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[ U2's "Pride" plays ]
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LANOIS: 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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LANOIS: When you're at
the front end of a medium,
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you get this adrenaline rush,
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00:00:46,775 --> 00:00:48,741
or you think, "Oh, my goodness,
I think we've touched
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00:00:48,775 --> 00:00:50,808
on something here
that's never been heard before."
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00:00:50,841 --> 00:00:53,075
[ David Bowie's "Fame" plays ]
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♪ Fame ♪
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♪ Makes a man take things over ♪
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NARRATOR: 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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IOVINE:
I've heard of Phil Spector.
18
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I heard of Andrew Loog Oldham.
19
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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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PERRY: 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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ENO: Producers were people who
understood how recording worked.
27
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They were the people who said,
28
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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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RZA:
The digital wave of music
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gave us a whole orchestra
of instrumentation
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in front of our hands.
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[ Johnny Cash's "One" plays ]
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NARRATOR: 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? ♪
38
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♪ Or do you feel the same? ♪
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JONES: There's a connection
you have to make in producing,
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00:02:17,475 --> 00:02:19,375
and it's got to be love
and respect.
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♪ You've got someone to blame ♪
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WAS: 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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♪ One life ♪
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WAS: 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 ♪
50
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Don't be afraid to fail.
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[ Music ends ]
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[ Guitar strumming ]
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HARRISON: What key is it in?
What key is it in?
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McCARTNEY:
It'll be in F for you.
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00:03:02,541 --> 00:03:05,975
SPECTOR: Here we go.
Just one more time.
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00:03:06,008 --> 00:03:07,975
FRANKLIN: Right after I say,
"Are you sure?"
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♪ Da da da ♪
58
00:03:09,141 --> 00:03:10,508
‐Yeah.
‐MAN: Oh.
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00:03:12,208 --> 00:03:13,775
WILSON:
Hal, here's how I want to do it.
60
00:03:13,808 --> 00:03:15,475
Takes like this.
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00:03:15,508 --> 00:03:17,408
BOWIE: All right.
It's fun time. Fun time.
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MAN #1:
Here we go.
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MAN #2: Rolling. I thought we
had a different title.
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00:03:20,475 --> 00:03:21,841
MAN #3:
Seventeen, take one.
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00:03:22,741 --> 00:03:25,008
MAN #4:
This will be a keeper, I think.
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00:03:25,041 --> 00:03:26,675
[ Laughs ]
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Here we go.
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One time, everybody, please.
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00:03:41,208 --> 00:03:43,708
[ The Rolling Stones'
"Start Me Up" plays ]
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WAS: 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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00:03:52,841 --> 00:03:54,441
and Keith sitting here,
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00:03:54,475 --> 00:03:56,475
and they were both talking
at the same time.
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00:03:56,508 --> 00:03:59,508
♪ If you start me up ♪
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00:03:59,541 --> 00:04:02,708
♪ If you start me up,
I'll never stop ♪
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00:04:02,741 --> 00:04:04,075
WAS:
Mick was suggesting things
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00:04:04,108 --> 00:04:06,508
that a producer could do
for the Stones,
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00:04:06,541 --> 00:04:09,175
and Keith was telling me
why he didn't need a producer.
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00:04:09,208 --> 00:04:12,175
And Keith said, "You sure
you want to be the meat
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00:04:12,208 --> 00:04:13,575
in this sandwich?"
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00:04:13,608 --> 00:04:15,741
[ Laughs ]
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00:04:15,775 --> 00:04:17,908
HARRIES: The producer
has got to be able to say
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00:04:17,941 --> 00:04:20,941
to somebody like Mick Jagger,
"Can you just do that again?"
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00:04:20,975 --> 00:04:24,075
He should have tact.
He should have diplomacy.
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00:04:24,108 --> 00:04:26,141
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.
88
00:04:31,875 --> 00:04:35,475
And it's hard, man, 'cause
it's very intimate, you know?
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00:04:35,508 --> 00:04:36,708
Very, very intimate.
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00:04:36,741 --> 00:04:38,441
And you're going straight
from your heart,
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00:04:38,475 --> 00:04:40,875
and you're saying,
"We're not there yet."
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Or, "That's perfect.
Perfect take. One more time."
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[ Laughs ]
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00:04:45,441 --> 00:04:47,808
JAM: Plenty of great songs have
gotten lost in bad production,
95
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so you have to appreciate
when you have those pairings
96
00:04:51,741 --> 00:04:54,475
of a Michael Jackson
and a Quincy Jones,
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00:04:54,508 --> 00:04:57,841
when you have a great songwriter
and a great producer.
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EPWORTH: The two of you together
are making music
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00:05:00,108 --> 00:05:01,941
completely from scratch,
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00:05:01,975 --> 00:05:04,941
and it's your job to try
and help find the right sounds
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00:05:04,975 --> 00:05:06,975
that makes everybody's hair
stand on end.
102
00:05:07,008 --> 00:05:09,541
[ Tom Petty's "Free Fallin'"
plays ]
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It might take many weeks
of just sitting and playing
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with nothing happening.
105
00:05:18,208 --> 00:05:20,975
And then one day,
something happens.
106
00:05:21,008 --> 00:05:22,541
[ Crowd cheering ]
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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...
112
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♪ Dunh, dunh ♪
113
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♪ Dunh, dunh, dunh ♪
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00:05:41,741 --> 00:05:43,041
♪ Dunh, dunh, dunh ♪
115
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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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00:05:55,208 --> 00:05:56,541
"Just go...
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♪ Dunh, dunh ♪
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00:05:58,908 --> 00:06:01,808
♪ Dunh, dunh, dunh ♪
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... and start the phrase again,
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00:06:03,541 --> 00:06:05,775
but don't put
that other bit in."
125
00:06:05,808 --> 00:06:11,641
And I hadn't even really thought
it was a song, you know?
126
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But he was excited by it.
127
00:06:13,175 --> 00:06:16,641
♪ She's a good girl ♪
128
00:06:16,675 --> 00:06:19,608
♪ Loves her mama ♪
129
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The first two verses
were ad‐libbed.
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You know, "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 trying
to make Jeff smile.
133
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He goes..."free falling."
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That's all he said, you know?
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♪ Now I'm free ♪
136
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♪ I'm free fallin' ♪
137
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♪ Yeah, I'm free ♪
138
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♪ I'm free fallin' ♪
139
00:07:03,441 --> 00:07:05,408
JOHN: That's the whole point
of having someone
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00:07:05,441 --> 00:07:06,908
that will sit in the booth,
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00:07:06,941 --> 00:07:08,641
hearing something
that you might play
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that you would just discard.
143
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And he'll say,
"Hang on a minute.
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00:07:11,841 --> 00:07:13,841
That was really good.
Go back to that."
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ST. VINCENT: 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.
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Really, anybody can make sound.
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00:07:24,841 --> 00:07:26,075
But not everybody
can make music.
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[ Up‐tempo rock music plays ]
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Well, hello and welcome
to the cradle of rock 'n' roll.
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GURALNICK: Sam Phillips
was three 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
three years later.
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KING: So many earlier producers,
like Sam Phillips,
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they're basically operating
in an A&R capacity,
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00:08:03,524 --> 00:08:07,191
looking for promising talent,
bringing them into the studio,
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00:08:07,224 --> 00:08:08,758
and crafting a unique sound
for them.
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00:08:09,924 --> 00:08:11,891
GURALNICK: From Sam Phillips'
point of view,
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00:08:11,924 --> 00:08:13,091
if you weren't doing
something different,
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00:08:13,124 --> 00:08:14,991
you weren't doing anything.
162
00:08:15,024 --> 00:08:17,958
He was looking for individualism
in the extreme, as he would say.
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PHILLIPS: 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 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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[ Music continues ]
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STUART: Memphis in the mid‐'50s
was a black cat's town.
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It was about soul.
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00:09:04,924 --> 00:09:07,524
Nashville didn't rock.
Memphis did.
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BECK:
Sam Phillips was so smitten
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00:09:12,558 --> 00:09:15,658
with the sound of black music
and black blues,
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00:09:15,691 --> 00:09:19,558
but he knew that he'd need
a white guy to put it out there.
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00:09:19,591 --> 00:09:21,591
And he found a guy
called Elvis Presley.
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00:09:24,858 --> 00:09:32,158
PRESLEY: ♪ Evening shadows
make me blue ♪
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00:09:32,191 --> 00:09:36,591
♪ When each weary day
is through ♪
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00:09:36,624 --> 00:09:41,024
With Elvis, I knew when
he walked in the door, baby.
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If anybody can do this,
184
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I believe this is the person
who can do it.
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♪ My happiness ♪
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GURALNICK: There was something
he heard in this kid,
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00:09:51,758 --> 00:09:54,524
something that was unique
about him.
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00:09:54,558 --> 00:09:57,258
JORGENSEN:
But as the session begins,
189
00:09:57,291 --> 00:10:02,124
Elvis starts singing all these
country songs and pop standards.
190
00:10:02,158 --> 00:10:04,558
And Sam realizes,
"Hey, this is not gonna work."
191
00:10:06,058 --> 00:10:10,224
He has a wonderful voice,
but it's so insecure.
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00:10:10,258 --> 00:10:16,791
♪ Just as long
as I'm with you ♪
193
00:10:16,824 --> 00:10:20,924
♪ My happiness ♪
194
00:10:24,524 --> 00:10:26,658
PHILLIPS: So I went in and
talked to him and said, "Hey.
195
00:10:26,691 --> 00:10:29,191
We still are not where I believe
we should be,
196
00:10:29,224 --> 00:10:31,158
and I think we all agree
on this."
197
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And so I turned around,
went back in the control room,
198
00:10:35,524 --> 00:10:37,624
and the next thing I know,
199
00:10:37,658 --> 00:10:40,624
Elvis cut out
on "That's All Right Mama."
200
00:10:40,658 --> 00:10:43,124
[ Up‐tempo introduction plays ]
201
00:10:43,158 --> 00:10:46,058
♪ Well, that's all right, Mama ♪
202
00:10:46,091 --> 00:10:48,258
♪ That's all right for you ♪
203
00:10:48,291 --> 00:10:50,491
♪ That's all right now, Mama ♪
204
00:10:50,524 --> 00:10:52,124
♪ Just any way you do ♪
205
00:10:52,158 --> 00:10:53,924
♪ That's all right ♪
206
00:10:53,958 --> 00:10:56,058
PHILLIPS: And, man,
the minute I heard that thing,
207
00:10:56,091 --> 00:11:00,558
I said, "Lord, hey, if we aren't
gonna make it on that, honey,
208
00:11:00,591 --> 00:11:02,258
there was nothing
I could do ever."
209
00:11:02,291 --> 00:11:05,224
[ Music continues ]
210
00:11:05,258 --> 00:11:07,824
KING:
I used to hear Elvis,
211
00:11:07,858 --> 00:11:10,558
and they would be singing and
playing, and they sounded good,
212
00:11:10,591 --> 00:11:13,958
but they was playing
white music.
213
00:11:13,991 --> 00:11:17,191
"That's all right, Mama.
That's all right for you."
214
00:11:17,224 --> 00:11:19,958
When he did that,
I said, "Oh, wait a minute."
215
00:11:19,991 --> 00:11:23,491
[ Laughs ]
"This is all right."
216
00:11:23,524 --> 00:11:24,991
How do you categorize
"That's All Right"?
217
00:11:25,024 --> 00:11:26,624
It's just a magic moment,
218
00:11:26,658 --> 00:11:29,758
and it's truly original
in that it doesn't sound
219
00:11:29,791 --> 00:11:31,991
like anything else
in the marketplace.
220
00:11:32,024 --> 00:11:34,491
♪ I'm leaving town, baby ♪
221
00:11:34,524 --> 00:11:36,991
♪ I'm leaving town for sure ♪
222
00:11:37,024 --> 00:11:38,891
♪ Well, then you won't
be bothered ♪
223
00:11:38,924 --> 00:11:40,958
♪ With me hanging 'round
your door ♪
224
00:11:40,991 --> 00:11:43,058
♪ But that's all right ♪
225
00:11:43,091 --> 00:11:45,491
♪ That's all right ♪
226
00:11:45,524 --> 00:11:48,558
♪ That's all right now, Mama ♪
227
00:11:48,591 --> 00:11:51,824
♪ Any way you do ♪
228
00:11:54,691 --> 00:11:57,591
JORGENSEN: To Sam Phillips,
it was always about freeing ‐‐
229
00:11:57,624 --> 00:12:00,824
freeing the soul
of his singers.
230
00:12:00,858 --> 00:12:02,991
Most of these people
who came to him ‐‐
231
00:12:03,024 --> 00:12:05,924
like Johnny Cash
and Carl Perkins,
232
00:12:05,958 --> 00:12:09,724
Elvis Presley, Jerry Lee Lewis,
Roy Orbison ‐‐
233
00:12:09,758 --> 00:12:12,758
they all shared
this enormous insecurity.
234
00:12:12,791 --> 00:12:14,891
His magic was to pull it out
235
00:12:14,924 --> 00:12:17,991
of whatever it was
that they had inside.
236
00:12:18,024 --> 00:12:20,924
♪ I believe you're doing
me wrong, and now I know ♪
237
00:12:22,691 --> 00:12:25,658
♪ I believe you're doing
me wrong, and now I know ♪
238
00:12:25,691 --> 00:12:28,024
GURALNICK: The qualities
Sam Phillips first saw in him,
239
00:12:28,058 --> 00:12:30,258
he continued to show
till the end of his career.
240
00:12:30,291 --> 00:12:32,091
♪ Well ♪
241
00:12:32,124 --> 00:12:33,824
♪ I said shake, rattle,
and roll ♪
242
00:12:33,858 --> 00:12:35,891
♪ I said shake, rattle,
and roll ♪
243
00:12:35,924 --> 00:12:38,158
♪ I said shake, rattle,
and roll ♪
244
00:12:38,191 --> 00:12:39,991
♪ I said shake, rattle,
and roll ♪
245
00:12:40,024 --> 00:12:43,958
PHILLIPS: When you know
that you have been able
246
00:12:43,991 --> 00:12:49,758
to give these people
the inspiration
247
00:12:49,791 --> 00:12:54,691
to display their God‐given
talent and to be proud of it...
248
00:12:56,924 --> 00:13:00,258
...I think that is the essence
of Sun Records.
249
00:13:00,291 --> 00:13:02,558
♪ I don't care if I die ♪
250
00:13:02,591 --> 00:13:04,824
♪ I said flip, flop, and fly ♪
251
00:13:04,858 --> 00:13:06,791
♪ I don't care if I die ♪
252
00:13:06,824 --> 00:13:08,124
♪ I won't ever leave ♪
253
00:13:08,158 --> 00:13:09,991
♪ Don't ever say goodbye ♪
254
00:13:11,591 --> 00:13:13,091
[ Cheers and applause ]
255
00:13:21,938 --> 00:13:24,338
We formally present
The Beatles!
256
00:13:24,371 --> 00:13:26,871
[ Cheers and applause,
mid‐tempo introduction plays ]
257
00:13:33,438 --> 00:13:36,771
GEORGE MARTIN: I didn't realize
when I signed the Beatles
258
00:13:36,804 --> 00:13:39,004
that they'd already been to
every record company
259
00:13:39,038 --> 00:13:41,404
in the country
and they'd been turned down
260
00:13:41,438 --> 00:13:43,204
by every record company
in the country.
261
00:13:45,038 --> 00:13:46,838
♪ Some other guy now ♪
262
00:13:46,871 --> 00:13:50,038
♪ Has taken my love
away from me ♪
263
00:13:50,071 --> 00:13:51,371
♪ Some other guy now ♪
264
00:13:51,404 --> 00:13:53,204
STARR:
When we first met George,
265
00:13:53,238 --> 00:13:55,171
we loved him because
he took a chance on us.
266
00:13:55,204 --> 00:13:57,138
No one else would take
a chance.
267
00:13:57,171 --> 00:13:58,871
With a name like that,
you come from Liverpool ‐‐
268
00:13:58,904 --> 00:14:00,204
not a chance in hell.
269
00:14:00,238 --> 00:14:02,204
[ Music continues ]
270
00:14:02,238 --> 00:14:05,204
GEORGE MARTIN: I think it was
a gut feeling I had about them.
271
00:14:05,238 --> 00:14:07,171
I think it was their charisma.
272
00:14:07,204 --> 00:14:09,071
Does the continuous living
and working together
273
00:14:09,104 --> 00:14:11,871
impose any temperamental
stress upon you?
274
00:14:11,904 --> 00:14:13,938
You know, we all have been mates
for quite a long time,
275
00:14:13,971 --> 00:14:17,204
so we don't get on each other's
nerves as much as we could.
276
00:14:17,238 --> 00:14:18,738
‐Get off!
‐[ Grunts ]
277
00:14:18,771 --> 00:14:20,104
[ Laughs ]
278
00:14:20,138 --> 00:14:21,671
We're quite friendly.
279
00:14:21,704 --> 00:14:23,004
Yeah. So I see.
[ Chuckles ]
280
00:14:23,038 --> 00:14:24,638
[ Music continues ]
281
00:14:26,204 --> 00:14:27,771
GEORGE MARTIN:
When I first met them,
282
00:14:27,804 --> 00:14:30,804
The Beatles knew nothing
about a recording studio.
283
00:14:30,838 --> 00:14:33,738
Their experience had been
performing in front of people
284
00:14:33,771 --> 00:14:37,104
at the Cavern and in Hamburg
and that kind of thing.
285
00:14:37,138 --> 00:14:40,138
LENNON: George had done no
rock 'n' roll when we met him,
286
00:14:40,171 --> 00:14:41,438
and we'd never been
in the studio.
287
00:14:41,471 --> 00:14:43,971
So we did a lot of learning
together.
288
00:14:44,004 --> 00:14:46,204
GEORGE MARTIN: I think
The Beatles would have made it
289
00:14:46,238 --> 00:14:49,438
as great musicians
whether I was there or not.
290
00:14:49,471 --> 00:14:52,138
I think the fact
that I was there helped out.
291
00:14:52,171 --> 00:14:54,671
I think they probably got there
more quickly.
292
00:14:54,704 --> 00:14:58,271
♪ Last night I said these words
to my girl ♪
293
00:15:00,971 --> 00:15:04,904
♪ I know you never even try,
girl ♪
294
00:15:07,004 --> 00:15:09,204
‐♪ Come on ♪
‐♪ Come on ♪
295
00:15:09,238 --> 00:15:10,404
‐♪ Come on ♪
‐♪ Come on ♪
296
00:15:10,438 --> 00:15:12,138
‐♪ Come on ♪
‐♪ Come on ♪
297
00:15:12,171 --> 00:15:14,004
‐♪ Come on ♪
‐♪ Come on ♪
298
00:15:14,038 --> 00:15:18,704
♪ Please please me, oh, yeah,
like I please you ♪
299
00:15:18,738 --> 00:15:21,304
[ Girls screaming ]
300
00:15:21,338 --> 00:15:22,838
GODRICH:
What happens
301
00:15:22,871 --> 00:15:24,671
with George Martin's work
with The Beatles
302
00:15:24,704 --> 00:15:29,404
is that he added himself
into the picture.
303
00:15:29,438 --> 00:15:31,838
He was an arranger.
He was a musician.
304
00:15:31,871 --> 00:15:34,404
He had some technical knowledge
that he could use
305
00:15:34,438 --> 00:15:37,171
to augment what they were doing
306
00:15:37,204 --> 00:15:40,938
and took control
of the overall sonic picture.
307
00:15:42,438 --> 00:15:44,404
VISCONTI: I kept seeing
George Martin's name
308
00:15:44,438 --> 00:15:46,104
on the records.
309
00:15:46,138 --> 00:15:48,671
And when I saw a picture of him,
I thought, "My God.
310
00:15:48,704 --> 00:15:50,671
He's about twice their age,"
you know?
311
00:15:50,704 --> 00:15:54,004
He looked like he was a director
in a bank, you know?
312
00:15:54,038 --> 00:15:55,838
He had a suit and tie
all the time.
313
00:15:55,871 --> 00:15:57,271
His hair was swept back.
314
00:15:57,304 --> 00:15:59,738
It was like "Wow.
These people work together.
315
00:15:59,771 --> 00:16:00,738
That's crazy."
316
00:16:01,871 --> 00:16:04,771
RUBIN:
He was older and wiser,
317
00:16:04,804 --> 00:16:08,204
and he brought
a deep musicality.
318
00:16:08,238 --> 00:16:14,038
They had it intuitively,
and he had it intellectually.
319
00:16:14,071 --> 00:16:17,904
So he could help them
execute ideas
320
00:16:17,938 --> 00:16:22,338
that a less skilled producer
could not do.
321
00:16:22,371 --> 00:16:24,338
[ Cheers and applause ]
322
00:16:27,404 --> 00:16:30,071
GEORGE MARTIN: It wasn't until
a couple of years later
323
00:16:30,104 --> 00:16:32,771
that they started doing
more sophisticated songwriting.
324
00:16:34,138 --> 00:16:36,671
And they wrote
most touching material.
325
00:16:36,704 --> 00:16:38,771
MAN: What key is it in?
What key is it in?
326
00:16:38,804 --> 00:16:41,338
McCARTNEY:
It'll be in F for you.
327
00:16:41,371 --> 00:16:43,238
♪ Yesterday ♪
328
00:16:43,271 --> 00:16:46,338
[ Guitar strums ]
329
00:16:46,371 --> 00:16:49,171
I'm in G.
But it'll be in F.
330
00:16:49,204 --> 00:16:53,138
It goes...E minor to A seventh
to D minor.
331
00:16:54,771 --> 00:16:55,938
Ready.
332
00:16:55,971 --> 00:16:57,304
MAN:
Here we go.
333
00:16:57,338 --> 00:16:59,304
GEORGE MARTIN: When Paul
first wrote "Yesterday,"
334
00:16:59,338 --> 00:17:02,771
he came to me and said,
"Have you heard this one before?
335
00:17:02,804 --> 00:17:05,138
Because I dreamt about it
last night,
336
00:17:05,171 --> 00:17:09,404
and I'm sure in my subconscious
I'm pinching it from someone."
337
00:17:09,438 --> 00:17:11,971
I said, "No. I'm sure it's
an original piece of music.
338
00:17:12,004 --> 00:17:13,204
Stick to it.
It's great."
339
00:17:13,238 --> 00:17:14,404
McCARTNEY:
Okay, man.
340
00:17:14,438 --> 00:17:15,938
[ Mid‐tempo introduction plays ]
341
00:17:19,238 --> 00:17:22,338
♪ Yesterday ♪
342
00:17:22,371 --> 00:17:27,104
♪ All my troubles seemed
so far away ♪
343
00:17:27,138 --> 00:17:30,371
♪ Now it looks as though
they're here to stay ♪
344
00:17:30,404 --> 00:17:32,671
GEORGE MARTIN:
He said, "What do you think?"
345
00:17:32,704 --> 00:17:35,771
I said, "Well, there's nothing
we can do to put on top of this
346
00:17:35,804 --> 00:17:37,671
that's gonna make it
more beautiful
347
00:17:37,704 --> 00:17:40,104
except perhaps some strings."
348
00:17:40,138 --> 00:17:43,438
♪ There's a shadow
hanging over me ♪
349
00:17:43,471 --> 00:17:45,771
GILES MARTIN: With my dad being
the posh bloke in the studio
350
00:17:45,804 --> 00:17:47,904
as the classically trained
musician,
351
00:17:47,938 --> 00:17:51,704
there was an initial reluctance
from Paul
352
00:17:51,738 --> 00:17:53,204
to have a string quartet
on "Yesterday."
353
00:17:54,271 --> 00:17:56,304
McCARTNEY: I was always
frightened of classical music,
354
00:17:56,338 --> 00:17:58,971
and I never wanted to listen
to it because it was Beethoven
355
00:17:59,004 --> 00:18:00,838
and Tchaikovsky and sort of
big words like that ‐‐
356
00:18:00,871 --> 00:18:02,938
and Schoenberg.
357
00:18:02,971 --> 00:18:04,738
And I always thought, you know,
it's high class, that.
358
00:18:04,771 --> 00:18:06,804
It's very highbrow.
359
00:18:06,838 --> 00:18:09,104
GEORGE MARTIN:
I was rehearsing musicians
360
00:18:09,138 --> 00:18:11,404
when he walked into the studio,
361
00:18:11,438 --> 00:18:13,771
and he saw the score
that I had written.
362
00:18:13,804 --> 00:18:15,771
And he came up to me and said,
"What's this?"
363
00:18:15,804 --> 00:18:17,938
I said, "It's all the music
that the musicians are playing.
364
00:18:17,971 --> 00:18:20,704
He said, "You haven't
got my name on it."
365
00:18:20,738 --> 00:18:22,071
I said, "I'm sorry.
366
00:18:22,104 --> 00:18:24,038
Here's a pencil.
Put your name on it."
367
00:18:24,071 --> 00:18:29,371
So he wrote on it, "'Yesterday'
by Paul McCartney, John Lennon,"
368
00:18:29,404 --> 00:18:33,671
looked at me ‐‐
"George Martin, Esquire,"
369
00:18:33,704 --> 00:18:36,238
and then giggled
and put down "and Mozart."
370
00:18:36,271 --> 00:18:39,904
♪ Yesterday ♪
371
00:18:39,938 --> 00:18:44,871
♪ Love was such an easy game
to play ♪
372
00:18:44,904 --> 00:18:48,904
♪ Now I need a place
to hide away ♪
373
00:18:48,938 --> 00:18:54,804
♪ Oh, I believe in yesterday ♪
374
00:18:54,838 --> 00:18:56,704
GEORGE MARTIN:
"Yesterday" showed Paul
375
00:18:56,738 --> 00:18:59,404
how a string quartet
could be quite effective
376
00:18:59,438 --> 00:19:01,738
on a really good song.
377
00:19:01,771 --> 00:19:04,838
And then he came to me
with "Eleanor Rigby,"
378
00:19:04,871 --> 00:19:07,304
which cried out for strings ‐‐
379
00:19:07,338 --> 00:19:11,371
not the smooth, legato stuff
of "Yesterday,"
380
00:19:11,404 --> 00:19:13,304
but something that was
very biting,
381
00:19:13,338 --> 00:19:15,738
very rhythmic, very edgy.
382
00:19:15,771 --> 00:19:17,271
[ Dramatic string music
playing ]
383
00:19:20,071 --> 00:19:23,304
It suggested to me
the stuff that Bernard Herrmann
384
00:19:23,338 --> 00:19:27,038
had been writing for "Psycho,"
for example.
385
00:19:27,071 --> 00:19:28,371
[ Music continues ]
386
00:19:31,038 --> 00:19:33,671
GILES MARTIN: "Eleanor Rigby"
is the first time
387
00:19:33,704 --> 00:19:35,671
that The Beatles weren't playing
any instruments
388
00:19:35,704 --> 00:19:36,838
on one of their records.
389
00:19:36,871 --> 00:19:38,938
It is just a string octet.
390
00:19:40,104 --> 00:19:42,871
The octet was recorded
onto four‐track.
391
00:19:42,904 --> 00:19:44,304
On track one here...
392
00:19:44,338 --> 00:19:46,138
[ Violins play ]
393
00:19:46,171 --> 00:19:48,304
... we have the first violins.
394
00:19:48,338 --> 00:19:50,404
[ Music continues ]
395
00:19:50,438 --> 00:19:53,004
And here are the second violins.
396
00:19:53,038 --> 00:19:54,738
[ Music continues ]
397
00:19:54,771 --> 00:19:56,304
You can hear bleed
398
00:19:56,338 --> 00:19:58,104
'cause they're all
in the same room together.
399
00:20:01,071 --> 00:20:02,871
VISCONTI:
Oh, my gosh.
400
00:20:02,904 --> 00:20:04,671
I played that over and over
and over and over again.
401
00:20:04,704 --> 00:20:07,804
It was just so smart.
402
00:20:07,838 --> 00:20:09,871
George Martin obviously knew
his stuff,
403
00:20:09,904 --> 00:20:12,771
and he knew how to put it
on a Beatles record.
404
00:20:12,804 --> 00:20:14,704
That's the trick.
405
00:20:14,738 --> 00:20:16,704
[ "Eleanor Rigby" continues ]
406
00:20:19,004 --> 00:20:21,071
For the first time
you're hearing a string octet
407
00:20:21,104 --> 00:20:23,271
and you're tapping your foot.
408
00:20:23,304 --> 00:20:25,371
George Martin made strings cool,
you know?
409
00:20:27,871 --> 00:20:31,204
He used strings in a way
that was so innovative,
410
00:20:31,238 --> 00:20:34,204
I don't think anyone
had thought of before.
411
00:20:34,238 --> 00:20:37,871
In that way,
The Beatles educated all of us.
412
00:20:37,904 --> 00:20:41,204
♪ Ah, look at
all the lonely people ♪
413
00:20:44,238 --> 00:20:48,004
♪ Ah, look at
all the lonely people ♪
414
00:20:51,138 --> 00:20:53,338
♪ Eleanor Rigby... ♪
415
00:20:53,371 --> 00:20:55,404
Until then, I thought,
"I can be a rock star.
416
00:20:55,438 --> 00:20:57,738
I want to be a rock star.
I want to be onstage.
417
00:20:57,771 --> 00:20:59,138
I want to have the girls
screaming at me.
418
00:20:59,171 --> 00:21:01,904
I want all that stuff.
I want a limo, everything."
419
00:21:01,938 --> 00:21:04,271
But now I wanted to be
George Martin.
420
00:21:04,304 --> 00:21:05,871
That was more important.
421
00:21:05,904 --> 00:21:08,338
To be in the studio,
to do that kind of stuff,
422
00:21:08,371 --> 00:21:10,738
to be able to experiment
that way
423
00:21:10,771 --> 00:21:14,704
and to make great works of art
that only exist on tape.
424
00:21:14,738 --> 00:21:16,404
That's very important.
425
00:21:16,438 --> 00:21:19,404
It's a very different art
from performing live.
426
00:21:19,438 --> 00:21:21,871
That's what I wanted to be ‐‐
I wanted to be George Martin.
427
00:21:23,071 --> 00:21:26,171
♪ All the lonely people ♪
428
00:21:26,204 --> 00:21:29,238
♪ Do they all belong? ♪
429
00:21:32,138 --> 00:21:36,804
TITELMAN: George Martin ‐‐
His influence was so mighty,
430
00:21:36,838 --> 00:21:41,104
But he wasn't there
to put his stamp on it.
431
00:21:41,138 --> 00:21:45,171
Someone like a Phil Spector ‐‐
He was the opposite of that.
432
00:21:45,204 --> 00:21:46,804
I don't know
if he said it himself,
433
00:21:46,838 --> 00:21:48,404
but, you know, he was the artist
on the record.
434
00:21:53,071 --> 00:21:55,838
[ "Be My Baby" plays ]
435
00:22:01,004 --> 00:22:02,438
♪ The night we met ♪
436
00:22:02,471 --> 00:22:06,638
♪ I knew I needed you so ♪
437
00:22:08,071 --> 00:22:11,971
VISCONTI: The enormous orchestra
he got on "Be My Baby" ‐‐
438
00:22:12,004 --> 00:22:14,671
There was nothing before
Phil Spector
439
00:22:14,704 --> 00:22:16,704
that was ever done
on such a level
440
00:22:16,738 --> 00:22:18,771
except maybe
a symphonic recording ‐‐
441
00:22:18,804 --> 00:22:21,204
you know, Beethoven's 9th
or something like that.
442
00:22:21,238 --> 00:22:26,204
Boom, boom‐boom, bang.
Boom, boom‐boom, bang.
443
00:22:26,238 --> 00:22:28,971
Those are huge, big, noisy,
rock 'n' roll ‐‐
444
00:22:29,004 --> 00:22:32,938
♪ Be my, be my little baby ♪
445
00:22:32,971 --> 00:22:35,404
‐♪ Be my darling ♪
‐♪ Be my, be my baby ♪
446
00:22:35,438 --> 00:22:38,338
♪ Be my baby now ♪
447
00:22:38,371 --> 00:22:41,771
♪ Whoa, whoa, whoa, oh, oh ♪
448
00:22:41,804 --> 00:22:44,838
GRANATA: What one really hears
in Phil Spector's work
449
00:22:44,871 --> 00:22:46,804
is the possibility
of production.
450
00:22:46,838 --> 00:22:51,804
He had a unique way of building
the sound of his recordings.
451
00:22:51,838 --> 00:22:53,404
It's now known
as the Wall of Sound.
452
00:22:55,471 --> 00:22:58,071
IOVINE: He was the first
rock‐star producer.
453
00:22:59,304 --> 00:23:01,938
And if you wanted to be
a record producer,
454
00:23:01,971 --> 00:23:05,671
he was somebody you had to study
or just know a lot about.
455
00:23:05,704 --> 00:23:06,938
[ Applause ]
456
00:23:09,771 --> 00:23:13,338
♪ To know, know, know him ♪
457
00:23:13,371 --> 00:23:17,938
♪ Is to love, love, love him ♪
458
00:23:17,971 --> 00:23:20,104
STANLEY: It's easy to forget
how young Phil Spector was
459
00:23:20,138 --> 00:23:21,671
when he started.
460
00:23:21,704 --> 00:23:23,804
The Teddy Bears
was his first band.
461
00:23:23,838 --> 00:23:26,771
And it was just him
and his schoolmates,
462
00:23:26,804 --> 00:23:30,738
the three of them doing this
very mournful harmony record.
463
00:23:30,771 --> 00:23:33,904
♪ Is to love, love, love him ♪
464
00:23:33,938 --> 00:23:37,104
TITELMAN:
My older sister's boyfriend
465
00:23:37,138 --> 00:23:39,871
was the other guy
in the Teddy Bears.
466
00:23:39,904 --> 00:23:42,338
They'd rehearse
in my living room,
467
00:23:42,371 --> 00:23:44,704
so I heard
"Wonderful Lovable You"
468
00:23:44,738 --> 00:23:46,071
and "Don't You Worry
My Little Pet"
469
00:23:46,104 --> 00:23:48,104
and "To Know Him
Is To Love Him."
470
00:23:48,138 --> 00:23:51,671
♪ Love, love, love him ♪
471
00:23:51,704 --> 00:23:53,404
TITELMAN: It's a magical
little teen record.
472
00:23:55,004 --> 00:23:57,971
That was the first record
he ever made.
473
00:23:58,004 --> 00:24:00,338
He emerged fully formed.
474
00:24:00,371 --> 00:24:04,004
♪ And I do ♪
475
00:24:04,038 --> 00:24:05,971
[ Up‐tempo music plays ]
476
00:24:09,804 --> 00:24:11,404
STANLEY:
Right from the beginning,
477
00:24:11,438 --> 00:24:13,904
Phil Spector was into the sound
of records
478
00:24:13,938 --> 00:24:15,138
and not just songwriting.
479
00:24:16,838 --> 00:24:18,204
And he was very ambitious.
480
00:24:18,238 --> 00:24:20,404
He started his own record label.
481
00:24:20,438 --> 00:24:22,371
And at that point,
what you think of
482
00:24:22,404 --> 00:24:24,071
as the Phil Spector
Wall of Sound really starts.
483
00:24:29,771 --> 00:24:34,071
MEDLEY: ♪ You never close
your eyes anymore ♪
484
00:24:34,104 --> 00:24:37,371
♪ When I kiss your lips ♪
485
00:24:40,138 --> 00:24:42,771
♪ And there's no tenderness... ♪
486
00:24:42,804 --> 00:24:44,204
STANLEY:
When you're a teenager,
487
00:24:44,238 --> 00:24:46,371
your emotions
are really heightened.
488
00:24:46,404 --> 00:24:49,171
Phil Spector's records
really encapsulated that.
489
00:24:49,204 --> 00:24:50,704
You listen to something like
490
00:24:50,738 --> 00:24:52,104
"You've Lost
That Loving Feeling,"
491
00:24:52,138 --> 00:24:53,438
and it sounds like the end
of the world
492
00:24:53,471 --> 00:24:55,271
more than the end
of a love affair.
493
00:24:55,304 --> 00:24:56,371
It's incredible.
494
00:24:56,404 --> 00:24:57,971
♪ But, baby ♪
495
00:24:59,271 --> 00:25:02,438
♪ Baby, I know it ♪
496
00:25:02,471 --> 00:25:05,938
♪ You've lost
that lovin' feeling ♪
497
00:25:08,004 --> 00:25:12,904
♪ Whoa, that lovin' feeling ♪
498
00:25:12,938 --> 00:25:16,104
♪ You've lost
that lovin' feeling ♪
499
00:25:16,138 --> 00:25:20,704
♪ Now it's gone, gone, gone ♪
500
00:25:20,738 --> 00:25:23,104
♪ Whoa, oh, oh, oh ♪
501
00:25:23,138 --> 00:25:26,304
Phil Spector used three keyboard
players, two drummers...
502
00:25:26,338 --> 00:25:28,838
MAN: ...three bass players,
three organ players...
503
00:25:28,871 --> 00:25:31,671
MAN: ...five keyboard players,
three guitar players...
504
00:25:31,704 --> 00:25:33,738
MAN:
... three woodwinds, three saxes.
505
00:25:33,771 --> 00:25:35,304
MAN:
... the Los Angeles Choir...
506
00:25:35,338 --> 00:25:38,304
He was like, "How can I make
these four tracks sound bigger?
507
00:25:38,338 --> 00:25:40,671
Well, I'll hire
double the musicians
508
00:25:40,704 --> 00:25:42,838
and have them play exactly the
same thing at the same time."
509
00:25:44,171 --> 00:25:46,838
WATERS: Phil Spector
intuitively understood
510
00:25:46,871 --> 00:25:49,271
that a rock‐'n'‐roll ensemble
or a pop group
511
00:25:49,304 --> 00:25:50,704
is no different
than an orchestra.
512
00:25:50,738 --> 00:25:52,904
There's absolutely a reason
513
00:25:52,938 --> 00:25:56,171
why you have 16 or 18 or 20
first violins in an orchestra.
514
00:25:56,204 --> 00:26:00,104
It's because one violin
sounds like shit, you know?
515
00:26:00,138 --> 00:26:02,371
If you get ‐‐
And even eight sound crappy.
516
00:26:02,404 --> 00:26:04,971
But when they're all playing
together,
517
00:26:05,004 --> 00:26:07,104
suddenly it homogenizes,
518
00:26:07,138 --> 00:26:10,738
and it creates
that extraordinary sound.
519
00:26:10,771 --> 00:26:14,271
♪ Bring back
that lovin' feeling ♪
520
00:26:16,304 --> 00:26:19,871
♪ Whoa, that lovin' feeling ♪
521
00:26:21,938 --> 00:26:24,738
HUFF: After the track was laid
and you go in the control room
522
00:26:24,771 --> 00:26:26,404
and you could listen
to the playback,
523
00:26:26,438 --> 00:26:28,904
you couldn't believe
what you was hearing.
524
00:26:28,938 --> 00:26:30,371
You didn't even believe
that you just played that,
525
00:26:30,404 --> 00:26:32,304
to listen to the track,
526
00:26:32,338 --> 00:26:35,404
the way he just stacked
those sounds together.
527
00:26:37,038 --> 00:26:38,304
And he knew what he was doing.
528
00:26:40,304 --> 00:26:43,304
LIPUMA: So he had this huge hit
with the Righteous Brothers,
529
00:26:43,338 --> 00:26:45,804
and then he followed it up
not that much later
530
00:26:45,838 --> 00:26:47,704
with "River Deep Mountain High."
531
00:26:47,738 --> 00:26:49,738
SPECTOR.
Okay. Here we go. From the top.
532
00:26:49,771 --> 00:26:51,271
MAN:
Take 3.
533
00:26:51,304 --> 00:26:54,238
One. Two.
One, two, three.
534
00:26:54,271 --> 00:26:56,271
[ Mid‐tempo introduction plays ]
535
00:26:59,304 --> 00:27:01,004
SPECTOR:
Jack, you don't have
536
00:27:01,038 --> 00:27:03,404
a more substantial tambourine
out there, do you?
537
00:27:03,438 --> 00:27:04,938
Take 11.
538
00:27:04,971 --> 00:27:06,304
BLAINE:
It wasn't just once in a while
539
00:27:06,338 --> 00:27:09,671
that we'd do 29, 30, 31 takes
on a song.
540
00:27:09,704 --> 00:27:13,304
And maybe he would go back
to take 4.
541
00:27:13,338 --> 00:27:16,038
But that's the way it was
with Phil.
542
00:27:16,071 --> 00:27:17,138
MAN:
Take 15.
543
00:27:17,171 --> 00:27:19,038
♪ Do I love you? ♪
544
00:27:19,071 --> 00:27:22,071
♪ My, oh, my ♪
545
00:27:22,104 --> 00:27:26,204
♪ Yeah, river deep,
mountain high ♪
546
00:27:26,238 --> 00:27:27,371
♪ Yeah, yeah, yeah ♪
547
00:27:27,404 --> 00:27:29,071
SPECTOR:
Hold it, hold it, hold it.
548
00:27:29,104 --> 00:27:30,971
It was a little fast.
You were ahead.
549
00:27:31,004 --> 00:27:34,738
He abused the technology.
He abused the musicians.
550
00:27:34,771 --> 00:27:36,938
TURNER: The day that we did
the session,
551
00:27:36,971 --> 00:27:38,804
the room was full of people.
552
00:27:38,838 --> 00:27:40,438
Eons of musicians.
553
00:27:40,471 --> 00:27:41,938
And he was a little bitty
something out there, screaming,
554
00:27:41,971 --> 00:27:43,704
"I want this!"
You know?
555
00:27:43,738 --> 00:27:45,838
I mean, he's very persistent
in what he wants.
556
00:27:45,871 --> 00:27:47,738
And the result is fantastic,
557
00:27:47,771 --> 00:27:51,071
but he's a very, very,
very strong personality
558
00:27:51,104 --> 00:27:52,904
to sort of work for.
559
00:27:52,938 --> 00:27:55,871
I wouldn't say he's easy at all.
[ Laughs ]
560
00:27:55,904 --> 00:27:59,371
[ "River Deep Mountain High"
plays
561
00:27:59,404 --> 00:28:02,738
♪ When I was a little girl ♪
562
00:28:02,771 --> 00:28:05,304
♪ I had a ragdoll ♪
563
00:28:05,338 --> 00:28:08,238
And I don't know who gave
that title, Wall of Sound,
564
00:28:08,271 --> 00:28:09,838
but it was a brilliant title.
565
00:28:09,871 --> 00:28:11,704
And they just put it
on everything.
566
00:28:11,738 --> 00:28:14,771
DION: Every rock 'n' roller
or any serious recordmaker
567
00:28:14,804 --> 00:28:17,004
wanted to grab on
to a bit of that sound.
568
00:28:17,038 --> 00:28:19,704
♪ And do I love you? ♪
569
00:28:19,738 --> 00:28:22,904
♪ My, oh, my ♪
570
00:28:22,938 --> 00:28:26,771
♪ Yeah, river deep,
mountain high ♪
571
00:28:26,804 --> 00:28:28,771
♪ Yeah, yeah, yeah ♪
572
00:28:28,804 --> 00:28:30,738
A lot of people
don't want to credit Phil
573
00:28:30,771 --> 00:28:34,138
because he's too crazy,
he had too much of a reputation.
574
00:28:34,171 --> 00:28:36,038
But from my point of view,
575
00:28:36,071 --> 00:28:38,704
I was working
with Phil Spector, man.
576
00:28:38,738 --> 00:28:39,738
I knew it was gonna be good.
577
00:28:48,964 --> 00:28:50,964
[ Mid‐tempo introduction plays ]
578
00:28:59,030 --> 00:29:02,530
♪ Up at 8:00,
you can't be late ♪
579
00:29:02,564 --> 00:29:05,864
♪ For Matthew and son,
he won't wait ♪
580
00:29:05,897 --> 00:29:08,930
[ Horns play ]
581
00:29:08,964 --> 00:29:11,530
STEVENS: I was actually making
very, very brassy,
582
00:29:11,564 --> 00:29:14,530
very fully arranged pop records
583
00:29:14,564 --> 00:29:17,430
back in the early '60s
or late '60s.
584
00:29:17,464 --> 00:29:20,064
[ Music continues ]
585
00:29:20,097 --> 00:29:22,497
♪ Matthew and son,
the work's never done ♪
586
00:29:22,530 --> 00:29:24,830
♪ There's always something new ♪
587
00:29:24,864 --> 00:29:26,930
I wanted to have a hit.
588
00:29:26,964 --> 00:29:29,997
But most of the times, I was not
in control of my songs.
589
00:29:30,030 --> 00:29:31,597
♪ ...never, ever through ♪
590
00:29:31,630 --> 00:29:33,730
And everybody was writing
these notes for me,
591
00:29:33,764 --> 00:29:35,430
and they were recording them.
592
00:29:35,464 --> 00:29:37,864
I was always rather intimidated
by the studio.
593
00:29:37,897 --> 00:29:40,764
And there's all these, like,
engineers, and they all knew
594
00:29:40,797 --> 00:29:42,664
what the buttons meant
and where the wires were going.
595
00:29:42,697 --> 00:29:44,064
I couldn't understand
what that was.
596
00:29:44,097 --> 00:29:45,664
It was a spaceship.
597
00:29:45,697 --> 00:29:48,297
[ Music continues ]
598
00:29:48,330 --> 00:29:51,597
And I didn't quite recognize
my music when it came out.
599
00:29:54,064 --> 00:29:57,564
I just wanted to get shod
of the record industry
600
00:29:57,597 --> 00:29:58,930
being, you know,
the boss of everybody
601
00:29:58,964 --> 00:29:59,997
and telling everybody
what to do.
602
00:30:01,930 --> 00:30:05,497
And I wanted to get control
of my sound.
603
00:30:05,530 --> 00:30:07,497
[ Introduction to
"Father and Son" plays ]
604
00:30:11,764 --> 00:30:15,997
♪ It's not time
to make a change ♪
605
00:30:16,030 --> 00:30:18,997
♪ Just relax, take it easy ♪
606
00:30:19,030 --> 00:30:20,930
♪ You're still young ♪
607
00:30:20,964 --> 00:30:22,664
♪ That's your fault ♪
608
00:30:22,697 --> 00:30:25,697
♪ There's so much
you have to know ♪
609
00:30:25,730 --> 00:30:28,997
♪ Find a girl, settle down ♪
610
00:30:29,030 --> 00:30:32,764
♪ If you want, you can marry ♪
611
00:30:32,797 --> 00:30:34,764
♪ Look at me ♪
612
00:30:34,797 --> 00:30:37,697
♪ I am old, but I'm happy ♪
613
00:30:40,330 --> 00:30:43,564
And so you'll hear
from my first records
614
00:30:43,597 --> 00:30:45,764
to my later records,
there's a change.
615
00:30:45,797 --> 00:30:48,697
And the big change was
when I said, "You know what?
616
00:30:48,730 --> 00:30:51,930
My little demos on my little
Grundig tape recorder
617
00:30:51,964 --> 00:30:53,930
sound better than what
I finally ended up with.
618
00:30:53,964 --> 00:30:56,497
All that brass
and all those strings."
619
00:30:56,530 --> 00:31:00,497
♪ Think of everything
you've got ♪
620
00:31:00,530 --> 00:31:03,797
♪ For you will still be here
tomorrow ♪
621
00:31:03,830 --> 00:31:06,464
♪ But your dreams may not ♪
622
00:31:11,030 --> 00:31:14,764
♪ How can I try to explain? ♪
623
00:31:14,797 --> 00:31:18,330
♪ 'Cause when I do,
he turns away again ♪
624
00:31:18,364 --> 00:31:23,364
♪ It's always been the same,
same old story ♪
625
00:31:25,697 --> 00:31:27,830
And so when we finally
started making those records ‐‐
626
00:31:27,864 --> 00:31:29,830
you know,
"Tea for the Tillerman" ‐‐
627
00:31:29,864 --> 00:31:32,030
it was stripping
everything down.
628
00:31:33,330 --> 00:31:37,864
And I looked for a new producer
who could capture
629
00:31:37,897 --> 00:31:42,297
that raw kind of song
that was within me
630
00:31:42,330 --> 00:31:46,464
in the purest way
without interfering.
631
00:31:46,497 --> 00:31:49,864
♪ All the times
that I've cried ♪
632
00:31:49,897 --> 00:31:53,430
♪ Keeping all the things
I knew inside ♪
633
00:31:53,464 --> 00:31:54,897
♪ It's hard ♪
634
00:31:54,930 --> 00:31:57,830
♪ But it's harder
to ignore it ♪
635
00:31:59,064 --> 00:32:02,597
♪ If they were right,
I'd agree ♪
636
00:32:02,630 --> 00:32:05,864
♪ But it's them they know,
not me ♪
637
00:32:05,897 --> 00:32:07,664
♪ Now there's a way ♪
638
00:32:07,697 --> 00:32:13,030
♪ And I know
that I have to go away ♪
639
00:32:13,064 --> 00:32:17,564
♪ I know I have to go ♪
640
00:32:17,597 --> 00:32:19,730
[ Music continues ]
641
00:32:24,797 --> 00:32:26,930
ASHER: The essence of
the singer/songwriter movement,
642
00:32:26,964 --> 00:32:28,697
one of its tenets was,
643
00:32:28,730 --> 00:32:31,597
you were trying to really
make sure the song told a story.
644
00:32:31,630 --> 00:32:33,364
And that's why we tried
to keep it simple,
645
00:32:33,397 --> 00:32:35,597
was because the songs
and the lyrics
646
00:32:35,630 --> 00:32:39,497
were among the most important
stars on the record.
647
00:32:39,530 --> 00:32:42,297
[ "California" plays ]
648
00:32:44,964 --> 00:32:47,697
Joni's always made
her own records.
649
00:32:47,730 --> 00:32:50,897
She has a very clear idea
of what she wants.
650
00:32:50,930 --> 00:32:53,764
Joni is an inventor.
651
00:32:53,797 --> 00:32:55,597
You know,
she invents guitar tunings
652
00:32:55,630 --> 00:32:57,030
the way she invents songs.
653
00:32:57,064 --> 00:32:59,630
[ Music continues ]
654
00:32:59,664 --> 00:33:04,630
And I don't think producing her
is realistically possible.
655
00:33:04,664 --> 00:33:07,397
♪ Sitting in a park
in Paris, France ♪
656
00:33:07,430 --> 00:33:09,597
♪ Reading the news,
and it's all bad ♪
657
00:33:09,630 --> 00:33:11,497
♪ They won't give peace
a chance ♪
658
00:33:11,530 --> 00:33:14,430
♪ That was just a dream
some of us had ♪
659
00:33:14,464 --> 00:33:17,297
♪ Still a lot of lands to see ♪
660
00:33:17,330 --> 00:33:19,530
♪ But I wouldn't want
to stay here ♪
661
00:33:19,564 --> 00:33:23,597
♪ It's too old and cold
and settled in its ways here ♪
662
00:33:23,630 --> 00:33:26,397
♪ Oh, but California ♪
663
00:33:26,430 --> 00:33:31,630
♪ California, I'm coming home ♪
664
00:33:31,664 --> 00:33:33,830
♪ I'm gonna see
the folks I dig ♪
665
00:33:33,864 --> 00:33:36,630
♪ I'll even kiss a sunset pig ♪
666
00:33:36,664 --> 00:33:40,797
♪ California, when I get home ♪
667
00:33:40,830 --> 00:33:42,764
MITCHELL:
Most of the men at that time
668
00:33:42,797 --> 00:33:44,864
were very resistant to taking
instruction from a woman.
669
00:33:46,364 --> 00:33:49,697
They were very pompous,
overlording.
670
00:33:49,730 --> 00:33:52,997
I thought, "If I have to
subordinate myself
671
00:33:53,030 --> 00:33:57,297
to this, you know, person,
it'll kill my love of music."
672
00:33:57,330 --> 00:33:58,830
So I had to put in my contract
673
00:33:58,864 --> 00:34:00,430
that I never had to have
a producer.
674
00:34:00,464 --> 00:34:02,530
♪ And I might have stayed on
with him there ♪
675
00:34:02,564 --> 00:34:05,964
♪ But my heart cried out
for you ♪
676
00:34:05,997 --> 00:34:09,030
QUESTLOVE:
Geniuses, they're stubborn
677
00:34:09,064 --> 00:34:12,330
and they're hell‐bent
on executing their vision
678
00:34:12,364 --> 00:34:13,997
the way that they see fit.
679
00:34:14,030 --> 00:34:16,964
♪ Oh, make me feel good,
rock‐'n'‐roll band ♪
680
00:34:16,997 --> 00:34:18,564
♪ I'm your biggest fan ♪
681
00:34:18,597 --> 00:34:20,964
♪ California, I'm coming home ♪
682
00:34:20,997 --> 00:34:22,764
QUESTLOVE:
You know, talent is one thing,
683
00:34:22,797 --> 00:34:26,497
but you have to have the drive
and the will
684
00:34:26,530 --> 00:34:29,630
to make people see your vision.
685
00:34:29,664 --> 00:34:33,564
[ Introduction to
"Everyday People" plays ]
686
00:34:33,597 --> 00:34:37,530
♪ Sometimes I'm right,
and I can be wrong ♪
687
00:34:37,564 --> 00:34:41,697
♪ My own beliefs
are in my song ♪
688
00:34:41,730 --> 00:34:46,364
♪ The butcher, the banker,
the drummer, and then ♪
689
00:34:46,397 --> 00:34:50,497
♪ Makes no difference
what group I'm in ♪
690
00:34:50,530 --> 00:34:55,964
♪ I am everyday people ♪
691
00:34:55,997 --> 00:34:57,930
♪ Yeah, yeah ♪
692
00:34:57,964 --> 00:35:00,930
Just as the rise of female
singer/songwriters in the 1970s
693
00:35:00,964 --> 00:35:02,930
meant that people
like Joni Mitchell
694
00:35:02,964 --> 00:35:05,730
were able to produce their own
vision of who they were
695
00:35:05,764 --> 00:35:07,497
in the recording studio,
696
00:35:07,530 --> 00:35:09,630
you also have the rise
of African‐American artists
697
00:35:09,664 --> 00:35:11,764
who start to empower themselves
698
00:35:11,797 --> 00:35:13,897
and start to use
the recording studio in a way
699
00:35:13,930 --> 00:35:15,697
that's incredibly creative and
very different than the past.
700
00:35:16,864 --> 00:35:18,397
People like Stevie Wonder,
701
00:35:18,430 --> 00:35:20,730
Marvin Gaye,
and Curtis Mayfield,
702
00:35:20,764 --> 00:35:22,964
and particularly, I think, Sly
from Sly and the Family Stone.
703
00:35:25,464 --> 00:35:28,597
These artists became
the producers themselves.
704
00:35:28,630 --> 00:35:32,597
♪ We got to live together ♪
705
00:35:32,630 --> 00:35:36,997
♪ I am no better
and neither are you ♪
706
00:35:37,030 --> 00:35:40,797
♪ We are the same
whatever we do ♪
707
00:35:40,830 --> 00:35:43,964
He was taking a stand
politically, musically.
708
00:35:43,997 --> 00:35:45,797
He was his own boss.
709
00:35:45,830 --> 00:35:47,564
You couldn't think of anyone
710
00:35:47,597 --> 00:35:49,497
telling Sly what to do
in the studio.
711
00:35:49,530 --> 00:35:57,030
♪ I am everyday people ♪
712
00:35:57,064 --> 00:35:59,364
I can talk about
Sly and the Family Stone
713
00:35:59,397 --> 00:36:00,664
for a very long time.
714
00:36:00,697 --> 00:36:02,430
Okay.
Play it.
715
00:36:02,464 --> 00:36:03,964
[ Vocalizing ]
716
00:36:05,730 --> 00:36:07,930
[ Mid‐tempo introduction plays ]
717
00:36:11,664 --> 00:36:17,664
Sly Stone brought in
a song craftsmanship to funk
718
00:36:17,697 --> 00:36:18,864
that wasn't there.
719
00:36:18,897 --> 00:36:21,930
He put his own spin on it,
720
00:36:21,964 --> 00:36:27,030
and out came something really
unique and bold and just fresh.
721
00:36:27,064 --> 00:36:29,297
[ Music continues ]
722
00:36:33,430 --> 00:36:35,764
QUESTLOVE: Because
of the ongoing conflicts
723
00:36:35,797 --> 00:36:38,530
between Sly
and his Family Stone,
724
00:36:38,564 --> 00:36:41,297
he wound up doing
his fifth record,
725
00:36:41,330 --> 00:36:44,464
"There's a Riot Goin' On,"
by himself.
726
00:36:44,497 --> 00:36:45,864
[ "Family Affair" playing ]
727
00:36:48,764 --> 00:36:53,497
♪ It's a family affair ♪
728
00:36:53,530 --> 00:36:56,930
♪ It's a family affair ♪
729
00:36:58,964 --> 00:37:01,964
WANG: Sly Stone was such a huge
musical experimenter.
730
00:37:01,997 --> 00:37:03,964
He would try playing with things
731
00:37:03,997 --> 00:37:06,930
that most other people
hadn't thought about.
732
00:37:06,964 --> 00:37:10,864
QUESTLOVE: He did it at, like ‐‐
Now we'd call it a home studio.
733
00:37:10,897 --> 00:37:12,697
That's Sly playing bass,
Sly playing guitar,
734
00:37:12,730 --> 00:37:14,597
Sly playing keyboards.
735
00:37:14,630 --> 00:37:18,664
Of course he's programming ‐‐
drum programming on there,
736
00:37:18,697 --> 00:37:22,530
which is like...
early kind of hip‐hop.
737
00:37:22,564 --> 00:37:24,964
Some uptight producer would go,
"No, I don't want that.
738
00:37:24,997 --> 00:37:26,830
That doesn't sound like
real drums."
739
00:37:26,864 --> 00:37:28,397
That was the point.
740
00:37:28,430 --> 00:37:29,530
It didn't,
but it was something funkier.
741
00:37:29,564 --> 00:37:31,997
[ Music continues ]
742
00:37:32,030 --> 00:37:35,564
QUESTLOVE: What he did in 1971
will be the gold standard
743
00:37:35,597 --> 00:37:39,997
for how musicians will create
their music 10 years later.
744
00:37:40,030 --> 00:37:42,819
[ Run‐DMC's "Hard Times" plays ]
745
00:37:49,371 --> 00:37:53,505
The significance
of the black musician,
746
00:37:53,538 --> 00:37:58,338
songwriter, singer, producer,
whatever ‐‐
747
00:37:58,371 --> 00:38:00,871
To me it all boils down
748
00:38:00,905 --> 00:38:03,805
to communicating
the lives we live.
749
00:38:06,838 --> 00:38:10,538
♪ Unemployment
at a record high ♪
750
00:38:10,571 --> 00:38:14,671
♪ People coming, people going,
people born to die ♪
751
00:38:14,705 --> 00:38:17,838
♪ Don't ask me
because I don't know why ♪
752
00:38:17,871 --> 00:38:19,871
‐♪ But it's like that ♪
‐♪ What? ♪
753
00:38:19,905 --> 00:38:21,705
♪ And that's the way it is ♪
754
00:38:21,738 --> 00:38:23,605
♪ Huh, huh, huh, huh ♪
755
00:38:23,638 --> 00:38:25,105
BOYD:
It's a generation of people
756
00:38:25,138 --> 00:38:28,405
who don't have access
to musical instruments...
757
00:38:28,438 --> 00:38:30,605
Scratch it out. Scratch ‐‐
Scratch it ‐‐ Scratch it.
758
00:38:30,638 --> 00:38:32,705
... who don't have
musical training.
759
00:38:32,738 --> 00:38:35,838
They're using music
to create new music.
760
00:38:35,871 --> 00:38:38,605
We took what was available
and created hip‐hop.
761
00:38:38,638 --> 00:38:40,438
♪ ... why you search ♪
762
00:38:40,471 --> 00:38:42,371
♪ Take the train to the plane ♪
763
00:38:42,405 --> 00:38:44,438
♪ Drive to school
or the church ♪
764
00:38:44,471 --> 00:38:46,738
‐♪ It's like that ♪
‐♪ And that's the way it is ♪
765
00:38:46,771 --> 00:38:50,471
KING: With hip‐hop, the role of
the producer changes completely.
766
00:38:50,505 --> 00:38:53,538
You have producers sampling
and using drum machines.
767
00:38:55,071 --> 00:38:57,105
HADLEY: The best producers,
they have this ability
768
00:38:57,138 --> 00:39:00,071
to create a signature tapestry
769
00:39:00,105 --> 00:39:03,705
that makes all of these bits
and pieces
770
00:39:03,738 --> 00:39:06,471
actually sound
like an original composition.
771
00:39:06,505 --> 00:39:08,838
[ Siren wails ]
772
00:39:08,871 --> 00:39:10,838
You are now about to witness
the strength
773
00:39:10,871 --> 00:39:12,671
of street knowledge.
774
00:39:12,705 --> 00:39:14,871
[ Introduction to
"Straight Outta Compton" plays ]
775
00:39:16,605 --> 00:39:17,938
♪ Straight outta Compton ♪
776
00:39:17,971 --> 00:39:19,838
♪ Crazy motherfucker
named Ice Cube ♪
777
00:39:19,871 --> 00:39:22,105
♪ From the gang called
Niggaz Wit' Attitudes ♪
778
00:39:22,138 --> 00:39:23,938
KING:
In the early 1990s,
779
00:39:23,971 --> 00:39:27,805
Dr. Dre basically put
West Coast hip‐hop on the map.
780
00:39:27,838 --> 00:39:29,671
He was notorious
for having this sound
781
00:39:29,705 --> 00:39:31,038
that was unlike anything else.
782
00:39:31,071 --> 00:39:32,771
♪ But when I come back, boy ♪
783
00:39:32,805 --> 00:39:34,971
♪ I'm coming
straight outta Compton ♪
784
00:39:39,038 --> 00:39:43,738
Gangsta rap, that music took on
a life of its own,
785
00:39:43,771 --> 00:39:48,605
and it gave the West Coast
and L. A. scene its own voice.
786
00:39:48,638 --> 00:39:53,105
[ "Express Yourself" plays ]
787
00:39:53,138 --> 00:39:54,505
STEWART:
I remember the shift
788
00:39:54,538 --> 00:39:57,005
when NWA and Dre
came into the scene.
789
00:39:57,038 --> 00:39:59,105
Sonically, it was polished.
790
00:39:59,138 --> 00:40:01,105
But at the same time,
791
00:40:01,138 --> 00:40:04,638
it was like this super hard
West Coast sound.
792
00:40:04,671 --> 00:40:05,771
♪ I'm dropping flavor ♪
793
00:40:05,805 --> 00:40:07,638
♪ My behavior is hereditary ♪
794
00:40:07,671 --> 00:40:09,638
♪ But my technique
is very necessary ♪
795
00:40:09,671 --> 00:40:11,038
♪ Blame it on Ice Cube ♪
796
00:40:11,071 --> 00:40:12,905
♪ Because he said
it gets funky ♪
797
00:40:12,938 --> 00:40:14,438
♪ When you got a subject
and a predicate ♪
798
00:40:14,471 --> 00:40:16,505
STEWART:
And you felt Dre's presence
799
00:40:16,538 --> 00:40:19,105
as one of the greatest
hip‐hop producers of all time,
800
00:40:19,138 --> 00:40:21,605
if not the greatest.
801
00:40:21,638 --> 00:40:23,105
‐♪ Don't be another sequel ♪
‐♪ Express yourself ♪
802
00:40:23,138 --> 00:40:24,838
♪ Do it ♪
803
00:40:24,871 --> 00:40:25,871
IOVINE:
When we started Interscope,
804
00:40:25,905 --> 00:40:28,371
I didn't know anything
about running a business,
805
00:40:28,405 --> 00:40:30,071
and I knew even less
about hip‐hop.
806
00:40:30,105 --> 00:40:33,805
So this fella John McClain,
who was an A&R guy,
807
00:40:33,838 --> 00:40:35,971
brought this tape in and said,
"We have to sign these guys."
808
00:40:37,471 --> 00:40:39,738
I said, "Who is he?"
He goes, "It's Dr. Dre.
809
00:40:39,771 --> 00:40:42,338
It's his solo record.
He used to be in NWA."
810
00:40:42,371 --> 00:40:44,538
I said, "Okay, I don't really
know a lot about it,
811
00:40:44,571 --> 00:40:45,938
but play it for me."
812
00:40:45,971 --> 00:40:48,705
♪ One, two, three,
and to the four ♪
813
00:40:48,738 --> 00:40:51,338
♪ Snoop Doggy Dogg
and Dr. Dre is at the door ♪
814
00:40:51,371 --> 00:40:53,538
♪ Ready to make an entrance,
so back on up ♪
815
00:40:53,571 --> 00:40:55,638
♪ 'Cause you know
we're 'bout to rip shit up ♪
816
00:40:55,671 --> 00:40:57,871
♪ Give me the microphone first
so I can bust like a bubble ♪
817
00:40:57,905 --> 00:40:59,705
♪ Compton and Long Beach
together ♪
818
00:40:59,738 --> 00:41:01,105
♪ Now you know you in trouble ♪
819
00:41:01,138 --> 00:41:03,738
♪ Ain't nothing
but a G thang, baby ♪
820
00:41:03,771 --> 00:41:06,038
♪ Two loc'ed out niggas,
so we're crazy ♪
821
00:41:06,071 --> 00:41:08,005
IOVINE: And I didn't know
a lot about it.
822
00:41:08,038 --> 00:41:11,405
I didn't understand the music,
but I understood the sound.
823
00:41:11,438 --> 00:41:13,905
♪ Dre, creep to the mike
like a phantom ♪
824
00:41:13,938 --> 00:41:15,838
♪ Well, I'm peepin' and I'm
creepin' and I'm creepin' ♪
825
00:41:15,871 --> 00:41:17,371
IOVINE:
So Dre comes in.
826
00:41:17,405 --> 00:41:19,338
I said, "Dre, who recorded
this record?
827
00:41:19,371 --> 00:41:20,805
He said, "I did."
828
00:41:20,838 --> 00:41:22,105
I said, "No,
not who produced it.
829
00:41:22,138 --> 00:41:24,538
Who engineered it?
He said, "I did."
830
00:41:24,571 --> 00:41:26,671
I said, "Wow.
This guy's onto something."
831
00:41:26,705 --> 00:41:29,338
♪ With a producer who can rap
and control the maestro ♪
832
00:41:29,371 --> 00:41:31,938
♪ At the same time with
the dope rhyme that I kick ♪
833
00:41:31,971 --> 00:41:34,905
♪ You know and I know,
I flow some old funky shit ♪
834
00:41:34,938 --> 00:41:37,938
DR. DRE: Everybody has to have
their own sound.
835
00:41:37,971 --> 00:41:39,838
That's what makes it different,
you know?
836
00:41:39,871 --> 00:41:41,638
And I'm a perfectionist.
837
00:41:41,671 --> 00:41:44,338
'Cause no matter how hard
you work in the studio,
838
00:41:44,371 --> 00:41:45,738
no matter what you do,
839
00:41:45,771 --> 00:41:48,505
you don't know
if people are gonna dig it.
840
00:41:48,538 --> 00:41:50,105
♪ It's like this ♪
841
00:41:50,138 --> 00:41:51,905
♪ And who gives a fuck
about those? ♪
842
00:41:51,938 --> 00:41:54,805
It's very easy to make
a hip‐hop record.
843
00:41:54,838 --> 00:41:57,738
It's not easy to make
a good hip‐hop record.
844
00:41:57,771 --> 00:42:00,571
IOVINE: When Dre came in
with "The Chronic,"
845
00:42:00,605 --> 00:42:05,105
he was using live musicians
and recording it very sparse.
846
00:42:05,138 --> 00:42:08,038
RZA: He was finding samples
that we all overlooked,
847
00:42:08,071 --> 00:42:10,471
pulling from funk and G‐funk.
848
00:42:10,505 --> 00:42:12,571
You know, you listen
to the sample on "G Thang" ‐‐
849
00:42:12,605 --> 00:42:14,671
♪ Doo, doo, doo, doo, doo ♪
850
00:42:14,705 --> 00:42:17,405
♪ It's like this and like that
and like this and, uh ♪
851
00:42:17,438 --> 00:42:19,638
♪ It's like that and like this
and like that and, uh ♪
852
00:42:19,671 --> 00:42:22,371
He's hearing things
853
00:42:22,405 --> 00:42:24,871
that the average ear
will never encounter in a song.
854
00:42:24,905 --> 00:42:27,705
And then when he hears it,
he'll pull it out.
855
00:42:27,738 --> 00:42:29,538
He will pull it out.
856
00:42:29,571 --> 00:42:32,071
[ Music continues ]
857
00:42:32,105 --> 00:42:34,071
QUESTLOVE:
I'll admit something to you.
858
00:42:34,105 --> 00:42:37,905
I was one of the initial
naysayers
859
00:42:37,938 --> 00:42:39,771
of Dr. Dre's "The Chronic."
860
00:42:41,571 --> 00:42:45,605
It was like everything
I didn't want hip‐hop to be.
861
00:42:45,638 --> 00:42:49,071
It was clean, louder, bigger.
862
00:42:49,105 --> 00:42:52,371
I wanted my hip‐hop dirty.
863
00:42:52,405 --> 00:42:55,805
This DIY approach,
this very low‐budget,
864
00:42:55,838 --> 00:42:58,671
lo‐fi approach
to making music ‐‐
865
00:42:58,705 --> 00:43:02,405
That's what I felt hip‐hop
should and always be.
866
00:43:02,438 --> 00:43:04,571
♪ Creeping down
the back street on D's ♪
867
00:43:04,605 --> 00:43:06,671
It took me 10 years
868
00:43:06,705 --> 00:43:09,105
to really understand
where Dr. Dre was going.
869
00:43:09,138 --> 00:43:12,505
And now that I make records,
870
00:43:12,538 --> 00:43:16,905
now I understand why this album
is so important.
871
00:43:16,938 --> 00:43:19,571
RZA: What he did for hip‐hop
and for sampling
872
00:43:19,605 --> 00:43:22,938
is that he proved
that you can make a record
873
00:43:22,971 --> 00:43:25,605
of the highest quality
as a hip‐hop producer.
874
00:43:25,638 --> 00:43:27,338
♪ When they hear me
beating up the street ♪
875
00:43:27,371 --> 00:43:29,071
♪ "Is it Dre? Is it Dre?" ♪
876
00:43:29,105 --> 00:43:30,971
♪ That's what they say ♪
877
00:43:31,005 --> 00:43:33,038
ROSEN: People kind of
scorned hip‐hop producers
878
00:43:33,071 --> 00:43:35,538
for not being real musicians.
879
00:43:35,571 --> 00:43:37,538
‐♪ With all the niggas sayin' ♪
‐♪ Swing down... ♪
880
00:43:37,571 --> 00:43:40,471
Today, playing around
with sampling technology,
881
00:43:40,505 --> 00:43:42,505
it's become completely accepted.
882
00:43:42,538 --> 00:43:45,071
This is the way
that most people make records.
883
00:43:45,105 --> 00:43:48,538
RZA:
The digital wave of music
884
00:43:48,571 --> 00:43:52,105
gave us a whole orchestra
of instrumentation
885
00:43:52,138 --> 00:43:54,471
in front of our hands,
you know what I mean?
886
00:43:54,505 --> 00:43:56,038
That's one of the greatest
things we could have.
887
00:43:56,071 --> 00:43:58,038
If Mozart had this, imagine.
888
00:43:58,071 --> 00:44:00,971
DR. LUKE: The ability
to re‐record something 10 times,
889
00:44:01,005 --> 00:44:04,071
comp it, the ability to have
so many tracks
890
00:44:04,105 --> 00:44:07,071
where you can sort of do
crazy layers, you know,
891
00:44:07,105 --> 00:44:09,038
more than Phil Spector did.
892
00:44:09,071 --> 00:44:12,738
You can have 300 tracks
on something now.
893
00:44:12,771 --> 00:44:14,605
You can set up in your room
894
00:44:14,638 --> 00:44:16,471
and just have a microphone
and your laptop,
895
00:44:16,505 --> 00:44:19,905
and you can make something
that's formidable and dope
896
00:44:19,938 --> 00:44:21,471
and that rocks.
897
00:44:21,505 --> 00:44:22,671
Like, you can.
898
00:44:22,705 --> 00:44:24,971
That's just where
the technology is.
899
00:44:26,371 --> 00:44:30,338
But all technology does
is provide you with paints.
900
00:44:30,371 --> 00:44:34,005
A producer is somebody who can
take the color and make it.
901
00:44:34,038 --> 00:44:35,938
You didn't have to have a drop.
902
00:44:35,971 --> 00:44:38,538
I just felt like it was staying
exciting, and then...
903
00:44:38,571 --> 00:44:40,371
RUBIN: I think everyone benefits
from having a producer
904
00:44:40,405 --> 00:44:45,505
just because it really helps
having sort of an impartial jury
905
00:44:45,538 --> 00:44:47,905
to make sense of it all.
906
00:44:47,938 --> 00:44:49,871
But there's no right
or wrong way to do this.
907
00:44:49,905 --> 00:44:51,905
It's like any way you find
the inspiration works.
908
00:44:58,505 --> 00:45:00,105
"Jam" means "record."
909
00:45:00,138 --> 00:45:02,271
"Def" is short for "definitive."
910
00:45:02,305 --> 00:45:05,138
Definitely the best records
you could buy today.
911
00:45:05,171 --> 00:45:07,205
♪ Brass monkey ♪
912
00:45:07,238 --> 00:45:09,438
♪ That funky monkey ♪
913
00:45:09,471 --> 00:45:11,338
HOROVITZ:
When we first met Rick Rubin,
914
00:45:11,371 --> 00:45:13,271
I didn't know anything
about production.
915
00:45:13,305 --> 00:45:16,071
I didn't think about production.
I didn't know it even existed.
916
00:45:16,105 --> 00:45:18,138
Rick definitely was into that.
917
00:45:18,171 --> 00:45:21,105
Luckily, he was good at it.
You know what I mean?
918
00:45:21,138 --> 00:45:24,205
He could've sucked, and that
would've been the end of it ‐‐
919
00:45:24,238 --> 00:45:25,605
for all of us.
920
00:45:25,638 --> 00:45:27,405
♪ Come on, y'all,
it's time to get nice ♪
921
00:45:27,438 --> 00:45:29,238
♪ Coolin' by the lockers,
gettin' kind of funky ♪
922
00:45:29,271 --> 00:45:31,338
KING:
Rick Rubin started Def Jam,
923
00:45:31,371 --> 00:45:34,405
the massive,
multimillion‐dollar enterprise,
924
00:45:34,438 --> 00:45:36,305
in his dorm room at NYU.
925
00:45:36,338 --> 00:45:39,205
And he went on to produce
Run‐DMC,
926
00:45:39,238 --> 00:45:42,305
Beastie Boys, Metallica,
and Slayer.
927
00:45:42,338 --> 00:45:44,371
He's produced
The Red Hot Chili Peppers,
928
00:45:44,405 --> 00:45:46,471
The Dixie Chicks.
929
00:45:46,505 --> 00:45:48,905
He's an incredibly diverse
and wide‐ranging producer.
930
00:45:50,371 --> 00:45:55,105
The reason that the artists
might not all fit into one genre
931
00:45:55,138 --> 00:45:57,338
is it's not really the way
I listen to music.
932
00:45:57,371 --> 00:45:58,971
I just like good music,
933
00:45:59,005 --> 00:46:02,838
and I try not to categorize it
too much.
934
00:46:02,871 --> 00:46:04,905
KING:
In the early 1990s,
935
00:46:04,938 --> 00:46:08,171
Rick Rubin started a new
record label, Def American,
936
00:46:08,205 --> 00:46:12,571
and he was really interested in
testing himself as a producer.
937
00:46:12,605 --> 00:46:14,571
RUBIN: By that time, most
of the artists I had worked with
938
00:46:14,605 --> 00:46:16,538
were new and young artists.
939
00:46:16,571 --> 00:46:20,871
And it felt like it would be
a really interesting challenge
940
00:46:20,905 --> 00:46:24,371
to find a great older artist
who'd been through a lot
941
00:46:24,405 --> 00:46:27,138
and maybe wasn't doing
their best work at the time.
942
00:46:27,171 --> 00:46:29,571
And the first person
I thought of was Johnny Cash.
943
00:46:29,605 --> 00:46:31,438
[ Down‐tempo music playing ]
944
00:46:35,938 --> 00:46:38,405
He'd been dropped by two labels.
945
00:46:38,438 --> 00:46:41,005
He had already had a comeback,
946
00:46:41,038 --> 00:46:43,805
and that was probably
25 years earlier.
947
00:46:45,338 --> 00:46:47,071
ROSEANNE CASH:
He thought people didn't care
948
00:46:47,105 --> 00:46:48,971
about his work anymore.
949
00:46:49,005 --> 00:46:51,871
He didn't feel the support
from the label.
950
00:46:51,905 --> 00:46:53,238
He was floundering a bit.
951
00:46:56,505 --> 00:46:58,571
STUART: Country music would have
nothing to do with him.
952
00:46:58,605 --> 00:47:01,138
In the '80s,
when I was in his band,
953
00:47:01,171 --> 00:47:04,338
we recorded album after album
after album.
954
00:47:04,371 --> 00:47:05,838
And nothing happened.
955
00:47:08,138 --> 00:47:11,105
JOHNNY CASH:
Somebody stole all the magic,
956
00:47:11,138 --> 00:47:14,505
Like in the '70s,
some of the '80s,
957
00:47:14,538 --> 00:47:17,371
when the magic for the music
was gone.
958
00:47:17,405 --> 00:47:19,505
And I was just doing it
because I do it.
959
00:47:19,538 --> 00:47:21,471
I was just doing it
'cause that's what I do.
960
00:47:21,505 --> 00:47:22,838
And I hate that.
961
00:47:22,871 --> 00:47:24,338
[ Music continues ]
962
00:47:26,471 --> 00:47:29,038
RUBIN: A friend of mine set up
a meeting for us.
963
00:47:29,071 --> 00:47:31,471
He was playing at a
dinner theater in Orange County.
964
00:47:31,505 --> 00:47:34,238
It didn't feel like a place
that was appropriate
965
00:47:34,271 --> 00:47:36,838
for someone of his importance
to be playing.
966
00:47:39,071 --> 00:47:41,505
It just was sad.
967
00:47:41,538 --> 00:47:43,238
JOHNNY CASH:
My contract was running out
968
00:47:43,271 --> 00:47:44,871
with the other record company,
969
00:47:44,905 --> 00:47:48,371
and Rick Rubin came down
to see me.
970
00:47:48,405 --> 00:47:51,171
And I liked the way he talked.
971
00:47:51,205 --> 00:47:55,038
He talked like ‐‐
He reminded me of Sam Phillips.
972
00:47:58,238 --> 00:48:00,305
And I said,
"What would you do with me
973
00:48:00,338 --> 00:48:04,171
that everybody else has tried
to do, you know, and couldn't?"
974
00:48:04,205 --> 00:48:05,538
And he said, "Well,
what would you like to do?
975
00:48:10,571 --> 00:48:14,338
RUBIN: We always started
in my living room
976
00:48:14,371 --> 00:48:17,438
just with a guitar
and talking about songs.
977
00:48:17,471 --> 00:48:20,905
♪ Back about 18 and 25 ♪
978
00:48:20,938 --> 00:48:24,205
♪ I left Tennessee
very much alive ♪
979
00:48:24,238 --> 00:48:26,305
And I would have him sing me
songs from his childhood.
980
00:48:26,338 --> 00:48:28,438
♪ ...through the Arkansas mud ♪
981
00:48:28,471 --> 00:48:30,605
He played me songs they would
sing on the cotton fields
982
00:48:30,638 --> 00:48:32,305
when he used to pick cotton.
983
00:48:32,338 --> 00:48:35,338
♪ The Tennessee stud
was long and lean ♪
984
00:48:35,371 --> 00:48:37,871
♪ The color of the sun
and his eyes were green ♪
985
00:48:40,571 --> 00:48:44,971
He really gave me a tremendous
education in this lost music
986
00:48:45,005 --> 00:48:46,838
that I didn't know anything
about.
987
00:48:46,871 --> 00:48:48,371
And I loved it.
988
00:48:48,405 --> 00:48:51,138
♪ Pretty little baby
on the cabin floor ♪
989
00:48:51,171 --> 00:48:54,071
♪ Little hoss colt
playing 'round the door ♪
990
00:48:54,105 --> 00:48:58,071
From the first time that we met,
we recorded everything,
991
00:48:58,105 --> 00:48:59,505
just had the machine going
all the time.
992
00:49:00,638 --> 00:49:03,971
It becomes second nature.
993
00:49:04,005 --> 00:49:06,505
People forget they're recording
and just sort of be themselves.
994
00:49:06,538 --> 00:49:08,271
That's the goal ‐‐
to get to that point.
995
00:49:13,105 --> 00:49:14,805
[ Music slows, ends ]
996
00:49:23,371 --> 00:49:25,038
That was great.
997
00:49:25,071 --> 00:49:28,405
The first album we made
was mostly solo acoustic.
998
00:49:28,438 --> 00:49:31,938
And then it came time
to do the next one, and he had
999
00:49:31,971 --> 00:49:33,971
Tom Petty and the Heartbreakers
as the backing band.
1000
00:49:34,005 --> 00:49:37,938
[ Introduction to
"I Never Picked Cotton" plays ]
1001
00:49:37,971 --> 00:49:40,138
♪ I never picked cotton ♪
1002
00:49:40,171 --> 00:49:43,971
PETTY: Rick's idea was to set
John free
1003
00:49:44,005 --> 00:49:46,205
and let that artist live.
1004
00:49:46,238 --> 00:49:48,171
♪ And my daddy died young ♪
1005
00:49:48,205 --> 00:49:51,571
♪ Working in a coal mine ♪
1006
00:49:51,605 --> 00:49:54,138
John would start to sing,
1007
00:49:54,171 --> 00:49:57,871
and we'd get kind of a feel for
how the arrangement might go,
1008
00:49:57,905 --> 00:49:59,938
and then, woof ‐‐
1009
00:49:59,971 --> 00:50:04,171
everybody would jump onto
their respective instruments.
1010
00:50:04,205 --> 00:50:07,438
♪ And it was fast cars
and whiskey ♪
1011
00:50:07,471 --> 00:50:09,538
♪ Long‐legged girls and fun ♪
1012
00:50:09,571 --> 00:50:13,005
I mean, it was raw,
and at times it wasn't musical,
1013
00:50:13,038 --> 00:50:15,005
but it was so real
and so heartfelt
1014
00:50:15,038 --> 00:50:17,371
that it almost brought me
to tears.
1015
00:50:17,405 --> 00:50:20,171
But then Rick would really try
to push Johnny
1016
00:50:20,205 --> 00:50:23,105
to do things that he would
never think of doing.
1017
00:50:23,138 --> 00:50:27,171
RUBIN: I played Johnny Cash the
Soundgarden song "Rusty Cage,"
1018
00:50:27,205 --> 00:50:29,871
which is a heavy‐metal song
1019
00:50:29,905 --> 00:50:32,971
with Chris Cornell singing
in a very high‐pitched scream.
1020
00:50:33,005 --> 00:50:36,505
♪ I'm gonna break
my rusty cage ♪
1021
00:50:36,538 --> 00:50:38,405
Johnny listened to it
and just shook his head,
1022
00:50:38,438 --> 00:50:40,471
like, "I don't really know
what you're thinking.
1023
00:50:40,505 --> 00:50:43,271
I can't imagine myself
doing that."
1024
00:50:45,038 --> 00:50:48,571
And then I made
an acoustic demo of it.
1025
00:50:48,605 --> 00:50:50,371
[ Mid‐tempo introduction plays ]
1026
00:50:50,405 --> 00:50:52,138
PETTY:
And bit by bit,
1027
00:50:52,171 --> 00:50:54,538
Rick guided us through
the arrangement,
1028
00:50:54,571 --> 00:50:56,905
and there it was, you know?
1029
00:50:56,938 --> 00:50:58,971
♪ You wired me awake ♪
1030
00:50:59,005 --> 00:51:01,538
♪ And hit me with a hand
of broken nails ♪
1031
00:51:03,171 --> 00:51:07,971
Johnny was really happy,
and he said, "I love this.
1032
00:51:08,005 --> 00:51:09,338
This is great."
1033
00:51:09,371 --> 00:51:12,205
He goes, "This is gonna piss off
so many people."
1034
00:51:12,238 --> 00:51:14,538
♪ I'm gonna break ♪
1035
00:51:14,571 --> 00:51:17,105
♪ I'm gonna break my ♪
1036
00:51:17,138 --> 00:51:20,038
♪ Gonna break my rusty cage ♪
1037
00:51:22,538 --> 00:51:23,871
And run.
1038
00:51:29,438 --> 00:51:32,571
♪ It don't hurt anymore ♪
1039
00:51:32,605 --> 00:51:35,171
RUBIN: A lot of the job
is that of being a therapist,
1040
00:51:35,205 --> 00:51:40,138
of being there
and really hearing the artist
1041
00:51:40,171 --> 00:51:42,105
and hearing what their vision is
1042
00:51:42,138 --> 00:51:46,205
and really setting up a place
where they feel they're safe
1043
00:51:46,238 --> 00:51:51,205
and can be vulnerable
and show themselves completely.
1044
00:51:51,238 --> 00:51:53,605
♪ And at last I am free ♪
1045
00:51:53,638 --> 00:51:55,871
ROSEANNE CASH:
The infusion he gave my dad
1046
00:51:55,905 --> 00:51:58,405
of the old confidence
and passion,
1047
00:51:58,438 --> 00:52:00,471
it was so powerful.
1048
00:52:00,505 --> 00:52:04,905
Rick was like an angel
that came in saying,
1049
00:52:04,938 --> 00:52:06,171
"Remember,
this is who you are."
1050
00:52:07,971 --> 00:52:09,538
I mean,
it was as simple as that.
1051
00:52:09,571 --> 00:52:11,238
Remember.
1052
00:52:11,271 --> 00:52:14,071
♪ And it's wonderful now ♪
1053
00:52:15,605 --> 00:52:18,805
♪ I don't hurt anymore ♪
82870
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