1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:09,096 --> 00:00:14,101 - [instruments tuning] - [indistinct chatter] 4 00:00:14,275 --> 00:00:15,885 - MAN: Should I turn it up some? 5 00:00:16,059 --> 00:00:17,800 - TOM: Well, let's see how bad the buzz is. 6 00:00:17,974 --> 00:00:19,584 - [buzzing] 7 00:00:19,758 --> 00:00:21,978 - TOM: Bugs! Let's do the ampliphone. 8 00:00:22,152 --> 00:00:24,154 I need more noise factor. 9 00:00:24,328 --> 00:00:30,073 - [guitar plays] 10 00:00:31,727 --> 00:00:34,295 - TOM: Y'all ready? 11 00:00:34,469 --> 00:00:37,298 We got tape rolling? 12 00:00:37,472 --> 00:00:39,256 - [guitar plays] 13 00:00:39,430 --> 00:00:40,997 - TOM: Is that fast enough, Rick? 14 00:00:41,171 --> 00:00:43,043 - ♪ 15 00:00:43,217 --> 00:00:45,132 - TOM: One, two, three. 16 00:00:45,306 --> 00:00:48,483 - ["Cabin Down Below" plays] 17 00:00:48,657 --> 00:00:54,663 ♪ 18 00:01:03,498 --> 00:01:08,285 ♪ 19 00:01:08,459 --> 00:01:10,287 ♪ Come on go with me, babe ♪ 20 00:01:10,461 --> 00:01:12,072 ♪ 21 00:01:12,246 --> 00:01:14,900 ♪ Come on go with me, girl ♪ 22 00:01:15,075 --> 00:01:17,512 ♪ Baby, let's go ♪ 23 00:01:17,686 --> 00:01:20,210 ♪ To the cabin down below ♪ 24 00:01:20,384 --> 00:01:23,518 ♪ 25 00:01:23,692 --> 00:01:27,217 ♪ Well, I got a radio ♪ 26 00:01:27,391 --> 00:01:30,394 ♪ Put it on soft and low ♪ 27 00:01:30,568 --> 00:01:32,788 ♪ Baby, let's go ♪ 28 00:01:32,962 --> 00:01:35,399 ♪ To the cabin down below ♪ 29 00:01:35,573 --> 00:01:37,227 ♪ 30 00:01:37,401 --> 00:01:39,316 - TOM: In this time in particular, 31 00:01:39,490 --> 00:01:41,623 this day in particular, this time of my life, 32 00:01:41,797 --> 00:01:45,235 I feel much more comfortable being myself. 33 00:01:45,409 --> 00:01:47,933 It's soul music. I think that's what I am. 34 00:01:48,108 --> 00:01:51,937 I think I'm a soul singer, because you have to connect with 35 00:01:52,112 --> 00:01:53,765 your soul in a way. 36 00:01:53,939 --> 00:01:55,811 - ♪ 37 00:01:55,985 --> 00:01:57,900 ♪ Hey ♪ 38 00:01:58,074 --> 00:02:00,294 - TOM: That's what's going on with me artistically, you know? 39 00:02:00,468 --> 00:02:02,034 I feel very prolific right now. 40 00:02:02,209 --> 00:02:03,819 I feel more like me. 41 00:02:03,993 --> 00:02:07,736 - ♪ 42 00:02:12,697 --> 00:02:15,874 - [instruments tuning] 43 00:02:16,048 --> 00:02:20,227 - [indistinct chatter] 44 00:02:37,157 --> 00:02:39,550 - TOM: This has become a real, kind of pet project for me, 45 00:02:39,724 --> 00:02:42,945 this--this solo album, and I'm really enjoying working on it. 46 00:02:43,119 --> 00:02:48,124 And I really enjoy being able to take my time with it. 47 00:02:48,298 --> 00:02:55,305 - ♪ 48 00:02:55,479 --> 00:02:57,438 - TOM: A way of avoiding politics within 49 00:02:57,612 --> 00:02:59,831 the Heartbreakers was to just step out of it 50 00:03:00,005 --> 00:03:02,617 and say this is a solo record. 51 00:03:02,791 --> 00:03:05,533 Because you don't want to stay in one little circle 52 00:03:05,707 --> 00:03:10,015 all the time. I mean, it's been almost 20 years of the Heartbreakers. 53 00:03:10,190 --> 00:03:13,018 And if I only made records with the same four people all the 54 00:03:13,193 --> 00:03:16,283 time, I'd never meet anyone, I'd never learn, I'd never grow. 55 00:03:16,457 --> 00:03:21,549 - ♪ 56 00:03:21,723 --> 00:03:23,551 - TOM: But I really needed to do it, you know, 57 00:03:23,725 --> 00:03:27,946 I'd been in a band my whole life, it felt like. 58 00:03:28,120 --> 00:03:30,775 And I wanted the freedom. 59 00:03:30,949 --> 00:03:34,126 I really wanted to be free of the democratic process. 60 00:03:34,301 --> 00:03:37,434 But I think it was time to just turn the corner and try to find 61 00:03:37,608 --> 00:03:41,482 another place to go, and the result was "Wildflowers." 62 00:03:43,005 --> 00:03:49,054 - ♪ 63 00:03:53,929 --> 00:03:55,887 - I was really lucky because I knew what I wanted to do 64 00:03:56,061 --> 00:03:58,368 very early in life. 65 00:03:58,542 --> 00:04:01,284 And I didn't never question it. 66 00:04:01,458 --> 00:04:03,112 I didn't have any choice. 67 00:04:03,286 --> 00:04:05,157 I just did it, you know? 68 00:04:05,332 --> 00:04:08,770 And if I had really known how little I knew about what I was 69 00:04:08,944 --> 00:04:12,339 doing, I might have been discouraged, but I wasn't. 70 00:04:12,513 --> 00:04:14,123 I was happy to do it. 71 00:04:14,297 --> 00:04:18,214 And, uh, you know, if you're lucky enough 72 00:04:18,388 --> 00:04:19,998 to do that, you're pretty lucky. 73 00:04:20,172 --> 00:04:23,263 I feel very fortunate because it all worked out. 74 00:04:23,437 --> 00:04:25,787 - ♪ 75 00:04:25,961 --> 00:04:27,963 - RICK: Tom was on MCA records, um, 76 00:04:28,137 --> 00:04:31,488 I called up the person who was running MCA Records and said, 77 00:04:31,662 --> 00:04:33,534 "If there's ever an opportunity to work with Tom, 78 00:04:33,708 --> 00:04:35,318 I would love that to happen." 79 00:04:35,492 --> 00:04:37,581 And I was told that Tom was 80 00:04:37,755 --> 00:04:39,583 exclusively produced by Jeff Lynne, 81 00:04:39,757 --> 00:04:42,369 and there was no chance that I would ever get to work with him. 82 00:04:42,543 --> 00:04:44,109 And it's like, "Okay, thank you very much." 83 00:04:44,284 --> 00:04:47,722 It was like a--a real cold kind of brush-off. 84 00:04:47,896 --> 00:04:49,637 - TOM: I wanted to do something different. 85 00:04:49,811 --> 00:04:51,552 I mean, I love Jeff Lynne dearly. 86 00:04:51,726 --> 00:04:55,904 And--but I thought that I should do something else, 87 00:04:56,078 --> 00:04:58,515 So Mike Campbell suggested Rick. 88 00:04:58,689 --> 00:05:00,212 He said, "I think you'll like him." 89 00:05:00,387 --> 00:05:02,606 And I just simply called him up. 90 00:05:02,780 --> 00:05:05,740 - ♪ Da, da, da, da, da, da, daaaa ♪ 91 00:05:05,914 --> 00:05:07,568 - We could also overdub, when we're done, 92 00:05:07,742 --> 00:05:09,657 we can do another pass at the cellos, 93 00:05:09,831 --> 00:05:12,224 -just so we have them by themselves. -TOM: I love the ending. 94 00:05:12,399 --> 00:05:15,358 You know, with Rick Rubin--Rick loves music. 95 00:05:15,532 --> 00:05:17,969 And that's really why I decided to work with him. 96 00:05:18,143 --> 00:05:21,059 It's not because of his technical skill. He has no musical skill. 97 00:05:21,233 --> 00:05:24,498 He plays no instrument really. He's learning the guitar. 98 00:05:24,672 --> 00:05:28,110 He just loves music. He's not a corporate man. 99 00:05:28,284 --> 00:05:34,551 - ♪ 100 00:05:34,725 --> 00:05:37,511 - RICK: What I have to offer is as a fan. 101 00:05:37,685 --> 00:05:40,165 You know, I can come in and say what I like and what I don't 102 00:05:40,340 --> 00:05:43,299 like, and I don't necessarily know why, 103 00:05:43,473 --> 00:05:47,608 but just being kind of true to my own taste and really try to 104 00:05:47,782 --> 00:05:50,828 steer it in a direction that feels natural and good to me. 105 00:05:51,002 --> 00:05:52,613 Should I play it to you? - Yeah. 106 00:05:52,787 --> 00:05:54,571 - 'Cause you should make that a real part. 107 00:05:54,745 --> 00:05:56,443 - TOM: I found Rick to be very helpful, 108 00:05:56,617 --> 00:05:59,184 and I think he made a great contribution to the album. 109 00:05:59,359 --> 00:06:02,840 And I feel, in a way--I don't know if he intended to or not, 110 00:06:03,014 --> 00:06:06,017 that he's kind of guided me back into a musical place where I 111 00:06:06,191 --> 00:06:08,498 feel very comfortable. 112 00:06:08,672 --> 00:06:11,327 - ♪ You follow your feelings ♪ 113 00:06:11,501 --> 00:06:14,635 ♪ You follow your dreams ♪ 114 00:06:14,809 --> 00:06:17,986 ♪ You might find the forest ♪ 115 00:06:18,160 --> 00:06:21,032 ♪ There in the trees ♪ 116 00:06:21,206 --> 00:06:26,516 ♪ 117 00:06:26,690 --> 00:06:30,912 - TOM: What is great about Rick is his enthusiasm. You know, he's young. 118 00:06:31,086 --> 00:06:33,610 It's the first time we've worked where the boss was a lot younger 119 00:06:33,784 --> 00:06:35,482 than we were. 120 00:06:35,656 --> 00:06:38,485 We're not really good at taking instruction from people. 121 00:06:38,659 --> 00:06:40,835 We've never had an AandR guy, or somebody 122 00:06:41,009 --> 00:06:43,185 who really told us what to do. 123 00:06:43,359 --> 00:06:46,449 - [guitar plays] - RICK: Let's try the down verse thing. Alright? 124 00:06:46,623 --> 00:06:49,191 We'll go from a bridge into a down verse. 125 00:06:49,365 --> 00:06:50,888 - Bridge into a down verse. 126 00:06:51,062 --> 00:06:53,108 - ♪ 127 00:06:53,282 --> 00:06:55,719 - TOM: There's really no rules in what we're doing now. 128 00:06:55,893 --> 00:06:58,418 Songs is what it's about. 129 00:06:58,592 --> 00:07:00,289 - ♪ I could do it if I have to ♪ 130 00:07:00,463 --> 00:07:04,685 ♪ 131 00:07:04,859 --> 00:07:08,906 ♪ I gotta bury my pride, drag this line ♪ 132 00:07:09,080 --> 00:07:12,997 ♪ Over that hill one more time ♪ 133 00:07:13,171 --> 00:07:17,262 ♪ Gotta get up in the morning, make my way ♪ 134 00:07:17,437 --> 00:07:20,091 ♪ Over that hill again ♪ 135 00:07:20,265 --> 00:07:24,139 ♪ 136 00:07:24,313 --> 00:07:26,271 - RICK: I was never really a Tom Petty fan growing up. 137 00:07:26,446 --> 00:07:28,665 I liked--I liked more aggressive music before that, 138 00:07:28,839 --> 00:07:30,450 punk rock and harder things. 139 00:07:30,624 --> 00:07:32,800 He was a little melodic for my taste. 140 00:07:32,974 --> 00:07:35,629 And then, um, "Full Moon Fever" came out. 141 00:07:35,803 --> 00:07:38,632 - ♪ 142 00:07:38,806 --> 00:07:40,851 - RICK: I remember I bought it after I'd heard maybe the third 143 00:07:41,025 --> 00:07:42,636 or fourth single. 144 00:07:42,810 --> 00:07:47,031 And I listened to it, I would say, 10,000 times 145 00:07:47,205 --> 00:07:52,428 driving in my car. I had moved to Los Angeles fairly recently from New York, 146 00:07:52,602 --> 00:07:54,648 and I would drive around and listen to, 147 00:07:54,822 --> 00:07:58,347 uh--to that album over and over again. 148 00:07:58,521 --> 00:08:00,784 - ♪ 149 00:08:00,958 --> 00:08:03,221 - MAN: Check one two. - GEORGE: He loved "Running Down a Dream." 150 00:08:03,395 --> 00:08:05,572 We used to sing along to "You're So Bad," and then-- 151 00:08:05,746 --> 00:08:07,443 no matter where--you know we're driving, 152 00:08:07,617 --> 00:08:10,272 "You're so bad, da de da de da de." 153 00:08:10,446 --> 00:08:13,318 You know, we'd mime the acoustic guitar part there. 154 00:08:13,493 --> 00:08:15,059 - MAN: Check, check, check, check. 155 00:08:15,233 --> 00:08:16,800 - GEORGE: You know, I was working with Rick at this 156 00:08:16,974 --> 00:08:19,150 company called Def American at the time. 157 00:08:19,324 --> 00:08:22,763 And, um, Tom and I, for some reason, whatever, he took a liking. 158 00:08:22,937 --> 00:08:25,592 I think he tolerated me, and he found me amusing. 159 00:08:25,766 --> 00:08:28,377 And Tom was a hero, an idol. 160 00:08:28,551 --> 00:08:31,206 "Damn The Torpedoes," for me, was probably the record that 161 00:08:31,380 --> 00:08:33,164 really just changed my life. 162 00:08:33,338 --> 00:08:37,821 ♪ 'Cause it don't make no difference to me, baby ♪ 163 00:08:37,995 --> 00:08:40,737 ♪ Everybody's had to fight to be free ♪ 164 00:08:40,911 --> 00:08:45,133 ♪ You see, you don't have to live like a refugee ♪ 165 00:08:45,307 --> 00:08:49,050 ♪ Don't have to live like a refugee ♪ 166 00:08:49,224 --> 00:08:51,139 ♪ 167 00:08:51,313 --> 00:08:53,533 ♪ Now baby, you don't have to live like a refugee ♪ 168 00:08:53,707 --> 00:08:58,799 ♪ Don't have to live like a refugee ♪ 169 00:08:58,973 --> 00:09:02,411 - RICK: I knew he really was a song craftsman, 170 00:09:02,585 --> 00:09:05,457 which he--which he was, but I didn't realize 171 00:09:05,632 --> 00:09:09,287 how many great songs he has. Like one after--it's like, how can there be this many good 172 00:09:09,461 --> 00:09:13,291 songs from one person? You don't put it together that it's all him. 173 00:09:13,465 --> 00:09:18,993 - ♪ 174 00:09:24,085 --> 00:09:30,134 ♪ 175 00:09:37,794 --> 00:09:39,622 - ADRIA: I think after "The Wilburys" and 176 00:09:39,796 --> 00:09:42,016 "Into The Great Wide Open" and "Full Moon Fever," 177 00:09:42,190 --> 00:09:44,671 he had, like, totally established himself. 178 00:09:44,845 --> 00:09:48,022 There was nothing more that he had to prove to anybody. 179 00:09:48,196 --> 00:09:49,763 And there he was at 40 years old, 180 00:09:49,937 --> 00:09:52,679 still very young and still very fertile 181 00:09:52,853 --> 00:09:55,159 with songs and material. 182 00:09:55,333 --> 00:09:57,292 And I think my dad at that time was sort of looking around at 183 00:09:57,466 --> 00:10:00,208 Eddie Vedder and Kurt Cobain and going, "That's me. 184 00:10:00,382 --> 00:10:02,514 "That's who I've always-- that's the spirit 185 00:10:02,689 --> 00:10:04,299 of everything that's me." 186 00:10:04,473 --> 00:10:10,522 - ♪ 187 00:10:11,480 --> 00:10:16,006 ♪ 188 00:10:16,180 --> 00:10:19,749 - RICK: And that's another interesting thing about the times. 189 00:10:19,923 --> 00:10:24,972 It's like Tom was able to manage the changes of the styles 190 00:10:25,146 --> 00:10:29,411 of music that happened, still sounding like Tom Petty, 191 00:10:29,585 --> 00:10:33,937 but being of the moment as well. 192 00:10:34,111 --> 00:10:38,550 - ♪ I'm going down to the house in the woods ♪ 193 00:10:38,725 --> 00:10:44,382 ♪ See my little darlin' ♪ 194 00:10:44,556 --> 00:10:49,649 ♪ 195 00:10:54,566 --> 00:11:00,050 ♪♪ 196 00:11:00,224 --> 00:11:06,230 - [crowd cheering] 197 00:11:09,277 --> 00:11:12,193 - GEORGE: You know what I'd like to hear, Tom? It is such a fascinating story. 198 00:11:12,367 --> 00:11:15,979 - I have to start out talking? - Yes. You gotta tell me the story about how you came out 199 00:11:16,153 --> 00:11:18,112 and got your deal. 200 00:11:18,286 --> 00:11:20,984 How your whole career is based on a rejection letter, isn't it? 201 00:11:21,158 --> 00:11:25,249 - [phone ringing] - It is, um... 202 00:11:25,423 --> 00:11:27,774 I'll just let the phone finish. 203 00:11:27,948 --> 00:11:29,732 - BOTH: [laughing] 204 00:11:29,906 --> 00:11:33,344 - There he is now. He's changed his mind. 205 00:11:33,518 --> 00:11:37,740 - TOM: George is a producer and a musician of some note, 206 00:11:37,914 --> 00:11:42,005 and he was around a lot, you know, just on a friendly basis. 207 00:11:42,179 --> 00:11:44,921 And he did play things occasionally, 208 00:11:45,095 --> 00:11:47,184 though nobody can remember what. 209 00:11:47,358 --> 00:11:50,448 But he'd pick up something and play it now and then, 210 00:11:50,622 --> 00:11:55,236 and he got to be sort of our guru--George did. 211 00:11:55,410 --> 00:11:58,674 - [laughing] What do you think, Mike? 212 00:11:58,848 --> 00:12:01,895 - [plays flute] - [laughing] 213 00:12:02,069 --> 00:12:04,071 - RICK: What I remember of our first meeting was that it was at 214 00:12:04,245 --> 00:12:09,293 Mike's house and just had general conversation about music. 215 00:12:09,467 --> 00:12:13,645 He had liked the album I did with Mick Jagger, he mentioned that. 216 00:12:13,820 --> 00:12:19,477 And we listened to, uh, the demo 217 00:12:19,651 --> 00:12:22,350 for "Good to be King," which was the one song, 218 00:12:22,524 --> 00:12:25,745 I think it may have been the only song he had written for the next project, 219 00:12:25,919 --> 00:12:28,922 -turned out to be "Wildflowers." - ♪ It's good to be king ♪ 220 00:12:29,096 --> 00:12:30,837 - RICK: As he developed more material, 221 00:12:31,011 --> 00:12:33,535 he would call me and we would get together and listen. 222 00:12:33,709 --> 00:12:38,540 And then I started visiting regularly, um, 223 00:12:38,714 --> 00:12:40,498 his house in the Valley. 224 00:12:40,672 --> 00:12:45,852 And he had a little music room with a four or eight-track 225 00:12:46,026 --> 00:12:51,422 cassette recorder, and he would either play me demos or play me 226 00:12:51,596 --> 00:12:54,164 acoustic versions of newly written songs. 227 00:12:54,338 --> 00:12:55,905 - ♪ 228 00:12:56,079 --> 00:12:59,169 ♪ Yeah ♪ 229 00:12:59,343 --> 00:13:02,259 ♪ I'll be king ♪ 230 00:13:02,433 --> 00:13:07,264 ♪ When dogs get wings ♪ 231 00:13:07,438 --> 00:13:13,488 ♪ 232 00:13:14,402 --> 00:13:19,146 - [indistinct chatter] - ♪ 233 00:13:21,148 --> 00:13:27,154 ♪ 234 00:13:31,158 --> 00:13:32,986 - TOM: I think Rick, he was really pretty accurate 235 00:13:33,160 --> 00:13:36,641 in his evaluation of what I was playing him. 236 00:13:36,816 --> 00:13:40,297 But I never really did hire him, he just kept coming back. 237 00:13:40,471 --> 00:13:43,561 And we'd have another session, and then we'd stop. 238 00:13:43,735 --> 00:13:45,607 And then I'd write some songs and I'd call him, 239 00:13:45,781 --> 00:13:49,045 and he'd come over to my house and sit and give me his opinions 240 00:13:49,219 --> 00:13:51,613 of the songs and what he thought could be better or worse. 241 00:13:51,787 --> 00:13:54,007 It went on, and on, and on, you know, 242 00:13:54,181 --> 00:13:56,661 for about a year and a half. 243 00:13:59,360 --> 00:14:05,366 - ♪ 244 00:14:10,023 --> 00:14:12,199 - MIKE: Hey, Bugs. - Hey, man. 245 00:14:12,373 --> 00:14:15,985 -I'm so happy to see you. Yeah. - We're back at the clubhouse, huh? 246 00:14:16,159 --> 00:14:17,944 Got some guitars here for you to check out. 247 00:14:18,118 --> 00:14:19,728 - MIKE: What do we got? 248 00:14:19,902 --> 00:14:23,775 You know, on the "Wildflowers" album, 249 00:14:23,950 --> 00:14:26,778 -we used some of these guitars. - BUGS: Yeah, definitely that one. 250 00:14:26,953 --> 00:14:30,130 - This one is a Martin, was used on a song 251 00:14:30,304 --> 00:14:32,610 called "Don't Fade on Me," which was. 252 00:14:32,784 --> 00:14:34,612 - [guitar plays] 253 00:14:34,786 --> 00:14:36,919 - A little finger-picking thing. 254 00:14:37,093 --> 00:14:41,663 This room is the Heartbreakers' Clubhouse and, you know, 255 00:14:41,837 --> 00:14:44,535 we were a band of brothers. This is like our home-- 256 00:14:44,709 --> 00:14:48,931 music--musical home. We spent a lot of time in here. 257 00:14:49,105 --> 00:14:53,631 We've done a lot of rehearsing, a lot of recording, 258 00:14:53,805 --> 00:14:57,853 a lot of laughing, and living in this room together with Tom. 259 00:14:58,027 --> 00:14:59,594 I'm sitting here. There's a door over there. 260 00:14:59,768 --> 00:15:01,378 There's a table where the band always used to sit 261 00:15:01,552 --> 00:15:03,250 and have our meals. 262 00:15:03,424 --> 00:15:05,165 And I'd be sitting there waiting and I'd see him walking 263 00:15:05,339 --> 00:15:07,036 around this corner. 264 00:15:07,210 --> 00:15:10,039 As I look up, I can almost picture him here now. 265 00:15:10,213 --> 00:15:16,002 - ♪ 266 00:15:21,050 --> 00:15:23,052 - MIKE: Tom has this thing--and I've worked with a lot of 267 00:15:23,226 --> 00:15:28,318 people, really good writers and great singers, but I've never 268 00:15:28,492 --> 00:15:31,147 seen anybody that could do that like he could do it. 269 00:15:31,321 --> 00:15:34,672 He could just pull things out of the air in the moment. 270 00:15:34,846 --> 00:15:36,674 - BENMONT: Tom was a great songwriter. 271 00:15:36,848 --> 00:15:41,897 I had always appreciated it, and known that this is incredible 272 00:15:42,071 --> 00:15:43,812 to be in this band. 273 00:15:43,986 --> 00:15:47,859 But you almost take it for granted that Tom's going to come 274 00:15:48,034 --> 00:15:49,731 in with a great song. 275 00:15:49,905 --> 00:15:53,300 But "Wildflowers" always stood out. 276 00:15:53,474 --> 00:15:58,566 - ♪ You belong among the wildflowers ♪ 277 00:15:58,740 --> 00:16:04,093 ♪ You belong somewhere close to me ♪ 278 00:16:04,267 --> 00:16:09,359 ♪ Far away from your trouble and worry ♪ 279 00:16:09,533 --> 00:16:14,495 ♪ You belong somewhere you feel free ♪ 280 00:16:14,669 --> 00:16:18,412 - TOM: Songwriting is the most fun I have. 281 00:16:18,586 --> 00:16:22,329 When you finish one, there's no better feeling. 282 00:16:22,503 --> 00:16:25,158 I think compared to all the different things we do that 283 00:16:25,332 --> 00:16:27,508 are--a lot of them are gratifying, none of them are quite as 284 00:16:27,682 --> 00:16:29,858 gratifying as finishing a song. 285 00:16:30,032 --> 00:16:33,514 Sometimes it's really hard to write a song. 286 00:16:33,688 --> 00:16:38,214 The best ones--they're not always, but usually the best ones are the ones 287 00:16:38,388 --> 00:16:42,131 that seem to come kinda quick and they just fall out. 288 00:16:42,305 --> 00:16:45,352 - ♪ 289 00:16:45,526 --> 00:16:51,532 - [indistinct chatter] 290 00:16:58,756 --> 00:17:01,585 - [guitar plays] 291 00:17:01,759 --> 00:17:08,201 - ♪ 292 00:17:11,856 --> 00:17:18,037 ♪ 293 00:17:26,480 --> 00:17:31,354 ♪ Run away, find you a lover ♪ 294 00:17:31,528 --> 00:17:36,620 ♪ Run away, let your heart be your guide ♪ 295 00:17:36,794 --> 00:17:42,235 ♪ You deserve the deepest of cover ♪ 296 00:17:42,409 --> 00:17:47,892 ♪ You belong in that home by and by ♪ 297 00:17:48,067 --> 00:17:53,333 ♪ You belong among the wildflowers ♪ 298 00:17:53,507 --> 00:17:58,903 ♪ You belong somewhere close to me ♪ 299 00:17:59,078 --> 00:18:04,605 ♪ You belong with your love on your arm ♪ 300 00:18:04,779 --> 00:18:09,349 ♪ You belong somewhere you feel free ♪ 301 00:18:09,523 --> 00:18:11,699 ♪ 302 00:18:11,873 --> 00:18:13,440 - Here's the bridge. 303 00:18:13,614 --> 00:18:20,664 - ♪ 304 00:18:24,668 --> 00:18:27,671 - TOM: "Wildflowers," it's probably just for people 305 00:18:27,845 --> 00:18:29,499 you love, you know? 306 00:18:29,673 --> 00:18:32,502 Or people you wish good to, you know? 307 00:18:32,676 --> 00:18:34,417 You wish--people you care about, 308 00:18:34,591 --> 00:18:37,159 you know, how you wish them well? [laughs] 309 00:18:37,333 --> 00:18:39,292 And that song came to me. 310 00:18:39,466 --> 00:18:42,860 It's one of the only times that ever happened to me in my life, 311 00:18:43,034 --> 00:18:46,560 is I really just stepped up in my little studio at home, 312 00:18:46,734 --> 00:18:51,913 and I put the mic on and played the whole song, 313 00:18:52,087 --> 00:18:55,003 straight from the top to the end with all the lyric 314 00:18:55,177 --> 00:18:59,268 and all the music...in one go. 315 00:18:59,442 --> 00:19:03,403 - [guitar plays] 316 00:19:03,577 --> 00:19:09,452 ♪ 317 00:19:09,626 --> 00:19:13,021 - TOM: And then I stopped the tape and played it back. 318 00:19:13,195 --> 00:19:16,938 And I really was kind of, you know, confused. 319 00:19:17,112 --> 00:19:20,333 I kept playing it again and again thinking, 320 00:19:20,507 --> 00:19:23,466 "Well, what do we work on? 321 00:19:23,640 --> 00:19:27,078 What would I change?" And then I thought, "I'm not going to change it. 322 00:19:27,253 --> 00:19:30,865 I'm just going to leave it exactly stream of conscious." 323 00:19:31,039 --> 00:19:33,215 - MAN: [laughs] 324 00:19:33,389 --> 00:19:36,479 - Rick's bored now, he's art directing. - MAN: Uh-oh. 325 00:19:36,653 --> 00:19:38,220 - RICK: If you think of the song "Wildflowers," 326 00:19:38,394 --> 00:19:40,570 if you don't analyze it, if you just think of it, 327 00:19:40,744 --> 00:19:43,530 I think of it as a solo acoustic song. 328 00:19:43,704 --> 00:19:47,316 It's Tom playing guitar and singing. And that's what that song is. 329 00:19:47,490 --> 00:19:51,494 When in reality, maybe 50 different events happen 330 00:19:51,668 --> 00:19:53,366 over the course of that song. 331 00:19:53,540 --> 00:19:58,719 And those little elements that happen, 332 00:19:58,893 --> 00:20:01,025 none of them draw attention to themselves. 333 00:20:01,200 --> 00:20:05,595 And if you're not listening, it just sounds like guitar. 334 00:20:05,769 --> 00:20:10,383 But it's reinforced with these different colors 335 00:20:10,557 --> 00:20:13,734 that keep it very interesting and compelling. 336 00:20:13,908 --> 00:20:18,913 And without knowing it, makes you want to listen to it over and over again. 337 00:20:19,087 --> 00:20:24,353 - ♪ Run away, go find a lover ♪ 338 00:20:24,527 --> 00:20:29,793 ♪ Run away, let your heart be your guide ♪ 339 00:20:29,967 --> 00:20:35,364 ♪ You deserve the deepest of cover ♪ 340 00:20:35,538 --> 00:20:40,804 ♪ You belong in that home by and by ♪ 341 00:20:40,978 --> 00:20:46,332 ♪ You belong among the wildflowers ♪ 342 00:20:46,506 --> 00:20:51,728 ♪ You belong somewhere close to me ♪ 343 00:20:51,902 --> 00:20:57,299 ♪ Far away from your trouble and worry ♪ 344 00:20:57,473 --> 00:21:01,738 ♪ You belong somewhere you feel free ♪ 345 00:21:01,912 --> 00:21:03,871 ♪ 346 00:21:04,045 --> 00:21:06,352 - RICK: People have asked me what was different about 347 00:21:06,526 --> 00:21:08,092 "Wildflowers" from other Tom records. 348 00:21:08,267 --> 00:21:10,834 And I always say I don't know because I was there for 349 00:21:11,008 --> 00:21:13,097 "Wildflowers," I wasn't there for the previous one. 350 00:21:13,272 --> 00:21:18,059 So, uh, Mike, how would you say making of "Wildflowers" was 351 00:21:18,233 --> 00:21:23,630 different from making the "Free Fallin'" album? 352 00:21:23,804 --> 00:21:25,893 - Well, the producer's the main difference. 353 00:21:26,067 --> 00:21:28,287 I mean, we were getting to know you, 354 00:21:28,461 --> 00:21:32,987 and we had done some records with Jeff Lynne, 355 00:21:33,161 --> 00:21:36,643 which was a different approach to production-- completely different. 356 00:21:36,817 --> 00:21:40,473 And with you, we wanted to get back to the live performance, 357 00:21:40,647 --> 00:21:43,432 organic tracks and not one thing at a time. 358 00:21:43,606 --> 00:21:46,130 - TOM: One, two, three, four. 359 00:21:46,305 --> 00:21:51,527 - [guitar plays] 360 00:21:51,701 --> 00:21:53,573 - TOM: We gotta do something about this sound here. 361 00:21:53,747 --> 00:21:56,489 - [indistinct chatter] 362 00:21:56,663 --> 00:21:58,708 - TOM: It sounds acoustic to me while I'm playing it. 363 00:21:58,882 --> 00:22:01,232 - ♪ 364 00:22:01,407 --> 00:22:04,758 - MAN: 'Cause your mic is so hot. - TOM: Alright, here we go. 365 00:22:04,932 --> 00:22:07,587 - RICK: I've always believed that the fact that the two 366 00:22:07,761 --> 00:22:11,504 records before "Wildflowers" were produced by Jeff had an 367 00:22:11,678 --> 00:22:16,813 amazingly positive effect on Tom going into "Wildflowers," 368 00:22:16,987 --> 00:22:21,862 because he was so dialed in on the songwriting-- 369 00:22:22,036 --> 00:22:24,821 on concise songwriting. 370 00:22:24,995 --> 00:22:29,783 And there was no, "Well, the vibe is good, so let's just go." There was none of that. 371 00:22:29,957 --> 00:22:31,741 It was very... 372 00:22:31,915 --> 00:22:36,311 pop structure songwriting, and then we took it and kind 373 00:22:36,485 --> 00:22:41,403 of made it the natural version of those songs. 374 00:22:41,577 --> 00:22:44,624 - I look at it as Jeff-- the records with Jeff were-- 375 00:22:44,798 --> 00:22:47,061 they are beautiful crafted pop records. 376 00:22:47,235 --> 00:22:49,629 They are records. - Yeah, amazing. 377 00:22:49,803 --> 00:22:52,545 - And my participation was minimal on both of the records, 378 00:22:52,719 --> 00:22:55,025 because Jeff has an idea, there's a keyboard there, 379 00:22:55,199 --> 00:22:57,419 he's going to play it, and that's great. 380 00:22:57,593 --> 00:23:01,989 But this is almost like taking what you learned from Jeff and 381 00:23:02,163 --> 00:23:06,080 setting it free by going, "We aren't going to build it; 382 00:23:06,254 --> 00:23:08,909 we're going to see what happens if we do this." 383 00:23:09,083 --> 00:23:12,347 It's very different, but it was very focused. 384 00:23:12,521 --> 00:23:17,918 It's very focused on songcraft and recordcraft, but there's also a freedom in it 385 00:23:18,092 --> 00:23:20,094 that's really, really cool. - RICK: Absolutely. 386 00:23:20,268 --> 00:23:21,922 - TOM: It feels good. I think it maybe should be faster. 387 00:23:22,096 --> 00:23:28,232 - ♪ 388 00:23:30,887 --> 00:23:34,500 ♪ Harry Green was my old friend ♪ 389 00:23:34,674 --> 00:23:39,069 ♪ We met in Spanish class ♪ 390 00:23:39,243 --> 00:23:42,856 ♪ Helped me out of a spot I was in ♪ 391 00:23:43,030 --> 00:23:47,295 ♪ He stopped a redneck from kickin' my ass ♪ 392 00:23:47,469 --> 00:23:51,473 ♪ Stopped a redneck from kickin' my ass ♪ 393 00:23:51,647 --> 00:23:56,652 ♪ 394 00:23:56,826 --> 00:24:00,743 ♪ Harry Green was strong and tall ♪ 395 00:24:00,917 --> 00:24:05,095 ♪ Played on a football team ♪ 396 00:24:05,269 --> 00:24:09,317 ♪ Them good ol' boys said "You better watch out ♪ 397 00:24:09,491 --> 00:24:12,494 ♪ He's not what he would seem" ♪ 398 00:24:12,668 --> 00:24:18,195 ♪ He's not what he would seem ♪ 399 00:24:18,369 --> 00:24:22,112 ♪ Harry Green ♪ 400 00:24:22,286 --> 00:24:26,856 ♪ Was alright by me ♪ 401 00:24:27,030 --> 00:24:30,686 ♪ Harry Green ♪ 402 00:24:30,860 --> 00:24:36,823 ♪ Was alright by me ♪ 403 00:24:36,997 --> 00:24:40,609 - ADRIA: I think the story of "Wildflowers," at the time that it was being created, 404 00:24:40,783 --> 00:24:43,612 was about a lot of people trying to like sorta go like, 405 00:24:43,786 --> 00:24:46,746 "No, just stay in this pen and keep churning out hits." 406 00:24:46,920 --> 00:24:50,184 And he was always kicking that gate open and going like, "No, 407 00:24:50,358 --> 00:24:52,491 "I'm just going to hang out with my friends and make the music. 408 00:24:52,665 --> 00:24:55,145 Whatever I give you, you'll be good with, I think, for sure." 409 00:24:55,319 --> 00:24:58,845 You know, my dad was constantly fighting with the label, 410 00:24:59,019 --> 00:25:02,196 and that's like a very well-documented saga. 411 00:25:02,370 --> 00:25:04,938 There was never a moment of victory. 412 00:25:05,112 --> 00:25:09,769 And so it was always like him giving these treasured records to the man, basically. 413 00:25:09,943 --> 00:25:13,773 But I think when they rejected "Full Moon Fever," 414 00:25:13,947 --> 00:25:16,732 that sent my dad in a whole other trajectory. 415 00:25:16,906 --> 00:25:20,431 - ♪ Tempers flare and the words are spoken ♪ 416 00:25:20,606 --> 00:25:24,697 ♪ You close one door and another opens ♪ 417 00:25:24,871 --> 00:25:29,876 ♪ You hear the music and you're wondering ♪ 418 00:25:30,050 --> 00:25:32,531 ♪ 419 00:25:32,705 --> 00:25:38,101 ♪ You got to get up and climb that hill again ♪ 420 00:25:38,275 --> 00:25:40,713 ♪ 421 00:25:40,887 --> 00:25:46,327 ♪ You got to get up and climb that hill again ♪ 422 00:25:46,501 --> 00:25:48,764 ♪ 423 00:25:48,938 --> 00:25:53,813 ♪ You got to get up and climb that hill again ♪ 424 00:25:53,987 --> 00:26:00,384 ♪ 425 00:26:06,608 --> 00:26:12,571 ♪ 426 00:26:20,579 --> 00:26:26,585 ♪ 427 00:26:31,198 --> 00:26:37,247 ♪♪ 428 00:26:43,123 --> 00:26:45,734 - BUG: He was never happy, you know, with MCA. 429 00:26:45,908 --> 00:26:50,304 So he really wanted to be on Warner Brothers, 430 00:26:50,478 --> 00:26:53,350 and when that opportunity presented itself, you know, 431 00:26:53,524 --> 00:26:56,919 he jumped at it. 432 00:26:57,093 --> 00:27:00,444 - TOM: We like to record for Warner Brothers because they taste good. 433 00:27:00,619 --> 00:27:04,100 - [laughs] - TOM: Mm, Mongo like. 434 00:27:04,274 --> 00:27:05,841 - RICK: Very nice. 435 00:27:06,015 --> 00:27:09,236 - ♪ 436 00:27:09,410 --> 00:27:13,283 - TOM: We knew we had a long run at MCA, 437 00:27:13,457 --> 00:27:15,721 and a very successful one, you know? 438 00:27:15,895 --> 00:27:17,984 It just felt like time in life. 439 00:27:18,158 --> 00:27:20,943 I really just went to work for people that I know 440 00:27:21,117 --> 00:27:23,772 and could kind of trust their instincts. 441 00:27:23,946 --> 00:27:28,342 - ♪ Hey, girl, come on, girl ♪ 442 00:27:28,516 --> 00:27:30,779 ♪ What's the matter with you? ♪ 443 00:27:30,953 --> 00:27:32,563 ♪ 444 00:27:32,738 --> 00:27:34,740 - I remember being at Cello Studios 445 00:27:34,914 --> 00:27:36,872 in the alleyway with you. - Yep. 446 00:27:37,046 --> 00:27:39,788 - And you said you were going to make a record with Tom. 447 00:27:39,962 --> 00:27:44,358 And you said, "Who's a good bass player?" I said, "Howie." 448 00:27:44,532 --> 00:27:47,013 And you said, "No, I don't want to use Howie." 449 00:27:47,187 --> 00:27:49,929 And I named you a couple of bass players. 450 00:27:50,103 --> 00:27:52,583 I think we tried them on a couple of songs. 451 00:27:52,758 --> 00:27:56,326 They may have wound up on one song on the record. And that's what I remembered. 452 00:27:56,500 --> 00:27:59,199 That it started like that and that you said you want to do 453 00:27:59,373 --> 00:28:01,244 something different and use a different bass player. 454 00:28:01,418 --> 00:28:04,160 I don't even remember if you said a different drummer. 455 00:28:04,334 --> 00:28:06,249 - RICK: That was from Tom, by the way. 456 00:28:06,423 --> 00:28:08,512 Tom wanted it to be--because he wanted it to be a solo album, 457 00:28:08,687 --> 00:28:10,384 -not a Heartbreaker's album. - BENMONT: I know, I know. 458 00:28:10,558 --> 00:28:12,386 - RICK: He said, "If Howie and Stanley are on it, it's 459 00:28:12,560 --> 00:28:15,650 "a Heartbreaker's album and I want it to be a solo record. 460 00:28:15,824 --> 00:28:17,913 "I want it to be--I don't want it to be a band record. 461 00:28:18,087 --> 00:28:21,351 I want it to be more like a singer/songwriter record." 462 00:28:21,525 --> 00:28:23,832 - And what's interesting is he got what he wanted, 463 00:28:24,006 --> 00:28:25,878 but it also became a band record, 464 00:28:26,052 --> 00:28:29,708 because 'til the very end, he would look at the band and go, 465 00:28:29,882 --> 00:28:33,102 -"'Wildflowers' was the best record we ever made." - RICK: Wow. 466 00:28:33,276 --> 00:28:37,324 Tom knew that he wanted this to be a solo record. 467 00:28:37,498 --> 00:28:42,677 And because it was a solo album, I think he felt even more 468 00:28:42,851 --> 00:28:46,289 like it was all on his shoulders. 469 00:28:46,463 --> 00:28:49,162 And I think he felt like it was on his shoulders all the time. 470 00:28:49,336 --> 00:28:53,035 But for the solo albums, he felt it even more so. 471 00:28:53,209 --> 00:28:55,342 It was just more personal in a way. 472 00:28:55,516 --> 00:28:57,605 It wasn't a band offering. 473 00:28:57,779 --> 00:29:00,608 It was a Tom Petty offering. 474 00:29:00,782 --> 00:29:06,570 - ♪ Everything changed, then changed again ♪ 475 00:29:06,745 --> 00:29:10,618 [humming] 476 00:29:10,792 --> 00:29:12,489 Let me get the chorus right. 477 00:29:12,663 --> 00:29:16,493 [humming] 478 00:29:16,667 --> 00:29:19,279 ♪ 479 00:29:19,453 --> 00:29:24,937 ♪ Everything changed, then it changed again ♪ 480 00:29:25,111 --> 00:29:28,201 ♪ It's hard to find a friend ♪ 481 00:29:28,375 --> 00:29:31,421 ♪ It's hard to find a friend ♪ 482 00:29:31,595 --> 00:29:37,427 ♪ 483 00:29:39,473 --> 00:29:41,040 - That riff is-- 484 00:29:41,214 --> 00:29:47,220 - ♪ 485 00:29:52,660 --> 00:29:59,841 ♪ 486 00:30:00,015 --> 00:30:05,151 - TOM: "To Find a Friend" it's just a beautiful little song, 487 00:30:05,325 --> 00:30:09,285 but I think subconsciously it probably had something to do 488 00:30:09,459 --> 00:30:12,549 with my life, you know, 489 00:30:12,723 --> 00:30:15,726 because I was-- 490 00:30:15,901 --> 00:30:18,773 I was becoming disenchanted 491 00:30:18,947 --> 00:30:21,863 with my marriage at the time. 492 00:30:22,037 --> 00:30:24,779 - ♪ And the days went by ♪ 493 00:30:24,953 --> 00:30:27,913 ♪ Like paper in the wind ♪ 494 00:30:28,087 --> 00:30:30,785 ♪ Everything changed ♪ 495 00:30:30,959 --> 00:30:33,483 ♪ And then changed again ♪ 496 00:30:33,657 --> 00:30:36,443 ♪ It's hard to find a friend ♪ 497 00:30:36,617 --> 00:30:39,925 ♪ Hard to find a friend ♪ 498 00:30:40,099 --> 00:30:46,061 ♪ 499 00:30:48,237 --> 00:30:52,851 - TOM: A lot of chords. - ♪ 500 00:30:53,025 --> 00:30:57,203 - BEN: I think I got it. - MIKE: You got it, we don't. - MAN: Is there a bridge? 501 00:30:57,377 --> 00:31:00,119 - [humming] - MAN: Hope not. 502 00:31:00,293 --> 00:31:03,992 - [humming] 503 00:31:04,166 --> 00:31:05,994 - BEN: Who's solo? - TOM: You. 504 00:31:06,168 --> 00:31:08,344 [humming] 505 00:31:08,518 --> 00:31:11,695 - [piano plays] 506 00:31:11,870 --> 00:31:14,089 - TOM: I think I can do it. 507 00:31:14,263 --> 00:31:15,917 Maybe. 508 00:31:18,659 --> 00:31:21,270 - [humming] - BEN: How's it start? 509 00:31:21,444 --> 00:31:23,055 - But there's a long walk at the end, right? 510 00:31:23,229 --> 00:31:25,013 For the ending. 511 00:31:27,146 --> 00:31:28,843 There's like duu-ah. 512 00:31:29,017 --> 00:31:31,454 - ADRIA: You know, my mother and my father had a bond 513 00:31:31,628 --> 00:31:33,674 that was crazy big. 514 00:31:33,848 --> 00:31:35,502 And she was always right by his side, 515 00:31:35,676 --> 00:31:38,157 encouraging him to go ahead and take a stand. 516 00:31:38,331 --> 00:31:40,768 But there were things on this record where you're like, 517 00:31:40,942 --> 00:31:42,988 oh, okay, a paper in the wind, I get it. 518 00:31:43,162 --> 00:31:45,991 You're preparing us for the cliche of what you're about to 519 00:31:46,165 --> 00:31:49,472 have to go through to get out of this relationship. 520 00:31:49,646 --> 00:31:52,475 - ♪ In the middle of his life ♪ 521 00:31:52,649 --> 00:31:55,957 ♪ Left his wife ♪ 522 00:31:56,131 --> 00:31:58,742 ♪ He ran off to be bad ♪ 523 00:31:58,917 --> 00:32:02,877 ♪ Boy it was sad ♪ 524 00:32:03,051 --> 00:32:05,401 - TOM: The marriage was falling apart. 525 00:32:05,575 --> 00:32:07,969 I think that had an influence on what I was doing, though. 526 00:32:08,143 --> 00:32:10,450 I don't think I was trying to conceptualize that 527 00:32:10,624 --> 00:32:13,496 or make it about that. 528 00:32:13,670 --> 00:32:15,803 I was just trying to write a collection of tunes. 529 00:32:15,977 --> 00:32:18,240 I wasn't really thinking along a thematic line. 530 00:32:18,414 --> 00:32:21,156 But when I hear it, I can see that 531 00:32:21,330 --> 00:32:24,290 it was working in the back of my mind somewhere. 532 00:32:24,464 --> 00:32:27,206 - ♪ And the days went by ♪ 533 00:32:27,380 --> 00:32:29,948 ♪ Like paper in the wind ♪ 534 00:32:30,122 --> 00:32:32,820 ♪ Everything changed ♪ 535 00:32:32,994 --> 00:32:35,518 ♪ And then changed again ♪ 536 00:32:35,692 --> 00:32:38,217 ♪ It's hard to find a friend ♪ 537 00:32:38,391 --> 00:32:42,961 ♪ It's hard to find a friend ♪ 538 00:32:43,135 --> 00:32:45,789 - ADRIA: There are things that are so indicative of him 539 00:32:45,964 --> 00:32:47,704 being in a time of change. 540 00:32:47,878 --> 00:32:50,490 He had sort of this complete escape 541 00:32:50,664 --> 00:32:52,579 in the music at that point. 542 00:32:52,753 --> 00:32:56,887 There's not any other album I can point to in particular that 543 00:32:57,062 --> 00:33:00,804 so strongly reflected what his psychological state of mind was 544 00:33:00,979 --> 00:33:03,198 at the time that he was making it. 545 00:33:03,372 --> 00:33:05,896 So in that way, I think it's very personal. 546 00:33:06,071 --> 00:33:08,812 - ♪ And it changed their lives ♪ 547 00:33:08,987 --> 00:33:10,901 ♪ It changed their plans ♪ 548 00:33:11,076 --> 00:33:14,993 ♪ Slowly they grew apart ♪ 549 00:33:15,167 --> 00:33:18,300 ♪ Boy would have broke your heart ♪ 550 00:33:18,474 --> 00:33:21,782 ♪ 551 00:33:21,956 --> 00:33:24,437 - BENMONT: He found a way to reveal the songs in what seems 552 00:33:24,611 --> 00:33:27,831 to be a much more personal manner. 553 00:33:28,006 --> 00:33:30,573 And it's some kind of evolution in the songwriting. 554 00:33:30,747 --> 00:33:36,144 He had hit some landmark or some watershed moment or something 555 00:33:36,318 --> 00:33:40,844 in his songwriting where he had gone 556 00:33:41,019 --> 00:33:42,716 to a different emotional place 557 00:33:42,890 --> 00:33:44,892 or a different way of revealing emotion. 558 00:33:45,066 --> 00:33:49,070 - ♪ 559 00:33:49,244 --> 00:33:54,249 ♪ I remember you so clearly ♪ 560 00:33:54,423 --> 00:33:58,862 ♪ The first one through the door ♪ 561 00:33:59,037 --> 00:34:04,129 ♪ And I return to find you drifting ♪ 562 00:34:04,303 --> 00:34:08,263 ♪ Too far from the shore ♪ 563 00:34:08,437 --> 00:34:10,439 - ADRIA: At the time that "Wildflowers" was being 564 00:34:10,613 --> 00:34:15,357 written, he was definitely going to therapy for the first time. 565 00:34:15,531 --> 00:34:19,840 And I think that that was an interesting door of perception that was opening. 566 00:34:20,014 --> 00:34:24,627 I think that that feeling of confidence and self-examination 567 00:34:24,801 --> 00:34:27,978 that he was going through at that time made him want to make 568 00:34:28,153 --> 00:34:30,938 a lot of different decisions about his life. 569 00:34:31,112 --> 00:34:33,723 And he did them slowly, methodically, carefully, 570 00:34:33,897 --> 00:34:35,943 and they were painful for him. 571 00:34:36,117 --> 00:34:40,165 - ♪ Don't fade ♪ 572 00:34:40,339 --> 00:34:44,038 ♪ 573 00:34:44,212 --> 00:34:46,475 ♪ Don't fade on me ♪ 574 00:34:46,649 --> 00:34:48,782 ♪ 575 00:34:48,956 --> 00:34:52,612 - TOM: I'm not obligated to bare my soul to nobody, 576 00:34:52,786 --> 00:34:54,614 especially in public. 577 00:34:54,788 --> 00:34:58,400 It's a tough thing, but nobody wants to hear you moan about it. 578 00:34:58,574 --> 00:35:02,448 And I do appreciate that people are interested enough to want to 579 00:35:02,622 --> 00:35:05,886 interview me or to want to know anything about me at all, 580 00:35:06,060 --> 00:35:07,757 I am flattered. 581 00:35:07,931 --> 00:35:11,196 But it is very hard to sit down and just talk about 582 00:35:11,370 --> 00:35:13,154 yourself constantly. 583 00:35:13,328 --> 00:35:17,027 I just want to be a musician and play music. 584 00:35:17,202 --> 00:35:22,207 - ♪ So don't make me feel a stranger ♪ 585 00:35:22,381 --> 00:35:27,255 ♪ And don't make me feel a fool ♪ 586 00:35:27,429 --> 00:35:32,217 ♪ Don't make me out an outlaw ♪ 587 00:35:32,391 --> 00:35:36,482 ♪ You said there were no rules ♪ 588 00:35:36,656 --> 00:35:39,354 - ADRIA: His whole life was changing and he didn't like 589 00:35:39,528 --> 00:35:42,923 change and he was incredibly private. 590 00:35:43,097 --> 00:35:46,187 But I did know that this record was like, "After this record, 591 00:35:46,361 --> 00:35:48,276 I'm divorcing your mother." 592 00:35:48,450 --> 00:35:52,150 Like I could tell from just the lyrics of "Don't Fade on Me." 593 00:35:52,324 --> 00:35:55,936 But I was really proud of him that he was brave enough to do 594 00:35:56,110 --> 00:35:58,852 what he thought would make him happy. He was ready to clean house. 595 00:35:59,026 --> 00:36:01,550 I think he was gearing up for it. 596 00:36:01,724 --> 00:36:03,465 And I don't think he even knew it 597 00:36:03,639 --> 00:36:05,206 until after he had written it. 598 00:36:05,380 --> 00:36:09,906 - [playing "Louie Louie"] 599 00:36:14,955 --> 00:36:16,565 - BUGS: We were off the road, 600 00:36:16,739 --> 00:36:18,698 and Mike had a studio in his house. 601 00:36:18,872 --> 00:36:21,135 And that's how the "Wildflowers" sessions sort of 602 00:36:21,309 --> 00:36:24,312 started really informally, by us going to Mike's 603 00:36:24,486 --> 00:36:27,097 and playing every day. 604 00:36:27,272 --> 00:36:30,405 And Stan Lynch--I don't know, you'd have to ask him, 605 00:36:30,579 --> 00:36:32,929 but it seemed to me like when he was listening to 606 00:36:33,103 --> 00:36:36,585 the "Wildflowers" stuff, it just seemed like, you know, 607 00:36:36,759 --> 00:36:38,848 it wasn't really something that he felt 608 00:36:39,022 --> 00:36:40,807 he could really get behind. So... 609 00:36:40,981 --> 00:36:43,288 - ♪ 610 00:36:43,462 --> 00:36:45,464 - ♪ Grass is growing ♪ 611 00:36:45,638 --> 00:36:49,294 ♪ It's time to move on, it's time to get going ♪ 612 00:36:49,468 --> 00:36:55,474 ♪ 613 00:36:57,258 --> 00:36:58,825 - TOM: When we were going to do "Wildflowers," 614 00:36:58,999 --> 00:37:01,131 what became "Wildflowers," I remember running 615 00:37:01,306 --> 00:37:03,090 some of the songs down with the Heartbreakers. 616 00:37:03,264 --> 00:37:05,135 And it wasn't really that great. 617 00:37:05,310 --> 00:37:08,791 And Stan said to Mike later that he didn't like the material. 618 00:37:08,965 --> 00:37:11,533 He thought the material was too laid back 619 00:37:11,707 --> 00:37:14,580 and didn't think it was what we should be doing. 620 00:37:14,754 --> 00:37:17,496 I think that--that hurt me. 621 00:37:17,670 --> 00:37:21,891 - ♪ It's time to move on, time to get going ♪ 622 00:37:22,065 --> 00:37:26,287 ♪ What lies ahead, I have no way of knowing ♪ 623 00:37:26,461 --> 00:37:29,986 ♪ But under my feet, baby, grass is growing ♪ 624 00:37:30,160 --> 00:37:33,947 ♪ It's time to move on, it's time to get going ♪ 625 00:37:34,121 --> 00:37:36,776 - STAN: It's a horrible thing when you have to like-- 626 00:37:36,950 --> 00:37:38,995 someone shows you a song that you know they worked their ass 627 00:37:39,169 --> 00:37:41,868 off and it's good, you know--I know Tom's good. 628 00:37:42,042 --> 00:37:43,609 See, this is a proven thing in my head. 629 00:37:43,783 --> 00:37:45,437 I go yeah, he's good. 630 00:37:45,611 --> 00:37:47,308 Now what do I do? 631 00:37:47,482 --> 00:37:49,179 You know, nobody comes up with a rule book and goes, 632 00:37:49,354 --> 00:37:51,312 "Oh yeah, page 14, man. Here is your drum part." 633 00:37:51,486 --> 00:37:53,140 You know you go like, "Oh yeah. 634 00:37:53,314 --> 00:37:55,621 Okay, I gotta cough up something here that they like," 635 00:37:55,795 --> 00:37:59,494 and usually they hate it. [laughs] 636 00:37:59,668 --> 00:38:02,367 They hate my shirt. They hate my hair. They usually hate everything. 637 00:38:02,541 --> 00:38:04,978 So it's, um, it's fun, you know? 638 00:38:05,152 --> 00:38:06,980 There's your challenge. 639 00:38:07,154 --> 00:38:09,852 - You know, with bands, there can be tensions rise up over 640 00:38:10,026 --> 00:38:13,116 time and it got to be uncomfortable. 641 00:38:13,291 --> 00:38:19,079 I think Stan felt like he was maybe being leaned on too hard 642 00:38:19,253 --> 00:38:22,822 to play a certain way or maybe we were too hard on him. 643 00:38:22,996 --> 00:38:26,521 We were just in a quagmire of disharmony 644 00:38:26,695 --> 00:38:29,959 for some reason, like a marriage, you know, it happens. 645 00:38:30,133 --> 00:38:35,008 - ♪ 646 00:38:35,182 --> 00:38:39,708 - TOM: He was a very good drummer and he was conscientious and he worked really hard. 647 00:38:39,882 --> 00:38:43,408 But he had a real explosive personality. 648 00:38:43,582 --> 00:38:47,150 You know, he could be really sweet and really loving 649 00:38:47,325 --> 00:38:51,938 and then be the biggest problem, you know? 650 00:38:52,112 --> 00:38:55,942 - ♪ Come up in New Orleans ♪ 651 00:38:56,116 --> 00:38:59,989 ♪ Some take to religion, some take to magazines ♪ 652 00:39:00,163 --> 00:39:04,037 ♪ Sometimes we make money, sometimes we don't know ♪ 653 00:39:04,211 --> 00:39:09,303 ♪ There's thirteen days with life to go ♪ 654 00:39:09,477 --> 00:39:14,352 - TOM: I had been working on and off on this album when I was 655 00:39:14,526 --> 00:39:17,790 reminded that I had to do two tracks 656 00:39:17,964 --> 00:39:20,967 for the "Greatest Hits" album. 657 00:39:21,141 --> 00:39:23,056 Very nice. Nice track, man! 658 00:39:23,230 --> 00:39:26,059 - ♪ 659 00:39:26,233 --> 00:39:28,714 - RICK: We took a break in the middle because we had to deliver 660 00:39:28,888 --> 00:39:32,413 two songs to MCA for Tom to get out of his contract 661 00:39:32,587 --> 00:39:34,284 for a greatest hits album. 662 00:39:34,459 --> 00:39:36,330 Tom said, "Let's go to another studio. 663 00:39:36,504 --> 00:39:39,551 "Let's set up an entirely different session and let's not 664 00:39:39,725 --> 00:39:41,988 "interfere with what's going on with 'Wildflowers,' 665 00:39:42,162 --> 00:39:44,425 "because what we're doing now is the future 666 00:39:44,599 --> 00:39:47,036 and the greatest hits stuff is part of the past." 667 00:39:47,210 --> 00:39:52,868 - --everything they can do, but there's a problem there. 668 00:39:53,042 --> 00:39:55,305 You know, it's politics. 669 00:39:55,480 --> 00:40:00,180 - RICK: But I felt like Tom's heart was in "Wildflowers' 670 00:40:00,354 --> 00:40:03,096 and more like this was an obligation. 671 00:40:03,270 --> 00:40:06,665 And we knew that the purpose of the session was to get two songs 672 00:40:06,839 --> 00:40:08,797 for a greatest hits album, and then we could go back 673 00:40:08,971 --> 00:40:11,017 to our day job of making "Wildflowers," 674 00:40:11,191 --> 00:40:13,715 which was the real--the real work. 675 00:40:13,889 --> 00:40:16,718 - TOM: Just remember to put the suspension on the bridge, 676 00:40:16,892 --> 00:40:18,459 or the bridge will fall down. 677 00:40:18,633 --> 00:40:21,114 - ♪ 678 00:40:21,288 --> 00:40:23,203 - You can't have a bridge without proper suspension, 679 00:40:23,377 --> 00:40:25,248 that's what I say. 680 00:40:26,859 --> 00:40:28,687 So I called the Heartbreakers, 681 00:40:28,861 --> 00:40:32,778 and we set aside some time. 682 00:40:32,952 --> 00:40:35,520 And then I stopped what I was doing, 683 00:40:35,694 --> 00:40:38,436 and I wrote them a few songs. 684 00:40:38,610 --> 00:40:40,307 And we just--and we did this session, 685 00:40:40,481 --> 00:40:44,529 "Mary Jane's Last Dance" and a few other things 686 00:40:44,703 --> 00:40:47,923 in a pretty quick couple of weeks. 687 00:40:48,097 --> 00:40:53,233 - ["Mary Jane's Last Dance" plays] 688 00:40:53,407 --> 00:40:59,065 ♪ 689 00:40:59,239 --> 00:41:01,894 ♪ Move down here the age of 18 ♪ 690 00:41:02,068 --> 00:41:04,679 ♪ She blew the boys away, was more than they'd seen ♪ 691 00:41:04,853 --> 00:41:07,421 ♪ I was introduced, and we both started grooving ♪ 692 00:41:07,595 --> 00:41:10,076 ♪ She said I dig you, baby, but I gotta keep moving ♪ 693 00:41:10,250 --> 00:41:11,860 ♪ 694 00:41:12,034 --> 00:41:14,863 ♪ On, keep moving on ♪ 695 00:41:15,037 --> 00:41:21,653 ♪ 696 00:41:21,827 --> 00:41:24,351 ♪ Last dance with Mary Jane ♪ 697 00:41:24,525 --> 00:41:28,747 ♪ One more time to kill the pain ♪ 698 00:41:28,921 --> 00:41:32,968 ♪ 699 00:41:33,142 --> 00:41:35,580 ♪ I feel something creeping in ♪ 700 00:41:35,754 --> 00:41:39,975 ♪ And I'm tired of this town again ♪ 701 00:41:40,149 --> 00:41:44,850 ♪ 702 00:41:45,024 --> 00:41:49,158 - [harmonica plays] 703 00:41:49,332 --> 00:41:51,117 - BENMONT: We recorded "Mary Jane's Last Dance," 704 00:41:51,291 --> 00:41:54,337 Which was a huge hit for us--gigantically. 705 00:41:54,512 --> 00:41:56,949 And that's the last thing Stanley ever did with us. 706 00:41:57,689 --> 00:42:00,256 A couple months later, Tom called me and said, "Look, 707 00:42:00,430 --> 00:42:02,215 "I can't do it anymore. 708 00:42:02,389 --> 00:42:05,958 I can't do it anymore, I have to let go of Stan." 709 00:42:06,132 --> 00:42:10,353 I had to say, "You have to do what you have to do." 710 00:42:10,528 --> 00:42:13,139 - You can't have a football team with a bunch of jack-offs. 711 00:42:13,313 --> 00:42:16,359 - ♪ 712 00:42:16,534 --> 00:42:20,320 - I'm out here lookin' for starters. 713 00:42:20,494 --> 00:42:25,151 You boys got too much on your mind to play football. 714 00:42:25,630 --> 00:42:28,023 Just that damn music and jacking off. 715 00:42:28,197 --> 00:42:30,939 - ♪ 716 00:42:31,113 --> 00:42:36,292 - RICK: The first mission really was figuring out who the band was gonna be. 717 00:42:36,466 --> 00:42:38,512 I remember we auditioned drummers. 718 00:42:38,686 --> 00:42:42,037 Amongst the drummers trying out was Steve Ferrone. 719 00:42:42,211 --> 00:42:44,649 - ♪ Oh honey, honey the milk's gone sour ♪ 720 00:42:44,823 --> 00:42:48,609 ♪ It's $200 an hour ♪ 721 00:42:48,783 --> 00:42:54,049 - STEVE: I was living in New York and--a studio musician, 722 00:42:54,223 --> 00:42:57,052 and there was an answering service called Radio Registry 723 00:42:57,226 --> 00:42:59,664 which used to call up and book-- book you for sessions. 724 00:42:59,838 --> 00:43:01,448 And they called me up and they said, 725 00:43:01,622 --> 00:43:03,537 "Can you come out to Los Angeles and do a session?" 726 00:43:03,711 --> 00:43:06,671 I said, "Yes, I can do that." I said, "Who is it for?" 727 00:43:06,845 --> 00:43:10,109 And they said "Oh, it's--it's top secret." 728 00:43:10,283 --> 00:43:14,026 - TOM: We had assembled a band in the studio. 729 00:43:14,200 --> 00:43:17,899 And drummers were kind of coming and going every couple of hours. 730 00:43:18,073 --> 00:43:19,988 He would bring in a drummer, and we would play 731 00:43:20,162 --> 00:43:23,252 through the song once, and I would go, "No." 732 00:43:23,426 --> 00:43:27,343 - ♪ 733 00:43:27,517 --> 00:43:30,042 - STEVE: As I arrived, Kenny Aranoff's drum kit was coming 734 00:43:30,216 --> 00:43:33,915 out, which was still not unusual because sometimes they 735 00:43:34,089 --> 00:43:36,004 get hired to play a specific song on the album, 736 00:43:36,178 --> 00:43:39,355 or the producer thinks that I should play these songs--a block 737 00:43:39,529 --> 00:43:42,663 of songs, or split an album with another drummer or something. 738 00:43:42,837 --> 00:43:44,534 And I walked in the control room, 739 00:43:44,709 --> 00:43:46,885 and there was Mike Campbell and Tom Petty. 740 00:43:47,059 --> 00:43:49,235 And I said "Ah!" [laughs] 741 00:43:49,409 --> 00:43:53,065 - Hey! - Say, man, is that the drummer? 742 00:43:53,239 --> 00:43:56,895 - Say, man, what you talking about? 743 00:43:57,069 --> 00:43:59,158 - You call that a drummer? - No! 744 00:43:59,332 --> 00:44:03,379 That's a rhythm technician. Yeah! 745 00:44:03,553 --> 00:44:06,513 - ♪ 746 00:44:06,687 --> 00:44:11,474 - Oh yeah! Hey! - ♪ 747 00:44:11,649 --> 00:44:13,607 - When Steve Ferrone walked in, I remember you, 748 00:44:13,781 --> 00:44:17,263 and Mike, and Tom looking at each other and going, 749 00:44:17,437 --> 00:44:21,528 "This guy." And Steve had such a cheerful attitude. 750 00:44:21,702 --> 00:44:23,791 - RICK: Yeah. 751 00:44:23,965 --> 00:44:25,793 - And he was new. - MIKE: Don't wanna take credit, 752 00:44:25,967 --> 00:44:28,230 -but I did bring Steve into the fold. - That's right, you did. 753 00:44:28,404 --> 00:44:30,232 And it was a great idea to change the rhythm section, 754 00:44:30,406 --> 00:44:32,278 because it changed everything. 755 00:44:32,452 --> 00:44:35,150 Because Steve and Stan play nothing like each other, 756 00:44:35,324 --> 00:44:38,937 and therefore, it didn't sound like the Heartbreakers. 757 00:44:39,111 --> 00:44:40,895 It didn't sound like the Heartbreakers, 758 00:44:41,069 --> 00:44:43,593 but the vibe was really good. 759 00:44:43,768 --> 00:44:45,683 - TOM: And he played the track one time 760 00:44:45,857 --> 00:44:49,425 through without hearing it, and we got a take. 761 00:44:49,599 --> 00:44:51,253 - Are we ready? Do it again? Ready? 762 00:44:51,427 --> 00:44:53,038 - We're ready. Let's do this. 763 00:44:53,212 --> 00:44:56,171 - Steve Ferrone came all the way from New York. 764 00:44:56,345 --> 00:44:58,608 So good to be with you people today. 765 00:45:01,568 --> 00:45:06,921 - ♪ 766 00:45:09,054 --> 00:45:12,927 ♪ 767 00:45:13,101 --> 00:45:14,799 - STEVE: "You Don't Know How It Feels" was different, 768 00:45:14,973 --> 00:45:16,583 it was--there was something different about it, 769 00:45:16,757 --> 00:45:20,543 it wasn't your regular Tom Petty approach to a song. 770 00:45:20,718 --> 00:45:22,328 And Rick--Rick understood it. 771 00:45:22,502 --> 00:45:24,286 Rick really had a great understanding 772 00:45:24,460 --> 00:45:28,943 of what Tom was looking for, where this album was going. 773 00:45:29,117 --> 00:45:31,772 - RICK: I would say the fact that I had come from a hip-hop 774 00:45:31,946 --> 00:45:36,081 background made me pay particular attention to 775 00:45:36,255 --> 00:45:40,650 the rhythms in a way that maybe had not happened in the past. 776 00:45:40,825 --> 00:45:43,871 - ♪ Well, let me get to the point ♪ 777 00:45:44,045 --> 00:45:47,135 ♪ Let's roll another joint ♪ 778 00:45:47,309 --> 00:45:50,486 ♪ And turn the radio loud ♪ 779 00:45:50,660 --> 00:45:54,142 ♪ I'm too alone to be proud ♪ 780 00:45:54,316 --> 00:45:57,319 ♪ And you don't know how it feels ♪ 781 00:45:57,493 --> 00:46:02,063 ♪ You don't know how it feels ♪ 782 00:46:02,237 --> 00:46:06,198 ♪ To be me ♪ 783 00:46:06,372 --> 00:46:08,983 - MIKE: And there was discussion about--with Rick and 784 00:46:09,157 --> 00:46:13,858 me and Tom, like, "I don't know if we have a hit on this record. I wonder if we have a hit." 785 00:46:14,032 --> 00:46:16,904 And then somebody said, "Well, what sounds like a hit on the radio?" 786 00:46:17,078 --> 00:46:19,820 And somebody said, "That Steve Miller song, 'The Joker.'" 787 00:46:19,994 --> 00:46:23,781 Tom went home with that idea and came back with the song. 788 00:46:23,955 --> 00:46:27,828 And it was just--that drum beat was really the impetus to write 789 00:46:28,002 --> 00:46:33,747 it, and we've never really tried per se to write a hit, 790 00:46:33,921 --> 00:46:36,358 but it did okay, you know? 791 00:46:36,532 --> 00:46:41,668 - BENMONT: Ferrone's very key to him cracking the code of how to make it different. 792 00:46:41,842 --> 00:46:45,454 I could see the Heartbreakers playing all of these songs, 793 00:46:45,628 --> 00:46:48,544 but it wouldn't have sounded like this. 794 00:46:48,718 --> 00:46:52,287 It'd sound great, but it would not have sounded like this. 795 00:46:52,461 --> 00:46:55,464 - ♪ You don't know how it feels ♪ 796 00:46:55,638 --> 00:46:58,380 ♪ You don't know how it feels ♪ 797 00:46:59,947 --> 00:47:03,733 ♪ To be me ♪ 798 00:47:03,908 --> 00:47:07,041 - TOM: And I said, "Now that's what I'm looking for, you know?" 799 00:47:07,215 --> 00:47:09,217 He played instinctually. 800 00:47:09,391 --> 00:47:13,352 He played perfect the first time through. 801 00:47:13,526 --> 00:47:15,310 And I liked him. 802 00:47:15,484 --> 00:47:21,273 - [drums playing] 803 00:47:21,447 --> 00:47:27,496 ♪ 804 00:47:30,848 --> 00:47:35,940 - TOM: "Wildflowers" is really not a solo album in the sense 805 00:47:36,114 --> 00:47:38,290 that you'd say, "I went off and did it without the band." 806 00:47:38,464 --> 00:47:42,729 Because--especially with Stan gone now, it is the band. 807 00:47:42,903 --> 00:47:45,950 All the rest of them were there, 808 00:47:46,124 --> 00:47:47,777 which kind of happened piecemeal. 809 00:47:47,952 --> 00:47:51,172 Like Mike was going to be there, and then Ben was there. 810 00:47:51,346 --> 00:47:54,088 And then, "Who am I going to sing with? 811 00:47:54,262 --> 00:47:56,264 I want to sing with Howie." 812 00:47:56,438 --> 00:47:58,919 - ♪ 813 00:47:59,093 --> 00:48:04,925 - [unintelligible lyrics] 814 00:48:05,099 --> 00:48:11,105 - ♪ 815 00:48:14,500 --> 00:48:16,110 - HOWIE: Tom and I get along real good. 816 00:48:16,284 --> 00:48:19,548 I've never had one weird moment with him. 817 00:48:19,722 --> 00:48:21,594 You know, a lot of times working in close situations or in a 818 00:48:21,768 --> 00:48:24,858 creative end of things, you can like-- 819 00:48:25,032 --> 00:48:26,991 I'll get pretty pissed at somebody. 820 00:48:27,165 --> 00:48:30,385 But, no, we get along real good. 821 00:48:30,559 --> 00:48:33,649 - TOM: He's just a great high harmony singer. 822 00:48:33,823 --> 00:48:37,610 His voice sounds very much like mine when we sing together. 823 00:48:37,784 --> 00:48:40,482 I think he's a very talented guy, you know? 824 00:48:40,656 --> 00:48:45,792 And I really appreciate him being my friend in many ways, 825 00:48:45,966 --> 00:48:49,883 because it's hard to find people like Howie in the world 826 00:48:50,057 --> 00:48:53,495 who are so pure of spirit. 827 00:48:53,669 --> 00:48:56,890 - ♪ 828 00:48:59,632 --> 00:49:02,200 - One...two. 829 00:49:02,374 --> 00:49:04,376 - ♪ 830 00:49:04,550 --> 00:49:10,338 - [indistinct chatter] 831 00:49:10,512 --> 00:49:16,562 - ♪ 832 00:49:23,830 --> 00:49:27,399 - ♪ Here comes that feeling ♪ 833 00:49:27,573 --> 00:49:29,444 - Only a broken heart. - Only broken heart. 834 00:49:29,618 --> 00:49:35,842 We did that guitars first, to-- not to a click, 835 00:49:36,016 --> 00:49:37,931 but to Steve just playing a hi-hat. 836 00:49:38,105 --> 00:49:40,847 - When we used to use loops on the second album, 837 00:49:41,021 --> 00:49:44,633 the loops, I think, would be Stan or Tom or somebody just 838 00:49:44,807 --> 00:49:47,201 beating time with the newspaper. - RICK: Yeah. 839 00:49:47,375 --> 00:49:49,421 - And we'd have a loop with a human feel. 840 00:49:49,595 --> 00:49:52,424 And that's a whole different thing. That's a whole different thing. 841 00:49:52,598 --> 00:49:55,079 - RICK: "Only Broken Hearts" one of my favorite songs on that album. 842 00:49:55,253 --> 00:49:57,603 - ♪ It's only ♪ 843 00:49:57,777 --> 00:50:01,389 ♪ A broken heart ♪ 844 00:50:01,563 --> 00:50:05,959 ♪ 845 00:50:06,133 --> 00:50:10,877 ♪ I know the place where ♪ 846 00:50:11,051 --> 00:50:16,361 ♪ You keep your secrets ♪ 847 00:50:16,535 --> 00:50:18,798 ♪ Out of ♪ 848 00:50:18,972 --> 00:50:22,454 ♪ The sunshine ♪ 849 00:50:22,628 --> 00:50:26,849 ♪ Down in a valley ♪ 850 00:50:27,024 --> 00:50:31,028 ♪ But I'm not afraid ♪ 851 00:50:31,202 --> 00:50:33,291 ♪ Anymore ♪ 852 00:50:33,465 --> 00:50:37,556 ♪ 853 00:50:37,730 --> 00:50:39,949 ♪ It's only ♪ 854 00:50:40,124 --> 00:50:43,388 ♪ A broken heart ♪ 855 00:50:43,562 --> 00:50:48,480 ♪ 856 00:50:48,654 --> 00:50:53,267 ♪ What would I give ♪ 857 00:50:53,441 --> 00:50:58,577 ♪ To start all over again ♪ 858 00:50:58,751 --> 00:51:03,364 ♪ To clean up my ♪ 859 00:51:03,538 --> 00:51:05,801 ♪ Mistakes ♪ 860 00:51:05,975 --> 00:51:08,630 ♪ 861 00:51:08,804 --> 00:51:10,676 - It's beautiful. - I absolutely love that. 862 00:51:10,850 --> 00:51:13,766 - I think that's one of the best things about "Wildflowers" 863 00:51:13,940 --> 00:51:15,768 is that it's organic. 864 00:51:15,942 --> 00:51:18,988 All the tracks are performed by human beings. 865 00:51:19,163 --> 00:51:23,384 We didn't use drum machines or clicks or anything like that. And you can tell. 866 00:51:23,558 --> 00:51:26,387 - Yeah. - TOM: A lot of chords, though! 867 00:51:26,561 --> 00:51:30,870 - ♪ - GEORGE: You could hear the wood of it. 868 00:51:31,044 --> 00:51:33,655 You could hear the wood of the acoustic guitars-- or whatever it was. 869 00:51:33,829 --> 00:51:35,918 The drums were very--everything was very natural. 870 00:51:36,093 --> 00:51:40,967 You know, it was very earthy and natural, for sure. 871 00:51:41,141 --> 00:51:44,275 - What I thought we'd do now is play you some acoustic music for a while. 872 00:51:44,449 --> 00:51:49,932 - [audience cheering] 873 00:51:50,107 --> 00:51:52,544 - 'Cause I have so many songs I wanna try to get in in the time 874 00:51:52,718 --> 00:51:55,416 I have tonight. 875 00:51:55,590 --> 00:51:58,332 So we've got a long way to go! 876 00:51:58,506 --> 00:52:01,335 - RICK: I think for a long time, Tom's been making records 877 00:52:01,509 --> 00:52:04,338 with a lot of guitars on them, 878 00:52:04,512 --> 00:52:06,297 but they're layered guitars. 879 00:52:06,471 --> 00:52:10,823 And if you have 6 or 12 guitars playing the same thing, 880 00:52:10,997 --> 00:52:14,827 it stops sounding like a guy playing guitar and more just like guitar. 881 00:52:15,001 --> 00:52:18,352 What we're trying to get at now is getting away from the idea of 882 00:52:18,526 --> 00:52:24,228 guitar as a bed and more as a prominent instrument played by 883 00:52:24,402 --> 00:52:28,232 a person with string sounds and finger sounds and the 884 00:52:28,406 --> 00:52:33,541 personality of a guy playing the guitar as opposed to just the sound of a guitar. 885 00:52:33,715 --> 00:52:37,763 - ♪ California's been good to me ♪ 886 00:52:37,937 --> 00:52:42,071 ♪ Hope it don't fall into the sea ♪ 887 00:52:42,246 --> 00:52:46,467 ♪ Sometimes you got to trust yourself ♪ 888 00:52:46,641 --> 00:52:50,732 ♪ It ain't like anywhere else ♪ 889 00:52:50,906 --> 00:52:54,301 ♪ It ain't like anywhere else ♪ 890 00:52:54,475 --> 00:52:58,305 ♪ 891 00:52:58,479 --> 00:53:03,484 - [harmonica plays] 892 00:53:04,964 --> 00:53:07,619 - ADRIA: I love the super uplifting like beauty and 893 00:53:07,793 --> 00:53:11,013 simplicity of that song, but there's an edge to it, 894 00:53:11,188 --> 00:53:14,365 because California's where he reinvented himself. 895 00:53:14,539 --> 00:53:16,715 It's where he left an abusive father behind. 896 00:53:16,889 --> 00:53:19,805 It's where he started his own family surrounded by friends. 897 00:53:19,979 --> 00:53:22,199 It's where he had wild success. 898 00:53:22,373 --> 00:53:25,463 And him and my mom were tenacious and crazy enough 899 00:53:25,637 --> 00:53:28,509 to be successful here and make it work. 900 00:53:28,683 --> 00:53:31,686 And I think he had a lot of appreciation for being a 901 00:53:31,860 --> 00:53:37,083 resident here, like he felt very lucky that Los Angeles existed 902 00:53:37,257 --> 00:53:39,999 and yet, just the idea that he sings, 903 00:53:40,173 --> 00:53:42,306 "Sometimes you got to save yourself." 904 00:53:42,480 --> 00:53:46,223 - ♪ California's been good to me ♪ 905 00:53:46,397 --> 00:53:50,227 ♪ Hope it don't fall into the sea ♪ 906 00:53:50,401 --> 00:53:54,361 ♪ Sometimes you got to save yourself ♪ 907 00:53:54,535 --> 00:53:57,538 ♪ It ain't like anywhere else ♪ 908 00:53:57,712 --> 00:54:01,977 ♪ No, it ain't like anywhere else ♪ 909 00:54:02,151 --> 00:54:08,201 ♪ 910 00:54:09,507 --> 00:54:12,858 ♪ 911 00:54:13,032 --> 00:54:15,339 - GEORGE: I think that was his purpose, you know, 912 00:54:15,513 --> 00:54:18,559 obviously was to heal himself--that was the purpose of the work for him. 913 00:54:18,733 --> 00:54:22,433 Tom and I, we'd never analyze his lyrics together. Like, "What do you mean here?" 914 00:54:22,607 --> 00:54:25,349 The therapy was making--doing the work and making the music, 915 00:54:25,523 --> 00:54:28,003 and that was how you worked through it. 916 00:54:28,177 --> 00:54:31,790 - ♪ Sundown, red skies ♪ 917 00:54:31,964 --> 00:54:35,576 ♪ Nobody's been around ♪ 918 00:54:35,750 --> 00:54:39,406 ♪ Sundown, blue eyes ♪ 919 00:54:39,580 --> 00:54:43,149 ♪ I kinda like this party town ♪ 920 00:54:43,323 --> 00:54:46,413 ♪ 921 00:54:46,587 --> 00:54:50,025 ♪ California's treated me good ♪ 922 00:54:50,199 --> 00:54:53,812 ♪ I pray to God that the hills don't flood ♪ 923 00:54:53,986 --> 00:54:57,555 ♪ Sometimes you got to save yourself ♪ 924 00:54:57,729 --> 00:55:01,385 ♪ It ain't like anywhere else ♪ 925 00:55:01,559 --> 00:55:04,866 ♪ It ain't like anywhere else ♪ 926 00:55:05,040 --> 00:55:08,740 ♪ No, it ain't like anywhere else ♪ 927 00:55:08,914 --> 00:55:12,526 ♪ 928 00:55:12,700 --> 00:55:18,358 - [harmonica plays] 929 00:55:18,532 --> 00:55:20,621 - ♪♪ 930 00:55:20,795 --> 00:55:25,278 - [audience cheering] 931 00:55:25,452 --> 00:55:31,023 - ♪ 932 00:55:31,197 --> 00:55:33,634 - RICK: There's been a lot of time going into the writing. 933 00:55:33,808 --> 00:55:35,984 We're spreading the recording out over a long period of time, 934 00:55:36,158 --> 00:55:40,119 which is really giving the album, I think, a depth. 935 00:55:40,293 --> 00:55:42,643 If you're making the kind of records that just capture a 936 00:55:42,817 --> 00:55:48,083 moment in time, the more spread out those moments of time are, 937 00:55:48,257 --> 00:55:50,085 the more interesting they sound when they're put together. 938 00:55:50,259 --> 00:55:53,611 And we've already recorded about 15 songs 939 00:55:53,785 --> 00:55:57,441 that most artists would just say, 940 00:55:57,615 --> 00:55:59,443 "Well, the album is done, we have 15 great songs. 941 00:55:59,617 --> 00:56:01,836 Pick the best 12 and put them out." 942 00:56:02,010 --> 00:56:04,665 But we're going to probably record 943 00:56:04,839 --> 00:56:08,930 about another 15 and have the best to choose 944 00:56:09,104 --> 00:56:11,324 from, or then again, who knows, maybe it'll end up being 945 00:56:11,498 --> 00:56:16,068 a double album, which would be super cool to me. 946 00:56:16,242 --> 00:56:18,287 - Be sure to tune in next week for double albums 947 00:56:18,462 --> 00:56:21,290 that have failed. - [laughs] 948 00:56:21,465 --> 00:56:24,511 - GEORGE: Why double albums don't work. 949 00:56:24,685 --> 00:56:27,906 It's like, do we know we're making this landmark, incredible thing that was going to live for the ages? 950 00:56:28,080 --> 00:56:30,517 No, you were just doing it every day, because it was so much fun, you know? 951 00:56:30,691 --> 00:56:34,608 - ♪ 952 00:56:34,782 --> 00:56:36,349 - GEORGE: Bugs is the only one who knew, you know? 953 00:56:36,523 --> 00:56:39,874 I'd say Bugs is the Oracle or Yoda. 954 00:56:40,048 --> 00:56:42,529 It's funny, you might ask Tom or Mike or somebody or Ben 955 00:56:42,703 --> 00:56:44,662 a question and you'd get the answer. 956 00:56:44,836 --> 00:56:47,578 And then Bugs would walk away. "Actually, that's not"-- 957 00:56:47,752 --> 00:56:52,452 He'd correct because he knew-- he knew their lives, you know, better than anyone. 958 00:56:52,626 --> 00:56:54,585 And um...he would know every song. 959 00:56:54,759 --> 00:56:58,110 He would--even when they went through title changes and like 960 00:56:58,284 --> 00:57:00,504 everything flowed through him at some point. 961 00:57:00,678 --> 00:57:03,332 So everything he touched-- he touched everything. 962 00:57:03,507 --> 00:57:06,423 - So when they had enough songs that they decided to make it 963 00:57:06,597 --> 00:57:09,556 a double album, the way we kept track of everything was we've 964 00:57:09,730 --> 00:57:11,906 got this chart and they wrote-- 965 00:57:12,080 --> 00:57:14,866 listed all the songs here. 966 00:57:15,040 --> 00:57:17,912 And then up at the top there is a list of things that needed to 967 00:57:18,086 --> 00:57:20,872 be done, like starting with whether the track was done or 968 00:57:21,046 --> 00:57:25,529 not, if there are words, if there were any edits to be made, 969 00:57:25,703 --> 00:57:27,922 all the different instruments that needed to be on there. 970 00:57:28,096 --> 00:57:30,969 And when it was ready to mix, they would check it off here. 971 00:57:31,143 --> 00:57:33,188 The final was... 972 00:57:33,362 --> 00:57:36,801 The George Drakoulias Fuck That Shit Up column. 973 00:57:36,975 --> 00:57:38,542 - GEORGE: Which meant like, you know, something stupid. 974 00:57:38,716 --> 00:57:40,979 You know, who knows? It could have been anything, 975 00:57:41,153 --> 00:57:43,460 but some kind of crazy sound or something weird or something stupid to do. 976 00:57:43,634 --> 00:57:45,549 And then you had this giant chart. 977 00:57:45,723 --> 00:57:48,856 And then the more songs that got recorded, 978 00:57:49,030 --> 00:57:51,511 the bigger this chart got. 979 00:57:51,685 --> 00:57:54,209 That would be the historical document that you'd always look 980 00:57:54,383 --> 00:57:56,298 to, to know where you are at any given time. 981 00:57:56,473 --> 00:57:59,606 So it's like, all right, "Leave Virginia Alone," okay. 982 00:57:59,780 --> 00:58:02,043 We've done the guitars the other day. What are we going to do? 983 00:58:02,217 --> 00:58:04,655 We got to do something stupid on it. Let's do--let's try this, whatever. 984 00:58:04,829 --> 00:58:07,614 It was the owner's manual. 985 00:58:07,788 --> 00:58:09,790 - The essence of the "Wildflowers" record is that 986 00:58:09,964 --> 00:58:15,448 Tom wrote an astounding body of songs. 987 00:58:15,622 --> 00:58:17,624 - Absolutely. - Too many to fit onto one record. 988 00:58:17,798 --> 00:58:20,801 - Yeah. But I do remember I enjoyed 989 00:58:20,975 --> 00:58:23,325 our time in the studio every day. 990 00:58:23,500 --> 00:58:26,328 And I remember it took--it definitely took a long time, 991 00:58:26,503 --> 00:58:30,071 but I loved what was happening. 992 00:58:30,245 --> 00:58:33,945 And sometimes we would work all day, and it would just be one little piano overdub, 993 00:58:34,119 --> 00:58:36,034 but it was the right one. 994 00:58:36,208 --> 00:58:37,818 - BENMONT: It was the right one. - Yeah. 995 00:58:37,992 --> 00:58:40,734 - It was a vibe of, what are we going to hear today? 996 00:58:40,908 --> 00:58:43,389 I'm going to go play with my friends. 997 00:58:43,563 --> 00:58:49,047 My friend Rick is going to be there and say, "To the bridge, "I think it's perfect. 998 00:58:49,221 --> 00:58:52,093 We need to rewrite that bridge and play less." 999 00:58:52,267 --> 00:58:55,053 And I was like, "Okay, I trust Rick. 1000 00:58:55,227 --> 00:58:59,623 Okay, man, let's do it." I was really happy, I think, during those sessions. 1001 00:58:59,797 --> 00:59:03,104 - It was fun. - This is the thing that was special about--one thing about 1002 00:59:03,278 --> 00:59:06,586 this record with Rick and Tom and me as, uh, producers, 1003 00:59:06,760 --> 00:59:10,590 and Ben as a...contributor. 1004 00:59:10,764 --> 00:59:12,549 - A layabout. - Layabout. 1005 00:59:12,723 --> 00:59:16,030 But the thing that Rick had, that Tom and I had--and I really 1006 00:59:16,204 --> 00:59:20,165 miss this about him--was whatever record we were making, 1007 00:59:20,339 --> 00:59:22,080 whoever the producer was, 1008 00:59:22,254 --> 00:59:25,605 we would show up and go for greatness. 1009 00:59:25,779 --> 00:59:27,912 I don't know--I wrote this song today. 1010 00:59:28,086 --> 00:59:29,783 It may not be as good as "American Girl," 1011 00:59:29,957 --> 00:59:32,133 but we're going to sit here, and we're going to make it 1012 00:59:32,307 --> 00:59:34,701 better than anything we ever did. 1013 00:59:34,875 --> 00:59:38,705 Next day, this new song, we're going to make this the best thing we ever did. 1014 00:59:38,879 --> 00:59:43,928 -And Tom was really like that. - Every song had to be the best it could possibly be, 1015 00:59:44,102 --> 00:59:49,934 -and whatever we could do to make it, we would. - ♪ 1016 00:59:54,112 --> 00:59:55,679 - That's right. 1017 00:59:55,853 --> 01:00:01,162 - ♪ 1018 01:00:03,991 --> 01:00:05,950 - Come on, yeah. 1019 01:00:06,124 --> 01:00:11,390 - ♪ 1020 01:00:21,008 --> 01:00:26,100 ♪ 1021 01:00:26,927 --> 01:00:29,669 ♪ She give me her monkey hand ♪ 1022 01:00:29,843 --> 01:00:31,932 ♪ And a Rambler sedan ♪ 1023 01:00:32,106 --> 01:00:34,369 ♪ I'm the king of Pomona ♪ 1024 01:00:34,543 --> 01:00:36,807 ♪ 1025 01:00:36,981 --> 01:00:39,461 ♪ Her juju beads are so nice ♪ 1026 01:00:39,636 --> 01:00:42,247 ♪ She kissed my third cousin twice ♪ 1027 01:00:42,421 --> 01:00:46,947 ♪ I'm the king of Milwaukee ♪ 1028 01:00:47,121 --> 01:00:50,081 ♪ And I've got something to say ♪ 1029 01:00:50,255 --> 01:00:55,564 ♪ 1030 01:00:55,739 --> 01:00:57,523 ♪ God have mercy ♪ 1031 01:00:57,697 --> 01:01:01,745 ♪ 1032 01:01:11,450 --> 01:01:17,761 ♪ 1033 01:01:20,589 --> 01:01:22,417 - BENMONT: Now, we weren't grim, and going, "We're making 1034 01:01:22,591 --> 01:01:24,506 a minimalist acoustic masterpiece that's the 1035 01:01:24,681 --> 01:01:27,422 antithesis of everything Tom Petty has ever done." 1036 01:01:27,596 --> 01:01:31,775 We weren't doing anything like that. We were making the record we were making. 1037 01:01:31,949 --> 01:01:33,559 And we were doing what we always did, 1038 01:01:33,733 --> 01:01:38,956 which was trying really hard to do it really well. 1039 01:01:39,130 --> 01:01:46,572 - ♪ 1040 01:01:50,184 --> 01:01:51,751 ♪♪ 1041 01:01:51,925 --> 01:01:54,841 - [audience cheering] 1042 01:01:55,015 --> 01:01:59,063 - TOM: All of us would be embarrassed if we weren't getting better. 1043 01:01:59,237 --> 01:02:01,935 That for me is an ongoing quest, because I think I've always 1044 01:02:02,109 --> 01:02:04,590 thought of myself as not really that good. 1045 01:02:04,764 --> 01:02:06,418 So--[laughs]-- 1046 01:02:06,592 --> 01:02:11,118 I constantly keep trying to get better. 1047 01:02:11,292 --> 01:02:17,298 - ♪ 1048 01:02:23,870 --> 01:02:26,133 - BENMONT: If you have a song like "Crawling Back To You," 1049 01:02:26,307 --> 01:02:28,266 the music has a mood. 1050 01:02:28,440 --> 01:02:30,529 Music has an absolute mood. 1051 01:02:30,703 --> 01:02:33,445 And so you dial in. 1052 01:02:33,619 --> 01:02:35,273 Now, I remember my hands on the piano, 1053 01:02:35,447 --> 01:02:37,362 seeing my hands on the piano. 1054 01:02:37,536 --> 01:02:41,235 I remember recording the sounds there, the beginning of it. 1055 01:02:41,409 --> 01:02:44,238 I don't really have a recollection of playing 1056 01:02:44,412 --> 01:02:50,070 the actual take, and that's a good sign. 1057 01:02:50,244 --> 01:02:54,118 If you black out, stone cold sober, during a take, 1058 01:02:54,292 --> 01:02:56,294 then you're inside the music. 1059 01:02:56,468 --> 01:02:59,166 And that's--to me, that's one of the best things on there. 1060 01:02:59,340 --> 01:03:02,909 That's one of my favorite things that we ever did. 1061 01:03:03,083 --> 01:03:06,913 - ♪ I'm so tired of being tired ♪ 1062 01:03:07,087 --> 01:03:10,961 ♪ Sure as night will follow day ♪ 1063 01:03:11,135 --> 01:03:15,269 ♪ Most things I worry about ♪ 1064 01:03:15,443 --> 01:03:19,404 ♪ Never happen anyway ♪ 1065 01:03:19,578 --> 01:03:22,233 ♪ Oooo oooo ooo ♪ 1066 01:03:22,407 --> 01:03:27,325 ♪ I keep crawling back to you ♪ 1067 01:03:27,499 --> 01:03:30,371 ♪ Oooo oooo ooo ♪ 1068 01:03:30,545 --> 01:03:33,461 ♪ I keep crawling back to you ♪ 1069 01:03:33,635 --> 01:03:37,204 ♪ 1070 01:03:37,378 --> 01:03:40,555 - TOM: Yeah, I was really pleased with that because 1071 01:03:40,729 --> 01:03:44,255 that's--that's me--that's me creeping into this song there. 1072 01:03:44,429 --> 01:03:46,605 [laughs] That's me. 1073 01:03:46,779 --> 01:03:50,478 Worry so much about--and then, when I started to think, 1074 01:03:50,652 --> 01:03:54,482 almost everything, if you make a list, 1075 01:03:54,656 --> 01:03:57,181 that you were worried about, never happens. 1076 01:03:57,355 --> 01:03:59,574 - STEVE: That line stuck out like a sore thumb to me for some 1077 01:03:59,748 --> 01:04:02,186 reason, and I found myself in a lot of fear about a lot of 1078 01:04:02,360 --> 01:04:05,493 different things and that line really just popped out at me. 1079 01:04:05,667 --> 01:04:10,194 And when Tom passed, I decided to have it tattooed on my arm. 1080 01:04:10,368 --> 01:04:12,283 Yeah. 1081 01:04:12,457 --> 01:04:15,373 I think it migrated from "You Don't Know How It Feels," 1082 01:04:15,547 --> 01:04:18,202 I think that was the demo that it was on. 1083 01:04:18,376 --> 01:04:22,293 And it didn't really fit, but it fit--it really did fit in 1084 01:04:22,467 --> 01:04:24,948 "Crawling Back To You." 1085 01:04:25,122 --> 01:04:27,994 - ♪ Oooo oooo ooo ♪ 1086 01:04:28,168 --> 01:04:32,172 ♪ I keep crawling back to you ♪ 1087 01:04:32,346 --> 01:04:36,394 ♪ 1088 01:04:37,395 --> 01:04:41,747 ♪♪ 1089 01:04:44,097 --> 01:04:46,534 - I start out songs sometimes, they don't--and they go through 1090 01:04:46,708 --> 01:04:50,451 a big transition by the time they get to the studio. Like, take this one. 1091 01:04:50,625 --> 01:04:55,630 - ♪ 1092 01:04:57,067 --> 01:05:01,114 ♪ Well, I won't back down ♪ 1093 01:05:01,288 --> 01:05:04,726 ♪ I won't back down ♪ 1094 01:05:04,901 --> 01:05:07,512 ♪ You could spread me all around town ♪ 1095 01:05:07,686 --> 01:05:11,037 ♪ But I won't back down ♪ 1096 01:05:11,211 --> 01:05:14,345 See that one kind of started out like that. - [laughs] 1097 01:05:14,519 --> 01:05:17,522 - RICK: There was always a lightheartedness about Tom, 1098 01:05:17,696 --> 01:05:22,831 and you could hear a really serious, emotional lyric. 1099 01:05:23,006 --> 01:05:27,836 And then all of a sudden, there'd be a--I wouldn't call it 1100 01:05:28,011 --> 01:05:33,451 a jokey lyric, but maybe a snide lyric would rear its head, 1101 01:05:33,625 --> 01:05:35,583 which was more like what he was like in real life, you know. 1102 01:05:35,757 --> 01:05:38,630 He--he had a great sense of humor. 1103 01:05:38,804 --> 01:05:40,545 - ♪ 1104 01:05:40,719 --> 01:05:42,895 - Huh? - MAN: What you really think. 1105 01:05:43,069 --> 01:05:47,117 - 'Bout what? - MAN: About all this. 1106 01:05:47,291 --> 01:05:49,162 - Well, I think it's a damn fine way for these youngsters 1107 01:05:49,336 --> 01:05:51,251 to amuse themselves. 1108 01:05:51,425 --> 01:05:55,473 Keeps 'em off the street and out of trouble, you know? 1109 01:05:55,647 --> 01:06:01,479 And the only question I have is, "Why the damn hair?" 1110 01:06:01,653 --> 01:06:04,873 You got a good thing going here, a lot of talent in the room, 1111 01:06:05,048 --> 01:06:08,921 do you really need the damn hair is what I wonder. 1112 01:06:09,095 --> 01:06:11,184 - MIKE: His sense of humor--I think his sense of humor came 1113 01:06:11,358 --> 01:06:15,058 from--first of all, he was really smart, and he read a lot. 1114 01:06:15,232 --> 01:06:17,712 And he told me once, "I love the English language. 1115 01:06:17,886 --> 01:06:20,498 "I love words. "I love to play with words. 1116 01:06:20,672 --> 01:06:23,675 "I like to mix them up, maybe use words 1117 01:06:23,849 --> 01:06:26,199 as a tool as you might use notes." 1118 01:06:26,373 --> 01:06:30,987 And I know that he had-- probably had a library of stuff 1119 01:06:31,161 --> 01:06:33,076 that he could pull from at any moment because he was 1120 01:06:33,250 --> 01:06:35,861 well-read and he watched a lot of old movies, 1121 01:06:36,035 --> 01:06:38,820 and he probably picked up a lot of lines from that. 1122 01:06:38,995 --> 01:06:45,131 And he just seemed to be able to throw down a humorous limerick anytime he wanted to. 1123 01:07:04,585 --> 01:07:07,414 - And a lot of times, if we were just jamming, 1124 01:07:07,588 --> 01:07:10,548 goofing around, the lyrics would be so funny. 1125 01:07:10,722 --> 01:07:12,550 He'd just come up with--everybody almost stopped 1126 01:07:12,724 --> 01:07:15,031 playing sometimes because he'd come up with this crazy shit 1127 01:07:15,205 --> 01:07:18,382 that was just so cool and hilarious that we couldn't even play. 1128 01:07:18,556 --> 01:07:20,688 - ♪ My old man's a sailor ♪ 1129 01:07:20,862 --> 01:07:22,951 ♪ What do you think about that? ♪ 1130 01:07:23,126 --> 01:07:25,171 ♪ He wears a sailor's collar ♪ 1131 01:07:25,345 --> 01:07:28,522 ♪ He wears a sailor's hat ♪ 1132 01:07:28,696 --> 01:07:30,611 ♪ He wears a sailor's raincoat ♪ 1133 01:07:30,785 --> 01:07:33,397 ♪ He wears a sailor's shoes ♪ 1134 01:07:33,571 --> 01:07:38,097 ♪ And every Sunday morning, he reads the Sailor's News ♪ 1135 01:07:40,795 --> 01:07:43,711 - That's all for free, thank you. 1136 01:07:43,885 --> 01:07:47,846 My dad told me that, when I was very little, 1137 01:07:48,020 --> 01:07:52,590 I had an amazing memory for nursery rhymes 1138 01:07:52,764 --> 01:07:54,635 and fairy tales. 1139 01:07:54,809 --> 01:07:58,683 It was only in retrospect that I went back and read poets and 1140 01:07:58,857 --> 01:08:01,251 people that are supposedly good at writing, you know? 1141 01:08:01,425 --> 01:08:03,644 I always was just trying to--I still look at it like we're 1142 01:08:03,818 --> 01:08:05,603 writing rock and roll records and shouldn't be taken 1143 01:08:05,777 --> 01:08:07,344 too seriously. 1144 01:08:07,518 --> 01:08:12,610 - ♪ 1145 01:08:22,141 --> 01:08:25,231 ♪ Well, time's been running slow ♪ 1146 01:08:25,405 --> 01:08:29,931 ♪ Since we both got here ♪ 1147 01:08:30,106 --> 01:08:32,934 ♪ C'mon and slide a little closer ♪ 1148 01:08:33,109 --> 01:08:37,156 ♪ Let me whisper in your ear ♪ 1149 01:08:37,330 --> 01:08:40,855 ♪ Well, I got a radio ♪ 1150 01:08:41,029 --> 01:08:43,902 ♪ Turn it on soft and low ♪ 1151 01:08:44,076 --> 01:08:46,470 ♪ Baby, let's go ♪ 1152 01:08:46,644 --> 01:08:51,562 ♪ To the cabin down below ♪ 1153 01:08:51,736 --> 01:08:54,086 ♪ Baby, let's go ♪ 1154 01:08:54,260 --> 01:08:56,610 ♪ To the cabin down below ♪ 1155 01:08:56,784 --> 01:08:59,178 ♪ 1156 01:08:59,352 --> 01:09:01,789 ♪ Baby, let's go ♪ 1157 01:09:01,963 --> 01:09:04,270 ♪ To the cabin down below ♪ 1158 01:09:04,444 --> 01:09:06,403 ♪♪ 1159 01:09:08,535 --> 01:09:10,320 - BENMONT: It's fun to dive into all of that. 1160 01:09:10,494 --> 01:09:12,713 And the playfulness in "Honey Bee," 1161 01:09:12,887 --> 01:09:16,500 the sheer rock and roll in "Cabin Down Below," 1162 01:09:16,674 --> 01:09:21,983 the craft in "You Wreck Me," and just the goofiness of... 1163 01:09:22,158 --> 01:09:23,942 "I'll be the boy in corduroy pants," 1164 01:09:24,116 --> 01:09:26,031 just all that just wonderful stuff. 1165 01:09:26,205 --> 01:09:29,600 The wistfulness, the humor, 1166 01:09:29,774 --> 01:09:33,691 the sadness, the--the loss, 1167 01:09:33,865 --> 01:09:36,998 and just everything that he's saying, 1168 01:09:37,173 --> 01:09:39,653 which is also pretty damn funny. 1169 01:09:39,827 --> 01:09:43,004 - ♪ I was in love with a girl on LSD ♪ 1170 01:09:43,179 --> 01:09:45,050 - [audience cheers] 1171 01:09:45,224 --> 01:09:49,881 - ♪ She'd see things I'd never see ♪ 1172 01:09:50,055 --> 01:09:55,016 ♪ She broadened her perspective ♪ 1173 01:09:55,191 --> 01:09:59,673 ♪ Then I got more selective ♪ 1174 01:10:02,720 --> 01:10:06,593 ♪ I was in love with a girl on LSD ♪ 1175 01:10:06,767 --> 01:10:10,336 - I mean, just the first line, you can't lose after a line like that. 1176 01:10:10,510 --> 01:10:12,077 You know, "I was in love with a girl on LSD." 1177 01:10:12,251 --> 01:10:14,384 Okay, where are we going with this idea? 1178 01:10:14,558 --> 01:10:17,082 Everybody knows, everybody can relate to that and wants to know 1179 01:10:17,256 --> 01:10:19,998 what's happening next. Why? What is she doing? 1180 01:10:20,172 --> 01:10:22,914 What are you gonna do about it, you know? [laughs] 1181 01:10:23,088 --> 01:10:27,658 - ♪ I was in love with a girl on China white ♪ 1182 01:10:27,832 --> 01:10:31,009 ♪ We were married for a year one night ♪ 1183 01:10:31,183 --> 01:10:32,793 ♪ 1184 01:10:32,967 --> 01:10:37,058 ♪ Her memory still lingers ♪ 1185 01:10:38,538 --> 01:10:44,327 ♪ 'Cause I burned all my fingers ♪ 1186 01:10:44,501 --> 01:10:47,460 ♪ I was in love with a girl on China white ♪ 1187 01:10:47,634 --> 01:10:51,247 - ADRIA: The thing about my dad was like--it was a ceremony. 1188 01:10:51,421 --> 01:10:54,119 It was like, "Okay, you've been invited in. Sit here and listen 1189 01:10:54,293 --> 01:10:56,730 really loud for a very long time." 1190 01:10:56,904 --> 01:10:58,645 My first impression of "Wildflowers" was like, "Wow, 1191 01:10:58,819 --> 01:11:01,039 "this is just so much incredible music. 1192 01:11:01,213 --> 01:11:03,346 "We're dancing in all of your characters. 1193 01:11:03,520 --> 01:11:06,392 "We're dancing in all of these different places in your mind. 1194 01:11:06,566 --> 01:11:08,742 "And you've got it all happening here. 1195 01:11:08,916 --> 01:11:10,570 This is unfucking believable." 1196 01:11:10,744 --> 01:11:15,227 - ♪ I was in love with a girl who was a dealer ♪ 1197 01:11:15,401 --> 01:11:20,232 ♪ I was afraid somebody would come and steal her ♪ 1198 01:11:20,406 --> 01:11:24,932 ♪ We never used to fight ♪ 1199 01:11:26,673 --> 01:11:31,156 ♪ But the phone rang day and night ♪ 1200 01:11:31,330 --> 01:11:35,552 ♪ 1201 01:11:35,726 --> 01:11:37,902 ♪ I was in love with a girl who was a dealer ♪ 1202 01:11:38,076 --> 01:11:41,340 ♪ 1203 01:11:41,514 --> 01:11:43,603 ♪ Sure as hell ♪ 1204 01:11:43,777 --> 01:11:45,736 ♪ She got popped by the big guys ♪ 1205 01:11:45,910 --> 01:11:48,304 ♪♪ 1206 01:11:48,478 --> 01:11:52,699 - [audience cheering] 1207 01:11:52,873 --> 01:11:55,876 - MIKE: I remember being frustrated that they don't want a double album. 1208 01:11:56,050 --> 01:11:57,835 What are we going to do? - RICK: Me too. 1209 01:11:58,009 --> 01:12:00,794 - MIKE: And I think mostly you and Tom whittled it down 1210 01:12:00,968 --> 01:12:03,406 to one album's worth of songs. - I was--I was shocked 1211 01:12:03,580 --> 01:12:08,672 that Tom went along with the idea of a single album. I was shocked. 1212 01:12:08,846 --> 01:12:14,242 - I was--well, not shocked, but he was just trying to make things happen. 1213 01:12:14,417 --> 01:12:18,029 But it was hard--because we didn't start out making a double album. 1214 01:12:18,203 --> 01:12:20,597 We had all this stuff, and we thought, "Well, "it won't fit on one record. 1215 01:12:20,771 --> 01:12:22,642 What are we going to do? We'll make a double album." 1216 01:12:22,816 --> 01:12:24,383 And the record company said, "Oh, you won't sell any." 1217 01:12:24,557 --> 01:12:27,255 And then I guess we got scared or whatever. 1218 01:12:27,430 --> 01:12:28,996 But it was hard to whittle it down. 1219 01:12:29,170 --> 01:12:30,737 And I didn't have a whole lot to do with that. 1220 01:12:30,911 --> 01:12:32,957 I think you and Tom maybe worked on the sequencing. 1221 01:12:33,131 --> 01:12:35,438 - I think it was really more Tom. - It was mostly him. 1222 01:12:35,612 --> 01:12:37,918 - I would contribute, but more him. 1223 01:12:38,092 --> 01:12:41,618 - On all the records, it was Tom always had the final say on sequencing. 1224 01:12:41,792 --> 01:12:44,055 He struggled with it, and he worked on it night and day. 1225 01:12:44,229 --> 01:12:46,710 - [indistinct chatter] 1226 01:12:46,884 --> 01:12:49,582 - I'm trying make a film here, you're slagging people off. 1227 01:12:49,756 --> 01:12:52,455 You come in here and you curse and you slag people off. 1228 01:12:52,629 --> 01:12:55,545 - ♪ 1229 01:12:55,762 --> 01:12:57,373 - RICK: George has been known to work blue. 1230 01:12:57,547 --> 01:12:59,723 - TOM: He works blue. 1231 01:12:59,897 --> 01:13:03,466 -I tell ya. - RICK: It's cheating really. 1232 01:13:03,640 --> 01:13:06,469 - TOM: Well, George, it's good in the short term. 1233 01:13:06,643 --> 01:13:08,514 It's good in the short term. 1234 01:13:08,688 --> 01:13:10,255 - GEORGE: Career burnout. 1235 01:13:10,429 --> 01:13:13,563 - ♪ 1236 01:13:13,737 --> 01:13:17,175 - TOM: It was two CDs long later on, 1237 01:13:17,349 --> 01:13:19,656 when it was all done and we were listening to it. 1238 01:13:19,830 --> 01:13:25,575 I thought, "It's very long," you know? [laughs] 1239 01:13:25,749 --> 01:13:28,186 But Rick thought it was cool. 1240 01:13:28,360 --> 01:13:31,189 To buy it would've been extremely expensive because of 1241 01:13:31,363 --> 01:13:34,192 the two CDs, 1242 01:13:34,366 --> 01:13:39,545 so let's just take off ten and--[laughs]-- 1243 01:13:39,719 --> 01:13:41,852 so, you know, that was a hard decision. 1244 01:13:42,026 --> 01:13:43,636 That probably took up three months, 1245 01:13:43,810 --> 01:13:47,074 figuring out what goes off and what stays. 1246 01:13:47,248 --> 01:13:50,991 And there was a song called "Hung Up and Overdue" that I did 1247 01:13:51,165 --> 01:13:54,168 with, um--with Ringo on the drums. 1248 01:13:54,342 --> 01:13:58,564 And one of my favorite singers ever was Carl Wilson 1249 01:13:58,738 --> 01:14:00,653 of the Beach Boys. 1250 01:14:00,827 --> 01:14:05,136 And we did--had Carl just lay down these beautiful harmonies 1251 01:14:05,310 --> 01:14:08,574 for us, and it's a great piece of work, but it's a very, 1252 01:14:08,748 --> 01:14:13,057 um--sort of off-the-wall piece and it was about six minutes 1253 01:14:13,231 --> 01:14:16,364 long, so--and very slow. 1254 01:14:16,539 --> 01:14:20,456 So we can only have so many slow ones, so something had to go. 1255 01:14:20,630 --> 01:14:22,370 - ♪ 1256 01:14:22,545 --> 01:14:27,550 ♪ We've overdue for a dream come true ♪ 1257 01:14:27,724 --> 01:14:29,508 ♪ 1258 01:14:29,682 --> 01:14:34,513 ♪ Long time, nothing new ♪ 1259 01:14:34,687 --> 01:14:40,127 ♪ We're overdue for a dream come true ♪ 1260 01:14:40,301 --> 01:14:45,437 ♪ 1261 01:14:45,611 --> 01:14:50,181 ♪ I'm so hung up ♪ 1262 01:14:50,355 --> 01:14:52,009 ♪ On her now ♪ 1263 01:14:52,183 --> 01:14:57,667 ♪ 1264 01:14:57,841 --> 01:15:03,716 ♪ I'm so strung out on her now ♪ 1265 01:15:03,890 --> 01:15:05,762 - RICK: Ringo played a small drum set, 1266 01:15:05,936 --> 01:15:08,852 and he hit the drums fairly delicately. 1267 01:15:09,026 --> 01:15:11,071 And this big sound filled the room. 1268 01:15:11,245 --> 01:15:14,031 It was an incredible thing to see. 1269 01:15:14,205 --> 01:15:16,163 He played different than other people. 1270 01:15:16,337 --> 01:15:20,298 And it sounded different, and it resonated in a different way, 1271 01:15:20,472 --> 01:15:22,082 and it swung in a different way. 1272 01:15:22,256 --> 01:15:29,220 - ♪ 1273 01:15:29,394 --> 01:15:31,178 - ADRIA: I think that he just gave himself permission with 1274 01:15:31,352 --> 01:15:35,487 this record to be around the finest environment 1275 01:15:35,661 --> 01:15:39,665 and the finest artists that he could find, you know, 1276 01:15:39,839 --> 01:15:43,060 that I can say I remember lots of discussions and lots 1277 01:15:43,234 --> 01:15:45,845 of excitement and lots of, you know, 1278 01:15:46,019 --> 01:15:50,415 "God, it just feels so good to be making work in this environment." 1279 01:15:50,589 --> 01:15:52,809 When you look at the footage you can see how happy he is. 1280 01:15:52,983 --> 01:15:55,507 - ♪ 1281 01:15:55,681 --> 01:16:00,773 - [indistinct chatter] 1282 01:16:00,947 --> 01:16:05,473 - ♪ 1283 01:16:05,648 --> 01:16:11,088 - [mumbling lyrics] 1284 01:16:11,262 --> 01:16:15,571 - ♪ 1285 01:16:15,745 --> 01:16:17,877 - [indistinct chatter] 1286 01:16:18,051 --> 01:16:20,184 - TOM: But I really enjoyed the whole process. 1287 01:16:20,358 --> 01:16:25,189 I was much closer to this album than a lot of them I've made, I think. 1288 01:16:25,363 --> 01:16:29,236 I--I got very close to it and wasn't in any hurry 1289 01:16:29,410 --> 01:16:30,977 to finish it, really. 1290 01:16:31,151 --> 01:16:37,114 - ♪ 1291 01:16:41,074 --> 01:16:44,991 ♪ 1292 01:16:45,165 --> 01:16:50,257 ♪ Tonight we ride, right or wrong ♪ 1293 01:16:50,431 --> 01:16:56,176 ♪ Tonight we sail on a radio song ♪ 1294 01:16:56,350 --> 01:17:01,791 ♪ Rescue me, should I go down ♪ 1295 01:17:01,965 --> 01:17:07,318 ♪ If I stay too deep in trouble town ♪ 1296 01:17:07,492 --> 01:17:12,758 ♪ Oh, yeah ♪ 1297 01:17:12,932 --> 01:17:15,456 ♪ You wreck me, baby ♪ 1298 01:17:15,631 --> 01:17:18,372 ♪ You break me in two ♪ 1299 01:17:18,546 --> 01:17:21,375 ♪ But you move me, honey ♪ 1300 01:17:21,549 --> 01:17:23,290 ♪ Yes, you do ♪ 1301 01:17:23,464 --> 01:17:26,032 - TOM: Mike Campbell came up with these great chords that 1302 01:17:26,206 --> 01:17:29,166 reminded me of records we used to make. 1303 01:17:29,340 --> 01:17:32,778 So what I tried to do was really just make a Heartbreaker's 1304 01:17:32,952 --> 01:17:34,562 record from the '70s. 1305 01:17:34,737 --> 01:17:37,435 [laughs] Which I think works. You know? 1306 01:17:37,609 --> 01:17:41,744 Lyrically, the idea behind that song was this was meant to be 1307 01:17:41,918 --> 01:17:45,748 the moment where you went back in time, nostalgia really. 1308 01:17:45,922 --> 01:17:49,839 - ♪ ♪ Oooh ♪ 1309 01:17:50,013 --> 01:17:52,319 ♪ Yeah ♪ 1310 01:17:52,493 --> 01:17:55,148 ♪ You wreck me, baby ♪ 1311 01:17:55,322 --> 01:17:58,064 ♪ You break me in two ♪ 1312 01:17:58,238 --> 01:18:01,154 ♪ But you move me, honey ♪ 1313 01:18:01,328 --> 01:18:04,027 ♪ Yes, you do ♪ 1314 01:18:04,201 --> 01:18:09,772 ♪ 1315 01:18:13,340 --> 01:18:21,392 ♪ 1316 01:18:26,832 --> 01:18:30,401 - TOM: And it wrecked me. And I just thought it should be a fun one. 1317 01:18:30,575 --> 01:18:34,710 Like, it's a very rock and roll, kind of-- I don't know what it is. 1318 01:18:34,884 --> 01:18:38,061 [laughs] It's one of my favorite ones, really. 1319 01:18:38,235 --> 01:18:40,324 - MICHAEL: Guys? Can everybody come inside please 1320 01:18:40,498 --> 01:18:42,674 and just listen to the track? 1321 01:18:42,848 --> 01:18:45,938 Is everybody here? Everybody? - [indistinct chatter] 1322 01:18:46,112 --> 01:18:48,636 - RICK: Do you want me to play the-- What do you want them to hear first? 1323 01:18:48,811 --> 01:18:51,248 - They should hear their own track, so they can-- 1324 01:18:51,422 --> 01:18:53,380 - [indistinct chatter] 1325 01:18:53,554 --> 01:18:55,165 - MICHAEL: Certain notes go out. 1326 01:18:55,339 --> 01:19:00,953 - ♪ 1327 01:19:03,913 --> 01:19:08,308 - RICK: There's something about the artist's work that has 1328 01:19:08,482 --> 01:19:12,660 a little bit of a diary-like aspect, 1329 01:19:12,835 --> 01:19:15,576 the work reflects a time in someone's life. 1330 01:19:15,751 --> 01:19:22,583 - ♪ 1331 01:19:22,758 --> 01:19:28,024 - It wasn't always conscious, where it was coming from. 1332 01:19:28,198 --> 01:19:31,636 He told me "Wildflowers" scares him, 1333 01:19:31,810 --> 01:19:36,162 because he's not really sure why it's as good as it is. 1334 01:19:36,336 --> 01:19:40,471 So it has this like haunted feeling for him. 1335 01:19:40,645 --> 01:19:42,429 He very much wanted to re-release it. 1336 01:19:42,603 --> 01:19:45,128 He thought it was really important because the legacy of 1337 01:19:45,302 --> 01:19:49,132 the "Wildflowers" album loomed large in his career. 1338 01:19:49,306 --> 01:19:52,570 And he knew that the second half of "Wildflowers" 1339 01:19:52,744 --> 01:19:54,702 was an important statement. 1340 01:19:54,877 --> 01:19:58,271 - ♪ You follow your feelings ♪ 1341 01:19:58,445 --> 01:20:02,058 ♪ You follow your dreams ♪ 1342 01:20:02,232 --> 01:20:05,888 ♪ You follow the leader ♪ 1343 01:20:06,062 --> 01:20:09,456 ♪ Into the trees ♪ 1344 01:20:09,630 --> 01:20:13,460 ♪ 1345 01:20:13,634 --> 01:20:17,464 - TOM: You wanna drop in or start again? 1346 01:20:17,638 --> 01:20:23,383 - [indistinct chatter] 1347 01:20:23,557 --> 01:20:26,604 - TOM: You know these headphones are leaking hi-hat really loud? Are they supposed to? 1348 01:20:29,607 --> 01:20:33,002 Sorry, I can't hear you. 1349 01:20:33,176 --> 01:20:35,700 I had no control over what I wrote this time. 1350 01:20:35,874 --> 01:20:39,051 I didn't edit myself, and I didn't hold back anything. 1351 01:20:39,225 --> 01:20:41,401 I just let it come out, you know? 1352 01:20:41,575 --> 01:20:47,190 So, no, there is another batch of work that'll come out later, I guess. 1353 01:20:47,364 --> 01:20:49,932 But you know, I thought, "We should write an ending for this 1354 01:20:50,106 --> 01:20:55,807 thing," and "Wake Up Time" is sort of the finale. 1355 01:20:55,981 --> 01:20:58,549 - STEVE: "Wake Up Time" is really a beautiful, 1356 01:20:58,723 --> 01:21:00,420 beautiful song, I thought. 1357 01:21:00,594 --> 01:21:06,035 And--and the way that that was recorded was Tom sat 1358 01:21:06,209 --> 01:21:10,866 at the piano and just played the piano and sang it. 1359 01:21:11,040 --> 01:21:15,044 And he asked me just to tap a hi-hat 1360 01:21:15,218 --> 01:21:17,307 just to keep him in time. 1361 01:21:17,481 --> 01:21:20,310 But there's a breathing that happens, 1362 01:21:20,484 --> 01:21:23,008 the song breathes. 1363 01:21:23,182 --> 01:21:26,229 - TOM: One two three...one two three. 1364 01:21:26,403 --> 01:21:32,626 - ♪ 1365 01:21:44,073 --> 01:21:46,989 ♪ You follow your feelings ♪ 1366 01:21:47,163 --> 01:21:50,209 ♪ You follow your dreams ♪ 1367 01:21:50,383 --> 01:21:53,517 ♪ You follow the leader ♪ 1368 01:21:53,691 --> 01:21:57,173 ♪ Into the trees ♪ 1369 01:21:57,347 --> 01:21:59,610 - MIKE: It's always been about the songs. This is a song, 1370 01:21:59,784 --> 01:22:01,394 whoever's here now that's going to work on 1371 01:22:01,568 --> 01:22:03,875 this, let's make this song. 1372 01:22:04,049 --> 01:22:08,271 Live--don't get in the way of it, make it work. 1373 01:22:08,445 --> 01:22:11,274 And so "Wildflowers" was the same thing, you know? 1374 01:22:11,448 --> 01:22:15,278 Make the songs work, bring out the best in the songs 1375 01:22:15,452 --> 01:22:17,845 and have a lot of fun while you're doing it. 1376 01:22:18,020 --> 01:22:20,848 We all enjoyed that record a lot. 1377 01:22:21,023 --> 01:22:23,199 There was never any negativity or fighting, 1378 01:22:23,373 --> 01:22:27,377 or it was all just almost like, "Well, do we have to stop? 1379 01:22:27,551 --> 01:22:29,945 "I guess we have a double album, we have to stop now, you know? 1380 01:22:30,119 --> 01:22:33,818 What we're going to do now?" [laughs] We could have kept on making it, you know? 1381 01:22:33,992 --> 01:22:36,429 - TOM: And I thought it very important that we end it 1382 01:22:36,603 --> 01:22:39,737 on a hopeful note. 1383 01:22:39,911 --> 01:22:42,218 You know, some of this subject matter on this album is 1384 01:22:42,392 --> 01:22:45,090 downright dark. [laughs] 1385 01:22:45,264 --> 01:22:48,615 And I'm sure that I've been through those downright 1386 01:22:48,789 --> 01:22:54,186 dark periods, but it's always just believing that there is 1387 01:22:54,360 --> 01:22:58,103 some--something redeeming about human beings. 1388 01:22:58,277 --> 01:23:02,499 That's what carries me through, you know, the toughest times. 1389 01:23:02,673 --> 01:23:05,981 - ADRIA: He's a unicorn. He's a one-of-a-kind human being on this planet 1390 01:23:06,155 --> 01:23:08,331 that came here to bring joy. 1391 01:23:08,505 --> 01:23:11,247 And it's like, you know, that was his purpose. 1392 01:23:13,466 --> 01:23:16,295 - ♪ You spend your life dreaming ♪ 1393 01:23:16,469 --> 01:23:19,733 ♪ Running 'round in a trance ♪ 1394 01:23:19,907 --> 01:23:22,910 ♪ You hang out forever ♪ 1395 01:23:23,085 --> 01:23:26,262 ♪ And still miss the dance ♪ 1396 01:23:26,436 --> 01:23:28,742 ♪ 1397 01:23:28,916 --> 01:23:32,181 - BENMONT: But losing Tom, it changed the way I hear him. 1398 01:23:32,355 --> 01:23:33,921 You know, I think it happens with a lot of artists. 1399 01:23:34,096 --> 01:23:36,272 When you lose them, you appreciate 1400 01:23:36,446 --> 01:23:39,231 them more. You go back and take a look. 1401 01:23:39,405 --> 01:23:44,410 And we've been doing a lot of going back and taking a look since Tom passed away. 1402 01:23:44,584 --> 01:23:50,503 - ♪ 1403 01:23:50,677 --> 01:23:54,159 - MIKE: It was emotionally hard at times to listen to 1404 01:23:54,333 --> 01:23:56,161 songs of your friend, who's no longer here. 1405 01:23:56,335 --> 01:23:59,295 It was emotional. And other times, it's just joyous. 1406 01:23:59,469 --> 01:24:02,037 "Oh, thank God we did that. We were really good." 1407 01:24:02,211 --> 01:24:07,564 You know, and so it's a whole plethora of experiences on this record. 1408 01:24:07,738 --> 01:24:13,352 - ♪ 1409 01:24:13,526 --> 01:24:16,138 - STEVE: I think every member of the Heartbreakers is-- 1410 01:24:16,312 --> 01:24:20,620 is happy that Tom's wishes have been--you know--we're his band 1411 01:24:20,794 --> 01:24:23,362 and all we wanted was what Tom wanted. 1412 01:24:23,536 --> 01:24:26,626 He wanted this record out, and he wanted people to hear it. 1413 01:24:26,800 --> 01:24:28,498 So he's got what he wanted. 1414 01:24:28,672 --> 01:24:30,674 He usually did get what he wanted in the end. 1415 01:24:30,848 --> 01:24:32,806 [laughs] He had a way of doing that. 1416 01:24:32,980 --> 01:24:36,245 [laughs] 1417 01:24:36,419 --> 01:24:40,249 - ♪ Rise and shine ♪ 1418 01:24:40,423 --> 01:24:45,819 ♪ 1419 01:24:45,993 --> 01:24:48,909 ♪ If he gets lucky ♪ 1420 01:24:49,084 --> 01:24:52,130 ♪ A boy finds a girl ♪ 1421 01:24:52,304 --> 01:24:55,438 ♪ To help him to shoulder ♪ 1422 01:24:55,612 --> 01:24:58,789 ♪ The pain in this world ♪ 1423 01:24:58,963 --> 01:25:03,098 ♪ 1424 01:25:03,272 --> 01:25:06,449 ♪ And if you follow your feelings ♪ 1425 01:25:06,623 --> 01:25:09,843 ♪ You follow your dreams ♪ 1426 01:25:10,017 --> 01:25:15,675 ♪ You might find the forest there in the trees ♪ 1427 01:25:15,849 --> 01:25:17,677 - TOM: I'm very pleased with that one, I thought it 1428 01:25:17,851 --> 01:25:20,027 was one of the best things I'd ever done. 1429 01:25:20,202 --> 01:25:25,598 And I always liked that line where you're going to be-- what is it? 1430 01:25:25,772 --> 01:25:28,819 "It's going to be alright, it's just going to take time." 1431 01:25:28,993 --> 01:25:32,692 And that was the idea behind it, was just to kind of say 1432 01:25:32,866 --> 01:25:34,781 everybody's been knocked around a little bit, 1433 01:25:34,955 --> 01:25:40,396 but it's--you've got to keep some kind of faith in yourself, 1434 01:25:40,570 --> 01:25:43,703 and that you'll probably be alright. 1435 01:25:43,877 --> 01:25:46,619 - ♪ You're just a poor boy ♪ 1436 01:25:46,793 --> 01:25:49,840 ♪ A long way from home ♪ 1437 01:25:50,014 --> 01:25:53,017 ♪ You're just a poor boy ♪ 1438 01:25:53,191 --> 01:25:57,413 ♪ A long way from home ♪ 1439 01:25:57,587 --> 01:25:59,241 ♪ 1440 01:25:59,415 --> 01:26:03,941 ♪ And it's wake-up time ♪ 1441 01:26:04,115 --> 01:26:09,294 ♪ It's time to open up your eyes ♪ 1442 01:26:09,468 --> 01:26:14,038 ♪ And rise and shine ♪ 1443 01:26:14,212 --> 01:26:18,129 ♪ 1444 01:26:18,303 --> 01:26:23,134 ♪ 'Cause it's wake-up time ♪ 1445 01:26:23,308 --> 01:26:28,748 ♪ It's time to open up your eyes ♪ 1446 01:26:28,922 --> 01:26:32,274 ♪ And rise ♪ 1447 01:26:32,448 --> 01:26:34,232 ♪ And shine ♪♪ 1448 01:26:34,406 --> 01:26:37,453 - [audience cheering] 1449 01:26:37,627 --> 01:26:39,629 - Thank you! God bless you, good night! 1450 01:26:39,803 --> 01:26:45,809 - [audience cheering] 1451 01:27:10,964 --> 01:27:16,318 - ♪ You belong among the wildflowers ♪ 1452 01:27:16,492 --> 01:27:21,845 ♪ You belong in a boat out at sea ♪ 1453 01:27:22,019 --> 01:27:27,546 ♪ Sail away, kill off the hours ♪ 1454 01:27:27,720 --> 01:27:32,421 ♪ You belong somewhere you feel free ♪ 1455 01:27:32,595 --> 01:27:37,861 ♪ 1456 01:27:38,035 --> 01:27:43,432 ♪ Run away, find you a lover ♪ 1457 01:27:43,606 --> 01:27:49,264 ♪ Go away somewhere all bright and new ♪ 1458 01:27:49,438 --> 01:27:55,008 ♪ I have seen no other ♪ 1459 01:27:55,182 --> 01:27:59,578 ♪ Who compares with you ♪ 1460 01:28:01,711 --> 01:28:06,672 ♪ You belong among the wildflowers ♪ 1461 01:28:06,846 --> 01:28:12,504 ♪ You belong in a boat out at sea ♪ 1462 01:28:13,418 --> 01:28:18,293 ♪ You belong with your love on your arm ♪ 1463 01:28:18,467 --> 01:28:23,254 ♪ You belong somewhere you feel free ♪ 1464 01:28:25,343 --> 01:28:30,827 ♪ Do-do-do, do-do-do ♪ 1465 01:28:31,001 --> 01:28:36,441 [humming] 1466 01:28:46,364 --> 01:28:51,500 ♪ Run away, go find a lover ♪ 1467 01:28:52,370 --> 01:28:54,329 ♪ Run away, let your ♪ 1468 01:28:54,503 --> 01:28:57,332 ♪ Heart be your guide ♪ 1469 01:28:57,506 --> 01:29:02,902 ♪ You deserve the deepest of cover ♪ 1470 01:29:03,076 --> 01:29:08,691 ♪ You belong in that home by and by ♪ 1471 01:29:08,865 --> 01:29:14,392 ♪ You belong among the wildflowers ♪ 1472 01:29:14,566 --> 01:29:20,180 ♪ You belong somewhere close to me ♪ 1473 01:29:20,355 --> 01:29:26,056 ♪ Far away from your trouble and worries ♪ 1474 01:29:26,883 --> 01:29:31,888 ♪ You belong somewhere you feel free ♪ 1475 01:29:32,062 --> 01:29:37,372 ♪ You belong somewhere you feel free ♪ 1476 01:29:38,982 --> 01:29:43,073 ♪♪