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# I'm on my way, I'm making it. # | 0:00:31 | 0:00:34 | |
I knew it was good. I think we all knew it was good. | 0:00:34 | 0:00:37 | |
But it was only when we started getting hits, | 0:00:37 | 0:00:40 | |
which is a rare thing in my life, that you start thinking, | 0:00:40 | 0:00:44 | |
"Oh, maybe we're going to sell something here". | 0:00:44 | 0:00:47 | |
Peter Gabriel was the classic definition | 0:00:47 | 0:00:50 | |
of a cult artist, before So. | 0:00:50 | 0:00:53 | |
He was well known, he was well respected, | 0:00:53 | 0:00:56 | |
but he was not in that league where we talk about the Beatles, | 0:00:56 | 0:01:00 | |
the Stones, Bob Dylan, Fleetwood Mac. | 0:01:00 | 0:01:04 | |
But So changed that in an enormous way. | 0:01:04 | 0:01:07 | |
MUSIC: "Slegehammer" by Peter Gabriel | 0:01:07 | 0:01:09 | |
# I want to be a sledgehammer! | 0:01:09 | 0:01:13 | |
# This will be my testimony. # | 0:01:14 | 0:01:18 | |
I guess it was May '85. | 0:01:18 | 0:01:22 | |
Came over from New York. We got picked up at Heathrow | 0:01:22 | 0:01:24 | |
by David Stallbaumer, who was Peter's assistant. | 0:01:24 | 0:01:27 | |
Driving down the motorway, he had asked me, how long did Peter and Dan | 0:01:27 | 0:01:31 | |
indicate I was going to be at Ashcombe House for? | 0:01:31 | 0:01:34 | |
I said, "Anywhere from two weeks to six weeks". | 0:01:34 | 0:01:37 | |
He kind of mused for a moment, and then he looked over to me | 0:01:37 | 0:01:40 | |
and said, "You're going to be here until next March," | 0:01:40 | 0:01:42 | |
That was ten months later, and he was spot on. | 0:01:42 | 0:01:45 | |
It took us a year to finish So, almost to the day, | 0:01:45 | 0:01:50 | |
and I wasn't aware of this, but I was told after the fact | 0:01:50 | 0:01:53 | |
-that that's the fastest record that Peter ever made. -HE LAUGHS | 0:01:53 | 0:01:57 | |
# You better call the sledgehammer | 0:01:59 | 0:02:03 | |
# This will be my testimony. # | 0:02:03 | 0:02:09 | |
I knew that he was a person who thought about music | 0:02:09 | 0:02:15 | |
in a different way. How can music enter the culture in a different way, | 0:02:15 | 0:02:19 | |
other than just records, product, songs? You buy them, take them home. | 0:02:19 | 0:02:23 | |
But how else could you experience music? | 0:02:23 | 0:02:25 | |
Could all of those things meld at one moment in time | 0:02:25 | 0:02:29 | |
to make a record that could, not necessarily fit into the masses, | 0:02:29 | 0:02:35 | |
but actually find a way for the mass to come to him? | 0:02:35 | 0:02:38 | |
I shook hands with Peter, I said, "Listen, | 0:02:38 | 0:02:41 | |
"I think this could be really great for you, and let's not let up | 0:02:41 | 0:02:44 | |
"until we're satisfied that it could touch a lot of hearts". | 0:02:44 | 0:02:47 | |
MUSIC: "Don't Give Up" by Peter Gabriel and Kate Bush | 0:02:47 | 0:02:50 | |
# Don't give up | 0:02:50 | 0:02:52 | |
# You still have us | 0:02:52 | 0:02:54 | |
# Don't give up | 0:02:58 | 0:03:01 | |
# We don't need much of anything. # | 0:03:01 | 0:03:05 | |
I think the songs were just like amazing and great songs, | 0:03:05 | 0:03:08 | |
a great producer. Just, you know, magical. | 0:03:08 | 0:03:12 | |
MUSIC: "That Voice Again" by Peter Gabriel | 0:03:12 | 0:03:14 | |
# I want to be with you I want to be clear | 0:03:14 | 0:03:17 | |
# Each time I try It's the voice I hear. # | 0:03:17 | 0:03:20 | |
Imagine if somebody drops off a big lump of granite on your front lawn, | 0:03:22 | 0:03:26 | |
and it's your job to make a sculpture, | 0:03:26 | 0:03:28 | |
a nice skinny sculpture, out of it by spring. | 0:03:28 | 0:03:32 | |
That was kind of our job. | 0:03:32 | 0:03:33 | |
I think that one of the reasons I've been able to have a career | 0:03:33 | 0:03:37 | |
over all this time, | 0:03:37 | 0:03:39 | |
is that I've followed my heart, and my nose, you know? | 0:03:39 | 0:03:44 | |
You sniff around, and you find something interesting, | 0:03:44 | 0:03:47 | |
and you chase it. | 0:03:47 | 0:03:50 | |
And that is what makes life interesting. | 0:03:50 | 0:03:52 | |
MUSIC: "Red Rain" by Peter Gabriel | 0:03:52 | 0:03:56 | |
I had had a dream that was a bit like the parting of the Red Sea, | 0:03:56 | 0:04:00 | |
with these two walls, and these glass bottles | 0:04:00 | 0:04:04 | |
that would fill up with blood, | 0:04:04 | 0:04:10 | |
that would enable them to walk to the other side, | 0:04:10 | 0:04:12 | |
screw onto the other wall, and empty the blood out. | 0:04:12 | 0:04:16 | |
That was, I guess, a little version of life and death. | 0:04:18 | 0:04:22 | |
There is a sense of danger, loss, | 0:04:22 | 0:04:28 | |
this notion of "red rain". | 0:04:28 | 0:04:30 | |
It's not specifically blood, but it's hard not to think of that | 0:04:30 | 0:04:33 | |
as an image of blood, of people drowning, people helpless. | 0:04:33 | 0:04:36 | |
# Red rain is coming down | 0:04:38 | 0:04:42 | |
# Red rain | 0:04:42 | 0:04:45 | |
# Red rain is pouring down | 0:04:45 | 0:04:50 | |
# Pouring down all over me. # | 0:04:50 | 0:04:54 | |
I'd always wanted it to crash open at the front. | 0:04:57 | 0:05:01 | |
And for it to feel really driven. | 0:05:01 | 0:05:04 | |
# Oh! Red rain coming down | 0:05:04 | 0:05:09 | |
# Red rain. # | 0:05:09 | 0:05:13 | |
I spent a lot of time, and Dan too, on trying to get the sequence right. | 0:05:13 | 0:05:18 | |
And what we used to do was put the beginnings and endings | 0:05:18 | 0:05:22 | |
of all the songs on little cassettes, | 0:05:22 | 0:05:24 | |
so you can try all the different permutations. | 0:05:24 | 0:05:27 | |
# Red rain is coming down all over me. # | 0:05:27 | 0:05:33 | |
I think with Red Rain, fairly early on, | 0:05:33 | 0:05:37 | |
that was going to be an opener. | 0:05:37 | 0:05:38 | |
We put a lot of work into those drums. | 0:05:38 | 0:05:41 | |
This was before digital technology. | 0:05:41 | 0:05:45 | |
Jerry Marotta must have played the drums like, | 0:05:47 | 0:05:52 | |
I think, about eight takes. | 0:05:52 | 0:05:54 | |
The idea was always to try to do something different, | 0:05:54 | 0:05:58 | |
be a little unconventional, or a lot unconventional. | 0:05:58 | 0:06:03 | |
I love that about Peter. | 0:06:03 | 0:06:05 | |
He's a really a master of low end. | 0:06:05 | 0:06:07 | |
He can really shape the bottom of a song the way no one else can. | 0:06:07 | 0:06:11 | |
And then it was my job, after Jerry left, to go through everything, | 0:06:11 | 0:06:15 | |
and make sure that I had included Jerry's best playing, bar at a time. | 0:06:15 | 0:06:20 | |
It's getting in there and trying things, | 0:06:20 | 0:06:22 | |
and trying things in a little different way. Being unusual. | 0:06:22 | 0:06:26 | |
But I think it was worth it. | 0:06:26 | 0:06:28 | |
You hear all the idiosyncratic details of Jerry's performance. | 0:06:28 | 0:06:31 | |
It's got a lot of power. | 0:06:33 | 0:06:34 | |
Got a very deep, philosophical thing. | 0:06:34 | 0:06:37 | |
And, performance-wise, | 0:06:37 | 0:06:40 | |
it wasn't like the pop songs. | 0:06:40 | 0:06:44 | |
It was much darker. | 0:06:44 | 0:06:46 | |
# I am standing up at the water's edge, in my dream. | 0:06:46 | 0:06:52 | |
# I cannot make a single sound as you scream. # | 0:06:55 | 0:07:01 | |
As the ex-drummer that I am, | 0:07:01 | 0:07:02 | |
I have to get the drums right, before anything else can happen. | 0:07:02 | 0:07:05 | |
Remember, one of his big influences as a kid was Otis Redding, | 0:07:05 | 0:07:09 | |
and he was a drummer, before he was a singer. | 0:07:09 | 0:07:13 | |
The past records, as Jerry Marotta will remind us all of, | 0:07:13 | 0:07:18 | |
were not allowed to have any cymbals. | 0:07:18 | 0:07:20 | |
No cymbals, and no hi-hat. | 0:07:20 | 0:07:22 | |
Because Peter didn't want a whole bunch of "pshhhh" | 0:07:22 | 0:07:25 | |
splashing around, noisy things, to take up any room in the mix. | 0:07:25 | 0:07:30 | |
One of the worst things you can ever do to an artist | 0:07:30 | 0:07:33 | |
is give them complete freedom. | 0:07:33 | 0:07:35 | |
Cos they just sit there, thinking, | 0:07:35 | 0:07:37 | |
"What the hell am I going to do?" | 0:07:37 | 0:07:41 | |
But I think creative people are devious, | 0:07:41 | 0:07:44 | |
and if you tell them what they can't do, they'll find a way round it. | 0:07:44 | 0:07:49 | |
So I thought, "OK, I know I'm devious, too, | 0:07:49 | 0:07:55 | |
"so I'll create my own set of rules, of things that I can or can't do. | 0:07:55 | 0:08:01 | |
"And that'll force me to think of alternatives". So, no cymbals. | 0:08:01 | 0:08:07 | |
I love hi-hat, and I said to Peter, | 0:08:07 | 0:08:10 | |
"Let's make this record a nice hi-hat record, why not?" | 0:08:10 | 0:08:13 | |
He's fascinating, Dan, cos he's a mixture of, | 0:08:13 | 0:08:17 | |
I think, quite a rough and tough dad on the one hand, | 0:08:17 | 0:08:22 | |
and a very soft and tender mum. | 0:08:22 | 0:08:27 | |
He can be both things. | 0:08:27 | 0:08:29 | |
And he decided to follow my instinct, | 0:08:29 | 0:08:34 | |
and so we allowed cymbals and hi-hats into the project. | 0:08:34 | 0:08:37 | |
That was quite a change for him. | 0:08:37 | 0:08:40 | |
One of the things that I asked Stewart Copeland to do, | 0:08:40 | 0:08:45 | |
cos he's a virtuoso hi-hat player, was focus in on the hi-hat. | 0:08:45 | 0:08:51 | |
DRUM MACHINE PLAYS | 0:08:51 | 0:08:52 | |
So this is where we started, with the hi-hat on the drum program. | 0:08:52 | 0:08:56 | |
It does a job, it motors along, but doesn't have any personality. | 0:08:56 | 0:08:59 | |
So, here's Stewart. | 0:08:59 | 0:09:03 | |
HI-HATS PLAY | 0:09:03 | 0:09:05 | |
Of what we put on the record, I'd say Red Rain | 0:09:11 | 0:09:13 | |
probably took the most out of me. | 0:09:13 | 0:09:16 | |
It was a very flat... | 0:09:18 | 0:09:21 | |
And it was my job to make it so that it evolved, | 0:09:21 | 0:09:25 | |
sonically and emotionally. | 0:09:25 | 0:09:27 | |
# Red rain is coming down | 0:09:35 | 0:09:39 | |
# Red rain | 0:09:39 | 0:09:41 | |
# Red rain is falling down | 0:09:44 | 0:09:47 | |
# Falling down all over me. # | 0:09:47 | 0:09:51 | |
I wanted his emotions to come to the forefront. | 0:09:51 | 0:09:55 | |
To wear no mask and no veil, and to have no mirrored | 0:09:55 | 0:09:59 | |
contact lenses, and no trickery. | 0:09:59 | 0:10:04 | |
And just take everything off, and let the songs be heard. | 0:10:04 | 0:10:08 | |
And I think that was a good call. | 0:10:08 | 0:10:11 | |
I think it was sort of a nice segue into the next chapter, for Peter. | 0:10:11 | 0:10:16 | |
So, consequently, I think these songs are more revealing, | 0:10:16 | 0:10:19 | |
they're more naked, they're taking risks | 0:10:19 | 0:10:22 | |
and listeners feel that, when a man takes a risk. | 0:10:22 | 0:10:27 | |
I've always been slow, so I worked out early on, | 0:10:33 | 0:10:36 | |
that it was going to be a lot cheaper | 0:10:36 | 0:10:38 | |
if tried to buy the equipment, | 0:10:38 | 0:10:40 | |
and set up a little studio, rather than rent a studio. | 0:10:40 | 0:10:44 | |
I was looking, basically, for a place that I could afford, | 0:10:44 | 0:10:47 | |
so we rented this old farmhouse. | 0:10:47 | 0:10:49 | |
And we started putting some equipment in there. | 0:10:49 | 0:10:52 | |
But it was away from everything. | 0:10:52 | 0:10:55 | |
The cows would come and lick the windows occasionally, | 0:10:55 | 0:10:58 | |
and I loved it. | 0:10:58 | 0:11:00 | |
I first got an invitation to work with Peter Gabriel | 0:11:04 | 0:11:08 | |
when I was living in Hamilton, in Ontario, in Canada. | 0:11:08 | 0:11:10 | |
That's near Toronto. | 0:11:10 | 0:11:13 | |
And there was an invitation to come in and help him | 0:11:13 | 0:11:15 | |
with a soundtrack for a film called Birdy. | 0:11:15 | 0:11:19 | |
I jumped on the plane the next day, and we carried on with that work, | 0:11:19 | 0:11:22 | |
and Peter gave me access to his entire library. | 0:11:22 | 0:11:25 | |
He says, "Whatever you find in here, do what you like with it. | 0:11:25 | 0:11:28 | |
"What I expect in the end is some nice surprises". | 0:11:28 | 0:11:31 | |
I knew I didn't have time to generate a whole new score, | 0:11:31 | 0:11:34 | |
so I wanted to use part of the score, | 0:11:34 | 0:11:38 | |
using existing material, and remixes, | 0:11:38 | 0:11:43 | |
and extrapolate mood from some of the ready-made material. | 0:11:43 | 0:11:47 | |
And I did provide him a lot of surprises, sonic surprises, | 0:11:47 | 0:11:51 | |
and he invited me to stay on to work on his new singing record, | 0:11:51 | 0:11:56 | |
which was to become So. | 0:11:56 | 0:11:59 | |
You saw the two together. They still had hair. | 0:11:59 | 0:12:03 | |
HE LAUGHS | 0:12:03 | 0:12:04 | |
And the two together, they were one. | 0:12:04 | 0:12:08 | |
When I first met Daniel, I remember now, at the studio, I looked at him, | 0:12:08 | 0:12:12 | |
and he was the perfect complement to Peter. | 0:12:12 | 0:12:14 | |
He understood Peter. | 0:12:14 | 0:12:16 | |
I walked down the lane with my bag. | 0:12:19 | 0:12:21 | |
Peter came out of Ashcombe House. | 0:12:21 | 0:12:24 | |
Something jumped on me. | 0:12:24 | 0:12:26 | |
I felt that I had known him before. | 0:12:26 | 0:12:28 | |
I just felt something genetically connected with him, | 0:12:29 | 0:12:32 | |
if not by birth. | 0:12:32 | 0:12:34 | |
And, I knew right at that moment, that I should work with him. | 0:12:34 | 0:12:38 | |
Ashcombe was made of two main buildings, the house, | 0:12:40 | 0:12:44 | |
the beautiful garden, and then the cow barn. | 0:12:44 | 0:12:48 | |
I think it had been used as a functioning cow barn. | 0:12:48 | 0:12:52 | |
I don't know how long back. | 0:12:52 | 0:12:53 | |
Cows were still around in the fields. | 0:12:53 | 0:12:57 | |
It felt and behaved like a proper studio, | 0:12:57 | 0:12:59 | |
but it was all done very inexpensively. | 0:12:59 | 0:13:02 | |
Peter walked in and said, "Great, let's get started. | 0:13:02 | 0:13:05 | |
"We're going to start making a record." | 0:13:05 | 0:13:08 | |
And that was the initial birth process for So. | 0:13:08 | 0:13:12 | |
We were both surrounded by a brand new studio, | 0:13:12 | 0:13:15 | |
with a bunch of equipment neither of us knew really how to operate. | 0:13:15 | 0:13:18 | |
They turned the barn into a studio. It was perfect for Peter. | 0:13:21 | 0:13:25 | |
It was great, cos it was kinda like that thing where | 0:13:25 | 0:13:29 | |
we're in, at home, we're in our own environment, you know? | 0:13:29 | 0:13:32 | |
So, that was it. He'd go in the back to work on lyrics, | 0:13:32 | 0:13:35 | |
and pop the tracks, and sing out loud, | 0:13:35 | 0:13:38 | |
while I worked in the smaller room in the front, tidying things up, | 0:13:38 | 0:13:41 | |
and getting the room ready for the next level of work. | 0:13:41 | 0:13:46 | |
We had a good work ethic, | 0:13:48 | 0:13:50 | |
and we treated it like a construction site. | 0:13:50 | 0:13:52 | |
In fact, we even had the construction site hard hats. | 0:13:52 | 0:13:56 | |
We just had a policy where we put on the hard hat before starting work. | 0:13:58 | 0:14:01 | |
I listened to his solo records, and I liked them. | 0:14:01 | 0:14:05 | |
I thought that he had been very adventurous and brave | 0:14:05 | 0:14:09 | |
with his sonics, and with his songs. | 0:14:09 | 0:14:13 | |
All four records before that were titled Peter Gabriel. | 0:14:13 | 0:14:18 | |
I used to remember all the different albums, not from titles, | 0:14:18 | 0:14:22 | |
but from the pictures, from the artwork. | 0:14:22 | 0:14:26 | |
Then you had a big vinyl artwork. | 0:14:26 | 0:14:30 | |
There was a whole ritual to getting an album. Opening it, smelling it. | 0:14:30 | 0:14:34 | |
And I also thought that, | 0:14:34 | 0:14:36 | |
when you had good artwork, why did you have to have | 0:14:36 | 0:14:38 | |
all this text all over the top of it, | 0:14:38 | 0:14:40 | |
making it look like a piece of advertising? | 0:14:40 | 0:14:43 | |
You go from the first record, | 0:14:43 | 0:14:45 | |
with Here Comes the Flood, Solsbury Hill. | 0:14:45 | 0:14:49 | |
The second album, which is more eccentric and darker, | 0:14:49 | 0:14:53 | |
produced by Robert Fripp. | 0:14:53 | 0:14:55 | |
Games Without Frontiers. | 0:14:55 | 0:14:57 | |
# Whistling tunes, We hide in the dunes by the seaside | 0:15:02 | 0:15:05 | |
# Whistling tunes, We're kissing baboons in the jungle | 0:15:11 | 0:15:16 | |
# It's a knockout | 0:15:16 | 0:15:19 | |
# If looks could kill, they probably will | 0:15:19 | 0:15:22 | |
# In games without frontiers | 0:15:22 | 0:15:24 | |
# War without tears. # | 0:15:24 | 0:15:26 | |
That's when you have Biko. | 0:15:26 | 0:15:29 | |
You get this sense that he's working his way forward. | 0:15:29 | 0:15:34 | |
By calling each record "Peter Gabriel", the point was, | 0:15:34 | 0:15:39 | |
"These are not separate, discrete statements. | 0:15:39 | 0:15:43 | |
"This is part of my continuing body of work". | 0:15:43 | 0:15:48 | |
It was sort of culty, and occasional flashes. | 0:15:48 | 0:15:52 | |
so Games Without Frontiers, Shock The Monkey, Solsbury Hill, | 0:15:52 | 0:15:57 | |
had sort of broken through to a wider audience. | 0:15:57 | 0:16:02 | |
# Watched by empty silhouette | 0:16:02 | 0:16:05 | |
# Who show their face but not at me | 0:16:05 | 0:16:09 | |
# No-one taught them etiquette | 0:16:09 | 0:16:12 | |
# I will show another me | 0:16:13 | 0:16:16 | |
# Today I don't need a replacement | 0:16:16 | 0:16:20 | |
# I'll show them what the smile on my face meant | 0:16:20 | 0:16:23 | |
# My heart going boom-boom-boom | 0:16:23 | 0:16:26 | |
# "Son," he said | 0:16:26 | 0:16:28 | |
# "Grab your things, I've come to take you home". # | 0:16:28 | 0:16:31 | |
And then, I sort of retreat | 0:16:31 | 0:16:34 | |
back into the bushes | 0:16:34 | 0:16:37 | |
with my normal crowd. | 0:16:37 | 0:16:40 | |
So, there's occasional moments in the daylight. | 0:16:40 | 0:16:45 | |
Those songs had been said already, | 0:16:45 | 0:16:47 | |
and we're entering a new body of work. | 0:16:47 | 0:16:50 | |
# You could have a steam train | 0:16:50 | 0:16:53 | |
# If you just lay down your tracks. # | 0:16:55 | 0:16:59 | |
Sledgehammer, actually, | 0:16:59 | 0:17:01 | |
that crashed the door down for such a wide audience, | 0:17:01 | 0:17:06 | |
that everything else that was on the record that was important, | 0:17:06 | 0:17:09 | |
that was convincing, that was committed, | 0:17:09 | 0:17:13 | |
that all came through as well. | 0:17:13 | 0:17:15 | |
# A sledgehammer | 0:17:16 | 0:17:18 | |
# This can be testimony | 0:17:20 | 0:17:23 | |
# Hey! The sledgehammer. # | 0:17:24 | 0:17:29 | |
I remember that Sledgehammer, we did very last. | 0:17:29 | 0:17:32 | |
In fact, we were packing up. | 0:17:32 | 0:17:34 | |
Peter, in typical Peter fashion, said, | 0:17:34 | 0:17:37 | |
"I have this idea, for the next album, of a piece. | 0:17:37 | 0:17:39 | |
"Would you mind just doing a run through of it?" | 0:17:39 | 0:17:42 | |
One of the many things I love about Peter is, | 0:17:42 | 0:17:46 | |
in his mind, he's only a couple of months away | 0:17:46 | 0:17:48 | |
from doing his next album, | 0:17:48 | 0:17:50 | |
even when he's finishing an album, and the rest of us know | 0:17:50 | 0:17:53 | |
we're going to have to wait years, maybe even for this one to come out. | 0:17:53 | 0:17:56 | |
So we just reassembled the stuff, | 0:17:56 | 0:17:59 | |
and did a quick version or two of Sledgehammer, | 0:17:59 | 0:18:03 | |
and then we went home thinking, "No-one will ever hear that track". | 0:18:03 | 0:18:07 | |
Everyone thinks, "Oh, Sledgehammer, | 0:18:07 | 0:18:08 | |
"you must have been trying to write a hit". | 0:18:08 | 0:18:11 | |
It wasn't like that. | 0:18:11 | 0:18:14 | |
I loved R&B, soul music. | 0:18:14 | 0:18:18 | |
So, in a way, this was a little bit of homage to that. | 0:18:20 | 0:18:23 | |
I had made these jazz records, jazz fusion, | 0:18:23 | 0:18:28 | |
which was totally not Peter's bag, but I had also recorded a song | 0:18:28 | 0:18:33 | |
as a tribute to the island where I was born. | 0:18:33 | 0:18:37 | |
In that piece of music, there was a drummer, | 0:18:37 | 0:18:41 | |
which was Manu Katche. | 0:18:41 | 0:18:43 | |
I got a phone call in my room so of course I answered the phone, | 0:18:43 | 0:18:48 | |
and someone on the phone says, "Hello, is this Manu here? | 0:18:48 | 0:18:51 | |
"It's Peter Gabriel". I said, "Yeah, OK." | 0:18:51 | 0:18:54 | |
I thought it was my friend, doing a joke. | 0:18:54 | 0:18:57 | |
Peter was calling him. He was not returning Peter's calls. | 0:18:57 | 0:19:00 | |
Five minutes later, the phone rings again. | 0:19:00 | 0:19:03 | |
"Hello?" "Manu, this is Peter Gabriel". | 0:19:03 | 0:19:05 | |
I said, "Camille, OK, stop it!" | 0:19:05 | 0:19:06 | |
Peter called me in New York, and said, "I don't know what's | 0:19:06 | 0:19:09 | |
going on with this drummer. He's not returning the calls". | 0:19:09 | 0:19:12 | |
So, I remember, I called him with Peter on the line, | 0:19:12 | 0:19:15 | |
and I said to Manu, "Manu, what's going on?" | 0:19:15 | 0:19:18 | |
And he said, "I would love to have you on my next project". | 0:19:18 | 0:19:23 | |
So I said to George, "Are you sure this guy can shuffle? | 0:19:23 | 0:19:26 | |
"We have to have a man who understands the shuffle. | 0:19:26 | 0:19:29 | |
"It's not enough to just go 'boo-boo-de-boo-boo-de' anymore. | 0:19:29 | 0:19:33 | |
"We want the 'do-do-do-ch-do-do-do-do', | 0:19:33 | 0:19:36 | |
"some kind of motion to it. | 0:19:36 | 0:19:38 | |
"Will Manu be able to do that?" | 0:19:38 | 0:19:40 | |
And he said, "Well, he's the best in Paris. Trust me, I think you'll love him". | 0:19:40 | 0:19:44 | |
Somebody like Manu coming to the table was so unlike anything | 0:19:44 | 0:19:49 | |
that had yet happened in the entire recording process. | 0:19:49 | 0:19:53 | |
Because, he's a straight session guy. | 0:19:55 | 0:19:58 | |
There's a big garden in front me, | 0:19:58 | 0:20:01 | |
and we just go out for a little bit of time, then having your tea | 0:20:01 | 0:20:04 | |
in the kitchen, then coming back. Has nothing to do like you being | 0:20:04 | 0:20:08 | |
in a professional studio, where you have to sign in when you get in, | 0:20:08 | 0:20:11 | |
and sign out when you leave the place. | 0:20:11 | 0:20:13 | |
And then there are two or three studios | 0:20:13 | 0:20:15 | |
when people are working on different projects. | 0:20:15 | 0:20:17 | |
So the feeling was very, very different, | 0:20:17 | 0:20:20 | |
plus it's in the countryside, in the middle of the countryside, | 0:20:20 | 0:20:24 | |
which means there's nothing around of, like, in a city. | 0:20:24 | 0:20:26 | |
Sat down, listened to the track once, maybe twice, | 0:20:29 | 0:20:32 | |
with Peter in the control room. Not even in the room with him. | 0:20:32 | 0:20:35 | |
Just said, "OK, play what you think, play what you think". | 0:20:35 | 0:20:37 | |
Manu did one take. | 0:20:37 | 0:20:39 | |
And I go back into the studio. We listened to it, | 0:20:39 | 0:20:41 | |
and I see Peter moving, and really having this great | 0:20:41 | 0:20:45 | |
and nice smile on his face. | 0:20:45 | 0:20:48 | |
And I said, "You like it?" He said, "Yeah". | 0:20:48 | 0:20:51 | |
And Peter said, "Great, let's do it again". | 0:20:51 | 0:20:53 | |
And Manu's response was, | 0:20:53 | 0:20:55 | |
"Why? I've already done it." | 0:20:55 | 0:20:58 | |
Peter always likes another take, or a third take or a tenth take, | 0:20:58 | 0:21:01 | |
just to cover himself. | 0:21:01 | 0:21:02 | |
There's an American producer, I think it's Jerry Wexler. | 0:21:02 | 0:21:07 | |
No, it wasn't, Arif Mardin. | 0:21:07 | 0:21:10 | |
And one of his quotes was, | 0:21:10 | 0:21:13 | |
"Fabulous, fabulous, fabulous. Now, do it again." | 0:21:13 | 0:21:16 | |
He was used to just doing things hundreds and hundreds, | 0:21:16 | 0:21:19 | |
and hundreds of times. | 0:21:19 | 0:21:20 | |
And Manu's point was, "I've all ready interpreted this as best I can." | 0:21:20 | 0:21:25 | |
And as soon as I heard that track, | 0:21:25 | 0:21:26 | |
I had the idea of what I wanted to play, instantly. | 0:21:26 | 0:21:30 | |
Remember, the groove on the bass was, like, phenomenal. | 0:21:30 | 0:21:32 | |
Manu was following where the music seemed to be taking us. | 0:21:32 | 0:21:36 | |
And Manu was very good at just following that direction, | 0:21:36 | 0:21:39 | |
but doing it with his own style, so it always sounds like him. | 0:21:39 | 0:21:43 | |
And that's what I try to do on bass. | 0:21:43 | 0:21:44 | |
# Come, feel the power | 0:21:44 | 0:21:47 | |
# Build, build, help the power | 0:21:47 | 0:21:50 | |
# Come on, come on, help me | 0:21:50 | 0:21:53 | |
# Come on, come on, help me, do | 0:21:53 | 0:21:55 | |
# Give it, give it, give it | 0:21:55 | 0:21:57 | |
# All day and night. # | 0:21:57 | 0:21:59 | |
Sledgehammer is part of that | 0:21:59 | 0:22:01 | |
classical rhythm and blues soul that people understand instantly, | 0:22:01 | 0:22:05 | |
so, once again, | 0:22:05 | 0:22:09 | |
I would love to think | 0:22:09 | 0:22:11 | |
it's because when we recorded it, | 0:22:11 | 0:22:14 | |
we recorded it with heart and soul. | 0:22:14 | 0:22:16 | |
DRUMS PLAY | 0:22:16 | 0:22:17 | |
The drums have that thing I was talking about, | 0:22:17 | 0:22:19 | |
a lovely kind of swing to them. | 0:22:19 | 0:22:22 | |
And then, if we put in Tony's bass... | 0:22:22 | 0:22:24 | |
BASS PLAYS | 0:22:24 | 0:22:27 | |
And I chose fretless bass. | 0:22:29 | 0:22:31 | |
PLAYS BASS | 0:22:31 | 0:22:33 | |
I put an octave on it, and a little unusual to use a pick. | 0:22:33 | 0:22:36 | |
And I thought we came up with a good sound. | 0:22:36 | 0:22:40 | |
PLAYS BASSLINE | 0:22:40 | 0:22:42 | |
When I heard the track, it was about 50 or 60% completed, | 0:22:57 | 0:23:01 | |
but there were no lyrics on it whatsoever, | 0:23:01 | 0:23:03 | |
so the bed track was then drums, bass, guitars. | 0:23:03 | 0:23:05 | |
It had some keyboards on it, but it didn't have all the keyboards on it. | 0:23:05 | 0:23:10 | |
No vocals, whatsoever. | 0:23:10 | 0:23:12 | |
No background vocals, no lead vocal. | 0:23:12 | 0:23:15 | |
Dan kept mentioning, "It would be great to have horns on this," | 0:23:15 | 0:23:19 | |
cos it had a soul feel. | 0:23:19 | 0:23:20 | |
So, we went to the Power Station, in New York, | 0:23:20 | 0:23:23 | |
and had a couple of fellas come up from Memphis. | 0:23:23 | 0:23:26 | |
I was going up to play with some strange people, | 0:23:26 | 0:23:30 | |
and I didn't know how it worked. But I'm good with folks. | 0:23:30 | 0:23:33 | |
I'm good with strangers, so I figured I could make it work, and I did. | 0:23:33 | 0:23:37 | |
Wayne Jackson, | 0:23:37 | 0:23:40 | |
with the Memphis Horns, | 0:23:40 | 0:23:42 | |
was playing at the gig in Brixton when I saw Otis, in 1967. | 0:23:42 | 0:23:48 | |
So, it was a great thing for me to be able to work with them, | 0:23:48 | 0:23:53 | |
and work with him, | 0:23:53 | 0:23:54 | |
and hear a lot of the stories first-hand about Otis. | 0:23:54 | 0:23:59 | |
The song had a sense of humour to it, | 0:23:59 | 0:24:01 | |
and they felt the horns would highlight that humour. | 0:24:01 | 0:24:04 | |
HORNS PLAY | 0:24:04 | 0:24:06 | |
There they are. | 0:24:15 | 0:24:17 | |
I liked the song, and I love the track. It felt good. | 0:24:17 | 0:24:20 | |
That's all. R&B feels good. And this felt good, too. | 0:24:21 | 0:24:25 | |
And I could see why he wanted something original sounding, | 0:24:25 | 0:24:30 | |
to lean his music more towards soul than, than pop. | 0:24:30 | 0:24:34 | |
And I gave him that. | 0:24:36 | 0:24:37 | |
When they came back, after being here for a week, | 0:24:37 | 0:24:40 | |
and I heard them for the first time, it was just a big smile on my face, | 0:24:40 | 0:24:43 | |
cos it helped pull the whole track together. | 0:24:43 | 0:24:45 | |
We were all very happy. | 0:24:45 | 0:24:47 | |
Daniel and Peter just jumped up | 0:24:47 | 0:24:49 | |
and ran around the studio, just jumping up. | 0:24:49 | 0:24:52 | |
Just like fairies. "Yay!" | 0:24:52 | 0:24:56 | |
They were so happy with the way it was coming off. | 0:24:57 | 0:25:01 | |
The thing about Sledgehammer is that it had that video, | 0:25:01 | 0:25:04 | |
and the video had such a charm, such a sense of humour, | 0:25:04 | 0:25:08 | |
which was something that people didn't realise about him. | 0:25:08 | 0:25:12 | |
# You could have a steam train | 0:25:12 | 0:25:14 | |
# If you just lay down your tracks | 0:25:17 | 0:25:21 | |
# You could have an aeroplane flying | 0:25:22 | 0:25:26 | |
# If you bring your blue sky back | 0:25:27 | 0:25:31 | |
# All you do is call me. # | 0:25:31 | 0:25:34 | |
I'd taken a risk, and spent quite a lot of money on this video, | 0:25:34 | 0:25:39 | |
which was really unusual at the time. | 0:25:39 | 0:25:41 | |
People hadn't really done something like that. | 0:25:41 | 0:25:45 | |
# Going up and down All around the bends. # | 0:25:47 | 0:25:51 | |
I was introduced to this wonderful director, Stephen R Johnson, | 0:25:51 | 0:25:55 | |
and he introduced me to the Quay Brothers, | 0:25:55 | 0:25:58 | |
and I introduced him to Aardman Animation, | 0:25:58 | 0:26:00 | |
all of whom worked together. | 0:26:00 | 0:26:03 | |
In those days, you more or less had to do it all in camera. | 0:26:03 | 0:26:06 | |
In other words, what you shot was what you got. | 0:26:06 | 0:26:08 | |
You couldn't layer stuff in. | 0:26:08 | 0:26:10 | |
So, basically, you were shooting everything, | 0:26:10 | 0:26:12 | |
frame by frame, in camera. | 0:26:12 | 0:26:14 | |
So, Peter Gabriel sitting in a chair. | 0:26:14 | 0:26:16 | |
We made a rig, we have bumper cars, | 0:26:16 | 0:26:18 | |
and they are simply model cars, which are animated frame by frame, | 0:26:18 | 0:26:23 | |
and he would be directed to enunciate the part of the word | 0:26:23 | 0:26:26 | |
he's meant to be singing. | 0:26:26 | 0:26:27 | |
You would direct his eyes to look right or look left, | 0:26:27 | 0:26:30 | |
on a frame by frame basis. | 0:26:30 | 0:26:32 | |
You were using Peter Gabriel effectively as an animated model. | 0:26:32 | 0:26:36 | |
# The amusement never ends. # | 0:26:36 | 0:26:39 | |
Two weeks of sort of creative work, and a very slow and painful | 0:26:39 | 0:26:44 | |
process, filming in old-style animation so, as clouds moved | 0:26:44 | 0:26:48 | |
across my face they had, actually had to be painted, frame by frame. | 0:26:48 | 0:26:52 | |
And then Nick Park was asked to animate these chickens. | 0:26:53 | 0:26:58 | |
They'd already been out of the fridge for quite a while, | 0:26:58 | 0:27:01 | |
while they had wire put in them. | 0:27:01 | 0:27:02 | |
Then they were underneath the studio lights, | 0:27:02 | 0:27:06 | |
and Nick is to be seen wearing protective clothing, | 0:27:06 | 0:27:09 | |
rubber gloves and a mask, and stuff like that, | 0:27:09 | 0:27:12 | |
because he was rightly anxious about salmonella. | 0:27:12 | 0:27:15 | |
After the Sledgehammer video was popular in America, I noticed, | 0:27:26 | 0:27:31 | |
and had to laugh, that there were more women in the audience. | 0:27:31 | 0:27:35 | |
Exactly, there were women in the audience, | 0:27:35 | 0:27:37 | |
which, for the musicians, was a wonderful thing. | 0:27:37 | 0:27:39 | |
HE LAUGHS | 0:27:39 | 0:27:41 | |
So that was a change that changed for good, | 0:27:41 | 0:27:45 | |
and we all kind of smiled about it on stage, and took it for what it was. | 0:27:45 | 0:27:49 | |
That was one change, after So. | 0:27:49 | 0:27:52 | |
Song about a man and a woman | 0:27:52 | 0:27:56 | |
faced with a problem of losing a job. | 0:27:56 | 0:27:59 | |
It's called Don't Give Up. | 0:27:59 | 0:28:01 | |
APPLAUSE | 0:28:01 | 0:28:03 | |
BASS PLAYS | 0:28:03 | 0:28:06 | |
Don't Give Up started out as a rhythm box pattern | 0:28:14 | 0:28:17 | |
that Peter had been fiddling around with on his Linn drum. | 0:28:17 | 0:28:22 | |
Then little tuned tom-toms, and I always liked something about it. | 0:28:22 | 0:28:26 | |
And so this entire song was built around that little tom-tom pattern. | 0:28:28 | 0:28:32 | |
And I'd pitched the um, toms quite deliberately | 0:28:34 | 0:28:39 | |
and then I asked Tony if he could build on that. | 0:28:39 | 0:28:45 | |
And when Tony Levin came in he mimicked the phrasing | 0:28:45 | 0:28:49 | |
of the tom-tom pattern the best he could | 0:28:49 | 0:28:51 | |
and he invented this beautiful part that floats on top. | 0:28:51 | 0:28:55 | |
And I thought that'd be a good bass part if I put notes to it. | 0:28:55 | 0:28:59 | |
So I started. | 0:28:59 | 0:29:00 | |
Then I added harmony. | 0:29:04 | 0:29:06 | |
Little beat box part here. | 0:29:10 | 0:29:12 | |
SLOW BEATS AND GUITAR | 0:29:12 | 0:29:15 | |
It's quite Jamaican, isn't it? | 0:29:23 | 0:29:25 | |
Then we can put some keys in for the chords. | 0:29:25 | 0:29:29 | |
# In this proud land we grew up strong | 0:29:31 | 0:29:35 | |
# We were wanted all along. # | 0:29:35 | 0:29:38 | |
We talked about Don't Give Up being a duet, and he was hoping | 0:29:38 | 0:29:44 | |
to find um...somebody who could sing a country song. | 0:29:44 | 0:29:50 | |
I'd seen these extraordinary black and white pictures | 0:29:50 | 0:29:53 | |
of the American depression by Dorothea Lange | 0:29:53 | 0:29:57 | |
and they were haunting, so that was sort of the trigger point, | 0:29:57 | 0:30:00 | |
but then there was quite a lot of unemployment going on | 0:30:00 | 0:30:04 | |
and so I thought I would try and roll that in. | 0:30:04 | 0:30:07 | |
And in a way, the Don't Give Up message, | 0:30:07 | 0:30:10 | |
felt like a sort of an emotional focal point for the lyric. | 0:30:10 | 0:30:15 | |
And originally, because the American Depression sort of starting point, | 0:30:15 | 0:30:21 | |
I'd actually thought of Dolly Parton, who I'm a big fan of. | 0:30:21 | 0:30:24 | |
And he wanted to try and get Dolly Parton which I thought was inspired. | 0:30:24 | 0:30:28 | |
And she wasn't interested. | 0:30:28 | 0:30:30 | |
And I believe that when they called Dolly's manager, | 0:30:30 | 0:30:34 | |
I don't think that any of them knew who Peter Gabriel was. | 0:30:34 | 0:30:38 | |
It's interesting that he did write it with Dolly Parton in mind | 0:30:38 | 0:30:42 | |
because I can't imagine that voice in that setting. | 0:30:42 | 0:30:46 | |
From the point at which he mentioned Dolly Parton he also mentioned Kate. | 0:30:46 | 0:30:50 | |
When Kate Bush walked in, it was a completely different energy. | 0:30:50 | 0:30:53 | |
Again, what was a piece in development | 0:30:53 | 0:30:57 | |
turned into, you know, such a complete song almost instantaneously. | 0:30:57 | 0:31:03 | |
So something that we'd just been working on and working on | 0:31:03 | 0:31:06 | |
and working on for months | 0:31:06 | 0:31:08 | |
and not really getting to any kind of finality, instantly changed. | 0:31:08 | 0:31:15 | |
Course we were all happy to be in her presence, you know, | 0:31:15 | 0:31:18 | |
she was royalty pretty much. | 0:31:18 | 0:31:21 | |
She was literally standing right beside me here. | 0:31:21 | 0:31:24 | |
We were all working on headphones. | 0:31:24 | 0:31:26 | |
We had the speakers turned down so we were working on headphones | 0:31:26 | 0:31:29 | |
and you could just hear the emotion just dripping out of her performance | 0:31:29 | 0:31:32 | |
and literally every hair on my body was just standing up. | 0:31:32 | 0:31:35 | |
# Don't give up cos you have friends | 0:31:35 | 0:31:41 | |
# Don't give up you're not beaten yet. # | 0:31:44 | 0:31:51 | |
It needs to be really underplayed | 0:31:51 | 0:31:56 | |
and um...intimate. | 0:31:56 | 0:31:59 | |
Don't Give Up is actually a really nice way to come out of Red Rain | 0:31:59 | 0:32:05 | |
and Sledgehammer into something very soothing, and very pointed | 0:32:05 | 0:32:10 | |
and it's interesting that he gives that key line to Kate Bush. | 0:32:10 | 0:32:14 | |
He doesn't sing it himself. | 0:32:14 | 0:32:16 | |
He gives it to this beautiful female voice that has a lover's quality, | 0:32:16 | 0:32:21 | |
maternal quality. | 0:32:21 | 0:32:23 | |
I think, and it's my impression again, that it's a homage | 0:32:23 | 0:32:28 | |
to these songs, these duets that used to happen | 0:32:28 | 0:32:31 | |
in the world of rhythm and blues, | 0:32:31 | 0:32:34 | |
when Otis Redding sang with Aretha Franklin. | 0:32:34 | 0:32:37 | |
He was paying a tribute, you know, with respect | 0:32:37 | 0:32:40 | |
to the music that he loved. | 0:32:40 | 0:32:42 | |
# Cos I believe there's a place | 0:32:42 | 0:32:46 | |
# There's a place where we belong. # | 0:32:46 | 0:32:50 | |
She was essentially brought in as an actor really, | 0:32:50 | 0:32:54 | |
to play a role and to represent that part of the song... | 0:32:54 | 0:33:00 | |
and um... | 0:33:00 | 0:33:02 | |
I can't imagine it being any better than it is. | 0:33:02 | 0:33:05 | |
She was like an angel and did it fantastically. | 0:33:05 | 0:33:08 | |
# When times get rough | 0:33:08 | 0:33:12 | |
# You can fall back on us | 0:33:12 | 0:33:17 | |
# Don't give up | 0:33:17 | 0:33:20 | |
# Please don't give up. # | 0:33:20 | 0:33:25 | |
So this is the wonderful Richard Tee on piano | 0:33:25 | 0:33:31 | |
which is much more of a soul gospel piano | 0:33:31 | 0:33:36 | |
which he does really well. | 0:33:36 | 0:33:39 | |
And then Peter... | 0:33:39 | 0:33:41 | |
Where is Peter? | 0:33:41 | 0:33:43 | |
# Out of here I can't take anymore | 0:33:43 | 0:33:49 | |
# Going to stand on that bridge. # | 0:33:49 | 0:33:52 | |
Falsetto coming up. | 0:33:52 | 0:33:54 | |
# Keep my eyes down below. # | 0:33:54 | 0:33:57 | |
Beautiful, eh? | 0:33:57 | 0:33:59 | |
# Whatever may come | 0:33:59 | 0:34:02 | |
# And whatever may go | 0:34:02 | 0:34:06 | |
# That river's flowing | 0:34:06 | 0:34:11 | |
# That river's flowing. # | 0:34:11 | 0:34:14 | |
There's a big difference on the record in the sound | 0:34:15 | 0:34:18 | |
in the second half of the piece and I looked around the studio | 0:34:18 | 0:34:22 | |
for some dampening material, some foam rubber or something | 0:34:22 | 0:34:25 | |
and my eyes fell on my bass case full of diapers. | 0:34:25 | 0:34:29 | |
Again, my two-month-old daughter was with me | 0:34:29 | 0:34:34 | |
and somehow I thought there might not be diapers in England, | 0:34:34 | 0:34:38 | |
I don't know what I was thinking, | 0:34:38 | 0:34:40 | |
but I had packed everything full of diapers, every free space. | 0:34:40 | 0:34:43 | |
So I put a diaper under the bass strings which dampened | 0:34:43 | 0:34:47 | |
the heck out of them | 0:34:47 | 0:34:48 | |
and later, Peter and Dan called that the Super Wonder Nappy Bass sound. | 0:34:48 | 0:34:53 | |
# Moved on to another town | 0:34:53 | 0:34:58 | |
# Tried hard to settle down | 0:34:58 | 0:35:01 | |
# For every job | 0:35:01 | 0:35:04 | |
# So many men | 0:35:04 | 0:35:07 | |
# So many men no-one needs. # | 0:35:07 | 0:35:11 | |
I am obsessive about getting the right um...feel, | 0:35:11 | 0:35:17 | |
the right performance. | 0:35:17 | 0:35:19 | |
And Tony's absolutely brilliant with, you know, | 0:35:19 | 0:35:22 | |
one of the most amazing musicians I've ever worked with. | 0:35:22 | 0:35:25 | |
But occasionally, he'll do something that doesn't feel... | 0:35:25 | 0:35:29 | |
doesn't fit the picture and I've got something else in my head. | 0:35:29 | 0:35:33 | |
I was working at a studio called the Wool Hall in Beckington near Bath | 0:35:33 | 0:35:39 | |
and I was over there for quite some time working on this record | 0:35:39 | 0:35:43 | |
and also concurrently, I was just getting ready to start | 0:35:43 | 0:35:47 | |
a new record with Joni Mitchell, who was my wife at the time. | 0:35:47 | 0:35:51 | |
There was quite a vital music scene around Bath | 0:35:53 | 0:35:57 | |
and the surrounding area in Somerset there. | 0:35:57 | 0:35:59 | |
There were a lot of groups doing work. Tears for Fears were up there. | 0:35:59 | 0:36:03 | |
You know, Peter Hamill was a guy who was working nearby. | 0:36:03 | 0:36:08 | |
And so there was a lot of studio-hopping that went on. | 0:36:08 | 0:36:11 | |
You know, within a half hour drive people would just drop in | 0:36:11 | 0:36:15 | |
to someone else's session | 0:36:15 | 0:36:17 | |
and then there was a number of different groups that were working on different things. | 0:36:17 | 0:36:22 | |
And so, Joni and I just became a part of that little scene there | 0:36:22 | 0:36:25 | |
and when Peter called me, which... | 0:36:25 | 0:36:29 | |
I think it just turned out that he had some things that were unfinished | 0:36:29 | 0:36:34 | |
and he probably found out from one of the circuit of people there | 0:36:34 | 0:36:40 | |
that I was in town. | 0:36:40 | 0:36:42 | |
Some of the ideas for Mercy Street came relatively easily. | 0:36:42 | 0:36:48 | |
I mean, with Mercy Street, I found by chance these wonderful books | 0:36:48 | 0:36:53 | |
of a poet called Anne Sexton, | 0:36:53 | 0:36:56 | |
and she became the focus. | 0:36:56 | 0:36:57 | |
I am a big fan of Anne Sexton's poetry, | 0:36:57 | 0:37:01 | |
and was since I was 14, 15 years old. | 0:37:01 | 0:37:05 | |
And so when I listened to the song I knew what he had written it about | 0:37:05 | 0:37:10 | |
and what the centre of the song was about | 0:37:10 | 0:37:13 | |
and it was just incredibly moving to me. | 0:37:13 | 0:37:16 | |
# Looking down on empty streets | 0:37:16 | 0:37:19 | |
# All she can see are the dreams All made solid | 0:37:19 | 0:37:23 | |
# Are the dreams all made real | 0:37:23 | 0:37:26 | |
# All of the buildings All of those cars | 0:37:26 | 0:37:31 | |
# Were once just a dream In somebody's head. # | 0:37:31 | 0:37:36 | |
The first thing that I did was... | 0:37:36 | 0:37:38 | |
STRUMS GUITAR | 0:37:38 | 0:37:40 | |
And then the other part was a fretless bass part but using tenths. | 0:37:44 | 0:37:50 | |
You know, a lot of these songs changed, | 0:38:03 | 0:38:04 | |
like Mercy Street | 0:38:04 | 0:38:06 | |
became the song it became by an accident. | 0:38:06 | 0:38:09 | |
It actually was originally a song called Furo, | 0:38:09 | 0:38:11 | |
that Peter had recorded down in Brazil a couple of years beforehand. | 0:38:11 | 0:38:14 | |
He'd recorded all the percussion elements. | 0:38:14 | 0:38:16 | |
In my percussion research, you know, | 0:38:16 | 0:38:21 | |
the most interesting things were coming out of Africa and Brazil. | 0:38:21 | 0:38:24 | |
So I went down to Brazil and um... | 0:38:24 | 0:38:29 | |
wanted to record with some percussionists there. | 0:38:29 | 0:38:32 | |
One day we were working on one song | 0:38:32 | 0:38:34 | |
and I just had the vari-speed of the machine engaged | 0:38:34 | 0:38:37 | |
so the machine was actually running at its slowest potential speed. | 0:38:37 | 0:38:40 | |
And the next song on the reel was Furo. | 0:38:40 | 0:38:42 | |
It started to play, and Dan and Peter and I looked at one another | 0:38:42 | 0:38:46 | |
and immediately went, "What is that sound?" | 0:38:46 | 0:38:48 | |
because it was running at 10% slower than it should be running. | 0:38:48 | 0:38:51 | |
And there was something about the percussion | 0:38:51 | 0:38:53 | |
and the graininess of the percussion. | 0:38:53 | 0:38:55 | |
We slowed down guitars, and I think we slowed down cymbals as well. | 0:38:55 | 0:38:59 | |
Cos again, that's thinking... | 0:38:59 | 0:39:02 | |
giving them extra weight and power. | 0:39:02 | 0:39:06 | |
# Pulling out the papers | 0:39:06 | 0:39:08 | |
# From the drawers that slide smooth | 0:39:08 | 0:39:10 | |
# Tugging at the darkness Word upon word | 0:39:10 | 0:39:15 | |
# Confessing all the secret things In the warm velvet box. # | 0:39:15 | 0:39:20 | |
We didn't use headphones for Peter's singing. | 0:39:20 | 0:39:23 | |
He had a little blaster at his piano. | 0:39:23 | 0:39:27 | |
I don't like headphones. | 0:39:27 | 0:39:29 | |
They're like condoms for the ears in a way, you know. | 0:39:29 | 0:39:31 | |
You don't feel you're really connected | 0:39:31 | 0:39:34 | |
and the extraordinary thing is, | 0:39:34 | 0:39:36 | |
is that you can get exactly the same musical information | 0:39:36 | 0:39:40 | |
and sing really out of tune with headphones | 0:39:40 | 0:39:43 | |
and be very precise as soon as you are singing to the speakers. | 0:39:43 | 0:39:47 | |
His monitor was really this little blaster | 0:39:47 | 0:39:50 | |
and that's all he ever used and we just found a sweet spot, | 0:39:50 | 0:39:55 | |
clearly the blasters at the back of the mic | 0:39:55 | 0:39:57 | |
so there was some separation | 0:39:57 | 0:39:59 | |
and I tried to keep Peter as close to the mike as possible. | 0:39:59 | 0:40:03 | |
So the vocals are really important in this | 0:40:06 | 0:40:09 | |
and I don't do a lot of vocal harmony work | 0:40:09 | 0:40:12 | |
but here, it felt really important. | 0:40:12 | 0:40:15 | |
It was sort of this sensual dream-like environment | 0:40:15 | 0:40:20 | |
for Anne Sexton's world. | 0:40:20 | 0:40:22 | |
So in the verse, one of the ideas to try and build the mystery | 0:40:22 | 0:40:26 | |
was to put a shadow vocal in, | 0:40:26 | 0:40:28 | |
so an octave below the main vocal there's this low voice. | 0:40:28 | 0:40:35 | |
Should we solo that? | 0:40:35 | 0:40:36 | |
# Confessing all the secret things. # | 0:40:40 | 0:40:41 | |
And with the lead voice as well? | 0:40:41 | 0:40:44 | |
# To the priest, he's the doctor | 0:40:44 | 0:40:47 | |
# He can handle the shocks | 0:40:47 | 0:40:49 | |
# Dreaming of the tenderness The tremble in the hips. # | 0:40:49 | 0:40:53 | |
The one part that we couldn't execute at the time | 0:40:53 | 0:40:56 | |
was the lowest voice, the low octave voice cos that's just in a part | 0:40:56 | 0:41:00 | |
of Peter's range that is beautiful sounding but once he's up and about | 0:41:00 | 0:41:04 | |
during the day and talking, that part usually kind of disappears. | 0:41:04 | 0:41:08 | |
I had trouble doing that low voice. | 0:41:08 | 0:41:11 | |
And apparently um... | 0:41:11 | 0:41:13 | |
Well, I do remember that in the morning, | 0:41:13 | 0:41:16 | |
you have morning voice, you know. | 0:41:16 | 0:41:19 | |
I think a lot of people are familiar with a pre-coffee voice. | 0:41:19 | 0:41:22 | |
So there we were discussing how to go about executing | 0:41:22 | 0:41:27 | |
that low harmony performance and I just suggested that perhaps | 0:41:27 | 0:41:31 | |
he would spend the night at the studio and I would prep the studio | 0:41:31 | 0:41:34 | |
so that he'd come in first thing the next morning | 0:41:34 | 0:41:36 | |
and without talking to anybody just put on the headphones and just start singing. | 0:41:36 | 0:41:40 | |
We started at seven o'clock in the morning | 0:41:40 | 0:41:43 | |
in order to get this voice before it had risen up to its normal level. | 0:41:43 | 0:41:47 | |
And within an hour, we had a low harmony part on the track | 0:41:47 | 0:41:50 | |
and that kind of helps pin the rest of the vocal. | 0:41:50 | 0:41:53 | |
It kind of gives you the base layer from which all the other voices, you know, elevate. | 0:41:53 | 0:41:58 | |
It's actually an effect that I liked a lot. | 0:41:58 | 0:42:02 | |
# Mercy Street | 0:42:02 | 0:42:07 | |
# Wear your insides out | 0:42:07 | 0:42:11 | |
# Dreaming of mercy. # | 0:42:11 | 0:42:15 | |
I've been very lucky musically. | 0:42:15 | 0:42:17 | |
I never have any trouble generating new ideas | 0:42:17 | 0:42:20 | |
but lyrically, getting something that I think is OK | 0:42:20 | 0:42:25 | |
and as I get older, I think I get more critical, that is hard work. | 0:42:25 | 0:42:29 | |
He would not want to finish working on the lyrics | 0:42:29 | 0:42:34 | |
and Dan understandably would want him to finish working on the lyrics. | 0:42:34 | 0:42:38 | |
I'm a master of distraction when I have a deadline. | 0:42:38 | 0:42:42 | |
Peter would take a lot of phone calls when it got to, you know, an intense period of recording | 0:42:42 | 0:42:47 | |
where he really needed to deliver. | 0:42:47 | 0:42:50 | |
He was a master at finding moments to delay. | 0:42:50 | 0:42:54 | |
I think I smashed a telephone and threw it in the bushes a few times | 0:42:54 | 0:42:58 | |
because I didn't allow telephones on the session. | 0:42:58 | 0:43:02 | |
When Peter'd been on the phone for a while and Danny eventually decided we needed to get back to work, | 0:43:02 | 0:43:06 | |
so he took the phone out of Peter's hand and smashed it to pieces | 0:43:06 | 0:43:09 | |
on the console without saying a word. | 0:43:09 | 0:43:11 | |
Just smashed it to bits and carried right on as if nothing had happened! | 0:43:11 | 0:43:17 | |
At a time when the lyrics were going a little slow | 0:43:19 | 0:43:23 | |
and I said to Peter, "Why don't you just go in that cow barn of yours | 0:43:23 | 0:43:27 | |
"and strike up the PA and get on with some lyrics?" | 0:43:27 | 0:43:29 | |
So he went in and there were these huge spikes laying down there | 0:43:29 | 0:43:32 | |
by the sliding door, one of those industrial sliding doors. | 0:43:32 | 0:43:36 | |
I took the spikes and I nailed in him the studio. | 0:43:36 | 0:43:39 | |
Peter had the PA turned up quite loud | 0:43:39 | 0:43:40 | |
and he was playing the track and so Dan took up the six inch nail | 0:43:40 | 0:43:44 | |
with the hammer, and in time with the music, hammered the door shut. | 0:43:44 | 0:43:48 | |
Cos he was so frustrated at the speed or lack of speed. | 0:43:48 | 0:43:52 | |
Um, there was one lyric I just couldn't... | 0:43:52 | 0:43:56 | |
get satisfied with anything I was generating. | 0:43:56 | 0:43:59 | |
Peter didn't hear him while he was doing that. | 0:43:59 | 0:44:02 | |
So lunch was called. Dan and I went up for lunch | 0:44:02 | 0:44:06 | |
and I remember saying to Dan, "Do you think we should let Peter..." | 0:44:06 | 0:44:09 | |
He goes "No, he'll be fine." | 0:44:09 | 0:44:10 | |
Peter is not a violent or aggressive man in any way shape or form. | 0:44:10 | 0:44:16 | |
And he managed to take the door frame right out... | 0:44:16 | 0:44:19 | |
..to open the door so he could get out of the room! | 0:44:20 | 0:44:24 | |
Which was quite a feat, it was a big solid door, | 0:44:24 | 0:44:28 | |
double layers of cinderblocks, concrete. | 0:44:28 | 0:44:31 | |
It was quite impressive! | 0:44:31 | 0:44:34 | |
And at the end of lunch, Peter says to Dan, "Can we have a word outside?" | 0:44:34 | 0:44:39 | |
So they went outside and they exchanged a few words. | 0:44:39 | 0:44:41 | |
And then we went back to work and that was it. | 0:44:41 | 0:44:43 | |
I almost got fired and not many lyrics were written, | 0:44:45 | 0:44:48 | |
but I think he got the idea that, you know, we weren't there... | 0:44:48 | 0:44:53 | |
we weren't about to, you know, wait around for him. | 0:44:53 | 0:44:56 | |
I just said, "Let's get the job done here, | 0:44:56 | 0:44:59 | |
"Let's hit it with the sledgehammer." | 0:44:59 | 0:45:02 | |
It was really late in the process, it was probably October, November, | 0:45:02 | 0:45:05 | |
and then Peter was, like, "Well, we only had eight songs." | 0:45:05 | 0:45:09 | |
There was another song that didn't get finished. | 0:45:09 | 0:45:12 | |
And so we realised that we needed to come up with another song. | 0:45:12 | 0:45:15 | |
And then Peter came out and said, "Well, let's use Excellent Birds." | 0:45:15 | 0:45:18 | |
It was a last minute track coming from an alternative direction, | 0:45:18 | 0:45:22 | |
but I thought it could be a nice... a nice inclusion. | 0:45:22 | 0:45:28 | |
We came together in the studio, and that was here in my studio, | 0:45:28 | 0:45:34 | |
and wrote this together, more or less trading lines I think. | 0:45:34 | 0:45:39 | |
I said, "I'm doing a show about natural history" | 0:45:39 | 0:45:41 | |
He said, "What about birds? Let's do something about birds." | 0:45:41 | 0:45:44 | |
We had 48 hours before the deadline to write the song, | 0:45:44 | 0:45:50 | |
including the lyric, record it, do the video | 0:45:50 | 0:45:54 | |
and there's a point... on the second night | 0:45:54 | 0:46:00 | |
where I'm trying to sing the vocal | 0:46:00 | 0:46:03 | |
and I'm on a stool and I just stopped. | 0:46:03 | 0:46:08 | |
And then after a while there was this... | 0:46:08 | 0:46:11 | |
while the track is playing, snoring coming | 0:46:11 | 0:46:15 | |
and there's no glass in the studio | 0:46:15 | 0:46:17 | |
but they stopped eventually and peered round | 0:46:17 | 0:46:21 | |
and I'd just fallen asleep mid-take, trying to do my vocal. | 0:46:21 | 0:46:27 | |
And we looked a little weather-beaten the following day when we did the video. | 0:46:27 | 0:46:33 | |
# Falling snow | 0:46:35 | 0:46:39 | |
# Excellent snow | 0:46:39 | 0:46:42 | |
# Here it comes | 0:46:42 | 0:46:44 | |
# Watch it fall | 0:46:44 | 0:46:46 | |
# Long words | 0:46:46 | 0:46:50 | |
# Excellent words | 0:46:50 | 0:46:52 | |
# I can hear them now. # | 0:46:52 | 0:46:54 | |
Peter reached out to Lori and asked if he could use the track | 0:46:54 | 0:46:57 | |
and she obviously gave her permission | 0:46:57 | 0:47:01 | |
and that's when we started actually changing it | 0:47:01 | 0:47:03 | |
and trying to shape it so that it would actually fit in with the rest of the songs on the record. | 0:47:03 | 0:47:07 | |
# This is the picture | 0:47:07 | 0:47:09 | |
# This is the picture | 0:47:09 | 0:47:11 | |
# This is the picture | 0:47:11 | 0:47:13 | |
# This is the picture. # | 0:47:13 | 0:47:15 | |
That's another thing that I really admire about Peter's music. | 0:47:20 | 0:47:25 | |
Um, it's forward looking. | 0:47:25 | 0:47:28 | |
And the lyrics are forward and open | 0:47:28 | 0:47:32 | |
and music is... | 0:47:32 | 0:47:36 | |
..so much often about regret. | 0:47:38 | 0:47:40 | |
I mean, if you didn't... You wouldn't have much music if you, | 0:47:40 | 0:47:44 | |
you know, didn't have, you know... lots of regrets. | 0:47:44 | 0:47:48 | |
I mean, I think Willie Nelson was the one who said, you know, | 0:47:48 | 0:47:52 | |
"90% of us end up with the wrong person | 0:47:52 | 0:47:55 | |
"and that's what makes the jukebox spin." | 0:47:55 | 0:47:57 | |
I don't think it was on the original vinyl version. | 0:47:57 | 0:48:00 | |
We didn't have enough space | 0:48:00 | 0:48:02 | |
cos you sort of forget about those days where 22 or 24 minutes | 0:48:02 | 0:48:07 | |
was the maximum you could pack onto a disc | 0:48:07 | 0:48:10 | |
if you wanted to have the bass with any power to it. | 0:48:10 | 0:48:15 | |
Cos the bigger bass you have, the deeper the grooves go | 0:48:15 | 0:48:21 | |
and so you need to push them up the record | 0:48:21 | 0:48:24 | |
cos the circle is getting smaller and smaller, if you imagine, with the needles, | 0:48:24 | 0:48:30 | |
so it's harder and harder to get any bass as you arrive at the end. | 0:48:30 | 0:48:36 | |
Vinyl actually is still my preferred way of listening to music | 0:48:36 | 0:48:41 | |
because of the warmth, | 0:48:41 | 0:48:43 | |
because of the physical interaction you have with the disc | 0:48:43 | 0:48:46 | |
and even just the mere art of flipping it over, | 0:48:46 | 0:48:48 | |
you're engaged with it. | 0:48:48 | 0:48:51 | |
On CD, when it was recently reissued a few years ago, | 0:48:51 | 0:48:54 | |
he put In Your Eyes at the back of the CD, | 0:48:54 | 0:48:57 | |
where, apparently, he had originally intended it to go. | 0:48:57 | 0:49:02 | |
But because of the way vinyl was, they made the other choice. | 0:49:02 | 0:49:06 | |
It's one of the rare incidents where the CD is an improvement, | 0:49:06 | 0:49:09 | |
at least in the running order, | 0:49:09 | 0:49:11 | |
because on the original album, it ended with We Do What We're Told. | 0:49:11 | 0:49:16 | |
And I think by putting it at the end of the CD | 0:49:16 | 0:49:20 | |
he actually made the album more complete | 0:49:20 | 0:49:25 | |
and gave it that sense of optimism, that there is a future, | 0:49:25 | 0:49:30 | |
that we don't have to just do what we're told, | 0:49:30 | 0:49:33 | |
and sometimes you can find your greater strength in the person next to you. | 0:49:33 | 0:49:37 | |
I still don't like this title business | 0:49:37 | 0:49:40 | |
and maybe a way round it is just to have one or two letters, | 0:49:40 | 0:49:46 | |
because then it becomes like a piece of graphic. | 0:49:46 | 0:49:49 | |
So, when I was thinking about So | 0:49:49 | 0:49:54 | |
you know, I thought, "OK, well, we'll just make it two letters | 0:49:54 | 0:49:58 | |
"and we'll choose letters that look quite nice in themselves." | 0:49:58 | 0:50:01 | |
He had an idea about having a trilogy of sorts | 0:50:01 | 0:50:05 | |
with just a two letter title, So being one of them, Us. | 0:50:05 | 0:50:08 | |
But maybe it was, like, a backlash of the complexity | 0:50:08 | 0:50:13 | |
of the making of this record that he wanted a nice, simple title. | 0:50:13 | 0:50:16 | |
The less letters you have, the bigger you can make them. | 0:50:16 | 0:50:19 | |
Ads, or you're out in the market place, you've got bigger billing | 0:50:19 | 0:50:23 | |
than anyone else cos you've only got two letters. | 0:50:23 | 0:50:26 | |
So, um... this was something that I liked | 0:50:26 | 0:50:30 | |
and I've kept on doing ever since. | 0:50:30 | 0:50:31 | |
# Love | 0:50:31 | 0:50:33 | |
# I don't like to see so much pain | 0:50:37 | 0:50:41 | |
# So much wasted. # | 0:50:42 | 0:50:47 | |
I was fascinated in Africa that you could have a love song | 0:50:47 | 0:50:50 | |
that was a religious song and a romantic love song at the same time. | 0:50:50 | 0:50:56 | |
So I was trying to see if I could get that ambiguity in this lyric. | 0:50:56 | 0:51:02 | |
For the track In Your Eyes, Peter says to me, | 0:51:02 | 0:51:06 | |
"OK, we're going to do that, just play what you want to play." | 0:51:06 | 0:51:09 | |
And in my mind I said, "What does that mean? | 0:51:09 | 0:51:12 | |
"I don't know what... | 0:51:12 | 0:51:14 | |
"I mean, I'm just going to play the track but what does that mean, | 0:51:14 | 0:51:17 | |
'Play what you want to play' cos I'd never been used to that?" | 0:51:17 | 0:51:19 | |
I had always been asked to play this or play like someone else. | 0:51:19 | 0:51:22 | |
I was facing him with my drum kit. | 0:51:22 | 0:51:26 | |
He was just standing in front of me, put the headphones on. | 0:51:26 | 0:51:30 | |
I had the headphones, asked to have the track in the headphones | 0:51:30 | 0:51:33 | |
and start dancing like an African but just so you know, | 0:51:33 | 0:51:36 | |
Peter, the way he was at the time, very English, great face, | 0:51:36 | 0:51:41 | |
great smile, trying to dance like African guys. | 0:51:41 | 0:51:45 | |
I thought, "OK, if that guy, very English guy, go for it!" | 0:51:45 | 0:51:50 | |
And that was the cue for me. | 0:51:50 | 0:51:52 | |
I just, like, let it go, I just played like "OK." | 0:51:52 | 0:51:55 | |
Anything. And it worked. | 0:51:55 | 0:51:58 | |
And so once again, this project was very big for me musically | 0:51:58 | 0:52:01 | |
cos I think he opened up my mind. | 0:52:01 | 0:52:04 | |
There's a talking drum here. | 0:52:04 | 0:52:06 | |
FAST DRUM BEATS | 0:52:06 | 0:52:09 | |
You can't miss with this, everything you put up sounds great. | 0:52:23 | 0:52:26 | |
We had...96, I think, Kevin would be able to confirm this, | 0:52:31 | 0:52:37 | |
I think 96 different versions of In Your Eyes all on multi-track. | 0:52:37 | 0:52:44 | |
So there were hundreds and hundreds and hundreds of different takes | 0:52:44 | 0:52:49 | |
to choose from which were all organized by a gigantic wall chart | 0:52:49 | 0:52:54 | |
which we eventually chopped together bar by bar out of two inch tape. | 0:52:54 | 0:52:59 | |
With Danny and Peter and everybody listening just going, | 0:52:59 | 0:53:03 | |
"OK, bar 1, take 37, we like that. | 0:53:03 | 0:53:08 | |
"We'll take that one." So, that's where that one would go. | 0:53:08 | 0:53:10 | |
And we literally assembled that song | 0:53:10 | 0:53:14 | |
with 3, 6, 12 inch pieces of 2 inch tape, | 0:53:14 | 0:53:18 | |
to actually create the rhythm track. | 0:53:18 | 0:53:20 | |
We could have worked on that song for probably another couple of months | 0:53:20 | 0:53:23 | |
and Youssou's part had gone on before Peter had done his lyric | 0:53:23 | 0:53:26 | |
so Peter had to weave his performance around Youssou's, | 0:53:26 | 0:53:28 | |
which, you know, was a wonderful thing and a great tapestry | 0:53:28 | 0:53:32 | |
to sing against but it still was a complicated arrangement. | 0:53:32 | 0:53:36 | |
Just the way that he delivered on that | 0:53:36 | 0:53:38 | |
was so radically different from anything I think we were expecting. | 0:53:38 | 0:53:44 | |
I think there's a lot of joy in the track for me | 0:53:44 | 0:53:47 | |
and when Youssou's voice sort of milks the last bit of the song, | 0:53:47 | 0:53:53 | |
you know, it's, it's like an ecstatic moment for me. | 0:53:53 | 0:53:57 | |
In Your Eyes became an absolute anthem live, | 0:53:57 | 0:54:03 | |
I mean, it was just... The way in which that song was on the record, | 0:54:03 | 0:54:09 | |
became a whole other world live. | 0:54:09 | 0:54:12 | |
# Your eyes | 0:54:18 | 0:54:20 | |
# Your eyes | 0:54:23 | 0:54:25 | |
# Your eyes | 0:54:28 | 0:54:30 | |
# Your eyes | 0:54:33 | 0:54:37 | |
# Your eyes | 0:54:39 | 0:54:41 | |
# Your eyes. # | 0:54:45 | 0:54:48 | |
It did go through a number of changes. | 0:54:49 | 0:54:51 | |
The thing that was consistent was the "da-da-da-da-da", | 0:54:51 | 0:54:54 | |
the sort of arpeggiated feature of the chorus. | 0:54:54 | 0:54:57 | |
And there was an African groove underlying it. | 0:54:57 | 0:55:00 | |
When we used to tour with Youssou there was always a fantastic moment | 0:55:06 | 0:55:11 | |
you know, like the sun coming out so... | 0:55:11 | 0:55:14 | |
it was nice to sort of tell a story, paint a picture | 0:55:14 | 0:55:17 | |
and then just have this sort of open ecstasy. | 0:55:17 | 0:55:22 | |
# In your eyes, the light | 0:55:25 | 0:55:29 | |
# Warmer world, mine | 0:55:29 | 0:55:33 | |
# Wo-ah-ah-ah | 0:55:33 | 0:55:35 | |
# Wo-ah-ah. # | 0:55:35 | 0:55:42 | |
It was really nice to see the energies of the two of them, | 0:55:42 | 0:55:45 | |
how they looked at each other. | 0:55:45 | 0:55:46 | |
And I could feel that something magic was happening. | 0:55:46 | 0:55:50 | |
I listen to it on these tracks now and I know that these tracks | 0:55:59 | 0:56:03 | |
were built by a young man who did nothing else with his life for a year. | 0:56:03 | 0:56:07 | |
And um... | 0:56:07 | 0:56:10 | |
and I can imagine what it's like to live the life of a monk now! | 0:56:10 | 0:56:13 | |
A lot of things came together, I think, that opened it up | 0:56:15 | 0:56:19 | |
to a much broader audience than I would normally get to. | 0:56:19 | 0:56:22 | |
It was the moment the perfect storm hit and the man and the public | 0:56:22 | 0:56:28 | |
and the record and the tour and everything, you know, came together. | 0:56:28 | 0:56:33 | |
I surrounded myself with wonderful people, | 0:56:33 | 0:56:36 | |
but in the end, I think it's, it's songs that speak. | 0:56:36 | 0:56:40 | |
It so changed the landscape of recording for everybody, you know. | 0:56:40 | 0:56:47 | |
I worked with a lot of guys | 0:56:47 | 0:56:49 | |
and from that point on, it set the standard. | 0:56:49 | 0:56:52 | |
It was such a well-produced album of very well-crafted songs, | 0:56:52 | 0:56:57 | |
of incredible singing and phenomenal lyrics. | 0:56:57 | 0:57:01 | |
It was the quintessential album. | 0:57:01 | 0:57:04 | |
The right moment with the right people in the right place | 0:57:04 | 0:57:07 | |
with the right things to do. | 0:57:07 | 0:57:09 | |
I became fixated on it, let's say, you know, | 0:57:09 | 0:57:13 | |
and to this day, it sounds like it could have been done yesterday. | 0:57:13 | 0:57:17 | |
He made a classic album | 0:57:17 | 0:57:20 | |
simply by making sure he made the best record he could | 0:57:20 | 0:57:24 | |
at the moment and that's what classic albums are. | 0:57:24 | 0:57:27 | |
The best album you could make at that moment | 0:57:27 | 0:57:30 | |
and with the notion that you want it to live longer than you do. | 0:57:30 | 0:57:37 | |
And he succeeded. | 0:57:38 | 0:57:40 | |
# Your eyes | 0:57:40 | 0:57:42 | |
# Your eyes | 0:57:45 | 0:57:48 | |
# Your eyes | 0:57:50 | 0:57:53 | |
# Your eyes | 0:57:55 | 0:57:59 | |
# Your eyes | 0:58:01 | 0:58:04 | |
# Your eyes | 0:58:05 | 0:58:09 | |
# Your eyes | 0:58:10 | 0:58:14 | |
# Your eyes. # | 0:58:16 | 0:58:19 | |
Subtitles by Red Bee Media Ltd | 0:58:23 | 0:58:26 |