WEBVTT - John Frusciante Returns, Part 4 0:00:15.436 --> 0:00:22.716 Pushkin. Today we have part four of our John Freshante 0:00:22.836 --> 0:00:26.876 Returns series. This is the latest installment of Rick Rubin's 0:00:26.956 --> 0:00:29.596 ongoing series of in depth interviews with the Red Hot 0:00:29.636 --> 0:00:32.476 Chili Peppers guitarist, and if this is the first interview 0:00:32.476 --> 0:00:34.236 you're hearing, make sure to go back and check out 0:00:34.276 --> 0:00:37.316 the first three parts and also John's appearance from earlier 0:00:37.316 --> 0:00:40.756 in the year promoting Unlimited Love. Today we'll hear John 0:00:40.756 --> 0:00:43.596 Fuschante played through some more of his guitar parts. Then 0:00:43.596 --> 0:00:45.436 he'll explain how we came up with some of the 0:00:45.476 --> 0:00:49.236 best guitar melodies and modern rock history. John also talks 0:00:49.236 --> 0:00:51.836 about how playing along to classic heavy metal albums from 0:00:51.836 --> 0:00:54.676 Black Sabbath and Van Halen, along with dancing all night 0:00:54.756 --> 0:00:57.516 at Drum and Bass Clubs, helped shape his style on 0:00:57.516 --> 0:01:00.556 the two thousand and two albums. By the Way, he 0:01:00.556 --> 0:01:04.396 also explains how listening to Brandy Destiny's Child the Wound 0:01:04.436 --> 0:01:10.956 tang Clan helped influence his playing on Stadium Arcadium. This 0:01:11.196 --> 0:01:13.996 is broken record line of notes for the digital age. 0:01:14.196 --> 0:01:17.476 I'm justin Mitchman. Here's part four of Rick Rubin with 0:01:17.556 --> 0:01:22.196 John Fraschante from Shangola So over the course of touring 0:01:22.236 --> 0:01:25.556 for Californication, did you feel like you came back guitar 0:01:25.636 --> 0:01:27.836 wise to where you could play like you could before 0:01:27.916 --> 0:01:32.756 in terms of your strength and skill. I did, But 0:01:33.596 --> 0:01:36.356 when it came time to record, by the way, I 0:01:36.476 --> 0:01:38.276 didn't want to go back to that kind of Jimmy 0:01:38.356 --> 0:01:42.276 Hendricksy way of playing File Change. Yeah, like I wanted 0:01:42.316 --> 0:01:44.716 to go even further with what I felt were the 0:01:44.756 --> 0:01:49.396 real developments on Californication. I was really into sixties music 0:01:49.436 --> 0:01:52.516 at the time. I was really into surf guitar style, 0:01:53.396 --> 0:01:56.196 like I'd learned about certain things because I played a 0:01:56.196 --> 0:02:01.036 bit that way on Californication, mainly being inspired by by 0:02:01.036 --> 0:02:03.916 the guy from Bow Bah Wow and stuff. But I 0:02:03.956 --> 0:02:06.556 guess Johnny had shown me the Ventures and stuff, and 0:02:06.596 --> 0:02:13.076 then Jerry from Fugazi showed me the Shadows, which I 0:02:13.076 --> 0:02:16.636 didn't know about, and Johnny wasn't super familiar with either, 0:02:17.076 --> 0:02:20.316 and they were really good. It was just like an 0:02:20.356 --> 0:02:23.836 English version of surf guitar music, and they were really 0:02:23.876 --> 0:02:26.716 popular in England from you know all the Beatles stories 0:02:26.716 --> 0:02:29.316 I hear, yeah, well, especially because they were Cliff Richard's 0:02:29.356 --> 0:02:31.516 backing band and he was the biggest rock I didn't 0:02:31.516 --> 0:02:34.236 know that. Yeah, he was the biggest English rock and 0:02:34.316 --> 0:02:37.516 roll thing before the Beatles. So that was just Hank Marvin, 0:02:37.596 --> 0:02:40.596 his guitar player sort of had his side thing was 0:02:40.876 --> 0:02:44.036 Hank Marvin and the Shadows and they were huge, like 0:02:44.036 --> 0:02:46.716 they were an instrumental band and they were like they 0:02:46.716 --> 0:02:49.236 were one of the biggest things in England with the 0:02:49.316 --> 0:02:52.236 kids before the Beatles. So I got really into learning 0:02:52.436 --> 0:02:54.876 while we were touring for Californication. I got really into 0:02:54.956 --> 0:02:57.236 learning how to play all the Shadows stuff and playing 0:02:57.236 --> 0:03:00.356 along with the Ventures all the time, and I was 0:03:00.396 --> 0:03:04.436 seeing the commonality between that surf guitar sense of melody 0:03:04.636 --> 0:03:07.476 and synthpop sense of melody. To me, they have something 0:03:07.516 --> 0:03:11.676 in common. And so for when when we started writing 0:03:11.716 --> 0:03:14.716 for By the Way, I think I just I didn't 0:03:14.756 --> 0:03:17.236 want to have any blues in my playing. Like if 0:03:17.236 --> 0:03:19.956 Fleet Block brought in something that seemed bluesy to me, 0:03:20.436 --> 0:03:22.756 even in a funk way, I didn't like it. Like 0:03:23.356 --> 0:03:25.396 it wasn't so much I was trying to control flee 0:03:25.476 --> 0:03:29.116 or anything. I just really didn't like, yeah, anything that 0:03:29.636 --> 0:03:32.636 had that feeling. It was like just at that time 0:03:32.676 --> 0:03:35.316 where I had landed really great blue song on the 0:03:35.356 --> 0:03:40.156 new album by the way, right, yeah, carrying Me Home, 0:03:40.476 --> 0:03:44.316 Yeah yeah. A working title was New Blues as you Remember, 0:03:44.916 --> 0:03:47.716 but yeah, like you know, right after that on Stadium Arcadium, 0:03:47.876 --> 0:03:50.796 I was really into blues and I had a new 0:03:50.836 --> 0:03:53.716 take on it by that time. Like by that time, 0:03:54.316 --> 0:03:56.436 I was playing along with Jimmy Hendricks a lot and 0:03:56.516 --> 0:03:59.716 learn learning his improvised solos a lot, like in a 0:03:59.756 --> 0:04:01.836 more detailed way than I'd ever learned them in my 0:04:01.876 --> 0:04:04.156 whole life. I was listening to a lot of modern 0:04:04.236 --> 0:04:05.676 R and B at the time, so I was listening 0:04:05.716 --> 0:04:10.636 like Destiny's Child and Brandy, Brandy was my favorite, and 0:04:10.916 --> 0:04:15.476 her sense of rhythm and her sense of melody that blues, 0:04:15.636 --> 0:04:18.716 the blues that's in that I felt like I want 0:04:18.716 --> 0:04:22.156 to take that feeling and combine it with Jimmy Hendrix's 0:04:22.756 --> 0:04:27.396 guitar playing style, like to have Brandy be my basic 0:04:27.476 --> 0:04:31.556 reference rather than like you know, Elmore James or whatever 0:04:31.636 --> 0:04:34.756 the old things. You know. It made it feel fresh 0:04:34.796 --> 0:04:36.636 to me, like and I was doing a lot of 0:04:37.436 --> 0:04:40.036 what we were talking about last time, where you're you're 0:04:40.076 --> 0:04:43.636 not playing straight across the bar, You're not you're not 0:04:43.716 --> 0:04:45.636 on a gridge, you're not on a sixteenth note gridge, 0:04:45.636 --> 0:04:47.716 you're kind of speeding up and slowing down and playing 0:04:47.876 --> 0:04:50.676 because she was singing like that and really good, and 0:04:50.756 --> 0:04:54.076 method Man was Woutang in general was rapping like that, 0:04:54.276 --> 0:04:57.836 especially on their first couple of records, and so like 0:04:58.436 --> 0:05:01.196 I was like obsessing on all that music and feeling 0:05:01.196 --> 0:05:03.476 like I got to put this kind of rhythm in 0:05:03.596 --> 0:05:07.676 my solos, in my playing and stuff. So like there 0:05:07.676 --> 0:05:10.516 were times where I was like, because of the Frank Zappa, 0:05:11.316 --> 0:05:15.876 you know, education, like there's one song we believe on 0:05:15.996 --> 0:05:19.196 that album stage and Marcadium, and like I'm for a 0:05:19.196 --> 0:05:21.956 lot of the reverse guitar part. I'm playing quintuplets, I'm 0:05:21.956 --> 0:05:25.116 playing five against four, but I'm doing it in this 0:05:25.156 --> 0:05:27.836 way that I'm hearing on rap records because when they're 0:05:27.876 --> 0:05:30.636 doing it, they just have five words and they're going 0:05:30.676 --> 0:05:35.316 to land on the one on the next bar, sixth word, 0:05:35.556 --> 0:05:39.076 yeah and so and so like as long as you land, 0:05:39.556 --> 0:05:42.276 as long as you punctuate what you're doing on the one, 0:05:42.836 --> 0:05:45.396 you can fit any any amount of notes in between. 0:05:45.436 --> 0:05:46.876 And that's what I was hearing in a lot of 0:05:46.876 --> 0:05:49.516 this R and B and rap. So that's what sort 0:05:49.556 --> 0:05:54.356 of got my excitement about incorporating blues into the band again, 0:05:55.036 --> 0:05:58.716 that a new version of the blues, Yeah, a way 0:05:58.716 --> 0:06:01.836 that it hadn't been played before. Yeah, So that started 0:06:01.876 --> 0:06:03.476 with By the Way, where like and when By the 0:06:03.516 --> 0:06:08.236 Way started, I had all these ideas for these certain 0:06:08.236 --> 0:06:10.156 types of melodic things. And I was learning more about 0:06:10.196 --> 0:06:13.636 chords than ever because I'm practicing piano for the first 0:06:13.636 --> 0:06:16.436 time in my life out of songbooks. So and that 0:06:16.476 --> 0:06:19.076 was affecting the way that I played guitar because I'm 0:06:19.276 --> 0:06:22.236 seeing chords more clearly than I'd ever seen them before, 0:06:22.676 --> 0:06:26.316 understanding the Beatles music better than I'd ever understood it before. 0:06:27.356 --> 0:06:31.356 And Yeah, continuing to listen to the synthpop, also going 0:06:31.436 --> 0:06:34.756 out to drum and bass clubs to dance every week. 0:06:35.156 --> 0:06:38.676 So the song by the Way was the result of 0:06:39.236 --> 0:06:42.396 having been a club the night before playing drum and 0:06:42.396 --> 0:06:48.036 bass and sometimes jungle. Would going out dancing inspire the 0:06:48.076 --> 0:06:51.196 way you played guitar, Yeah, exactly, Like how would that 0:06:51.236 --> 0:06:53.636 work well the song at the end of that album 0:06:53.996 --> 0:06:56.836 Venice Queen. Yeah, the way I'm just trying to play 0:06:56.836 --> 0:06:58.756 get I mean, it's it's it's not like it's a 0:06:58.796 --> 0:07:01.556 way that nobody ever played the guitar. I don't know 0:07:01.596 --> 0:07:03.236 if I can do it justice right now. I'm not 0:07:03.356 --> 0:07:08.196 super warmed up, but for the idea. But the song 0:07:08.276 --> 0:07:10.436 has a whole intro it's slower, but then it has 0:07:10.436 --> 0:07:13.316 a fast part that comes in and the rhythms I'm 0:07:13.356 --> 0:07:15.516 doing on the guitar, if you listen to it, it 0:07:15.556 --> 0:07:19.396 sounds like a jungle drummer, like improvising, Like it sounds 0:07:19.436 --> 0:07:23.196 like the kind of stuff people were programming than like. 0:07:42.596 --> 0:07:44.796 So it's particularly interesting about that, is the right hand, 0:07:44.836 --> 0:07:48.356 I imagine it's right unusual, Yeah, the right hand I'm trying. 0:07:48.356 --> 0:07:51.956 I'm I'm I'm basically there's more parts to it than 0:07:51.996 --> 0:07:54.396 that where and see if I remember the chords where 0:07:54.396 --> 0:08:28.596 I'm going even mart So like the way I'm playing 0:08:28.636 --> 0:08:31.276 there is definitely I'm trying to play the way I 0:08:31.356 --> 0:08:34.556 hear the drums at the drum and Bass Club. Yeah, 0:08:34.996 --> 0:08:39.116 Chad's kind of just going. He's not really doing a 0:08:39.116 --> 0:08:42.316 lot of ghost snares that I can tell. But but 0:08:42.356 --> 0:08:45.516 I'm trying to play all those all those kind of 0:08:45.596 --> 0:08:51.156 rhythms that because it's the chords are I can say 0:08:51.236 --> 0:08:54.276 it's an ordinary chord progression. It's cool. It's a cool 0:08:54.476 --> 0:08:58.396 ordinary chord progression, but the rhythm makes it sound like 0:09:00.036 --> 0:09:03.596 very new, very different, right, and like it has a 0:09:03.716 --> 0:09:07.436 who like energy. But you never hear beat Townsend playing 0:09:07.436 --> 0:09:10.756 a rhythm like that, right, Yeah, like that's that that 0:09:11.076 --> 0:09:13.916 would be a good comparison. But yeah, not that precise rhythm. 0:09:13.916 --> 0:09:16.276 It wouldn't be that. No, it sounds almost like a 0:09:16.316 --> 0:09:20.716 programmed rhythm, right yeah. So so yeah, so so that 0:09:20.836 --> 0:09:23.836 was a big influence on it. And what's cool about that? 0:09:23.876 --> 0:09:26.916 Like I never knew that, right, but it always sounded 0:09:26.996 --> 0:09:29.876 interesting to me. I never knew why, right, But it's 0:09:29.916 --> 0:09:33.316 like this doesn't sound like the who you know, there's 0:09:33.356 --> 0:09:35.956 something else going on. I never stopped to analyze what 0:09:36.036 --> 0:09:40.396 it was. Yeah, but hearing how it happened, it's fascinating. Yeah, 0:09:40.476 --> 0:09:42.596 because I would go it was on Thursday nights. There 0:09:42.676 --> 0:09:45.796 was this club, Concrete Jungle in Silver Lake, so I 0:09:45.836 --> 0:09:48.076 would go there and dance all night. There was this 0:09:48.156 --> 0:09:50.756 girl who used to go there with me, and yeah, 0:09:50.756 --> 0:09:52.956 I'd just be dancing. So when I get to rehearsal, like, 0:09:52.956 --> 0:09:55.236 I'd want to put that kind of energy into the 0:09:56.316 --> 0:09:57.876 into the band. A lot of the time that was 0:09:57.916 --> 0:09:59.876 just the rhythms that were going through my head. And 0:10:01.276 --> 0:10:04.676 but when we started the record, as you remember, I 0:10:04.956 --> 0:10:07.916 had to there was another side to it, like like 0:10:07.956 --> 0:10:10.836 I wanted to do like I was really into The 0:10:10.916 --> 0:10:13.516 Damned at the time, and I wanted to do like 0:10:14.556 --> 0:10:16.836 I wanted to do punk, like in a way that 0:10:17.036 --> 0:10:19.636 the band hadn't done it, you know, like I wanted 0:10:19.676 --> 0:10:23.516 to do real punk, you know, like inspired by like 0:10:23.556 --> 0:10:26.636 early English punk and stuff, and so I thought we 0:10:26.636 --> 0:10:29.756 would do the My original concept was that we would 0:10:29.756 --> 0:10:35.116 have like these sixties inspired melodic songs I was. I 0:10:35.116 --> 0:10:37.476 was really into Discharge as well, I remember, and I 0:10:37.556 --> 0:10:41.516 just that we would have like sort of straight punk, 0:10:41.836 --> 0:10:43.316 not straight I don't know what you call it, but 0:10:43.396 --> 0:10:46.916 just like real punk is opposed to punk inspired pop, 0:10:46.996 --> 0:10:49.676 like I wanted to do like actual I was writing 0:10:49.676 --> 0:10:53.196 songs that to me sounded like like actual punk. So 0:10:53.236 --> 0:10:55.916 I thought the album would have this like you know, 0:10:56.396 --> 0:11:00.596 start contrast between really pretty things and these punk things. 0:11:00.836 --> 0:11:03.276 And at a certain point you said to me, the 0:11:04.396 --> 0:11:08.276 punk things that you're bringing in, they're good, but it 0:11:08.356 --> 0:11:11.316 sounds like I've it's I feel like I've heard it before. 0:11:11.676 --> 0:11:14.676 These melodic things that you're bringing in. I feel like 0:11:14.716 --> 0:11:17.116 I've never heard anything like it in my life. Yeah, 0:11:17.316 --> 0:11:22.836 you know, so you definitely like guided me away from 0:11:22.876 --> 0:11:25.796 from continuing in the pretty early on as I remember it. 0:11:25.836 --> 0:11:28.196 But we had made we had written a bunch of stuff, 0:11:28.236 --> 0:11:31.036 like there was there was a certain amount of Yeah, 0:11:31.036 --> 0:11:32.956 I really loved the Damned, and maybe it was just 0:11:32.996 --> 0:11:34.556 like I feel like I've heard this before, but I 0:11:34.636 --> 0:11:37.276 had that feeling before, you know, like I didn't really 0:11:37.276 --> 0:11:39.076 get gun some roses because I felt like I really 0:11:39.076 --> 0:11:42.756 experienced this. This doesn't feel new to me. But a 0:11:42.836 --> 0:11:45.996 neat thing to me about that album is that kind 0:11:45.996 --> 0:11:48.356 of what we were talking about about the chords or 0:11:48.396 --> 0:11:51.316 this implied thing that's underneath, but what Flee and I 0:11:51.356 --> 0:11:55.356 are playing over them is something that that's separate from that. 0:11:55.356 --> 0:11:57.916 That's how it was with musical styles for that album. 0:11:57.956 --> 0:12:01.196 Like to me, there is a punk energy there in 0:12:01.236 --> 0:12:04.436 the record despite that we never we're never going in 0:12:04.516 --> 0:12:08.716 that sort of distorted you know, like obviously punk direction. 0:12:09.276 --> 0:12:13.956 And at the same time, another sort of underlying aspect 0:12:14.036 --> 0:12:16.356 was that every time there was a day of rehearsal 0:12:16.716 --> 0:12:20.116 that Flee and Anthony couldn't go for whatever reason, maybe 0:12:20.116 --> 0:12:22.516 there was a game or one of them was busy 0:12:22.556 --> 0:12:24.996 with something, so we were supposed to not rehearse that day. 0:12:25.276 --> 0:12:28.836 Chad was always up for rehearsing anyways. So me and Chad, 0:12:29.476 --> 0:12:31.556 from time to time throughout the writing of that record 0:12:31.556 --> 0:12:34.636 would get together. I'd just say to him, let's play 0:12:34.716 --> 0:12:37.396 the whole first Black Sabbath album, and me and him 0:12:37.436 --> 0:12:40.316 would just go there. And all he needs to do 0:12:40.356 --> 0:12:42.636 to learn how to play a record is listen to 0:12:42.676 --> 0:12:44.356 it while he's driving in his car on the way. 0:12:44.716 --> 0:12:48.756 You know, he can just play it that. It's the 0:12:48.796 --> 0:12:50.996 fact that it's drums. There's only so many drums. He 0:12:51.076 --> 0:12:52.596 all he has to do is listen to it to 0:12:52.636 --> 0:12:54.956 be able to play it. Like for guitar, you have 0:12:55.036 --> 0:12:57.756 to do a little more like work. So we would 0:12:57.796 --> 0:13:04.236 play whole albums of Black Sabbath, Van Halen and Ozzy Osbourne. 0:13:04.476 --> 0:13:08.116 We were doing Diver, Madman and Or at least we 0:13:08.116 --> 0:13:09.636 were doing a bunch of the songs from that and 0:13:09.716 --> 0:13:12.396 Blizzard of Oz, but it was just guitar and drums. 0:13:12.476 --> 0:13:16.716 But we were doing these heavy metal rehearsals of Deep 0:13:16.756 --> 0:13:18.676 Purple as well. We were doing whole We did the 0:13:18.716 --> 0:13:21.716 whole album of Machine Head, whole album in rock like 0:13:21.796 --> 0:13:23.916 so we were just pick an album and we'd show 0:13:23.996 --> 0:13:27.676 up and we'd just play that whole album, not straight through, 0:13:27.716 --> 0:13:30.556 like sometimes we'd have to stop so I could explain 0:13:30.636 --> 0:13:32.916 that the arrangement, No, it does this part for this 0:13:32.996 --> 0:13:35.276 long or whatever it is, because he hasn't focused on 0:13:35.316 --> 0:13:37.956 it how I have. But like, but we'd get through 0:13:37.996 --> 0:13:41.556 the whole album of all those things, and when I 0:13:41.596 --> 0:13:44.716 hear that album, I hear that in the connection of 0:13:44.876 --> 0:13:48.316 Chad and Mice playing like it's in there. It's not. 0:13:49.316 --> 0:13:51.636 There's no there's no real heavy metal on the album, 0:13:52.116 --> 0:13:55.676 but it's not an album by people who can't play 0:13:55.716 --> 0:13:58.636 heavy metal, you know what I mean. Yeah, Like Chad 0:13:58.676 --> 0:14:01.076 and I were really dialed into it at the time. 0:14:01.516 --> 0:14:03.756 I always feel like it's cool to have things like that. 0:14:03.836 --> 0:14:05.796 I feel like it seems like if you're good at 0:14:05.836 --> 0:14:10.236 any aspect, even if it's not being demonstrated, it makes 0:14:10.276 --> 0:14:13.036 what you're doing better. It has to, right, it has to, 0:14:13.116 --> 0:14:14.676 and it has not only does it have to make 0:14:14.676 --> 0:14:17.636 it better, but it it informs it in some way 0:14:18.276 --> 0:14:22.636 that that can't be explained. Right. Yeah, No, totally. I 0:14:22.716 --> 0:14:25.236 feel like it's it's magical to have things that you 0:14:25.276 --> 0:14:29.156 can do that you're not throwing on the surface for 0:14:29.196 --> 0:14:31.916 people to see. The way I play on that album, 0:14:32.956 --> 0:14:37.196 it's it's a real synthpop based, a new wave based, 0:14:37.636 --> 0:14:43.036 surf guitar based style. Yet at home I was playing 0:14:43.036 --> 0:14:45.596 along with Van Halen and playing those solos like I 0:14:45.996 --> 0:14:49.756 was probably never as good at playing Eddie van Halen 0:14:49.836 --> 0:14:52.076 stuff as I was at the time of by the way, 0:14:52.236 --> 0:14:55.436 and nothing, nothing like that. There's not a hint of 0:14:55.516 --> 0:14:57.916 that in the way that I play. I feel like 0:14:57.956 --> 0:15:01.596 it's in there still. There's a certain confidence between the 0:15:01.636 --> 0:15:04.756 way that I'm playing those simple things that I'm playing 0:15:04.756 --> 0:15:09.196 in a certain precision, in the accenting of things, and 0:15:08.836 --> 0:15:12.516 in the rhythm playing. It's it's a lot of things 0:15:12.516 --> 0:15:16.196 that I got from his style that just aren't the obvious, 0:15:16.916 --> 0:15:21.956 you know, frontal parts of his style. So yeah, I 0:15:21.996 --> 0:15:23.996 think I think it adds a magic to things when 0:15:23.996 --> 0:15:26.956 there's something hidden. Yeah. What I don't remember is my 0:15:26.956 --> 0:15:28.836 favorite song on that album, although I don't remember and 0:15:28.836 --> 0:15:32.716 I haven't listened in a while, is that universally Speakings 0:15:32.716 --> 0:15:35.956 on that album, isn't it. I like that one a lot, Yeah, 0:15:35.996 --> 0:15:38.076 And that one has just a it doesn't sound like 0:15:38.076 --> 0:15:40.676 any other chili pepper song, and it definitely sounds like 0:15:40.716 --> 0:15:45.276 it's rooted in you know, maybe early sixties music more 0:15:45.316 --> 0:15:49.476 than late fifties music. Yeah. I was just watching something 0:15:49.476 --> 0:15:53.436 that made a comparison between two things that universally fits 0:15:53.476 --> 0:16:01.996 into Oh okay, So they were talking about the first 0:16:02.036 --> 0:16:06.236 song on Brianians. It's an album Here come the warm Jets. 0:16:07.116 --> 0:16:19.356 It goes those you know, don't let it show, and 0:16:19.476 --> 0:16:27.036 the drums are going and then waiting for my man. Uh, 0:16:40.316 --> 0:16:43.116 it's the same rhythm basically when you put that. I 0:16:43.156 --> 0:16:45.396 saw it on YouTube. Somebody had put those two things 0:16:45.436 --> 0:16:47.836 next to each other and they said, look, the the 0:16:47.956 --> 0:16:51.476 Ino song is obviously inspired by the Velvet Underground song, 0:16:52.156 --> 0:16:55.636 and universally speaking, I don't know if I made the 0:16:55.636 --> 0:16:57.356 connection the you know thing, but I was trying to 0:16:57.356 --> 0:16:59.716 do something like Velvet Underground. I thought we should have 0:16:59.756 --> 0:17:02.636 something that's just like a straight rhythm. All our songs 0:17:02.716 --> 0:17:07.276 have these funky, kind of syncopated kind of rhythms to them, 0:17:07.396 --> 0:17:09.516 like that would be cool if we had a song 0:17:10.196 --> 0:17:13.796 that just had a real straight rhythm to it like that. 0:17:14.196 --> 0:17:17.236 So I don't, you know, I don't remember specifically what song, 0:17:17.316 --> 0:17:19.756 but it is the same type of rhythm as waiting 0:17:19.876 --> 0:17:23.636 really interesting, So I don't I don't hear Velvet undergrounding 0:17:23.716 --> 0:17:27.076 it at all, right, at all? Yeah, but yeah, for 0:17:27.436 --> 0:17:47.716 in ours, it was a so that's partially like coming. Yeah, 0:17:47.996 --> 0:17:49.956 I was definitely trying to do something that was a 0:17:50.036 --> 0:17:52.836 Velvet Underground type groove what I saw as being their 0:17:52.916 --> 0:17:56.356 type of groove. Yeah, and it's also the drumbeat if 0:17:56.356 --> 0:17:58.596 I remember correctly, it's more like a motown. It's like 0:17:58.636 --> 0:18:01.076 a I think you might have added a drum bot 0:18:01.476 --> 0:18:04.476 might have, but it's definitely different than everything else we 0:18:04.516 --> 0:18:07.356 ever did. It was. It's a really unique song, right, 0:18:07.476 --> 0:18:11.716 and I think we might have obos on it too, Yeah, yeah, yeah, 0:18:11.716 --> 0:18:14.756 there's really cool orchestra stuff. Yeah. That was inspired by 0:18:15.236 --> 0:18:18.036 Sunny and Share. Right from my perspective, is just like, 0:18:18.036 --> 0:18:19.636 oh there's a sound on Sunny and Share, So I 0:18:19.756 --> 0:18:21.596 never heard on anything else, Like maybe we can get 0:18:21.636 --> 0:18:24.276 that instrument. That's so cool because I remember I remember 0:18:24.276 --> 0:18:27.236 specifically trying to do a velvet like like thinking it 0:18:27.636 --> 0:18:30.676 should be a straight rhythm like the Velvet Underground. But 0:18:30.756 --> 0:18:33.476 I also remember you being the one who suggested that 0:18:33.596 --> 0:18:36.556 drum beat. Yeah. Yeah, if I would have known we 0:18:36.556 --> 0:18:39.916 were going for Velvet Undergroud. I wouldn't suggest that that's 0:18:39.956 --> 0:18:42.556 what's so cool about it as well. That's what I 0:18:42.636 --> 0:18:44.556 was saying, is that the EUMO song has that drum 0:18:44.596 --> 0:18:47.596 beat of universally speaking, wow, Waiting for the Man has 0:18:47.636 --> 0:18:51.636 that drum beat wow. Yeah. So so all three of 0:18:51.636 --> 0:18:53.876 those songs have that beat. Yeah. I have a feeling 0:18:53.956 --> 0:18:56.996 everyone got it from Motown. Yeah, I guess. Yeah, you're right. 0:18:57.276 --> 0:19:00.396 Even though everything comes from the Velvet Underground, everything else 0:19:00.476 --> 0:19:04.516 comes from the Motown comes before that probably comes from Motown. Yeah, 0:19:04.556 --> 0:19:08.076 you know, totally. And that's really what Louid wished he was, 0:19:08.076 --> 0:19:12.436 was a soul singer. I think I remember Anthony sang 0:19:12.516 --> 0:19:15.316 that song different than all the other songs too. Yeah, 0:19:15.436 --> 0:19:18.276 he's sang in a lower in a lower key than 0:19:18.356 --> 0:19:24.076 he normally sings, like like a bassy voice. Yeah. So cool. Yeah, 0:19:24.276 --> 0:19:27.516 such an interesting record. I know, there's so many there's 0:19:27.556 --> 0:19:30.156 so many surprises when I listen to that record, like 0:19:30.236 --> 0:19:33.156 after having not heard it from like, WHOA, how the 0:19:33.196 --> 0:19:35.756 fuck did I do that? I didn't know anything about synthesizers? 0:19:35.796 --> 0:19:38.916 How did I do that? That's so cool. Yeah, we'll 0:19:38.916 --> 0:19:41.556 be back with more from Rick and John. After the break, 0:19:44.996 --> 0:19:47.596 we're back with more from Rick Rubin and John from Chante. 0:19:48.516 --> 0:19:53.116 I think there's something really fun about putting on instruments 0:19:53.196 --> 0:19:55.436 you don't know how to play. Yeah, do you know, Like, 0:19:55.436 --> 0:19:58.316 like it's the same reason that the first version of 0:19:59.236 --> 0:20:01.596 a new style of music is interesting. It's because the 0:20:01.636 --> 0:20:03.476 person who's making it doesn't even really know what it 0:20:03.556 --> 0:20:05.956 is yet. Yeah, you're in the process of figuring it out. 0:20:05.996 --> 0:20:08.276 You kind of you can never beat that, No, it's 0:20:08.396 --> 0:20:11.676 so excited. Yeah, Yeah, it's a good argument to always 0:20:11.716 --> 0:20:14.076 like pick up a different instrument and just get sounds 0:20:14.116 --> 0:20:17.436 out of it. Yeah, it's my understanding. David Bowie when 0:20:17.476 --> 0:20:21.516 he record records, he'd have the person still trying to 0:20:21.556 --> 0:20:25.356 figure this out what to play, and he'd stopped them 0:20:25.396 --> 0:20:28.556 at the point where they were just about to figure 0:20:28.596 --> 0:20:31.596 it out. That's when he'd stop him. Like he'd be like, 0:20:31.716 --> 0:20:34.076 that's when he caught what he wanted to catch. He 0:20:34.116 --> 0:20:37.356 doesn't want to right before they figured it out, Like, 0:20:37.436 --> 0:20:39.996 he doesn't. He didn't want the sound of it once 0:20:40.036 --> 0:20:42.396 they're confident with it. He wants it just as they're 0:20:42.436 --> 0:20:44.996 as it's just becoming clear to them. Yeah, that's the 0:20:45.116 --> 0:20:48.356 group that he wanted to hear, you know, so he'd 0:20:48.356 --> 0:20:51.156 often stop people like before they felt I think they've 0:20:51.156 --> 0:20:54.876 only done takes. Would often would play a song once 0:20:54.996 --> 0:20:57.756 or maybe twice before, and no one else in the 0:20:58.156 --> 0:21:00.196 room had ever heard the song before. Yeah, so like 0:21:00.316 --> 0:21:04.436 you played along whatever sounded right and that would be it. Yeah. 0:21:04.476 --> 0:21:09.516 But again, like aside from the Velvet Underground, like that 0:21:09.596 --> 0:21:13.236 that group where that the car is generally doing for 0:21:13.276 --> 0:21:18.676 a lot of that song, like where where you're going 0:21:18.796 --> 0:21:28.196 hard soft The Ramones like they have that in their music, 0:21:28.276 --> 0:21:30.796 like over and over. It's a lot of fast down strokes, 0:21:30.796 --> 0:21:33.236 but a lot of the time where these chords coming from, 0:21:33.276 --> 0:21:40.516 because these are really interesting chords though, you know, you 0:21:40.996 --> 0:21:52.436 tell me about the chords that universe is. Yeah, you know, 0:21:52.476 --> 0:21:54.436 I was just playing along with the Beatles a lot 0:21:54.476 --> 0:21:58.076 and learning all their songs and feeling more free with 0:21:58.156 --> 0:22:02.196 chord progressions, and I'd ever felt like previously the stuff 0:22:02.236 --> 0:22:06.436 that I've done on like Blood Sugar and Californication, it 0:22:06.556 --> 0:22:11.676 felt more like formulas that I knew that progression works. 0:22:11.676 --> 0:22:13.916 It's in a lot of songs. This chord progression works. 0:22:13.916 --> 0:22:15.476 It's in a lot of songs. You know what I 0:22:15.516 --> 0:22:19.996 mean this was where by the way, I'm starting to 0:22:20.036 --> 0:22:23.916 sort of create chord progressions from scratch sort of, there's 0:22:23.996 --> 0:22:27.916 not a yeah, it's not a it's not a formally, 0:22:27.956 --> 0:22:33.716 it's almost like I started seeing chords as harmonies rather 0:22:33.756 --> 0:22:37.636 than chord progressions, per say, So I'm I'm seeing it 0:22:37.716 --> 0:22:41.756 as a certain kind of harmonic movement, and I'm starting 0:22:41.756 --> 0:22:47.556 to do interesting what's called modulations, where like when when 0:22:47.556 --> 0:22:50.836 I'm doing this, you're basically like in an A major thing. 0:22:51.236 --> 0:22:53.876 We're still in an A major thing, but when I 0:22:53.956 --> 0:23:02.756 go that chord is unexpected, that's all of a sudden 0:23:02.756 --> 0:23:05.996 it has a B minor feel to it. When I 0:23:06.036 --> 0:23:07.716 go to that G chord, I haven't even gone to 0:23:07.716 --> 0:23:09.556 the B minor chord, but all of the sudden, you 0:23:09.596 --> 0:23:11.876 get a minor even though it's a major chord that 0:23:11.916 --> 0:23:14.636 I've gone to, you get a minor feeling when it 0:23:14.676 --> 0:23:17.196 goes to that Gee. I'm starting to figure out things 0:23:17.236 --> 0:23:26.276 like that that doing these kind of I was starting 0:23:26.276 --> 0:23:29.556 to see these patterns that they used in classical music 0:23:29.556 --> 0:23:34.036 and stuff, but comprehending what the idea was. Not taking 0:23:34.076 --> 0:23:37.476 somebody else's pattern, but seeing, oh I see I can 0:23:38.036 --> 0:23:40.116 instead of thinking of it as chords, I can think 0:23:40.156 --> 0:23:44.196 of it as just general harmonic movement. The first two 0:23:44.196 --> 0:23:48.516 of the chords of the Bram Bram is um also 0:23:48.676 --> 0:23:50.636 I never again, I never heard it in the song, 0:23:50.756 --> 0:23:54.356 but hearing it just like that played slowly, it reminds 0:23:54.396 --> 0:23:56.956 me of the chords and the led Zeppelin song. I 0:23:56.996 --> 0:24:09.556 don't know the name of the song, Bran Branne. I 0:24:09.556 --> 0:24:11.356 think he's in a different tuning in that song, so 0:24:11.396 --> 0:24:13.596 I can't play it. But like I was just playing 0:24:13.596 --> 0:24:15.356 along with a couple of Beatles songs that I would 0:24:15.356 --> 0:24:20.556