All language subtitles for Classic.Albums.Tom.Petty.and.The.Heartbreakers.Damn.The.Torpedoes.1of2.x264.AC3.MVGroup.Forum
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This programme contains some strong language.
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That was the record where the dam burst.
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That was the record where life was never going to be the same again.
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# Honey, it don't make no difference to me
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# Baby, everybody's got to fight to be free
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# You see, you don't have to live like a refugee
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# Don't have to live... #
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Everything about the album was difficult - writing, recording,
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mixing, mastering.
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We fought for it. You want it to be better than great.
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It's passionate, we captured it.
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And...what we're singing about relates to today,
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it's just timeless.
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# Here comes my girl
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# Here comes my girl... #
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It was very fortunate thing that the bunch of us fell together.
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It has a lot of elements from a lot of places.
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Every time I turn on the radio, I hear something else I took something from.
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But I think we make our own noise.
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# Even the losers
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# Get lucky sometimes
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# Even the losers
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# Keep a little bit of pride
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# Yeah, they get lucky sometimes... #
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Tom is a true believer in his own holy church of rock'n'roll.
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These were guys that didn't compromise.
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And you can hear it through these records.
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# Don't do me like that
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# Don't do me like that
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# One day I might need you, baby
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# Don't do me like that Now, wait a minute... #
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He understands the things that made rock'n'roll important.
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The innocence, the romanticism and so forth.
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He's never lost it and that's what makes his songs so good.
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They're simple with complex undercurrents.
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You can listen on different levels and enjoy it, that's what's so rewarding about it.
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Disco was just rearing its head, there was a huge movement towards it
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and rock'n'roll seemed to be dying out.
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Then, completely out of the blue,
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here he came, a 24 carat rocker.
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We don't really talk much about what we're going to do.
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You do it and once we've done it,
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we'll say a little less of that or more of this,
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but it's very instinctual.
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We all grew up in the same town. Tom and I were born there,
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everybody else had moved there early on.
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But we all had formative years where the radio was playing
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the same thing, so we all, I think,
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had the same rhythm.
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We learned to feel, music felt a certain way to us.
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They were teenagers, you know, young teenagers,
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when they met, so they've been through a lot together.
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And they came across-country together from Gainesville,
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to get a record deal.
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We're from Florida, the Deep South,
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and it's always been a combination of two things,
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which is Southern blues roots,
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and then this love of British rock,
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which we were teenagers when The Beatles and Stones came out.
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And we liked both those types of music and we began to see
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how they connected.
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# Well, she was an American girl
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# Raised on promises
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# She couldn't help thinking that there was a little more to life
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# Somewhere else... #
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We put the first album out in America
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and it got airplay, I think, in San Francisco and Boston
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and nowhere else.
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I remember calling a local station, wanting to hear myself, going,
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"Hi!", you know, putting on a fake voice.
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"Would you play American Girl?"
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And the station said, "We don't play that shit."
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# Oh, yeah
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# All right
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# Take it easy, baby
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# Make it last all night
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# She was
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# An American girl... #
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I'd seen them live at the Whisky A Go Go.
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Amazing live band. Charisma, great songs,
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and the passion...
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What rang true to me was the pure heart of rock'n'roll.
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We went to England and we did a tour with Nils Lofgren
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as an opening act and, for some reason,
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the journalists and the people in England really latched on to the record and we created a buzz.
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And here's us, with long hair and early 1970s clothes,
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black velvet and some leather stuff and snakeskin boots and stuff,
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just complete goober rednecks on acid in London,
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where everything we loved that hadn't come from the South came from.
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They went mad about the band, we got a lot of crazy press
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and got famous for a few months,
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and had to come back to America
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and be not famous for a long time.
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We just kept building it up, we worked a lot.
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We opened up for a couple of years, we opened up for other bands.
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We would be on a really wide variety
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of bills which didn't really mean we were going to play
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to an audience that was our kind of music.
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We didn't really like that situation anyway,
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and one day, we just went, "Well, we're not going to open shows any more.
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"Wherever we have to play, we're just going to play to people that came to see us."
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Once we did that, we just kept getting better.
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It took a year for that album to get in the charts in the US.
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It took a whole year.
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Then it stayed in for a year,
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and it was still in the charts when the second album came out.
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We had Denny Cordell producing again.
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When a group makes a bond with a producer, especially if it's early in their career,
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you tend to all see the same thing the same way.
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You like the same records, a particular sound.
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"Did you hear so-and-so's guitar?" "Yeah, it's great."
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You all share this great common understanding about music.
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Denny's way of producing would sometimes be to lean back on the couch with a hash joint
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and wait until the groove was right.
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Then in playback, he'd go,
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"That's it. Do that."
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# You think you're gonna take her away
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# With your money and your cocaine
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# You keep thinking that her mind is gonna change
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# But I know everything is OK
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# She's gonna listen to her heart... #
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I felt that we found our sound while we were playing gigs.
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Looking back on it, I think that what we started doing
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with the third record,
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even in the preparation for it,
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was starting to sound like we really sounded.
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By the time we got to the third album, Damn The Torpedoes,
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it was clear that Denny Cordell and us had done all we could do together,
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as a musical team.
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There we were, looking for somebody else,
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to produce the album,
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and Denny himself suggested Jimmy Iovine.
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I knew that Tom was coming on really strong
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and I was always a great believer in third albums.
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Born To Run was a third album for Bruce,
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Patti Smith, Easter was her third album,
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this was Tom's. I felt it was time that he could really break.
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All I knew was that he had produced Because The Night,
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the greatest drum sound I ever heard in my life.
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So I was really excited,
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I thought, "Man, this guy, he's coming in...
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"with some great stuff."
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The biggest, huge, beautiful drum sound we'd never got...
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Yeah, we loved that.
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So, I think Tom said, "Let's get that guy and he can make a drum sound like that."
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- So that's where we started from.
- And then he showed up with an engineer.
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If I'd known you wanted that, I'd have brought somebody else!
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You got to help me get that.
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I was told they needed a producer, maybe I heard it that way.
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We did, we did.
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I came out and they thought I engineered it
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on my own, but I really had a really good engineer.
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And by the grace of God,
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he showed up with Shelly Yakus.
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Jimmy and I working together,
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his productions and the sound that we made together,
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was pretty new.
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I don't think we realised it but we knew we were doing something that sounded exciting.
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And that's what we were going for.
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There was a real sense we were on a mission.
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We were going to make this record and it was going to be great.
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We get to the studio, work 10 or 12 hours,
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and we'd call each other when we got home and talked about the record.
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The dynamics on it, the playing on it, the arrangements,
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the songs, the quality of the songs, the lyrics -
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we just talked about this record, all the time.
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Jimmy Iovine and Tom Petty sort of rose together to become
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these iconic figures in music, in the music industry.
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One of them now is a leader of the music industry,
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one of them is someone who has consistently been a thorn in the side of the music industry.
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But they were two hungry kids and you can hear that hunger
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on Damn The Torpedoes.
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# We got somethin' we both know it, we don't talk too much about it
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# Ain't no real big secret, all the same, somehow we get around it
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# Listen... #
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Mike gave me a demo that was pretty much
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the same music, um...
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different arrangement, but pretty much the same music.
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I mean, all basically, the track was all sitting there.
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I was listening to an Albert King song called Oh, Pretty Woman,
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and it went like this...
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I just thought, "That's the greatest key for the guitar..."
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It's F sharp minor, for guitar players.
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But it's just got the fullest tone. And so...
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I wanted to put something on my tape recorder
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in that key so I could practise playing leads along with it.
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To do that, I just came up with those chords...
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PLAYS INTRO TO "REFUGEE"
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So I recorded that onto my four-track, then I put on...
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another track and along with that, I just played...
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Played some blues over it.
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And then I listened to it back and there was a couple of licks that stuck out to me.
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And I thought, well, this lick would be nice for the intro and that was...
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# We got somethin' we both know it, we don't talk too much about it
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# Ain't no real big secret, all the same, somehow we get around it... #
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So I just thought up a tune and put some words to it
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and the whole thing might have taken me 10 minutes.
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# ..You don't have to live like a refugee
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# Don't have to live like a... #
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And, you know, when you do something that quick,
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you kind of don't take it too seriously.
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I thought, "Well, it's probably not that good."
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Then I kept coming back to it, and I started thinking,
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"Well, we might be onto something here."
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And then I...
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I think that was one of the first things I played to Jimmy.
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When we met, you played me that and Here Comes My Girl.
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I remember saying, it was the last time I ever said it to anyone, was...
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"You don't need any more songs."
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I never said that since.
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But those two songs hit me like nothing else I've ever heard
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so...I couldn't believe that I was walking into an album with songs like that.
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Anybody who plays music like that, I'm going to hit it off with.
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But we really hit it off.
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But I would have hit it off with anybody who played those songs, short of Charles Manson.
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I think we all came down for the first few days and Shelly and Stan
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would spend hours getting the drum sound and days getting the drum sound.
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I think three or four days to get a drum sound.
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The first thing they did, Shelly took me drum shopping.
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He said, "Your drum sound is punk-ass because your drums are punk-ass,"
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so he...he really was huge in terms of showing me what's at stake here.
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We have to have a drum sound that fits this.
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And it can't be some weeny little snare drum sound.
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Jimmy was basically like, "Get the drum tracks and get out of my way."
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Tom was singing in a slightly different place
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than the rhythm of the record.
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Stan does play on the very back of the beat.
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And...
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That's not necessarily a bad thing
230
00:13:50,800 --> 00:13:54,640
but we had to find a way to keep the record floating at the same time.
231
00:13:54,640 --> 00:13:56,200
Exactly!
232
00:13:56,200 --> 00:14:02,600
Also, to be fair to Stan, the way we finally wound up tuning the snare drum,
233
00:14:02,600 --> 00:14:04,640
the head was so low,
234
00:14:04,640 --> 00:14:09,560
that it'd be hard for any drummer to play anywhere but on the back,
235
00:14:09,560 --> 00:14:12,680
cos you're really pulling your stick out of gook.
236
00:14:12,680 --> 00:14:14,600
There's the drums.
237
00:14:14,600 --> 00:14:15,800
"REFUGEE" PLAYS
238
00:14:15,800 --> 00:14:17,240
Bass...
239
00:14:17,240 --> 00:14:19,200
Kick drum.
240
00:14:22,080 --> 00:14:23,280
- Kick drum.
- Kick drum.
241
00:14:30,360 --> 00:14:32,480
He's playing really good, you know?
242
00:14:32,480 --> 00:14:35,120
Well, we weren't going to stop until he did!
243
00:14:37,320 --> 00:14:39,760
It was a really good team, Shelly and Jimmy.
244
00:14:39,760 --> 00:14:45,200
Shelly to engineer it and Jimmy to...tell us to do another take!
245
00:14:47,080 --> 00:14:48,720
We did so many takes.
246
00:14:48,720 --> 00:14:51,120
It was... We were...
247
00:14:51,120 --> 00:14:54,640
so naive and it was really a good thing.
248
00:14:54,640 --> 00:14:57,360
We did not edit a single take together on that record.
249
00:14:57,360 --> 00:14:58,600
I don't believe.
250
00:14:58,600 --> 00:15:01,760
I think they're complete takes of every song.
251
00:15:01,760 --> 00:15:04,920
We just play live, like if we were on stage.
252
00:15:04,920 --> 00:15:08,640
We just carry it off and try to get a performance from top to bottom,
253
00:15:08,640 --> 00:15:09,880
with no mistakes.
254
00:15:09,880 --> 00:15:13,240
And until we got it the way we liked it,
255
00:15:13,240 --> 00:15:14,720
we kept on doing 'em.
256
00:15:14,720 --> 00:15:17,680
Not everything, Don't Do Me Like That was one pass,
257
00:15:17,680 --> 00:15:19,480
You Tell Me was one or two passes,
258
00:15:19,480 --> 00:15:22,320
but Refugee in particular and Here Comes My Girl,
259
00:15:22,320 --> 00:15:23,480
forever.
260
00:15:23,480 --> 00:15:26,960
They had this guitar sound and organ sound
261
00:15:26,960 --> 00:15:28,880
that would blend together.
262
00:15:28,880 --> 00:15:30,800
And I had never heard this before.
263
00:15:30,800 --> 00:15:35,240
I'd worked on a lot of music and I never heard this blend
264
00:15:35,240 --> 00:15:38,320
and the power of the two instruments together
265
00:15:38,320 --> 00:15:43,400
and how the overtones ring together and it just comes at you like this wall of sound.
266
00:15:43,400 --> 00:15:45,440
"REFUGEE" INTRO PLAYS
267
00:15:56,880 --> 00:16:01,200
We over-dubbed the organ solo in the middle and put the percussion on loud
268
00:16:01,200 --> 00:16:03,760
and it's a trade-off with the guitar.
269
00:16:03,760 --> 00:16:06,920
And I liked the beginning of it, it's just kind of...
270
00:16:06,920 --> 00:16:11,760
Like stabs, like Chuck Berry or Keith Richards stabs...
271
00:16:17,480 --> 00:16:18,720
Then it goes to the guitar.
272
00:16:36,000 --> 00:16:38,360
It was very different but that's what we did,
273
00:16:38,360 --> 00:16:40,120
coming from New York, you know,
274
00:16:40,120 --> 00:16:43,960
we were going for that powerful drum thing,
275
00:16:43,960 --> 00:16:47,280
and, um, on a record,
276
00:16:47,280 --> 00:16:52,160
that had really powerful but yet well-thought-out guitars,
277
00:16:52,160 --> 00:16:54,120
really smart guitar parts.
278
00:16:54,120 --> 00:16:59,040
The blend of these guitars is so magnificent, isn't it?
279
00:16:59,040 --> 00:17:02,080
GUITAR TRACK OF "REFUGEE" PLAYS
280
00:17:03,600 --> 00:17:05,640
Is that three of us?
281
00:17:05,640 --> 00:17:07,040
Yeah.
282
00:17:07,040 --> 00:17:08,920
Mike double-tracks.
283
00:17:13,520 --> 00:17:14,920
So, with that...
284
00:17:14,920 --> 00:17:17,200
There's the lead there.
285
00:17:20,560 --> 00:17:22,240
Intro.
286
00:17:24,080 --> 00:17:26,040
I'm putting the drums in now.
287
00:17:29,000 --> 00:17:31,000
They make the drums sound faster.
288
00:17:34,720 --> 00:17:36,000
Well, that's a shaker.
289
00:17:36,000 --> 00:17:37,400
That's John...
290
00:17:37,400 --> 00:17:40,240
This shaker...
291
00:17:40,240 --> 00:17:42,720
There's a squeeze-box...
292
00:17:42,720 --> 00:17:44,720
We'll get to that.
293
00:17:47,200 --> 00:17:51,240
Jim Keltner was in the hallway with this shaker
294
00:17:51,240 --> 00:17:54,640
and he was standing outside the door
295
00:17:54,640 --> 00:17:58,160
playing this and I came out
296
00:17:58,160 --> 00:17:59,760
and Jim said,
297
00:17:59,760 --> 00:18:02,200
"This is what that track needs."
298
00:18:02,200 --> 00:18:04,240
THEY LAUGH
299
00:18:04,240 --> 00:18:07,840
So Jim Keltner came in. Did Jim play it?
300
00:18:07,840 --> 00:18:11,000
- Yeah.
- Yeah, Jim Keltner, I don't think he got any credit,
301
00:18:11,000 --> 00:18:14,400
but he just seemed to be in the hall all the time.
302
00:18:14,400 --> 00:18:18,720
I used to wonder what Keltner really did cos I knew he played,
303
00:18:18,720 --> 00:18:21,480
but he just always seemed to be in the hall.
304
00:18:21,480 --> 00:18:25,080
But he came out and put this shaker on,
305
00:18:25,080 --> 00:18:27,920
which, believe it or not, if you put the drums on...
306
00:18:31,080 --> 00:18:34,600
..it's OK but it's not really got the mojo, you know?
307
00:18:34,600 --> 00:18:37,480
But this...
308
00:18:37,480 --> 00:18:39,440
Ain't that something?
309
00:18:39,440 --> 00:18:44,360
So, Jim Keltner, you know, we owe him a lot.
310
00:18:44,360 --> 00:18:48,280
# You don't have to live like a refugee
311
00:18:48,280 --> 00:18:51,600
# Don't have to live like a refugee... #
312
00:18:51,600 --> 00:18:55,160
Each song spoke to me as a teenager
313
00:18:55,160 --> 00:18:56,920
in such a powerful way,
314
00:18:56,920 --> 00:18:59,040
you feel like a refugee as a teenager,
315
00:18:59,040 --> 00:19:01,280
you don't even know what you're a refugee from.
316
00:19:01,280 --> 00:19:07,800
But you know you're being exiled, it was, you know, the cliche, the soundtrack of our lives -
317
00:19:07,800 --> 00:19:12,520
it was better than that, it was the soundtrack you wanted to be living in, the sort of...
318
00:19:12,520 --> 00:19:17,400
world of great passions colliding and musically,
319
00:19:17,400 --> 00:19:19,200
it was a great band colliding.
320
00:19:19,200 --> 00:19:24,560
Someone who writes songs like that...you've got to be a fool
321
00:19:24,560 --> 00:19:28,520
not to get it right but still, it wasn't easy to do.
322
00:19:28,520 --> 00:19:31,000
I would go out and listen to them play,
323
00:19:31,000 --> 00:19:34,880
and think, "What kind of sound do they make if I have nothing to do with this?
324
00:19:34,880 --> 00:19:37,120
"What are they doing on their own?
325
00:19:37,120 --> 00:19:39,680
"And how can we enhance this?"
326
00:19:39,680 --> 00:19:42,920
Because you can't really make them different than who they are,
327
00:19:42,920 --> 00:19:44,440
it doesn't come out right.
328
00:19:44,440 --> 00:19:48,280
One thing I noticed about this album that Jimmy brought up to me,
329
00:19:48,280 --> 00:19:50,760
there's very rarely a third verse.
330
00:19:50,760 --> 00:19:54,760
You know, most of these songs have just two verses,
331
00:19:54,760 --> 00:19:56,680
one's repeated,
332
00:19:56,680 --> 00:20:02,080
in Even The Losers, we don't even go back, we sing two verses
333
00:20:02,080 --> 00:20:05,160
and that's it, we're on another thing.
334
00:20:05,160 --> 00:20:10,440
But...I tried to be as imaginative as I could
335
00:20:10,440 --> 00:20:15,040
in the construction of the songs, as to where to put a bridge,
336
00:20:15,040 --> 00:20:16,160
do we need a bridge?
337
00:20:16,160 --> 00:20:20,200
You know and that was also just...
338
00:20:20,200 --> 00:20:23,280
trial and error, trying to find the right thing,
339
00:20:23,280 --> 00:20:29,280
to find an intro. Mike had been...would usually find something
340
00:20:29,280 --> 00:20:32,280
that was the right intro.
341
00:20:32,280 --> 00:20:35,280
Tom came in and he had the song pretty well written.
342
00:20:35,280 --> 00:20:37,400
Of course, he was just playing rhythm.
343
00:20:47,000 --> 00:20:51,160
He was playing that as he sang. Then I came up with this riff to kick the song off.
344
00:21:04,360 --> 00:21:08,920
Even The Losers, production-wise, reminds me most
345
00:21:08,920 --> 00:21:10,560
of Because The Night,
346
00:21:10,560 --> 00:21:12,440
cos if you listen to the drums on it,
347
00:21:12,440 --> 00:21:15,800
they're swamped in echo,
348
00:21:15,800 --> 00:21:18,040
yet they're very present, very powerful.
349
00:21:18,040 --> 00:21:22,200
And the guitars lead the way.
350
00:21:29,360 --> 00:21:33,320
# Well, it was nearly summer We sat on your roof
351
00:21:36,680 --> 00:21:42,080
# Yeah, we smoked cigarettes and we stared at the moo-oo-oon
352
00:21:44,360 --> 00:21:48,960
# And I showed you stars you never could see
353
00:21:50,680 --> 00:21:55,400
# It couldn't have been that easy to forget about me... #
354
00:21:55,400 --> 00:22:00,440
I had written all of the song but I just scat-sang the chorus,
355
00:22:00,440 --> 00:22:02,400
I didn't, you know,
356
00:22:02,400 --> 00:22:04,960
I didn't know what words would go there.
357
00:22:04,960 --> 00:22:07,080
I was just singing phonetically.
358
00:22:07,080 --> 00:22:09,600
We decided to go ahead anyway.
359
00:22:09,600 --> 00:22:13,120
I don't think I ever said anything about it to anybody,
360
00:22:13,120 --> 00:22:16,800
but as we went by in the first pass,
361
00:22:16,800 --> 00:22:21,480
I just sang, "Even the losers get lucky sometimes."
362
00:22:21,480 --> 00:22:24,720
# Baby, even the losers
363
00:22:26,800 --> 00:22:28,920
# Get lucky sometimes
364
00:22:30,080 --> 00:22:32,280
# Even the losers
365
00:22:33,960 --> 00:22:36,440
# Keep a little bit of pride
366
00:22:37,680 --> 00:22:39,880
# They get lucky sometimes. #
367
00:22:41,360 --> 00:22:47,520
I was just in the right place, in the right vibe and I'm really glad I didn't try to finish it,
368
00:22:47,520 --> 00:22:50,720
because that came up with the power of the group,
369
00:22:50,720 --> 00:22:53,360
it sounded like the right phonetics
370
00:22:53,360 --> 00:22:57,920
and then the wild thing was it absolutely tied the song up.
371
00:22:57,920 --> 00:23:00,440
It made everything make sense.
372
00:23:00,440 --> 00:23:05,600
We cut the track with me playing rhythm but when we did the solo,
373
00:23:05,600 --> 00:23:08,040
we had a hard time finding the right approach,
374
00:23:08,040 --> 00:23:10,880
I tried playing a single note...
375
00:23:12,040 --> 00:23:14,920
..and it just sounded thin and unexciting.
376
00:23:14,920 --> 00:23:17,960
We were really stuck, we just couldn't get the right vibe
377
00:23:17,960 --> 00:23:20,200
and we said, "What would Chuck Berry do?"
378
00:23:20,200 --> 00:23:24,160
And, of course, what he would do would be play two strings at the same time...
379
00:23:25,880 --> 00:23:27,560
You know?
380
00:23:27,560 --> 00:23:29,040
So, with that in mind,
381
00:23:29,040 --> 00:23:32,720
I played a solo that incorporated two strings at a time.
382
00:23:58,200 --> 00:24:03,160
Mike is the quietest guitar god since George Harrison.
383
00:24:03,160 --> 00:24:05,360
In a weird way, I think he's comparable,
384
00:24:05,360 --> 00:24:07,680
no-one's as good as George Harrison,
385
00:24:07,680 --> 00:24:11,200
with all due respect, you know? There's only one George Harrison.
386
00:24:11,200 --> 00:24:15,000
But I think it's significant that Tom, his closest relationship
387
00:24:15,000 --> 00:24:19,040
with guitar players are with George Harrison and Mike Campbell,
388
00:24:19,040 --> 00:24:23,760
two men who serve the song, never overplays.
389
00:24:23,760 --> 00:24:28,240
To a lot of people, I think even now, he's so ego-less as a player,
390
00:24:28,240 --> 00:24:31,240
he's just one of And The Heartbreakers to some people,
391
00:24:31,240 --> 00:24:33,160
but Mike is a huge part of the story.
392
00:24:33,160 --> 00:24:36,520
He just has the greatest way of raking the pick across the strings
393
00:24:36,520 --> 00:24:41,560
so they're all singing and vibrating but he's not slamming it so hard
394
00:24:41,560 --> 00:24:44,240
that he's choking the sound.
395
00:24:44,240 --> 00:24:47,680
# I shoulda known right then it was too good to last
396
00:24:47,680 --> 00:24:49,200
# God, it's such a drag... #
397
00:24:49,200 --> 00:24:52,400
Every 15 years, there comes a guy that no-one else sounds like.
398
00:24:52,400 --> 00:24:54,440
Or he doesn't sound like anyone before.
399
00:24:54,440 --> 00:24:58,840
He's one of those guys. Edge is one of those guys, Keith Richards is one of those guys.
400
00:24:58,840 --> 00:25:03,160
A lot of guys are good guitar players but very few sound only like them.
401
00:25:03,160 --> 00:25:05,280
And he's that kind.
402
00:25:05,280 --> 00:25:12,920
Mike is incredibly good in that...there's nothing he can't play.
403
00:25:12,920 --> 00:25:15,320
You get somebody like that, you hold on tight.
404
00:25:15,320 --> 00:25:18,000
And Tom has always held on tight to Mike Campbell.
405
00:25:18,000 --> 00:25:21,000
Here Comes My Girl, same as Refugee, I did a demo.
406
00:25:21,000 --> 00:25:24,040
I like chords that have...
407
00:25:24,040 --> 00:25:26,680
open strings, along with the chord...
408
00:25:26,680 --> 00:25:27,960
So, it's like a...
409
00:25:27,960 --> 00:25:29,280
drone underneath.
410
00:25:40,480 --> 00:25:44,120
This song, I think a lot of us felt was the first single,
411
00:25:44,120 --> 00:25:45,760
even after the album was mixed.
412
00:25:45,760 --> 00:25:48,600
This was always the song we would play, remember that?
413
00:25:48,600 --> 00:25:52,600
- Yep.
- Couldn't play Refugee, we never finished...
414
00:25:52,600 --> 00:25:56,880
But we'd always play it. This is the song we'd play when people would come in.
415
00:25:56,880 --> 00:25:59,160
Oh, yeah.
416
00:25:59,160 --> 00:26:03,320
This would lay 'em down. When our buddies would drop by,
417
00:26:03,320 --> 00:26:07,560
we'd spin Here Comes My Girl and they'd be like,
418
00:26:07,560 --> 00:26:09,640
"OK, you're onto something good."
419
00:26:11,080 --> 00:26:13,880
It's one of my favourites we ever did.
420
00:26:24,720 --> 00:26:27,440
See, not much of this song existed.
421
00:26:32,160 --> 00:26:35,800
And I couldn't really find a melody to go over it at first.
422
00:26:35,800 --> 00:26:39,000
Until I started to...
423
00:26:39,000 --> 00:26:44,400
Started to take on a character and try to talk my way through it.
424
00:26:46,240 --> 00:26:48,600
You know, sometimes I don't know why
425
00:26:48,600 --> 00:26:50,800
But every now and then This old world
426
00:26:52,600 --> 00:26:53,920
Seems so hopeless...
427
00:26:53,920 --> 00:26:55,360
Little reverb?
428
00:26:55,360 --> 00:26:58,880
..I ain't really sure but it seemed the good times
429
00:26:58,880 --> 00:27:04,000
Were just a little bit more In focus.
430
00:27:04,000 --> 00:27:11,280
Then I wanted to go into... a kind of an R&B feel.
431
00:27:11,280 --> 00:27:14,440
# But when she puts her arms around me
432
00:27:15,680 --> 00:27:18,840
# I can somehow rise above it
433
00:27:20,800 --> 00:27:24,600
# Somehow when I got that little girl standing right by my side
434
00:27:24,600 --> 00:27:28,440
# You know I can tell the whole wide world to shove it, yeah
435
00:27:28,440 --> 00:27:30,880
# Here comes my girl
436
00:27:32,600 --> 00:27:35,640
# Here comes my girl
437
00:27:39,600 --> 00:27:42,800
# Yeah, and she looks so right
438
00:27:42,800 --> 00:27:48,680
# She's all I need toni-i-ight. #
439
00:27:48,680 --> 00:27:52,120
# Every now and then I get down to the end of the day and have to stop
440
00:27:53,360 --> 00:27:55,920
# Ask myself why I've done it
441
00:27:57,920 --> 00:28:01,160
# It just seems so useless to have to work so hard... #
442
00:28:01,160 --> 00:28:04,200
There's a great piano on this track,
443
00:28:04,200 --> 00:28:06,040
this piano that's out there still.
444
00:28:06,040 --> 00:28:08,040
HE ISOLATES PIANO TRACK
445
00:28:34,160 --> 00:28:38,360
What you want to do with this is think about what won't get in the way
446
00:28:38,360 --> 00:28:40,080
of the rhythm of the song.
447
00:28:40,080 --> 00:28:43,160
Or of the sound of the song.
448
00:28:43,160 --> 00:28:48,440
And...when you've got those big chords that Mike plays
449
00:28:48,440 --> 00:28:50,080
on Here Comes My Girl,
450
00:28:50,080 --> 00:28:52,760
you want to start with the organ.
451
00:28:52,760 --> 00:28:57,120
And then I went back to my apartment in Sherman Oaks, where I had a little upright,
452
00:28:57,120 --> 00:29:02,080
and had a cassette tape of the song and I just listened to it a few times...
453
00:29:02,080 --> 00:29:06,360
I never work out a part in advance but I worked out the way the piano
454
00:29:06,360 --> 00:29:09,200
was going to build into Here Comes My Girl.
455
00:29:09,200 --> 00:29:11,240
"HERE COMES MY GIRL" PLAYS
456
00:29:18,400 --> 00:29:21,000
Which guitar is doing that picking thing?
457
00:29:21,000 --> 00:29:24,120
Those two together.
458
00:29:24,120 --> 00:29:26,880
That's the Rickenbacker 12-string.
459
00:29:26,880 --> 00:29:29,840
Can you cut it back for a second?
460
00:29:29,840 --> 00:29:32,520
Just play the arpeggio and the piano together.
461
00:29:32,520 --> 00:29:35,400
These are the two instruments that make that chorus.
462
00:29:35,400 --> 00:29:38,000
ISOLATED GUITAR AND PIANO TRACKS PLAY
463
00:29:40,080 --> 00:29:42,760
You had to come from the South to play that lick.
464
00:29:44,200 --> 00:29:47,440
None of the bands I heard were playing anything like that.
465
00:29:53,160 --> 00:29:55,080
They're busy but they work together.
466
00:29:56,440 --> 00:29:57,640
# What you want... #
467
00:29:57,640 --> 00:30:00,600
If you listen to the arrangements on Damn The Torpedoes,
468
00:30:00,600 --> 00:30:03,920
you're going to hear a lot of interplay between the instruments,
469
00:30:03,920 --> 00:30:06,480
it's done so well, you don't even notice it.
470
00:30:06,480 --> 00:30:09,200
But it's constantly changing
471
00:30:09,200 --> 00:30:11,720
and it's constantly interesting.
472
00:30:12,880 --> 00:30:15,840
# Every time it seems like there ain't nothing left no more
473
00:30:15,840 --> 00:30:19,120
# I find myself having to reach out and grab hold of something
474
00:30:21,680 --> 00:30:24,640
# Yeah, I just catch myself wondering, waiting, worrying
475
00:30:24,640 --> 00:30:27,800
# About some silly little thing that don't add up to nothing
476
00:30:30,680 --> 00:30:32,720
# Then she looks me in the eye
477
00:30:32,720 --> 00:30:37,760
# Says we're gonna last forever and I know I can't begin to doubt it
478
00:30:40,120 --> 00:30:43,520
# Cos it feels so good, so free and so right
479
00:30:43,520 --> 00:30:47,360
# I know we ain't ever gonna change our minds about it
480
00:30:47,360 --> 00:30:49,520
# Hey! Here comes my girl
481
00:30:52,160 --> 00:30:54,760
# Here comes my girl... #
482
00:30:57,040 --> 00:31:02,240
They're really one of the top rock'n'roll bands,
483
00:31:02,240 --> 00:31:04,120
in the world, I think.
484
00:31:05,880 --> 00:31:10,120
It's hard to be completely objective cos I've always played with them,
485
00:31:10,120 --> 00:31:14,440
even before The Heartbreakers, I was in a band with Mike and Benmont.
486
00:31:14,440 --> 00:31:19,000
Benmont is probably the most in-demand keyboard player there is.
487
00:31:19,000 --> 00:31:21,320
What both of them do that's so great
488
00:31:21,320 --> 00:31:23,880
is when I give them something,
489
00:31:23,880 --> 00:31:28,960
they give it back to me better than I thought it was in the first place.
490
00:31:28,960 --> 00:31:32,800
What the band were, to a few rock critics,
491
00:31:32,800 --> 00:31:35,920
The Heartbreakers became to everybody.
492
00:31:35,920 --> 00:31:40,120
They were just this virtuoso outfit, that were really in-synch,
493
00:31:40,120 --> 00:31:43,520
that had unlikely combinations,
494
00:31:43,520 --> 00:31:49,920
you have Stan Lynch and Ron Blair, who are maybe the least virtuosic,
495
00:31:49,920 --> 00:31:52,280
but the most rock'n'roll part of the sound.
496
00:31:52,280 --> 00:31:56,760
I always enjoyed playing with Stan and secretly hoped
497
00:31:56,760 --> 00:32:00,240
we'd get to play again sometime,
498
00:32:00,240 --> 00:32:02,080
which could happen, I guess.
499
00:32:02,080 --> 00:32:05,160
He's just a really great drummer, character.
500
00:32:05,160 --> 00:32:08,680
All drummers are a little bit of a character and he's...
501
00:32:08,680 --> 00:32:09,880
He's definitely that.
502
00:32:09,880 --> 00:32:13,760
Jimmy, for some reason, he didn't like the way Stan played.
503
00:32:18,400 --> 00:32:20,720
It may have been a personality thing, too.
504
00:32:20,720 --> 00:32:25,400
Cos there's a lot of personality in Jimmy and in Stan.
505
00:32:25,400 --> 00:32:29,120
I don't know, maybe the room wasn't big enough.
506
00:32:29,120 --> 00:32:31,520
It's a pretty big room, but, you know.
507
00:32:57,560 --> 00:33:00,480
His sense of humour comes out through his drums.
508
00:33:00,480 --> 00:33:03,440
When they tried other drummers,
509
00:33:03,440 --> 00:33:06,360
at one point during the album for a couple of weeks,
510
00:33:06,360 --> 00:33:09,280
it didn't sound like Tom Petty And The Heartbreakers,
511
00:33:09,280 --> 00:33:12,400
- it sounded like somebody else.
- I guess Jimmy wasn't pleased
512
00:33:12,400 --> 00:33:16,760
and maybe Tom wasn't pleased and Stanley, either he quit
513
00:33:16,760 --> 00:33:19,480
or he was fired for a couple of weeks.
514
00:33:20,920 --> 00:33:23,080
We brought in some great drummers.
515
00:33:23,080 --> 00:33:26,840
We brought in BJ Wilson from Procul Harum,
516
00:33:26,840 --> 00:33:29,360
Phil Seymour from the Dwight Twilley Group,
517
00:33:29,360 --> 00:33:33,360
who had sung background vocals on Breakdown,
518
00:33:33,360 --> 00:33:36,520
I can't remember who all else.
519
00:33:36,520 --> 00:33:40,440
And they were all great drummers, but all the wrong drummer.
520
00:33:40,440 --> 00:33:43,960
Stanley came back and we got a couple of tracks, that day.
521
00:33:43,960 --> 00:33:47,960
So it was clear what he brought to the table.
522
00:33:47,960 --> 00:33:51,200
This thing he could do, this indescribable thing.
523
00:33:51,200 --> 00:33:55,680
And Ron has this technique as a bass player that would lock it all together.
524
00:33:55,680 --> 00:33:58,520
Remember, the bass is on the bottom of the record.
525
00:33:58,520 --> 00:34:00,280
He was kind of like Bill Wyman,
526
00:34:00,280 --> 00:34:02,520
you can't put your finger on it.
527
00:34:02,520 --> 00:34:04,000
He doesn't play like Wyman
528
00:34:04,000 --> 00:34:07,880
but from the first second of the band,
529
00:34:07,880 --> 00:34:11,120
I listened to Ron when I didn't know what to play,
530
00:34:11,120 --> 00:34:14,320
so Ron's playing some melodic rhythmic thing,
531
00:34:14,320 --> 00:34:16,960
that, if I tie into that,
532
00:34:16,960 --> 00:34:20,040
it's going to work really well.
533
00:34:20,040 --> 00:34:21,880
Don't know what it is.
534
00:34:21,880 --> 00:34:24,040
He's just got it.
535
00:34:40,400 --> 00:34:42,880
# I think she loves me
536
00:34:42,880 --> 00:34:46,640
# But she don't wanna let on
537
00:34:52,040 --> 00:34:55,280
# Yeah, she likes to keep me guessing
538
00:34:55,280 --> 00:34:59,440
# She's got me on the fence
539
00:34:59,440 --> 00:35:03,480
# With that little bit of mystery... #
540
00:35:03,480 --> 00:35:05,640
Tom's singing a harmony with himself here.
541
00:35:05,640 --> 00:35:11,520
# And she's always been so hard to figure out
542
00:35:12,680 --> 00:35:20,960
# Yeah, she always likes to leave me with a shadow of a dou-ou-oubt. #
543
00:35:20,960 --> 00:35:22,640
Attitude, huh?
544
00:35:34,080 --> 00:35:37,040
# Sometimes at night I
545
00:35:37,040 --> 00:35:40,760
# Wait round till she gets off... #
546
00:35:47,600 --> 00:35:49,280
I think it's a great guitar riff.
547
00:35:50,360 --> 00:35:52,720
And I think the lyric is really interesting.
548
00:35:52,720 --> 00:35:56,480
And the way the melody goes with chord changes,
549
00:35:56,480 --> 00:35:59,000
it's a fast song that isn't trying too hard.
550
00:35:59,000 --> 00:36:01,600
The groove, it simply swings.
551
00:36:01,600 --> 00:36:07,280
But that it's got, "And when she's dreaming, sometimes she sings in French,"
552
00:36:07,280 --> 00:36:09,520
is a lyric that's always going to work for me
553
00:36:09,520 --> 00:36:13,800
cos I don't know what the hell it's talking about but it sounds like it's true.
554
00:36:13,800 --> 00:36:16,840
# And when she's dreaming
555
00:36:16,840 --> 00:36:20,600
# Sometimes she sings in French
556
00:36:27,080 --> 00:36:30,720
# But in the morning
557
00:36:30,720 --> 00:36:34,000
# She don't remember it... #
558
00:36:36,000 --> 00:36:38,240
We wanted to make music that moved people.
559
00:36:38,240 --> 00:36:42,440
And because of the...
560
00:36:42,440 --> 00:36:45,240
I don't know if it was because of that, I mean,
561
00:36:45,240 --> 00:36:47,320
we were in a big lawsuit at the time,
562
00:36:47,320 --> 00:36:51,400
you know, just fighting for our right to exist, in a way,
563
00:36:51,400 --> 00:36:55,280
and I think it made the music sort of anthemic.
564
00:36:58,640 --> 00:37:02,440
During that period, I wrote a song called Century City,
565
00:37:02,440 --> 00:37:04,880
because that's where we had to go every day,
566
00:37:04,880 --> 00:37:06,680
that's where the lawyers were.
567
00:37:06,680 --> 00:37:09,680
# Sometimes I wanna leave here
568
00:37:09,680 --> 00:37:12,320
# Sometimes I wanna go
569
00:37:13,280 --> 00:37:15,840
# Right back where I came from
570
00:37:15,840 --> 00:37:18,880
# Back where I belong
571
00:37:18,880 --> 00:37:22,440
# But it never lasts for too long
572
00:37:23,480 --> 00:37:25,280
# Always goes away
573
00:37:25,280 --> 00:37:28,760
# And I still don't look for reasons
574
00:37:28,760 --> 00:37:31,640
# That's much too hard these days
575
00:37:31,640 --> 00:37:35,640
# Why worry 'bout the rain? Why worry 'bout the thunder?
576
00:37:35,640 --> 00:37:39,160
# In Century City, everything's covered... #
577
00:37:41,240 --> 00:37:45,840
We were in between record labels and we refused to record
578
00:37:45,840 --> 00:37:49,160
for the wrong label until our deal was sorted out.
579
00:37:49,160 --> 00:37:53,000
We had... As most bands did, we got shafted on our record deal.
580
00:37:53,000 --> 00:37:56,440
We'd gone from Shelter to Shelter plus ABC as our labels.
581
00:37:56,440 --> 00:37:59,200
We said, "Look, we don't want any changes,"
582
00:37:59,200 --> 00:38:00,680
and they agreed to that.
583
00:38:00,680 --> 00:38:02,440
The next thing that happened
584
00:38:02,440 --> 00:38:04,960
was that, you know,
585
00:38:04,960 --> 00:38:07,200
ABC was bought by MCA.
586
00:38:07,200 --> 00:38:08,960
In purchasing ABC,
587
00:38:08,960 --> 00:38:12,400
they also, of course, grabbed their Shelter Records imprint,
588
00:38:12,400 --> 00:38:17,120
and therefore, Tom Petty and I witnessed, along with the rest of the industry,
589
00:38:17,120 --> 00:38:20,720
Petty's fight to get off of MCA
590
00:38:20,720 --> 00:38:24,920
and go to one of the many suitors. Everyone was after him,
591
00:38:24,920 --> 00:38:30,080
from the legendary Ahmet Ertegun, to Mo Austin, to Walter Yetnikoff and Columbia.
592
00:38:30,080 --> 00:38:33,400
# We're gonna live in Century City
593
00:38:33,400 --> 00:38:36,520
# Go and give in Century City
594
00:38:36,520 --> 00:38:38,280
# Like modern men
595
00:38:38,280 --> 00:38:39,800
# Modern girls
596
00:38:39,800 --> 00:38:43,120
# We're gonna live in the modern world
597
00:38:45,440 --> 00:38:47,040
# Waah! #
598
00:38:48,000 --> 00:38:50,840
Tom Petty has always believed in himself
599
00:38:50,840 --> 00:38:53,520
and been willing to put everything on the line
600
00:38:53,520 --> 00:38:56,720
and when he stood up to try to get off of MCA,
601
00:38:56,720 --> 00:39:00,640
I think most artists, early in their career, just happen to be on a label.
602
00:39:00,640 --> 00:39:03,920
But Tom's always a guy who would stand up to anyone
603
00:39:03,920 --> 00:39:05,560
who got in the way of his music.
604
00:39:05,560 --> 00:39:09,720
When I heard that they might want to take the tapes
605
00:39:09,720 --> 00:39:14,160
and finish them themselves, and just put it out,
606
00:39:14,160 --> 00:39:17,040
that's when I was getting a little bit leery and upset,
607
00:39:17,040 --> 00:39:19,160
but Tom's a tough nut.
608
00:39:19,160 --> 00:39:21,880
And that wasn't going to happen.
609
00:39:21,880 --> 00:39:25,240
There was a time when we thought the record would never come out.
610
00:39:25,240 --> 00:39:29,080
That's where Tom was, he said, "Fuck it, the album's not coming out."
611
00:39:29,080 --> 00:39:31,440
When they started recording Damn The Torpedoes,
612
00:39:31,440 --> 00:39:35,480
we refused to take money from the record company.
613
00:39:35,480 --> 00:39:40,080
And I had my partner at the time, Elliot Roberts,
614
00:39:40,080 --> 00:39:43,800
put up the money, technically, making Tom bankrupt.
615
00:39:43,800 --> 00:39:51,600
Which means, under US law, that you can have a court aggregate all your contracts
616
00:39:51,600 --> 00:39:54,920
and enable you to start afresh.
617
00:39:54,920 --> 00:40:00,240
My absolute dream and desire was to sign Petty onto my label, Backstreet.
618
00:40:00,240 --> 00:40:03,560
I got a phone call late at night from Danny
619
00:40:03,560 --> 00:40:07,720
and he said, "Listen, I've got a label and I could really help you
620
00:40:07,720 --> 00:40:10,680
"resolve this thing with MCA to your satisfaction."
621
00:40:10,680 --> 00:40:15,880
He was passionate and committed and everything that we were looking for
622
00:40:15,880 --> 00:40:18,440
in a relationship at that time.
623
00:40:18,440 --> 00:40:21,240
And the album came out on Backstreet records.
624
00:40:21,240 --> 00:40:24,120
It was everything I had hoped for.
625
00:40:24,120 --> 00:40:28,120
And you can imagine, 25 years old, a brand new label,
626
00:40:28,120 --> 00:40:34,400
to have this album, to have Tom Petty and be part of truly creating a home
627
00:40:34,400 --> 00:40:37,240
that was absolutely behind him, vigorously.
628
00:40:37,240 --> 00:40:39,720
I was ecstatic.
629
00:40:39,720 --> 00:40:42,320
Tom works very intuitively.
630
00:40:42,320 --> 00:40:46,320
He's got this thing that I wish I had,
631
00:40:46,320 --> 00:40:49,680
most songwriters wish they had, where he can just channel into
632
00:40:49,680 --> 00:40:52,440
that pool of ideas.
633
00:40:52,440 --> 00:40:57,080
He can just pull stuff out of the air it seems, almost, whenever he really wants to.
634
00:40:57,080 --> 00:41:01,680
And he's always had that, from the first time I met him, he can just come up with
635
00:41:01,680 --> 00:41:05,240
lyrics, or a melody, or song ideas.
636
00:41:05,240 --> 00:41:10,040
He just improved greatly over the years. By the time we were making records,
637
00:41:10,040 --> 00:41:12,360
he'd really honed that down pretty well.
638
00:41:12,360 --> 00:41:14,600
You know, there's no set formula.
639
00:41:14,600 --> 00:41:17,520
It just happens when it happens.
640
00:41:17,520 --> 00:41:21,560
That's something that you want to really look in the eye.
641
00:41:21,560 --> 00:41:27,080
Because it's a little supernatural and you don't want to...mess with it.
642
00:41:27,080 --> 00:41:29,840
Most of them are written with the acoustic guitar.
643
00:41:29,840 --> 00:41:33,160
We have this theory that you should be able to
644
00:41:33,160 --> 00:41:37,920
perform it with just a guitar or a piano,
645
00:41:37,920 --> 00:41:39,560
to be sure it's a song.
646
00:41:39,560 --> 00:41:42,880
They were really good songs, they were incredibly easy to play.
647
00:41:42,880 --> 00:41:46,560
If a song is really hard to play, usually, we'll ditch it,
648
00:41:46,560 --> 00:41:51,360
because Tom's theory is that there's something wrong with the song, it's not quite there yet
649
00:41:51,360 --> 00:41:53,800
if it takes too much work to get it down.
650
00:41:53,800 --> 00:42:00,160
The end of the record was this one, Louisiana Rain, works acoustically.
651
00:42:00,160 --> 00:42:03,280
# Well, it was out in California
652
00:42:04,400 --> 00:42:07,000
# By the San Diego sea
653
00:42:09,680 --> 00:42:12,920
# That was when I was taken in
654
00:42:12,920 --> 00:42:15,960
# It left its mark on me... #
655
00:42:20,720 --> 00:42:22,000
You know?
656
00:42:22,000 --> 00:42:23,600
The world-weary traveller.
657
00:42:23,600 --> 00:42:27,560
# Yeah, she nearly drove me crazy
658
00:42:27,560 --> 00:42:31,880
# With all those China toys
659
00:42:32,840 --> 00:42:37,040
# And I know she really didn't mean a thing
660
00:42:37,040 --> 00:42:40,120
# To those sailor boys
661
00:42:42,840 --> 00:42:45,160
# Louisiana rain... #
662
00:42:45,160 --> 00:42:47,320
It's a vocal with a double on the chorus.
663
00:42:47,320 --> 00:42:48,960
# ..is falling at my feet
664
00:42:50,920 --> 00:42:53,400
# Baby, I'm noticing a change
665
00:42:55,120 --> 00:42:57,640
# As I move down the street. #
666
00:42:57,640 --> 00:43:01,560
He's a great vocalist, an extraordinary lyricist,
667
00:43:01,560 --> 00:43:08,160
and an emotive singer. What you do is arrange the record around his voice.
668
00:43:09,760 --> 00:43:11,440
And, um...
669
00:43:11,440 --> 00:43:15,800
It's, it was easy, he's just...
670
00:43:15,800 --> 00:43:18,520
I've never heard him do a bad vocal.
671
00:43:18,520 --> 00:43:21,480
# South Carolina
672
00:43:22,480 --> 00:43:25,640
# Put out its arms for me
673
00:43:27,120 --> 00:43:30,800
# Right up until everything went black
674
00:43:30,800 --> 00:43:34,040
# Somewhere on Lonely Street... #
675
00:43:34,040 --> 00:43:36,680
I felt we needed that feel on the record, you know?
676
00:43:36,680 --> 00:43:43,160
It was a rock record but these guys are from the South and they wrote this really poignant record,
677
00:43:43,160 --> 00:43:47,480
and...I wish there were more records like that right now that had a touch of that on it.
678
00:43:47,480 --> 00:43:50,840
Someone writes a real country song, or a real feel like that.
679
00:43:50,840 --> 00:43:53,800
I just fell in love with it, I thought it was...
680
00:43:53,800 --> 00:43:56,280
You know, knowing Tom, I felt it was really him.
681
00:43:56,280 --> 00:43:59,120
# Louisiana rain
682
00:44:00,440 --> 00:44:02,560
# Is falling just like tears
683
00:44:04,680 --> 00:44:07,080
# Running down my face
684
00:44:09,040 --> 00:44:11,120
# Washing out the years
685
00:44:13,280 --> 00:44:17,280
# Louisiana rain
686
00:44:17,280 --> 00:44:19,520
# Is soaking through my shoes
687
00:44:21,480 --> 00:44:23,840
# I may never be the same... #
688
00:44:25,720 --> 00:44:27,160
The solo is a slide...
689
00:44:27,160 --> 00:44:30,840
There's two slides going on together here. Right here.
690
00:44:30,840 --> 00:44:33,120
SOLO FROM "LOUISIANA RAIN" PLAYS
691
00:44:40,360 --> 00:44:42,280
There was a harmonica right there.
692
00:44:42,280 --> 00:44:44,640
We used to call Tom The Harmoni-cat.
693
00:44:44,640 --> 00:44:46,760
HARMONICA PLAYS
694
00:44:50,560 --> 00:44:53,200
It's got a verse about, uh...
695
00:44:53,200 --> 00:44:55,520
an English refugee who I...
696
00:44:55,520 --> 00:44:58,040
in an all-night beanery.
697
00:44:58,040 --> 00:45:01,240
# Never will get over
698
00:45:01,240 --> 00:45:04,400
# This English refugee
699
00:45:04,400 --> 00:45:06,400
# Singing to the jukebox
700
00:45:06,400 --> 00:45:09,000
# In some all-night beanery
701
00:45:09,000 --> 00:45:12,120
# And he was eating pills like candy
702
00:45:12,120 --> 00:45:15,320
# Chasing them with tea
703
00:45:15,320 --> 00:45:18,680
# You should have seen him lick his lips
704
00:45:18,680 --> 00:45:21,360
# That old black muddied beak
705
00:45:23,040 --> 00:45:24,680
# Louisiana rain
706
00:45:26,080 --> 00:45:28,440
# Is falling at my feet
707
00:45:29,440 --> 00:45:31,840
# And I'm noticing a change
708
00:45:33,120 --> 00:45:35,520
# As I walk down the street
709
00:45:36,480 --> 00:45:38,480
# Louisiana rain
710
00:45:39,800 --> 00:45:42,240
# Soaking through my shoes
711
00:45:42,240 --> 00:45:44,840
# And I may never be the same
712
00:45:46,200 --> 00:45:48,120
# When I reach Baton Rouge. #
713
00:45:49,360 --> 00:45:52,680
Um, we had this engineer that came out of, um...
714
00:45:54,520 --> 00:45:58,280
He was English, but he had spent a lot of time in Texas.
715
00:45:59,320 --> 00:46:03,760
And...really liked his uppers.
716
00:46:03,760 --> 00:46:06,120
And I think that's where...
717
00:46:06,120 --> 00:46:10,520
That was the person I was... imagining him,
718
00:46:10,520 --> 00:46:13,680
making his way across Louisiana.
719
00:46:14,720 --> 00:46:16,880
And that's where that came from.
720
00:46:16,880 --> 00:46:22,880
I've always felt like he's just so incredibly underrated as a songwriter.
721
00:46:22,880 --> 00:46:26,560
I think he's... I've always felt like he's taken for granted.
722
00:46:26,560 --> 00:46:31,040
You know, we're older now, so I suppose there's some more respect.
723
00:46:31,040 --> 00:46:36,560
But I think the guy really is a fantastic songwriter.
724
00:46:36,560 --> 00:46:40,520
Like when we had Mudcrutch and Don't Do Me Like That, it's like, what?!
725
00:46:40,520 --> 00:46:47,120
Because remember, this is me, I think I was 20, and he's 22 or 23.
726
00:46:47,120 --> 00:46:49,520
Well, that's pretty wild when your friend,
727
00:46:49,520 --> 00:46:53,040
that helped you bury a dead cat in your yard when you were teenagers,
728
00:46:53,040 --> 00:46:55,320
just goes, "I wrote this."
729
00:46:55,320 --> 00:46:57,400
MUSIC: "Don't Do Me Like That"
730
00:46:58,400 --> 00:47:01,800
Not quite the same fidelity!
731
00:47:01,800 --> 00:47:04,200
They panned the drums. That's pretty funny.
732
00:47:07,600 --> 00:47:10,520
- That's the demo I heard.
- Yeah.
- Yeah.
733
00:47:11,680 --> 00:47:13,800
# I was talkin' with a friend of mine
734
00:47:13,800 --> 00:47:15,680
- # Said a woman... #
- It's faster.
735
00:47:15,680 --> 00:47:18,000
It's faster.
736
00:47:18,000 --> 00:47:20,520
And lacks the groove we've got later.
737
00:47:20,520 --> 00:47:22,760
Vocals are great.
738
00:47:23,760 --> 00:47:25,120
I was always...
739
00:47:28,120 --> 00:47:30,360
# Don't do me like that
740
00:47:30,360 --> 00:47:32,200
# Don't do me like that
741
00:47:32,200 --> 00:47:35,400
# What if I love you, baby? Don't do me like that... #
742
00:47:35,400 --> 00:47:37,760
The publisher played me Don't Do Me Like That
743
00:47:37,760 --> 00:47:40,600
and told me he was giving it to J. Geils Band.
744
00:47:40,600 --> 00:47:44,480
So I, like, ran to Tom's house. I said, "Are you out of your mind?"
745
00:47:44,480 --> 00:47:49,160
He said, "It kinda sounds like J. Geils to me." I said, "Sounds like a hit to me."
746
00:47:49,160 --> 00:47:52,600
I was a little confused by it. I thought, well...
747
00:47:53,720 --> 00:47:55,560
You sure this is what we want to do?
748
00:47:55,560 --> 00:47:58,200
Cos we'd passed on it for the last two records.
749
00:47:58,200 --> 00:48:00,800
We'd come out to LA from Florida.
750
00:48:00,800 --> 00:48:04,200
And I heard this song in my head,
751
00:48:04,200 --> 00:48:07,960
but I had no piano. I just lived in a little guesthouse.
752
00:48:07,960 --> 00:48:13,240
So I rented a rehearsal room, for just me,
753
00:48:13,240 --> 00:48:16,280
which was pretty extravagant for me.
754
00:48:16,280 --> 00:48:20,080
And I...I went down there, wrote the song on the piano,
755
00:48:20,080 --> 00:48:25,000
didn't record it or anything, but I wrote it on the piano and went home.
756
00:48:25,000 --> 00:48:30,040
And I... It was an expression my dad used to use a lot.
757
00:48:30,040 --> 00:48:32,320
Um...don't do me like that, you know.
758
00:48:32,320 --> 00:48:33,840
"Don't do me like that, son."
759
00:48:33,840 --> 00:48:36,520
So he wrote it just really simply, like...
760
00:48:42,040 --> 00:48:45,720
And what are you going to do? That's the thing he wrote it to,
761
00:48:45,720 --> 00:48:48,400
that's the thing that's easiest for him to sing to.
762
00:48:48,400 --> 00:48:50,840
So that's the thing to play.
763
00:48:50,840 --> 00:48:55,840
Since he came up with the part, it's probably the thing he thinks is the best thing to play anyway.
764
00:48:55,840 --> 00:48:58,360
It's good, it's the same thing in the right hand,
765
00:48:58,360 --> 00:49:00,480
you change the left hand really simply.
766
00:49:00,480 --> 00:49:02,400
In the verses, it's just...
767
00:49:02,400 --> 00:49:03,800
# Friend of mine
768
00:49:03,800 --> 00:49:05,920
# Said a woman had hurt his pride... #
769
00:49:08,920 --> 00:49:10,240
And then the chorus is...
770
00:49:10,240 --> 00:49:12,600
# Don't do me like that
771
00:49:12,600 --> 00:49:15,200
# Don't do me like that... #
772
00:49:15,200 --> 00:49:18,200
Basically, the rhythm in the right hand stays the same,
773
00:49:18,200 --> 00:49:21,000
the chords are almost the same, it changes one chord.
774
00:49:21,000 --> 00:49:25,080
You had this tremendous keyboard intro of Benmont's,
775
00:49:25,080 --> 00:49:29,240
uh...and an amazing, inspired bridge,
776
00:49:29,240 --> 00:49:32,000
really rock'n'roll vocal of Tom's,
777
00:49:32,000 --> 00:49:38,960
uh...that, that gave an edge to what was seemingly, on first listen,
778
00:49:38,960 --> 00:49:40,480
a very hooky track.
779
00:49:50,800 --> 00:49:53,200
# I was talkin' with a friend of mine
780
00:49:53,200 --> 00:49:55,080
# Said a woman had hurt his pride
781
00:49:55,080 --> 00:49:57,320
# She told him that she loved him so
782
00:49:57,320 --> 00:49:59,480
# Then turned around and let him go
783
00:49:59,480 --> 00:50:01,400
# Then he said, you better watch your step
784
00:50:01,400 --> 00:50:03,280
# Or you're gonna get hurt yourself
785
00:50:03,280 --> 00:50:05,880
# Someone's gonna tell you lies
786
00:50:05,880 --> 00:50:07,520
# Cut you down to size
787
00:50:07,520 --> 00:50:09,520
# Don't do me like that
788
00:50:09,520 --> 00:50:11,480
# Don't do me like that
789
00:50:11,480 --> 00:50:13,600
# What if I love you, baby?
790
00:50:13,600 --> 00:50:15,360
# Don't do me like that... #
791
00:50:15,360 --> 00:50:19,280
Yeah, it's a very rhythmic vocal.
792
00:50:19,280 --> 00:50:24,040
The vocal really... that's the dance that you follow.
793
00:50:24,040 --> 00:50:27,680
You know, it's dancing through the whole track.
794
00:50:27,680 --> 00:50:32,080
It turned out incredible. The record kinda has a Booker T feel to it
795
00:50:32,080 --> 00:50:33,400
a little bit, you know.
796
00:50:33,400 --> 00:50:36,960
Again, Benmont's a real star on that record, the drums sound great.
797
00:50:36,960 --> 00:50:40,680
Tom sang the shit out of it, Tom did a... You know.
798
00:50:40,680 --> 00:50:43,680
A real, sort of,
799
00:50:43,680 --> 00:50:47,120
Wilson Pickett kind of vocal on it. It's just fantastic.
800
00:50:49,920 --> 00:50:52,680
And dancing along on the lead voice...
801
00:50:52,680 --> 00:50:55,040
ON PLAYBACK: # Give someone else a try
802
00:50:55,040 --> 00:50:57,240
# And you know you better watch your step
803
00:50:57,240 --> 00:50:59,360
# Or you're gonna get hurt yourself
804
00:50:59,360 --> 00:51:02,000
# Someone's gonna tell you lies... #
805
00:51:02,000 --> 00:51:03,400
And all the harmony...
806
00:51:03,400 --> 00:51:05,880
ISOLATED VOCAL TRACK: # Don't do me like that
807
00:51:05,880 --> 00:51:07,640
# Don't do me like that
808
00:51:07,640 --> 00:51:09,760
# What if I love you, baby?
809
00:51:09,760 --> 00:51:11,720
# Don't, don't, don't, don't
810
00:51:11,720 --> 00:51:13,560
# Don't do me like that
811
00:51:13,560 --> 00:51:15,280
# Don't do me like that
812
00:51:15,280 --> 00:51:17,800
# What if I need you, baby?
813
00:51:17,800 --> 00:51:19,280
# Don't do me like that
814
00:51:19,280 --> 00:51:21,720
WITH BAND: # Cos somewhere deep down inside
815
00:51:21,720 --> 00:51:23,400
# Someone is saying
816
00:51:23,400 --> 00:51:26,400
# Love doesn't last that long
817
00:51:27,800 --> 00:51:29,880
# I got this feelin' inside
818
00:51:29,880 --> 00:51:31,600
# Night and day
819
00:51:31,600 --> 00:51:34,560
# And now I can't take it no more... #
820
00:51:34,560 --> 00:51:36,480
So, we went in and cut it.
821
00:51:36,480 --> 00:51:39,200
It was one of the only ones that went really quickly.
822
00:51:39,200 --> 00:51:41,720
We thought it was cool,
823
00:51:41,720 --> 00:51:44,000
but we kind of put it out of our mind.
824
00:51:44,000 --> 00:51:47,520
I didn't even know if it was completely in the running.
825
00:51:48,720 --> 00:51:51,000
Near the end of the album,
826
00:51:51,000 --> 00:51:54,960
the assistant engineer, Tori Swenson,
827
00:51:54,960 --> 00:51:58,600
who had been sleeping on the sofa here in the control room,
828
00:51:58,600 --> 00:52:03,280
raised his head up and said, "What about that Don't Do Me Like That?
829
00:52:03,280 --> 00:52:04,960
"I really like that one."
830
00:52:04,960 --> 00:52:08,840
We went, "Yeah, what is that?" And we brought it back out,
831
00:52:08,840 --> 00:52:11,960
played it and went, "Yeah, great. It's in."
832
00:52:11,960 --> 00:52:15,840
And it became our first top ten hit.
833
00:52:16,920 --> 00:52:18,600
# Listen, honey, can you see?
834
00:52:18,600 --> 00:52:20,680
# Baby, you would bury me
835
00:52:20,680 --> 00:52:22,720
# If you were in the public eye
836
00:52:22,720 --> 00:52:24,440
# Giving someone else a try
837
00:52:24,440 --> 00:52:26,800
# And you know you better watch your step
838
00:52:26,800 --> 00:52:28,960
# Or you're gonna get hurt yourself
839
00:52:28,960 --> 00:52:30,600
# Someone's gonna tell you lies
840
00:52:30,600 --> 00:52:33,240
# Cut you down to size
841
00:52:33,240 --> 00:52:35,200
# Don't do me like that
842
00:52:35,200 --> 00:52:37,680
# Don't do me like that
843
00:52:37,680 --> 00:52:39,320
# What if I love you, baby?
844
00:52:39,320 --> 00:52:41,280
# Don't, don't, don't, don't
845
00:52:41,280 --> 00:52:43,400
# Don't do me like that
846
00:52:43,400 --> 00:52:45,680
# Don't do me like that
847
00:52:45,680 --> 00:52:47,480
# I just might need you, honey
848
00:52:47,480 --> 00:52:49,520
# Don't do me like that
849
00:52:49,520 --> 00:52:50,640
# Don't do me like that
850
00:52:51,680 --> 00:52:53,160
# Don't do me like that
851
00:52:53,160 --> 00:52:57,480
# Baby, baby, baby Don't, don't, don't, don't
852
00:52:57,480 --> 00:52:58,720
# Don't do me like that
853
00:53:00,120 --> 00:53:01,800
# Don't do me like that
854
00:53:01,800 --> 00:53:04,000
# Baby, baby, baby
855
00:53:04,000 --> 00:53:06,200
# Oh, oh, oh! #
856
00:53:07,640 --> 00:53:09,480
It was joy, you know.
857
00:53:09,480 --> 00:53:13,760
Just spinning across the dial and hearing yourself again and again
858
00:53:13,760 --> 00:53:16,360
on different stations, different songs.
859
00:53:16,360 --> 00:53:19,280
At one point, I think we had four songs on the air
860
00:53:19,280 --> 00:53:21,280
at the same time from that album.
861
00:53:21,280 --> 00:53:26,840
Damn The Torpedoes was when Tom Petty stopped being this really great songwriter,
862
00:53:26,840 --> 00:53:29,400
influenced by Dylan or influenced by The Byrds
863
00:53:29,400 --> 00:53:32,800
or influenced by the Stones, and became Tom Petty.
864
00:53:32,800 --> 00:53:35,280
In terms of finding his voice, he certainly...
865
00:53:35,280 --> 00:53:36,960
It all came together.
866
00:53:36,960 --> 00:53:40,600
I think, if anything, he was just beginning.
867
00:53:40,600 --> 00:53:42,960
It was a beautifully crafted album,
868
00:53:42,960 --> 00:53:47,120
it was a rock'n'roll album which had more thought and arrangement
869
00:53:47,120 --> 00:53:49,840
than many people may realise.
870
00:53:49,840 --> 00:53:53,320
When you make that noise together, all the guys, and they play,
871
00:53:53,320 --> 00:53:56,320
only that thing sounds like that.
872
00:53:56,320 --> 00:53:59,880
So it can take all the flaws, all the inexperience...
873
00:54:01,200 --> 00:54:04,200
..and yet all the uniqueness of the guys that are playing,
874
00:54:04,200 --> 00:54:06,640
and when you put that together,
875
00:54:06,640 --> 00:54:08,880
and put a shaker on top,
876
00:54:08,880 --> 00:54:11,760
you have an extraordinary record.
877
00:54:11,760 --> 00:54:15,000
If there's longevity to it, it's cos the songs are really good,
878
00:54:15,000 --> 00:54:18,800
you can tell there's a lot of genuine passion in it,
879
00:54:18,800 --> 00:54:22,640
not some amped-up, hyped-up, fake strutting stuff.
880
00:54:22,640 --> 00:54:24,760
But a lot of genuine caring about it.
881
00:54:24,760 --> 00:54:28,560
It was the hardest one. Emotionally, um...
882
00:54:28,560 --> 00:54:31,360
but in a lot of ways, the most rewarding one.
883
00:54:31,360 --> 00:54:35,680
It was within our grasp and we knew it, we just had to do it.
884
00:54:41,600 --> 00:54:44,560
# Baby, I hear thunder
885
00:54:46,120 --> 00:54:50,400
# I woke up, middle of the night
886
00:54:59,720 --> 00:55:02,560
# Baby, I saw fire
887
00:55:03,720 --> 00:55:07,960
# I went left, I went right
888
00:55:10,960 --> 00:55:13,080
# So you tell me
889
00:55:13,080 --> 00:55:15,560
# What you want me to do
890
00:55:15,560 --> 00:55:17,920
# This might be over, honey
891
00:55:17,920 --> 00:55:20,160
# It ain't through
892
00:55:20,160 --> 00:55:24,160
# Let me know when you're finished with me
893
00:55:24,160 --> 00:55:26,440
# What you want me to be
894
00:55:26,440 --> 00:55:28,560
# Baby, you tell me
895
00:55:28,560 --> 00:55:30,480
# Baby, you tell me... #
896
00:55:30,480 --> 00:55:32,160
Subtitles by Red Bee Media Ltd
897
00:55:32,160 --> 00:55:34,76072985
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