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[ U2's "Pride" plays ]
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-I never thought of myself
as a record producer.
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Somebody else named me that.
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I was just a guy
who was making records
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and was good at helping people.
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-♪ One man come
in the name of love ♪
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♪ One man come and go
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-When you're at the front
end of a medium,
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you get this adrenaline rush,
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or you think, "Oh, my goodness,
I think we've touched
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on something here that's
never been heard before.
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[ David Bowie's "Fame" plays ]
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-♪ Fame
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♪ Makes a man take things over
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-When it comes
to making a hit record,
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one of the biggest mysteries
is the role of the producer.
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-I've heard of Phil Spector.
I heard of Andrew Loog Oldham.
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I heard of Jimmy Miller
with the Stones.
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I didn't know what they did.
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-♪ Fame, fame
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-When I would see old footage
of George Martin,
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I knew that guy was
the important guy to watch.
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Nobody wants his autograph,
but he's the guy in charge.
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-♪ Fame
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-Producers were people who
understood how recording worked.
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-♪ Fame
-They were the people who said,
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"Here's this whole new set
of possibilities.
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We're gonna find out
what they can do."
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-♪ Fame, fame, fame, fame
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-The digital wave of music
gave us a whole orchestra
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of instrumentation
in front of our hands.
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[ Johnny Cash's "One" plays ]
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-But technical skill
is only part of the job.
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The real challenge is to bring
out the best in a performer.
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-♪ Is it getting better
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♪ Or do you feel the same?
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-There's a connection
you have to make in producing,
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and it's gotta be love
and respect.
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-♪ You got someone to blame
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-I think the most important
thing a producer can do
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is to create a vibe
of safety in the room,
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like, it's okay
to go out on a limb.
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-♪ In the night
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-That it's cool to go
to a very vulnerable space
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where, if it doesn't work right,
it could be embarrassing.
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-♪ Carry each other, one
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-Don't be afraid to fail.
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♪♪
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♪♪
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-Okay, then. Okay.
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-It'll be an F for you.
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-Here we go.
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Just one more time.
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-Right after I say,
"Are you sure?"
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Da da da -- yeah.
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-Oh.
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-Hal, here's how I want
to do it. Takes like this.
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-All right, it's fun time.
Fun time.
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-Here we go.
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-Oh, really?
-17, take one.
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-This will be the keeper.
-[Laughs]
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♪♪
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♪♪
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-Here we go.
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One time, everybody, please.
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[ The Rolling Stones's
"Start Me Up" plays ]
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-My first meeting
with the Rolling Stones
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was I ended up on a sofa
with Mick Jagger sitting here
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and Keith sitting here,
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and they were both talking
at the same time.
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-♪ If you start me up
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♪ If you start me up,
I'll never stop ♪
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-Mick was suggesting things
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that a producer could do
for the Stones
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and Keith was telling me why
he didn't need a producer.
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And Keith said, "You sure you
want to be the meat
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in this sandwich?"
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[ Laughs ]
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-The producer
has got to be able to say
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to somebody like Mick Jagger,
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"Can you just do that
again, right?"
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-He should have tact.
He should have diplomacy.
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He should know
how to handle an artist.
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-Even if it means saying that
song's not as good as that one.
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This melody needs to be better.
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-And it's hard, man, 'cause
it'svery intimate, you know.
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Very, very intimate.
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And you're going straight
from your heart,
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and you're saying,
"We're not there yet."
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Or "That's a perfect, perfect
take. One more time." [ Laughs ]
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-Plenty of great songs have
gotten lost in bad production,
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so, you have to appreciate
when you have those pairings
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of a Michael Jackson
and a Quincy Jones,
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when you have a great songwriter
and a great producer.
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-The two of you together
are making music
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completely from scratch,
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and it's your job to try
and help find the right sounds
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that makes everybody's hair
stand on end.
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[ Tom Petty's "Free Fallin'"
plays ]
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-It might take many weeks
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of just sitting and playing
with nothing happening.
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And then one day,
something happens.
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[ Cheers and applause ]
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♪ She's a good girl
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♪ Loves her mama
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♪ Loves Jesus
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♪ And America, too
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I sat down
and played a lick, like...
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[ Hums melody ]
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and Jeff Lynne,
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who's one of the greatest
record makers ever, I think,
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went, "Wait, wait,
wait, wait, wait,
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don't put that bit
on the end there."
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What?
What do you mean?
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"Just go..."
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[ Hums "Free Fallin'"
chord changes ]
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"And start the phrase again, but
don't put that other bit in."
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And I hadn't even really thought
it was a song, you know,
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but he was excited by it.
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♪ She's a good girl
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♪ Loves her mama
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The first two verses
were adlibbed, you know --
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♪ She's a good girl,
loves her mama ♪
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♪ loves Jesus,
and America, too ♪
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I was just kind of tryin'
to make Jeff smile.
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He goes, [English accent]
"Free Falling."
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That's all he said, you know.
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♪ And I'm free
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♪ I'm free fallin'
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♪ And I'm free
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♪ I'm free fallin'
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-That's the whole point
of having someone
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that will sit in the booth,
hearing something
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that you might play,
that you would just discard,
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and he'll say, "Hang on
a minute, that was really good.
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Go back to that."
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-Ultimately,
what being a producer is
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is having a point of view.
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It's easy to make sound.
Really, anybody can make sound.
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But not everybody
can make music.
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[ Up-tempo rock-'n'-roll
music plays ]
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-Well, hello and welcome to the
cradle of rock 'n' roll.
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♪♪
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-Sam Phillips
was 3 days short of 27
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when he opened the doors to
the Memphis recording service.
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He started the label Sun
3 years later.
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-So many earlier producers,
like Sam Phillips,
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they're basically operating
in an AandR capacity,
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looking for promising talent,
bringing them into the studio,
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and crafting a unique sound
for them.
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-From Sam Phillips's point
of view, if you weren't doing
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something different,
you weren't doing anything.
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He was looking for individualism
in the extreme, as he would say.
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-When I wanted to open up
my recording studio,
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I didn't tell too many people
about what I had in mind
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because I didn't know whether
I'd be able to pull it off.
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I didn't have enough money
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to buy the equipment
that I wanted
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and I didn't know whether
I could pay the rent,
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but I knew that I was gonna
get me some black folks
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in that studio,
one way or the other.
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I recorded Roscoe Gordon,
BB King,
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the Howlin' Wolf,
Little Junior Parker.
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♪♪
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-Memphis in the mid-'50s
was a "black cats" town.
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It was about soul.
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Nashville didn't rock.
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Memphis did.
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[ Up-tempo rock-'n'-roll
music plays ]
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-Sam Phillips was so smitten
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with the sound of black music
and black blues,
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but he knew that he'd need
a white guy to put it out there.
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And he found a guy
called Elvis Presley, ha.
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-♪ Evenin' shadows
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♪ make me blue
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♪ When each weary day
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♪ is through
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-With Elvis, I knew when
he walked in the door, baby.
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If anybody can do this,
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I believe this is the person
who can do it.
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-♪ My happiness
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-It was something
that he heard in this kid,
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something that was
unique about him.
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-But, as the session begins,
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Elvis starts singing all these
country songs and pop standards.
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And Sam realizes,
"Hey, this is not gonna work."
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He has a wonderful voice,
but it's so insecure.
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-♪ Just as long
as I'm with you ♪
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♪ My happiness
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-So I went in
and talked to him and said,
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00:10:16,233 --> 00:10:18,933
"Hey, we still are not
where I believe we should be,
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and I think we all agree on
this," and so I turned around,
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went back in the control room,
and, next thing I know,
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Elvis cut out on
"That's All Right Mama."
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♪♪
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-♪ Well, that's all right,
mama ♪
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♪ That's all right for you
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♪ That's all right now, mama
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♪ Just any way you do
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♪ That's all right
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-And, man, the minute
I heard that thing,
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I said, "Lord, hey, if we aren't
gonna make it on that, honey,
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there was nothing
I could do, ever."
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-♪ Do
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-I used to hear Elvis and they
would be singing and playing,
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and they sounded good, but they
was playing white music.
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00:11:04,000 --> 00:11:07,033
♪ That's all right, mama,
that's all right for you ♪
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00:11:07,133 --> 00:11:10,166
When he did that,
I said, "Ohhh, wait a minute.
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[laughs]
This is this is all right."
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How do you categorize
"That's All right"?
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It's just a magic moment,
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and it's truly original
in that it doesn't sound
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like anything else
in the marketplace.
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-♪ I'm leavin' town, baby
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♪ I'm leavin' town for sure
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00:11:26,766 --> 00:11:28,566
♪ Well, then you
won't be bothered ♪
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♪ With me hangin'
'round your door ♪
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♪ But that's all right
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♪ That's all right
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00:11:35,366 --> 00:11:38,666
♪ That's all right,
now, mama ♪
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♪ Any way you do
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-To Sam Phillips,
it was always about freeing --
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00:11:47,666 --> 00:11:50,566
freeing the soul
of his singers.
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Most of these people
who came to him,
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00:11:53,100 --> 00:11:55,633
like Johnny Cash
and Carl Perkins,
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00:11:55,733 --> 00:11:59,633
Elvis Presley, Jerry Lee Lewis,
Roy Orbison --
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00:11:59,733 --> 00:12:02,866
they all shared
this enormous insecurity.
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00:12:02,966 --> 00:12:04,866
His magic was to pull it out
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00:12:04,966 --> 00:12:07,866
of whatever it was
that they had inside.
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00:12:07,966 --> 00:12:12,433
-♪ I believe you're doin'
me wrong, and now I know ♪
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00:12:12,533 --> 00:12:15,733
♪ I believe you're doin' me
wrong, and now I know ♪
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-The qualities that Sam Phillips
first saw in him,
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00:12:18,300 --> 00:12:20,466
he continued to show
till the end of his career.
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-♪ Well
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♪ I said shake,
rattle, and roll ♪
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00:12:23,833 --> 00:12:25,900
♪ I said shake, rattle,
and roll ♪
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00:12:26,000 --> 00:12:28,033
♪ I said shake,
rattle, and roll ♪
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00:12:28,133 --> 00:12:30,166
♪ I said shake, rattle,
and roll ♪
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-When you know that you have
been able to give these people
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the inspiration to display
their God-given talent
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and to be proud of it,
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I think that is the essence
of Sun records.
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-♪ I don't care if I die
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00:12:52,533 --> 00:12:54,733
♪ I said flip, flop, and fly
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♪ I don't care if I die
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♪ Don't ever leave me
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♪ Don't ever say goodbye
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00:13:02,900 --> 00:13:05,566
[ Cheers and applause ]
249
00:13:07,966 --> 00:13:11,166
-We formally present
The Beatles!
250
00:13:11,266 --> 00:13:14,333
♪♪
251
00:13:19,533 --> 00:13:22,366
-I didn't realize
when I signed the Beatles
252
00:13:22,466 --> 00:13:25,000
that they'd already been
to every record company
253
00:13:25,100 --> 00:13:27,333
in the country
and they'd been turned down
254
00:13:27,433 --> 00:13:31,033
by every record company
in the country.
255
00:13:31,133 --> 00:13:32,966
-♪ Some other guy now
256
00:13:33,066 --> 00:13:37,000
♪ Has taken my love
away from me now ♪
257
00:13:37,100 --> 00:13:38,533
-When we first met George,
258
00:13:38,633 --> 00:13:41,200
we loved him because
he took a chance on us.
259
00:13:41,300 --> 00:13:42,800
No one else would take
a chance.
260
00:13:42,900 --> 00:13:44,866
With a name like that,
you come from Liverpool --
261
00:13:44,966 --> 00:13:46,266
not a chance in hell.
262
00:13:46,366 --> 00:13:48,100
♪♪
263
00:13:48,200 --> 00:13:50,833
-I think it was really a gut
feeling I had about them.
264
00:13:50,933 --> 00:13:53,200
I think it was their charisma.
265
00:13:53,300 --> 00:13:54,900
-Does the continuous living
and working together
266
00:13:55,000 --> 00:13:57,700
impose any temperamental
stress upon you?
267
00:13:57,800 --> 00:13:59,566
-You know, we all have been
mates for quite a long time,
268
00:13:59,666 --> 00:14:03,000
so we don't get on each other's
nerves as much as we could.
269
00:14:03,100 --> 00:14:04,433
-Argh!
270
00:14:04,533 --> 00:14:06,366
Bloody hell, yes.
[Laughter]
271
00:14:06,466 --> 00:14:07,633
-We're quite friendly.
272
00:14:07,733 --> 00:14:09,033
-So I see.
273
00:14:09,133 --> 00:14:12,366
♪♪
274
00:14:12,466 --> 00:14:14,200
-When I first met them,
The Beatles knew nothing
275
00:14:14,300 --> 00:14:16,766
about a recording studio.
276
00:14:16,866 --> 00:14:19,866
Their experience had been
performing in front of people
277
00:14:19,966 --> 00:14:23,400
at the Cavern in Hamburg
and that kind of thing.
278
00:14:23,500 --> 00:14:25,933
-George had done no
rock 'n' roll when we met him,
279
00:14:26,033 --> 00:14:27,300
and we'd never been
in a studio,
280
00:14:27,400 --> 00:14:30,200
so we did a lot
of learning together.
281
00:14:30,300 --> 00:14:33,900
-I think The Beatles would have
made it as great musicians
282
00:14:34,000 --> 00:14:35,833
whether I was there or not.
283
00:14:35,933 --> 00:14:38,433
I think the fact that
Iwas there helped out.
284
00:14:38,533 --> 00:14:40,600
I think they probably got
there more quickly.
285
00:14:40,700 --> 00:14:47,200
-♪ Last night I said
these words to my girl ♪
286
00:14:47,300 --> 00:14:53,200
♪ I know you never
even try, girl ♪
287
00:14:53,300 --> 00:14:55,266
-♪ Come on
-♪ Come on
288
00:14:55,366 --> 00:14:56,766
-♪ Come on
-♪ Come on
289
00:14:56,866 --> 00:14:58,366
-♪ Come on
-♪ Come on
290
00:14:58,466 --> 00:14:59,766
-♪ Come on
-♪ Come on
291
00:14:59,866 --> 00:15:04,233
-♪ Please please me, oh, yeah,
like I please you ♪
292
00:15:04,333 --> 00:15:07,800
[ Screaming ]
293
00:15:07,900 --> 00:15:09,666
-What happens with
George Martin's work
294
00:15:09,766 --> 00:15:15,800
with The Beatles is that he
added himself into the picture.
295
00:15:15,900 --> 00:15:17,800
He was an arranger,
he was a musician,
296
00:15:17,900 --> 00:15:19,466
he had some technical knowledge
297
00:15:19,566 --> 00:15:23,466
that he could use to augment
what they were doing,
298
00:15:23,566 --> 00:15:28,166
and took control
of the overall sonic picture.
299
00:15:28,266 --> 00:15:32,100
-I kept seeing George Martin's
name on the records
300
00:15:32,200 --> 00:15:34,000
and then, when I saw a picture
of him, I thought,
301
00:15:34,100 --> 00:15:36,500
"My God, he's about twice
their age," you know.
302
00:15:36,600 --> 00:15:39,633
He looked like he was
a director in a bank, you know.
303
00:15:39,733 --> 00:15:41,500
He had a suit and tie
all the time.
304
00:15:41,600 --> 00:15:43,333
His hair was swept back.
305
00:15:43,433 --> 00:15:45,533
It was like "Wow!
These people work together?
306
00:15:45,633 --> 00:15:47,966
That's crazy."
307
00:15:48,066 --> 00:15:54,900
-He was older and wiser and he
brought a deep musicality.
308
00:15:55,000 --> 00:16:00,200
They had it intuitively
and he had it intellectually,
309
00:16:00,300 --> 00:16:04,100
so he could help them
execute ideas
310
00:16:04,200 --> 00:16:08,666
that a less skilled producer
could not do.
311
00:16:08,766 --> 00:16:11,466
[ Cheers and applause ]
312
00:16:13,666 --> 00:16:16,233
-It wasn't until
a couple of years later
313
00:16:16,333 --> 00:16:19,666
that they started doing
more sophisticated songwriting.
314
00:16:19,766 --> 00:16:22,466
Wrote the most
touching material.
315
00:16:22,566 --> 00:16:24,666
-Okay, then. Okay.
316
00:16:24,766 --> 00:16:27,866
-It'll be an F for you.
317
00:16:27,966 --> 00:16:30,800
♪ Yesterday
318
00:16:30,900 --> 00:16:32,633
-Keep playing it.
319
00:16:32,733 --> 00:16:34,900
-I'm in G.
But it'll be an F.
320
00:16:35,000 --> 00:16:41,233
It goes [strum] E minor
to A7 to D minor.
321
00:16:41,333 --> 00:16:43,000
Ready.
-Here we go. Here we go.
322
00:16:43,100 --> 00:16:45,300
-When Paul first wrote
"Yesterday,"
323
00:16:45,400 --> 00:16:48,833
he came to me and said,
"Have you heard this one before?
324
00:16:48,933 --> 00:16:51,100
Because I dreamt about it
last night,
325
00:16:51,200 --> 00:16:55,500
and I'm sure in my subconscious
I'm pinching it from someone."
326
00:16:55,600 --> 00:16:57,833
I said, "No, I'm sure it's
an original piece of music.
327
00:16:57,933 --> 00:16:59,166
Stick to it, it's great."
328
00:16:59,266 --> 00:17:00,933
-Okay, man.
329
00:17:01,033 --> 00:17:05,266
♪♪
330
00:17:05,366 --> 00:17:08,433
♪ Yesterday
331
00:17:08,533 --> 00:17:13,066
♪ All my troubles
seemed so far away ♪
332
00:17:13,166 --> 00:17:16,533
♪ Now it looks as though
they're here to stay ♪
333
00:17:16,633 --> 00:17:19,066
-He said,
"What do you think, man?"
334
00:17:19,166 --> 00:17:21,833
I said, "Well, there's nothing
we can do to put on top of this
335
00:17:21,933 --> 00:17:26,666
and make it more beautiful,
except perhaps some strings."
336
00:17:26,766 --> 00:17:29,433
-♪ There's a shadow
hanging over me ♪
337
00:17:29,533 --> 00:17:31,600
-With my dad being
the posh bloke in the studio,
338
00:17:31,700 --> 00:17:33,866
as the classically
trained musician,
339
00:17:33,966 --> 00:17:37,733
there was an initial
reluctance from Paul
340
00:17:37,833 --> 00:17:40,133
to have a string quartet
on "Yesterday."
341
00:17:40,233 --> 00:17:42,266
-I was always frightened
of classical music,
342
00:17:42,366 --> 00:17:43,900
and I never wanted
to listen to it
343
00:17:44,000 --> 00:17:45,733
because it was Beethoven
and Tchaikovsky
344
00:17:45,833 --> 00:17:48,066
and sort of big words like that,
and Schoenberg.
345
00:17:48,166 --> 00:17:49,866
You know, I always thought,
you know,
346
00:17:49,966 --> 00:17:53,300
"It's high-class, that.
It's very highbrow.
347
00:17:53,400 --> 00:17:57,466
-I was rehearsing musicians
when he walked into the studio
348
00:17:57,566 --> 00:17:59,766
and he saw the score
that I had written
349
00:17:59,866 --> 00:18:01,533
and he came up to me and said,
"What's this?"
350
00:18:01,633 --> 00:18:04,133
I said, "It's all the music
that the musicians are playing.
351
00:18:04,233 --> 00:18:06,766
He said, "You haven't
got my name on it."
352
00:18:06,866 --> 00:18:08,966
I said, "I'm sorry.
Here's a pencil.
353
00:18:09,066 --> 00:18:11,000
Put your name on it."
So he wrote on it,
354
00:18:11,100 --> 00:18:15,500
"Yesterday by Paul McCartney
John Lennon..."
355
00:18:15,600 --> 00:18:19,266
Looked at me --
"George Martin Esq",
356
00:18:19,366 --> 00:18:22,733
and then giggled
and put down "and Mozart".
357
00:18:22,833 --> 00:18:25,833
-♪ Yesterday
358
00:18:25,933 --> 00:18:30,666
♪ Love was such
an easy game to play ♪
359
00:18:30,766 --> 00:18:34,566
♪ Now I need a place
to hide away ♪
360
00:18:34,666 --> 00:18:40,400
♪ Oh, I believe in yesterday
361
00:18:40,500 --> 00:18:44,133
-"Yesterday" showed Paul
how a string quartet
362
00:18:44,233 --> 00:18:47,900
could be quite effective
on a really good song.
363
00:18:48,000 --> 00:18:50,733
And then he came to me with
"Eleanor Rigby,"
364
00:18:50,833 --> 00:18:53,266
which cried out for strings --
365
00:18:53,366 --> 00:18:56,433
not the smooth, legato stuff
of "Yesterday,"
366
00:18:56,533 --> 00:18:58,966
but something that's
very biting,
367
00:18:59,066 --> 00:19:01,733
very rhythmic, very edgy.
368
00:19:01,833 --> 00:19:06,333
[ Suspenseful
string music plays ]
369
00:19:06,433 --> 00:19:09,400
It suggested to me
the stuff that Bernard Herrmann
370
00:19:09,500 --> 00:19:12,366
had been writing for "Psycho,"
for example.
371
00:19:12,466 --> 00:19:17,533
♪♪
372
00:19:17,633 --> 00:19:20,833
-"Eleanor Rigby" is the first
time that The Beatles
373
00:19:20,933 --> 00:19:22,900
weren't playing any instruments
on one of their records.
374
00:19:23,000 --> 00:19:26,400
It is just a string octet.
375
00:19:26,500 --> 00:19:29,000
The octet was recorded
onto 4-track.
376
00:19:29,100 --> 00:19:30,466
On track 1 here...
377
00:19:30,566 --> 00:19:32,700
[ Violins play ]
378
00:19:32,800 --> 00:19:34,366
...you have the first violins.
379
00:19:34,466 --> 00:19:36,566
♪♪
380
00:19:36,666 --> 00:19:39,066
And here are the second violins.
381
00:19:39,166 --> 00:19:40,533
♪♪
382
00:19:40,633 --> 00:19:42,900
You can hear bleed 'cause
383
00:19:43,000 --> 00:19:44,233
they're all in the same
room together.
384
00:19:44,333 --> 00:19:47,433
♪♪
385
00:19:47,533 --> 00:19:49,500
-Oh, my gosh, I played that
386
00:19:49,600 --> 00:19:51,000
over and over
and over and over again.
387
00:19:51,100 --> 00:19:53,566
It was just so smart.
388
00:19:53,666 --> 00:19:55,733
George Martin
obviously knew this stuff
389
00:19:55,833 --> 00:19:58,800
and he knew how to put it
on a Beatles record.
390
00:19:58,900 --> 00:20:00,566
That's the trick.
391
00:20:00,666 --> 00:20:05,366
[ "Eleanor Rigby" plays ]
392
00:20:05,466 --> 00:20:07,166
For the first time you're
hearing a string octet
393
00:20:07,266 --> 00:20:09,566
and you're tapping your foot.
394
00:20:09,666 --> 00:20:13,966
-George Martin made strings
cool, you know.
395
00:20:14,066 --> 00:20:17,133
He used strings in a way
that was so innovative.
396
00:20:17,233 --> 00:20:19,700
I don't think anyone
had thought of before.
397
00:20:19,800 --> 00:20:23,733
In that way,
The Beatles educated all of us.
398
00:20:23,833 --> 00:20:28,533
-♪ Ah, look at all
the lonely people ♪
399
00:20:30,466 --> 00:20:35,400
♪ Ah, look at all
the lonely people ♪
400
00:20:37,133 --> 00:20:39,566
♪ Eleanor Rigby
401
00:20:39,666 --> 00:20:41,466
Until then, I thought,
"I can be a rock star.
402
00:20:41,566 --> 00:20:43,533
I want to be a rock star.
I want to be onstage.
403
00:20:43,633 --> 00:20:45,300
I want to have the girls
screaming at me.
404
00:20:45,400 --> 00:20:47,966
I want all that stuff.
I want a limo, everything."
405
00:20:48,066 --> 00:20:50,466
[laughs] But now I wanted
to be George Martin.
406
00:20:50,566 --> 00:20:51,700
That was more important.
407
00:20:51,800 --> 00:20:54,266
To be in the studio,
to do that kind of stuff,
408
00:20:54,366 --> 00:20:56,566
to be able to experiment
that way
409
00:20:56,666 --> 00:21:00,800
and to make great works of art
that only exist on tape.
410
00:21:00,900 --> 00:21:02,600
That's very important, you know.
411
00:21:02,700 --> 00:21:05,533
It's a very different art
from performing live.
412
00:21:05,633 --> 00:21:08,633
That's what I wanted to be --
I wanted to be George Martin.
413
00:21:08,733 --> 00:21:12,766
-♪ All the lonely people
414
00:21:12,866 --> 00:21:15,600
♪ Do they all belong?
415
00:21:18,033 --> 00:21:22,866
-George Martin --
his influence was so mighty,
416
00:21:22,966 --> 00:21:26,766
but he wasn't there
to puthis stamp on it.
417
00:21:26,866 --> 00:21:29,333
Someone like a Phil Spector
kind of --
418
00:21:29,433 --> 00:21:31,133
He was the opposite of that.
419
00:21:31,233 --> 00:21:32,866
I don't know
if he said it himself,
420
00:21:32,966 --> 00:21:36,033
but, you know, he was
the artist on the record.
421
00:21:36,133 --> 00:21:39,766
[ "Be My Baby" plays ]
422
00:21:43,966 --> 00:21:45,633
-♪ The night we met
423
00:21:45,733 --> 00:21:47,866
♪ I knew I
424
00:21:47,966 --> 00:21:50,866
♪ needed you so
425
00:21:50,966 --> 00:21:54,833
-The enormous orchestra
he got on "Be My Baby,"
426
00:21:54,933 --> 00:21:57,300
there was nothing before
Phil Spector
427
00:21:57,400 --> 00:21:59,700
that was ever done
on such a level,
428
00:21:59,800 --> 00:22:01,733
except maybe
a symphonic recording --
429
00:22:01,833 --> 00:22:04,300
you know, Beethoven's 9th
or something like that.
430
00:22:04,400 --> 00:22:07,333
-♪ Oh oh oh
-Boom, boom-boom, bang!
431
00:22:07,433 --> 00:22:09,100
Boom, boom-boom, bang!
432
00:22:09,200 --> 00:22:12,233
Those are huge, big, noisy,
rock 'n' roll --
433
00:22:12,333 --> 00:22:15,533
♪ Be my, be my little baby
434
00:22:15,633 --> 00:22:16,866
-♪ Be my darling
435
00:22:16,966 --> 00:22:18,666
-♪ Be my, be my baby
436
00:22:18,766 --> 00:22:21,600
-♪ Be my baby now
437
00:22:21,700 --> 00:22:24,600
♪ Whoa, oh, oh, oh, oh
438
00:22:24,700 --> 00:22:27,600
-What one really hears
in Phil Spector's work
439
00:22:27,700 --> 00:22:29,933
is the possibility
of production.
440
00:22:30,033 --> 00:22:34,566
A unique way of building
the sound of his recordings.
441
00:22:34,666 --> 00:22:38,566
It's now known
as the Wall of Sound.
442
00:22:38,666 --> 00:22:42,100
-He was the first
rock-star producer.
443
00:22:42,200 --> 00:22:44,900
And if you wanted to be
a record producer,
444
00:22:45,000 --> 00:22:48,600
he was somebody you had to study
or just know a lot about.
445
00:22:48,700 --> 00:22:52,600
[ Applause ]
446
00:22:52,700 --> 00:22:56,366
-♪ To know, know, know him
447
00:22:56,466 --> 00:23:01,433
♪ Is to love, love, love him
448
00:23:01,533 --> 00:23:03,133
-It's easy to forget
how young Phil Spector was
449
00:23:03,233 --> 00:23:04,600
when he started.
450
00:23:04,700 --> 00:23:06,966
The Teddy Bears
was his first band
451
00:23:07,066 --> 00:23:09,833
and it was just him
and his schoolmates,
452
00:23:09,933 --> 00:23:13,766
the three of them doing this
very mournful harmony record.
453
00:23:13,866 --> 00:23:16,966
-♪ Is to love, love, love him
454
00:23:17,066 --> 00:23:20,166
-My older sister's boyfriend
455
00:23:20,266 --> 00:23:23,133
was the other guy
in the Teddy Bears.
456
00:23:23,233 --> 00:23:25,233
They'd rehearse
in my living room,
457
00:23:25,333 --> 00:23:27,300
so I heard
"Wonderful Lovable You"
458
00:23:27,400 --> 00:23:29,433
and "Don't You Worry
My Little Pet"
459
00:23:29,533 --> 00:23:31,466
and "To Know Him
is To Love Him."
460
00:23:31,566 --> 00:23:34,666
-♪ Love, love, love him
461
00:23:34,766 --> 00:23:38,000
-It's a magical little
teen record.
462
00:23:38,100 --> 00:23:41,366
That was the first record
he ever made.
463
00:23:41,466 --> 00:23:44,333
He emerged fully formed.
464
00:23:44,433 --> 00:23:45,700
-♪ And I do
465
00:23:45,800 --> 00:23:47,800
[ Whistling and applause ]
466
00:23:47,900 --> 00:23:50,833
[ Drumbeat ]
467
00:23:53,633 --> 00:23:55,166
-Well, from the beginning,
Phil Spector was
468
00:23:55,266 --> 00:23:59,766
into the sound of records
and not just songwriting.
469
00:23:59,866 --> 00:24:03,733
And he was very ambitious and he
started his own record label.
470
00:24:03,833 --> 00:24:05,433
At that point,
what you think of
471
00:24:05,533 --> 00:24:08,066
as the Phil Spector
Wall of Sound really starts.
472
00:24:08,166 --> 00:24:10,700
[ Whirring ]
473
00:24:13,400 --> 00:24:16,000
-♪ You never close your eyes
474
00:24:16,100 --> 00:24:21,533
♪ Anymore
when I kiss your lips ♪
475
00:24:23,766 --> 00:24:26,600
♪ And there's no tenderness
476
00:24:26,700 --> 00:24:30,066
-When you're a teenager, your
emotions are really heightened.
477
00:24:30,166 --> 00:24:32,900
Phil Spector's records
really encapsulated that.
478
00:24:33,000 --> 00:24:34,166
You listen to something like
479
00:24:34,266 --> 00:24:35,433
"You've Lost That Lovin'
Feeling" and it just sounds
480
00:24:35,533 --> 00:24:37,433
like, you know, it sounds
like the end of the world,
481
00:24:37,533 --> 00:24:39,666
more than the end of a love
affair. It's incredible.
482
00:24:39,766 --> 00:24:42,466
-♪ But, baby
483
00:24:42,566 --> 00:24:45,900
♪ Baby, I know it
484
00:24:46,000 --> 00:24:51,466
♪ You've lost
that lovin' feeling ♪
485
00:24:51,566 --> 00:24:56,300
♪ Whoa, that lovin' feeling
486
00:24:56,400 --> 00:24:59,500
♪ You've lost
that lovin' feeling ♪
487
00:24:59,600 --> 00:25:03,933
♪ Now it's gone, gone, gone
488
00:25:04,033 --> 00:25:06,933
♪ Whoa-oh, oh, oh
489
00:25:07,033 --> 00:25:09,566
-Phil Spector used 3 keyboard
players, 2 drummers...
490
00:25:09,666 --> 00:25:11,900
-3 bass players,
3 organ players...
491
00:25:12,000 --> 00:25:15,000
-5 keyboard players,
3 guitar players...
492
00:25:15,100 --> 00:25:16,866
-3 woodwinds, 3 saxes.
493
00:25:16,966 --> 00:25:18,800
-The Los Angeles Choir.
494
00:25:18,900 --> 00:25:21,666
-He was like, "How can I make
these 4 tracks sound bigger?
495
00:25:21,766 --> 00:25:23,633
Well, I'll hire
double the musicians
496
00:25:23,733 --> 00:25:27,200
and have them all play exactly
the same thing at the same time.
497
00:25:27,300 --> 00:25:30,300
-Phil Spector
intuitively understood
498
00:25:30,400 --> 00:25:32,900
that a rock 'n' roll ensemble
or a pop group
499
00:25:33,000 --> 00:25:34,233
is no different
than an orchestra.
500
00:25:34,333 --> 00:25:36,333
There's absolutely a reason
why you have
501
00:25:36,433 --> 00:25:39,466
16 or 18 or 20 first violins
in an orchestra.
502
00:25:39,566 --> 00:25:43,233
It's because one violin
sounds like [bleep], you know.
503
00:25:43,333 --> 00:25:46,066
And if you get --
and even 8 sound crappy.
504
00:25:46,166 --> 00:25:48,300
But when they're all
playing together,
505
00:25:48,400 --> 00:25:50,400
suddenly it homogenizes
506
00:25:50,500 --> 00:25:54,266
and it creates that
extraordinary sound.
507
00:25:54,366 --> 00:26:00,000
-♪ Bring back
that lovin' feeling ♪
508
00:26:00,100 --> 00:26:05,100
♪ Whoa, that lovin' feeling
509
00:26:05,200 --> 00:26:07,966
-After the track was laid, and
you go back in the control room,
510
00:26:08,066 --> 00:26:09,700
you could listen
to the playback,
511
00:26:09,800 --> 00:26:11,800
you couldn't believe
what you was hearing.
512
00:26:11,900 --> 00:26:13,966
You didn't even believe
that you just played that.
513
00:26:14,066 --> 00:26:16,466
To listen to the track,
the way he just
514
00:26:16,566 --> 00:26:19,166
stacked those sounds together.
515
00:26:20,566 --> 00:26:23,266
He knew what he was doing.
516
00:26:23,366 --> 00:26:26,800
-So he had this huge hit
with the Righteous Brothers
517
00:26:26,900 --> 00:26:29,466
and then he followed it up
not that much later
518
00:26:29,566 --> 00:26:31,100
with "River Deep Mountain High."
519
00:26:31,200 --> 00:26:33,366
-Okay, here we go, from the top.
520
00:26:33,466 --> 00:26:34,933
Take 3.
521
00:26:35,033 --> 00:26:37,700
-1, 2.
1, 2, 3.
522
00:26:37,800 --> 00:26:40,900
♪♪
523
00:26:43,400 --> 00:26:45,266
Jack, you don't have
a more substantial tambourine
524
00:26:45,366 --> 00:26:47,800
out there, do ya?
Take 11.
525
00:26:47,900 --> 00:26:49,333
-It was just once in a while
526
00:26:49,433 --> 00:26:53,133
that we do 29, 30, 31 takes
on a song.
527
00:26:53,233 --> 00:26:56,866
And maybe he would
go back to take 4.
528
00:26:56,966 --> 00:26:59,700
But, that's the way it was
with Phil.
529
00:26:59,800 --> 00:27:01,100
-Take 15.
530
00:27:01,200 --> 00:27:02,933
-♪ Do I love you?
531
00:27:03,033 --> 00:27:06,166
♪ My, oh, my
532
00:27:06,266 --> 00:27:09,800
♪ Yeah, river deep,
mountain high ♪
533
00:27:09,900 --> 00:27:11,200
♪ Yeah, yeah, yeah
534
00:27:11,300 --> 00:27:12,633
-Hold it, hold it,
hold it, hold it.
535
00:27:12,733 --> 00:27:14,366
It was a little fast.
You were ahead.
536
00:27:14,466 --> 00:27:16,266
-He abused the technology.
537
00:27:16,366 --> 00:27:18,000
He abused the musicians.
538
00:27:18,100 --> 00:27:20,366
-The day that we did
the session,
539
00:27:20,466 --> 00:27:22,000
the room was full of people.
540
00:27:22,100 --> 00:27:23,466
Eons of musicians
541
00:27:23,566 --> 00:27:24,866
and he was a little bitty
something out there,
542
00:27:24,966 --> 00:27:27,166
screaming, "I want this!
I...!" You know?
543
00:27:27,266 --> 00:27:29,500
I mean he's very persistent
in what he wants.
544
00:27:29,600 --> 00:27:33,300
And the result is fantastic,
but, he's very,
545
00:27:33,400 --> 00:27:36,266
very, very strong personality
to sort of work for.
546
00:27:36,366 --> 00:27:39,466
I wouldn't say he's easy at all.
[ Laughs ]
547
00:27:39,566 --> 00:27:43,166
♪♪
548
00:27:43,266 --> 00:27:46,033
♪ When I was a little girl
549
00:27:46,133 --> 00:27:48,966
♪ I had a ragdoll
550
00:27:49,066 --> 00:27:51,633
-And I don't know who gave it
that title, Wall of Sound,
551
00:27:51,733 --> 00:27:53,100
but it was a brilliant title
552
00:27:53,200 --> 00:27:54,900
and they just put it
on everything.
553
00:27:55,000 --> 00:27:58,000
-Every rock 'n' roll
or any serious recordmaker
554
00:27:58,100 --> 00:28:00,700
wanted to grab on
to a bit of that sound.
555
00:28:00,800 --> 00:28:03,400
-♪ And do I love you?
556
00:28:03,500 --> 00:28:06,400
♪ My, oh, my
557
00:28:06,500 --> 00:28:10,366
♪ Yeah, river deep,
mountain high ♪
558
00:28:10,466 --> 00:28:12,433
♪ Yeah, yeah, yeah!
559
00:28:12,533 --> 00:28:14,066
-A lot of people
don't want to credit Phil
560
00:28:14,166 --> 00:28:17,933
because he's too crazy,
he had too much of a reputation.
561
00:28:18,033 --> 00:28:19,700
But from my point of view,
562
00:28:19,800 --> 00:28:22,266
I was working
with Phil Spector, man.
563
00:28:22,366 --> 00:28:24,066
I knew it was gonna be good.
564
00:28:24,166 --> 00:28:26,633
♪♪
565
00:28:29,333 --> 00:28:33,000
♪♪
566
00:28:39,333 --> 00:28:40,933
-♪ Up at 8:00
567
00:28:41,033 --> 00:28:42,566
♪ You can't be late
568
00:28:42,666 --> 00:28:44,366
♪ For Matthew and son
569
00:28:44,466 --> 00:28:45,933
♪ He won't wait
570
00:28:46,033 --> 00:28:48,900
[ Horns play ]
571
00:28:49,000 --> 00:28:51,633
I was actually making
very, very brassy,
572
00:28:51,733 --> 00:28:54,433
very fully arranged pop records
573
00:28:54,533 --> 00:28:57,600
back in the early '60s
or late '60s.
574
00:28:57,700 --> 00:29:00,100
♪♪
575
00:29:00,200 --> 00:29:02,500
♪ Matthew and son,
the work's never done ♪
576
00:29:02,600 --> 00:29:04,833
♪ There's always something new
577
00:29:04,933 --> 00:29:06,900
I wanted to have a hit.
578
00:29:07,000 --> 00:29:10,100
But most of the times, I was not
in control of my songs.
579
00:29:10,200 --> 00:29:11,800
♪ ...never, ever blue
580
00:29:11,900 --> 00:29:13,666
And everybody was writing
these notes for me
581
00:29:13,766 --> 00:29:16,433
and they were recording them
and I was always
582
00:29:16,533 --> 00:29:18,966
rather intimidated
by the studio and, you know,
583
00:29:19,066 --> 00:29:20,666
there's all these, like,
engineers, and they all knew
584
00:29:20,766 --> 00:29:23,000
what the buttons meant
and where the wires were going.
585
00:29:23,100 --> 00:29:25,566
I couldn't understand what
that was. It was a spaceship.
586
00:29:25,666 --> 00:29:28,133
♪♪
587
00:29:28,233 --> 00:29:34,666
And I didn't quite recognize
my music when it came out.
588
00:29:34,766 --> 00:29:37,433
I just wanted to get shod
of the record industry
589
00:29:37,533 --> 00:29:39,166
being, you know,
the boss of everybody
590
00:29:39,266 --> 00:29:42,200
and telling everybody
what to do.
591
00:29:42,300 --> 00:29:45,600
And I wanted to get control
of my sound.
592
00:29:45,700 --> 00:29:48,400
[ Intro to "Father and Son"
plays ]
593
00:29:52,000 --> 00:29:56,100
♪ It's not time
to make a change ♪
594
00:29:56,200 --> 00:29:59,266
♪ Just relax, take it easy
595
00:29:59,366 --> 00:30:02,633
♪ You're still young,
that's your fault ♪
596
00:30:02,733 --> 00:30:05,800
♪ There's so much
you have to know ♪
597
00:30:05,900 --> 00:30:09,266
♪ Find a girl, settle down
598
00:30:09,366 --> 00:30:13,066
♪ If you want, you can marry
599
00:30:13,166 --> 00:30:18,800
♪ Look at me, I am old,
but I'm happy ♪
600
00:30:20,266 --> 00:30:23,600
And so you'll hear
from my first records
601
00:30:23,700 --> 00:30:25,900
to my later records,
there's a change.
602
00:30:26,000 --> 00:30:28,666
And the big change was
when I said, "You know what?
603
00:30:28,766 --> 00:30:32,100
My little demos on my little
Grundig, you know, tape recorder
604
00:30:32,200 --> 00:30:34,300
sound better than what
I finally ended up with.
605
00:30:34,400 --> 00:30:36,833
All that brass
and all those strings.
606
00:30:36,933 --> 00:30:40,400
♪ Think of everything
you've got ♪
607
00:30:40,500 --> 00:30:44,100
♪ For you will still be here
tomorrow ♪
608
00:30:44,200 --> 00:30:47,166
♪ but your dreams may not
609
00:30:51,233 --> 00:30:54,733
♪ How can I try to explain?
610
00:30:54,833 --> 00:30:58,300
♪ 'Cause when I do
he turns away again ♪
611
00:30:58,400 --> 00:31:02,100
♪ It's always been the same
612
00:31:02,200 --> 00:31:05,533
♪ same old story
613
00:31:05,633 --> 00:31:08,066
And so when we finally
started making those records --
614
00:31:08,166 --> 00:31:09,900
You know,
"Tea for the Tillerman" --
615
00:31:10,000 --> 00:31:13,333
it was stripping
everything down,
616
00:31:13,433 --> 00:31:16,233
and I looked for a new producer
617
00:31:16,333 --> 00:31:23,033
who could capture that raw kind
of song that was within me
618
00:31:23,133 --> 00:31:26,400
in the purest way
without interfering.
619
00:31:26,500 --> 00:31:29,966
♪ All the times
that I've cried ♪
620
00:31:30,066 --> 00:31:33,500
♪ Keeping all the things
I knew inside ♪
621
00:31:33,600 --> 00:31:39,333
♪ It's hard, but it's harder
to ignore it ♪
622
00:31:39,433 --> 00:31:42,866
♪ If they were right,
I'd agree ♪
623
00:31:42,966 --> 00:31:46,033
♪ But it's them,
they know, not me ♪
624
00:31:46,133 --> 00:31:47,900
♪ Now there's a way
625
00:31:48,000 --> 00:31:53,300
♪ And I know
that I have to go away ♪
626
00:31:53,400 --> 00:31:57,833
♪ I know I have to go
627
00:31:57,933 --> 00:32:00,433
♪♪
628
00:32:05,033 --> 00:32:07,233
-The essence of the
singer/songwriter movement,
629
00:32:07,333 --> 00:32:10,733
one of its tenets was, you were
trying to really make sure
630
00:32:10,833 --> 00:32:12,566
the song told a story,
and that's why we tried
631
00:32:12,666 --> 00:32:17,200
to keep it simple, was because
the songs and the lyrics were
632
00:32:17,300 --> 00:32:19,866
among the most important
stars on the record.
633
00:32:19,966 --> 00:32:22,833
[ "California" plays ]
634
00:32:25,400 --> 00:32:27,600
Joni's always made
her own records.
635
00:32:27,700 --> 00:32:31,266
She has a very clear idea
of what she wants.
636
00:32:31,366 --> 00:32:33,800
Joni is an inventor, you know,
637
00:32:33,900 --> 00:32:37,233
she invents guitar tunings
the way she invents songs.
638
00:32:37,333 --> 00:32:39,466
♪♪
639
00:32:39,566 --> 00:32:44,633
And I don't think producing her
is realistically possible.
640
00:32:44,733 --> 00:32:47,300
-♪ Sitting in a park
in Paris, France ♪
641
00:32:47,400 --> 00:32:49,700
♪ Reading the news,
and it's all bad ♪
642
00:32:49,800 --> 00:32:51,700
♪ They won't give peace
a chance ♪
643
00:32:51,800 --> 00:32:54,700
♪ That was just a dream
some of us had ♪
644
00:32:54,800 --> 00:32:57,300
♪ Still a lot of lands to see
645
00:32:57,400 --> 00:32:59,400
♪ But I wouldn't want
to stay here ♪
646
00:32:59,500 --> 00:33:03,966
♪ It's too old and cold
and settled in its ways here ♪
647
00:33:04,066 --> 00:33:06,433
♪ Oh, but California
648
00:33:06,533 --> 00:33:08,566
♪ California
649
00:33:08,666 --> 00:33:11,966
♪ I'm coming home
650
00:33:12,066 --> 00:33:14,200
♪ I'm gonna see
the folks I dig ♪
651
00:33:14,300 --> 00:33:16,933
♪ I'll even kiss a sunset pig
652
00:33:17,033 --> 00:33:21,166
♪ California,
when I get home ♪
653
00:33:21,266 --> 00:33:22,933
Most of the men at that time
654
00:33:23,033 --> 00:33:25,700
were very resistant to taking
instruction from a woman.
655
00:33:25,800 --> 00:33:29,366
They were very pompous,
overlording.
656
00:33:29,466 --> 00:33:34,100
I thought, "If I have to
subordinate myself to this,
657
00:33:34,200 --> 00:33:37,533
you know, person,
it'll kill my love of music."
658
00:33:37,633 --> 00:33:38,866
So I had to put in my contract
659
00:33:38,966 --> 00:33:40,600
that I never had
to have a producer.
660
00:33:40,700 --> 00:33:42,533
♪ And I might have stayed on
with him there ♪
661
00:33:42,633 --> 00:33:46,166
♪ But my heart cried out
for you ♪
662
00:33:46,266 --> 00:33:50,633
-Geniuses, they're stubborn
and they're hell-bent
663
00:33:50,733 --> 00:33:54,333
on executing their vision
the way that they see fit.
664
00:33:54,433 --> 00:33:57,200
-♪ Oh, make me feel good,
rock 'n' roll band ♪
665
00:33:57,300 --> 00:33:59,000
♪ I'm your biggest fan
666
00:33:59,100 --> 00:34:01,266
♪ California, I'm coming home
667
00:34:01,366 --> 00:34:04,100
-You know, talent is one thing,
but you have to have
668
00:34:04,200 --> 00:34:09,866
the drive and the will
to make people see your vision.
669
00:34:09,966 --> 00:34:13,733
[ Intro to "Everyday People"
plays ]
670
00:34:13,833 --> 00:34:17,900
-♪ Sometimes I'm right
and I can be wrong ♪
671
00:34:18,000 --> 00:34:22,033
♪ My own beliefs are
in my song ♪
672
00:34:22,133 --> 00:34:26,433
♪ The butcher, the banker,
the drummer, and then ♪
673
00:34:26,533 --> 00:34:30,766
♪ Makes no difference
what group I'm in ♪
674
00:34:30,866 --> 00:34:37,733
♪ I-I-I am everyday people,
yeah yeah ♪
675
00:34:37,833 --> 00:34:41,233
-Just as the rise of female
singer/songwriters in the 1970s
676
00:34:41,333 --> 00:34:43,233
meant that people
like Joni Mitchell
677
00:34:43,333 --> 00:34:45,866
were able to produce their own
vision of who they were
678
00:34:45,966 --> 00:34:48,400
in the recording studio,
you also have the rise
679
00:34:48,500 --> 00:34:51,566
of African American artists,
who start to empower themselves
680
00:34:51,666 --> 00:34:53,433
and start to use
the recording studio
681
00:34:53,533 --> 00:34:55,233
in a way that's
incredibly creative
682
00:34:55,333 --> 00:34:57,000
and very different
than the past.
683
00:34:57,100 --> 00:34:58,533
People like Stevie Wonder,
684
00:34:58,633 --> 00:35:00,766
Marvin Gaye,
and Curtis Mayfield;
685
00:35:00,866 --> 00:35:05,466
and particularly, I think, Sly
from Sly and the Family Stone.
686
00:35:05,566 --> 00:35:09,066
These artists became
the producers themselves.
687
00:35:09,166 --> 00:35:13,333
-♪ We got to live together
688
00:35:13,433 --> 00:35:17,333
♪ I am no better
and neither are you ♪
689
00:35:17,433 --> 00:35:20,933
♪ We are the same,
whatever we do ♪
690
00:35:21,033 --> 00:35:24,433
-He was taking a stand
politically, musically.
691
00:35:24,533 --> 00:35:26,100
He was his own boss.
692
00:35:26,200 --> 00:35:27,733
You couldn't think of anyone
693
00:35:27,833 --> 00:35:30,000
telling Sly what to do
in the studio.
694
00:35:30,100 --> 00:35:37,166
♪ I-I-I am everyday people
695
00:35:37,266 --> 00:35:39,833
-I can talk about
Sly and the Family Stone
696
00:35:39,933 --> 00:35:41,233
for a very long time.
697
00:35:41,333 --> 00:35:42,833
-Okay, play it.
698
00:35:42,933 --> 00:35:46,266
[ Vocalizing ]
699
00:35:46,366 --> 00:35:49,200
[ Funk plays ]
700
00:35:51,766 --> 00:35:57,500
-Sly Stone brought in
a song craftsmanship to funk
701
00:35:57,600 --> 00:35:59,900
that wasn't there.
702
00:36:00,000 --> 00:36:02,466
He put his own spin on it
703
00:36:02,566 --> 00:36:07,800
and out came something really
unique and bold and just fresh.
704
00:36:07,900 --> 00:36:10,866
♪♪
705
00:36:13,900 --> 00:36:16,066
-Because
of the ongoing conflicts
706
00:36:16,166 --> 00:36:18,833
between Sly
and his Family Stone,
707
00:36:18,933 --> 00:36:21,666
he wound up doing
his 5th record,
708
00:36:21,766 --> 00:36:25,133
"There's a Riot Goin' On,"
by himself.
709
00:36:25,233 --> 00:36:29,666
♪♪
710
00:36:29,766 --> 00:36:33,400
-♪ It's a family affair
711
00:36:33,500 --> 00:36:39,066
♪ It's a family affair
712
00:36:39,166 --> 00:36:42,533
-Sly Stone was such a huge
musical experimenter.
713
00:36:42,633 --> 00:36:44,000
He would try playing with things
714
00:36:44,100 --> 00:36:47,333
that most other people
hadn't thought about.
715
00:36:47,433 --> 00:36:51,200
-He did it at like what
now we'd call a home studio.
716
00:36:51,300 --> 00:36:53,166
That's Sly playing bass,
it's Sly playing guitar,
717
00:36:53,266 --> 00:36:54,866
Sly playing keyboards.
718
00:36:54,966 --> 00:36:58,766
-Of course he's programming,
drum programming on there,
719
00:36:58,866 --> 00:37:02,800
which is like early
kind of hip hop.
720
00:37:02,900 --> 00:37:05,366
Some uptight producer would go,
"No, I don't want that.
721
00:37:05,466 --> 00:37:07,066
That doesn't sound like
real drums."
722
00:37:07,166 --> 00:37:08,800
That was the point --
it didn't --
723
00:37:08,900 --> 00:37:10,133
but it was something funkier.
724
00:37:10,233 --> 00:37:12,466
-♪ Ahhhhh! H-H-Hey! ♪
725
00:37:12,566 --> 00:37:15,633
-What he did in 1971
will be the gold standard
726
00:37:15,733 --> 00:37:20,633
for how musicians will create
their music 10 years later.
727
00:37:20,733 --> 00:37:23,766
♪♪
728
00:37:27,066 --> 00:37:30,700
-The significance
of the black musician,
729
00:37:30,800 --> 00:37:35,633
songwriter, singer, producer,
whatever --
730
00:37:35,733 --> 00:37:38,100
to me it all boils down
731
00:37:38,200 --> 00:37:42,300
to communicating
the liveswe live.
732
00:37:42,400 --> 00:37:44,266
♪♪
733
00:37:44,366 --> 00:37:47,700
♪ Unemployment
at a record high ♪
734
00:37:47,800 --> 00:37:51,800
♪ People coming, people going,
people born to die (ha ha) ♪
735
00:37:51,900 --> 00:37:55,200
♪ Don't ask me
because I don't know why ♪
736
00:37:55,300 --> 00:37:57,466
-♪ But it's like that
-♪ What?
737
00:37:57,566 --> 00:37:59,400
-♪ And that's the way it is
738
00:37:59,500 --> 00:38:01,300
♪ Wha, wha, wha, wha
739
00:38:01,400 --> 00:38:03,900
-It's a generation of people
who don't have access
740
00:38:04,000 --> 00:38:05,833
to musical instruments.
741
00:38:05,933 --> 00:38:08,166
-Scratch it out. Scratch,
scratch it -- scratch it.
742
00:38:08,266 --> 00:38:10,033
-Who don't have
musical training.
743
00:38:10,133 --> 00:38:13,033
They're using music
to create new music.
744
00:38:13,133 --> 00:38:16,333
-We took what was available
and we created hip hop.
745
00:38:16,433 --> 00:38:17,900
-♪ Why you search
746
00:38:18,000 --> 00:38:20,633
-♪ Take the train to the plane
747
00:38:20,733 --> 00:38:22,100
♪ Drive to school
or the church ♪
748
00:38:22,200 --> 00:38:24,933
♪ It's like that
-♪ And that's the way it is
749
00:38:25,033 --> 00:38:28,166
-With hip hop, the role of the
producer changes completely.
750
00:38:28,266 --> 00:38:32,433
You have producers sampling
and using drum machines.
751
00:38:32,533 --> 00:38:36,166
-The best producers,
they have this ability to create
752
00:38:36,266 --> 00:38:41,266
a signature tapestry that makes
all of these bits and pieces
753
00:38:41,366 --> 00:38:43,933
actually sound
like an original composition.
754
00:38:44,033 --> 00:38:46,566
[ Siren wails ]
755
00:38:46,666 --> 00:38:48,033
-You are now about to witness
756
00:38:48,133 --> 00:38:51,133
the strength
of street knowledge.
757
00:38:51,233 --> 00:38:54,233
♪ Yeah, oh!
758
00:38:54,333 --> 00:38:55,466
-♪ Straight outta Compton
759
00:38:55,566 --> 00:38:57,400
♪ Crazy mother...
named Ice Cube ♪
760
00:38:57,500 --> 00:38:59,766
♪ From the gang called
Niggaz Wit' Attitudes ♪
761
00:38:59,866 --> 00:39:01,500
-In the early 1990s,
762
00:39:01,600 --> 00:39:05,200
Dr. Dre basically put
West Coast hip hop on the map.
763
00:39:05,300 --> 00:39:07,566
He was notorious
for having this sound
764
00:39:07,666 --> 00:39:09,200
that was unlike anything else.
765
00:39:09,300 --> 00:39:10,633
-♪ But when I come back, boy
766
00:39:10,733 --> 00:39:12,200
♪ I'm coming
straight outta Compton ♪
767
00:39:12,300 --> 00:39:13,633
♪ Compton, Compton, Compton
-♪ No!
768
00:39:13,733 --> 00:39:16,966
[ Turntable scratches ]
769
00:39:17,066 --> 00:39:21,166
-Gangsta rap, that music
took on a life of its own
770
00:39:21,266 --> 00:39:26,466
and it gave the West Coast
and L.A. scene its own voice.
771
00:39:26,566 --> 00:39:30,800
♪ [Whistle blowing]
772
00:39:30,900 --> 00:39:35,000
-I remember the shift when NWA
and Dre came into the scene.
773
00:39:35,100 --> 00:39:38,566
Sonically, it was polished,
but at the same time,
774
00:39:38,666 --> 00:39:42,466
it was like this superhard
West Coast sound.
775
00:39:42,566 --> 00:39:45,133
-♪ I'm dropping flavor,
my behavior is hereditary ♪
776
00:39:45,233 --> 00:39:47,400
♪ But my technique
is very necessary ♪
777
00:39:47,500 --> 00:39:48,933
♪ Blame it on Ice Cube
778
00:39:49,033 --> 00:39:50,533
♪ Because he said
it gets funky ♪
779
00:39:50,633 --> 00:39:52,500
♪ When you got a subject
and a predicate ♪
780
00:39:52,600 --> 00:39:55,466
And you felt Dre's presence
as one of the greatest
781
00:39:55,566 --> 00:39:58,366
hip-hop producers of all time,
if not the greatest.
782
00:39:58,466 --> 00:40:00,733
-♪ Well, express yourself
783
00:40:00,833 --> 00:40:02,333
♪ Do it, yeah
784
00:40:02,433 --> 00:40:03,833
-When we started Interscope,
785
00:40:03,933 --> 00:40:05,900
I didn't know anything
about running a business,
786
00:40:06,000 --> 00:40:07,666
and I knew even less
about hip hop.
787
00:40:07,766 --> 00:40:11,600
So this fellow, John McClain,
who was an AandR guy, he brought
788
00:40:11,700 --> 00:40:14,633
this tape in and he said,
"We have to sign these guys."
789
00:40:14,733 --> 00:40:17,333
I said, "Who is he?"
He goes, "It's Dr. Dre.
790
00:40:17,433 --> 00:40:19,833
It's his solo record.
He used to be in NWA."
791
00:40:19,933 --> 00:40:22,200
I said, "Okay." I said, "I don't
really know a lot about it,
792
00:40:22,300 --> 00:40:23,733
but, you know, play it for me."
793
00:40:23,833 --> 00:40:26,233
-♪ One, two, three,
and to the fo' ♪
794
00:40:26,333 --> 00:40:28,800
♪ Snoop Doggy Dogg
and Dr. Dre is at the do' ♪
795
00:40:28,900 --> 00:40:31,066
♪ Ready to make an entrance,
so back on up ♪
796
00:40:31,166 --> 00:40:32,633
♪ 'Cause you know
we're about to rip...up ♪
797
00:40:32,733 --> 00:40:35,633
♪ Gimme the microphone first
so I can bust like a bubble ♪
798
00:40:35,733 --> 00:40:37,300
♪ Compton and Long Beach
together ♪
799
00:40:37,400 --> 00:40:38,666
♪ Now you know you in trouble
800
00:40:38,766 --> 00:40:41,300
♪ Ain't nothing
but a G thang, baby ♪
801
00:40:41,400 --> 00:40:43,833
♪ Two loc'ed out niggas,
so we're crazy ♪
802
00:40:43,933 --> 00:40:45,833
-And I didn't know
a lot about it.
803
00:40:45,933 --> 00:40:49,000
I didn't understand the music,
but I understood the sound.
804
00:40:49,100 --> 00:40:51,466
-♪ Dre, creep to the mic
like a phantom ♪
805
00:40:51,566 --> 00:40:53,666
-♪ Well, I'm peepin' and I'm
creepin' and I'm creepin' ♪
806
00:40:53,766 --> 00:40:55,033
-So Dre comes in.
807
00:40:55,133 --> 00:40:56,800
I said, "Dre, who recorded
this record?
808
00:40:56,900 --> 00:40:58,400
He said, "I did."
I said, "No no no no.
809
00:40:58,500 --> 00:41:00,633
Not who produced it.
Who engineered it?
810
00:41:00,733 --> 00:41:02,133
He said, "I did."
811
00:41:02,233 --> 00:41:04,366
I said, "Wow, this guy's on
to something.
812
00:41:04,466 --> 00:41:06,933
-♪ With a producer who can rap
and control the maestro ♪
813
00:41:07,033 --> 00:41:09,633
♪ At the same time with the dope
rhyme that I kick ♪
814
00:41:09,733 --> 00:41:12,766
♪ You know and I know,
I flow some old funky... ♪
815
00:41:12,866 --> 00:41:15,766
Everybody has to have their own
sound, you know what I'm saying?
816
00:41:15,866 --> 00:41:17,466
That's what makes it
different, you know?
817
00:41:17,566 --> 00:41:19,033
And I'm a perfectionist.
818
00:41:19,133 --> 00:41:21,766
Because no matter how hard you
work in the studio,
819
00:41:21,866 --> 00:41:23,400
no matter what you do,
820
00:41:23,500 --> 00:41:25,900
you don't know if people
are gonna dig it.
821
00:41:26,000 --> 00:41:28,066
♪ It's like that, and, uh,
it's like this ♪
822
00:41:28,166 --> 00:41:29,600
♪ And who gives a...
about those? ♪
823
00:41:29,700 --> 00:41:32,700
It's very easy to make
a hip-hop record.
824
00:41:32,800 --> 00:41:35,533
It's not easy to make
a good hip-hop record.
825
00:41:35,633 --> 00:41:38,000
-When Dre came in with
"The Chronic,"
826
00:41:38,100 --> 00:41:42,733
he was using live musicians
and recording it very sparse.
827
00:41:42,833 --> 00:41:46,066
-We was finding samples
that we all overlooked,
828
00:41:46,166 --> 00:41:47,700
pulling from funk and G-funk.
829
00:41:47,800 --> 00:41:50,533
You know, you listen to
the sample on "G Thang" --
830
00:41:50,633 --> 00:41:52,300
[ Humming ]
831
00:41:52,400 --> 00:41:55,033
-♪ It's like this and like that
and like this and, uh ♪
832
00:41:55,133 --> 00:41:58,133
♪ It's like that and like
this and like that and, uh ♪
833
00:41:58,233 --> 00:41:59,733
-He's hearing things
834
00:41:59,833 --> 00:42:02,866
that the average ear
would never encounter in a song.
835
00:42:02,966 --> 00:42:05,633
And then when he hears it,
he'll pull it out.
836
00:42:05,733 --> 00:42:07,666
He will pull it out.
837
00:42:07,766 --> 00:42:10,000
♪♪
838
00:42:10,100 --> 00:42:11,866
-I'll admit something to you.
839
00:42:11,966 --> 00:42:15,466
I was one of
the initial naysayers
840
00:42:15,566 --> 00:42:18,966
of Dr. Dre's "The Chronic."
841
00:42:19,066 --> 00:42:22,766
It was like everything
I didn't want hip hop to be.
842
00:42:22,866 --> 00:42:26,833
It was clean, louder, bigger.
843
00:42:26,933 --> 00:42:29,933
I wanted my hip hop dirty.
844
00:42:30,033 --> 00:42:33,366
This DIY approach,
this very low-budget,
845
00:42:33,466 --> 00:42:36,333
lo-fi approach
to making music --
846
00:42:36,433 --> 00:42:39,966
That's what I felt hip hop
should and always be.
847
00:42:40,066 --> 00:42:42,600
-♪ Creeping down
the back street on D's ♪
848
00:42:42,700 --> 00:42:45,333
-It took me 10 years
to really understand
849
00:42:45,433 --> 00:42:50,300
where Dr. Dre was going
and now that I make records,
850
00:42:50,400 --> 00:42:54,433
now I understand why this album
is so important.
851
00:42:54,533 --> 00:42:56,933
-What he did for hip hop
and for sampling
852
00:42:57,033 --> 00:43:00,833
is that he proved that
you can make a record
853
00:43:00,933 --> 00:43:03,733
of the highest quality
as a hip-hop producer.
854
00:43:03,833 --> 00:43:05,766
-♪ When they hear me
beating up the street ♪
855
00:43:05,866 --> 00:43:08,533
♪ "Is it Dre? Is it Dre?"
That's what they say ♪
856
00:43:08,633 --> 00:43:10,966
-A lot of people
scorned hip-hop producers
857
00:43:11,066 --> 00:43:13,066
for not being real musicians.
858
00:43:13,166 --> 00:43:15,400
-♪ What all the niggas sayin'?
859
00:43:15,500 --> 00:43:18,500
-Today, playing around
with sampling technology,
860
00:43:18,600 --> 00:43:20,000
it's become completely accepted.
861
00:43:20,100 --> 00:43:23,400
This is the way that
most people make records.
862
00:43:23,500 --> 00:43:26,166
-The digital wave of music,
863
00:43:26,266 --> 00:43:29,866
that gave us a whole orchestra
of instrumentation
864
00:43:29,966 --> 00:43:31,733
in front of our hands,
you know what I mean?
865
00:43:31,833 --> 00:43:33,900
That's one of the greatest
things that we could have.
866
00:43:34,000 --> 00:43:35,866
If Mozart had this, imagine.
867
00:43:35,966 --> 00:43:39,666
-The ability to re-record
something 10 times, comp it.
868
00:43:39,766 --> 00:43:42,100
The ability to have
so many tracks
869
00:43:42,200 --> 00:43:45,066
where you can sort of do
crazy layers, you know,
870
00:43:45,166 --> 00:43:46,900
more than Phil Spector did,
you know.
871
00:43:47,000 --> 00:43:50,566
You can have 300 tracks
on something now.
872
00:43:50,666 --> 00:43:52,066
-You can set up in your room
873
00:43:52,166 --> 00:43:54,500
and just have a microphone
and your laptop,
874
00:43:54,600 --> 00:43:57,833
and you can make something
as formidable and dope
875
00:43:57,933 --> 00:44:00,266
and that rocks.
Like, you can.
876
00:44:00,366 --> 00:44:03,433
That's just where
the technology is.
877
00:44:03,533 --> 00:44:07,933
But all technology does
is provide you with paints.
878
00:44:08,033 --> 00:44:11,966
A producer is somebody who can
take the color and make it.
879
00:44:12,066 --> 00:44:13,533
-You didn't have to
have a drop.
880
00:44:13,633 --> 00:44:16,300
Just felt like it was staying
exciting, and then...
881
00:44:16,400 --> 00:44:18,266
-I think everyone benefits
from having a producer,
882
00:44:18,366 --> 00:44:22,433
just because it really helps
having a sort of
883
00:44:22,533 --> 00:44:25,266
an impartial jury
to make sense of it all.
884
00:44:25,366 --> 00:44:27,700
But there's no right
or wrong way to do this.
885
00:44:27,800 --> 00:44:30,733
It's like any way you find
the inspiration works.
886
00:44:30,833 --> 00:44:33,166
♪ That's so def, so def,
it's a Def Jam ♪
887
00:44:33,266 --> 00:44:34,633
-"Jam" means "record."
888
00:44:34,733 --> 00:44:36,600
"Def" is short for "definitive."
889
00:44:36,700 --> 00:44:39,800
Definitely the best record
you could buy today.
890
00:44:39,900 --> 00:44:41,500
-♪ Brass monkey
891
00:44:41,600 --> 00:44:43,833
♪ That funky monkey
892
00:44:43,933 --> 00:44:45,266
-When we first met Rick Rubin,
893
00:44:45,366 --> 00:44:47,066
I didn't know anything
about production.
894
00:44:47,166 --> 00:44:48,466
I didn't think about production.
895
00:44:48,566 --> 00:44:50,333
I didn't know that
it even existed.
896
00:44:50,433 --> 00:44:52,500
Rick definitely was into that.
897
00:44:52,600 --> 00:44:55,466
Luckily, he was good at it.
You know what I mean?
898
00:44:55,566 --> 00:44:58,166
He could've sucked, and that
would've been the end of it...
899
00:44:58,266 --> 00:44:59,766
for all of us.
900
00:44:59,866 --> 00:45:01,700
-♪ Come on, y'all,
it's time to get nice ♪
901
00:45:01,800 --> 00:45:03,733
♪ Coolin' by the lockers,
gettin' kind of funky ♪
902
00:45:03,833 --> 00:45:05,733
-Rick Rubin started Def Jam,
903
00:45:05,833 --> 00:45:08,800
the massive multimillion-
dollar enterprise,
904
00:45:08,900 --> 00:45:10,900
in his dorm room at NYU.
905
00:45:11,000 --> 00:45:13,700
And he went on to produce
Run-DMC,
906
00:45:13,800 --> 00:45:16,700
Beastie Boys, Metallica,
and Slayer.
907
00:45:16,800 --> 00:45:19,133
He's produced
The Red Hot Chili Peppers,
908
00:45:19,233 --> 00:45:20,800
The Dixie Chicks.
909
00:45:20,900 --> 00:45:24,733
He's an incredibly diverse
and wide-ranging producer.
910
00:45:24,833 --> 00:45:29,366
-The reason that the artists
might not all fit into one genre
911
00:45:29,466 --> 00:45:31,333
is it's not really the way
I listen to music.
912
00:45:31,433 --> 00:45:33,166
I just like good music,
913
00:45:33,266 --> 00:45:37,700
and I try not
to categorize it too much.
914
00:45:37,800 --> 00:45:38,966
-In the early 1990s,
915
00:45:39,066 --> 00:45:42,266
Rick Rubin started a new
record label, Def American,
916
00:45:42,366 --> 00:45:46,966
and he was really interested in
testing himself as a producer.
917
00:45:47,066 --> 00:45:48,633
-By that time, most of
the artists I'd worked with
918
00:45:48,733 --> 00:45:50,400
were new and young artists
919
00:45:50,500 --> 00:45:55,133
and it felt like it would be
a really interesting challenge
920
00:45:55,233 --> 00:45:58,900
to find a great older artist
who'd been through a lot
921
00:45:59,000 --> 00:46:01,266
and maybe wasn't doing
their best work at the time
922
00:46:01,366 --> 00:46:03,700
and the first person
I thought of was Johnny Cash.
923
00:46:03,800 --> 00:46:10,266
[ Guitar plays ]
924
00:46:10,366 --> 00:46:13,133
He'd been dropped by 2 labels.
925
00:46:13,233 --> 00:46:15,233
He'd already had a comeback,
926
00:46:15,333 --> 00:46:19,900
and that was probably
25 years earlier.
927
00:46:20,000 --> 00:46:22,933
-He thought people didn't care
about his work anymore.
928
00:46:23,033 --> 00:46:26,200
He didn't feel the support
from the label.
929
00:46:26,300 --> 00:46:27,666
He was floundering a bit.
930
00:46:27,766 --> 00:46:30,700
♪♪
931
00:46:30,800 --> 00:46:33,400
-Country music would have
nothing to do with him.
932
00:46:33,500 --> 00:46:35,466
In the '80s,
when I was in his band,
933
00:46:35,566 --> 00:46:38,866
we recorded album
after album after album
934
00:46:38,966 --> 00:46:40,900
and nothing happened.
935
00:46:42,666 --> 00:46:45,466
-Somebody stole all the magic,
936
00:46:45,566 --> 00:46:48,766
like in the '70s,
some of the '80s.
937
00:46:48,866 --> 00:46:51,600
The magic
for the music was gone.
938
00:46:51,700 --> 00:46:53,766
And I was just doing it
because I do it.
939
00:46:53,866 --> 00:46:56,100
I was just doing it
'cause that's what I do.
940
00:46:56,200 --> 00:46:57,366
And I hate that.
941
00:46:57,466 --> 00:47:00,966
♪♪
942
00:47:01,066 --> 00:47:03,433
-A friend of mine set up
a meeting for us.
943
00:47:03,533 --> 00:47:06,366
He was playing at a dinner
theater in Orange County.
944
00:47:06,466 --> 00:47:08,766
It didn't feel like a place
that was appropriate
945
00:47:08,866 --> 00:47:13,666
for someone of his importance
to be playing.
946
00:47:13,766 --> 00:47:16,133
It just was sad.
947
00:47:16,233 --> 00:47:19,000
My contract was runnin' out
with the other record company
948
00:47:19,100 --> 00:47:22,833
and Rick Rubin
came down to see me
949
00:47:22,933 --> 00:47:25,533
and I liked the way
he talked, you know.
950
00:47:25,633 --> 00:47:30,600
He talked like --
He reminded me of Sam Phillips.
951
00:47:30,700 --> 00:47:32,766
♪♪
952
00:47:32,866 --> 00:47:34,466
And I said,
"What would you do with me
953
00:47:34,566 --> 00:47:38,566
that everybody else has tried
to do, you know, and couldn't?"
954
00:47:38,666 --> 00:47:40,866
And he said, "Well,
what would you like to do?
955
00:47:40,966 --> 00:47:44,966
♪♪
956
00:47:45,066 --> 00:47:48,900
-We always started
in my living room,
957
00:47:49,000 --> 00:47:52,133
just with a guitar
and talking about songs.
958
00:47:52,233 --> 00:47:55,300
-♪ Back about 18 and 25
959
00:47:55,400 --> 00:47:58,500
♪ I left Tennessee
very much alive ♪
960
00:47:58,600 --> 00:48:01,033
-And I would have him sing me
songs from his childhood.
961
00:48:01,133 --> 00:48:02,900
-♪ Through the Arkansas mud
962
00:48:03,000 --> 00:48:05,000
-He played me songs that they
would sing on the cotton fields
963
00:48:05,100 --> 00:48:06,566
when he used to pick cotton.
964
00:48:06,666 --> 00:48:09,466
-♪ The Tennessee stud
was long and lean ♪
965
00:48:09,566 --> 00:48:15,200
♪ The color of the sun,
and his eyes were green ♪
966
00:48:15,300 --> 00:48:19,400
-He really gave me a tremendous
education in this lost music
967
00:48:19,500 --> 00:48:22,266
that I didn't know anything
about, and I loved it.
968
00:48:22,366 --> 00:48:25,533
-♪ Purty little baby
on the cabin floor ♪
969
00:48:25,633 --> 00:48:28,733
♪ Li'l hoss colt
playing 'round the door ♪
970
00:48:28,833 --> 00:48:32,200
-From the first time that we
met, we recorded everything,
971
00:48:32,300 --> 00:48:34,733
just had the machine going
all the time.
972
00:48:34,833 --> 00:48:38,033
-♪ Tennessee mare
-It becomes second nature.
973
00:48:38,133 --> 00:48:40,533
People forget they're recording
and just sort of be themselves
974
00:48:40,633 --> 00:48:44,033
and that's the goal --
to get to that point.
975
00:48:44,133 --> 00:48:47,366
♪♪
976
00:48:57,933 --> 00:48:59,400
That was great.
977
00:48:59,500 --> 00:49:02,966
The first album we made
was mostly solo acoustic.
978
00:49:03,066 --> 00:49:06,266
And then came time to do
the next one, and he had
979
00:49:06,366 --> 00:49:08,333
Tom Petty and the Heartbreakers
as the backing band.
980
00:49:08,433 --> 00:49:12,500
♪♪
981
00:49:12,600 --> 00:49:14,833
-♪ I never picked cotton
982
00:49:14,933 --> 00:49:18,300
-Rick's idea was to set
John free
983
00:49:18,400 --> 00:49:20,766
and let that artist live.
984
00:49:20,866 --> 00:49:23,500
-♪ And my daddy died young
985
00:49:23,600 --> 00:49:26,233
♪ Workin' in a coal mine
986
00:49:26,333 --> 00:49:30,800
-John would start to sing
and we'd get kind of a feel
987
00:49:30,900 --> 00:49:33,733
for how the arrangement
might go, and then, woof!
988
00:49:33,833 --> 00:49:38,933
Everybody'd jump onto
their respective instruments.
989
00:49:39,033 --> 00:49:42,333
-♪ And it was fast cars
and whiskey ♪
990
00:49:42,433 --> 00:49:44,100
♪ Long-legged girls and fun
991
00:49:44,200 --> 00:49:47,400
-I mean, it was raw,
and at times it wasn't musical,
992
00:49:47,500 --> 00:49:49,766
but it was so real
and so heartfelt
993
00:49:49,866 --> 00:49:51,966
that it almost brought me
to tears.
994
00:49:52,066 --> 00:49:54,666
But then Rick would really
try to push Johnny
995
00:49:54,766 --> 00:49:57,500
to do things that he would
never think of doing.
996
00:49:57,600 --> 00:50:02,166
-I played Johnny Cash the
Soundgarden song "Rusty Cage,"
997
00:50:02,266 --> 00:50:03,966
which is a heavy-metal song
998
00:50:04,066 --> 00:50:07,633
with Chris Cornell singing
in a very high-pitched scream.
999
00:50:07,733 --> 00:50:11,100
-♪ I'm gonna break
my rusty cage ♪
1000
00:50:11,200 --> 00:50:12,933
And Johnny listened to it
and just shook his head
1001
00:50:13,033 --> 00:50:15,000
and just like, "I don't really
know what you're thinkin'."
1002
00:50:15,100 --> 00:50:18,966
Like, "I can't imagine myself
doing that."
1003
00:50:19,066 --> 00:50:23,433
And then I made
an acoustic demo of it.
1004
00:50:23,533 --> 00:50:24,966
[ Acoustic guitar plays
"Rusty Cage" ]
1005
00:50:25,066 --> 00:50:29,400
And bit by bit, Rick guided us
through the arrangement,
1006
00:50:29,500 --> 00:50:32,100
and there it was, you know.
1007
00:50:32,200 --> 00:50:33,733
-♪ You wired me awake
1008
00:50:33,833 --> 00:50:37,766
♪ And hit me with a hand
of broken nails ♪
1009
00:50:37,866 --> 00:50:41,400
-Johnny was really happy,
and he said,
1010
00:50:41,500 --> 00:50:43,466
"I love this. This is great."
1011
00:50:43,566 --> 00:50:47,133
He goes, "This is gonna
piss off so many people.
1012
00:50:47,233 --> 00:50:49,466
-♪ I'm gonna break
1013
00:50:49,566 --> 00:50:51,633
♪ I'm gonna break my
1014
00:50:51,733 --> 00:50:57,300
♪ Gonna break my rusty cage
1015
00:50:57,400 --> 00:50:59,066
♪ And run
1016
00:51:01,133 --> 00:51:04,133
♪ 1, 2, 1
1017
00:51:04,233 --> 00:51:07,300
♪ It don't hurt anymore
1018
00:51:07,400 --> 00:51:09,766
-A lot of the job is that
of being a therapist,
1019
00:51:09,866 --> 00:51:14,900
of being there and really
hearing the artist
1020
00:51:15,000 --> 00:51:16,466
and hearing what their vision is
1021
00:51:16,566 --> 00:51:20,866
and really setting up a place
where they feel they're safe
1022
00:51:20,966 --> 00:51:26,033
and can be vulnerable
and show themselves completely.
1023
00:51:26,133 --> 00:51:28,533
-♪ And at last I am free
1024
00:51:28,633 --> 00:51:33,133
-The infusion he gave my dad of
the old confidence and passion,
1025
00:51:33,233 --> 00:51:34,733
it was so powerful.
1026
00:51:34,833 --> 00:51:39,500
I mean, Rick was like an angel
that came in saying,
1027
00:51:39,600 --> 00:51:42,766
"Remember,
this is who you are."
1028
00:51:42,866 --> 00:51:44,533
I mean,
it was as simple as that.
1029
00:51:44,633 --> 00:51:46,066
Remember.
1030
00:51:46,166 --> 00:51:50,366
-♪ And it's wonderful now
1031
00:51:50,466 --> 00:51:53,866
♪ I don't hurt anymore
1032
00:51:53,966 --> 00:52:01,033
♪♪
1033
00:52:01,133 --> 00:52:04,600
♪♪
1034
00:52:10,933 --> 00:52:13,800
-"Soundbreaking"
is available on DVD.
1035
00:52:13,900 --> 00:52:16,033
The companion book
is also available.
1036
00:52:16,133 --> 00:52:20,466
To order, visit shopPBS.org
or call 1-800-PLAY-PBS.
1037
00:52:20,566 --> 00:52:23,466
♪♪