All language subtitles for JOHN LENNON - (Classic Albums) Documentary -por-en

She changed the way I wrote,

because I realized that it was okay to talk
what was happening in your heart,

so that other people could say,

"I know what you're talking about. It happened to me the other day."
These types of songs.

Um ano ap�s Joni Mitchell lan�ar Blue,

Neil Young, a singer-songwriter
equally uncommitted,

produced a disc advance.

Over the next 35 years,
your relentless pursuit of the soul

would sustain a journey
musical imprevis�vel.

These guys are going to do any
thing for a laugh.

Harvest was a huge success

and it kind of put Neil very
deeply no map.

But immediately afterwards, there were some tragedies.
There was a roadie named Bruce Berry,

e ent�o havia Danny Whitten
do Crazy Horse,

who would die in a short period of
time for heroin overdose.

Neil, on top of his
market success,

exorcised all your demons,

atrav�s de Tonight's The Night,
what it was,

somehow,
the most imperfect record he ever made.

He was rebelling against production.

He said, "I want to make a record,
and I want to do this live,

but I want people to hear it before
for the band to know what they're doing. "

So we go on tour,

and everyone expected that he would play
todas as can��es de Harvest.

The Eagles were the opening attraction.

The Eagles went and razed.

And then Neil went and touched the
�lbum Tonight's The Night

from beginning to end.

He would say,
"If you stay with this one,

in the end, I will play songs
that you've heard before. "

And then, in the end,
he started the album all over again!

And that's where I knew I loved him.

And the place was emptied.

Almost every night!

It was fantastic. I never
I saw no one do that.

Era incr�vel.

It was just the power of his own
belief and their own convictions,

that he just didn't give a damn.

I think I'm writing about a part of me
that I don't know if I'll ever share.

I don't know.

� but ...

I'm writing about, um ...

the way I feel inside

and it doesn't matter how many people
are around me ...

I keep talking about it,
all the things that happen inside of me,

it is a...

I think that when talking about it, it helps.

Neil Young's slow rock'n'roll

and Joni Mitchell's acoustic poetry

separate worlds sounded,

but they were both serious, sensitive musicians

with intensely compositions
self-centered.

They took a new generation of
ruthlessly dedicated artists

and brought about a radical change in strategy
commercial of the Los Angeles music industry.

In the early days of Warner Reprise,

the label signed with artists like
Neil Young and Randy Newman

and Joni Mitchell,

and I think the label has become aware
that these artists had a vision,

and that it was not just a creative musical vision.

It was related to who they were
and how they were represented and perceived.

Warner Reprise - part of Warner Bros -

and previously known as
Frank Sinatra’s company,

was the first to bet on the troubadours
uncompromising from LA.

It was a calculated risk.

And it was worth it.

He weighs act exibisse causts
by latest artists,

regardless of what they did,

while you were not suffering
a lot of damage financially,

it was a way of attracting other artists.

I was in a band in New York for a
time, after I finished high school

and, um ... when it was over, I decided
that I would like to travel a little bit,

so I went to London and, um ...

I ... I found it very difficult to
get jobs without having documents,

so I decided, instead,
that I would like to make a record.

I was here in California and I did
a recording agreement for James,

with Warner Bros, choosing it because
of the nice people they already had,

and because of the album announcements
that Stan Cornyn wrote,

that were the coolest
that we’ve already seen.

James Taylor deixou a Apple Records
to be at Warner Bros.

Apple was as hippie as it could be

and he wanted to be on our label.

That was Sweet Baby James.
That was extraordinary.

Letters sens�veis,

gentle music and the intriguing suggestion
of a tortured soul

made James Taylor the last
singer-songwriter in the exile of LA

a powerful artistic force.

Neither James nor I particularly liked
of softness,

nor of sensitivity,

because it is not smooth and
sensitive that way.

But there is a contrast between a certain softness,
for lack of a better word, musically,

with the fact that the lyrics were quite intense.

There are lyrics about a friend who killed herself

and experiences in a psychiatric hospital
and drugs,

so the question is by no means the melody.

He was a heavy drug addict
bigger than any of us.

Sweet Baby James was that fucking animal.

He was a hippy junkie. And there was
something about that mindset

that, in one way or another,
separated him from everything else.

I remember saying to him once,
"It's a good thing

that you're a fucking folk guy, man.
Se voc� fosse um rock'n'roller,

you would be dead years ago.

You can't behave that way
without someone killing you, or you kill yourself. "

Supported by musicians from a
joint known as the LA Mafia,

James Taylor's first album on the West Coast
remained on the album chart

for more than 100 weeks,

making the sensitive singer-songwriter
news layer,

and, in the same year,

a colleague in the East Coast exile launched the
most successful record that LA has ever produced.

I know that many of you are
admirers of James Taylor.

I am too.

I would like to call you here to help me.

He was kind enough to volunteer,
so come on, James!

Carole King made his name as
one of the halves of Goffen And King,

a prolific partnership in the compositions factory
of success in the heart of New York, the Brill Building.

But in LA, it would undergo a radical reinvention.

Carole King, she took advantage of Sweet Baby James,

so Carole was a big part of that.

She wrote all the great songs
that we grew up learning,

de Up On The Roof a One Fine Day
a Natural Woman.

I mean, she wrote it all down.

The transformation of Carole King from a composer of
rent for an introspective singer-songwriter

exemplified the change in industry
from music from New York to LA,

de Brill Building para Laurel Canyon.

Tapestry spent an admirable 15 weeks in number 1,

confirming LA as the spiritual home and naturally
commercial for a new type of popular artist.

I think it's fair to say that
Los Angeles I had it all on fire

to become the place to bring
that intense individuality

from the singer-songwriter to the front.

We developed here something called
"the heat behind the beat",

who were the lawyers who
made it all possible.

The idea of self-publishing, for example.

The new autonomies available
for the singer-songwriter.

These things have been coded here.

Around the end of 1971,

LA was the center of a business
multimillion musical

increasingly directed
by your composers ...

..and among the artist community
selfish in the city,

a young musician emerged as the
voice of collective conscience.

I remember I received an 8 x 10 photo
brilliant from this really handsome guy

with a demo, and I thought,

"You can't beat Bob Dylan."

So my secretary listened to her and
called me the next day and said,

"You must listen to that tape.
This guy is really good. "

Jackson Browne moved from Orange County

to Los Angeles in 1966,

age just 17.

He was soon a popular and
much admired favorite

of the Laurel Canyon community.

Two years ago I received proposals,
but I didn't really feel prepared.

I realized really early that to make records,
I would have to take a lot of intention,

and that that could not simply
enter not study

as our legendary heroes did

and sat down, and for $ 250,
produced their first masterpiece.

I heard about Jackson through
a woman named Pamela Polland -

P-O-L-L-A-N-D. Alma nice.

Pamela is in Hawaii. When I found Pamela,
she said, "if you think i'm good,

you must find Jackson Browne ".

Musically, he was tremendously respected,

and really served as a criterion

for a large part of the new genre
of singer-songwriters.

Confessional lyrics, beautiful poetry, and
wondering why the world is so fucked up

and why your life is so fucked up.

He is an incredibly seminal artist
important of our time.

When Jackson wrote, "Please don't
confront me with my failures,

"I haven't forgotten them,"

and he was only 17!

Sadness! You are writing
like a man of 60!

"Don't confront me with my failures,
I haven't forgotten them. "

Amazing.

Amazing!

Jackson Browne had the talent, charisma
and appearance to be a star.

What he didn't have was
a recording contract.

David Geffen had been an entrepreneur and an agent, and he
had been well versed in the different aspects of that

music market.

I thought he was putting me
in Columbia or Atlantic.

Suddenly, I decided ...

Hell, I'm going to do this!

I went to see Ahmet Ertegun, played the tapes for him and said,
"You should sign with him. You will make a lot of money."

He said, "I have a lot of money. Why don't you start a
record company? So you could have a lot of money. "So I did.

We use independent producers, or we leave the artists
produce by themselves. Whatever they want.

It is a very artist-oriented company

and whatever they wanted to do, we support it,
or we must be involved.

What I liked most were people
who sang their own songs.

This was what they all had
in common at Asylum Records.

This was the ... gestalt of the day.

He was also everyone's businessman.

Later, we had people mumbling
about conflict of interest

but there was no conflict of interest, because I don't think
who came to charge none of us for managing us.

He was our boss.

The Medici.
O Medici do rock'n'roll.

The ethos of Asylum artists was an anathema

for the music market conventions,

and Geffen's approach to artists
and repertoires were typically straightforward.

David realized that others
musicians were often

an extremely important source
to discover new talents.

I went to his house, played some
songs for him. Yes.

He knew that when Jackson told him
about John David Souther,

or any order that happened, I don't remember,
he really paid attention.

I don't think every record
that we do is a success,

or that every artist will be a star, but I think
that the music we put on is very valid.

I thought, "Wow. This is just the way
that you think will work.

If we believe in them, we will stay with them. No
we will abandon an artist if he does not sell.

Geffen's close relationship with his artists

led Asylum to sign with some of the most talented,
renowned and interesting LA composers.

But just a year after his birth, his
solo artists would produce a band

that would become one of the most well
successful in the history of music.

For any serious musician about
make the big time

LA was the only place to be,

and in 1970, a new wave of artists had
followed the heroes of the western counterculture.

Among them were Glenn Frey,

a guitar player from Detroit,

and JD Souther, a composer from Texas.

Being friends with the local hero
Jackson Browne,

the three young troubadours found cheap accommodation
in a Mexican neighborhood near downtown LA,

the unlikely scenario for
other collective composition

that would transform, once again,
the musical identity of the city.

I moved to Echo Park

and was instantly surrounded by
people coming through this ...

beautiful cloud, this merger
of literature and music

that seemed to occur around
acoustic violations.