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- [instruments tuning]
- [indistinct chatter]
4
00:00:14,275 --> 00:00:15,885
- MAN: Should I
turn it up some?
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00:00:16,059 --> 00:00:17,800
- TOM: Well, let's see
how bad the buzz is.
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00:00:17,974 --> 00:00:19,584
- [buzzing]
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00:00:19,758 --> 00:00:21,978
- TOM: Bugs! Let's do the
ampliphone.
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00:00:22,152 --> 00:00:24,154
I need more noise factor.
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00:00:24,328 --> 00:00:30,073
- [guitar plays]
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00:00:31,727 --> 00:00:34,295
- TOM: Y'all ready?
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00:00:34,469 --> 00:00:37,298
We got tape rolling?
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00:00:37,472 --> 00:00:39,256
- [guitar plays]
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00:00:39,430 --> 00:00:40,997
- TOM: Is that
fast enough, Rick?
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00:00:41,171 --> 00:00:43,043
- ♪
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00:00:43,217 --> 00:00:45,132
- TOM: One, two, three.
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00:00:45,306 --> 00:00:48,483
- ["Cabin Down Below" plays]
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00:00:48,657 --> 00:00:54,663
♪
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00:01:03,498 --> 00:01:08,285
♪
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♪ Come on go with me, babe ♪
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♪
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♪ Come on go with me, girl ♪
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♪ Baby, let's go ♪
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♪ To the cabin down below ♪
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♪
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00:01:23,692 --> 00:01:27,217
♪ Well, I got a radio ♪
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♪ Put it on soft and low ♪
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00:01:30,568 --> 00:01:32,788
♪ Baby, let's go ♪
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♪ To the cabin down below ♪
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♪
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- TOM: In this
time in particular,
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this day in particular,
this time of my life,
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I feel much more
comfortable being myself.
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It's soul music.
I think that's what I am.
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I think I'm a soul singer,
because you have to connect with
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your soul in a way.
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- ♪
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00:01:55,985 --> 00:01:57,900
♪ Hey ♪
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00:01:58,074 --> 00:02:00,294
- TOM: That's what's going on
with me artistically, you know?
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00:02:00,468 --> 00:02:02,034
I feel very prolific right now.
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00:02:02,209 --> 00:02:03,819
I feel more like me.
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00:02:03,993 --> 00:02:07,736
- ♪
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00:02:12,697 --> 00:02:15,874
- [instruments tuning]
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00:02:16,048 --> 00:02:20,227
- [indistinct chatter]
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00:02:37,157 --> 00:02:39,550
- TOM: This has become a real,
kind of pet project for me,
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00:02:39,724 --> 00:02:42,945
this--this solo album, and I'm
really enjoying working on it.
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00:02:43,119 --> 00:02:48,124
And I really enjoy being
able to take my time with it.
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00:02:48,298 --> 00:02:55,305
- ♪
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00:02:55,479 --> 00:02:57,438
- TOM: A way of avoiding
politics within
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00:02:57,612 --> 00:02:59,831
the Heartbreakers was to just
step out of it
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and say this is a solo record.
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Because you don't want to stay
in one little circle
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00:03:05,707 --> 00:03:10,015
all the time.
I mean, it's been almost
20 years of the Heartbreakers.
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And if I only made records with
the same four people all the
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time, I'd never meet anyone, I'd
never learn, I'd never grow.
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- ♪
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- TOM: But I really
needed to do it, you know,
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I'd been in a band my
whole life, it felt like.
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And I wanted the freedom.
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00:03:30,949 --> 00:03:34,126
I really wanted to be free
of the democratic process.
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But I think it was time to just
turn the corner and try to find
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another place to go, and the
result was "Wildflowers."
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- ♪
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- I was really lucky because I
knew what I wanted to do
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very early in life.
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And I didn't never
question it.
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I didn't have any choice.
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00:04:03,286 --> 00:04:05,157
I just did it, you know?
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00:04:05,332 --> 00:04:08,770
And if I had really known how
little I knew about what I was
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doing, I might have been
discouraged, but I wasn't.
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I was happy to do it.
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And, uh, you know, if you're
lucky enough
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to do that, you're pretty lucky.
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I feel very fortunate
because it all worked out.
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- ♪
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- RICK: Tom was
on MCA records, um,
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I called up the person who was
running MCA Records and said,
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"If there's ever an
opportunity to work with Tom,
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I would love that to happen."
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And I was told that Tom was
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exclusively produced
by Jeff Lynne,
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and there was no chance that I
would ever get to work with him.
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And it's like, "Okay, thank you
very much."
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It was like a--a real cold
kind of brush-off.
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- TOM: I wanted to do
something different.
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I mean, I love
Jeff Lynne dearly.
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And--but I thought that I
should do something else,
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So Mike Campbell suggested Rick.
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He said, "I think you'll like
him."
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And I just simply called him up.
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00:05:02,780 --> 00:05:05,740
- ♪ Da, da, da,
da, da, da, daaaa ♪
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- We could also
overdub, when we're done,
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we can do another
pass at the cellos,
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-just so we have
them by themselves.
-TOM: I love the ending.
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You know, with Rick
Rubin--Rick loves music.
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And that's really why I
decided to work with him.
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It's not because of
his technical skill.
He has no musical skill.
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He plays no instrument really.
He's learning the guitar.
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He just loves music.
He's not a corporate man.
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- ♪
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- RICK: What I have
to offer is as a fan.
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You know, I can come in and say
what I like and what I don't
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like, and I don't
necessarily know why,
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but just being kind of true to
my own taste and really try to
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steer it in a direction that
feels natural and good to me.
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Should I play it to you?
- Yeah.
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- 'Cause you should
make that a real part.
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- TOM: I found Rick
to be very helpful,
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and I think he made a great
contribution to the album.
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And I feel, in a way--I don't
know if he intended to or not,
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that he's kind of guided me back
into a musical place where I
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feel very comfortable.
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- ♪ You follow your feelings ♪
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♪ You follow your dreams ♪
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♪ You might find the forest ♪
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♪ There in the trees ♪
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♪
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- TOM: What is great about
Rick is his enthusiasm.
You know, he's young.
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It's the first time we've worked
where the boss was a lot younger
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than we were.
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We're not really good at taking
instruction from people.
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We've never had an A&R guy,
or somebody
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who really told us what to do.
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- [guitar plays]
- RICK: Let's try
the down verse thing. Alright?
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We'll go from a bridge
into a down verse.
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- Bridge into a down verse.
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- ♪
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00:06:53,282 --> 00:06:55,719
- TOM: There's really no
rules in what we're doing now.
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Songs is what it's about.
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- ♪ I could do
it if I have to ♪
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00:07:00,463 --> 00:07:04,685
♪
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00:07:04,859 --> 00:07:08,906
♪ I gotta bury my
pride, drag this line ♪
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00:07:09,080 --> 00:07:12,997
♪ Over that hill
one more time ♪
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00:07:13,171 --> 00:07:17,262
♪ Gotta get up in the
morning, make my way ♪
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00:07:17,437 --> 00:07:20,091
♪ Over that hill again ♪
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00:07:20,265 --> 00:07:24,139
♪
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- RICK: I was never really a
Tom Petty fan growing up.
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I liked--I liked more aggressive
music before that,
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00:07:28,839 --> 00:07:30,450
punk rock and harder things.
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00:07:30,624 --> 00:07:32,800
He was a little
melodic for my taste.
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And then, um, "Full
Moon Fever" came out.
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- ♪
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- RICK: I remember I bought it
after I'd heard maybe the third
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00:07:41,025 --> 00:07:42,636
or fourth single.
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00:07:42,810 --> 00:07:47,031
And I listened to it,
I would say, 10,000 times
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00:07:47,205 --> 00:07:52,428
driving in my car.
I had moved to Los Angeles
fairly recently from New York,
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00:07:52,602 --> 00:07:54,648
and I would drive
around and listen to,
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00:07:54,822 --> 00:07:58,347
uh--to that album
over and over again.
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- ♪
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- MAN: Check one two.
- GEORGE: He loved
"Running Down a Dream."
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00:08:03,395 --> 00:08:05,572
We used to sing along to
"You're So Bad," and then--
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00:08:05,746 --> 00:08:07,443
no matter where--you know we're
driving,
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"You're so bad,
da de da de da de."
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00:08:10,446 --> 00:08:13,318
You know, we'd mime the acoustic
guitar part there.
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00:08:13,493 --> 00:08:15,059
- MAN: Check,
check, check, check.
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00:08:15,233 --> 00:08:16,800
- GEORGE: You know, I was
working with Rick at this
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00:08:16,974 --> 00:08:19,150
company called Def American at
the time.
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00:08:19,324 --> 00:08:22,763
And, um, Tom and I, for some
reason, whatever, he took a
liking.
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I think he tolerated me,
and he found me amusing.
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And Tom was a hero, an idol.
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"Damn The Torpedoes," for me,
was probably the record that
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really just changed my life.
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♪ 'Cause it don't make
no difference to me, baby ♪
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♪ Everybody's had to
fight to be free ♪
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♪ 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 ♪
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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 ♪
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00:08:53,707 --> 00:08:58,799
♪ Don't have to live
like a refugee ♪
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00:08:58,973 --> 00:09:02,411
- RICK: I knew he really
was a song craftsman,
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00:09:02,585 --> 00:09:05,457
which he--which he was,
but I didn't realize
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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
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00:09:09,461 --> 00:09:13,291
songs from one person?
You don't put it together
that it's all him.
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00:09:13,465 --> 00:09:18,993
- ♪
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00:09:24,085 --> 00:09:30,134
♪
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00:09:37,794 --> 00:09:39,622
- ADRIA: I think after
"The Wilburys" and
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00:09:39,796 --> 00:09:42,016
"Into The Great Wide Open" and
"Full Moon Fever,"
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00:09:42,190 --> 00:09:44,671
he had, like, totally
established himself.
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00:09:44,845 --> 00:09:48,022
There was nothing more that
he had to prove to anybody.
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00:09:48,196 --> 00:09:49,763
And there he was
at 40 years old,
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00:09:49,937 --> 00:09:52,679
still very young
and still very fertile
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00:09:52,853 --> 00:09:55,159
with songs and material.
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And I think my dad at that time
was sort of looking around at
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Eddie Vedder and Kurt Cobain
and going, "That's me.
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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."
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00:10:04,473 --> 00:10:10,522
- ♪
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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' ♪
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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
♪♪
111083
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