17,796 --> 01:06:20,876
Speaker 1: are as a lyricist of rock music. It's just like

1100
01:06:21,676 --> 01:06:26,236
Speaker 1: Anthony has this rare talent of being able you you're

1101
01:06:26,276 --> 01:06:29,476
Speaker 1: really in his head when you're hearing him. He's really

1102
01:06:29,516 --> 01:06:32,836
Speaker 1: putting himself out there for you and making himself vulnerable,

1103
01:06:33,756 --> 01:06:38,396
Speaker 1: heavy or sad, sad. It's unbelievable and it's not it's real.

1104
01:06:38,516 --> 01:06:42,596
Speaker 1: It's like he's feeling it and we get to hear it,

1105
01:06:42,676 --> 01:06:45,556
Speaker 1: like we get to hear what's in his head. It's unbelievable. Yeah.

1106
01:06:45,596 --> 01:06:48,076
Speaker 1: When I started doing the backing vocals and really reading

1107
01:06:48,636 --> 01:06:51,796
Speaker 1: the lyrics as opposed to just hearing them more to

1108
01:06:51,916 --> 01:06:56,236
Speaker 1: hear what he's doing more so than what he's saying. Yeah, yeah,

1109
01:06:56,236 --> 01:06:58,876
Speaker 1: Like it was intense, Like, like, God, him in good

1110
01:06:58,916 --> 01:07:02,756
Speaker 1: shape for the road though, you know, five months or whatever. Yeah, No,

1111
01:07:02,836 --> 01:07:05,116
Speaker 1: he's been kicking ass on the road. But yet. Do

1112
01:07:05,116 --> 01:07:09,316
Speaker 1: you know that Negative Trend record that's Will Shotter, this

1113
01:07:09,396 --> 01:07:13,836
Speaker 1: band before Flipper. Yeah, Oh my god, that's great. Yeah,

1114
01:07:13,916 --> 01:07:18,916
Speaker 1: it's a single. It's really good, and his bass is

1115
01:07:18,956 --> 01:07:21,556
Speaker 1: so good in it, and the songs are so good,

1116
01:07:22,556 --> 01:07:26,876
Speaker 1: really like top notch punk songs on that. I remember

1117
01:07:26,916 --> 01:07:29,916
Speaker 1: the name Negative Trend and I remember that they were

1118
01:07:29,956 --> 01:07:33,516
Speaker 1: like a popular band. Yeah, that's his band before Flipper. Yeah,

1119
01:07:33,556 --> 01:07:36,396
Speaker 1: and and yeah, his vibe is like all over it

1120
01:07:36,476 --> 01:07:39,156
Speaker 1: and they're really good songs. One of the songs was

1121
01:07:39,236 --> 01:07:44,036
Speaker 1: covered by an LA artist Rico Rick. I think covered Meadhouse.

1122
01:07:45,396 --> 01:07:47,476
Speaker 1: I got to hang out with him in San Francisco,

1123
01:07:47,676 --> 01:07:53,636
Speaker 1: was Rick Rick? No, Yeah, no, I know. Remember you

1124
01:07:53,756 --> 01:07:55,996
Speaker 1: used to tell me that I reminded you of him. No,

1125
01:07:56,196 --> 01:07:59,796
Speaker 1: you don't remember that. No. When when you came over

1126
01:07:59,836 --> 01:08:03,236
Speaker 1: to my house, you brought the Flipper record with you

1127
01:08:03,996 --> 01:08:06,996
Speaker 1: and you gave it to me, and you said, um,

1128
01:08:07,836 --> 01:08:10,476
Speaker 1: I used to have this friend that was in this band.

1129
01:08:10,676 --> 01:08:14,076
Speaker 1: He died. When I'm with you, I feel like I'm

1130
01:08:14,076 --> 01:08:17,956
Speaker 1: with him, I see. And that was all you said.

1131
01:08:18,076 --> 01:08:20,516
Speaker 1: I And you wanted to see if I liked the record.

1132
01:08:20,556 --> 01:08:22,076
Speaker 1: I put it on. I'd never heard it before, and

1133
01:08:22,116 --> 01:08:25,356
Speaker 1: I love that. This is great. But I never knew

1134
01:08:25,396 --> 01:08:28,636
Speaker 1: what you were talking about. And I've always wondered that

1135
01:08:28,756 --> 01:08:31,876
Speaker 1: thing that you were seeing in me, that you related

1136
01:08:32,116 --> 01:08:36,116
Speaker 1: to him. Was that gone by the time Californication? So

1137
01:08:36,356 --> 01:08:39,196
Speaker 1: that was only me at that time, right? So yeah,

1138
01:08:39,276 --> 01:08:42,356
Speaker 1: And it's just a spiritual thing, not a not It

1139
01:08:42,436 --> 01:08:44,796
Speaker 1: wasn't was it something about how we looked was it

1140
01:08:44,436 --> 01:08:47,916
Speaker 1: had nothing to do with physical right? Nothing physical right?

1141
01:08:48,236 --> 01:08:50,716
Speaker 1: It was more of the energy, right, Yeah, And it

1142
01:08:50,796 --> 01:08:55,316
Speaker 1: may have had to do with practices at the time. No, no,

1143
01:08:55,356 --> 01:08:57,756
Speaker 1: because I wasn't doing hero I'd never done Heroin at

1144
01:08:57,756 --> 01:09:00,556
Speaker 1: that time. Yeah, I don't know. It was just an

1145
01:09:00,636 --> 01:09:04,236
Speaker 1: energetic feeling of just like like that there was something

1146
01:09:04,316 --> 01:09:08,476
Speaker 1: else going on. Hard to explain, right, hard to explain. Yeah,

1147
01:09:08,516 --> 01:09:10,476
Speaker 1: that should have was going on in my head, and

1148
01:09:10,956 --> 01:09:14,876
Speaker 1: I'm sure other people experienced it, but it was really

1149
01:09:16,236 --> 01:09:20,116
Speaker 1: just impossible to explain to people what's happening. Sometimes I

1150
01:09:20,196 --> 01:09:23,276
Speaker 1: used to think, like, because you know you get goose

1151
01:09:23,276 --> 01:09:25,916
Speaker 1: pimples like on your arm or sometimes on your head,

1152
01:09:26,636 --> 01:09:29,636
Speaker 1: it was like they were in my brain. It was

1153
01:09:29,996 --> 01:09:33,716
Speaker 1: really like strong reaction to everything, not just pictures. It

1154
01:09:33,756 --> 01:09:37,516
Speaker 1: was all kinds of things. It was really intelligent voices.

1155
01:09:37,716 --> 01:09:40,316
Speaker 1: It was those things like goose pimples in my brains.

1156
01:09:40,316 --> 01:09:44,676
Speaker 1: It was just these explosions of like movement of shadow

1157
01:09:44,756 --> 01:09:47,356
Speaker 1: and light and things like that that had this form

1158
01:09:47,716 --> 01:09:51,036
Speaker 1: that not only did they inspire me when I was

1159
01:09:51,036 --> 01:09:53,436
Speaker 1: making music, but like when I made music, that changed

1160
01:09:53,476 --> 01:09:56,396
Speaker 1: the picture. So whatever I did change the movement of

1161
01:09:56,396 --> 01:09:58,596
Speaker 1: the shadows, and you just had to sort of stay

1162
01:09:58,596 --> 01:10:01,156
Speaker 1: a line with it. And it's one of the reasons

1163
01:10:01,156 --> 01:10:03,276
Speaker 1: that I was able to do something then that I've

1164
01:10:03,316 --> 01:10:06,956
Speaker 1: never really been able to do since, is play totally

1165
01:10:06,996 --> 01:10:10,276
Speaker 1: fucked up and wrong and have it sound right. Yeah.

1166
01:10:10,316 --> 01:10:12,636
Speaker 1: I could do it if I stayed in connection with

1167
01:10:12,676 --> 01:10:18,316
Speaker 1: that stuff, those patterns in my brain. And ever since,

1168
01:10:18,636 --> 01:10:21,756
Speaker 1: you know, I regained all kinds of talents and more.

1169
01:10:21,796 --> 01:10:24,876
Speaker 1: But that was something I've never really been able to

1170
01:10:25,116 --> 01:10:31,036
Speaker 1: be that like out yes and sound good, sound sound

1171
01:10:31,076 --> 01:10:33,756
Speaker 1: like yeah, like I'm doing that on that first solo

1172
01:10:33,796 --> 01:10:36,796
Speaker 1: record of mine that you released, And I've never been

1173
01:10:36,796 --> 01:10:40,436
Speaker 1: able to play like that since. And he has that

1174
01:10:40,516 --> 01:10:44,676
Speaker 1: in his bass playing, like even on that negative trend

1175
01:10:44,756 --> 01:10:49,076
Speaker 1: stuff there, these are punk songs with real clear chord progressions.

1176
01:10:49,076 --> 01:10:52,196
Speaker 1: He's playing wrong notes and they sound so right, Like,

1177
01:10:52,236 --> 01:10:54,476
Speaker 1: they sound so perfect it would ruin the song if

1178
01:10:54,476 --> 01:10:57,596
Speaker 1: it didn't have them. Yeah, I just sometimes people have

1179
01:10:57,636 --> 01:11:05,036
Speaker 1: some tripped out way. Yeah, it's a different connection. Still,

1180
01:11:05,076 --> 01:11:07,476
Speaker 1: you're you're showing me examples today on the guitar where

1181
01:11:07,476 --> 01:11:11,076
Speaker 1: it seems like it shouldn't work right, you know, it's

1182
01:11:11,116 --> 01:11:14,836
Speaker 1: still it doesn't make sense. Yet in the context of

1183
01:11:14,836 --> 01:11:17,916
Speaker 1: the song, it sounds beautiful. Yeah. Yeah, I looked for

1184
01:11:17,996 --> 01:11:20,636
Speaker 1: stuff like that, but yeah, it's done with a much

1185
01:11:20,676 --> 01:11:24,036
Speaker 1: more organizational part of my brain than what that was.

1186
01:11:24,076 --> 01:11:26,796
Speaker 1: That was just like whoa, what's happening in my head? Okay,

1187
01:11:27,156 --> 01:11:31,236
Speaker 1: and you think it's not luck, it's something else. Oh

1188
01:11:31,236 --> 01:11:35,956
Speaker 1: back then, Yeah, Luck is connected to whatever that was.

1189
01:11:36,036 --> 01:11:38,076
Speaker 1: It was happening part of it, but it's not the

1190
01:11:38,116 --> 01:11:41,516
Speaker 1: whole story. I'm saying. Whatever the power was that was

1191
01:11:41,556 --> 01:11:44,156
Speaker 1: putting that made it possible for my head to be

1192
01:11:44,276 --> 01:11:46,636
Speaker 1: that way that it was then has something to do

1193
01:11:46,716 --> 01:11:49,436
Speaker 1: with luck as well. It's like it controls the universe

1194
01:11:49,516 --> 01:11:53,196
Speaker 1: or something. Because I stayed connected to that thing all

1195
01:11:53,236 --> 01:11:56,036
Speaker 1: through the years of being on drugs. And there was

1196
01:11:56,116 --> 01:11:59,636
Speaker 1: one morning I woke up and it had always told

1197
01:11:59,636 --> 01:12:01,836
Speaker 1: me I was safe, that I could do anything and

1198
01:12:01,876 --> 01:12:04,036
Speaker 1: I'm not going to die. And I tested it. I

1199
01:12:04,076 --> 01:12:07,916
Speaker 1: came very close to dying many times, always got through it,

1200
01:12:07,916 --> 01:12:10,996
Speaker 1: got close to being arrested many times, never had a

1201
01:12:11,036 --> 01:12:13,996
Speaker 1: fear of it, and never got arrested. There was one

1202
01:12:14,036 --> 01:12:16,356
Speaker 1: morning I woke up and the voice said, your luck's

1203
01:12:16,436 --> 01:12:19,236
Speaker 1: run out. If you go out and buy drugs today,

1204
01:12:19,596 --> 01:12:24,356
Speaker 1: you're going to get arrested. And I got arrested that day. Wow, yeah,

1205
01:12:23,596 --> 01:12:29,636
Speaker 1: Like so what you know to be able to do

1206
01:12:29,756 --> 01:12:34,436
Speaker 1: something unintentional and random and have it just work out

1207
01:12:34,516 --> 01:12:37,596
Speaker 1: just because you're seeing something in your head or something

1208
01:12:38,716 --> 01:12:41,036
Speaker 1: has something to do with why some people go their

1209
01:12:41,036 --> 01:12:43,836
Speaker 1: whole lives and never break a bone and other people

1210
01:12:44,116 --> 01:12:47,436
Speaker 1: injure themselves all the time. All I know, I don't

1211
01:12:47,516 --> 01:12:50,436
Speaker 1: understand it. I just know there's some connection between whatever

1212
01:12:50,516 --> 01:12:53,596
Speaker 1: that was that was my state of mind, was those

1213
01:12:53,636 --> 01:12:55,356
Speaker 1: things that were happening in my head that I couldn't

1214
01:12:55,396 --> 01:12:58,396
Speaker 1: explain to anybody, and that I still can't really explain.

1215
01:12:59,036 --> 01:13:02,596
Speaker 1: There's some connection between that and luck. And I love

1216
01:13:02,636 --> 01:13:06,636
Speaker 1: the idea that it told you like you had a

1217
01:13:06,716 --> 01:13:12,636
Speaker 1: sense of complete confidence when it was appropriate. Yeah, and

1218
01:13:12,756 --> 01:13:16,916
Speaker 1: it told you, it warned you, Yeah, and it was

1219
01:13:17,196 --> 01:13:21,796
Speaker 1: it was true, it was right, yeah, wild, Yeah, it's wild.

1220
01:13:22,036 --> 01:13:24,916
Speaker 1: It was really weird. There's so much we don't understand.

1221
01:13:25,076 --> 01:13:28,836
Speaker 1: I know, if there's one thing, But if there's one

1222
01:13:28,836 --> 01:13:31,836
Speaker 1: thing I've learned from all that that I went through

1223
01:13:31,876 --> 01:13:34,876
Speaker 1: and in that first half of my life that I

1224
01:13:35,116 --> 01:13:40,276
Speaker 1: that I can't explain, it's that I don't know anything. No,

1225
01:13:40,276 --> 01:13:43,796
Speaker 1: none of us do. It's the mistake people make is

1226
01:13:43,796 --> 01:13:47,036
Speaker 1: that they think they know. Yeah, and we just don't know.

1227
01:13:47,396 --> 01:13:50,676
Speaker 1: It's why whenever I hear people getting strongly opinionated about things,

1228
01:13:50,676 --> 01:13:52,996
Speaker 1: where if I've ever had the misfortune to go through

1229
01:13:53,036 --> 01:13:55,036
Speaker 1: a period where all of a sudden I've learned about

1230
01:13:55,036 --> 01:13:57,596
Speaker 1: some new subject and I'm getting cocky about it and stuff,

1231
01:13:57,716 --> 01:14:00,396
Speaker 1: I always know I feel it in my heart like

1232
01:14:00,756 --> 01:14:04,476
Speaker 1: this is wrong. Like like we you you sometimes have

1233
01:14:04,596 --> 01:14:09,756
Speaker 1: the illusion that you understand things, and it's really a

1234
01:14:09,836 --> 01:14:12,276
Speaker 1: mistake to believe to take too much pride in that

1235
01:14:12,476 --> 01:14:16,036
Speaker 1: or to to get too cocky about it, because you're

1236
01:14:16,076 --> 01:14:18,356
Speaker 1: you're just seeing a little fragment of the big picture,

1237
01:14:18,716 --> 01:14:21,316
Speaker 1: you know. Yeah, And that's I think that's all we'll

1238
01:14:21,316 --> 01:14:23,316
Speaker 1: ever see. All we get to see is a little

1239
01:14:23,676 --> 01:14:26,756
Speaker 1: a little piece, and that's that little piece that we

1240
01:14:26,796 --> 01:14:30,396
Speaker 1: get to see is enough to keep us going. Yeah, yeah,

1241
01:14:30,436 --> 01:14:33,716
Speaker 1: you see, you see what we all are seeing everything

1242
01:14:33,756 --> 01:14:35,956
Speaker 1: we need to see to be you know. And it's

1243
01:14:35,996 --> 01:14:38,956
Speaker 1: like I think it's like a magic trick where I

1244
01:14:38,996 --> 01:14:40,876
Speaker 1: don't know that if we knew how it worked, it'd

1245
01:14:40,876 --> 01:14:43,996
Speaker 1: be better. No, I'm sure that that it wouldn't be better.

1246
01:14:44,036 --> 01:14:46,236
Speaker 1: I'm sure it would be a lot worse and worse

1247
01:14:46,276 --> 01:14:48,996
Speaker 1: than people could ever imagine. People strive their whole lives

1248
01:14:49,036 --> 01:14:53,356
Speaker 1: to try to figure it out, understand things, and there's

1249
01:14:53,476 --> 01:14:55,836
Speaker 1: there's there's no way I can say it other than

1250
01:14:55,916 --> 01:14:58,956
Speaker 1: straight to you like that. I saw. I saw the

1251
01:14:58,996 --> 01:15:01,596
Speaker 1: big picture of it several times. I was showing it.

1252
01:15:01,916 --> 01:15:06,556
Speaker 1: I see and and and it's way worse. Yeah. It's

1253
01:15:06,596 --> 01:15:10,436
Speaker 1: just like like we we tend to pick on certain

1254
01:15:10,436 --> 01:15:14,636
Speaker 1: things about the world is being imperfect. Yeah, and we

1255
01:15:14,676 --> 01:15:17,996
Speaker 1: don't know what imperfection is. It could be so much worse.

1256
01:15:18,156 --> 01:15:22,916
Speaker 1: Life it's so good. Life is so good. I'm very

1257
01:15:23,516 --> 01:15:25,916
Speaker 1: thankful to be here. Yeah, I mean too thankful to

1258
01:15:25,956 --> 01:15:29,476
Speaker 1: be here. And I'm thankful to be here with you.

1259
01:15:29,516 --> 01:15:31,756
Speaker 1: It's the best. Yeah, I'm so thankful to be here

1260
01:15:31,796 --> 01:15:34,476
Speaker 1: with you too. Well. I feel like we still learned done,

1261
01:15:34,516 --> 01:15:36,596
Speaker 1: but we have to do. We get to do another

1262
01:15:36,596 --> 01:15:41,436
Speaker 1: one one of these days. It was so good. It's endless.

1263
01:15:43,956 --> 01:15:46,636
Speaker 1: You never know where it's gonna go. Oh, thanks so much.

1264
01:15:47,196 --> 01:15:50,596
Speaker 1: I love talking about stuff. I mean I love hearing

1265
01:15:50,636 --> 01:15:55,716
Speaker 1: about the music stuff, But the the tangents are so interesting,

1266
01:15:56,556 --> 01:15:58,476
Speaker 1: Like I'll be up all night thinking about what we

1267
01:15:58,556 --> 01:16:04,916
Speaker 1: talked about. Right, I love it. As you heard, Rick

1268
01:16:04,956 --> 01:16:07,956
Speaker 1: and John will be back with more conversations soon in

1269
01:16:07,996 --> 01:16:10,156
Speaker 1: the meantime. If you haven't heard the other episodes in

1270
01:16:10,156 --> 01:16:13,516
Speaker 1: the series, picture to check those out, including episodes with

1271
01:16:13,596 --> 01:16:16,236
Speaker 1: the rest of the band promoting unlimited Love from back

1272
01:16:16,276 --> 01:16:18,676
Speaker 1: in April. You can hear all of our favorite red

1273
01:16:18,716 --> 01:16:21,556
Speaker 1: Hot Chiecopper songs on our playlist at broken record podcast

1274
01:16:21,636 --> 01:16:24,356
Speaker 1: dot com. Be sure to subscribe to our YouTube channel

1275
01:16:24,396 --> 01:16:27,676
Speaker 1: at YouTube dot com slash broken Record Podcast, where can

1276
01:16:27,716 --> 01:16:30,636
Speaker 1: find all of our new episodes. You can follow us

1277
01:16:30,636 --> 01:16:34,236
Speaker 1: on Twitter at broken Record. Broken Record is produced with

1278
01:16:34,316 --> 01:16:38,716
Speaker 1: help from Leah Rose, Jason Gambrell, Ben Holliday, Eric Sandler,

1279
01:16:39,116 --> 01:16:43,676
Speaker 1: Jennifer Sanchez. Our editor Sophie Crane. Our executive producer is

1280
01:16:43,756 --> 01:16:47,916
Speaker 1: Mia LaBelle. Broken Record is a production of Pushkin Industries.

1281
01:16:48,516 --> 01:16:50,956
Speaker 1: If you love this show and others from Pushkin, consider

1282
01:16:50,996 --> 01:16:55,196
Speaker 1: subscribing to Pushkin Plus. Pushkin Plus is a podcast subscription

1283
01:16:55,356 --> 01:16:59,036
Speaker 1: that offers bonus content an uninterrupted ad free listening for

1284
01:16:59,076 --> 01:17:01,996
Speaker 1: four ninety nine a month. Look for pushkn Plus on

1285
01:17:02,076 --> 01:17:06,036
Speaker 1: Apple podcast subscriptions, and if you like our show, please

1286
01:17:06,076 --> 01:17:09,036
Speaker 1: remember to share, rate and review us on your podcast apps.

1287
01:17:09,716 --> 01:17:12,716
Speaker 1: A theme music spacing, re Beats and Justin Richmond