All language subtitles for 00005_Subtitles01.ENG

IIIslonodlo Ihls album,
and IIhoughllhls Is II.

Thoro's a group horo
Ihal's flnallyklndofamalgamalod

alloflho Influoncos,
Iho blacklnfluoncos,

andlho counlrylnfluoncos,
andlhoypulllalllnlo ono Ihlng

with songwriting...

...and musicianship.

And this is what it's about.

Itwas vory kind ofcountry,
hillbilly, you know.

I moan, a Iittlo R3F,
a Iittlo rock and roll,

and a Iot ofthat kind ofcountry
or hillbilly kind offool.

IIfollllko a passport
backloAmorlca

forpooplo who hadbocomo
so oslrangodfrom Iholrown counlry

Ihallhoyfollllko forolgnors
ovon whon Ihoyworo In II.

Tholrmuslc was so aulhonllc.

IIwasn'Idorlvallvo
In anyklndofa way,

oxcopllhalllwould-- IIcamo oul
ofsomo doopAmorlcan rools.

Oh, you moan Ihoso pooplo
who playod wllh Dob Dylan?

Thoy'ro maklng Iholrown album?

II'sprobablya mlslako Io Iump Ihom
In so hoavllywllh Dob Dylan.

Wo woro a bandon our-- on ourown,

and wo worojuslhooklng up
wllh Dob fora porlodofllmo.

Andllwas always Iho plan
Ihalwo woro golng Io do somolhlng

on ourown.

Fob had kickod tho door opon for us,

and wo had our own
rocording contract

and thoyworo waiting on us
to start making rocords.

And howthoy sort ofdriftod
into this, as I say

sort ofAppalachian sound
and imago

is still a mystoryto mo.

Dulllhlnkllwasprobablya splrll

Ihalwas born from IIvlng,
you know, In Woodslock.

Wo foundlho plnkhouso

Ihalsalln a mlddlo
ofa hundrodacros,

andllwas vorylnoxponslvo.

Garth, FIchardandmysolfwonllhoro.

You know, IIwas a IIhlo workshop
forslxorsovon monlhs, IIhlnk,

just banging sturfout on
tho powritor in tho Iiving room

taking it down to tho basomont
and putting musicto it, you know.

Andjusllrylng Io Ioarn
howourvolcos could

and would fittogothor
undor dirforont circumstancos.

With Rick singing Ioad,
orwith Richard, orwith mo and...

Now, on Ihls song, I'IIplayflrsl...
Iho Irack wllh Lovon's vocal

which also has most oftho drums
on it bocauso wo woro rocording

four-track, and wo didn't havo
that manytracks availablo.

So horo's Lovon singing a vorso.

And horo aro
all throo ofthom singing.

And with any Iuck,
this vorso will bo Rick singing

with tho guitar and bass
in tho samo track.

And ovorybody.

Wo Irlodlo rocord
as much IIvo as wo could.

And wo also triod to got
as many oftho orfocts

on tho tapo as wo could,
as opposod to putting thom on Iator.

'Causo ifwo mado a commitmont
and puttho orfocts on

rightthon with tho track,

wo would bo stuckwith that,

and ovorything olso
would conform to that

and wo'd bo painting
a much fullor picturo as wo wont.

Yoah. Wo usuallytriod to--
triod to got ovorything,

you know, tho firsttimo through,
bocauso wo didn't--

Wo didn't know, you know--
you could havo gotton

your bostvocal Iivo, you know.

You didn't-- you didn't know
for suro. Probably not.

Fut, you know, Iightning
has strucktwico in tho samo placo.

So wo would just go ahoad--
plus, itjust mado tho song...

moro ofa song with ovorybody
putting ovorything into it

and singing it and playing it.

Itwas moro Iiko making music
and Ioss Iiko making tracks.

That's it. It's all thoro.

And thinking, attho timo,
nothing olso is nocossaryto do it.

This is tho way it sounds Iivo,
and this is tho way it should bo.

So why don'two--
yoah, why don'two playthis tapo,

and I'II givo you an oxamplo
ofsomo things that aro on horo.

This is a good oxamplo, too,
oftho vocal.

Richard is singing tho Ioad,
singing tho molody.

Nowwhon wo gotto tho chorus,
somothing olso happons.

This bocomos Richard's voico.

You can just hoartho harmonios horo.

You know, thatthoyjust did--
ovorybody doos whatthoy could hit

whon wo gotto tho chorus.

It's not clovor.
It'sjustthis can work.

Horo's an intorosting thing
on this tracktoo that I noticod.

You can hoarthat--
this is a grand oxamplo

ofCarth's sound.

Atthis timo,
thoro wasn't much soundinoss

coming from koyboards.

Carth ofton did things
thatyou couldn't--

You just couldn'ttoll what itwas,
what instrumont itwas.

Fut ho'sjust making that.

This is not Iiko oscillators
and things.

This isjusttho way ho's playing
and tho orfocts that ho has on it.

And it has tho drums and tho koyboard

aro togothor on this.

And you could hoarthat
during tho vorso,

Lovon is playing this kind
ofscrappinoss on tho snaros.

Wo stroko that Iiko you would
a guitar string.

Stroko thom all togothor.

Liko that, is whatthoy sound.

And I thinkwo might
havo got it out oftho--

Out oftho holdor
and got it up horo Iiko this and...

Whon pooplo hoardsomo oflho rocord,

Iho rosponso was roally,
roallylovoly

andhadqullo an offocl
on Iho muslc world.

Wo hadlhoughllhalpooplo
wo'ro gonna bo saylng,

',Oh, no, no, no, no.
You gotto mako it moro Iiko that."

That pooplo would bo trying to push
whatwo'ro doing into anothor placo.

And what itwas tho placo
camo moro to whoro wo woro.

So wo thought,
"Woll, that's a good thing."

For mo, whon I Iook at it,
it's Iiko tho firsttwo rocords

woro almosttho samo projoct
in my mind.

Wo had songs
that didn't gotfinishod in timo

to go on tho first rocord,
on tho DIg PInk rocord.

And wo had idoas.

Wo knowtho titlo
ofsomo oftho songs

thatwas gonna bo on tho socond ono.

In Iho wlnlorof,68, oarly ,69,

AIbortcallodmo, andAIbortgoos,
"Whal's Dob Dylan's maglc?"

And ho said, ',Tho boys wanna go--

OrTho Fand wants to go out
to California

to mako thoir socond rocord.

',Would you-- thoywantyou
to bo thoirtour managor,

roadmanagor,
andpulllalllogolhor,

andgollhom solup oullhoro."

Andlhoywanna bulld
a rocordlng sludlo.

Thoyjuslwanna do IIIn a houso.

And wo drovo oullo .

SomobodyfromAIbort's organlzallon

had rontod this houso
from Sammy Davis Jr.

And itwas a pical Sunsot PIaza,

sllghllyovordono houso.

Whalwo dld
was wo Iooklho Ioworlhlng

and wojuslbaslcally
complololypulfoam

andovoryklndoflnsulallon up,
andmado IIInlo a rocordlng sludlo.

And thon John Simon camo out
and thon wo got startod.

Horo's howwo woro sot up
in Sammy Davis Jr.'s pool houso horo.

Itwas a big room, obviously.

And tho doorwas ovor horo,
and tho pool was ovor horo.

And thoro woro somo stops horo
thatwont up

and somo stops thatwont down.

And on tho upporfloor
was whoro Lovon was Iiving.

And undornoath it
woro somo stoam rooms

and showor rooms
thatwo uso for ocho chambors.

Tho consolo, rocording consolo,
was right horo.

Piano. Upright piano.

Upright piano, mind you,
was rightthoro.

Lovon's drums woro ovor horo,
with a Cobo in front ofthom.

Carth's organ and clarinot
woro ovor horo, and horo's Carth.

And Rick hung out ovor horo
and Robbio hung out ovor horo.

Thalwas Iho solup.

IIalkodlo Fobblo
aboulllsubsoquonlly

andho saldllwas
IIko a klndofclubhouso monlallly.

Thatthis was a placo
whoro you wontto shoot pooI

and hang with your buddios,

and thorojust happonod
to bo a studio sot up.

And ifyou got anything dono
during tho courso oftho day,

what a worthwhilo day.

You gotto hang out...

and you got somo music
rocordod for postoritoo.

Nowlhal's a roally
radlcalapproach Io maklng rocords.

IIwas Iho clubhouso Iochnlquo
ofmaklng muslc.

You could go to a placo
and you'ro not on tho clock

and you can do
whatovoryou wantto do.

Thoro's nobody in a glass booth
in thoro saying,

',Oh, whatwas that,', or--
thoro's nono ofthat.

Thoro would bo timos whon,
Iiko, Lovon would play mandolin

and Rickwould play guitar.

I moan, thoro was a wholo kind
ofoxchango thing

thatwas going on thoro.

You know, wo always switchod around
and triod to play musical chairs.

Richard and I both would play drums.

This is ono oftho--
ono oftho onos whoro wo uso

our dirforont rhythm soction
with Richard on drums.

Okay. Hold--
I'II just bring thom up.

As you saythom,
I'II bring thom up.

Okay. Richard's on drums.

- And I'm playing mandolin.
- Hold on a socond.

Lot's got Richard horo.

- Rick's playing fiddlo.
- SIow down.

Carth's playing bass
on tho organ panols.

- John...
- Carth's playing piano?

- Horo's ho playing piano.
- Yoah.

And you'ro playing bass
on tho saxophono.

Thoro it is.

Horn bass.

And that's...

Mr. Hudson, honoy--

- Honoy boy.
- Honoy boy.

That's prowild, tho Iinoup.

This is our othor
rhythm soction Iinoup

whon Richard goos to tho drums

and ovorybody olso
goos whorovorthoy can.

Usod it again on ',Jomima,',

and maybo anothor ono.

Horo's Richard's drum broak.
Liston to this.

Yoah.

Puttho voico up.

Ho's doing his Iicks
at halftimo too.

- I know. It's groat.
- And thon...

- doubling it up on tho back boat.
- And horo comos [indistinctj

Co, Ricky.

Carth just drossos it
all tho waythrough.

I thought itwas a radio song,
butwhat do I know?

And Iroallylhoughl
Ihal "Fag Mama Fag"

was gonna bo a radlo song Ihough.

You know, I--
you know, I didn't soo it

as numbor ono with a bullot.

Fut I thoughtthat ono had
tho olomonts that...

that a song
Iiko "FIuo Suodo Shoos" had.

You know, it's Iong, good,
and itwas dancoablo.

And it didn'ttako
a wholo Iot oftimo.

Itwas ovorthat quick.

Fut I'vo boon wrong boforo.
This wasn'ttho firsttimo, so...

I can't romombor ovorthinking
thatwas going to bo a hit singlo

orthat it mattorod whothor
itwas going to bo a hit singlo.

I justthought itwas
such a uniquo pioco of music

that I wasjust proud of it
as itwas.

Ain't it oasywhon you know how?

- So thatwas Frothor Carth.
- Ah, tho mastor.

Tho concopllo Ihls album
was a vorybaslcono,

a vorylooso concopl,
whlch wasjusllo convoya sonso

ofruralAmorlca
In alllls manyparts, you know.

As wo know somo oftho songs

spocifically concorn tho South.

Itwas a pioco ofAmorica
thatwasjust moro musical.

I havo no idoa why,
butwhon I firstwontthoro

whon I was 16yoars old

and Iflrslgolofflho bus
InArkansas,

IIhllmo rlghlaway.

IIs smoll.
You couldsmolllho muslc.

Tho alrjusl--

You know,jusl--you Iaslodll.

You couldhoarovorythlng.
FIghlawaylsald, "Igolll."

Andlho subjoclmahor
was subjoclmahor

Ihalwas doallwllh probably
alllho waybacklo Iho 40s,

bocauso basically many ofthoso
songs woro history Iossons.

I don'tthink itfolt
Iiko history Iosson at all.

I think itfolt Iiko a passport
backto Amorica

for pooplo who'd bocomo so ostrangod
from thoir own country

thatthoyfolt Iiko foroignors
ovon whon thoyworo in it.

I think mado pooplo fool,
"Yos, tho Civil War is part of mo.

Yos--

Atimo whon pooplo workod on farms

and woro dostroyod whon thoy'ro--
whon--

By bad woathor,
whon thoyworo vulnorablo

to things Iiko that.

This is part of mo.

I undorslandlhls."

Wo wantod to havo that--
you know, tho harvostors

and tho carnivals in town,
and tho Forris whools turning, and...

Wo wantod itto havo that
good timo...

tasto to it, ifwo could.

Whon wo woro doing Tho Dandalbum,
and I was writing this song,

my daughtorAIoxandra wasjust born.

So sho was a nowborn baby.

So whon I was writing this,

I had to bo vory quiot
bocauso itwas, Iiko,

tho baby's slooping,
don't mako any noiso.

So...

I just-- you know,

I kind ofgot usod to tho idoa
ofworking in quiotnoss.

Wo'ro talking about
all thoso subtlotios and ovorything,

and itwas notjust about
wanting to play in subtlotios.

Itwas about havlngto play
in subtlotios.

And so in this song,
you can hoar itwas kinda--

What-- whoro it camo from.

I romombor boing
broughtto toars bythat song.

Itwas so boautiful, and itwas--

Itwas such an amazing
point ofviow on tho South

and what Lovon and tho pooplo

ho had grown up with wontthrough.

And itwas Iiko,

you know, ono ofthoso things
whoro you havo an opiphany,

whoro you roally all ofa suddon soo

a wholo now point ofviow
on somothing,

whoro-- you know, I had always
had a kind ofclassic,

rodnock storoopo in my hoad.

And thoro--
just in ono four-minuto pioco,

that all changod.

Wo wantod to got a song Iiko that,
that kind ofaddrossod

that particular Iittlo cornor.

I romombor ono spocific momont,
actually, whoro I was--

I was at Lovon's houso.

And I was thoro with him
and his mom and dad.

In ono point in tho convorsation,
his dad said, just kiddingly,

butthoro woro somo--
a sincori in it attho samo timo.

And ho said to mo,
"Woll, you know, Robbio,

ono ofthoso days,
tho South is gonna riso again."

Oh, okay. You can oditthat out.

Croat.

Actuallythought I'd novor got out
ofthat ono.

Garth Hudson Is a wondorful, mad,

bulbrllllanlgonlus,
groal, occonlrlc,

wondorful guywho has so many gifts.

Hoy, hoy, hoy.

And Carth Hudson can play ono molody
with his Ioft hand,

anothor molodywith his right hand,

um, a wah-wah podal with ono foot
and anothorthing with anothorfoot.

If ho puts somothing in his mouth,
ho can playthattoo.

Woll, ho's truly ono ofa kind.

I onco askod Carth

maybo with a Iittlo sarcasm
in myvoico why ho--

How ho gotto bo
tho way ho is, you know.

And ho Iookod at mo
and said vory slowly,

',Woll, I playod for my--
at my unclo's funoral parlor."

Right. Right. Right.

You know, ifyou Iiston to--
"Up on Cripplo Crook,"

I boliovo Carth was probably
tho first guyto uso a clavinot

as a-- as a funk rhythm,
boforo "Suporstition."

I moan, Iiston to that.
I always thought itwas a-- you know,

Foryoars,
I thought itwas a Jow's harp,

butyou Iiston to it and ho's playing
a funkywah-wah clavinot.

Itwas oasyto do

and wo'd triod it at homo.

Notforthat particular song,
but it soomod to bo good forthat.

It soundod Iiko a bow harp,
I think it is.

Fow and with a motal string.

Thls affoclod Garth, as a clavlnol
andlho organ

aro kind of Iiko tho Ioad instrumont,

um, as far as instrumonts
aro concornod on this.

Tho guitar doosn't como wailing up
or anything

and tho pianojust doos Iittlo Iicks
horo and thoro

as far as sticking out.

Tho thing that sticks out

is this Jow's harp-sounding
clavinotthing.

Justthis kind ofan odd construction
oftho song

butyou can hoar how it, you know,
it all adds up in its own way.

So...

You can hoar Lovon is singing,
you can hoartho Ioakago.

It's nottoo bad,
tho Ioakago in tho drums, actually.

Richard and I aro doing this.

You know howthoyjust kind of
Iivo togothor, thoso two things?

And thon Carth's thing is...

Sounds funnywith no--
with no rhythm in.

And what happons is Carth plays
this Jow's harp clavinot sound

and thon whon it gots
to tho chorusos,

ho changos to tho organ.

Ho's up thoro playing and thon
ho comos down to tho koyboard.

You hoar it chango right horo.

It's Iiko morry-go-round music.
Carnival music.

Now, Iiston how ho changos horo.

Ouick on tho draw.

It's quito oxtraordinary how--
tho waythat Lovon could play

what ho playod
and sing attho samo timo.

That itjust didn't mix him up,
you know.

I moan, justto put it-- I couldn't
put it moro simplorthan that.

Fut it's truo, you know.

What, you know, pooplo,
pooplo givo mo good crodit.

And I approciato it.

Thoythink it's hardorto play
whon you--

Whon you sing,
but it's actually oasior

bocauso you play along,
and you Ioavo holos,

and that's whoro you sing,
so you can actually punch yourvoico

on tho punch Iinos ofa song.

And by adding tho cymbals
and dirforontthings,

you can covor a couplo
of Iittlo choking pattorns

that might hityou thoro
in a middlo ofa tuno.

Ho was tho first ono
that I ovor saw

play ono, two, throo, or rathor,

ono, two, throo, four.

Ho would pull his hand up

and got out oftho way
oftho back boat.

Just simply a thing to do
to got out oftho way oftho--

Oftho stick coming up, you know.

And I thought, ',Wow,
what a brilliantwayto do a--

To playtho rogular boat.',

It kinda folt bottor,

and it mado it moro dancoablo,

so whon ',Cripplo Crook', como around,

wo couldn'tfind a placo to put it.

Ifyou go, "Up on Crlpplo Crook,
sho sonds mo

Iflsprlng a Ioak...',

That's gonna got old pro quick.

So, ',Up on Crlpplo Crook...',

So with tho halftimo fool,

wo woro ablo to do that
for "Cripplo Crook,"

and forthroo orfour moro
thatturnod out...

',Tho Woight', is anothor
good oxamplo back on DIg PInk,

I would just--

Thoro woro-- thoro woro no rulos,

so itfolt good and wo wontwith it.

Thoro's a musicthat comos
from tho hoartland ofthis country

and Lovon is part ofthat.

Ho's tappod right into that.

Lovon's vocals havo all this soul.

A Iot of pooplo who Iivo in tho South

tryto sing with somo kind of
a flat, noutral Amorican accont--

As a Iot of pooplo from Fritain

tryto sing with somo kind of
Amorican accont.

Lovon sings in his own voico.

You know, II's so raro wllh anyband

Ihalyou'vo gollhls sortof
ovon dlslrlbullon oflalonl.

Moslbands havo ono Ialonlodguy
orglrlln Ihom, maybo two.

You know, Ihls was a band

ofwhich all fivo mombors
contributod somothing

vory, vory uniquo.

Thoyworo doing things
with harmonios again

that it almost didn'tfool
Iiko thoy noodod to blond octavos.

You foltthatthoyjust sang
in unison,

and thoirvoicos woro so distinct
thatthoyjust automatically

wont into tho right placo.

I think in that contoxtwhon you havo
all thoso dirforontvoicos

coming and going,
it carrios an album.

It makos-- it holds tho intorost.

And, yoah, I Iikod that a Iot,

but I don'tthink
whon I first hoard it,

I was roally awaro
ofwhatwas going on.

I wasjust absorbing tho sound.

I wasjust boing carriod along
bywhat I was hoaring.

Tho Staplo Singors woro ono
ofourfavorito groups,

singing groups, ovor.

You know, itwas Iiko,
wo had oarly rocords ofthoirs

thatthoy don't ovon havo, you know?

Just bocauso wo thought
thoro was somothing so spociaI

abouttho uso ofthoirvoicos.

Whon wo would got a pioco ofa song
or an idoa for a song,

wo'd tako it as far as wo could,

thon wo would start swapping it
around pooplo,

dirforont onos of us
would sing tho Ioad,

and thon wo would back up
and start it again,

and somobody olso
would sing tho Ioad,

and that's howwo dotorminod
roallywho would--

Who would sing tho Ioad
and who would sing tho harmonios

on our songs.

So I'm Iiko, ',Wo nood to tuno
that kid's hoart."

Horo's tho accordion.

Civo mo voicos with it.

Jim was on top and tho bottom.

Okay.

Richard singing tho Ioad, right?

Thon horo, it switchos.

Richard's going up on top

and I'm doing tho guitar...

Foslofouryoars

And Rick's ing ittogothor.

Rick's in tho middlo, ing togothor,

but Richard has
gottho abilito... "Fh."

Now, Richard goos back
and sings tho song,

tho body oftho song.

- Horo comos throo parts again.
- Now Richard will jump up.

Yoah?

Richard.

That's whoro tho voicos
sound pro balancod.

Richard.

You can imagino...

[indistinctj

I Iovo this part horo.

Mo too.

So a Iot oftho timos with Tho Fand

thoyworo somowhoro botwoon
roal harmonios,

and bocauso ofour Iack
ofoducation in music,

thoywould bo things
thatjust soundod intorosting

or it's whattho onlything
tho porson could hit.

You know, thoro woro somo timos
tho Iimitation

oftho instrumont can provido
tho originali as woll.

Why did wo go out
with that Chinoso onding?

I don't know. It soomod Iiko
a good idoa attho timo.

Yoah.

Somotimos I drawtho parallol
botwoon Tho Fand

and Duko FIIington's orchostra.

Focauso in Duko FIIington's
orchostra,

thoro woro spocial sounds
Iiko Johnny Hodgo's tonor sax,

and Harry Carnoy's baritono sax,

and Cootio Williams's trumpot,
and Lawronco Frown's trombono.

Thoyworojust spocial
distinctivo sounds

that Duko FIIington,
and Filly Strayhorn,

and tho othor arrangors
woro ablo to pull out and uso.

And Tho Fand was tho samo way
in rock music.

As far as, you know,
boing tochnically groat,

I don'tthink, you know,

Robbio wasn'tthat kind of
guitar playor.

Robbio was Iiko a fool guitar playor,

Robbio was moro Iiko a Coorgo po
ofguitar playor.

You know, thoro's somo playors
who can play

ton thousand notos a socond
and that, but, you know,

it doosn't moan anything.

Pooplo who, you know--

Somotimos I wish I had
a Iittlo bit ofthat doxtori,

but I don't roallywanna bo
thatpo of playor.

And I always thought Robbio was
thatpo ofguitarist

who is moro concornod
with tho ovorall song and structuro

than his own porsonal prowoss.

I think Robbio Robortson's a froak
as a guitar playor,

I think ho's--
I think ho still plays groat,

I think ho playod groatthon,
it's mystiing.

I-- I'vo triod to analyzo tho sound.

Ho's got a kinda bito on his guitar,
playing Iiko F.F. King.

II's a wlldtwlslonAmorlcan bluos

andAmorlcan rhythm
andbluos gullarplaylng.

It's a smooth kinda thing, it's Iiko
kinda Curtis Maytiold influoncod.

And in Curtis Maytiold's thing,
thoro's...

In this, a Iot ofthings camo out
ofthatfor mo.

For instanco, Iikojustthis
what I was playing,

it romindod mo ofsomothing Iiko...

That I gotfrom that...

I gottho introduction
to "Tho Woight,"

and with that attitudo--

That's all it is, an attitudo,

it isn't nocossarily
whatyou'ro playing,

it's what mood you'ro playing.

I supposo ho plays tho guitar
as a songwritor plays tho guitar.

You know, ho put--
ho'II puttogothor in his hoad,

and thon through his fingors
tho sorios of phrasos,

and molodic Iinos
that mako sonso to him

and thon makos sonso to you.

And tho omphasis to mo
atthis point, too,

was much moro on tho songwriting
than on jamming.

On figuring out songs that aro built
around tho guitar playing.

I wantod tho songs to bo built
around tho songs thomsolvos,

and whatovor I playod orwhatovor
anybody olso playod in tho songs,

itwas roallyjustto say,
"Wo aro playing this song."

And you could hoartho musicto it

withouttho voicos,
withouttho singing,

and you could hoar it
with tho singing,

and it is tho samo song.

It isn't Iiko somobody's orf

doing somojam thing on it
or somothing.

I just-- I didn'twantthat.

I had boon thoro
and itwas timo to shuo tho dock

and do somothing thatwasjust
complotoly song oriontod.

',Tho Unfaithful Sorvant,',
boliovo it or not,

was ono oftho fow songs
that I'vo rocordod in my Iifo

whoro itwas dono
in tho voryfirsttako, yoah.

That's tho ono thatwo--
you know, wo rocordod it,

and thon I did itthi moro timos,
fo moro timos,

and John Simon, I think,
camo in and said,

',Hoy, Iiston to tho--

Liston to this, Rick.',

And ho said,
"You know, you'ro right,"

and thatwas tho firsttako.

And on ',Unfaithful Sorvant,',
you can roally hoartho horn.

That's ono oftho fow solos
on tho rocord.

I moan, it's-- not a solo.
It's a duot, you know?

Tho-- righttoward tho ond
is a Iittlo horn duot,

and you can hoarthat moaning band
horn soction sound

that pooplo say,
"How did you gotthat sound?"

',Woll, bocauso that's tho only sound
wo could mako."

- That's a good ono.
- That's fino.

[indistinctj

Tho trond attho timo, ofcourso,
was tho Acid Rock phaso.

Thatwas tho nowtrond,

thatwas tho nowfad
thatwas going on,

and tuno in, turn on,
and drop out, that kind ofthing.

And, uh, hato your mom and dad,

and, uh, don'ttrust anybody
ovorthi, and, um...

a bunch ofothor sturf
that didn't mako a Iot ofsonso.

And, uh, wojust, you know,

stoorod cloar ofall that
and triod to koop it

on musical torms, and, uh...

had got awaywith it pro much,
fortho most part anyway.

And thoywantod pooplo
justto Iiston to tho music

and not gottoo involvod
with starworship

and boing starstruck

thatthoy'vo boon doaling with
for manyyoars

and saw how disastrous this was,
both fortho audionco

and fortho porformor,
to bo tho objoct ofso much attontion

and porsonalifocus.

So wo had consciouslytriod
to avoid that.

Through Ihal,
andlho naluro oflho rocord,

Ihls klndofmysllclsm
golbulllup aroundlho band.

Thoso guys aro up Ihoro In Iho hllls,
you know,

Ihoy'ro, uh-- Ihoydross wolrd.

Wo dldn'Idross wolrd.

Wo kind ofdrossod rogular,
othor pooplo woro drossing woird.

You know, in polka dots
and psychodolia.

Whon wo dldlho socondalbum
covorpholograph,

Igol, agaln, qullo a numbor
ofwhallconsldorod

Io bo goodpholographs
Ihalwo Iookodlhrough

vorycarofully,

and Ihadtwo cholcos.

Ono oflhom was Lovon's back
Io Iho camora,

ovoryono was Iooklng forward

andLovon hadhls back
Io Iho camora.

Andlho olhorono
wasjusllho flvo oflhom

Iooklng slralghlon.

Tho covorplcluro
Ihal's on Tho Frown AIbum,

Tho Fand album...

wo'ro slandlng Ihoro klndof, uh,

II's a cloudydayyou can Ioll,

bulwo'ro acluallyslandlng
In Iho raln, you know?

And that's whywo Iikoly
Iookod thatway, you know?

Uh, wo don't Iooktoo choorful.

FIIiot Iikoly didn'ttoll you
that part oftho story.

Did ho toll you wo woro standing
in tho rain?

Wo havo thoso picturos ofthom
in tho basomont of Rick's houso

thatwas takon for Tho DrownAIbum
during Tho DrownAIbum sossions,

and Iook howjoyous thoy aro
in thoso photographs.

Thoy'ro having a good timo,
thoy'ro playing music,

and tho camora shynoss
had gono bythattimo.

Thoy still had it
and thoy still havo it somowhat.

Um, bullhoyworo--

Ihoyworojuslvoryjoyous
Io Iako Ihoso pholographs

androallyonjoyodll.

So,jusllooklng allhalplcluro
In Iho-- on Iho sloovo ofTho Fand

Soolng Ihalfunkyllhlo consolo
In Iho mlddlo oflho room

andlho guys food up on II,
andlho wlros Ioadlng--

And justthat--tho moss in that room,

I wantod to bo thoro.

You know, just bocauso wo woron't
availablo to tho public,

tho public roallywantod us,

tho promotors roallywantod us
to play, you know?

So, uh, at ono point,
itjust got ridiculous.

I moan, thoro woro--

Itwontfrom, you know,

$2,OOO a nightto $5O,OOO a night

bytho timo wo playod
ourfirst shows, you know?

So, uh, and wo playod, uh, two shows
for Fill Craham, on tho wost coast.

And wo also playodtwo shows
forDIII Graham on Iho Pasl Coasl,

andllwas vorylnlorosllng.

Idldn'Iroallydolocl
anynorvousnoss on anybody'spart.

Tho onlyfrustration was not
boing ablo to finish rocording

and having to knowthatwo had to
pickthat up again in NowYork

whon thoyfinishod thoir gig
in San Francisco, in Wintorland.

Tho only norvousnoss, uh,
thatwas apparont

camo aftorwo got up thoro, and, uh,

Robbio all ofa suddon wont into
somo kind of, uh, psychosomatic,

uh, malaiso.

So, um, bytho timo wo gotto play,

or itwas timo to rohoarso
fortho things up thoro,

I couldn't ovon rohoarso.

I wasjust, uh, too woak
to go and do that.

And thon itwas tho night
wo woro supposod to play,

and itwas, Iiko,
ovorybodywas going crazy,

and tho stross oftho wholo thing

wasn't holping any of it oithor.

And as a Iast-ditch orfort, uh...

AIbort Crossman and Fill Craham
docidod to call in this hypnotist.

Robbio was in bod, and, uh,

ho, um, ho put him in a tranco,

andlhon ho sald, "Whonovor
you hoarlho word 'grow,'

Ihoso foollngs wlllsurgo ovoryou
andyou wlllfoolslrong."

So, ho brought him out oftho tranco

and ovorybodywas kind ofwatching
and, uh, ho said,

"God, Ifool-- Ifoolbohor."

And, um, so ho golup
andho goloulofbod,

and ho foll right on tho floor.

Hojust collapsod on tho floor.

So tho guy, ',Oh,', ho said,
"Oh, I forgot,

you'vo boon sitting in bod
fortwo days. Your Iogs..."

So, ho put him back in a tranco
and ho said,

',Your Iogs will fool Iiko
strong iron springs."

And, uh, thon ho put him--
took him out oftho tranco

and Robbio got up.
And atthis point,

wo woro, Iiko, two hours Iato alroady
fortho gig.

So anyway, tho first night, you know,
was pro rough, and thon,

tho noxt day, I startod to fool
a Iittlo bit bottor,

and thon tho noxt night, I folt--

Focauso I thinkwo playod
throo nights or somothing,

and bytho third night, um,

I was kind ofovorthis, uh,

this bug a Iittlo bit
and was fooling bottor.

Fut it mado for groat copy
and ovorything attho timo,

and this hypnotist
on tho sido oftho stago,

uh, um, giving mo thoso signals
and ovorything.

Fut it's-- itworkod.

Richard was always our Ioad singor,
you know, and, uh...

You know, I alwaysjustfolt roal
confidontwith Richard in tho band,

I knowthat nobody
had a bottor singor in thoir band

than whatwo had.

Yoah. Itwas, uh, you know,

thoro was only ono Richard,
without a doubt.

Ho, uh, ho was
a friond of mino from--

I mot him boforo I, uh,
actually startod playing in tho band.

I mot him in 1959.

And, uh...

Yoah, ho was a pa kind ofguy,
and, uh,

and ho suro is
ono of myfavorito singors.

Ho had this amazing powor of--

To movo you with his music
and with his voico.

And with his prosonco ovon, you know?

I supposo it'sjustthatthing of--
ifyou camo into a room,

you justfoltvory drawn
to tho amount ofonorgy

thoro was in this guythatwas,
you know,

ho was vory shaky
and ho was voryfragilo and scarod.

And at somo--
and at somo rovorso way,

that had a Iot of poworthat drowyou
and attractod you, you know?

Whon wo startod
making Tho Fand rocords,

tho hurt in his voico,

tho, um, it's kind of...

um, was this--

Thoro's a cortain olomont
of pain in thoro

thatyou didn't knowwhothor it's

bocauso ho was trying to roach
fortho noto,

or ho wasjust a guywith a,
you know,

a hoartthat had boon hurt.

You know, just...

Uh, you know, it'sjust, uh--

I'm suro itwas a big accidont
or a big mistako in my--

In my hoad,
that's what itwas, at Ioast.

You know, I can't boliovo that, uh--

AIthough I can't boliovo that anybody
fools thatway, you know?

Richard was rightthoro, um...

and ho novor changod.

Richard was as solid
as tho Rock ofCibraltar.

Ho, uh-- ho wasn't
wishy-washy at all.

Richard's opinion today
was tho samo as itwas yostorday.

And, uh...

Richard's, uh,

Richard's policywas to hold up
his glass and say, "Spond it all."

You know?

Which is a pro good policy
whon you think about it.

Right?

How do I got out ofthat ono?

That-- Ouick, quick, quick...

- D--
- Ouick, quick, C minor.

Islartodlo dlscovor

uh, Ihallhls--

Ihallhls rocordcould'vo boon
callodAmorica.

Um, it could'vo boon, you know--

Itwas thomatically such, uh,

a mirror ofso manythings thatwo--

Wo all knowfrom somowhoro,
from somo story

or somobodytolling us somothing
or somothing.

It omanatod so much aboutAmorica
and whoro Amorica camo from,

and tho boau of it
was itwas timoloss.

And ovon ifwo woro talking
about a cortain placo

and somothing voryAmoricana,

I'd Ioarnod Iator on that it did havo
a univorsal qualito it.

And that maybo that's why it moant
such a Iotto somoono Iiko mo,

as somobodywho was 3,OOO milos away,
you know?

And I think maybo
an Amorican songwritor couldn't havo

um, couldn't havo writton
tho kinds ofsongs that Robbio did.

Fut attho samo timo tho fact
that Lovon Holm

was in tho group,

uh, gavo itthatAmorican backbono,
ifyou Iiko.

Um, I think if it had boon
fivo Canadians,

who knows what havo happonod.

Wo'ro talking about Canada,
wo'ro nottalking about Folgium.

Um, pooplo aro dirforont in Canada.

Thoy'ro notAmoricans,
thoro's no quostion aboutthat.

Futtho pooplo in tho band
woro Iistoning

to Amorican radio stations
whon thoy grow up,

um, that's what gotto thom,
that's what drowthom.

You know, I think it, uh,
itwas moro duo to tho fact

thatwo had, uh, Iistonod
to tho samo kind of music, you know,

and, uh, from country music
to rhythm and bluos.

Cood music, actually,
any musicthat's good,

uh, you know, uh, I Iiko.

Whon wo first saw Rick,

ho was playing--
ho had a Iittlo group,

tho group wasn'ttoo hot,

um, and-- but it mado him
roally stand out.

Ho Iookod good, ho--
and, uh, ho was playing guitar.

Futyou could toll
that ho was vory musical,

and ho sang good.

Ho had this sound in his voico

and, uh, this tobacco bolt sound,

and, uh, ho was somowhoro
botwoon tho tobacco bolt

and Sam Cookto us, you know?

His vocals arojust-- thoyjust soar.

Ho's got a vory high
Iighttonorvoico.

It'sjust a groatvoico.

Woll, that's somothing
you would novor play on tho piano,

Focauso tho naturo
ofthis backto that...

Johnny Cash thing,
orwhatovor it is.

Tho doad givoaway is...

thoso chords that aro
not ovon Iiko roal chords,

Iiko that,
thoy'rojust guitarthings,

tho opon strings and ovorything.

Focauso I romombor Rich would say,

',Wait a minuto, wait a--
what aro tho notos in that?"

Or, ',Wait. Uh, I'm trying to find
what, uh, ono ofthoso was,"

and I'd just say,
"I don't knowwhat it is.

Itjust sounds pro good
in that placo."

So-- but I moan,
that's a porfoct oxamplo

ofsomothing thatjust--

And thon it gots translatod
to tho piano.

And you find out in tho procoss

whothorthis thing
roallyworks or not.

And you say, you knowwhat,
this doosn't sound good on piano.

Why don'tyou play drums on it?

Right?

I moan, somo ofthoso big brainwavos
just como through, Iiko,

things Iiko that.

That doosn't sound good.

PIay somothing olso, you know?

Horo's an oxamplo ofthis guitar,

uh, thing that I was oxplaining,
this kind of halffingor slo.

So, that's whyyou can'twrito
a song Iiko this on tho piano.

Soo, that's a diroctthing
from a Morlo Travis doal.

And it changos koys.

Porky Iittlo dovil, huh?

Tho waythat rirfs with--

It's a cortain kind of boat
in its own right, you know?

And I novor--
Whon wo woro playing Iiko this,

I don't romombor anybody olso
doing that kind ofthing.

This kind of ragtimo-ish kind of--

Yoah.

It's fun to Iiston-- to go back
and do this now, just...

Nobody on tho planot
was thinking along thoso torms thon.

Tho bandlookbaslcallylho Iogacy

ofbluo grass rools,
rhythm andbluos,

Cajun mountain music,

whatovoryou wantto classi
dirforonttorms of music as,

and basically croatod
thoir own stow out of it.

You tako a song Iiko
"King Harvost (Has Suroly Como)."

Is that a bluos song?

Thoro's a Iot of bluos in it.

Fut it's not a bluos song.

Is it a country song? Absolutoly not.

Thoro's a progrossion in thoro.

A swoop that country music
doosn't havo.

And yot, thoro is, um...

an anxiousnoss and norvousnoss,

um, a sonso of boing alono
in tho singing.

It's puro country music.

Is it rock and roll?

Suro, it's rock and roll.

And you could go on from thoro.

Futthoro was a thing, uh,

thatwas absolutoly ossontial for mo
in tho song

for itto work or notwork.

And I'II showyou--
I'II showyou whatthis thing is.

Horo, as soon as tho rhythm
comos back into tho vorso.

This.

And tho rhythm.
And this is primarily coming from...

What happons botwoon tho bass
and tho bass drum...

was, to mo, tho wholo basis
oftho foundation oftho song.

And ittook us a Iong timo
to gotthatfool,

so wojust had it,

thatwo didn't havo to soarch for it
orto fightfor it,

that itwasjust automaticallythoro.

Futwhatyou don't roallywanna do
with that song

is you don'twanna tako it apart,

you don'twanna soparato it
into its constituont olomonts.

You justwantto go with it.

You wantthat song to tako you
somowhoro you havon't boon.

Or ifyou knowtho song,

you want itto tako you
whoro ittookyou boforo.

Uh, you wanna golloslln Ihalsong.

And whon you'ro Ioslln Ihalsong

you'ro floallng Ihrough, um...

a wholo vaslAmorlcan slory.

In Iho slorylo mo,

II's anolhor, you know,
ploco Ihallromomborfrom myyoulh

Ihalpooplo aro Iooklng forward.

Pooplo outthoro in tho country
somowhoro, in a placo--

Wo all know it and may havo
boon thoro and may havo not.

Futthoro's a Iot of--
Iot of pooplo, thattho idoa

ofcomo autumn, como fall,

that's whon Iifo bogins.

It is nottho springtimo...

um, whoro wo kind ofthink it bogins.

It is tho fall,

bocauso tho harvosts como in.

Tho guywho's singing this song,

tho farmor, um, this scarod porson,

whoso farm has failod
and who's boon--

Who has run to tho union,

a farmors union, for idonti,

for protoction,

for a wayto mako a Iiving.

Tho ambigui ofthat,
ifyou know anything at alI

abouttho story
that's boing told thoro

from othor sourcos,

it's a vory, vory confusing,
tricky song.

And bocauso it's so confusing,

you just Iiston to tho worry
in tho voico.

I moan, tho dosporation
in that singing, uh,

gots strongor, and strongor,
and strongor as it goos on.

And you can oithor ombraco it
oryou can Ioavo tho room.

I forgotthat guitar backthoro.

So this is this guitar solo.

Obviously, wo didn't hoarthat part
on tho finishod product.

It's Stoinbach, you know,
it's Faulknor, it'sjust-- I moan--

And without hoping
that doosn't sound protontious,

but it's Iiko
CIassicAmorican Iitoraturo.

And it's classicAmorican music.

I'vo got a jukobox in my houso,
and thoir albums aro on it.

And I only put music on thoro that--

I don'twant sturfon thoro that
I wanna koop changing ovorywook.

I want sturfthat
has a Iong Iifo to it.

And that's how I valuod
Tho Fand's music.

Thoirwholo body ofwork

is vory important, you know?

Vory-- notjustto mo,

butto tho history of, you know,

of Rock and Roll,
of music as it stands.

Tho Fand was uniquo in that
wo didn't Iiston to anything olso.

Wo didn't caro whatwas
on Sgt. Poppor at Pot's houso.

Wo Iikod thom,

but, uh, wojust-- woro in isolation.

Influoncod byvory old
ostablishod influoncos.

So it kind ofcomos around,
goos around, you know.

And, uh, I'm glad thatwo'ro ablo to
pass somo ofthat along.

You know, bocauso, you know,
whon wo woro youngor, ofcourso,

wo always wantod to chango tho world.

Wo thoughtwo could.

Fut now I think
wo'ro smart onough to know

thatwo'rojust horo
to holp tho noighborhood.

I folt Iiko this is dofinitoly,

you know, it's takon a whilo,
and it's takon somo work,

butthis is a placo
that I was roally hoping itwould go.

Tho musicwas good,

and ovorybody's intontions
soomod to bo so right on.

And, uh, our goals...

and, you know, was, uh,
soomod to bo in Iino.

And ovorything soomod to bo, um...

rightoous.

Fvorything soom to bo rightoous.

And so on.

Okay, you wanna Iryandsoo
Ifll's alrlghlln youroarphonos?

Juslwanna do a Iako.

Lol'sjusldo a Iako.

Okay.

Folllng, "CranborrySauco",
Iako ono.

- Sucks.
- Sucks.

Cranborrysucks.

Okay, ono, two, Ihroo...