All language subtitles for STEELY DAN - (Classic Albums) Documentary -por-en (1)

I never heard anyone singing
like her, nobody sings like her.

I especially never heard anyone
compose like her, and I haven't heard it yet.

About a year after that, we ...

we stay together. Was good.

David Crosby was kicked out of the Byrds

and I hadn't met Crosby,
Stills and Nash ainda,

so he was going around the city
on a VW bus with a Porsche engine.

And one night, David said, "Come here to
home that we're going to go crazy. "

He always had the best drug.

It was like being invited to a tasting
of wines in a Rothschild mansion.

Around three or four o'clock in the morning, we
we were pretty doped up and David said,

"Oh, there is someone I want to hear ..."

and he comes back

with Joni Mitchell - live,
with a big guitar.

She played songs that had not been recorded yet.

No one had heard that music.
No one had heard that voice.

For us, it was like a hallucination.

But when Crosby finished
production of his first album,

everyone in LA knew Joni Mitchell.

I didn't do a very good job
in the production of her album.

But I did something wonderful, which was
keep everyone out of the process.

That was a good thing.

We have the power.
We have the tolerance.

We can go straight to a TV camera,
we can go live

and we can definitely say that
Hitler was wrong, Rockwell is wrong,

people who hate blacks are wrong.

We can go out there and scream to the world, Pete!

I spent years with the Hollies
aperfei�oando a can��o pop.

Fr�volo is not the right word,

but certainly a little more superficial than
the things that I, personally, was feeling.

So, at one point, the Hollies
they were not wanting my things -

I'm talking about "Marrakesh Express",
"Teach Your Children",

"Lady Of The Island", "the first Sleep
Song "- and it made me feel bad,

because I thought they were decent songs.

I don't eat from 1968,

Graham Nash was a highly successful
but a disgruntled pop star from Manchester.

At the end of the year,

he teamed up with Joni Mitchell, David Crosby
and Stephen Stills on the music trail to LA.

Stephen was released after Buffalo Springfield.

David was expelled from the Byrds.

He and Stephen tried some songs.

Graham, happened to, found Joni

while he was on tour with the Hollies.

Joni and I spent an evening together in Ottawa

and I felt completely in love.

Listening to the high harmonies of
recordings of the Hollies, David and Stephen

conspired to kidnap him.

Crosby arrived, with his cloak,
your stick and your attitude.

"Hmm. Having a hard time with all these
drinking guys who don't want Marrakesh Express "

He had the best drugs.
He had the best herb.

He had the most beautiful woman,
who was always naked.

Crosby these,

"They are crazy. We are going
record this. Come closer."

If Nash had any doubts, they would be banned
after a musical encounter in Hollywood Hills.

My reminder is that we were
in Joni's living room

and David said, "Hey, Stephen,
play that song. "

And it was like, um ...
You don't have to cry.

And he said, "Sing it again.
Fabulous! "

"Okay, one more time.
Sing one more time. "

The third time, I put my harmony
that and my world has changed.

Stephen and I had the same thought,
which rarely happens.

We both thought, "Oh! We know
what we’re going to do. "

I heard that sound and it was what
I wanted. I wanted that sound.

And I left everything. I left the Hollies, my
band, my family and I went to America.

Graham Nash was the last addition to the
communal "who's who" of LA music

that made your home in the most peaceful
city locations.

Los Angeles is unusual for presenting
a mountain range across it.

There are several canyons that cut through the city
in a more or less north-south layout.

Laurel Canyon was founded
at the turn of the 20th century -

in the early 1900s -
by land speculators.

It was a place where, mainly, people
would come to hunt on weekends -

a bucolic canyon in the middle
of this unforgiving urban environment.

Since the 1920s, Los Angeles had explored
the contrasting fascination of the sun and surf by day

and the ostentatious Hollywood at night.

But the spiritual Shangri-La
for a generation

collectively committed
to return to the Garden

was Laurel Canyon, a rural paradise
nestled right behind the Sunset Strip.

I lived across the street

de Mark Volman dos Turtles.

Just on my street

havia Mama Cass, Henry Diltz,
Joni Mitchell, Carl Wilson.

Jim Morrison high up on the hill.

Tim Hardin was living there.

Havia Frank Zappa e the Mothers.
Havia Frazier Mohawk.

Stephen Stills, David Crosby.

I had lived there since
dos Byrds. Jackson Browne.

Micky Dolenz lived on the corner.

Tim Buckley

and Larry Beckett lived elsewhere,

but they were at our house
really often.

Eric Burdon was living in the Canyon.

The Doors had a place in the Canyon.
John Mayall vivia no Canyon.

Crazy Horse had a house in the canyon.

The late, great record producer Paul
Rothschild had a house in the canyon,

with the late Fritz Richmond,
who was a pitcher player ...

Graham Nash found himself in the middle of a
extraordinary community of composers.

But his alliance with David Crosby
and Stephen Stills was hindered

through a series of contracts linking all
the three with their previous bands.

They needed professional help.

We knew we needed an entrepreneur,

and we thought that we had found a
clever that we like in Elliot Roberts.

He was already managing Joni,
and we like him.

But we also knew we were going
to the great heights,

that essentially are
a shark pool,

so we thought it would be good if
we had our own shark.

I think I liked music. Whatever
I feel good is something I want to record.

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

or that every artist who
we record will be a star,

but I think all the music that
we put it very valid.

First of all, I didn't have
contracts with my clients.

They could leave at any time.

And, as it was, none
of them never left.

It was my job to stand as a barrier against the
river of shit that was falling on these people,

and that was a difficult job.

I don't think they had
a sense of how difficult it was,

but I certainly had and,
given how young we were,

and how inexperienced we were, I think
that we did a very well done job.

David Geffen and Elliot Roberts set up
a store on the Sunset Strip in 1969,

and started to challenge
the balance of power

in the music industry every
increasingly outdated in LA.

Most businesses were still
centered in New York,

so ... we had a
advantage over people

who were surfing and smoking
lots of marijuana here.

Our metabolism ran
much faster.

Tin Pan Alley and Brill Building
from New York -

compositions factory producing successful songs for
artists considered disposable by their record labels -

dominated the industry for decades.

Geffen and Roberts and a different model,

in which the artists were
the center of the music world.

There were agreements between artists with
the record companies that were horrible,

and David and Elliot, in particular,
changed the dynamics.

Until then, the artists were
being screwed deeply.

Then they just screwed up
in a less than profound way.

In 1969, David Geffen started negotiations

to launch David Crosby, Graham Nash and
Stephen Stills from his old commitments,

and allow them to start working
in the eagerly anticipated first album.

He's a voracious businessman.

Once you gave it to him
something to work with,

he was going to tear it up, and he did it.

Elliot and I were doctors
helping them in childbirth,

but that was about them.

They were genuinely excited.

When you heard them singing,
you were dazzled.

When Stephen wrote Suite -
Judy Blue Eyes, sobre Judy Collins,

and who was he having
a relationship at the time,

and you heard them singing it,

era incr�vel.

They had wonderful songs,

with exquisitely wandering melodies,

and the simplest of arrangements.

The whole thing was so pure.

And sang.

And it worked.

And it touched his heart.

Just like its LA predecessors,

the Beach Boys e the Mamas And Papas,

Crosby, Stills And Nash foram
a harmonious group,

but they encapsulated a new spirit -

the relaxed acoustic sound of Laurel Canyon.

We wanted to engage the listener and
we put the listener on a journey

where you smoked one, took the packaging,

put the record to play
and voc� j� was!

People said, "I don't know how many hours
I was staring at that image. "

There was a musician from England who once said,
"We used to sit and look at that Crosby, Stills And Nash cover

and say, 'What should it be like in California?'

and we just stared at that thing
while the music played. "

The 1960s counterculture was dominated
by shrill psychedelia

de Jimi Hendrix, Cream
e the Grateful Dead,

but LA had produced a new sound that was
both commercially and politically credible.

FM radio, which was ours
way to the market,

It was also all rock'n'roll heavy days,

and then along came guitars
acoustic and three harmonies,

and that just changed everything.

They had a successful album,
a formidable entrepreneur

and they were planning a live tour,

mas Crosby, Stills And Nash
they also had a problem.

Stephen played guitar and keyboard on the record,
and you can't do that on stage.

Stephen talked to Ahmet Ertegun, who
owned Atlantic Records at that time,

a dear friend and a very strong Crosby fan, Stills And Nash,
and he said, "Why don't you talk to Neil?"

Less than a year after the collapse
do Buffalo Springfield,

Neil Young havia j� havia come�ado
to make his mark as a solo artist.

Now he was the fourth front man in a
supergroup flooding with individual talent.

Inclusive,

Neil was ponderous.

You weren't sure you wanted to be
competing or cooperating with that power.

It was inevitable that that band would be
as big as it would become then.

No doubt about it.

And it was inevitable that when Neil joined the group,

that became
Crosby, Stills, Nash And Young,

that, inherent to that greatness,

it was the seed of its destruction.

A ambi��o m�tua de Crosby, Stills, Nash e Young

brought them fame and fortune,

but over the next ten years, the
their early potential would be wasted

between conflicting egos, drug addiction
and celebrity traps,

and how the collective spirit of the 60s gave way to a
was that it would come to be known as the 'decade of the self',

the solo singer-songwriters of LA
found their voices.

When listening to music,

look at the social forces that
surrounded her when she left.

Look at what happened that year.

In the summer of 1969, there was
a genuine feeling

that the collective values of generation
Woodstock could change the world.

At the end of the year, that optimism
it would be practically destroyed.

The Martin Luther King murders

e Robert F Kennedy

rocked our world so much ...

but in 69 ...

Charles Manson visited Los Angeles,

and that changed the situation forever.

'The Manson Family has become
the most notorious of the hippie groups ...

'It is said that they were a
pseudo-religious cult.

'People who worked on the ranch said
that they were heavy drug users. '

We went on horseback on that farm.

We met some of the people.

It was terrifying.

'Among his followers,
family members,

'Manson is considered a saint.

'Many call him Jesus.'

It was the commune that failed, wasn't it?

I have no great illusion.

I know what I've been doing,
and no man can judge me.

I think myself.
What have you been doing, Charlie?

This crazy, wrong cultism,
drug-driven ... Satanism ...

touched the irrationality of the greatest
thing that sustained the power of the flower,

that was the sense of unbridled optimism
e integra��o social e confian�a,

and all of that was destroyed.
It was like the snake that entered the Garden.

The killing of the Manson gang embarrassed and
terrified the LA alternative art community,

in which he had been a well-known
although its presence is poorly tolerated.

Three months later, at an open show of the Rolling Stones
in Altamont, near San Francisco,

the counterculture dealt with
another devastating blow.

It was crazy, man.

The Hell's Angels were the security guards.

They were drinking cheap wine.

They were loaded in PCP ...

and acid.

And the situation got really ugly.

Everyone can just vacate!

You will vacate, everyone!

Altamont's definitive moment was the assassination
of an audience member named Meredith Hunter

by a member of the Hell's Angels gang.

People were killed on stage.

While the Stones sang "Sympathy For The Devil",
everybody, "this is not ok at all."

That was death in his own backyard.

It happened where people were congregating.

It became bigger than life.

And it all happened within months of
woodstock festival,

where everything had blossomed,

and the feeling of real possibility, of
suddenly you were brought well to Altamont.

There was a feeling, in a way,

like the discovery of AIDS,
that the party was ending.

It looked like it was a period for declining.

The new decade brought a change in the emotional landscape
of LA's emerging songwriters,

as the failure in the collectivity
gave way to personal power.

Here is another really new one that doesn’t
is finished, just for fun.

I think, if you listen to the material, you can
see how everyone was changed forever.

In 1970, Joni Mitchell, who two years earlier
wrote the song song for Woodstock,

recorded a collection of songs
surprisingly autobiographical.

It was the basis of an album that would come to
become the definitive statement

of the confessional composition.

In my first week in college,

she called and asked if
I would come to California

to take some pictures of her. She was
writing the songs for Blue.

In terms of composition, the majority of
composers still reverence that album

Blue is an irresistible album.

Suddenly, there's this woman writing
about personal relationships

on one level

that deeply affected.