Original subtitles

Ladies and gentlemen, from Los Angeles, California, The Doors!

The Doors were one of the most refreshing and unique and

interesting sounds from a band that I'd ever heard.

I loved The Doors immediately.

I had all their records.

I think at 15 or 16, I thought I was Jim Morrison for a moment.

The doors are so unique. If you took away one person, it wouldn't be the

doors. Not the typical rock and roll Laurel Canyon side.

They seem to be more whiskey, Roxy, Troubadour, play late night and playing

hard because we're feeling something different.

They had a dark side, and people don't know about the dark side of L.A.

Morrison Hotel, through Henry Diltz, connected the world

with Skid Row.

The Doors definitely went against the flow, and it's amazing that they were

even on the radio.

This is a great band that had tried all kinds of things, coming back together to

say, this is who we are, to make a real statement of purpose.

And it was a transition soft parade that we had to go through to get to Morrison

Hotel at L.A. Woman. We wouldn't have got there if we hadn't changed our

precious sound and fooled around with strings and horns.

You know, all the deep tracks are good.

You know, there's no bad ones. If we didn't...

think a song was great we wouldn't put it on the record morstan hotel is

definitely the greatest resurrection album it's the doors getting back to

their uniqueness their roots that was obviously their turn back to like we

want to do what we do and the rest of you people

Yeah, it is a great cover, really is a great cover. And the Venetian blinds, I

mean, that, you know, that says old L.A.

So here we are in the Morrison Hotel.

So it's amazing how this place that I'm sitting right now has figured into my

life so much because it was one of the iconic album covers that I did just one

day. It means so much to me now, you know.

20, 30 years ago, young kids would say, oh, yeah, what albums do you do? And I'd

say, oh, you know, this and that.

And the Doors, Morrison.

Dude!

Dude! You did the Morrison Hotel?

So in that respect, that was the most famous one, I think, worldwide.

When you first put on this album and you hear the opening guitar line, Robbie

playing the beginning of Roadhouse Blues, and the introduction of that song

opens up, it just grabs you. It grabs your attention. It brings you in, and

that song opens up, and you've got Ray playing his piano parts, and you've got

the swing feel of the drums and the harmonica, and everything about it just

brings you into that song, and it's just a great opening for a great album.

Whenever they hear the opening lick, it's all over. Everybody knows what it

is. They get up, start dancing. It's really fun.

If you're in a cover band and if you don't know Roadhouse blues, you might as

well quit.

You know, Roadhouse just throws down a gauntlet.

It just says, okay, motherfucker, how about now?

So I just came up with that lick, you know, just don't ask me how, but

I was trying to play the stupidest lick I could think of, you know, because we

wanted to do a really basic blues.

So I could think of it as...

But then I got tired of it and I started changing it and then Jim says, no, no,

keep playing that same one.

And luckily, we just happened to have John Sebastian in the studio.

He really knew how to play harmonica correctly.

That sound is so cool that he got it.

You could tell that Jim Morrison was like, I'm identifying at the ripe old

age of whatever, 26, more with a blues singer than as a rock singer.

Oh,

he's on beat.

Who's that?

We did an overdub.

of Jim's vocal, so there are two of them there, and it's the first time the

universe has heard that.

And which did we use?

I'd have to find out.

The high one.

All right, I want to hear just Robbie, so I hit this? Yeah, solo. That one?

Solo.

This is Robbie's lick. This is a great...

Lonnie Mack just happens to be at Elektra in the hallway, or Paul saw him

in the hallway and said, hey, we need a bass player. Can you come in and do

this? Could have easily happened. And boom.

And the feel, he's just playing as

far back on the beat as possible. Let it roll, baby, roll. It's

just like...

He's waiting to the last second to play each note, and it gives it depth,

weight. It's just like, I don't know. He was trying to keep the train from going

too fast.

Pulling it down in the second gear and just riding, you know, grinding.

Oh, man, really good.

That's John Sebastian on harmonica, and he had a contract with Kama Sutra

Records, and he couldn't use his name, so he...

called himself G.

Pugliese. But also, I think there was some undercurrent thing.

There was a period where the Doors were dissed. We were just too dark or too

heavy. I mean, you got to remember the Doors were the band that everyone loved

to hate. Yeah.

Yeah. We showed them.

Come on, come on, come on, come on, now touch me, babe.

Can't you see that I am not afraid?

Paul Rothschild did a yeoman's job of holding the bands together, especially

during Soft Parade. This was a real time of experimenting.

A lot of bands, especially inspired by the Beatles and the Beach Boys and

others, went off in some pretty crazy directions at times. Well, the Soft

Parade was our opportunity now to expand upon using other bands.

other musicians not just a bass player but bringing in all kinds of things

horns and strings fall from the sky while you and i i

had a grand time i just thought it was a great great fun we were trying to do

like the beatles let's face it you know the stones did it so we had to do it

paul rothschild and bruce botnick taught us how to make records and so after a

while

Paul got a little more perfectionistic, and Paul used to have me do a drum

sound, boom, boom, for an hour.

Everybody ready?

I moved the snare drum mic, banged into it. I'm sorry, John.

What are you doing? I banged into the snare drum mic. Is this the right place?

Say it again. Say it loud.

I banged into the snare drum mic.

Is it in the right place now?

I mean, we did like...

50 fucking takes on one half of Unknown Soldier and then the second half another

50. I mean, we're talking ridiculous.

Soft Parade was pretty much almost a nightmare for everyone.

I think when the Soft Parade came out and it debuted with all this strings and

orchestral instruments and all this other type of instrumentation on top of

the doors, people were a little probably like, what's this?

I think people just didn't get it.

Critics didn't get it.

Fans didn't get it. The reason people, I think, didn't go for it was because it

made it sound like it was Jim and an orchestra.

It didn't sound like the tours.

Miami.

That's one of those great did-it-or-didn't-it-happen things in pop

culture of the last 60 years. It sure took over what the band was doing at

that time and disrupted everything they were doing. The silver lining of that is

they had time to write.

When we got... band after Miami, I was pleased and I thought, great,

we're not on the road for a while, good, maybe he'll clean up. That gave Jim time

to rest his pipes and they became deeper on Morrison Hotel.

I'm sure that after this off parade, there was a sense with the guys that

maybe Things were a little tenuous in their career right now.

Okay, we did that, and that led us to Morrison Hotel and L.A. Woman kind of

getting back to the basics, the blues and our garage band.

A complete 180. We went from the soft parade being lush and I'm gonna love you

and the La Cienega Symphony to just being a funky blues band, which is all

we were in the first place. A blues band with literary aspirations.

This song is one of my favorites, Waiting for the Sun, which became

realized two albums after the Waiting for the Sun album.

They obviously wrote that before, but it took them a while to record it, so they

refined it. When this song appeared, it was like, finally, but I didn't know

that it had existed.

And I don't know how long it took to get developed, but it was definitely one of

Jim's poems that he had written.

Morrison had such a great, like, as I say, like a great full torque on the

voice, like the red lines on the meters, you know, like when he really digs in.

And that one section in Waiting for the Sun when he says, this is the strangest

life.

i've ever known and then it goes yeah and then it goes right into that riff

man which is such a heavy riff too i mean i just love i love that song that's

that's a strong one i want to start with the guitar solo robbie's guitar solo

which is amazing and jim kicks it off screaming to get robbie to go and it's

one of robbie's really most nasty solos i've ever heard i just love the sound of

it and the energy behind it

This scream is phenomenal.

There aren't a lot of gymnastics in that, but it's just the tonality of it.

And kicked off by Jim's scream, it's totally beautiful.

Waiting for the Sun, to me, is like the first heavy metal song.

With a Moog synthesizer on the bottom.

Yeah. There's a Moog synthesizer on it.

And the Moog was provided by a gentleman named Paul Beaver.

who used to go to Mount Whitney to watch the flying saucers refuel.

And he said, this is an absolute fact.

So we felt it was a sci-fi song.

And here's our mood.

Oh, wait a minute.

Just think of spaceships refueling every time you hear that.

We had this big Moog synthesizer in the control room next to the console,

and it was all patch cords and knobs, and nothing wasn't fixed.

So, like, you could tune something and go, and I love that sound, and you could

just tune it a quarter of an inch away, and you totally lost it, and you were

somewhere else. And you get back to that, you try to find it. You can never

do it.

Excuse me. Excuse me. Where the fuck is one?

That's one.

Oh, okay.

Thank you.

Go ahead.

Down to town.

Stay down.

Such a classic.

classic photo and Henry Dilt's an absolute legend

in rock and roll photography.

I came here as a folk singer and sang in all the clubs and toured across the

country. Along the way I met a guy named Gary Burden who was a graphic artist and

we started doing album covers together and early on we did the Crosby, Stills,

Nash where they were sitting on the couch in front of the old house.

And I think The Doors saw that because not long after it came out, they called

Gary and they said, hey, we want you guys to do our next album cover.

So we went down to meet The Doors at their little office. And it was only Jim

and Ray were there. And Gary and I walked in and we said, OK, well, so do

you have a title? And they said, no.

We said, well, do you have some idea what you want on the cover?

No, not really. And we're going, well, you know, and just then.

Ray spoke up.

Ray happened to be driving downtown L.A., and he saw this old hotel,

Morrison Hotel.

He says, wow, we should come down and, you know, do a photo session here.

And we got right in their Volkswagen van, and we drove right down here to

Hope Street, pulled up, and here it was with the beautiful lettering on the

window, Morrison Hotel.

This is an actual hotel, Morrison Hotel downtown.

um there's a no parking sign and there's rooms two dollars and fifty cents and up

it was a place where winos could rent a cot and and and sleep it off

you know and then go out and drink some more you

make me real is very doors rootsy

bluesy um but it's not your typical

Mellow, down blues. It's a very upbeat, happy blues song.

So this is Ray's part that he... When Jim first sang him the song, this is

what Ray came up with.

That is so cool, you know?

Is that a tack piano?

Tack pianos were basically...

People took old upright saloon pianos or bar pianos and they put thumbtacks into

the felt on the end of the hammer. So when you hit the key, the tack actually

hit the string instead of the felt hammer.

It was the same piano that I used on Good Vibrations.

Used it on this and then took it over to do L.A. Woman.

Normally what they would do to do a tack piano, they would have them out of tune.

Just let them go out of tune. We didn't want to do that. We wanted it in tune.

So the center string was in tune. The right string was up.

one cent the left string down one cent so you got this little and that was the

piano yeah great sound and then john came in with his part

and

then there's oh the surf drums coming up

That's like a surf beat, right?

I don't know why I did this sort of surfer music tom-tom rolls for the

verses.

And then the chorus is I went to regular rock and roll.

And then I came up with this crazy part.

Which is actually kind of a James Jameson bass part.

And Chuck Berry part.

You Make Me Real is kind of reminiscent of Little Richard.

Ray's just chomping away with boogie woogie tack piano.

And actually Robbie and I saw Chuck Berry one time way back.

Robbie kind of copped the duck walk, you know, and he could do it on this song,

that's for sure.

Now,

who played bass on that rainy apology?

You make me free.

When I first met Jim and Ray, I was so excited by the idea of

poetry and rock and roll.

What a great line. You make me throw away mistaken misery.

You make me free, love. You make me free.

That's Jim. That's the poet.

So actually, this was going to be on the first Doors album, but we tried

recording it, and I think Jim's voice wasn't quite ready by that time to

sing the song, you know, because it's kind of a high part, and so we just kept

putting it off and putting it off, and we always wanted to use it, but finally

got around to it on this album.

One of the smart things that Paul Rothschild did...

was not to put out all the so-called good stuff immediately.

This song was held back because Paul was managing the farm, you know, the

animals. We didn't want to eat them all at once. We have nothing to eat later

on. So that's why this song became later. Same thing with Indian Summer.

It just wasn't the right time for that song.

Indian Summer was a cut that we... Recorded in 1966 here for the first

album. Right, and it took till the fifth album to get on.

And it's such a gentle Ravi Shankar-influenced tune.

I'm playing my hands on the verses of the drum kit, sort of tapping it

like tablas.

And then I use the stick a little bit.

It's so beautiful, the melody.

And Jim's voice.

He was so young, you can really hear it. It's so delicate.

There it goes.

Indian Summer might be the one song that kind of stands out as less a piece of

the whole than the other songs. You can hear it in the riffing that...

Robbie is doing on the lick that is almost straight out of the end, that

sort of Indian kind of modal lick that he's doing.

But it's a very sweet song. That's the thing about it. And it's in this album

where there's a lot of sort of, you know, raw, hard hitting stuff. This is

such a beautiful.

beautiful song that it's hard to imagine the album without it even though it

doesn't feel like it fits as much with the others but it but it's it's almost

it's a compliment to the others it's a it's a light in the darkness in some

ways and and i think that really helps a lot

that's

the first time i played that in 50 years too see that could have been a hit hit

single

But you know what? That was the very first song we recorded when we came

here. And we said, oh, man, we can do better than that.

It's such a nice mood.

Yeah, but it's so unhard rock. I think we were thinking, oh, we've got to light

my fire and like that. So at that point in our recording

career, it was just too laid back and vulnerable sounding.

But I'm glad we used it on this record.

The Morrison Hotel was really kind of a fleabag hotel. It was a flop house. So

the whole lobby had this kind of old, funky furniture, like from a Salvation

Army store or something, and there was only one person in the lobby, and it was

a young guy behind the desk over there. The doors walked into the lobby, Gary

walked in with him, and I stopped at the desk. I said, we're just going to be

over there taking a few pictures, you know.

Nobody was in there, so I said, you know, we'll be cool.

He said, no!

No, you can't. You can't take any pictures. He was really adamant about

it. So I walked over to the guys. I said, you know, they're not going to let

us shoot in here, so let's walk outside. And I thought, well, they could stand in

front of the window.

Then I saw a light go on at the back of the lobby, and I looked through the

window, and I said,

It's the elevator light.

And look, the guy left his desk. He went up in the elevator.

And I honestly said, quick, you guys run in there.

We had to sneak into the Morrison Hotel, which was a real place, and quickly do

the photo and run out because they didn't want us to do it.

So we took one roll of film, and they ran out.

The guy never saw us, never came down from the elevator.

One of my favorite songs on the record is Peace Frog because it's so weird.

There's really nothing like it, not just in the Doors catalog, but in popular

music. When we play Peace Frog live, people instantly get out of their seats

and start dancing.

It's just odd because it's shifting and the drums have this weird figure and I

think Robbie has one of the best guitar leads.

Ever. It's interesting how Peace Frog has this sort of like that chunky funk

riff that Robbie was doing on it with the, I don't know, wah-wah or whatever

the effect was he was using on it. It just sort of, it grabs you. There wasn't

really anything on rock radio like that at that point.

The wah-wah pedal, my God.

I mean, like every band had. If you didn't have a wah-wah pedal back then,

man, forget it. Robbie had this lick.

And Ray and I fell in love with it. And we were jamming on it like crazy.

And we just had to put this down.

The doors are using more than the typical, you know, arrangements and

phrases that typical rock and roll has.

And they weren't afraid to say it. Like, we snatched from everybody.

Me and Robbie...

talked a little bit about James Brown, you know, and trying to emulate his funk

groove. And that's what inspired this feel.

Yeah, it's got this real kind of like a hi-hatty thing with a sparse backbeat.

And then he swings in the middle of it, man, in that one section, he's on the hi

-hat.

You know, he's always swinging.

That's John Gensmore hollering.

You know, just white boys trying to be black.

You got two tracks of Jim here.

He's doing this, she came, and then singing the lead.

Answering himself, which is kind of cool.

Sunlight in her hair.

She got in the streets on the river of sadness.

She got in the streets up to my thigh.

She came down the legs of the city.

She came in town and

then she drove away.

Sunlight in her hair.

There's two stories going here a blood in the streets of town of Chicago Blood

on the rise following me Jim and blood on the streets of Venice where we grew

up and things are getting more intense And then there she came and then she

went away.

So that's this Two storylines, more snake imagery.

This was a dark time in this country. The Nixon presidency really kind of

changed the tone of things. After the Chicago Convention in 68, the protests

had turned violent.

The feeling of frustration of what was going on, the peace and love wasn't

working anymore.

And so with Peace Frog, you get this image of blood in the streets, blood

everywhere, blood, blood, blood.

And that's kind of what it felt like to a lot of people.

What a pocket.

See, now that's what I'm talking about.

Queen of the Highway does not have this.

Ray Slick is great.

I mean, Robbie's thing is a James Brown guitar, inspired.

The influence of American black music, of soul music, of the funk that was

growing up, how they embodied that into their own work. That's true

appreciation. Everyone can say, well, you know, I was a studio, I did this,

that, and the other. But when you can say, we are influenced by Howlin' Wolf,

we're influenced by Chuck Berry, we're influenced by Little Richard, we're

influenced by whoever it may be, and admit that, that's appreciation.

I think that's lost often in musicianship, to say, I am playing this

because of what I heard before.

That's true musicianship to me.

It's up to you.

So I recollect that you had this guitar like, gang, gang, gang, gang, gang,

gang, with a cool James Brown kind of, and I'll try to play like, you know,

funk.

Skip Pence.

Yeah. So didn't we record the track and then later

Paul finds the lyrics in the journal and gets Jim to put them in?

Well, I mean, Jim...

and Paul looking through his journal.

And where did that great bass line come from?

From your head, huh?

I don't know.

Must have. Yeah, yeah. You just came up with that. First of all, I was playing

with a pick then, which makes it a little easier. Yeah, no kidding.

And when I listened to it this morning, I said, I couldn't believe how fast it

was.

I'm scuffling here.

But, yeah, it's a... Beautiful line. It's a nice line. It fits right in, you

know. Oh, yeah. What Ray was doing. Yeah, yeah.

And you were doing that. I would never have imagined that line, I'll tell you

that. No, I think you came up with it, Ray. You've got to accept that. I'll

take the credit for that. It's beautiful.

The next song is Blue Sunday.

It's interesting because the transition...

from Peace Frog into Blue Sunday is really amazing.

It shows how Jim used to work on the sessions with the guys, that when he was

really into it and he hadn't had any alcohol or anything like that, and just

having a good time and feeling free, he would direct the songs.

You know, just before the song starts, that guitar, you know, you could have a

real nice, straight... on a guitar or something.

Just strum, very nice.

And now the song goes into Ray Neapolitan.

And then Ray Manzarek comes in.

And that is Ray Manzarek's bass line, believe me, from his left hand. We were

talking about lefty.

And then Jim comes in.

And this is not direct. I can tell it's off of his amp, and he's playing with a

pick.

And John is keeping some time, but he's being kind of

sensitive.

with his brushwork and symbols.

It's almost jazz.

And then, you know, back to Ray and Robbie again.

I mean, it's like they're singing along with Jim.

My girl is mine.

She is the world. She is my girl.

Love song to Pamela.

Ship of Fools, that's a song that has its own kind of characteristic that you

kind of go like, this doesn't sound like anything else on the album. What I love

about it is this is the three musicians really digging deep into their jazz

roots. Ship of Fools. I mean, talk about climate change. The human race is dying

out. No one left to scream and shout.

People walking on the moon, smog going to get you pretty soon.

Not that space travel shouldn't be pursued, but their metaphoric point is

we don't want to trash the Earth so much that we need to abandon it, or it will

abandon us.

So ahead of the curve. In fact, I remember a review of Ship of Fools that

called it ecology rock.

And it was condescending because that word was not in the vernacular.

Yeah, well, right.

We actually bought a boat.

It was supposed to be for the band, but it turned out it was just for me because

I was the only one that liked boats.

It was called the Ship of Fools.

It's like a 30-foot Owens.

And I used to go fishing and diving and stuff.

And Babe...

dave hill was was one of jim's buddies and he was into boats and stuff a lot so

so babe and i used to go out all the time and we tried to get jim to come and

he came once he did come out once but i guess he didn't like it that much

because that was the last time he came

I mean, I don't know whether that was overdriving the amp or whether it was

fuzz or whatever.

It's good distortion.

I don't know why we never play that. We should.

You know, some songs, you know, when we do the door stuff, for some reason we

just leave them out.

But I'm going to start playing that one.

Jim said, let's go get a drink. And we got in the van and we drove down to Skid

Row, which is just a few blocks from here.

Right around the corner from Morrison Hotel was the Hard Rock Cafe, which was

just a crummy old bar.

And we thought, wow, we've got to get our beer in there. So we pulled into

this Hard Rock Cafe.

And here we are sitting inside the bar drinking with some heavy

dudes in there.

Jim was looking around at all these old guys, you know, all these old guys

drinking in the afternoon.

And we got a little booth, and a couple guys kind of came over, and he said,

yeah, sit down. He bought them a beer.

And he loved to hear them talk. You know, you could just see the motors

going in his head.

And then later, out on the sidewalk, they kind of stood around Jim, and I did

a little, I call it Jim and his new friends.

But they thought, wow, what a nice guy. He really cares about our story. He

wants to hear our story.

And then some entrepreneurs co-opted the name and made it a she-she yuppie burger

place. So we'll take royalties on that, as well as the leather pants.

Well, Jim's dad, you know, was an admiral.

And I guess his grandpa was, too.

Because he goes, Grandpa was a sailor.

You know, Jim would never tell us what the songs were about.

You know, he was too cool for that.

And the fact that he didn't really get along with his dad too much. You know,

when people would ask him about it, about his parents, he would say, they're

dead.

And they weren't. Except then one day his mom came to a concert we did in

Virginia, and he wouldn't let her in the dressing room.

He wouldn't see her.

It's weird.

And then Bill Siddons, our manager, said that she came up to him and said, those

lights aren't right for my son.

You've got to do something about that.

She was like super bossy.

So we said, okay, maybe now we see.

When I listen to The Spy, and it's always been this way, I've always

thought of dark, quiet, red light, kind of cigar lounge, smoke-filled.

Opium Den, San Francisco in 1870-something.

That song invokes some kind of emotion to just, all right, here we are, let's

take it down a notch. This is some nice, mellow blues, and we're just going to

enjoy this song.

You know, Jim's talking about a kind of a voyeuristic kind of,

how does he know the dream she's dreaming of?

And so I got this idea to get a little mystical and play brushes, which I...

used to use when I played jazz.

And this is kind of a jazzy vibe.

Maybe just playing music all my life, I know what speed it should be. And a spy

should be this loping, rushed, light, mysterious.

Queen of the Highway,

not a very well-known popular song, but a very incredible song. The songwriting,

the chord changes are just really great.

Ray's parts in that have always been one of my favorite keyboard parts.

I remember, you know, Ray and I talked about

the sound Ray Charles had on What Did I Say? It was a Wurlitzer.

And that's why we went for this.

His style was almost always to play two notes at a time, where his fingers would

always be alternating between two keys, two keys, where instead of just playing

three-note block chords or just instead of playing one-note solos, he would do

two notes at a time. The organ itself sounds kind of thin with one note. The

two notes gives it the flexibility to be...

Full sounding yet allow for the movement for solos and for melodic lines.

And that's classic Rayman's Eric.

Two no's.

And then ending.

This track never settled down in my opinion.

Really? Yeah.

I just need to redo the drum part.

do a steady eighth notes on the hi-hat and a little less bass drum.

But I love the lyrics.

It's Jim's story.

It's kind of mysterious. He's talking about his relationship with Pam, which

was tumultuous.

But it all came off of Jim's words and melodies.

That's what told us how to write this stuff and back him up.

If you remember quickly,

You overdubbed that because you didn't play live with the guys.

And we've always wondered where you were.

Yeah, I don't know why I wasn't there. I mean, we did how many takes of that song

the day before?

And I think I just figured, oh, well, we got that one, you know, so I just didn't

show up the next day.

And you guys said, hey, let's do that again.

So I had to overdub my part, which was fine.

The track frustrates me. The pocket's not tight.

This is a little ragged. The lyrics are great, the sound is great, the mix is

great. I just want to do my part over.

That's all.

The bass drum's too hot.

I need a hi-hat, settle the pocket for everybody.

I just think that the feel, it's a matter that there were... too many takes

by the time we got the master take, and so that everybody was focusing on

playing it, you know, right.

Now I like it a lot.

I think it's a fucking masterpiece.

I think so, too. I wouldn't have changed a fucking thing, John.

Obviously, this music is timeless, and I think rockheads will always keep.

you know the doors alive they were rebels you know they were they were

really different than a lot of the bands and of course the punk rockers were

drawn to that look at the influence that they had look at look at patty smith

look at x uh look at so many bands that came after them that just took on that

darker side that's one of the ways the doors kind of changed the course of

popular music morrison hotel classic i mean i love every song on it I love

every Doors record, but this one is a standout. I just listened to this this

morning, and I was so proud of, excuse me, how good it is.

When it comes to Morrison Hotel, a lot of people probably know Roadhouse Blues,

the opening track on the album, and of course that was a popular song, but once

you sit down and listen to it, you realize that this thing holds up on its

own with every other Doors album they ever made.

To me, there's so many deep tracks on this album that...

that people don't know about, or maybe they do, but they just, you know, they

never play them on the radio and stuff.

A lot of people miss out on them.

So maybe now they won't.